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Rooftops film review by UK film critic Swati Verma. Starring Aaron Velasco, Abraham Lee, Chris Karraa directed by Josiah Angcanan. HOME | FILMS | REVIEWS Rooftops Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 8, 2024 Directed by: Josiah Angcanan Written by: Josiah Angcanan Starring: Aaron Velasco, Abraham Lee, Chris Karraa The writer-director Josiah Angcanan utilises both red and yellow colours for the name of the short film which has the connotation of power, aggression, dominance, risk taking, stress, anxiety, and deception which resonates with the subject matter of the movie. Aaron Velasco, and Abraham Lee along with the supporting cast fits perfectly fit into the combination of Gangster and Crime genre to give life to the vision of Angcanan. The plot of the short film revolves around two drug runners who earn their keep by overcharging their classmates at Christian University. But one night their ruthless dealer gives them just a few more hours to collect the money they owe him. Rooftops begins with mid closeup shot of Aaron Velasco (Victor) and Abraham Lee (Nate) on a phone call having a serious discussion. Fast paced, distorted, and shaky camerawork along with the night time shooting schedules are utilised to showcase the elements of tension, risk, fear, and mystery in the lives of the central characters building the desired engagement with the audience all through the running time of the movie. The set design, location, lighting, camera angles, colour pallet, dialogues, music, costume, hair, makeup, and props assist with providing realism, relatability, and depth to the subject matter of Rooftops. In terms of performance, Aaron Velasco plays Victor, he is the more sensible out of the two drug runners. Victor is a team player and wants to safeguard his friend paying the sum of money they owe them. Velasco showcases the range of emotions Victor goes through in these difficult times. The young actor utilises elements like body language, voice modulation, facial expression, and eyes with the changing situation as per the script allowing the audience involved in the movie completely. Abraham Lee plays Nate one of the drug runners and Victor’s friend who wants to collect money to pay their drug dealer back but also wants to save some money for himself so that he can have some fun in life. Lee depicts Nate’s more casual approach towards the situation providing the audience a very different perspective to the given scenario. Dayna Womack plays Faye, a friend/client of Nate and Victor who tries to help Nate but they end up in a more dangerous life-threatening subplot twist in the narrative. Though Womack has limited screen time but understands how crucial her role is to increase a sense of mystery in the viewer’s mind and also ensure the smooth flow of the narrative. Chris Karraa, Kevin Chang, and Jared Obermeier are three members of the villain team, the drug dealer and his henchmen who are ruthless, cruel and the only thing they care about is money. Chris Karraa as Sanchez embodies the evilness in his attitude and body language as he carries the character so brilliantly exuding the desired reaction from the audience. Rooftops talks about how taking the wrong path can give happiness and peace for a small amount of time and prove to be detrimental to the wellbeing of everyone involved in the long run. The short film reiterates the importance of choosing the right people as friends to flourish in life both personally as well as professionally. Rooftops highlights the influence of addiction to drugs that makes people hungry for money therefore making them care less about showcasing humanity in their behaviour. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Whispers of Redemption film review by UK film critic James Learoyd. Starring Ansu Njai, Jenny Rowe directed by Ranw Aso-Rashid. HOME | FILMS | REVIEWS Whispers of Redemption Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 7, 2025 Directed by: Ranw Aso-Rashid Written by: Ranw Aso-Rashid Starring: Ansu Njai, Jenny Rowe Ranw Aso-Rashid's Whispers of Redemption is a sharply crafted little film with a lovely sentiment. Eric (Ansu Njai) is a young man who’s just lost his mother. With her ashes, he goes to the sea to find solace and meets Grace (Jenny Rowe) and her dog. She too has lost someone in her life, so she shares some important advice about how to keep living. There are many short films about loss, but audiences will appreciate the fact that – by the story’s end – this is far more a piece about moving on than it is about being stuck inside the pain; and the vast ocean before them serves as a lovely visual metaphor for the flowing, uncontrollable feelings our protagonist must come to accept. What we as the audience witness is simply a ten-minute, extended conversation about how we deal with mourning. It’s a deeply heartfelt piece of writing, yet it’s the filmmaking that really elevates the content... The cinematography is incredibly strong, as is the sound design. For the more technically minded viewer, the first thing you notice is how well-lit and professionally colour-graded these shots appear. All the colours complement the seascape wonderfully, with slight greens in the highlights providing a real cinematic look. The soft lens-work and impeccable composition then go a long way to draw the eye to the actors’ faces, which then too is nicely balanced in terms of light distribution. This is all high-end work, demonstrating an awareness of industry-standard aesthetics. What heightens the craft even further is the audio of the sea, birds, and even on-location sound. It’s crisp, but not too crisp. There’s an authentic, on-location feel about the sound which adds to the sense of realism and layering. When it comes to the performances, there are some interesting contrasts taking place. For instance – and it may not at all be the fault of the actors – but our two performers seem to be operating on slightly respective wavelengths. Both are, without a doubt, likeable and engaging screen-presences; however, while Njai opts for a toned-down, naturalistic mode of performance, Rowe is far more expressive and theatrical. Each performance works really well in isolation, but they don’t always gel together. I want to clarify that these are two obviously talented screen-actors who can convey genuine emotion confidently. What Whispers of Redemption offers is a peaceful, reflective viewing experience which allows one to take in the space and consider the messages being conveyed. While you could argue that the script is pretty explicit when it comes to its themes and morals – far more explicit than most screenwriters might allow – the dialogue is successful in conveying complicated emotions relating to mourning and changing in such a short space of time. In this way, the interaction is reminiscent of a short story more so than a work of film; yet the location, soundscape and colour really help to build a real sense of immersion. You’re there with the characters, observing what they’re observing, placing the emotion in a physical, textural context. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Forest film review by UK film critic Chris Buick. Starring Simone Neethling, Ruan Wessels, Roderick Jaftha, Charlie Bouguenon directed by Hendrik Cronje, Mari Molefe van Heerden. HOME | FILMS | REVIEWS The Forest Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Mar 5, 2025 Directed by: Hendrik Cronje, Mari Molefe van Heerden Written by: Reine Swart Starring: Simone Neethling, Ruan Wessels, Roderick Jaftha, Charlie Bouguenon Directors Hendrik Cronje and Mari Molefe van Heerden‘s brilliantly shot post-apocalyptic drama The Forest takes place seven years after a terrible nuclear war. In it, we meet Heinrich (Wessels), a survivor travelling alone through the seemingly deserted world he now finds himself in. Moving through the wilderness, foraging, gathering and otherwise surviving day by day, Heinrich has not seen another living soul in over four years. That is until he spots Em, (Neethling) a young woman who has been following Heinrich for a while now. Mute and extremely distrustful, Em initially keeps her distance but eventually, those barriers come down, and Em and Heinrich begin to grow closer and closer in their newfound companionship. This opening twenty minutes or so are certainly when and where the film is at its strongest, when the relationship between Em and Heinrich is allowed space to blossom and shine, resulting in a deep, touching story of human connection brought to life by two great acting turns from Wessels and Neethling, the latter in particular turning in the standout performance, fully capturing the veritable fear, distrust and desperation of Em’s situation. And the reason for this wariness becomes clear soon enough. Em, it turns out has magical abilities and is being pursued by Sam (Jaftha), the leader of a group of unstable bandits looking to recapture her and use her powers for their own means. From there the film changes shape, the soft emotion built up in the beginning is now ripped away and replaced with a looming sense of peril and drama, adding a new exciting dynamic to carry us right on through the rest of the film. Unfortunately, after enjoying the brilliant chemistry between Wessels and Neethling in the opening third, our newly introduced group of slightly exaggerated one-note characters (with the exception of Jaftha who does excel in moments, especially in the film's surprisingly emotional finale) don’t seem to meet the same marks with their otherwise fine performances. The film also lacks slightly in terms of its believability in its premise, the lush forest surroundings and pretty clean-cut characters not exactly selling the idea of a post-nuclear war annihilated landscape. But the film's writing and pacing are strong and steady enough to see everything through smoothly, not to mention managing to look great the whole time as well. While there are hints as to the particulars of the war and its goings on, Cronje, van Heerden and co. are quite right to not get too bogged down in needless backstory and exposition, instead choosing to focus not on what has happened before, but what is happening now, knowing the details as to why the world is in the mess it’s in is far less important than telling human stories still living on. An ambitious film that manages to blend elements of survival, mystery, tension, drama and even love, The Forest is a thoroughly enjoyable film that presents itself very well across the board. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Woman of the Photographs film review by UK film critic Brandon Thomas. Starring Hideki Nagal, Isuki Otaki directed by Takeshi Kushida. HOME | FILMS | REVIEWS Woman of the Photographs Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Feb 7, 2023 Directed by: Takeshi Kushida Written by: Takeshi Kushida Starring: Hideki Nagal, Isuki Otaki Vanity has been a part of human existence for ages. The standards of beauty come and go with the passage of time, but no matter where we are in history, people have sought to look attractive. In Woman of the Photographs , director Takeshi Kushida offers a compelling statement on the broad spectrum of beauty, and how either end of it can be equally damaging. Kai (Hideki Nagai) is a Japanese photographer who spends most of his days taking standard portraits and then endlessly photoshopping them for his vain clients. Only on the side does Kai get to dabble in a more artistic expression of his photography. While taking photos of insects in the forest, Kai stumbles upon Kyoko (Itsuki Otaki), an Instagram influencer who has just fallen from a tree trying to get the perfect photo. It’s not your standard meet-cute, and Kyoko certainly isn’t your standard model. After inviting herself for a ride home with Kai, Kyoko slowly integrates herself into Kai’s daily life. What starts as a symbiotically awkward relationship slowly morphs into something more sinister as both Kai and Kyoko become obsessed with a more destructive form of beauty. What makes Woman of the Photographs so interesting is how delicately it dances around being a horror film. The first half of the movie feels more akin to a quirky indie drama than it does something in the genre realm. As Kai and Kyoko’s relationship deepens later in the film, the tendrils of horror finally make their appearance, calling to mind something close to Cronenberg-lite. The body horror in Woman of the Photographs isn’t as pronounced as that of David Cronenberg. No, Kushida’s desire seems to be to purposefully hold back on the excessive gore and instead force the audience to think about standards of beauty when it comes to surface-level imperfections. The horror emphasis is less on Kyoko’s wound itself and more the obsessiveness with which Kai and Kyoko marvel upon it. There’s also a fascinating commentary on the state of modern Japan and the isolation many of its citizens feel. While not exactly suffering from hikikomori (the Japanese phenomenon of extreme isolation), Kai’s relationship with other people is often felt only through the viewfinder of a camera. On the opposite end is Kyoko, whose only connection with others – outside of Kai – is through her Instagram page where she obsesses over each and every shot of herself that she posts. Woman of the Photographs slowly unravels from a quirky first act to a much more sinister final half. For those with the patience, the methodical descent into Japanese body horror will be well worth the investment. About the Film Critic Brandon Thomas Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Between The Scenes film review by UK film critic Swati Verma. Starring Regina Aprilyani directed by Alfa Kakauhe. HOME | FILMS | REVIEWS Between The Scenes Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Dec 21, 2022 Directed by: Alfa Kakauhe Written by: Alfa Kakauhe Starring: Regina Aprilyani The short film-Between The Scenes tells the tale of what happens between one scene and another. The writer-director Alfa Kakauhe believes in conserving and modernising various cinematic eras, and therefore pays homage to silent films, and Indonesian culture as well as heritage through the young protagonist in the movie. The storyline of the cinematic piece revolves around the adventure of a young boy who discovers different aspects of life, culture, art, and heritage and rediscovers himself while on this journey. In the opening scene, the blue clear sky and blue flowing water have a connotation of freedom to express their thoughts and the imagination, inspiration, and sensitivity needed in making the film which deals with such a beautiful subject matter. The dramatic piece takes the play format with a black and white colour palette, and the inclusion of an intertitle and a melodious song in the background provides the audience with the essence of the silent film and the experimental genre. The tilted blurry camera work assists the makers to give the film a push towards the thrill/mystery element to maintain the interest of viewers in the content of the film. The inclusion of paintings and the use of a hand-held camera allows the audience to relate to the movie at the core level. The plot set-design, lighting, costume, hair, and makeup are kept simple as silent films highly depend on the visuals making it the only form of engagement of the viewers with the film. In terms of performance, for makers to bring any project from the scripting stage to the screen. Regina Aprilyani has managed all the typography and the presentation of the creative to make it more attractive as well as appealing for its audience. The young actor featured in the experimental piece has a lot of responsibility to handle as the continuity and smooth flow of the narrative are important for the understanding as well as interpretation of the movie in the minds of the viewers. A well-coordinated body language, facial expressions, and eye movements with the intertitle on the top by the lad helps the younger lot relate to the story and the character. Between The Scenes talks about humans respecting and happily coexisting with nature and not destroying it for their selfish needs. The cinematic piece also reiterates that all the different religions followed by humans are man-made and God has not made such dissimilarities. It also teaches us that sometimes one has to find answers to problems within rather than looking for them outside. The short film inspires the viewers to stand up for what they believe to be right for the betterment of both individuals as well as society. Between The Scenes advises the viewers to value life and spend quality time with loved ones as make memories that one can cherish forever. The creative piece discusses the importance of preserving paintings and other art forms so that we can pass on the priceless heritage to future generations. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Minacious film review by UK film critic Patrick Foley. Starring Sarah Alexandra Marks, Eric Roberts, Dani Thompson directed by Richard Anthony Dunford. HOME | FILMS | REVIEWS Minacious Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 20, 2023 Directed by: Richard Anthony Dunford Written by: Richard Anthony Dunford Starring: Sarah Alexandra Marks, Eric Roberts, Dani Thompson From director Richard Anthony Dunford comes Minacious, an inventive single-location horror/thriller centred on the premise that not every crazy customer complainant keeps their grievances confined to a phone call… Izzy (Sarah Alexandra Marks) retreats to her uncle’s remote luxury residence – to give herself a more tolerable WFH experience whilst he is away. Enjoying the solitude, she spends her nights working in the call centre for a bank and putting up with her overbearing boss Saffron (Dani Thompson). But when irate caller Caleb (Eric Roberts) develops a fixation with her, Izzy’s isolation becomes a nightmare as she discovers she has a stalker – with a violent past. Minacious is an impressively engaging stalker-horror that makes the most of a straightforward but interesting story foundation, before running out of steam in a final act that resorts to a cookie-cutter slasher structure. Clearly inspired by the likes of Locke (the shining example of single-location features) and Phone Booth , the film takes place almost entirely in Izzy’s home, and is told in large part over phone calls made by Izzy to her tormenter, customers and colleagues. Clever editing, a script and story that expertly builds tension, and production ingenuities maintain the viewer’s engagement throughout – and mean that what could have easily been a tiresome gimmick instead allows the story to develop consistently and authentically. The story invokes themes such as misogyny, poor treatment of service employees, and an increasing impatience in a world that expects every problem to be solved instantly. The film doesn’t really offer any original critiques of these matters, but uses them instead to background the fear and tension it seeks to create. Sarah Alexandra Marks comfortably shoulders a considerable task as the sole actor tasked with giving a full performance throughout the film. She is a charming, empathetic presence on screen – and audiences will instantly be drawn to Izzy as the protagonist as she is drawn deeper and deeper into danger. Eric Roberts – present only through the end of a telephone – acts as an intimidating, bullying and unpredictable evil whose menace dominates the film – and is as ominous to the viewer as it is to Izzy. The dialogue is weak in parts, with certain exchanges petering out and ending with eye-rolling cliches that negate from the film’s tension. The concluding quarter of the film, in which the original and successful storytelling approach is abandoned in favour of a well-worn slasher chase that ends unsatisfyingly predictably, is also unworthy of the film’s prior creativity – it’s a shame the writer/director was not able to conclude the story in a way that took advantage of the established structure. But despite a disappointing end, Minacious is an impressive and memorable film that builds a fine story out of minimal parts. It’s evidence that films don’t always need scope and spectacle to leave an impression, and that a smartly-told story and comprehensive, believable characters will allow any story to prosper. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

The Rise of Elsie Mathews film review by UK film critic Swati Verma. Starring Rhyan Elizabeth Hanavan, Kira L. Wilson directed by J. W. Cox. HOME | FILMS | REVIEWS The Rise of Elsie Mathews Film Review average rating is 5 out of 5 Critic: Swati Verma | Posted on: May 11, 2023 Directed by: J. W. Cox Written by: J. W. Cox Starring: Rhyan Elizabeth Hanavan, Kira L. Wilson The writer-director J.W. Cox gives the audience an insight into the world of the Hollywood stars and their entourage through the female protagonist Elsie Mathews (Rhyan Elizabeth Hanavan). The plot of The Rise of Elsie Mathews revolves around an overbearing-Stage mom who pushes her 13-year-old daughter Elsie forward into a film career. However, her relationship with crew members is tense, as they love what Elsie brings to the table, but question if working with her is worth dealing with her mother. Elsie must find a way to move forward to achieve her goals and also move past her mother. The film opens with the camera panning into an ongoing scene from the sets of Elsie’s forthcoming movie quickly runs through her busy schedule establishing the subject matter gripping the attention and forming an emotional connection with the content diving into it to explore further, especially those section of the audience who have a keen interest in filmmaking and wants to try their luck in the field by choosing it as a profession. The black, white, and grey colour palette provides a sense of serenity but it is left to the viewers to find out more about the other shades in the movie by watching the same. The set design, lighting, music, dialogues, costume, hair, makeup, and props have been kept natural and uplift the topic of The Rise Of Elsie Mathews. In terms of performance, Rhyan Elizabeth Hanavan plays Elsie Mathews a child artist who loves her work and enjoys the same but starts to feel the pressure as her mother wants to burden the little girl with the financial responsibilities of the household. Hanavan depicts the physical and emotional roller coaster Elsie feels from the very beginning with the help of body language, voice modulation, facial expressions, and eyes. Hanavan’s portrayal adds the element of realism to her performance and makes it relatable therefore allowing the viewers to learn from the character arc of Elsie. Kira L. Wilson plays the role of Helen Mathews the mother of Elsie who wants to manage the career plans of her daughter as Helen wants to take care of expenses concerning their home and also spare some money for her alcohol and cigarettes. Wilson brings out the villain shade of her character and so the audience dislikes Helen Mathews from the very first scene. I liked how Kira L. Wilson managed to evoke the exact reaction to Helen the filmmakers wanted as per the script. The Rise Of Elsie Mathews talks about the amount of hard work required to maintain the name and fame a film career brings with it. The short film reiterates that people should learn to deal with loneliness at the peak of being popular as they continuously search for some sort of normalcy. The dramatic piece highlights the culture of overbearing parenting in the entertainment industry resulting in an abusive relationship in the long run. The cinematic piece also tells us that it is important to support one’s costars and crews in every possible way to taste real success and be happy to improve their performance in turn. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Valor and Memory film review by UK film critic Jason Knight. Starring Hans Van De Ven, Carl Molesworth, Ann Lee, Emma Jane Hanks directed by Bill Einreinhofer. HOME | FILMS | REVIEWS Valor and Memory Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 31, 2024 Directed by: Bill Einreinhofer Written by: Bill Einreinhofer Starring: Hans Van De Ven, Carl Molesworth, Ann Lee, Emma Jane Hanks An engaging documentary about the First American Volunteer Group of the Republic of China Airforce, who were pilots from the United States Army Air Corps who helped China defend against the Japanese invasion during the Second World War. These pilots also became known as the Flying Tigers. Through a rich collection of archive footage, photographs and interviews, this feature tells the fascinating story of how the Flying Tigers contributed to the battle during WWII and secured their place in history. The film starts from the very beginning, when American pilots volunteered to go to China when it was been targeted by Japan and so did numerous Chinese American citizens. It examines in detail how these highly motivated individuals worked hard on Chinese soil to prepare for combat. And the roles were also reversed when Chinese citizens came to the U.S. in order to train as pilots and fight the war. The viewer will gain a great deal of knowledge from the interviewees, who consist of present-day experts and people who participated in this historical times. Some of them are author and historian Carl Molesworth, author Ang Lee, Hans Van De Ven, Phd from Cambridge University, Emma Jane Hanks, who was 1st Squadron Nurse for the American Volunteer Group, Ho Weng Toh, a Chinese Air Force Pilot and Billy Beck Oakley, an American pilot. Having all these individuals sharing their knowledge and experience results in a series of amazing stories that are told through the perspective of the Americans and the Chinese. As mentioned, there are plenty of photos and archive footage and these would primarily be military-related, showing soldiers, planes, ships and politicians and viewers will get a decent insight into the events that took place. The presence of Melvin McMullen and Harry Moyer is a highlight, two Flying Tigers Veterans who visited China in 2023 and were warmly welcomed. Another thing that stands out is that facts of the events during the war are revealed through letters by John Emil ''Pete'' Petach Jr., who lost his life defending China during the war while serving as a Flight Leader for the American Volunteer Group. This is a rather informative documentary that provides a detailed account of the accomplishments of the Flying Tigers, their contribution towards victory in the Second World War and history and viewers will become familiar with individuals who performed very brave and challenging actions. Perhaps one of the film's most crucial points is that it observes that a long time ago, the United States and China (who currently have unstable relations between them) firmly collaborated for a common goal and learned from each other. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Don't Breathe 2 film review by UK film critic Kieran Freemantle. Starring Stephen Lang, Brendan Sexton III, Madelyn Grace directed by Rodo Sayagues. HOME | FILMS | REVIEWS Don't Breathe 2 Film Review average rating is 2 out of 5 Critic: Kieran Freemantle | Posted on: Aug 17, 2021 Directed by: Rodo Sayagues Written by: Fede Alvarez, Rodo Sayagues Starring: Stephen Lang, Brendan Sexton III, Madelyn Grace 2016’s Don’t Breathe was one of the most acclaimed horror films in recent memory. It made $157.8 million from a $9.9 million budget. A sequel was commissioned, even if there was no logical way to continue the story. Eight years after the events of the first film The Blind Man (Stephen Lang) had been looking after Phoenix (Madelyn Grace) like she was his own daughter. He trains Phoenix in survival skills but keeps her away from other children. Their peace is shattered when The Blind Man gets attacked by home invaders, again. Don’t Breathe was a shocking film. It had a twist where The Blind Man was holding a pregnant woman captive and tried to impregnate Jane Levy’s character. So, the filmmakers took the bizarre decision to turn The Blind Man into a hero, or at least an anti-hero. It’s hard for a character to come from being a rapist. Yet the filmmakers want the audience to route for him. Don’t Breathe 2 doesn’t have much connection to the original film. No plot points were continued and The Blind Man was the only returning character. So, someone going into Don’t Breathe 2 blind (no pun intended) could accept the film as being about a blind veteran having to use his skills to protect his daughter. New audience members wouldn’t have to deal with the baggage of the first film. Don’t Breathe 2 was less a horror film, it was more like a Taken film. The bad guys were really determined to kidnap Phoenix and The Blind Man had to use his special set of skills to defend her. Phoenix even hides under her bed like Kim did when she first arrived in Paris. By the third act The Blind Man was brandishing a machete and going round like he was Rambo or John Wick. From a gory, exploitation standpoint Don’t Breathe 2 does have certain appeal. It was a really violent film – it has earned an 18 rating in the UK because of this. Don’t Breathe 2 had some brutal scenes with people’s heads getting smashed with a hammer, people getting stabbed with gardening tools and one man having his nose and mouth glued shut. The dark lighting and the urban decay did give Don’t Breathe 2 a gritty and grizzly feel. Rodo Sayagues, the writer and producer of the previous film moves into the director’s chair for the sequel. He was able to craft some effective sequences. One of the best was when Phoenix was trying to hide from the bad guys and the camera moves in one long movement. There was tension when Phoenix was locked in a metal box filling with water and live cable hanging above it. The bad guys’ lair was really creepy because it was an abandoned hotel filled with drug addicts. Don’t Breathe 2’s biggest failing was the screenplay. It was already stretching plausibility with The Blind Man’s home getting attacked a second time. But the film has to come up with a number of coincidences and contrivances to justify the plot. The thieves in Don’t Breathe had a simple goal, rob The Blind Man so they can leave Detroit. The home invaders in this film goals related to Phoenix’s true identity and organ trafficking. It was so ridiculous that it resulted in laugher. Hardly a good sign for a film that’s meant to instil terror. You could play a drinking game on the number of Phoenix falls unconscious in this film. Don’t Breathe 2 was a sequel that had no reason to exist. It required audiences to forget the previous film so they could accept The Blind Man as a hero About the Film Critic Kieran Freemantle Theatrical Release < All Reviews Next Film Review >

Clown-N-Out film review by UK film critic Jason Knight. Starring Katy Mahard, Joe Heck, Max E. Williams, Monazia Smith, Zachariah Axel directed by Mark Hensley. HOME | FILMS | REVIEWS Clown-N-Out Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 23, 2025 Directed by: Mark Hensley Written by: Mark DaPonte Starring: Katy Mahard, Joe Heck, Max E. Williams, Monazia Smith, Zachariah Axel A feature-length dark comedy neo-noir thriller written by Mark Daponte, directed by Mark Hensley and starring Katy Mahard, Joe Heck, Max E. Williams, Monazia Smith and Zachariah Axel. In Los Angeels, one night, an ex-con party clown named John (Heck) breaks into the home of young actress Elaine (Mahard). Unbeknown to him, she is suicidal and had just attempted to take her own life. He assists her and remains at her place and the two end up developing a rapport between them. However, danger is on the horizon in the form of a hitman (Axel) and a ruthless film producer (Williams). Filmed on a budget of $4K and almost without a crew, this feature has a narrative that involves criminals, murder, home invasion, blackmail and a great deal of drama, however, the main focus is the awkward relationship that is generated between the intruder and the victim. Following a brief confrontation, the two of them begin to open up to each other, revealing their struggles and (to a certain degree) becoming friends. Initially, the story is a mystery (why John breaks into Elaine's property and why she tries to end her life is now known) and it is through dialogue and grainy flashbacks that answers are provided regarding the plot and the characters' situations. There are plenty of film posters throughout, which is a nice touch and the soundtrack has a good selection of songs, along with Vincent Jones' atmospheric music. Although the plot is intriguing, the pace feels a bit too slow, primariy during the first third. This does not significantly bring down the film and the exciting third act adds a great deal of value. Mahard is quite dramatic as a troubled woman who dealing with more than she can handle and believes that ending her life is the only option. Although she has reached rock bottom, she is a clever and ultimately strong person. Heck is an awkward guy. Estranged from his partner and child, with a criminal record, he too, is not doing well and decides that committing a vile act will lead him to a bettwe life. Clumsy and naive, his character provides the story with humour and so does Axel as a careless assassin. Williams' character comes across as the baddest person here, a foul-mouthed, manipulative and dangerous man. Acknowledgement also goes to Sharon, played by Smith, Elaine's supportive neighbour who knows how to handle a gun and whose screen time is probably less than what her character deserved. This feature could be categorised as a home invasion thriller with guns and murder. However, mental health is one of the story's key themes, particularly depression, suicidal tendencies and loss. More upliftingly, self-esteem, self-reflection and the significance of support are also involved. This film is decribed as 'a film noir that pays homage to the gritty independent films of the past and showcases the best of independent cinema'. It could very well be that it accomplishes that, however, what it certainly is is an intriguing viewing with an interesting story that addresses mental health issues and highlights the importance of support. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Mean Spirited film review by UK film critic Jason Knight. Starring Christopher Mulvin, Lara Cooper-Chadwick, Bailey Harris-Kelly, Georgie Muya directed by Joseph Archer, Jack Archer. HOME | FILMS | REVIEWS The Mean Spirited Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 14, 2022 Directed by: Joseph Archer, Jack Archer Written by: Jack Archer Starring: Christopher Mulvin, Lara Cooper-Chadwick, Bailey Harris-Kelly, Georgie Muya A group of people get together for a seance. Four individuals arrive at a theatre, where they plan to communicate with the ones who have passed away. These people are Mr Blakely (Mulvin), a man who apparently can interact with spirits, Alex (Kelly), Oscar (Muya), an online celebrity and Charlotte (Chadwick), the one who arranged the location. The four of them commence the seance and film it. What follows is drama, grief, tension, sarcasm and surprises. This short could be classified as a horror film with drama and dark comedy. At first, the seance is not taken seriously, particularly by Alex. As the 'process' carries on, Blakely takes the lead, uses an Ouija board and claims to 'sea' someone's dead pet and a departed loved one. Initially, it is implied that the whole thing could be a hoax, however, events take place that suggest that it might actually be real and that their lives could be in danger. The seance ends up bringing to light significant information about the lives of the participants and becoming an extraordinary experience. A feature that stands out is the way this was filmed. It is basically a fifteen-minute-long take that begins with the participants at the theatre entrance. The camera then follows them into the theatre hall and for a significant amount of time moves around in circles as it films the protagonists sitting around a table and 'communicating' with ghosts. The camera movement is well executed and impressive. As the director of photography, Sam Kemp develops great cinematography and the lighting techniques are creative. Composer Rebecca Doherty makes a significant contribution with the dramatic and tense music. The acting is very good and all four protagonists convincingly portray interesting characters. This short is quite a ride and right from the start it grabs the viewer's attention with an intriguing plot and well-written dialogue. It is an experience filled with doubt, grief and suspense and it is worth looking into. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Ava: A Twist In The Road film review by UK film critic Patrick Foley. Starring Catherane Skillen, Bill Lewis, Steve Dellatori directed by Catherane Skillen. HOME | FILMS | REVIEWS Ava: A Twist In The Road Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 26, 2022 Directed by: Catherane Skillen Written by: Catherane Skillen Starring: Catherane Skillen, Bill Lewis, Steve Dellatori A woman’s life is turned upside down in Ava: A Twist in the Road, the debut feature of director and star Catherane Skillen which, unlike its protagonist, never quite finds its own path. When her long-term partner Bobby (Bill Lewis) suddenly passes away, Ava (Skillen) is left devastated, depressed, and unexpectedly destitute. No formal records exist of the pair’s relationship, leaving all of Bobby’s possessions and funds to his bitter son Robert (Steve Dellatori), who blames Ava for destroying his parent’s marriage. With the help of friends Leanne (Tannis Benedict) and Trisha (Maggie Dewan-Smith), she works to build herself a new life. There is something refreshing in Ava’s story of an older woman casts into unfamiliar surroundings, seeking to forge a new path in life despite her advancing years. It’s a shame however that the film fails to decide what it really wants to be. Tonally, it’s bipolar – swerving from harrowing drama to light-hearted feel-good film from scene to scene like a drunken shopping cart. A comedic scene of Ava’s first day on a job is followed by a sorrowful one in which she gives away money she desperately needs to a homeless person. Whilst this could have been effective to some degree as a representation of the grieving process, it comes across as awkward, uncomfortable and confusing to the viewer given the regularity of the atmospheric shifts, and both the drama and the comedy are weakened by each other’s presence. The story is confusing and unsatisfying, and fails to really explain the context behind Ava’s relationships with key characters or give any real conclusions. Robert is almost psychopathically hateful of Ava for her relationship with his father. But given that this relationship lasted 25 years, it’s confusing that Ava appears shocked at his behaviour following Bobby’s death (she also probably should have learned not to call him ‘Bobby Jr.’ by now…). Little conclusion is given to several storylines that are raised, such as Robert’s fraudulent efforts to secure his father’s property or his lawyer’s resignation – which given the level of focus these receive early on, is quite frustrating. The script is poor, with a total absence of subtext as characters directly stating their desires and primary emotions as a baseline manner of communication that makes every line feel scripted and unnatural. Solid performances would have been unlikely to save this, but the film lacks these too. Catherane Skillen does a good job with more emotionally draining scenes as Ava, but basic conversations come across as rehearsed and forced. Her chemistry with Bill Lewis as her onscreen partner is non-existent, and audiences will struggle to believe that these supposedly star-crossed lovers were truly meant to be. Steve Dellatori yells a lot – but his Robert lacks any nuance that could have pointed to an inner conflict that would add dimension and intrigue to the character. There are some highlights, such as a tear-jerking scene of Ava wondering around the house her and Bobby shared with each other on the night of his death, reliving old memories. Ava’s first day working at a kiosk also delivers the film’s message that there is more to life than riches – and more scenes like this would have been welcome. It feels at times like the story is on the verge of a grand revelation about how older women are treated by society, and how older unmarried partnerships come with risks where callous family members are concerned. But it disappointingly never really breaks new ground with this thread. There is passion and originality in Ava: A Twist in the Road , but the film falls frustratingly short of delivering the basics of story, script and character. This film needs to find its own path before Ava can find hers. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Amazon Prime < All Reviews Next Film Review >