Search Results

Yellow film review by UK film critic Jason Knight. Starring Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas directed by Elham Ehsas. HOME | FILMS | REVIEWS Yellow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 16, 2023 Directed by: Elham Ehsas Written by: Elham Ehsas Starring: Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas In August 2021, the Taliban overtook Afghanistan. This short drama explores the aftermath. It is a busy market in Kabul and a young woman (Dehrouyeh) is looking to purchase her first chadari. He enters a clothing shop and requests one from the assistant (Ehsas). He helps her make the right choice, gives her advice and is quite helpful. She does not seem to be fond of the garment and appears to realise that her life is changing. This film is about a turning point in a woman's life, following the Taliban's conquest of Afghanistan. It is obvious that it is the first time she is wearing a chadari, as she does not know how to put it on, which highlights the change that she is going through. Through her eyes, the audience sees a procedure that many women in Afghanistan are going through: getting a chadari for the first time and entering a new stage in their life. The screenplay calmly examines the procedures that the heroine undertakes in order to obtain a chadari and thus (in some ways) go through a transformation and become another person, a person who the Taliban approve of. The film dramatically points out some of the effects of the Taliban takeover. One is the degradation of women, which is explored through Dehrouyeh's character and a television news broadcast about the strict laws applied by the Taliban regarding women wearing a chadari. Another is the banning of music, which is briefly shown through Ehsas' character. One part that stands out is a dance scene that feels almost magical thanks to slow motion and creative editing by Ehsas and Ross Leppard. Director of photography Yiannis Manolopoulos does a great job with the cinematography and commendations go to Jessica Holme for the costumes. An effective point-of-view shot places the viewer in the heroine's position, helping them feel how she feels. This film is a poignant and hard-hitting commentary about the Taliban's seizure of Afghanistan, how it affects the people of that country, particularly women. It provides an insight into the current situation, painting a bleak vision of the future. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Hazard film review by UK film critic William Hemingway. Starring Nicholas G Sims, Jay Dukes, Alonzo Hester directed by Daniel Bergeson. HOME | FILMS | REVIEWS Hazard Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jun 15, 2022 Directed by: Daniel Bergeson Written by: Daniel Bergeson Starring: Nicholas G Sims, Jay Dukes, Alonzo Hester In America fewer than 2% of the people who visit national parks are black or African American. In his new short film Hazard , writer/director Daniel Bergeson suggests a few reasons why this may still be the case and offers a hopeful vision of the future where the natural splendour of the countryside is able to be enjoyed by all. Naturally, the history of Hollywood hasn't helped in showcasing the pleasures, pastimes and outdoor pursuits of the average black family. From It Happened One Night (1934) through Easy Rider (1969), to National Lampoon's Vacation (1983) and Planes, Trains and Automobiles (1987), then Road Trip (2000), Little Miss Sunshine (2006), Sex Drive (2008) and now Nomadland (2020), it's been goofball loners, stoners and moaners; families, friends and would be lovers who are the sole concern of road trip movies and all almost exclusively white. Bergeson has now tried to redress the balance a little, imagining a simple scenario of what it might be like for a black family – father, son and uncle – to take a road trip out into the countryside and try to commune with nature for a couple of days. Marcel (Sims) has bundled his tech-wired son Xavier (Hester) into the back of the car and has also roped in his brother Kevin (Dukes) to come along for the ride. The conversation seems pretty natural and true to life as they head out on the open highway, and even though not everyone is jazzed about a couple of days away from the bright lights of the big city, they all seem to want to make the best of the situation they now find themselves in. America though has different ideas. When the car suddenly cuts out, what has up to now been fun family times, immediately becomes three black males sitting in a vehicle by the side of the road. Bergeson is careful not to drift into sensationalism as the scenario plays out, managing to walk a tight line between ramping up the tension and keeping the simple humanity of the situation alive. His focus is always on the family and it is a strength to see each character work out how to be around the others so that a common love can be expressed. This theme continues throughout the rest of the film and into the campsite, where new challenges and characters are introduced. Split into a series of small discrete scenes, Hazard takes its time to round out its characters and build on its premise. The use of comedy to balance out the more serious themes works well and everything is underpinned throughout by a strong sense of togetherness. Everybody does a good job to ensure the quality of the production and it's easy to see that the message at the heart of the film is a large motivator for that. From top to bottom the characters are perfectly cast, with Jay Dukes as Kevin being a standout performer in amongst a strong group of actors. The cinematography from Bobby Peacock is eye-catching and colourful while Daniel Bergeson's direction offers us a slew of well chosen shots, ranging from a nice wide-angle, down to a frog's eye view and then somehow onto a tree trunk split screen. Hazard wins on all counts as a feel good film, and even manages to give some of the old, classic, family road trip movies – the white ones – a run for their money. It has all the right elements in all the right measure and has a subject at its heart that speaks more to a modern audience. Hazard dreams of a more inclusive America; somewhere where the margins of statistics about population and culture don't sit at 2%; and it is a very enjoyable experience to witness the imagery of that dream, if even for the little time that we get it. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Love in the Time of Caller ID film review by UK film critic Joe Beck. Starring Luke Engel, Peter Engel, Amber Rinehart directed by Neil Sandhoefner. HOME | FILMS | REVIEWS Love in the Time of Caller ID Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Jul 15, 2024 Directed by: Neil Sandhoefner Written by: Neil Sandhoefner Starring: Luke Engel, Peter Engel, Amber Rinehart It’s always difficult for children when their parents split apart, or, for whatever reason, are no longer together. One of the hardest stages of that process is when their parents, or parent, somewhat inevitably moves on to a new partner, taking up much of their time and attention, whilst also causing a child’s emotional state to go into turmoil. ‘Love in the Time of Caller ID’, attempts to depict that effect which such circumstances has on children, though lacks the specificity and nuance to truly grapple with the subject matter at hand in any real depth. If nothing else, the creativity of ‘Love in the Time of Caller ID’ must surely be praised. It has its own distinctive style, with characters that, until its final few moments, speak only through speak bubbles, as each frame is a different drawing. It is a unique way to present a story and to try and broach such a subject, and such a fresh approach to storytelling should be praised. At no point does this artistic style feel as though it detracts from the film, and at no point is sound, or even any conventional form of animation missed. It is a wonderful expression of craftsmanship. It’s title obviously stems from Gabriel Garcia Marquez’s seminal novel ‘Love in the Time of Cholera’, though where the novel is romantic, Neil Sandhoefner’s short film focuses on the parental love two brothers have for their mother, and vice versa, and how that is impacted by the changes of her new relationship. She’s bought an answering machine for them so that they won’t miss calls, and the film, plot wise at least, centres around the answer they’ve left on there, and their desire for their mother to call and hear it as she has gone to spend the night with her new partner, Chuck, and his family. The fundamental issue is that there is a paradox at the heart of ‘Love in the Time of Caller ID’, that can only be explained in a way that takes away from everything the film is trying to say. It is illogical that the mother would leave her two kids alone unsupervised if they are still young enough to get excited by answering machines and caller id’s, yet it is also illogical that they are older than that and cannot accept that their mother has gone away for a night. The two things don’t make sense together, and so the film’s believability starts to fall apart and it all begins to feel rather whimsical and out of touch with reality. There is the framing device of a science fiction classic that the two brothers are watching on tv, yet that fails to bring real nuance to the film, instead only convoluting the narrative. Its attempts to depict the emotional turmoil and understanding of parental love comes across as poorly thought out and lacking any firm idea of what parental love truly means. Therefore, whilst the creativity of ‘Love in the Time of Caller ID’ is admirable, it lacks any real depth and beyond its technical aspects is a largely frustrating film. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Show film review by UK film critic Joe Beck. Starring Richard Rowden, Marie Everett directed by Richard Rowden. HOME | FILMS | REVIEWS The Show Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Aug 10, 2022 Directed by: Richard Rowden Written by: Richard Rowden Starring: Richard Rowden, Marie Everett As Britain swelters in yet another heatwave this summer, there will be many people looking for a getaway to some exotic foreign location. The chance to escape Britain’s heat for the inexplicably cooler heat of another country, and lounge by a pool is irresistible. So, at this time of year more than any other, we empathise with Jackie (Marie Everett) when she discovers that her partner Sam (Richard Rowden) has swapped Bali for the Lake District for a romantic time away. 
 The writings on the wall for the couple at the centre of ‘The Show’, as it becomes plain to see within a couple of minutes that they aren’t going to have their happily ever after. The undercurrent of animosity and distance between the pair grows - Sam is preoccupied with his phone, Jackie is unwilling to embrace nature, and they’re constantly undermining each other with little sarcastic digs. Therefore, the destruction of their relationship comes as no surprise, removing the majority of tension from the situation. The fact that Jackie’s sister has recently been dumped by her partner of nine years and is staying with the not-so happy couple is merely foreshadowing the impending doom of Jackie and Sam’s relationship, but the apparent seriousness of the subject matter is undermined by what can only be described as a disastrous choice of soundtrack. The arguments and crumbling of the relationship are paired with a soundtrack not too dissimilar from those old 60s comedies - with this destroying any semblance of tonal consistency. The film appears uncertain of its true identity - caught between a comedy and a drama, and ultimately ending up as neither, just a conglomeration of good parts undermined by one large bad part. That’s because everything else is good, or at least solid, with the acting from Everett and Rowden standing out the most. The two have good chemistry and appear comfortable going toe to toe with each other, trading snide remarks. The direction is also solid, capturing the picturesque beauty of the Lake District, and also surprising us with a heavily-hinted twist at the conclusion. It’s a shame, therefore, that the film lacks an identity, and is confused with what it wants to be - there are moments where you want to reach out, and gently nudge in the right direction, to guide it to a respectable four-star rating. However, that’s something no one can do, and so, despite its obvious charm and numerous good qualities, ‘The Show’ falls short of the mark, instead imprinting only its own confusion on the viewer. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Stop Making This Hurt film review by UK film critic Jason Knight. Starring Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta directed by Susie Kimnell. HOME | FILMS | REVIEWS Stop Making This Hurt Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 13, 2022 Directed by: Susie Kimnell Written by: Susie Kimnell Starring: Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta A man meets his former partner in a restaurant and they discuss the past. A man (Swift) is sitting at a restaurant table by himself. Closing time is approaching and the place is quiet and a bit darkened. Eventually, he is joined by a woman (Collins), with whom he used to have a relationship. The two of them have a conversation and it becomes apparent that things between them ended up badly. The man attempts to apologise and make things better, however, it becomes evident that he did something terrible. This dark short film begins as a drama about a broken relationship and as the story progresses and more and more clues are brought to light, things move towards thriller territory. The main element is the conversation between the two protagonists, which tells a lot about their lives, particularly about the man's life, about what kind of person he is and the findings are not positive and just keep getting worse and worse. Swift delivers a chilling performance as an individual who has very dark secrets and a very sinister hidden personality. Although, he can appear charming and cheerful, it is obvious that ultimately, he is a bad person. Collins does a terrific job as a his ex-partner who was a victim to his actions and knows what he really is. The film is free from music, apart from the ending, which is where Duncan Pittock and Richard Lacy make their contribution with a sinister score that makes an effective closing. Ben Mann also deserves commendations for the work on the cinematography. This short has a very-well-structured screenplay that starts with more or less normality and revelation after revelation lead to a devastating truth. Through well-written dialogue and strong acting, this film tells a dark and memorable story. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

One Fine Morning film review by UK film critic Hope Madden. Starring Léa Seydoux, Pascal Greggory, Melvil Poupaud directed by Mia Hansen-Løve. HOME | FILMS | REVIEWS One Fine Morning Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 23, 2023 Directed by: Mia Hansen-Løve Written by: Mia Hansen-Løve Starring: Léa Seydoux, Pascal Greggory, Melvil Poupaud “I wait for the thing that should come and it doesn’t.” So says Georg Kienzler (Pascal Greggory, devastating), a retired philosophy scholar deteriorating under the weight of a neurodegenerative disease. His daughter Sandra understands. One Fine Morning tempts you to believe it’s a film about nothing in particular. Mia Hansen-Løve conjures Claire Denis or even Kelly Reichardt in her approach to settling into a rhythm of small, intimate moments that tell a deeper if less tidy story than more clearly structured films. She robs the tale of melodrama, of obvious beats, and replaces those trappings with slice-of-life poetry. Her poem is aided immeasurably by Léa Seydoux as Sandra, a widowed mother who’s already beginning to feel the loss of her father. An affair with an old friend complicates things by satisfying her profound longing while also leaving her vulnerable during an emotionally delicate period. There’s a lot there that begs for drama, but it’s to the film’s great benefit that Hansen-Løve chooses nuance. A low-key melancholy colors this story of a woman losing pieces of herself. The beauty in that tone is matched by the raw authenticity in Seydoux’s performance. Though she’s proven her talent a dozen times or more, this performance is a real departure for her. It’s open and vulnerable, effortlessly conveying the raw nerve this woman has become. What Hansen-Løve captures so beautifully is the day-to-day tragedy of losing someone bit by bit and of the flashes of understandable, even necessary selfishness. Sandra is sole parent to precocious 8-year-old Linn (Camille Leban Martins), contends with facility options for her father, and oversees the unenviable task of sorting through his belongings while he’s still living. The filmmaker approaches all of this with the natural, relatable quiet persistence, resigned laughter, or unexpected tears that mark the reality of this situation. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Baked Beans film review by UK film critic James Learoyd. Starring Shelby Lattany, Kahmal Sealey directed by Remone Jones. HOME | FILMS | REVIEWS Baked Beans Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 9, 2025 Directed by: Remone Jones Written by: Remone Jones Starring: Shelby Lattany, Kahmal Sealey What if you had to rush the consumption of your beans on toast? And what if your boyfriend seemingly forgot about your birthday? But most importantly, what if these two unrelated occurrences coincided with gastronomically disastrous results?! These are some of the amusing questions which Remone Jones’ new five-minute comedy Baked Beans poses to its audience. The film tells a simple story of one woman’s unfortunate encounter with circumstance. We begin with the appearance of the titular beans on toast – a meal which our protagonist Tameka slightly begrudges, because she should be doing something sweet with her boyfriend Liam on her birthday. But it’s not as simple as that – her boyfriend, in fact, has not failed to remember, and has something planned for the special day. The beans, however, pose an obstacle. It’s a tonne of fun and incredibly watchable; a well-formed comic piece. The performances featured in the short are absolutely terrific due to the confidence of the actors. For how heightened and humorous the movie is, the characters are completely believable. Oddly it’s through their big, expressive use of vocal expression that brings the performances both a hilarity and a realism – we believe in our protagonist’s annoyance in her boyfriend, and, in turn, her embarrassment come the film’s payoff. I’d also like to mention the authenticity of the opening conversation between our main character and her friend. The dialogue is funny in a satirical sort of way; you can feel that the scene is being used not only to convey information but to establish the silly but endearing tone. The cinematography is strong, and also demonstrates a similar sense of amusement. Specifically, the opening shot – that of a perspective shot from inside the can of beans – shows a high level of inventiveness. Then again, in terms of the negative, one might question the use of the widescreen format. When viewing the camerawork and direction, it almost feels as if the compositions might have been even more interesting were it to adopt a more conventional 1.85:1 format. This kind of visual style doesn’t require an extended frame, and prioritises clarity over complexity; so, the black bars are just cutting off visual information as opposed to adding to the aesthetic. For clarification, though, this is a really well thought-through movie in terms of its look, even if a couple of choices don’t entirely translate. The best thing about the audio and music is its consistency. An intelligent use of sound design comes towards the story’s end when the main character is given noise-cancelling earmuffs to wear by her boyfriend while he sets up the surprise. A wonderful attention to detail is how the sound itself becomes muffled as well, and then fades back to being clear and sharp when the earmuffs are removed. Not only does this place the audience in the sensory perspective of the individual, but it also leads into the final joke of the film which everything has led up to. Beans on Toast is based around joke structure and elegance, and having the viewer experience a pleasingly elaborate setup before the payoff. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Attachment film review by UK film critic Hope Madden. Starring Josephine Park, Sofie Grabol, Ellie Kendrick directed by Gabriel Bier Gislason. HOME | FILMS | REVIEWS Attachment Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 7, 2023 Directed by: Gabriel Bier Gislason Written by: Gabriel Bier Gislason Starring: Josephine Park, Sofie Grabol, Ellie Kendrick There are not nearly enough horror films based in Jewish folklore. Have you ever seen a dybbuk movie? You should. So far, I’ve seen three – Marcin Wrona’s beautiful 2016 haunting, Demon ; Keith Thomas’s 2021 horror, The Vigil ; and writer/director Gabriel Bier Gislason’s latest, Attachment . The thing about dybbuk stories is that I’ve never seen one go well for anyone. Fun! On the surface – and even just below – Attachment is an astute observation on being new to the family, particularly in a situation where the relationship itself is probably not that welcome. All families are weird, but they are weird in such individual ways. Gislason picks that scab effectively, as does his cast. Josephine Park is Maja, a Danish actress best known – really, only known – for playing Santa’s Elf in a long-defunct TV series. She literally runs into Leah (Ellie Kendrick) at a bookstore. Leah is in from London doing some research, the two fall quickly in love, and after Leah is injured during a seizure, Maja offers to return with her to London and her mother’s care. There is something quietly astute about the way Gislason sets up the dynamic: the willfully oblivious love interest, the domineering parent (Sofie Gråbøl) unwilling to be gracious, and the insecure new love unsure how to make herself fit into the family. All of it feels authentic, even if the stakes and weirdness are clearly ratcheted up a few notches. Attachment delivers slow-burn horror that repays close attention but never falls to gimmickry. Yes, the situation is absurd, but everyone behaves in a way that is rooted in real-world expectations and experiences. When the film changes its point of view, you realize where its compassion really lies. Attachment is a nightmare about parenting, about releasing your everything – your beautiful, tender baby – into a vast and brutal world. At the center of the entire nightmare is love, of course, because there is no real horror unless love is at stake. It’s that knowledge that makes the film hurt. Hug your mom. About the Film Critic Hope Madden Digital / DVD Release, LGBTQ+ < All Reviews Next Film Review >

Confession film review by UK film critic Jason Knight. Starring Ivan Shibanov, Eduard Chekmazov directed by Anastasia Norenko. HOME | FILMS | REVIEWS Confession Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 23, 2023 Directed by: Anastasia Norenko Written by: Anastasia Norenko Starring: Ivan Shibanov, Eduard Chekmazov A desperate man enters a church, seeking redemption. It is late 19th century Russia and a priest (Chekmazov) is inside a large church by himself at night-time. Suddenly, he hears a noise and turning around he sees a man (Shibanov) stumbling towards him. The stranger appears to be deeply upset and has blood stains on his clothing. He then goes on to explain the reasons behind his arrival and to ask whether there is hope for him to save his soul. This is a dark, sinister and dramatic short story about an extraordinary encounter following a terrible event. The film begins with peacefulness, with the priest going about his business and it is when the unknown man enters the scene that the atmosphere changes dramatically. The man has an alarming appearance, sweating and bloodied clothes and wastes no time in revealing that he is suffering, that he has committed a vile act and that he demands to know whether his actions can be forgiven. The core of the film is the long monologue that the stranger embarks on, which divulges his state of mind, his deeds and his perspective regarding his current situation. As the dramatic monologue is the center here, Shibanov's performance is vital in order for this short to have an effect, and he succeeds perfectly. The entire film was shot as one ten-minute-long take and Shibanov utterly steals the show, playing a damaged and religious man who is on the edge of insanity. His acting is dynamic and his character painfully totters around the large hall as he speaks, either looking at the priest or images of saints or Jesus. His character is pitiful and menacing at the same time. As mentioned, this short is one long take and Norenko executes that outstandingly, moving the camera around Shibanov and capturing the beautiful interior of the church. The whole narrative takes place inside the church and filming it as one long take makes it look like a play. The mise-en-scene deserves commendations due to the clothing and the church's belongings, with candles used to light the place and Dmitriy Gorevoy's cinematography creates a darkened and melancholic environment, which becomes more impactful because of the ominous music. This is a dark story about the aftermath of a devastating tragedy and focuses on the emotions of the perpetrator. The film addresses religion, death and regrets and has many great aspects, however, it is Shibanov's acting that adds the most significant value. It might be fair to point out that it could have had a better conclusion as it ends abruptly. Nevertheless, Norenko has made a film worthy of significant praise, just as she did with On the Third Step . About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Influenced film review by UK film critic Jason Knight. Starring Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins directed by Asad Panjwani. HOME | FILMS | REVIEWS Influenced Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 8, 2022 Directed by: Asad Panjwani Written by: Asad Panjwani Starring: Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins An online celebrity is pursued by an obsessed fan. While walking home one night, social media influencer Amber (Nikolaiets) is approached by Dane (Cochlan), a man who claims to be one of her followers. He proceeds to speak to her and offer her chocolates and refuses to leave her alone, causing her to panic and run to her house. He runs after her and enters her property by force. What follows is a nasty confrontation that goes from bad to worse. This short is a stalker thriller that explores the world of internet personalities, particularly the bad side of it. It suggests that social media celebrities can affect certain individuals the wrong way and that can have very unfortunate consequences. It also points out that sometimes influencers can be double-faced and pretend to have a certain personality, in the interest of gaining followers. The film is tense and has plenty of nail-biting moments. Dane chases Amber through a street and the two of them get into a physical confrontation inside her home. Things get more and more out of hand and become life-threatening. However, there are also comedic moments, such as when the crazed fan removes his shoes once he has entered Amber's property. It is not clear whether the story is also meant to be a dark comedy, however the comical feeling is there. The acting is not the best, but that does not spoil the film. Nikolaiets plays an internet celebrity whose job has ended up getting her more than she bargained for. Cochlan is the one who steals the show with his vivid portrayal of a disturbed individual who is obsessed with Amber. Praise goes to the dynamic, tense and sinister score, which works rather effectively during the opening, where Dane is introduced, making it clear that he has sinister intentions. Special mention also goes to fight choreographer Holly Prentice, who makes the hand-to-hand fight scenes tense and vicious. The stylised closing credits also deserve commendations. This short is definitely interesting and keeps the viewer on the edge of their seat. It is a story about obsession, mental health and the dangers of being an online celebrity. The fact that it ends on a cliffhanger may be unsatisfying for some, but may be approved by others. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

George film review by UK film critic Patrick Foley. Starring Jack Sambrook directed by Jack Sambrook. HOME | FILMS | REVIEWS George Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 20, 2024 Directed by: Jack Sambrook Written by: Jack Sambrook Starring: Jack Sambrook Mockumentary George is quietly a smart, insightful short which follows its eponymous subject as he is freshly released from the clink, offering an amusing critique of the prison and rehabilitation system with a light touch. When a documentary team receives only one response to their requests to recently released prisoners, they spend a day following him as he navigates his new liberty. However, George (writer and director Jack Sambrook) seems to have learnt little from his time inside, reverting to his old ways of drug-dealing, drinking and unemployment. Though he believes he can easily slot back into his previous life, the world has changed around him – with unexpected consequences… Using its faux-documentary format, George manages to both entertain and provoke with its tale of a reprimanded young man who seems to have learnt or benefitted little from a system that is designed to act in a self-fulfilling cycle. George as the protagonist is quite clearly someone who takes limited interest in improving his life or living within the law, but as the film demonstrates, it seems that there is little effort being made to ensure he does so anyway. By framing the film through a ‘documentarian’s’ lenses, the viewer feels an intimate connection with the ‘subject’ – seeing that his life is allowed to drift without any significant direction. The viewer spends most of the film anticipating George’s re-arrest – effectively questioning what the whole point of the prison system is meant to be. Jack Sambrook impressively realises George – capturing a sense that despite his eccentricities, he is not a bad person at heart. George as a ‘subject’ rather than a protagonist allows the viewer to take on the ‘observer’ role that the documentary team present. Sambrook cleverly utilises this to leave a sense of uncertainty around George’s nature; sometimes presenting as mildly threatening and other times as wholesome and welcoming. It makes the viewer question their own perception of criminals and former prisoners, even as we witness George committing petty crimes. The plot does meander at points – though this is likely an intentional choice on behalf of the filmmakers to show George’s purposeless and drift. A shocking twist at the film’s conclusion is also somewhat out of sync with the film’s message, but is in line with the dark humour woven throughout the story. George leaves enough of an impression to make its audience ask questions of its setting and subject without making grandiose or dramatic statements. A shorter runtime, humour and absurd conclusion soften its critical edges somewhat, but there’s significant depth and thought in Sambrook’s film. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Genocidium film review by UK film critic Alasdair MacRae. Starring Eva Langlet, Alexandre David Lejuez directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Genocidium Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Jul 14, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Eva Langlet, Alexandre David Lejuez CONTENT WARNING: Rape, Suicide. When Angèle (Eva Langlet) leaves the house one day without a face mask she is kidnapped by a killer known as The Dictator (Alexandre David Lejuez). Once held captive in his dingy loft The Dictator then forces a mask onto her and proceeds to torture and rape her. In the intervals between torture, Angèle fantasizes about her death, be it by her own hand or by her captor. What director Alexandre David Lejuez presents here is anti-mask, anti-vax rhetoric in a wrapping of misogynistic violence. He seems to conflate the needs of the public health system with genocide, religious persecution, and martyrdom. The film opens with a quote from political philosopher and Holocaust survivor Hannah Arendt, as if the Holocaust and wearing a face mask are comparable!? From there Lejuez, fittingly both playing The Dictator and being the film’s director, forces Angèle to be sick in her own mask, beats her repeatedly, and engages in a prolonged rape scene that lasts for five whole minutes. Then after seeing Angèle die many violent deaths we are left with the closing image of Christ on the cross. Staggering. To be clear Genocidium is not challenging or culturally significant like the films associated with New French Extremity. Nor does it have the constructs of a Lars Von Trier or Michael Haneke film. And it does not meet the grade of lo-fi pulp that is associated with Rob Zombie. It is simply a flimsy and insulting allegory shot mostly at a Dutch angle and accompanied by classical music in order to disguise itself as being capable of containing a credible idea. Watch the trailer here . About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >