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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 >

Smile film review by UK film critic Hope Madden. Starring Sosie Bacon, KyleGallner directed by Parker Finn. HOME | FILMS | REVIEWS Smile Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 28, 2022 Directed by: Parker Finn Written by: Parker Finn Starring: Sosie Bacon, KyleGallner Man, It Follows was a great movie. It was a film that saw coming-of-age as its own type of horror, a loss of innocence that you either pass on or let kill you. It’s a conceit that will never feel as fresh as it did then, but writer/director Parker Finn has a go with Smile . Sosie Bacon is Dr. Rose Cotter, a therapist working in an emergency trauma unit. A woman is brought in, lashed to a gurney and screaming. Rose evaluates her in a safe space where Laura (Caitlin Stasey) can be comfortable, free. Rose listens to her paranoid, anxious story of a smiling, malevolent presence and tells Laura, as calmly as she can, that as scary as these ideas may feel, they can’t harm her. Rose is wrong. And so begins a very borrowed and yet often powerful meditation on the nature of trauma and the state of mental health stigma. Bacon delivers a believably brittle performance as the character who knows she’s right, even if everyone believes she’s crazy. But there’s more to this genre trope, given that Finn’s entire theme is an exploration of mental health. As a therapist and also a woman suffering from trauma, Rose can see her current situation more clearly than most. There’s honesty, depth and empathy at work here, a 360-degree look at mental health and the systems and norms that affect people. Smile is also a clear metaphor for trauma and its insidious ripple effect. It’s also a showcase for a fine supporting cast, and a few good, if borrowed, jump scares and freaky images. Kyle Gallner is particularly solid, and both Robin Weigert and Rob Morgan deliver traumatizing performances in small roles. Turning something as inherently harmless as a smile into a threatening gesture carries a primal creepiness that Finn exploits pretty effectively throughout the film. Even so, the nearly two-hour running time feels bloated as Rose’s search for the origins of her curse begins to drag. Her detective work – plus one very familiar shot – make Smile an easily recognizable marriage of It Follows and The Ring . Credit Finn for not hiding his intentions, and crafting some thought-provoking frights in the process. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Old Windows film review by UK film critic Brian Penn. Starring Larry Lamb, Laura Bayston directed by Paul Holbrook . HOME | FILMS | REVIEWS Old Windows Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Feb 13, 2022 Directed by: Paul Holbrook Written by: Laura Bayston Starring: Larry Lamb, Laura Bayston We’re often told to be wary of strangers who ask too many questions. But what do you do when that stranger looks familiar and arouses our curiosity to the extent we ask questions of them? Kerrie (Laura Bayston) runs a homely East End café that has seen better days. Football memorabilia adorns the walls; a number 6 replica shirt occupies pride of place, West Ham and England skipper Bobby Moore is similarly honoured in every pub, café and newsagent around these parts. Harry (Larry Lamb) enters and orders a cup of tea and Eccles Cake. Elderly, well dressed but ageing well he seems unusually talkative. In an otherwise empty café Kerrie is guarded but immediately intrigued by the stranger. Open questions flow freely between the pair with crisp and measured dialogue opening up all kinds of possibilities. The audience are soon made aware of thoughts passing through her mind. Who is he, does he know me, do I know him, does he know my family and is he from around here? The reveal provides a satisfying conclusion. Over the course of 18 minutes we get to find out what the connection is between Kerrie, Harry and the café. Although off screen other characters are mentioned it’s essentially a two hander that works brilliantly well. Larry Lamb reprises many previous roles especially Archie Mitchell from Eastenders. But he packs tremendous charisma into every word, breath and expression; a curious mix of danger and rough diamond charm. Laura Bayston flits around nervously trying to please her customer, carefully treading line between polite and nosy. Interplay between the characters is never rushed but gradually builds a picture that allows the audience to draw reasonable conclusions. The film very quickly finds its level and relies on characters that are instantly familiar; we all know someone like them. Kerrie could be our wife, girlfriend, mother or sister. Harry feels more like a next door neighbour, the guy down the pub who we vaguely know; perhaps on no more than nodding terms but they have a comforting presence. An excellent effort and proof that even old windows can let a little light in. About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

Pryvoz film review by UK film critic Swati Verma. Starring Oleksandra Leifer, Hryhoriy Pilman, Isaak Yurakovsky directed by Eva Neymann. HOME | FILMS | REVIEWS Pryvoz Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jun 23, 2022 Directed by: Eva Neymann Written by: Eva Neymann Starring: Oleksandra Leifer, Hryhoriy Pilman, Isaak Yurakovsky The title of the short film-Pryvoz means Import in Ukrainian. The writer-director Eva Neymann highlights the culture, happiness, and togetherness in the cinematic piece beautifully so that its target audience engages with the content and relates to their country, and feels the pride in belonging to Ukraine. The plot of this documentary revolves around Pryvoz one of the oldest and the largest European markets. Everyone goes there and tends to find something. Those searching for miracles or change in destiny, human soul, and time will not leave empty- handed. The Director Neymann and the cinematographer Sasa Oreskovic utilize the Mid-shot along with the hint of colour by Pavlo Zalesov to establish the functioning of the market. The set design, dialogues, lighting, sound, costume, hair, and makeup give a sense of being organized amidst the chaos around the place. By doing this the makers add realism to the narrative of the creative piece. The bells ringing in the background have connotations of new beginnings and hope. The long shot of Pryvoz showcases the wide variety of stuff being sold and also the congregation it attracts towards it. The Location manager Anzhela Chebotar along with Editor Pavlo Zalesov work together to maintain the continuity of the short film ensuring the smooth flow of the storyline. The tracking and close-up shots portray the bonds, and interactions between all segments of the population in the city. The various songs included at regular interval of time complements the narrative and shape the climax of the film. In terms of performance, the film features multiple actors who represent the varied emotions and experiences each individual goes through every day. This flea market provides an opportunity for all these characters to fulfill their separate requirements and spending time with friends and family becomes an added benefit for them. The body language and voice modulation by these artists depict the raw nature of the film so that Eva Neymann can showcase the good as well as the bad elements of society effortlessly. Pryvoz has many life lessons hidden in the storyline. The film talks about not running towards careless pleasures and always seeking self-improvement. The documentary tells us that hope is one weapon that will help everybody fight off the internal as well as external demons to survive the time one has to spend on this earth. The short film also teaches us the mantra of being self-reliant at any stage of the life cycle. The movie shows the audience that happiness isn’t directly proportionate to money and a luxurious lifestyle. In my opinion, the short film Pryvoz captures the physical and emotional struggles of the customers and vendors very elegantly. I like the simple and realistic approach of the director and the creative team making this piece even more emotionally appealing to a wider audience due to the present situation prevailing in the country. The filmmaker with this short film has attempted to express her adulation towards her motherland for its undying high spirit. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Not Okay film review by UK film critic George Wolf. Starring Zoey Deutch, Dylan O'Brien, Mia Isaac directed by Quinn Shephard. HOME | FILMS | REVIEWS Not Okay Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 27, 2022 Directed by: Quinn Shephard Written by: Quinn Shephard Starring: Zoey Deutch, Dylan O'Brien, Mia Isaac Wait, did that viewer discretion advisory before the opening credits just warn of “an unlikable female protagonist?” Oh, Quinn Shephard, I wanna sit next to you. Shephard, who at age 20 wrote, produced, directed, edited and starred in her 2017 feature debut Blame , returns with another sharply insightful look at young adults navigating expectations and judgment. And this time, she brings along a wicked sense of humor tipped off by that early caveat. Zoey Deutch stars as Danni, a self-involved New York twentysomething who lets us know right away that she’s longing to be noticed – for any reason. If she’s not getting the likes and follows, I mean what is she even doing? What she’s doing is using photoshop to fake a trip to a writer’s retreat in Paris. And it’s all berets and baguettes on the ‘gram until Paris falls prey to terrorist bombings. That’s bad for the world but pretty great for Danni’s social profile! So she runs with it, playing the traumatized victim, launching #iamnotokay and managing to become besties with Rowan (Mia Isaac, also currently in Hulu’s Don’t Make Me Go ), a school shooting survivor who’s a leader in the movement to combat gun violence. We know from the start that Danni’s facade blows up in her face, and Shephard makes sure the rise and fall is deliciously fun. Don’t expect any sacred cows, as Shephard skewers nearly every player in our social media culture, even casting herself in a priceless cameo that ups the volume on exasperation. She has the perfect vessel in Deutch, who proves again she is an absolutely natural comedic talent. From the way Danni answers “I will!” when her boss suggests taking a mental health day, to her chipper attitude at a support group, Deutch embodies the oblivious self-absorption needed for all these daggers to land. Dylan O’Brien gives standout support as a white bread boy from Maine wearing a hardcore rap persona, but it’s Isaac who nearly steals the movie as a scarred young girl struggling with actual trauma. When Danni’s lie is revealed, Rowan’s hurt is palpable and heartfelt, with Isaac delivering a blistering spoken-word declaration that’s reminiscent of Daveed Digg’s powerful performance in the finale of Blindspotting . And while Shephard’s defiant attitude toward her protagonist’s unlikability is refreshing, it only increases the curiosity over whether Danni will be learning something today. Not Okay doesn’t toe this narrative line as expertly as, say, Young Adult , but it doesn’t fold all its cards, either. Shephard is a filmmaker with vision and voice, and she’s able to address the social media revolution with a better handle than most on juggling the serious and the satirical. About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Decision film review by UK film critic Swati Verma. Starring Girish Majethiya, Akshay Borude directed by Girish Majethiya. HOME | FILMS | REVIEWS Decision Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 20, 2022 Directed by: Girish Majethiya Written by: Girish Majethiya Starring: Girish Majethiya, Akshay Borude The red colour used for the title of the short film-Decision has connotations of life, danger, and anger. The writer-director Girish Majethiya explores the effect of an impulsive decision taken by the protagonist Ashitoush Takkar (Girish Majethiya). The red bluish colour palette and the music elevate the drama and thriller in the storyline. The plot of the movie revolves around a boy named Ashitoush who has been busy with his research work for years now and it has turned out to be a successful project. He has submitted it to the concerned institute and is eagerly waiting for a quick and positive response from their side. The use of mid and close up and extreme close-up shots covers the emotional turmoil Ashitoush goes through during the running time of the film. Time-lapse and flashback are utilized by the DOP Rushi Pinjari to establish the relationship between Ashitoush and Akash (Akshay Borude). The lighting, costume, and makeup are kept simple, and the actors chosen for the role are not well known. This was done to make the content more relatable to the audience so that they promise to deal with the underlying social message of issue of suicide, which the movie is trying to communicate to the viewers, with more awareness and care. In terms of performance, Girish Majethiya plays the role of Ashitoush Takkar. The actor portrays the difficulties of facing failure and the fear of not being able to keep up with the expectations from society so aptly. The voice modulation by the actor is an important element that helps the audience recognizes the switch in the mood of the movie. Akshay Borude is Akash who is the strongest support system of Ashitoush as Takkar is trying to prove his worth to everyone around him. Borude only had a small yet significant part to play in the narrative of the film. Akshay Borude effortlessly showcases the physical and mental hardships the family and friends have to face when they only have the option of helplessly accepting the pain of losing a loved one. Decision-the film, highlights the fact that there is a solution hidden within the problem; it is just about putting in the time and effort to find the same. Gratitude is a must-have quality which will help to become successful in life. It is good to thrive for success in life but success shouldn’t be achieved at the cost of losing life. The short film encourages its audience to deal with the difficult days with calm and be ready for the new twist in life. I liked the determination of Girish Majethiya to make this movie and spread awareness despite facing a lot of challenges in terms of limited resources. The young filmmaker proved that it is all about creating opportunities to work upon and come up with a cinematic piece that is beneficial for the betterment of the community. The treatment of the subject matter of the film is very basic and realistic; it increases the degree of audience engagement with the film. The only flaw in the movie is that the makers should work on the quality of subtitles as it makes the film difficult to follow for those who don’t understand the language. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The 21 film review by UK film critic James Learoyd. Starring Shafik Bastawrous directed by Tod Polson. HOME | FILMS | REVIEWS The 21 Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Dec 10, 2024 Directed by: Tod Polson Written by: Tod Polson Starring: Shafik Bastawrous *A warning to readers that the following review contains discussion of serious subject-matter. The 21 is a new animated short which depicts some viscerally disturbing real-world events. It’s an artistic retelling (and recontextualization) of the execution of 21 men committed by ISIS in a 2015 video. It goes without saying that it’s the most horrific event for a piece of art or media to be based around. On the film’s website, they intelligently talk about how they wished to “highlight[...] the courage and unshakeable faith of the martyred men, proving that gentle faith is stronger than religious fear-mongering.” So, what we get is a piece made to pay tribute to the brave men who were murdered out of hate as a result of their faith. The topics in discussion, whilst unbearably upsetting, are displayed with enough of a cinematic sense of drama, and guidance through the use of narration, that we’re able to stomach the viewing experience. And yet, most importantly, the film still doesn’t shy away from showing genuine human evil in all its ugliness. It’s very powerful work. Starting with the unique look, the film’s animation style is simply spectacular. This piece has been described by its makers as being comprised of “Neo-Coptic Iconography” as a way of paying respect to the Coptic faith, which is a fascinating school of aesthetics to adhere to – particularly in relation to animation. This would suggest that the artists – of which there were many (almost a hundred) involved in this production across multiple countries – wished to adopt a vibrant, expressionistic approach to presenting real-life events; guided, stylistically and dramatically, by the spiritual. To tell this deeply serious narrative, a two-dimensional form of animation is implemented, characterised by block colours, intense imagery, and often abstract storytelling. Audiences will find themselves in awe of the technical prowess on display. Through its textures and crafting of light, one cannot ignore the level of passion and detail being showcased on-screen. In addition to the stunning visuals, other filmic techniques are also used to further immerse viewers in the absolute terror of what’s being depicted in the film. Specifically, sound, colour, and editing were by no means overlooked during the piece’s construction. The manner in which the movie cuts imagery together – considering clearly each shot’s impact, shape, composition and feeling – to then complement or juxtapose one another, is precisely what editing is all about. Many working in the animation industry have stated how one has to effectively edit the picture simultaneously to “shooting” the picture, meaning that no excess of animated imagery would be produced due to rigorous storyboarding. You could view this as a limitation, but in the case of The 21 , it only seems to have enhanced its creative capabilities. To surmise, this is incredibly brave and phenomenally inventive filmmaking. The extensive team of animators, filmmakers and researchers who worked on this piece should be proud of their work. It is to get recognition both as a collaborative piece of visual art and as a social document of sorts. As informative as it is tragic, The 21 is a phenomenal piece of design, and an undeniably admirable tribute. About the Film Critic James Learoyd Short Film, Documentary, Animation < All Reviews Next Film Review >