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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 >

KYTLY - "Neverending" film review by UK film critic Patrick Foley. Starring KYTLY directed by Virginia Abramovich. HOME | FILMS | REVIEWS KYTLY - "Neverending" Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 5, 2023 Directed by: Virginia Abramovich Written by: KYTLY Starring: KYTLY Summer may be fast approaching, but fans of KYTLY might still want to don their big coat for the Canadian indie-pop singer’s winter-themed video for her new single Neverending. The video features KYTLY in various snowy, foggy forest-based landscapes as the hypnotic and ethereal single works a magic on the audience’s eardrums. Blending in to a sheer white background whilst wearing a mesmerizing, Monroe-esque dress in one moment, forming one with the nature-based setting in another, viewers will get a sense that the singer is as much a part of the background as they are a participant in it. Unnerving scenes in which she is trapped beneath a frozen lake, or seemingly fading away into the vapour matches the single’s morose tone as KYTLY tries to establish which parts of a fading relationship were genuine, and which were illusions. As a visual experience, Neverending is a thoughtful and impressive treat. The director’s lucid use of a gleaming whites and foreboding greys as the video’s colour scheme presents the setting as a void-like, timeless and otherworldly space. At other times the natural features of snow-covered, leafless trees and frozen lakes base the video in a rural setting. But regardless, the sensation viewers will have is that KYTLY is isolated and desolate – trapped in an environment alone in which outside influence has no bearing, and truths can be identified – albeit up against harsh and testing conditions. The direction of Virginia Ambramovich, production of Laura Keightley and photography of Nelson Rogers results in some stunning and memorable shots that amplify the intricate and delicate lyrical structure of the song. Amongst the finest of these are the scenes in which KYTLY appears entrapped behind a translucent wall of fog, which later metamorphizes into a frozen lake - in which she is drowning. Whilst it’s not the most original of imagery, the haunting presentation and context with the single’s themes make it impressive-yet-understated example of how a great music video can take a song’s message and bring it to life. The repeated use of fading similarly creates a sense of unbalance, transformation, uncertainty and instability – matching the emotional journey many of us experience when relationships are ending. Where so many music videos resort to tired and recycled frameworks in the streaming age, the video for KYTLY’s Neverending shows that creativity and ingenuity can still be attained in the genre. It brilliantly captures the song’s themes and tone, whilst introducing engaging, metaphorical storytelling to visualise the music’s heart and message. About the Film Critic Patrick Foley Short Film, Music Video < All Reviews Next Film Review >

What's Love Got to Do with It? film review by UK film critic Brian Penn. Starring Lily James, Shazad Latif, Emma Thompson directed by Shekhar Kapur. HOME | FILMS | REVIEWS What's Love Got to Do with It? Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Feb 25, 2023 Directed by: Shekhar Kapur Written by: Jemima Khan Starring: Lily James, Shazad Latif, Emma Thompson The overriding pleasure of romantic comedy is the certainty of a plot that rolls merrily to a neat conclusion; and the confident expectation they all live happily ever after. If a few laughs are delivered en route it's a bonus as we feel a warm glow of satisfaction. What's Love Got to Do with It? hits all the marks with an engaging script from first time screenwriter Jemima Khan. Young filmmaker Zoe (Lily James) has grown up living next door to best friend Kazim (Shazad Latif). He finally succumbs to an arranged marriage and enters a tortuous process carefully managed by his parents. Zoe sees an opportunity to film his travails as part of her latest project. Meanwhile, Zoe's mother Cath (Emma Thompson) applies her own brand of arranged marriage and pairs her with the local vet. Kazim finally Skypes his future bride and the wedding party flies to Pakistan for the nuptials. However, a bumpy flight provides an echo of the strife to come. A standard template for rom-coms is followed almost to the letter. Two people secretly adore each other, but social barriers get in the way as they pursue separate yet parallel lives. Both fall into the trap of pleasing their parents although knowing they should follow their hearts. When push finally comes to shove we see that love conquers all. It's a portrayal of the 'East versus West' conundrum where cultures clash and finally learn to co-exist. It asks if the concept of arranged marriage is any less valid than spontaneous relationships favoured in Western culture. Can two people truly know each other before they commit. Is it possible to walk into love then fall in love? Jemima Khan has obviously drawn on her own marriage to Pakistani cricketer Imran Khan. But there's nothing revelatory or ground breaking here. Innovation is not the purpose of rom-com; we find comfort in things that are familiar and this film delivers the expected finale. Lily James is in beguiling form as Zoe and rapidly emerging as the English Margot Robbie. Shazad Latif is charming and likeable as the doctor juggling personal happiness with duty. Emma Thompson sits more on the fringe of the plot as the interfering but well-meaning Cath. A solid cast perform well, but its James and Latif that do the heavy lifting and bring a good script to life. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Limbo film review by UK film critic William Hemingway. Starring William Ferdinand Hansen, Ronar Rødberg Evanger directed by Arin Aksberg-Kristensen. HOME | FILMS | REVIEWS Limbo Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 26, 2022 Directed by: Arin Aksberg-Kristensen Written by: Arin Aksberg-Kristensen Starring: William Ferdinand Hansen, Ronar Rødberg Evanger In Norway, a man struggles to come to terms with the ailing health and memory of his father whilst also trying to figure out his own place in the world – if indeed he still exists within it. Limbo , from film-maker Arin Aksberg-Kristensen is a long, slow-burn of a movie, despite only being thirteen minutes long. It takes an age to fade up from black and uses post-rock soundscaping to create its ominous atmosphere long before any plot is exposed. When we do get to the characterisation and dialogue, they are used sparingly, with short declarative sentences being the order of the day. The cinematography keeps things in black and white to enhance the ethereal feel while the aspect ratio shifts to signify that everything may not be as it seems. This, is Scandi-noir at its most basic. Produced by the Arctic University of Norway, Aksberg-Kristensen seems to have leaned on the Scandinavian greats to create his vision of Limbo . There are more than shades of Bergman's The Seventh Seal (1957) at play here, with the plot revolving around Lukas (Hansen) trying to stave off death while he gives himself some time to figure things out. Scenes are punctuated with moments of black static to further increase the feeling of an unwaking nightmare and there's some clever use of repetition and character switching to keep the audience guessing. Technically, Limbo is well put together with the music (also by Aksberg-Kristensen) and sound editing working well with the images on screen. There are plenty of slow moving pans and dynamic shots which give the feel of being an anonymous observer to Lukas' story, while a few quick cuts and camera tricks remind us that there is another level to what's going on. Ultimately though, Limbo ends up feeling rather slow and empty. There is very little characterisation as to just who Lukas, or the people in his life are, and the minimal conversations that are included come across as either banal or confusing. The Limbo in which Lukas supposedly exists may be one of death, or of impotence in the face of his father's decline, but this never becomes clear, even in what is apparently the film's resolution. There may be those who find Aksberg-Kristensen's film intriguing or fascinating but there is too little here that is anything new and it takes a long time for an awful lot of nothing to happen. There are plenty of ideas borrowed from other slow-burning, thoughtful movies but here they don't get the space to breathe or the right level of exposition to truly create something unique. Of course, in Limbo, the overall sense is one of not getting anywhere, but in film it's not a particular feeling that an audience enjoys. Treading water is just not the way to go. About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

The Astrid Experience film review by UK film critic William Hemingway. Starring Cal Barnes, Lucia Xypteras, Rob Conroy, Mena Santos directed by Cal Barnes. HOME | FILMS | REVIEWS The Astrid Experience Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Aug 21, 2023 Directed by: Cal Barnes Written by: Cal Barnes Starring: Cal Barnes, Lucia Xypteras, Rob Conroy, Mena Santos LA is a seriously weird place. It's full of seriously weird people. It's a place where anybody will do anything just to get their face on camera or their name attached to a production, no matter how small, dubious or sexually suggestive the production happens to be. David Lynch has tried several times to relate just how seriously weird LA, and in particular Hollywood, really is, most notably through his 2001 masterpiece, Mulholland Drive but in the UK the closest thing we've ever had to this kind of ego driven mania (aside from the BGT drivel) was a small segment on 90's TV show The Word called The Hopefuls. Each week one lucky contestant was picked from obscurity to tackle an outrageously disgusting task in order to get their face on television, with particular highlights ranging from licking the sweaty armpit of a morbidly obese person, to eating verucas and corns like they were breakfast cereal, to the guy who was sick into a glass, only to drink it, be sick from it again, and then drink it all up. In fact this last example is a pretty good metaphor for Hollywood and in particular today's offering, The Astrid Experience , which seems to regurgitate a plethora of LA stories without realising what a bad taste they leave, only to lick them up and vomit them out again. Cal Barnes is the plucky Hopeful in charge of production on The Astrid Experience , taking on the roles of producer, editor, writer, director and star. Choosing to write himself into a story which is supposedly based on his own experiences, Cal has come up with the character of Chase Abbott, a down on his luck actor and script writer who has just come out of a relationship with the hottest girl in the world. She left him – I wonder why? So Chase is left spiralling into despair as his industry pals try to rally round and get him back in the saddle in a Swingers -esque kind of fashion, only without the humour, kitsch sentimentality or actual scripting which elevated Jon Favreau's 1996 film to classic status. Instead, we have to wait two years while Chase pulls himself together enough to get back out in the world and start going to auditions again. As luck, fate, or induced second-hand vomit would have it, here he meets the next girl of his dreams, only he doesn't know it yet. After helping Astrid (Xypteras) out of an innocuous situation and then randomly meeting her later outside of a downtown nightclub (because that regularly happens in LA), Chase is invited on a hedonistic tour of the hip celebrity bars, pool parties and single level living which the LA nightlife regularly offers. This large section of the film is seemingly intended to play out like Richard Linklater's (non-LA) classic, Before Sunrise (1995) as the two new lovebirds spend a wondrous night together hoping to find out as much as they can about each other before the sun comes up and a new day dawns. However, in lieu of actual conversations covering love, philosophy, art and the inevitable transience of human nature, Chase and Astrid only talk about what's right in front of them conversing about buying drinks, the bar they were just in, or the party they're now at. “I like your car.” “It's a good car.” is one example of the level of exchange offered by these two LA grade geniuses. Moving on, the inevitable LA ennui begins to take hold and an attempt at gaining the feel of Sofia Coppola's own classic LA story, Somewhere (2010) bubbles up from through the scenario. That is until Cal decides to write himself a happy ending and gets Chase to do what every other cheap, dodgy film-maker in LA does best – auditions and casts the girl he wants to snog in his own film opposite him. At least this part is Hollywood accurate. It's a shame that The Astrid Experience tries to emulate so many already classic movies as it does each one of them a disservice. Whereas the originals are full of fun or gravitas and genuine characterisation, Barnes' film is empty and vacuous and laughingly simple in its dialogue. Shot on an iPhone8+, undoubtedly due to budget constraints, but probably also to try and add an edgy, neo-realist feel to the production like that other great LA story, Tangerine (2015), there's nothing noteworthy going on behind the camera. There are some beautiful, luxuriant shots of the LA skyline regularly interspersed as establishing shots, but these were filmed by a third party company, definitely not on an iPhone, and they sometimes jar with the in-scene photography. The music may be the only positive to The Astrid Experience as the easy beats from John That, Matt Osenton and Academy fit in nicely with the night lights and LA lifestyle. With John That also on board as producer it's no surprise that he pops up, along with Cal's other industry pals, half way through the film to get his mug on screen and promote himself in that very particular Hollywood way. The Astrid Experience is one of those typical Hollywood beasts, trying to tell cool LA stories which us normals can idolise and aspire to, just doing what it's doing without really seeing what it's actually up to. It's no accident that Cal Barnes has written himself as the romantic lead in his own movie, or that he's brought his industry pals along for the ride. It's also no accident that the entire scenario is just an excuse to run pretty girls around in skimpy outfits for ninety minutes, with Cal getting to cop off with the prettiest one. It's definitely not just an oversight, as that would require some actual thought and respect, that no woman in this film is thought worthy enough to be credited with a last name, and to be honest the whole thing comes across as crass and woefully stuck in adolescent male fantasy. Although, perhaps that's all Hollywood ever was anyway. About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

The Last Deal film review by UK film critic Jason Knight. Starring Anthony Molinari, Jeffri Lauren, Mister Fitzgerald, Sala Baker directed by Jonathan Salemi. HOME | FILMS | REVIEWS The Last Deal Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 28, 2023 Directed by: Jonathan Salemi Written by: Jonathan Salemi Starring: Anthony Molinari, Jeffri Lauren, Mister Fitzgerald, Sala Baker A marijuana dealer finds himself in deep trouble after a deal with criminals goes wrong. Vince (Molinari) was enjoying a happy life selling illegal cannabis in Los Angeles. However, after the drug became legal for recreational use in California, things became tough for him and he is refused a dispensary licence. Desperate, he enlists the help of his associate Bobby (Fitzgerald) and the two of them decide to buy a large amount of marijuana from a group of Armenians. Still though, in order to pay for it, they borrow a large sum of money from dangerous people and after they are double-crossed by the Armenians, the two unfortunate dudes must repay the borrowed money within a week or else. This feature is a race-against-the clock thriller that is set against the backdrop of the legalisation of cannabis in California. The screenplay does a good job in exploring the characters and their situations and in telling an intriguing story filled with suspense, gansters, tense situations and...marijuana. The general concept is heroes-owe-money-to-bad-people-and-must-pay-them-quickly and most of the narrative involves Vince trying to figure a way to get himself out of this mess with the help of several connections, including a pilot and a cannabis grower. Tension gradually picks up as the story progesses and the final act is quite exciting, with shootings and characters getting killed. The script also concentrates on Vince's private life, including his relationship with Tabitha (Lauren). Vince makes an interesting protagonist. He is a well-meaning guy who knows the cannabis business inside out and wants to live a decent life with his kind-hearted partner. Bobby is pretty much his sidekick, a heavy who also has a good nature. The gangsters' boss (Baker) serves as the antagonist, along with his gang of ruthless and deadly thugs. Salemi delivers some great aerial shots of Los Angeles and director of photography Dominic Lopez provides beautiful cinematography. Praise also goes to composer Tony Fiala for the atmospheric music. Basically, this is a crime thriller and a love story about characters having their lives threatened and having to get themselves out of harm's way and it is an interesting and enjoyable viewing. However, the film is also a commentary about the legalisation of marijuana and explores friendship, desperation and the idea of moving on to better things. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

So I Erased His Face film review by UK film critic Amber Jackson. Starring Sophia Haslé and Benjamin Kauffman directed by Yimeng Yuan. HOME | FILMS | REVIEWS So I Erased His Face Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Dec 8, 2022 Directed by: Yimeng Yuan Written by: Yimeng Yuan Starring: Sophia Haslé and Benjamin Kauffman Trigger warning for the film: abuse So I Erased His Face is a twelve minute short drama that uncovers the traumatic wounds of an aspiring painter. Apparently inspired by true events, the female protagonist is wounded and worrisome as she must process very complex thoughts and emotions throughout the film. Saddening and with vulnerability, this is a delicately beautiful film that pairs aesthetics with grief to convey a strong message. The painter is ultimately recovering from a toxic relationship which is understandably very upsetting. As a result, she has selectively forgotten moments of a toxic relationship much like a response to trauma. Yet at the same time, she still wants to remember fonder moments of this time perhaps in an attempt to make peace with what happened to her. This is all explored through her sensational artwork and a fixation on paint during every scene, which director Yimeng Yuan builds up to very quickly and thereby creating a kaleidoscope of imagery and expression for the viewer to gaze at. Consistent metaphors of painting and artistry are constantly present in the film, as the artist speaks on the journey of conception to completion of a piece of art. It is a very quotable script mostly in part due to its intensity as every line is intended to be raw and palpable as we are invited to experience the painter’s life alongside her. This allows for the short to feel very avant-garde, as the camera intrudes upon the painter and holds our gaze obsessively on painting as well as following the characters interacting with the art. Yimeng Yuan allows us into the space, but also challenges us within it. Atmospherically, the film feels foreboding and forlorn. Alongside the up-close-and-personal camera, most scenes being dimly lit is an intriguing contrast and makes the tone ominous. This is definitely explicit insight for the viewer with regards to how the painter feels. Likewise, it is a very quiet film, with some score that reflects a sombre mood. As the painter over-analyses past events and her responses to them, it is equal parts pensive and painful to see her struggle alone. Yet, it does not feel exploitative for her inner psyche to be deconstructed on screen, rather validating and empowering for her to share her story even though she has perhaps not come to terms with it. This short film about abuse and agony is brilliant and challenging watch with the sensitive subject matter tackled on screen. Although painful for the protagonist, there is a slither of hope for her future that the viewer must hold on to. Ultimately, So I Erased His Face is a very moving and powerful watch. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Canary film review by UK film critic Chris Buick. Starring Barron Leung, Andrew Hayden Kang, Kiyoshi Shishido, Thaddeus Newman, Matthew Mitchell Espinosa directed by Taka Tsubota. HOME | FILMS | REVIEWS Canary Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Feb 4, 2024 Directed by: Taka Tsubota Written by: Jasper Chen Starring: Barron Leung, Andrew Hayden Kang, Kiyoshi Shishido, Thaddeus Newman, Matthew Mitchell Espinosa Imagining one's self trying to survive in an apocalyptic world isn’t as hard as it used to be, there are more than enough films, shows, books and everything in between that can and have painted very horrific pictures of what form the end of the world might take. Short-film Canary , directed by Taka Tsubota and written by Jasper Chen, has now added itself to that canon but succeeds in making itself stand out with its tense, discomforting and above all else smart offering. Alan (Leung) is joining his cousin George (Shishido) and George’s friends for a vacation getaway to a cabin in the woods. George’s friends are, to use the most fitting description, despicable people. High schoolers with the mentality of much younger, they goad, humiliate and laugh at poor Alan all the way to the cabin. But it doesn’t stop there. When doomsday comes and they find themselves trapped and surrounded by terrifying creatures mentioned only briefly as “spiders”, Alan finds himself trapped with these cruel imbeciles, his only ally George having left for help long ago leaving Alan to the continued torment of the only other people he knows are alive and faced with having to decide which horror he would rather face. Canary really is a very enjoyable piece of work to watch, which is saying something when a film makes you feel as uncomfortable, tense and claustrophobic as this does. The idea and the setting for it are perfect, the really closed-in nature of that grim and disgusting cabin setting coupled with its dark and moody atmosphere really evokes that real sense of inescapability. There is no place for Alan to retreat to, no safe haven from monsters either outside or indeed inside the cabin and it all works to create this ever-closer-to-the edge-of-your-seat build-up to the finale where you feel trapped right there with him. And Canary also knows when it's better to leave a few things to the imagination. We all know the shark is scarier when we can’t see it and while again there are small hints of what the actual apocalyptic threat is here, the truly smart decision was to leave the what, the how and the why alone. Because the monsters roaming the woods outside were never likely to be as interesting, grotesque or scary as the three bullies Alan finds himself essentially captive to. Newman and Espinosa show off their deplorablility in their own right, throwing the barbs and verbal punches at Alan a fair amount themselves, but it’s Kang’s Nev that is the real monster here, a unique manifestation of the high-school bully you can’t ever run from, bored, angry and cruel and with Alan as the outlet, whom Leung makes so connecting and sympathetic that we’re practically screaming for him to take action. It’s great writing not just of plot but of well thought out characters that could easily have been caricaturistic, buoyed even more by equally applaudable performances. The ending might leave you hanging on a hook, but they do say always leave them wanting more and with the performances, writing, camerawork and pretty much everything else as good as it is, Canary is a commendable seventeen-minute accomplishment. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Disco 80s Soul film review by UK film critic Swati Verma. Starring NA directed by Duane Thomas Dsouza. HOME | FILMS | REVIEWS Disco 80s Soul Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Dec 16, 2022 Directed by: Duane Thomas Dsouza Written by: Duane Thomas Dsouza Starring: NA The writer-director Duane Thomas Dsouza combines various tropes of traditional and modern cinema to bring to his audience a musical piece that pays tribute to the disco era of the 80’s. He strongly believes in sharing his knowledge with the students regarding new things in field of mass media, filmmaking, and editing so that the entertainment industry gets people who have both skills and passion to produce good content and keep the audience hooked to it. The plot of the music video revolves around a rare dance performance that reminiscences the disco genre of dance, music and a subculture that emerged in the 1970s United States. The music video opens with a long shot of a step followed by upbeat funky background music that assists the viewers to gel with the vibe of the creative piece. The combination of white, black, and grey for the colour palette of the dramatic piece is utilized to showcase the various changes in seasons, situations, and time all through its duration. The clock has been smartly incorporated into the script to portray the time-lapse during the energetic fun moves. The set design, lighting, dialogues, costume, hair, and makeup complements the topic as well as the contemporary style of the art of movie-making. Duane Thomas Dsouza understands the nuances and sensibilities of people from the times of extravagant rhythms and therefore designs the male protagonist utilising animation, special effects, and other editing technics to give life to his thought process concerning the subject matter the musical piece deals with. A well-structured and conceptualized animated character gives the audience a sense of realism and nostalgia with it and therefore relates to the same. Disco 80s Soul talks to its audience about the importance of the roles of dance and music to maintain a positive frame of mind to deal with every scenario in life. The music video reiterates the fact that one should always cherish and celebrate the rich heritage the past has given us in terms of music, historical events, etc while we march ahead to achieve much more so that we pass it on to the next generation. The upbeat music and rhythm of the creative piece tells the viewers to be happy and add an unconventional approach to life to make it more enjoyable in the long term. Disco 80s Soul depicts and discusses how crucial it has become for humans to be adaptive and survive through tough days. The cinematic pieces states that the right mix of traditional values and a modern touch assists to enhance the quality of life in the long term similar to the Disco 80s Soul. The creative piece shows that there can be varied ways of handling any situation and all of this depends on the perspective of each individual. About the Film Critic Swati Verma Animation, Music Video < All Reviews Next Film Review >

Endangered film review by UK film critic Brandon Thomas. Starring Michael Olavson, Lizzzie Zerebko directed by Drew Walkup. HOME | FILMS | REVIEWS Endangered Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Jul 26, 2022 Directed by: Drew Walkup Written by: Adam Armstrong and Marcus DeVivo Starring: Michael Olavson, Lizzzie Zerebko Expectations are a hard thing to contend with when watching movies. Whether it’s the actors present or the filmmaker’s previous work, one can’t help but think something along the lines of, “Oh, well I know where this is going.” Many movies don’t subvert those expectations, but thankfully there are enough of them out there that do throw exciting curveballs at the audience. While not a new cinematic classic, Endangered offers up a compelling twist on the hostage thriller. Alison (Natalie Zerebko) is making ends meet as a rideshare driver on the roads of Orlando, Florida. Most of her passengers are the standard fare of obnoxious young people, talkative oversharers, and silent couples. Alison’s monotony is doused one evening after picking up a secretive passenger (Michael Olavson). The passenger looks nothing like his account picture, and his stand-offish demeanor instantly puts Alison on the defensive. As the night wears on, these early red flags will only mark the beginning of a chaotic night. From the start, it was hard not to think of Michael Mann’s Collateral while watching the first half of Endangered . There aren’t very many thrillers that predominantly take place in a car, but out of those that do, Collateral stands heads and shoulders above the rest. Thankfully, the setting is where the similarities cease and Endangered is able to carve out an identity all its own. Circling back to expectations, director Drew Walkup wisely shakes things up early. We’ve all seen hostage thrillers like this before, and some well-placed surprises rocked me back on my heels just a little bit. These twists – if you will – never cheapen the narrative momentum and feel lock-step with where Walkup was driving the story from the beginning. The chemistry between Zerebko and Olavson is the glue that holds the film together. Without their tandem captivating performances, the film simply wouldn’t work. Both are able to draw empathy and fear at different times. To say more would potentially spoil the back half of the film. While maybe not the most technically polished thriller of the year, Endangered makes an impression through clever plotting and two strong leads. About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

She Started It film review by UK film critic Jason Knight. Starring Stacey Ferreira, Thuy Truong, Agathe Molinar, Sheena Allen, Brienne Ghafourifar directed by Nora Poggi, Insiyah Saeed. HOME | FILMS | REVIEWS She Started It Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 5, 2021 Directed by: Nora Poggi, Insiyah Saeed Written by: Nora Poggi, Insiyah Saeed, Fernanda Rossi, Jennifer Steinman Starring: Stacey Ferreira, Thuy Truong, Agathe Molinar, Sheena Allen, Brienne Ghafourifar A fascinating insight into the world of young women entrepreneurs. This award-winning documentary focuses on the lives of five young women as they actively pursue their dreams of starting their own business. These individuals consist of three Americans (Ferreira, Allen and Ghafourifar), one Vietnamese (Truong) and one French (Molinar). Their business ideas consist of online companies. The audience follows them as they attempt to make their ambitious plans a reality and learns about their past, what motivates them and what their thought are ragarding the world of entrepreneurialism. This feature reveals the challenges in starting a business, particularly finding the finance. The experience of watching this film is rather educational, as the entrepreneurs explain the great deal of work it requires to start a company and keep it successful. The five businesswomen are examples of what women can achieve in business. They come across as intelligent, friendly people, who are determined to succeed and it is rather inspiring watching them overcoming obstacles in order to achieve their goals. There is plenty of footage that shows the five women as they give interviews, deal with the managing of their company and give presentations to audiences at events, hoping to secure investments in order to grow their business. Their relatives and friends are also shown. A variety of women who have reached significant accomplishments in business contribute to this feature by giving interviews, expressing their opinions about women as entrepreneurs. There are also many photos of various business individuals. The directing is rather good and includes wonderful establishing shots of cities and landscapes. The editing by Jennifer Steinman is quite creative and the interesting music is a great plus and effectively accompanies the images. She Started It is a must-see for anyone who is planning to start their own business becasue it inspires people to follow their dreams and turn them into reality. It introduces the viewer to five outstanding individuals, who set goals for themselves and are willing to work very hard for them. About the Film Critic Jason Knight Documentary, Indie Feature Film < All Reviews Next Film Review >