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What The... film review by UK film critic Alex Crisp. Starring Attul, Kiran Dev, Stevie Sunny directed by Sarin Kumar. HOME | FILMS | REVIEWS What The... Film Review average rating is 2 out of 5 Critic: Alex Crisp | Posted on: Aug 19, 2021 Directed by: Sarin Kumar Written by: Sarin Kumar Starring: Attul, Kiran Dev, Stevie Sunny A comic short film from Indian director Sarin Kumar, or should that be bonkers. A bonkers short film from Indian director Sarin Kumar. Two friends find themselves in the home of a former school acquaintance, and get involved in something a bit bloodier than they bargained for. There are four principle characters. The two friends, Kathir (played by Attul) and Karthi (Kiran Dev), get the most screen-time, but Attul and Dev falter with shouty performances. The best thing in the film is Stevie Sunny, who goes for cock-eyed psychopathy and lands it as Rocky, so it’s a shame when he becomes the first victim in a series of increasingly farcical manslaughters and murders. And strangest of all is Radhakrishnan as a corrupt policeman billed simply as “Cop”, strange because he plays him like a disturbed sensei. His introduction provides the first real jokes of what turns out to be a comedy (honestly it could’ve been anything). Earlier on, a long still of Kathir and Karthi sitting against the kitchen cupboards while Rocky’s dead body lay propped up between them acted as a moment of realisation, a kind of oh, it’s a black comedy. When trying to dispose of Rocky, the pair are stopped by Cop, who asks them to open their trunk. Only there’s a twist. It turns out the cop has a body in his car too, which is a funny subversion of a staple crime-genre scene. That’s followed up with a monologue that ends in a punchline about shooting a goat. A goat the pair ask? A pregnant goat. Yeah, that isn’t so funny. There is an unfortunately inescapable hindrance to these efforts throughout however—an intrusive soundtrack by Arvind Raghunath. Every tense plot development—such as the trunk scene—is punctuated by a sledgehammer bass-bwah, and though the intended effect may actually be silliness, it’s hard to tell whether the emotionalism is deliberate. It’s not just that the music is overbearing, it’s schizophrenic too. There’s a cue that’s bluesy, there’s several that are funky, and during the climax the soundscape slips into a harsh cascade of Tenet -like electronic pulses. That would be too many musical styles for a film twice as long—everything I’ve listed takes place in less than 35-minutes. It’s no surprise that Cop betrays the pair in the last of those minutes, leading to a stand-off, a sizeable body-count, and a very Quentin Tarantino-ish title caption—yellow block letters over a whirlpool of blood. It’s his lurid brand that Sarin Kumar attempts to emulate with What The , and not successfully as such. Truth be told though, for over two decades Tarantino hasn’t successfully illustrated his own brand either. This ambitious but over-extended short isn’t any further away from doing so. About the Film Critic Alex Crisp Short Film < All Reviews Next Film Review >

NYC Dreams film review by UK film critic Jason Knight. Starring Yves Mathieu East, Carol Weakland, Nixon Frederick directed by J. Arcane, Paul Erskine. HOME | FILMS | REVIEWS NYC Dreams Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 16, 2022 Directed by: J. Arcane, Paul Erskine Written by: J. Arcane, Paul Erskine Starring: Yves Mathieu East, Carol Weakland, Nixon Frederick A troubled young man with a passion for dancing struggles to find his place in the world. Theo (East) is young African American who is a homosexual and dreams of becoming a professional dancer. Unfortunately, he is having a hard time succeeding at that and he must find a way to come to terms with his past and find out who he is and what he really wants before he can move on with his life. This drama focuses on the life of an individual who appears to have reached a point where he has hit a brick wall and does not know how to get his life back on track. The story is told through his perspective and the audience follows him as he walks through New York City, finds work in a coffee shop, spends time with acquaintances, experiences romance and tries to figure out what to do with himself. The screenplay explores his struggles and brief flashbacks reveal the troubled relationship he had with his father. The narrative does not put a lot of effort into showing his attempts to begin a dancing career, but instead concentrates more into pointing out how much he loves that activity and how he attempts to deal with his past and be a decent person. What mostly stands out are the multiple scenes where Theo begins dancing by himself, accompanied by music and lyrics, in a way turning the movie into a musical. These beautiful scenes contain wonderful choreography and highlight his passion for dancing and signify his temporary escape from reality, much like the main character in Dancer in the Dark proceeds to sing in order to escape from her harsh life. There are lengthy periods of time with no dialogue, many of which include the dance scenes and montages. Arcane also worked on the editing and does a great job with the dancing parts and montages, utilising superimposition to great effect. As the main subject of the feature, East delivers a dramatic performance as a self-taught wannabe dancer with personal issues. He comes across as a bit socially awkward, shy and having difficulties expressing himself. Arcane and Erskine do a great job as directors and create magnificent shots that capture the splendour of New York City. The soundtrack consists of various wonderful songs that add significant value to the movie. The pace feels a bit slow, which is not necessarily a bad thing as this film is a character study and primarily aims to explore a person's life, who they are, rather than focusing on the narrative. Nevertheless, the movie generally does seem overlong. This movie is about self-discovery, inner struggles and having a passion. The narrative might be tedious to some, however it is a decent drama that reveals the beauty of dancing and the importance of people realising who they are and what their purpose in life is. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Rage film review by UK film critic Jason Knight. Starring Gary A Wales, Lara Fullerton, Bailey Penman directed by Gary A Wales, David Penman. HOME | FILMS | REVIEWS Rage Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 7, 2022 Directed by: Gary A Wales, David Penman Written by: Gary A Wales, David Penman Starring: Gary A Wales, Lara Fullerton, Bailey Penman A man's heavy drinking and drug abuse leads to devastating consequences. Alex (Wales) is a married man and has a son (Penman). One night, he and is wife Courtney (Fullerton) go to a pub and things end up going downhill. Alex drinks a lot and secretly takes drugs, becoming aggressive and out of control. Eventually, the couple return home, where things go horribly wrong. This short film is a hard-hitting thriller that pulls no punches when it comes to showing the terrible results that alcoholism and substance abuse leads to. While under the influence of drugs and alcohol, Alex turns into a vile person, resorting to violence, swearing and shouting. The scenes of violence are very distressing and it is his wife and son who become victims of his actions. The screenplay also explores how Alex himself becomes a victim of his own deeds and it is equally upsetting to watch. The narrative begins with calmness and normality and gradually the signs that indicate that Alex is an unstable man appear. The atmosphere becomes more and more tense, until things finally reach the abyss. Wales's perfomance is vital in order for the film do deliver its messages. He dramatically and powerfully portrays an individual who is battling substance addictions and is on the edge. When he reaches breaking point, he is terrifying and when he is forced to deal with the consequences, he is pitiful. Fullerton and Penman are great as the innocent ones who become targets of Alex's aggression. Alfie Marsh develops wonderful cinematography and there are creative lighting techniques. The filmmakers make effective use of fisheye techniques and the music by David Campbell is tense and dramatic. This viewing is quite unpleasant, however it deserves significant praise and recognition because it raises awareness of domestic violence and substance abuse and it portrays the acts and the consequences very directly. It provides a heartbreaking and memorable experience with important messages. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Ashkal: The Tunisian Investigation film review by UK film critic Hope Madden. Starring Fatma Oussaifi, Mohamed Grayaa directed by Youssef Chebbi. HOME | FILMS | REVIEWS Ashkal: The Tunisian Investigation Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Aug 22, 2023 Directed by: Youssef Chebbi Written by: Francois-Michel Allegrini, Youssef Chebbi Starring: Fatma Oussaifi, Mohamed Grayaa The haunting visual poetry of a cityscape littered with abandoned buildings and new developments is home to Youssef Chebbi’s latest, Ashkal: The Tunisian Investigation. The apt title describes not only the film’s plot – a mystery concerning a string of suspicious suicides – but also the identity of a country itself. As Fatma (Fatma Oussaifi) and Batal (Mohamed Grayaâ) investigate the apparent self-immolation of a security guard at a high-rise construction site, they uncover evidence of an earlier, similar death that had been hidden by their police department colleagues. Why hide it? In a country where self-immolation – that astonishing act of defiance – triggered a revolution in 2010, these deaths feel particularly ominous. Especially for the corrupt. As tyranny and its allies, police and corporate corruption, once again thwart justice, an epidemic of self-immolation spreads like a contagion through the city. Oussaifi delivers a quietly fierce performance, one that Grayaâ counters with unexpected tenderness. Both actors are given plenty of room to breathe, Chebbi lingering with each in their private moments to allow for introspective, patient character development. Those quiet moments look amazing, too. Ashkal is gorgeously filmed, Chebbi finding symmetry in the bones of the buildings and unexpected beauty in the fire. An evocative use of color, shadow and light create a hypnotic fusion of supernatural fantasy and police procedural. The context is specific to Tunisia, but the themes are universal. As greed and corruption overwhelm a city, victimizing the poor and the powerless, political protest blends with cultural grief. Simultaneously pessimistic and hopeful, grim and beautiful, Ashkal is a meditation on modern times. About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Raspberry film review by UK film critic William Hemingway. Starring Emmie Rhodes, Samuel Marlow directed by Scott Kingsnorth. HOME | FILMS | REVIEWS Raspberry Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 3, 2024 Directed by: Scott Kingsnorth Written by: Scott Kingsnorth Starring: Emmie Rhodes, Samuel Marlow Making films is such a really easy thing to do, innit? In fact, it’s so easy that I’m surprised more people aren’t out there giving it a shot; scripting their dreams, grabbing a camera and committing their ideas to film. And what about short films, eh? They’re even easier to make, aren’t they? So easy, in fact, that anyone can do it. All you have to do to make a short film is to come up with an idea, just one, and then film a small scene about it. It doesn’t even need to be that long, a couple of minutes maybe, and there doesn’t even need to be any dialogue if you don’t want there to be. Yeah, of course you’ll be able to get across what you want to say in that short, tiny, miniscule amount of time, without any words. Don’t worry, everyone is bound to understand it. Everyone is bound to love it. It’s easy – just go for it. And so, dear audience, today for your consideration we have Raspberry . Written, directed and shot by Scott Kingsnorth, Raspberry is one of those films. Coming in with a total runtime of just under two-minutes there’s not a lot of time, space or anything else for Kingsnorth to get his point across. Luckily for him though, his point is not all that involved, and to be fair it’s not all that subtle either, leaving the way open for a quick exchange of attitudes before it’s all over and we’re left to go our separate ways again. So, just what is it that Raspberry has to offer? Well, to start with there’s nearly thirty seconds worth of credits to lead us in, which along with the extra fifteen seconds of credits at the end, only leaves us with about one minute and fifteen seconds worth of actual film left to watch. Within that window we get to see a woman (Rhodes) sitting on a bench, in black and white. She looks like a bit of a schoolmarm, what with her rimmed glasses and her stern look, and it seems as though she probably isn’t very good at sharing or socialising. When another person – a gentleman – then decides to take a load off and sit on the bench, the woman doesn’t like it and so she shoots him a fierce look. Unperturbed, the gentleman (Marlow) shoots a look straight back at the schoolmarm and a Sergio Leone style face-off begins as the two sets of eyes are trained on one another with no sign of giving way. Eventually, with there seemingly being no other way out of the deadlock, the woman sticks her tongue out and blows a raspberry at the man before he turns around and does the exact same thing back. Fin. And so that’s it. That’s all we’ve got. That’s all there is. If you wanted to – and I mean really wanted to – you could try, I suppose, to link what’s going on in the film to the real world. You could try to say that the characters represent their respective sexes within wider society, and that the woman here, as in the wider world, is protecting her personal space from the inevitable invasion of men and is showing her disgust at the entitlement men have to all spaces, even those which surround women. You might try to say that the film is a commentary on modern society and the current generation, where actual face-to-face communication has broken down so much that it seems insults are the norm and the art of conversation has been lost. You could try to say that this is Kingsnorth’s two fingers up to the Oscars. You could try and say a lot of things, if you wanted to, about Raspberry but none of them would be right because in reality it has none of these things in it. It is merely a very short film about two people blowing raspberries at each other – it tells you right in the title – and that’s it. However, if that’s all that Kingsnorth wanted to show, then he’s managed it pretty well. In two-minutes he’s demonstrated that he can select, shoot and edit his shots with a degree of skill. He’s managed to offer a sort of characterisation through the look and wardrobe of the two leads and he’s offered some measure of directorial style by choosing to film in black and white. The story, for what it is, hangs together and does create a narrative, while the music from Matt Williams provides a throughline as well as a sense of atmosphere to the audience. Which means that while Raspberry may not be very much, it is at least something. Just who would want to watch it though, is another question entirely. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Mother, May I? film review by UK film critic Hope Madden. Starring Kyle Gallner, Holland Roden, Chris Mulkey directed by Laurence Vannicelli. HOME | FILMS | REVIEWS Mother, May I? Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 20, 2023 Directed by: Laurence Vannicelli Written by: Laurence Vannicelli Starring: Kyle Gallner, Holland Roden, Chris Mulkey I’m a Kyle Gallner fan. I’ve always appreciated his work, but Dinner in America sealed the deal. Always on board for a new Gallner-led horror flick, I was cautiously optimistic about Mother, May I? Gallner is Emmett. Having just inherited a gorgeous old farmhouse from his estranged mother, Emmett and his fiancé Anya (Holland Roden) face some demons and a lot of packing if they’re going to have the house ready for the realtor. And even if the film seems familiar on its surface, there’s something so weird going on underneath. Writer/director Laurence Bannicelli’s thriller feels like a premise born of either a therapy session or a bad relationship – or, more likely, a bad relationship born of group counseling. The film swims in the vulnerability those in therapy contend with as they have faith in their therapists, or those wielding the same tricks and terminology, while they try to overcome their issues and/or childhood trauma. Emmett, you see, barely even remembers this house because his mother abandoned him. Or did she? Because Anya – who transforms from bohemian poet to pristine, controlling matron overnight – keeps suggesting he doesn’t know everything he thinks he knows. But how could she know? Bannicelli introduces a parlor trick/therapy game early in the film where Emmett and Anya role play each other. It’s Anya’s way of forcing Emmett not to close her out, although it immediately reads as needy, smothering and controlling. But Emmett doesn’t even know what he’s in for. Often in these possession/haunting films you can’t help but wonder why so much time lags, why so few questions are raised, why everyone is so willing to quietly accept the weird behavior. Bannicelli and sets us up to believe while Gallner and Roden keep our faith alive. She creates to distinct and recognizable characters, and his reactions to each is unnerving and raw. There’s a grand total of 5 people in the cast, which suggests a Covid production (or at least a production very savvy about its budget), but you don’t feel it. It’s a gorgeous film, the exteriors the kind of “middle of nowhere” that does not feel foreboding. It feels like an invitation to peace, which is in keeping with the tension just below the surface for these two characters who cannot truly face their own reality. Not everything works as well, though. However welcome veteran character Chris Mulkey may be – and he’s just as solid as ever – the character itself is the cliché stranger who can explain it all. And though the climax is powerful, the resolution feels a bit like a cynical joke. It’s not enough to ruin this clever, odd duck of a thriller, though. About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Hope film review by UK film critic Jason Knight. Starring Sadhbh Larkin Coyle, Graham Chipperfield, Rosie McClelland directed by Bobby Marno. HOME | FILMS | REVIEWS Hope Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 20, 2022 Directed by: Bobby Marno Written by: Bobby Marno, Matt Akerfeldt Starring: Sadhbh Larkin Coyle, Graham Chipperfield, Rosie McClelland An online influencer has to struggle to stay alive after suffering an accident during her latest endeavour. Hope (Coyle) is a young woman with a passion for adventure and she films herself as she goes through challenging activities in nature that include mountain climbing and scuba-diving and posts the videos online. She works from home, doing a job she dislikes and has a good relationship with her father (Chipperfield). Eventually, she decides that her next adventure will involve climbing a massive cliff in an isolated location that is significant to her. However, while there, she has a horrific accident and is left stranded in the countryside, with no phone signal. This feature begins as a moving drama about self-discovery and experiencing life, with Hope living a sort of lonely but happy life, with her nature adventures being her main joy. When the accident takes place, things take a sharp left turn and the film turns into a harrowing story about survival, which takes up the majority of the movie's duration. Hope finds herself unable to walk and using a stick in order to stand up. She forces herself to keep moving, setting off on a desperate journey in oder to get to safety. It is a plot that resembles 127 Hours and it is filled with despair, agony, fear of death, isolation and determination to survive. However, it also points out the freedom one feels while being in nature and the importance of pursuing one's dreams. Coyle is terrific in her role and her character makes quite a likeable protagonist. She effectively portrays an experienced media personality who is passionate about challenges and the audience will most likey sympathise with her when she accidentally gets herself into a terrible situation. It should also be mentioned how convincing Coyle is when her character is in great physical pain and struggling to push herself to keep going. Marno does an amazing job as the director and creates wonderful establishing shots of landscapes and beaches. Composer Caela Murphy makes an outstanding contribution with the score that is heard throughout the film, that is dramatic and tense and includes beautiful piano melodies. For sensitive viewers, it should be mentioned that there are very graphic images of injury and gore. This feature can be hard to watch at times and for the majority of its duration it is not a pleasant viewing due to the physical and emotional suffering that its protagonist goes through and the plot twist at the end is something that some people might like while others might not. These comments are not negative, on the contrary, they suggest that this movie is quite memorable and Coyle's performance and the music help bring to light the hard work and creativity that was put into this project. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Wildcat film review by UK film critic Brandon Thomas. Starring Harry Turner, Samantha Zwicker directed by Trevor Frost, Melissa Lesh. HOME | FILMS | REVIEWS Wildcat Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jan 4, 2023 Directed by: Trevor Frost, Melissa Lesh Written by: Trevor Frost, Melissa Lesh Starring: Harry Turner, Samantha Zwicker Much has been made of how animals impact the lives of their humans. For a lot of people, many of the fondest memories they have are of a dog or cat that brought an enormous amount of joy to their lives. Of course, these stories usually revolve around domesticated pets and not wild animals. Wildcat deviates from your standard nature documentary and instead focuses on the deep bond between an emotionally fragile man and the wildcat that relies on him for survival. Harry Turner is a twenty-something Englishman who deployed to Afghanistan when he was 18 years old. As Harry’s time in the armed forces comes to an end, he’s left with scars both physical and emotional. Looking for a fresh start, Harry travels to the remote Peruvian portion of the Amazon and links up with a Ph.D. student and her animal sanctuary. As Harry continues to struggle with the effects of debilitating depression and PTSD, fate drops an orphaned ocelot (ironically named Keanu) into his care and into his life. There’s a breeziness to Wildcat that helps it feel more personal than most nature docs. A huge swath of footage is shot by Harry himself and helps the audience understand his state of mind much more quickly than a series of talking heads might have. When Harry’s doing well, there’s a tight focus to the footage of Keanu and of his testimonials. As his mental health deteriorates, so does the shooting style of the film. Entire scenes take place with participants off-screen or in the background – at times leaving us just as disoriented as Harry. So much of the film begins to feel voyeuristic as Harry spirals. Not in a gratuitous or exploitative way, but in that Harry’s deep emotional connection to Keanu’s well-being feels like an exposed nerve. Seeing this vulnerable wildcat rely on an equally vulnerable human being is a beautiful juxtaposition that forms the core of the film. Wildcat isn’t the kind of film that gives one a better understanding of nature and its fragility. Instead, this is a film that seeks to better understand the delicate connection that can exist between humanity and the animals that co-exist with us. About the Film Critic Brandon Thomas Theatrical Release, Amazon Prime, Documentary, World Cinema < All Reviews Next Film Review >

Habit film review by UK film critic Hope Madden. Starring BellaThorne, Libby Mintz, Josie Ho directed by Janell Shirtcliff. HOME | FILMS | REVIEWS Habit Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Aug 18, 2021 Directed by: Janell Shirtcliff Written by: Libby Mintz, Janell Shirtcliff Starring: BellaThorne, Libby Mintz, Josie Ho Bella Thorne is the best thing about writer/director Janell Shirtcliff’s zany thriller Habit . When is that ever a good sign? Thorne plays Mads, a Jesus-loving Texan transplanted to Hollywood’s underbelly to be with her two hometown besties Evie (co-writer Libby Mintz) and Addy (Andreja Pejic). Mads really loves Jesus. Like in an entirely unwholesome way. But that’s the least of her problems after Evie’s one-night stand makes off with all the drugs and money the girls are holding for Eric (Gavin Rossdale). This movie tries so hard to be Tarantino by way of John Waters and it fails so absolutely that it gets credit for commitment. What it lacks is inspiration—Shirtcliff’s odyssey requires that we be shocked by Mads’s behavior, surprised by the stilted lunacy of her pursuers, and weirdly drawn into her unseemly world. The fact that none of it feels especially wild, or that the pursuers lack originality and panache, takes a backseat to the film’s lacking cinematic quality. Individual scenes have no structure – they drag, most of them missing purpose, punchline or punch. Nothing feels especially taboo, and that’s a problem because, without any real “wild” in these antics, you find yourself paying attention to the writing or, worse still, the acting. Rossdale has a tough time developing a character, partly because there’s no telling whether to like or dislike Eric. Shirtcliff and Mintz have no idea what to do with the real villains, Queenie (Josie Ho) and Tuff (Jamie Hince). The filmmakers dress them up like something out of Pee-wee’s Playhouse, but their villainy is sloppy and suspect. Habit plays like a film made by people who really liked David Lynch’s Wild at Heart , Tony Scott’s True Romance , and everything John Waters ever made, but had no real idea what they liked about it. The result is a mishmash of borrowed ideas, none of them interesting enough to merit the label subversive. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Shifting Tides film review by UK film critic Patrick Foley. Starring Yuri Angelov, Yoan Popov, Hristo Borisov directed by Yoan Petrov. HOME | FILMS | REVIEWS Shifting Tides Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 15, 2024 Directed by: Yoan Petrov Written by: Yoan Petrov Starring: Yuri Angelov, Yoan Popov, Hristo Borisov Generational divides and family trauma are explored in Shifting Tides, Yoan Petrov’s moving short set on a coast that acts as a dividing line between a bereaved uncle and nephew. Having recently lost his mother, Kristian (Yoan Popov) heads to a remote fishing village to find his reclusive uncle Mitio (Yuri Angelov). The pair couldn’t be much more unlike each other – with Kristian’s upbringing in the city putting him at odds with the harbour life, and the two struggle to find common ground even with their shared loss. But the time they spend together thaw’s their issues, and a hidden history helps Mitio rekindle a familial sense. Shifting Tides has a powerful sense of empathy and heart. Yoan Petrov’s intelligent writing style gives definition to both uncle and nephew – critical to the film’s success given that their differences are the driver of the plot. Kristian’s modern sensibilities come through authentically and naturally, as do his clashes with Mitio (who makes his disdain of vegans particularly known). The slower pace of the film fits their awkwardness with each other, and allows the pain each share to emanate during quieter moments of the story. Director of photography Giorgos Tsamis stages events beautifully – particularly during the closing scenes of the film on the lake. The palette of the film seems to match the relationship dynamic – natural darks taking precedence during moments of tension or difficulty when the divide between Kristian and Mitio feels insurmountable, and lighter and more vibrant when they are finding common ground or confronting long neglected thoughts and feelings. The imagery is sometimes a little standard during slower moments and doesn’t always compliment the quieter scenes. Yuri Angelov’s Uncle Mitio dominates his environment throughout most of the film – never feeling ruffled by his nephew’s presence or stopping to question his way of life. He quietly carries his sorrow at both his sister’s death and the resentment at her abandonment with him, and Angelov’s nuanced performance allows his inner turmoil to slowly bubble through. Yoan Popov’s performance as nephew Kristian is a world away from his uncle, echoing so many young people who return to familial homes to find little in common with the places of their heritage. Popov instils an uncertain drive in Kristian – a young person who knows where he has to be and what he has to do, but who doesn’t quite understand why. Whilst it drags at times and doesn’t always maintain visual engagement, Shifting Tides succeeds on the back of strong, committed performances and a relatable central relationship between engaging characters. The generational divide at the films’ centre is one that audiences will recognise in different locales and languages, and shows that even those with nothing in common can find a bond. Watch of Video Film Review of Shifting Tides . About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Extricate film review by UK film critic Patrick Foley. Starring Bennette Ngoma, Tafara Mbangani, Jayden Ndombasi directed by Sterling Nlongo. HOME | FILMS | REVIEWS Extricate Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 20, 2025 Directed by: Sterling Nlongo Written by: Sterling Nlongo Starring: Bennette Ngoma, Tafara Mbangani, Jayden Ndombasi Filmed over the course of a single day and with minimal budget, short thriller Extricate is a flawed but impressively-realised vision of a post-apocalyptic London that has fallen foul of lawlessness, militarism and plague. Survivors Hazel (Bennette Ngoma) and Joshua (Tafara Mbangani) face a desperate struggle in a world that has fallen apart, when they come across a mysterious mute child, Cairo (Jayden Ndombasi). Cairo possesses mysterious power that may hold a key to rebuilding society, but the threat of scavengers, fascist militias and a fatal disease that has crippled the world mean they have to use all of their meagre resource and strength to bring the child to a sanctuary where such an outcome may be possible. The sacrifices make their pair wonder if their choices are worth the risk. Extricate ’s budget and smaller-scale production mean that the lofty ambition of director Sterling Nlongo at creating a fully-formed sci-fi thriller aren’t fully met – but this entertaining short is one hell of a go at it. Some of the more complex and action-packed developments of Hazel and Joshua’s quest are relegated to voiceover – a presumed necessity due to the scale such scenes would demand. What is left are the quieter character moments between the pair, Jayden Ndombasi’s Cairo and later Alisha Henry’s malicious dictator Mabel – and these deep moments of introspective exchanges stand up as emotional and thought-provoking examples of why post-apocalyptic movies have great potential to speak to the human experience. The themes of sacrifice, loyalty and commitment to a greater purpose are all explored through considered moments that develop the story more than any large-scale gun battle ever could. Bennette Ngoma’s Hazel and Tafara Mbangani’s Joshua share the majority of the screen time, and their chemistry echoes the likes of Joel and Tess in The Last of Us as an imperfect and desperate couple who are faced with a difficult choice that places their existence in great danger, but requires selflessness for the benefit of all. Their differing perspectives on what to do with Cairo are the film’s most intriguing aspect, as is the choices both face when danger inevitably tracks them down. Ngoma and Nbangani convince as hardened, embittered and embattled survivors, whose humanity is frayed but not fractured. There are times where the film creaks under the pressures of its small-scale production. Much of the film is limited to the interiors of warehouses – the sparse outdoor sequences convince but there is a lack of scale that mean the scale of societal downfall or the reach of the militarised organisation hunting Hazel and Joshua down is hard to envision. There are occasional hiccups with the dialogue where vocal matching feels off, and clunky dialogue is another symptom of too much story, too little time. An unsatisfactory and open-ended conclusion also falls flat – one that aims for a complex deliberation on sacrifice but leaves audiences feeling short-changed. Despite some clear shortcomings, Extricate is an impressive success for director Sterling Nlongo. It outperforms a small budget to imagine a devastated world and explores it with strong characters who act convincingly for the world they live in. About the Film Critic Patrick Foley Short Film, Digital / DVD Release < All Reviews Next Film Review >

Film news - Psycho Goreman on SHUDDER 20 May. Find out more at UK Film Review. Psycho Goreman on SHUDDER 20 May Chris Olson Tuesday, March 30, 2021 at 10:58:05 AM UTC STREAMING ON SHUDDER 20 MAY 2021 Written and directed by Steven Kostanski (The Void, The Divide, Father’s Day ) Starring Nita-Josee Hanna (Books of Blood, 4teen ), Owen Myre (NOS4A2, Alternate Ground ), Adam Brooks (The Return, Father’s Day), Alexis Hancey (Silver Tongue ), and Matthew Ninaber (Transference ). SHUDDER , the premium streaming service for horror, thrillers and the supernatural, is thrilled to announce that Steven Kostanski’s brilliantly OTT midnight movie PG: PSYCHO GOREMAN will be released on SHUDDER from 20 May 2021. Get ready to cheer, groan and stock up on bottles of Tab Clear as Psycho Goreman arrives on the scene to deliver a cacophony of far-out thrills, gleeful laughs and gory practical splatter effects. In the film, siblings Mimi (Nita-Josee Hanna) and Luke (Owen Myre) unwittingly resurrect an ancient alien overlord who was entombed on Earth millions of years ago after a failed attempt to destroy the universe. They nickname the evil creature Psycho Goreman (or PG for short) and use the magical amulet they discovered to force him to obey their childish whims. It isn’t long before PG’s reappearance draws the attention of intergalactic friends and foes from across the cosmos and a rogues’ gallery of alien combatants converges in small-town suburbia to battle for the fate of the galaxy. Recalling much-loved 80s classics such as Monster Squad, PG: PSYCHO GORMAN is riotously good fun so join the gang and get ready for some high-octane, defiantly low-brow, lo-fi sci-fi action! PG: PSYCHO GOREMAN arrives on SHUDDER on 20 May 2021 The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. 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