Search Results

Random Acts of Violence film review by UK film critic Alex Crisp. Starring Jesse Williams, Jordana Brewster directed by Jay Baruchel. HOME | FILMS | REVIEWS Random Acts of Violence Film Review average rating is 2 out of 5 Critic: Alex Crisp | Posted on: Aug 31, 2021 Directed by: Jay Baruchel Written by: Jay Baruchel, Jesse Chabot Starring: Jesse Williams, Jordana Brewster Random Acts of Violence has a good reason for integrating animated comic book snippets into its general comic book colour palette—the medium has a central place in its plot. Todd Walkley (Jesse Williams) is the author of Slasherman, a comic book series that graphically depicts the murders of a serial killer who was never caught. While Walkley is on a press tour promoting Slasherman’s final ever issue, the real Slasherman starts killing again, inspired by the comic books. So spooky! Even before the “slashing” starts, this film’s biggest problem is pushed right to the fore—director-writer Jay Baruchel’s bone-headed attempt at meta-commentary. His characters discuss in the plainest terms the debate over the pervasive influence of graphic violence in popular culture; in a film that fetishizes graphic violence. The protagonist writes murder comics, the comics inspire murder. But the film is in itself a murder comic! So meta, it’s levels within levels within a wart wrapped inside of a piece of toilet paper being wiped by a chimpanzee sitting on a landfill. When the murder-spree does commence, a question briefly arises about what value there is in gleefully depicting vicious acts of harm without having anything to say about them. I guess at most people get on-board with slashers like you get on-board a theme park ride; indeed Random Acts Of Violence ’s closest analogue isn’t another movie but one of Thorpe Park’s fright nights, only less fun and more unpleasant. On a structural level, none of the characters are written or acted well enough to actually reciprocate horror when horrible misdeeds happen to them. It’s too thin and in essence too silly, but not played for laughs. Read the plot like this: a guy in a bad Halloween costume drives around North America hacking to death sexy millennials. The film is nowhere near as kitsch as that sentence indicates it could’ve been. Editing is also a notable lowlight. Nadirs include a seizure-inducing title sequence and several segments of intercut black-screens, which cleverly mimic the experience of passing out while watching the movie. If trying and failing to be a scary rollercoaster was all Random Acts of Violence wanted to be, the failure wouldn’t be nearly as bad. But the meta-commentary and a faux-philosophising finale ensure it has—watch out for this landmine—thematic pretensions. Still, at least the murderer’s bible quoting gets subverted, otherwise the word trite would have been added to the epitaph: Ultra-Violent Cartoon Piffle. About the Film Critic Alex Crisp Digital / DVD Release < All Reviews Next Film Review >

The Truckman film review by UK film critic Patrick Foley. Starring Benjamin Peter Jones, Joseph Emms, Yasmine Alice directed by Andrea M. Catinella. HOME | FILMS | REVIEWS The Truckman Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 30, 2023 Directed by: Andrea M. Catinella Written by: Andrea M. Catinella Starring: Benjamin Peter Jones, Joseph Emms, Yasmine Alice Whether you saw Christian Bale’s character’s ‘where are they now’ segment in The Big Short and reinvested your life savings, or whether you were just really mad last summer that you couldn’t use your hosepipe to scare aware local youths, water scarcity is becoming a phenomenon with increased recognition. The Truckman imagines a world where H2O has almost completely run out, with disastrous consequences. In a collapsed society where millions across the world live without water security, a group called ‘The Outsiders’ make their home in a remote forest scavenging water where they can. John (Benjamin Peter Jones) and Deacon (Joseph Emms) are father and son, with a strained relationship that is placed aside whilst doing all they can to help Deacon’s heavily pregnant wife Rebecca (Yasmine Alice). But unbeknownst to them, a group of religious zealots led by a dangerous Prophet (Kent Goldfinch) are following their trial… A post-apocalypse action/drama with strong Walking Dead influences, The Truckman seeks to carve its niche in the survivalist spectrum with a focus on water scarcity – a disturbingly real concern for the near-future of the planet. However, beyond some contextualising news reports and objectives for the plot-driving scavenging expedition, the film fails to really make use of the potential offered by the integral element of its world. Choosing to focus instead on its characters, relationships and action, the film could comfortably swap out drought for a zombie-invasion or a nuclear bomb as its end-of-days scenario, and very little would ultimately change. For a film that’s purpose director Andrea Catinella describes as “raising awareness around climate change and drought”, it’s disappointing that little originality or utilisation of this issue is present. The characters’ lives do not seem adversely impacted by a lack of water (which includes driving cars that presumably run on magic fuel) or understand exactly why the Archetype cult have formed a new religion. It all just feels like an imitation of its Georgia-based inspiration. Of course, this wouldn’t be as glaring of an issue if the characters and relationships that are the film’s true focus were not let down by a poor plot. John and Deacon’s relationship is practically bipolar – ricocheting from awkward tolerance from Deacon towards John, to utter hatred, to ultimate reconciliation within minutes – with little to justify or validate such dramatic shifts in the son’s personality. For a character that is the source of such pain, John himself is presented as far too competent and calm to actually be interesting – with the only character development the viewer is parlay too being the result of tragedies that happen to him rather than his own personal growth. The script itself is poor as well, packed with exposition which comes across as terribly inauthentic and at times unintentionally hilarious. The worst moment comes from Rebecca, finding time during the agony of childbirth to proclaim “He or she will be born into this world full of violence! How are we going to protect her?” Aside from her surprisingly lucid care not to assume her child’s gender (at least at first), you’d have hoped they’d have considered the ‘how’ a lot earlier… The action is at least well-accomplished with convincing fight sequences packed with tension, and the effects, locations, props and wardrobe feel convincing enough considering the film’s production. However, for what is a concept short for an ambitious expansion upon the film’s concept, a much more interesting and engaging plot, characters and story world is absent. The central tenet of The Truckman is ripe for exploration, but there is a dearth of it here. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Drop film review by UK film critic Hope Madden. Starring Meghann Fahy, Brandon Sklenar, Violett Beane directed by Christopher Landon. HOME | FILMS | REVIEWS Drop Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 10, 2025 Directed by: Christopher Landon Written by: Jillian Jacobs, Chris Roach Starring: Meghann Fahy, Brandon Sklenar, Violett Beane The thing about Drop , Christopher Landon’s new first date thriller, is that we’ve seen it before. Maybe not this exact scenario, but the idea. Go all the way back to 2002’s Phone Booth , when Joel Schumacher and a self-righteous sniper trapped Colin Farrell on a pay phone. Or back to 2014 and Drop co-writer Chris Roach’s extortion-by-text-in-the-sky thriller, Non-Stop. The point has always been that, via our technology, we’re helplessly surveilled and those watching can pull strings we don’t want pulled. It can be effective because it mines our collective reality. And Landon and a game cast keep the cat-and-mouse antics about as believable as they can be. Meghann Fahy (The Unbreakable Boy , White Lotus ) is Violet, a single mom out on her first date since the death of her abusive husband. She leaves her precocious 5-year-old Toby (bespectacled Irish internet sensation Jacob Robinson) at home with her sister (Violett Beane) and heads to a downtown Chicago high rise for a pricy dinner with too-good-to-be-true Henry (Brandon Sklenar). But before she can even taste that calamari appetizer, Violet’s phone starts pinging with messages, including a command to check her home security footage. If Violet doesn’t kill Henry, the masked man in her living room will kill Toby. Landon (Freaky , Happy Death Day , Scouts Guide to the Zombie Apocalypse ) has a strong track record with horror comedies, but Drop is not really either. It’s a tidy thriller, and though Landon’s instinct for humor gives the first date banter a charming quality, he can’t quite direct his way out of the script’s physical limitations and storytelling contrivance. Almost, though. Landon gives the penthouse eatery a dizzying fishbowl quality. Between savvy editing and the cast’s commitment, tensions rise with gamesmanship that usually feels fairly authentic. But then, a dramatic convenience reminds you that this is a movie, and that no human would react as the character is reacting if, indeed, a gun was pointed at their 5-year-old. Still, Drop exceeds low expectations mainly on the charisma of the cast and two universal fears: technology and first dates. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Embodied Psychic Life in a Neoliberal State of Surveillance film review by UK film critic Patrick Foley. Starring Celine Aussourd, Dr. Amber Jacobs, Dr. Gail Lewis directed by Valeriya Stoeva. HOME | FILMS | REVIEWS Embodied Psychic Life in a Neoliberal State of Surveillance Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Sep 22, 2021 Directed by: Valeriya Stoeva Written by: Valeriya Stoeva Starring: Celine Aussourd, Dr. Amber Jacobs, Dr. Gail Lewis A docu-drama short which tackles seismic questions about gender, surveillance and equality, Embodied Psychic Life in a Neoliberal State of Surveillance is a ponderous film which introduces intriguing theories, but fails to fully knit together a coherent and convincing argument outside of its academical intended audience. The film presents the views of Drs Gail Lewis and Amber Jacobs, as well as film director Bartek Dziadosz, who academically discuss how issues such as gender and feminism fit into life in modern Britain, and how the UK’s extensive surveillance infrastructure poses a threat to freedom, liberty and social justice. Intercut with their interviews is a symbolic drama story in which a young woman (Celine Aussourd) is pursued through the streets by a hooded figure – a personification of the surveillance state - who is able to find the protagonist no matter where she goes. Embodied Psychic Life… is a provocative and contemplative piece which benefits from the contributions of its experts, and an artistic accompaniment designed to demonstrate the overreach of surveillance. However, it does not convincingly fuse its different subjects into one stronger argument about their interconnection. The film largely deals with 2 topics – the widening debate about gender identity and the extent of self-identification, and the increasingly intrusive surveillance network which is slowly eliminating privacy from our lives. Through its symbolic drama subplot, and constructive debate between Drs Lewis and Jacobs, it makes considered statements on each of these topics – with thought-provoking points such as the initial point at which we are identified being prior to our own birth, or the ability of the state to portray activists as criminals, being stand-out moments. However, the linking of the 2 topics never really lands – and viewers should be forgiven for failing to see how the differing issues are connected as the film never really makes it clear itself. The film also suffers from a lack of diverse viewpoints, with only 3 contributors partaking in the piece. Whilst this is an understandable restraint given the low-budget production, it does limit the overall presentation of wider debates around the film’s main topics, and results in the film feeling like it is stuck in a metaphorical bubble, with an undeniable air of navel-gazing surrounding the debates it presents. The film also fails to offer much in the way of solutions, and whilst academical debates over the topics are significant, audiences may come away wondering what the point of the film really is or what it is trying to achieve. Furthermore, the film’s production feels choppy and error-strewn. Whilst a reasonable degree of patience is fair for smaller films, simple errors such as failure to sync contributor’s voices to images, or clear editing mistakes which cut off certain answers should have been corrected regardless of the size of the budget. The production unfortunately ends up retracting from the film more than can be justified. There’s interesting topics featured in Embodied Psychic Life… for sure, but they are presented in a scatter-shot format which does not do the expertise included in the film justice. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Documentary < All Reviews Next Film Review >

George Michael Freedom Uncut film review by UK film critic Brian Penn. Starring George Michael, Elton John, Jean-Paul Gautier, Liam Gallagher, Naomi Campbell, James Corden directed by George Michael, David Austin. HOME | FILMS | REVIEWS George Michael Freedom Uncut Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jun 26, 2022 Directed by: George Michael, David Austin Written by: George Michael, David Austin Starring: George Michael, Elton John, Jean-Paul Gautier, Liam Gallagher, Naomi Campbell, James Corden Most years are marked by the passing of notable public figures. But 2016 was a particularly wretched year as David Bowie and Prince were among the luminaries who passed away. The darkest of years was perhaps capped by the death of George Michael on Christmas Day. This is an extended version of the film originally shown on Channel 4 and proved to be George’s final work. There are few extras that fans wouldn’t have seen before, but is a timely reminder of a monumental talent in full bloom. An honest and insightful story is punctuated by the usual trappings of pop stardom; a constant battle with his own demons and the quest for personal fulfilment and happiness. A plethora of popular icons queue for airtime to pay tribute. Everyone from Elton John to Jean-Paul Gautier, Liam Gallagher and Naomi Campbell are on hand with telling observations. James Corden summed it up best when he said ‘you get the feeling he had a layer or two of skin missing, and because of that he bruised more easily and could write these amazing songs’. And there is no question he penned some of the greatest pop songs ever committed to record. He enjoyed a cosy upbringing in North London and formed a band with school friend Andrew Ridgely. That band slowly morphed into the wildly successful Wham! It was the launch pad for a solo career that took him on a world tour to promote the Faith album. It made him a bone fide superstar as he nestled with Michael Jackson and Madonna. However, it also drove him to the edge of insanity as his music became a ‘controlling lover’. He found true love after a concert in Rio; Anselmo Feleppa seemed to be his soulmate but happiness sadly proved transient for George. Anselmo died of an AIDS related illness in 1993; a crushing blow compounded by the death of his mother Lesley four years later. It was a twin loss from which he never fully recovered. Unlike most documentary films it is co-directed by its subject, so there can be no accusations of scandal or muckraking. His spirited legal battle with Sony and issues with his sexuality are laid bare in an almost cathartic tone. We only hear George interviewed but is still refreshingly down to earth with an infectious sense of humour. What remains is a fascinating account of a complex and flawed man who left us far too soon. About the Film Critic Brian Penn Theatrical Release, Documentary < All Reviews Next Film Review >

Masterpiece film review by UK film critic Brian Penn. Starring Mark Paul Wake, Sarah Louise Tyler, Boyd Clack directed by Andrew Charles Tanner. HOME | FILMS | REVIEWS Masterpiece Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 20, 2022 Directed by: Andrew Charles Tanner Written by: Rhys Hills, Andrew Charles Tanner Starring: Mark Paul Wake, Sarah Louise Tyler, Boyd Clack The greatest artistic talents have often claimed that creativity follows destruction. The need to start with a blank page and break a formula is the essence of original thought and expression. But what if this creative process has the effect of excluding a normal existence? That is the question posed in this disturbing film by Andrew Charles Tanner. Martin Lloyd (Mark Paul Wake) is a thirty something quietly plying his trade as a hotel cleaner. But he has dreams of becoming a writer and creating a masterpiece. His long suffering partner Kate (Sarah Louise Tyler) carefully supports him in his ambitions. Martin has enrolled on a creative writing course and has a fractious relationship with his classmates. However, his tutor Rod Jonas (Boyd Clack) sees something in him and is keen to unleash the potential lurking in a troubled mind. Martin feels inspiration is close at hand but his moods grow darker. A healthy passion turns into dangerous obsession with no discernible limits. He functions only to create his masterpiece. A series of scribbled notes are pinned to the wall, but a mass of words resemble nothing fully coherent. His relationship with Kate suffers badly as she continually drags him back to reality. Kate remains his greatest advocate and sends his manuscript to a publisher. To her delight they express an interest, but will Martin play the game after so many false dawns? Masterpiece is a deeply troubling yet strangely compelling piece. It's a bleak depiction of how creativity can define and destroy one's own sense of identity. Martin is arrogant, selfish and oblivious to the feelings of those around him. It's difficult to feel any real sympathy for him. What right does he have to make people's lives a misery and then complain they don't understand him. Kate is a bright and attractive woman; why does she tolerate such behaviour? Affairs of the heart will always carry some contradiction and is played out in painful detail. There could be no doubt who the viewer would be routing for; but they will inevitably feel some curiosity regarding Martin's fate; and that is the secret of good storytelling: to make you care what happens. It's hard to watch but also hard not to watch, because the viewer will be desperate to know the end game. It might be heavy going at times but is well worth the effort. About the Film Critic Brian Penn Indie Feature Film < All Reviews Next Film Review >

Horrortales.666 Part 3 film review by UK film critic Joe Beck. Starring Joel D. Wynkoop, M. Catherine Wynkoop directed by Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Anthony Piseno. HOME | FILMS | REVIEWS Horrortales.666 Part 3 Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Mar 31, 2023 Directed by: Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Anthony Piseno Written by: Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Anthony Piseno Starring: Joel D. Wynkoop, M. Catherine Wynkoop This is the third film in the ‘Horrortales.666’ series, which began all the way back in 2003, and it doesn’t exactly inspire you to go back to see the past entries. In fact, it does exactly the opposite and makes you question just why a third film has been made - ‘Part 3’ is so bad that it’s inconceivable to think that the first two films are any better. We’re introduced to a man, titled only the burglar (Joel D.Wynkoop), who has appeared in the two previous films. He’s sat in front of a computer reading off some stories, allegedly trapped by a ghost (or gost as he frustratingly repeats) and a witch (M. Catherine Wynkoop). The manic overacting from Wynkoop is bad, but it’s nowhere near as dreadful as everything around him, and by the end we’re thankful for his presence because that offers at least a semblance of entertainment. After ten minutes, and one dreadfully written and performed story in - the horrors aren’t limited to the superman towel draped over the front door or the batman cardboard cutout in the front room - we think the film might be over, and we’re grateful. It is a cruel world. Sadly, there’s another hour and ten minutes to endure, and in that moment we’d much rather face the ghost and the witch. Well, maybe not the witch, who is the most irritating character this critic has seen in eons. She’s worse than Jar-Jar Binks, terribly acted with the most insipid, redundant lines of dialogue, and a voice even more disturbing than nobody’s favourite Gungan. Fortunately we don’t spend much time with her aside from occasional appearances, but that unfortunately means we have to watch a collection of some of the most poor composed short films. They’re poorly written (poorly is being kind), poorly acted, and for the most part make very little sense. Each films plot defies logic at almost every turn, with no character seeming to have any sentient experience or even a brain at all. Moreover, they’re sleazy, with blood and gore free-flowing, without so much as attempting to build any suspense or terror. There is one short film which has a disturbing rape scene complete with rock music and gratuitous nudity - that’s the kind of disgusting levels of sleaze ‘Horrortales.666 Part Three’ reaches, worsened by the fact the woman is characterised as a ‘stupid fool’. Wynkoop’s character continually expresses his desire to leave and for there to be ‘no more’, and that is, perhaps the most apt line of dialogue, and the only one that rings true. This is a gruelling task to watch. At times you wish you were the protagonist, at least that way you wouldn’t have to put up with the reverberated voice of the witch over and over again, or the distorted voice effect which makes the film appear like an eleven year old’s first venture into filmmaking. A mess. A total mess. ‘Horrortales.666 Part 3’ is an inept film in every sense of the word. Dreadful in terms of production, writing, directing, etc., it is the epitome of sleazy, sometimes disgustingly so. With their failure to build terror, not one of the short films gets the pleasure of creating any horror, and so the title can only refer to the experience of watching the film for the viewer, itself a horror tale of continual frustration and rising anger. If there is to be a part four, I expect it to be a video of this critic watching ‘Horrortales.666 Part 3’, perhaps only then will its creators realise what true horror is. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Rage Against the Dying film review by UK film critic Jason Knight. Starring Rajat Arora, Akanksha Srivastava directed by Saurabh Arora. HOME | FILMS | REVIEWS Rage Against the Dying Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 24, 2024 Directed by: Saurabh Arora Written by: Saurabh Arora Starring: Rajat Arora, Akanksha Srivastava A couple are tormented by an ancient curse. A short horror film from India that explores the suffering that is being done to a young married couple by supernatural forces, in this case a family curse that has been pursuing the family for generations, forcing the members to be away from each other. The couple that is currently being targeted by the curse is Arif ( Rajat Arora) and Rachna (Srivastava) and having endured the menace fore ages, they seem to have reached the end of their tether as they have repeatedly moved residences in the hope of avoiding the curse, however it always follows them. Now, in their apartment, the couple have a disagreement regarding whether they should move again or try to face the threat. Arguably, the highlights are the parts where the paranormal entities (spirits or ghosts) affect the family, tormenting them with vile sounds of people screaming or being in terrible agony and commendations go to Anup Rupanwar for the sound design. It is implied that these forces also have the ability to perform physical actions, as a massive animal-like scratches are seen on sheets. However, the real terror occurs with the appearance of demonic-looking hands approaching the unfortunate characters. All this is accompanied by Karl Casey's sinister score, making the experience even more frightening. Yes, there are spine-tingling moments. However, if these are taken away, this short does not have much. When the couple are not been menaced, they have a minor argument and then they stay in separate room in their household and communicate via their mobile phones. While this takes place, they send sentimentaal text messages to each other, ignoring the curse, making the viewer forget that this is supposed to be a horror story. While the text bubbles are well-designed, this part feels dull and feels more like a commentary about how mobile phones isolate people, making them communicate via technology than face-to-face. The film opens with a title card showing the title of the poem Do not go gentle into that good night by Welsh poet Dylan Thomas. Interestingly, the film's title is part of that poem, which is repeated several times in the poem. Following the title card, the film moves to a voice-over accompanied by a montage. The narrator (an unknown male voice) tells the story of the curse, while a series of black-and-white shots (seemingly archive footage) that include buildings burning and people boarding a train. The narration is relevant to the narrative, however how the visuals mentioned fit in is not clear. This supernatural horror film does have its positives, including decent performances, an interesting plot and the tense moments mentioned above. Ultimately, it appears to be a story about love and courage. Unfortunately, it almost certainly could had done without the lengthy, speech-free parts with the mobile phones because they slow the narrative down and divert it away from the plot. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Return To The End (Regresar al Final) film review by UK film critic William Hemingway. Starring Mario Olivares, Daniel Contesse, Paula Edwards, Ricardo Herrera, Paula Leoncini directed by Gustavo Letelier. HOME | FILMS | REVIEWS Return To The End (Regresar al Final) Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 10, 2022 Directed by: Gustavo Letelier Written by: Gustavo Letelier Starring: Mario Olivares, Daniel Contesse, Paula Edwards, Ricardo Herrera, Paula Leoncini In Chile a family is devastated throughout the lockdown and beyond. Writer/director Gustavo Leterier's film Regresar al Final (Return to the End) tells the story of Esteban (Olivares) and the strained relationships he has with the rest of his family. There is a common distance between each family member, grown from things which have happened in the past, things which some have held onto tightly, and things which some have let go of all too easily. Everybody now lives very separate lives and a gulf has opened up between Esteban and the rest of his family. This distance only gets extended when the Covid-19 outbreak begins to take hold and lockdown is enforced onto people's lives. Following the death of his mother in 2018 from what was an apparent suicide, Esteban blames his father for not being there, and for showing a perceived favouritism towards his sister. This leads to Esteban leaving home and setting out by himself to build his own future. It seems, however, that even his new relationships aren't always built on the most solid ground and Esteban struggles to say the right things or consider his partner's feelings when he finds a new boyfriend. Fast forward a couple of years and Esteban now truly finds himself alone as the global pandemic makes travel and meeting people exponentially more difficult. He still hasn't repaired his relationship with his sister (Edwards) or his father (Herrera), he never calls his Aunt Mercedes (Leoncini) and even his boyfriend Daniel (Contesse) has gone back to America to try and find out what has happened to his parents. This all leaves everyone very disparate and hard to communicate with as one by one the ghosts of the family's past come back to haunt them into the new dystopian future. Return To The End then, is a standard lockdown story, with everyone trying to come to terms with the distance between them. The metaphor of the pandemic is basic, substituting one barrier to communication and reconciliation for myriad others that have already come before. Letelier does his best to imbue his film with heavy emotions and deep running themes but in the end there's not enough to lift Esteban's story from being just another lockdown analogy. Mostly this comes down to the restrictions set on the film-maker by the overarching scenario. Once more characters are separated from interacting with one another and most of the film is played out over Zoom or other face-time mediums. This means everyone is acting in isolation for most of the film, as well as acting into the camera rather than for the camera. In addition, the restrictiveness of the premise means that the direction is taken mostly out of the director's hands and a lot of the scenes we witness are people sitting in rooms with sparse walls behind them and no camera movement. In Return To The End this is especially disappointing as the few scenes which are cut into the story and interspersed throughout the film; those that are set outside the confines of a Zoom call; are actually very well shot and stunning to look at. With such skill and eye for the frame, it is a shame that Letelier chooses to restrict himself and throttle the film's creativity just to make another lockdown story. There is plenty to grab onto in Return To The End , and some may find the family dynamics and personal struggles enough to keep them interested through to the conclusion. There are some nice pieces in amongst all of the bland backgrounds and the production, including the score from Pablo Avila Champin, shows that care and attention has been put into the making of the film. Ultimately though, it feels as though there have been too many self-imposed restrictions keeping the story and the filming flat and there's nothing to lift it from being a tired metaphor for a feeling we're all tired of by now. About the Film Critic William Hemingway Indie Feature Film, World Cinema, LGBTQ+ < All Reviews Next Film Review >

Lethal Love film review by UK film critic Jason Knight. Starring Chloe English, George Caple, Emily Horrex directed by Michael Peace. HOME | FILMS | REVIEWS Lethal Love Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 17, 2022 Directed by: Michael Peace Written by: Michael Peace Starring: Chloe English, George Caple, Emily Horrex A vivid insight into a couple's deteriorating relationship. Kate (English), a job-oriented person, arrives home only to find her partner George (Caple) there. Things between them have been rather tense recently and he is hoping that they might be able to sort things out. Unfortunately, it will not be easy, as she is quite upset and the two of them will have a bad argument. This short has quite heavy drama and some dark comedy. The narrative begins with an argument, then things calm down and give the impression that a peaceful resolution is near, however it is not long before things go downhill again. The main focus are the heated verbal exchanges between Kate and George. They accuse each other, insult each other heavily and even get physical. The screenplay explores the factors that can lead to a couple's separation, including infidelity, not liking each other's parents or the spark between them disappearing. There is also a surprising plot twist. English and Caple deliver strong performances and create very tense situations, aggressively lashing out at each other. They are both convincing as a couple with an unstable relationship and with deeply negative feelings towards one another. Filming was done entirely in black-and-white and Jonathan Tyler's cinematography looks great. Music is included briefly and it sounds dramatic and goes well with the scenes. This film is a story about the painful end of a romance, about a couple destroying what they had between them. The acting is great, the dialogue is well-written and it provides an attention-grabbing experience from start to finish. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Long Night film review by UK film critic Brandon Thomas. Starring Scout Taylor-Compton, Noland Gerard Funk, Jeff Fahey directed by Rich Ragsdale. HOME | FILMS | REVIEWS The Long Night Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Feb 3, 2022 Directed by: Rich Ragsdale Written by: Robert Sheppe, Mark Young Starring: Scout Taylor-Compton, Noland Gerard Funk, Jeff Fahey Writer/director Rich Ragsdale clearly has a fondness for horror. His feature, The Long Night, is chock full of the genre’s greatest hits: a couple alone in a farmhouse, robed assailants, ample gore and moody music. What The Long Night may lack in originality, it more than makes up for in execution. Grace (Scout Taylor-Compton of Rob Zombie’s Halloween & Halloween 2 ) and her boyfriend, Jack (Nolan Gerard Funk of The Flight Attendant ), travel to the deep south to try and unravel the mystery of Grace’s parents. Grace never knew them and a man she’s made contact with claims to have answers. Once Grace and Jack arrive at the isolated farmhouse, they find themselves under siege by a sadistic cult and its maniacal leader (Deborah Unger of The Game and Cronenberg’s Crash ). A story like the one in The Long Night could’ve gone tongue-in-cheek and still delivered something mildly entertaining. However, Ragsdale has something a little more classy on his mind, and the result is a film much more methodical and patient. There’s no real rush to overdue the slow reveal around the film’s core mystery. Ragsdale and co-writer Mark Young twist every little bit of tension out of Grace and Jack’s experience throughout the night. The film’s visual approach is just as patient and measured. Ragsdale keeps his camera locked down – rarely going handheld, even during the film’s more chaotic scenes. The stillness of the cinematography only adds to the unease. The haunting score by Sherri Chung is a standout in an already aesthetically pleasing film. Chung delivers a gothic score that is modern yet wouldn’t feel entirely out of place in a classic Hammer film. Next to the fan-fiction level scripts, Rob Zombie’s Halloween movies also get routinely beat up in the acting department. One of the few actors to make it out of those films relatively unscathed was Scout Taylor-Compton. Now well over a decade removed from Zombie’s Halloween 2 , Taylor-Compton gives a grounded portrayal as Grace. This isn’t a character with a ton of nuance, but Taylor-Compton instills her with a sense of relatability. She’s “Every Girl U.S.A.” without the overall blandness. Character actor royalty Jeff Fahey shows up for a criminally short part halfway through the film. Fahey’s genre bona fides are strong with Grindhouse , Machete , TV’s Lost and the underrated Psycho III . Fahey’s role doesn’t add much to the film other than a fun bit of “Hey, it’s that guy!” from the audience, but any Fahey is good Fahey in my book. The Long Nigh t isn’t likely to end up on any “Best Of” lists at the end of the year. It is, however, a fun way to spend a Friday night. About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Tradition film review by UK film critic Joe Beck. Starring Mikolaj Trynda, Miroslaw Skibinski directed by Pawel Sadowski. HOME | FILMS | REVIEWS Tradition Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: May 5, 2023 Directed by: Pawel Sadowski Written by: Pawel Sadowski Starring: Mikolaj Trynda, Miroslaw Skibinski There’s a stillness about Pawel Sadowski’s ‘Tradition’, a meditative chill in the air, reflective of both the sereneness of the nature that surrounds the film, and the core themes of the film as a whole. That’s because this Polish language film is brimming to the bit with gloriously unspoken dialogue, which only grow as tensions rise between the characters in this two-hander. Robert (Mikolaj Trynda) has traveled back home to Poland to visit his father, whom he hasn’t seen since moving to Britain to work in Birmingham. His father lives on a big country estate - the kind where you could get lost for days amidst the great oaks, expansive fields and wild deer that roam the land - and intends for the two of them to maintain their tradition of hunting. At first his father, Roman (Miroslaw Skibinski) appears happy to see him, greeting him with a big warm hug, though clearly frustrated that he doesn’t hear from his son more often. Things start to unravel over dinner, as, scrolling through Robert’s photos of the aesthetically beautiful city of Birmingham, Roman stumbles across a picture of another man on a beach. The man is Michal. He’s Robert’s boyfriend. Roman, unaware of his son’s homosexuality, accepts Robert’s excuse that Michal is just a colleague, though clearly remains suspicious of Robert’s sexuality. Robert is putting off coming out of the closet to his father, who clearly has some deeply entrenched homophobia and regressive views over what it means to be a ‘real man’. Naturally, tensions sizzle, as Sadowski’s script paints the stark ideological and generational divide between father and son. Sadowski’s script is well-written, a perfect guide of taking a simple concept and turning into a masterclass in tension. Despite their warmth embrace, both Robert and Roman are putting on disguises, and that creates a coldness. It’s almost a case of who will blink first - though we know that either way the outcome will likely be the same - further conflict. What is most impressive about Sadowski’s script is what is left unsaid. Each line is laced with a potent dose of subtext that further widens the divide between the pair. The script further lends itself to the actors, who each deliver subtly delightful performances. Mikolaj Trynda is excellent as the tightly wound Robert, who is clearly on edge the entire film, scared, and possibly hopeful, that his father will discover his secret. Miroslaw Skibinski is similarly marvellous as Roman, the straight-laced man dead set on conforming to the traditional ways of their family, and hellbent on making sure his son upholds those same traditions. The two have believable chemistry - as though, just like their characters, they’ve known each other for years but have never really come to understand one another. All this is beautifully captured by director Sadowski, who understands critically the importance of a well-framed shot, and how it can amplify the tension tenfold. Each shot purposefully reflects the characters, and though at times this can perhaps become overbearing and repetitive - particularly towards the end - it is nonetheless an impressively directed film. A well crafted film in almost every aspect, ‘Tradition’ is an impressively tense journey into a cold family dynamic, as suspense slowly kills any semblance of love and care that previously existed. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >