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System Update film review by UK film critic Jason Knight. Starring James Dyke, Jason Hickel, Laurie Laybourn, Max Wakefield, Farhana Yamin, Kathryn Brown directed by Paul Maple. HOME | FILMS | REVIEWS System Update Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 25, 2025 Directed by: Paul Maple Written by: N/A Starring: James Dyke, Jason Hickel, Laurie Laybourn, Max Wakefield, Farhana Yamin, Kathryn Brown A feature-length documentary about climate change, directed by Paul Maple and presented by Professor James Dyke. This informative film presents a worrying image as to how much human activities have altered the Earth's atmosphere and how things are going to be in the future if no action is taken to put an end to this ongoing occurrence. Through Dyke's presentations, the interviews of several experts on this global issue and archival footage, viewers will understand that the planet had been affected by climate change and global warming at alarming levels. The documentary points out that the use of fossil fuels is a major contributor to climate change and that less use of energy sources such as coal, oil and gas will help stop climate change. It also states that politicians, bankers and industrial leaders are the ones who have the ability to take the most significant actions that will battle changes in the atmosphere. Dramatic footage of wildfires and floods show the devastating effects that emissions have on the planet and people's lives. One of the strongest aspects of this film are the interviewees, who give their time in order to share their knowledge and opinions regarding this worldwide catastrophe. These individuals include Economic Anthropologist Professor Jason Hickel, Climate Policy Researcher Laurie Laybourn, Campaign Director Max Wakefield, International Climate Lawyer Farhana Yamin and Climate Adaptation Expert Kathryn Brown. Having these people, the rest of the interviewees and Earth System Scientist Professor James Dyke expaining the causes and effects of climate change and the impact it will most likely have in the future if it carries on, is an experience that will most likely have a big impact on the viewer and encourage them to seriously consider climate change. The documentary also places great emphasis on the subject of protesting and contains a great deal of footage of crowds protesting against climate change. It is acknowledged that although protests can raise awareness, they are not enough to bring a solution to the problem and it is primarily up to people that hold influential positions to deal with this issue. This documentary raises awareness of climate change, addressing the causes, the effects it has on the environment, the impact it will have in the future if left undealt with and suggests ways that can prevent it. It is well worth one hour of one's time and will hopefully encourage them to do their part in combating this global threat. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Leviathan film review by UK film critic William Hemingway. Starring Lauren Cornelius, Matthew Lloyd Davies, Rafe Bird directed by James Mansell. HOME | FILMS | REVIEWS Leviathan Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 3, 2025 Directed by: James Mansell Written by: Bradley Harper Starring: Lauren Cornelius, Matthew Lloyd Davies, Rafe Bird In Victorian London, another body of a slain girl has landed on the slab of a famous surgeon, who has also enlisted the help of two others to help him get to the bottom of the recent spate of killings in the city. Whitechapel, 1888 – and there’s only one thing on the mind of most Londoners of the time; the frightful, horrifying, and truly macabre Ripper murders. To this day, the sensationalism of these gruesome killings still holds a deep fascination for many, due in no small part to the fact that the murderer was never caught, and that ‘Jack the Ripper’ never faced justice or revealed his identity to the world. There have been many subsequent novels, documentaries, academic treatises, films, plays, and television series which have deigned to put their spin on the whole affair, yet still, no-one has come up with a cast-iron proof of who the killer might have been. Here, in Leviathan , from writer Bradley Harper, and based on his book A Knife In The Fog , we get another look at what may have transpired had three famous faces of the time come together to pool their respective talents. We are introduced, in turn, to Margaret Harkness (Cornelius), a journalist and author who has a special interest in the squalid lives of those living on the streets of the city; Arthur Conan Doyle (Bird), the famous author and creator of Sherlock Holmes, who obviously has a vested interest in deductive reasoning; and Professor Joseph Bell (Lloyd Davies), the renowned Edinburgh surgeon who was the basis and inspiration for Sherlock Holmes, whose eye for detail, impressive logical mind, and meticulous method of working, saw him become a useful consultant for police forces of the time. Down at the local coroner’s court, these three heavyweights get together to pore over the body of a newly slain victim, to see what they can glean from the mode of her demise. Really though, the body takes second place to the exposition of the three main characters, as they stand around the slab and have it out over their own ideas and deductions on the case. The two gentlemen are rather stuck in their old-fashioned Victorian ways, and are of course portrayed as needing the fresh, new perspective and approach offered by the tenacious young woman in their midst. Harkness then bulldozes in and takes control of the proceedings, so that misogynistic prejudices don’t cloud the judgement of the men during the autopsy, and that only proper deductions are reasoned out. Unfortunately, this means that Miss Harkness is portrayed as an irascible, obtuse, antagonistic and aggressive version of some sort of proto-feminist. Everything that comes out of her mouth is full of venom and scorn and she barely says a word that does not demean, diminish or berate the men whom she has been welcomed by to help. For the entire fifteen-minutes of screen-time, she takes the bit between her teeth and casts a shadow of indignance over the whole proceedings. It is very difficult to watch this performance from Lauren Cornelius because it makes her character out to be extremely difficult to like, when not a single word, glance, action or motivation is elicited that does not show a deep-seated hatred for men, outlining her as a ridiculously overplayed stereotype. The story, then, also goes nowhere, as once Miss Harkness has said her piece, the film is over. Leviathan plays as an introductory act, or more specifically a pre-credits sequence to a television series, where the characters are introduced, the motivations are realised, and the notion revealed that the chase is on. Sadly, this is as far as we go, and we have to wonder if Bradley Harper’s book also stops there, or if he actually has a story to tell which will apparently get given to us when the rights are bought and a full series or feature can be developed. Thankfully, the period costume, lighting, photography, and direction are all spot-on, with this one-room chamber piece giving the feel of a dark, dangerous London outside its door. Director, James Mansell, brings everything together expertly and boasts a clarity of vision which emanates Victorian London all over the screen. The titles and credits fill in the gaps we don’t see, floating etchings of street scenes in front of us by candlelight, while Mat Hamilton’s string heavy score drowns us in the misery and darkness surrounding the characters and themes of this tale. As a production, Leviathan is very well handled, and it would stand-up alongside other big budget Victorian London enterprises from the BBC or any streaming service, in the look and feel it provides. With these three characters coming together, Leviathan should genuinely be a great introduction to an enthralling story which could run and run. As it is though, it lands as an average beast, which needs to round out its characters and understand better how they relate to one another, so that the audience is invested in how they work together to chase down one of the most intriguing cases in all of modern history. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

With love from a killer film review by UK film critic Swati Verma. Starring Nishant Kumar, Akansha Kumar, Nitisha Mondol directed by Ashwini Rajan. HOME | FILMS | REVIEWS With love from a killer Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jul 26, 2022 Directed by: Ashwini Rajan Written by: Ashwini Rajan , Rinku Sharma Starring: Nishant Kumar, Akansha Kumar, Nitisha Mondol The writer-director Ashwini Ranjan attempts to showcase how deeply rooted Patriarchy is in the Indian Culture. Ranjan also wants to depict its long-term effect on people and their loved ones through the central character Mayur (Nishant Kumar). The storyline revolves around Mayur a small-town man who now has a white-collar job in the city. He is obsessed with the notion of Patriarchy and therefore can't take orders from females. This has already transformed him into a killer and as the story progresses psychoanalysis of a sick and dark mind is revealed. The short film- With love from a killer opens with a long shot of the city in the evening while the voice-over plays in the background highlighting the typical mindset of a male- dominated society. The title of the cinematic piece appears to be etched on the wall and the searchlight hovers on it. This is done by the filmmaker along with the creative team to give a rough and brutal feel to the psychological thriller. The DOP Jayesh Prakash Sen pans the camera into the warehouse so that the audience feels involved and also gets a chance to explore the character of Mayur further. The messy set design, dim lighting, sound effects, and costume instill the sense of fear and gruesomeness to establish the subject matter of the film. The mid-close shot of the lighted-up brain twirling around used by Sen indicates the complexities of the mind. The makers of the cinematic piece want to keep the suspense intact for the viewers so that they are completely hooked to the content till the very end. Nishant Kumar plays Mayur who believes in the idea of male dominance and so he is unable to accept working women in urban areas ready to take revenge from them. Kumar utilizes swear words, weird laughter, and anger to portray the nuances of the dark side of Mayur. He (Mayur) thinks he is a victim at hands of the financially independent ladies in the city and Kumar justifies the same with his acting skills. Nitisha Mondal is in the role of Poonam/Bulbul who fights for the rights of women as the society is busy favouring the boys instead of protecting the girls. Mondal illustrates both the vulnerable as well as strong sides of Poonam's personality effortlessly. The psychological thriller talks about the theory of every action having an equal and opposite reaction; therefore we need to be very careful regarding our karma in life. The movie teaches its audience that equal treatment of a man and a woman in the community will lead to the well-being of every member in the long run. With love from the killer also discusses the importance of a good upbringing for children to stop the emergence of criminals like Mayur. Many flaws need to be addressed by the director Ashwini Ranjan. The concept of the film is very good but it loses its grip on the viewers at the time of the execution, especially the latter half. In the modern times the film portrays men supporting and glorifying Mayur's act openly is unacceptable to the viewers. The audience could not build an emotional connection to the cinematic piece as it leaves the back story of Mayur with a vague starting point at the beginning of the narrative. Another point is that the film tries to compare Mayur to a lion to justify his actions stating the rule of jungle is the wrong approach. In my opinion, Ashwini Ranjan needed a strong base to make this thriller instantly appeal to the audience presently the viewers tend to become more confused rather than relating to the movie. Ashwini should be unbiased towards both the parties and let the audience decide what they want to conclude and learn from the film. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

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Getting Fat in a Healthy Way film review by UK film critic Joe Beck . Starring Ovanes Torosian, Petyo Cekov, Keti Raykova directed by Kevork Aslanyan. HOME | FILMS | REVIEWS Getting Fat in a Healthy Way Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: May 31, 2022 Directed by: Kevork Aslanyan Written by: Kevork Aslanyan, Georgi Merdzhanov Starring: Ovanes Torosian, Petyo Cekov, Keti Raykova The opening scene of ‘Getting Fat in a Healthy Way’ suggests an offbeat, dark comedy, with a moderately moral storyline. From there it quickly unravels. Not only is the film a mess - plagued with inconsistencies and audio issues - but it contains a morally reprehensible message. Let’s start with the good - the beginning. The serene sound of an upbeat piano tune as stills of summer skies flash in front of our eyes - all seems to be well. Alas no, for a poor family picnic has turned disastrous, gravity has seemingly disappeared and the mother floats away, the son barely escapes with his life. We are led to believe that this really happened despite the fact that it’s a dream by the memorial photos of the mother dotted around the house. It turns out, though I only gathered this from reading the synopsis, that a tragic accident has disturbed gravity on Earth (leaving the moon looking like Pac-man) so that everyone weighing less than 120kg flies up into space. This is detrimental to Constantine (Ovanes Torosian), the boy from earlier, who weighs only 60kg and is, therefore, unable to leave the house. Constantine does as best he can, though electrical mood wings from a household gravitational normaliser don’t help, but all that changes when he sees a beautiful stewardess move in next door (Keti Raykova). On paper, this appears to be a harmless, fluffy film about love breaking down all its barriers, but, is it really love when it’s all so one-sided. Constantine sees this woman one time - she waves, he gets shy and hides - and from there he is infatuated. He dreams of her, maybe even doing something more to the thought of her. But what does she think of him, we don’t know. She isn’t even given a name. She may have a line or two, it’s hard to discern when you’re judgement is based purely on the reading of lips. That’s because when the characters open their mouths no sound comes out - just pure silence. There’s sound the rest of the time though, things cluttering to the ground mainly, and a surprisingly enthralling score. Being a Russian language film this would be permissible if there were subtitles, however, there aren’t any - we’re left feeding on scraps of plot and picking up the vague strands of themes. Furthermore, at one stage Constantine, upon seeing the beautiful unnamed woman, decides to order a mountain of burgers to try and put on the pounds. At a time when 13% of adults in the world are obese, and 39% are overweight, this idea of encouraging binge-eating is disgusting. Sure, it could be argued that eventually he breaks free and gets the girl without gaining the weight, but then, why focus on weight gain in the first place? It could also be argued that this is a film about body positivity - but then why the stigma on people being at a healthy weight. 
There are few redeemable qualities in ‘Getting Fat in a Healthy Way’, none of which make it a worthwhile watch. With incoherent plot lines, major audio issues and a disgustingly exploitative message, this is one of the few films which has gotten me genuinely angry. The title is ‘Getting Fat in a Healthy Way’, but there is surely no way watching this can be at all healthy. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Somnium film review by UK film critic William Curzon. Starring Chloë Levine, Grace Van Dien, Johnathon Schaech, Will Peltz directed by Racheal Cain. HOME | FILMS | REVIEWS Somnium Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 8, 2025 Directed by: Racheal Cain Written by: Racheal Cain Starring: Chloë Levine, Grace Van Dien, Johnathon Schaech, Will Peltz Somnium follows Gemma, an aspiring actress who moves to LA. She gets a job working a night shift at an experimental sleep clinic that promises to make its clients’ dreams come true. The longer Gemma spends there, she realises it is not all what it seems as mysterious events begin to unravel around her. While the premise of the piece feels somewhat formulaic at first, with the Hollywood cautionary tale approach, although, in terms of tone, it feels much more like a psychological science fiction drama than a horror. While its moments of horror are visceral and grotesque, akin to David Cronenberg’s signature style, the focus seems to be primarily on the inner turmoil the protagonist faces throughout. The characterisation can feel sadly restrained at times and reduced to brief flashbacks with a coming-of-age tonal shift, although the ambiguity almost makes it more intriguing to uncover more around Gemma’s past and present ambition. The main standout of the piece is Chloë Levine’s performance as Gemma; she is utterly terrific and elevates a lot of the screenplay due to her commanding screen presence and nuance as the protagonist. The supporting cast, including Grace Van Dien, Johnathon Schaech, and Will Peltz, was also solid; their characters portray helping parts of Gemma’s journey positively and negatively as she navigates fame; however, most of the narrative primarily focuses on Gemma throughout the majority of the runtime. Another major standout of the piece is Racheal Cain’s direction. As a debut feature, the production design and camera work were incredibly impressive, deftly directed by Cain with a keen eye for suspense and horror. Even with the film's budget constraints, the VFX are astounding for a smaller feature with a mix of practical and visual effects; some viewers may find certain imagery thoroughly unsettling due to this. The visual style of the film at times felt neon-drenched with its use of intense saturated colours in the interior scenes within the sleep clinic, with a synth-heavy musical score to accompany the tone stylistically. Scenes set around the sleep clinic tend to be presented within minimal space, almost claustrophobic with its use of tight corners and low-key neon lighting to create greater tension within sequences of terror. While these scenes are remarkable due to their formal prowess, they're sadly underutilised, and some viewers may find this disappointing due to the marketing and premise heavily suggesting scares being the main focus. The tonal balance between psychological drama and horror can feel jarring at times; however, the piece does tend to focus more heavily on the slower characterisation than spectacle. Cain was potentially more interested in utilising horror as a backdrop for a deeper character study. Thematically, the focus is set around the misfortunes of the Hollywood dream as an aspiring actress. There are perhaps allegories to escapism, such as the dream state within the sleep clinic being a coping mechanism for Gemma, to make her dreams real, even with all the pain she’s suffered from within the nightmare and reality. Similar to the way in which Hollywood is presented, where your dreams come true initially, but in reality, that's not always the case. While the pacing may meander at times with a lack of threat consistently looming over Gemma, the final moments of the piece do wrap up her journey in a satisfying manner that makes the slower moments feel earned in the end. Somnium is an impressive debut feature from Racheal Cain with an incredible central performance from Chloë Levine at the centre of it all, that prioritises character focus over spectacle-heavy horror set pieces with a unique plethora of technical standouts. While it may suffer from a couple of pacing issues and perhaps a lack of consistent engagement, Cain takes creative risks in making a slow-burning approach to the narrative structure. The piece undeniably wears its influences on its sleeve while being an original force of nature in genre filmmaking. Somnium will be available on Digital Download from 8th September. About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

Ecstasy film review by UK film critic Joe Beck. Starring Brian Bowell, Nathan Bryon, Holli Dempsey, Laura June Hudson, Hilary Tones directed by Grant Taylor. HOME | FILMS | REVIEWS Ecstasy Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 25, 2023 Directed by: Grant Taylor Written by: Grant Taylor Starring: Brian Bowell, Nathan Bryon, Holli Dempsey, Laura June Hudson, Hilary Tones An eccentric tale of dimly lit car park drugs deals and wild parties, ‘Ecstasy’ packs a whole a lot more heart than your traditional drug-infused picture, and develops into a heart achingly beautiful film not without a few rough edges. Grant Taylor’s ‘Ecstasy’ isn’t your typical drugged up comedy. For a start its two central protagonists are Kristian (Nathan Bryon) and Ian (Brian Bowell), a father and son duo. Secondly, Kristian is a primary teacher (okay, similar to Phil in ‘The Hangover’ trilogy) and Ian is suffering, to a severe extent, from Parkinson’s disease. What at first appears to be a fun, ‘old-people/person’ does crime film in the vein of ‘Going in Style’, instead emerges into a beautiful picture of a man desperate to reclaim a part of his lost youth, but only after the whole business with the drugs has finished, which happens to take up the bulk of the film. Ian arranges the drug deal, unbeknownst to Kristian, who finds himself surprised when they arrive at an abandoned car park, as the time frustratingly shifts from day to night in a jarring plot inconsistency. He finds himself even more surprised when confronted with the dealers, the crazy loud-mouthed Gary (Holli Dempsey) and the geriatric Granny Mo (Laura June Hudson), who are initially funny, but soon become draining, as the poor writing comes to fruition. The writing is too exaggerated, forcing the actors to overact, and resulting in lacklustre performances, particularly that of Bryon, who perhaps could have had a more effective role writing the script himself given his work on the charming ‘Rye Lane’. Though his screenplay may be lacking, Taylor’s direction is impressive, guiding the camera effortlessly and making the most out of a no doubt small production budget to create a film which feels cinematic. Taylor imbues the film with a personal feel that makes up for some its flaws, and carries over some of the rough bumps in the screenplay. Parkinson’s is a disease which we continue to know incredibly little about, and which continues to be incurable. Although awareness of the condition is growing, with the help of figures such as Michael J. Fox, it is nonetheless life-changing for millions, and will continue to cause problems amongst an ageing population. ‘Ecstasy’, with the deeply personal connection that director Grant Taylor has to the disease through his father, who has suffered from it since 1997 and appears in the film, understands how the disease can rob people of the little things that count towards what we consider to be normal everyday life, and how that can amount to an overall detrimental and demotivating impact on not just that persons life, but the life of those around them. On paper a lighthearted drug-fest, ‘Ecstasy’ contradicts its name and offers a painfully beautiful tale of love, family, and the importance of life. Grant Taylor’s direction and the personal touch with which he has created the film with elevate ‘Ecstasy’ past its rough moments, and ensures that by its conclusion you’d be hard pressed to find someone with dry eyes. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Founder Effect film review by UK film critic Joe Beck. Starring Rick Edwards, Greg Sestero, Evan Riley Brown, Lilith Foxx directed by Justin MacGregor. HOME | FILMS | REVIEWS The Founder Effect Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Apr 5, 2024 Directed by: Justin MacGregor Written by: Justin MacGregor Starring: Rick Edwards, Greg Sestero, Evan Riley Brown, Lilith Foxx There are some films that undeniably feel like a knock off from a celebrated and respected director’s body of work. There are countless gangster films which could be said to be reminiscent of Scorsese, while some recent films have been labelled as Spieberg-esque in their stories of young characters on a fantastical adventure. ‘The Founder Effect’ bares all the characteristics of a Clint Eastwood film, right down to the appearance of one of its lead characters, only it feels like a cheap version of Eastwood, lacking the spark, quality and sense of true grit that underpins the films of the legendary star. This is an Eastwood revenge film without the star man. Set in a small American town - with the depressingly obvious name of ‘Hope’, which only works if the film is REALLY good - we follow an ageing man as he tries to find and save his missing grandson from the shadows. It plays much like ‘Mystic River’ lite, with the man, Jack Rooney, who is played by Rick Edwards, already grappling with the loss of his son. His character is compelling enough though only through his broadness - he is the archetypal ageing all-American hero - and due to the genuinely raw performance of Edwards, who makes even the most poorly written scenes somewhat watchable. The film also stars Greg Sestero, who plays Mark in ‘The Room’, as Decklan Bakker, and is directed by Justin MacGregor, who has in recent years directed Tommy Wiseau in the ‘Best F(r)iends’ duology. MacGregor’s directing is a little choppy at times, but forgive the abysmal quality of editing and there’s positives to be taken from it, particularly in regards to the lighting of each scene, which feels delicate and precise. However, as was aforementioned, ’The Founder Effect’ is edited woefully, with quick cuts and montages which take the viewer out of the experience and which are, in all truth, amusingly bad. This, combined with some poor sound mixing and a score which sounds as though it came straight from a hallmark film, makes the film seem lazy and cheap, and detracts from what quality there is in MacGregor’s direction. Furthermore, the script, also written by MacGregor, is poorly written. The framing device of Sestero’s character telling the story of missing persons to promote his book adds nothing to the story either plot wise or emotionally, and feels almost shoe-horned in so to fit Sestero into the film. There are also elements of sci-fi involved in the mystery which confuse the plot for no reason, and take away from the film playing as a straight revenge thriller. Therefore, whilst not a total disaster - Rick Edwards soulful performance and shades of solid directing by Justin MacGregor prevent it from being so - ‘The Founder Effect’ is a cheap version of a film you’ve seen a hundred times before. Deficient in script, story and sci-fi, it’s a film that plays into every trope in the book, yet, somehow, inexplicably, lacks the emotional punch that those moments offer in so many films of a similar nature. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Under the Fig Trees film review by UK film critic Christie Robb. Starring Gaith Mendassi, Fidé Fdhili, Feten Fdhili, Abdelhak Mrabti directed by Erige Sehiri. HOME | FILMS | REVIEWS Under the Fig Trees Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Jan 26, 2024 Directed by: Erige Sehiri Written by: Erige Sehiri, Ghalya Lacroix, Peggy Hamann Starring: Gaith Mendassi, Fidé Fdhili, Feten Fdhili, Abdelhak Mrabti First time feature director Erige Sehiri’s Under the Fig Trees depicts a day in the life of Tunisian agricultural workers harvesting an orchard’s worth of figs on a sunny summer day. The village is almost claustrophobically small. Everyone knows everyone else’s business. Life’s opportunities are limited. Gender roles are rigid. Sehiri’s film unfolds slowly. It feels like we are eavesdropping. The cast of non-professional actors chat, flirt, and bicker among themselves and try to avoid getting in trouble with the boss Gaith (Gaith Mendassi). The progressive Fidé (Fidé Fdhili) has a closer relationship with Gaith than most, but is aware that this is a source of gossip for the other workers. She also knows that he is just as capable of assaulting her in a quiet corner as he is capable of letting her ride shotgun to the job site instead of making her stand in the bed of the truck like the others. Fidé’s younger sister Feten (Feten Fdhili) is delighted to meet up with an ex-boyfriend she’s never completely gotten over. The beautiful Abdou (Abdelhak Mrabti) seems less than thrilled. Another couple struggles to define the terms of their relationship as they simultaneously attempt to hide a stolen bucket of figs. The young speculate joyfully on their futures and love lives while a separate clutch of older women gaze on from the sidelines. Their swollen bodies and melancholy demeanors hint at the unexpected challenges and burdens that the young folks will someday have to navigate themselves. Sehiri’s background in documentary film comes through in lingering shots of the countryside that are reminiscent of the honey-hued oil paintings of agricultural workers from the 19th century. And like those paintings, her movie shows both the hardships and the beauty of working on the land in community. About the Film Critic Christie Robb Digital / DVD Release, World Cinema < All Reviews Next Film Review >

After The Beep film review by UK film critic Patrick Foley. Starring Ryan Nunes directed by Ryan Nunes. HOME | FILMS | REVIEWS After The Beep Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 12, 2023 Directed by: Ryan Nunes Written by: Ryan Nunes Starring: Ryan Nunes As someone who feels awkward even just ordering a chippy over the phone, Ryan Nunes’ After the Beep gave me second-hand anxiety galore. This bite-sized, straightforward-yet-layered short film is a brilliant expression of anxiety and unrequited familial love. Jake (Ryan Nunes) sits alone at his kitchen table sometime during Christmastime, fretting over calling his estranged father to wish him well during the holidays. Over numerous aborted attempts at leaving a message on his answering machine, the viewer comes to learn of revelations about the pair’s relationship, including deep-seated resentment on Jake’s part for his father’s abandonment and his father’s current life with a new family which Jake feels no part of. But other messages make clear Jake’s resilient love for his dad. After a series of practices, Jake decides a direct call might be a better way to convey his complex feelings. Running just under 4 minutes, After the Beep is short even by short film standards. Yet the format it uses to tell its story and build its 2 characters (one of whom is never seen nor heard from) is ingenious in its simplicity. Jake’s quickfire messages of varying tone and content manage to detail an entire family history between himself and his father and build both men as complex, troubled characters who remain relatable to the audience. Jake’s anxiety and leftover trauma from abandonment weave in and out with a bold and diplomatic desire to build a relationship built on mutual respect with his dad in adulthood. His tone on the one-sided calls – ranging from meekly hoping for a response to aggressively lambasting his dad demonstrate the instability and illogical way human emotions work when family and those we love are involved. It’s a genuinely impressive and novel expression from director and star Nunes. Nunes’ performance itself is impressive in its baseline – understated but with hints of Jake’s volatile emotional state bubbling under the surface. The mood shift between the calls is intentionally jarring and shocking, to the point that it may actually create a more psychotic tone than the director intended. However as it becomes clearer that the film’s timeframe is flexible, audiences will switch to becoming empathetic to Jake’s emotional highs and lows. There are occasional moments where the dialogue utilises minor cliched phrases which impact a little on the authenticity of Nunes’ otherwise visceral and natural performance, but these are few and far between and are generally a jumping-off point for their scene. The framing of scenes supplements the storytelling impressively and demonstrates Nunes’ skills as a director as well as actor. Beginning with Jake positioned off-centre, before he readjusts and is framed centrally as the content of his calls heats up is an impactful choice demonstrating his growing commitment, confidence and intensity in confronting his father. Primarily shot in black and white as an obvious metaphor for coldness and isolation, the vibrant injection of bright, radiant colours at the film’s conclusion demonstrates the uncontrollable, overpowering warmth Jake feels as he calls his father – brilliantly followed by a subtle but noticeable tinting of the colours as he regains some emotional control right before the film ends. The film doesn’t really demonstrate the film’s key holiday setting other than in dialogue – perhaps intentionally to establish Jake’s isolation given the film takes place entirely in his apartment. But it does feel like an opportunity was missed to visually signify this key detail – even in a more creative way than by showing a Christmas tree. Straightforward-yet-brilliant, After the Beep shows how simple injecting emotion and building characters can be. And given its rapid runtime, it deserves as many viewings as anxiety-triggering abandoned calls. About the Film Critic Patrick Foley Short Film, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

A Complete Unknown film review by UK film critic George Wolf. Starring Timothée Chalamet, Elle Fanning, Monica Barbaro directed by James Mangold. HOME | FILMS | REVIEWS A Complete Unknown Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Dec 23, 2024 Directed by: James Mangold Written by: James Mangold, Jay Cocks, Elijah Wald Starring: Timothée Chalamet, Elle Fanning, Monica Barbaro James Mangold’s Walk the Line wasn’t a bad movie. But that 2005 Johnny Cash biopic – along with Taylor Hackford’s Ray from one year earlier – relied so heavily on convention that Jake Kasdan’s 2007 comedy Walk Hard found easy marks for spoofing. A Complete Unknown has Mangold’s biopic sights set on Bob Dylan, where a tighter historical focus helps him craft a more memorable film. Instead of attempting a complete life arc, Mangold and co-writers Jay Cocks and Elijah Wald wisely choose a four year whirlwind that changed the course of music and culture. Opening in 1961 as a 19 year-old Bob Dylan (Timothée Chalamet) travels from Minnesota to visit an ailing Woody Guthrie (Scoot McNairy) in a New York hospital, the film follows Dylan’s legendary rise to savior of the folk music scene, through his defiant choice to turn Judas and “go electric” at the 1965 Newport Folk Festival. Dylan became a pop culture enigma long ago, fueled by his obvious delight in tall tales, an antagonistic stage presence and prickly interactions with the press. He’s cared little for letting us know him, leaving the more avant grade approaches to telling his story (especially Todd Haynes’s I’m Not There ) as the most compelling. It’s hard to imagine a mainstream treatment working better than this one. And it’s one propelled by an absolutely transformative performance from Chalamet. His success at emulating both Dylan’s voice and guitar style is beyond impressive, as is his ease at moving the iconic persona from an ambitious Greenwich Village newbie to the cynical voice of a generation feeling “pulverized by fame.” And maybe most importantly, he crafts Dylan as a soul bursting with song ideas 24/7. This not only provides an important layer for his sometimes cold social behaviors, but it gives the birth of classic compositions a much more organic, believable feel than the revisionist pandering of biopic films looking to simply pad a soundtrack (cough, cough, Bohemian Rhapsody .) The supporting ensemble provides terrific backup, especially Edward Norton’s turn as folk hero Pete Seeger. A committed pacifist, Seeger serves as gentle mentor to Dylan early on, then nervously tries to navigate the young man’s ascension once it’s clear that his talent is too great to contain. That early take-and-give is a subtle step toward the intimate triangle that anchors the film: Dylan’s relationships with girlfriend Sylvie Russo (Elle Fanning, perfectly supportive, naive and wounded) and singer/activist Joan Baez (Monica Barbaro, impressively handling her own assignment of embodying a legend). The film doesn’t shy away from the self-centered way Dylan hedged his bets at both women’s expense. And though it’s clear Dylan was following his artistic voice above all, you never get the sense he’s being entirely forgiven, either. That’s refreshing, especially since Dylan himself was reportedly involved enough in production to provide some dialog and request the “Sylvia Russo” name change from the real-life Suze Rotolo. He also apparently gave his blessing to a major anachronism in the storyline that will seem egregious to longtime fans but ultimately adds dramatic weight to the final fiasco at Newport. (The ill-advised addition of Chalamet’s face into some real archival footage, though, is a curious misstep.) For all its many strengths, maybe the most impressive aspect of the film is the way it uses that implied mystery of the title to its advantage. Eschewing the standard biography, this time Mangold paints us the time, the place, and a movement that’s content to tread water, then adds the mystery tramp seemingly sent from outer space as a necessary chaos agent. As I write this review I’m listening to one of the 16 Dylan albums sitting in my playlist. Major fan here, and the closer I got to seeing this film, the more cautiously optimistic I felt. More than happy to report it exceeds expectations. A Complete Unknown is an intoxicating, engrossing mix, and one of the best films of the year. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

It Lives Somewhere film review by UK film critic Amber Jackson. Starring Nikki Hellens, Edward Harrison, Daniel Mullan directed by Lee D. Barnes. HOME | FILMS | REVIEWS It Lives Somewhere Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Apr 15, 2022 Directed by: Lee D. Barnes Written by: Lee D. Barnes Starring: Nikki Hellens, Edward Harrison, Daniel Mullan “I forgot how to be strong” It Lives Somewhere is a raw and emotionally charged film about what happens when an individual is given permission to explore their inner demons. Written and directed by Lee D. Barnes, this short film showcases the effects of grief and poor mental health and an attempt to improve self-worth. Situated at the film’s centre is protagonist Nancy, a woman who is plagued by her past. Sat in a hypno-therapy situation, her therapist wishes her to descend into her inner mindset and confront what lurks within it. He refers to this as her ‘self-designed darkness’ and the viewer soon gets to uncover exactly what he means, as Nancy is thrust into a surreal landscape which makes her equally fearful and vulnerable. Those she meets on her journey are the most unlikely of characters that she simply has to acknowledge in order to succeed in her therapy session. Merely guided by the voice of her therapist, Nancy must make split-second decisions that will inevitably impact the rest of her journey. Her stress is heightened and the directions she takes makes for compelling viewing. Clearly steady camera shots are filmed well to convey Nancy’s turmoil, which then become increasingly more distorted with her confusion. These surreal and dream-like moments represent Nancy seeking to connect with her childhood self and reconcile traumatic and sad events that occurred when she was young. The film weaves flashbacks into these emotive scenes which contain real insight into negative and intrusive thoughts that Nancy experienced whilst growing up. This conveys the deeper meaning of the film, where a childlike version of the protagonist is trapped within herself and she must confront the dark thoughts within herself in order to escape. Ultimately, It Lives Somewhere captures the challenging effects of grief and struggling with complex emotions as a young person. Barnes has successfully expressed how difficult adults can find wrestling with these childhood memories and lays emphasis on the importance of self-compassion. This in turn leads to a type of acceptance and an acknowledgement of healing that is very well-contained in the short. It is a multi-layered and insightful film that is worth watching. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >