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Hit Man film review by UK film critic George Wof. Starring Glen Powell, Adria Arjona directed by Richard Linklater. HOME | FILMS | REVIEWS Hit Man Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jun 6, 2024 Directed by: Richard Linklater Written by: Richard Linklater, Glen Powell, Skip Hollandsworth Starring: Glen Powell, Adria Arjona What better way to have some breezy fun with our identity-challenged times than by embellishing the true-life story of one Gary Johnson? Johnson was a phony hitman in Texas who would don different disguises working undercover work for the police. After a 2001 article in Texas Monthly profiled his adventures, various screenwriters toyed with the project. And though Johnson died in 2022, he can sleep well knowing Richard Linklater and Glen Powell’s Hitman finally does him proud. In the Linklater/Powell take, Johnson (Powell) is a mild-mannered psych professor at a New Orleans college who likes birding and jean shorts. A proficiency for tech gadgets lands him a moonlighting gig doing surveillance with the cops. But when their undercover man gets suspended for shady activities, Gary emerges from the van as “Ron,” fake hitman for hire. Turns out, Gary has a knack for this new identity, and impresses his team with some suave method acting. “Okay, Daniel Day!” He also impresses Maddy (Adria Arjona from Morbius ) who wants her abusive husband dead. “Ron” talks her out of the hit, they begin a steamy affair, then the husband turns up dead anyway. And so the heat (the Body Heat ?) is on. Powell is all charm and charisma as he bounces from one persona to the next (the Patrick Bateman impression is particularly hilarious), Arjona is a captivating possible femme fatale, and the chemistry between them is undeniable. Linklater’s direction is slick and well-paced, with a vibe that recalls a winning mix of Fletch whodunnit, Spy humor and Ocean’s 11 sex appeal. But Hitman still feels very much in-the-moment, with a repeated focus on how our point of view can shape our reality, and how our path to change starts by being honest with ourselves. That’s right, Powell and Linklater find room for a serious message in Hitman . But don’t worry, you’ll be having so much fun it won’t hurt a bit. About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >

Lightyear film review by UK film critic George Wolf. Starring Chris Evans, Keke Palmer, Peter Sohn directed by Angus McLane. HOME | FILMS | REVIEWS Lightyear Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jun 16, 2022 Directed by: Angus McLane Written by: Angus McLane, Matthew Aldrich, Jason Headley Starring: Chris Evans, Keke Palmer, Peter Sohn Exploring new life in the Toy Story universe comes with benefits – and drawbacks. Sure, you inherit the goodwill earned by four of Pixar’s best feature films. But then, those films cast a mighty long shadow. Lightyear taps into the warm fuzzies early, by letting us know why Andy wanted a Buzz action figure so badly that Christmas back in ’95. It’s because he loved the movie so much. This movie. But honestly, for the first sixty minutes, you can’t imagine why. Space Ranger Lightyear (voiced by Chris Evans) blames himself for marooning his settlement on a distant planet. A return to hyperspeed could bring everyone home, so Buzz is determined to keep testing until he gets it right. Trouble is, each test flight sends him into a time dialator where 4 minutes up in space turns into 4 years back at base. So before Buzz knows it decades have passed, and he must take an untested team (Keke Palmer, Taika Waititi, Dale Soules) and a robotic cat (Peter Sohn) into battle against Emperor Zurg’s forces for control of the precious hyperspeed fuel source. That’s all fine, but that’s all it is. Director and co-writer Angus MacLane (Finding Dory ) can’t find any way to make the toy’s story come to life. Until Buzz comes face to face with Zurg (James Brolin). Zurg has a big surprise for all of us, one that might as well send the film into hyperspeed. Almost in an instant, the cinematography from Jeremy Lasky and Ian Megibben adds depth and wonder (that spacewalk – goosebumps!), MacLane quickens the pace while recalling both 2001 and Aliens , and backstories from earlier in the film pay off with gentle lessons on bloodlines, destiny, and what makes a life’s mission matter. Stay for the credits and beyond to get two bonus scenes that bring a chuckle or two. But just make sure you sit tight for the final half hour. That’s when Lightyear delivers the kind of action and pizazz that just might make a kid change his Christmas list. About the Film Critic George Wolf Theatrical Release, Animation < All Reviews Next Film Review >

Happy Hour film review by UK film critic Jason Knight. Starring J. Kristopher, June Mandeville, Michael Maino directed by Matt Nye. HOME | FILMS | REVIEWS Happy Hour Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 19, 2022 Directed by: Matt Nye Written by: Matt Nye Starring: J. Kristopher, June Mandeville, Michael Maino Three people at a bar have awkward conversations about their lives. A bartender (Kristopher) and a middle-aged gentleman (Maino) are at the bar of a hotel, chatting. Soon, a woman (Mandeville) arrives and starts interacting with them, leading to uncomfortable discussions. This short is an intriguing piece of work that is filled with sharp dialogue. The three characters discuss a variety of things, including fruit in alcoholic drinks, the banning of smoking in public places and infidelity. At first, the barman and the male sustomer have a rather innocent conversation and it is the arrival of the woman that changes the atmosphere. She asks both men inappropriate questions, making them uncomfortable and angry and ends up setting off disputes. The mood feels strange and humorous throughout. The acting is great by all three protagonists and the screenplay explores their principles well. Kristopher plays a professional bartender, with a no-nonsense attitude. Maino's role is that of a friendly, likeable, easy-going person, who is also a bit sensitive. Mandeville's character is an individual who does not easily accept 'no' for an answer and uses her charm to influence others. The mise-en-scene is rather appealing, with the story taking place at the fancy bar of a hotel and the clothing of the barman and guests is quite smart. Nye directs very well, creating effective long takes and Jay Lifton and Cait Rappel make a great contribution with the music that includes wonderful jazz. This film is a story that relies primarily on well-written dialogue in order to have an impact and it succeeds. The conversations are interesting, the acting is strong and the cinematography by Jack Nitz is beautiful, making this short an achievement worthy of commendations. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Echoes film review by UK film critic Jason Knight. Starring Dane Oliver, Melanie Abernathy, Chase Blanchard directed by Anthony Kalmeta. HOME | FILMS | REVIEWS Echoes Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 8, 2021 Directed by: Anthony Kalmeta Written by: Anthony Kalmeta Starring: Dane Oliver, Melanie Abernathy, Chase Blanchard A troubled man struggles to remember the relationship he had with a woman. A man (Oliver) is alone inside a messy household, with limited lighting. He appears to be upset and confused and goes through pictures of him with a young woman named Ava (Abernathy). It is indicated that he is in the apartment he used to share with Ava when they were together and he now cannot recall what led to their breakup and is suffering as a result. He watches a VHS tape containing home video footage of her, apparently interacting with a man named Oliver, who is believed to be the name of the protagonist. As he tries harder and harder to bring back his memories, he seems to be gradually losing his sanity. This short is a dark psychological thriller that takes the viewer into the mind of a very unstable individual. The narrative plays a lot with his memories and appears to be leaving it up to the audience to decide what is real and what is not, sort of like a David Lynch film. The film leaves more questions than answers and it does so in a great way, leaving the viewer intrigued. Kalmeta is rather creative with the editing and makes interesting use of fast cutting and match cuts. The film contains several sequences that repeatedly cut between a shot of something and an identical shot that shows the same thing, but during a different period. For instance, there is a shot of a window, through which there is a bright, sunny day and then it cuts to the same shot, only this time it is night-time and there is rain. Another interesting editing technique involves a sequence that cuts between a closeup of the man's face and a shot Ava sitting at a table during a flashback. As they both speak, the film keeps cutting from one to the other, creating the illusion that they are having a conversation in real time. Oliver is convincing as a broken man who appears to be going through tough times and does not appear to know what is happening to him. Abernathy and Blanchard do a good job with their roles. Isaiah Walk does an amazing job with the cinematography, developing a downbeat feeling that goes well with the story. There are many parts throughout the film where the image goes to and from out of focus and by doing so it seems to be blending reality with fiction. The score is a contribution by Caleb Allen Parker and it sounds dramatic and haunting, creating a dark and sinister atmosphere. Makeup artist Lucy Navarrette also deserves credit, with the realistic injury work done on Oliver's face. Echoes is a sinister journey into the life of a disturbed person. The narrative makes the audience act as a detective and pick up the pieces and attempt to put them together in order to solve the puzzle that the film creates. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Room Next Door film review by UK film critic Jack Salvadori. Starring Julianne Moore, Tilda Swinton directed by Pedro Almodóvar. HOME | FILMS | REVIEWS The Room Next Door Film Review average rating is 2 out of 5 Critic: Jack Salvadori | Posted on: Sep 3, 2024 Directed by: Pedro Almodóvar Written by: Pedro Almodóvar Starring: Julianne Moore, Tilda Swinton After two short films in English, Pedro Almodóvar delivers his first feature not in his native Spanish with The Room Next Door . And he somehow succeeds in the task: the film has the same integrity of his recent works, since his soapy dialogues are just as bad in any language. It definitely feels like an “Almodovar” from the first frames, but this is not necessarily a positive trademark. Strutting random bright colours to paint the screen with endless green furniture and fuchsia shirts is arguably not a style but a mere design choice. And it is no news how the iconic Iberian director became “lazier” in the last couple of decades, limiting his camera movements to uninspired close ups and reverse shots. The cherry on the "tarta" is the usual intrusive, exaggerated, TV-like soundtrack that never abandons the character on-screen. But to each his own, these defining traits of Almodóvarian cinema seem to be the reason why his fans love him so much. Yet, these are not the only stumbles in The Room Next Door … Once again, Almodóvar sets the plot on familiar grounds, directly addressing death in a self-aggrandising way. Novelist Ingrid, played Julianne Moore, reconnects with her former colleague Martha (Tilda Swinton) when the latter is diagnosed with inoperable cancer. Rather than waiting for the inevitable, Martha chooses her freedom, and through the support of her friend, she embarks on the path of euthanasia. Hugs, kisses, tears- naturally you get the whole cliché package as these wonderfully talented thespians tango between the dense, wordy dialogues on the verge of the emotionally manipulative, searching for melodrama in the obvious. The film’s greatest flaw, disruptive and otherwise intriguing dynamic, is the constant, heavy exposition, where the character unrealistically feel compelled to tell everything, even when most of it is unnecessary, like the entire flashback sequences showing Swinton’s first marriage. They look cheap and gratuitous, and dilute the narrative without allowing it to explore its full potential. My last disappointing note is on a kiss that is given in one of these flashbacks: on a cinematic scale of kisses, it would rank as the antithesis of Vertigo. About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >

Dolce Far Niente film review by UK film critic James Learoyd. Starring Michael Antonio Keane, Cristina Filippone, Susy Serra directed by Michael Antonio Keane. HOME | FILMS | REVIEWS Dolce Far Niente Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 29, 2024 Directed by: Michael Antonio Keane Written by: Michael Antonio Keane Starring: Michael Antonio Keane, Cristina Filippone, Susy Serra The rather enigmatically titled Dolce Far Niente (Sweet Doing Nothing) poses some thoughtful questions, yet it’s the way in which they’re presented that makes this short feel unique in many ways. It depicts an incredibly personal, romantic tale of a young Irish writer staying in Italy. He narrates his activities as he wanders the streets, enjoys nature, and interacts with the various people around him, but narratively this is represented through recollective fragments. I was reminded of the reflective narration often used in the beautiful works of Éric Rohmer. The film presents us with a great many visual idiosyncrasies to enjoy. Perhaps, most notably, there is frequent use of a filter which distorts and blurs a lot of the image. Being a practical, lens-based effect as opposed to something added in post-production really gives it a vintage look which also suites the Italian streets and landscapes we’re being shown. Its purpose is also to fragment the image, like the structure of the narrative, as if being viewed through a very specific perspective – one whose thoughts are always playing a part. There are also some wonderful compositions, particularly when it comes to the opening few shots, which hold a patience and softness to them, using the buildings to frame the lovely blue of the sky (it all feels very Call Me by Your Name ). These novelties certainly elevate the piece to a level that it otherwise would not reach. The only issues, aesthetically, come in moments wherein, for whatever reason, the shutter-speed is randomly a lot faster than a previous shot (as to compensate for an excess of light): it’s slightly too digital a look that doesn’t match the whole romantic, wistful atmosphere. The editing has an alluring, stream of consciousness style, a fluidity that feels quite like a modernist novel. This style of sporadic cutting also provides a dynamic style for the viewer to enjoy – in fact, a lot of the film’s substance can be found in the form more than the story and themes themselves. With such ambitious editing and creatively stimulating cinematography, it’s easy to overlook certain story flaws, but they exist nevertheless... Message and story-wise, the short elicits some mixed feelings. On the one hand, there’s a pleasing (if slightly easy) message about self-love and acceptance, although one could argue that the narration doesn’t probe any deeper than that nice surface level. It all works very smoothly; very neatly. It simply could have been more thought-provoking with some more self-reflective, emotionally complex messaging. In addition to this, having Italy be the location for our story, you would think this may offer an explicit purpose or maybe even political commentary or allegory, yet it’s all quite clean and apolitical. But to conclude, there’s a beautiful atmosphere on display in Dolce Far Niente . Not every short possesses this degree of editorial and visual creativity, thus, for that reason alone, it’s more than worth a watch. The film’s a wonderful effort and, most importantly, demonstrates a love for using the cinematic form to discuss the internal. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

North Star film review by UK film critic William Hemingway. Starring Colman Domingo, Malcolm Gets, Audrey Wasilewski directed by P. J. Palmer. HOME | FILMS | REVIEWS North Star Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Oct 1, 2022 Directed by: P. J. Palmer Written by: P. J. Palmer Starring: Colman Domingo, Malcolm Gets, Audrey Wasilewski America is a divided country, split down many, many different lines and seemingly losing its sense of identity as half of its population are being dragged kicking and screaming into the 21st Century. There was a time not so long ago when it would be unthinkable that the Malboro Man, the rugged, manly figure of wild, American romance, could be black – let alone gay. Yet here, in North Star from writer/director P. J. Palmer, our all American hero is just that. Colman Domingo is Jimmy, a cowboy who runs a ranch with his husband Craig, played by Malcolm Gets, and who today is selling their last horse, North Star . Jimmy needs money to pay for Craig's medication and care, as he is suffering from a seriously debilitating condition that has left him an invalid, unable to move or speak on his own. As luck would have it, Craig's sister Erin (Wasilewski) has turned up today unannounced, back early from a sojourn to Canada to rustle up some cheap medicine and a few other things. She wants to spend as much time as she can with her brother in his final days and even though she's not taking charge of the difficult stuff, like feeding, changing and bathing, she's happy to take charge of everything else and make a song and dance about it as she does so. It doesn't take long for Erin's thinly veiled prejudices and moral superiority to come to the fore, underpinned as they are by her religious faith, and she badgers Jimmy to let her take Craig home with her, where he'll be with his real family and presumably under the auspices of God. Erin fully embodies the phrase, 'Love the sinner. Hate the sin,' as her pointed remarks and open disdain for her brother's relationship and lifestyle run Jimmy out of the house to do some chores and get away from the situation. Soon the TV is switched to the local televangelist channel, echoing Erin's sentiment, preaching love whilst simultaneously spouting hate, and poor Craig is forced to suffer in silence. North Star then, speaks to a nation divided, unable to reconcile it's violent, oppressive past with where it needs to go in the future, where it is inclusive, understanding and non-judgemental. P. J. Palmer pitches his characters and his scenario perfectly, to showcase as many of the country's major dividing lines as he can without being blatant or overly dramatic about it. Jimmy and Craig's inter-racial, same-sex relationship highlights the fault lines of race and sexuality while Erin opens up the weeping sores of religion and belief. Through the TV other contentious issues around lifestyle, education and rights are discussed and when a news report touches on the latest school shooting we are reminded that all of these dividing lines arc together under one umbrella – politics – the most divisive issue in America today. Palmer tackles all of this with startling subtlety and it is to his immense credit that North Star remains a soft and gentle film throughout. Jimmy and Craig's relationship is genuinely touching and affecting with tough, invasive realities being balanced with tender, loving moments while the beauty and scope of the wilderness is contrasted with the small, closed-mindedness of what goes on indoors through Ernesto Lomeli's stunning cinematography. The actors fully embody their characters with the three main leads offering outstanding performances which really enrich the feeling the viewer has of the scenario. Colman Domingo is considered and reserved as Jimmy while also managing to display an immense amount of strength and stoicism. Audrey Wasilewski shocks and riles as Erin without ever becoming a one-dimensional monster and Malcolm Gets stuns as Craig, managing to say so much with a single look as he expresses and receives love in two completely opposing ways. There's a lot going on in North Star and not all of it is easy to unpick, meaning that the short film has real layering and depth within its thirty minute runtime. While on the surface it may look like something we've seen before, just scratching a little deeper offers up a wealth of themes and issues that can't help but have some effect on or relevance to the viewer. North Star is a beautiful prayer for a broken America and if just one ounce of its love and gentleness transfers through to the audience then the world will be a better place for it. About the Film Critic William Hemingway Short Film, LGBTQ+ < All Reviews Next Film Review >

Slaughter Beach film review by UK film critic Jason Knight. Starring Jon McKoy, Ethan Han, Jim Cannatelli, Michelle Quenzel directed by Daniel C. Davis. HOME | FILMS | REVIEWS Slaughter Beach Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 3, 2022 Directed by: Daniel C. Davis Written by: Daniel C. Davis Starring: Jon McKoy, Ethan Han, Jim Cannatelli, Michelle Quenzel As the title suggests, something bad is happening on a beach. A maniac is killing people. A deranged killer is on the loose, which is not good news from a resort town. He viciously murders anyone he can find and will never stop. Meanwhile, Barry (Han) and his friend Ralph (McKoy) are looking for a way to make money and decide that a clever way to do so would be to become vigilantes for hire. Will these newly-self-declared heroes manage to put an end to the atrocities? It should be made clear that this dark comedy slasher movie is not to be taken seriously. The acting is unconvincing and the dialogue is ridiculous, however the film still manages to be entertaining. The audience follows the two 'superheroes' as they get themselves into misadventures and the serial killer as he fatally attacks his unfortunate victims. Dark humour enters as the killings take place, which are gory and gruesome, yet so silly that they will probably generate laughs, which is no bad thing. Things are more lighthearted when the attention goes to Barry and Ralph pretending to be tough crime fighters. The whole movie is basically a switch-your-brain-off-and-enjoy experience, although not for the faint of heart. As mentioned, the performances are not realistic, but they are amusing. McKoy and Han are quite fun as the two friends who just like that decide to rid their town from crime and repeatedly fail to do so. Han's character is enthusiastic and naive and wears a cape in an effort to resemble a superhero, while McKoy is more cautious and equally naive and carries a spade around. It is also humorous watching the brainless victims as they do not run from the threat. There are quite a lot of killings in this film and they are simultaneously brutal and comedic. There is plenty of blood and dismemberment and the violence is over-the-top. The goofy acting by the killer and the victims make the murders darkly entertaining. Praise goes to Isabelle Isel for the work on the gore special effects. The maniacal killer is arguably the one who steals the show. He laughs and jokes while he slays, clearly enjoying the act of ending a life. His appearance will most likely seem familiar to fans of the slasher genre. He wears fisherman's clothing and uses fishing tools as weapons, including a hook, resembling the murderer from I Know What You Did Last Summer . He is terrifying and clownish at the same time. Davis does a good job as director and creates some wonderful aerial shots. The score was composed by Sam Bishoff and it sounds kind of over-the-top and silly, which adds to the amusement. Those who enjoy movies like Peter Jackson's Bad Taste or Braindead should give this one a go. It could be described as a parody of the slaher genre and a bit of the superhero genre as well. It is not for everyone, but for viewers who enjoy dark humour and slasher fims, it is a satisfying experience. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Anniversary film review by UK film critic Hope Madden. Starring Diane Lane, Kyle Chandler, Madeline Brewer directed by Jan Komasa. HOME | FILMS | REVIEWS Anniversary Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Oct 28, 2025 Directed by: Jan Komasa Written by: Lori Rosene-Gambino, Jan Komasa Starring: Diane Lane, Kyle Chandler, Madeline Brewer Jan Komasa’s political thriller Anniversary certainly boasts an impressive cast. Diane Lane leads the film as Ellen Taylor, a Georgetown professor celebrating her 25th wedding anniversary to renowned DC chef, Paul (Kyle Chandler). Their four children will be there: high schooler Birdie (Mckenna Grace), famous comic Anna (Madeline Brewer), environmental lawyer Cynthia (Zoey Deutch) and her husband (Daryl McCormack), and beloved son who never made much of himself, Josh (Dylan O’Brien). Plus, Josh brought new girlfriend, Liz (Phoebe Dynevor). That one can’t be trusted. Komasa crafts a “they have it all” opening to prepare us for the inevitable downfall. Ellen and Paul truly love each other, and their bickering kids love them and each other as well. But there’s an invasive species at their garden party, and no matter how strong Ellen believes her family to be, bad stuff is coming. To Komasa’s credit, his script—co-written with Lori Rosene-Gambino—is no pulpy thriller about a vixen corrupting a family. True to the filmmaker’s previous output (Corpus Cristi, Suicide Room ), Anniversary dives into the large scale and intimate damage one persuasive but errant prophet can do. Liz has a belief system encapsulated in her new book, “The Change.” It advocates that the people, passionate and unified, step beyond this broken democracy and create a single party that will redefine the country’s future. What transpires between Ellen and Paul’s 25th and 30th anniversary parties is a debilitatingly likely image of America’s near future. The ensemble works wonders with slightly written characters. Komasa and Rosene-Gambino outline the insidious evolution with clarity, but the tale is too superficial to mean much. It’s a very talky script, yet very few questions are answered. Anniversary is entirely vague on the actual philosophy of “The Change”, making it tough know what people cling to and what the Taylors reject. Worse, character arcs exist exclusively to further the plot. Deutch bears the worst of this, but everything in the film—especially the character development—is tell, don’t show. Aside from O’Brien’s, no arc is character driven. Each is plot driven and some are absurd. Dynevor fares best, carving out a memorable, broken antagonist, a delicate survivor not to be trusted. She and Lane are formidable as antagonist and protagonist, but Anniversary doesn’t know exactly what to do with them. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Nude Tuesday film review by UK film critic Hope Madden. Starring Jackie van Beek, Damon Herriman, Jemaine Clement directed by Armagan Ballantyne. HOME | FILMS | REVIEWS Nude Tuesday Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 7, 2022 Directed by: Armagan Ballantyne Written by: Jackie van Beek, Armgan Ballantyne, Ronny Chieng Starring: Jackie van Beek, Damon Herriman, Jemaine Clement “It’s rude not to be nude on Nude Tuesday .” It’s with this kind of casually dropped line and its sincere acceptance that co-writer/director Armagan Ballantyne laughingly challenges status quo and self-help in equal measure. It’s nothing if not an odd film. Ballantyne writes with star Jackie van Beek (What We Do in the Shadows ) and Ronny Chieng. Ballantyne and van Beek composed the script, which is written entirely in a very Nordic-sounding gibberish language. Chieng wrote the subtitles. This makes you wonder, was the English language version available to the actors, or did Chieng figure out what they were saying later? And why? Either way, the actors convince. You’ll immediately forget that this is not a real language (which means you’ll cease to marvel at its delivery, and that’s a crime). Van Beek is Laura, whose marriage to Bruno (Damon Herriman) has been unsatisfying for a while. His mum has noticed, so she bought them a trip to a retreat run by the charismatic Bjorg (Jemaine Clement). The duo will try new things, learn about themselves, slowly unveil the buried troubles in their relationship, and work toward that day of days: Nude Tuesday. Before we get there, though, Ballantyne runs through an absurd comedy of manners. Van Beek’s awkward, do-what’s-expected delivery is perfect, and Herriman’s over-eager approach creates a funny balance. Clement’s simpleton narcissism delivers the most consistent laughter in a film that’s cleverly delightful if not bust-a-gut funny. The cast wields the language impressively. Still, the creative decision is a head-scratcher. The fictional language doesn’t impede enjoyment of the film, but it doesn’t heighten it, either. Because of the subtitles, it doesn’t do anything at all. Would we be able to follow along without captions? And if not, why put the cast through learning the false dialog and the audience through reading the real deal? It’s a conundrum, but not one worth a lot of energy. Nude Tuesday delivers a charming coming-of-middle-age comedy (and a lot more nudity than you probably need). About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Street Trash film review by UK film critic Chris Buick. Starring Sean Cameron Michael, Donna Cormack-Thomson, Joe Vaz, Gary Green, Warrick Grier, Shuraigh Meyer, Lloyd Martinez Newkirk directed by Ryan Kruger. HOME | FILMS | REVIEWS Street Trash Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Jan 5, 2025 Directed by: Ryan Kruger Written by: Ryan Kruger, James C. Williamson Starring: Sean Cameron Michael, Donna Cormack-Thomson, Joe Vaz, Gary Green, Warrick Grier, Shuraigh Meyer, Lloyd Martinez Newkirk After taking fellow vagabond Alex (Cormack-Thomson) under their wing, a group of individuals living rough on the streets of Cape Town uncover a government plot to do away with the homeless community permanently through the use of a gruesome chemical weapon known as “V". With their very existence on the line, Ronald (Michael) and his gang must form unstable alliances and risk everything to make sure they don’t become nothing. Street Trash , a sequel of sorts to the 1987 cult film of the same name, is writer & director Ryan Kruger’s follow-up from his deservedly multi-award nominated and winning comedic sci-fi horror Fried Barry . There are a few returning faces here, both Gary Green, who played the titular Barry, and Sean Cameron Michael returning as Ronald, swap roles here with Michael taking the lead of this band of displaced misfits and Green’s 2-Bit helping fill out a cast of vibrant, eccentric and shall we say, rather colorful characters. Ronald is the affable leader, who recruits Alex to show her the ropes and the glue that holds them all together. There’s Chef (Vaz, also returning as part of the Fried Barry alum), the sage elder of the group with unmatched street-life know-how and a unique perspective on fairy-tale morality and message. Rounding off, we have the aforementioned Green as 2-Bit, mostly silent but always accompanied by his foul-mouthed imaginary friend Sockle as well as twins Pap (Meyer) and Wors (Newkirk) and the mostly off-screen (bar a hand or two) Offley (Kruger). Each one much like the film, is as crazy and out there as the next, but with all clearly having an immensely good time and giving no less than one hundred percent. It’s this band of brothers and sisters that must come together to take down the over-tanned and downright despicable Mayor Mostert (Grier, themselves fully committed to the cause), a bubbling cesspit of vitriol and hate who will stop at nothing to wipe them all out once and for all. And, as fans of Fried Barry might expect, Street Trash is a crazy film and, as its opening moments will very much prove, not one for the faint-hearted. You would very quickly lose track trying to keep count of how many body parts pop or squelch or are indeed pulled/chopped/snapped off in-between all the crude knob gags, and although it does end up eventually repeating its tricks somewhat, its impressive array of practical effects is just exactly the sort of thing fans of the gross-out, body-horror genre will lap up, especially so in the finale. Also surprisingly, it's a film that actually says a lot, class divides, civil unrest and over-policing are all tackled here to create a film that ultimately culminates in a messy affair that keeps you rooting for the underdogs. Definitely not to everyone's taste, but for those with the appetite for cranked-up body horror, in Street Trash a buffet of delights awaits. About the Film Critic Chris Buick Indie Feature Film, Theatrical Release < All Reviews Next Film Review >

Left One Alive film review by UK film critic Chris Buick. Starring Caylin Sams, Lorelei Linklater, Rachel Petsiavas, Alex Javo directed by David Axe. HOME | FILMS | REVIEWS Left One Alive Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Apr 16, 2025 Directed by: David Axe Written by: David Axe Starring: Caylin Sams, Lorelei Linklater, Rachel Petsiavas, Alex Javo Sara (Sams), lumbering out of the woods soaked with blood, spear in one hand and the head of...something...in the other, is now the sole survivor of a mass slaughter where she and a group of her less-fortunate friends were attacked by creatures unknown. Finally rescued by a couple passing in a car, Sarah is thankfully taken to safety and away from her nightmarish ordeal. But what happens to the final girl once she’s escaped the clutches of such creatures, the chainsaw-wielding maniac, an infinitely toothed monster, or a malevolent apparition? How does society react to the possibility that monsters might exist? With Left One Alive , writer/director David Axe invites us to look at what happens after the horror movie is over. It’s quite an interesting idea that Axe manages to make the most of. After her rescue, the hospital trip, and the return home, for Sara, the hardest part begins: trying to transition back to normal life. Easier said than done; the media circus is already in full swing with endless reporters demanding interviews, not to mention the badgering from the general public and, of course, the inevitable movie adaptation. Weaving in between these moments as we journey with Sara through the aftermath, Left One Alive explores some interesting and complex themes, while also managing to first and foremost put a sound story front and centre. PTSD, grief and survivor’s guilt are, of course, the core concepts here, but Axe also puts a magnifying glass over society’s obsession with finding opportunity in such trauma; Sara’s feelings are only ever fleetingly regarded by those who otherwise sense a chance to either make their name or a quick buck. Other themes, such as animal rights and morality, are all flirted with too, but to a lesser extent, while the film can also feel like quite the slow burn at times, but the film's technical excellence means that no minute feels wasted or irrelevant. And Axe is always sure that no matter what the film might be trying to say or do at any given point, it all centres around Sara, who we watch descend deeper and deeper into apathy and nihilism as her mind becomes increasingly occupied by something else: revenge. Allowed to be relatable and sympathetic but never wholly likeable, Sara feels like a character with real depth and compelling rough edges, her actions and attitude towards those around her never really excusable but understandable, and it’s a deft performance from Sams that manages to get that balance just right. It does mean that almost all others within the cast (except for Linklater’s Tara, who brings a welcome change of energy during their short stint) tend to simply orbit around Sams with performances that are for sure capable but never ascend to anything more. With the choice to make this a drama rather than the horror feature it itself parodies with its film within the film, Left One Alive is a very technically accomplished alternative to your usual horror tale that offers something a bit different and refreshing, even if it's more brilliant ideas are occasionally counter-weighted by some that are less so. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >