The Deportation of a Model Citizen film review by UK film critic Jason Knight. Starring Thalita Beltrao Sorensen, Joey Moe, Mads Hjulmand, Soren Vejby directed by Jacob Thomas Pilgaard. HOME | FILMS | REVIEWS The Deportation of a Model Citizen Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 3, 2022 Directed by: Jacob Thomas Pilgaard Written by: Pernille Hyllegaard, Jacob Thomas Pilgaard Starring: Thalita Beltrao Sorensen, Joey Moe, Mads Hjulmand, Soren Vejby Two policemen escort a young woman refugee to the airport, from where she will be deported back to her country. Inspired by true events, this moving short film from Denmark focuses on Aida (Sorensen), a refugee from Syria, who is about to be taken back to her country against her will. The story takes place shortly before Christmas, on the day that the police arrive at her doorstep, with the intention of driving her to the airport. On the way there, Aida asks the two officers Lasse (Moe) and Marcel (Hjulmand) to briefly stop at a friend's house and at her school, so that she can say her farewells. The main themes of this film are the controversies that surround the deportation of refugees. The screenplay looks at the suffering and sadness that is caused by the deportation process and this is shown through the eyes of Aida, a kind and decent person who has built a life for herself outside of Syria and has big plans for the future. All this is about to come to an end with her being forced to leave the country. The emotional pain that Aida goes through is vividly shown and so is the pain of the ones that care about her, including a close friend (Cecilie Elisabeth Bogo Bach) and her school principal (Vejby). The narrative begins with Aida living a happy life and enjoying a board game and it is quite distressing watching her life and everything she has worked for being left behind. The story is also told through the perspective of the two escorting police officers, particularly Lasse. Marcel appears sympathetic regarding what Aida is going through, while Lasse is inconsiderate, although his point of view changes as he spends more time with her and begins to understand the damage the deportation is causing, the suffering she is going through because of what she is leaving behind and the unknown future that awaits her. The film also presents facts about Syrian refugees, and reveals that many who are deported back to Syria face devastating consequences. By presenting this information, the film shows support towards refugees. Regarding the acting, everyone in the cast delivers a great performance. Sorensen is very emotional as a person who is facing a very tough situation and the audience will most likely feel for her. Her character represents the struggles that refugees go through when they are deported. Moe also has an interesting role as a police officer who goes through significant character development as he witnesses the pain that Aida is experiencing. Anna Roemer and Rasmus Juncker worked on the music and did a fantastic job that resulted in a score that is very dramatic and adds a lot of emotion to the scenes. This short drama raises awareness of the effects that deportation has on people and suggests that it is unfair. By having a refugee as the main character and presenting them as a hard-working and good individual, the film shows how people's lives are destroyed by being deported and implies that the system can be cruel. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

The Many Saints of Newark film review by UK film critic Hope Madden, George Wolf. Starring Alessandro Nivolo, Leslie Odom Jr., Michael Gandolfini directed by Alan Taylor. HOME | FILMS | REVIEWS The Many Saints of Newark Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 28, 2021 Directed by: Alan Taylor Written by: Lawrence Konner Starring: Alessandro Nivolo, Leslie Odom Jr., Michael Gandolfini Murmurs, complaints, and whispers come in and out of focus as a camera meanders through an empty cemetery at midday: we hear souls telling the stories of their lives. We stop over the resting place of Christopher Moltisanti (Michael Imperioli). He has a tale to tell. It’s a beautiful opening, spooky but with a bitter, familiar humor about it. With it, director Alan Taylor sets the mood for a period piece that lays the groundwork for one of the best shows ever to grace the small screen. The Many Saints of Newark brings Christmas early for Sopranos fans, but this is not exactly the story of Tony Soprano. In uncovering the making of the future, Taylor and writer Lawrence Konner invite us into the life of Uncle Dickie Moltisanti (Alessandro Nivola). Nivola makes for an ideal choice to play the beloved “uncle.” The always reliable actor depicts the film’s central figure as the struggling, complicated result of his circumstances – an excellent theme given the film’s long game to uncover the forces that forged a future boss. In many ways, Uncle Dickie’s weaknesses, indulgences, strengths and goals create a mirror image of the Tony Soprano we would come to know over six seasons. Longtime fans will have a bada bing blast recognizing familiar characters in their youth. Vera Farmiga is characteristically excellent as Tony’s formidable mother. John Magaro is a spot-on and hilarious Silvio, matched quirk for quirk by Billy Magnussen as Paulie Walnuts. Corey Stoll brings a younger but no less awkward Uncle Junior to life beautifully. Of course, the one you wait for is young Tony, played with lumbering, melancholic sweetness by James Gandolfini’s son Michael. The resemblance alone gives the character a heartbreaking quality that feeds the mythology, but young Gandolfini serves Tony well with a vulnerable, believable performance that only expands on our deep investment in this character. But the film is really more interested in those we never got to know: Tony’s father Johnny Boy Soprano (Jon Bernthal), Dickie’s father Aldo and uncle Sal Moltisanti (Ray Liotta, in two exceptional and very different roles), and stepmother Guiseppina Moltisanti (Michela De Rossi). De Rossi and Leslie Odom Jr. (who plays colleague-turned-competitor Harold McBrayer) offer some of the most intriguing complexity and context in the entire film. The first half pokes holes in the “woe is me” backstory of the entitled white male Mafioso figure by spending some time with two characters who actually did have a tough go making a life for themselves in this community. Taylor (Thor: the Dark World, Terminator Genisys, GoT ) helmed nine Sopranos episodes, winning an Emmy for one, while Konner penned three solid episodes of his own, although his decades of work for the big screen has been mediocre at best. But here the filmmakers combine for extended family drama that, despite one major plot turn landing as entirely illogical, weaves themes old and new in a ride that is often operatic and downright Shakespearean. If the Sopranos family feels like family, turning back the clock on these indelible characters is just as giddy and delightful as it sounds. But The Many Saints of Newark impresses most by the balance it finds between fan service and fresh character arcs. It’s an often cruel and bloody tale of wanton crime, treacherous deceit, family dysfunction and cold-blooded murder. And it just might be the most fun you’ll have at the movies all year. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Goons film review by UK film critic Joe Beck. Starring Chad Anderson, Roberto Arrizon, Severen Cole, Chad Meisenheimer directed by Alexis White. HOME | FILMS | REVIEWS Goons Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Mar 22, 2023 Directed by: Alexis White Written by: Jose Duran Starring: Chad Anderson, Roberto Arrizon, Severen Cole, Chad Meisenheimer Funny films make us laugh for a multitude of reasons. Sometimes it’s because they’re so utterly insane that it’s impossible not to laugh, other times it may because it makes a fart joke, and at that moment we feel as though we’re ten years old. More often than not, however, we laugh because the characters offered to us in comedies are endearing, perhaps sometimes when they shouldn’t be, and because the humour, however bonkers, has a level of grounding in the human experience. ‘Goons’ has neither compelling characters nor a solid level of grounding in the human experience, and as a result most of its jokes fall flat, leaving a dull, if harmless, film. Leaning heavily into the mockumentary sty a slight 23 minutes ‘Goons’ sometimes feels like a knocked-down version of ‘The Office’, no doubt an influence on it’s creators Alexis White and Jose Duran, who sometimes use the offbeat interviews to the camera popularised by the iconic show. Naturally, of course, you also have the character prone to the ‘Jim-stare’ directly at the camera, in this case Johnny (Chad Anderson), who plays the part of group leader. He introduces himself as the CEO of the sanitation department at a well-known, mouse-related, company, in the film’s first, and possibly funniest bit. Johnny is joined by his ‘goons’, Andy (Roberto Arrizon) - the gym buff with dubious gang ties, Drew (Severen Cole) - the ‘looks of the group’ and a male stripper, and Sal (Chad Meisenheimer), the tech-savvy kid (grown man) loitering in parents basement’s across America. The introduction segment is as good as ‘Goons’ gets - a solid, and quite funny introduction to a seemingly interesting, if a little broad, collection of characters. From here the film could have explored the dynamic between the group, but the most we learn is that they’ve known each other for fifteen years. Alternatively, they could have been taken down a zany path, enriching their characters and endearing themselves as we see them confront a set of strange events, but instead the plot is relatively safe and uninventive. This means that we’re left with a set of stagnant characters trapped inside a tame plot, and so we become bored. Even the addition of a couple of side characters fails to add to spice up the group dynamic, they’re all beset with money woes in the face of their eviction notice but that’s pretty much all the insight we’re offered into them. This stagnancy isn’t helped by the the forced nature of Duran’s dialogue, which becomes loquacious and tiresome, giving a bad reflection of the actors, who come across as irritating more often than endearing. Though it doesn’t reflect tremendously in quality, it is evidently clear the passion which both cast and crew put into ‘Goons’, with Alexis White’s directing competent, and the actors always appearing just moments away from bursting into laughter themselves. The chemistry between the quartet feels natural, and is genuinely warming to see, making a not-so-good film at least put a small smile on this critic’s face. That’s all very nice, but it doesn’t take away from the simple fact that ‘Goons’ is lacking a great deal in actual quality, and most importantly it’s lacking in laughs. It’s as though they filmed a bunch of guys having fun together, without ever actually letting us in on the joke - funny to themselves perhaps, but everyone else is clueless as to why they’re laughing. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Into the Spotlight film review by UK film critic Jason Knight. Starring Christi Davenport, Cindy Johnston, Jason Carter, Sally Smith, Kinsey Boozer directed by Thaddeus D. Matula. HOME | FILMS | REVIEWS Into the Spotlight Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Aug 31, 2023 Directed by: Thaddeus D. Matula Written by: N/A Starring: Christi Davenport, Cindy Johnston, Jason Carter, Sally Smith, Kinsey Boozer A group of people with disabilities take part in an annual event where they get to perform in a musical production. This event is the Spotlight Musical Theater, which takes place once a year and is part of the Belong Disability Program at Highland Park United Methodist Church in Dallas, Texas and its purpose is for twenty-seven participants with disabilities to have the opportunity to develop, rehearse and mend an original musical. The cast get to work with an artistic team and volunteers in order to make this objective a reality. Into the Spotlight is a documentary that explores the people involved and their hard work that led to the 11th Spotlight event during the 2021-2022 season. It begins by introducing participants as they receive a phone call from the organisers informing them that they have been chosen and then moves on to the theater, where they meet with director Lisa Schmidt and co-director Mark Guerra and discuss their upcoming project. Together, they make plans, support each other and drive to make a show that serves as the climax of the feature. Along the way, they will mourn the passing of one of the organisers, celebrate Thanksgiving and Christmas and find out more about themselves. The selected performers (and the ones who work on the sets, etc.) are the stars of the Spotlight show and of the documentary. They include Christi Davenport, Cindy Johnston, Jason Carter, Sally Smith and Andrea Parton. Between them, they have a variety of conditions such as down syndrome or autism and one of them is transgender. The film follows them as they actively pursue their dream of being part of a stage musical and also looks into their private lives and personal struggles, including Davenport's, who is mourning the loss of her husband, Daniel Wade's, who has faced discrimination and Parton's, who goes through life as a transgender. All of them have differences, however, they have many things in common, including having a deep appreciation of life and a desire to challenge themselves and achieve. There is no voice-over, which can be unusual for a documentary, instead the voices belong to the participants, who are interviewed and enthusiastically talk about themselves, why they want to be part of Spotlight and their struggles with disability and other issues. Composer Sam Marshall makes a very positive contribution with the beautiful score. This informative and heart-warming documentary does a great job in presenting to the world a fantastic event that provides individuals with disabilities the chance to be creative and make their dreams come true. And of course, it reveals that people can overcome their disabilities and prove that they are capable of wonderful things. For more details about Into the Spotlight, visit the website - https://www.intothespotlightdoc.com/ Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Go Fund Me film review by UK film critic Patrick Foley. Starring Itumeleng Moruakgo, Kesi Nwogwugwu, Kay Abel directed by BEZ. HOME | FILMS | REVIEWS Go Fund Me Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 28, 2025 Directed by: BEZ Written by: BEZ Starring: Itumeleng Moruakgo, Kesi Nwogwugwu, Kay Abel Go Fund Me is as grass-roots as they come, an ambitious project from filmmaker B-E-Z which has more misses than hits, but still manages to engage, entertain, and outperform a lower budget. It is a testament to filmmaking passion and creativity even when there are rough edges all over the place. The story follows Kaspa (Itumeleng Moruakgo), a gang member who has big dreams of breaking away from the streets to start a clothing empire. He confesses to his friend F1 (Kesi Nwogwugwu) that he is getting close to his dream, and with one last job for local kingpin Roman (Kay Abel) he should have enough to start chasing it. But Roman is not willing to let the pair leave so easily, and concocts a plan to indebt them for life… It should be said up front that Go Fund Me is a seriously flawed film. It’s filled with editing mishaps, errors in the sound design, repetitive and empty dialogue, plot holes and a bizarre, convenient and underwhelming resolution. Some of these such as the issues with sound levels are forgivable given the production levels of the film (if not any less distracting), but others are the result of an underbaked script that is formed from a solid base but loses itself when the conflict between Kaspa and Roman amps up. Yet despite flaws, there are still admirable qualities that the film demonstrates. Kaspa’s story and dream forms a solid connection with the viewer. B-E-Z spends enough time validating his protagonist’s personality and life story to make audiences want to back him, and scenes in which we see Kaspa facing pushback from investors create a sympathetic bond – especially when he refuses to give up. The film has some genuinely funny moments as well, particularly between Kaspa and F1 when they realise the danger they have gotten themselves into, and from the eccentricity of gang boss Roman. There is empathy at the heart of Itumeleng Moruakgo’s performance as Kaspa – who convinces as a reluctant gang member who wants to lead a straight life. Kay Abel also taps in to an unhinged nature to bring Roman to life – easily the biggest personality in the film and a character that demands eyeballs when he is on screen. Almost all of the cast have their slips however and there are a few too many times when the emotional drive isn’t really present, even in scenes of great tension or danger such as a conversation before a planned murder or a pivotal sequence in a restaurant where the fate of the cast is decided. The homemade quality of Go Fund Me is both a strength and a weakness. The film’s flaws are particularly evident and significantly detract from the overall result, damaging audience immersion and undermining the emotional drivers of the story. However it is important to note that the emotion is still there – which is more than can be said of many a film with greater resources. The filmmakers deserve credit for working with what they have to produce a 30-minute story that connects in enough ways to leave an impression. The suggested sequel (given the film’s conclusion) will hopefully receive a little more refinement, as it is clear that the ability to tell a story and build characters is present in those who brought Kaspa’s story to life. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Ziggy Stardust: The Global Premiere film review by UK film critic Brian Penn . Starring David Bowie, Mick Ronson, Trevor Bolder, Mick Woodmansey directed by D.A. Pennebaker. HOME | FILMS | REVIEWS Ziggy Stardust: The Global Premiere Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 4, 2023 Directed by: D.A. Pennebaker Written by: David Bowie Starring: David Bowie, Mick Ronson, Trevor Bolder, Mick Woodmansey Just occasionally the cinema offers something different from the usual diet of theatrical releases. Our local multiplex can also play host to a one night only world exclusive. An otherwise routine Monday evening was enlivened by the global premiere of Ziggy Stardust, a digitally restored film of David Bowie's final outing as his legendary alter ego. There are few superlatives that do proper justice to his life and career. He was the original punk rocker who refused to conform and became the pioneer of re-invention. Bowie was the consummate artist who crafted songs of rare beauty and intelligence. To call him a cultural icon of the 20th Century is no understatement; and this amazing performance is a reminder of what’s missing from the desolate landscape we now call pop music. Ziggy Stardust was Bowie's stage persona throughout 1972 and 1973, spawning two albums and a string of live concerts with backing band the Spiders from Mars. The evening began with a Q&A session broadcast live from the Hammersmith Odeon. It was the perfect venue as 50 years ago on this night (3 July) Bowie played his final gig as Ziggy at the Odeon. The panel was chaired by journalist Phil Alexander as they explored the genius that was David Bowie. Whilst Suggs from Madness made some entertaining contributions, it was the people who actually worked with Bowie that offered most insight. For example Ken Scott who co-produced four albums for Bowie and pianist Mike Garson, one of the few survivors who appeared on stage in 1973. The conversation wrapped promptly at 7:50pm and the lights dimmed before an expectant audience. The realisation dawned that I was one of many watching live by satellite across the world. Bowie owns every inch of the stage with poise and a sureness of touch. The band is tight and well drilled; the brilliant Mick Ronson on guitar is complemented by Trevor Bolder on bass and Mick Woodmansey on drums. The songs flow with an almost seamless transition. The tale of an androgynous alien rock star is told in the title song and sets the tone for a truly eclectic journey. ‘All the young dudes’ segued into ‘Oh! you pretty things’ and was followed by ‘Changes’ and ‘Space oddity’. Bowie was a fine exponent of other artists’ songs and delivered a raucous cover of the Rolling Stones’ ‘Let’s spend the night together’. There were more costume changes than a Diana Ross concert, but this allowed for brief moments of contemplation during the storm of a live performance. An added bonus is the inclusion of material featuring Jeff Beck who backed Bowie on ‘Jean Genie’. The breadth of Bowie’s repertoire was impressive even then and takes no account of the classics that followed the Ziggy phase. There's nothing striking about D.A. Pennebaker's film in purely cinematic terms. The jerky hand held cameras often lose focus, and poor lighting at the Odeon regularly plunges the film into darkness. But the rough edges oddly enhance the subject matter. The sweaty and claustrophobic atmosphere of a memorable night is perfectly captured. David Bowie's overpowering charisma and stage presence is obvious. The sound quality is astonishing and benefits from 5.1 surround sound. Frankly, the grainy visuals let the sound down but this remains one of the greatest rock concerts ever committed to film. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Are You Awake? film review by UK film critic Swati Verma. Starring Gabriel Caste, Ellyn Jameson, Paul Archer directed by Gabriel Caste . HOME | FILMS | REVIEWS Are You Awake? Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 4, 2023 Directed by: Gabriel Caste Written by: Gabriel Caste Starring: Gabriel Caste, Ellyn Jameson, Paul Archer The title of the short film Are You Awake has connotations of coldness, unfriendliness, and lack of emotions in the day-to-day behaviour of the female protagonist (Ellyn Jameson) due to the nature of her job. The plot of Are You Awake revolves around a woman working as a door-to-door wake-up caller who encounters a client refusing to leave his bed (Paul Archer) who recounts his terrible nightmares. In the opening sequence, the camera focuses on the wake-up caller as it transits from the black screen. The DOP Ian Coad attempts to build up suspense, mystery, drama, and thrill around Jameson’s character to increase the degree of audience engagement with the content. The combination of mid shots, close-up shots and extreme closeup shots are utilised to illustrate the busy schedule of the central character so that viewers feel involved right from the beginning. The white, red, blue, brown, and grey colour pallet, set design, dim lighting, eerie background music later switching to happier sound, dialogues, costume, hair, pale makeup, and props complement and elevate the subject the movie deals with as well as the key messages it delivers to its audience. The carefully designed mess in the room by the filmmaker is a clever way to depict the complexities of the brain to make the movie emotionally appealing to the viewers. In terms of performance, Ellyn Jameson plays Dale the wake-up caller who is very dedicated towards her job and she feels the need to listen to the client’s problem and help them if possible. Jameson portrays the physical, and emotional trauma and the confused state of mind effectively through the body-language, voice modulation, facial expression and eyes. Dale tries hard to mask the sadness as well as the pain with the long hours of work and the actress understands the nuances of her character and delivers according to the demand of the script. Paul Archer plays Bradley the client of Dale who suffers nightmares that make him realise critical aspects of life. Bradley has a multi-layered personality challenging to decode. Archer’s acting skills and techniques coupled with the chemistry between Dale and himself make it more interesting for the audience to understand and interpret him. Are You Awake talks about the emotional rollercoaster one has to bear like sadness, fearfulness, and pointlessness but people shouldn’t lose hope at any point because even the darkest night can have a bright and sunny morning. The psychological thriller reiterates the fact that fear comes from within and we have to learn to deal with it and expecting genuine help from the outside is foolishness because the majority of people around tend to embrace the problems one has and not come up with real solutions. The dramatic piece also discusses the importance of the employer and employee relationship and how well-being and growth of the organisation are interrelated with the equation shared between the staff and the boss. The cinematic piece touches upon the significance of mental health and the need of emotional support from friends, family, or colleagues is essential. The creative piece also talks about the requirement of creating a healthy work-life balance to combat the issues regarding the complex structure of the mind. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Knight of Fortune film review by UK film critic Jason Knight. Starring Leif Andree, Jens Jorn Spottag, Jesper Lohmann directed by Lasse Lyskjaer Noer. HOME | FILMS | REVIEWS Knight of Fortune Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 12, 2023 Directed by: Lasse Lyskjaer Noer Written by: Lasse Lyskjaer Noer Starring: Leif Andree, Jens Jorn Spottag, Jesper Lohmann Two strangers meet in a morgue, leading to drama and awkward situations. Karl (Andree), an elderly man, has just lost hi wife and he is now at the morgue, trying to build up the courage to see her in her coffin. After a morgue worker accompanies him to the room she is in, once the worker leaves, Karl finds himself unable to witness her lifeless body and resorts to attempting to fix a malfunctioning light instead. He then goes to the men's room, where he ends up meeting Torben (Spottag), another man his age, who says that he has also lost his wife and asks Karl to go with him to see his wife, for emotional support. Karl agrees and together the two of them will go through some unique and challenging experiences. The story of this short film from Denmark is a chance encounter that turns into something significant, as Karl and Torben develop a rapport between them and support each other as each attempts to pay their final respects to their spouse. Death is the center of this moving drama and the fact that it is set in a building that deals with the bodies of the deceased certainly creates a grim atmosphere. However, humour is present at times, such as the uncomfortable way that the two protagonists meet for the first time and they even share a laugh in front of a body and There are awkward scenes that involve the loved ones of a deceased woman. Loss and grief are two main themes here, with the two main characters experiencing them and trying to handle them and honesty is another subject too, as the two men keep information from each other. In some rather emotional scenes, the film shows the significance of support, that one requires other people next to them, especially when they have lost someone. Karl and Torben are two widowers who are grieving and end up creating a strong relationship between them as they need each other in order to have some sort of closure. They are two individuals who are in similar mental situations and both Andree and Spottag deliver superb performances. Big commendations go to Lasse Ulvedal Tolboll for the beautiful cinematography and also to Mathias Gaarde Mikkelsen for the gentle and sentimental score. This short explores heavy subjects such as death and grief and it is quite harsh when it comes to investigating the pain of loss. However, it also reveals the power of support, how it gives people strength and self-esteem during hard times. It is a rather emotional viewing experience and one that is likely to stay with the viewer for a long time. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

In Need Of Seawater film review by UK film critic William Hemingway. Starring Mark Anthony Thomas, Ziaire Mann directed by Richard Yeagley. HOME | FILMS | REVIEWS In Need Of Seawater Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 25, 2025 Directed by: Richard Yeagley Written by: Mark Anthony Thomas Starring: Mark Anthony Thomas, Ziaire Mann A poet invites a small group of his mates round to read to them a retrospective of his most formative work. In 2004, Mark Anthony Thomas released his second major work of poetry, The Poetic Repercussion , containing a series of poems he wrote between the ages of twenty-one and twenty-four. The poems described his journey to manhood, and self-discovery, as a gay black man growing up in Atlanta, Georgia, and tried to relate the experiences, feelings, and desires he encountered along the way; those which shaped him into the man he would eventually become. Now, more than twenty-years later, and living in Baltimore, Maryland, Thomas has decided to revisit his earlier work and plans to release a trilogy of films about his poetry. This first film, In Need Of Seawater , intends to look back at ‘the past’, while it is assumed that the next instalments will focus on ‘the present’ and ‘future’ respectively. In Need Of Seawater , then, takes us back to 2004, when Thomas’ feelings were so strong that he just had to get them out onto the page. The poems are full of growth, and becoming, and clear sight, and quiet understanding, whilst distilling the energy of turmoil and inequality into reasoned words and rhythms. Thomas gathers a few of the faithful, people who know him from his work in publishing, civic leadership, or from his poetry, and gives a private reading for them in an uptown, modern, Baltimore apartment. The film records this event intimately, moving between the guests and the performer, watching the emotions spread across the faces of the gathered, as well as the nodding heads and the knowing glances, as Thomas reads his poetry aloud. Slotted into the narrative of the readings, between the lines and verses, are some staged scenes, historical footage, and home movies, which represent the themes, events, and emotions that Thomas is trying to convey. These interludes take us away from the enclosed space of the well-lit apartment, and whisk us away to the sea, to the park, to the homes and neighbourhoods of others, and to the past, giving us a visual insight into the words that we hear; those that flowed from Thomas’ pen. We are both at once, listeners and viewers, as we are also invited into this small space to experience the creative expression Thomas gives to his feelings, and we go on the journey with his audience, partaking in the literary emergence of a man who feels he must share with us all of who he is in order to survive. For twenty-six minutes we sit with Thomas as he moves around the room and reads his poetry from loose-leafed pages. This starkness of intimacy somehow leans us away from the semblance of art, however, and fully puts us in the frame of a personal documentary. It is clear that Thomas’ poetry is mostly about his singular experience of growing into who he is, wedged into a particular time and place, reacting to the social issues and politics of the day whilst trying to take account of all that has come before, and so we sit as an audience member, listening but not necessarily engaging, feeling truly that we are at a poetry event rather than watching a film. This is great for those who want to spend half-an-hour in the presence of a poet, and who want to be at such an event, but for those looking to watch a film or gain insight into the author beyond his published words, there is nothing else on offer. If you are not a person who would come to Thomas’ poetry on your own, you are not likely to get anything much out of the experience of watching In Need Of Seawater . It is a feeling of nostalgia which seems to have motivated Thomas into these new films, or at least this one, as he reminisces over the man he used to be at a private event for the chosen few. The choice to create films around the work seems oddly extraneous and unnecessary, when all that we get is a reading that we could have got from an audiobook, along with a few nice visuals thrown in. There is no exploration or analysis of the work, how it was created or what methods were used, and there’s no delving into the background and history of the young Thomas, either. While the focus of the film may well be artistic, creative, and true, the end result feels rather more like a clutching at the past, a determination to stay the inevitable passing of youth, whilst allowing the poet an opportunity to reconnect with his work through veiled self-promotion. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, LGBTQ+, Documentary < All Reviews Next Film Review >

Chekhov's: A Work Of Art film review by UK film critic Jason Knight. Starring Henning Mayer, Thomas Georgi, Naomi O'Taylor, Jonathan Faila directed by Nick Burton. HOME | FILMS | REVIEWS Chekhov's: A Work Of Art Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 28, 2022 Directed by: Nick Burton Written by: Tom Edgerton Starring: Henning Mayer, Thomas Georgi, Naomi O'Taylor, Jonathan Faila A small piece of art is passed on from one person to the next. Sasha (Mayer) pays a visit to his doctor, Koshlekov (Georgi). However, Sasha's visit is not health-related. He was recently treated by Koshlekov for an illness and as a form of gratitude, he wants to give his doctor a sculpture. The gift has an erotic appearance and initially Koshlekov refuses to accept it as he believes that it would be inappropriate to display such an object in his office. After much persuasion, the doctor takes the present and then brings it to his lawyer (Faila), for him to have instead. He does not want it either. Based on the short story by Russian playwright Anton Chekhov, this short comedy explores how people view art and it points out that everyone has their own perception regarding art. Sasha seems to be the only one who views the sculpture as a work of art to be admired and appreciated, while his doctor, the lawyer and a theatre performer believe that it is not something that should be kept in public due to its carnal appearance. The narrative moves from one character to the next and the audience follows the sculpture as it moves from person to person and in a way, it becomes the protagonist of the story. The action takes place in a variety of places, including a physician's office, a lawyer's office and a theatre. The comical parts occur when the potential recipients of the sculpture react when they see it for the first time, being shocked by the way it looks, admiring it a bit but ultimately deciding that it is not to their liking. The performances are quite enjoyable and one of the highlights of the film. Another highlight is the wonderful classical music that is heard throughout, which makes the viewing even better. The decision to film in Kodak 16mm provides a sort of gloomy look. To summarise, this is an interesting and comical story that revolves around the idea that art is in the eye of the beholder. It is an amusing and thoughtful viewing that deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Asteroid City film review by UK film critic Brian Penn. Starring Jason Schwartzman, Tom Hanks, Scarlett Johansson, Bryan Cranston, Edward Norton directed by Wes Anderson. HOME | FILMS | REVIEWS Asteroid City Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jun 24, 2023 Directed by: Wes Anderson Written by: Wes Anderson, Roman Coppla Starring: Jason Schwartzman, Tom Hanks, Scarlett Johansson, Bryan Cranston, Edward Norton Wes Anderson is without doubt one of the most distinctive filmmakers of his generation. A slavish devotion to light, sound and colour is a marque of the man and his approach. Throw in some whimsical storytelling and a subtle hint of comedy then the appropriate boxes are duly ticked. Asteroid City easily satisfies this benchmark and is one of his best films. Asteroid City lies on the dust tracks of the Nevada Desert and owes its existence to the aforementioned rock that once fell in the area. With a population of 87 the expected tourist expansion hasn’t quite materialised; roads have been left half built and real estate is sold from a vending machine. One of the few attractions is a stargazing event and the occasional atom bomb test. A gloriously mixed bag of characters pass through, more by accident than design and are caught in a strange turn of events. Everything is seen through the prism of a 1955 TV show broadcasting a play entitled Asteroid City. The film switches between monochrome and colour to distinguish between narration and action. The host (Bryan Cranston) pops up in the style of Ed Morrow with calm and assured guidance; he introduces writer Conrad Earp (Edward Norton) and they explain the play for the benefit of an expectant audience. In colour the characters of the piece emerge in all their dysfunctional glory. Augie Steenbeck (Jason Schwartzman) is travelling with his four children following the death of his wife. The car breaks down and Augie has to ask his father-in-law Stanley (Tom Hanks) to come and meet them. They rest up in a local motel and have a cabin next door to Midge Campbell (Scarlett Johansson), an actor whose mood swings comply with standard Hollywood rules of behaviour. The stargazing event is subject to an alien visitation and everything goes into lockdown. It’s a beautifully constructed film with a ridiculously talented cast that create an ensemble most directors can only dream about. It plugs into a stream of paranoia that was so prevalent in America during the 1950s. Roswell gave birth to a raft of conspiracy theories at the time. This story alights on the government’s desire to control any alien related incident. It’s a delightful film that begs to be seen on the big screen. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

The 355 film review by UK film critic George Wolf. Starring Jessica Chastain, Lupita Nyong'o, Diane Kruger, Penelope Cruz, Bingbing Fan directed by Simon Kinberg. HOME | FILMS | REVIEWS The 355 Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jan 7, 2022 Directed by: Simon Kinberg Written by: Theresa Rebeck, Simon Kinberg, Bek Smith Starring: Jessica Chastain, Lupita Nyong'o, Diane Kruger, Penelope Cruz, Bingbing Fan Apparently, Jessica Chastain pitched the idea of an all-female Bond/Bourne hybrid to director Simon Kinberg while they were making Dark Phoenix together. Now three years later The 355 is here, and while it’s more memorable than their X-Men installment, the project can never give the duo’s ambitious vision its own identity. Chastain is “Mace,” a CIA agent sent to Paris with her partner (and maybe more?) Nick (Sebastian Stan). The job is to get their hands on a new cyber weapon that serves as an untraceable master key – and instant entry into any closed system on the planet. But surprise, Mace and Nick aren’t the only agents hot for that drive, so after 45 minutes of chases and exposition, Germany’s Maria (Diane Kruger), MI6’s Khadijah (Lupita Nyong’o) and Columbia’s Graciela (Penelope Cruz) agree to team up and fight for the future. Then after another 15 minutes or so, China’s Lin Mi Sheng (Bingbing Fan) joins the world party. Actually, Gracie’s a reluctant guest, as she’s really a psychologist and not trained for combat. So while her secret agent sisters do get to be the impressive badasses, it’s Cruz who brings the film some welcome fish-out-of-water levity. Kinberg, who also co-wrote the script, pushes all the buttons you’d expect from a mixtape full of Bond’s high-style sexy, Bourne’s lethal brooding, and some Danny Ocean misdirection. And most of it – from Chastain in this role to the cybercrime stakes to the moments of telegraphed action and even the girl power makeover – feels pretty familiar, and that familiarity breeds discontent with the two-hour run time. Events finally escalate in the third act, and as the globe-trotting and the double-crosses mount, Kinberg delivers one nicely orchestrated set-piece that truly grabs your attention with tension and bloodshed. Is it enough to merit that next adventure the finale hints at? Not really, but it’s just enough to make one three-year-old conversation worthwhile. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >