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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 >

Behemoth film review by UK film critic Brandon Thomas. Starring Josh Eisenberg, PaulStatman directed by Peter Szewczyk. HOME | FILMS | REVIEWS Behemoth Film Review average rating is 2 out of 5 Critic: Brandon Thomas | Posted on: Aug 27, 2021 Directed by: Peter Szewczyk Written by: Derrick Ligas, Peter Szewczyk Starring: Josh Eisenberg, PaulStatman The intersection of corporate greed and evil incarnate feels like a match made in cinematic heaven (I know, I know). While the idea itself is teeming with possibilities, the execution in director Peter Szewcyck’s Behemoth leaves a lot to be desired. Joshua Riverton (Josh Eisenberg) was once a top sales rep for a massive chemical company. When his daughter became mysteriously ill, Joshua believed his employer to be responsible and became an outspoken whistleblower. As his daughter gets sicker, Joshua’s need for answers intensifies into obsession. After a chaotic altercation with his former employer, Dr. Luis Woeland (Paul Statman), an injured Joshua is forced to hide out in a seedy motel with two friends and a captive Woeland. As the night progresses, Joshua begins to lose his grip on reality and question whether his horrific visions are in his head or caused by the malevolent Woeland. First thing’s first: Behemoth is a mess. Szewcyck and co-writer Derrick Ligas’s script erratically bounces back and forth between corporate thriller and demonic sfx extravaganza at a moment’s notice. The problem is that the movie doesn’t do either sub-genre very well. The thriller side is preachy in a “college freshman discovering politics for the first time” kind of way, but lacks subtext surrounding corporate America. The horror elements aren’t any stronger. There’s a notable attempt to create interesting creatures throughout the film, but the dodgy effects work does more harm than good. The creatures have interesting designs and might have worked if made practically, but as they are, these digital counterparts look silly and don’t fit within the film’s more serious tone. As flimsy as the material itself is, the acting isn’t any better. The majority of the cast delivers the script’s clumsy dialogue with a mix of histrionics and forced exasperation. Chemistry is wholly absent between the main trio. Only Statman knows how to handle the material he’s working with. He walks an impressive line between corporate sleaze and evil minion with grace. Behemoth makes a noble attempt at infusing a standard-ish creature feature with timely real-world issues. However, the weak script and subpar acting never allow the film to live up to its aspirations. About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

My Week with Maisy film review by UK film critic Joe Beck. Starring Joanna Lumley, Ellie-Mae Siame, MyAnna Buring directed by Mika Simmons. HOME | FILMS | REVIEWS My Week with Maisy Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Nov 18, 2024 Directed by: Mika Simmons Written by: Mike Oxtoby Starring: Joanna Lumley, Ellie-Mae Siame, MyAnna Buring There are certain subject matters that when portrayed in film are bound to get the tears rolling. Of course it’s different for different people, some people will remain stone faced by the end of ‘Titanic’, whilst others will be flooded with tears. The same people may be moved by ‘Schindler’s List’ or more recently ‘Aftersun’, whilst others will remain cold. What moves us to tears is affected by our own personal experience and the way in which we interpret the film and connect to it’s characters. ‘My Week with Maisy’ is a film designed to be a tearjerker, and such is the strength of its characters, that for many people it will be. The film depicts the unconventional relationship between the titular Maisy, played by Ellie-Mae Siame, and Mrs. Foster, played by Joanna Lumley. The two are a strange pairing, given the large age divide between them - Maisy being a young girl and Mrs. Foster being an older, uptight woman - yet the bond they form across their week together is beautiful and feels genuine. Mrs. Foster begins the film wrapped up in herself and set in her ways. She disapproves of her son’s secret gay relationship - and refers to him as ‘one of those’, even taking her prejudice to the nurse, played by MyAnna Buring. When Maisy first enters the fray Mrs. Foster maintains her coldness despite Maisy’s bubbly kindness and straightforwardness. However, as the days wear on and the chemotherapy progresses, Mrs. Foster finds herself softening and warming to Maisy. The two speak French, discuss their treatments and their lives, Mrs. Foster’s past and Maisy’s aspirations to become a lesbian. Maisy transforms Mrs. Foster out of her sheer purity and innocence, and in doing so the pair form a friendship more meaningful than any ordinary friendship could be. It goes without saying that Joanna Lumley is absolutely fabulous as Mrs. Foster. She plays the straight role perfectly, and delivers each line with wit, humour and no small amount of heart. She thrives in the emotionally charged scenes, and by the end of the film brings the audience onto her side so that we are feeling every emotion she feels. As great as Lumley is, however, the real standout is Ellie-Mae Siame, who delivers an exceptional performance as the young Maisy, and is a real star in the making. She immediately endearing herself to the audience with her bubbly personality and humour. She matches Lumley perfectly in the lighter, comedic moments, but delivers all her lines with a knowing sense of weariness so that you truly believe that this poor little girl is suffering from cancer. Mark Oxtoby’s script is a perfect exercise in balancing comedy with serious drama, and manages to make the film feel both light and heavy without any tonal inconsistencies at any point. This is further helped by Mika Simmons’ directing, which is competent throughout and truly immerses you in the story. ‘My Week with Maisy’ is a staggeringly beautiful film, with extraordinary performances and a great deal of charm. It’s a film that sticks with you long after the tears have stopped falling. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

An Office Carol film review by UK film critic Swati Verma. Starring Ashley Stinnett, James Holley, Tyler Caplinger directed by Kevin Adkins. HOME | FILMS | REVIEWS An Office Carol Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jul 21, 2022 Directed by: Kevin Adkins Written by: Clayton Potter, Tyler Caplinger Starring: Ashley Stinnett, James Holley, Tyler Caplinger The short film- An office carol celebrates the Christmas festivities but with a slight twist which proves to be beneficial for the protagonist Eric Stephens (Ashley Stinnett). Director Kevin Adkins along with the writers Clayton Potter and Tyler Caplinger attempts to wrap important life lessons with the element of comedy so that the audience does not miss out on the entertainment and thus increase the degree of engagement with the content. The plot of the cinematic piece revolves around an executive visiting the branch office on the day of the Christmas party for an evaluation. He encounters the ghosts of the past, present, and future. They convince him that maybe there is more to Christmas than he thought. The Christmas decoration along with the music in the background and the photographs gives an insight into the making of the film so that the viewers get excited about what the makers have promised to deliver to them. The camera pans slowly into the high-rise buildings and has connotations that even the beautiful city of West Virginia wants to calm down and enjoy the festival. The loud commentary on the Radio in the car builds a contrast between the happy vibes and the monotonous and workaholic nature of Eric Stephens. The mid and close-up shots of the conversations between characters help the viewers understand and incorporate the key message of the movie into their lives and learn from it. The office carol manages to balance the Christmas colour palette as well as the pastel colours and lighting to bring out the essence of the subject matter of the creative piece. The office set-up is intelligently utilized to intensify the drama as the narrative moves closer to its climax. In terms of performance, Ashley Stinnett plays Eric Stephens who only cares about work and money. Stinnett perfectly conveys this rigid and dull lifestyle through dialogues, voice modulations, the body language, and facial expressions. The actor uses anger to justify the rules Stephens has made in his head in regards to an office. James Holley plays the role of Clark Fredrick who is head of the branch Eric Stephens visits for work purposes. He gives the central character advice and also adds some comic moments so that the audience remains emotionally invested in the story. Holley uses the Christmas cap, alcohol, and family ties to add layers to the character of Clark Fredrick. The short film-An Office Carol states the importance of working hard but also tells the audience about how crucial it is to have fun too. There should be a healthy mix of professional as well as personal life. This office drama reiterates the fact that working all the time will make people lonely and boring similar to a machine. The cinematic piece educates the viewers regarding the necessity of taking decisions which are required to be taken as it contributes to the success stories of the firm but it is vital to care for the human resource working for the company too. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Snorkeling film review by UK film critic William Hemingway. Starring Daniel Zolghadri, Kristine Froseth, Tim Johnson Jr. directed by Emil Nava. HOME | FILMS | REVIEWS Snorkeling Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 27, 2025 Directed by: Emil Nava Written by: Jack Follman Starring: Daniel Zolghadri, Kristine Froseth, Tim Johnson Jr. A seventeen-year-old boy and his friends get caught up with a new drug on the scene, which offers an escape from the crushing hopelessness they feel in the real world through hallucinations and out of body experiences. Within the last year there has been an explosion of a new drug into the communities of North America – Nitroxin. Troxy – to give it its street name – is administered from a small canister attached to a pipe and a mask, which is then placed over the junkie’s face and breathed in through a process called Snorkeling . Once snorkeled, the user then drifts out of consciousness, usually into an inanimate stupor, while their mind travels freely around traversing their inside thoughts without question or worry. There are plenty of trippy visuals to accompany the high of Troxy, usually with environment bending results, as well as a tendency to imagine beings or other creatures that aren’t really there. Michael (Zolghadri) and his pal Brice (Johnson) are already pot-heads, enjoying a series of spliffs throughout their day as they navigate high school and the surrounding environment. Jameson (Froseth) is Michael’s crush, and a dope-fiend too, so when she plays the part of Eve in the Garden of Eden and offers Michael a taste of the forbidden fruit, he all too willingly takes it from her and blasts his brains out with a shot of Troxy to expand his consciousness. Soon, the teenagers are getting high on a regular basis and tripping their little minds out together while they try to come to terms with this thing called life. For seventy-odd minutes we watch the kids languishing in their comfortable middle-class lives, and listen to them wax lyrical about the state of their mental health due to the problems of the world. All of this seems to be done unironically, without any question of these privileged, well-off, self-entitled whiners actually knowing anything of the difficulty and hardship outside of their suburban bubbles. Director, Emil Nava presents these soundbites and portraits to us as a series of talking heads, where the children talk straight to the camera and answer questions from an unknown interviewer, as well as a more conventional narrative where we follow them around in their daily lives. Together these sequences take up around two-thirds of the narrative, with the rest given over to the psychedelic hallucinations experienced by one or more of the main characters. This breaking up of the narrative also means that the film is broken up into sections or sequences which we follow for a short time before moving onto another. This gives Snorkeling the feeling of it being more of an extended music video than of an actual feature, especially as the narratively driven dialogue is kept to a severe minimum, and the rest of the talking merely provides context. This will come as no surprise to those who know Nava as a music video director, and here he plays to his strengths in providing striking visuals, even though there’s not much story to go along with them. For the entire runtime we’re following the kids in corridors, into parks, out into nature, and around their lavish homes, as they talk about their difficulties with living in this world, telling themselves that they must be depressed, most likely because social media made them believe it is so. For that, the theme of Snorkeling becomes not so much that the kids are escaping into a drug fuelled haze, but more that they all believe their lives to be so messed up and that they are all so depressed. There is not a strong message on whether the drug-taking is truly bad or not, with everyone enjoying their little sojourns into another world, explaining to the camera how the drug helps them with their thoughts and their fears, right up until the very end where the spectre of overdose finally rears its ugly head. With Nava’s expertise, the visuals look truly stunning at times in Snorkeling , with the hallucinatory sequences drifting between oversaturated filters, CGI effects and good, old-fashioned animation. Everything is accompanied by an intense and strongly moulded soundtrack which follows the characters on their mind-bending journeys, enhancing the feel of a music video, as what should be narrative structure is played out in the background as the main characters float through the scenes. This sort of visual expression definitely works best in the short form, and when there’s a definite narrative coming from the lyrics, but when used to create a full-feature the storytelling limitations of the device really do come through. While Snorkeling is a real visual and auditory experience, taking the viewer on a trip that’s over an hour long, that’s really all there is. The story is not generally a story at all, and the characters are only caught together in a thematic device which they experience but don’t necessarily explore. There’s not enough there to justify the feature length runtime, as mainly all we do is follow the kids around with a soundtrack playing behind them as they try to get high. Still, the arthouse feel of the film might be enough for some, and for those who are happy to have an audio-visual feast without needing to work too hard on the narrative side of things, Snorkeling might be just the pill you need to escape from the world for seventy-odd minutes. About the Film Critic William Hemingway Digital / DVD Release, 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 >

HAnnimal Lector film review by UK film critic William Hemingway. Starring Jorge Villacorta directed by Jorge Luis Villacorta Santamato. HOME | FILMS | REVIEWS HAnnimal Lector Film Review average rating is 1 out of 5 Critic: William Hemingway | Posted on: Dec 11, 2022 Directed by: Jorge Luis Villacorta Santamato Written by: Jorge Luis Villacorta Santamato Starring: Jorge Villacorta A man walks into a room. He's wearing a suit and tie and a wool overcoat. He walks over to a stool in the middle of the frame and sits down on it. In front of the stool is a small desk or a plinth covered in a grey, woollen cloth upon which is situated a giant tome of a book – it must be at least a thousand pages long. The man undoes the buttons on his coat and settles himself down. He opens the book and finds a page somewhere near the beginning, probably about fifty or so pages in. He takes a minute to find the best 'thinker' pose that his ego will allow him to present and apparently begins reading. The wall behind him is bare and white and there is a light switch over on the left hand side. There is the noise of passing traffic and the chirping of birds from outside but the man says nothing. The man thinks he's smart. He's not. He just thinks he is. After ten minutes the scene cuts and the stool is empty again. Immediately the man re-enters the frame and sits down to once more begin reading. He doesn't need to open his coat this time – he's already done that. After apparently reading for a short while he nonchalantly flicks back through a few pages until he again settles on a page to go on with. Twenty minutes in and the scene cuts back to an empty stool. The man immediately re-enters the frame, sits down, and apparently begins reading again. After another couple of minutes he casually flips back a few pages and continues. Sometimes he leans on his elbow, sometimes he puts both hands on the plinth and looks like he's ready to deliver a sermon. At distant points a motorcycle and a plane pass by outside. After thirty minutes the scene cuts to an empty stool.... …. and you get the idea. Jorge Villacorta doesn't seem to though, as he drags this utter drudgery out for another twenty minutes, expecting us to marvel at the audacity and cleverness of his turgid little film. At certain points you can distinctly see how pleased Jorge is with himself as wry smirks ripple across his face and he alternately raises what he wrongly believes to be an enigmatic eyebrow or two. After fifty minutes are up Jorge re-enters the frame, from a different angle this time, quickly flicks back another few pages and then promptly leaves. The End. Writer, director, producer, cinematographer, editor, musician, talent co-ordinator, costumier, hair and make-up department head, concept artist, art director, special effects artist, visual effects lead, stunt co-ordinator and stunt performer, location manager and transportation captain, Jorge Luis Villacorta Santamato wants to tell you that his film (and by actually crediting himself with all of these titles it is very much His film) is a crime, fantasy, horror, mystery. It's not. If you're interested you can link from the film's IMDb page to Jorge's own review of his own film where he argues his case in suitably confounding language that it's all about objectivism and abstraction. Well, d'uh! In his own review of his own film Jorge talks about the 'much lesser people' (in relation to capitalist society) while at the same time using words like 'peer', 'blessed' and 'accomplished scholar' to describe himself. He states that calling his film 'a movie about cannibalism is logical' and even proudly calls it an 'extremely perverse Peruvian snuff feature' where perverse is the only word which accurately describes anything which is going on, though probably not in the way Jorge thinks. Jorge would probably say that I don't understand his film, or that I haven't taken the time to properly investigate what he is trying to say – and he would be right – I don't, I haven't. I don't care to. His film is literally just him in a bare room sitting down pretending to read a book for fifty minutes in a static frame. It's junk. I'm all for film being art but this is neither; it's just an extended navel gazing exercise which goes nowhere. I've watched fifty minutes of this stuff so that you don't have to – so please don't – objectively. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Abandon Fear film review by UK film critic Swati Verma. Starring Matthew Spurgeon, Fraser Provan directed by Craig Foggo. HOME | FILMS | REVIEWS Abandon Fear Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 17, 2023 Directed by: Craig Foggo Written by: Craig Foggo Starring: Matthew Spurgeon, Fraser Provan The writer-director Craig Foggo introduces the audience to his creative imagination where Earth’s civilization is all set to collapse and the two protagonists Janice (Matthew Spurgeon) and Jackie(Fraser Provan) try to combat various issues with their survival skills. The plot of the short film-Abandon Fear revolves around a great war and what the world has turned into. In this new world, there is a hooded character who likes to test for fear to survive. He goes by the name of Janice with his companion Jackie and the group. He will only test those who pick up his gas mask. Abandon Fear follows a nonlinear narrative to build up the tension, mystery, thrill, and suspense that assists the filmmaker to hook the viewers with the content of the movie. The dramatic piece opens with a radio message followed by the long shot of the two people talking and the desaturated colour pallet establishes what the film deals with. The set design, lighting, dialogues, costume, hair and makeup, and props compliment the subject matter and elevate the sense of responsibility towards our loved ones and our motherland. The darkness, grey quiet environment symbolises the hardships experienced by the soldiers utilised by the cinematographer Connor Beggs to add realism to the storyline and therefore make it relatable for the audience. In terms of performance, Matthew Spurgeon plays Janice and proves to be an asset to his team and the group he leads. Spurgeon understands the nuances of his character. The love respect and dedication towards his duties are visible in his body language, voice modulation, and conversations. Fraser Provan plays the role of Jackie a true friend to Janice who helps to work efficiently on his goal of abandoning fear. Provan with his comic timing ensures that the viewers don’t lose interest in such an intense topic. The actor beautifully executes all the punch lines with the help of eyes and facial expressions. Abandon Fear stands true to the theory of the survival of the fittest. The short film talks about the need of being fearless if one wants to fight as well as survive through difficult times. The cinematic piece reiterates the importance of staying together and protecting each other every time any emergency arises. The movie tells us that life also puts those people to varied tests who can emerge victorious and be ready for the next challenge. The creative piece discusses how crucial it becomes to defend the place one lives in searching for peace and normalcy in the hope of a better future for everyone. Abandon Fear highlights what affect a war circumstance can have on the children who are forced to live in it for the long term. I want to appreciate Craig Foggo and his team who delivers a key message that life can be unpredictable and we shouldn’t take anything for granted and be grateful to god as well as be prepared at all times. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >