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Art film review by UK film critic Jason Knight. Starring Art directed by Stacey Stone. HOME | FILMS | REVIEWS Art Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 8, 2024 Directed by: Stacey Stone Written by: N/A Starring: Art A short documentary directed by Stacey Stone. This is the second documentary by Stone and producer Diane Mellen about homeless people in California. The subject here is Art. A middle-aged homeless man living in Santa Barbara. The film crew interviews him regarding his life and follow him as he goes about his day-to-day activities. The most intriguing aspects of this project is that it provides a perspective regarding what it is like to be homeless and it introduces the viewer to Art. Art comes across as an intelligent and friendly person who appears to have adapted to his lifestyle. He has a shopping trolley filled with his belongings and he tends to spend his time near the beach. Regardless of his harsh life, he gives the impression that he is experiencing joy as he explains that he is constantly near people and that being near people means that he is not alone, even if those people are strangers and that he is living a free life. Nevertheless, the audience will most likely feel sorry for him and the beautiful and melancholic score by Jerry Deaton and Will and Jason Fiedtkou seems to highlight the sadness of his situation. If there are flaws in this eleven-minute-long film, one could be that maybe it would had been beneficial if there was more information regarding Art's past, particularly how he ended up being homeless. Another would involve the sequences involving superimposition. Although, Stone's creativity as editor is to be commended, the purpose of these techniques, what effect they are supposed to have is not clear and they feel unnecessary and they same could be said about the use of black-and-white at several parts. Obviously, homelessness is the main theme here, an insight into how homeless people live, how they view the world from their unfortunate situation. From other perspectives, the film also reveals the happiness that can be found in appreciating the simple things in life such as being around people, even if they are strangers, being near the ocean or playing with a ball. This documentary is poignant and intriguing. Through the experiences of one person it looks into the world of homeless people and reveals the hardships they go through and that they are able to enjoy life regardless of their difficult circumstances. About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

The Count of Monte Cristo film review by UK film critic Hope Madden. Starring Pierre Niney, Anaïs Demoustier, Laurent Lafitte, Vassili Schneider, PatrickMille directed by Alexandre de La Patellière, Matthiew Delaporte. HOME | FILMS | REVIEWS The Count of Monte Cristo Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 2, 2025 Directed by: Alexandre de La Patellière, Matthiew Delaporte Written by: Alexander Dumas,Alexandre de La Patellière, Matthiew Delaporte Starring: Pierre Niney, Anaïs Demoustier, Laurent Lafitte, Vassili Schneider, PatrickMille Alexandre Dumas’s The Count of Monte Cristo has been made into 23 different films, plus a dozen or so mini-series. It’s popular, and with good reason. The 19th Century tale of vengeance, political intrigue, fated romance buckles more swash than you might imagine. The epic Dumas tale hits big screens again with Alexandre de La Patellière and Matthiew Delaporte’s opulent adaptation. At a full three hours, the duo’s film does justice to more crisscrossing details than most previous efforts, but their instinct for epic filmmaking ensures engrossed viewing. From the moments of intimacy that nurture vengeance of this scale to the brutal beauty of the adventure-scape to the lavish excesses of the wealthy, every image packs a purposeful wallop. Celia Lafitedupont’s editing emphasizes glamour without distracting from intrigue. The film’s pace allows for scenes to breathe but never drag. At the center of the treachery and bloody righteousness is Pierre Niney (Franz ), whose evolution from humble innocence to hardened vengeance never fails to convince. But who is the Count without his foes? De La Patelliére and Delaporte surround Niney with collaborators able to find something authentic in their characters while supplying just enough moustache twirling to do the job right. Laurent Lafitte and Patrick Mille are a particular delight as the dastardly Villefort and Danglars. All of which must be balanced by innocence corrupted, and again, the ensemble soars. Julien De Saint Jean introduces uncommonly human layers to the Count’s godson, the “Prince”, and Vassili Schneider (The Vourdalak ) as young Albert, innocent pawn in a grand scheme, injects his scenes with touching tenderness. And of course, the love story—how could you accept all the Count is willing to put into place if you can’t get behind the love he has lost? Anaïs Demoustier’s (Smoking Causes Coughing ) Mercedes is no fool, no innocent waif nor tragic beauty. Demoustier offers something genuine that allows the entire saga a note of authenticity. The result is a rousing, gorgeously cinematic adventure and a reminder of what a movie can be. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Dawn film review by UK film critic Chris Olson. Starring Emma Coles, Kaylah Copeland directed by Michael Kearney . HOME | FILMS | REVIEWS Dawn Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Nov 26, 2023 Directed by: Michael Kearney Written by: Michael Kearney Starring: Emma Coles, Kaylah Copeland Spoiler warning A visually and emotionally arresting short film from filmmaker Michael Kearney, Dawn captures the intense coexistence of terror and hope when one finally declares one’s heartfelt love for someone else and you must await their response. Friends Eve (Emma Coles) and Lucy (Kaylah Copeland) have been discussing the former’s interest in a mystery person. As Lucy barrages Eve in person and via text with questions about who it is and why she isn't just telling them, it becomes a tense build-up resulting in Eve just telling Lucy that it is indeed her that Eve has feelings for. Having let her know via text message in the small hours of the night, Eve must now painstakingly await a response, torturing herself with thoughts about a ruined friendship or a potentially enhanced relationship. She questions the logic of her decision and also the repercussions of not taking a shot at all, as the clock ticks and it becomes more likely that Lucy has awoken to the all-telling text message. Kearney utilises intimate framing and an ethereal score (from David Ford) to submerge the viewer into Eve’s romantic crisis. As her future with Lucy hangs in the balance, Eve ponders her actions whilst regularly revisiting a subtle hand on her thigh when they were recently together. This visual signal provides the audience with a firm footing whilst the short film delves into an array of historical footage and even a spacescape to reflect Eve’s frenetic state of mind and the…ahem…Dawn of a new chapter in her life. The use of Eve's internal monologue is potently worded, grappling with her decision and yet coming to terms with it, as well as describing the agonizing wait of the reply that is yet to come. Many will find Eve’s anxiety familiar and connect with her mental distress, especially if they have ever delivered an “I love you” for the first time when not physically with the other person. Tonally, the film does seem to strive for a unique mix of heartfelt emotional drama dressed with sci-fi trappings. The result doesn't completely click, as the intense music and archive footage seem like a distraction from the viewer's real intrigue which is Eve’s state of mind. What some viewers may find is a lack of scenes between Eve and Lucy in person, to really flesh out the depth of the former's longing to be more than friends. Both performances are strong, delivering a believable and engaging chemistry on screen and Coles does well in the solo scenes to keep the human element strong whilst the visuals take a left turn. Dawn is a good short film from a promising cast and crew. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Bad Senator film review by UK film critic Patrick Foley. Starring Bob Gallagher, Rob Moore, Vanessa Neff directed by Chad W. Richardson. HOME | FILMS | REVIEWS Bad Senator Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 14, 2025 Directed by: Chad W. Richardson Written by: Chad W. Richardson Starring: Bob Gallagher, Rob Moore, Vanessa Neff It seems harsh that Richard Van Sutton, the (fictional) star of Bad Senator would be deemed as such when his fellow senate members are taking bribes or supporting insurrections. His worst sin is seemingly being a bad dad, politics don’t really come into this heartfelt but overlong feature. Van Sutton (Bob Gallagher) is the aforementioned senator – retired and spending his days on the golf course with friend/rival/Jurgen Klopp-lookalike Jocko Stone (Rob Moore). Estranged from his daughter Eliana (Kaylee Amante), his carefree but careless life is turned upside down by the arrival of Iris (Vanessa Neff), a yogi youtuber whose presence sits at odds with his conservative tendencies. A shared love of music might be a way to a family reunion, but Van Sutton needs to learn to put aside his ego first. Don’t go into Bad Senator expecting politics. A strange thing to say given its title, but this film is decidedly un-political. ‘Bad Dad’ would have been more appropriate, as the heart of the film is protagonist Richard Van Sutton’s journey to put selfishness aside and learn how to be there for his loved ones. It’s a curious choice to frame the film’s name around his rather important job when it really doesn’t play much of a role in the driving of the plot – and feels like a bit of a disconnect from the story of that director Chad W Richardson really wants to tell. The film is packed with heart and sweetness, and Richardson knows how to embody his characters with emotion and depth. Van Sutton’s aloofness comes through loud and clear thanks to Bob Gallagher’s humorous but weighted performance, and the collapse of his family dynamic is understandable – though the extent of his failures probably would’ve benefitted from an expansion on his neglect. A pivotal scene involves daughter Eliana casting him out of a performance of hers due to him arrogantly taking over the stage. Yet it is previously established that it is his negligence, not his scene-stealing, that is the real issue in their relationship. The same scene involves her partner Billy (Hunter Johl) saving the day and winning her back by playing guitar – which seems like a pittance gesture seeing as how he nearly got their son run over by a train just a few scenes earlier (yes, really). At over 2 hours, there is also simply not enough sustenance from the plot to justify the running time. Kaylee Amante can certainly sing, but the film really doesn’t require multiple musical performances. Rob Moore’s Jocko Stone is a great comedic presence and an effective foil to Van Sutton, but his scenes are largely comedic filler – Richardson at times seemingly torn between who his protagonist is. A much trimmer and focused film would’ve formed a much stronger emotional bond, whereas the number of distractions mean the grasp of Van Sutton’s development is lost on the audience. Bad Senator has a strong, simple core idea of a broken family on the path to redemption, and Chad Richardson’s film punctuate this with some solid humour and moments of emotional melodrama. But fundamentally it is way too long, with too many distractions and the desperate need of an edit. Whilst the world seems overly and permanently political at the moment, it is also a strange title for a film in which one of America’s most important jobs barely features in the narrative. If this film were a senator, it wouldn’t be a bad one. But it would certainly have filibustered once or twice. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Sting film review by UK film critic Hope Madden. Starring Alyla Browne, Ryan Corr directed by Kiah Roache-Turner. HOME | FILMS | REVIEWS Sting Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 8, 2024 Directed by: Kiah Roache-Turner Written by: Kiah Roache-Turner Starring: Alyla Browne, Ryan Corr Is there a more reliable source of terror than the spider? Well, maybe clowns, but spiders are a close second. Australian filmmaker Kiah Roache-Turner is giddy to elicit shivers and gasps with his delightfully horrifying arachnid adventure, Sting. Roache-Turner’s love for sci-fi horror bursts gleefully from the dollhouse-set opening credits, a scene that efficiently outlines our backstory. This snapshot playfully predicts the film, even as it homages genre classics. The Wyrmwood director goes on to use the air ducts of an old Bronx apartment building to lay out the land, introduce us to tenants and their habits, and show our hero shimmying and crawling, all spider-like, through the building. Who is our hero? Malcontent 12-year-old Charlotte (Alyla Browne). Her baby brother is loathsome, her parents are tedious, no one pays attention to her, her old witch of a great-aunt/land lady blames her for everything. Ugh! But then Charlotte comes across a very cool little spider. And with so many cockroaches in Charlotte’s building, surely the newly monikered Sting will never need to look elsewhere for food! Boy, that is lucky. Browne channels Lulu Wilson’s Becky (maybe a little less angry). Her performance easily withstands the demands of a lead, but she does receive nice support from a variety of personalities living in the building: Nona Hazelhurt, Robyn Nevin, Danny Kim, Silvia Colloca and Jermaine Fowler. Fiona Donovan’s production design stands out, emphasizing the film’s distinctly Joe Dante vibe. Although instead of perverting some idyllic burb, Sting ravages a storybook version of the Bronx. But make no mistake, this movie gets nasty. The creature design and CGI are a bit campy, but the damage Sting does is convincing and pitiless. (Pet lovers be warned.) If you missed Roache-Turner’s 2014 post-apocalyptic thrill ride Wyrmwood: Road of the Dead , definitely check it out. With that film, his fondness for Mad Max flavored a delightful riff on the zombie movie. Here he channels affection for a wide range of creature features (he really loves Alien ) but still manages to create something decidedly his own. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Below A Dark Wood film review by UK film critic Joe Beck. Starring Jesse Massaro, Jackie McMahon, Lucy McMahon directed by Bill Slovick. HOME | FILMS | REVIEWS Below A Dark Wood Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Aug 2, 2022 Directed by: Bill Slovick Written by: Bill Slovick Starring: Jesse Massaro, Jackie McMahon, Lucy McMahon When will movie characters learn that you should never, ever, under no circumstances, go and stay in an isolated cabin in the woods. Quite frankly, they only have themselves to blame when some form of zombies/ghosts/monsters/demons/serial killers/insert other terrifying creature of evil turns up and ruins their time - I mean, they’re practically asking for it! Still, in ‘Below A Dark Wood’, a man (Jesse Massaro), who clearly hasn’t seen many films, does just that and settles down for a nice quiet time in the wood with his dog (Lucy McMahon). As expected, the man is haunted - though not by evil. No, this man is haunted by his past, something to do with a woman (Jackie McMahon), who is seen only in a photograph. 

That doesn’t lessen the tension, in fact, it only amplifies it. The serene sound of nature coupled with the monotonous sounds of everyday chores and activities. It’s bizarrely unsettling, and puts you on edge so that when no real shock comes, you feel slightly let down and disappointed. The ending, to an otherwise impressively tense piece, feels artsy for the sake of being artsy, and lacks any real punch. 
This is for two reasons, the first being the aforementioned boiling pit of tension ultimately just ebbing away into an anti-climactic finale. The second problem arises due to the overall vagueness of the film, which, whilst it suits the tension-building side, fails to add any character to the man, and leaves us with more questions than answers come the end of the film. For instance, we don’t know the man’s relation to this woman - presumably his mother or partner - and we are unclear of his motivations in his final act towards the end of the film. Nevertheless, this is a film which superbly builds tension, all without saying a word. The performance of Jesse Massaro is frightening - his eyes piercing into the mirror as though possessed by a spirit, and gazing down the camera sent shivers down my spine. Behind the camera, Bill Slovick does an admirable job, and frames the picture well - with some gorgeous shots of the haunting wilderness. It’s a film which feels as though it’s trying to say something, but the words just don’t come out - and not just because no words are spoken. The imagery of the man putting on a dress and some lipstick could be some veiled pointed message, however, we’re not given enough to truly follow what that message might be - in short, it’s too vague. There’s a lot going for ‘Below A Dark Wood’, but it ultimately comes to nothing, leaving you with a sour taste in the mouth. It has all the elements of a good story - it just doesn't stick the landing, which then causes everything which came before to crumble as well. If you want a lesson on how to build tension in a short film without saying a word - then look no further - however, for an exercise in a fully-formed story you will have to look elsewhere. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

As A Joke film review by UK film critic Jason Knight. Starring Ben Xiao, Ru Gupte, Estee Poichot, Thomas Tricerri directed by Phoebe Critchlow, Natalie Hay. HOME | FILMS | REVIEWS As A Joke Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 19, 2025 Directed by: Phoebe Critchlow, Natalie Hay Written by: Natalie Hay, Bri Power Starring: Ben Xiao, Ru Gupte, Estee Poichot, Thomas Tricerri A short dark comedy written by Natalie Hay, Bri Power, directed by Phoebe Critchlow and Natalie Hay and starring Ben Xiao, Ru Gupte, Estee Poichot and Thomas Tricerri. Owen (Xiao) has found himself in quite a situation: he has just murdered his best friend (Tricerri). Apparently, there had been an altercation between them in Owen's apartment and he shoved his friend roughly, causing him to fall and die on the kitchen floor. Now owen is panicking and does not know what to do. By accident, he grabs the attention of his smart home device and proceeds to ask advice regarding getting rid of the dead body. The aftermath of a terrible incident, leading to an awkward interaction between a young man and an electronic device. The story starts off as a serious thriller, before turning into a darkly comical situation involving the disposal of a corpse. Owen desperately and repeatedly asks for the device's advice on what to do and he is given it, as he has tricked the device in to believing that he wants to learn how to get rid of a body as a joke. Dark humour, gore, drama and gruesomeness dominate this film. The narrative is intriguing and amusing (as far as dark humour goes), however it ends in a sort of cliffhanger, which is OK, still though one might think that the story could had carried on beyond that point. Xiao delivers an entertaining performance. His character is a naive (and as it turns out: bad-tempered and disturbed) guy who has suddenly found himself having to cover up his crime, all while being assisted by a device with a female voice (Gupte provides the voice for the device and it is named Mimi), like a child asking their mother for help to clean up their mess. In the blink of an eye, he turns into a killer and body mutilator. This is a story about murder and consequences, desperation and it also serves as a comedic commentary about how much people rely on technology these days. Three-and-a-half minutes of dark humour. A viewing that will most likely be amusing to those who enjoy dark comedies with very dark humour. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

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 >