The Mux film review by UK film critic Joe Beck. Starring Javier Caberiz, Heidi Kozak Haddad, Matisse Rose Haddad, Joe Tandberg directed by Benjamin Rider. HOME | FILMS | REVIEWS The Mux Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Sep 15, 2023 Directed by: Benjamin Rider Written by: Benjamin Rider Starring: Javier Caberiz, Heidi Kozak Haddad, Matisse Rose Haddad, Joe Tandberg ‘The Mux’ is a bad trip of a film. Its priorities are so far set in the music, and how the beats guide its story, that it fails to tell a compelling, engaging story, and also fails to excel in any technical aspects. It’s a film made for the sole purpose of being a trippy experience, with story and filmmaking only an afterthought. The film centres around Rex (Javier Caberiz), a DJ who has become jaded from the cycle of fame and fortune that accompanies his profession. These are issues that could be part of a thoughtful exploration into the industry, the psyche attached to such fame, as well as addiction and multiple personality disorder. However, ‘The Mux’ is neither as deep or as profound as it thinks it is, or as it wants to be, and is instead a rather bland trip that, rather than leaving you enlightened will leave you bored and with a bad headache. Rex is, in all truth, a bit of a narcissistic asshole, acting as a voice for the film in his faux-profundity and philosophical blitherings. He is a character who thinks too highly of himself, believing himself to be the centre of attention, and stirring drama unnecessarily. He reflects the stereotypical portrayal of a pedantic artist amongst those, normally right-wing figures, who disdain the sort. As such his characterisation is alienating and he is a thoroughly difficult character to root for and gain any sort of connection with. This is characteristic of the weak writing throughout, with the script written by Benjamin Rider, which is further exemplified by further weak characterisations of supporting characters, and the stilted dialogue throughout. Supporting figures such as Samantha (Heidi Kozak Haddad), Joanne (Matisse Rose Haddad), and Borgen (Joe Tandberg), are all trivial figures who flow into and out of Rex’s life, lacking their own distinct personalities and failing to impact Rex, or the story, in a meaningful, compelling, or believable way. This poor writing is further compounded by the dialogue throughout, which is both stiff and stilted, with all characters speaking robotically and in a manner that no human does, feeling forced. This hinders the cast in particular, limiting their performances, though in truth, even without such an abject script there isn’t much to suggest that better performances could have been delivered, with all actors delivering their lines in such a monotonous manner. Benjamin Rider also directs to similar disappointing affect. The film follows all conventions laid down by previous and superior psychedelic cinema, with random bursts of colour and mindless pondering of reality all filmed so uninterestingly that ‘The Mux’ - meaning the multiplexer - is more likely to put you to sleep than make you believe you’ve had some kind of spiritual awakening. The film is shot without invention or creativity, with music, which is admittedly well mixed and designed, seemingly the priority over story or directorial inspiration. As such ‘The Mux’ is one trick pony, relying on its competent musical composition whilst all other elements - including those most important to a film (i.e. story and direction) - flounder in the background. It’s an incoherent trip of a film, one that leaves a sour taste in the mouth instead of the awakening that it too self-righteously believes it carries. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Rickshaw film review by UK film critic Joe Beck. Starring Charles Patel, Vidisha Khandelwal directed by Shourya Kumar Lal. HOME | FILMS | REVIEWS Rickshaw Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Dec 3, 2023 Directed by: Shourya Kumar Lal Written by: Shourya Kumar Lal, Rachit Verma Starring: Charles Patel, Vidisha Khandelwal Love is often found where we least expect it. Be it the girl you once sat next to in history class, or the person you see everyday filing paper in the office, or maybe it’s simply a chance encounter as you both make your way to school, college, or work. Such is the case with ‘Rickshaw’, a short film, which focuses more on the construct, the idea of love, rather than love itself, and how this can differ between different people. This should provide firm grounds for a strong, potentially heartbreaking story, however, instead the film is poorly written and melodramatic in its romance, leaving much to be desired. ‘Rickshaw’ follows Kartik (Charles Patel), as he reminisces on a spell of unrequited love for Meera (Vidisha Khandewal). Kartik, sat on a storage container on a lonely evening with his friend as they look over the city of New Delhi, lays out what he believes to be love, and the reason why he was unable to pursue his love for Meera. The majority of the film takes place one year prior, as Kartik and Meera develop their bond frothier first meeting, which, as the title would suggest, takes place as they jostle for a rickshaw en route to their respective colleges. Ultimately agreeing to share the rickshaw, this is a painful scene to watch. The writing is so obviously scripted that nothing is surprising, whilst the slow motion, beam of light that shines on Meera is almost sickening in the lack of creativity involved in creating this meet cute. It is a shame because following the meet cute, Shourya Kumar Lal’s directing only grows in strength. Filming on an iPhone 14 Pro, as Kartik and Meera wander around parts of New Delhi - though crucially only those roads surrounding their respective colleges, Kumar Lal’s skill behind the camera means that you cannot tell this fact. The film is generally well framed throughout and at times aesthetically beautiful, particularly in one awe-inspiring shot towards the end. However, consistently throughout the strength of his directing ability is undermined by the weakness in the film’s writing. Also written by Shourya Kumar Lal, the script is at first all too obvious, particularly during Kartik’s reminisces and the early moments between Kartik and Meera - including those involving Kartik hanging around the rickshaw stand in the hope of seeing Meera again (whether this is creepy or romantic is open to the viewer’s interpretation). Later, however, it becomes too pedantic in explaining the reasons why they could not work out together, although through such pedantic, melodramatic writing, a mountain is made of a molehill and Kartik comes across as a fool rather than the noble stoic that you feel Kumar Lal was trying to paint him as. The overall lingering sense of melodrama isn’t helped by the soundtrack, consisting of cringe-inducing stock music, which further undermines the talent involved in the directing and only further emphasises the weaknesses in the writing, ultimately leading to a disappointing story of ill-fated love. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Obsession film review by UK film critic Hope Madden. Starring Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless directed by Curry Barker. HOME | FILMS | REVIEWS Obsession Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 12, 2026 Directed by: Curry Barker Written by: Curry Barker Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless Obsession is a film about consent. Filmmaker Curry Barker made waves in 2024 with his free YouTube feature Milk & Serial , which you should watch if you have not. Made on a shoestring, the spare chiller is immensely impressive. His second feature shows what he can do with just a little bit more budget. Barker writes a fresh and relevant take on the “deadly wish” fable. Sad boy Bear (Michael Johnston) can’t bring himself to confess his feelings for co-worker Nikki (Inde Navarrette). He’s so desperate after one cringy missed chance that he breaks open a One Wish Willow he’d purchased as a joke and—without reading any of the warnings printed all over the box—wishes that she would love him more than anyone else on earth. And she does. The themes Bark er mines are incredibly of-the-moment. Bear wants what he wants, but he wants it to be true. It isn’t, but that’s not good enough. Make it be true. But you can’t make something be true if it isn’t true, no matter how sad the boy is who wants it. Male entitlement masquerading as loneliness leads to violently self-centered behavior. Barker’s story, however jump-scary or genre friendly it becomes, never forgets this central, relevant concept. Navarrette is especially impressive, able to carve out a recognizable, realistic character quickly so you notice the changes. Johnston, also excellent, naturally unveils the selfish center of the “nice guy.” Solid support work from Cooper Tomlinson and Megan Lawless root the fantasy in believable reality. The performances and dialog feel very authentic for this generation, and Barker settles us in to this familiar premise before making his pivot at just the right moment. The third act not only ups the horror quotient, it draws Bear’s bargain with the sinister edges it deserves and begins a march toward a violent and satisfying payoff. Barker has a bigger, more expansive canvas here, but his storytelling instincts remain impressively hungry. The film is atmospheric but never overstuffed, with a small group of well defined central characters delivering a clear, concise message of prices to be paid. Reality has a bias. Obsession is bloody reminder that no amount of spin can change the dangers that come from making desperate, narcissistic bargains with the future. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Why Did You Tell Me film review by UK film critic Amber Jackson. Starring Louis Findlay, Julie Stevens directed by Louis Findlay. HOME | FILMS | REVIEWS Why Did You Tell Me Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Mar 9, 2023 Directed by: Louis Findlay Written by: Louis Findlay Starring: Louis Findlay, Julie Stevens Written, directed by and starring Louis Findlay, Why Did You Tell Me is a deeply emotional short film that explores what happens when a couple reach a sudden turning point in their relationship. On the evening of her fiftieth birthday, Carla (portrayed by Julie Stevens) announces unexpected news that changes the course of both her and boyfriend Rory’s future. The viewer is positioned to be a fly on the wall as we feel as though we should not be watching this couple have a very challenging conversation that permanently alters their relationship. The two characters in this short are Rory, the useless at baking but happy-go-lucky boyfriend, and Carla, an up-tight, career-driven woman who finds herself anxious in a predicament. The two demonstrate an impressive contrast on screen as their personalities are starkly different, yet they clearly adore each other. When Carla’s news reveals a point of tension in their relationship, the two find themselves at a crossroads and cannot decide where to go from that point. The film depicts a tender yet heartbreaking moment as both characters explore a newfound tension and witness an ending of sorts. Whilst it is sad to watch, it feels like the film handles a natural conclusion and is written in a powerfully truthful way. Without giving too much away, as Carla and Rory both struggle to deal with a conflict that has presented itself, there are some problematic moments that arise that the filmmaker obviously wanted to highlight. Concerning women’s bodies and a woman’s right to choose, these issues are handled very sensitively and arguably in a realistic way. Ultimately, it definitely engages with a wider public conversation about a serious real-world issue and the emotions within the film are not only very raw, but also true to life. It is also interesting to see this type of content presented in a film that not only features a slightly older woman, but also a couple with an age gap and filmmaker Louis Findlay really considers Carla and Rory’s difference of opinion and the emotions that they will both inevitably experience. Despite pacing being slow and full of dialogue, this short film feels very realistic and like an actual real-life situation. There have been plenty of films released this year concerning similar themes and Findlay’s film fits into this very well. It clearly communicates Carla’s regret for revealing something that she is unable to take back, as well as Rory’s devastation and struggle to accept what is happening. Whilst Carla is self-assured and confident and does not want to feel guilty about the situation, Rory’s reaction may appear immature, but the viewer comes to understand the true feelings behind his reaction and helplessness. Findlay manages to cultivate a feeling of sympathy for both characters even though they are initially frustrated with each other and it makes for compelling viewing. Why Did You Tell Me is a good watch that makes its audience consider the inner workings of a couple deemed to be socially unconventional, but care very deeply for each other. It is a poignant and thoughtful film that is worth seeing. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Elio film review by UK film critic Hope Madden. Starring Yonas Kibreab, Zoe Saldaña, Remy Edgerly directed by Adrian Molina, Madeline Sharafian, Domee Shi. HOME | FILMS | REVIEWS Elio Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 19, 2025 Directed by: Adrian Molina, Madeline Sharafian, Domee Shi Written by: Julia Cho, Mark Hammer, MikeJones Starring: Yonas Kibreab, Zoe Saldaña, Remy Edgerly Few films, animated or otherwise, breathe the rarified air of Pixar’s best. The animation giant has turned out an alarming number of outright masterpieces: Toy Story, WALL-E, Up!, Toy Story 3, Inside Out . Their second tier is better than nearly every other animated film you’ll come across. The originality, humanity, and visual magic on display in these films is so superior to anything else out there, it becomes an almost impossible standard to bear. Pixar’s latest effort, Elio , tells the sweet story of a lonesome orphan who wants desperately to believe that “we are not alone.” Elio inadvertently casts himself as leader of earth and invites aliens to abduct him. They accept. Elio ’s writing team includes Julia Cho, who penned the charming Turning Red , and Mike Jones, whose Soul rightfully took 2021’s Oscar for Best Animated Feature. The directing team includes Turning Red ’s Domee Shi and Coco ’s Adrian Molina. That’s a solid team, one fully aware of the wondrous possibilities of animation and family friendly storytelling. And they do tell a lovely story. As Elio (Yonas Kibreab) finally finds a friend in galactic warlord Grigon’s (Brad Garrett) son Glordon (Remy Edgerly), he also realizes that he might have liked his Auntie (Zoe Saldaña) more than he thought. Once Elio is space bound, the film brightens. The inhabitants of the Communiverse are delightfully oddball. There’s brightly colored fun to be had. But Act I doesn’t dig deep enough into Elio’s relationship with his auntie to give the film real stakes, so the emotional center that creates the Pixar gravitational pull is never as strong as it is in their best efforts. The story beats also lack the freshness of the best Pixar has to offer. Still, a first-contact film that retails a childlike wonder about what lies beyond the stars without resenting what waits at home is a rare thing. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

The Gazebo with a View film review by UK film critic Alex Crisp. Starring Yui Kalberg, Gail Taplin, Dean Forrester directed by James Short. HOME | FILMS | REVIEWS The Gazebo with a View Film Review average rating is 1 out of 5 Critic: | Posted on: Sep 27, 2021 Directed by: James Short Written by: James Short Starring: Yui Kalberg, Gail Taplin, Dean Forrester An anthology short film made up of three even shorter short films, none clocking in at more than a few minutes, each introduced with its own old timey title card, and all revolving around a park gazebo. This dearly modest endeavour is directed by the splendidly named James Short, who caps a great couple of days for fans of nominative determinism. I watched The Gazebo with a View the day after the BBC sent reporter Phil McCann to cover panic buying at petrol stations, so you can appreciate my titillation. In chronological order, the three stories are: Social Club? : Two pals sit in the gazebo discussing a screenplay, one hears a groaning sound in the distance. He leaves gazebo to find the source of the groan, which is coming from a bloke who has spent the night sleeping in the park after enjoying his “social club” celebration a little too much. The Perfect Swipe : Someone talking on his phone in the park gets his chocolate bar stolen by a masked man (this one is my favourite). Who The F--- Is Lilly? : Two characters who we will simply call “Girlfriend” and “Boyfriend” are sitting in the gazebo when Girlfriend confronts Boyfriend about a text she has discovered on his phone. As the title implies, she wants to know who “Lilly” is. He pleads that it’s only his boss, but she doesn’t believe him. Let’s make several things clear. This is a student film that looks like it was filmed with a camcorder, and employs student actors, or more likely students as actors. As such it’s difficult to judge the work by the same criteria one would judge professional filmmaking. On the flipside, students have produced professional grade films before, so there’s only so much leeway you can give James Short for his choppy 360p miniature. But at the same time, there’s something endearing and above all else fun about amateur filmmaking (as opposed to amateurish filmmaking) of this ilk. It’s like watching a secondary school play, and whether the comical effect was intentional or not, I had fun watching it—particularly “The Perfect Swipe”, which might be the sweetest mugging ever put to film. Unfortunately, I’m bound by professional duty to give this park bench triptych a solitary star. But as solitary stars goes, it’s one of the brighter. Buy UKFR Banner Space About the Film Critic Short Film < All Reviews Next Film Review >

This Sucks film review by UK film critic Jason Knight. Starring April Denise Scott, Michael Hooper, Emily Fletcher, Eric Flores, Rachel Amanda Bryant, Thresa Richardson directed by Cameron A. Mitchell. HOME | FILMS | REVIEWS This Sucks Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 2, 2025 Directed by: Cameron A. Mitchell Written by: Cameron A. Mitchell Starring: April Denise Scott, Michael Hooper, Emily Fletcher, Eric Flores, Rachel Amanda Bryant, Thresa Richardson A feature-length dark comedy written and directed by Cameron A. Mitchell and starring April Denise Scott, Emily Fletcher, Eric Flores, Rachel Amanda Bryant, Michael Hooper and Thresa Richardson. The COVID-19 pandemic is taking place and three young people in California are spending Christmas holidays together inside a house during quarantine. These individuals are Jess (Scott), a former make-up podcaster who is now struggling with depression, Carly (Fletcher), whose family is trying to convince her to move back with them and Ted (Flores), a homosexual. These three characters (including Jess' former boyfriend, Jake (Hooper)) are being invaded by imaginary demonic-lookin entities that represent their personal issues. As time goes by, the protagonists will attempt to deal with their problems, while also helping each other. Perhaps what stands out the most are the demonic entities. As mentioned, four persons in this story imagine that they are interacting with human-like entities that resemble some sort of demon, with red skin, horns on their head and goat-like legs. And each entity has a different appearance (at least facially), one that resembles a person that is related to the character who sees that entity. For example, Jess imagines that the entity resembles Jake, while Carly sees her sister, Ocean (Bryant). Therefore, the entities represent the person who is responsible for their troubles and their presence is an interesting way of exploring the characters. Demonic entities aside, the screenplay does a good job when it comes to explroring the characters and their struggles and the adult humour adds to the experience and so does the comedic music by Charlotte Partt. And recognition also goes to Siani Johnson's creative editing. Negatives regarding this feature? Overall, the pace is slow and makes the film feel overlong. This is probably because the plot is primariy character-driven, paying less emphasis on the story, nevertheless, the film does seem to have a duration that goes on for longer than necessary. The performances are great and some of the cast play two characters. Scott is a woman who is struggling with depression, caused partially by the pandemic, partially by the experinces she had with Jake, partially by her controlling mother (Richardson) and partially by a person she cares about leaving her household. Scott also portrays the demonic entity that pursues Jake. Fletcher is a naive, talkative and kind-hearted person who deals with her sister's attempts to convince her to return home. Then, there is Ted, the cheerful and optimistic homosexual who has an entity that resembles himself, indicating that he needs to confront himself in order to get better. Mental health is a major theme in this story, particualry depression. Friendship, support, self-reflection and family values are also significant. As the plot takes palce during COVID-19, this feature is a commentary about that global pandemic, exploring how it affected people, especailly during quarantine. The film also involves the Black Lives Matter movement. A story set during the COVID-19 pandemic, exploring how the lives of several characters develop during that time. There are humourous parts and emotional parts and the character development is executed well. Some might dislike the slow pace, however, in the end, this is an interesting viewing about dealing with personal issues and having support. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Opportunity film review by UK film critic Chris Olson. Starring Jon Waters, Quinn Aikele, Gabby Atkinson directed by Rusty Rehl. HOME | FILMS | REVIEWS Opportunity Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Nov 27, 2024 Directed by: Rusty Rehl Written by: Rusty Rehl Starring: Jon Waters, Quinn Aikele, Gabby Atkinson Mormon gangsters, crypto wallets, and oodles of makeshift charm, filmmaker Rusty Rehl’s indie crime comedy Opportunity gives viewers plenty to take advantage of, including a central bromance that will appeal to fans of Seth Rogen films. Jon Waters stars as Patrick, a man living in his van trying to get back on his feet in life. Having been rejected by the banks for money, he turns to a dangerous loan shark to help him purchase a house but gets embroiled in a dangerous favour that will see Patrick and his hapless pal Donny (Quinn Aikele) running from guns, cops, an yes…Mormons (although they prefer to be called Latter-Day Saints). Opportunity as an indie film has a lot of punk spirit, nothing is off-limits here. From opening the film with a profound quote from Sun Tzu to characters calling each other “woke” and “snowflake”, Rusty Rehl wants his audience in a state of unpredictability throughout. Patrick and Donny’s banterific relationship is the core of the movie and if you get on board with their foul-mouthed hijinks there is plenty of enjoyment to be found here. Their similarity as characters arguably makes it difficult to fully understand them, for example, Patrick seems reluctant to work for the loan shark initially, whilst Donny is totally up for it, but this hesitancy from the former seems completely gone not long later when he is maniacally breaking into a safe. The filmmaking is ambitious, stringing together numerous scenes in different locations and action sequences with sporadic violence, all with a tongue-in-cheek vibe. It’s hokey for the most part and viewers are unlikely to be waxing lyrical about the technical proficiency here but strength is found in the more emotional moments between our two leads. Jon Waters gives a strong performance as Patrick, emanating passionate energy at his character’s onslaught of life’s cruelties. Quinn Aikele is less sturdy with the dialogue but has a likeable magnetism making him a captivating onscreen presence. The supporting cast is an eclectic bunch of misfits but it is Gabby Atkinson as Donny’s long-suffering girlfriend Abby who shines the most - her potent hatred of Patrick is simply sumptuous. A rough around the edges production leaves the film feeling more endearing than compelling and there are certainly improvements that could be made to the convoluted crime plot but this will likely find a strong audience in the indie comedy scene. The quick-fire editing means it doesn’t outstay its welcome and it has balls and attitude, which, after all, are all the Opportunity one needs. Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Anora film review by UK film critic Matt Weiner. Starring Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov directed by Sean Baker. HOME | FILMS | REVIEWS Anora Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: Oct 31, 2024 Directed by: Sean Baker Written by: Sean Baker Starring: Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov Sean Baker doesn’t shy away from seamy subcultures, and the worthiness of people trying to get by outside of conformity. Yet it hasn’t been until his Palme d’Or winner Anora that he has found one group without any redeeming qualities. This shocking and depraved group of people is, in this case, the jet-setting global elite. Anora “Ani” Mikheeva (Mikey Madison) is no stranger to high rollers at her luxe Manhattan strip club. But there’s wealthy, and then there’s wealthy . When a party of Russians ask for a dancer who speaks their language, Ani becomes an object of desire to Ivan “Vanya” Zakharov (Mark Eydelshteyn, pitch perfect as a manic boychild whose naivete can turn on a dime from charming to something nearing sociopathic disinterest). Vanya has taken up residence in his Russian oligarch parents’ Brighton Beach mansion. He is in America to study, but spends his days playing video games and his nights partying into oblivion—anything to avoid being sent back to Russia to join the family business. His relationship with Ani quickly escalates, from sex work outside the club to becoming an exclusive escort to an impromptu Vegas marriage. This being a Baker fairytale, Ani’s whirlwind rags-to-riches marriage is only the beginning of her Cinderella story. What follows is a comically grotesque odyssey through the Russian-dominant Brighton Beach, as Vanya eludes his new bride and a superb supporting cast of family fixers and toughs sent to get the marriage annulled before more shame is brought on the Zakharov family. With the callow Vanya on the run, Baker instead focuses on the chaos and damage (both physical and emotional) left in his wake. And while this is a deserved star turn for Madison, who is electric and enthralling, she is just one of the victims of Vanya’s selfishness. She joins—or rather is dragooned into—the evening’s hunt for Vanya by a trio of Russian and Armenian strongmen, led by the beleaguered Orthodox priest Toros (Karren Karagulian, a Baker mainstay in his best role yet). For much of their night together, Baker pulls off a risky balance between outright comedy and what is, essentially, the kidnapping of a sex worker by three large, powerfully connected men. None of this would work without Baker’s characteristic empathy for everyone. And it certainly wouldn’t feel so easy-going were it not for the relationship between Ani and the silent strongman Igor, played by Yura Borisov with a standout turn that nearly rivals Madison’s. Baker’s most memorable characters are often wrestling with the American dream, and Baker himself seems like a Rorschach test for your own baggage: both pointed critic and secret optimist. Even at his most hopeful, though, there’s always a catch. Save the very few who can buy their way to hedonic bliss, carving your own real-life fairytale ending won’t look like it does in a Disney movie. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

WanderLand film review by UK film critic Jason Knight. Starring Holly Hajbok, Haylie Jones, Dru Jones, Ray William Butler directed by Nicole Pott. HOME | FILMS | REVIEWS WanderLand Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 15, 2021 Directed by: Nicole Pott Written by: Nicole Pott Starring: Holly Hajbok, Haylie Jones, Dru Jones, Ray William Butler A poignant story about a six-year-old girl who is being neglected by her mother. Alice (Hajbok) is the young daughter of single mother Tracy (Jones). Tracy claims to love her, however, she is an irresponsible parent and that is seen several times. She fails to pick Alice up after school, she makes her wait in a room full of slot machines, she swears in front of her child, she is rude and mean towards her and she generally does not go to great lengths to take care of her. Alice is forced to deal with her mum's unacceptable behaviour and Tracy does not appear to understand that her parenting is flawed. The narrative of WanderLand explores the relationship between Alice and Tracy and directly reveals how the child is ignored by her mum. Tracy takes her daughter here and there and makes her wait time and time again, not showing any remorse for her actions. Things get rather dramatic when Tracy is walking along the beach with a man she just met and Alice falls behind, subsequently getting lost. The mood is rather sad throughout the film and the audience will most likely sympathise with the little girl as she suffers from her mother's neglect and they will disapprove of Tracy as a parent. However, Tracy's better side is also shown, although it is not a side of her that she shows often. People's kindness is also present when Alice is looking for her mother and is approached by two constables who are kind to her. Hajbok delivers an emotional performance as a gentle, innocent little girl who is unfortunate to have an uncaring mother. The world is seen through Alice's eyes and the viewer feels for her and wants things to get better for her. Jones is quite convincing as a person who does not appear to know how to be a responsible parent. Pott does a great job with the direction and the cinematography by Fraser Oxlee is wonderful. Composer Richard Collins creates a mesmerizing and beautiful score, which along with Kim Moore's vocals, develops a melancholic atmosphere. The filmmakers also make effective use of sound techniques, with the sound of slot machines, waves and rain being quite strong. This short drama will most likely move the audience. With an unhappy but intriguing plot, beautiful cinematography and great acting, this accomplishment deserves a great deal of praise and recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Amerikatsi film review by UK film critic Rachel Willis. Starring Michael A. Goorjian, Hovik Keuchkerian, Nelli Uvarova directed by Michael A. Goorjian. HOME | FILMS | REVIEWS Amerikatsi Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Sep 14, 2023 Directed by: Michael A. Goorjian Written by: Michael A. Goorjian Starring: Michael A. Goorjian, Hovik Keuchkerian, Nelli Uvarova With the historical drama Amerikatsi , writer, director and star Michael Goorjian explores the harsh, sometimes funny, reality of life in Soviet Armenia during the 1930s. During the Armenian Genocide, four-year-old Charlie is smuggled out of Armenia and sent to the United States. He returns to his homeland as an adult (Goorjian) after Joseph Stalin offers survivors of the genocide scattered around the world a chance to return to Soviet Armenia. However, after saving a young boy from a mob, Charlie runs afoul of a soldier who doesn’t like his public displays of religiosity or his Americanism. Accused of spying for the United States, Charlie is sentenced to ten years hard labor. Charlie finds comfort in the view from the window of his cell: a glimpse into the lives of an Armenian couple. This unexpected view allows him the chance to form a connection with the outside world. It’s this link that sustains him during his imprisonment. Despite the seriousness of the situation, Goorjian elicits humor where he can find it. There’s an absurdity to Charlie’s circumstances that skirts the line between the comedy and the tragedy. The score often emphasizes the irrationality of both Soviet hypocrisy and the day-to-day realities of life in a gulag. At times the humor almost undermines the historical tragedies on which the film is based. But there are also moments when we truly feel for Charlie and his plight. The tightrope Goorjian walks between humor and heartache emphasizes his skills as both an actor and a director. The supporting cast, particularly Hovik Keuchkerian, helps the film strike the right balance. There is also genuine feeling for Armenia and its people peppered throughout the film. Despite Charlie’s treatment at the hands of the Soviets, he can’t ignore the overwhelming pull he feels for the country of his origin. At its heart, Amerikatsi requires the audience believe in the power of both human connection and hope. To weary the audience with too much focus on the tragedy of life while ignoring the joy would hamper the film’s message. In the end, Goorjian delivers a heartfelt love letter to Armenia and the resilience of its people. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release < All Reviews Next Film Review >

Inherited film review by UK film critic Sam Quarton. Starring Damon Hoyle, Jessica Davis, Natoya Danielle, Humphrey Brown III directed by Humphrey Brown III. HOME | FILMS | REVIEWS Inherited Film Review average rating is 4 out of 5 Critic: Sam Quarton | Posted on: Jul 29, 2022 Directed by: Humphrey Brown III Written by: Sekou Browne Starring: Damon Hoyle, Jessica Davis, Natoya Danielle, Humphrey Brown III Drenched in covid-induced familial anxiety, Inherited offers an emotionally articulate response to the question of covid-era representation. Now over two years on since the beginning of the pandemic, one we are still in fact shackled to, filmmakers have progressed past the unnecessarily tendentious question of whether it is too soon to depict the horrors of COVID-19 - and its cataclysmic impact on families - to broach a more pressing ethical quandary: how should we depict it? And while there is obviously no correct answer to this question, director Humphrey Brown III offers a deft and emotionally articulate response with Inherited. Mostly comprised of footage from several Zoom meetings, the short follows stalwart son Michael – played with apt emotional enervation by Damon Hoyle – and his quarrelling siblings as they attempt to find their missing father and pastor Michael Sr. during the height of Texas’ grappling with the pandemic. But Michael’s concerns bubble to boiling point upon discovering financial woes about Michael Sr’s floundering church, and how this might play a part in the pastor’s erratic behaviour. Based off writer Sekou Browne’s own period of covid-induced terror – Browne tirelessly cared for his ailing grandmother throughout the chaos of the pandemic – Inherited feels poignant and sincere. There is tangible fear here: Michael’s half smiling/half-worry leaden expression as he tries to assuage his bickering family’s concerns signposts that maybe everything won’t be alright after all. It’s the same sort of expression we have all grown to master during our own brush with the virus. Also running through this dizzying familial sadness is Joseph Zgamba’s pallid, overcast photography, which imbues the hazy Texan setting with a sense of foreboding worthy of a Scandinavian crime thriller. It’s as if the baleful spectre of death and misfortune hangs in the atmosphere like an unseen villain, waiting to strike Michael and his family at a moments notice. And unlike the latest wave of overly didactic covid dramas that attempt to chart an entire nation’s experience of the pandemic in one gelatinous mess – see the Chinese Government’s saccharine propaganda piece, Ode to the Spring – Inherited is imbued with tautness and palpable anguish that aptly focuses on one family’s travail and attempt at survival. Buy UKFR Banner Space About the Film Critic Sam Quarton World Cinema, Short Film < All Reviews Next Film Review >