Coney Island Cousins film review by UK film critic Jason Knight. Starring Diana Sillaots, Upa InSpace, Janice Messitte, Rashad Bashir directed by Al Padilla. HOME | FILMS | REVIEWS Coney Island Cousins Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 22, 2024 Directed by: Al Padilla Written by: Al Padilla Starring: Diana Sillaots, Upa InSpace, Janice Messitte, Rashad Bashir Two cousins go through an unforgettable night in New York City. After a long separation, Russian nurse Valeriya (Sillaots) is visiting her cousin Yulia (InSpace), who lives in Coney Island, New York. They soon find themselves in the apartment of Max (Gregory Korostishevsky), a wealthy friend of Yulia's. After a socialising accompanied by drugs and alcohol, Max ends up dead on his bed. The two cousins discover a laptop with details regarding his finances and decide to utilise his fortune to benefit themselves. However, things do not unfold as they plan. With a narrative that takes place over the course of one night, this crime comedy feature has quite a plot: a rich guy passing away suddenly and two women attempting to take advantage of his fortune. Yet, the seriousness of this situation is overshadowed by the two cousins pretty much ignoring the deceased and instead talking about their lives and what they will buy with his money. Simultaneously, they relax in the apartment, they go for a walk, grab a bite to eat and invite Lucious (Bashir), a friend of Yulia's, to the apartment so he can give them drugs and the three of them enjoy themselves. Things get further complicated with the arrival of Marleen (Messitte), Max's mistress, and the action moves to other locations such as a bar where a comedy festival is taking place and a character ends up running through the streets of New York at night. There is plenty of dark humour and awkward situations and also drama, which is primarily originated through Valeriya. Things are not going well between her and her partner, who repeatedly tries to phone her throughout the film. She is at a stage in her life where she appears to have lost her way. Apart from the dead body, the relationship between Valeriya and Yulia is a main aspect of the story. Two estranged relatives meeting again and trying to rekindle their relationship. Valeriya is unhappy with her life, while Yulia is pursuing her acting ambitions. The two of them have fun together, they argue, however it is Valeriya's personal problems that are the main subject between them. Looking at the performances now, Sillaots and InSpace are the ones who primarily provide the drama (both are also entertaining) and it is Messitte and Bashir that create the most amusing characters, thanks to their dynamic and occasionally over-the-top acting. On the surface, this feature is a dark comedy about two women stealing a dead man's money. However, there is much more to it than that. It is a story about a reunion that ends up being life-changing. It explores support and self-discovery and it also touches on cybercrime. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Spin the Wheel film review by UK film critic Jason Knight. Starring Dianne Wulf, Neil Chase, S-Raj Kumar, Lindsay Christopher, Tyler Duffy directed by Neil Chase, David Heacock. HOME | FILMS | REVIEWS Spin the Wheel Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 9, 2023 Directed by: Neil Chase, David Heacock Written by: Neil Chase Starring: Dianne Wulf, Neil Chase, S-Raj Kumar, Lindsay Christopher, Tyler Duffy The world is coming to an end and a group of people are playing Russian roulette inside a dive bar. Outrageous acts of violence are taking place around the world, killing people and destroying everything. Office worker Eve (Wulf) leaves her workplace and casually walks to a bar, while around her chaos is spreading. She arrives at the bar, where there are a few other people. Shortly after, an unusual man (Chase) arrives and announces that he is the Devil himself and invites all the people in the bar to play Russian roulette with him for a chance to save the world. This feature begins as an apocalyptic drama and turns towards supernatural horror. The story begins quite impressively, introducing the disaster that is taking over the world, with a city on fire and Eve walking past people rioting, assaulting and vandalising. The film loses its grip while it introduces the characters and it is when Chase's characters informs everyone that he is Satan that things become exciting again. Although the center of the movie is the Devil playing Russian roulette with a bunch of people trapped in a bar while the world is falling apart, the majority of the screenplay involves confrontations between characters and individuals expressing themselves and dealing with their inner struggles. The people in the bar are strangers between them and they include a banker, a lorry driver and a porn star and Satan and his deadly game are pushed into the background as his victims interact between them, arguing and trying to comfort each other. Duffy's character Earl in particular, gets a lot of attention and kind of becomes an antagonist as he reveals himself to be a wicked person. Naturally, since Russian roulette is heavily involved, there is a great deal of people nervously pointing a revolver to their head and pulling the trigger and there is also murder, dark humour, a lot of alcohol consumption (it is a bar after all) and quite a bit of drama as characters attempt to come to terms with their lives and survive their current situation. Generally, the characters are interesting, with Wulf being the main lead, a quiet and reserved woman with a tragic past. Huereka Aragon is emotional as a person who is struggling with their sexual identity and Kumar stands out as a guy with a bandana and a cool beard. However, the one who stands out the most is the one who claims to be the Devil and Chase portrays him as a cool guy who enjoys playing cat-and-mouse. The cinematography by Heacock and Martin Truscott creates a kind of downbeat atmosphere and the creative editing by Heacock and Chase makes good use of wipe and dissolve techniques and includes a well-constructed montage. The soundtrack contains dramatic and sinister music and a rich collection of songs. This feature has quite an intriguing plot that addresses humanity's biggest errors such as war and it explores themes such as loss, regrets, sexual identity and redemption. Sometimes the pace is a bit slow, however the well-written dialogue, interesting characters, suspense and nail-biting moments make this a viewing worth experiencing. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Air film review by UK film critic George Wolf. Starring Matt Damon, Viola Davis, Ben Affleck, Jason Bateman directed by Ben Affleck. HOME | FILMS | REVIEWS Air Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Apr 4, 2023 Directed by: Ben Affleck Written by: Alex Convey Starring: Matt Damon, Viola Davis, Ben Affleck, Jason Bateman 1984. It was the best of times for Converse and Adidas, as they dominated the market share for basketball shoes. But for Nike’s basketball division, it was the worst of times that threatened to shut them down completely. That all changed, of course, when Nike brought Michael Jordan into the fold, and Air deconstructs that watershed moment with an endlessly compelling vitality. If you still need proof that Ben Affleck is a damn fine director, you’ll find it, right down to how he frames the multiple telephone conversations. But the real surprise here is the script. In a truly sparkling debut, writer Alex Convery brings history to life with an assured commitment to character. Taking his inspiration from the ESPN documentary Sole Man , Convery invites us into the sneaker wars via Sonny Vaccaro (Matt Damon), the legendary shoe rep and “Mr Miyagi” of amateur b-ball. Convinced the only way to save Nike basketball was to tailor everything around Jordan, Sonny began relentlessly lobbying Nike CEO Phil Knight (Affleck), executive Howard White (Chris Tucker) and marketing director Rob Strasser (Jason Bateman). And when Jordan’s agent David Falk (Chris Messina) tells Sonny it’s a lost cause, he brazenly heads to North Carolina for a face-to-face meeting with M.J.’s mother (Viola Davis) and father (Julius Tennon). Davis was reportedly Michael’s personal choice, proving the man knows more than basketball. She’s as masterful as you’d expect, becoming the linchpin in a sterling ensemble that delivers Convery’s nimble dialog with consistent authenticity and wit. And much like his success with the Oscar-winning Argo , Affleck proves adept at a pace and structure that wrings tension from an outcome we already know. In fact, he goes one better this time, inserting archival footage that actually reminds us of how this all turned out, before leaving Mrs. Jordan’s final ultimatum hanging in the air like a levitating slam from Michael. And as for the man himself, the film wisely treats him “like the shark in Jaws ,” with rare glimpses that only reinforce the elusive nature of the game-changing prize this Nike team is out to land. The film’s closing summary may flirt with hagiography, and some of the soundtrack hits do feel a bit forced, but Air finds a crowd-pleasing new groove inside a classic album. It’s the thrilling sports movie we didn’t know we needed, and a part of the Jordan legacy that instantly feels indispensable. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Little Games film review by UK film critic Jason Knight. Starring Hannah Arterton, Vita Bennett, Samantha Coughlan, Michael Matus directed by Stefane Houssier. HOME | FILMS | REVIEWS Little Games Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 4, 2023 Directed by: Stefane Houssier Written by: Stefane Houssier, Nicholas Penrake, Jane McLaughlin Starring: Hannah Arterton, Vita Bennett, Samantha Coughlan, Michael Matus A little girl reveals her sinister plan to a stranger who tries to prevent it. In an attempt to get away from an abusive relationship, Natasha (Arterton) has arrived to a manor house hotel. While there, she notices a young girl named Amelia (Bennett), who is staying at the same hotel with her parents. It is not long before Amelia approaches her and discreetly tells her that she and her father (Matus) are planning to kill her mother (Coughlan). Disturbed and alarmed by those words, Natasha becomes determined to find out if it is true and if so, to save the unfortunate woman's life. Suspense is arguably the best aspect of this short drama thriller, as it has so much of it in its twelve-minute duration. The narrative begins as a drama about domestic violence and escape and once Amelia's intentions are known, things turn into a thriller whose formula contains conspiracy to commit murder, an evil child and a race against the clock to save a life. Following the terrible revelation, Brave and selfless Natasha proceeds observe the family as they wonder around the hotel and attempts to warn the girl's unsuspecting mother. Will the woman be saved? What if it is all just a sick joke though? The well-structured screenplay keeps the viewer guessing right until the dramatic plot twist at the end. Samantha makes an interesting protagonist, a young woman who has been through very difficult times while living with a violent partner (and has the bruises to show for it) and is looking for a fresh start. She goes through significant character development as she starts playing detective, trying to find out the truth and she is played terrifically by Arterton. Amelia pretty much serves as the antagonist and her character is certainly intriguing. Bennett's convincing performance makes her come across as intelligent, manipulative and menacing and considering that this character is so young, such features make her quite a memorable character. Regarding her father, he appears to be a normal guy, not indicating that he has murderous intentions. Based on the short story Trio for Four Voices by Jane McLaughlin, this film manages to create a story with suspense on a level that could be compared to a Hitchcock picture, which is impressive considering the duration. It also works as a commentary about domestic violence and the idea that people are not always what they seem to be. The interesting plot and suspenseful atmosphere are supported by Frank Ilfman's ominous music and by Lily Grimes's cinematography and of course by the strong acting. This is a great thriller that revolves around the concept of is-something-bad-really-going-to-happen? and the result is rather effective. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Drifter - BFI Flare film review by UK film critic Amber Jackson. Starring Lorenz Hochhuth, Gustav Schmidt, Cino Djavid directed by Hannes Hirsch. HOME | FILMS | REVIEWS Drifter - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 27, 2023 Directed by: Hannes Hirsch Written by: Hannes Hirsch & River Matzke Starring: Lorenz Hochhuth, Gustav Schmidt, Cino Djavid The closing night film of BFI Flare 2023, Hannes Hirsch’s Drifter is a German-language story of self-discovery of a gay man’s ‘second coming out’ in Berlin’s techno scene. Having moved to Berlin for the first time to live with his boyfriend, Moritz suddenly finds himself alone in an overwhelming city in a gay scene that he is unfamiliar with. Being twenty-two years old, he experiences new sensations in the depths of the gay party scene and the film brings these moments to life in such a vibrant way. Drifter is a story that brings a community to life in a very immersive way and portrays the reality of Berlin as a young single gay person. Moritz’s partner wants the freedom to explore other experiences without living with someone. Then commences a so-called odyssey of new relationships, encounters and possibilities for Moritz to have in a new city whilst he figures out what he wants. There is an element of intensity and sadness that tinges the frames of every scene as his life takes a dramatic tangent, but this does feel short-lived as his life propels in the direction of his choosing. Whilst it may appear unclear to the viewer what he actually wants out of life, it is clear that he is expressing himself however he likes and surrounding himself with like-minded people. What is most prevalent in this fascinating film is that everybody around Moritz is fighting for connection and fulfillment. As Moritz learns more about himself and what he wants, he also uncovers what other people want. Every actor has an excellent overwhelming chemistry with each other as it feels as though the viewer is a part of watching a group of friends having fun. In addition to authentic and vulnerable performances, gorgeous outfits and fabulous accessories fill the screen as every character is able to express themselves in a wonderfully real way. Colour and culture fills the screen and revolves around consumption, as each character is able to take what they want from each other in a liberating and consensual way. It is such a unique experience captured on screen and powerful to consider singledom in such a contemporary way. This is a deep insight into how the younger generations explore life and love in the modern age. Berlin is the central aspect of this theme, with the night life being candidly depicted through the eyes of someone learning about it for the first time. In nightclubs with loud techno music, there is an incredible atmosphere of dancing, drugs and a deep overwhelming sense of simultaneous fun and risk. It is incredibly immersive, even for the viewer. As Moritz travels further into his journey of self-discovery, he meets more people who he can connect with, contrasting to past characters that return to the screen that he has moved on from. It is a spectacular transition that is portrayed in such an animated way that feels free and liberating. Drifter is a coming-of-age story of sorts, but it is without a doubt a beautifully written portrait of an individual becoming sexually confident. Through trial and error, Moritz unintentionally learns more about friendship and sex as well as living in the moment. Hannes Hirsch has successfully created an empowering feature-length film that provides a refreshing introspective look at the queer experience in Berlin. It is a gloriously human experience and a delightfully honest film to close BFI Flare with. Drifter is well-worth seeing. Buy UKFR Banner Space About the Film Critic Amber Jackson LGBTQ+, World Cinema, Film Festival < All Reviews Next Film Review >

Toast film review by UK film critic Chris Buick. Starring Natalie Hughes directed by Lawrence Rowe. HOME | FILMS | REVIEWS Toast Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Nov 2, 2023 Directed by: Lawrence Rowe Written by: Lawrence Rowe Starring: Natalie Hughes Writer/director Lawrence Rowe’s film Toast takes the idea of eating one's feelings to create a short film that is simple but highly substantial and satisfying, much like toast in fact. Following a difficult breakup, our main character (played brilliantly by a highly commendable Hughes) has taken solace in what might be the king of all comfort foods; toast. But what seems to start out as a love letter to our versatile bready friend soon transforms into something much deeper, a story of heartache where toast-based soliloquies thinly veil the tragic tale of lost love underneath. It’s a metaphor that’s fun and unique for sure, but in no way does it ever take away from the sincerity that Toast has as a film by taking its subject lightly. What the toast concept does do is make the film that bit more accessible than that of your typical tale of failed romance, and weirdly also more relatable. Heartache is a universal feeling difficult to verbalise for most, but it would be a safe bet to say most who have shared that experience will be able to find common ground here, the comparisons to feeling like a thrown-away piece of bread will not be lost on most. And that’s a testament to the hard work that Rowe and their team do with only two and a half minutes to play with. Toast manages to portray that kind of emotional turmoil almost completely, visual cues such as discarded pieces of toast and teabags as well as the gut punch shot of an engagement ring lost among the debris of crumbs all come together to create such a full picture of the disarray our protagonist now finds themself in. And carrying it all, off giving the film the true gravitas, emotional heft and delivery that it needs to really work, is Hughes who is remarkable, able to really exemplify that veritable “smiling through the pain behind the eyes” aspect that allows you to truly feel every bit of emotion the film is trying to achieve, their frantic monologue of a person teetering on the edge, being kept afloat purely on a life raft of toast and butter both captivating and heartbreaking. Manging to fully realise its story about a very universal facet of the human condition, Rowe’s film might be one of the more poignant and thoughtful pieces of work you might see centred around toast. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

The Placebo film review by UK film critic Chris Olson. Starring Drew Elston, Thomas Coulston directed by Sunny Dhinsey. HOME | FILMS | REVIEWS The Placebo Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Nov 23, 2022 Directed by: Sunny Dhinsey Written by: Gian Singh Starring: Drew Elston, Thomas Coulston Feature film The Placebo , starring Drew Elston and Thomas Coulston, is a deep and meaningful exploration of humankind’s existential crisis. A Writer (Elson) is being haunted by a recurring dream that sees him digging on a beach at sunrise near two towers. When exploring this dream with his brother (Coulston), who is also a doctor, the two characters engage in a series of debates that cover all manner of life’s big unanswered questions. The Doctor reluctantly agrees to drive the Writer to the beach, and the Writer agrees to take some pills from the Doc’s glove box. Upon arriving at the beach, our central character attempts to recreate the exact conditions of the dream and ends up unearthing a skull from the sand - creating a visual nod of the head to Shakespeare’s iconic “To be or not to be” from Hamlet - which also appears at the beginning of the film along with some other famous quotes about life. Battered by the lack of purpose he was hoping to find on the beach, the writer declares everything to be BS and starts to fall even deeper into his despair. Characters suffering from depression can be exhausting to be with, a harsh truth but one we see no clearer than in The Placebo. Being around the Writer’s growing cynicism and mental torment at the pointlessness of the world is hard going on the viewer. Whilst the reflections on life’s weighty themes (God, purpose, essence) are intelligently written and the film has an academic quality some audiences will likely embrace, it’s a bleak experience and one that doesn’t offer enough emotional balance or story development in order to atone for it. The individual performances are good, in particular, Drew Elston who dives deep into the increasingly erratic central character. His rollercoaster moods are compelling and the highlight of The Placebo is his emotive scene on the beach. Sadly, the chemistry and the interactions between the actors felt wooden and rehearsed. In many scenes, it feels like the actors are waiting for each other to finish lines so they can speak and many of the minor characters disrupt the flow of the film by injecting poorly delivered lines of dialogue. In a film so heavily reliant on the dialogue between the two central characters, it seems a shame more chemistry was not established and a more natural acting style achieved. Without spoiling the final third, it’s worth noting that the plot does break into something more compelling in terms of the meaning of life and acts that can derail someone’s entire belief system. The film feels unsure of how to deliver the human element alongside the titular pill, with the latter feeling completely underdeveloped. It seems a shame the film devoted so much time to the repetitive back and forth between the Writer and the Doc, rather than delivering a more structured story. That being said, it’s an ambitious film with some really great visuals (the aforementioned beach scene being particularly noteworthy). It has a thought-provoking script, some impressive standalone performances, and finishes strongly. The Placebo is currently available to watch on Amazon, watch the trailer here . Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

White Noise film review by UK film critic George Wolf. Starring Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy directed by Noah Baumbach. HOME | FILMS | REVIEWS White Noise Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 22, 2022 Directed by: Noah Baumbach Written by: Noah Baumbach, Don DeLillo Starring: Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy “All plots move deathward.” With an unusual foray into developing someone else’s work for the screen, Noah Baumbach delivers a satirical fantasy penned in 1985 that speaks so clearly of 2022 it’s almost absurd. Which makes the filmmaker’s approach to Don DeLillo’s White Noise that much more fitting. The film follows Jack Gladney (Adam Driver) – pioneer in the field of Hitler studies at the College on the Hill – his wife Babbette (Greta Gerwig), her important hair, collective trauma and pudding pockets. Jack is so preoccupied preparing for the international Hitler conference that he fails to notice how distracted Babbette has become. Denise (Raffey Cassidy), the oldest of their combined four children (one is Babbette’s, two are Jack’s, one belongs to both), notices. Her interest sets off a covert investigation that can’t even be slowed by the toxic airborne event that sends the family, station wagon and all, into quarantine. The fascinating ensemble also includes Don Cheadle, whose Murray is hoping to establish an Elvis Presley power base at the university, and could use Jack’s in giving his plan more relevance. The 2+ hour adventure takes unexpected turns, as does the tone of the film itself. Droll, prescient satire makes way for National Lampoon Vacation- esque exploits before finding a grim if tender resolution. The rapid-fire dialog keeps hammering away, as if characters are talking at us rather than to each other. On its face, this wouldn’t seem to be the best approach for effective film satire. But in time, the terrific cast carves out a strange, comfortable world for the many declarations to live, and Baumbach nurtures an ironically effective strategy for realizing the novel’s many big ideas. Check that, in the mid-80s these ideas were big. Now, they cast a post-internet and pandemic shadow that may be darkly comic, completely depressing, or both. From conformity to death culture, the cult of personality to disinformation and the warm embrace of consumerism, White Noise miraculously finds madcap, anxious entertainment in the blissfully unaware. True to its title, White Noise throws plenty at you almost all the time. And while the overriding aesthetic wallows in a bemused detachment, the film ultimately embraces important details that hint at actual warmth. It’s a film that might leave you giggling, scratching your head, or convinced that we’re all doomed, but you’ll be damned near helpless against the strange beauty of synchronized shopping. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >

Wife of a Spy film review by UK film critic Christie Robb. Starring Yu Aoi, Issey Takahashi directed by Kiyoshi Kurosawa. HOME | FILMS | REVIEWS Wife of a Spy Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Sep 28, 2021 Directed by: Kiyoshi Kurosawa Written by: Ryusuke Hamaguchi, Kiyoshi Kurosawa, Tadashi Nohara Starring: Yu Aoi, Issey Takahashi Wife of a Spy really tested the limits of my historical knowledge, which is lamentably focused on Western Civ. I probably studied the American Revolution five separate times and know quite a bit about the British Empire and what we erroneously call the “Age of Exploration,” but as for what was going on in Asia in the 20th century? Shoot. My knowledge is pretty limited to some communist revolutions and America dropping bombs. In order to get Wife of a Spy , it’s useful to understand: Japan invaded northeast China and Inner Mongolia in the 30s and set up a puppet state (the State/Empire of Manchuria), which they more or less controlled until the end of WWII. The Japanese army in Manchuria conscripted millions of people as slave laborers and subjected them to medicalized torture, including vivisection without anesthesia. They also spread fleas carrying the bubonic plague from low-flying airplanes over villages and cities and dropped typhoid germs into wells to test out biological weapons. Wife of a Spy starts in 1940 as Japan becomes increasingly nationalistic. The wealthy and cosmopolitan businessman Yusaku Fukuhara faces scrutiny as to his loyalty from childhood friends who are now in the military. Yusaku and his wife Satoko (Yu Aoi) wear Western dress and conduct business with American and British citizens. They draw criticism for drinking foreign whiskey and forgoing kimonos. On a trip to Manchuria to search for trade goods and cheap medicine, Yusaku discovers evidence of the atrocities being conducted there. He is determined to blow the whistle internationally. He says his allegiance is to “universal justice” rather than to his country. Satoko senses her husband’s distress and growing alienation and uncovers the evidence that Yusaku has been hiding in his office safe. But is she willing to risk her blissful domestic life and creature comforts to become the wife of a spy/traitor? Or will she turn Yusaku over to the authorities? Wife of a Spy doesn’t waste a lot of time explaining the historical context of the film (thus the exposition dump above), but it does a beautiful job of visually immersing is in the historical period. Director/co-writer Kiyoshi Kurosawa’s film focuses on the ripple effect that these atrocities have on the lives of the everyman/woman. For the most part, the reactions of the characters seem realistic. They are haunted or traumatized or incredulous. Satoko’s reaction is a little harder for me to accept. I’m with her until she makes her biggest decision. What follows seems entirely too sunny and chipper. Regardless, the quiet menace present in the air at the beginning of the movie grows throughout and, as in any good spy film, we’re left wondering if we put our trust in the right people and if we truly understood what just happened. Buy UKFR Banner Space About the Film Critic Christie Robb Theatrical Release, World Cinema < All Reviews Next Film Review >

AZ film review by UK film critic Swati Verma. Starring Reda Elazauar, Georgina Seville, Johnny D Sepenna directed by Shehroze Khan. HOME | FILMS | REVIEWS AZ Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 26, 2022 Directed by: Shehroze Khan Written by: Shehroze Khan Starring: Reda Elazauar, Georgina Seville, Johnny D Sepenna The writer-director Shehroze Khan narrates the tale of the protagonist (Johnny D Spenna) who is stuck between the mind and the heart. The audience can relate to the subject matter of the film. The script written by Khan is very gripping and thus keeps the viewers hooked on the content up until the end of the movie. The plot of the Short film AZ takes the audience on a surrealistic psychological journey through the salvation of a man, his past, and the repercussions of his deepest regrets. The camera pans out to capture the surreal vibes, natural beauty, and peacefulness of the location of the cinematic piece. The colour palette, lighting, music, costume, makeup, blood, and weapons complement the genre of a psychological thriller. The cinematographer Shaun Waldie utilizes the mid, close-up, and extreme close up shots that help bring out the deeply disturbed state of Cay which increases the realism element in the creative piece. The small nightmares are very well written to help the viewers delve into Cay's past and eagerly wait for the climax to unfold. The contrast created by the filmmaker between good and evil also communicates a very crucial message for its target audience. In terms of performance, Reda Elazauar plays the role of AZ (Antagonist). He is ready to go to any extent to fulfill the dramatic need of AZ in the film. Elazauar picks up the nuances of the character with the help of body language, facial expressions, and mastering the evil laugh. Reda Elazauar portrays the multiple layers perfectly from calm to increasing the intensity gradually so that the viewers get scared of AZ as the story moves ahead. Georgina Seville as Lulu (Cay's wife) is a very caring and loving wife and she would never hope for any bad things to happen to his dear husband. Lulu is the sole reason for Cay's existence. Seville portrays Lulu with utmost sensitivity and love that the audience also gets emotionally attached to Lulu and appreciates the relationship Lulu and Cay share. Johnny D Spenna plays Cay (Protagonist) of the film. He is continuously battling with physical and emotional issues alone with no one to share them with. Johnny D Spenna is an apt casting choice for the part. Spenna depicts the emotional trauma with complete honesty and gets support from the viewer who wants him to cross all the hurdles and become strong for every situation in life. The Short Film-AZ highlights the importance of physical as well as emotional health. It tells the audience about being strong willed and choosing the right path for oneself which would prove to be beneficial in both the long term as well as short term. The movie also talks to us that if choosing the heart is a happier option so please do so without worrying about the consequences or regrets. It becomes essential to keep a check on the mind and heart and not strike a balance between the two while making any decisions in life. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Lost Weekend film review by UK film critic Jason Knight. Starring Brendan Egan, Chloe Lang, Henry Lynch, Mathew Ray directed by Charlie Norton. HOME | FILMS | REVIEWS The Lost Weekend Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 1, 2024 Directed by: Charlie Norton Written by: Charlie Norton Starring: Brendan Egan, Chloe Lang, Henry Lynch, Mathew Ray Three youths go to a house by the beach for a weekend of fun. However, one of them has feelings that create complications. The story takes place in the summer of 2004 and three teenage male friends are spending a weekend at a house in Cape Cod, Massachusetts. These youngsters are James (Egan), Nick (Lynch) and Dylan (Ray). Their main intentions are to party and have a good time with girls, however James is inexperienced regarding girls, contrary to the other two. Eventually, they encounter a group of three girls their age and James is attracted to one of them, whose name is Caroline (Lang). The girls are invited to the house for a party, where things get dramatic. Masculinity is a major theme in this short coming-of-age drama and the story is told through James's perspective. James is a sensitive young boy who attended an All Boys Catholic School and has not lost his virginity. Dylan is supportive of James, unfortunately Nick is an obnoxious guy who views women as sex objects and he is annoyed by James's reserved personality and mocks him due to his lack of sexual experience. Self-discovery and self-esteem also play a significant part and these takes place through James, who goes through significant character development as he seems to find happiness with good-hearted Caroline and begins to stand up to Nick. As James gradually proceeds to come out of his shell and the girls get to know the boys, things get romantic, but heated confrontations also arise. James is the main character and the centre of this film and Egan's dramatic performance portrays him as a reserved person who is different, who does not see things the same way as the other two guys, particularly when it comes to girls and who is not comfortable at trying new things as indicated in the first scene, when he refuses to jump of a bridge. Nick is pretty much the antagonist, not hesitating to make fun of James and express how much he disapproves of him. Nick's character seems to represent negative characteristics about men such as being disrespectful towards women. Caroline serves as James's romantic interest and plays a big part in helping him find out more about who he is. The film looks great thanks to Norton's creative directing and Michael Henaghan's beautiful cinematography and Nathaniel Wolkstein's romantic and dramatic score adds a great deal of atmosphere to the scenes. This is a story about a young man's life reaching a turning point. A story about a sexually inexperienced teenager who goes on a journey of self-discovery. It is partially a romance and partially a film about friendship, manhood, growing up and standing up for oneself. The story is intriguing, the characters are interesting and the themes that are explored make this a thoughtful viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Cast Away film review by UK film critic Joe Beck. Starring Mike Archer directed by Luisa Guerreiro. HOME | FILMS | REVIEWS Cast Away Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: May 1, 2024 Directed by: Luisa Guerreiro Written by: Luisa Guerreiro Starring: Mike Archer Autophobia is the fear of being alone and isolated. Being stranded on a barren, desert island is perhaps the most extreme realisation of that fear, and would no doubt likely terrify any human being. ‘Cast Away’, explores this fear and this state, as one man finds himself completely alone on a desert island, to mixed effect, and is at its best when it is most mysterious. Desert island films and tv shows have been done to death over the years. From early conceptions of famous novels such as ‘Robinson Crusoe’ and ‘Lord of the Flies’ and films such as ‘The Blue Lagoon’ and ‘The Beach’, the popularity of desert island’s in media perhaps peaked in the early 2000s, with the now iconic TV show ‘Lost’ revolutionising television with it’s unpredictability and constant cliff-hangers at the end of each episode. There was also this film’s luminary, ‘Cast Away’, the 2000 Robert Zemeckis film starring Tom Hanks as he struggles to survive and make his way back home, befriending a beachball called Wilson in the process. The strength in all these films lies both in the allure of the concept, but more so in the ability that it provides to create mystery. ‘Cast Away’, as written and directed by Luisa Guerreiro, finds its strengths in the same way. Our sole protagonist is Diggory Sambor, played by Mike Archer, a man who wakes to discover that he is on a barren shoreline, that though sparse is nonetheless beautiful due to the Guerreiro’s directing, which portrays the island as nature at its most simple and undisturbed. Immediately we are confronted with the mystery of how he has come to this place. Was he on a shipwrecked boat? Was he kidnapped and left there to die? Or was this the result of the greatest drunken night out ever? We don’t know and for much of the film we are left to enjoy this mystery. Indeed, it is to the film’s detriment that the element of mystery is discarded in favour of a metaphor and an explanation. It seems as though this happens so often in modern cinema, unless a truly visionary director is at the helm - i.e. Jordan Peele and ‘Nope’. When did we lose the ability to leave a mystery unexplained, and to lace that mystery itself with subtext? There is another mystery at hand in ‘Cast Away’, that of a bright, shining light in the horizon. Is it a lighthouse? Is it a helicopter? Or is it, could it be aliens in a UFO? Again, this hinting at the possible supernatural is done excellently by Guerreiro for the first two thirds of the film, and then she feels the need to explain, and the allure and mystique falls apart. We as humans are thrilled by the unknown, to remove that thrill in such a disappointingly mundane reveal of the truth is frustrating because by the end we now know too much. The thrill is gone and has been replaced by a mere shrug of the shoulders. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >