Capo di Famiglia III film review by UK film critic Jason Knight. Starring Dirk Gunther Mohr, Anna van Dijk, Max Laros, Peter Blankenstein, Samantha van Tetering directed by Dirk Gunther Mohr, Fabienne Leenart. HOME | FILMS | REVIEWS Capo di Famiglia III Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 18, 2022 Directed by: Dirk Gunther Mohr, Fabienne Leenart Written by: Dirk Gunther Mohr Starring: Dirk Gunther Mohr, Anna van Dijk, Max Laros, Peter Blankenstein, Samantha van Tetering A crime family in the Netherlands attempts to expand their legacy, while eliminating any efforts to bring them down. This crime drama feature is the third instalment in the Capo di Famiglia franchise, following the two previous films that were released in 2017 and 2020. Powerful crime boss Vincent la Rosa (Mohr) seems to have succeeded in his goals. He and his family are wealthy, popular and happy and his son Daniel (Laros) is a well-known politician, who is constantly rising in his field. However, their somewhat peaceful existence comes under threat when the authorities and other enemies try to sabotage them. The la Rosa family is presented pretty much as the Corleone family from The Godfather . Even though they are involved in illegal activities, they are depicted as decent individuals, religious, who care deeply for each other and make positive contributions to the world, only resorting to nastiness if they believe they have no other option. Generally, they disguise themselves as law-abiding citizens. Mohr delivers a strong performance as the head of a crime organisation and his role resembles Vito Corleone in some ways. He is intelligent, calm and loves his family, however he can be cunning and ruthless when he believes it is necessary. The movie bears further similarities to Francis Ford Coppola's classic, including scenes that involve a baptism, a funeral and a family celebration. The screenplay effectively explores the relationships that the family members have with each other, and although they have their differences, they are united. They associate with a corrupted pastor (Blankenstein) and support Daniel as he climbs the political ladder. The suffering they go through as a result of tragedies reveals their vulnerable sides. As is often the case with the ganster genre, there is murder, corruption, bribery and the consequences of living a life of crime. The story is also seen through the perspective of the authorities as they try to put an end to the family's criminal deeds. As the director of photography, Robert Schepers does a great job with the cinematography, and composer Andre Schoorlemmer provides a dramatic and appropriate score. This movie from the Netherlands is fifty minutes long and an intriguing viewing, with well-written characters and great performances. There are many scenes that involve the family members supporting, comforting or confronting each other, making this feature as much as a family drama as it is a crime story, which is not a bad thing. Fans of the gangster genre should give this one a go. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Invited In film review by UK film critic Lawrence Bennie. Starring Yuyu Kitamura, Haley Wong directed by Yuyu Kitamura. HOME | FILMS | REVIEWS Invited In Film Review average rating is 5 out of 5 Critic: Lawrence Bennie | Posted on: Aug 20, 2021 Directed by: Yuyu Kitamura Written by: Yuyu Kitamura Starring: Yuyu Kitamura, Haley Wong Japanese, New York based actor-poet Yuyu Kitamura marks her directorial debut with Invited In , an excellent (and timely) commentary on some of the hard truths which lie behind the allure of social media. Emmy (Haley Wong) is a popular Vlogger who turns the unexpected disruption of the Covid-19 pandemic to her advantage by launching a series of videos following her life in lockdown. Emmy’s exploits soon catch the attention of her former acquaintance – the lonely, isolated and friendless Annie (Kitamura). After reaching out to her old friend, now YouTube’s friendliest superstar, the pair soon reconnect, and a close bond develops behind the barriers of lockdown. However, away from Emmy’s scores of subscribers, Annie discovers that things are not what they appear to be… In her first short as director, Kitamura (also the film’s writer) delivers a slick, sophisticated slice of filmmaking which invites us all to face an uncomfortable reality: that this age of instant connection, with the mere click of a button, belies the fact that, often, real connection isn’t there at all. Emmy has become an online sensation with her daily videos to followers urging them to “be authentically you”. Annie soon unpicks that much of the seemingly ultra-confident Emmy’s own authenticity is in question and it’s this paradox that lies at the heart of Invited In. It’s a simple yet sombre message that’s pitched perfectly by Kitamura who, wisely, avoids heavy handling of the pandemic and delicately utilises the context to tell a great story. Kitamura and Wong are excellent in their roles; most of the film’s action is captured as real online video calls and, fortunately, the performances of the two stars are certainly authentic which, together with Kitamura’s assured direction, help to make Invited In one of the best and most rewarding short films to watch at this time. The closure of Invited In , indeed, does invite us to ask big questions. Is Annie about to overcome her shyness and find her voice through the open world of vlogs and all things viral? Will she blossom into the truly authentic online presence that Emmy could never be? Or is she on the verge of taking the first steps down the same slippery path as her friend? It’s a masterful ending from Kitamura which punctuates a great short film that will certainly stand out in the beginning of her career as a promising writer and director. Buy UKFR Banner Space About the Film Critic Lawrence Bennie Short Film < All Reviews Next Film Review >

Bless Me Father film review by UK film critic Joe Beck. Starring Gianni McLaughlin directed by Gianni McLaughlin. HOME | FILMS | REVIEWS Bless Me Father Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: May 23, 2023 Directed by: Gianni McLaughlin Written by: Gianni McLaughlin Starring: Gianni McLaughlin ‘Bless Me Father’ is a confusing dichotomy of a film, blending ideas together which should create a thoughtful, meditative film, yet instead it is far, far too convoluted. For a slight ninety minute runtime, the film tries to tackle too many themes, and none of them in any much depth, getting in the way of its story, which is an interesting idea on paper. Gangster films are interwoven with religion. That’s an unavoidable fact. ‘Bless Me Father’, as the title would suggest, follows this tradition, but only for tradition’s sake. There’s no sense of that spirituality imbued into the story, and it ultimately features just to remind you of better films to spend your time watching. It’s clear whom writer-director Gianni McLaughlin is most heavily influenced by, of course, the legendary Martin Scorsese. However, where Scorsese infuses his films with his own religious belief, shaping the stories which he tells, McLaughlin fails to understand that his own use of spirituality is weightless because it lacks gravitas, or any sense of actual belief. The film opens to the sound of bells, which toll over shoddily shot handheld footage from inside a car. We then see a slightly bedraggled man, Vinny (Gianni McLaughlin) walk into church looking in serious need of some spiritual aid. Luckily that’s what you tend to get in a church and a priest, Father Joe (Joseph McLaughlin) offers him the chance to give confession, and thus begins Vinny’s story. All this is filmed with fervour and patience that suggests a profound religious message delicately interwoven throughout. Regrettably, that illusion soon falls apart. As we witness the descent of Vinny from juvenile delinquent to fully fledged gangster we are reminded of better films dealing with the same subject, primarily the eternal gangster film ‘Goodfellas’. This is a subject that has been done before, over and over again, but treading on such hallowed ground wouldn’t be a problem - there’s a reason its been overdone (when it works, it really works) - if it wasn’t done here with such abject quality and attention to story. We see Vinny rise to something of prominence amongst his fellow Italian-American gangsters, even meeting the Don (Paris Branda), as he sacrifices his relationships with those around him in order to pursue a life of crime, drugs and money. The issue, and its one which is handled bizarrely, is that the Don killed Vinny’s father (Federico Lupo), as we see in a flashback. The thing is, though Vinny knows this, and it effects him when he first meets the Don, it is then just left behind as a plot point until right at the very end, when suddenly it becomes the centre of the entire plot, despite having literally no bearing on it throughout. 
Added to the strange direction of the story is McLaughlin’s disappointing directing, which wouldn’t be such an issue were it not for the finesse offered early on. Instead he soon indulges himself with too many cuts, too many shots which add nothing dramatically, and, far too many gratuitous shots of strippers twerking. You can present the gangster lifestyle as idealised without objectifying women to the point at which no women that appears in the film is anything more than a sex object. 

‘Bless Me Father’ lacks the punch which films of this nature need to separate themselves from the rest. Any early promise quickly subsides into just another sleazy gangster film by another wannabe Scorsese. You can’t replicate Scorsese, and it’s time people started realising that. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

The Sikh Soldier film review by UK film critic Jason Knight. Starring Sky Cheema, Raj Bajaj, Irvine Iqbal, Praveen Riat-Sond directed by Sky Cheema, Joseph Archer. HOME | FILMS | REVIEWS The Sikh Soldier Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 2, 2023 Directed by: Sky Cheema, Joseph Archer Written by: Sky Cheema, Joseph Archer Starring: Sky Cheema, Raj Bajaj, Irvine Iqbal, Praveen Riat-Sond An Indian soldier goes of to fight in World War I, however he ends up battling his allies and himself. This emotional short war film tells a dramatic and powerful story through the perspective of a young Indian man who deals who deals with inner struggles as he tries to determine whether risking his life in order to help the British fight the war is the right thing to do. The film addresses the ungratefulness, injustice and atrocities that were committed by the British during and shortly after the First World War. Mohinder, the main character,is treated with hostility by British soldiers, who view him as a bad person and he is even assaulted. And the final scene is an obvious reference to the 1919 Jallianwala Bagh massacre. The film heavily points out Britain's wrongdoings towards them, however through the words of a British army officer, it also suggests that India's contribution during the war was also acknowledged. The screenplay mixes reality with fantasy. While Mohinder is at the trenches, with the enemy nearby, he keeps seing visions of his parents and their constant appearances provide an insight into the hero's troubled mind but at the same time, they offer an escape from the terrible battlefield. Cheema portrays Mohinder as a determined and strong individual, who believes (or at least wants to believe) that siding with Britain during the war is justified. He does his best not to show aggression towards British soldiers who insult him and even saves one of them. He supports the idea that fighting the war will be beneficial to him, however that is challenged by his mother who (in contrast to his father) is totally opposed to India supporting Britain. The mise-en-scene deserves significant praise, as it effectively brings the viewer to WWI trenches. The Sikh soldier uniforms and British army uniforms and gas masks look great and so does the weaponry. The lighting effects are quite creative and the presence of hazardous gas is rather menacing. As the director of photography, Matt Riley does a splendid job with the cinematography and the film also gains significantly from a dramatic and dynamic score. This short could be categorised as a war film and a rather tense and emotional one that contains the dread of combat, the loss of life and different cultures colliding. More significantly though, it draws attention to Britain's brutality towards India during the First World War era, and simultaneously, it points out the sacrifices that were made by the Sikh military for the British Empire. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Sanctuary film review by UK film critic Finn O'Toole. Starring Maynard Bagang, Jasmin Davis, Aria Isabella Yeung and Isabella Martinez. directed by Maynard Bagang. HOME | FILMS | REVIEWS The Sanctuary Film Review average rating is 3 out of 5 Critic: Finn O'Toole | Posted on: Jul 11, 2026 Directed by: Maynard Bagang Written by: Maynard Bagang Starring: Maynard Bagang, Jasmin Davis, Aria Isabella Yeung and Isabella Martinez. Written, directed and produced by Maynard Bagang, The Sanctuary tells the raw tale of Isabella and her two children who, after being kicked out of their residence due to their status as undocumented immigrants, must survive the cruel streets with no money and little hope. That is until a kind stranger, James, offers a helping hand. The subject matter alone makes for a captivating viewing experience given its stark relevance in today’s world, tackling themes of immigration, grief and homelessness. Nothing elevates this feature film more than the powerful central performances. Also starring in the film, Maynard Bagang delivers an emotionally connected performance as the grieving former doctor: James, with many scenes showcasing his deep vulnerability as an actor. Commendations should also be awarded to Jasmin Davis who instills Isabella with the stoicism of a mother trying to hold herself together for her children, combined with tasteful glimpses into her inner psychological life. Most impressive of all however, is the magnificent emotive display of Mara from child-actor Aria Isabella Yeung. At such a young age, tackling such complicated subjects as those on display here, Yeung gifts the audience an honest and effective portrayal of empathy – perhaps resulting in the single best performance of the film. Unfortunately, the stellar work by this company of actors is often in spite of the material, with on-the-nose dialogue, an unfocussed screenplay and some curious mixed messaging. Sticking out like a sore thumb, characters in this story often say exactly what they’re feeling at every instance, articulating their thoughts to an almost robotic clarity. One such example is when the family comes into conflict with Tony, a young homeless man. After a short argument he implores them not to judge him, to which Mara concludes “maybe we’re not so different from him” . This was obviously the moral of the scene, but having it spelled out so blatantly in such an unnatural fashion assumes the viewers to be unintelligent. The variety of different themes on show also leaves the narrative feeling unfocussed, with James and Isabella’s stories feeling like two different films, one being a quiet meditation on grief, and the other an unflinching depiction of the treatment of immigrants – the latter of which features some unfortunate mixed messaging that seems unintended. In multiple scenes we are shown the perspective of the ICE agents hunting the family. In one instance they share a discussion of hunting homeless people being “too far” . This suggests that to them, being an illegal immigrant is immoral but being a homeless illegal immigrant is cause for sympathy, which is an odd distinction for these otherwise unsympathetic characters to make with little justification. Despite its sudden and fanciful ending, The Sanctuary presents a brave and brutal story calling attention to the struggle of undocumented immigrants. Although not a nuanced take by any means, the film’s simple message of kindness and empathy is a breath of fresh air in such a divided world. I truly hope Bagang and company continue to develop their commentary on this subject, as well as persisting in calling attention to such profound social themes in future projects. Buy UKFR Banner Space About the Film Critic Finn O'Toole Amazon Prime < All Reviews Next Film Review >

DannyBoy film review by UK film critic Jason Knight. Starring Darragh Byrne, Helena Geoghegan, Clelia Murphy, Jack Hickey directed by Ferdia MacAnna. HOME | FILMS | REVIEWS DannyBoy Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 1, 2022 Directed by: Ferdia MacAnna Written by: Ferdia MacAnna, Mary Duffin Starring: Darragh Byrne, Helena Geoghegan, Clelia Murphy, Jack Hickey In 1981 Ireland, an insecure young man struggles to find romance and direction in his life. Nineteen-year-old Daniel (Byrne) is having trouble finding a girlfriend and stutters when he gets nervous. He lives with his mother Kathleen (Murphy), brother Rory (Hickey) and sister Maeve (Geoghegan). His father disappeared a long time ago and nobody knows what happened to him. Daniel makes some effort to move on in the world and finds a job as a boat inspector. He also ends up meeting Carla (Moloney), with whom he becomes romantically involved and starts seeing a professional in order to help him with his stutter. This coming-of-age comedy-drama is rather enjoyable, with interesting characters and a funny and emotional screenplay. Poor Daniel has to deal with quite a lot. His singer brother disrespects him and his mother does not hesitate to say whatever is on her mind. His sensible younger sister appears to be the only member of his family with whom he can really talk. The main focus is Daniel as he tries to build a life for himself and ends up dealing with one thing after another as he pursues his goals. The film also follows his relatives, as they pursue their own goals. There is plenty of humorous dialogue, awkward situations and scenes of confrontation. Rather amusing are the scenes where Dr. Wolkenski uses unusual methods in order to help Daniel overcome his stutter. Generally, the acting is good and the cast delivers performances that are entertaining and dramatic. Daniel is believable as a socially-awkward young man and he is particularly funny when he gets nervous. Geoghegan is the most mature and sensible of the three siblings, who is also cheeky and almost constantly wears heavy makeup and Murphy is a person who is always willing to do something about anything she does not like, even showing her neighbour that she disapproves of her. The mise-en-scene effectively brings the audience back to the early nineteen-eighties, with the clothing, hairstyles and makeup belonging in that period. The editing by Philip Lewis is creative and makes effective use of wipe techniques. The soundtrack contains quite a few enjoyable songs from various artists. This feature is about finding romance, about finding one's place in the world and it also explores family values. Well acted and with a strong script, this film is a comical experience that also has its fair share of drama. DannyBoy is available to watch via VOD at Apple TV, Google Play Ireland, Amazon UK, and the Microsoft Store. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Lightyear film review by UK film critic George Wolf. Starring Chris Evans, Keke Palmer, Peter Sohn directed by Angus McLane. HOME | FILMS | REVIEWS Lightyear Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jun 16, 2022 Directed by: Angus McLane Written by: Angus McLane, Matthew Aldrich, Jason Headley Starring: Chris Evans, Keke Palmer, Peter Sohn Exploring new life in the Toy Story universe comes with benefits – and drawbacks. Sure, you inherit the goodwill earned by four of Pixar’s best feature films. But then, those films cast a mighty long shadow. Lightyear taps into the warm fuzzies early, by letting us know why Andy wanted a Buzz action figure so badly that Christmas back in ’95. It’s because he loved the movie so much. This movie. But honestly, for the first sixty minutes, you can’t imagine why. Space Ranger Lightyear (voiced by Chris Evans) blames himself for marooning his settlement on a distant planet. A return to hyperspeed could bring everyone home, so Buzz is determined to keep testing until he gets it right. Trouble is, each test flight sends him into a time dialator where 4 minutes up in space turns into 4 years back at base. So before Buzz knows it decades have passed, and he must take an untested team (Keke Palmer, Taika Waititi, Dale Soules) and a robotic cat (Peter Sohn) into battle against Emperor Zurg’s forces for control of the precious hyperspeed fuel source. That’s all fine, but that’s all it is. Director and co-writer Angus MacLane (Finding Dory ) can’t find any way to make the toy’s story come to life. Until Buzz comes face to face with Zurg (James Brolin). Zurg has a big surprise for all of us, one that might as well send the film into hyperspeed. Almost in an instant, the cinematography from Jeremy Lasky and Ian Megibben adds depth and wonder (that spacewalk – goosebumps!), MacLane quickens the pace while recalling both 2001 and Aliens , and backstories from earlier in the film pay off with gentle lessons on bloodlines, destiny, and what makes a life’s mission matter. Stay for the credits and beyond to get two bonus scenes that bring a chuckle or two. But just make sure you sit tight for the final half hour. That’s when Lightyear delivers the kind of action and pizazz that just might make a kid change his Christmas list. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Animation < All Reviews Next Film Review >

Clout film review by UK film critic Jason Knight. Starring Martina Kaura, Nicholas Kulesa, Ivy Munnerlyn, Michelle Nichols directed by Courtney Geiger. HOME | FILMS | REVIEWS Clout Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 11, 2022 Directed by: Courtney Geiger Written by: Courtney Geiger Starring: Martina Kaura, Nicholas Kulesa, Ivy Munnerlyn, Michelle Nichols A young woman becomes an online sensation and finds fame and trouble. Vada (Kaura) has just finished college and does not know how to proceed. She has been rejected by the universities she applied to and is unable to find a decent job. As one of her hobbies includes making videos and posting them online, she decides to turn that into a career. She manages to be a successful YouTuber, however her actions ends up negatively affecting her social life and turning her into a ruthless, inconsiderate person. Filmed almost entirely through webcams, this intriguing drama provides an informative insight into the power of the internet and social media by showing how these two can influence people and what the life of a YouTuber is like. The narratives focuses on a lonely and depressed individual, who initially creates and uploads videos of her everyday experiences as way to escape her unhappy life. Believing that she has hit a brick wall, she turns to becoming an online celebrity, hoping for the best. This turns out to have positive and negative consequences. She gains more and more followers and begins a romantic relationship, but also starts a confrontation with another well-known YouTuber, leading to further misfortunes. The story explores many negative things that are associated with online socialising in today's world. It reveals people's obsession with fame and how the internet can help them achieve that but also how it can ruin their life. The screenplay shows how the internet can be utilised to humiliate people, how one can become utterly dependent on social media and suggests that videos that show people going through bad experiences tend to receive a lot of attention. As the main character, Kaura leads the film well as a social media personality whose popularity keeps on rising. At first, she is a sad person, who self-harms, takes antidepressants, sees a therapist and lives with her stepmother with whom she has a troubled relationship. After finding success through her online activities, she becomes more confident, changes her appearance, but also turns vengeful and cunning. Kaura portrays the changes that her character goes through very well and Kulesa is great in his role as her supportive partner, who however does not embrace social media as much as she does. Watching this feature is like viewing social media. Vada is constantly seen filming herself and others and looking into the camera, talking about how she feels and what she is doing. Texts often appear on screen, added by her, explaining what is going on and occasionally the number of her followers is revealed, which keeps on rising. The film is separated into chapters, each one with its own title. The soundtrack contains many amusing songs and makes extensive use of The Devil's Trill Violin Sonata in G minor by Giuseppe Tartini. Geiger also worked on the editing and develops good techniques involving superimposition. This is a story about the dominance that social media can have over people and how easy it is for someone to use them to humiliate others. It explores the path to becoming an online celebrity, which is a career many pursue in today's world and points out what is good and what is bad about that line of work. With her first feature film, Geiger has created a movie that paints a realistic image regarding mental health, self-harm and the impact of social media. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Hellarious film review by UK film critic Hope Madden. Starring Donna Pieroni, Mary Manofsky, Tiffany Kiely, Randall Greenland directed by Robert Boocheck, James Feeney, J.M.Logan, Chris McInroy, Sarah K.Reimers, Jason Tostevin, Shayna Weber. HOME | FILMS | REVIEWS Hellarious Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 16, 2021 Directed by: Robert Boocheck, James Feeney, J.M.Logan, Chris McInroy, Sarah K.Reimers, Jason Tostevin, Shayna Weber Written by: Robert Boocheck, James Feeney, Randall Greenland, Clarissa Jacobson, Chris McInroy,Sarah K. Reimers, Jason Tostevin Starring: Donna Pieroni, Mary Manofsky, Tiffany Kiely, Randall Greenland Short films rarely get their due, and getting an audience is rarer still. Any opportunity to sit down with a set of shorts that made a splash in the festival circuit is an opportunity worth taking. If arterial spray and laughter are your thing, Hellarious is a chance worth taking. The compilation contains seven short films, each a horror comedy. There’s no framing device or theme, simply a collection of sometimes bawdy, once in a long while sweet, mostly viscous horror. There are a lot of fluids here. Like an automatic door to hell, James Feeney’s Killer Kart opens things. His creeping camera sets a fun tone for an absurd “ordinary item” monster movie (a la Rubber ). An inspired score by Daniel Hildreth, Christine Rodriguez and Ray Bouchard matches the mayhem nicely. Robert Boocheck’s charming Horrific —a tale of mutant varmints, hula hoop porn and besotted tidy whities—lands laughs thanks to Mike Nelson’s semi-heroic central performance. Likewise the Deathgasm -esque Death Metal offers a highly enjoyable and sometimes morally questionable bloodbath with the most delightful practical effects. A sweet authenticity drives Bitten , Sarah K. Reimers’s romantic, dog-loving upending of the werewolf tale. (Who’s a good boy? Iggy is! Iggy’s a good boy!) If you can take your eyes off that adorable dog, you’ll notice two tenderly funny performances by Francine Torres and Michael Curran. Director Jason Tostevin, who also compiled the films, helms two of the shorts in the program, both co-written with Randall Greenland. ‘Til Death offers a post-mortem comeuppance tale boasting several strong performances. Born Again , though, is one of the compilation’s two highest points. Six and a half minutes with the worst Satanists ever exposes you to a really beautifully filmed subversion of expectations. Slyly comical performances top to bottom entertain, but Greenland is a laugh riot in a starring role. The collection's second high peak comes thanks to Clarissa Jacobson and J.M. Logan’s sloppy concoction, Lunch Ladies . This is a delirious fantasy about underdogs rising to the challenge and making their dreams come true—becoming personal chefs to “the Depper,” Johnny Depp. Donna Pieroni and Mary Manofsky deliver consistent laughs in a film that almost makes a person want to love Johnny Depp again. Variety, laughs, mayhem, blood spatter, romance, cheerleader pot pie—Hellarious is a tasty treat of bite sized horror. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Nakam film review by UK film critic William Hemingway. Starring Anton Krymskiy, Jevgenij Sitochin, Peter Miklusz directed by Andreas Kessler. HOME | FILMS | REVIEWS Nakam Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2022 Directed by: Andreas Kessler Written by: Fabien Virayie Starring: Anton Krymskiy, Jevgenij Sitochin, Peter Miklusz In today's world climate it may be difficult to think that not so long ago those of us in the West had no real idea about the story of Ukraine. Usually bundled in under the purview of the Soviet Union, the real life stories of the land and its people have tended to be overlooked, forgotten or just never been told. During the Second World War, Ukraine was no different to other European countries in the treatment of its people by the Nazis. As a land of farmers and workers it was easy for the occupying forces to breeze through the small settlements and villages re-educating, reducing and relocating the people as they went – this treatment obviously being infinitely more so for Ukrainian Jews. In 2002, Jonathan Safran Foer shone a light on just how terrifying this treatment was as he investigated the total annihilation of Trachimbrod, a Jewish shtetl where his grandfather had lived, through his excellent novel, Everything Is Illuminated. This was then turned into a watered down, broad brush strokes film version in 2005. Now, in Nakam , from film-maker Andreas Kessler we are party to another famous story from this time, of which most of us will likely still never have heard. Nakam , in Hebrew, means revenge. It was also the name of a paramilitary organisation formed after the end of the war by around fifty Holocaust survivors who determined to set the balance of the scales right again by plotting to murder six million Germans – a plot which ultimately failed. Kessler instead chooses to focus on a much smaller, more intimate enactment of revenge told through the real life story of Mordechai 'Motele' Schlein, a young teenage boy who was known to play violin at an eatery frequented by Nazi officers. In Kessler's film, the young violinist is Mitka (Krymskiy), who has found his way recently to a new village since losing his home and his parents to the Nazi occupation. He plays every day alongside Yegor (Sitochin), a kindly old man who plays the piano and who has taken Mitka under his wing, as they make music for the guests of the tavern in return for something to eat for themselves. However, neither Yegor nor anyone else knows that Mitka is Jewish and that he has fallen in with a partisan group of resistance fighters who are determined to take revenge upon the occupying forces. When SS officer Seegler (Miklusz) takes an interest in Mitka and his playing, then resolves to bring more of his SS colleagues to the tavern for an evening of light entertainment and the further plotting of genocide, the resistance decides that it's time to spring the trap and bomb the building with all of the Nazis inside. Mitka is all ready to go along with this but suddenly he's having doubts. What if Yegor is also caught in the blast? What of the tavern owner and his daughter? Can he really count them as collateral damage in this overt act of revenge? Do the ends actually justify the means? What is immediately striking about Nakam is the attention to detail that is used to tell the story. From the costumes, to the setting, to the ways the characters talk and interact, switching from Russian to German to Yiddish, everything is placed and used for maximum authenticity. It is clear that Kessler wanted to do the story justice and took painstaking efforts to ensure that the audience felt transported back to a particular time and place. The acting, too, seems to come from a very personal space with cast and crew sharing family stories on set to inform and enhance the performances we see on screen. The three main leads each do an outstanding job of portraying their characters, these being archetypes which could be multiplied and recognised the whole country over, but who are fleshed out and performed with nuance and humanity to stand them out as individuals in a singular situation. Yegor is the everyday layman, rolled-over and resigned to his new fate while still doing what he can to survive; Untersturmfuhrer Seegler is the amiable SS officer who offers a smile and a friendly hand while also organising the submission and extermination of anyone who gets in his way; and Mitka is the hot-headed youth ready to see justice done and revenge meted out without being fully able to account for the atrocities of war nor truly count the cost of a single victory. Anton Krymskiy in particular delivers here a mature and accomplished performance as the conflicted Mitka. It is a testament to the skill and understanding of Fabien Virayie's script and Andreas Kessler's direction that so much is able to be given to the viewer within a thirty minute runtime. There is so much to unpack from each character – their inner conflict, old world view and reaction to the new order – as well as from the overarching scenario, that it is easy to be affected or overwhelmed by the events playing out on screen. There are certain moments which cut deep to the core of what it is to be human and which strike a chord across countries and decades without reaching for an answer to it all or offering a judgement on what is right – which is, of course, how it should be. It is an indictment of the fallibility of humanity and the current world order that we should again be facing the same atrocities being carried out upon the same people in their own land, just with different aggressors in different uniforms. If a film like Nakam can tell us anything it's that we should have learned from what has gone before – but to do that we must first hear the stories of those who have been silenced for so long. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

The Latent Image film review by UK film critic Christie Robb. Starring Joshua Tonks, Jay Clift directed by Alexander McGregor Birrell. HOME | FILMS | REVIEWS The Latent Image Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Sep 18, 2023 Directed by: Alexander McGregor Birrell Written by: Alexander McGregor Birrell, Joshua Tonks Starring: Joshua Tonks, Jay Clift When thriller author Ben rents a remote, isolated cabin so he can get away and focus on writing his latest manuscript, his writing time is interrupted by the arrival of a mysterious stranger. Fascinated and a little attracted to the tall, dark, and brutally handsome man, Ben begins collaborating with him on the plot. Really trying to get in the head of the villain. Trying to figure out how he might get away with murder. Eventually, the lines between fantasy and reality start to blur. Director Alexander McGregor Birrell, in collaboration with co-writer Joshua Tonks (who also plays Ben), creates an unnerving tale based on his 2019 sort of the same name. At the start, the movie drags at bit, but once it gets going, this new Latent Image keeps the audience guessing all the way until the end. It’s a movie of creeping unease rather than jump scares or gore. The evolving relationship between Ben and “the Man” is the heart of the film. Jay Clift’s performance as the Man is unsettling in all the best ways. Tonks and Clift are both theatre performers, so you might assume that they would skew into the more broad style of acting that plays well even to the cheap seats in the back. But, except for the very occasional misstep, they really deliver on the subtleties necessitated by film. If you are planning on a cabin trip this spooky season, consider adding this one to your watch list. Just make sure to lock the doors and windows at night and try to avoid any drifters. Buy UKFR Banner Space About the Film Critic Christie Robb Digital / DVD Release, LGBTQ+, Indie Feature Film < All Reviews Next Film Review >

The Justice of Bunny King film review by UK film critic Hope Madden. Starring Essie Davis, Thomasin McKenzie directed by Gaysorn Thavat. HOME | FILMS | REVIEWS The Justice of Bunny King Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 26, 2022 Directed by: Gaysorn Thavat Written by: Sophie Henderson, Gregory King, Gaysorn Thavat Starring: Essie Davis, Thomasin McKenzie “It’s our job to keep them safe.” It is with deepest cynicism that writer Sophie Henderson puts those words into the mouths of social workers and police officers in director Gaysorn Thavat’s effecting The Justice of Bunny King . But it never feels forced. Nothing in the film does. The Justice of Bunny King rides intimacy and Essie Davis’s fierce and tender performance to articulate a scathing indictment on the way the system, blinded by classism and misogyny, fails. Davis plays a woman with a smile and a good word for everyone. That doesn’t change the fact that Bunny remains sometimes barely a step ahead of the rage that has upended her life. That rage is likely what’s kept her alive as well. At the moment, Bunny’s cleaning windshields in traffic, cleaning house and babysitting at her sister’s place, and trying desperately to find a place of her own so she can have her kids back. She’s almost there, too. She can just about touch it. But she risks all of it to keep another woman from falling victim to the systems in society that make it so hard for poor people – poor women, in particular – to be safe. Thavat’s film – like Nia DaCosta’s 2018 gem Little Woods and Courtney Hunt’s 2008 indie Frozen River – takes a clear-eyed look at modern poverty. Each film also benefits from powerful, human performances by two women working in tandem to tell the story of women who are more powerful when they work together. Davis is a force of nature, delivering authenticity flavored with spirit and spite. Her fire finds balance in a quieter, more brooding turn from the wonderful (as always) Thomasin McKenzie. Like Breaking , featuring an underappreciated powerhouse performance by John Boyega, Bunny King recognizes the wearying web of bureaucracy and antipathy that enforces a class system. But Thavat’s film finds comfort in community, allowing that there is help and hope. It may not come from those who can afford it, but those who best understand your plight. “I’m not the police,” a woman tells Bunny at one point. “I’m here to help you out.” Thavat allows an impeccable cast to take advantage of lines like that one. Her even hand behind the camera never forces drama, never wallows in suffering. Together with her team and through this story, she fights the power. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >