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City film review by UK film critic Jason Knight. Starring Elijah Boothe, Sameerah Luqmaan-Harris, Moses Massena, Nelcie Souffrant, Oz Tozan, Taprena Augustine directed by Kenneth Lott. HOME | FILMS | REVIEWS City Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 30, 2021 Directed by: Kenneth Lott Written by: Terrence Cooper Starring: Elijah Boothe, Sameerah Luqmaan-Harris, Moses Massena, Nelcie Souffrant, Oz Tozan, Taprena Augustine A young man finds a bag full of illegal drugs and decides to sell them, putting himself and those around him in jeopardy. In movies, when people stumble upon money or drugs and they decide to keep them for their own benefit, it is an action that tends to lead to tragedy and this film is no exception. The plot follows three individuals, the majority of whom are involved in crime. The main character is Kendall (Boothe), an unmotivated youth who lives with his caring mother Tori (Augustine). His two best friends are Capri (Massena), a petty criminal who wants to move up the criminal ladder and Roscoe (James Boykins), a religious guy who does not want any trouble. One night, three outlaws get killed over a bag that is filled with illicit drugs and Kendall happens to arrive by passing by later and decides to take the bag, hoping to sell its contents with the help of Capri, in order to raise money for a better life. His decision to do so creates tense complications, as the police and a deadly gang leader named Marcus (Kason Wayman) close in on them. This dark crime drama belongs in a similar category as Boyz n the Hood and Menace II Society . It explores themes of gang violence, gun crime, drug dealing and it dramatically shows the consequences that these have on people. However, positive aspects of life are also present, such as friendship, family values, romance and the desire to move on to better things. Basically, the narrative consists of three storylines. One focuses on the efforts of Kendall, Capri and Roscoe to distribute the drugs and Kendall's attempts to start a relationship with Denise (Souffrant), a girl that he fancies. Another follows Marcus as he tries to track down the ones who took the drugs and finally there is the police's perspective of the events, which involves Lead Detective Chase (Luqmaan-Harris), who holds a no-nonsense approach towards her job. Lott does a great job as the director and creates terrific aerial shots. Tommy Strauser composes a score that is dramatic and sinister and helps develop the right atmosphere. There are sequences during which there is slow motion and diegetic sound disappears, leaving voice-over or music to take over and the use of these techniques effectively creates drama. This is a hard-hitting drama that vividly shows the price people pay for being on the wrong side of the law and depicts the challenges of living in areas where crime levels are high. The pace is a bit slow, however the characters are well-explored and the anti-crime messages make this feature worthy of recognition. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Super-Being film review by UK film critic Patrick Foley. Starring Zachary Coleman, Juke Hardy, Issie McGregor directed by Spencer Anderson. HOME | FILMS | REVIEWS Super-Being Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 30, 2022 Directed by: Spencer Anderson Written by: Spencer Anderson, Jamie Brown, Dale Dandridge Starring: Zachary Coleman, Juke Hardy, Issie McGregor Now before you roll your eyes, no, Super-Being is not the newest, lazily-named entry into the MCU. Spencer Anderson’s short does involve superpowers, but is much more focused on exploring questions of morality and breaking down its complex character than blowing up major world monuments or delivering snarky putdowns. As an unknown man (Guillaume Rivard) is about to meet his death on a beach in 2027, Anton (Zachary Coleman) reminisces about his life and how his supernatural powers entangled him in a deadly conspiracy. He reflects on his relationships with his mother (Nikki Budday), his mentor Tomaez (Juke Hardy) and his girlfriend (Issie McGregor) and how they shaped his life – as he comes to understand that the impact of his powers, and his own morality, are intrinsically linked. Super-Being is rewarded for its lofty ambition and creative filmmaking by producing a striking and modern superhero story that manages to outperform its many big-budget contemporaries. Director Spencer Anderson immerses audiences into Anton’s tragic life, making this film’s protagonist a developed and complex human character – despite his abilities. His relation to his own superpowers is dictated and crafted by the events in his life, and act as a metaphor for his own morality and its development throughout the film. Despite its sci-fi nature, the film is restrained in its usage of these powers – making their emergence deliberate and filled with impact. This impact is assisted greatly by impressive visual effects and clever direction which results in dynamic and believable visuals which add to the immersion rather than breaking it. The colours of the film are suitably gloomy and grey – though the cinematography still manages to be dynamic and engrossing. Anderson cleverly drags the audience closer to Anton in his moments of isolation – imposing his struggles on the viewer with heavy empathy. His world opens up when others manage to come close – with an implicit hint that positive influences in his life are the answer to his battle with right and wrong. The biggest problem the film really faces is lacking the time to really develop its secondary characters. The depth of Anton’s character reflects somewhat negatively on the rest of the cast, who never really feel as developed as its star. Subsequently, their actions and motives feel less understandable – particularly those of his father figure Tomaez. The film’s ambitious and grand-scale plot is certainly a net positive, but given the short runtime, it does leave these characters feeling a little rushed, where a little extra time spent with them would go a long way. A special note is deserved for the immersive and hypnotic score, the ambient sounds of which brilliantly set the film’s tone and puppeteer the audience to the creator’s whims. Music plays no small role in creating the ethereal and mystic quality, whilst still allowing for space to heighten tension and create a sense of danger and intensity. Super-Being manages to conjure real emotion and intrigue in a super-hero genre that is over-saturated with films many times its budget that fail to come close to matching its achievements. A little more time spent developing its plot and wider cast would have provided a more complete feature, but its exploration of its protagonist, as well as its creativity, make it refreshing and memorable. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Girls Night Out film review by UK film critic William Hemingway. Starring Rebecca Tierney, Maria Lynas, Ross Crawford directed by Linda Scott. HOME | FILMS | REVIEWS Girls Night Out Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 13, 2022 Directed by: Linda Scott Written by: Linda Scott Starring: Rebecca Tierney, Maria Lynas, Ross Crawford A quick IMDb search throws up no less than twenty-five features, shorts and series trading under the name of Girls Night Out . They date from 1982 all the way up to the present day and mostly fit into the Bridesmaids (2011) category of shock, gross-out comedy but also sometimes with a bit of edgy thriller thrown in for good measure. The girls are obviously out for a good time, be that at a bachelorette party, celebrating a divorce, or somehow or other recapturing their youth – but things don't often go to plan. There's usually a guy involved – a hot one – more often than not a stripper, and he takes a tumble or a hit on the head or a heart attack and suddenly there's blood on the girls' hands. Cue conflict and haphazard resolution and repeat ad nauseam. Thankfully writer/director Linda Scott has managed to avoid the main pitfalls of another night out gone wrong story in her own short film in the Girls Night Out pantheon. Sidestepping the worn out conventions of the other movies she instead focuses her themes and characters to keep her film more in the vein of Animals (2018) or more directly Our Ladies (2019). Here we follow Scots teenagers Ange (Rebecca Tierney) and Becca (Maria Lynas) as they pull the oldest trick in the book on Ange's mum and head into Glasgow for a night out on the town. Despite not having a plan their spirits are high and the girls are ready to see what the night brings. After their initial giddy excitement and the following total washout the inevitable predatory male figure then rears his ugly head and now the girls have to deal with what it really means to be a young female trying to have a good time on a night out in the city. Scott has said that she wanted to address the problem of hyper-sexualising young women as well as highlighting their struggle to express their desires in a world that tries to limit their freedom. The characters of Ange and Becca help her to do this nicely, as do both actresses who naturally inhabit and breathe life into the two teenage girls. Their dialogue is rhythmic and colloquial, helping to keep the feel of realism and the idea that these could be any two girls in any town around the country, and the obvious hierarchy in their relationship helps add the frisson of excitement and danger that Scott is looking for. Everything in the film, from the lighting to the locations, is stripped back to keep things as real as possible, and as the girls move from the fun part to the dangerous part of the night this really starts to take effect. Ross Crawford is suitably seedy as 'the Artist' who preys on the girls, but realistically any guy could have been placed into that role with the same effect. Only in Glasgow could two young girls get away from a potentially life-threatening situation with a shout of 'You're a fanny', but otherwise it's the universality of the story that will keep the audience engaged. Unless they've seen Our Ladies . And this is where Scott's film loses out somewhat. The idea and execution is all very well, and even has flashes of real artistic sensibility, but when it retreads the exact same ground as a full length feature which has already told the story bigger and better and most importantly beforehand, then it doesn't hold as much muster as it could have. There's plenty to unpick and enjoy in Scott's film but ultimately it only serves as an hors d'oeuvre or an amuse-bouche to give a taste of the themes and ideas it lays out. If you want a full-fat feature that you can sink your teeth into to get a real flavour of the themes involved, Our Ladies might well be the better option. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Red and Blue Make Purple film review by UK film critic Jason Knight. Starring Ruby Wasserman, Amber Kase directed by Olivia Medrano. HOME | FILMS | REVIEWS Red and Blue Make Purple Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 3, 2022 Directed by: Olivia Medrano Written by: Olivia Medrano Starring: Ruby Wasserman, Amber Kase Hoping to escape her troubled household, a young woman spends time with her friend. Lily (Wasserman) lives in a home where there are constant arguments. She contacts her friend Natalie (Kase) and the two of them go out together and have a great time. Natalie will be going away soon and Lily must decide whether to remain where she is or join her friend. This is a heart-warming short drama that focuses on two individuals who have reached a stage in their life where they have to make life-changing decisions and decide what is best for them. It is a story that deals with a variety of subjects, including self-discovery, the desire to move on to better things, friendship and the challenges of living in a dysfunctional home. The narrative begins quite intensely, with Lily in her house, listening to a nasty argument. In order to escape, she retreats into her bedroom, where she puts on music on her earphones. The atmosphere changes dramatically, becoming very uplifting as she phones Lily and a montage begins, which shows them having fun together by attending an amusement park, eating ice cream and going to the beach. It is clear that these two have a rather strong bond between them. The atmosphere is joyful when they are together and there is a feeling of sadness as they worry that circumstances might cause them to separate. The acting is OK, with both leads delivering sympathetic performances as they portray individuals who find happiness and support when they are with each other. Regarding the soundtrack, there are two wonderful, uplifting songs that signify the positive emotions that emerge for the two protagonists, when they share each other's company. This is a moving coming-of-age story that explores the bond between two friends. It carries the message that one must follow their heart when it comes to making difficult decisions and do what will make them happy. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Clerks III film review by UK film critic Hope Madden. Starring Brian O'Halloran, Jeff Anderson, Kevin Smith,Jason Mewes directed by Kevin Smith. HOME | FILMS | REVIEWS Clerks III Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 6, 2022 Directed by: Kevin Smith Written by: Kevin Smith Starring: Brian O'Halloran, Jeff Anderson, Kevin Smith,Jason Mewes In 2017, Danny Boyle returned to Scotland with T2 Trainspotting . You know, to see how Mark, Sick Boy, Spud and Begbie were dealing with middle age. The result was poignant, funny and self-aware. Writer/director Kevin Smith likewise revisits Leonardo, New Jersey to see how Dante and Randall are faring with their own midlife crises. Again, the result is poignant, funny and self-aware. I swear to God. For Clerks IIII, Smith delivers a wild mix of amateurish moments, inspired soundtrack choices (that’s the first time I ever enjoyed My Chemical Romance’s Welcome to the Black Parade ), sentiment, callbacks, social commentary, and genuine fondness. The end of the filmmaker’s slacker trilogy delivers an ode to independent filmmaking and his own journey as a filmmaker. Dante (Brian O’Halloran) reenacts the worst days of his youth every day, wasting his life at the convenience store he now co-owns with bestie Randall (Jeff Anderson). The long-shuttered video store next door is now a cannabis shop run by Silent Bob (Smith) and Jay (Jason Mewes), naturally. After Randall has a heart attack behind the counter, he decides the only way to give his life meaning is to film a movie of his antics at the convenience store. Essentially, Clerks. Smith’s style remains a weird mix of sincerity and irreverence. For that reason—and because his leads are the least talented actors onscreen—Clerks III sometimes lands as cloying. But both Anderson and O’Halloran also offer surprising emotional depth here, especially Anderson. Smith brings back nearly every “actor” who populated his ’94 breakout, and a few of the main players from its 2006 sequel. There’s also a lengthy montage of auditions for Randall’s movie, which allows Smith to fill the screen with other recognizable faces. The whole movie’s an inside joke, but if you’re on the inside, it’s bound to draw a smile. More than that, if you’re a Kevin Smith fan, Clerks III is a sincere mash note to you. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Artist film review by UK film critic Jason Knight. Starring Pedro H. Valladao, Peter Seungchan No directed by Sebastian Li. HOME | FILMS | REVIEWS The Artist Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 19, 2021 Directed by: Sebastian Li Written by: Sebastian Li Starring: Pedro H. Valladao, Peter Seungchan No A young artist is struggling to get his work accepted by the public, leading to disturbing and dramatic consequences. Peter (Valladao) has a passion for painting self-portraits. However, his friend and artist agent (No) is having difficulties promoting and selling them, as people do not seem to appreciate that kind of work. As time goes by and things do not appear to be changing for the better, Peter is adviced to make other kinds of paintings. Peter is unwilling to change his ideas and comes up with shocking and sinister ways to be creative. This feature begins as a story about self-discovery and achieving one's goals and gradually turns into a psychological horror film about obsession. The film centres on Peter's stubbornness in not accepting the fact that his self-portraits are not enough for him to have a career and how that affects his life and his relationship with his agent, who has been trying very hard for ages to promote his art. There are scenes that involve characters who are irrelevant to Peter and his friend and these scenes contain people who are bleeding from chest injuries. These wounds could be a metaphor for their emotional traumas that will never completely heal. Valladao delivers a dramatic and dark performance as a struggling artist who firmly believes in the art that he creates and refuses to let anyone convince him that he needs to change his artistic ways. He thinks that other forms of paintings are no good because they lack a 'soul'. Generally, he comes across as a talented and hard-working painter but also as an antisocial, isolated, narcissistic and disturbed person. No is his supportive friend, who is desperately trying to convince him to create other kinds of paintings in order to progress in the art industry. The filming clearly took place on a low budget, as it shows throughout the movie. Nevertheless, that does not hide the creativity and hard work that was put into this project. Regarding the music, William Choo develops a score that is dramatic and sinister and includes wonderful sounds of piano and violin and the addition of the song Rose and Air by Edo Notarloberti is a huge plus. It should be mentioned that this movie is not for sensitive viewers as it contains shocking scenes that show wounds bleeding and self-harm. These are shown in closeup and they are hard to watch and thanks to Joanna Csillag's work in the special effects and makeup department, they are rather realistic. This dark feature is a character study about the life of a troubled man who only sees what he wants to see. The plot is about being different, focusing on ideas and it also explores themes of friendship, personal struggles, obsession and mental health disorder. The plot is intriguing and the final act is rather memorable. This is a film that will most likely leave a significant impression. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Lost Weekend film review by UK film critic Jason Knight. Starring Brendan Egan, Chloe Lang, Henry Lynch, Mathew Ray directed by Charlie Norton. HOME | FILMS | REVIEWS The Lost Weekend Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 1, 2024 Directed by: Charlie Norton Written by: Charlie Norton Starring: Brendan Egan, Chloe Lang, Henry Lynch, Mathew Ray Three youths go to a house by the beach for a weekend of fun. However, one of them has feelings that create complications. The story takes place in the summer of 2004 and three teenage male friends are spending a weekend at a house in Cape Cod, Massachusetts. These youngsters are James (Egan), Nick (Lynch) and Dylan (Ray). Their main intentions are to party and have a good time with girls, however James is inexperienced regarding girls, contrary to the other two. Eventually, they encounter a group of three girls their age and James is attracted to one of them, whose name is Caroline (Lang). The girls are invited to the house for a party, where things get dramatic. Masculinity is a major theme in this short coming-of-age drama and the story is told through James's perspective. James is a sensitive young boy who attended an All Boys Catholic School and has not lost his virginity. Dylan is supportive of James, unfortunately Nick is an obnoxious guy who views women as sex objects and he is annoyed by James's reserved personality and mocks him due to his lack of sexual experience. Self-discovery and self-esteem also play a significant part and these takes place through James, who goes through significant character development as he seems to find happiness with good-hearted Caroline and begins to stand up to Nick. As James gradually proceeds to come out of his shell and the girls get to know the boys, things get romantic, but heated confrontations also arise. James is the main character and the centre of this film and Egan's dramatic performance portrays him as a reserved person who is different, who does not see things the same way as the other two guys, particularly when it comes to girls and who is not comfortable at trying new things as indicated in the first scene, when he refuses to jump of a bridge. Nick is pretty much the antagonist, not hesitating to make fun of James and express how much he disapproves of him. Nick's character seems to represent negative characteristics about men such as being disrespectful towards women. Caroline serves as James's romantic interest and plays a big part in helping him find out more about who he is. The film looks great thanks to Norton's creative directing and Michael Henaghan's beautiful cinematography and Nathaniel Wolkstein's romantic and dramatic score adds a great deal of atmosphere to the scenes. This is a story about a young man's life reaching a turning point. A story about a sexually inexperienced teenager who goes on a journey of self-discovery. It is partially a romance and partially a film about friendship, manhood, growing up and standing up for oneself. The story is intriguing, the characters are interesting and the themes that are explored make this a thoughtful viewing. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The House That Stood film review by UK film critic Jason Knight. Starring Matteo Accardi, Claudia Cara, Simona Lamorgese, Giovanni Garone directed by Antonella Spirito. HOME | FILMS | REVIEWS The House That Stood Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 10, 2024 Directed by: Antonella Spirito Written by: Antonella Spirito Starring: Matteo Accardi, Claudia Cara, Simona Lamorgese, Giovanni Garone In Italy, during the Second World War, a young couple's blissfulness is destroyed by the arrival of Nazis. Set in San Pietro Avellana in 1943, this one-hour-long feature tells a war story primarily through the eyes of simple people. The storyline centers at a struggling inn that is run by members of a family that include a youth named Camillo (Accardi), his mother, Giovanna (Cara) and her sister. Soon German soldiers arrive and occupy their village and decide to utilise the inn as their base. The owners reluctantly comply and regardless of the situation, Camillo carries on with his life and attempts to begin a romance with his long-time friend, Bianca (Lamorgese). However, even this will come to an abrupt end when the Nazis bomb the village. The film is separated into three chapters, each with its own title. The first two are in black-and-white and take place during the war years, while the third one is set in 1959 and is in colour. The decision to use colour in the postwar part was probably done to highlight the presence of a more peaceful time. The main concept is people's lives being affected by war and that is explored through the family at the inn who unwillingly gets caught in the conflict. Giovanna is deeply upset that the Nazis take over the inn and Camillo loses touch with Bianca. These facts represent some of the things that are lost by armed conflict, such as relationships and possessions and people's control over their own lives in general. As dark and hopeless things get, hope arrives in the form of the Allies. The film has its heartbreaking moments, nevertheless, it also points out that with inner strength and support, love and strong bonds can survive even the most devastating events. Looking at the characters, the screenplay does a decent job in exploring them. Camillo is the main character, a shy young man with a good heart who wants to survive and be with Bianca, a nice girl with a family who keeps a close eye on her. Camillo's mother is clearly proud of the inn as is devastated when she loses control over it. The only Nazi member who is characterised is Otto (David Paryla), an officer who appears to have respect and principles. Interestingly, the fimmakers included archive footage of WWII in several parts of the feature. The decision to include these creates an even bigger atmosphere of that period. Costume designer Eliza Douglas deserves recognition for the realistic period clothing and so does composer Lorenzo Ceci for the dramatic score. Commendations also go to Spirito for the wonderful directing that includes many great shots. On the surface, this is a World War II drama. Digging deeper, it is also a love story, a story about survival and to some degree, a coming-of-age film. It is a story about desperation and massive struggles and also about courage, support and love. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Space Goblins film review by UK film critic Patrick Foley. Starring AMS Overton, HTB directed by AMS Overton. HOME | FILMS | REVIEWS Space Goblins Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Aug 9, 2025 Directed by: AMS Overton Written by: AMS Overton, HTB Starring: AMS Overton, HTB Punky sci-fi short Space Goblins is an irreverent throwback to cult animated comedies of the 90s such as Ren & Stimpy . Its underground humour will please an alternative crowd who enjoy genre-mixing and narrative deconstruction. The story follows Gib (AMS Overton) and Gob (HTB), a pair of goblin bounty hunters in space on the hunt for tax avoiders and other prey. Gib regularly experiences existential crisis, pondering the meaning of his role in life and the universe, whereas Gob in instinctive – comfortable his role and with his goal. The pair’s galactic adventures give Gib much to ponder, as they encounter con-men, criminals and a domineering Captain Rhodes (HTB). Space Goblins is what you get when you take Jules and Vincent from Pulp Fiction , turn them green, and put them in a world that is a mix of Rick & Morty , Ren & Stimpy and The Hitchhikers Guide to the Galaxy . This animated short from creators (and voice actors) AMS Overton and HTB is packed with witty dialogue and dissecting humour that shows a great appreciation for both the sci-fi and buddy cop genre, as the titular alien monster Goblins embark on low-level bounty hunting, but manage to find universal truths in their line of work (at least in Gib’s case). The simple premise of subverting the audience’s expectations with theoretical musings works well and is an engaging base for the film to succeed – at least as a fun short. This is helped out further by the amateurish animation style – which brilliantly captures the homemade, upstart feel of 90s late-night alternative comedies that Space Goblins pays homage. Creator AMS Overton is credited with the animation and character designs, and their ramshackle style makes for an unnerving but inventive atmosphere for the short. These stylings build the sense that the work is that of an original, maverick creator – something impossible to recreate authentically but true in the case of Space Goblins’ low-budget production. The voice acting from the co-creators is impressive, and each of the weird and wonderful monstrous cast stand out as unique creations with individual personalities. Whether it is the contrasting personalities of Gib and Gob themselves, or the rogue’s gallery they encounter such as a shady four-eyed bartender or surprisingly human hustler Sellers, AMS Overton and HTB enliven the characters with their committed vocal performances that are wonderfully alien. Captain Rhodes is a bit of a misfire, feeling a little derivative and passé especially given the originality that is evident through the rest of the film. Space Goblins is definitely an acquired taste, and those without the context of its inspirations may be put off by the distinctive animation style or alternative comedic stylings. But this ground-up creation succeeds in its ambition and has enough laugh-out-loud moments thanks to excellent vocal work and a considered script. Watch our Video Film Review of Space Goblins on TikTok. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

WIRED film review by UK film critic Joe Beck. Starring Amy Beth Hayes, Polly Maberly directed by Will Jewell. HOME | FILMS | REVIEWS WIRED Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Jul 21, 2024 Directed by: Will Jewell Written by: Will Jewell, Lee Mancini, Mark Hurdle Starring: Amy Beth Hayes, Polly Maberly There’s no doubt that the theme that’s going to dictate much of the landscape in entertainment over the next few years is AI. In the 80s there was the Cold War, in the 90s there was fears of terror attacks and in the 2010s there was a rise on zombie apocalypses, but now it’s the turn of AI, and ‘Wired’ is a film that fits right into that burgeoning trend. It is difficult to make films that feel fresh and new about AI, which is one reason why it will be an interesting theme to watch out for over the next decade, and whether filmmakers are able to adapt the parameters already set out and invent with creativity films about the topic. There are already such strong benchmarks of films that use AI, from the terrifying HAL 9000 in ‘2001: A Space Odyssey’, to the eerie Mother in ‘Alien’, and in more recent films such as ‘Ex Machina’, not to mention the villainous Skynet in the ‘Terminator’ franchise. AI has been a theme, and a character, in some of the most significant films of all time, almost always as an ominous presence that will ensure mankind’s destruction. ‘Wired’ follows suit in that regard, with the villainous AI smart hub, named MAIA, and voiced by Polly Maberly, gaslighting Becca, who is played by Amy Beth Hayes, eventually leading to a path of violence and technological superiority over its human companion. MAIA has convinced Becca that in order to stop the rot of an unhealthy lifestyle of drinking, eating junk, and being generally combustible, the best step is total isolationism for a few months, thus limiting the risk of exposure to danger or things that may lead her away from the path of being the perfect human - which to MAIA means a very robotic one. She keeps Becca in a house that progressively feels more and more like a prison, through the subtleties of Will Jewell’s direction - which is magnificent throughout, especially in the climactic moments of the screenplay, which Jewell also wrote, alongside Lee Mancini and Mark Hurdle. Jewell highlights the danger of MAIA immediately early on, and the ominous, eerie atmosphere only grows as the lighting becomes ever more faint and the house begins to feel more and more hollow. Whilst the screenplay is obvious, and each move the film takes tracks with that of previous AI-orientated films, it is nonetheless thrilling to watch unfold. What could easily have felt tepid and dull, is instead filled with life, largely down to the strength in which the screenwriters created the character of Becca, who feels fully fleshed out and real, even in just a short film. This is helped by a strong, endearing performance by Amy Beth Hayes, who grabs the screen and our empathy for the unwitting way in which she is put in her plight. ‘Wired’ is an interesting watch, with strong directing and performances that make up for any originality that is lacking plot wise. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Millais Flower Honey - Sugarless film review by UK film critic Rob Jones. Starring Lorenzo Melli, Paola Bortune directed by Lorenzo Bussone. HOME | FILMS | REVIEWS Millais Flower Honey - Sugarless Film Review average rating is 3 out of 5 Critic: Rob Jones | Posted on: Apr 26, 2023 Directed by: Lorenzo Bussone Written by: Lorenzo Bussone Starring: Lorenzo Melli, Paola Bortune Millais Flower Honey's video for Sugarless transports us back in time to tell a simple story of a man at war, isolated in a field with nothing but a photo to keep him company. There deliberately isn't a lot going on, all we see is the man in question along with some stylish shots of the world around him, where similarly little is happening. On one hand, it's relaxing until we realise why so little is happening, and there are some surrealist moments which guide us to fairly bleak conclusions. As a companion piece for a shoegazing soundtrack, it's suitably numb. The narrative is split into two parts - a prologue and then the body of the story. There's little to go on, however, as to why. The story seems to be one self-contained piece without a defined split, as we meet the man in question after the event has taken place that lands him in this period of isolation. It isn't until the end that we find out more about his character and his background, and by then we're already quite a bit of the way through. It isn't even that it needs a prologue, it just seems an odd creative choice to signpost one when there isn't really. When the story does unfold, there's sufficient intrigue without giving anywhere near too much. This seems to be an exercise in allowing us to project ourselves into the narrative by using symbols and clues that we can all recognise and relate to, even if they are from a different time. To that end it works quite well, but it may have carried more depth and meaning if there was just a bit more substance. About the Film Critic Rob Jones Music Video < All Reviews Next Film Review >

Sesh Porjonto film review by UK film critic Isabelle Ryan. Starring Debaprasad Halder, Biswarup Chakraborty, Nilanjana Rudra directed by Satyajit Das. HOME | FILMS | REVIEWS Sesh Porjonto Film Review average rating is 1 out of 5 Critic: Isabelle Ryan | Posted on: Oct 11, 2021 Directed by: Satyajit Das Written by: Nilanjana Rudra, Satyajit Das Starring: Debaprasad Halder, Biswarup Chakraborty, Nilanjana Rudra Satyajit Das’ short film Sesh Porjonto follows Poroma (Nilanjana Rudra), whose lazy afternoon is rudely interrupted by the arrival of Sumanta (Biswarup Chakraborty). He has come from the Home Ministry Office to inform her that her ex-husband, who was an officer in the merchant Navy and has long been presumed dead, was in fact arrested by Iraqi soldiers and held captive for 20 years. Now, he is on the way to visit his wife and, perhaps, disrupt her peaceful existence. This ostensibly simple plot is made impossible to follow by both the editing and the sound design. The opening conversation between Sumanta and Poroma is a mess. For one thing, the scene is either very poorly lit, or it was shot in front of a green screen (although why this would be necessary when we can clearly see that they filmed on location is anyone’s guess). On top of this, the camera cuts rapidly between the characters, often in the middle of a line, which ruins any flow the scene could have. Elsewhere, Das employs long takes arbitrarily, and never to emphasise an important moment. Perhaps most frustrating, however, is the sound design: every line of dialogue seems to have been dubbed over, and even then it can be almost impossible to hear what is being said under the score. The sound mixing in general is frustrating; dialogue, sound effects and music play at the same volume, and often at the same time. To put it mildly, this is incredibly distracting. One positive (and in isolation it is a big positive) is the soundtrack’s inclusion of songs performed by Manidipa Chakraborty. At the opening of the film and again towards the end, passionate ballads effectively set the tone and introduce the themes. It is a shame, then, that these beautiful songs do not exist within a better film. Worse, instead of ending the story where it would have made sense – with that second song playing us out – Das includes a twist (along with a ridiculous sound effect and editing choice) that, while unexpected, is far from original and results in a rather silly denouement. The film’s title can be translated to “In the end,” and unfortunately the end of the film compounds the issues that came before. Still, even without the unnecessary twist, the technical problems are too many to ignore, and interfere with a story that should have been handled with grace. About the Film Critic Isabelle Ryan Short Film, World Cinema < All Reviews Next Film Review >