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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 >

N.I.L.ionaires film review by UK film critic Jason Knight. Starring Afolabi Oyeneyin, Emily Goodwin, Clinton Portis, Imani Vaughn-Jones directed by Clark Birchmeier. HOME | FILMS | REVIEWS N.I.L.ionaires Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 18, 2025 Directed by: Clark Birchmeier Written by: Phillip Buchanon Starring: Afolabi Oyeneyin, Emily Goodwin, Clinton Portis, Imani Vaughn-Jones A short drama written by Phillip Buchanon, directed by Clark Birchmeier and starring Afolabi Oyeneyin, Emily Goodwin, Clinton Portis and Imani Vaughn-Jones. In the United States, a new programme enables university athletes to get payed handsomely. That programme is the NIL (Name, Image and Likeness) and quarterback sensation Ace (Oyeneyin) is being offered the opportunity to join. Meanwhile, Taylor (Goodwin), another sports star, gets involved in the programme and transfers from a university in Louisiana to Hollywood University in Florida, where Ace is. As the two of them cross paths, Ace must consider his future. The impressive production value of this short is to be acknowledged. Viewing this short gives the impression that a great deal of creativity was put into it, along with significant efforts to make it a project of high standards. Firstly, the cinematography by Paul Krumper looks terrific and there are some outstanding aerial shots. Also, the addition of news reports and interesting music add extra value. The story is decent enough and Oyeneyin makes a likeable protagonist. As good as the above aspects are, the ending does not match them. The film's end feels anticlimactic and abrupt and generally incomplete. A more conclusive final would probably had benefited this short. Played convincingly by Oyeneyin, Ace is a professional athlete who finds himself in a situation where he is unsure what the next step is, what would be the best choice and he is worried. His confident associate, CP (Portis), tries to convince him that all will be well and so does Melissa (Vaughn-Jones), who works for NIL. Unlike Ace, Taylor is cheerful and confident about the programme's prospects. The plot focuses on being in a life-changing phase, coming across new opportunities and facing difficult decisions. It explores the world of professional athletes, future prospects, self-esteem and choosing wisely. A well-made short with a story about sports and decision-making. The ending may not be very rewarding, nevertheless, this is an intriguing and thoughtful viewing. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

My Obsession with Death film review by UK film critic Chris Buick. Starring Alison Thornton, Brooklyn Summer, Malachi Kobayash, Jance Enslini directed by Alexis Evelyn. HOME | FILMS | REVIEWS My Obsession with Death Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Apr 14, 2024 Directed by: Alexis Evelyn Written by: Alexis Evelyn Starring: Alison Thornton, Brooklyn Summer, Malachi Kobayash, Jance Enslini In Alexis Evelyn’s deliciously morbid short My Obsession with Death we meet Ruby (Thornton), a lucky survivor of a horrible car accident in her younger years but now as a young woman who should be relishing adolescence, Ruby instead simply can’t help herself from constantly contemplating her own mortality. My Obsession with Death allows us to laugh in the face of our own absurd thoughts when it comes to kicking the bucket without ever totally dismissing or shaming us for them, which as someone who also always worries about sharks in the swimming pool can greatly appreciate. As silly as it may seem to worry about it endlessly, things can and do happen and it’s that uncomfortable balance that Evelyn realises and masterclasses here. The dark and the macabre has of course always been fertile ground for comedy and Evelyn does a fantastic job to make sure the film always maintains the correct amount of levity perfectly weighted against the seriousness of its subject, utilizing everything from razor-sharp writing inside a constantly punchy script, editing that fully encapsulates the franticness of Ruby’s obsessive mind, fabulous framing and a fantastic cast to allow us to laugh along. But as mentioned the film also manages to tap into our irrationalities and our inherent preoccupations with death, whether consciously or subconsciously, and bring them front and centre. As ridiculous as some of her apprehensions might seem, Ruby isn't exactly wrong in her evidence as to why she should be worried so about biting the dust, some of the eye-opening stats the film casually drops in will suddenly cut into your laughter and derision to instead make you think “wait...is that true?”. Again, it’s all so deftly executed and a real testament to Evelyn’s undeniable filmmaking and storytelling abilities. And after Evelyn’s exceptional film craft has teed everything up perfectly, it’s Thornton’s Ruby who comes and knocks it straight out of the park, their deadpan and fully serious, spot-on delivery channelling that sense of darkness and injecting it with a black humour that will resonate so much with so many and is just the cherry on top of a film that’s to die for. My Obsession with Death has got such a winning formula that Ruby’s musings on her own demise deserve to be and could likely do pretty well as part of a longer series, but alas this brilliant ten minutes will have to do for now. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

The Wheel of Heaven film review by UK film critic Hope Madden. Starring Kali Russell directed by Joe Badon. HOME | FILMS | REVIEWS The Wheel of Heaven Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 25, 2023 Directed by: Joe Badon Written by: Joe Badon, Jason Kruppa Starring: Kali Russell The Wheel of Heaven delivers oddball charm and horror in equal measure. What’s it about? That’s an excellent question, and not a simple one to answer. We seem to be stuck on late night, all access TV, which is running through a wild set of programs and sponsors. (My favorite sponsor is Rad Abrams, Skateboard Attorney.) And my favorite show is undoubtedly The Uncle Bobbo Show, which was also the focus of director Joe Badon’s 2021 short, The Blood of the Dinosaurs. Kids’ TV host Uncle Bobbo (an eerily unblinking Vincent Stalba) wants to teach us where oil comes from. With assistance from his vampire puppet co-host Grampa Universe (voiced by John Davis) and his young helper Purity (Stella Creel), he seeks to enlighten and entertain. And misinform. It’s sort of a Pee-wee’s Playhouse for sociopaths. If that does not seem like a ringing endorsement, you’re not reading it correctly. So, we’re watching highly local TV programming. Or are we? Maybe each story is a little diorama dreamt up by local artist Margaret Corn (Kali Russell)? Or perhaps we may instead be reading along with Marge the Mechanic (Russell again), who picked up a “choose your adventure” book at a thrift store. Russell plays at least half a dozen distinct but related characters, each a fully formed and often bizarre individual. Her range and effortless skill with characterization ground the segments in something tangible, however goofy the character. Whether these characters are part of a book, TV programming or one artist’s imagination is irrelevant. Badon’s upended the concept of a framing story for what is essentially an anthology of short films. Every tale, including the framing stories, morph and mutate and as each folds in on itself, Badon and his crew appear to emphasize the illusion versus reality of this absurdist storytelling. What else does Badon hit on? Birth. Death. Choice. 3D glasses. Kitch. Homage. Dinosaurs. Storytelling. But mainly creation and how the act of creating is linked to all of these. The Wheel of Heaven throws a lot at you and not all of it hits, but Badon’s instinct for the bizarre, humorous and horrific generate a wonderfully oddball effort. About the Film Critic Hope Madden Indie Feature Film, Film Festival < All Reviews Next Film Review >

Kalimba film review by UK film critic Joe Beck. Starring Raiany Silva, Sheila Ball. Joana Cruz directed by Robbie J. Atkinson. HOME | FILMS | REVIEWS Kalimba Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Sep 10, 2023 Directed by: Robbie J. Atkinson Written by: Robbie J. Atkinson, J.E. Atkinson Starring: Raiany Silva, Sheila Ball. Joana Cruz It’s well known that the greatest horror is generally psychological. The horror within can inspire fear far greater than anything that resides outside the corporeal, and often is the cause of such external horrors as spiders or snakes or sharks. Our mind is the source of all human fear, whether directly or indirectly, and as psychology and scientific understanding has become more developed, so have horror films and, perhaps more significantly, horror literature, to focus more on a psychological terror and how that is linked to the fears that exist outside our own bodies. ‘Kalimba’ blends the psychological and the physical fears exquisitely, creating a short horror film high on thrills, full of nervous tension, and with some excellent direction. The film focuses on a young woman, Cassidy (Raiany Silva), and her haunted psychological state, as she battles a sleep paralysis demon. Cassidy’s reality and dream state converge more and more, becoming blended and more confused, as her terrors transfer to her reality, leading her to the black sheep of the family to try and solve her troubles. Perhaps the aspect about ‘Kalimba’ that is most immediately striking is the sound design. Beginning with the sound of heavy breathing, and the deep, intimidating voice of a demon saying ‘look at me’ the sound design is always going to be immediately apparent, but in ‘Kalimba’ it is sustained to a high quality throughout. Sound is used excellently to create suspense and and to the terror of a scene, and even in the quiet scenes, in which there is no horror, at least no horror of note, to be found, the sound design continues to be impressive. Another aspect of ‘Kalimba’ which is exceptional is the directing by Robbie J. Atkinson, who handles the camera with the right balance of verve and composure in order to set up a number of thrills and suspenseful moments. Atkinson’s use of jump shots to create horror are surprisingly effective, where so often they can be comical and come across as cheap, and the use of lighting is genuinely phenomenal. Dim purple, yellow, and green lighting with the silhouette of Cassidy dancing, or screaming in the dark, outline the dreamlike state perfectly, whilst adding to the creepy atmosphere of Cassidy’s home, which she shares with her mum (Sheila Ball), who is largely absent and distant from her daughter. ‘Kalimba’s quality further grows through its script, which is dynamite, both in terms of dialogue, and in terms of authenticity. The dialogue zings between characters, particularly in the interactions between Cassidy and friend Esther (Joana Cruz), which is both integral to outlining the breaking down of reality and psychological barriers, as well as playing as extremely funny - to the credit of the two young actresses whose chemistry is extremely strong. Indeed, the acting throughout is compelling, with Raiany Silva giving a particularly captivating performance in the lead role as Cassidy, handling both lighter moments, and those that require bursts of emotion to engaging effect. This is what happens when good actors are given a good script to work with - excellent performances in a good horror film. ‘Kalimba’ is an excellent psychological horror. High on thrills and suspense, and complete with excellent direction and an intriguing script, with a superb lead performance. ‘Kalimba’ soars in its exploration of sleep paralysis and its breaking down of reality, and outlines the quality of its filmmakers in its technical aspects. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Ride film review by UK film critic Rachel Willis. Starring C. Thomas Howll, Annabeth Gish, Jake Allyn directed by Jake Allyn. HOME | FILMS | REVIEWS Ride Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Jun 11, 2024 Directed by: Jake Allyn Written by: Jake Allyn, Josh Plasse Starring: C. Thomas Howll, Annabeth Gish, Jake Allyn Modern-day cowboys are the focus of director Jake Allyn’s film, Ride . Co-writing with Josh Plasse, Allyn has crafted an aching drama that explores the complicated relationships within a family struggling with several demons. With his daughter ill, John Hawkins (C. Thomas Howell) engages in a desperate struggle to raise money to pay for treatments. His patience is thin as he fights with bureaucrats, hospital policy, and the outrageous amount of money needed to get his daughter the care she needs. On top of the looming tragedy, Hawkins’s eldest son, Pete (Allyn, again, doing triple duty), has recently been released from prison. We’re given not-so-subtle hints as to what landed Pete in jail, but it’s compelling. Rounding out the family is the glorious Annabeth Gish, as the Hawkins’s family matriarch, Monica, who is also the town sheriff. A backdrop to the family’s personal struggles is the rodeo. The Hawkins family has a history in the sport, which offers us a glimpse into what a contemporary cowboy does in this world. This is a tightly constructed film that has only one or two faults. Some of the drama treads too close to things we’ve seen before, but for the most part, things are handled in ways that speak to the rawness of a family in crisis. It’s hard not to sympathize with John’s desperation. The money he needs is a crushing amount; that any family would be on the hook for such large sums to save a child is despicable. It’s not hard to understand the lengths a person will go to in their desire to do right by their family. How far would you go to support your family? To save a child? It can be hard to imagine making some of the choices John makes, maybe impossible to imagine it. However, it’s not hard to imagine the desperation that leads a parent to make terrible choices. It’s often crises that drive a family apart. Allyn skillfully raises the tension as Ride progresses. At times, the dialogue falters as we careen toward the climax, but it’s impossible not to be drawn in to this compelling, heartbreaking story of a family struggling to survive in a ruthless world. About the Film Critic Rachel Willis Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

The Fist of the Condor film review by UK film critic Daniel Baldwin. Starring Marko Zaror directed by Ernesto Diaz Espinoza. HOME | FILMS | REVIEWS The Fist of the Condor Film Review average rating is 4 out of 5 Critic: Daniel Baldwin | Posted on: Apr 6, 2023 Directed by: Ernesto Diaz Espinoza Written by: Ernesto Diaz Espinoza Starring: Marko Zaror Since 2006, the Chilean powerhouse team of writer/director Ernesto Diaz Espinoza and martial arts superstar Marko Zaror has been delivering some of the best independent action cinema in the world. From raucous martial arts mayhem (Kiltro ) to street-level superhero satire (Mirageman ) to Eurospy parody (Mandrill ), their wild body of work together has been a diabolical fondue of influences ranging from kung fu movies to spaghetti westerns to blaxploitation cinema and beyond. What makes them all the more impressive is that of the four previous films they’ve made together, no two are alike in terms of style and tone. Other than a good time, you never know what you’re going to get from an Espinoza and Zaror pairing. The Fist of the Condor sees this duo reuniting for the first time in almost a decade. Their last outing, the rogue assassin tale Redeemer , had been their weakest effort to date, but I’m happy to report that they’ve bounced back here and then some. A deep-flowing love of classic kung fu cinema has always run throughout their collaborations, but it’s never flowed as deeply or as lovingly as it does here. This is a martial arts adventure just as concerned with evoking the philosophy of both the genre and the real-life practices behind it as it is in showcasing expertly-choreographed fights. There is a poeticism behind the fisticuffs on display here that calls to mind the Hong Kong classics of yore, leaving us with a masterful modern piece of meditative martial arts cinema that would make the Shaw Brothers smile. Espinoza has always had a way with striking imagery that is a delicious mix of exquisite location photography and beautiful artifice that holds decades of movie knowledge behind it. Condor is no different, as it births some of the best sequences his wonderful mind has conjured to date. All backed by another excellent ‘70s-infused score by longtime collaborator Rocco, of course! Those whose only experience with Marko “The Latin Dragon” Zaror are his villainous turns in Hollywood films such as John Wick: Chapter 4 and Machete Kills might be surprised to see the monk-like heroism of his primary role here. Fear not, however, as he also plays his own evil twin! His heroic (but not innocent) protagonist Guerrero is his best role since Kiltro and one we’ll be lucky to see continue, since this is meant to be the first in a trilogy. The next two cannot get here soon enough. About the Film Critic Daniel Baldwin Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Man on the Hill film review by UK film critic Patrick Foley. Starring Michael Tait, Alexander Clark, Sue Osborn directed by Jacob Stockton. HOME | FILMS | REVIEWS Man on the Hill Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Oct 13, 2025 Directed by: Jacob Stockton Written by: Jacob Stockton Starring: Michael Tait, Alexander Clark, Sue Osborn The sacrifice of young men thrown into the meat grinder of World War One and the hollow differences between soldiers of both has been pondered endlessly through cinema history. World War Two is more commonly seen through an unequivocal lens – obviously due to the genocidal intent of the Nazi regime. Man on the Hill examines two soldiers from opposite sides of the conflict who end up bonded by their experience. During Operation Overlord, a British platoon stranded behind enemy lines is picked off one by one. Jim (Michael Tait) is the last man standing and is confronted by lone German soldier Oskar (Alexander Clark). After a fight breaks out, Jim takes Oskar hostage and marches him back towards British encampments. But on their journey, Jim discovers that there is more to Oskar’s story than he could have predicted, and his commitment to the German cause is not one formed by ideology alone. Perhaps contemporary international politics have conspired against Man on the Hill . ‘Just following orders’ has long been a lamentable excuse for Nazi atrocities during World War Two, but one would have thought the passage of time would allow for more nuanced approaches to the moral centre of those who served under Hitler, not less. As it is, watching masked stormtroopers on American streets, Russian troops in Ukraine and a genocide unfold in Gaza mean that understanding and sympathising with the other side feels a long way down the list of priorities for those who care about democracy and liberty – the bedrock of the ethos of the Allies in World War Two. Oskar may not care for Hitler’s racial theories, but his commitment to nationalism and willingness to look the other way permit them. And asking an audience to have empathy or consideration for him may be tough for some to swallow – even if he does invite his enemy round for dinner. The plot itself is straightforward, focusing on the unexpected bond between two men who find themselves in grave danger. Each man discovers the other’s nobility in a well-paced manner triggered by gripping enticing events that are dripping in tension. It gets a little far-fetched at times, and some of their decisions stretch credibility in what is meant to be a combat setting, but the emotional drive comes through. The ending is pure Sunday afternoon schmaltz, tear-shedding for the John Lewis crowd but vomit-inducing for others. There are other highlights, such as Michael Tait’s performance as Jim as well as impressively strong design across the film that largely convincingly recreates the Second World War despite a lower budget. Writer/director Jacob Stockton has clearly given some thought to plot holes and logical inconsistencies that, whilst still present in some areas, are addressed in others – such as why Oskar doesn’t run when German troops are present. But it is that central conundrum around the film’s moral core that prevents it from fully working. Oskar’s love of his country may be his motivator, but for most, a Nazi is a Nazi. And where reconciliation and forgiveness are essential for healing the wounds of the past, moments in which the two men feel like they are being placed on equivalent moral footing are a misfire. The holocaust, inextricably linked to the German war machine, is barely given a passing mention in the film. And where Jim may be willing to offer Oskar an olive branch, it does not feel like it is his to offer on behalf of the viewer. Those looking for a quick shot of sentimentality will leave Man on the Hill satisfied, but anyone with more than a passing interest in the war will find its narrative difficult. It is a shame, because the direction, performances and story structure are largely fine. Ultimately, it’s about the wrong war. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Heathens film review by UK film critic Swati Verma. Starring Rosella Doda, Jo Shirley, Brad Johnson directed by Marlene Emilia Rios. HOME | FILMS | REVIEWS Heathens Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 11, 2022 Directed by: Marlene Emilia Rios Written by: Marlene Emilia Rios Starring: Rosella Doda, Jo Shirley, Brad Johnson Heathens are people who do not belong to one of the main worlds/ religions. The color chosen for the title of the short film is pink which has connotations that the female protagonist is busy looking for her identity as she cannot relate to her surroundings. The writer-director Marlene Emilia Rios builds up a very intriguing screenplay for the film with the help of various elements like Camera angles, lighting, costume, music, makeup, and hair. The blood shown in various scenes further intensifies the thrill factor in the narrative. The central character fiddles with her ring while she thinks about her life thus increasing the degree of engagement of the audience with the short film. The storyline of the film revolves around a woman who gets to know about her husband's secret affairs and looks for revenge from him. She includes one of his mistresses in her plan. Will she be able to do so is to be found out at the end of the cinematic piece? The DOP HSIEN YU NUI uses flashbacks, mid-shot of the main character followed by the camera quickly panning into her face has connotations that the wife already knows about his affairs from the very start of the film and is just waiting to get a solid proof against him to take revenge from her husband. The music given by Travis Kirby as the title flashes onscreen is upbeat so that it excites the audience to delve into the plot to find out more about the story. The music softens a little in scenes where the protagonist plans out her next move. The switch in the lighting and color palette of the film according to the mood of the scenes in the movie helps keep the narrative together and thus the audience eagerly waits for the climax of the creative piece. The set design of the short film is a combination of subtle and loud as per the demand from the director of the film. The "love" and "Power" written on the wall are all lit up suggesting that Marlene is looking into the importance of these two elements from the perspective of all the three characters in the plot. "Heathens" is a female-driven short film. It has two very well- written characters that are strong. Both these women support each other to reach the decision which proves to be very significant for the conclusion of the film. Brad Johnson plays the role of the husband; he effortlessly portrays various shades of the character required in different stages of the narrative. This short film has several life lessons hidden in it. Any relationship in life should be based on love, trust, and mutual understanding between the two partners. Being a man one does not get the right to be disloyal towards the spouse in a marriage set up. It shouldn’t be the responsibility of one person to keep the wedding healthy. There should be always a sense of regard and admiration for one another. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Corruption II film review by UK film critic William Hemingway. Starring Michael L. Knight, Maria Pazouros, Karl Greenwood directed by Chris Gainsbury. HOME | FILMS | REVIEWS Corruption II Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 16, 2023 Directed by: Chris Gainsbury Written by: Chris Gainsbury, Shaun Cooper, Paul Handforth Starring: Michael L. Knight, Maria Pazouros, Karl Greenwood Right from the off in Corruption II the heat is on. We've got a stooge bundled up and bloody in the back seat and there's a car full of heavies trying to make him sing like a canary. As we're led seamlessly through the streets of Manchester we pass a convenience store and slide into an opening credits sequence which makes us feel more like we're on the West Coast of America rather than in the mean streets of the North. We're now following Michael (Knight), our protagonist, who's on his way home after a hard day and has just picked up some wine to go with dinner. It's always the way, isn't it, in these revenge driven sequels? You just want to sit down and have a quiet evening with your missus and the past comes barging in through the front door in the form of a hellbent psychopath. Oh well, such is life. Actually writers Chris Gainsbury, Shaun Cooper and Paul Handforth are a bit subtler about it than just barging straight in, instead allowing the past to be invited over the threshold in the form of best friend, former colleague and current agent, Alex (Greenwood) who funnily enough is investigating the disappearance of another current agent from his never knowingly named outfit who may or may not have been bundled bleeding into the back of a car. Soon enough Alex's sniffing around gets him into trouble and he's quickly taken out of the picture, leaving Michael tangled back up in the world he thought he'd left behind and his wife Keira (Pazouros) taken hostage as bait. Oh, and this time they did come in through the front door. So what we've got from our three writers, with Chris Gainsbury also as director, is a pretty standard revenge thriller. The bad guys want to get at the good guy; the good guy thought he was out of all of this stuff; the bad guys press him; and voila a rescue mission/showdown is on the cards. Boom. But obviously there's got to be backstory, right? It is called Corruption II after all. And yes, if you dig for it, there's a short eight minute film called Corruption that you can watch, which has the same sort of vibe about it but with a much softer, sympathetic tone. However, the one or two black and white flashbacks we get here are all we really need for this level of plotting. There are plenty of good things in Corruption II to keep you entertained, especially the low-fi cool of Jensen Forshaw's electrobeat soundtrack and a whole slew of shots which show that Gainsbury has a good eye. In amongst it though is a whole bunch of everyday dialogue that sucks out the drama, which is at times matched up with amateur delivery. Most of the cast gives a pretty strong attempt at their characters, with the bad guys feeling especially bad in their portrayal, but unfortunately Knight is just not a leading man, nor an action star, and a lot of the film rests on his shoulders. For an 80-odd minute film that's a second attempt at a thing that might actually have worked better first time around, Corruption II at least shows what this production team can do, and there are positives to be taken away. Being released, however, in 2016 with no sign of anything since, it may be that Corruption III is not on the cards. Perhaps if the production team behind this tried something new though, it might prove to be not half bad. About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

Descendent film review by UK film critic Hope Madden. Starring Ross Marquand, Sarah Bolger directed by Peter Cilella. HOME | FILMS | REVIEWS Descendent Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 14, 2025 Directed by: Peter Cilella Written by: Peter Cilella Starring: Ross Marquand, Sarah Bolger Vampires are scary. Werewolves. Clowns! Clowns are scary. Dudes in horse head masks. You know what’s scarier still? Those last weeks leading to the birth of your first child. Damn, nothing on earth will make you feel more unprepared or likelier to die (if the baby is in your belly) than that. Andrea (Sarah Bolger) and Sean (Ross Marquand) are feeling it. Andrea’s about 8 weeks out, and it would seem Sean’s biggest anxiety is the worry that his gig as a private school security guard won’t cut it. But as writer/director Peter Cilella slowly unveils information in his sci-fi thriller Descendent , we learn there’s a lot more plaguing Sean than underemployment. Climbing on the roof of the school one evening to change a lightbulb, Sean is mesmerized by a light in the sky. The next thing he knows, he’s in a hospital bed trying to shake nightmares of an alien abduction and get his head straight so he can get back to work and stop being a burden on his very pregnant wife. But Sean is not the same since the fall. Or since whatever happened that night on the roof. Cilella shows sharp instincts for creating trippy tension. His script manages to blur reality without abandoning logic. More importantly, as Sean’s jarring bouts of unreality reach a crescendo, Cilella never lets go of the truth of the film’s emotional core. We are all terrified to become parents. Bolger makes sure Andrea is always a partner, a full character, never the beleaguered but supportive wife. These two feel like an actual married couple, buddies and partners, each shielding the other from their own fear of inadequacy. But Descendent rises and falls with Marquand. Haunted and occasionally frightening without ever losing your compassion, Marquand’s authentic and sympathetic performance grounds the fantastical and allows the metaphor at the center of the horror to ring true. Descendent is an impressive piece of homegrown intergalactic horror worth your time. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Nobody Is Crazy film review by UK film critic William Hemingway. Starring Jose Manuel Gutierrez, Federico J. Arioni, Lara Ammi Wheeler directed by Federico J. Arioni. HOME | FILMS | REVIEWS Nobody Is Crazy Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Apr 8, 2022 Directed by: Federico J. Arioni Written by: Federico J. Arioni Starring: Jose Manuel Gutierrez, Federico J. Arioni, Lara Ammi Wheeler Time travel is tricky stuff. It twists your melon – man; especially when you're trying to deal with actual quantum physics and not just that cutesy Grandfather paradox/alternate timeline junk that they sell you in films and on TV. As Nobody (Arioni) in Federico J Arioni's film Nobody Is Crazy/Nadie Esta Loco is fond of quoting from Ecclesiastes: “What has been is what will be, and what has been done is what will be done; there is nothing new under the sun.” And this, believe it or not, actually helps make things a lot easier to understand. Nobody's (and Ecclesiastes') point is that nothing can be changed. Through past, present and future, all that has been, is, or will ever be is already set, with no heroic time-traveller or fancy chronometric shenanigans being able to alter that. It's probably best to keep that in mind as you delve into the plot of Nobody Is Crazy and the life of its main character Rafael. Rafael (Gutierrez) is a lonely 16 year old boy living in Neuquen, Argentina. He has OCD which keeps his systems rigid and his social circle non-existent. His mother is at her wit's end trying to get him to go to school and engage with other children his age, which has led her to threaten him with being sent to military school. Rafael's psychologist, the latest in a long line, can't seem to get through to him either, and as a last ditch attempt suggests a therapy group that meets three times a week where he can listen and not engage if he doesn't want to. Naturally, this is where things start to go awry. Outside of the group one day, Rafael meets an enigmatic stranger in a black eye-mask and gloves. This oddball calls himself Nobody and professes to be a time-traveller; a skill which he says ultimately he can't control. For the first time in a long time Rafael's curiosity is piqued and the two form a friendship of sorts, based mostly on Rafael's need to uncover this other so-called crazy person's lies. What follows is an exploration of the theory and plausibility of time travel through intense dialectics. Nobody acts as the perfect foil to Rafael with his upbeat attitude and alternative viewpoints on the world. His mask keeps him mysterious and strangely believable as a time-traveller whilst at the same time marking him out as a kook and a fantasist. This split dynamic keeps Rafael interested long enough to lose some of his inhibitions about being around people and places while he investigates who on Earth Nobody is. Then when a girl, Daria (Wheeler) is introduced into the mix, things get taken up a notch and Rafael finally gets serious about what kind of a person he wants to be in future. Arioni's film is throughout a clever mix of coming of age story and time-travelling mind f***. The characters are extremely well drawn and just off-kilter enough to keep the audience guessing as to who they are behind their ego, or their psychoses, or their mask (literal or metaphorical). The direction and cinematography play their part nicely, shifting between close-ups and wide shots as the dialogue takes the characters into newer and more varied spaces. The dialogue itself can run at breakneck speed, with the first twenty minutes in particular being difficult to follow as there's so much to read in the subtitles that it can be hard to find time to see what's happening on screen. After that though, things settle down and then all you have to deal with is the science and philosophy of quantum mechanics. Simples. The actors are natural and engaging in their roles with Arioli in particular pulling off a fine job behind the mask as the enigmatic Nobody. Adding to the feel of all of this are the nice 80's references which Nobody brings along with him and the excellent placement of the music, both songs and score. There are some really nice nods to other time travel movies all the way through the film and spacetime geeks will have a field day finding all the references littered around. There is also a fun Ferris Bueller scene in an art gallery but overall Nobody Is Crazy feels most akin to Vanilla Sky (2001) or more accurately its Spanish predecessor Abre Los Ojos (1997), with its mind bending dialogue and references and its solipsism (I had to look it up). Overall Nobody Is Crazy/Nadie Esta Loco is a fun ride with some truly unique characters who are ready to walk and talk and time travel all at the same time. About the Film Critic William Hemingway Indie Feature Film, World Cinema < All Reviews Next Film Review >