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Tackling film review by UK film critic Jason Knight. Starring Seren Lee, Robert Dukes directed by Gillian Harker. HOME | FILMS | REVIEWS Tackling Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 12, 2023 Directed by: Gillian Harker Written by: Gillian Harker Starring: Seren Lee, Robert Dukes A father and his child spend meaningful time together on a rugby pitch. This short drama focuses on an unstable father-and-daughter relationship. A man (Dukes) has taken his young daughter, Milly (Lee) to play rugby. However, she dislikes the sport and after a disappointing session, she asks him to take her home. Her father insists that the two of them carry on training for the day and offers her money if she manages to tackle him, resulting in the two them spending time on the empty field, having fun and getting emotional. During its three-and-a-half-minute duration, this film does a decent job exploring the two protagonists and their relationship. Milly is a schoolgirl who lacks self-esteem but who can also stand up for herself if pushed too far. Her father is separated from her mother and he is stubborn a bit pushy and not as emotionally strong as he seems. The two of them have their differences, yet they care for each other deeply, which could be a message that the film communicates: just because people sometimes do not get along does not mean that they do not have positive feelings for each other. The screenplay deals with a variety of themes, primarily self-esteem, parenthood and support. Milly's inability to believe in herself is more or less what drives the narrative forward, as her father repeatedly attempts to persuade her to train, much to her disliking. His decision to insist that she trains leads to joyful moments between them and to a confrontation that turns into bonding. This short could be described as a sports drama. A father-and-daughter story that is set (to some extent) in the world of rugby and looks into the differences the two leads have between them and how they develop their relationship. It is a heart-warming story with strong perfomances by Lee and Dukes and the addition of the song I'll Get By by The Lathums was a great choice. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Wrath of Becky film review by UK film critic Hope Madden. Starring Lulu Wilson, Seann William Scott directed by Matt Angel, Suzanne Coote. HOME | FILMS | REVIEWS The Wrath of Becky Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: May 24, 2023 Directed by: Matt Angel, Suzanne Coote Written by: Matt Angel, Suzanne Coote, Nick Morris Starring: Lulu Wilson, Seann William Scott Back in 2012, Lulu Wilson carved out a frighteningly believable pissed-off adolescent in Jonathan Milott and Cary Murnion’s Becky . As had been the case with the filmmakers’ 2014 horror Cooties , the duo indulges a subversive fantasy that makes you laugh and turn away in equal measure – often at the same moment. Wilson returns with new directors Matt Angel and Suzanne Coote in The Wrath of Becky, playing the slightly older, no less angry youngster. Becky and her trusty hound Diego have been on the lam for several years. They’ve found a kind of peace living off the grid with elderly misanthrope Elena (Denise Burse) and making a living at a nearby diner. That peace is shattered when some Proud Boys – I’m sorry, some Noble Men – come to town. Last time around, Becky did serious damage to a handful of neo-Nazis. Seeing her gut and dismember Proud Boy stand-ins promised to be very fun. Cathartic, even. And it sometimes is, but too often the sequel gets lazy. Seann William Scott (Goon , American Pie ) leads up the contemptible group of baddies with a quietly sinister performance that carries a lot of weight. Jill Larson (The Taking of Deborah Logan ), though underused, brings a sassy surprise to the villainy and Aaron Dalla Villa is spot on as the slacker smartass of the group. Last time around, writers Ruckus and Lane Skye and Nick Morris offered their game cast a bit of intrigue and plot. The sequel’s script, penned by Angel, Coote and Becky ’s Morris, misses any of the depth beneath the murder spree. Gone, too, is the tentative logic behind Becky’s bloodbath logistics. Millot and Murnion showed you how a 12-year-old managed not only to outwit the bad guys, but to physically annihilate them. Angel and Coote do not. They cut away, then cut back and miraculously Becky has accomplished something that defies not only reason but the laws of the known universe as well as the actual story itself. In fact, every character makes a series of choices that defy the very storyline the film itself is trying to establish. Once or twice is forgivable, but eventually this lapse in internal logic becomes a real burden. Wilson’s schtick lacks some of the vibrance of the original film, partly because watching a pre-teen on a murder spree is simply more novel, shocking and funny than witnessing another angry teen on a rampage. It would have helped if the filmmakers tried a little harder to convince us Becky could do it. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

1 Degré de Séparation film review by UK film critic Patrick Foley. Starring Lauraine Gillieron, Maria Mettral, Isabelle Caillat directed by Sonia Rossier. HOME | FILMS | REVIEWS 1 Degré de Séparation Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jan 31, 2025 Directed by: Sonia Rossier Written by: Tiziana Giammarino, Lauraine Gillieron Starring: Lauraine Gillieron, Maria Mettral, Isabelle Caillat French short 1 Degré de Séparation packs an emotional punch. Set a little-known French law that permits posthumous marriage, it explores the complexity of emotions experienced by those who go through with such an arrangement. What may have otherwise been a straightforward tear-jerker actually considers more difficult and realistic journeys that partners go through following the loss of a lover. The film follows Victoria (Lauriane Gillieron) on her wedding day. Already dressed in white, she tries to navigate final preparations whilst kids and family members circumnavigate her. A strange tension in the air and fraught conversations suggest there is an underlying schism in her upcoming nuptials. But the reality of her marriage-to-be and the hesitancy that surrounds the event is revealed to be something all the more tragic. Undying love is at the heart of 1 Degré de Séparation, with a closing message dedicating the short to those who are left behind. The conclusion is a bittersweet but touching moment in which Victoria realises the importance of her decision and attains a sense of peach – movingly and powerfully captured by Lauriane Gillieron. In this sense the film is something of a tribute to the obscure and unusual law in France that permits posthumous unions – one that provides comfort and finality to the bereaved. There are moments of drama in the lead-up to the ceremony relating to family heirlooms, much of which however feel like more of a preamble in place to add a dramatic edge. Running at a crisp ten minutes, the film doesn’t really delve too far into the more ethical, moral or practical questions around the law. Granted this may not be the purpose, but given that the filmmakers are clearly happy to raise some questions around Victoria’s decision it feels like a missed opportunity to take on any critics who may stand in opposition to the legal function, or who have questions about how such marriages can work once the credits roll. Much of this is a result of wanting to maintain the surprise ending of the film – a dramatic conclusion for sure, but one that perhaps undermines the actual purpose of the short. 1 Degré de Séparation is surprisingly engaging and does avoid some of the soppier pitfalls that a film addressing spousal loss may have encountered. Some of its storytelling however is a little confusing and it elects not to tackle certain ethical aspects of its subject. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

The Four Walls Of Charlotte Moreland film review by UK film critic William Hemingway. Starring Alison Stover, Jane Dashow, Rissa Davis directed by Joe Benedetto and Alison Stover. HOME | FILMS | REVIEWS The Four Walls Of Charlotte Moreland Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 28, 2022 Directed by: Joe Benedetto and Alison Stover Written by: Alison Stover and Joe Benedetto Starring: Alison Stover, Jane Dashow, Rissa Davis It takes a lot to talk about domestic violence. Sufferers have historically either not been listened to or (brow)beaten into silence by their abusers. The arrest rates for these types of crimes are shockingly low, and in some cases falling, with many victims never seeing their day in court. The process of prosecution can sometimes be almost as traumatic as the abuse itself and unfathomably can also include some of the most drawn out cases in the entire legal system. Something is still very wrong in the way modern society treats these crimes and their victims, while survivors are literally screaming at the system to implement change. In The Four Walls Of Charlotte Moreland writer, director, producer and star, Alison Stover is taking a stand and saying enough is enough as she shouts from the rooftops about what it means to be a survivor of domestic abuse. A survivor herself of a five year abusive relationship, Stover knows personally how it feels to be gaslit and told how worthless she is, while on the other hand still receiving praise and affection. These insidious practices are given a strong vocal airing right from the beginning of the film with voice messages from Hudson, Charlotte Moreland's ex, being played over images of her displaying her grief, naked, alone and vulnerable in the shower. There is no easy let-up from here on in, as Charlotte tries her best to come to terms with her past and the trauma she has experienced. Now suffering from agoraphobia and a disconnection to who she once was, Charlotte has stepped away from her work and finds it hard to see anyone at all. Hudson, on the other hand, has diversified his tactics and now abuses her from a distance as he stalks her and threatens her through texts and voice messages. Eventually, after getting herself buoyed up enough through medication to leave her apartment, Charlotte tries to talk things through with her therapist, as well as a few other strong women who can empathise with how she feels. This process, as Charlotte discusses with psychologist Dr Sandri (Jane Dashow), is a marathon not a sprint, and initially just being able to voice how terrible her treatment was, how she didn't ask for or deserve it, and how He was a liar, manipulator and abuser, is achievement enough in itself. As you may imagine, this twenty minute short is not an easy watch, and may trigger strong emotional responses from the viewer with its bare, open dialogue and its graphic depictions of grief. There is a sense of hope that comes through as Charlotte learns to at least live with her trauma and develops her resilience to being out in the world again, but by no means is there a resolution or a happy ending to be found. Technically the film is serviceable to the themes and the plot, with a couple of nice directorial points here and there, but not that much else which stands out. The script has its issues, with certain scenarios or characters not really ringing true, while of course the descriptions of manipulation and abuse are all on the money. Stover has a lot to do to carry the film as its main point of focus, requiring her to move from severe melancholia to righteous indignation to forced confidence through maddening desperation, and it feels like this may have been asking a bit too much. The other women in the story give good support, however when Rissa Davis' Detective Demps shares her story and endorses lethal violence as a course of action, some of the film's realism gets lost. The Four Walls Of Charlotte Moreland is truly a brave and important film, highlighting an issue which sadly gets less attention than it deserves from all corners of society. Alison Stover should be lauded for her determination to tell this/her story and for getting this film produced. Regardless of its technical aspect it's hard to think of another film which comes so close to revealing the cruelty and abomination of domestic abuse as well as the devastating affects that it causes. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Bootleg film review by UK film critic Isaac Parkinson. Starring Louie Fuentes, Jake Montajes, Kevin Gongob, Kayle Baculi, Philip Jay Kho directed by Conrad Dela Cruz. HOME | FILMS | REVIEWS Bootleg Film Review average rating is 5 out of 5 Critic: Isaac Parkinson | Posted on: Mar 18, 2022 Directed by: Conrad Dela Cruz Written by: Conrad Dela Cruz Starring: Louie Fuentes, Jake Montajes, Kevin Gongob, Kayle Baculi, Philip Jay Kho With Bootleg , Dela Cruz enriches and strengthens themes of capitalist cruelty from his earlier portraits of brutal cities in Eskina and Once Upon a Time in Davao City . Again we are thrown in the bustling world of Davao, bathed in saturated colours of warm green and yellow. The formal style is reminiscent of Wong Kar Wai’s work, with close push-ins on faces and quick cuts through the city streets around the characters. The world feels tight yet expansive. The street scenes themselves are made lively by the real individuals working on the market. Food is being cooked in front of us. It’s lived-in and intimate. Our protagonists are Jim (Jake Montajes) and ‘The Pirate’ (Louie Fuentes), two young men involved in the business of bootlegging DVDs. One of their mothers has lymphoma and needs money desperately for her treatment. Returning to this theme of family sickness again, Dela Cruz understands that the most personal is always the most tragic. We are drawn in to sympathise deeply with their journey, understanding the riskier and riskier decisions they make. Even in the world of bootlegging, the tension of exposure is clear, as he looks over his shoulder constantly, wary of people seeing his camera. He moves into a dark alley to follow a man, and the muted colour palette reflects his turn from recording the bright cinema screen to a back-street mugging. The bustling world of the city streets is contrasted by the expansive vista of the beach. But even this is under threat, as a resort for rich people is being constructed. The gentrification of their space will only increase displacement and lead to further slipping conditions. The downward trajectory of life without capital is unavoidable, and the turn to drugs is framed as the only way to facilitate any financial security. Moving from the profession of films to drugs, their sphere becomes exponentially more illicit. Chasing public desires means there’s no more money to be made in DVDs. Their switch from one illegal activity to another is merely a business-savvy pivot. The world is changing, and they’re forced to change with it. The seedy underground environment is darker and hidden away from the bright neon lights and markets we were shown at the beginning. Jim trades in his camera for a gun, marking a very clear turn from creativity to violence. The explosive ending is to be expected; the story cannot end well for our protagonists. Yet the real tragedy is found in a quieter moment after. Despite the death of his close friend, and traumatic experience, he ends on the decision to return to DVD piracy. This frames the dangerous foray into the world of drugs as merely a failed experiment. He appears numb to the brutality of the city, even when a witness to, and perpetrator of, murder. The world is as violent and cruel as it has ever been for Dela Cruz, yet he seems more resigned to it. About the Film Critic Isaac Parkinson Short Film, World Cinema < All Reviews Next Film Review >

Suit & Bone film review by UK film critic Isaac Parkinson. Starring Shanika Warren-Markland, Hugo Nicolau, Joerg Stadler, Bethan Dixon Bate directed by Dulani Wilson. HOME | FILMS | REVIEWS Suit & Bone Film Review average rating is 3 out of 5 Critic: Isaac Parkinson | Posted on: May 24, 2022 Directed by: Dulani Wilson Written by: Dulani Wilson Starring: Shanika Warren-Markland, Hugo Nicolau, Joerg Stadler, Bethan Dixon Bate An intriguing descent into a mythical hellscape of uncanny surroundings and other-worldly games of chance. Suit and Bone ’s opening exposition tells us of the rules of its world, speaking of a coin which grants safe passage to the travelling dead. It also hints to something greater than mere safe passage which will tempt those who seek something beyond death. A man approaches a mansion in the middle of a barren wasteland of fire and debris. The sun appears too bright, synthetically so, as its flares light up his world in flashes. Embers and ashes fill the air, and crows perch threateningly on branches. Entering the building, he slips a card up his sleeve, hinting at his intentions to find that something greater. Ascending a tall spiral staircase shot from below, voices and whispers populate the space of spirits and present a foreboding threat. The palatial rooms he now finds himself in have a futuristic, yet regency feel. The harsh outdoor environment is contrasted by clean interiors and extravagant decadence. The blocking is neat and the use of mirrors is particularly clever in drawing him and Fate together despite their distance in the room. The fire in the hearth matches the fire in the distant sky outside, creating a washed-out, ethereal look to the room itself. Presenting Fate with offerings of riches, he is angry to see all he has received in return is a coin, and instead wishes to gamble for something more valuable than a peaceful death. The space then shifts as if by magic to a more intimate setting. Both the man and Fate are sat on the floor facing each other, the flickers of fire against her face providing a warmer feel than the harsh whites of the first room. She introduces a deck of cards, seemingly somewhere between playing cards and tarot, which will determine the man’s fate. Flashes of a third location then appear, showing the man in a more grounded environment, set closer to, if not in, the real world. As his fate is decided, his shouts echo through each layer we have seen, showing they are all occurring at once. The film then closes with musings similar to its opening, bookending its fantastical philosophies of fate and free will. Its descriptions are just ambiguous and absorbing enough to leave me with a feeling of incompleteness, wishing to explore its ideas more and immerse myself further in its world. About the Film Critic Isaac Parkinson Short Film < All Reviews Next Film Review >

Pickle Vision film review by UK film critic Chris Olson. Starring Merle Racer, Elizabeth Prince Merlot directed by Shawn Welles Linzey. HOME | FILMS | REVIEWS Pickle Vision Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Sep 17, 2025 Directed by: Shawn Welles Linzey Written by: Shawn Welles Linzey Starring: Merle Racer, Elizabeth Prince Merlot Do you like pickles on your burger? Half of you reading this just salivated, and the other half threw up a bit in your mouth. That divisive reaction is likely to be similar to the audience reactions to this short film, Pickle Vision, from filmmaker Shawn Welles Linzey. A surrealist piece, bursting at the seams with creativity, the story follows an old man known as K (Merle Racer) who finds a new lease of life after interacting with a pickle on television (stay with me here). What ensues is a series of bizarre sequences involving K, the pickle in various guises, and different visuals seemingly filmed on the fly with graphics superimposed on the walls for effect. As a piece of filmmaking, it has a fighting spirit, reinforced by the punk rock soundtrack. In fact, the whole 17-minute short film could have been a music video for a band like The Red Hot Chilli Peppers. There is an odyssey quality to the story and a starkness to the visuals that sees it play out in a far more ethereal way than traditional storytelling. Whilst the short film may not be accessible for everyone, there are some impressive moments in the movie for those whose wheelhouse this falls into. The use of dark background and vibrant colours gives it a hypnotic aesthetic, and there is something intriguing about the old man contemplating his life and finding a surge of motivation in something so unusual. Pointed jabs at consumerism and capitalism are also present in Pickle Vision, as is a splendid reimagining of culturally important events spruced up with the inclusion of, you guessed it, a pickle. There is also a section where the pickle dresses as a witch and rides alongside K’s car on a broomstick - so it has that going for it too. At times, the obsession with a pickle character reminded me of Rik and Morty; however, the general atmosphere of the film is more like fringe theatre. There is a wildness and humour to the proceedings which regularly challenges the viewer, asking them to make what they will of the visuals being presented and what they could mean. Some viewers may come out baffled, others may contemplate their own existence and the meaning of life, it just depends on how you like your burger made, really. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Gasoline Alley film review by UK film critic George Wolf. Starring Bruce Willis, Devon Sawa, Luke Wilson directed by Edward Drake. HOME | FILMS | REVIEWS Gasoline Alley Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Feb 23, 2022 Directed by: Edward Drake Written by: Edward Drake, Tom Sierchio Starring: Bruce Willis, Devon Sawa, Luke Wilson “Hey, Bruce Willis, how many movies do you have coming this year?” “Yes.” In the month or so since the last Willis project with writer/director Edward John Drake – American Siege – was released, I’ve learned of the term “Geezer Teaser,” which is a perfect summation of how this genre usually operates. An aging star is featured heavily in the marketing, while their tangential character often just disappears midway through the film due to the star’s 1-day shooting schedule. The good news for Gasoline Alley is that Willis hangs in ’til the end, and it’s clearly the best of the Willis/Drake collabs. Luke Wilson joins in this time as well, playing Detective Vargas to Bruno’s Detective Freeman, and these two guys have four big problems. The bodies of four dead hookers have turned up, and a lighter found at the scene leads the two cops to Gasoline Alley, the L.A. tattoo parlor of ex-con Jimmy Jayne (Devon Sawa). Jimmy was also the last person seen with the dead hooker named Star (“If you forget it, just look up”), but do you think Jimmy’s going to sit back and just accept being framed? Damn right he’s not. He’s going to let Willis and Wilson (Willison!) take some scenes off while he conducts his own investigation, sleuthin’ and shootin’ with an ever-present cigarette dangling perfectly from his steely pout. Most everything about Drake’s films is varying degrees short of authentic. And though Gasoline Alley shows progress, details such as the set design, score and faux news reports still seem carelessly thrown together, which don’t give the forced noir dramatics much of a chance to cast a spell. But if you’ve seen all of the Drake/Willis (Drillis!) catalog (and this is number five, with another currently in post-production), Gasoline Alley is a pleasant surprise. Drake’s script (co-written with Tom Sierchio) has moments of self-aware humor – even poking fun at one of his previous films. And while Willis is again on autopilot, Wilson seems to be enjoying the “no F’s to give” attitude of his character, Sawa is commendably committed and Veep ‘s Sufe Bradshaw turns in some fine support. Is it ridiculous, overwrought and amateurish in spots? Sure, but this one is actually watchable. Bravo, fellas, keep it up. About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Make a Wish film review by UK film critic James Learoyd. Starring Gianluca Aliberti, Margherita Rufolo directed by Valentina Galdi. HOME | FILMS | REVIEWS Make a Wish Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Mar 29, 2024 Directed by: Valentina Galdi Written by: Valentina Galdi Starring: Gianluca Aliberti, Margherita Rufolo It’s difficult to judge a film that’s less than 3 minutes in runtime; it’s even more difficult to make one. Many filmmakers will attempt to infuse within their work all the substance and complexities of your average feature, but that's not always the best path to take. With most either taking the poetic route (based on shots, tones, textures) or the short-form, dramatic route (punchy, dialogue-based story, set in one room perhaps), the new short film Make a Wish proves to be neither one nor the other. Clocking in at 2 minutes and 53 seconds, the piece tells a fascinating and unexpected story... It’s effectively divided into two parts: the first depicts some incredibly pleasant, romantic moments – a couple walking through a winter wonderland. There are beautiful flashing lights, panning shots of the idealistic arena, and a young couple walking along hand in hand. Were the whole film just this, one could describe it as a successful, pretty-looking tone piece; however, the short then interestingly pivots to show the same man from before now sitting on a bench, observing the very same woman on a bench across from him. We realise it’s all a fantasy, and the dramatic conflict is to come from whether he approaches her or not. The unfortunate thing is that it has a slightly creepy air to it, and it’s not fully convincing. The filmmakers are clearly well intentioned and did not consider this to be a strange route for the trajectory of the story, but it could be argued that, in such a short space of time, too much is being attempted. Viewers, I’m sure, will be swept up in the romantic nature of the first half – the calming music matching the smooth visuals work in tandem to create an authentic yet dreamlike image of a love between two people. The latter parts are ambitious in what they may be trying to convey, however it simply lacks richness, character, and explanation. Just to briefly discuss the cinematography of the film, which is intriguing: besides the use of auto-focus settings (which is off-putting), there’s something undeniably hypnotic about the floaty aesthetic of this film. There’s an enjoyable element at play, never having the camera locked down. One supposes that this is also representative of the dream narrative the film attempts to incorporate. It would have been even more effective if, once we break from the dream, the visual sensibilities break as well – implementing a colder, more static look for the real world. To surmise, you wonder whether the picture would feel more cohesive and tonally successful were there just a singular idea at play; or, with the ambition on display, having a longer runtime to make the concepts feel lived-in and authentic. Upon considering the twist of the piece, it makes me want to see what the creatives can craft from a darker story; the subjective and psychologically disruptive nature of the twist holds potential for something truly Hitchcockian. It’s a small but admirable piece of work – one with mystery and creative ambition. About the Film Critic James Learoyd Short Film, World Cinema < All Reviews Next Film Review >

The Tree film review by UK film critic Alasdair MacRae. Starring Joel Morris, Hayley Thomas directed by Oliver Blair. HOME | FILMS | REVIEWS The Tree Film Review average rating is 3 out of 5 Critic: Alasdair MacRae | Posted on: May 26, 2022 Directed by: Oliver Blair Written by: Oliver Blair Starring: Joel Morris, Hayley Thomas After missing his father’s funeral, James (Joel Morris) meets with his younger sister Yasmin (Hayley Thomas) to sort through the belongings stored in their departed parent’s burger van. As they sift through the boxes memories come tumbling out that allow the siblings to reignite the dying embers of their relationship. From the outset it is clear that James and Yasmin have a lot of trauma to unpack, both collective and individual. It starts with a melodramatic screaming match about how Yasmin really needs her brother and how James is, and always has been, the family screw-up, a characterisation he struggles to move past. After some oranges, sorry, satsumas, are splattered across a windshield the pair can begin to function both physically and emotionally. As they come together the chemistry between Joel Morris and Hayley Thomas becomes apparent. They believably convey the surfacing of a deep familial bond that had been long buried by the debris of everyday life. When childhood treasures and obscure objects are discovered in the van James and Yasmin begin to open up to each other. Writer/director Oliver Blair creates a layer of artifice by having the characters wear the newly found wigs or smoke cigarettes from the hand of a broken Action Man doll. Sometimes they even role play through memories with their father. This allows the characters to become more genuine and look deeper inside themselves by contrasting their profundity with comedic or non-serious images. Despite a script packed with more drama than the average soap, The Tree still manages to feel grounded, that is until one last big revelation. This plot point isn’t unforeseeable but the way it is rushed and bundled into the conclusion is a very strange choice. Without spoiling it, it is fair to say that it is maybe the most difficult and complex emotional challenge for the characters and it is barely even discussed. As this derails the narrative it means that the metaphor elaborated in the concluding statement comes across as trite and even cheesy. The Tree is mostly a solid family drama with smart decision making behind the camera and emotive performances from the well-cast leads. Although, a confounding decision at the climax threatens to make this short feel almost tokenistic. About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Grandma's Heritage film review by UK film critic Oliver Weir. Starring Anna Vasylioglo directed by Anna Vasylioglo. HOME | FILMS | REVIEWS Grandma's Heritage Film Review average rating is 3 out of 5 Critic: Oliver Weir | Posted on: Mar 3, 2022 Directed by: Anna Vasylioglo Written by: Anna Vasylioglo Starring: Anna Vasylioglo Grandma’s Heritage is a deeply personal account of director Anna Vasylioglo’s relationship with her late grandmother. This short was made under the supervision of Johanna Bernhardson and Karin Ekberg as an exercise clip for a workshop entitled ‘Documentary Storytelling with a Personal Voice’. The film is certainly loyal to this rubric. It is composed of various still photographs of Anna with her grandmother, shots of Anna more recently, and home video footage of the mementos her grandmother left behind (such as an ermine fur hat). These shots are paired with an emotional narration that gives some insight into each person’s personality, the attributes they share (chiefly their long black curly hair), and the warmth of their relationships. The film is a very brief but touching dedication to her grandmother, though its broader appeal suffers by its inherent specificity. Its audience is mostly limited to immediate family and friends, although it could easily be opened up to viewers; for instance, if the commentary were removed, then a certain ambiguity would be introduced into the photographs and montage sequences, creating some room for the viewer to draw their own conclusions about the characters’ relationships and therefore begin to see themselves in the picture. An extended version of this three-minute piece could make for an interesting project, perhaps with more time spent on some of the key moments of her grandmother’s life, intercut with more home video or interviews. With some experimental flair the film could go in the direction of Guy Maddin’s My Winnipeg ; or, with a more delicate treatment, could take on the melancholic style of Chantel Akerman’s News From Home . As it is though, Grandma’s Heritage is a simple sketch of the ways in which Anna has dealt with the grief of losing her grandmother, and how she continues to be influenced by that loss in her filmmaking. About the Film Critic Oliver Weir Short Film, Documentary < All Reviews Next Film Review >

Challengers film review by UK film critic James Learoyd. Starring Zendaya, Mike Faist, Josh O'Connor directed by Luca Guadagnino. HOME | FILMS | REVIEWS Challengers Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Apr 29, 2024 Directed by: Luca Guadagnino Written by: Justin Kuritzkes Starring: Zendaya, Mike Faist, Josh O'Connor Love his work or otherwise, one must acknowledge that nobody is making films like Luca Guadagnino. His movies have always provided something uniquely reflective and, as many have pointed out, ‘sensual’; although he has never been known to limit himself genre-wise. Even in his ‘horror’ films – Suspiria (2018) and Bones and All (2022) - there’s maintained a level of wistfulness, or, at least, a stunning sense of humanity. He wants to draw our attention to the beautiful things in the world without needing to impose an extreme directorial sensibility... however, Challengers (2024) is something slightly different, proving to be audacious in every way, not least stylistically. If perhaps you haven’t heard, this film stars Zendaya as Tashi, a skilled tennis player with a hold on two other tennis players – portrayed by Mike Faist and Josh O’Connor. The piece consists of an unconventional narrative, jumping back and forth, held together by a single climactic match which you can quickly infer holds all the stakes. You may expect this to be a picture about competing for a person’s affection, yet it proves to be something much more complex and fun than simply that. It is soap-opera-esque with many twists and turns; betrayal around every romantically or sexually charged corner. It’s a great time. We’ve always been able to see Éric Rohmer’s influence over Guadagnino’s movies, though most unusually can it be identified in Challengers . The dynamics of our central love triangle can be compared to something like La Collectionneuse (1967) though with a focus on sport and the body over art or intellect. It's all about the characters. I’m sure this has, or will, quickly become the consensus, but this is Zendaya’s best performance. It’s kind of incredible; maybe even more incredible is the way in which a co-star like Mike Faist refuses to buckle under the weight of such a powerful, layered persona as Tashi - Faist more than holds his own as Art, by the end maybe the film’s most conflicted character. One of the most enjoyable elements of the film is its unabashed love for melodramatic, heightened character moments – executed through Luca’s steady hand and the exhilarating new score by Reznor / Ross (immediately in the history books). Comparable to the iconic music for The Third Man (1949) -- not in any way for how it sounds (they’re pretty much diametrically opposed), but for the specific, unusual feeling it evokes: In Challengers , the score is saying, ‘Don’t take this too seriously’. It’s a beautifully tongue-in-cheek evocation, and quite bravely trusts the audience to follow its tone; quite unlike anything in Call Me by Your Name (2017), for instance, which is always sincere, earnest. It’s phenomenal, and certainly in the conversation for being Guadagnino’s best movie... it probably is; although I’m a huge A Bigger Splash (2015) fan. I would highly recommend the film, if not just for the final scene, which is maybe the most stylistically expressive sequence Luca’s ever helmed. Very rarely do I sit in a cinema grinning not due to the content of a movie but because of how it was made – a level of cinematic kineticism not dissimilar from Mad Max: Fury Road (2015). I left the cinema beaming, and others will too. About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >