Eden film review by UK film critic George Wolf. Starring Jude Law, Ana de Armas, Vanessa Kirby, Sydney sweeney directed by Ron Howard. HOME | FILMS | REVIEWS Eden Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 21, 2025 Directed by: Ron Howard Written by: Noah Pink, Ron Howard Starring: Jude Law, Ana de Armas, Vanessa Kirby, Sydney sweeney Eden tells a fascinating story. And it tells that story in a star-studded, well-crafted way that’s rarely dull, even when the weight of its melodrama gets heavy enough to be nearly undone by the film’s parting shot. Director Ron Howard joins co-writer Noah Pink to recount a historical tale “inspired by the accounts of those who survived” as a parable of greed, power, suspicion and annoying neighbors. “Democracy, Fascism, war. Repeat.” So yeah, still plenty timely. In the years just after WW1, Dr. Friedrich Ritter (Jude Law) and his partner, Dore Strauch (Vanessa Kirby), left civilization for a hardscrabble existence on the Galapagos Island of Floreana. Convinced that mankind was finished, Ritter became determined to write a new philosophy that would save humanity from itself, and in pain…find salvation. His writings were picked up by the occasional passing ship, eventually attracting quite a following among others looking for a new life. And that, of course, led to the very thing Ritter didn’t want on his island: more people. Heinz Wittmer (Daniel Brühl), and his wife Margaret (Sydney Sweeney) arrive first, inspired by Ritter’s vision and hoping for a better climate for their son Harry’s (Jonathan Wittel) tuberculosis. The Wittmers – especially Margaret – prove tougher than Ritter imagines, but the Baroness Eloise Bosquet de Wagner Wehrhorn (Ana de Armas, scene-stealing and never better) is a larger-than-life problem no one expected. The Baroness arrives on Floreana with servants/lovers and a grand plan to build an ulta-exclusive hotel for the wealthiest of tourists. De Armas digs in, crafting her as a shameless narcissist, so ruthless and sociopathic that she’d be cartoonishly absurd if not for the gaslighting cult of personality we wake up to every day. The entire cast shines. And like her or don’t, Sweeney continues to impress with another film that challenges her range and physicality (Margaret must fight off wild dogs and give birth alone…damn!) while eschewing any shades of empty pinup girl glamour. The running time pushes well past 90 minutes, but Howard keeps things humming right along. The dangerous motives, shifting alliances and double crosses create an over the top, sometimes darkly funny concoction that pulls us in, fascinated by who will emerge the victor in this battle for the unhappy high ground. And when the inevitable historical update arrives with the credits, we see footage of the actual people who fought this fight…and they’re laughing, smiling, waving! Like the surprising Maria Callas footage in last year’s Maria , you wonder where these happy people have been hiding the last two hours. Bet they could have shed more light on what life was really like on the island of lost smiles. But would they have been as much primal, pulpy fun? Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Dead in the Dark film review by UK film critic Swati Verma. Starring Jake Montajes, Louie Fuentes, Kayle Baculi, Philip Jay Kho directed by Conrad Dela Cruz . HOME | FILMS | REVIEWS Dead in the Dark Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 2, 2024 Directed by: Conrad Dela Cruz Written by: Conrad Dela Cruz Starring: Jake Montajes, Louie Fuentes, Kayle Baculi, Philip Jay Kho The writer-director Conrad Dela Cruz delves into the nuances of the crime genre with the intricate screenplay. Louie Fuentes, Kayle Baculi, Jake Montajes, and Phillip Jay Kho assist Dela Cruz in giving shape to his imagination. The plot of Dead in the Dark revolves around Two thieves who try to burglarize a desolate house during a rational brownout to find out something about the place that changes their lives forever. The short film begins with the mid-shot of the homeowner lost in a deep thought with a lighter in one hand adjusting the frequency of the radio sitting in the dark adding the elements of mystery and suspense increasing the degree of engagement with the content for the audience. The voiceover in the background and the lights flashing quickly transition to the next scene followed by the title of the movie comes onscreen maintaining the pace of the flow of the narrative so that the viewers don’t lose interest in the same. The set design, the blue and red colour lighting, eerie sound, dialogues, costume, hair, makeup, and props are utilised and incorporated brilliantly to add realism and relatability when dealing with various subplots in the storyline of the crime genre. In terms of performance, Jake Montajes plays the homeowner who is stressed as well as anxious about certain issues trying to combat the internal battles daily. The body language and the facial expressions of Montajes establish the subject matter of Dead in the Dark allowing the audience to learn many life lessons from this character in the story. Louie Fuentes plays the role of the Thief 1 who is more practical one out of the two and wants to concentrate on finishing the task at hand rather than worrying about the emotional drama going on. Fuentes depicts various shades of the burglar with his acting skills in different situations in the script. Kayle Baculi as Thief 2 is a treat to watch. She has come to accompany Louie Fuentes with executing the robbery successfully but her emotions and morals keep getting in the way of her work. Baculi’s dialogue delivery and body language emotionally bind the viewers to Dead in the Dark even after they have finished watching it. Dead in the Dark talks about the importance of being able to communicate what one is feeling to their friends and family rather than opting for the extreme decision of taking their life. The short film reiterates that taking the wrong path whether professionally or in personal space will always result in harmful consequences in the long-term. The cinematic piece highlights the fact that life is unpredictable so we should be prepared for both surprises and dangers at all times. The creative piece tells the audience how crucial it is to be emotional and also possess moral values so that people can differentiate between what is right or wrong helps them to make their lives better for themselves as well as their loved ones. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Theoretically, An Even More Paranoid Conspiratorial Phone Call film review by UK film critic Jason Knight. Starring Jorge Luis Villacorta Santamato directed by Jorge Luis Villacorta Santamato. HOME | FILMS | REVIEWS Theoretically, An Even More Paranoid Conspiratorial Phone Call Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Oct 6, 2021 Directed by: Jorge Luis Villacorta Santamato Written by: Jorge Luis Villacorta Santamato Starring: Jorge Luis Villacorta Santamato A man embarks on a long journey that involves a great deal of phone interaction and no speech. The protagonist (Santamato) is sitting at his desk, in an office. He receives a phone call that seemingly causes him to travel a very long distance in order to reach a specific destination, where he would be able to deal with business. He travels by plane and then by motor vehicle and throughout almost the entire film, he is dealing with his mobile phone. What stands out in this surreal comedy-adventure road movie is that the hero is the only person seen in the film and he never utters a single word. When he uses his phone, he appears to be 'communicating' with the caller by means of facial expressions and hand gestures. He places the phone on his ear and listens and when it is time to respond, he tends to look at the phone's screen and pass on information by making signs with his hands and face, apparently so that the person on the other end of the phone can see them. This film communicates with the viewer mainly through image rather than sound and there is no music. The entire feature consists of approximately ten long takes, with the camera constantly being stationary. The protagonist is almost always on screen, either in a medium shot or a long shot and the audience observes him as he interacts with his phone or attempts to do other things like taking a nap while on the plane or try to get comfortable. Since there are no spoken words (or any written ones), the viewer relies heavily on Santamato's actions in order to try to make sense of the plot. And it is not easy to do so. The man is clearly on an important mission and needs to get somewhere. But why? Who is the protagonist and who is he communicating with via his phone? Santamato plays the part well, however, trying to understand the plot can be frustrating and going through ten-minute long takes one after the other with the man interacting silently with his phone while sitting down and occasionally moving around violently like a lunatic may not be very interesting to view and become tiring after a while. Santamato's character wears a suit and when he travels, he wears a surgical mask and a face mask, giving the impression that the narrative takes place during the COVID-19 pandemic. There are a couple of shots that include beautiful mountain scenery in the background. This scenery is possibly the highlight of this movie. Most viewers will probably not enjoy this film and that will most likely be because they will struggle to understand the plot and the addition of the camera that never moves and the lack of soundtrack make the experience even less interesting. Perhaps this kind of approach to storytelling would work better as a short film, not a film lasting for an hour and a half. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Whale film review by UK film critic George Wolf. Starring Brendan Fraser, Sadie Sink, Ty Simpkins directed by Darren Aronofsky. HOME | FILMS | REVIEWS The Whale Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Dec 20, 2022 Directed by: Darren Aronofsky Written by: Samuel D. Hunter Starring: Brendan Fraser, Sadie Sink, Ty Simpkins By now you’ve probably heard plenty of accolades about Brendan Fraser’s “comeback” performance in Darren Aronofsky’s The Whale . It’s all true. And that emotional standing O at Cannes? He deserved it. It’s a stupendous performance, in a movie that’s always struggling to keep up with him. Fraser, under some pretty impressive prosthetics and makeup, is Charlie, who pretends his laptop camera is broken so his online writing students won’t glimpse his obesity. Charlie spends almost every moment of the day in his Idaho apartment, resisting face-to-face contact with anyone except his caring nurse Liz (Hong Chau, Oscar-worthy herself). Liz and Charlie share a connection to the traumatic event that sent Charlie down the path of eating himself to death, and Liz’s frustrated admonishments about Charlie’s habits seem to have little effect. What does stir Charlie from his destructive routine are two surprise visits. One is from Thomas (Ty Simpkins), a missionary from New Life Ministries. The other is from Ellie (Sadie Sink from Stranger Things and Fear Street), Charlie’s angry, spiteful and estranged teenage daughter. Screenwriter Samuel D. Hunter adapts his own play, and while Aronofsky offsets the chamber piece roots with sufficient cinematic vision, not all of Hunter’s themes make an equally successful transition. The Moby Dick metaphor is frequent and obvious, but woven as it is through the lens of a composition teacher, settles in as an organic and relatable device. Similarly, Hunter’s points about the often judgmental and unforgiving nature of religious groups aren’t exactly profound, but their character-driven delivery is welcome. But the heavily dramatic relationship between Charlie and Ellie – and later, Ellie’s mother (Samantha Morton) – suffers from the stage-to-screen edit. Emotions often escalate from two to ten in an instant, straining authenticity and pushing the manipulative wave that threatens to consume the film. It doesn’t help that Aronofsky’s camera flirts with fetishizing Charlie’s shame, though Fraser’s tenderness is always the film’s saving grace. His every expression is etched with a soul-deep pain that’s finally being pierced by a last hope for redemption. Far from the maudlin exercise this character could have been, Fraser’s is an endlessly compassionate performance that will not let you give up on Charlie, or the film. And you may very well see the resolution coming by the second act, but regardless, don’t forget to have the tissues handy for the third. Every time The Whale needs saving, fear not, Fraser will keep it afloat. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

Good Friday film review by UK film critic Holly Baker. Starring Jason Mendoza, Christian Echeverria directed by Jason Mendoza. HOME | FILMS | REVIEWS Good Friday Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Nov 4, 2025 Directed by: Jason Mendoza Written by: Jason Mendoza Starring: Jason Mendoza, Christian Echeverria Good Friday is a one-hour gem of a film. It portrays two young men fighting the battles that life has thrown at them. Full of comedy, action, and drama, this film proves its absolute commitment to creating a vibrant and touching work of art that is non-stop in its pacing throughout. Directed and starring the dazzling up-and-coming Jason Mendoza, the film begins as highly artful and raw. Viewers are introduced to Niño, a young, troubled man who suffers from leukaemia and is dealing with poverty. His mother, played by Luceny Gonzalez, is in denial about Niño’s illness and places her efforts into encouraging him to work and buy himself a new pair of shoes for Church, so that he is not perceived as a sick poor boy. In an effortlessly emotional one-shot take, Niño is well established and understood, as is his mother, and thus our story begins as Niño seeks to fulfil his mother’s wishes and acquire a pair of new shoes. Very similar to the film Good Time (2017) starring Robert Pattinson and directed by the Safdie brothers, Good Friday plays out like a side quest gone horrifically wrong. Like Good Time, the film leans on continuous comedy and spontaneity in its storyline, followed by an emotional gut punch at its closure. Alike to the estranged partnership between Robert Pattinson’s character, Connie, and his brother Benny, Niño is joined by sidekick Dee, played by Christian Echeverria, both with deep-set motivations leading them to carry out a dangerous heist. Niño and Dee were once the closest of friends but have since fallen apart. Good Friday presents their desperation bringing them back together, despite their separation certainly having put a strain on their friendship. This film is full of riveting drama and action sequences, with convincing special effects and a gritty sound design providing a necessary element of disturbance to the gory violence the characters endure. Good Friday involves several effective montage sequences enhanced with erratic camera work which excellently build tension during the film’s most frantic, panic-filled moments. At some points, the film feels overstimulating due to its constant colour-grading shifts, as well as its variation in tone throughout. While the film’s constant change in direction, mood, and depth may be jarring for some viewers, Jason Mendoza relies on this to captivate and maintain the story’s unpredictability and panicked feel. Weaknesses in Good Friday lie in its unfortunately confused sound design. The dialogue in its outdoor scenes occasionally comes across as unnaturally dubbed over, therefore the film loses its impact slightly at these points. However, this does not overshadow some of the film’s most wonderfully executed scenes, particularly the first long take of Niño and his mother, as well as its powerful, heartfelt ending. Good Friday is a unique cancer story in which the cancer itself is only mentioned for a few minutes. The characters themselves carry the story, and the direction and editing complete the piece, resulting in an exciting and emotionally fulfilling film about several different types of challenges, all adding in their own way to the overall storyline. Consistently gripping and engaging, the passion both for filmmaking and for telling a loving story about a real-life chronic illness shines through this film marvellously. Buy UKFR Banner Space About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

Undergrads film review by UK film critic Jason Knight. Starring Chloe Skoczen, Trace Guzman, Dillon Orth, Elijah McNally, Ali Rosenthal, Xavier Goodman, Maya Caulfield, Madi Hart directed by Andrew Zuckerman. HOME | FILMS | REVIEWS Undergrads Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 12, 2022 Directed by: Andrew Zuckerman Written by: Andrew Zuckerman, Dillon Orth Starring: Chloe Skoczen, Trace Guzman, Dillon Orth, Elijah McNally, Ali Rosenthal, Xavier Goodman, Maya Caulfield, Madi Hart A dramatic insight into the lives of several college students. The story follows two groups of young friends. One consists of three boys: Jaimie (Guzman), Wyatt (Orth) and Drew (McNally) and the other consists of Chloe (Skoczen), Sam (Rosenthal) and Leila (Caulfield). Jaimie and Chloe are in a relationship which is being put to the test as Chloe is going to be moving to New York City for studies. The audience observes the youngsters over the course of a weekend as the guys go to a cabin in the countryside to relax and the girls celebrate Leila's birthday. With his feature film debut, Zuckerman creates an experience that is about self-discovery, about making plans for the future and finding one's place in the world. It also explores themes of romance and friendship. Various events take place that affect the lives of the protagonists and they include Chloe's decision to move to New York, Wyatt's discovery that his former girlfriend has met someone else and the relationship that Drew begins with Bella (Hart). There are moments of joy and moments of confrontation and drama. The characters are seen having a good time, partying, talking to each about how they feel and trying to deal with their issues. The film also shows relationships ending and the beginning of others. The performances are quite good and specific mention goes to Orth, who portrays a sporty character who goes through a great deal of drama with the knowledge that his ex-girlfriend does not want him back. Skoczen and Guzman are convincing as a seemingly idyllic couple, who might actually not be right for each other. Goodman also does a good job as the cheerful host of a college campus radio show. The movie has a rather entertaining soundtrack and a great deal of praise goes to the animation during the opening credits. The screenplay effectively explores the characters' lives. This is a moving and thoughtful film about individuals who are at a stage where their life is going through significant changes. The main message it appears to be carrying is that sometimes things just do not work out and people should come to terms with the facts and move on. Well acted and with a narrative that contains elements many young people can identify with, this feature is an achievement that deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Music We Call Country film review by UK film critic Patrick Foley. Starring April Taylor Barnes, Rita Forrester, Benjamin Bateson directed by Greg Gross. HOME | FILMS | REVIEWS The Music We Call Country Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 19, 2025 Directed by: Greg Gross Written by: Greg Gross Starring: April Taylor Barnes, Rita Forrester, Benjamin Bateson The Music We Call Country is a deep-dive into country music’s origins. Winding the clock back to 19th century America, it examines how culture and creativity clashed together to create a genre that has influences stretching to the present day. The documentary follows a familiar structure of historic footage combined with talking head interviews. It builds a context of an America undergoing technological revolution, wherein broadcasts across mass distances allow for music stylings to spread. Those consigned to poverty and squalor now have voices on the airwaves, like Jimmy Rogers and the Carter Family, whose recordings created the bedrock of the behemoth that country has become today. There are fascinating stories throughout The Music We Call Country, ones which may have eluded all but the most learned historians of America’s folk history. The true triumph of the film is how clearly and simply it ties music to societal change – demonstrating the importance of broadcasting and technology improvements as well as societal circumstances that produce music that took over the nation. It allows the film to engage those with and without investment or prior understanding of the genre, and demonstrates its importance without needing to say as much. One story of how the Carter family’s music was inspired by communities living either side of a mountain is a perfect representation of how creativity crystalises, and is proof of country music’s pride at emerging from America’s very soil. Eugene Wolf’s infectious narration makes him the perfect storyteller. The welcoming nature of country music in its earliest instalments demands its voice to be one that makes its history accessible, and Wolf accomplishes this even when detailing its darker moments. Elsewhere the interviewees are a well-selected array of experts and relations to those discussed in the film who offer great context and background to the genre’s development. There are some great asides that will provide some laughs as well – Jackie Collins’ story about the origin of the phrase ‘put a sock in it’ a highlight. The film eschews unnecessary references to figures more familiar to modern day audiences – with giants like Elvis or Johnny Cash only raised when required. The modern state of the genre is only hinted at briefly – and disdainfully given its departure from its roots. For some this omission will make the subject a little alien, but it does allow the filmmakers to maintain the focus on the history they are looking to cover. For me, this is admirable, as it speaks of a documentary that understands its purpose and is rightfully confident in its ability to convey this without needless trend-chasing. The title ‘The Music We Call Country’ really does feel appropriate for this fine film, as it brilliantly portrays country as an indescribable, unrepeatable combination of circumstances and influences that created something timeless. We call it ‘country’, but it encompasses so much more. Anyone looking to understand how should give this film a watch. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Documentary < All Reviews Next Film Review >

The Scheme of It film review by UK film critic Jason Knight. Starring Faith Kharshiing, Ardent Syngkon directed by Babatdor Dkhar. HOME | FILMS | REVIEWS The Scheme of It Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 27, 2025 Directed by: Babatdor Dkhar Written by: Babatdor Dkhar Starring: Faith Kharshiing, Ardent Syngkon A short drama thriller written and directed by Babatdor Dkhar and starring Faith Kharshiing and Ardent Syngkon. The story takes place in Shillong, in the north-east of India and a young woman (Kharshiing) has been invited to attend a job interview. She arrives at the office and is greeted by a man (Syngkon). Almost immediately, it becomes evident that this meeting is not what she anticipated. The narrative is intriguing, working primarily as a thriller, with the man having intentions that are clearly not good, winking at the woman, asking her if she likes to party and then things move on to the so-called job, which turns out to be some sort of illegal pyramid scheme. The atmosphere is quite suspenseful and sinister and supported by an ominous score. The addition of the song Prism by Theatre of Delays was an interesting choice that adds value to this short. The entirety of the story takes place inside the office and Kharshiing and Syngkon's characters are the only two people seen. Kharshiing's character is a simple, nice young person, who is also cautious regarding what is going on, as she instantly feels uncomfortable and questions the nature of the 'job' that is being discussed. Syngkon's character is the bad guy in this story, a dishonest and creepy guy who is trying to get people involved in some sort of hustle and seems to regard women in sexual ways. By utilising point-of-view shots of him, viewers can feel the uneasiness that the woman if going through while she is alone with him. The film begins with a statement that this is probably a true story as it was inspired by events that take place all around the world. This might be misinterpreted by some viewers, it might give the wrong message. This short was clearly made with the intention of being a commentary about illegal schemes that people are being manipulated to get involved in and the manipulator can be either a man or a woman (or both). However, to some, it might misrepresent men, giving the impression that men tend to look at women with sexual thoughts. Hopefully, people will not misunderstand the messages that this film is attempting to communicate. This is an intriguing viewing that raises awareness of events that involve people being tricked into commititng fraud through fake job interviews and for that it deserves attention. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Fields film review by UK film critic Joe Beck . Starring Kemi Lofinmakin, Stephen Odubola, Malcolm Kamulete, Hope Ikpotu Jnr directed by Charlene Wango . HOME | FILMS | REVIEWS Fields Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 15, 2022 Directed by: Charlene Wango Written by: Charlene Wango Starring: Kemi Lofinmakin, Stephen Odubola, Malcolm Kamulete, Hope Ikpotu Jnr Pastor Mimi Asher is a legend. She selflessly brings gang members into their home and rehabilitates them, steering them away from a life of violence. Operating on the Myatts Housing Estate in 2000s, Pastor Mimi transformed the lives of many young, black men in Lambeth, where the crime rate continues to be 10% higher than London’s average. Using her Christian faith and spreading the word of God, Pastor Mimi’s impact cannot be understated, and therefore ‘Fields’, a short biopic of sorts is a must-watch. One night, Mimi wakes up at 1AM, having a premonition that her son will suffer a terrible tragedy. In these first ten seconds the directorial skill of Charlene Wango is apparent - creating an unsettling and deeply disturbing atmosphere immediately. The first ten seconds also demonstrate Kemi Lofinmakin’s astonishing acting ability - immediately connecting Pastor Mimi with us through the steady assured tone of voice, which breaks into cries of passion whenever she sense danger for any of the troubled youths in her neighbourhood. Although Lofinmakin doesn’t particularly resemble Pastor Mimi in terms of appearance, that is instantly forgotten as you become taken in by this force of a performance, which oozes class every moment she’s on screen. The supporting cast of Stephen Odubola, Malcolm Kamulete and Hope Ikpoku Jnr are all impressive too, each playing their characters well. Fans of ‘Blue Story’ and ‘Top Boy’ will be intrigued to see a raft of actors in the two appear here, with all of the cast having been involved in either of the aforementioned projects in some way. With Malcolm Kamulete and Hope Ikpoku Jnr we get the Ra’Nell - Aaron link up we never knew we needed. At times the film does suffer from some extremely forced and unrealistic dialogue - one conversation in particular between Pastor Mimi and a young woman is almost unbearable, thankfully it doesn’t last too long. However, that is by and large the films only drawback, an incredibly impressive feat from a directorial short debut. The film focuses on that glimmer of light in the darkness, the one beacon of hope in an otherwise bleak environment of poverty and violence. Wango’s camera knows this, and guides us towards that light, so that by the end we are gravitating towards Pastor Mimi in a manner not entirely of our own doing. The message is simple - many of London’s young, black men are forced into a life of crime which leads them to an early grave, what are you doing to stop it? How can it be right that the onus is on one woman to carry out what she calls ‘God’s promise’ to save them all? Surely we can all do better. It would be hard for Charlene Wango to do much better with ‘Fields’, a short which undoubtedly deserves a feature length adaptation. A few torrid pieces of dialogue aside, this is a staggering piece of work from the director and cast alike - in particular Kemi Lofinmakin who is outstanding as the enigmatic Pastor Mimi. Most importantly, it’s a short which does Pastor Mimi justice and tells the story of a true hero that doesn’t get the recognition from the wider world that she deserves. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Materna film review by UK film critic Christie Robb. Starring Kate Lyn Sheil, Jade Eshete, Lindsay Burdge directed by David Gutnik. HOME | FILMS | REVIEWS Materna Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Aug 11, 2021 Directed by: David Gutnik Written by: David Gutnik, Assol Abdullina, Jade Eshte Starring: Kate Lyn Sheil, Jade Eshete, Lindsay Burdge With Materna , director David Gutnik presents four emotional vignettes of women and their relationships with either their mother figures, their children, or both. While the four women’s stories intersect in a brief, tense moment on a New York subway car, their backstories and how they came to be in that particular car are quite different. The flashbacks don’t depict simple, saccharine, Hallmark Mother’s Day card relationships. These relationships are layered and complicated—with longing and frustration, the urge to shelter and the urge to smack. Each of the four lead actresses, Kate Lyn Sheil, Jade Eshete, Lindsay Burdge, and Assol Abdullina, rises to the challenge and convincingly demonstrates the emotional range of her subject. (Eshete and Abdullina also co-wrote the screenplay with Gutnik.) Rory Culkin shows up to illustrate that the maternal instinct is not solely the purview of those with two X chromosomes. It’s not a perfect film. The initial segment, while it does pique the viewer’s interest, maybe doesn’t best set the stage for the ones that follow. There are elements that seem to signal sci-fi or body horror that aren’t carried through in the rest of the film. And because of the brevity of each of the vignettes, some of them seem a little roughly sketched, lacking in details that would more solidly ground the perspective of the woman depicted. At the point of intersection in the subway car, each of the women is keeping herself to herself and adhering to the unspoken etiquette of public transportation. But then a white man starts loudly trying to engage them in conversation that quickly devolves into harassment and violence. This screaming, egomaniac clearly sees himself as the most important person in the shared space and aims to capture everyone’s attention, making his private life public, doing a kind of emotional manspreading. It’s interesting to contrast this with what the women are dealing with and how their private lives either do or do not impact this public space. This is Gutnik’s first feature film and I’m looking forward to seeing what’s next. Buy UKFR Banner Space About the Film Critic Christie Robb Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Where the Merrows Roam film review by UK film critic Patrick Foley. Starring Colin Hickey, Diana Tregnago, Liam Cotter directed by Colin Hickey. HOME | FILMS | REVIEWS Where the Merrows Roam Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 1, 2021 Directed by: Colin Hickey Written by: Colin Hickey Starring: Colin Hickey, Diana Tregnago, Liam Cotter Interconnected lives meet across the Irish countryside in Colin Hickey’s Where the Merrows Roam, a dialogue-free experimental film which uses a mysterious plot and a majestic setting to create a dynamic, if difficult feature. The film takes an interpretive approach to its plot, which largely focuses on a woman’s (Diana Tregnago) reminiscing on her past, whilst a young boy (Thomas Hickey) travails the countryside with a cap gun stalking local wildlife. Without even a word of dialogue, their stories unfold across a stunning landscape and quaint rural town as revelations come to pass. Where the Merrows Roam is an artistic and contemplative film, with a unique construction and beautiful setting but suffers somewhat from an overly elusive plot and themes that are not fully communicated through the unique, dialogue-free dynamic. However, this does bring an originality to the film that is welcome, and compliments the ethereal vibe of the piece. Director and star Colin Hickey deserves credit for this production choice, and whilst it will inevitably isolate some viewers, the visual storytelling on display is an artistic treat in its strongest moments. Similarly, the editing and cinematography are further indication of the creativity at the film’s heart. Made up largely of still shots, viewers are left as though they are watching a series of paintings play out in front of them rather than a motion picture. Unrelated on their own, the shots build upon each other to conjure a developed and living world in which the film comes to life in. The observational perspective assigned to the audience allows them to get lost alongside it. It is the strength of these techniques that allow the film to speak without words – such as in scenes where a character’s presence, and then absence, say more than dialogue ever could. The film effectively portrays an underlying darkness throughout its runtime, in striking contrast to the quaint landscape and simple lifestyles. The inner torment of the young cast members, as well as hidden threat of a shadowy figure played by director Colin Hickey, are the strongest examples of this – with shots of these characters becoming tight and claustrophobic as their story develops. Scenes of the hillsides feel like a breath of fresh air and reprieve from the intensity. Whilst still a visual treat, the creepy undertone sticks with viewers long after the credits roll. A word should be reserved for the film’s score, which is critical for establishing the tone. From upbeat Irish jaunts which promote a youthful and energetic exploration of the land, or sombre overlays which hint at a sinisterness in the air, the music provided by Pipe Gaitan weaves seamlessly with the imagery to complete a sensual experience that viewers can fully immerse in. Proving the old adage that pictures speak a thousand words, Where the Merrows Roam is a slow-burn that provides audiences the opportunity to lose themselves in a mercurial daydream. The experience will not connect with every viewer, and the story becomes overly intricate at times. But the inventiveness of the storytelling means that those it does reach will remember their experience. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, World Cinema, Film Festival < All Reviews Next Film Review >

Minions: The Rise of Gru film review by UK film critic Hope Madden. Starring Steve Carell, Pierre Coffin, Alan Arkin directed by Kyle Balda, Brad Ableson, Jonathan del Val. HOME | FILMS | REVIEWS Minions: The Rise of Gru Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 30, 2022 Directed by: Kyle Balda, Brad Ableson, Jonathan del Val Written by: Matthew Fogel, Brian Lynch Starring: Steve Carell, Pierre Coffin, Alan Arkin Gru is back, which means more minions. As long as you’re not sick to death of either of those things, Minions: The Rise of Gru is fine, moderately enjoyable family entertainment. If you are sick to death of any of the above, it’s probably because you are an adult. For you, this second installment of the Minions franchise, fifth overall Despicable Me project, hopes to keep your attention with loads of nods to the Seventies. This probably means they hope the kids are going to theaters with their grandparents. Why the Seventies? Because we’re watching young Gru (Steve Carell) try to break into the super villain biz. He’s but a wee thing, not yet jaded. Rather than Farrah Fawcett or Starsky and Hutch posters on his walls, though, his bedroom is adorned with The Vicious 6 paraphernalia. The Vicious 6 are the most notorious supervillains in the world: Wild Knuckles (Alan Arkin), Belle Bottom (Taraji P. Henson), Jean-Clawed (Jean-Claude Van Damme), Stronghold (Danny Trejo), Svengeance (Dolph Lundgren), and Nun-Chuck (Lucy Lawless). Other newcomers to the series include Michelle Yeoh and RZA, joining returning performers Julie Andrews, Russell Brand and Steve Coogan. Damn, that’s a lot of talent behind the microphone. The animation’s great, too. This movie is gorgeous, especially the 3D rendering of San Francisco. There’s an eye-popping Chinese New Year parade and a pretty great cross-country motorcycle ride a la Easy Rider that looks amazing. Writing is a bit of a weak spot, though. Part of the problem is that all that voice talent is given very little to do because Pierre Coffin (voice of the Minions en masse) gets most of the screen time. You see, Gru is kidnapped and several of those little yellow pills set off to rescue him. They’re separated. One pulls a Nicholson to RZA’s Peter Fonda. The other three train in the art of Kung Fu with Master Chow (Yeoh). Minions don’t make great primary characters. They are interchangeable and have no arcs. They’re wildly, suffocatingly popular, yes, but they can’t really carry a film. They’re a hell of a waste of a good cast, though. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >