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Anno 2020 film review by UK film critic Chris Buick. Starring Jessica Castello, Sheila Ball, Gil Ben-Moshe, Lital Luzon, Adriana Moccia, Kevin Scott Allen, Greg Poppleton, Andre Doc Green, Shaun Huff, La Rivers directed by James Morcan. HOME | FILMS | REVIEWS Anno 2020 Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Feb 13, 2025 Directed by: James Morcan Written by: James Morcan Starring: Jessica Castello, Sheila Ball, Gil Ben-Moshe, Lital Luzon, Adriana Moccia, Kevin Scott Allen, Greg Poppleton, Andre Doc Green, Shaun Huff, La Rivers Anno 2020 is writer and director James Morcan’s adaptation of his own novel of the same name, which weaves together a series of interconnecting stories set during the COVID-19 pandemic. Now, in this feature, Anno 2020 looks to encapsulate further still that turbulent period through especially relatable experiences as we follow the lives of an ensemble cast of characters spread far and wide across the globe. Anno 2020 is a film that, despite some issues, achieves a great deal and fully deserves significant credit. Firstly, as an undertaking in itself, Anno 2020 is a monumental achievement in terms of just getting a film made, with Morcan beginning actual production of the film during the pandemic yet somehow managing to capture footage from seventeen different cities within five countries across four different continents, and all for a mere six thousand dollars. We start at the beginning, with early rumblings of a virus in China eventually making its way west, and then journey with our characters as it takes hold of the world. We follow quite a diverse group; travel-blogger Emma is stuck in Wuhan during this time feeding on conspiracy theories before reconnecting with her mother Heather when Heather reveals her cancer diagnosis. There’s Elijah, living in the States estranged from his Australian family home after coming out and struggling to reconnect with his brother Mark. Then there’s Levi, a man using this time to pursue two different women online. And then there are childhood best friends Jarrell and Malik, two journalists whose personal and professional relationships are nearly torn apart by the appearance of Malik’s new love interest Imani. It moves surprisingly quickly for a two-and-a-half-hour film, jumping back and forth constantly between stories to keep things moving along and fresh. Where the well-earned poignancy of the film is let down is in the delivery from the cast, at times feeling like a collation of dramatic soap-opera vignettes full of over-long, digressing monologues rather than conversations, something that may translate better on the page but not as well on screen, and there are also scenes which often have scores laid over them that really don’t seem to vibe with the emotion of the moment. But despite that, nothing should take away from what Anno 2020 represents. Through these stories, Morcan shows just how much impact the pandemic had on everything , how the world changed, how the medical, economic, and societal consequences of the pandemic are still being unraveled, how a constant stream of conspiracies and distrust grew out of nowhere and most of all, how people’s lives all over the world were turned upside-down. But it also shows how despite all of that, in so many ways, the world also became more connected as people chose to reset, re-think, and re-evaluate what is really important. So, while some may question the need for more stories on the pandemic given how we all experienced it firsthand, to be able to look back and study the humanity of it all will always be important. With that, one would argue that is exactly the reason we need films like Anno 2020, a n ambitious look back at one of the most significant periods in human history filled with passion and important reflection. About the Film Critic Chris Buick Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Sugarcane film review by UK film critic Rachel Willis. Starring Charlene Belleau, Ed Archie Noisecat, Julian Brave NoiseCat directed by Emily Kassie, Julian Brave NoiseCat. HOME | FILMS | REVIEWS Sugarcane Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Aug 22, 2024 Directed by: Emily Kassie, Julian Brave NoiseCat Written by: Emily Kassie, Julian Brave NoiseCat Starring: Charlene Belleau, Ed Archie Noisecat, Julian Brave NoiseCat The history of residential schools, not just in North America but around the world, is one of insidious genocide. Children stolen from their families and communities, forbidden to speak their language or practice their religion – endorsed by governments in an attempt to “kill the Indian, save the man.” Directors Julian Brave Noisecat and Emily Kasie examine the legacy of one such Canadian school in their documentary, Sugarcane. Noisecat has a personal connection to the St. Joseph Mission residential school, which was in operation until 1981. His father, Ed Archie Noisecat, was born there. Ed’s story, along with his mother’s, centers the film on Julian and Ed’s attempt to examine the past and the impact of St. Joseph’s, not only on the Noisecat family, but on the communities affected. Interviews with the survivors of St. Joseph’s speak to terrible cruelty inflicted on them at the hands of priests. Documents reveal that many of those working at the school knew of the abuse but either stood aside or simply asked that offending priests be moved to another school. A nun pleads with the Church to remove a priest, as she cannot continue to “guard the children’s morality.” The documentary delves deeply into the continued impact of the school on the community. Many of the survivors cannot talk about their experiences, others speak to their experience as if they were simply observers of the crimes committed against them. Peppered throughout the film is archival footage of the schools. One impactful scene shows a nun presiding over dozens of young girls, kneeling beside their beds and reciting the Lord’s Prayer. Another shows a priest leading his “flock” of children, painting a picture of serenity and love. It’s a deceptive picture – one made to hide the true nature of these schools. Sugarcane is hard to watch. A content warning at the beginning of the film only prepares the viewer for some of the atrocities spoken of. The stories told speak to an almost unthinkable level of viciousness. The unfortunate truth is that too many turned a blind eye to the crimes as they happened. Only now is a reckoning occurring in which there is a level of acknowledgement to the horror to which so many children were subjected. However, the film is not without hope. Several scenes show that the religion and language of the culture survives. Sugarcane is a crucial piece of our history, one that demands acknowledgment. About the Film Critic Rachel Willis Theatrical Release, Documentary, World Cinema < All Reviews Next Film Review >

Hannah More film review by UK film critic Jason Knight. Starring Lily Maryon, Kathleen Fitzpatrick Milton, Joanna Smith, Magda Pakula, Katy More directed by Diana Taylor. HOME | FILMS | REVIEWS Hannah More Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 8, 2022 Directed by: Diana Taylor Written by: N/A Starring: Lily Maryon, Kathleen Fitzpatrick Milton, Joanna Smith, Magda Pakula, Katy More A biopic about the life and remarkable achievements of English writer, playwright, poet and philanthropist Hannah More, who was born in 1745, in Bristol. This period drama follows her life's journey, beginning from childhood, all the way to old age. The script contains many significant accomplishments and personal tragedies, including her education at a school that was run by her older sisters, where she also taught later, her engagement to a wealthy man, which was subsequently ended, the start of her career as a playwright and her involvement in educating the poor and assisting in bringing an end to slavery in the British Empire. Several historical events are also referenced, including the American Revolutionary War and the French Revolution. Her collaboration with significant figures of English Literature and Arts are also shown, including Samuel Johnson and David Garrick. The strong screenplay effectively portrays More's struggles to achieve her goals and reveals the strong bond she had with her sisters. The audience follows her as she gains knowledge, meets people and moves up into the world. The mise-en-scene contains furniture from the 18th and 19th century and the costumes are one of the best aspects of the feature as they look fantastic and give the impression that they belong in that era. Liz Muir and Rebecca Moroz develop wonderful music that adds significant value to the viewing experience. There are texts that announce important dates and events that took place during that time and the entire background is filled with a lovely hand-drawn image that depicts events that are related to what is taking place at that part of the story. This biographical movie acknowledges and praises the life of an outstanding individual and the contributions that they made to the world. At certain points, the acting is not too great, nevertheless, for those who are interested in Hannah More and enjoy historical dramas, this is a film that is worth checking out. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Justice of Bunny King film review by UK film critic Hope Madden. Starring Essie Davis, Thomasin McKenzie directed by Gaysorn Thavat. HOME | FILMS | REVIEWS The Justice of Bunny King Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 26, 2022 Directed by: Gaysorn Thavat Written by: Sophie Henderson, Gregory King, Gaysorn Thavat Starring: Essie Davis, Thomasin McKenzie “It’s our job to keep them safe.” It is with deepest cynicism that writer Sophie Henderson puts those words into the mouths of social workers and police officers in director Gaysorn Thavat’s effecting The Justice of Bunny King . But it never feels forced. Nothing in the film does. The Justice of Bunny King rides intimacy and Essie Davis’s fierce and tender performance to articulate a scathing indictment on the way the system, blinded by classism and misogyny, fails. Davis plays a woman with a smile and a good word for everyone. That doesn’t change the fact that Bunny remains sometimes barely a step ahead of the rage that has upended her life. That rage is likely what’s kept her alive as well. At the moment, Bunny’s cleaning windshields in traffic, cleaning house and babysitting at her sister’s place, and trying desperately to find a place of her own so she can have her kids back. She’s almost there, too. She can just about touch it. But she risks all of it to keep another woman from falling victim to the systems in society that make it so hard for poor people – poor women, in particular – to be safe. Thavat’s film – like Nia DaCosta’s 2018 gem Little Woods and Courtney Hunt’s 2008 indie Frozen River – takes a clear-eyed look at modern poverty. Each film also benefits from powerful, human performances by two women working in tandem to tell the story of women who are more powerful when they work together. Davis is a force of nature, delivering authenticity flavored with spirit and spite. Her fire finds balance in a quieter, more brooding turn from the wonderful (as always) Thomasin McKenzie. Like Breaking , featuring an underappreciated powerhouse performance by John Boyega, Bunny King recognizes the wearying web of bureaucracy and antipathy that enforces a class system. But Thavat’s film finds comfort in community, allowing that there is help and hope. It may not come from those who can afford it, but those who best understand your plight. “I’m not the police,” a woman tells Bunny at one point. “I’m here to help you out.” Thavat allows an impeccable cast to take advantage of lines like that one. Her even hand behind the camera never forces drama, never wallows in suffering. Together with her team and through this story, she fights the power. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Lola Dust film review by UK film critic Patrick Foley. Starring Jade Pattenden, Hugo Raymundo, Leonard Reese directed by Dom Cutrupi. HOME | FILMS | REVIEWS Lola Dust Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 27, 2024 Directed by: Dom Cutrupi Written by: Dom Cutrupi Starring: Jade Pattenden, Hugo Raymundo, Leonard Reese AI and deepfakes already present a troubling conundrum for democracy in their relative infancy. The next decade and beyond could mean a breakdown in the trust of our own eyes and ears at best and the outright manipulation of reality by malicious actors at worst. Lola Dust is Dom Cutrupi’s dark interpretation of this possible future: a flawed film but one with a disturbingly realised vision. Nadia (Jade Pattenden) is an aspiring actress who takes a mysterious audition that stands out from the rest of her experiences in the dehumanising film industry. All feels normal at first, but when manipulated footage appears of her on the news under a new alias – Lola Dust – announcing an affair with the UK’s controversial Home Secretary (Alex J. Campbell), she realises she has signed over her likeness to an elusive organisation, and legally agreed not to reveal her true identity. But when ‘Lola Dust’ becomes a firebrand celebrity for her extreme views, Nadia has to find the truth behind her alter-ego before her whole life is consumed by a lie. Lola Dust is a captivating drama about the world of behaviour influence, manipulation and malicious electioneering. Set a short leap into the future, its dystopian story is one that is scarily contemplatable. Similar to Black Mirror’s haunting 2013 episode The Waldo Moment , it features a generated viral character being thrust to the forefront of culture, and being used by forces to spread chaos and fear into a political bloodstream. Nadia represents the truth in the story – but as the adage goes, a lie can spread around the world before the truth gets its shoes on. The film feels relevant and pertinent in 2024 – a year of elections in which social media has played a crucial part. Fears of AI being used to attempt last minute interventions were unfounded this time, but given that the unhinged head of one of the world’s largest social media companies is now being invited to The White House, it shows how important defining truth in people’s minds can be. Lola Dust addresses this through the popularisation of an influential character that causes a breakdown in a society – with a message that division can sometimes be the most powerful weapon to those looking to undermine the truth. The film’s dialogue is clunky and at times struggles to maintain authenticity for a story that is meant to be set in the not-so-distant future. Awkward references around the news reporting of the Home Secretary’s sex scandal don’t flow well, particularly to audience members who are likely to be attuned with politics. There are also plot holes or story beats that do not receive a satisfying explanation, such as why Nadia doesn’t make her own video explaining her situation – particularly once it becomes clear her faceless adversaries are operating outside the law and that the contract she has signed surely cannot be enforced. The filmmakers do try and address these points, but their efforts are underbaked. The film is well-produced with solid visuals and a strong double performance from Jade Pattenden, who effortlessly switches from hopelessly romantic actress Nadia to the ferocious bigot Lola Dust. The poor narrative is outperformed by the production, and the themes the film explores, whilst verging into science-fiction, are interesting and relevant enough for Lola Dust to work as both an engaging thriller and foreboding prediction of the near-future. About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Makyo film review by UK film critic Corey Bulloch. Starring Alden Doyle, Abigail Markowitz, Bijan Karim directed by Bijan Karim. HOME | FILMS | REVIEWS Makyo Film Review average rating is 3 out of 5 Critic: Corey Bulloch | Posted on: Apr 1, 2022 Directed by: Bijan Karim Written by: Bijan Karim, Alden Doyle Starring: Alden Doyle, Abigail Markowitz, Bijan Karim “Silence calling out to me” There is a captivating serenity with Makyo , Bijan Karim’s film about a man named Abner seeking purpose in the world. As said above, Abner feels an invisible pull, a call to an action he is not entirely sure of. That detachment Abner has to the world around him is reflected through the filmmaking as Karim’s direction, editing along with Daniel Wester’s cinematography draws the audience to its relaxing and reflective vistas. We gather bits and pieces of Abner’s history, his relationships with old friends and idiosyncratic strangers while at the same time Karim always keeps us at a distance. Insights through narration give the character a poetic voice with Alden Doyle’s performance staying grounded in realism. While some scenes were clearly performed with other actors in the narrative, other moments felt that Karim and Doyle had gone documentarian and filmed real people’s reactions to Abner’s character interacting with them. Wester’s cinematography has a POV/documentary style to it at times, with sequences feeling voyeuristic as the camera follows or at times chases Abner. It doesn’t break the tranquillity of the film but does make the long static shots more striking. Scenes of the film will just take place in one wide shot, the breadth of the image be it under a bridge or a beachfront washes over the audience, wonderfully ensnaring them to the beauty. My favourite shot is two walls framed in a doorway that Abner and Abigail Markowitz’s Jazz were painting, the scene ending with both characters sitting on the floor. The two characters speak in the lower thirds of the frame, yet Wester's use of negative space and framing allows the scene to keep its emotion. The imagery made lively in silence as well as the use of music, using both licensed music or original score by Evan Hardenburger all have the same serene effect. Makyo creates a feeling of zen for the audience, and with that title, one can only guess that it is Karim’s desired effect for his film. Makyo is a term used in Zen Buddhism that has some different interpretations; referred to as the realm of devils or “illusory experiences” that can happen during meditation. Though in a broad sense, Makyo can also refer to attachments to experiences in everyday life. That latter description is more in line with Karim and Doyle’s screenplay as Abner questions his attachments to the places and people around him. Though with the character’s inner struggles and experiences in the film, the other two descriptions are applicable as well though not in a literal sense. A film like Makyo would usually struggle to hold my attention, with its slow disconnected narrative but Karim’s direction and editing are fascinating and feel akin to meditation. The distance can be a detriment at times but Makyo has its ways to quietly draw you back in. Overall a soothing spiritual journey of reconnection that is brought forth through strong cinematography and vision. About the Film Critic Corey Bulloch Indie Feature Film < All Reviews Next Film Review >

Princess of the Murder film review by UK film critic Chris Olson. Starring Jacqueline Sophia London, Max Ferreiras, Luciana Kurzius directed by Jacqueline Sophia London. HOME | FILMS | REVIEWS Princess of the Murder Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Dec 2, 2025 Directed by: Jacqueline Sophia London Written by: Max Ferreiras, Luciana Kurzius, Jacqueline Sophia London Starring: Jacqueline Sophia London, Max Ferreiras, Luciana Kurzius Set in the unassuming town of Keyport, New Jersey, a Halloween evening takes a chilling turn when the locals accidentally awaken an evil presence. If you are a fan of films like Hocus Pocus and Hubie Halloween , and don’t mind your films roughing it on a budget, then grab your candy swag bag and tag along. In Princess of the Murder , Jacqueline Sophia London plays Jackie, a local searching for her pet crow Cris, who has gone missing. Along the way, we witness Jackie undergo a number of cruelties from members of the town, such as being egged by two bullies in a car and an older gentleman shouting at her from his doorstep. At the same time, two friends, Lucy and Max (Luciana Kurzius and Max Ferreiras, respectively) are making their way to a slumber party for the evening. The trio collide in a graveyard and set events in motion that will get the blood spilling. A very low-budget feature, with some great indie filmmaking techniques, colourful characters, and a good injection of comedy (look out for a hilarious slow-motion knife throw). Princess of the Murder has a can-do charm that really kicks in by the mid-point of the film, once the evil is released and the slashing starts. The first thirty minutes could have done with a slashing of its own, feeling incredibly baggy with too many innocuous scenes and a jumble of characters being introduced haphazardly. Whilst the horror antics are absurd and vamped up for dramatic effect, they have a whimsical charm to them that will appeal to viewers with an affection for B-movie horror-comedies and the like. There is also a lovely moment of respect paid to Edgar Allen Poe. Some of the music choices are pretty good, especially when the evil presence gets released in the graveyard, and there is a jump-scare track that gets used more than once, which is pretty fun. The performances are what you would expect for a small indie film of novices, and there is an ensemble energy that you can tell the cast is enjoying themselves wholeheartedly. Sadly, this doesn’t translate into a strong cast that the viewer will necessarily believe or engage with, unless you are family and friends watching the movie. As with a lot of indie horror-comedies, the horror works better than the comedy. The former lends itself nicely to indie budgets, where the lack of high-production values can often enhance the creepy atmosphere rather than hindering it. Whereas good comedy is hard to come by, and the laughs here are memorable (eggs hitting faces, slow-mo knives), but far too sparse. A streamlined short film eschewing the ensemble of characters and focusing more intently on the three main ones could perhaps have been a better route to take here. About the Film Critic Chris Olson Indie Feature Film, Horror < All Reviews Next Film Review >

Rebel Ridge film review by UK film critic Rohan Kaushal. Starring Aaron Pierre, Don Johnson, Anna Sophia Robb directed by Jeremy Saulnier. HOME | FILMS | REVIEWS Rebel Ridge Film Review average rating is 4 out of 5 Critic: Rohan Kaushal | Posted on: Sep 7, 2024 Directed by: Jeremy Saulnier Written by: Jeremy Saulnier Starring: Aaron Pierre, Don Johnson, Anna Sophia Robb Rebel Ridge opens with its muscular protagonist, played by Aaron Pierre, cycling through an ostensibly peaceful Louisiana landscape with Iron Maiden’s “The Number of The Beast” blasting his eardrums. Seconds later, he is knocked off his bike by police who then violently detain him, threaten him and seize his big wad of money under feeble suspicions (ones that we easily unveil, fully aware that we’re watching legalised theft). To add another snag down the line, we learn Terry (Pierre) is in a race against time and needs this money to bail out a cousin in life-threatening danger. Terry, victim to the law’s unlawfulness, proceeds with an impossible reserve and collected cool, even addressing his oppressors as “sir” in a relaxed but commanding baritone voice — it’s only until 35 minutes in that we understand why. He is a former marine and martial arts enthusiast who’s been trained as a killing machine (his motto is “One Mind Any Weapon”). In other words, he is a badass. There’s nothing that screams “badass” more than the constant mag-dumping of weapons he effortlessly disarms from unsuspecting officers. As the police learn who it is they’re dealing with, Saulnier flips the (very hooking) procedural first half hour and infuses the following with some incredibly muscular filmmaking. The opening sequence thrusts into motion a battle between a single man and a small town’s police force; one that sees our sonorous 6’3 action hero (Mid-Sized Sedan) square off with a grey-haired, spitting, Alabamian Don Johnson, as the chief of corruption. A role that fits him well and one that has gestated from his cameo-esque appearance as the old racist dude in Django Unchained (funnily named “Big Daddy”), followed with similar characters in Dragged Across Concrete and Watchmen. Hand Johnson a role as a racist police officer, and the chances are he’s gonna take it. Aaron Pierre is at his absolute best here, in maybe his most star-calibre form, which is simultaneously buoying and disappointing with the realisation that his performance will never be projected on the tallest of cinema screens to be fully appreciated. As much as Rebel Ridge is a vehicle to showcase Saulnier’s directorial prowess, it also serves as an (armoured) vehicle to demonstrate how ideal Pierre is as an action star. His calculated restraint — both in the physical confrontations and in his attempts to de-escalate racially charged interactions — imbues him with a realism that’s rare in revenge-driven narratives. Hearing of John Boyega’s exiting from the film, practically mid-shoot, was disheartening but seeing Pierre in full form is enough to stow away any concerns about other actors because none could have filled the position better. It’s simple and mean, though not exactly lean. Rebel Ridge begins at a truly great pace, and it’s a fairly nuts-and-bolts thriller. Having said that, the film admirably stirs some social commentary about a very real and immediate feeling of police corruption into the pot. The film goes down the familiar route of a man with a “very special set of skills” belonging to him, facing off against an unjust system (it’s all quite Rambo First Blood coded). It’s the very dependable direction and robust script that elevate it beyond a mere genre exercise. When it’s operating within these simple, confined boundaries the film feels refreshing and very firm in its grasp on the audience. It slowly escalates until reaching an almost vertical slope, in typical Saulnier fashion. However, towards the latter stages, Rebel Ridge begins to unravel slightly, overextending itself to incorporate conspiracy thriller spaces that only act as dumbbells, weighing the organic flow down, which was so well established prior. With Saulnier’s Blue Ruin and Green Room, Rebel Ridge is the first lengthy exposure (standing at over 2 hours) for the director and it consequentially lacks that same tautness of his previous works. This is something particularly noteworthy when looking at films that have gone straight to Netflix without a theatrical release. Often (painfully so), you’ll find projects that don’t feel like the best versions of themselves, even if they’re of a high standard. It seems with a film set to steaming, there’s no true external force that applies enough pressure on directors to critically evaluate their work to the point of cutting a good 30-40 minutes of it. Watching this film, you’d get the feeling it wouldn’t have been okayed for cinemas without a few run-throughs with editors. Luckily by the time the film gets in its own way, we are already connected to the central conflict for it to become too divisive or switch people off. The back half doesn’t feel as restrained or emblematic of the protagonist as we’d expect. What it lacks in that respect, it mostly makes up for in thrills and an ending that sticks the landing. Saulnier never takes it into full-blown Rambo carnage but he succeeds in providing action that feels more mature, letting anticipation take the lead and investment to work its magic; an impressive feat considering he doesn’t sacrifice much viscerally. Again this works because it’s not overly ambitious and Saulnier knows that he wants his film to be more sincere. Each exchange and glare packs the aggression to keep you going and the film feels more violent than it actually is, solely due to the fact there’s a lingering feeling of hostility omnipresent in each scene. Guns could go a-blazing at any time, it’s just a matter of when. Saulnier deftly allows the film to build and build on its tension until we’re begging for (even expecting) that cathartic release of unabashed violence. What starts with the characters taking fuel away from the fire ends with them becoming the fire and audiences getting what they hoped to see. Rebel Ridge definitely marks a return to form for Saulnier, one that won’t let you down after a 6 year wait for him to return to feature-length filmmaking. About the Film Critic Rohan Kaushal Netflix < All Reviews Next Film Review >

Oso film review by UK film critic Jason Knight. Starring Paolo Aguilera, Allison Trujillo-Strong, Lia Mountis directed by Mateo Marquez. HOME | FILMS | REVIEWS Oso Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 10, 2023 Directed by: Mateo Marquez Written by: Mateo Marquez Starring: Paolo Aguilera, Allison Trujillo-Strong, Lia Mountis A troubled man is determined to get his hands on a small box. A young man named Javi (Aguilera) arrives at a residence. He appears to be worried and stressed out. He gets the front door open and cautiously and quietly makes his way to Sophie's (Mountis) room. Sophie is his daughter and there has recently been trouble around the house involving Javi, resulting in him not being welcome there. He asks his child to discreetly enter her mother's bedroom, where she is sleeping and retrieve a small wooden box with a lock. Things will not go as planned. This short drama is quite a roller-coaster, with a great deal of drama and tension. The story is basically the aftermath of a series of terrible occurrences for which Javi is obviously responsible and this is indicated by the various clues that are shown throughout the film. There are signs of violence here and there inside the family home that include scratches and cracks on doors and bruises on Javi's knuckles. Javi carries with him a hip flask and there is a photograph of a man in a military uniform, probably himself (the photo is out-of-focus), strongly suggesting that he is an alcoholic and that he is suffering from post traumatic stress disorder due to experiences in combat. Elizabeth (Trujillo-Strong), Sophie's mother, has clearly had enough of Javi's aggression and forbids him from coming to her property, resulting in confrontation. Aguilera delivers a dramatic performance as a broken man who means well but is unable to defeat his inner problems, leading to violent tendencies and panic attacks. Javi is the centre of the film and the narrative is told through his perspective. He is the main character, although he could also be described as an anti-hero. Praise also goes to Trujillo-Strong's performance as Javi's partner. Marquez also worked on the editing and does a great job with fast cutting techniques. There are creative lighting methods and out-of-focus shots, all of which look even better thanks to Jacob Malin's cinematography. The audio contains sharp sound effects and sinister music by Matt Politoski that develop a heavily dramatic atmosphere. This short is a dark and hard-hitting film about a damaged man and the effects his actions have had on his life and loved ones. It explores mental health and domestic violence and relies primarily on images rather than words in order to tell a story. It is a tense viewing and a memorable one. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Mona Lisa and the Blood Moon film review by UK film critic Hope Madden. Starring Jeon Jong-seo, Kate Hudson, Craig Robinson directed by Ana Lily Amirpour. HOME | FILMS | REVIEWS Mona Lisa and the Blood Moon Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 27, 2022 Directed by: Ana Lily Amirpour Written by: Ana Lily Amirpour Starring: Jeon Jong-seo, Kate Hudson, Craig Robinson In 2014, filmmaker Ana Lily Amirpour made her magnificence known with the lonesome, hip, bloody black and white treasure A Girl Walks Home Alone at Night . She followed that up in 2016 with the heady dystopian nightmare The Bad Batch . Both films busy themselves with the survival and camaraderie of outcasts. They have this in common with Amirpour’s latest, Mona Lisa and the Blood Moon . On the surface, it may appear that the vampire fable, post-apocalyptic yarn and Big Easy thriller lack any other unifying thread. Untrue. Each is about a singular female making surprising choices across an imaginative – if sometimes bloody – adventure. Though eventually awash in NOLA neon, Blood Moon ’s opening glides hypnotically through bayou waters, the night sky reflected so perfectly in the water you can’t tell up from down. Jeon Jong-seo (Burning ) is Mona Lisa Lee. For at least a decade she’s been nonresponsive in a facility for adolescents. (Is that so? Why the straight jacket, then?) But on this very night, as the moon rises red and round over the bayou, Mona taps into a strange power and the first of many flavors emerge in this strange gumbo. It appears we’ve stumbled into the origin story of some superhero – or super villain? Whichever, don’t get too comfortable because soon enough Amirpour’s aesthetic weaves together influences and notions from a broad and colorful menu. The next thing you know, you’re witnessing a side of Kate Hudson you wish more filmmakers had unveiled. Mona stumbles upon the Bourbon Street stripper in a late-night hamburger joint. One quick look at Mona’s talent and Bonnie Belle has dollar signs in her eyes. It’s a performance so brash and human that it grounds an otherwise fantasy tale in the stinky glitter of New Orleans. A welcome Craig Robinson gives the film the feel of a noir-ish mystery, while the delightful Ed Skrein steals scenes and hearts as dealer/dj Fuzz. Once Mona befriends Bonnie’s latchkey son (Evan Whitten), sentimentality becomes a worry. No need! Amirpour offsets every sweet moment with a surprise of brutality, every bloodletting with a bit of tenderness, all of it bathed in neon and EDM. It’s a dizzying mix, but that makes three for three for this filmmaker. About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Sea Dragon film review by UK film critic Swati Verma. Starring Kiara Holley Paliano, Harvey Dean, Michael Howe directed by James Morgan. HOME | FILMS | REVIEWS Sea Dragon Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 15, 2022 Directed by: James Morgan Written by: Lawrie Doran, James Morgan Starring: Kiara Holley Paliano, Harvey Dean, Michael Howe The black starry with the fossil remains in the background and the white font colour used for the title-Sea dragon as it appears onscreen give the audience an idea about the theme of the short film. The director James Morgan and writer Lawrie Doran work on the script of this period drama to give homage to Mary Anning (Kiara Holley Paliano) and her discoveries. The plot revolves around a young fossil hunter who attempts to find out more about the mysterious skull that she believed would be beneficial for knowing about the evolution of life on Earth. Sea Dragon is set in England in 1812. The set design transports the audience to the Era. The costume designer Emily Rose Yiaxis and the hair/makeup artist Simone Philcox dress each character of the narrative aptly thus increasing the degree of audience engagement with the film. The director of photography Clemens Majunke uses the long shot of the sea and the mountains followed by a combination of wide-mid shots to directly dive into the subject matter of the film. The change in lighting is done so efficiently without breaking the continuity of the scene at the time of the switch between the day and night scenes. The filmmaker cleverly uses the close-up shots and the voice modulation to intensify the confrontation between Mary Anning and Mr. Henley and create the required conflict for the smooth movement of the narrative. The dialogue delivery by the entire cast gives a sense of royalty which is in sync with the timeline the movie is set in. In terms of performance, Kiara Holley Paliano plays the role of Mary Anning is the perfect casting for the part. Kiara portrays the determination of discovering something substantial that would prove to be beneficial for people who have a keen interest in the field of science. The range of emotions calmness, angst, and happiness can be seen on her face. The viewers relate to the central character and enjoy the journey Mary wants to take us on through the film. Harvey Dean is Joseph Anning who is a very strong support system in Mary's life. The bond between Harvey and Kiara transcends onscreen as well. The contrast between the two siblings is an interesting element of the script and the same is enjoyed by the audience. Michael Howe as Mr. Henley is strong representation of society in this particular era. Mr. Henley puts hurdles at every step in the way of Mary who is trying to fulfill her dramatic need in the story. The short film talks about believing in one's dreams and following the heart to pursue the career of one's choice. The drive to achieve the set goal boosts up due to family support. The audience gets to learn a lot from the lead female character to not give-up easily to societal pressure and continuously thrive each day to make a difference in the lives of many. The cinematic piece gives a glimpse of the struggle the English paleontologist had to go through to prove their theories that made our present better. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Castle of Baron Finch film review by UK film critic Jason Knight. Starring Don Cunningham, Jay Pennington, Elisabeth Anne Steigelman, Brad White directed by Don Cunningham. HOME | FILMS | REVIEWS The Castle of Baron Finch Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 11, 2024 Directed by: Don Cunningham Written by: Don Cunningham Starring: Don Cunningham, Jay Pennington, Elisabeth Anne Steigelman, Brad White A short horror film written and directed by Don Cunningham and starring himself alongside Jay Pennington, Elisabeth Anne Steigelman and Brad White. The year is 1863 and Dr. Christopher Cushing (Cunningham) has travelled from England to Germany in order to rescue his wife Isobel (Steigelman), who has been abducted by Baron Janos Finch (Pennington), a vampire. Chistopher must find them, do battle with the monster and save his beloved spouse. Filmed over a period of six years in Menard, Texas, this short is clearly meant to pay tribute to the horror films of the silent era. Filming was executed in black-and-white with the image looking grainy. There is no speech, no diegetic sound at all actually and the dialogue is presented through sentences on title cards just like the old days. What is heard is the gothic music Andreu Jacob that plays throughout and creates a sinister and dramatic atmosphere. Looking at the mise-en-scene, the action takes place in the countryside and there are locations that are often associated with vampire stories such as a cemetery, a castle and it should be mentioned that there is also a coffin. As for the narrative, it pretty much alternates between Christopher trying to locate his wife and Finch spending time with Isobel, teaching her how to be a vampire. Eventually, things lead to desperate life-and-death situations. It is also worth mentioning that another famous horror film creature makes its appearance. The following is not intended to bring the film down, however, fans of the vampire genre might be disappointed by a couple of things. Firstly, there are no fangs to be seen (Finch never reveals his) and secondly, Finch appears to be walking around in broad daylight and vampires are supposed to be creatures of the night, yes, the image is black-and-white, however, the sky looks like it is daytime. Again, these two observations are not ment to damage this short but they go against the conventions that are associated with vampire films. Regarding the performances, arguably Pennington is the one who stands out, portraying a vampire. Dressed in black, with long hair and a beard, he is constantly grinning, with an evil look on his face, making it clear that he is bad. Steigelman plays his victim. Wearing a white dress, looking like a bride, she appears to be under the influence of some kind of spell as she walks alongside Finch, smiling. And then there is Cunningham, who impersonates Dr. Cushing (an obvious homage to actor Peter Wilton Cushing), a brave man, determined to get his wife back. Going to the themes now, this is a story about desperation, rescue, revenge, cruelty and tragedy. A story about Good vs Evil. This is probably not meant to be a modern horror film, but rather a tribute to Gothic Horror Silent Films. Fans of the horror genre will most likely appreciate this twenty-minute long dark story that brings the viewer back in time, showing them what horror films used to be like. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >