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The Addams Family 2 film review by UK film critic George Wolf. Starring Chloe Grace Moretz, Charlize Theron, Oscar Isaac, Bill Heder directed by Greg Tiernan, Conrad Vernon. HOME | FILMS | REVIEWS The Addams Family 2 Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Oct 1, 2021 Directed by: Greg Tiernan, Conrad Vernon Written by: Dan Hernandez, Benji Samit, Ben Queen Starring: Chloe Grace Moretz, Charlize Theron, Oscar Isaac, Bill Heder Two years ago, The Addams Family returned to their cartoon roots with an animated feature that leaned heavily on little Wednesday Addams for its few sparks of macabre fun. Despite turning to a more convoluted plot line, AF2 doesn’t do much to improve the family reputation. Wednesday (Chloe Grace Moretz) is still the standout here, putting the creepy and kooky in the 3rd grade science fair. She’s denied a prize thanks to a new “everybody wins” school policy, but her brilliance catches the eye of shady scientist Cyrus Strange (Bill Hader). Worried she’s being dumbed down by the idiots around her, Wednesday rebuffs cheer up attempts from Dad Gomez (Oscar Isaac) and Mom Morticia (Charlize Theron) when a pushy lawyer (Wallace Shawn) comes knocking with a bombshell. His clients believe Wednesday may actually be their daughter and are requesting a DNA test. What else can Mom and Dad do except pack Wednesday, Pugsley (Javon “Wanna” Walton, stepping in for the now deeper voiced Finn Wolfhard), Fester (Nick Kroll) and Lurch (Conrad Vernon, who again co-directs with Greg Tiernan and newcomer Laura Brousseau) into the haunted camper for that fallback device for hastily-connected hi jinx, the road trip! It’s a three week trek to (where else?) Death Valley and back, stopping in Miami, San Antonio, and the Grand Canyon long enough to catch up with more family (Snoop Dogg’s Cousin It) and try out some mildly amusing gags. Only a precious few – like the guy who keeps trying to propose to his girlfriend and “Thing” trying to stay awake while driving – actually land, and it’s up to Moretz and her perfect deadpan (“I’ve been social distancing since birth”) to remind us of what makes this family dynamic. The script from Dan Hernandez and Benji Samit veers off into wild Dr. Moreau territory, adding even more baggage to a film that would have been wise to pack lighter. Inspired soundtrack choices (from Gordon Lightfoot to Motorhead) give way to forced pop and hip-hop, and the film’s attempt at an “own who you are” message seems half-hearted at best. But what’s really lost is the inherent fun The Addams Family brings to wherever they are. When the world goes light, they go dark. That’s a fun and funny idea ready to be exploited. Once again, Wednesday’s just waiting for the rest of the gang to get back to the family business. About the Film Critic George Wolf Theatrical Release, Digital / DVD Release, Animation < All Reviews Next Film Review >

Legs film review by UK film critic Joe Beck. Starring Laura Carmichael, Amit Shah, Sarah Kameela Impey, Karl Theobald directed by Celine Cotran. HOME | FILMS | REVIEWS Legs Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Dec 20, 2022 Directed by: Celine Cotran Written by: Alannah Lewis Starring: Laura Carmichael, Amit Shah, Sarah Kameela Impey, Karl Theobald The dangers of leaving your mouth open while sleeping are numerous and well-documented. Those with siblings will likely know the great danger of waking up to the disgusting taste of a wet sock in the mouth, those without can at the very least relate to waking up in a pile of drool having spent the night blissfully snoring to the annoyance of all those within earshot. One of the most well-known, though also one of the most uncommon, dangers of sleeping with your mouth open is insects, especially arachnids, accidentally finding their way into your mouth. Joy (Laura Carmichael of ‘Downton Abbey’ fame) is unlucky enough to suffer this fate in ‘Legs’, a short film which doesn’t lack confidence in the slightest. Joy is a young woman in her late 20s/early 30s, surrounded by friends and coworkers - specifically Amanda (Sarah Kameela Impey) - who are maturing into the next stage of their lives - motherhood. Joy, meanwhile, is sexually frustrated by her manga-reading partner Harry (Amit Shah), and although they clearly love each other, they’ve lost the spark in their relationship. Late one night, after Harry declined Joy’s advances, a spider has the misfortune of falling into Joy’s agape mouth as she dreamed her troubles away. Joy wakes feeling a little bit off, and is whisked away to the doctors by Amanda later in the day. The doctor (Karl Theobald) reassures her that the spider will pass out of her system quickly, though Joy seems determined to keep hold of it, and leaves the doctor’s office telling Amanda and Harry that she’s pregnant. This is where our sympathies for Joy start to waver - as she gaslights those around her into believing this lie, only to surely break their hearts when after nine months no baby will materialise. This is the film's only significant flaw, which it even recognises as ‘I’ve got you under my skin’ slyly plays in the background as Joy and Harry, beside himself with excitement, make early preparations for the fantasised new arrival. Though our sympathies may start to waver for Joy, we can at least understand why she began the lie, as the problems of her and Harry’s relationship are swept under the rug and they rediscover their spark. It’s a pretty clever conceit concocted by writer Alannah Lewis, whose script is light enough to realise the humour of the situation whilst never afraid to recognise the reality of Joy’s life, as she feels left behind by her friends and unloved by her partner, leaving her with no choice in her mind other than to take on the lie. Though the lie may not be as serious as the much-fabled death of Mr Pamuk in ‘Downton Abbey’, it nonetheless affects those who are unaware - most significantly Harry. ‘Legs’ kind of sweeps the lie under the rug, much like Lady Mary in ‘Downton’, and as we never get to see the negative repercussions of her actions, we aren’t blessed with sympathies to go alongside our understanding. Although competent throughout both director Celine Cotran and cinematographer Mark Kuczewski are at their best towards the conclusion of the film as they capture the abstract scene of Joy having spewed webs everywhere. Quite literally caught in a web of her own lies, Cotran and Kuczewski depict this metaphor with poise, allowing it to take a backseat as Harry enters the frame. Cotran in particular excels at demonstrating Joy’s isolation throughout the film, sticking to the tried and trusted method of zooming in on the pained expression of Laura Carmichael’s face, which, in such a subtlety excellent performance, never feels like beating a dead horse. ‘Legs’ shows the negative outcome of accidentally swallowing a spider - the positive involves becoming some version of ‘Spider-Man’ - and its wonderful conceit is gleefully used to mirror the state of mind many feel as those around them begin the next stage of maturity. As far as web-spewing characters in films which deftly manage to toe the line between humour and drama go, Joy may not be the number one, or even number two, but she most certainly deserves a place amongst such illustrious company in that niche collection. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Micky Hardaway film review by UK film critic Amber Jackson. Starring Stephen Cofield, David Chattam, Kimberly Christian directed by Marcellus Cox. HOME | FILMS | REVIEWS Micky Hardaway Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Feb 25, 2023 Directed by: Marcellus Cox Written by: Marcellus Cox Starring: Stephen Cofield, David Chattam, Kimberly Christian Content warning: abuse, domestic violence Mickey Hardaway is a feature film that sees a young sketch artist pay visit to a renowned psychiatrist as he begins to lose control of his life. Throughout the feature, protagonist Mickey wrestles with his inner demons as he fears personal failure. Acting as the feature length film of the earlier short Mickey Hardaway (reviewed by UK Film Review in 2021 ) and successfully provides an even deeper insight into how abuse has affected Mickey and his ability to recognise his potential. Writer and director Marcellus Cox fully encapsulates one man’s reality crumbling around him in a beautifully conceptualised way and portrays vulnerable masculinity in a way that is seldom seen on screen. A man allowing himself to feel vulnerable and express his vulnerability in a society that rejects that is a brilliantly inspired commentary on masculinity. The emotive script not only acknowledges trauma, but sees the main character seek to process it and at least attempt to release negative feelings for the first time. It is a cathartic and intelligently made film that jumps straight into the action, as though Mickey is directly reliving life events during a therapy session. Discussions concerning life’s hardships and mental health difficulties contribute towards a journey from hardship towards some type of personal healing. This sees thoughtful and deeply emotive performances from every actor, who all clearly understand the character that they embody. This feature feels like an ode to a film style that directors like Barry Jenkins use to make the viewer a part of the action, with its realistic dialogue, soundscape and setting to create a real-life location and society. Background noise in each location adds to the atmosphere of the film, giving it a realistic feel and a clear sense of place. Somehow, being mostly in black and white feels more authentic somehow, as though we are witnessing a snapshot in time. The cinematography ultimately acts as a beautiful metaphor for Mickey’s progression, and struggles, as he seeks to process and handle his emotions with grace. Camerawork also acting all-consuming in this way with plenty of close-up shots also shows another side to his vulnerability. Although there are some issues with the film’s pacing, this in no way detracts from Mickey’s story as he is aided to confront his personal demons. His fight for individual agency despite being knocked back multiple times is admirable and incredibly moving, as he vocalises anxieties over not living to his full potential. Sympathetic characters accompany Mickey on his journey from childhood, yet it feels as though everyone is failing him. This is a feature that captures how insular and alone its protagonist feels in the aftermath of a broken family and broken dreams. At the end of it all, the viewer finds themselves wishing that there was more to this beautiful story. Mickey’s story is a heartbreaking reminder of human survival and he ends up facing his melancholia head on. Cox’s film interrogates what it means to be a man and to be vulnerable, as well as other vibrantly hard-hitting themes such as breaking the cycle of generational trauma. It is a fantastic feature well worth seeing, as it attests to the absolute skill and dedication of its filmmaker who, despite a small production, has delivered a huge success. About the Film Critic Amber Jackson Indie Feature Film < All Reviews Next Film Review >

Redrum film review by UK film critic Jason Knight. Starring Mahfoud Mokaddem, Lara Roozemond, Mouad Ben-Chaib, Jonathan Huisman directed by Amir Karagic. HOME | FILMS | REVIEWS Redrum Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 3, 2021 Directed by: Amir Karagic Written by: Amir Karagic, Sergej Groenhart Starring: Mahfoud Mokaddem, Lara Roozemond, Mouad Ben-Chaib, Jonathan Huisman A man unwillingly gets into trouble and is forced to take drastic action. Marwan (Mokaddem) and his cousin Fouad (Ben-Chaib) work at a coffee shop in Amsterdam. At first, things appear normal but it becomes apparent that unerneath the peaceful surface there are issues. Marwan is in a relationship with Lara (Roozemond) and her ex-boyfriend Vincent (Huisman) is not happy about that and decides to extort Marwan for money. Meanwhile, Fouad has also found himself in an unfortunate position by owing money to nasty people and teams up with Vincent in order to get himself out of debt. This is a dark and exciting thriller from the Netherlands, with elements of film noir. The plot focuses heavily on extortion and mainly follows Marwan, as he is mistreated and pushed further and further into a corner until he is forced to react. There is a great deal of threat and confrontation and the viewer is kept in suspense as they try to guess how things are going to turn out. The acting is generally good. Mokaddem is convincing as a friendly, well-meaning guy who does not want any trouble, but changes his ways under pressure. Ben-Chaib is a careless and disrespectful person who is willing to use others to get what he wants. Huisman is menacing as an agressive fiend. One of the strongest aspects here is the music by Thies Bouwhuis, which includes electro and sounds dramatic, suspenseful and tense and it goes very well with the scenes. Robert M. Berger makes an outstanding contribution with the wonderful cinematography. The lighting effects are great and there are beautiful establishing shots of Amsterdam. This short is a thrilling ride, with a narrative that grabs the audience's attention and is well worth the experience. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Longing For Gadot film review by UK film critic Jason Knight. Starring James Anite directed by Timur Almazov. HOME | FILMS | REVIEWS Longing For Gadot Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 18, 2022 Directed by: Timur Almazov Written by: Timur Almazov Starring: James Anite A man finds a woman on a dating site and becomes obsessed. While looking through pictures of women on a dating app, a young man (Anite) sees a picture of a young woman by the name 'Gadot', who he fancies. He repeatedly texts her, hoping for a reply but to no avail. As time goes by, he gets more and more disappointed and frustrated. Will she eventually contact him? Filmed in black-and-white, this short drama deals with two things that are widespread in today's world: mobile phones and social media, particularly dating sites. The film shows how these two can affect a person because once he lays eyes on the photo of the special girl, the protagonist becomes fixated on her and is constantly on his phone, messaging her and eagerly awaiting a response. His life changes as he cannot get the woman out of his head and spends a great deal of time attempting to contact her. There is a feeling of isolation, as the entire narrative takes place inside the man's apartment, with the man by himself, using his phone. The film appears to point out how technology can alienate people. A romantic song accompanies pretty much the entire film and it goes well with the plot. The jazz music during the closing credits was also a good choice. There are almost no spoken words and there is no need either. The film does an effective job in creating a story through actions and not speech. Occasionally, the film cuts to the screen of the man's phone, showing either the messages he sends her or a picture of Gadot. The filmmakers also utilise fast cutting to good effect. With directness, this short takes a look into social media, mobile phones and dating sites and seems to point out how they can lead to obsession and isolation. There is also a romantic side here, as the plot is about someone trying to be with the one he fancies. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Shape, Refine film review by UK film critic Isabelle Ryan. Starring Pete Rix, Anna Rix, Eva Rix directed by Dean Harris. HOME | FILMS | REVIEWS Shape, Refine Film Review average rating is 2 out of 5 Critic: Isabelle Ryan | Posted on: Sep 22, 2021 Directed by: Dean Harris Written by: Dean Harris Starring: Pete Rix, Anna Rix, Eva Rix Shape, Refine follows Pete Rix, a carpenter who specialises in rocking horses. In interviews and candid footage, we learn about his childhood passion for woodworking, his decision to leave a digital design career, and the amount of work that goes into each rocking horse. The director, Dean Harris, is a friend of Rix’s, and as such has a personal connection to the subject. At 12 minutes, the documentary is so short that we only skim the surface of Pete as a person, his family life, and the career itself. Based on the information that we do get, though, it seems perhaps that the story may be quite a shallow one; there is no suggestion that Pete struggled at all to make the decision to switch from digital to analogue, as it were, and despite some mentions of the work being time-consuming (he states that it took him a year, working three hours per week, to carve a lime likeness of his dog’s head), he has only a positive outlook. He remembers fondly a gift of a pond yacht from his grandfather, and making balsa wood models as a child. More recently, he recalls the first purchase of an old rocking horse, the shock that it was in much poorer condition that he’d assumed, but how he relished the challenge anyway. Simply put, there is no conflict here, nothing more complex to which the audience can connect. This trend continues in the direction. The candid footage in the workshop either focuses on the tools and the horses emerging from the wood, or close-ups of Rix’s face in concentration. Other than some footage of Rix with his wife, Anna (who barely gets a mention, but works with Pete in the workshop), and daughter, Eva, the rest of the documentary is made up of interviews with Rix, who appears relaxed if rehearsed. There are no really interesting decisions made in the direction of the film, and the same goes for the score, which is comprised of short, forgettable pieces. There is an interesting moment where Rix states that part of the reason he loves rocking horses is that they help children to be imaginative. He criticises technology, stating that children need other ways to play creatively. He is openly in awe of his daughter’s imagination, but for some reason attributes her creativity to the rocking horse, not to the fact that children are, given half a chance, much more imaginative than adults, and certainly much smarter than even their parents may think. Without such a beautiful toy, Eva would still find a way to be imaginative. There is a sense that Rix believes he is doing something right and just, but he seems quite detached – he talks philosophically about “the child” as though he has forgotten that he, too, was a child once – and while singing rocking horses' praises, he neglects to mention that they are far too expensive for many children to enjoy. It is hard to judge Shape, Refine. On the one hand, it is lacking in depth and imaginative direction, while on the other, it is clearly a passion project, produced by one friend about (and for) another. As such it feels almost unfair to criticise it harshly, when at the end of the day, it is a personal film, and hopefully will serve as a positive memory for Rix and his family for years to come. However, Harris has shared the film widely – it does not exist solely for the Rix family – and it is unfortunately a very shallow, unimaginative piece that borders at times on pretentious. About the Film Critic Isabelle Ryan Documentary, Short Film < All Reviews Next Film Review >

Code Red: Spain film review by UK film critic Jason Knight. Starring Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez, Ismael Abadal directed by Jason Figgis. HOME | FILMS | REVIEWS Code Red: Spain Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 5, 2025 Directed by: Jason Figgis Written by: Jason Figgis Starring: Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez, Ismael Abadal An action crime thriller written and directed by Jason Figgis and starring Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez and Ismael Abadal. There is trouble in Spain. Crime boss Eduardo Sanchez (Arnau Redorta) has been killed after murdering a couple and their son. Now, his widow, Estelle (Kingdon) has decided to become an informant and enter a witness protection program. While she and her son, Ari (Rodriguez) await to be transferred from their home to a safe location, two Ex-Special Forces soldiers, Solomon (Smith) and Thomas (Sparkes) are assigned by their former Commanding Officer, Frank (Ian Burfield) to watch over them. Meanwhile, a ruthless and dangerous gangster named Cortes (Abadal) is determined to silence Estelle and Ari. This film has an intriguing plot: two tough, ex-military men having to stay at a large house and protect two people from potential lethal dangers. The protagonists are interesting characters and the screenplay does a decent job in exploring them and in creating suspense and drama. There are plenty of guns and the cool action sequences involve shooting and hand-to-hand combat. Regarding the soundtrack, there is suspenseful music and Spanish music and some great tracks. Commendations also go to the animation during the opening and closing credits and to the impressive aerial shots that capture the beauty of the landscapes. This feature is marketed as an action film, however, the action arrives during the third act and it arrives in buckets. Those who are hoping for an action-packed experience might be disappointed, nevertheless, the fact that this is not an action-filled story does not destroy the film, as instead of shooting and punching, the majority of the narrative focuses on character development and exploring the relationship between Estelle and Ari and the rapport they end up building with Solomon and Thomas. Regarding the performances, Kingdon is very dramatic as a woman who has gone through terrible times after being married to a criminal. However, she is strong and wants to start a new life for herself and her son, away from danger. Rodriguez is sympathetic as a frightened youth who does not feel comfortable being near the two combat experts. As for the two combat experts, they dislike each other and have a history together, yet, both are proficient in their line of work. Solomon is a no-nonsense guy, while Thomas (who is quite good with a sniper rifle) is more relaxed and easy-going. Abadal is the bad guy, a murderous fiend who will stop at nothing to get what he wants. Survival is a major theme in this story. So is mother-and-son relationships and reminiscing the past. This feature is also a commentary about isolation, self-reflection and inner strength. An enjoyable viewing with a good story, well-explored characters and great dialogue that includes film references. It may not really be an action film, instead, it is strong as a crime thriller with suspense and drama. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

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

When Jack Came Back film review by UK film critic Chris Olson. Starring Mike Markoff, Lindsay Wagner, Lance Henriksen directed by Thor Moreno. HOME | FILMS | REVIEWS When Jack Came Back Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Sep 30, 2022 Directed by: Thor Moreno Written by: Thor Moreno Starring: Mike Markoff, Lindsay Wagner, Lance Henriksen A story of estrangement and familial tragedy in Thor Moreno’s heartfelt drama When Jack Came Back, the film stars Mike Markoff and Lindsay Wagner as a son and mother brought together after years of resentment by the death of their father/husband respectively. Markoff plays the titular Jack, a professional actor who is on the cusp of a comeback after a suspiciously juicy firing from a popular TV show that is never fully revealed. An upcoming acting job must wait, however, when he receives a phone call from his mother Nancy (Wagner) telling him his father’s funeral is on the same day Jack is due to start his new role. Jack comes back to Iowa, much to the chagrin of his agent and girlfriend, for what he hopes is a quick visit to pay his respects to his father and get back to L.A. asap so he can continue to live his dream. His stay in his small hometown is elongated, however, when it is revealed that the mother whom he hates is suffering from dementia and that he is the only person who can help. Moreno has secured himself a very solid film with When Jack Came Back simply because the story is excellent. It tells a simple yet heartfelt tale that will resonate with a mainstream audience, creating a clear path for the actors to run at. Solidified by a great performance by Markoff and an even greater one by Wagner, it’s a drama that plays all the sombre notes in the right order to sweep you up. We care about Jack and his dilemma but we also see the point-of-view of his mother, who resents her son for moving away. Their chemistry on screen is the best part of the film. There are moments when supporting characters threaten to derail the piece with less than impressive acting, as well as a few comedic misfires that should never have made the final cut, however, the bulk of the film is moving and profound. As with any film dealing with the impact of dementia, there is an inherent pathos built into the movie. What’s impressive about When Jack Came Back is that it manages to hit on multiple issues that the disease can cause across all family members without feeling so heavy the viewer cannot move afterwards. Instead, the film combines this with a classic trope of reconnecting family members that allow there to be plenty of angst and fire alongside the misery and pain (all of which is a lot more entertaining than it sounds!). There were many poignant moments in the film, not least of which is the one delivered by Nancy’s nurse who talks about how rarely we consider having to look after our parents, who will all need it. Aside from the failed comedy moments (such as an early one involving an adoring fan in the supermarket), and the thinly sketched characters (such as the uncaring agent or girlfriend), When Jack Came Back is well worth your time if you enjoyed films like Still Alice, or The Father. Embracing the darkness that comes with this type of story will allow you to fully immerse yourself into a bleakly familiar chapter that comes in most people’s lives, and one that can still be full of hope, love, and redemption. About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Canteen film review by UK film critic Patrick Foley. Starring Jiya Giri, Pakhi Pundeer, Charles Kantilal Patel directed by Shourya Kumar Lal. HOME | FILMS | REVIEWS Canteen Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jan 7, 2023 Directed by: Shourya Kumar Lal Written by: Shourya Kumar Lal Starring: Jiya Giri, Pakhi Pundeer, Charles Kantilal Patel Young love and classic teen drama is abound in Hindi-language short Canteen by director Shourya Kumar Lal, a charming film that outperforms its small budget to encapsulate the classic emotional beats of coming-of-age romances. A young man (Shourya Kumar Lal) is smitten by an unknown girl (Jiya Giri) who attends his college. Along with his best friend (Charles Kantilal Patel), he conducts a plan to find himself in her vicinity, in order to try and sweep her off her feet. Over tea and coffee (and some back and forth flirting) the pair begin to bond and romance blossoms. But the predictable trials of teen love come to test them, as the pair ponder over whether they are to pursue a relationship. Canteen echoes contemporary coming-of-age movies such as Easy A in capturing the vibrancy, excitement, nervousness and humour that comes with love on the verge of adulthood. Based in a college setting (with key scenes occurring, unsurprisingly, in the canteen…), director Shourya Kumar Lal frames shots cleverly to enlarge the characters rather middling surroundings to feel overpowering, overwhelming and exciting – as is often felt in reality when we embark on new, defining chapters of our lives. The colour scheme of the film is lively and rich, to match the lead character’s enthusiasm for their new-found college freedom – as well as the sparks the characters feel for one another. Viewers will practically feel the late-summer breeze thanks to the director’s abilities in framing a scene, and be transported to their own love-drunk summer days. Shourya Kumar Lal excels in the lead role, bringing a quiet confidence and swagger that still manages to be offset by nervous vulnerability and risk as he tries to woo Jiya Giri’s leading lady. The pair have a wonderful chemistry, and the back-and-forth between the pair has a genuine feel of an awkward teen romance that could misfire as easily as it could blossom. Simple scenes such as discussions over coffee are emoted brilliantly to ensure stakes are input and clear to the audience, who will root for the couple to navigate those early challenges. For a lower-budget short film, there is a lot to admire in Canteen. Whilst naturally contained by some of its limitations, it manages to build strong and likeable characters and imbue a crucial mood of excitement and intoxication in its production that entices its audience to embrace its tone with open arms. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Queen of Diamonds film review by UK film critic Patrick Foley. Starring Carlotta Banat, Omar Khan, Selorm Adonu directed by Shehroze Khan. HOME | FILMS | REVIEWS Queen of Diamonds Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 13, 2022 Directed by: Shehroze Khan Written by: Omar Khan Starring: Carlotta Banat, Omar Khan, Selorm Adonu They say breaking up is hard to do. But if you’re going to do it, the emotional and thought-provoking one presented in Queen of Diamonds certainly beats doing it by text… Paula (Carlotta Banat) and Ali (Omar Khan) meet atop of Greenwich Hill to conclude the breaking-up of their failing relationship. Together since uni, the pair have experienced the highs and lows of young love. But after noticing cracks, they have one last conversation to seek closure as the sun sets. Queen of Diamonds is a short film that focuses on the end of love, and the emotional strain put upon both halves of a relationship when things must come to a finish. Details of the break-up itself are scarce and only hinted at, with much of the conversation seen in the film focusing on relationships as a whole - and how the differences throughout can cause the slow death experienced by the protagonists as people start to grow into who they are meant to be, and who they are meant to be with. Pain and separation are therefore key themes for the film, which comes with a message that despite how difficult breakups and the ending of relationships can be, the positive experiences people receive will ultimately change us – and it is us as individuals to decide if this is for the better. Paula and Ali both reminisce over the good times as much as they are triggered by the bad, and their participation in what is made clear to be a difficult and painful conversation shows the maturity that each has gifted to the other. Shehroze Khan and writer/star Omar Khan have impressively formulated two natural and authentic characters, whose shared history pulsates from their dialogue with each other. What is at first an awkward exchange of pleasantries ignites upon the highlighting of negatives and disputes the pair share – as the film really kicks into gear and demands the audience’s attention. This gives way to true reconciliation and the begins of an understanding – for a melancholy ending that fully earns the emotions it attaches. The uncomfortable yet warming, difficult yet nostalgic exchange brilliantly captures the complexity of the subject matter – and will touch on very real feelings and memories of viewers. Both Carlotta Banat and Omar Khan perform well in the leading roles – Banat as the more sombre and serious Paula and Khan as the affable and brave-faced Ali. A sense is imbued that this is a Paula-driven break-up by her determined manner – but Banat leaves enough anguish in the character to show that this is not a decision she has taken lightly. Khan meanwhile is quick to bring some light relief to an experience that Ali may not be fully ready for – in a way that demonstrates his charm but is also shown to be a cause for why things have not worked out. The only knock on either performance is that we don’t really get a sense of time around the relationship to really emphasise how long the pair have been together – but viewers will sympathize nonetheless. For a short, lower budget concept film, Queen of Diamonds taps into some unexpectedly deep emotional territory with an incredibly simplistic and minimalist idea. Add in two strong performances and a perfect setting, and you have a very accomplished feature. Maybe just give it a miss if you’re not past the ‘eating tubs of ice-cream crying’ phase… About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Reduced to Clear film review by UK film critic Joe Beck. Starring Edward Tidy, Simon Fisher-Becker, Winter Foenander, Dawn Butler directed by Luke Allen, Alex Yousefi. HOME | FILMS | REVIEWS Reduced to Clear Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jul 29, 2022 Directed by: Luke Allen, Alex Yousefi Written by: Luke Allen, Alex Yousefi Starring: Edward Tidy, Simon Fisher-Becker, Winter Foenander, Dawn Butler Britain has produced some of the finest comedies of all time. ‘Blackadder’, ‘Fawlty Towers’, ‘Only Fools and Horses’, ‘The Office’, ‘Spaced’, ‘Shaun of the Dead’, ‘Hot Fuzz’, ‘The IT Crowd’, ‘Fleabag’, you probably get the point. That list may seem overly long, loquacious, long-winded, garrulous, voluble, and loose-lipped, but it is merely an example of the style of humour employed in ‘Reduced to Clear’, the worst comedy to come out of Britain since Brexit. We are introduced to Mike (Edward Tidy) on his first day as a charity shop volunteer. The manager (Simon Fisher-Becker) tells him to ‘consult the rulebook’ if he’s stuck, before toddling off to god knows where. That line ‘consult the rulebook’ will surely become a very funny gag later in the film right? Wrong, it doesn’t come up again until almost the very end, and is forgotten almost as quickly as it arrives. The crux of the problem with ‘Reduced to Clear’ is it’s script, which is so mind-bogglingly awful that it’s more likely to cause someone to smash their screen in rage than roll around in laughter. It doesn’t understand the concept of setting up a gag, events merely happen with no foreplay, and we’re expect to laugh just because ‘oh look at me I’m so quirky, I’m so random’. It’s one of those scripts which feels the need to lengthen each joke to the point of exhaustion, over-explaining everything and becoming unbearably loquacious. This wouldn’t have been so bad had they done it once, then moved onto the next joke, but it seems to be the only joke in the arsenal, and occurs time and time again. The ending tries to cop out and nullify the bad script by becoming self-referential, however, that’s a further example of lazy writing, as the writers - Luke Allen and Alex Yousefi - have evidently realised the abysmal nature of their script, but rather than rewriting, have opted to try and undermine it with a ten-second gag. Allen and Yousefi’s direction is similarly lifeless, giving the setting of the charity shop no atmosphere whatsoever, whilst the framing leaves a lot to be desired. The argument that this is perhaps because it was made on a budget of £2000 budget does little to explain this - I’ve seen school productions with a greater production value. The decision to not have a score whatsoever is bizarre, though perhaps a laugh track would have made even more sense - anything to fill the vacant pauses as each actor fumbles their way around the botched script. ‘Reduced to Clear’ is not a good film, in fact, it’s almost unwatchable - though it’s one saving grace is that it doesn’t offend any proportion of society. But it did offend me, simply by having to watch it; ‘Reduced to Clear’ is an apt title for a film lacking in anything which would make it worth keeping. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >