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Samvarana (Closure) film review by UK film critic James Learoyd. Starring Mehul Bhatt directed by Monil Kumar. HOME | FILMS | REVIEWS Samvarana (Closure) Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 12, 2024 Directed by: Monil Kumar Written by: Monil Kumar Starring: Mehul Bhatt Samvarana (Closure) is an interesting and honest portrayal of family estrangement, written and directed by Monil Kumar. It tells the story of a father (played by Mehul Bhatt) whose wife is seriously ill, so, he attempts to make contact with his son who has his own family and whom he hasn’t been able to see for many years. It’s a film about isolation, loneliness and the pain of wanting to fix something in one’s life which may very well be unfixable. We follow the protagonist as he recalls memories, leaves voicemails, and goes to his son’s house – but to no success. Much of the short effectively captures these difficult feelings; however, its plot-light approach, in addition to a couple technical mishaps, means that we don’t quite engage in the emotions being conveyed as much as the filmmakers may want us to. But nevertheless, the script is subtle, poignant and feels as if it comes from a deeply personal place, therefore it is absolutely worth your attention. There are some lovely visual concepts on display in this picture. For instance, there’s a wonderful moment in which the protagonist recalls him and his wife sitting on a bench peacefully; then, the filmmakers cleverly use the sunset to transition to a different time wherein the two characters are replaced with children playing in the park -- the colours are different, but the composition of the shot remains the same. This is some intelligent filmmaking, and utilises film as a form of expression to the best of its ability (i.e. no dialogue needed). Unfortunately, a few shots in the movie appear slightly flat looking. Shot digitally, most exterior sequences are filmed using tight apertures – exposing dust on the lens or sensor. It would also appear that, despite everything being in focus in this manner, the camera has been set to auto-focus which means that there’s the occasional jitter. What the camerawork displays, however, is that the cinematographer and director clearly comprehend the language of shot sequencing; how to implement closeups and wide shots and when, so I really admire the film’s coverage even if (from a cold, technical standpoint) there’s a hiccup here and there. The narrative of Samvarana, as sparse as it is, holds a kind of authenticity. To be estranged from a family member is such a common but crushing part of everyday life, and what this short film aims to capture is less the event itself, and more the quiet, reflective darkness which comes with time flying by. It’s quite profound, although offers no resolution - suggesting, one supposes, that there is no resolution to be found within such a situation. And yet the titular “closure” arguably comes at the very beginning, in the form of an onscreen quote which argues that one must “let go” so as to enjoy living in the moment. To conclude, the film is a terrific effort and it’s available to watch for free right now on YouTube. It also feels like an early work from artists who will grow creatively and go on to create even more amazing works. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Poly Styrene: I Am a Cliche film review by UK film critic Rachel Willis. Starring Celeste Bell, Ruth Negga directed by Celeste Bell, Paul Sng. HOME | FILMS | REVIEWS Poly Styrene: I Am a Cliche Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Feb 1, 2022 Directed by: Celeste Bell, Paul Sng Written by: Celeste Bell, Zoe Howe, PaulSng Starring: Celeste Bell, Ruth Negga Director Celeste Bell helps uncover her mother, X-Ray Spex singer and punk legend Poly Styrene, in the documentary, Poly Styrene: I Am a Cliché . Co-directed with Paul Sng, Bell dives deep into the circumstances that steered her mother from “an ordinary kid from an ordinary street” to punk rock icon. Born Marianne Elliott, the alter-ego Poly Styrene came from Elliott’s desire to connect the superfluity of pop stars with the culture’s increasing obsession with disposable commodities. Ruth Negga (Passing ) lends her voice to read Poly’s diary entries and poems, which helps convey the emotions in the icon’s words. Bell’s own narration, memories of her mother, and a collection of memorabilia help us discover the woman behind the image. Numerous interviews with rock icons such as Thurston Moore, X-Ray Spex members Lora Logic and Paul Dean, writer Vivien Goldman and others, dig deeper into what Poly stood for as a commentator on the culture. The documentary maintains a strong emphasis on Poly herself. Interviews happen as voiceovers while images onscreen portray the world in which Poly offered her strongest analysis and criticisms. Footage from concerts and interviews with Poly herself dictate the film’s focus. However, this is more than a simple rock doc, as the film finds numerous ways to cement Poly’s story as larger commentary on contemporary society. Bruno Wizard lays it out best when he says: “She was a woman of color working with an industry full of middle class men that had it all their own way.” The pressure on Poly, as it is on women (especially women of color), was enormous. Like many of Poly’s songs, the film illuminates the culture’s uglier realities, including the ways it tries to exclude people like Poly. In many ways, the punk scene was a natural fit, “full of people nobody else wanted.” As the film dives deeper into Poly’s life story, her struggles with mental health are partially documented. While not the first woman to be misdiagnosed, it’s further critique on the systems in place that frequently fail to help women. The third act falters as it shifts away from its strongest themes and relies on a more formulaic approach. The overarching criticism is neglected for a timeline of events in Poly’s life. Despite the disappointing turn, the documentary is a lot like Poly herself: vulnerable, observant, and resilient. Like mother, like daughter one might say. About the Film Critic Rachel Willis Digital / DVD Release, Documentary < All Reviews Next Film Review >

Coral Clear film review by UK film critic Patrick Foley. Starring Evon Adjei directed by Harvey Marcus. HOME | FILMS | REVIEWS Coral Clear Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 3, 2022 Directed by: Harvey Marcus Written by: Badra Cherfi Starring: Evon Adjei High-fashion and traditional North African designs transform into couture evening wear in the debut collection from designed Bophonysse. In Coral Clear, this collection is celebrated and demonstrated artistically and in a way that demonstrates the deeper story behind the garments. The film is a short piece which highlights Bophonysse’s 2021 couture collection in intricate detail – featuring models donning the extravagant evening dresses in both neutral and energetic poses. The film shows the items in profile as well as up close, giving viewers an opportunity to see the complete work, as well as the fine, minute details included by the designer. Over the piece is a spoken word poem from poet Evon Adjei, whose words characterise the aims of the designer. Coral Clear is beautifully shot – both as a demonstration of the products that it is designed to advertise, and as a film in its own right. There is a story in the very design of the dresses themselves which the film highlights, and the poem from Evon Adjei is meaningful and soulful – easily dismissing fears that the film exists purely for commercial purposes. There is a clear and welcome consideration from the director to bring the story behind the clothes to the screen. There is a building momentum throughout the film – with the models initially moving in minimal and gentle ways which allows for more focused shooting, but appears to lack a confidence in the clothing’s ability to sustain motion. This develops as the film does, with the pace of the movements becoming faster in conjunction with the increasing speed and content of the poem, which gains a confidence in its own story. The collection is shown then in full, fluid motion to show that the dresses can be functional as well as fashionable, and can be worn as confidently and completely as the designer intends. There is a striking lighting spectrum to the film that firmly places the clothes on the centre stage. The vibrant colours of the outfits stand out against the bleached background, and the white lighting seems to flow over the textures as the camera pulls in close to examine them intimately. The soundtrack is also an interesting addition. The combo synthwave/piano soundscape does not immediately appear to mix with the designs we see. However, as the pace picks up, it contributes to a progressive and forward-thinking theme for the collection. There are inherent limits to a film so short that deny a fuller story or deeper themes being explored, and of course the primary purpose is to demonstrate a collection that ultimately will always be more impressive in person. But as an artistic endeavour, there is merit in Coral Clear – and that is clear to see. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

The Forgiven film review by UK film critic George Wolf. Starring Jessica Chastain, Ralph Feinnes directed by John Michael McDonagh. HOME | FILMS | REVIEWS The Forgiven Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jun 30, 2022 Directed by: John Michael McDonagh Written by: John MichaelMcDonagh, Lawrence Osborne Starring: Jessica Chastain, Ralph Feinnes When we first meet the idly rich people that populate the opening minutes of The Forgiven , they seem laughably idle and cartoonishly rich, more fitting for a satirical comedy than a searing sociopolitical thriller. But it isn’t long before you appreciate the purposeful precision in writer/director John Michael McDonagh’s adaptation of Lawrence Osborne’s bestseller. The excess is this wretched for a reason, as the contrast between privilege and honor takes on a classic, Hemingway-esque flavor. Flamboyant couple Richard (Matt Smith) and Dally (Caleb Landry Jones) are hosting an annual weekend bacchanal at their lavish retreat in the middle of the Moroccan desert. As numerous Westerners are attended by a staff of native Moroccans, unhappily marrieds Jo and David Henniger (Jessica Chastain and Ralph Fiennes) are making the long drive to the party. The couple argues about which turnoff is correct, David takes his eyes off the road and strikes a Moroccan teen named Driss (Omar Ghazaoui) – killing him. Richard helps to smooth things over with the local police captain (Ben Affan), but word spreads to the villagers, and soon Driss’s father (Ismael Kanater) is demanding that David follow custom and make the long journey to the boy’s burial. David agrees, setting up McDonagh’s fascinating examination of worlds colliding. Jo instantly indulges the attention of Tom, a playboy financial analyst (Christopher Abbot), which gives the servants yet another affirmation of their guests godless natures. The wealth of the expats guarantees a life free of consequence, but David is learning that the Moroccans offer no such promises. McDonagh (Calvary, The Guard ) is such an insighftul writer, and he’s able to turn shallow first impressions into complexities as skillfully as he brings authentic depth to what easily could have been the magic brown people. As a director, McDonagh’s touch here can feel sluggish in spots, but this first-rate ensemble (also including Abbey Lee, Mourad Zaoui and an excellent Saïd Taghmaoui) always keeps things compelling. At the top, Chastain and Fiennes slowly craft competing moral compasses, and The Forgiven lands as an intelligent reconsideration of a seemingly timeless lesson. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The People in the Walls film review by UK film critic Chris Olson. Starring Mckenna Smith, Natalia Santacoloma, Cassi Colvin, Donny Boaz directed by Michael Crum. HOME | FILMS | REVIEWS The People in the Walls Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jun 13, 2024 Directed by: Michael Crum Written by: Gerald Crum Starring: Mckenna Smith, Natalia Santacoloma, Cassi Colvin, Donny Boaz Filmmakers Michael and Gerald Crum deliver a haunting and thrilling movie that fits nicely into the “Stranger Things” era of horror filmmaking. Rachel (Mckenna Smith) is a traumatised teen who witnessed her friend Becca (Aleena Heritage) experience a gruesome death following a viral craze which invites The People in the Walls to come out. After moving home and trying to fit in with a new set of friends (who have also had some run-ins with the wall people), Rachel becomes determined to take these monsters head on. Told with an impressive depth for darkness, The People in the Walls is a horror film that manages to smartly combine the worlds of childhood nightmares with adult horror. Often we see this balance completely missed by filmmakers, with horror films misfiring when attempting to tell stories about bogeymen. The story from Gerald Crum perfectly captures that innate fear all children experience of what’s lurking in their very own home. The creepiness factor turns up to eleven by the final third of the film, with a brilliantly delivered spooky finale. Impressive performances come in the form of Rachel’s parents (played by Cassi Colvin and Danny Boaz) who navigate the world of troubled mum and dad expertly. Mckenna Smith is also terrific in the lead role, especially when in scenes with her mum and dad. Sections where she is with the other child actors so sometimes lack the quality of delivery, with lines coming off a little wooden and theatrical. That being said, there’s a wonderful chemistry between Rachel and her two new friends Nancy (Natalia Santacoloma) and Chris (Cole Crum). The People in the Walls is broken into chapters, perhaps with the idea of a series being part of the original plan, and this gives the movie a sense of horror storytelling. The whole piece feels akin to a Goosebumps book but with a harder edge for the scary bits, with jump scares aplenty. The use of darkness was particularly impressive, such as an earlier scene where a toy gets dragged into the blackness, which happens later on in the movie too. Plaudits are due to Adam Anthis who handled the sound, so essential in horror filmmaking, as this was excellent and made sure the film felt professionally scary. With such enduring themes and a penchant for horror filmmaking, the Crums have excelled in bringing this spooky story to life. Fans of the genre will be able to gorge on the feast of scares and connect with well-drawn characters. Watch the Video Film Review of The People in the Walls by Chris Olson About the Film Critic Chris Olson Horror, Indie Feature Film < All Reviews Next Film Review >

Honey Don't! film review by UK film critic Jack Salvadori. Starring Margaret Qualley, Aubrey Plaza, Chris Evans directed by Ethan Coen, Tricia Cooke. HOME | FILMS | REVIEWS Honey Don't! Film Review average rating is 1 out of 5 Critic: Jack Salvadori | Posted on: May 27, 2025 Directed by: Ethan Coen, Tricia Cooke Written by: Ethan Coen, Tricia Cooke Starring: Margaret Qualley, Aubrey Plaza, Chris Evans “People like shit,” mutters Ethan Coen, quoting Miles Davis from a hotel room overlooking the French Riviera. Slouched in his chair, somewhere between bemused and beaten, he lets his wife and creative partner, Tricia Cooke, do most of the talking. They’re in Cannes with their new film, Honey Don’t! , out of competition and on the midnight fringes. It’s difficult to reconcile this Ethan Coen with the one— well, half of the duo— who redefined American cinema with Fargo , The Big Lebowski , and No Country for Old Men . Those films bent genre, turned banter into poetry, and irony into philosophy. They didn’t just become cult classics, but sometimes proper religions (Dudeism). Honey Don’t , by contrast, feels like the ghost of a once-brilliant voice: stripped of style, drained of substance, and devoid of spark. The virtuoso camera work is gone. So are the quirky compositions and signature rhythms. In their place: flat centre-framing, a generic ad-like aesthetic, and a joyless attempt at pulp pastiche. It’s a B-movie without bite. This marks Ethan’s second outing with Cooke after the spectacularly limp Drive-Away Dolls . Once teased as part of a “lesbian road movie trilogy,” the series now seems more like a vague notion than a cohesive vision. There are hopes for a third chapter, but no concrete plans. “Then you need to go and do the third movie,” Coen shrugs. “We need to go figure out what it is.” Margaret Qualley leads Honey Don’t as a hyper-feminine, rockabilly private eye, equal parts Lauren Bacall and cartoon pin-up, swaggering through the story with arched eyebrows and hard-boiled flair. Aubrey Plaza plays her love interest with deadpan cool, while Chris Evans appears as a dodgy cult leader who preaches in baffling macaroni metaphors. The film aims to queer up the traditionally macho noir template; a noble ambition, but one that never truly takes root. The subversion is surface-level, and the genre commentary lands with a shrug. Robert Altman’s The Long Goodbye is cited as a key influence, though the resemblance feels aspirational at best. Where Altman’s film swayed with jazz-inflected melancholy and sly revisionism, Honey Don’t! flails in tonal confusion. It never quite commits to noir, comedy, or camp, instead floating awkwardly in a limbo of cringe. “It’s a detective story,” Cooke offers plainly. “It’s serious.” Coen adds: “If people laugh, that doesn’t make it a comedy. But if they laugh, at least it’s working somehow.” Offscreen, the creative ambivalence lingers. “It’s getting harder and harder to get the money to make a new project unless you’re doing a studio movie,” Coen laments. “In the ’90s, the movie business could afford to flush money to fringe characters like us. Now it’s changed.” The remark hangs in the air like a weary sigh—a quiet concession that their era of creative carte blanche may be behind them. And yet, Cooke remains animated. She handles the press with assurance, defending their shared vision. “The credits are artificial,” she says. “It was always collaborative.” Coen nods in agreement. “It’s very similar to how I worked with Joel.” It takes two to tango... but choose the wrong partner, and you’ll be dancing in circles. Speaking of Joel— yes, they’re still close. A new script they wrote together is apparently ready and waiting. “We want to do it,” Ethan says. “But he’s tied to something else right now. It’d be stimulating to reunite.” For now, though, Honey Don’t! stands as a strange detour. “It’s escapism,” Coen shrugs. “Movies are fun to watch. They lift you out of reality. And we’re not trying to make a social commentary here.” And maybe that’s the point. Honey Don’t! doesn’t strive to say anything. It just... exists. Whether it works or not? Well, as Coen reminds us: “People like shit.” About the Film Critic Jack Salvadori Theatrical Release, Film Festival < All Reviews Next Film Review >

6:45 film review by UK film critic Rachel Willis. Starring Augie Duke, Michael Reed directed by Craig Singer. HOME | FILMS | REVIEWS 6:45 Film Review average rating is 2 out of 5 Critic: Rachel Willis | Posted on: Mar 22, 2022 Directed by: Craig Singer Written by: Robert Dean Klein Starring: Augie Duke, Michael Reed Working from a screenplay by Robert Dean Klein, director Craig Singer brings us the time loop horror film, 6:45. Bobby (Michael Reed) and Jules (Augie Duke) are trying to work through some issues, so they visit the quaint island of Bog Grove for a relaxing vacation. What the couple doesn’t know is that their visit to the island falls on the anniversary of a traumatic, unsolved murder. Because of this, the ferry service doesn’t run, and they’re stuck – or so they’re informed by the nosy, odd proprietor for the inn where they’re staying. A slow opening that follows the couple exploring Bog Grove, its tourist shops and oddball residents, doesn’t take advantage of the opportunity to build tension. When the tragedy occurs, it comes as a relief rather than a shock. Soon, Bobby descends into a nightmare he must relive over and over. Being forced to relive the day alongside Bobby is a horror in itself. No one else experiences the loop, so we get to see Duke in a range of roles: some days she wishes could last forever, others see her trying to rein in an increasingly unstable boyfriend. Reed, on the other hand, is stuck playing a man who doesn’t seem to know how to handle himself each day. Every time the crucial event occurs, he seems constantly taken by surprise. The cast of locals has little to do, often repeating lines from previous loops. They fill mostly stereotypical roles: small-town friendly and welcoming or weirdly creepy. There isn’t middle ground, and it makes for uninteresting characters. Rather than differentiate itself from similar time loop films through storytelling, 6:45 instead focuses on camerawork and distracting split screens. Anywhere from four to six screens will litter the frame, some focusing on banal details, others on more interesting visuals. Days are relegated to montages, Flashbacks detailing the couple’s history sometimes punctuate the flashbacks. It’s here that Singer cleverly injects moments that help us understand why the couple has been fighting. It’s clear that the fight revolves around infidelity, but these fleeting moments offer hints of violence, which reveals something more sinister. The film does take an interesting turn, but it comes too little, too late. It also fumbles any message it’s trying to get across. Instead of offering a strong look at a troublesome relationship, it embraces shock over commentary. In the end, we’re not shown anything new or astute. About the Film Critic Rachel Willis Digital / DVD Release < All Reviews Next Film Review >

Bad Hombres film review by UK film critic Brandon Thomas. Starring Diego Tinoco, Hemky Madera, Luke Hemsworth directed by John Stalberg Jr.. HOME | FILMS | REVIEWS Bad Hombres Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jan 26, 2024 Directed by: John Stalberg Jr. Written by: Rex New, John Stalberg Jr., Nick Turner Starring: Diego Tinoco, Hemky Madera, Luke Hemsworth Darkly funny neo-noirs hit my cinematic sweet spot more often than not. The satisfaction of laughing at outrageous bursts of violence or complex plans that go awry is second to none. And throughout these entertaining narratives are classic aesthetic tropes that give filmmakers the opportunity to lean into equally satisfying visuals. While the plot of Bad Hombres never enters complex territory, the characters and genre beats are more than enough to make up for it. Felix (Diego Tinoco) has just arrived in the U.S. from Ecuador. Looking to send money home to his impoverished family, Felix and his cousin go to the local hardware store in the hopes that they can pick up work as day laborers. After his cousin is picked for a job but he isn’t, Felix is approached by a twitchy Australian (Luke Hemsworth, TV’s Westworld , Next Goal Wins ) with an offer for an easy day’s work. Also on the job is gruff handyman Alfonso (Hemky Madera, Satanic Hispanics , Spider-Man: Homecoming ). Felix and Alfonso quickly realize the gig is more than basic labor after arriving to the job site to find several bodies and the Australian’s wounded partner (Paul Johansson, TV’s One Tree Hill ). Early on, Bad Hombres feels like it’s going to be your standard direct-to-streaming action thriller. The title alone doesn’t do much to dispel that initial gut reaction, either. However, once Hemsworth’s borderline lunatic character appears on screen, the dynamic shifts ever so slightly in favor of something a bit more interesting – and dare I say, chaotic. Director John Stahlberg Jr. wisely paces himself and lets the crazy of Bad Hombres blossom naturally. While it’s fair to say that Bad Hombres is a lower budget film, that never really comes across on screen. Stahlberg’s direction is methodical and focused with a strong emphasis on visual storytelling. Despite having moments of explosive action, the film mostly consists of scenes of people having conversations. Even in these more “mundane” moments, the film’s energy never drops. Along with Stahlberg’s direction, the other secret ingredient in Bad Hombres is the cast. Madera is especially notable as the unapproachable Alfonso. As the film progresses and the layers of Alfonso’s backstory is revealed, Madera’s performance becomes so much more nuanced and exciting. Hemsworth is having a blast playing a murderous madman who likes to portray himself as more politically progressive than he probably is. Even the always reliable Thomas Jane (The Punisher , The Mist ), Tyrese Gibson (Fast & the Furious series), and Nick Cassavettes (best known for directing The Notebook ) pop up in supporting roles. Bad Hombres is a lean and mean bit of modern day neo-noir that manages to deliver well past its budget and defy expectations all at the same time. About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Frida film review by UK film critic Rachel Willis. Starring Frida Kahlo directed by Carla Gutierrez. HOME | FILMS | REVIEWS Frida Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Mar 14, 2024 Directed by: Carla Gutierrez Written by: CarlaGutierrez Starring: Frida Kahlo Director Carla Gutiérrez lets Frida Kahlo speak through her words, photos, and most movingly, self-portraits (including images from her illustrated diary) in the documentary Frida . The film moves through the years of Kahlo’s life, weaving in her own words and images from her young life. Film from the time period helps set the scene of Frida’s childhood in Mexico. Photos of Kahlo and her parents illustrate her spoken memories. The documentary makes impressive use of Kahlo’s paintings to bring the legend to life. This is a documentary that puts the soul of the artist front and center of her own story. When Frida tries to bring in its own artistry, it suffers by comparison. The choice to highlight certain sections of black and white film in bright colors feels tacky compared to the rich paintings. Used to better effect are animations that enliven the artist’s works. In addition to Kahlo’s own words, voices from those who knew her pepper the film. Classmates, former boyfriends, and friends add layers to the portrait the film paints. It is impossible to study Kahlo’s life without examining her relationship with fellow artist Diego Rivera. His influence on her life was profound, as was hers on his. Kahlo’s emotional highs and lows allow the audience to know her in a way that enhances an understanding of her art. Like so many artists, the true impact of her work would only be understood after her death. But in life, it brought her joy. For those unfamiliar with Frida Kahlo, this is a lush and impressive introduction to her life and art. About the Film Critic Rachel Willis Digital / DVD Release, Documentary, World Cinema, Amazon Prime < All Reviews Next Film Review >

Strange World film review by UK film critic George Wolf. Starring Jake Gyllenhaal, Jaboukie Young-White directed by Don Hall, Qui Nguyen. HOME | FILMS | REVIEWS Strange World Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Nov 21, 2022 Directed by: Don Hall, Qui Nguyen Written by: Qui Nguyen Starring: Jake Gyllenhaal, Jaboukie Young-White So, one of the main characters here looks exactly like John Krasinski, but is voiced by Jake Gyllenhaal? Strange World , indeed, but that’s just an amusing footnote in Disney’s latest animated feature, an enjoyable family adventure with a straightforward message and commitment to inclusion. Jake is the voice of Searcher Clade, a contented farmer still dealing with the ghost of his famous father, Jaeger (Dennis Quaid). Twenty-five years ago, Jaeger vanished during the family’s quest to discover what lies beyond the mountains of Avalonia. But while Jaeger was lost on the expedition, Searcher brought back a vital new resource for his homeland: the Pando plant. Pando now provides the energy that drives almost everything in Avalonia, which is all fine until the crops show signs of a serious infection. Putting aside a vow not to follow his father’s adventuring path, Searcher, his wife Meridian (Gabrielle Union), their son Ethan (Jaboukie Young-White) and their three-legged dog join President Mal (Lucy Liu) on a mission to cure the Pando plant and preserve their comfortable way of life. Writer Qui Nguyen (Raya and the Last Dragon ) joins his co-director Don Hall (Raya, Moana, Big Hero 6 ) to craft an ecological allegory seemingly inspired by the union of a role-playing board game and one of those cute posters you pass while waiting in the lines at Disney World. The animation itself is stunning, whether snowy peaks, verdant village or trippy, drippy otherworld. Strange World lives up to its title, delivering a visual feast. But there’s more on Nguyen’s mind than eye candy. His story offers a world where generations do not have to be defined by what they always believed was right, where masculinity has no concrete quality but is a term owned by the individual. More importantly, this Strange World is one where creature comfort is not more important than survival. Often the film feels like it’s trying too hard to correct the stereotypes nourished by generations of children’s entertainment. But there’s a kindness and a sense of forgiveness throughout the movie that does make you yearn for a world like this one. About the Film Critic George Wolf Theatrical Release, Animation < All Reviews Next Film Review >

The Solitude of the Tennis Ball film review by UK film critic Chris Buick. Starring Mariana Millapan, Maurizio Atzori, Alessandro Ariu directed by mebitek, Jele Raus. HOME | FILMS | REVIEWS The Solitude of the Tennis Ball Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Oct 5, 2025 Directed by: mebitek, Jele Raus Written by: mebitek, Jele Raus Starring: Mariana Millapan, Maurizio Atzori, Alessandro Ariu The Solitude of the Tennis Ball , a collaborative effort from filmmakers mebitek and Jele Raus, offers a profound and unique portrayal of a downward spiral from severe depression towards total despair. We start with Liza (Millapan) and her companion Lancelot (Atzori) together at home, sharing a couch and a quiet evening together, yet the clear disconnect between them places them virtually worlds apart. Liza’s mind is more keenly focused on her next almost-full glass of wine, or perhaps one or more of the copious amounts of pills laid out in front of her. Lancelot, on the other hand, simply yearns internally for her just to touch him, to see him, desperate to be able to somehow save her from her widening self-destruction. At first glance, one might categorise their relationship under that of a failing love affair, but we soon begin to realise it is rather one between a lonely woman and the purest, most devoted projection of man's, or in this case, woman’s, best friend. While both Millapan and Atzori are more than up to their respective, very different tasks, Lancelot's role calls for a particularly unique physicality. Atzori’s writhing, canine-like movements really help sell this unique narrative spin. While by the end Lancelot’s internal musings do begin to feel more like nonsensical ramblings, this dynamic is a genuinely captivating and interesting idea, yet there are a couple of unnecessary shifts away from that, whereas having the entirety of the film’s narrative told exclusively from Lancelot’s point of view might have helped allow the film to feel a bit more cohesive. Millipan, on the other hand, has the contrasting but as difficult job of anchoring the emotion of the piece, the fragility of Liza needing to be apparent but contained, to be allowed to grow naturally, and thankfully, Millapan is more than up to the challenge. The film generally handles its heavy subject matter with seriousness, and while it never delves into the whys of Liza’s circumstances, its focus on the outcome of it all is effectively handled. The film is also technically and creatively strong. Colour choices in particular are employed to great effect, gradually migrating from its initial brighter hues to a much more muted, desaturated palette for its finale, brilliantly visualising Liza’s deeper and deeper descent into insurmountable depression. But perhaps the most inspired creative choice is having Lancelot’s monologues in English, contrasted against Liza’s Spanish (subtitles not provided), further playing with that inability to communicate with each other across species and further highlighting Lisa’s isolation. Additionally, the sound editing contributes to this thematic depth, though it operates at a slightly less consistent standard than the film’s otherwise high technical quality. Overall, The Solitude of the Tennis Ball is still an applaudably unique and creative piece of art that lies heavily on the heart. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Raspberry film review by UK film critic William Hemingway. Starring Emmie Rhodes, Samuel Marlow directed by Scott Kingsnorth. HOME | FILMS | REVIEWS Raspberry Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 3, 2024 Directed by: Scott Kingsnorth Written by: Scott Kingsnorth Starring: Emmie Rhodes, Samuel Marlow Making films is such a really easy thing to do, innit? In fact, it’s so easy that I’m surprised more people aren’t out there giving it a shot; scripting their dreams, grabbing a camera and committing their ideas to film. And what about short films, eh? They’re even easier to make, aren’t they? So easy, in fact, that anyone can do it. All you have to do to make a short film is to come up with an idea, just one, and then film a small scene about it. It doesn’t even need to be that long, a couple of minutes maybe, and there doesn’t even need to be any dialogue if you don’t want there to be. Yeah, of course you’ll be able to get across what you want to say in that short, tiny, miniscule amount of time, without any words. Don’t worry, everyone is bound to understand it. Everyone is bound to love it. It’s easy – just go for it. And so, dear audience, today for your consideration we have Raspberry . Written, directed and shot by Scott Kingsnorth, Raspberry is one of those films. Coming in with a total runtime of just under two-minutes there’s not a lot of time, space or anything else for Kingsnorth to get his point across. Luckily for him though, his point is not all that involved, and to be fair it’s not all that subtle either, leaving the way open for a quick exchange of attitudes before it’s all over and we’re left to go our separate ways again. So, just what is it that Raspberry has to offer? Well, to start with there’s nearly thirty seconds worth of credits to lead us in, which along with the extra fifteen seconds of credits at the end, only leaves us with about one minute and fifteen seconds worth of actual film left to watch. Within that window we get to see a woman (Rhodes) sitting on a bench, in black and white. She looks like a bit of a schoolmarm, what with her rimmed glasses and her stern look, and it seems as though she probably isn’t very good at sharing or socialising. When another person – a gentleman – then decides to take a load off and sit on the bench, the woman doesn’t like it and so she shoots him a fierce look. Unperturbed, the gentleman (Marlow) shoots a look straight back at the schoolmarm and a Sergio Leone style face-off begins as the two sets of eyes are trained on one another with no sign of giving way. Eventually, with there seemingly being no other way out of the deadlock, the woman sticks her tongue out and blows a raspberry at the man before he turns around and does the exact same thing back. Fin. And so that’s it. That’s all we’ve got. That’s all there is. If you wanted to – and I mean really wanted to – you could try, I suppose, to link what’s going on in the film to the real world. You could try to say that the characters represent their respective sexes within wider society, and that the woman here, as in the wider world, is protecting her personal space from the inevitable invasion of men and is showing her disgust at the entitlement men have to all spaces, even those which surround women. You might try to say that the film is a commentary on modern society and the current generation, where actual face-to-face communication has broken down so much that it seems insults are the norm and the art of conversation has been lost. You could try to say that this is Kingsnorth’s two fingers up to the Oscars. You could try and say a lot of things, if you wanted to, about Raspberry but none of them would be right because in reality it has none of these things in it. It is merely a very short film about two people blowing raspberries at each other – it tells you right in the title – and that’s it. However, if that’s all that Kingsnorth wanted to show, then he’s managed it pretty well. In two-minutes he’s demonstrated that he can select, shoot and edit his shots with a degree of skill. He’s managed to offer a sort of characterisation through the look and wardrobe of the two leads and he’s offered some measure of directorial style by choosing to film in black and white. The story, for what it is, hangs together and does create a narrative, while the music from Matt Williams provides a throughline as well as a sense of atmosphere to the audience. Which means that while Raspberry may not be very much, it is at least something. Just who would want to watch it though, is another question entirely. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >