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Wings of '44 film review by UK film critic Chris Buick. Starring Toby Haycock, Aidan Regnaud, Matthew Harper, Cameron McKenna directed by O’Callaghan. HOME | FILMS | REVIEWS Wings of '44 Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Sep 24, 2023 Directed by: O’Callaghan Written by: Morgan O’Callaghan Starring: Toby Haycock, Aidan Regnaud, Matthew Harper, Cameron McKenna After a RAF pilot is shot down over Nazi-occupied France and rescued by a German pilot, an unsteady alliance is forged between the two as they seek refuge from the danger that pursues them. But how long until that danger finally catches up to them? Written and directed by Morgan O’Callaghan, Wings of ‘44 is an interesting film that excels in a lot of key aspects, but also gets in its own way by not establishing some storytelling fundamentals. It’s a remarkably clean looking film, several of the clever techniques that O’Callaghan employs here really help sell the authenticity of both the films’ setting and period, making the world they are taking us into believable and initially at least, engaging, even managing to add some simple but effective special effects in there for the films dog-fight scene which work well. Coupled with excellent scoring from Samuel Johnson, Wings of ‘44 is quite a professional looking and sounding piece of filmmaking. What gets in the way of all that great aesthetic and score unfortunately is that Wings of ‘44 suffers from really needing to tighten things up in terms of writing, both in its story and its dialogue. Despite an intriguing opening, it then takes a fair amount of time to get anywhere significant, audiences limited to watching both leads trek through the woods silently for over five minutes before the film takes any kind of narrative shift and even then, ultimately after twenty-four and a half minutes are up, one is left wondering exactly what story the film has been trying to tell us. A lot of the runtime in fact seems to just be padding to allow the film to awkwardly stumble towards its climatic finale which, whether deliberately or not (but seems likely so), mirrors very closely the famous opening of Tarantino’s Inglourious Basterds. And of course, while that in itself is not a problem at all, comparisons are then inevitably going to be drawn which then puts an unfortunate spotlight on the films lacklustre writing even more. To be fair it is a finale that tries its best and has moments of brilliance but ultimately doesn’t hit the highs it should. While the two leads do shine more in some of the films more intense moments, none of the performances either from our main characters or the supporting cast give the film the gravitas it should have. McKenna as Otto doesn’t get a lot to do really here so is harder to judge, but Haycock’s George, your stereotypical British, stiff-upper-lip RAF man, Regnaud’s French farmer and Harpers particularly questionable SS Commander are not only let down by a shaky script but are underwhelming with what they do have as well. Both factors together mean the film doesn’t get the full tension or attention it deserves in these final moments, despite all that hard work done by the heart-pounding score and crafty camerawork. Wings of ‘44 manages to get off the ground well enough with some great visuals and sound, but it’s a bumpy flight with a rough landing in terms of story and performances. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Devon film review by UK film critic William Hemingway. Starring Kabir McNeely, Emily Steelhammer, Maximilian Itsikson directed by Kabir McNeely. HOME | FILMS | REVIEWS Devon Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 15, 2024 Directed by: Kabir McNeely Written by: Kabir McNeely Starring: Kabir McNeely, Emily Steelhammer, Maximilian Itsikson Devon (McNeely) is struggling with his life. At only seventeen he already feels that the pressure of the world is too much and as a result it has turned him into something of a recluse. When we meet him, Devon is finding it difficult to make friends or find a group where he feels he belongs, and the feelings he has for his closest confidant and ally, Cameron (Itsikson) are only complicating matters. Devon constantly feels as though he is fat and ugly and as such has been starving himself in order to get his weight down. As revealed to us by a letter containing results of a previous psychological examination, we find Devon is suffering from ‘generalised anxiety’ and a ‘binge eating disorder’. As we follow Devon’s story we watch as he alienates and pushes away anyone who tries to get close to him. His general demeanour is guarded and rude, and the constant anxiety which he feels about himself causes him to blame other people when they show a genuine interest. His surliness and incessant moping around weighs heavily on his mother (Steelhammer), who just wants to be able to say the right thing, to offer her son some support and maybe even to see him eat something. Cameron, too, would like something to happen and offers up opportunity after opportunity for Devon to get involved and have some fun. Devon though, is too busy hating on himself; he just can’t see a way clear from the situation he finds himself in, and eventually he comes to the conclusion that he may be better taking the matter into his own hands. What we are being given then, from writer, director and star of Devon , Kabir McNeely, is an autobiographical tale of the difficulties of growing up when you don’t really like yourself. We are supposedly getting the story (this time) from the mother’s point of view, looking on helplessly as her son degenerates into a cycle of self-destruction from which he cannot be saved, mostly because he is unable to save himself. However, McNeely’s need to keep himself firmly in the centre of almost every frame of the film means that this viewpoint is somewhat relegated to the background. It may help explain though, why it is that Devon is portrayed as a character who is so very difficult to like. Made on a shoestring budget of around $5000, with actors recruited from the Backstage casting site for no pay, it’s obvious that McNeely is struggling to get any sort of professional feel to his production. The direction and photography are fairly amateur throughout, with an over reliance on the over-the-shoulder handicam to take us through every scene, and no real risks or creative ideas seem to have been utilised during filming. The music jars at certain points as over-intense choral singing and strings pop up at inappropriate moments, making a mockery of any (small) amount of drama the scenes manage to create, and the (over)acting from McNeely begins to feel really put on the more into the film we get. The script is, however, true-to-life, capturing the difficulties of growing up in an image conscious society while also showing the awkwardness that comes from being a teenager trying to navigate their own way in the world. The fact that McNeely has himself lived through, to some degree, what he is presenting helps add that authenticity to the dialogue. It is a shame then, that this is a story which has been told before, almost exactly, by McNeely himself. Not even six months before Devon’s streaming release, McNeely’s previous project, My Name Is Moe (2023) was uploaded onto YouTube, dealing with the very same issues and from which some ideas, dialogue and scenes in Devon have been directly lifted. It is obvious that the subject matter is so incredibly personal and relevant to McNeely that he feels the need to revisit it again in a new production, but with that he leaves himself open to the law of diminishing returns. Anyone who has seen My Name Is Moe will find nothing new in Devon , and unsurprisingly the more that you look at them both the more it feels like McNeely has run out of ideas. All credit must go to McNeely for trying to highlight a difficult and timely issue which is affecting an increasing number of the current generation, however, with the restrictions surrounding the production along with the amateur level of the filmmakers themselves, Devon just doesn’t do justice to the themes it portrays. About the Film Critic William Hemingway Short Film, Digital / DVD Release, LGBTQ+ < All Reviews Next Film Review >

Cheaper By the Dozen film review by UK film critic George Wolf. Starring Gabrielle Union, Zach Braf directed by Gail Lerner. HOME | FILMS | REVIEWS Cheaper By the Dozen Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Mar 18, 2022 Directed by: Gail Lerner Written by: Kenya Barris, Jenifer Rice-Genzuk, Craig Titley Starring: Gabrielle Union, Zach Braf By now, you’re probably pretty familiar with the premise of Cheaper by the Dozen. But really, the best way for adults to enjoy this new Disney version is by using it as a way to gently introduce small children to more grown up issues. Otherwise, it’s pretty insufferable. This time, the heads of the blended brood are Zoey and Paul Baker (Gabrielle Union and Zach Braff), who first meet cute at the L.A. breakfast joint he owns. Their marriage and eventual offspring create a blended family full of diverse and seriously precocious siblings, step-siblings, and later a wayward cousin in need of some guidance. Throw in two ex-spouses (Erika Christensen and Timon Kyle Durrett) who are never far from the shenanigans, and that’s the way they become the Baker bunch. Director Gail Lerner and the writing team of Kenya Barris, Jenifer Rice-Genzuk and Craig Titley all have extensive credits in series television, which would be a good reason why everything about this film screams “TV sitcom.” Plot points are hastily introduced and heavily contrived, while any conflicts are soft-peddled and quickly worked through with barely a bad mood or sass mouth in sight. One thing you will see is some surprisingly modest set design (especially for those high school basketball games, yikes) that too often seems fit for an afterschool special. The Bakers get a corporate offer to franchise the diner and market Paul’s special cooking sauce, so the gang moves on up to a sprawling house in Calabasas that requires just one afternoon to completely move into. But settling into a new home brings some challenges for everyone. There’s bullying, peer pressure, and dating drama for the kids, while the parents face bless-your-heart prejudices and questions about mixed-race parenting. Union and Braff are both likable actors, and that’s all they are asked to be, because no one in the film comes anywhere close to resembling a real person. And much like these characters, all the worthy issues raised are treated with a “we got 23 minutes minus commercials” mindset and wedged in between telegraphed attempts at humor and constant mugging. The PG rating is a bit surprising, because despite the warning of “thematic elements, suggestive material, and language,” everything here is as sanitized as a freshly minted urinal cake. Cheaper by the Dozen , yes. And you get what you pay for. About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Becoming The Queen Of The North film review by UK film critic Swati Verma. Starring Gia Adams, Gabrielle Brown, Tom Campbell directed by Aziz Altamimi. HOME | FILMS | REVIEWS Becoming The Queen Of The North Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 6, 2023 Directed by: Aziz Altamimi Written by: Aziz Altamimi Starring: Gia Adams, Gabrielle Brown, Tom Campbell The writer-director Aziz Altamimi builds up an intricate script paying tribute to the big names in the world of wrestling and what impact they have on the lives of both Gabrielle Brown and Gia Adams. The plot follows a professional wrestler Gia Adams and a Teacher Gabrielle Brown as they slowly unite and face their biggest challenge to date. The short film Becoming The Queen Of The North begins with a mid-closeup shot of Gia Adams along with a voice-over and upbeat music providing the details of her life increasing the degree of audience engagement with the content of the movie. The long shot of Gia Adam’s wrestling sessions and preparation at the gym lifting weights has been captured by the cinematographer to showcase her passion and dedication towards the sports to ultimately choose the same as her profession. The interview format utilised by the creative team helps them differentiate between the description of the parallel journey allowing the viewers to interpret it as per their understanding. The set design, the black, white, pink, and blue colour palette, dim lighting, sound, dialogues, costume, hair, and makeup have been kept natural to complement and elevate the realism and relatability factor also ensuring that continuity is not compromised to maintain the interest of the audience. The makers of Becoming The Queen Of The North add some animated sketches as the credits roll in demonstrating various behind-the-scene moments allowing the movie to stay with the audience even after they have finished watching it. In terms of performance, Gia Adams plays herself in the movie and narrates her quest towards a fulfilling as well as successful career learning a lot from her idols and also inspiring many youngsters along the way. Adams with voice modulation and body language has the power to extract the desired emotion from the audience side with every changing situation in the script. Gabrielle Brown is a teacher with numerous dreams in her eyes. Brown brings out a very different tangent to the story than Adams introducing the personal space of the wrestler in front of the audience. Tom Campbell plays the role of commentator and lends his voice to add more glory to an illustrious personality. The slight changes in the upbeat tone help the audience to become very excited and interested in knowing all the aspects of the sports person’s life. Becoming The Queen Of The North talks about celebrating women and their achievements. The short film reiterates the importance of believing in one’s dream and continuously striving to work for the dream to come true without losing hope. The dramatic piece highlights the significance of a strong support system from family and loved ones to boost their confidence to perform well each day and stay grounded at the same time. The cinematic piece tells the audience to enjoy the work one does as it gives them strength to deal with the problems/issues and emerge to eventually become a better human being. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Devotion film review by UK film critic George Wolf. Starring Jonathan Majors, Glen Powell directed by J.D. Dillard. HOME | FILMS | REVIEWS Devotion Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 23, 2022 Directed by: J.D. Dillard Written by: Jake Crane, Jonathan Stewart, Adam Makos Starring: Jonathan Majors, Glen Powell Both the title and the trailer hint at a formulaic, button-pushing war movie. Heck, seeing Glen Powell back in a cockpit might have Top Gun: Maverick fans hoping for a slice of Hangman’s family backstory. Happily, neither pans out. Devotion does offer some thrilling air maneuvers, but reaches even greater heights with an inspiring, true-life account of two friends in a “forgotten war.” Director J.D. Dillard (Sleight )and screenwriters Jake Crane and Jonathan Stewart bring hard truths and humanity to their adaptation of Adam Makos’s book detailing the bond between airmen on the eve of the Korean War. Ensign Jesse Brown (Jonathan Majors) is the Navy’s first African American aviator. Lt. Tom Hudner (Powell), the “new guy,” is assigned to be his wingman. When Squadron 32 gets airborne, Dillard and cinematographer Erik Messerschmidt deliver some gripping goods. But away from the runway, two sterling performances and an understated script enable the film to bypass most of the usual cliches for an effective look at struggle, sacrifice and the need for true allies in the fight for equality. Majors is so good, delivering his best work since The Last Black Man in San Francisco . His commanding physical presence comes easily, but the way Majors conveys the soul-deep pain beneath Jesse’s strong silence is never less than moving. Powell is an impressive wingman here, as well, as a man of privilege who can’t ignore the contradictions between Jesse’s service and the treatment he so often endures. So come for the aerial dogfights, you won’t be disappointed. But Devotion also serves up something special on the ground, and that’s worth saluting. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Kaamdev film review by UK film critic Patrick Foley. Starring Vishal Om Prakash, Shriya Jha, Harleen Rekhi directed by Prabhakar Pant. HOME | FILMS | REVIEWS Kaamdev Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 18, 2024 Directed by: Prabhakar Pant Written by: Prabhakar Pant Starring: Vishal Om Prakash, Shriya Jha, Harleen Rekhi Hindi-language short Kaamdev is a short film in the mould of an Indian sitcom – a novelty to most UK-viewers – that handles matters like family strife, poverty and isolation with an affable, yet slightly lightweight humour. When he struggles with finances and the shame of earning much less than his wife, Dev (Vishal Om Prakash) receives an unexpected phone call. Promising him untold earnings, the woman on the end of the line, Sona (Harlee Rekhi), lures Dev in to what seems like an obvious scam. But the pair end up finding unexpected common ground between them as the truth comes out. Kaamdev is a surprisingly amusing and heartfelt short film that enjoys experimenting with genre staples to result in an original concept. Accompanied by a live-studio-audience-style laugh-track throughout, though never attempting to convince the viewer that it was shot as such, much of the film exists in a strange space whereby Dev’s story feels almost ominously surreal. This is never fully committed to by the director, yet the absence of the laughter as the film proceeds and becomes all the more sincere makes for a surprisingly powerful impact. The film is packed with similarly classic sitcom-esque humour. None of the jokes are particularly strong, though perhaps land better in the original Hindi than they do over translation. Dev’s financial circumstances are the basis for much of the back-and-forth in the film’s opening third, as well as when Sona becomes increasingly frustrated at her failure to extract money from her mark. It’s old-school humour, and perhaps much more prescient in its native country than in the UK, but much of it translates well enough. The plot of the film is straightforward enough and acts mainly as a vehicle for the humour. Where perhaps it falls short is that a major decision by Dev at the film’s end doesn’t feel earned, and doesn’t have any consequences of note once it is made despite significant build-up of Dev’s financial situation. The lack of a physical meeting between Dev and Sona is a factor in this, as is the general failure to land Sona as a sympathetic, or crucially, trustworthy character. Granted, it is a sickly-sweet sitcom where normal human behaviour need not always apply, but given the prominence given to contemporary political and societal issues, it undermines some of the better aspects of commentary the film includes. Perhaps it is the failure to really commit to challenging its own genre that left Kaamdev feeling like a film of unfulfilled potential to me, but a return to the comforting, ‘all’s-well-that-ends-well’ sitcom wrap-up meant this film felt ultimately average. It’s got a good heart, but lacks real punch or purpose. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

End Times film review by UK film critic Swati Verma. Starring Jonah Nakila , Jake Montajes, Renz Nabor, Mai Sato directed by Conrad Dela Cruz. HOME | FILMS | REVIEWS End Times Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 6, 2024 Directed by: Conrad Dela Cruz Written by: Conrad Dela Cruz Starring: Jonah Nakila , Jake Montajes, Renz Nabor, Mai Sato The writer-director Conrad Dela Cruz showcases the minute details of what transpires in the criminal gangs and how it affects the city as well as the country it comes to being in and gradually grows in the same environment. Jonah Nakila, Jake Montajes, Renz Nabor, and Art Arsenio transport the audience to the world Cruz creates and make the viewers feel a sense of being involved with the film. The plot of End Times revolves around Two thieves who hatch a plan to steal the allegedly eight-million-peso cash that one of their members happens to score. The short film begins with the camera panning into the scene and follows various characters with a noisy background indicating the daily routine of the city the gang operates in. The upbeat music/sound and the addition of the traffic have been utilised to maintain the secrecy of what the thieves are planning to do next helping the makers establish the subject matter of the film it deals with. The CCTV camera and voiceovers used in End Times to report the crimes happening around the place add elements of Realism and Relatability to the narrative. The set design, colour pallet, location, lighting, sound, dialogues, costume, hair, makeup, jewelry, and props have been kept natural to elevate the mood and provide depth to both the character arcs and the storyline making it intense for the viewers with every twist in the plot. The nonlinear style adopted by Conrad Dela Cruz allows the audience to interact with many subplots therefore they don’t get bored. In terms of performance, Jake Montajes plays Benny who goes to steal 8-million-peso cash with other valuable stuff that came along with it. Benny is a very critical member and all-rounder responsible for the smooth working of the gang. Montajes with his acting skills portrays the practical as well as the emotional side of Benny’s personality in End Times. Jonah Nakila plays Cass, the active female member of the group. She helps the boys to make major decisions regarding their well-being and handles situations where there is a difference of opinion among the members. Nakila showcases her fierce avatar as Cass with a hint of softness just the right mix to fit the character arc and the screenplay. Renz Nabor plays the role of Joel who is the planner of the squad. Nabor depicts all the qualities of a true leader in his body language. The young actor understands the nuances of Joel as the character is multi-dimensional and therefore the audiences also enjoy his transformation from the beginning to the end all through the running time of the short film. Mai Sato plays Jessa Benny’s wife who is a strong support system and protector he requires all the time considering the nature of his profession. Sato brilliantly illustrates that women can be emotional but also turn into their brutal selves when the danger looms over the people they love and care about. End Times talks about the importance of money in every person’s life especially when it comes to taking care of family. The short film reiterates the fact that making the right choice in life is very crucial because for every wrong choice one makes, he\she would have to pay a heavy price for it always. The cinematic piece advises us to try and help the govt and other authorities to irradicate all the social evils like crime, violence, drugs, drinking, and smoking. The creative piece highlights the harmful effects of crime children have to endure due to their continuous exposure to the same. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

2024 film review by UK film critic Patrick Foley. Starring Ayvianna Snow, The Heartland Collective directed by Michael Johnson. HOME | FILMS | REVIEWS 2024 Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 20, 2025 Directed by: Michael Johnson Written by: Michael Johnson Starring: Ayvianna Snow, The Heartland Collective Trump, wars, Oasis ticket prices – a lot of rough stuff went down in 2024. Michael Johnson’s eponymous music video images a world that somehow gets worse after, from which a heroine is sent back in time to rally the world of today to wake up to impending disasters – with a heavy synth rock soundtrack courtesy of Durham band The Heartland Collective to boot. Taking inspiration from The Terminator, the film opens with footage of a world approaching turmoil. As the anxiety-inducing footage crescendos, a young, otherworldly woman (Ayvianna Snow) is sent back from the future, exploring her new peaceful surroundings and strange customs. It’s not long before she sets about her goal, to warn the world of the danger approaching and rally support to fight back. As a short music video, 2024 does a solid job of telling a legible, relevant story (which aligns with the song’s lyrics) whilst also leaving enough focus on the music itself to shine. The intense, urgent chorus is animated by the heroine’s fist-pumping rallying cries in the video, with Heartland Collective themselves making appearances via TV screens. The setup of tumultuous footage at the film’s opening suggests a number of reasons for the sending of the messenger, from war to climate change, giving the video a wide context. Ayvianna Snow is an enigmatic heroine, dolled out in post-apocalyptic gear and makeup that hint at the darkness to come. Her initial intrigue and excitement in her new world comes out in impish fashion, as she fascinates herself with mobile phones on city streets. This gives way to anger and urgency when the realisation kicks in that the new world is in the danger of becoming the one she is already familiar with. It is then when she becomes a vessel for the song’s lyrics – which hint at the seeding of the disasters to come in our indulgences today. The video is very well produced and directed by Michael Johnson who imbues energy and clarity into the short. The urgency of the opening and conclusion of the short surrounds a focus on Snow’s character, who shines in the world she has been sent back to and stands out amongst the background. The film’s effects and editing also impress, with the time travel realised well and the footage of the world of 2024 looking authentic and convincing. 2024 is a solid music video that does a fine job of accompanying its song. There’s an in-built limit on storytelling due to the genre, but the themes and purpose of the song and worn on the video’s chest and come across powerfully. Ayvianna Snow steals the show with her performance, and really makes the difference in hammering home the urgency of the message that what we do today impacts the world of tomorrow. About the Film Critic Patrick Foley Music Video, Short Film < All Reviews Next Film Review >

Requiem for a Fighter film review by UK film critic Jason Knight. Starring Kim Kold, Enn Reitel, Grayson Matthews, Glenn Dagda, Edie Newman, Cara Partridge directed by Danny Patrick. HOME | FILMS | REVIEWS Requiem for a Fighter Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 18, 2022 Directed by: Danny Patrick Written by: Danny Patrick, Jason Gerard Starring: Kim Kold, Enn Reitel, Grayson Matthews, Glenn Dagda, Edie Newman, Cara Partridge A Danish man goes to Northern Ireland, in order to investigate his son's mysterious passing. There he encounters a variety of characters as he searches for the truth. Lucas (Kold) is a hardened man with a military background and his son has just passed away while in Derry, Northern Ireland. Lucan is not satisfied with the authorities' investigation regarding his passing and he decides to travel from Denmark to Derry and conduct his own search into the causes of his son's demise. In Derry, there is a bare-knuckle fighter named Michael (Matthews), who is managed by his father Liam (Reitel). As Lucas investigates, he gets involved with those people and others in the city. Based on the short film Michael by Jason Gerard, this feature is a dark comedy drama that contains multiple characters whose lives are connected to the story's events. Basically, the narrative consists of two storylines, one is about Lucas' investigation and the other concerns Michael and the issues he has two deal with, including dealing with a fight whose terms he and his dad believe are unfair and trying to come to terms with his sexuality. Other characters include Michael's sister Alice (Newman), a doctor named Peter (Dagda), Michael's girlfriend Emma (Partridge) and two nasty people named Brian and Paddy, who give Michael and his father a hard time while negotiating a fight. There is dark humour and adult humour, mystery and scenes of confrontation and emotional scenes. This movie was made in response to a great deal of homophobic marches and backlash in Northern Ireland against same-sex marriage and Michael appears to be the character who is related to that fact. Michael hides his homosexuality, only revealing it to Peter, his doctor, with whom he has an intimate relationship. Michael's struggle to come to terms with being gay is one of the main conflicts of the film. The feature has a few interesting traits. Some of the characters (the ones with boxing experience actually) are introduced with a title card that caontains their name, nickname and fighting record, which is pretty cool. In some scenes with Lucas, his son's ghost can be seen accompanying him. The ghost looks like his son when he was alive, only that it glows a bit and does not speak or interact. Having this apparition is odd and adds a supernatural element to the film. The presence of the young man's spectre might suggest that his father imagines that his son is still with him, encouraging him to seek justice for his son. The phantom is an interesting addition, although maybe it is not really necessary. Patrick directs very well and creates wonderful aerial shots of Derry. Commendations also go to Michael Miles for the beautiful cinematography. Regarding the audio, Paul Casey makes a great contribution with the dramatic score and the soundtrack also includes a number of songs by Paddy Nash. This feature is a viewing that is humorous and also quite dramatic at times. The plot explores homosexuality, loss, the world of combat sports, family, inner struggles and self-discovery. It suggests that one should be who they want to be and not try to hide who they are. With good acting and well-written characters, this movie is a satisfying experience. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Chasing the Championship film review by UK film critic Chris Olson. Starring Chrissy Rouse directed by Dave Baum. HOME | FILMS | REVIEWS Chasing the Championship Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Aug 17, 2022 Directed by: Dave Baum Written by: NA Starring: Chrissy Rouse Films about motorbike racing are pretty rare. The classics are all there for car racing and formula one, such as Rush, Ford v Ferrari, and, of course, Herbie but motorbikes are often in the rearview mirror when it comes to racing movies. With his new documentary Chasing the Championship, filmmaker Dave Baum presents a compelling underdog story of motorbike racer Chrissy Rouse (who is also a part-time teacher) whose journey through the racing industry is full of sharp turns, emergency braking, and plenty of spills. From a young age, Chrissy was a promising bike rider. Baum includes home footage of the lad competing in dirt bike races that at such a young age seem incredibly quick to this viewer. We learn more about how the Rouse family all dedicated their lives and time to supporting Chrissy, eschewing family holidays for racing tournaments and being there for all the different challenges he would face. Coming from a normal background, Chrissy faces a huge disparity when it comes to the financial requirements of motorbike racing and his passion for it. One of the most enjoyable elements of Chasing the Championship is seeing the determination of this guy and how he inspires others to help him achieve his dream. Chrissy also faces bodily injuries and COVID delays (which actually worked in his favour) early on in the film. This was an unusual aspect to the documentary, as the peril seemed to peak very early for the central character (I appreciate that’s just how it happened) but the film focusing on whether or not Chrissy wins the overall championship didn’t quite pack the same emotional heft as bike crashes and global pandemics which come and go very quickly in the piece. The documentary does also give off the slight feeling that this is a thank you from Chrissy to each member of his team - shining a light on their part in his journey - which is fine, as they are all very likeable. Particular shout out to Piggy, the mechanic, who exudes a lovable charm in all his bits to the camera. The film is slickly edited by Baum and feels well polished in terms of production values. The mixture of on-camera interviews, racing footage, home movies, and media clips gives it a really authentic feel and will likely appeal to audiences with a passion for motorsport. I would say, those who aren’t in the know may struggle with the lingo but in general, it’s easy to get a handle of what’s going on (see what I did there?). Much like the various team members, it’s hard not to be won over by Chrissy Rouse’s underdog spirit and good nature. The chapter-like races he competes in are thrilling and the overarching concern about whether he will win the championship title or demolish his very expensive bike will keep viewers interested, especially if they have a penchant for the sport. Watch the official trailer here . Watch my Video Film Review below. About the Film Critic Chris Olson Documentary, Indie Feature Film, Sports Film < All Reviews Next Film Review >

The Panharmonion Chronicles: Times of London film review by UK film critic Patrick Foley. Starring Henry Chebaane directed by Henry Chebaane. HOME | FILMS | REVIEWS The Panharmonion Chronicles: Times of London Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 3, 2024 Directed by: Henry Chebaane Written by: Henry Chebaane Starring: Henry Chebaane Unconventional and experimental music video The Panharmonion Chronicles: Times of London from writer/director Henry Chebaane (who also composes the short film’s accompanying track ‘Quantum Blue’ under the name LX8) is the first in a series that promises to follow a space and time travelling protagonist across a steampunk alternate history, intertwined with the world of a comic book he finds reality-bending parallels with. Chebaane stars as the protagonist, an author stranded in an alternate reality who encounters his creation – a comic series called ‘The Panharmonion Chronicles’. His encounter leads him to explore the idea of multiple realities, and when he is introduced to a mysterious artifact from the book, he realises that there is an entire universe of possibility to be explored. Henry Chebaane has a fascinating, multi-media vision for The Panharmonion Chronicles , one which the music video Times of London forms only a part of. As a writer, director, actor and music artist, as well as creator of the comic title of the same name, Chebaane is looking to combine his worlds into one overarching franchise. But more than that is a desire to explore bigger ideas about consciousness, reality and identity. His protagonist is an explorer, stranded in an alternate world and at terms with this. But in exploring connections between the comic world and the real one, he is forced to confront questions about his own reality. It’s a clever blending of the comic book’s themes and what is conveyed in the video (filmed in King’s Cross station) that is reminiscent of other steampunk adjacent comic projects such as The Umbrella Academy. It’s intriguing that the music track ‘Quantum Blue’ seems to take a backseat in what is a music video. The synth-heavy track doesn’t necessarily align with the scenes we follow in the short plot of the film, though it does feel aligned with the film’s themes of exploration and an expanding world. Darker and more foreboding scenes feel somewhat out of tune however, and if Chebaane is aiming to tell a more complex narrative as his story develops in other projects, the tracks themselves may become a more pressing issue. There is also an issue of limitation for the film, which feels like a beginning of a beginning. We get some sense of the world that Chebaane is looking to integrate and visualise, but this is ultimately only a snapshot. Beyond hinting at possibilities for further instalments, the high-concept themes the director has stated he wishes to explore are not really present in the plot. This may be addressed in subsequent videos, but on its own merits, Times of London comes a little short in this regard. As a standalone video, The Panharmonion Chronicles: Times of London is a fine visual accompaniment to Henry Chebaane’s Quantum Blue track. To launch a greater multimedia project, it does hold intrigue, though more could have been done to hook viewers who may be inclined to follow his characters across different worlds. For ambition alone it is worth a look, and may be re-assessed upon viewing follow-up editions of this story. About the Film Critic Patrick Foley Short Film, Music Video < All Reviews Next Film Review >

Fantastic Beasts: The Secrets of Dumbledore film review by UK film critic Hope Madden. Starring Jude Law, Eddie Redmayne, Mads Mikkelsen directed by David Yates. HOME | FILMS | REVIEWS Fantastic Beasts: The Secrets of Dumbledore Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Apr 14, 2022 Directed by: David Yates Written by: J.K. Rowling, Steve Kloves Starring: Jude Law, Eddie Redmayne, Mads Mikkelsen After much delay, Fantastic Beasts: The Secrets of Dumbledore comes to big screens this weekend. The film is the needless third installment in a 5-part series based on a single 2001 guidebook that walked readers through the various magical animals of the Harry Potter universe. The guidebook’s “author” is Newt Scamander, and Harry Potter has jotted notes throughout it. That’s it. No narrative, no characters, really. It’s like a little, pretend textbook from Hogwarts. The book was a semi-adorable cash grab — one additional little scrap to throw the hungry Harry-heads at the height of Pottermania — meant to raise money for charity. And now it’s a planned 5-part series, each installment thus far clocking in at well over two hours. Oof. The new adventure catches up with Newt (Eddie Redmayne) assembling a ragtag band of witches, wizards and muggles to help mentor Albus Dumbledore (Jude Law) fight the dark magic of Gellert Grindelwald (Mads Mikkelsen). Grindelwald hates muggles (non-magical losers like us) and wants a war. He’ll deceive, bully, appeal to baser instincts, and when it comes down to it, cheat the election to take over the wizarding world. It’s a good guys v bad guys tale with loads of Trumpian nods (keep an eye on that newspaper), but that feels hollow given creator/co-writer J.K. Rowling’s history of bullying vulnerable populations. A main role for the recently shameful Ezra Miller (who plays forlorn baddie Credence Barebone) doesn’t help those optics, either. As superficial spin goes, though, it is nice to have Mikkelsen on board. He replaces Johnny Depp (easily the best thing about the previous installment) as the film’s villain. Where Depp embraced the magical elements and leaned into camp, Mikkelsen is all elegant, understated menace. The cast boasts a lot of solid, wasted talent. Law continues to charm as the unflappable Dumbledore, Redmayne’s quirk tests patience, Dan Fogler’s a bright spot. Director David Yates — who directed four HP movies as well as the previous two installments in this franchise — struggles this go-round to even conjure much visual panache to distract from the bloated, overpopulated and underdeveloped script. Rowling co-writes for the screen again with Steve Kloves, her scripting partner for every Potter and Fantastic Beasts installment. The Potter films often suffered from unimaginative adaptation, which could be chalked up to the writers’ tough time pruning the source material. No idea what’s to blame here, but these movies are not getting any better. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >