Search Results

The Call film review by UK film critic William Hemingway. Starring Jo Martin, Amarah-Jae St. Aubyn directed by Riffy Ahmed. HOME | FILMS | REVIEWS The Call Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: May 4, 2024 Directed by: Riffy Ahmed Written by: Vanessa Rose Starring: Jo Martin, Amarah-Jae St. Aubyn On the off chance that you don’t already know this, let me give you a little bit of backstory: The asteroid Apophis – designation 99942 – is a near Earth asteroid with a diameter of 370 metres which was classed as a potentially hazardous object, in astronomical terms, when initial observations in 2004 suggested a 2.7% probability that it would hit the Earth in the Spring of 2029. The asteroid was named after the Greek god of chaos and undoing, who was in turn a representation of the Egyptian god, Apep – The Lord of Chaos, who embodied darkness and disorder. As is the way of these things, the geeky scientists who discovered and named the asteroid were also big fans of the classic sci-fi show Stargate-SG1 , where an alien named Apophis was the main antagonist and the greatest threat to life on Earth. There’s no need to worry though because the asteroid was downgraded fairly quickly and is now known to have no chance of impacting the Earth in the next hundred years. Phew! In the short film The Call , from director Riffy Ahmed and writer Vanessa Rose, one of the main characters, Cora (Martin) has found herself to be completely distracted by what she thinks is the appearance of Apophis in the sky. Cora’s daughter Athena (St. Aubyn), on the other hand, just can’t get on board with such outlandish stories and feels that her mother is entering into a slow, steady mental decline in her twilight years. When we first meet Athena, she is on her way to her mum’s flat in an inner-city tower block. Athena’s mum hasn’t been answering her phone and it seems likely that she has forgotten about the rendezvous they had arranged the week before. As she approaches the door of the flat, Athena sees that the mail hasn’t been collected for some time and is overflowing out of the letterbox. When she is finally let inside things don’t look any better, with clutter everywhere and the curtains drawn, and Athena soon discovers that her mother has taken the double precaution of leaving the phone’s receiver off the hook as well as unplugging it from the wall. In her perceived mania, Cora explains that the phone had been ringing all night and she was not ready to deal with whoever was on the other end of the line. As Athena tries to get out of her mother just what is going on, and subsequently finds an eviction notice, the two women discuss their relationship over the years and a host of cross-matched feelings are brought to the fore. It’s clear that there’s always been a lot of love between the two characters, and despite Cora’s distracted demeanour and Athena’s obvious frustration, the entire scenario within the small flat is completely filled with warmth and tenderness. Everything in The Call is conveyed with a sumptuous attention to light and to colour, with Pep Bosch’s cinematography and Riffy Ahmed’s direction keeping the inside scenes close while allowing the outside shots to appear expansive. The jazzy rhythms from composer Joe Stevenson match up with Cora’s mania perfectly but also know when to calm down and become gentle as the relationship between mother and daughter takes precedence. Similarly, the performances from Jo Martin and Amarah-Jae St Aubyn allude to a history and a certain quiet knowing from the characters while they both try to deal with the current situation from their own perspectives. There’s a lot to recommend The Call to the viewer as it plays out its small family drama with a twist. Unfortunately, the twist is telegraphed all too early on and when it does come along it’s barely any surprise at all, with an underwhelming costume change to boot. The family dynamics, which are really the heart of the film, never get explored fully and it’s hard to understand why Vanessa Rose decided to aim for the denouement that she did. The Call runs like any regular relationship drama with a throughline that’s pretty easy to spot where it’s going, which when the story clearly has elements that should suggest that it’s anything but run-of-the-mill, becomes slightly unsatisfying despite its feelgood factor. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Who We Were film review by UK film critic Patrick Foley. Starring Julia Randall, Connor Delves directed by Ryan Spahn. HOME | FILMS | REVIEWS Who We Were Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Apr 5, 2024 Directed by: Ryan Spahn Written by: Connor Delves Starring: Julia Randall, Connor Delves Covid remains arguably the most significant cultural event that influences art and cinema in 2024, at least indirectly. 2021’s Who We Were was filmed in the midst of the pandemic and is set during the lockdowns, yet maintains a timeless quality as a reflective contemplation on how life changed when the world stopped. The film is staged through lucid moments shared by a young couple Sadie (Julia Randall) and Sam (Connor Delves) during the lockdown. The pair bond in the ordinary extraordinariness of everyday life in lockdown with each other, making use of a camera to capture meaningless moments – that begin to grow in significance as their relationship experiences bumps. Shot under pandemic restrictions, Who We Were uses Covid as a silent backdrop in its hands-off story of a young relationship that comes unstuck over time. Shot in black and white, with innovative bursts of colour upon the taking of a photograph, the film uniquely captures the past tense, establishing itself as a look back at moments in two lives despite following a chronological path. Director Ryan Spahn injects a dreamlike timelessness into the narrative – with Sam and Sadie’s relationship unfurling outside of an established time scale. It is this that empowers the reflective themes, particularly at the film’s conclusion, as the viewer places themselves in the position of one member of the couple in trying to piece together how things broke down. The film is shot intimately, bringing viewers up-close to Sam and Sadie in their closest moments and withdrawing in others to represent distance and a growing divide. Set mostly in their shared residence, we see small yet telling intricacies in the face of Julia Randall as Sadie begins to grow fraught with Sam. The monochrome imagery is illuminated and concealed through brilliant lighting that makes the film vivid and visually engaging despite its relatively mundane setting. Scenes shot in mostly darkness are a particular accomplishment, which represent the couple’s bond in what would usually be a haunting framing. Who We Were may actually excel more in 2024 than it did in 2021. The creativity of the direction and production, coupled with strong leading performances would have been notable at the initial time of release. However, the powerful additional sense of reflection present when watching today of the time in which the film is set only adds to the central theme of the film which focuses on reflection on a relationship. It’s touching, emotional and powerful, and a fine example of the creativity inherently linked to the lockdown. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Girl You Know It's True film review by UK film critic Rachel Willis. Starring Tijan Njie, Elan Ben Ali, Matthias Schweighöfer directed by Simon Verhoeven. HOME | FILMS | REVIEWS Girl You Know It's True Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Aug 7, 2024 Directed by: Simon Verhoeven Written by: Simon Verhoeven Starring: Tijan Njie, Elan Ben Ali, Matthias Schweighöfer Simon Verhoeven’s biopic on Milli Vanilli’s meteoric rise and devastating fall is the subject of his latest film, Girl You Know It’s True . The film opens by stating that this is not only based on a true story but on several true stories. As much as we want our truth to be objective, we’re reminded that the retelling of events is often based on memory—a faulty, frequently contradictory, wholly subjective experience. Of course, certain parts of the story are not in dispute. The duo that put the face to the group were Rob Pilatus (Tijan Njie) and Fab Morvan (Elan Ben Ali). Both were recruited by producer Frank Farian (Matthias Schweighöfer) after they were seen dancing by his live-in business partner, Milli (Bella Dayne). After the initial agreement to work together, this is where the story gets interesting. Even those who know the tale will be drawn into the elaborate ruse Farian puts together – fusing vocals and performers, stealing songs from other artists to use as singles for his newest “project.” While Farian’s role in Milli Vanilli’s story is critical, it’s Ali and Njie who tie it all together. Both embody the characters they play with naivety and enthusiasm – often in equal measure. Their deal with the devil is understandable. And anyone paying attention to music at the time is aware that while this arrangement may have been the most egregious in terms of deception, there were plenty of shady deals going around in record studios. And while there’s no sympathy for Frank Farian, Schweighöfer does manage to imbue him with some compassion. Instead of coming across as a one-note villain, there’s a bit of humanity to the character. The film excels at blending humor and tragedy into Rob and Fab’s story. That news reports would interrupt coverage of the United States’s war in Iraq to cover the “lip-syncing scandal” is the height of cultural absurdity. The tragedy comes in the fact that while this was a team effort, just as Rob and Fab were the faces of the group, so they were the scapegoats of its demise. No one disputes that Rob and Fabrice were complicit in the deceit, but the price they paid seems too heavy compared to the producers, managers, and studio execs who claimed they were just as shocked by the news as everyone else. Their pockets were lined with the dollars of those fans who felt betrayed. It’s an intriguing story that is as fascinating now as it was then. About the Film Critic Rachel Willis Theatrical Release < All Reviews Next Film Review >

Hunger film review by UK film critic Swati Verma. Starring Kalyan Goswami, Subinoy Ganguly directed by Junayed Alavi. HOME | FILMS | REVIEWS Hunger Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jun 13, 2023 Directed by: Junayed Alavi Written by: Junayed Alavi Starring: Kalyan Goswami, Subinoy Ganguly The writer-director Junayed Alavi brilliantly combines the horror genre with addressing a crucial social issue while adding a twist in the climax so that he can increase audience engagement with the content even though Hunger has a very short running time. The narrator (Subinoy Ganguly) and the landlord (Kalyan Goswami) along with the rest of the cast have managed to uplift the vision of Alavi allowing the viewers to take away a lot of key messages from the short film. The plot of Hunger revolves around the times of the Bengal Famine, a starving man gets into trouble when he gets a surprise invitation from the landlord. The font style used by the makers fits perfectly to establish the subject matter of the movie thus demanding the viewer’s involvement from the very beginning. The cinematographer Puspen Majumdar captures the long shot of the dried-up farmland along with a series of mid-shots and close-up shots of Raghu a poor farmer to illustrate how bad the effects of famine can get for the villagers under the rule of the East India Company. The black-white colour pallet is chosen by the creative team to depict a particular era to evoke a certain mood or emotion from the audience concerning the situation with respect to the script. The set design, lighting, sound, dialogues, costume, hair, makeup, and props provide a sense of a simple subtle treatment of the topic adding realism and making it relatable for the local set of viewers. Hunger follows a nonlinear form of storytelling giving the screenplay multiple layers allowing the audience the freedom to interpret the film as per their understanding. In terms of performance, Subinoy Ganguly as a Narrator is given the responsibility by Junayed Alavi to be mindful of all the nuances and subplots of the script and also pay attention to dialogue delivery, body language, facial expressions, and eyes to ensure the viewers don’t get bored of the content of the movie. Kalyan Goswami plays the landlord who is the antagonist of Hunger. The landlord is a powerful man who is given the duty to help the poor farmers to help them revive from the basic necessity in life like food but later some negative streaks are visible as the story moves forward. Goswami carries a strong personality effortlessly and the makers have added an apt background music to suit the character arc of the landlord. Hunger talks about the importance of food and other basic requirements when it comes to the question of survival in the case of scenarios like a famine. The short film reiterates the fact that one should be sure about the person he or she seeking help from because the majority of these influential people tend to take advantage of the situation. The Bengali movie restates that one shouldn’t give up on their morals for a powerful position at work because power fades away with time but morals are imbibed in the personality forever. The cinematic piece teaches us that we should be careful about what details we share with people as it can prove harmful for the individual in the long term. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Space Rodent film review by UK film critic Patrick Foley. Starring David Minard, Robert Carrera, Leah Bernard directed by Jason Morris. HOME | FILMS | REVIEWS The Space Rodent Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 7, 2025 Directed by: Jason Morris Written by: Jason Morris, Robert Carrera Starring: David Minard, Robert Carrera, Leah Bernard Irreverant sci-fi comedy The Space Rodent has a can-do charm to it that will win over even sceptical viewers – which admittedly included myself at first. This story of four friends who encounter giant rats from another galaxy never takes itself too seriously, and generates some overcomes some early hiccups and a slower start to bring the laughs. Best friends and fellow layabouts Mac (Robert Carrera) and Dean (David Minard) hang out at home whilst their partners Amanda (Leah Barnard) and Skylar (Shelby Broadnax) head out on a drive. But trick or treaters are the least of their worries when giant monstrous rats from out of space travel through a wormhole in search of a new home. After a gruesome home invasion, the gang must gather together and use whatever weapons they can find to fight off the invasion. The Space Rodent is a jambalaya of sci-fi and buddy comedies galore. There are hints of Always Sunny in Philadelphia, Shaun of the Dead, and Red Dwarf in its humour and the application of this in a sci-fi setting, with some solid observational comedy to boot. Mac and Dean are unlikely action stars (which of course, makes them the more likely stars of a comedy…) whose lives are aimless before they have to fight for them. Much like the aforementioned Always Sunny, they are hardly there to be admired or even sympathised with – but so that their ‘unique’ view of the world can be put up against an extraterrestrial threat. Themselves inspired by classic sci-fi and action films, it is fun watching their super-team form, which of course includes their grounded and capable girlfriends who play the straight guy. The film feels aimed at stoners or man-children (in the least offensive use of the term…) similar to the protagonists, who will find amusement and recognition in the references, absurdist comedy and genre-experimentation. The playing around and gentle mocking of tired tropes is fun, and the efforts of the team to prepare for the final battle leads to some fun set-pieces, such as Mac’s pride over the creation of a butter-knife rake. It’s all jovial stuff, though nothing ground-breaking or entirely original. The space rodents themselves are glorious creations – clearly puppets but carrying with them a menace and substance that puts some million-dollar CGI monstrosities to shame. The piercing red eyes and erratic flailing are genuinely quite unnerving, even though the film never really posits to be a full horror. It adds a weight to the fight scenes and will undoubtedly be appreciated by sci-fi fanatics. Elsewhere production is strong, with some appropriate punky backing tracks that match the underdog nature of the heroes and inventive scene staging, particularly when the rats are on-screen. Some of the car scenes with Amanda and Skylar are coloured by a blue tint that is a little overwhelming, but outside of this the film outperforms its production limitations impressively. When The Space Rodent finds its feet around a third of the way in, it becomes a really enjoyable and fun sci-fi/horror/comedy ride. Prior to this it fails to really capture its audience and create a bond with its heroes – which is a shame if viewers tap-out early-on. It doesn’t really come close to living up to its influences, but one gets the sense this wasn’t the aim. The aim is to give the audience a fun ride – and this mission is accomplished. Watch our video film review of The Space Rodent . About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Havoc film review by UK film critic George Wolf. Starring Tom Hardy, Timothy Olyphant, Jessie Mei Li directed by Gareth Evans. HOME | FILMS | REVIEWS Havoc Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 24, 2025 Directed by: Gareth Evans Written by: Gareth Evans Starring: Tom Hardy, Timothy Olyphant, Jessie Mei Li If you’ve seen The Raid or The Raid 2 , you’re plenty familiar with the Gareth Evans brand of Gun Fu. With Havoc , he brings the same breakneck blood sport to Netflix. And by the time he’s done, you’ll be amazed none of that splatter got on your sofa. Expect violence, turned up to eleven. Tom Hardy takes the lead as Walker, a hardened detective in a seedy, unnamed metropolis. It’s clear Walker has taken part in his share of dirty dealings, and he’s looking for a way to finally get clear of owing local politician Lawrence Beaumont (Forest Whitaker) anything at all. Walker gets his chance when Beaumont’s estranged son Charlie (Justin Cornwell) is part of a drug deal gone way wrong, and quickly earns a death sentence from a vengeful crime lord. If Walker can get Charlie out of the city alive, all debts to Daddy Beaumont will be settled. His forthright partner Ellie (Jessie Mei Li) brings the integrity Walker gave up long ago, and together they sort through increasing levels of goons, guns and corruption to complete the mission. Yes, levels. Yes, like a video game. Writer/director Evans is careful to craft the setting as a familiar but ambiguous cesspool where escape will only be possible via wave upon wave of martial arts homages, frenetic camerawork and relentless bloodletting. When it doubt, keep shooting. Does it get ridiculous? Damn right it does, but Hardy keeps it grounded in anti-hero righteousness, a game supporting cast (including the always welcome Timothy Olyphant and Obstacle Corpse standout Gareth Tidball) fleshes out all the edges, and Evans brings the visual calling cards that anchor a savage ballet of bullets. Is Havoc deep? Not at all. But does it hit the target? Yes it does, and anything else that might be in the vicinity. About the Film Critic George Wolf Netflix < All Reviews Next Film Review >

Backbencher film review by UK film critic Chris Buick. Starring Ellis J. Wells, Rohit Sujanani, Emma Beth Jones, Makenna Guyler, Scott Whatley directed by Daniel Irlan. HOME | FILMS | REVIEWS Backbencher Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: May 21, 2025 Directed by: Daniel Irlan Written by: Daniel Irlan Starring: Ellis J. Wells, Rohit Sujanani, Emma Beth Jones, Makenna Guyler, Scott Whatley Writer/director Daniel Irlan’s ridiculously funny (heavy emphasis on ridiculous) mockumentary-style political comedy Backbencher follows the campaign trail of hapless MP John (Wells) in his attempts to move from government backbencher to a more significant role within the cabinet. Here, having commissioned a documentary crew to follow him around day and night, we get to follow John throughout his current campaign towards a hopeful constituency re-election, including meet-and-greets with the public, catchy slogans, important policies (if he can actually think of one), and everything in between. However, John’s ambition is consistently hampered at every turn by political rivals, scheming journalists, and most of all, himself. Because there is no getting around the almost immediately established realisation, John is a truly awful human being. Unreservedly sleazy, incredibly quick to anger, estranged from his wife but never his mistresses, full of one-liner politician cliches and offensive soundbites, only ever concerned for himself and taking everything out on the people around him, most of all his poor, unfortunate and long suffering campaign manager/assistant that he only ever refers to as Oi! (Sujanani). All of this sets up the idea that John could be one of the most aggravating, despicable and detestable characters imaginable, and really, he is. There are moments where the film's ridiculousness needed to be reined in but weirdly, it’s all such a clever skewing of modern-day politics, where politicians seem to be able to get away with pretty much anything they say or do, that it all just simply works. It’s The Thick of It inspired script and dialogue, whether in the moments sharply written or perhaps improvised, allow each line out of John’s mouth to become an instant quote, perhaps not ones to repeat out loud oneself and quite often drawing a grimace, but thankfully more often, a genuine laugh. It’s such a fun ride that even when it does go off the rails now and again, you just want to stay on. And, as with any good mockumentary, the life and death of it all hinges on its characters, and Backbencher has some real characters. More peripheral players such as John’s enabling and messy mistress Black Cherry (Longden) and his local constituents are great for padding out this deep world, but it’s his inner circle; his beleaguered camera crew he treats with nothing but contempt (especially the brilliant Emma Beth Jones’s boom operator), his equally ridiculous political rival Monty Phabreese (Whatley) and dogged internet journalist Zesty Lemon (Guyler, armed with a full arsenal of citrus based puns) who keep you invested. However, the biggest plaudits undoubtedly need to go to both Sujanani, the constantly put upon aide who gets sucked into all of John’s nonsense before finally snapping, and Wells, whose ability to demand full attention in every scene makes watching such a truly foul person so enthralling to watch. Judging by the post-credits scenes, you very much get the sense that the whole cast and crew had a real ball making this film, and ultimately Backbencher , even though it does occasionally descend into pure farce, is an undeniably fun time. About the Film Critic Chris Buick Amazon Prime, Indie Feature Film < All Reviews Next Film Review >

Skinamarink film review by UK film critic George Wolf. Starring Lucas Paul, Dali Rose Tetreault directed by Kyle Edward Ball. HOME | FILMS | REVIEWS Skinamarink Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 11, 2023 Directed by: Kyle Edward Ball Written by: Kyle Edward Ball Starring: Lucas Paul, Dali Rose Tetreault (Tom Hanks SNL voice) “My name is Kyle Edward Ball…and I’m going to scare the HELL out of YOU!” And you know what? He just might do it. Be extra prepared if the title Skinamarink reminds you of those fun singalongs from Sharon, Lois & Bram. Because Ball’s brand of nightmare fuel taps into the very essence of childhood fears, exploiting those exposed nerves with a committed resolve we haven’t seen since Laurence Olivier in Marathon Man . Is it safe? It is not. Ball’s premise is brilliant simplicity. It’s 1995, and two young children, Kaylee (Dali Rose Tetreault) and Kevin (Lucas Paul), wake in the night to find they are alone, with the windows and doors in their house suddenly gone. In an instant, the stakes are familiar – but not because you’ve seen this before. It’s because there’s probably some version of this nightmare in your past. You were just a kid, separated from your parents and trying in vain to reach them or call out for help, or maybe just escape. Remember how scared you were? Ball and cinematographer Jamie McRae do, and they twist that knife again and again for 100 slightly bloated minutes of dark, disorienting dread. Cinematography and sound design are intertwined in an analog, cathode-ray aesthetic that recalls vintage, grainy VHS. The children whisper to each other (“Where do you think Dad is? I don’t know.”) as they wander from room to room, with Ball’s camera never allowing you one second of relief. All through this fright night, familiar sources of comfort such as toys and cartoons turn eerily sinister, accentuating the feeling that it’s not just these kids that are in peril, it is childhood itself. POV is often at floor level, and then tight into a corner of the ceiling or high above the room and rising. You squint in the direction of the children’s flashlight, trying in vain to decipher anything about the house that will give you some sense of its layout, and you strain to separate the cracks of white noise from that deeper voice speaking to the children. Come upstairs. Look under the bed. Close your eyes . Ball started down this harrowing hallway by filming 3-4 minute short films of the actual dreams described by viewers of his YouTube channel. Some two years ago, his 29-minute short Heck emerged as the wonder of primal fear that inspired Skinamarink. And though it is a bit disappointing that the single most bone-chilling (and to be fair, most explanatory) moment of the short didn’t make it in the feature, Ball’s $15,000 budget buys much more killer than filler. More than just nightmarish, this is a literal nightmare onscreen. And the intimate nature of nightmares means that the film’s patient, psychological assault is likely to bring out the “nothing happens!” barbs from those seeking more universally visceral thrills. But for others, the whispers of Skinamarink will hit like a sonic boom. And they will be hard to shake. About the Film Critic George Wolf Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

White Crow film review by UK film critic Chris Olson. Starring Julian Gamm, Hannah Al Rashid, James Graeme, Andrew Rolfe directed by George Threadgold. HOME | FILMS | REVIEWS White Crow Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 5, 2025 Directed by: George Threadgold Written by: George Threadgold Starring: Julian Gamm, Hannah Al Rashid, James Graeme, Andrew Rolfe Humble spy thriller White Crow , written and directed by George Threadgold, takes an ambitious swing at the action thriller genre and manages to get a few good punches in. Julian Gamm plays ex-agent J.D who is on a mission to avenge his misdeeds as an operative in a shady government unit after he learns of the depths of their evil. Whilst trying to take out various members of his former agency, he becomes hunted in return and goes on the run with unwitting do-gooder Emma (Hanna Al Rashid), who saves his bacon on more than a few occasions. Akin in story (if not in substance) to the Bourne movies, White Crow is an ambitious UK production with a small budget telling a big story. The governmental treachery, the hand-to-hand fight sequences, and the moody lead character with a special set of skills will be familiar territory for many viewers and Threadgold ensures they get bang for their buck when it comes to momentum. Every scene is written with adrenaline pulsing through it, ready for the next challenge J.D and Emma must overcome, as the conspiracy evolves. Gamm is a worthy lead, coping particularly well with the physical aspects of the role but it is Al Rashid in the outsider thrown into chaos turn which audiences are likely to connect more with. Her performance brought a much-needed gravitas to the script which could often fall into clunkiness when the depths of the plot were being uncovered. The choreography of the action and fighting sequences was great, with plenty of thrilling brawls taking place across numerous locations, and the sound design is knocked up to ten to ensure viewers are never given a dull moment to relax in. James Graem and Andrew Rolfe play excellent higher-ups and a particular highlight for this reviewer was the missed putt on a golf green followed by plenty of expletives. There are also a number of side characters who enter the fray along the film’s running time, not to ignore them but conscious of spoiler territory. The use of flashbacks to draw in more of J.D’s background was cleverly done, showing how a younger version of him was recruited, leaving him knowing only a life of violence and following orders. This tied in nicely with the film’s themes and gave an emotional depth to his character’s arc. Less polished than the spy franchises you are used to, White Crow gives a rawer yet no less thrilling ride.The filmmakers admirably keep things moving at a breakneck (literally) pace with very little downtime or superfluous subplots, knowing that the strength of their film lies in the brutality of the world they have created. Watch our video film review of White Crow . About the Film Critic Chris Olson Digital Release, Indie Feature Film < All Reviews Next Film Review >

I Know I'm Going To Break His Heart film review by UK film critic Swati Verma. Starring Izzy Hodzic, Timothy Wallerson directed by Ethan McKellar. HOME | FILMS | REVIEWS I Know I'm Going To Break His Heart Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Aug 4, 2023 Directed by: Ethan McKellar Written by: Mckeilla Malabunga Starring: Izzy Hodzic, Timothy Wallerson The director Ethan McKellar and writer Mckeilla Malabunga come together to build an intricate script utilising poem to express the pain and suffering Grace (Izzy Hodzic) goes through because of her love tale with a man (Timothy Wallerson) that would remain incomplete keeping the audience hooked to the content so that they can explore it further as the storyline unfolds. The plot of the short film-I Know I’m Going To Break His Heart revolves around the story of two lovers waltzing their way through a delicate and dangerous relationship doomed to fail from the very beginning. I know I’m Going To Break His Heart takes the form of a nonlinear narration continuously moving between various flashbacks and the present timeline to establish the subject matter it deals with. The film opens with a man in the room getting on with his daily routine while remembering all the special moments with Grace along with the music in the background to uplift the mood and draw comparisons to personal experiences making it real and relatable to life. The set design, lighting, music, dialogues, costume, hair, makeup, and props have been kept natural to complement the elements of romance, dance, and poems. In terms of performance, Izzy Hodzic plays Grace who dreams of a romantic love story but is marred by all kinds of apprehensions in her head concerning the new relationship. Hodzic understands the nuances of the character sketch of the young girl inspiring many women. The actress portrays a range of emotions that translates efficiently as well as effectively into her body language and voice modulations to communicate key messages the audience needs to receive through this film. Timothy Wallerson plays the role of the lover of Grace who wants to be more loving and caring towards the love of his life but also respects Grace when she tells him about all her worries. Wallerson depicts the personality traits of an ideal boyfriend and a true gentleman effectively making the audience experience every emotion between the leading onscreen couple. I Know I’m Going To Break His Heart talks about experiencing love with the right person but at the wrong time and the only option is to move on and remember it as a sweet memory in life. The short film reiterates the importance of staying true to one’s emotions and listening to their heart and expressing feelings for each other is very crucial to be happy. The movie discusses the need to be open and truthful about all the apprehensions and try and make it work instead of pushing each other away just because of fear of commitment or being afraid of losing the person one loves in the long run. The cinematic piece restates the importance of the mental wellbeing of self as well as their loved ones and making the right choice becomes necessary in a given situation when it comes to relationships. The creative piece highlights the significance of creating a balance between emotional intimacy and logic to sustain love stories that mean a lot to the two people involved. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Last Deal film review by UK film critic Jason Knight. Starring Anthony Molinari, Jeffri Lauren, Mister Fitzgerald, Sala Baker directed by Jonathan Salemi. HOME | FILMS | REVIEWS The Last Deal Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 28, 2023 Directed by: Jonathan Salemi Written by: Jonathan Salemi Starring: Anthony Molinari, Jeffri Lauren, Mister Fitzgerald, Sala Baker A marijuana dealer finds himself in deep trouble after a deal with criminals goes wrong. Vince (Molinari) was enjoying a happy life selling illegal cannabis in Los Angeles. However, after the drug became legal for recreational use in California, things became tough for him and he is refused a dispensary licence. Desperate, he enlists the help of his associate Bobby (Fitzgerald) and the two of them decide to buy a large amount of marijuana from a group of Armenians. Still though, in order to pay for it, they borrow a large sum of money from dangerous people and after they are double-crossed by the Armenians, the two unfortunate dudes must repay the borrowed money within a week or else. This feature is a race-against-the clock thriller that is set against the backdrop of the legalisation of cannabis in California. The screenplay does a good job in exploring the characters and their situations and in telling an intriguing story filled with suspense, gansters, tense situations and...marijuana. The general concept is heroes-owe-money-to-bad-people-and-must-pay-them-quickly and most of the narrative involves Vince trying to figure a way to get himself out of this mess with the help of several connections, including a pilot and a cannabis grower. Tension gradually picks up as the story progesses and the final act is quite exciting, with shootings and characters getting killed. The script also concentrates on Vince's private life, including his relationship with Tabitha (Lauren). Vince makes an interesting protagonist. He is a well-meaning guy who knows the cannabis business inside out and wants to live a decent life with his kind-hearted partner. Bobby is pretty much his sidekick, a heavy who also has a good nature. The gangsters' boss (Baker) serves as the antagonist, along with his gang of ruthless and deadly thugs. Salemi delivers some great aerial shots of Los Angeles and director of photography Dominic Lopez provides beautiful cinematography. Praise also goes to composer Tony Fiala for the atmospheric music. Basically, this is a crime thriller and a love story about characters having their lives threatened and having to get themselves out of harm's way and it is an interesting and enjoyable viewing. However, the film is also a commentary about the legalisation of marijuana and explores friendship, desperation and the idea of moving on to better things. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Beyond The Lake film review by UK film critic Jason Knight. Starring Richard Easterbrook, Layla Burns, Cleo Sylvestre directed by Simon Constantine. HOME | FILMS | REVIEWS Beyond The Lake Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 22, 2023 Directed by: Simon Constantine Written by: Simon Constantine Starring: Richard Easterbrook, Layla Burns, Cleo Sylvestre A girl and an elderly man embark on a journey, travelling on a boat through a lake. A young girl (Burns) and an old man (Easterbrook) are on a rowing boat, moving through a large lake, surrounded by mountains and trees. The girl is rowing, while the passenger sits. As they travel, they have conversations regarding where they are heading, a person's name, being old, being young and having a friend. As their journey approaches its end, things get extraordinarily intense, making it clear that this is a fateful endeavour. Beyond the Lake as a short film is quite mysterious, beginning with two people on a small boat, without explanation as to how they got there and what is going on. Jacob, the elderly man, does not know where they are going and he and the girl do not know each other. However, the girl appears to understand the situation, as she knows their destination and what is going to take place. What she requires, is the name of a person Jacob used to know, which seems to be crucial. Quick flashbacks reveal information about Jacob, which includes a woman in a kitchen and a spinning unusual coin. The plot is a mystery, which is not a negative thing, as it makes viewing more intriguing and the things that occur towards the end make this look like a dark fairy tale. Easterbrook portrays a character who appears to be saddened by a recent loss, although generally, he comes across as a simple person. Burns plays the most intriguing character, which is a young girl who is calm, polite and appears to be wise beyond her years. She seems to be a special individual and one who is responsible for serious duties and unlike Jacob, she wears unusual clothing. Constantine directs remarkably and creates some terrific aerial shots. These, along with some impressive special effects, look fantastic thanks to Asmund Berge Jenssen's cinematography. Fabrizio Gammardella deserves commendations for the superb editing. There are montages that contain fast cutting, creating rather intense moments. The mesmerising music is one of the strongest aspects of the film, thanks to the contribution by John Koutselinis. The sound effects also stand out, which include whispers overlapping, lightning, echoes and an otherworldly, powerful voice. Two people are in the isolated countryside, travelling towards the unknown. It is a mysterious journey about old age, youth, friendship and loss and the addition of strong acting, beautiful scenery and a terrific score make this an admirable achievement. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >