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The Idea of Manhood film review by UK film critic Chris Olson. Starring Jeremy Kushnier, Karl Bury directed by Serge Kushnier. HOME | FILMS | REVIEWS The Idea of Manhood Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 14, 2023 Directed by: Serge Kushnier Written by: Serge Kushnier Starring: Jeremy Kushnier, Karl Bury Two friends reconnect when one of them turns up unexpectedly and they spend the day together challenging each other’s life viewpoints and value systems. Jacob (Jeremy Kushnier) is spending a week at home alone whilst his wife and kids are away. One morning Jacob’s solitude is disturbed by the unexpected arrival of Sandy (Karl Bury), his outspoken buddy whose lifestyle and attitudes are often at loggerheads with his own. As the pair enjoy a stroll around D.C and hanging out at Jacob’s house, they enjoy regularly pitting their opinions against eachother. These kind of ruminations on adulthood can often be twee or even preachy but writer and director Serge Kushnier manages to balance his script and allow the varying ethoses being presented to coexist brilliantly. Jacob’s nuclear setup makes him feel like the cinematic everyman and Sandy’s freelance waywardness see him as more of the catalyst of the piece but there is certainly not a landslide when it comes to agreeing with what either of them are saying. Each presents a formidable argument for why you might want a secure family home, or for spending your life on the road, and there is a delectable enjoyment seeing both these strands on screen. It would have been easy to lay all the cynicism on one character and all the optimism on the other but with Jacob and Sandy, they each present numerous angles where they possess both. They are complicated and at times their arguments are undermined by themselves, but this plays out as a very relatable and believable dramatic engagement between two well-drawn characters. The Idea of Manhood is a film made from simple ingredients. The cast is small, the locations are used wisely, and yet the film has that roaming freshness of a Woody Allen pic that makes it feel premium rather than an indie flick on a limited budget. The introduction of a set of younger characters midway through the film does threaten to derail the growing chemistry of our onscreen pals, but it actually ends up enhancing the dialogue, allowing an even deeper exploration of ideas and principals, in particular how these change through generations. There is a particularly funny bit where Sandy pretends to tell the story of Home Alone to these younger people as if he knew Kevin McCallister personally. This does get overshadowed slightly but an indulgent lecture he gives on selfies. The film works best when Jacob and Sandy are getting into it with each other and when the inevitable showdown regarding the former’s marriage becomes a heated discussion point, The Idea of Manhood operates on a higher level. It feels original and unique to see two grown men have a discussion of this length and breadth, which says a lot about the representation of male characters and also about the need for more films like Kushnier’s. Watch the Official Trailer here . About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Salvatore: Shoemaker of Dreams film review by UK film critic George Wolf. Starring SalvatoreFerragamo, Michael Stuhlbarg directed by Luca Guadagnino. HOME | FILMS | REVIEWS Salvatore: Shoemaker of Dreams Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Dec 1, 2022 Directed by: Luca Guadagnino Written by: Giuppy D'Aura, Dana Thomas Starring: SalvatoreFerragamo, Michael Stuhlbarg Have you ever seen a high-end shoe being assembled? Director Luca Guadagnino makes it an oddly transfixing experience in the opening moments of Salvatore, Shoemaker of Dreams . We watch the construction silently, priming us for Salvatore Farragamo’s proud admission. “I love feet, they talk to me.” Guadagnino (Bones and All , Call Me By Your Name , Suspiria ) may not have much audio or video of the celebrated shoemaker to help tell his story, but what he has is used wisely. Hearing from the actual Salvatore provides the needed personal insight to support the remembrances from family and friends, still photos, and narration from Michael Stuhlbarg. And even if don’t share Salvatore’s skill as a foot whisperer, his is a truly compelling story of determination, celebrity and arch support. Salvatore opened his first shop in his native Italy at the age of 12. He came to the U.S. as a teenager in 1915, settled in Santa Barbara, California and soon was outfitting the most famous feet in silent films. When the film business moved to Hollywood, so did Salvatore, also finding time to study anatomy at USC so he might understand how shoes could be made more comfortable. “Fashion with comfort, that’s what I give.” He applied for thousands of patents, got rich, went bankrupt and got rich again, forever changing society’s expectations of footwear style and comfort in the process. Guadagnino’s inclusion of Martin Scorsese in the interview parade only underscores how Salvatore’s journey unveils like a classic American drama. It becomes a sprawling family legacy built on immigration, dreams and a solemn vow to never give up. Shoemaker of Dreams is a fitting tribute to the fascinating life of a man ahead of his time. And while the focus on the earlier part of Salvatore’s story is more inherently interesting, Guadagnino crafts a sweet warmth for the film’s final act, complete with a surprise chef’s kiss. The closing moments find Guadagnino collaborating with stop-motion animator Pes for a mesmerizing “shoe ballet” that sits perfectly poles apart from the no-frills intro. These dancing shoes rival the synchronized shopping in White Noise for can’t-look-away sequence of the year, so keep your own feet right where they and don’t miss it. About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

Emilia Perez film review by UK film critic Jack Salvadori. Starring Zoe Saldaña, Karla Sofia Gascon, Selena Gomez directed by Jacques Audiard. HOME | FILMS | REVIEWS Emilia Perez Film Review average rating is 5 out of 5 Critic: Jack Salvadori | Posted on: May 19, 2024 Directed by: Jacques Audiard Written by: Jacques Audiard Starring: Zoe Saldaña, Karla Sofia Gascon, Selena Gomez Emilia Perez is a film like no other. French auteur Jacques Audiard goes crazy, and brings to the screen a pop opera that never loses its rhythm and constantly amazes and surprises, as you never can tell what’s going to happen next. In other words, a cinematic wonder. The empowering musical, set in Mexico, revolves around three female characters, the frustrated and undervalued lawyer Rita (Zoe Saldaña), a merciless drug lord Manitas (Karla Sofia Gascon), and his wife (Selena Gomez). Remember when Tony Soprano decides to go to a shrink, and his weakness might cost him dearly? Well, Manitas takes his secret one step further: he wants to become a woman. Metamorphosis is at the heart of the picture, as while the golden-toothed cartel begins his transition to the fairer sex, the film also changes genre, pirouetting into melodrama, action, and comedy, without a single faux pas. All of this without ever forgetting its lyrical nature, showcasing an array of ear-worms accompanied by mesmerising choreographies, and captured by a fluid camera that seems to dance along its cast. Worth a mention is the Busby Berkeley inspired number “Vaginoplastìa”, I trust it gives you an idea without spoiling too much. Once transitioned thanks to Rita’s guidance and support, Manitas becomes the titular character, but Emilia Perez’s evolution is only beginning. Despite its absurd narrative, Audiard never judges or ridicules the delicate and intimate themes he deals with. He doesn’t simplify the characters’ psychologies, managing to forge charming emotional and somehow relatable layers. This is also possible since some details are directly inspired by the lead actor’s personal experience, who, drug kingpin aside, went through the same hardships of abandoning his former masculine identity while trying not to lose custody of his children. Emilia Perez is a lot of things, but eventually they can be summed up by a passionate quest of love and redemption. Finally something fresh, and by clocking a 9 minute standing ovation at its premiere, Cannes might have already found this year’s Palm d’Or. About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >

Reduced to Clear film review by UK film critic Joe Beck. Starring Edward Tidy, Simon Fisher-Becker, Winter Foenander, Dawn Butler directed by Luke Allen, Alex Yousefi. HOME | FILMS | REVIEWS Reduced to Clear Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jul 29, 2022 Directed by: Luke Allen, Alex Yousefi Written by: Luke Allen, Alex Yousefi Starring: Edward Tidy, Simon Fisher-Becker, Winter Foenander, Dawn Butler Britain has produced some of the finest comedies of all time. ‘Blackadder’, ‘Fawlty Towers’, ‘Only Fools and Horses’, ‘The Office’, ‘Spaced’, ‘Shaun of the Dead’, ‘Hot Fuzz’, ‘The IT Crowd’, ‘Fleabag’, you probably get the point. That list may seem overly long, loquacious, long-winded, garrulous, voluble, and loose-lipped, but it is merely an example of the style of humour employed in ‘Reduced to Clear’, the worst comedy to come out of Britain since Brexit. We are introduced to Mike (Edward Tidy) on his first day as a charity shop volunteer. The manager (Simon Fisher-Becker) tells him to ‘consult the rulebook’ if he’s stuck, before toddling off to god knows where. That line ‘consult the rulebook’ will surely become a very funny gag later in the film right? Wrong, it doesn’t come up again until almost the very end, and is forgotten almost as quickly as it arrives. The crux of the problem with ‘Reduced to Clear’ is it’s script, which is so mind-bogglingly awful that it’s more likely to cause someone to smash their screen in rage than roll around in laughter. It doesn’t understand the concept of setting up a gag, events merely happen with no foreplay, and we’re expect to laugh just because ‘oh look at me I’m so quirky, I’m so random’. It’s one of those scripts which feels the need to lengthen each joke to the point of exhaustion, over-explaining everything and becoming unbearably loquacious. This wouldn’t have been so bad had they done it once, then moved onto the next joke, but it seems to be the only joke in the arsenal, and occurs time and time again. The ending tries to cop out and nullify the bad script by becoming self-referential, however, that’s a further example of lazy writing, as the writers - Luke Allen and Alex Yousefi - have evidently realised the abysmal nature of their script, but rather than rewriting, have opted to try and undermine it with a ten-second gag. Allen and Yousefi’s direction is similarly lifeless, giving the setting of the charity shop no atmosphere whatsoever, whilst the framing leaves a lot to be desired. The argument that this is perhaps because it was made on a budget of £2000 budget does little to explain this - I’ve seen school productions with a greater production value. The decision to not have a score whatsoever is bizarre, though perhaps a laugh track would have made even more sense - anything to fill the vacant pauses as each actor fumbles their way around the botched script. ‘Reduced to Clear’ is not a good film, in fact, it’s almost unwatchable - though it’s one saving grace is that it doesn’t offend any proportion of society. But it did offend me, simply by having to watch it; ‘Reduced to Clear’ is an apt title for a film lacking in anything which would make it worth keeping. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Leo film review by UK film critic Hope Madden. Starring Adam Sandler, Bill Burr, Cecily Strong directed by Robert Marianetti, Robert Smigel, David Wachtenheim. HOME | FILMS | REVIEWS Leo Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 20, 2023 Directed by: Robert Marianetti, Robert Smigel, David Wachtenheim Written by: Robert Smigel, Adam Sandler, Paul Sado Starring: Adam Sandler, Bill Burr, Cecily Strong Adam Sandler and the whole TV Funhouse bunch get together for an animated kids’ film about a classroom pet who puts his many years of observing children to good use. Leo (Sandler) the lizard, along with terrarium pal Squirtle (Bill Burr) the turtle, has lived in the same Florida 5th grade classroom for decades. At 74, and believing his life expectancy merits it, Leo plans to make a break for freedom. Instead, he becomes a kind of life coach to 10-year-olds. Leo has a lot going for it. Sandler’s soft-hearted comedic presence feels perfectly at home in the classroom, while Burr’s patented “get off my lawn” crankiness offsets things nicely. The story, written by Sandler along with co-director Robert Smigel as well as Sandler’s frequent writing partner Paul Sado, touches on helicopter parenting and other anxieties authentic to modern youngsters. The premise allows for lots of fun and funny moments as, by helping each kid better understand themselves, Leo comes to recognize his own purpose. There are also wildly random moments of comedy that feel in keeping with the filmmakers’ TV Funhouse origins while helping the film stay fresh. The downside? Leo the film cannot seem to find its own purpose. It is essentially a musical, although in between songs you will forget that entirely. Nothing about the proceedings suggests the whimsy or theatricality of a musical, and though a couple of the songs are fun, every single number feels stitched in for no reason. Very few of the singers can sing and not one of the songs is memorable enough to merit its inclusion. Worse still, Leo feels long. Trimming the songs wouldn’t hurt the story and it would seriously benefit the run time. Sandler’s carved out a mainly mediocre presence in family entertainment, with three Hotel Transylvania films and Hubie Halloween . Earlier this year, he produced and co-starred in the absolute charmer You Are So Not Invited to My Bat Mitzvah , also for Netflix. Leo doesn’t reach the heights of YASNITMBM , but it aims higher than the others and frequently endears. About the Film Critic Hope Madden Netflix, Animation < All Reviews Next Film Review >

Tape film review by UK film critic James Learoyd. Starring Kenny Kwan, Adam Pak Tin-Nam, Selena Lee directed by Bizhan M. Tong. HOME | FILMS | REVIEWS Tape Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 9, 2025 Directed by: Bizhan M. Tong Written by: Bizhan M. Tong, Stephen Belber Starring: Kenny Kwan, Adam Pak Tin-Nam, Selena Lee Tape , by Bizhan M. Tong, is a fascinating new Hong Kong drama; a remake of Richard Linklater’s 2001 film of the same name. With the exception of its beach-set, flashback bookendings, the scenario takes place entirely in one apartment. The first half of the film is based around a conversation between two old school friends, now in their early thirties. One is a filmmaker and seemingly has his life all figured out; the other is a drug-dealer who loves a drink and also enjoys setting up video cameras around the place – their purpose unbeknownst to the audience until act two. The narrative leads to a brutally uncomfortable confrontation with a third character – another school friend. A woman with a deeply complex and upsetting relationship with these two men. This is a movie about past sins, the everlasting impact of abuse, and the psychology of a guilty individual running from their past, and another who uses information to exploit. The screenplay is engaging, and the film is elegant enough in its overall construction and performances, and yet there remains a slightly televisual quality that never really goes away – not to mention complex issues which are approached with a disconcertingly heavy hand in moments – hindering the overall viewing experience. This critic should confess that, whilst I am an admirer of Linklater, I have not seen the original Tape . I wonder, since Linklater is a strong stylist, whether he manages to make the environment slightly more cinematic than holds true here. Because while I enjoy the set-design, clean lighting, and blocking of the piece, one can’t help but feel that the filmmakers miss a trick by limiting themselves to a single location. But then again, that’s part of what makes the beach scenes feel so refreshing visually. It may be an integral aspect of the story, but to really pull it off, the cinematography should either hold more of a presence – or, on the other hand, you completely strip it down and go completely theatrical (see Alfred Hitchcock’s Rope ). The in-between space this film’s aesthetic occupies is only ever as fascinating as what’s taking place on screen (as opposed to the form and method enhancing what is seen). Thank goodness then that what takes place gets very interesting very quickly – a credit to original writer Stephen Belber and its director/writer Bizhan M. Tong. This is a deeply disturbing film that actively encourages a divisive response from its audience. You could also argue that it’s a shame on the writers' part that the only female character is – at least for a good portion of the film – presented simply as a victim, a subject of argumentative discussion. The third act changes this, and she gets to hold some satisfying authority, but at that point it feels slightly too convenient. The scenario on its own is certainly entertaining, shocking and button-pushy, but would lack any real power if not for three excellent and devoted performances by Kenny Kwan, Adam Pak Tin-Nam and Selena Lee. Praise should also go to the director Tong for helping to maintain such believable performances in such a restrictive setting wherein character is not always so easily conveyed. Tape will be in UK Cinemas from 19th September About the Film Critic James Learoyd Theatrical Release, World Cinema < All Reviews Next Film Review >

Timestalker film review by UK film critic Hope Madden. Starring Alice Lowe, Nick Frost, Jacob Anderson directed by Alice Lowe. HOME | FILMS | REVIEWS Timestalker Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 13, 2025 Directed by: Alice Lowe Written by: Alice Lowe Starring: Alice Lowe, Nick Frost, Jacob Anderson Back in 2016, Alice Lowe wrote, directed and starred in the charmingly dark horror comedy, Prevenge . It’s been a long wait, but her absurd wit, impeccable timing and delightful attention to sight gag detail return with the dark reincarnation rom-com, Timestalker. Lowe is Agnes. No matter when you catch her—mid-1600s, Napoleonic era, 1980s New York—Agnes is feeling lost. Unmoored. As if something in her very soul is lacking. And then suddenly, over and over and over again throughout the ages, Agnes realizes what she’s missing is Alex (Aneurin Barnard). Alex never seems to agree. A handful of souls orbit the star crossed never actually lovers (Nick Frost, Tanya Reynolds, Kate Dickie, Jacob Anderson), but that never really registers with Agnes. She’s too attuned to her longing, and then eventually, her need to change her fate because, in each life, Agnes dies (pretty horribly) so that Alex can live. What Lowe has penned is a clever subversion of romance tropes—“I have crossed oceans of time to find you”—without entirely mocking that aching sense of longing that fuels an obsession. Lowe’s most clever device is positioning a man as the object of infatuation. Playing that idea off a later introduction of Agnes’s own stalker further pokes holes in a century’s worth of romance cliche. Timestalker is funny, sometimes brutally so. Anderson shines as a mischief-maker and instigator popping in from age to age with very dark suggestions, and an underused Dickie’s priceless deadpan delivery adds value to each of her scenes. The look of the film offers endless enjoyment, and Lowe is a hoot in every situation. Don’t look for much in the way of a plot, though. Where Prevenge unveiled a bit more of its backstory and detail with each new scene, Timestalker feels like a really fun Groundhog Day with no underpinning story. The film is disappointingly slight given the clever points it makes. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Better the Neville You Know film review by UK film critic James Learoyd. Starring Craig Conway, Connor Lawson, Beth Ellis, Jill Dellow directed by Paul Stainthorpe. HOME | FILMS | REVIEWS Better the Neville You Know Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Oct 23, 2024 Directed by: Paul Stainthorpe Written by: Kris Taylor, Paul Stainthorpe Starring: Craig Conway, Connor Lawson, Beth Ellis, Jill Dellow Better the Neville You Know is the latest short from director Paul Stainthorpe, and tells a riveting tale of revenge and deceit. It's a ferociously dark thriller filled with an unsettling atmosphere and topped off with a disturbing twist (I was reminded a lot of Saw ). We follow an old man who leaves his home to fulfil a mysterious deed, which the audience is not yet let in on. His position, at first, appears to be that of a victim. But as the narrative cleverly unfolds, we discover something much more shocking. Keen viewers will inevitably enjoy how the movie doesn't immediately give you all the answers; its main themes, for instance, don't truly reveal themselves until the halfway point. This encourages a far more participatory, thought-provoking level of audience engagement, and is a clear sign of a strong story. This is a really high-end piece of independent filmmaking, and absolutely deserving of your attention. Starting with the visuals, it opts for what you could describe as an 'ultra-realistic' look. Meaning to say, its images are vivid and stark whilst also possessing a natural sensibility. One notices immediately how dim and desaturated the film is - and whilst extreme shadows are incredibly expressive and in no way 'natural', the overall aesthetic goes towards immersing us in its morbid world. Some unique techniques are being used to facilitate this: such as occasionally implementing high shutter-speeds so as to create a sharp, jittery, subjective feeling... It gives the action a sense of substantial threat. The particular style of lighting - with the intention of creating a nicely contrasty, lit image with minimal colour - is also fabulously inventive. From the opening shot, we as the audience can identify a clear tone and voice. What's also immediately noticeable are the strong performances. The actors manage to skilfully ground a lot of the longer sections of dialogue in a truly organic sense of emotion. And our protagonist goes through an arc which, uniquely, is as much to do with his journey as it is to do with the spectator's awareness of the journey, and yet we're fully engaged with his persona throughout. It's an incredibly sharp piece from beginning to end. Not just due to its story and cinematography, but also because of the clarity and professionalism of the on-location sound, and audio design. A mention should also definitely go to the makeup department who play a big role in the piece's authenticity and plot progressions. While the director has brought the film an innate watchability, a lot of the film's success can be attributed to the screenplay in and of itself. Its concept and execution are pretty exemplary in terms of smaller scale thriller pictures. One of the few complaints a viewer might have is, depending on the kind of audience, its extreme violence and arguably overblown ending. However, one can view this film's structure as a ticking bomb that eventually detonates in splashes of blood and an overwhelming excess of fury. Additionally, one could argue that there is a misplaced use of music in the film. However, by the end - once its twists have been revealed - its relevance feels more apt, but still not entirely. Overall, it's a fantastic short film, and I would suggest this movie to anyone who enjoys those extremes within cinema, and to anyone willing to take a risk on some darker, more visceral subject-matter. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Baroness film review by UK film critic Jason Knight. Starring Gordon J Millar, Caroline Koziol, Davy Holt directed by Tom Alner. HOME | FILMS | REVIEWS Baroness Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 18, 2022 Directed by: Tom Alner Written by: Tom Alner Starring: Gordon J Millar, Caroline Koziol, Davy Holt A lonely and troubled middle-aged man struggles to deal with his issues until a chance encounter with a stranger changes things. George (Millar) spends a great deal of time at a pub, drinking. He appears to be sad and quiet. From time to time, a young woman keeps coming to the front of the building and looking in, then leaving. One night, George accidentally stumbles upon the unknown woman while walking on a street and the two of them end up building a rapport between them. This moving short story focuses on the life of an individual who is going through bad times. The first half or so explores how George spends his time at the same pub, having a drink and being silent, not speaking at all. Although it is rather clear that he has troubles, the bartender (Holt) does not comfort him, instead he just asks him if he wants another drink and even treats him with disrespect. The narrative goes through three days of George at the pub, Monday, Wednesday and finally Saturday, all of which are announced. The part of the film that takes place in the pub is pretty much quiet and reveals George's emotional pain and isolation. The atmosphere becomes more upbeat after George meets the young woman, whose name turns out to be Elena (Koziol). She too has her own problems and the two of them are sympathetic towards each other and end up assisting one another with their issues. Millar is emotional and leads the film very well as a lonely and sad person, whose only way of escape from his worries seems to be the drink. Koziol is also dramatic as a kind-hearted individual, whose appearance turns out to be significant in George's life, as he is heard speaking for the first time when he meets her and his interaction with her gives him the confidence he needs to deal with his problems. Director of photography Scott Remy delivers wonderful cinematography and there are parts where the image appears as home video footage and provides an insight into George's past. Composer Steve Matthew Carter develops a dramatic score that creates a powerful atmosphere. This film is a character study. It is about a person who is in a bad situation and then finds hope. It reveals how significantly a complete stranger can influence someone's life and points out the importance of reconciliation and having somebody for support. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Scrapper film review by UK film critic George Wolf. Starring Lola Campbell, Harris Dickinson directed by Charlotte Regan. HOME | FILMS | REVIEWS Scrapper Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Sep 7, 2023 Directed by: Charlotte Regan Written by: Charlotte Regan Starring: Lola Campbell, Harris Dickinson 12 year-old Georgie (the amazing Lola Campbell) doesn’t believe it takes a village. Even after the death of her mother, Georgie’s doing fine, thanks. She dutifully crosses the stages of grief off her notepad, and steals bicycles with her friend Ali (Alin Uzun) for the money to support herself. When social services calls to speak with Georgie’s uncle “Winston Churchill,” she plays back a series of canned messages recorded by her friendly grocery store clerk. Yeah, Georgie’s got a nice little racket going, until Jason (Harris Dickinson) shows up with some reality. Both are unwelcome. Jason is Georgie’s long lost dad, and he isn’t moved by how many “Get Lost!” signs she hangs up around the London flat. After years of short films, TV episodes and music videos, writer/director Charlotte Regan delivers a feature debut full of warm magic and youthful zest. Though the question of father/daughter bonding is rarely in doubt, the brisk family journey (84 minutes) is consistently engaging and frequently hilarious. And what a find Regan has in Campbell. In a debut performance on par with Brooklyn Prince’s breakout turn in The Florida Project , little Lola sports sharp comic timing without a hint of pretension, trading droll deadpans with the excellent Dickinson (Triangle of Sadness, Where the Crawdads Sing, Beach Rats ) in a display of mischievous chemistry that earns effortless smiles and solid laughs – especially when the two are giving imaginary dialog to a couple of strangers they see on the street. “We can hear you, mate!” Regan takes a core story of heartbreaking grief and tucks it inside the type of escapist wonder a child might turn to for comfort, With some Wes Andeson-esque blocking and reaction cutaways a la Edgar Wight, Regan brings Georgie’s imagination to vivid, amusing life as she questions the worth of a father she has never known. The script is smart, wry and witty. And while the film may be full of deadpan humor, it also delivers some gentle insight with an emotional pull that may surprise you. Much like little Georgie, Scrapper is a bit of a hustler. But let them both work you over. It won’t hurt a bit. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Enys Men film review by UK film critic Alasdair MacRae. Starring Mary Woodvine, Edward Rowe, Flo Crowe directed by Mark Jenkin. HOME | FILMS | REVIEWS Enys Men Film Review average rating is 5 out of 5 Critic: Alasdair MacRae | Posted on: Sep 28, 2022 Directed by: Mark Jenkin Written by: Mark Jenkin Starring: Mary Woodvine, Edward Rowe, Flo Crowe Enys Men is an ethereal horror and visual poem about enduring grief. The latest film from Bait director Mark Jenkin may be less concerned with narrative than his previous feature but it is arguably more emotive. This island set chiller is bound to be a new favourite for M.R. James fans whose Christmas Ghost Stories DVDs are nearly worn out. Also worth noting, is that Jenkin has previous experience working with this particular type of British ghost story as witnessed in his memorable short Hard, Cracked the Wind . Set on an uninhabited island off the coast of Cornwall, Jenkin lays the early groundwork by establishing the island’s immediate connection to the passage of time. The endless rolling of the sea crashing against and eroding the rockface, the clouds and gulls high in the sky. Time passes but so slowly that it seems frozen. Everywhere there are indicators that time has passed but unless we feel it, how do we really know? The Volunteer (Mary Woodvine) as she is simply known in the credits, measures her time by routine, every day she takes a temperature reading next to a patch of wildflowers. The unholy red of their stamen is matched by the colour of her anorak, not unlike the one in Nic Roeg’s Don’t Look Now , another film obsessed with loss. Afterwards she climbs up the rockface, selects a palm-filling stone, and drops it down an abandoned mine shaft. She waits, and we wait, until it crashes against the surface at the bottom. On the way back to her island cottage she passes a standing stone, a radio broadcast informs us that it is a site traditionally visited to remember loved ones lost at sea. Who is it that she has lost? We can only assume they are the reason why she has tied herself to this desolate rock. In the evening she makes herself a cup of tea, reads or listens to the radio, and records the day’s findings: “19th April 1973. 14.2 degrees. No change.”. Each day is delineated slightly by her wanderings and discoveries, whether it be a rusted minecart track, or driftwood from an old fishing boat. Relics from professions that will have defined the local people somewhat. Whole communities, lifestyles, and traditions, that have been forgotten and abandoned in a matter of decades. And now these remnants are the only signifiers that remain of their lives. At the end of these days, it altogether culminates in a scribbled, “No change.”. Until, one day, she feels a disturbance in the wildflowers. This marks the beginning of a breakdown. She leans into her routine as a crutch, but it cannot steady her for long. As she stares into the void of loss, time collapses, and the spirits of the island’s previous inhabitants haunt her. Her blue eyes scream down the camera piercing the gorgeous 16mm film and the viewer’s soul. Like the standing stone, the film itself, feels tangible, trapping the alchemical mix of fear and empathy. Grief and film are both processed are they not? Enys Men , in traditional horror fashion, is obsessed with dualities and thresholds. Where the sea and the sky meet, so too do the past and the present. As above, so below. Rituals, chanting, déjà vu, and doppelgangers. The score designed by Jenkin, featuring collaboration from Gwenno (for whom he shot the music video for Den Heb Taves) , contorts every movement. Sonic dislocation factors in greatly to the eerie and otherworldly plane of Enys Men. The soundscape plays in tandem with the image but jolting and juddering fractions of a second ahead or behind to distort the on-screen reality. Just another trick in this director’s overflowing toolbox. Enys Men is without a doubt one of the best British ghost stories. Manufacturing fear is one thing but the way in which Jenkin imbues the film with a deep and personal sense of grief makes it impossible not to feel an empathic and profound sadness for the Volunteer. A figure who seems to burden lifetimes of loss and whose eyes, once witnessed, will forever haunt the viewer. About the Film Critic Alasdair MacRae Film Festival < All Reviews Next Film Review >

Minions: The Rise of Gru film review by UK film critic Hope Madden. Starring Steve Carell, Pierre Coffin, Alan Arkin directed by Kyle Balda, Brad Ableson, Jonathan del Val. HOME | FILMS | REVIEWS Minions: The Rise of Gru Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 30, 2022 Directed by: Kyle Balda, Brad Ableson, Jonathan del Val Written by: Matthew Fogel, Brian Lynch Starring: Steve Carell, Pierre Coffin, Alan Arkin Gru is back, which means more minions. As long as you’re not sick to death of either of those things, Minions: The Rise of Gru is fine, moderately enjoyable family entertainment. If you are sick to death of any of the above, it’s probably because you are an adult. For you, this second installment of the Minions franchise, fifth overall Despicable Me project, hopes to keep your attention with loads of nods to the Seventies. This probably means they hope the kids are going to theaters with their grandparents. Why the Seventies? Because we’re watching young Gru (Steve Carell) try to break into the super villain biz. He’s but a wee thing, not yet jaded. Rather than Farrah Fawcett or Starsky and Hutch posters on his walls, though, his bedroom is adorned with The Vicious 6 paraphernalia. The Vicious 6 are the most notorious supervillains in the world: Wild Knuckles (Alan Arkin), Belle Bottom (Taraji P. Henson), Jean-Clawed (Jean-Claude Van Damme), Stronghold (Danny Trejo), Svengeance (Dolph Lundgren), and Nun-Chuck (Lucy Lawless). Other newcomers to the series include Michelle Yeoh and RZA, joining returning performers Julie Andrews, Russell Brand and Steve Coogan. Damn, that’s a lot of talent behind the microphone. The animation’s great, too. This movie is gorgeous, especially the 3D rendering of San Francisco. There’s an eye-popping Chinese New Year parade and a pretty great cross-country motorcycle ride a la Easy Rider that looks amazing. Writing is a bit of a weak spot, though. Part of the problem is that all that voice talent is given very little to do because Pierre Coffin (voice of the Minions en masse) gets most of the screen time. You see, Gru is kidnapped and several of those little yellow pills set off to rescue him. They’re separated. One pulls a Nicholson to RZA’s Peter Fonda. The other three train in the art of Kung Fu with Master Chow (Yeoh). Minions don’t make great primary characters. They are interchangeable and have no arcs. They’re wildly, suffocatingly popular, yes, but they can’t really carry a film. They’re a hell of a waste of a good cast, though. About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >