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Carmen film review by UK film critic George Wolf. Starring Melissa Barrera, Paul Mescal directed by Benjamin Millepied. HOME | FILMS | REVIEWS Carmen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 17, 2023 Directed by: Benjamin Millepied Written by: Loic Barrere, Alexander Dinelaris, Lisa Loomer Starring: Melissa Barrera, Paul Mescal For this latest reimagining of the classic story, director Benjamin Millepied credits inspiration from Prosper Mérimée’s original novella from 1845, and Alexander Pushkin’s poem “The Gypsies” from 1824. Flashing more modern vibrancy through culturally rich music and dance, this new Carmen arrives as a wonder of visionary composition that struggles to find an equally compelling connection to its characters. The writing team of Loic Barrere, Alexander Dinelaris and Lisa Loomer crafts a surface-level tale of lovers on the run. Aidan (Paul Mescal) is a troubled Marine veteran volunteering on a night patrol along the Mexican border, while Carmen (Melissa Barrera) is trying to cross after the death of her mother. A violent altercation leads to casualties, and the two are soon trying to stay one step ahead of authorities. Millepied (choreographer and co-star of Black Swan ) knows his way around a dance number, getting an assist from flamenco specialist Marina Tamayo for sequences that sport some thrilling fluidity. The acclaimed talents of cinematographer Jörg Widmer (The Tree of Life, V for Vendetta ) and composer Nicholas Britell (Moonlight, If Beale Street Could Talk ) are also on full display, rounding out a veteran stable of technical skill that consistently lifts the film’s imagery and scope. Mescal (Aftersun ) continues to show a gift for quiet nuance, Barrera (In the Heights, Scream , Scream VI ) finally breaks out of her reliance on posing, and the veteran Rossy de Palma (various Almodóvar projects) steals scenes as a savvy nightclub owner, but the script seems content to keep depth at a distance. Pushkin’s centuries-old themes of noble savages and the tragedy of life are too often given a heavy hand, needing a rescue by the visual poetry on display. This Carmen tells us “dancing will you heal you.” Indeed, it’s one of the cures for what ails a less than passionate romance. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Good Boy film review by UK film critic James Learoyd. Starring Indy, Shane Jensen, Arielle Friedman directed by Ben Leonberg. HOME | FILMS | REVIEWS Good Boy Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 30, 2025 Directed by: Ben Leonberg Written by: Alex Cannon, Ben Leonberg Starring: Indy, Shane Jensen, Arielle Friedman If you’ve seen the trailer, you know that Good Boy is a supremely inventive new supernatural horror movie, uniquely told from a dog’s perspective. As you would expect, this effect is achieved through a clever use of reaction shots, observational shots, and genuine performing from the adorable dog in question. It’s certainly an achievement in animal direction – an exciting experiment, and thoroughly watchable. And yet... you can’t help but feel that the film is slightly missing something in the visual department; some extra flourish or stylistic trait which should just seamlessly bring the whole thing together. Nevertheless, if you like dogs (as I do, and there couldn’t really be a more empathetic protagonist) and like horror (as I do), there’s very much a baseline of enjoyment this movie offers to its audience. You’re going to spend time with a cute dog, and there’s going to be a spooky atmosphere – sold. Whilst there are some very beautiful shots in the film – mostly taking place outdoors in the woods, coloured with this striking blue tinge – what may distract the well-versed cinemagoer is the frequent use of digital manipulation. We have constant artificial zooming in and out, not necessarily revealing more information but, on the surface, making the shot more active. And one can completely understand why the filmmakers opted for this digital style: when filming with animals, you want to get the clearest, widest coverage possible in case of unexpected movement or action. But the result of this is a lack of tactility, a lack of precise cinematography. This is a shame since the lighting is pretty stunning – as is the overall design and tone of the piece. What’s undeniable about the direction, however, is the fact that this movie does a lot with a little. There’s not actually too much of a plot; more a simple scenario in which the film can operate. In addition to just a single location, two characters and no extravagant budget for insane set-pieces. Taking that into account makes the watchability of this picture all the more of an achievement. But it’s just a shame that it never quite manages to go beyond that and still has that slightly unpolished student-film feel. Not to suggest that it’s incompetently done – far from it; simply that the end-product lacks that secure sense of refinement that you tend to get from a well-tailored theatrical release. What’s refreshing is that this is a truly fun horror movie. This critic’s fear going in was that the film would have this cruel sensibility, and the dog would suffer. What’s more the case is that Indy is an audience surrogate; a brave explorer who – as the classic Kuleshov effect would concur – provides other shots with emotional power and context. And perhaps the shrewdest decision on the filmmakers’ part was making the film only 72 minutes in length. This is a film designed to be short and sweet. It’s a cutsie little concept explored successfully. And I, for one, can’t wait to see what Indy does next! GOOD BOY opens in cinemas in the UK & Ireland on 10 October 2025 About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >

Hood Witch film review by UK film critic Hope Madden. Starring Golshifteh Farahani, Amine Zariouhi, Jérémy Ferrari directed by Saïd Belktibia. HOME | FILMS | REVIEWS Hood Witch Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2025 Directed by: Saïd Belktibia Written by: Saïd Belktibia, Louis Penicaut Starring: Golshifteh Farahani, Amine Zariouhi, Jérémy Ferrari Thou shalt not suffer a witch to live. It’s a popular sentence in the Old Testament, one used to excuse a lot of needless suffering, mainly women’s. It’s not the only spot in the Bible that condemns sorcery, divination and what not. Jesus never mentioned it, though. (He never said anything about women being submissive to their husbands, either.) Islam is no more forgiving, and Nour (Golshifteh Farahani, Paterson ) is about to run afoul of keepers of both faiths and keepers of none in Hood Witch . Co-writer/director Saïd Belktibia examines the muddy difference between a religion’s acceptable magic and harmful witchcraft. However similar the practice, the differentiator seems to be based primarily on whether a woman benefits. Nour makes a living smuggling exotic animals into Paris, mainly to be used in rituals of healing. Newly divorced and struggling financially to raise her son Amine (Amine Zariouhi), Nour is in the development stages of a new app that will link users to a variety of different healers. Nour knows it’s all smoke and mirrors. Her impressionable son is not so sure. Her abusive ex (Jérémy Ferrari, sinister) is willing to believe, as long as it’s a man of religion wielding the mirror and blowing the smoke, and as long as it’s his ex-wife who suffers. Though Hood Witch is far more a drama/thriller than an outright horror film, it does follow a longstanding genre tradition of using witchcraft to point out religions’ hypocrisy and misogyny. But the filmmaker goes further, complicating characters by implicating capitalism as being equally dangerous—particularly to the desperate and easily manipulated—as religion. Farahani delivers a fierce, passionate performance full of rage, compassion and vulnerability. Nour is sharp and not without a conscience, but when tragedy strikes it’s because of her meddling. The consequences, though, are deeply unsettling. Belktibia’s pacing and framing match Nour’s panic, and it’s impossible not to panic along with her. Hood Witch is a tough watch, as misogyny and apathy play out in the film the same way they play out every miserable day, infecting each generation like a poison. The rage that fuels Nour and the film is what feels most relatable. “People think I’m possessed by the devil. I think I’m just angry.” There are unexplored ideas and mixed messages that keep Hood Witch from becoming a great film, but it’s an angry, observant thriller and solid reflection of the time. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release, World Cinema < 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 >

Cikgu Hana film review by UK film critic Chris Buick. Starring Charlene Jane, Herlea Titieanna directed by Wan Dinnie. HOME | FILMS | REVIEWS Cikgu Hana Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Nov 23, 2023 Directed by: Wan Dinnie Written by: Wan Dinnie Starring: Charlene Jane, Herlea Titieanna Tasked with an assignment to write about the history of their country, two students are transported back to the past where they learn all about their country’s rich history and how it has shaped their lives today. Malaysian short-film Cikgu Hana: Director’s Cut , the version that was submitted for this review, prefaces itself with an apology. It seems that in post-production many of the films production files stored on an external hard drive were lost or damaged, meaning that only ten percent of the files were recoverable. What is presented here is a re-edited version of what was salvageable with very mixed results. What we do get to enjoy in what is presented over the films six-and-a-half-minute runtime is a beautifully created visual spectacle of rotoscoping, a process animators use where live-action footage is traced over frame by frame to create some truly wonderful animated works of art that add depth and flourishes to sequences that otherwise couldn’t have been achieved. And that is where Cikgu Hana really shines. The animation here looks amazing, really bringing the whole piece alive, awash with vibrant colour and pure imagination that is a joy to watch. Much like the film's predecessor Hana , the previous offering from D-Mulsion Productions that is equally remarkable visually, Cikgu Hana is a feast for the eyes. But unfortunately, given the state of the rest of the film, this is a re-edit that is very rough around the edges and with simply way too many pieces missing. Narratively there are clear gaps, plot points jump suddenly from one to another and it becomes hard to keep a grasp on what exactly is going on, although the animation does help a lot to convey the intended story as best as it can. Editing is choppy and jarring, which is of course to be expected given so little to work with, but it does undeniably have a big impact, even hindering the fabulous artistry at times. On the positive side, the film does manage to showcase the obvious talent these filmmakers have, a fact all the more confirmed by looking at what was achieved with Hana , so it’s really frustrating and saddening to know that here there would have been definite quality, that if troubles hadn’t occurred this film could have really sang. One does sympathise of course with what must be a heartbreaking loss of a lot of quality work, especially if the aforementioned and fully completed Hana is anything to go by, but one can also only judge what they are presented. And unfortunately, this film in this state doesn’t have enough. It’s a real shame that what would have been clearly a lot of hard and considered work hasn’t been able to make it to the finished product. If Cikgu Hana can one day be fully realised as it was meant to and deserves to be, it could be something special. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Two Deaf Travellers film review by UK film critic Patrick Foley. Starring Raabia Hussain, William Horsefield directed by Raabia Hussain. HOME | FILMS | REVIEWS Two Deaf Travellers Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 15, 2021 Directed by: Raabia Hussain Written by: Raabia Hussain Starring: Raabia Hussain, William Horsefield Language barriers are broken in more ways than one in Two Deaf Travellers, a short film following two travellers across Europe, who are, well… deaf. Raabia Hussain and William Horsefield demonstrate the unrecognised complexities of relying on sign language to communicate in foreign cultures, as they journey to Italy, Greece and Cyprus in search of an exciting getaway. Raabia and William’s trip takes them across 3 countries, multiple cities, and more sights, bars and restaurants then you can count on both hands. Along the way they encounter a number of difficulties communicating with locals due to their hearing impediment – relying on a mixture of sign language and more primitive pointing and gesturing – with results varying from frustrating to amusing. The jovial and light-hearted tone of the documentary, and the upbeat nature of the hosts, makes the film a wholesome affair. But amongst the difficulties the pair experience, is also an interesting lesson for audiences and an important insight into what it is like to live with deafness. There is an undeniable sense from the film that the world is designed for those who can hear, and far few of us are prepared for those who lack the ability to. Despite every foreign local the pair come across having a friendly and welcoming attitude, they still lack the ability to communicate in their preferred manner. It is easy to empathise with Will and Raabia, and for the millions of deaf or hard of hearing in the same situation. Despite the documentary focusing largely on deafness, it is also a strong statement in of itself that disability does not stand in the way of producing entertaining and informative content. Will and Raabia’s journeys take them to some fascinating locations around Naples, Athens, Limassol and more, including catacombs, shipwrecks and waterfalls. They are always armed with interesting factoids and trivia for their adventures, which will enlighten audiences as well as entertain. The pair’s chemistry also brings a sparkle to the short and adds a friendly touch to the piece – an essential element of any good travel doc. Similarly, the film is well shot and produced, although fails to really stand out in comparison to other travel documentaries. The locations are scenic, and largely done justice by the camerawork of the film’s star subjects. But for seasoned travel enthusiasts, it is unlikely to cover any new ground. However, given that the true purpose of the short is to inform audiences of the realities of deafness, and travelling with the disability, this hardly detracts from the piece’s objectives. A short and sweet documentary which gives a tiny taste of life with deafness, Two Deaf Travellers is an invigorating and heart-warming watch which acts as a gentle lesson for how we could all do with increasing our awareness of sign-language – no matter what our mother tongue may be. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Documentary, World Cinema < All Reviews Next Film Review >

The Rotten fruit of Eden film review by UK film critic Swati Verma. Starring David Black, Hope Beale directed by David Black. HOME | FILMS | REVIEWS The Rotten fruit of Eden Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Nov 8, 2021 Directed by: David Black Written by: David Black Starring: David Black, Hope Beale The short film has a black and white theme to it. In the first scene, the audience is made known to a devil busy laughing and fidgeting about with a piece of clothing. The cinematic piece tells the tale of a one-to-one conversation between Adam and the snake. The snake is trying very hard to entice the protagonist to eat the fruit from the tree of life. She tries to lure him into the trap by playing the immortality card. While Adam also puts forward a strong argument. It makes convincing him a difficult task for the beautiful snake. The makers of the short film have kept the conclusion of the movie in an open-ended format. They have decided to give the viewers a chance to find the answer to whether Adam could resist the urge to eat the fruit offered to him by the snake. The cast and crew of the film have highlighted a beautiful life lesson through a well-constructed narrative. The setting of the film, the character sketch and costumes of both the characters is very apt. The only weakness I could find was that the dialogues and the visuals didn't match in some of the scenes during the discussion between the two central characters. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Silent Choice film review by UK film critic James Learoyd. Starring Elliot Cable, Rosie Lou, Maddy Collings, Matt Beveridge directed by Ranw Aso-Rashid. HOME | FILMS | REVIEWS The Silent Choice Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Apr 27, 2025 Directed by: Ranw Aso-Rashid Written by: Ranw Aso-Rashid, Elliot Cable Starring: Elliot Cable, Rosie Lou, Maddy Collings, Matt Beveridge The latest in the filmography of prolific writer-director Ranw Aso-Rashid, The Silent Choice is a gritty, close-up look at estrangement, abuse and redemption. The word redemption will certainly ring bells for some readers. Aso-Rashid's previous short reviewed for the website, Whispers of Redemption , dealt with similar territory in some ways. But this new drama offers a much darker examination of the broken individual, and the invasive forces preventing his salvation. Based in the single location of a pub, John (Elliot Cable) – having seemingly struggled with alcoholism and legal issues – meets with his ex-partner Maria (Rosie Lou) and their daughter Lily (Maddy Collings). They’re later joined by Callum (Matt Beveridge), Maria’s abusive partner who’s a police officer. This film carries quite the heavy load in terms of its subject matter. It’s about a great many things: becoming a stranger to your loved ones, attempting to make amends, different forms of abuse – both self-inflicted and not. The script is also very much concerned with different forms of the destructive persona. We have someone self-hating and socially failing on one side of the coin (John), compared to someone domineering, evil, yet socially succeeding on the other (Callum). Audiences are sure to admire the complexity of the writing in this regard. The dialogue feels most genuine and lived-in throughout, and despite the grand collage of serious dramatic themes, it somehow manages not to feel too didactic – except for one element... As a matter of taste, one can imagine a complaint being that the film does not need to be so explicit with the idea that Callum is domestically abusing Maria. The reason is not that this topic should not be in the film (quite the contrary), but the fact is that the character of Callum is already so unbearably, outrageously unpleasant – veering on the unwatchable –that it slightly overwhelms the film to immediately reveal all facets of his monstrous person. For instance, we do not know the ins and outs of our protagonists' “sins” as Callum states – although we’re certainly compelled to admire his attitude towards trying to reconnect with his family – and it’s effective to leave a couple questions in the air. Another example of a strength in this respect is the picture’s ending being rather ambiguous; the titular “silent choice” itself, if that’s how you choose to interpret it. The plot is driven effectively by the characters and their conversation, illuminating what is a fantastically naturalistic, confrontational screenplay, also co-written by the star Elliot Cable. But on the technical side of things, the substance is delivered in an astoundingly virtuosic manner. One elevation of the craft which is apparent comparing this to Aso-Rashid's previous work is the addition of stunning anamorphic lenses to tell the story. For this particular style of self-contained drama, the cinematography fits flawlessly with the overall tone – the focus is soft, as is the lighting. Once again, there’s a truly beautiful, high-level grade on display here; its subtly rich teel-and-orange colour palette adheres to what we’d label the contemporary cinematic look. The sound recording and design are also perfectly crystal clear in that kind of modern way which industry people all enjoy. All of this takes years of practice. Everyone in the technical departments should be proud of making this movie what it is, in addition to the superb direction, engaging writing, and fantastic performances to boot. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >