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Shouting at the Sea film review by UK film critic Chris Olson. Starring Harry Michell, Maddie Rice, Daisy Haggard directed by Benjamin Verrall. HOME | FILMS | REVIEWS Shouting at the Sea Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Aug 5, 2024 Directed by: Benjamin Verrall Written by: Kate Auster, Ruth Marshal, Amelia Rowcroft Starring: Harry Michell, Maddie Rice, Daisy Haggard A purgative and thoughtful short film, Shouting at the Sea wraps its audience in a cosy embrace whilst slowly lashing at it with poignancy and heartfelt revelations. Directed by Benjamin Verrall, written by Kate Auster, Ruth Mashall and Amelia Rowcroft, the film stars Harry Michell and Maddie Rice as Joe and Katherine respectively. They have met up in their hometown of Hastings, following an email invite from the latter to the former, and the childhood friends spend the day travelling around town and enjoying the haunts of their past. A vibration of chemistry between them increases throughout the film’s duration as we glimpse more about their relationship from the past, as well as their current struggles with life’s endless hardships. Joe lacks direction and is still grieving the passing of his father, whilst Katherine’s apparent success smothers her true feelings. There is also some unspoken tension between them, something from their past. As their day progresses into night and they find themselves on the beach, a culmination of their reconnection must take place. Whilst many may assume this film would be full of romantic chemistry, it’s actually something deeper and more intelligent than that. The story is full of painful regrets and honest acknowledgements and the shared past of Joe and Katherine forms a solid foundation but too much has happened since and we are only witness to some of that story. This ambiguity is enhanced by Daisy Haggard’s interspersed narration, poetic lines about the sea that allow the viewer to ponder on a larger scale and consider the endless flux of life all around us. Harry Michell plays the role of humble hometown Joe with class and aplomb. He delivers us a sincere character, eschewing bitterness or bravado, for something more stirring and appealing. Maddie Rice gives a wonderful turn as Katherine, a conflicted mum and wife who has so much to consider in her life and yet not achieving the happiness or fulfilment she thought she would by this point in her life. The pair’s onscreen chemistry is perfectly brought out in the direction by Verrall, delivering a film that is easy (and sublime) to slip into. Shouting at the Sea explores some profound themes, such as the way our fear can often prevent us from becoming who we want to be, or how whether we are showing off or being silent, it’s often not a true version of ourselves we put out there for the world. A particularly moving scene in the film sees Joe talk about his father’s cancer diagnosis, and how this had a somewhat positive effect on the man. It’s these big and thought-provoking ideas that Shouting at the Sea looks to navigate and manages to do so without sinking from the weight of them all. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Bud film review by UK film critic Graham Blair. Starring Shaun Fagan, Radek Derlatka directed by Jack McLoughlin. HOME | FILMS | REVIEWS Bud Film Review average rating is 4 out of 5 Critic: Graham Blair | Posted on: Feb 3, 2022 Directed by: Jack McLoughlin Written by: Jack McLoughlin Starring: Shaun Fagan, Radek Derlatka Bud gives its audience a harrowing look into one mans unfortunate phone call to his son before heading into his court date. Father and son relationships are a big part of the cinematic landscape, whether it be The Pursuit of Happyness (2006), Big Fish (2003) or more recently, Chef (2014). There is a true back and forth connection with their audience through shared experience and relatability, Bud is a definite example of relatability within hardship. In its 4-minute runtime Bud , directed by Jack McLoughlin (Kate & Jake ) brings its audience into the world of an unnamed man trying to tell his son that he won’t be seeing him for an undisclosed amount of time before his court hearing. Even though the plot here is very thin, an immense performance by Shaun Fagan (Kate & Jake, Needs Must ) gives this short film all the life it needs to succeed. From what the audience sees the story is more in Fagan’s eyes than on the page here, showing the pure turmoil of having to tell the most important person in his life that he will not be around for the foreseeable future. Constantly referring to his inevitable stay at prison as ‘working away’ and that he’ll call his son when he gets to ‘the hotel’ is fantastic writing on the part of McLoughlin as well, showing this man’s true character as a caring father and compassionate figure in his sons’ life. Overall, taking full advantage of the material and the emotional centre of the character, Fagan does a stellar job here. Technically this film is again, quite simplistic with its long take, single shot format of storytelling. However, it compounds the great qualities of the films plot and message; the audience is an on looker, a third party just as the man’s jury will be. This gives us as the watcher a privileged position of judgement and ultimately understanding of a very harsh and cruel situation. However simple the film making is, it showcases the true unrest within our lead characters eyes, showing this third-party perspective even more, never being able to look away from tragedy but taking it all in. To not mention the score would be egregious as well, entering the narrative at the opportune time this very subtle yet powerful musical piece extenuates the story being told here. It gives gravitas to an already emotional moment between father and son, and it works perfectly. Any film does come with its pitfalls in the end, but for this short those pitfalls are quite shallow. The absence of closure is a big part of what makes this short film work but I can’t help but long for a conclusion, I want to see more of the relationship formed between viewer and family within our short time looking in. Overall, Bud is a breath of fresh air when it comes to dramatic shorts. It never treats its audience as anything more than a capable listener and active observer, leaving me as a reviewer to want more. A definite must watch for your next short film-athon. About the Film Critic Graham Blair Short Film < All Reviews Next Film Review >

Monsters of California film review by UK film critic Chris Olson. Starring Jack Samson, Jack Lancaster, Jared Scott, Gabrielle Haugh directed by Tom DeLonge. HOME | FILMS | REVIEWS Monsters of California Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Jul 1, 2025 Directed by: Tom DeLonge Written by: Tom DeLonge, Ian Thomas Miller Starring: Jack Samson, Jack Lancaster, Jared Scott, Gabrielle Haugh Teen sci-fi adventure film Monsters of California is the pet project of Blink-182 guitarist and singer Tom DeLonge. Full of conspiracy theories about aliens and dick jokes, it’s business as usual from the man who gave us the iconic emo moment “Where are you?”. Jack Samson plays Dallas, a rebellious teenager struggling to come to terms with the mysterious passing of his dad several years earlier. His strained relationship with his family, in particular his mother (Arianne Zucker), who is about to move on with a new partner, gets sidelined, however, when Dallas discovers some highly classified documents his father left for him. Bringing his stoner buddies Toe (Jack Lancaster) and Riley (Jared Scott), along with him, as well as newfound love interest Kelly (Gabrielle Haugh), Dallas goes in search of answers…and monsters. Like a foul-mouthed episode of Scooby Doo, Monsters of California struggles with genre identity. The sci-fi isn’t compelling enough, the comedy isn't funny enough, and the horror is not scary enough. Fortunately, the film contains a coming-of-age journey that Dallas is going on, trying to find his way in the world following the loss of his father. This emotional grounding keeps the film from straying into the completely cartoonish territory. Samson is a strong lead, his chemistry with Haugh works well and the pair enjoy a wonderful coffee shop meet-cute. Their scenes together are definitely some of the strongest in Monsters of California. The soundtrack is also great, with a moving score and some excellent punk rock injected for fans of DeLonge. It was also terrific to see Richard Kind rock up as a mysterious character in the film! Given DeLonge’s long history of “Alien’s Exist” declarations, and his cosmic outpourings in the band Angels & Airwaves, the end result of this film feels a little underwhelming. The preachy dialogue, pothead jokes, and mild visual offerings just feel tepid, restrained. Give us something bolder and inspiring…Now I’m off to watch the music video for “The Adventure” on YouTube. About the Film Critic Chris Olson Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Cake film review by UK film critic William Hemingway. Starring Anja Racic, Peter Winkelmann directed by Olivia Cade. HOME | FILMS | REVIEWS Cake Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Nov 1, 2025 Directed by: Olivia Cade Written by: Olivia Cade Starring: Anja Racic, Peter Winkelmann A suicidal woman and her distraught neighbour bond over the baking of a cake one night when they’re both feeling at their lowest ebb. Annabelle (Racic) is busy trying to hit a deadline. It’s already after ten and she’s got to get everything done by midnight. That is, she’s got to get her suicide note typed up and ready for whoever finds it, and her, after she kills herself on the stroke of the new day. The problem is that she can’t concentrate. How’s anybody supposed to find the right words for a sentimental, heartfelt, but to the point, death note when there’s a racket coming from the flat next door? So, rather than trying to ride it out for the next couple of hours until it’s all over, Annabelle goes knocking on her neighbour’s door to ask him to turn the music down. Much to her surprise, however, Jack (Winkelmann) next door is in a total state himself, blubbering away like a little baby, covered in flour and egg, and barely holding himself together in any sort of way. He explains he’s trying to bake a cake for his dead mum’s birthday, the first since she passed, and he’s making a bit of a hash of it, so against her better judgement, Annabelle agrees to help him. The majority of Cake , therefore, takes place in the single location of Jack’s flat, where he and Annabelle get to know each other as the cake is getting made. Luckily, the limited surroundings don’t diminish the story in any way, as they are captured perfectly by cinematographer Brandon Dougherty, getting the lighting right for the emotion of the scenario as well as the clarity needed to feel like we’re right in the room with the characters. This is also helped by the smart dialogue from writer/director, Olivia Cade, as Annabelle dances around Jack’s naïvely probing questions, whilst also getting to know more about him and his relationship with his mother. There are little threads which are dropped around the place for the viewer to pick up on, and which circle back into the scenario later, that nicely bring the narrative together in the end, and which allow a level of satisfaction for the audience when all is said and done. The music choices, too, add a level of depth to the story, hitting just the right notes at the right time to evoke an emotion that fits perfectly with the scenario at hand. When matched with the genuine and believable performances of the two leads, everything comes together like the ingredients of the Cake that they are baking, and in the process becomes something more than the sum of its parts. There is a magic that happens in the ‘baking’ of the film which creates a true enjoyment in the viewer, leaving our mouth watering at the slice we’ve just devoured. For what could easily have been just another misfit, antisocial, rom-com, with stock depressive characters who try to find reasons to be happy, Cake takes everything that it needs to do for the fifteen minutes that it’s in the oven for, and does it all brilliantly. While we all may have seen something like Cake before, it is guaranteed that no-one has ever had this particular flavour, and it’s the slight, delicate flavours of the ingredients which we might not expect that really pull everything together to make this a genuinely satisfying, bite-size, dish. About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

Get Away film review by UK film critic Hope Madden. Starring Nick Frost, Aisling Bea, Sebastian Croft, Maisie Ayres, Eero Milonoff directed by Steffen Haars. HOME | FILMS | REVIEWS Get Away Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Dec 3, 2024 Directed by: Steffen Haars Written by: Nick Frost Starring: Nick Frost, Aisling Bea, Sebastian Croft, Maisie Ayres, Eero Milonoff It’s not a terribly unique set up. A carful of travelers stops off just before their destination and the surly local, upon hearing of their destination, warns them. They mustn’t go! It is doom! Well, that’s not exactly the message. What the surly diner owner tells Richard (Nick Frost, who also writes), Susan (Aisling Bea) and their kids Jessie (Maisie Ayers) and Sam (Sebastian Croft) is that Svälta is not a tourist destination and that the Swedish islanders will be especially unwelcoming during this, their sacred celebration. Pish posh, they’ve rented an Airbnb. They’ll take the last ferry, face the incredibly unwelcoming islanders, and find their way to the cozy little cottage where their host Mats (Eero Milonof, Border ) lost his mother by beheading about 10 years ago. Says Jessie, “My phone’s got no signal.” Responds her brother, “Of course it hasn’t. We’ve come on holiday to a Swedish horror film.” Even though Get Away quickly veers into Wicker Man territory by way of Midsommar , director Steffan Haars has already established the darkly humorous vibe that will permeate the film. But this is not a horror spoof as much as it is a retooling of genre tropes meant to keep you on your toes. Frost and Bea make for a fun duo, a dorky pair just trying to have a nice holiday and keep their kids from getting too bored. Milonof delivers an unsettling villainous vibe, as is his way, but the comic elements here allow him to flex a new muscle. Ayres and Croft steal scenes as a pair of teens ironically commenting on everything around them, their lofty adolescent mockery of anything and everything often serving for some well-placed comedy. Ayers even gets a couple of moments of emotional honesty, which she nails. The film’s never frightening, but it does get bloody. The island population and all they’re planning feels a bit undercooked and the red herring is forgettable, but the core cast is having enough fun to keep the film upbeat and entertaining. With some well-placed Iron Maiden and an odd cover of the old Toto Coelo tune “I Eat Cannibals,” the soundtrack keeps you intrigued as well. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Woodlands Dark and Days Bewitched: A History of Folk Horror film review by UK film critic Hope Madden. Starring Kier-La Janisse, Kevin Kolsch, Dennis Widmyer directed by Kier-La Janisse. HOME | FILMS | REVIEWS Woodlands Dark and Days Bewitched: A History of Folk Horror Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 11, 2022 Directed by: Kier-La Janisse Written by: Kier-La Janisse Starring: Kier-La Janisse, Kevin Kolsch, Dennis Widmyer Every so often you come across a movie and think it must have been made specifically for you. In my case, that film is Kier-La Janisse’s 3-hour documentary Woodlands Dark and Days Bewitched: A History of Folk Horror. Yes, that does seem like a very big time commitment to folk horror, but Janisse’s film repays your undertaking with not only an incredibly informative documentary but an engaging, creepy and beautifully made film. Dividing her topic into chapters, Janisse portions out information theme by theme. And while this essay-style documentation is driven by expert commentary, the filmmaker surrounds the scholarly material with beguiling imagery. Every chapter has its own look and feel, each one opening with an appropriately bewitching bit of rhyme. Then it leads you through a clearly articulated and fairly comprehensive examination of certain moments in folk horror. Janisse opens on the big three, The Unholy Trinity–Blood on Satan’s Claw , Witchfinder General and The Wicker Man —as a way to ease us into the conversation by pinning major themes on well-known films. She goes on to explore TV and written tales tangentially, though her focus is always primarily on film, taking us from The Wicker Man through Midsommar . In between, she introduces dozens of underseen films and traces not only the history of folk horror but the societal anxieties that these films represent. And while many may think mainly of British films of the 1960s and 70s for this category, Janisse presents an intriguing global history that unveils universal primal preoccupations from England to Argentina, the US to Lapland and beyond. Dry as that may sound, between the snippets of the movies themselves and the fluid, often creepy presentation, Woodlands Dark and Days Bewitched becomes as transfixing a film as those it dissects. And it digs deep, into obscure titles new and old. Border ! White Reindee r! Onibaba ! Viy ! Prevenge ! Bonus: You can find a gorgeous array of folk horror streaming on Shudder this month, including The Wicker Man, Blood on Satan’s Claw and Witchfinder General . There are so many, you can’t blame even a 3-hour film for leaving some out. Here are a few masterpieces glimpsed but not discussed and well worth your time: Hagazussa November The Wailing Kill List And even then, there are some favorites not discussed at all that you might want to check out: Borgman Hex The Droving Luz: Flower of Evil Roh How can three hours of folk horror discussion not be enough? It’s a question that points to what may be the greatest strength of Janisse’s film. Like any truly strong documentary, her film not only covers its topic comprehensively, it inspires you to dig deeper on your own time. About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

When The Balloon Bursts film review by UK film critic Swati Verma . Starring Dinithi Fernando, Lance Lawyer, Brian Robert Calfano directed by Tanmay Srivastav. HOME | FILMS | REVIEWS When The Balloon Bursts Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: May 1, 2025 Directed by: Tanmay Srivastav Written by: Tanmay Srivastav, James Philips Hunter Shallcross Starring: Dinithi Fernando, Lance Lawyer, Brian Robert Calfano Writer-director Tanmay Srivastav along with other writers James Philips, and Hunter Shallcross attempts to bring out the emotions/struggles of the foreign students through this beautiful intriguing film. Dinithi Fernando, Lance Lawyer, and the supporting cast understand the nuances therefore building the degree of audience engagement with the content instantly. The plot of When The Balloon Bursts revolves around two foreign exchange students who experience the pressure of every day life. They reminisce in their shared love for poetry. But as the pressure builds their will to keep going is tested and there’s no telling when the balloon will burst. The short film begins with a combination of mid-closeup shots of a door from where we see Niya (Dinithi Fernando) enter school followed by the class in a chaotic mood sets up the subject matter of the movie. The conversation in her mother tongue has been incorporated to provide the female protagonist with a sense of relief. The voiceover utilised by the makers makes the storytelling more intense with a crucial subplot. The set design, colour pallet, lighting, camera angles, sound, music, dialogues, costume, hair, makeup, and props are kept natural to complement the various situations in the storyline. In terms of performance, Dinithi Fernando plays the role of the female protagonist Niya who is trying to gather all her strength and confidence to strike a balance between academics as well as life in the new country. Fernando showcases two different personalities of Niya very effectively so that the makers can depict her equation with her dad and school authorities as the narrative picks up pace. Lance Lawyer plays Joshua who motivates Niya with a special note as they are in the same situation in life. Lawyer as Joshua is treat to watch as he subtly talks about his learnings from the life experiences and shares the same with Niya so she can use it to make her a better person both on a personal as well as professional level. When The Balloon Bursts reiterates that all kinds of struggles/ pressures in people’s lives will always exist but it depends on us how we handle it to paint our canvas and lead our lives how we want to. The short film talks about the importance of a strong support system from friends, family or even strangers so that they can provide one the courage to express and not suffer in silence. The dramatic piece teaches the audience how crucial it is to prioritise mental health. The cinematic piece also talks about the responsibility the authorities must exercise towards all students so that these children can openly communicate regarding any physical or mental discomfort while pursuing the courses of their choice. It is often said that change is the only constant but one needs some comfort in order to excel academically. When The Balloon Bursts highlights that one should be ready to combat every situation in life because it is unpredictable. The creative piece tells us that not only hard work but overall well-being is necessary to achieve success in a true sense. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Clout film review by UK film critic Jason Knight. Starring Martina Kaura, Nicholas Kulesa, Ivy Munnerlyn, Michelle Nichols directed by Courtney Geiger. HOME | FILMS | REVIEWS Clout Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 11, 2022 Directed by: Courtney Geiger Written by: Courtney Geiger Starring: Martina Kaura, Nicholas Kulesa, Ivy Munnerlyn, Michelle Nichols A young woman becomes an online sensation and finds fame and trouble. Vada (Kaura) has just finished college and does not know how to proceed. She has been rejected by the universities she applied to and is unable to find a decent job. As one of her hobbies includes making videos and posting them online, she decides to turn that into a career. She manages to be a successful YouTuber, however her actions ends up negatively affecting her social life and turning her into a ruthless, inconsiderate person. Filmed almost entirely through webcams, this intriguing drama provides an informative insight into the power of the internet and social media by showing how these two can influence people and what the life of a YouTuber is like. The narratives focuses on a lonely and depressed individual, who initially creates and uploads videos of her everyday experiences as way to escape her unhappy life. Believing that she has hit a brick wall, she turns to becoming an online celebrity, hoping for the best. This turns out to have positive and negative consequences. She gains more and more followers and begins a romantic relationship, but also starts a confrontation with another well-known YouTuber, leading to further misfortunes. The story explores many negative things that are associated with online socialising in today's world. It reveals people's obsession with fame and how the internet can help them achieve that but also how it can ruin their life. The screenplay shows how the internet can be utilised to humiliate people, how one can become utterly dependent on social media and suggests that videos that show people going through bad experiences tend to receive a lot of attention. As the main character, Kaura leads the film well as a social media personality whose popularity keeps on rising. At first, she is a sad person, who self-harms, takes antidepressants, sees a therapist and lives with her stepmother with whom she has a troubled relationship. After finding success through her online activities, she becomes more confident, changes her appearance, but also turns vengeful and cunning. Kaura portrays the changes that her character goes through very well and Kulesa is great in his role as her supportive partner, who however does not embrace social media as much as she does. Watching this feature is like viewing social media. Vada is constantly seen filming herself and others and looking into the camera, talking about how she feels and what she is doing. Texts often appear on screen, added by her, explaining what is going on and occasionally the number of her followers is revealed, which keeps on rising. The film is separated into chapters, each one with its own title. The soundtrack contains many amusing songs and makes extensive use of The Devil's Trill Violin Sonata in G minor by Giuseppe Tartini. Geiger also worked on the editing and develops good techniques involving superimposition. This is a story about the dominance that social media can have over people and how easy it is for someone to use them to humiliate others. It explores the path to becoming an online celebrity, which is a career many pursue in today's world and points out what is good and what is bad about that line of work. With her first feature film, Geiger has created a movie that paints a realistic image regarding mental health, self-harm and the impact of social media. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Call film review by UK film critic William Hemingway. Starring Jo Martin, Amarah-Jae St. Aubyn directed by Riffy Ahmed. HOME | FILMS | REVIEWS The Call Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: May 4, 2024 Directed by: Riffy Ahmed Written by: Vanessa Rose Starring: Jo Martin, Amarah-Jae St. Aubyn On the off chance that you don’t already know this, let me give you a little bit of backstory: The asteroid Apophis – designation 99942 – is a near Earth asteroid with a diameter of 370 metres which was classed as a potentially hazardous object, in astronomical terms, when initial observations in 2004 suggested a 2.7% probability that it would hit the Earth in the Spring of 2029. The asteroid was named after the Greek god of chaos and undoing, who was in turn a representation of the Egyptian god, Apep – The Lord of Chaos, who embodied darkness and disorder. As is the way of these things, the geeky scientists who discovered and named the asteroid were also big fans of the classic sci-fi show Stargate-SG1 , where an alien named Apophis was the main antagonist and the greatest threat to life on Earth. There’s no need to worry though because the asteroid was downgraded fairly quickly and is now known to have no chance of impacting the Earth in the next hundred years. Phew! In the short film The Call , from director Riffy Ahmed and writer Vanessa Rose, one of the main characters, Cora (Martin) has found herself to be completely distracted by what she thinks is the appearance of Apophis in the sky. Cora’s daughter Athena (St. Aubyn), on the other hand, just can’t get on board with such outlandish stories and feels that her mother is entering into a slow, steady mental decline in her twilight years. When we first meet Athena, she is on her way to her mum’s flat in an inner-city tower block. Athena’s mum hasn’t been answering her phone and it seems likely that she has forgotten about the rendezvous they had arranged the week before. As she approaches the door of the flat, Athena sees that the mail hasn’t been collected for some time and is overflowing out of the letterbox. When she is finally let inside things don’t look any better, with clutter everywhere and the curtains drawn, and Athena soon discovers that her mother has taken the double precaution of leaving the phone’s receiver off the hook as well as unplugging it from the wall. In her perceived mania, Cora explains that the phone had been ringing all night and she was not ready to deal with whoever was on the other end of the line. As Athena tries to get out of her mother just what is going on, and subsequently finds an eviction notice, the two women discuss their relationship over the years and a host of cross-matched feelings are brought to the fore. It’s clear that there’s always been a lot of love between the two characters, and despite Cora’s distracted demeanour and Athena’s obvious frustration, the entire scenario within the small flat is completely filled with warmth and tenderness. Everything in The Call is conveyed with a sumptuous attention to light and to colour, with Pep Bosch’s cinematography and Riffy Ahmed’s direction keeping the inside scenes close while allowing the outside shots to appear expansive. The jazzy rhythms from composer Joe Stevenson match up with Cora’s mania perfectly but also know when to calm down and become gentle as the relationship between mother and daughter takes precedence. Similarly, the performances from Jo Martin and Amarah-Jae St Aubyn allude to a history and a certain quiet knowing from the characters while they both try to deal with the current situation from their own perspectives. There’s a lot to recommend The Call to the viewer as it plays out its small family drama with a twist. Unfortunately, the twist is telegraphed all too early on and when it does come along it’s barely any surprise at all, with an underwhelming costume change to boot. The family dynamics, which are really the heart of the film, never get explored fully and it’s hard to understand why Vanessa Rose decided to aim for the denouement that she did. The Call runs like any regular relationship drama with a throughline that’s pretty easy to spot where it’s going, which when the story clearly has elements that should suggest that it’s anything but run-of-the-mill, becomes slightly unsatisfying despite its feelgood factor. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Ascension film review by UK film critic Christie Robb. Starring no names given directed by Jessica Kingdon. HOME | FILMS | REVIEWS Ascension Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Oct 12, 2021 Directed by: Jessica Kingdon Written by: Jessica Kingdon Starring: no names given If the makers of Black Mirror made a documentary, I imagine it would feel a lot like Jessica Kingdon’s Ascension . Presented with no voice-over, written narrative, or expert interviews, the film traces Chinese capitalism from cattle-call like recruitment fairs for entry-level factory work, to shots of machines spitting out piles and piles and piles of single-use plastic doodads, through military-inspired company cultural training exercises for middle managers, to seminars aimed at budding entrepreneurs trying to “monetize [their] personal brand.” The film hits its social apex as a group of youngish elites dine on French pastries while discussing exactly how much knowledge a government should allow its citizens in order to be globally competitive. With arresting and disorienting camera positions, sharp cuts, and an anxiety-producing soundtrack that would elevate any horror movie, the alienating effect of consumerism is more than carried across. What we are hearing sold is a Chinese version of the “American Dream,” in which there is a promise of wealth distribution to those who “deserve it.” But what we are seeing is the cost of that dream. It’s a nightmare of repetitive work, managerial corruption, and alienating corporate propaganda. Employees are encouraged to work harder and faster than sanity would indicate is advisable. All knowledge must be monetized. Families must be deprioritized. Relationships are reduced to whether you are influenced or influencing. At one point, a CEO delivers a presentation and mentions that China has the potential to be five times the consumer that America is. By that point in the film, the line might as well be underscored by the shrieking violin in Hitchcock’s Psycho . It inspires nightmare images of the future. The human race drooling incapacitated in front of a screen buried in an ocean’s worth of water bottles in the best-case scenario. Or being whipped by a screaming boss demanding you to make more water bottles faster in an unregulated and perilous working environment. This isn’t to say the film is completely without humor. The funny moments are just…well…dark. At one point a photographer is barking orders while snapping shots of an influencer on the pristine lawn of a resort. She complains bitterly of the heat, “I can get a heatstroke out here.” Meanwhile, a laborer squats a little ways down the lawn painstakingly removing each invading weed by hand. It’s heavy-handed, but Christ on a container ship, Ascension is effective. About the Film Critic Christie Robb Theatrical Release, Documentary, World Cinema < All Reviews Next Film Review >

Sahurda film review by UK film critic William Curzon. Starring Pasan Ranaweera, Sasindu Randi directed by Janith Imaduwage . HOME | FILMS | REVIEWS Sahurda Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 10, 2025 Directed by: Janith Imaduwage Written by: Janith Imaduwage Starring: Pasan Ranaweera, Sasindu Randi Sahurda follows Adeesha (Sasindu Randi), a postman, who dedicates his life to his work. Due to being incredibly busy with his job, he barely has time to spend with his loving wife. One day, while delivering letters to a house, he discovers a letter without an address and notices many other letters that are similar. Adeesha then goes on a journey of discovery, attempting to decipher the meaning behind the letters. The narrative was inspired by Nobel Laureate Richard Feynman, whose letters to his wife influenced the creation of the piece. The film opens with a washed-out and indistinct look, as it tracks the protagonist wandering the neighbourhood delivering letters to houses. Formally, the piece is mostly impressive with its evasive and moody atmospheric score, which pervades sequences of exploration throughout Adeesha’s routine. At the same time, the narrative feels rather aimless; however, a plethora of technical elements soar, in particular Eshan Manusanka’s camerawork, which utilises a mix of close-ups and fixed shots following Adeesha and the environments around him. On the other hand, some of the editing is jarring as it rapidly cuts from one sequence to another while bizarrely shifting aspect ratios. Audio can also be cut out at times, almost taking you out of the experience entirely, which could have potentially been thanks to its budget restraints. The central performance from Sasindu Randi is genuinely compelling as he radiates a profound level of nuance and restraint, hiding his deep melancholy behind his work. One of the most compelling aspects of the film is the relationship that is briefly depicted through scenes of flashbacks, giving the viewer a minor glimpse of the warmth that blossomed between Professor Philips Fernando (Pasan Ranaweera) and his wife and the sheer regret that looms over him by the time lost. Even with its shortcomings along the way and the minor runtime, the piece still manages to emotionally resonate as a viewer, especially given that it's based on a real letter. A deeper characterisation and exploration into their relationship with a prolonged runtime, however, could’ve potentially fleshed out the ideas the filmmakers wanted to delve into and made the finished cut more impactful. The climax is also abrupt, and tonally it feels confused and misguided at times, particularly in how sentimental it presents itself, as well as in the devastating nature of the central revelation. A bizarre use of visuals is apparent throughout the credits, which bears no resemblance to the narrative, accompanied by an oddly inserted post-credit scene, which adds nothing to the conclusion. Miyuranga Wickramasinghe’s musical score is profound and understated, effectively anchoring moments of stillness while Professor Philips reflects on the past and present. Thematically, the screenplay draws comparisons to quantum computing when discussing the unpredictability of uncontrollable impulses within complex problems, particularly in younger individuals. The supporting cast is terrific, especially Pasan Ranaweera, who, in his portrayal of Professor Philips, displays an incredible degree of confidence and nuance, balancing the more dialogue-heavy sequences when discussing the intricacies of quantum computing and the more intimate moments of reflection. Sahurda is a profoundly moving depiction of regret and grief over the time lost between two individuals, with its heart in the right place. It may suffer from minor technical issues and baffling tonal redirects visually, and it does not have much to chew on thematically either. However, the two lead performances from Pasan Ranaweera and Sasindu Randi are astounding in their dual characterisation, both in search of closure in their respective arcs. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

The Misanthrope film review by UK film critic Patrick Foley. Starring Andy Kastelic, Sarah Minnich, Trine Christensen directed by Andy Kastelic. HOME | FILMS | REVIEWS The Misanthrope Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Jan 7, 2022 Directed by: Andy Kastelic Written by: Andy Kastelic Starring: Andy Kastelic, Sarah Minnich, Trine Christensen The short story of a grief-stricken gravedigger in the American Old West hits upon thoroughly contemporary emotional beats in Andy Kastelic’s The Misanthrope. This beautifully shot short is one which will start your 2022 off right. A small town in an American desert is stricken by a mystery plague. A gravedigger named Jeb (Kastelic) perseveres with his morbidly increased workload. But as more and more mourners leave flowers upon gravesites, Jeb imposes a tyrannical rule: that all flowers be banned from the graveyard. His cruel proclamation is intertwined with his own tragedy – and confronting this is the only hope for his own soul. The Misanthrope is a wonderful short tackling the heavy subjects of death, loss, grief, and acceptance, whilst delivering beautiful cinematography and stunning performances to make for a dynamic and affecting experience. Jeb’s journey from despair, into tyranny and anger, before reaching a nadir which triggers redemption, is a classic tale – but one which feels fresh and alive thanks to director and star Andy Kastelic’s imaginative and inventive storytelling. A montage of mourners, each echoing each other’s eulogies act as hammer blows to Jeb’s hidden grief. Ethereal visions of Jeb’s wife Kitty (Sarah Minnich) tell us the story of his pain. And Tom Schuch’s narrator provides an appropriately gruff cowboy voiceover to keep proceedings grounded, and personal. Of course, the real-life parallels with the current pandemic, and the vast loss of life felt all over the world are clear to see. The film’s message that anger is no cure for grief is plain and relevant for modern audiences. And the clear theme of the good that a loving community can achieve is similarly evident. The story transcends Covid, and is much more than a metaphor for current events. But the profound circumstances of its creation cannot be ignored. The film features a striking performance from director Andy Kastelic. His Jeb has echoes of the fanatical Eli Sunday played by Paul Dano in There Will Be Blood, as the gravedigger’s zealous and vengeful forbidding of flowers acts as a lashing out against his own suffering. There are some moments where the performance begins to feel a little stagey, and reactions of the mourning community to Jeb’s malice would have assisted in making some scenes feel more natural. However, this is a minor flaw in an otherwise domineering presence that audiences will be engrossed by. The rest of the cast feature in relatively small roles, however their monologues for their lost loved ones are emotional and heart-breaking – particularly that of William Sterchi as ‘The Rose’. The film is also visually stunning. The bright, wide shots of the open vista clash with the dreadful circumstances the town faces – and this hints that Jeb’s negativity and bitterness is in conflict with what his own surroundings and community are trying to offer him. The desert setting also feels simultaneously alive, whilst also barren enough to allow for the cast – primarily Kastelic – to dominate the screen with their expressive and complete performances. Production is truly in the film’s favour – and audiences will feel immersed in the old west thanks to the brilliantly realised sets and costumes whilst also spoken to by excellent and modern filming and camerawork. The performances and presentation of The Misanthrope are reason enough to seek it out, but the message at the heart of this short will connect to audiences in a way that few films truly manage. For a film about death, there is a lot of life to it. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >