Tutu film review by UK film critic Jason Knight. Starring Sofia D'Elia, Francesca Morena Mileti, Maria Pia Autorino, Michele Sinisi directed by Lorenzo Tiberia. HOME | FILMS | REVIEWS Tutu Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 19, 2022 Directed by: Lorenzo Tiberia Written by: Alberto Fumagalli, Giovanni Mauriello Starring: Sofia D'Elia, Francesca Morena Mileti, Maria Pia Autorino, Michele Sinisi A young girl's life goes downhill after the passing of a friend. Ester (D'Elia) is a schoolgirl who also practices ballet. Her close friend Maria, who was also a ballerina and went to the same dance academy as Ester, has just passed away and her mother has decided to donate her late daughter's tutu to the dance school that she attended, in order to honour her memory. Ester develops an obsession with the costume, steals it for herself and begins a dangerous diet that threatens to end her life. This short drama from Italy tells a self-destructive story through the eyes of a troubled girl. With a plot that in some ways resembles Black Swan , it deals with themes that involve obsession, mental health, anorexia, grief and isolation. Ester misses Maria and she seems to want to follow in her footsteps, by wearing her ballet dress and keeping her weight down in order to fit in it. Her chosen path ends up impacting her health quite negatively and alienating her from those who care for her. D'Elia's acting is one of the best aspects of the film as she delivers an impressively strong performance as a young girl who is dealing with serious inner issues and has become lost in her own world. Another great part is a beautiful dance montage that is superbly edited by Gianluca Scarpa and contains wonderful classical music. Regarding the mise-en-scene, praise goes to the dance costumes and to the interior of the dance school. Composer Remo Anzovino makes a significant contribution with the dramatic score that includes lovely piano melodies and director of photography Dario Di Mella does a terrific job with the cinematography. This is a moving story about a young individual who becomes lost, who loses herself in her emotions. It contains a great deal of drama and will most likely provide a memorable experience to the viewer due to the plot and D'Elia's performance. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

A Specter Whispers in the Dark film review by UK film critic Patrick Foley. Starring Kerri Ann Bourne, Ken Krauss, Steve Ritchie directed by Peter Dorn Ravlin. HOME | FILMS | REVIEWS A Specter Whispers in the Dark Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Oct 30, 2021 Directed by: Peter Dorn Ravlin Written by: Peter Dorn Ravlin Starring: Kerri Ann Bourne, Ken Krauss, Steve Ritchie Horror season is upon us, and a short, original thriller with homages to classic predecessors of the past should be a perfect accompaniment for a night of scares on October 31st. Unfortunately, A Specter Whispers in the Dark lacks the polish to impress, and fails also to reach levels of extravagance to be a memorable B-movie. When she discovers a terrifying threat sprawled on her mirror in blood, Felicity (Kerri Ann Bourne) reports her concerns to the police. When an aggressive detective (Ken Krauss) is no help, she returns home to find her ex-boyfriend Jacob (Steve Ritchie) at her door, requesting a place to stay for the night. Reluctantly, she lets him in. But an ominous danger threatens her home, and Felicity must discover whether it comes from outside, or from within. Whilst a very different Spectre stalks a certain super-spy across cinema screens, those looking for a more intimate and intense experience may be attracted to the classic, but inventive premise of A Specter Whispers… However, the execution of the movie is poor, with acting that is lacking, plot holes littered throughout, and unacceptably poor production that lets the film down. These technical failings prevent the film from reaching its potential, or from providing any real scares. Interactions between characters are unconvincing and unnatural, with forced tension and manufactured drama at an uncomfortable forefront. This is never more evident than in scenes in the police station, where Felicity’s concerns are met with a laughable overreaction by the detective – for nothing more than the sake of plot filler. This type of failing (which, even more frustratingly in the case of the police station, never becomes relevant to the story) is one of direction rather than performance – and is tied inherently to poor scripting and plot. Similar awkward interactions between Felicity and Jacob emerge later in the film, however these at least feel somewhat more appropriate given their character dynamics. The film’s actual story does feature some welcome twists which will leave viewers intrigued and invested in the plot’s direction. Classic horror plot premises are used cleverly to set-up what appear to be predictable beats – before turning these premises on their head in a proactive and daring manner. These moments create thrills and shocks in the moment, but do lead to plot holes which don’t stand up to basic scrutiny. With a primary purpose to strike chills into audiences, trying something different and innovative should be commended – but this could still have been achieved with a sharper and tighter script. There are unfortunate production issues throughout which damage the film’s credibility to viewers. Whilst hiccups and imperfections are acceptable – especially in lower budget films – this one crosses a boundary where these distract from the story itself. Sound editing is by far the biggest offender, with poor syncing throughout the short. Camerawork itself is also poor, with certain scenes being ruined by shockingly poor colour saturation that appears amateurish and unbecoming. Visual effects are somewhat redeeming, and provide necessary levels of gore for bloodthirsty viewers. But overall production harms the story rather than serves it. A Specter Whispers in the Dark has interesting ideas, but fails to live up to its potential as a psychological horror. Clearly a student of the genre, Director Peter Dorn Ravlin demonstrates an awareness of what makes a film stand out, but not what makes one solid and concise. This film is mostly a mess, and not just a bloody one. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

L'autre Rive (A Shore Away) film review by UK film critic Chris Buick. Starring Judith Baribeau, Rosalie Fortier directed by Gaëlle Graton. HOME | FILMS | REVIEWS L'autre Rive (A Shore Away) Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Jul 26, 2023 Directed by: Gaëlle Graton Written by: Gaëlle Graton Starring: Judith Baribeau, Rosalie Fortier Former social worker Geneviève, now limited to caretaking and cleaning duties at an emergency shelter for people experiencing homelessness, reunites with Camille, a young woman now returning to the shelter for refuge despite Geneviève’s belief she had helped reintroduce her to the world during her time as a social worker. Filmed in a real emergency shelter on location in Montreal, QC, Canada (where in 2020 many of those whom the film represents where horribly displaced and then abandoned after the destruction of a large encampment, pushing shelters like these to breaking point), this eloquently put together debut from writer/director Gaëlle Graton tackles the many preconceptions around homelessness; how anyone, from all walks of life, falling victim to any number of circumstances, can find themselves trapped and clinging to a failing and broken system that has completely left them behind and the judgements and injustices they face every day. Graton’s film is as authentic and inspiring as they come when it comes to putting forward such a vitally important discussion. The very real existence of those seeking refuge like Camille and those doing all they can to help like Geneviève face every day is not only depicted with great veracity, but tremendous consideration. Shelters like these are constantly swimming against the tide, doing all they can and more each day but ultimately always finding themselves understaffed, under-resourced and inevitably, unable to help everyone. Setting the film within such a real place really drives home this harsh reality and all the way through, you feel that constant futility, especially in Geneviève, who represents the unsung heroes we all know, who do what they do simply because someone must do something, carrying on despite everything else. But framing this story as an intimate tale between these two women is where the real beauty of Graton’s film lies, the whole piece bolstered by two powerful performances from two outstanding performers. Fortier’s nuance in theirs manages to fully exemplify not only the type of frustration and desperation that someone like Camille struggles with each day, but also a kind of inner hope that might never truly die, a simple longing for someone to understand what it's like to dream, to truly want, but also how to see the small but beautiful in the world as they do. And it’s Baribeau’s patient, respectful and compassionate Geneviève that gives Camille that understanding and has the empathy to see the world through their eyes, this deep bond between the two giving real beauty to a film celebrating the fact that it's the little gestures, such as simply lending an ear to listen that can change worlds, and remind us that we are all unified more than we think, especially in our desire to dream. An elegantly crafted film with an important message. Through a considered and deeply affecting intimate piece of storytelling, L’autre Rive celebrates human connection and humanity, while also shining a bright light on a very pertinent humanitarian crisis that is only worsening. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

The Observer Effect film review by UK film critic Patrick Foley. Starring Vanessa Emme, Patrick O'Brien, Brendan Sheehan directed by Garrett Walsh. HOME | FILMS | REVIEWS The Observer Effect Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Aug 9, 2021 Directed by: Garrett Walsh Written by: Garrett Walsh Starring: Vanessa Emme, Patrick O'Brien, Brendan Sheehan Intense and stylish cinematography shines in Garrett Walsh’s The Observer Effect, a short which flirts with dark themes both supernatural and disturbingly relatable. But the film’s plot and execution of its story fails to really live up to the level of the visuals. On her walk home from work one night, Maeve (Vanessa Emme) senses that someone is watching her. She enlists her colleague Cian (Brendan Sheehan) to accompany her, concerned she may be being followed. Her instincts are correct – as a mysterious man (Patrick O’Brien) has been observing her from afar. But unbeknownst to the pair, this watcher has been having strange visions of a confrontation between the three of them that will change their lives forever. The Observer Effect is the stylish debut of director Garrett Walsh – and this high on style, low on substance short is typical of a rookie director’s work. The film packs in plenty of artistic shots and thoughtful camerawork, which manages to make the piece a visual treat even with the amount of dark and shadowy sets we spend time on. A mysterious montage towards the film’s conclusion may confuse viewers, but the enigmatic horror elements the director injects does at least make it intriguing. As a purely visual spectacle, the film succeeds. Unfortunately, the actual plot of the film falls into the trap of trying to do too many things at once. The story quickly accelerates from a crime-thriller set-up into a sci-fi/fantasy feature in the blink of an eye. The twist itself is not the problem – more that the breakneck speed at which the film’s shift occurs will leave audiences taken aback. Neither do the revelations sit comfortably in the story, with a serial-killer subplot an almost forgettable footnote to the tale. This is a pointless inclusion that adds little to the overall story other than to act as a red herring which receives a baffling and unconvincing explanation. It is clear the writer-director had a number of ideas for the film – some of which are promising on their own, but mixed all together they result in an overall messy final product. The cast are largely fine, but performances struggle somewhat with the concerning question as to who the film’s lead really is. We spend a lot of time with Patrick O’Brien’s ‘Watcher’, who has no dialogue but displays a physical and threatening aura. Vanessa Emme’s Maeve eventually takes centre stage – however she spends much of the film as a passenger to events around her, only taking action herself at the film’s end. Brendan Sheehan does his best as the affable Cian, but is a victim to the film’s awkward tonal shift when a different side of his behaviour emerges. What is meant to be a warning against hidden natures comes across as far too random and forced to really convince audiences. It is a shame that the film fumbles the basics, because the commitment to darkness and mystery unquestionably lead to audience engagement. The ambiguous nature of the film’s finale is also welcome and fits comfortably with the world that the director establishes. Some fine-tuning of the script, and better pacing, would have made The Observer Effect a much more impressive piece. Alas, the film is much more sizzle than steak, and lives off of its visuals much more than its story. ‘Observers’ of this film will be treated, but only for visual observations rather than intellectual ones. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Indie Feature Film < All Reviews Next Film Review >

Milton film review by UK film critic William Hemingway. Starring Libby Villari, Gayland Williams directed by Kevin Machate. HOME | FILMS | REVIEWS Milton Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 5, 2022 Directed by: Kevin Machate Written by: Kevin Machate Starring: Libby Villari, Gayland Williams Rosie (Villari) and Alice (Williams) are an elderly couple in the Autumn of their lives. They've been out enjoying a short break together, wandering around new places, seeing the sights and visiting the local markets. Rosie already has a bag full of souvenirs, but she wants one more, so she picks up a small cactus from a vendor and calls it, Milton . On the way back to their car, Rosie has a bit of a funny turn and nearly falls over. The two of them decide they've been hard at it for long enough and that it's time to head back to the hotel for a well deserved rest. Alice lays down on the bed to catch forty winks while Rosie decides she wants to sit and talk to Milton for a while. She goes to grab some tea from the hallway before settling down but when she comes back, Rosie finds that her life has changed forever. The rest of the film plays in flashback as memories the two shared are floated on screen, while a haunting love song (I Will Love You by Fisher) is played over the images. At this point the film leans very heavily into its themes and imagery and somewhat morphs into the last act of the Bette Midler classic weepy, Beaches (1988). 'I Will Love You' could very easily be a stand in for 'Wind Beneath My Wings' and some of the shots, costumes and scenarios being reminisced over look like they could have been lifted right out of that 80's melodrama. In itself, Milton is very finely shot with a great amount of detail given to lighting and cinematography so that everything seems vibrant and natural. The two main actors are perfect for their roles, coming across as a plausible couple, dropping hints about their lives together whilst also communicating many things which aren't said. The death, when it happens, is a bit sudden and not realistically dealt with, but this can be overlooked when the depth of emotion being shown really holds the scene together. For all that Milton tries to tell us about love and acceptance, it does feel like it has all been told before, and pretty much in exactly the same way. Thankfully, by watching this we don't have to be subjected to the two hour turgidness that is Bette Midler's legacy, but all in all it's the same outcome. What Milton gives us is an easy way in to a difficult situation, which it then deals with in a brief runtime. The story is neat and tightly packaged while the production serves the film well. While it may not be entirely original, Milton delivers the emotional resonance where it needs to. And there's a cactus. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, LGBTQ+ < All Reviews Next Film Review >

Milk film review by UK film critic Jason Knight. Starring Robin Denys directed by Fergus Mclean. HOME | FILMS | REVIEWS Milk Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 5, 2022 Directed by: Fergus Mclean Written by: Fergus Mclean Starring: Robin Denys A man faces a world full of depravities as he goes to buy milk. This is quite a tense and dark short story that appears to present one man's personal nightmares. A middle-aged man (Denys) is inside his home and realises that he has run out of milk. He goes outside, in search of more milk and he ends up witnessing and being tormented by people's wickedness. The narrative begins with peacefulness, with the man sitting quietly in his darkened home. Once he goes out, the atmosphere changes entirely due to the sound effects, music, cinematography and the characters that he encounters. The cinematography and sound effects play a significant role in this story. Once he leaves his property, the cinematography changes from colour to black-and-white, creating a sort of downbeat atmosphere. While he is outdoors, there is also a haunting score and the constant sounds of incomprehensible whispering. These elements develop a sinister atmosphere, and they show how the main characters views the world: as a place that is cruel, dangerous and wicked. Mclean also worked on the editing and does a particularly interesting job with the scenes that involve fast cutting. The use of fast cutting techniques and the loud sound effects make these moments quite tense and appear to signify the protagonist's panic attacks. Denys does a great job with his portrayal of a person who seems to be afraid of the world and might be suffering from agoraphobia. He appears to be religious and he sees the world as been populated with depraved people. He comes across a woman being sexually assaulted and a group of lowlifes in an underpass, who appear to be drug addicts. These vile individuals behave in ways that make them almost inhuman, more like monsters. No peacefulness seems to exist outside the man's home. This could be described as a psychological horror film and one that explores the mind of a troubled individual and the disturbing ways in which he experiences the world. With an intriguing plot, great cinematography by Hagen Maddock and very effective use of sound effects, this achievement deserves a lot of praise. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Roommate Contract film review by UK film critic William Hemingway. Starring Korina Deming, Daniel Kim, Regan Hicks, Samekh Resh directed by Lydia Muir. HOME | FILMS | REVIEWS The Roommate Contract Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: May 18, 2024 Directed by: Lydia Muir Written by: Lydia Muir Starring: Korina Deming, Daniel Kim, Regan Hicks, Samekh Resh Living in New York City is not an easy thing to do. Property is at a premium, rents are sky high and finding someone to flatshare with who isn’t a total nutbar is an almost impossibility. It is for reasons such as these that young twenty-something writer, Aiysha (Deming) has been crashing on her best friend Kara’s (Hicks) couch for the past wee while, preferring that to the cockroach infested glorified cupboard that she is currently paying rent for. Like it or not though, Aiysha’s lease is up in about a week’s time and so she really needs to get on it to try and find somewhere new to live. Unfortunately for her, this is not the only thing Aiysha needs to sort out in her life, as she really needs to start pulling herself together in actually finding a paid job as well as maybe, perhaps finding a boyfriend for herself, too. Thankfully, dating apps are the one thing in NYC which never fail to deliver, with millions of thirsty loners out there just chomping at the bit to get some actual human interaction, no matter that most of them barely have the minimum requirement of social skills and aren’t all that comfortable about stepping out of their front door in the first place. It is a miracle then that on her first attempt at meeting for a date, Aiysha lands up with Nathan (Kim), a twenty-something lawyer who was being messed around by his previous girlfriend and who, just by complete happenstance, is unbelievably on the lookout for a new flatmate, as his best pal Sebastian (Resh) moves onto pastures new by moving in with his own girlfriend. And so, the set-up for The Roommate Contract is in place, the fuse is lit, and we are ready for the romcom shenanigans to begin. With the first episode in this new web-series from writer/director Lydia Muir taking us through the introductions of our will they/won’t they lovebirds and ending with the signing of The Roommate Contract itself, the way is laid clear for the rest of the series to engineer as many difficult, uncomfortable situations as possible for the not-quite-a-couple to find themselves in. As yet there are three completed episodes, of between ten and fifteen minutes each, but with there being eight rules on The Roommate Contract , and each episode taking on a theme from one of the rules, there’s plenty of scope for Muir to take the series forward and expand on what she has already built. Being shot on a tight budget, this little web-series has a feel of being just a little bit basic, or, dare I say it, far more realistic than anything like Friends or How I Met Your Mother ever was. The apartments are of an appropriate size and style, with plenty of bare walls and affordable furniture, while the outdoor locations do their best to show us some of the sights of the city, just from a distance far enough away to let us know we’re in the cheap seats. The dialogue, too, can be pretty basic at times, with certain scenes merely being there for a short set-up before they fade to black and the next scene is cued in. On the plus side though, both Korina Deming as Aiysha and Daniel Kim as Nathan are very likeable in their roles and they do their best with what they’ve been given. They are very cute together and play off each other well, with each of them giving off ‘normal person’ vibes the whole way through, something which is obviously very difficult to tie down in NYC 2024. Throughout the three episodes, Aiysha and Nathan are run through the gamut of established romcom conventions, with the solidity of The Roommate Contract being tested at every turn. Right from the off it seems obvious that their relationship is less of a Ross and Rachel will they/won’t they and more of a [insert any Meg Ryan 90’s romcom] where everyone knows it’s going to happen, it’s just a matter of when. There’s a lot to recommend The Roommate Contract , despite its limitations, and at under quarter an hour per episode it’s perfect for dipping into when you’re feeling under the weather, you need a little wholesome pick-me-up, or the endless Friends reruns just aren’t hitting like they used to. There’s enough in the three completed episodes to suggest to an audience that The Roommate Contract is a diversion worthy of their time and it would be a real shame if Lydia Muir were not able to complete at least the first series and get another five episodes made. Don’t come for me though, if I spoil it for you now, and say that it’s highly likely that Aiysha and Nathan will be getting it on by the end. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Web Series < All Reviews Next Film Review >

Boss of the Ballet film review by UK film critic James Learoyd. Starring Hank Frazier, Pasquale Gaeta, Roslyn Ziff directed by Lindley Farley. HOME | FILMS | REVIEWS Boss of the Ballet Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Jun 16, 2026 Directed by: Lindley Farley Written by: Lindley Farley Starring: Hank Frazier, Pasquale Gaeta, Roslyn Ziff Boss of the Ballet is another resurrected, 80s-produced, New York-based project by writer-director Lindley Farley. The previous film, directed by Farley, reviewed on this website was The Bulls’ Night Out which told a disturbing story of violent cop vigilantism (a film that this critic admired very much). Our film in discussion is, unlike the film just mentioned, a short – and a comedy; it stars Hank Frazier and Pasquale Gaeta as two sanitation workers who, after one of them reveals a love of ballet, set out on preparing a performance for the sanitation talent show. But they’re missing one thing: a musical instrument for accompaniment (Roslyn Ziff portrays the wife who divulges that she gave their oboe away to one of the neighbour's children). As the film progresses ever further into farcical crime-comedy territory, the lengths to which our protagonists will go to retrieve their oboe results in genuine hilarity, and a truly fantastic piece of filmmaking. Beginning with the piece’s formal attributes, the most obvious drawing point (especially for today’s viewers, perhaps discovering Boss of the Ballet on the internet) is the analogue videotape, 16mm, 4:3 format. This, of course, was by necessity. No movies would be produced using any digital cameras for another decade. And yet, despite it being the default mode of presentation, the gritty texture and feel of these sounds and images completely lend themselves (much like Scorsese’s work for instance) to the New York, on-location film scene. Not only this, but the approach to the direction and cinematography is also of an incredibly high quality – especially on a level of blocking. ‘Less is more’ is not always the case; but here it certainly is. Farley knew that the best way to experience the comedic behaviours of these talented performers was to do so in expertly composed wide 2-shots and medium shots. With both on screen at once – without the camera drawing attention to its own, unbroken existence through movement or obtrusive angles – the screenplay can truly flourish. And yet it’s not in any way stagey! This is a cinematic, artistically detailed piece. In thematic terms, what this movie shares with The Bulls’ Night Out is an uncompromising depiction of social situations and working life in the big city. All the political tensions which are so explicitly defined in the cop-drama are also very present in this – but used, rather intelligently, more as background set-decoration so as to enrich the lives of these characters and give the humorous narrative some grounding. This actually makes the comedy far funnier, because it almost feels as if you’re laughing at/with a friend, as opposed to some simulated, theatrical display of perfect comic timing. It was already exciting to discover the other piece, but to have been sent another outstanding, forgotten work of art by the same director is quite riveting. It makes you wonder just how much quality we’ve missed or neglected over the years; and the fact that it’s arguably just as important to be searching for and reevaluating older unseen shorts as it is the contemporary. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Green Border film review by UK film critic Christie Robb. Starring Jalal Altawil,Maja Ostaszewska, Behi Djanati Atai directed by Agnieszka Holland. HOME | FILMS | REVIEWS Green Border Film Review average rating is 5 out of 5 Critic: Christie Robb | Posted on: Jun 25, 2024 Directed by: Agnieszka Holland Written by: Maciej Pisuk, Gabriela Lazarkiewicz, Agnieszka Holland Starring: Jalal Altawil,Maja Ostaszewska, Behi Djanati Atai Mr. Rogers was famous for advising children in the face of a crisis to “Look for the helpers.” And that’s a great line. Great advice for children. But adults need to look at the shitty policies and bad actors, too. Because, unlike children, adults tend to be in a better position to enact positive change. To become helpers. But, first, they need to see what’s going wrong. And Agnieszka Holland’s Green Border is an invitation to stare directly into a Big Wrong. Over thirty years since Europa Europa, Holland provides us with an opportunity to stare down another humanitarian crisis. But this time it’s not Nazi Germany, not a historical atrocity safely in the distant past. This time, Holland sets her sights on contemporary abuses. The film opens on a commercial jet flight. A family of six is on their way to reconnect with a relative in Sweden—mom and dad, daughter and son, infant sibling, a doting grandpa. Their concerns seem limited to who gets the window seat and if the infant can be pacified before fellow passengers start glaring. Then, they land in Belarus and it all goes to shit. Because these aren’t tourists. They’re refugees fleeing Syria, lured by propaganda put out by Belarus’s dictator Alexander Lukashenko promising emigrants an easy passage through his country to safety and asylum in Europe. This safe passage was a lie, apparently designed to fuck Europe over after being hit by sanctions for his “election.” Nobody wants these people who were already living life in extremis—some in refugee camps, some fleeing ISIS, some in danger of execution for loving the wrong person. The Belarussians don’t want them. Neither do the Poles. The border guards on both sides being fed rumors that all the migrants are “living bullets” designed to destabilize their respective countries. And while, yes, some of the migrants may be dangerous people just like in any group of humans, these rumors allow the guards to dehumanize migrants at large. Sending them at gunpoint back and forth across the forested, swampy “green border” between the two countries. Separating families. Tossing pregnant people over razor-wire fences. Giving thermoses of water mixed with broken glass to folks dying of thirst. The Syrian family and other refugees they meet along the way are treated to a nightmare game of keep away where what is being kept away from them is their freedom, health, dignity, and—all too often—their lives. Green Border is a narrative film that slaps human faces on the grim statistics of the migrant crisis. But it’s based in extensive interviews the director and writers conducted. It explores the perspective of the refugees, and also the border guards and human rights workers. It’s edge-of-your-seat cinema. Technically magnificent. Award-winning. Unforgettable. Devastating. Relentlessly depressing, it is not without poignant moments of hope and connection. Because there are helpers. Even if their numbers are currently far too few. We can do better, humanity. We have got to do better. But it starts by looking. Buy UKFR Banner Space About the Film Critic Christie Robb Theatrical Release, World Cinema < All Reviews Next Film Review >

Isaac Parkinson writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Isaac Parkinson Isaac Parkinson is a UK Film Review critic, reviewing movies from around the world. Check out some of his film reviews and feature articles on our website. Read Latest Film Reviews Help! My Gumshoe's an Idiot! Read Film Reviews Isaac Parkinson Bears in Trees - Fresh Concrete Read Film Reviews Isaac Parkinson One Summer When You Went Away Read Film Reviews Isaac Parkinson Justice: A Big Deal Read Film Reviews Isaac Parkinson Plant Life Read Film Reviews Isaac Parkinson The Table Fan Story Read Film Reviews Isaac Parkinson Life on Pause Read Film Reviews Isaac Parkinson Gwen & Gwen Heavy Fashion Read Film Reviews Isaac Parkinson The Misfits Read Film Reviews Isaac Parkinson Dose Read Film Reviews Isaac Parkinson Bears in Trees - Great Heights Read Film Reviews Isaac Parkinson Swords of Justice Read Film Reviews Isaac Parkinson Suit & Bone Read Film Reviews Isaac Parkinson Mirror Mirror Read Film Reviews Isaac Parkinson Black Eyes Read Film Reviews Isaac Parkinson Bootleg Read Film Reviews Isaac Parkinson Through Their Eyes Read Film Reviews Isaac Parkinson Lemon Read Film Reviews Isaac Parkinson Genocidium Read Film Reviews Isaac Parkinson Wanton Want Read Film Reviews Isaac Parkinson 2Late Read Film Reviews Isaac Parkinson Piper Pence and the Pandemic Read Film Reviews Isaac Parkinson Hilum Read Film Reviews Isaac Parkinson If the Shoe Fits Read Film Reviews Isaac Parkinson Eskina Read Film Reviews Isaac Parkinson Rumpus Read Film Reviews Isaac Parkinson Behind Closed Doors Read Film Reviews Isaac Parkinson

Jal Jangal Jameen film review by UK film critic Joe Beck. Starring N/A directed by Debanjan Majhi. HOME | FILMS | REVIEWS Jal Jangal Jameen Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Dec 21, 2022 Directed by: Debanjan Majhi Written by: N/A Starring: N/A We live in a rapidly changing world. Naturally, this translates itself into our art forms - be it film, dance, music, or painting, the ways in which art is presented are radically different to five years ago, let alone one hundred. Some art forms are on the verge of extinction - even the cinema-going experience is in decline - including tribal artwork in India. ‘Jal Jangal Jameen’ highlights the importance of the artwork, and acts as a plea to encourage its survival. The film - a documentary - shows an event arranged by Samvaad, a platform for exchanging ideas and thoughts on tribalism in India, in which various tribal communities will paint their own respective art forms on a single canvas. The event is a chance for each community to represent themselves, whilst also encouraging unity and diversity amongst the Indian tribes. The documentary also touches on the heritage associated with the artwork, and the importance of nature to Indian tribes. Director Debanjan Majhi shoots the documentary with an artistic eye, and clearly understands the principles of documentary-making. The long shots of artwork and children running in nature send a clear message - that this event is culturally important and must continue to be upheld. Though the message is clear, then the precise details of the historic value of the event are anything but. The information we are given through both a series of interviews, and a discussion around a roaring fire, is either repetitive or conflicting. Some interviewees emphasise that the event has been occurring annually for over a hundred years, whilst others seem to believe that this is its first occurrence. These conflicting narratives paint an unclear picture. On the other hand, the importance of this event to honour both culture and nature is reinforced by every interviewee, becoming repetitive as each puts their own spin on the overall message that such an event is needed to preserve both nature and traditional tribal culture. Additionally, ‘Jal Jangal Jameen’ has a slight corporate edge to it - especially towards the end when praise is heaped onto fundraisers TATA, who own Samvaad. Nevertheless, Majhi’s direction should be appreciated, and its message is of importance to all - particularly its cry for environmental preservation, which has never been quite so pertinent. 
Aside from contradictions and repetitions, the documentary itself paints an almost idyllic view of the artistic event - noting that, in true artistic fashion, it is ‘an experiment of its own kind’. The people are joyous and genuinely appear united by the display of artistic expression. There is local music, dancing and wildlife captured through Majhi’s lens, emphasising the overwhelmingly positive outlook taken by the documentary. ‘Jal Jangal Jameen’ is at its best with a group of villagers sitting around a campfire discussing the artistic gathering, and when Debanjan Majhi is given free rein to capture the joyous faces of those at the festival. However, the film all too often loses itself in interviews with figures important to the event, who only repeat each other's words and contradict the campfire gathering. Buy UKFR Banner Space About the Film Critic Joe Beck Documentary, Short Film < All Reviews Next Film Review >

On a Wing and a Prayer film review by UK film critic Brian Penn. Starring Dennis Quaid, Heather Graham directed by Sean McNamara. HOME | FILMS | REVIEWS On a Wing and a Prayer Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Apr 18, 2023 Directed by: Sean McNamara Written by: Brian Egeston Starring: Dennis Quaid, Heather Graham The disaster movie is firmly rooted in all things aviation; a protagonist in the cockpit trying to save the day whilst the passengers contemplate their mortality. The drama is self-contained in a claustrophobic environment and the realisation there are no escape routes. A structure made of steel, aluminium and glass is airborne but has to be landed safely. Recent efforts like ‘Flight’ and ‘Sully: Miracle on the Hudson’ have focused on professional pilots landing an aircraft using their skill, experience and raw nerve. On a Wing and a Prayer shifts the compass to a complete novice at the joystick and air traffic control carefully talking him down. Doug White (Dennis Quaid) is due to fly back from his brother’s funeral and charters a private King Air aircraft. His god fearing wife Terri (Heather Graham) and their two daughters are the passengers. Mid-flight pilot Joe Cabuk (Wilbur T. Fitzgerald) has a heart attack and Doug has to take the controls. With nothing more than a handful of flying lessons behind him he is reliant on the crackling reception from air traffic control. Terri acts as co-pilot and tries to decipher the dashboard in front of them. As their descent proceeds they are confronted with various issues that make the ride even bumpier than could be imagined; but will they make it down in one piece? Some may snort with derision at the familiarity of a tried and trusted formula. But what raises this film above the others is a story based on true events. There are no false heroics here; this man is on the verge of multiple nervous breakdowns. Doug’s reactions are completely natural and believable. Terri has complete faith in god and her husband but is secretly in the depths of despair. Not only is he trying to save his own life but that of his wife and two children. A viewer might consider how they would react in that situation. And truth be told it would be something along the lines portrayed in this film. This is a powerful tale of a Louisiana pharmacist who was confronted with the mother of all nightmares. It earns an extra star for having the guts to be human. Buy UKFR Banner Space About the Film Critic Brian Penn Amazon Prime < All Reviews Next Film Review >