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The Misfits film review by UK film critic Isaac Parkinson. Starring Pierce Brosnan, Nick Cannon, Tim Roth, Mike Angelo, Jamie Chung, Hermione Corfield directed by Renny Harlin. HOME | FILMS | REVIEWS The Misfits Film Review average rating is 1 out of 5 Critic: Isaac Parkinson | Posted on: Mar 2, 2022 Directed by: Renny Harlin Written by: Robert Henny, Kurt Wimmer Starring: Pierce Brosnan, Nick Cannon, Tim Roth, Mike Angelo, Jamie Chung, Hermione Corfield Pierce Brosnan was, at one time, the face of the biggest action franchise in the world. Suave, charming, commanding. Not any more. Here, Brosnan stars as expert thief/wayward father/supposed charmer Richard Pace. Drafted by the titular Misfits to lead a heist (altruistically stealing gold from a prison in Abu Dhabi intended to ‘fund terrorism’), he’s joined by his estranged daughter Hope (Hermione Corfield), our narrator Ringo (Nick Cannon), man-hating martial artist Violet (Jamie Chung), royal con man The Prince (Rami Jaber), and demolition man Wick (Mike Angelo). Brosnan’s performance feels desperate, trying to force some energy and style into a dull script. He charms women, yet without having said anything charming. He holds control over those around him, yet without commanding any authority. Everything is working against him, but he somehow manages to be the only engaging performer here. Cannon’s Ringo is perhaps the only other who stands out due to how abrasive and alienating he is. A man of theatrics, he adopts several disguises which are each as confusing as they are offensive. His accents are so wildly inconsistent that what I thought was intended as an insultingly camp Middle Eastern accent, he later claims to be European. This is indicative of wider elements of orientialism throughout the film, resorting to the comical use of a group of servants all named Mohammed, constant mocking of Arabic dialects, and a general demonisation of the Middle East as a hive of terrorists. Ringo also provides voice-over narration, navigating us through cutaways flashbacks and quips to add exposition and levity. Beyond lacking any humour, these moments also often push extra narration into scenes which were by themselves already plenty expository - there’s no satisfaction in recognising a twist when someone leans over to shout an explanation in your ear, and even less satisfaction in someone telling you their joke is funny. Elsewhere, the action is formally uncoordinated and unintelligible. Chopped up with quick cuts intended to inject some urgency, it becomes impossible to recognise exactly what is happening, particularly during chase sequences. While this has the facade of a Fast & Furious -esque globetrotting heist, Harlin forgets the essential elements of a charming ensemble and thoughtfully crafted set pieces. The political context of the narrative is as confusing as its action. Characters use terms like ‘Bin Laden’s successor’ to describe terrorists, stirring up a sense of patriotic retribution to justify their plan. Motivations like this undermine their Robin Hood style vigilantism, and identify them more implicitly as US government agents unshackled by bureaucratic gridlock. The ignorance towards the War on Terror boils down to ‘West = good, East = bad,’ making it hard to root for our supposed heroes. This is further worsened by their poisoning of an entire prison population to steal the gold. If their justification is a moral one, why commit such cruel acts? Harlin was once a successful director with films like Die Hard 2 and Cliffhanger , but without any competent action or charming twists, this throwback to suave 90s capers feels detached from the very thing it’s attempting to recreate. About the Film Critic Isaac Parkinson Amazon Prime < All Reviews Next Film Review >

The Devil's Bath film review by UK film critic Hope Madden. Starring Anja Plaeschg, David Scheid directed by Severin Fiala, Veronika Franz. HOME | FILMS | REVIEWS The Devil's Bath Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 26, 2024 Directed by: Severin Fiala, Veronika Franz Written by: Severin Fiala, Veronika Franz Starring: Anja Plaeschg, David Scheid It’s been five years since Veronika Franz and Severin Fiala’s last horror—the remarkable The Lodge —and a full decade since their unnerving Goodnight Mommy . I had missed their particular brand of isolated, rustic horror. So it was with much excitement that I sat down to their latest, a twisted true crime fairytale, The Devil’s Bath. Set in the 18th century mountains of Austria, young bride Agnes (Anja Plaschg) finds married life with Wolf (David Scheid) not all she’d hoped. Disappointment, confusion, isolation, fanatical religious fervor, guilt, and desperate longing—plus the suspicion that dogs any village outsider—prove too heady a combination, and soon even Agnes can’t explain her own behavior. The film, also written by Fiala and Franz, mines historical records of the area to illustrate the natural, dire consequences of religion, patriarchy, and duty. Both The Lodge and Goodnight Mommy were slow builds that drew as much tension from the brutal beauty of their isolated location as from the events unfolding there. The Devil’s Bath walks that same eerily remote path, but the burn is much slower and the horror less mean. The Devil’s Bath repays close attention. Details that offer context to Agnes’s plight float in and out of the background, and without those details, the viewing experience can feel as unmoored as poor Agnes. But so much of Agnes’s trouble is recognizable—difficultly fitting in, a growing distance between herself and her husband that she doesn’t understand, and the impossible task of getting close to (or becoming independent of—either would be OK) her mother-in-law. She’s on her own and soon lonesomeness and longing are all she feels. And what is there to do? Nothing. This is her life now, far from the mother who dotes on her and the brother who protects her. As Agnes descends into madness, the filmmakers ensure that we feel the universality of her condition. The Devil’s Bath opens provocatively, leaving you with a question. The ensuing two hours pointedly answers that question, and then asks: Are you sure you would do it differently? About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Ember's Edge film review by UK film critic Swati Verma. Starring Edith Bahena, Danielle Chambers , Lance Caver directed by Edgar Alejandro. HOME | FILMS | REVIEWS Ember's Edge Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Sep 2, 2022 Directed by: Edgar Alejandro Written by: Edgar Alejandro Starring: Edith Bahena, Danielle Chambers , Lance Caver The maroon font colour used for the title of the feature film has the connotation of passion, ambition, strength, courage, and confidence necessary to combat the various emotions encountered by the two female protagonists Kara (Danielle Chambers) and Leticia (Edith Bahena) while on an outing in the jungle. The name of the movie-Ember's Edge can also signify the act of being pushed to the extreme. The writer-director Edgar Alejandro's ensemble Ember's Edge is a theater show but has the capability of engaging the audiences just like a full-fledged film. Ember's Edge tells the story of love, trust, and adventure- all put to the test when subjected to an unexplored forest, seeking a treasure that may or may not exist. The film opens with a long shot of the jungle with a slightly tilted camera angle to instill a sense of thrill and mystery into the minds of the audience in context to the dense forest. The DOP Adriel Roman with a mid-shot, low lighting and an eerie background sound gives the message to its audience to be ready to witness a lot of twists and turns that would keep them hooked throughout the running time of the creative piece. The set design, locations, lighting, dialogues, costume, and makeup has been kept natural to uplift the rawness of the narrative and also add the element of realism and make it relatable for the viewers. In terms of performance, Edith Bahena plays Leticia (Kara's love interest) who likes to handle things with emotions but the audience gets to watch the nuances of her character which remained uncharted till she was forced out of her comfort zone. The young actress effortlessly portrays the varied shades of her character and demands 100 percent involvement of the audience in the story right from the starting point. Danielle Chambers as Kara is opposite Leticia. She is the right mix of practical and explorer. Kara always leads herself to the physical and emotional ruckus. Chambers can delve into the mind of Kara and showcase the hassle, and paranoia that the character is experiencing due to her high ambitions. Lance Caver plays the role of Elijah the villain of the story. Caver illustrates multifaceted Elijah effectively to maintain the thrill, suspense, and mystery of the narrative. The various antics utilized by the actor also highlight the gruesome thinking of his character. The feature film-Ember's Edge talks about the importance of falling in love and staying faithful to the romance despite all the turbulence experienced in it. The cinematic piece teaches the lesson of togetherness which would help achieve long term goals in life. The thriller reiterates the fact of finding the balance between emotions, determination, and ambition as too much of anything can cause harm that cannot be repaired. The creative piece also tells us that love shouldn’t have a set rule attached to it and people cannot be subjected to judgment because of the choices they make regarding their love life. Ember's Edge advises its viewers not to lose themselves to discover something new with various experimentations in life. About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

Ramgog! film review by UK film critic Joe Beck. Starring Kris Salvi, Emma Geller directed by James Ristas. HOME | FILMS | REVIEWS Ramgog! Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: May 18, 2024 Directed by: James Ristas Written by: James Ristas Starring: Kris Salvi, Emma Geller The story of the genesis of man, as told in the Bible, has been reiterated and mirrored countless times over the years, in films from ‘Pinocchio’ to ‘2001: A Space Odyssey’ to the various forms of ‘Planet of the Apes’, but perhaps none have more so taken inspiration from the storied tale in such a strange and peculiar way as ‘Ramgog!’. “Ramgog!’ is a remarkably strange film, one of a kind in every sense of the word, yet whilst it is no doubt curious, it is perhaps not the most engaging of films. Written and directed by James Ristas, we are immediately thrust into a surreal landscape of total darkness as a man, played by Kris Salvi, and a woman, played by Emma Geller, step into the void. We are told that they are the last two remaining people on earth, a clever inversion of the story of Adam and Eve. Earth has turned completely into darkness, and our two protagonists are wailing over their abandonment by God. Then ramgog, the creature that gives the film its title, appears, and things go from slightly strange to utterly off the walls crazy. The easiest way to describe Ramgog is as a philosophical, and apparently all-knowing, space monkey. In this story of genesis he is the Mephistopheles, offering information to the Adam and Eve of the film as to why this has happened. He is armed with a book on the teachings of sixteenth century German philosopher Jakob Boehme, which are second only to God’s own words in terms of importance. I guess they couldn’t find any holy scriptures in the dark. From utterly off the walls crazy, things only become weirder and completely batshit insane, with further biblical inspirations, including a nod to the birth of Jesus, as well as ideas credited to Boehme himself. This is a religious film like never before, in that it’s both all about religion at all, should you choose to exercise your brain and make those connotations, but equally has nothing to do with anything at all should you choose instead to watch it without thinking. The latter is probably preferable, as the more you think about ‘Ramgog!’, the less you can enjoy it. It is fun surrealism, but unlike films by the likes of famed surrealist Luis Buñuel, the more one spends dwelling on and trying to decipher the hidden meanings behind ‘Ramgog!’, the more it becomes frustrating and ultimately less engaging. This isn’t helped by the flat performances, as each line is delivered in a robotic, forced manner, and the two leads display a desperate lack of chemistry with one another. Screenplays in surrealist films generally allow for award reading of lines, but in ‘Ramgog!’ It’s past awkward, it’s straight bad. Furthermore, though James Ristas’ directing is magnificently bold and visually striking both in terms of the range of shots on display and what those shots are depicting, there is one moment - where the fourth wall is shattered - that completely takes the viewer out of the picture, and that silkiness that is present behind the camera throughout, disappears briefly. ‘Ramgog!’ is a strange film. It’s one that wants you to think, but is best enjoyed if you don’t. It’s surrealism is both it’s strength and it’s weakness, as you sense that perhaps Ristas is shooting too far with his attempt. Then again, such audacity should never be discouraged, and it is ultimately this boldness which makes ‘Ramgog!’ such a creative and, perhaps, an essential film. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Red film review by UK film critic William Hemingway. Starring Jennie Cruz Calvo, Marleen Irani directed by Marleen Irani. HOME | FILMS | REVIEWS Red Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Oct 14, 2022 Directed by: Marleen Irani Written by: Shafira Sardar Starring: Jennie Cruz Calvo, Marleen Irani Red : the colour of love, of passion, of desire; but also the colour of anger, of aggression, of danger. In her new short film, director Marleen Irani explores the different aspects, meanings and uses of the colour Red to tell the story of a lone, young woman (Jennie Cruz Calvo) – a story that could rightly be extended to encompass the stories of many young women around the globe. Writer Shafira Sardar deliberately keeps her protagonist nameless and silent throughout, with her story being told by a disembodied voice (played with conviction by Irani herself), who relays thoughts and feelings about her that only an intimate companion could know. It is up to the viewer to decide who this over-reaching voice could belong to – a parent, a lover, a friend – or if it is merely a manifestation of the young woman's superego, a voice in her own head that critiques and judges her choices and actions. The woman is heading out on a date. The rain may be pouring down and the wind blowing through the streets but she's going anyway, determined to allow herself the time to meet and be met by others. We see her putting on red lipstick, bright red, which we are informed by the voice is not her usual colour and must therefore be for the purpose of impressing somebody else. What is the point in that? The lights of the city dazzle and shine as they are reflected in the puddles and the rain soaked windows. As you might expect, colour and lighting play a large part in setting the scene and mood for the young woman's story, and a lot of attention is given to their placement and punch, almost reflecting and defining her character as we watch her on this journey. The direction is considered and assured too, as we get a mix of close-up and wider shots, establishing the woman in time and place, while the voice muddies the waters of what we think we believe. Irani remembers to step back from time to time to watch the falling rain, the city lights or the wind between the leaves and some of the best shots of the film are those without anyone in them at all. There is a lot that is said in the short five minute runtime of Red , and a lot that is left unsaid but rather shown. The woman's story in the end may not be that original, but then has a universal underpinning that will speak to many viewers individually. Red is a well crafted short film that shows Irani to be a director who appreciates the impact of a strong visual image. About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

Dog film review by UK film critic Hope Madden. Starring Channing Tatum directed by Reid Carolin, Channing Tatum. HOME | FILMS | REVIEWS Dog Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 17, 2022 Directed by: Reid Carolin, Channing Tatum Written by: Reid Carolin, Brett Rodriguez Starring: Channing Tatum Dog —the new Channing Tatum film about a former Army Ranger driving cross country with another former Army Ranger, this one an angry Belgian Malinois named Lulu—is not what you expect. I wish that was a good thing. Because what you expect is likely not that good to start with: hunky but irresponsible man learning love and responsibility from an anxious but lovable hound. And you do get that. The emotional trajectory of Dog is no more in question than whether the two bedraggled messes will make it on time to their final destination, the funeral of a fallen comrade. But if you are expecting to laugh, even once, you are in for a surprise. The film, co-directed by Tatum (his first effort behind the camera), makes a number of weak attempts at comedy. If you’ve seen the trailer, you’ve seen all of them. Not a single one lands, and each supposed joke is so lazy, so telegraphed and tired. Dog is a road trip film, which is often an excuse to string together random comedy sketches. Sometimes this works (Vacation, The Mitchells vs. the Machines ). Usually, it doesn’t. Certainly, Dog doesn’t take advantage of the opportunities for hilarity inherent in the cross-country trip. But don’t dismiss Dog as simply a decidedly unfunny comedy. Tatum and co-director Reid Carolin, who co-wrote the script with Brett Rodriguez, use the gags as a sweetener on top of a very dark story about PTSD and living with the emotional and physical damage of war. What lies just beneath the weakly attempted comedy is an incredibly dark film. Not a dark comedy—not by any stretch. Tatum and gang are not going for laughs at the expense of these two scarred veterans and their collective trauma. Lulu is every embattled, broken veteran and we don’t want anything bad to happen to Lulu. Why, then, are we so careless with our broken and embattled veterans who are not also beautiful Belgian Malinois? It’s a worthy message trapped in a sincere, tonally chaotic, humorless, lazily constructed mess of a movie. Dog has merit I did not expect going into it. I wish it was a better movie. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Trail film review by UK film critic William Hemingway. Starring Kieran Urquhart, Jim Pope, Suzy Whitefield directed by Joseph Ollman. HOME | FILMS | REVIEWS The Trail Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Aug 18, 2024 Directed by: Joseph Ollman Written by: Suzy Whitefield and Joseph Ollman Starring: Kieran Urquhart, Jim Pope, Suzy Whitefield The Trail sees Sam (Whitefield) come to pick up her brother, Martin (Urquhart) to take him for a day out hiking in the woods. Martin lives in sheltered accommodation and already seems lost just standing on the pavement waiting for his sister. He is jumpy and anxious and every sound on the street makes his head turn like a spooked owl. Once inside the car, Martin manages to relax a little, and the cigarettes his sister got him settle his nerves even more, as they set out from the hustle and bustle of the big city. However, no sooner have the siblings rocked up, parked the car and put their jackets on, than an outgoing, over-friendly chap in a red parka (Pope) comes along shouting at them from down the trail about the parking regulations. This encounter really sets Martin on edge again and he can’t help staring out between the trees imagining to himself just what horrors might lay out there. Soon enough though, Sam gets Martin out onto the trail so that they can have a nice time in nature and talk about some of the important things, like the possibility of Martin moving in. But out in the wilds, the creepiness quickly settles back in, Martin starts to see danger everywhere, and the guy in red pops back up in the middle of the forest to start shouting at them again. Cue, a brief chase through the woods and an extended game of hide-and-seek, in which Martin and Sam feel they must get back to their car immediately and escape the madman on the prowl. For what is, on the surface, a regular ‘escape the woods’ thriller, The Trail tries to dig a little deeper into its own psychology. Kieran Urquhart and Suzy Whitefield both do a good job of playing things nice and easy, calm and natural, but then appearing off-kilter at select moments to keep the viewer on edge. The direction from Joseph Ollman, who produced and wrote the short alongside Whitefield, also manages to keep us guessing on just how severe the threat is, whilst throwing in some nice imagery suitable to the location and genre. The Trail is genuinely unsettling at times, with the fear coming more from Martin’s perception of things than it is from anything that’s happening on screen, and that is all to the filmmakers’ credit. The main antagonist though, is a guy in a red jacket who likes to stand between the trees and shout, ‘Hey!’ from a distance. It seems that he is purposefully enigmatic and vague and therefore doesn’t help in keeping the scenario grounded. The suspension of disbelief needed for watching The Trail is never really found by Ollman, with the characters being too flat and the scenario too simple. It’s hard to say whether The Trail is supposed to be scary, or thoughtful, or both, but it manages each in some measure and at least opens a mental health conversation about the very real fears of those in care. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Bury Your Gays film review by UK film critic Holly Baker. Starring Jude Mack, T’Nia Miller, Harry Trevaldwyn directed by Charlotte Serena Cooper. HOME | FILMS | REVIEWS Bury Your Gays Film Review average rating is 5 out of 5 Critic: Holly Baker | Posted on: Nov 11, 2025 Directed by: Charlotte Serena Cooper Written by: Charlotte Serena Cooper Starring: Jude Mack, T’Nia Miller, Harry Trevaldwyn This short film, directed and written by Charlotte Serena Cooper, is not only an enjoyable story but also an encapsulation of an important queer struggle conveyed masterfully. Following queer actress Grace, Bury Your Gays is a terrific satire narrating her inability to survive in her queer roles. Time after time, characters she plays are killed off. In a constant battle against her directors and producers, she has become increasingly frustrated. Why do her queer roles never get happy endings? In fact, why don’t any queer stories seem to end with a fulfilling romantic outcome? Grace questions the harshness of the Bury Your Gays trope, just as many viewers, authors and critics of film and TV have, as it has been increasingly investigated in recent years. The film grounds itself within queer culture, depicting a clear awareness of the evolution of queer cinema, from the New Queer Cinema wave of the 1990s to the later queer classics. The film presents its cultural awareness through humorous, ironic references, such as a direct callback to Brokeback Mountain, to intensify the film’s point that queer characters are doomed to have tragic endings (we all know how that one ends). The opening to Bury Your Gays is skilfully gripping. After suffering one of her on-screen deaths, which is convincing as a story within a story, Grace enters a peculiar void inhabited by a captivating agent played by T’Nia Miller. Miller’s character is a personification of the way viewers perceive the Bury Your Gays trope. The Agent offers hope to queer actors, just as audiences have hope in the queer characters they see on screen, only to hit them with an ‘Oh well, try again next time!’ when the characters reach their eventual demise. This brings to life the constant struggle of queer viewership, as audiences fall in love with characters and ships, only to have their happy ending taken away from them, yet they continuously view queer stories in the hope that this will change. Grace is given nine lives and is told by the agent she must find a role in which she does not die. She travels to each role through a fantastical portal within the void. Each storyline is brief and vague; however, they are full of contextual cues that viewers can easily immerse themselves in each world that is created, and the punchline at the end of them never loses its impact. As Bury Your Gays highlights, the film industry for years has excluded queer stories due to the Hayes Code, and as representation has increased, queer characters continuously end up dying off. This short film, by enacting this trope, actually manages to subvert it by taking the tragedy out of the deaths. By using comedy, Bury Your Gays invents a new mechanism of killing queer characters, highlighting the injustice this poses. Whilst being very on the nose, Bury Your Gays still works due to its reliance on satire and breaking of the fourth wall. It is a film about infuriating queer tropes in films, with these exact tropes involved in the story, whilst also offering its own story of progression and abandonment of stereotypes. Bury Your Gays marks the start of a new era. Recently, queer films such as Bottoms and Red, White and Royal Blue have struck the film industry with a new kind of queer storytelling, depicting queer joy rather than, as has been continuously done so beforehand, queer suffering. Although these happier, optimistic films are unfathomably outnumbered by their tragic predecessors, Bury Your Gays presents an outlook which provides queer characters the option of being happy, whilst acknowledging and honouring the past. All the while, the film never misses a beat. Bury Your Gays is full of comedic twists, well-rounded characters and an engaging script. As well as this, the film’s use of several different settings and costumes brings an exciting, satisfying look to the film, one which encapsulates viewers as they follow along a touching, uplifting, and critical story. About the Film Critic Holly Baker Short Film, LGBTQ+ < All Reviews Next Film Review >

21st & Colonial film review by UK film critic Jason Knight. Starring Angelo Reyes, Sue Prado, Ogden Buck, Dominique Madison directed by Angelo Reyes. HOME | FILMS | REVIEWS 21st & Colonial Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 11, 2021 Directed by: Angelo Reyes Written by: Angelo Reyes, Toby Osborne Starring: Angelo Reyes, Sue Prado, Ogden Buck, Dominique Madison A story about the lives of a young African American drug dealer and a troubled police officer. Omar (Buck) is going through tough times. His mother is angry with him for selling drugs and he has just found out that his girlfriend Stephanie (Madison) is pregnant with his child and, as a result, her parents are throwing her out of their house. Meanwhile, a cop named Carlos (Reyes), who used to be in the marines, is suffering from post-traumatic stress disorder and is ignoring the pleas of his wife and colleague that he seeks help. Based on true events, this short crime drama follows two individuals who appear to be quite different, while in fact, they have significant similarities as both of them are struggling with serious issues. Omar is living a life of crime because he believes that is the only way he can move forward and Carlos is damaged by his past, leading him to become aggressive and distant. The narrative keeps cutting between the lives of these two men, observing them as they go about their business and interact with people. This is a powerful film, as it deals with serious issues. It begins with a powerful quote by Martin Luther King Jr. about going against violence and it explores the consequences that crime, drug dealing, PTSD and police brutality have on people and it does so rather dramatically. There is tension, emotional scenes and scenes of joy, all of which effectively move the plot towards its conclusion. The acting is strong. Buck is convincing as a well-meaning person who keeps making the wrong decisions and Madison is very dramatic as an individual whose life is rapidly turned upside down. Perhaps Reyes plays the most intriguing character, which is that of a dangerous man who is about to snap. The music by Will Musser is one of the best aspects here. The score is tender, tense and includes beautiful piano tones. Its addition creates atmosphere that goes well with the scenes. This is a hard-hitting story that shows how people's actions can have devastating consequences. It depicts people's lives crossing paths with dramatic effects and it does so very effectively. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Guide to Country Roads film review by UK film critic Chris Buick. Starring Dion Kelly, Aaron Medd, Oscar Cheung, James Corden directed by Adam Boland. HOME | FILMS | REVIEWS Guide to Country Roads Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Dec 1, 2023 Directed by: Adam Boland Written by: Adam Boland Starring: Dion Kelly, Aaron Medd, Oscar Cheung, James Corden Guide to Country Roads is the first in what has since become a string of absurd comedies from the team at Sixbananasinaknot Productions (great name by the way). Here with the first offering, in the style of those ridiculous old war-time public information videos, Guide to Country Roads , with the help of the lovely Timothy (Dion Kelly), finally highlights the dangers of the notorious Irish country roads and the perils and pitfalls those who dare to traverse them must be wary of. What’s evident right away with Guide to Country Roads (and as is also very much true with the subsequent projects as well) is the natural edge writer/director Adam Boland has in their biting and witty tongue-in-cheek humour that they are then able to inject into this film and give it what it needs to not only allow the concept to work but most importantly be enjoyable, which it definitely is. Whether it's a jibe at James Corden, poking fun at Facebook or even some more left-field jokes about looking out for dangerous video-game pushers, it’s not a side-splittingly, laugh-out-loud raucous affair, but it is a film filled with unexpected comedic turns that will keep you on your toes and a smile on your face. What does really help sell that comedy factor is the films black-and-white presentation style paired with some perfectly chosen music cues that fully realise its faithful style reminiscent of the type of videos the film is emulating with love. But while the overall look of the film is there, what gets in the way is the sound quality. The narration needed to be much clearer in its recording and is also often overpowered by the music, resulting in a sound quality that is a bit lacking and at times makes the narration hard to fully hear or comprehend, an issue that unfortunately finds its way into a few of Sixbananasinaknot’s other films as well. That said, the delivery of that narration by Aaron Medd in terms of its character and comic timing is spot on, which when coupled together with Dion Kelly’s dead-on performance as the unassuming mock subject of this really authentic feeling PSA, makes it all fit together to create a great homage to all those ridiculous public information videos we've all seen before. A little rough around the edges in terms of its production, but with everyone on board clearly pulling in the same direction and very much getting the brief, Guide to Country Roads shows that Sixbananasinaknot Productions have what it takes with their funny stuff. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Disposal film review by UK film critic Jason Knight. Starring Andy Edwards, Mark Greensmith directed by Jamie Roach. HOME | FILMS | REVIEWS Disposal Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 12, 2024 Directed by: Jamie Roach Written by: Ryan Jones Starring: Andy Edwards, Mark Greensmith A man contacts a fixer to help him dispose of a dead body. This short thriller is an encounter between two vile individuals under very sinister circumstances. These two people are Mr Billman (Greensmith), a middle-aged priest who has just committed murder and the other is an unnamed man (Edwards) who was contacted by Billman to arrive to his house and get rid of the body. The screenplay has an interesting way of exploring the characters. As the unknown man looks around Billman's household, he notices a variety of objects that provide clues regarding the owner (Billman), such as religious artefacts, some photographs of Billman, including one where he is attending what appears to be a public celebration where he is being acknowledged. Another clue involves VHS tapes and seems to indicate that this is not the first time that he hurt someone. Billman is a double-faced man who lives the life of a decent person on the surface but behind that he does terrible things. Less is known about the fixer, somethings being that he is very observant, highly skilled at his job and he is religious, as suggested by a cross on the rearview mirror of his vehicle. He appears to seriously disapprove of the fact that people like Billman can commit unspeakable deeds while pretending to be outstanding members of society and show no remorse. The interaction between the two protagonists is dramatic, with Billman anxious to resolve the situation and the fixer calmly getting a better understanding of the situation by either listening to Billman's answers or observing his surroundings. It seems that things are going to go smoothly, until an act at the end. The atmosphere is rather dark and it wouldn't be so dark without the ominous score. There is also choral music, which was presumably added in order to acknowledge the religious themes in the story. This is a dark film. It is a story about murder, punishment that also involves religion. The plot is intriguing and Edwards' and Greensmith's dramatic performances bring to life two interesting antiheroes. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Strike film review by UK film critic Jason Knight. Starring Gracie Leclere, James Viller, Amy Anderson directed by Mark Patterson. HOME | FILMS | REVIEWS Strike Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 11, 2024 Directed by: Mark Patterson Written by: Hendrik Harms Starring: Gracie Leclere, James Viller, Amy Anderson A 19th century woman starts seeing a ghost. Francine (Leclere) is unable to leave the large house that she shares in the countryside with her husband Sebastian (Viller) in late 19th century England, as she is in a wheelchair. Sebastian owns factories that manufacture matches and one day he gives his wife a small personalised case that contains matches. Francine soon discovers that each time these matches are lit, they have the ability to summon the spirit of a dead girl (Anderson). This short period ghost story takes place entirely inside Francine's spacious bedroom and it begins as a drama about a young woman who is unhappy with her current situation, particularly due to her husband's insistence on doing everything for her, making her feel weak and isolated. Things turn towards the supernatural horror genre with a jump scare that catches the viewer completely off guard and from there the plot concentrates on the rapport that develops between Francine and her new friend, unbeknown to Sebastian. The phantom is not hostile, on the contrary it is kind towards Francine, picking up her reading glasses and bringing her flowers among other things. The spectre does not speak and therefore, Francine uses the opportunity to share her thoughts with the otherwordly entity that involve the meaning of love, the loneliness that she feels and her discontent with her husband. Sebastian serves as the antagonist, keeping his wife isolated from the world and doing almost everything for her, preventing her from having independence. More crucially though, he appears to have quite a dark side as he discreetly places an unknown substance in Francine's drink and the public is suspecting him of operating factories where the working conditions are hazardous. The ghost girl is the character who steals the show and that is primarily because of her appearance. Her appearance is that of a young girl with pale skin, long black hair and one side of her face badly damaged. Some viewers might think that she bears resemblance to the phantom in The Grudge film series. Although she looks frightening, she seems to be good and eager to help Francine. The way she appears and disappears like smoke is quite impressive and commendations go to the special effects team consisting of Alfie Bacon and Frazer Hopkins. The production value is rather impressive and the mise-en-scene deserves recognition as it effectively brings the viewer back to the 19th century. The period clothing is quite convincing thanks to the creative work by Sarah Hackett and Alice Lewis and the hairstyle achieves the same standards due to Isabel While's detailed work. The make-up done on the spectre is another aspect that stands out and that is due to the contribution by While, Jennifer Drew and Will Harvey. And all these great features are supported by Dann Emmons' beautiful cinematography. Composer Justin Bell deserves a great deal of praise for the dramatic, sinister and tense score that is heard throughout the film. On the surface, this short is a spooky gothic ghost story. However, it is perhaps mostly a story about support and understanding, about an extraordinary encounter that blossoms into a strong friendship that ends up being beneficial to both Francine and the spirit. With an intriguing narrative, strong acting and interesting characters, this is a viewing that is highly recommended. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >