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The Arborist film review by UK film critic Patrick Foley. Starring Catrin Stewart, Rhodri Meilir, Nicholas McGaughey directed by Clare Sturges. HOME | FILMS | REVIEWS The Arborist Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 18, 2021 Directed by: Clare Sturges Written by: Clare Sturges Starring: Catrin Stewart, Rhodri Meilir, Nicholas McGaughey The torment, anguish and lingering pain of grief, as well as the elusive relief of acceptance are at the heart of The Arborist, a short, personal story from director Clare Sturges that mixes gorgeous cinematography with raw emotion. When tree surgeon Laura (Catrin Stewart) discovers that her sister Eloise’s memorial tree is dying, she heads to her childhood home to try and make sense of the overwhelming sense of loss she once again feels. There, she is reunited with estranged older brother Joe (Rhodri Meilir), who faces his own struggles relating to their shared pain. In the aftermath of their family tragedy, Laura looks for solace and reconciliation. The Arborist is a short film which beautifully portrays sorrow, and the complex and difficult emotions people face in the aftermath of unimaginable loss. As a semi-autobiographical piece, the story is imbued with the personal experiences of director Clare Sturges, who masterfully translates her own grief on-screen in a manner which absorbs viewers into protagonist Laura’s story. The show-don’t-tell approach of the majority of the film says as much as words ever could, and clear care is taken to ensure these scenes never become hokey or cliched. The personal, intimate scenes of Laura piecing together her old life at home contrast with the atmospheric, eery outdoor scenes in the forests. Both are equally impressive and stand out as highlights of the film – to the great credit of Sturges and director of photography Christopher Jacobi. Laura piecing together letter block toys she and her twin would play with is a simple, yet devastating bit of visual storytelling. Whilst the way in which the trees themselves, particularly the memorial tree for Eloise, feel like characters in their own right is another impressive demonstration of the film’s direction – increasing the sense of solitude and isolation. The film’s takes a thematic journey which follows the natural development of its characters. From portraying the complex and counter-productive actions we take when we suffer, the film proceeds to highlight the necessary, relieving and sometimes illogical route we all must take to accept life’s harshest developments, and come to terms with even the worst events in our lives if we are to move past them. Laura and Joe’s reunion progresses from almost antagonistic, to a place audiences will sense they can begin to rebuild their lives, and their family from. It is a truly human journey, and one the film earns by having raw emotion at its forefront. The performances of Catrin Stewart and Rhodri Meilir anchor the film, both displaying shared devastation yet resulting in very different methods of coping. Stewart’s Laura almost inquisitively pursues her own grief when the loss of her sister’s tree brings her pain to the boil. Meanwhile Meilir’s Joe is mercurial, and presents a challenge for viewers as to how to react to him. This is a brilliantly engaging characterisation that shows everyone handles grief in their own way – as his seeming passiveness is clearly shown to be a coping mechanism. The Arborist is a worthy and artistic portrayal of grief that is elevated by the vision of its director, and the solemn yet visceral performances of its two stars. It is a film packed with heavy emotion, yet strangely therapeutic despite a tragic overtone. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Tutu film review by UK film critic Jason Knight. Starring Sofia D'Elia, Francesca Morena Mileti, Maria Pia Autorino, Michele Sinisi directed by Lorenzo Tiberia. HOME | FILMS | REVIEWS Tutu Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 19, 2022 Directed by: Lorenzo Tiberia Written by: Alberto Fumagalli, Giovanni Mauriello Starring: Sofia D'Elia, Francesca Morena Mileti, Maria Pia Autorino, Michele Sinisi A young girl's life goes downhill after the passing of a friend. Ester (D'Elia) is a schoolgirl who also practices ballet. Her close friend Maria, who was also a ballerina and went to the same dance academy as Ester, has just passed away and her mother has decided to donate her late daughter's tutu to the dance school that she attended, in order to honour her memory. Ester develops an obsession with the costume, steals it for herself and begins a dangerous diet that threatens to end her life. This short drama from Italy tells a self-destructive story through the eyes of a troubled girl. With a plot that in some ways resembles Black Swan , it deals with themes that involve obsession, mental health, anorexia, grief and isolation. Ester misses Maria and she seems to want to follow in her footsteps, by wearing her ballet dress and keeping her weight down in order to fit in it. Her chosen path ends up impacting her health quite negatively and alienating her from those who care for her. D'Elia's acting is one of the best aspects of the film as she delivers an impressively strong performance as a young girl who is dealing with serious inner issues and has become lost in her own world. Another great part is a beautiful dance montage that is superbly edited by Gianluca Scarpa and contains wonderful classical music. Regarding the mise-en-scene, praise goes to the dance costumes and to the interior of the dance school. Composer Remo Anzovino makes a significant contribution with the dramatic score that includes lovely piano melodies and director of photography Dario Di Mella does a terrific job with the cinematography. This is a moving story about a young individual who becomes lost, who loses herself in her emotions. It contains a great deal of drama and will most likely provide a memorable experience to the viewer due to the plot and D'Elia's performance. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Are You Happy Now film review by UK film critic Rachel Willis. Starring Josh Ruben, Ismenia Mendes, Dvid Ebert, Ed Jewett directed by Avid Beinstein. HOME | FILMS | REVIEWS Are You Happy Now Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Dec 6, 2021 Directed by: Avid Beinstein Written by: David Beinstein Starring: Josh Ruben, Ismenia Mendes, Dvid Ebert, Ed Jewett A self-proclaimed anti-romantic comedy, Are You Happy Now brings us a character who epitomizes a disinterest in life. Well, Adam (Josh Ruben) does have one minor request: he wants to marry his girlfriend, Gina (Ismenia Mendes). But to Gina, marriage is a sham. What is the couple to do? Despite this setup, writer/director David Beinstein’s movie isn’t really bothered by the conundrum of two people who want different things from a relationship. The main interest is Adam, and we spent most of the running time following him as he meanders through a film that isn’t about much of anything. Instead, like Adam, Are You Happy Now is disappointingly aimless. Character motivations are unclear. Though it’s reiterated that Adam is driven by fear, it seems apathy is a better descriptor. Life pushes him along, and he rolls with the ups and downs, never mustering much energy to tackle the challenges he faces – not with work, his relationship, or much of anything. As a metaphor for the pressures of adulthood, it kind of works. Societal expectations can overwhelm anyone, particularly those who live life in a constant state of anxiety. Adam is the perfect representation of anyone struggling to anticipate what comes next. The film’s at its best when it’s not focused on Adam or Gina, but instead Adam’s co-workers, the brothers Walt (David Ebert) and Drew (Gregory Jones), whose vitriolic banter is hilarious. Infrequent narration from Gina interrupts at odd moments, and though it does fill in a few narrative gaps, the film would have been better off without her occasional commentary. Adam is not without his endearing qualities, so he evokes a certain amount of sympathy. His lost puppy expression certainly helps. It’s hard not to want to give him a pat on the head and a kind word or two, as it seems that’s really all he needs to be happy. The rest of life’s details are inconsequential. That appears to be the message the film wants to get across, but the clunky delivery weakens the message. Like Adam, it’s not without its charms. But it takes more than charm to make a movie work. About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Neutopia film review by UK film critic Lawrence Bennie. Starring Laurie Duncan, David Schall, Deanna Orlando directed by Kane Wilson. HOME | FILMS | REVIEWS Neutopia Film Review average rating is 4 out of 5 Critic: Lawrence Bennie | Posted on: Aug 8, 2024 Directed by: Kane Wilson Written by: Kane Wilson Starring: Laurie Duncan, David Schall, Deanna Orlando How far will technology go? Forty years ago with The Terminator , James Cameron blasted the concept of a world ravaged by artificial intelligence across the screen. Four decades on and, suddenly, the rise of AI is prevalent in the news and social media. The wonders are there, but so are the warnings and in Kane Wilson’s excellent Neutopia , we see some chilling answers to the questions of the limits of artificial intelligence. In the year 2034, the government are pushing for 'Neutopia' - a society where humans and artificial intelligence are harmonised in the mind. Londoners are now linked to the Artificial Intelligence Network (AIN), as a result of a mandatory brain implant known as the Neural Connect. For Myles (Laurie Duncan), it is not enough. He needs more. The solution? ‘Perfect Overdrive’. Described as “artificial intelligence selective consciousness”, it programs whatever is asked of it. And, with a high-stakes business presentation looming, it seems to be just what Myles needs right now.. Wilson’s vision of 2030’s inner-city London may not be a borderline dystopia, but its dark, gritty and its domination by technology has left it soulless. Here, data has replaced drugs in the criminal underworld; Myles’ addiction is not to illegal substances, but to bootlegged artificial intelligence software - or, perhaps more aptly, mindware. When he finds no food for dinner, or for the dog, there’s a simple solution. He just needs to say ‘Perfect Overdrive’ and tell it what he needs. In 2024, we have to wonder how far we are becoming dependent on technology. In the 2034 of Neutopia, that question has long since passed. Wilson presents a society not so much technologically-driven as it is technologically-ridden; Myles’ mental and physical world is completely dependent on AI. Independent action and thought have vanished from his life. Whenever there’s a problem, he calls on Perfect Overdrive. Predictably, things soon go awry and Myles’ over-reliance on his integrated AI brings his world crashing down around him. But, perhaps that’s the point. We need to see Myles’ Faustian downfall coming. It would be somewhat worrying if we didn’t. Beginning with a somewhat ironic, yet nonetheless foreboding, Terminator -style credits sequence, Wilson strikingly jumps to a setting entirely different from what we might expect at this point and, indeed, from what we see in the rest of the film. Myles is sat lifelessly, staring blankly out into a beautiful, sun-filled garden. In his hand, he clutches a child's snow-globe, the only thing which seems to trigger some sign some of life back into him. Wilson then flashes back to begin Myles' story. We may have started with a nod to The Terminator but, structurally, Wilson's film plays out more like Citizen Kane - the image of the snow-globe to set up the mystery, the flashback, the rise and fall of the protagonist and the pay-off resolving the enigma of the opening scene. At the film's end, visited by his daughter, the catatonic Myles is unable to respond; his eyes are a deathly blank stare, his mind presumably melted from the melding of his brain with Perfect Overdrive. Glancing at the globe, beneath Myles' dead gaze, something begins to happen. The memory of a moment. A feeling. The credits roll. Neutopia presents a disquieting vision of the very near future - one where the world isn't unnecessarily ruled by AI, but where the independence of an individual has become subservient to it. Yet, its quietly powerful ending, suggests a chance of hope and the power of humanity above anything artificial. About the Film Critic Lawrence Bennie Short Film < All Reviews Next Film Review >

A Party for Karl Marx film review by UK film critic James Learoyd. Starring Jorge Villacorta directed by Jorge Villacorta. HOME | FILMS | REVIEWS A Party for Karl Marx Film Review average rating is 2 out of 5 Critic: James Learoyd | Posted on: Feb 1, 2025 Directed by: Jorge Villacorta Written by: Jorge Villacorta Starring: Jorge Villacorta A Party for Karl Marx is the latest experimental feature film from filmmaker Jorge Villacorta. Having reviewed two of this individual’s works before, I can say that I’ve started to get used to the man’s bizarre and occasionally disturbing idiosyncrasies – that doesn’t mean, however, that the work is more conventional. This bizarre piece – which is the most enjoyable and somehow cohesive of the three reviewed – tells the story of a man in a suit who keeps leaving nearly incoherent voicemails for somebody called “Friedrich”. Like the entries in his Disrupted Expectations series, the film is based around a series of grainy static shots which show our protagonist wandering around his now iconic warehouse, talking to himself. Viewers will be shocked to see that Villacorta takes some rather big swings in this particular picture, and tries to incorporate some visual ideas previously unseen within his films. We open on a frame which states that this is a “social science fiction film”. It’s certainly social (every piece of dialogue is about politics, even when it’s completely superficial); but it is in no way science-fiction. Then again, maybe this is akin to the way John Cassavetes labels his drama Husbands as a “comedy” in its opening moments. Maybe not. Quite early in this most recent effort, our main character says, “To others, I may look like a mad man.” This is one of the most explicit and honest bits of speech we’ve ever seen by this man, and you can’t help but consider how he really thinks he’s reading on camera. The most amazing development, in comparison to the previous two features, is the fact that this movie genuinely has a narrative arc of sorts. The first act (if you can call it that) involves the character talking about his “modest intellectual prowess”; the fact that he just wants to read books, and find other like-minded people to join him in a political revolution. The irony is that instead of receiving the “communist party” he wished for, what appears to be taking place is a birthday party. These shots of the party are very unsettling – clearly the filmmaker did not have permission to record all of these people, and he gets caught on multiple occasions. By the end of the movie, he starts to say things like, “The people don’t know what’s good for them”, and, “We will rule over them”. Is this an origin story for a Stalin-esque figure? It’s quite funny when viewed as a satire. This film is not well-made and it’s also not watchable – witnessing the man down five glasses of wine while eating slice after slice of pork from a plastic bag is a deeply unpleasant viewing experience to say the least. That does not mean, though, that it is without merit. There’s honestly a great deal to enjoy in the ironic nature of this movie. And there are also plenty of ideas that you can interpret in a whole range of ways. How ‘in on the joke’ our main character is would be difficult to say. When I reviewed his fist film, I was quick to dismiss him completely – and, even if he’s not the god-like “intellectual” the character keeps saying he is, the man is certainly more attuned and self-aware than I ever gave him or his fictional personas credit for. The film is still poor, but you’ve got to admire the continuing effort to be a truly independent filmmaker, visual artist and/or provocateur. It’s also hilarious to consider some guy called Friedrich receiving 73 minutes' worth of voicemails. About the Film Critic James Learoyd Indie Feature Film, World Cinema < All Reviews Next Film Review >

Bull Street film review by UK film critic Chris Olson. Starring Malynda Hale, Loretta Devine, Arielle Prepetit directed by Lynn Dow. HOME | FILMS | REVIEWS Bull Street Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Dec 3, 2024 Directed by: Lynn Dow Written by: Lynn Dow Starring: Malynda Hale, Loretta Devine, Arielle Prepetit Lynn Dow's Bull Street is a compelling legal drama that delves into complex themes with passionate intensity. The film's strong performances and evocative Southern atmosphere create a captivating viewing experience. Malynda Hale stars as LouEster Gibbs, a small-town lawyer who must take on the case of her life when her estranged father turns up dead. The passing of her dad brings uncertainty surrounding LouEster’s family home, which she shares with her much-beloved grandmother Mrs Big-Gal (Loretta Devine), as her biological sister Kendra (Arielle Prepetit) - also a lawyer but with a Harvard background - comes to town looking to take what she sees as rightfully hers. Lynn Dow delivers a potently emotional journey with Bull Street . The tone of the film has an engrossing Southern U.S. charm that plays to the sense of character often found in depictions of that part of the world. LouEster is a sympathetic character, having lost both her parents but still powering through barriers and challenges set before her by centuries of prejudice and privilege. Hale gives a strong lead performance, coping well with the various traumas her character endures, a moving speech at a funeral was a particular highlight. Other cast members shine too but not as brightly as Loretta Devine who is simply having a ball in every scene she’s in. The vibrant cinematography and solid editing are often overpowered by the dominating soundscape. The sound design, at times, is too clunky and mawkish, giving the feel of the film a sense of a “made-for-TV” movie which sadly undermines the story. A more elegant choice of songs and music could have enhanced Bull Street quite dramatically but as it is, this may still appeal to a mainstream audience. By exploring themes of family, inheritance, and racial injustice, Bull Street offers a poignant commentary on the complexities of the American South. The film's exploration of the intersection of personal and systemic issues is both timely and thought-provoking. There is a great section where the complicated backstory of LouEster’s parents gets explained from various viewpoints, which is a terrific way of displaying the gossipy nature of this community and how certain people aim to control the narrative in their favour. While some scenes lean into melodrama, the film's emotional intensity largely works, drawing the viewer into the characters' struggles. Despite its occasional missteps, Bull Street is a heartfelt and engaging film that explores important themes with passion and conviction. While it may not be a perfect movie, it offers a compelling story and strong performances that are sure to resonate with audiences. About the Film Critic Chris Olson Theatrical Release < All Reviews Next Film Review >

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O! Melodious Movie: Side 1 film review by UK film critic Jason Knight. Starring Melodious Zach, David Allen, Sue Zy, Michelle Goodwin, Noelle Schoeman directed by Melodious Zach. HOME | FILMS | REVIEWS O! Melodious Movie: Side 1 Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 24, 2022 Directed by: Melodious Zach Written by: Melodious Zach, David Allen, Sue Zy Starring: Melodious Zach, David Allen, Sue Zy, Michelle Goodwin, Noelle Schoeman An extraordinary journey that involves a man and his friend, who has been turned into a rock. One day, while walking in a forest, a young man named Dave is magically transformed into a small rock and his friend Melodious decides to use a time machine with the intention of bringing Dave back to his human form. Things do not turn out as planned and the two friends end up embarking on a magical journey filled with otherwordly characters. As the title suggests, this movie is the first part of a duology and it is an adaptation of Zach's TV series O! Melodious Show and it also marks his debut feature film. The result is a fantasy comedy adventure that is fun to watch. It is apparent that the budget for this film was low, however that does not make the mise-en-scene unappealing. For instance, when Dave's character is a rock, he is basically a rock the size of a shoe and fake cartoonish eyes and eyebrows have been glued on it to give it some character. Although this looks amateur, it also looks funny seeing a talking rock with eyes. Other characters include a giant lizard, entities that are made out of colourful lights and a talking gnome. Neither of these magical beings are convincing, however through amusing voice-acting and humour they add to the fun. Understandably, the special effects do not look fantastic either, however they are good enough to provide a sense of magic. The majority of the story takes place in a forest, whith Melodious carrying Dave from one location to the other. Other locations include Melodious's home and ancient ruins. There are scenes that mix live action with animation and again these do not look realistic, however they look OK regardless. Throughout almost the entire film, Melodious is the only person on screen and although his acting is not great, he still manages to be entertaining and it is fun watching him interact with supernatural characters, particularly as he is having conversations with a rock with eyes. He portrays an optimistic person who is a bit naive but who also cares about others and is willing to help. It is worth mentioning the scenes where the film turns into a music video, with Melodious singing. These scenes are awkward but fun nevertheless. The voice acting that is provided for the magical characters by Zach, Allen and the rest of the cast is not brilliant either, but they all do an amusing job. Zach also worked on the music and he creates a score that contributes to the humorous atmosphere. Special mention goes to the animation by Mariah King. This feature had a small budget, however creativity and effort make for an entertaining experience, with laughs and enjoyable songs. This is not a movie that should be taken seriously, therefore if one feels like relaxing and having a pleasant time, then they should check this one out. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

A Brixton Tale film review by UK film critic Patrick Foley. Starring Lily Newmark, Ola Orebiyi, Craig Middleburg directed by Darragh Carey & Bertrand Desrochers. HOME | FILMS | REVIEWS A Brixton Tale Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Sep 10, 2021 Directed by: Darragh Carey & Bertrand Desrochers Written by: Rupert Baynham, Darragh Carey & Chi Mai Starring: Lily Newmark, Ola Orebiyi, Craig Middleburg Darragh Carey and Bertrand Desrochers’ A Brixton Tale is a dark and challenging modern fable set in the electric and eclectic South London district – which ventures into daring territory that sometimes extends its own credibility, but never grows dull thanks to impressive cinematography and fantastic performances from its unpredictable lead characters. Leah (Lily Newmark) is a young filmmaker who is embarking on her first major project – a street-level look at life in Brixton. She comes across Benji (Ola Orebiyi), a young man who lives in one of the district’s council flats who tries to stay out of trouble – often made difficult by his best friend Archie (Craige Middleburg) and cousin Darius (Dexter Padmore). Benji agrees to be the subject of Leah’s film, and the pair become drawn to each other. But pressures on both lead to challenges as their lives intermingle, and the couple become drawn to a dark path. A Brixton Tale is a little scatter-brained thematically, and its plot stretches credibility at times. However, this feature-length story of two teenagers from the same area, but very different worlds, is impressively engaging and original. Lily Newmark and Ola Orebiyi are revelations as leads Leah and Benji, and demonstrate solid and convincing chemistry as their characters are drawn into each other’s lives. Benji is a kindly and good-hearted young man, who is ground down by streets he cannot escape. Leah meanwhile is a complex and questionable girl from a privileged background – whose behaviours are consistently problematic throughout. Lily Newmark brings an innocent naivety to the teenager, and her intentions and commitment to Benji convince the viewer that he would be genuinely enamoured with her despite her flaws. The film addresses more themes than it can give proper attention to; with racism, classism, drug abuse, sexual abuse, misogyny, online culture and more all featured as key drivers of the plot. The exploration of race, and the inequality in how working-class people are treated – even in famously multicultural areas – is the film’s priority and receives the strongest examination. However other elements are raised and left undercooked – such as Archie’s drug problems or Leah’s desire for YouTube notoriety – and end up adding little to the plot. The plot itself also features gaps which are frustratingly left vague or unanswered. The film fails to provide clarity in a key moment at its conclusion – which is presumably an intentional design choice but comes across as lazy and unable to provide a satisfactory or logical answer. Too many key moments in the plot are driven by coincidence or flukes, and a major plot development is unconvincingly withheld in order for it to be a shock revelation. Details like this undermine the overall story, which is otherwise engaging with its general structure. The film is beautifully shot, with Brixton’s unique culture well represented with fantastic montages of the district and wonderful camerawork which weaves the characters perfectly into their environment. Viewers will get the sense that this really is a tale of Brixton itself, and not just its residents. The contrast of scenes shot through Leah’s camera and traditional filming also effectively inserts audiences into Leah’s perspective – and the growing disconnect between her and Benji as we are dragged away. It’s inventive techniques like this, along with a novel and contemporary story, which make the film feel truly original. Despite some flaws, A Brixton Tale is a worthy watch that is not afraid to tackle difficult subjects with a bold and challenging outlook. It’s a shame the film’s 80-minute runtime could not have been longer to explore its’ themes in more depth, and flesh out an intriguing plot a little more. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, Film Festival < All Reviews Next Film Review >

The Finellis film review by UK film critic Amber Jackson. Starring Mark Janicello, Timo Merkhoffer, Gabriela Burkhardt directed by Mark Janicello. HOME | FILMS | REVIEWS The Finellis Film Review average rating is 2 out of 5 Critic: Amber Jackson | Posted on: Feb 13, 2022 Directed by: Mark Janicello Written by: Mark Janicello Starring: Mark Janicello, Timo Merkhoffer, Gabriela Burkhardt Exhibiting a cluster of bizarre and unprecedented events, musician and ex-con Tony Finelli looks back at his so-called ‘extraordinary’ life in Mark Janicello’s latest film: The Finellis. Whilst this comedic feature is brimming with intrigue and possibilities, the concept actualised is absurdly structured with flippant on-the-nose humour as it tries to be satirical. The Finellis situates Tony participating in a ‘tell-all’ interview to celebrate his new musical twenty-five years after his shock arrest and scenes cut between him answering deep and personal questions and him going through the events themselves after his release. Storyline-wise, Mark Janicello’s story is thought-provoking and engaging, maybe in part because it is semi-autobiographical. We sympathise instantly with Tony himself, performed by Janicello himself, as he allows the viewer to empathise with his prison plight. This element of truth is realised in a quirky way throughout the film, with graphics structuring the piece as though it is like a reality show, with swearing bleeped out and laughter following the actors. Tony’s family exists at the core of his story, with his daughters feeling abandoned and his ex-wife acting with constant hostility towards him. Other characters fly in and out of the film with sometimes unclear motives, but they are otherwise equal parts enjoyable and fascinating to watch. Whilst there is a revolving door of different characters that fly in and out of Tony’s journey, each performance is incredibly effective. Every actor remains true to the personality of their individual character throughout the film, especially those in Tony’s family who cement the strength of a chaotic, yet loving, family that embraces many cultures and ways of life. Not landing quite right is the tone that The Finellis adopts for serious moments. As it is a comedy, there are often series of melodramatic shots of Tony’s inner turmoil as he struggles to adjust to life again. There are plenty of jarring camera shots that change frequently and, whilst these make the film feel really full of action, are often inconsistent and slow the film down. Combined with cringe-worthy and occasionally unrealistic jokes that fall flat, you cannot tell if the film itself is being deliberately ironic or if the humour just does not land right. What Mark Janicello claims to be doing is using irony in order to raise awareness of issues concerning gender and sexuality and expose ignorance. This definitely allows for the film to redeem itself in the second half, where the power of performance is used by some characters to be authentic to their true selves. In particular, positive transgender representation is always fantastic to see on screen as a way to empower individuals to like who they are (although, it is weird when Tony appears to compare this struggle to his time in prison). Likewise, fat-shaming and inappropriate sexual commentaries towards drag queens are also ironized, which allude to the point that Janicello was trying to make, however at times the impact of these scenes does not land. The derogatory comments towards marginalized characters that are made do not always feel very welcomed and sometimes feel unnecessary. The Finellis is a comedic feature film with a plot that takes on too many different directions. Although a fascinating and emotional real-life story, the film itself feels a bit too surface-level in its attempt at being satirical. For an escape from reality it is a good watch, but maybe not the film for you if you want to watch something with a bit more impact. About the Film Critic Amber Jackson Indie Feature Film < All Reviews Next Film Review >

Perennial Light film review by UK film critic James Learoyd. Starring Jack O'Mahony, Colin Hickey, Clara Rose Hickey directed by Colin Hickey. HOME | FILMS | REVIEWS Perennial Light Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Jan 27, 2024 Directed by: Colin Hickey Written by: Colin Hickey Starring: Jack O'Mahony, Colin Hickey, Clara Rose Hickey Perennial Light (2024) is a wondrous experience. So unlike anything being produced in the mainstream, it’s an art film which epitomises what’s interesting about experimental filmmaking. Told without dialogue or conventional narrative, this independent Irish movie paints a seemingly autobiographical portrait of one man’s life – from his troubled youth up to adulthood. From the tragedies that befall him, to fragments we see of family life in a rural setting... you get the sense that you’re witnessing a flow of memories, recalled with both nostalgia and melancholy. The film is a visual feast, shot fully in black-and-white; but one of the most intriguing elements is how drawings and animatics are used to provide emotional context for our protagonist’s journey - infusing these wistful, monochromatic images with deeper meaning. We’re shown childlike illustrations depicting everything from love and excitement for the world, to the darker, more reflective moments in the character’s psyche. However, it’s not so simple as ‘representing the character’s thoughts and feelings’: the pictures (like the rest of the visuals) provide an all-encompassing sense of a universal experience; how nature too plays a part in the trajectory of a life. Colin Hickey has managed to create an operatic drama with the simplest of tools - using what’s around him as subjects that may evoke a feeling. Much of the piece is structured through imagery of animals, greenery, as well as the weather. It almost goes without saying that the Terrence Malick influences can be felt throughout (a compliment of the highest regard), and it’s certainly Koyaanisqatsi (1982)-esque in its posing of the organic with the industrial; but comparisons can also be drawn to artists and directors you may not expect... For example, Mike Mills’ emotional short film I Am Easy to Find (2019) shares many similarities -- the chronicling of a person’s psychological life, contemporary monochrome cinematography, and use of music. One is also reminded of the recently departed Terence Davies (one of the greatest filmmakers to ever live) whose meditative style served as a mode of self-exploration, very much a form of remembering . It’s a testament to the level of craft and creativity present in Perennial Light that so many great visual artists can be felt in its making; but there’s also just as much to be said about the cinematography alone. The black-and-white is one thing: presented with stunning contrast and depth -- accentuating detail in the shadows and highlights to harness the full effect -- it in no way feels like a cinematic gimmick. Yet what’s more important is it’s a movie made by someone who clearly understands composition. There are many frames that are overwhelming for their use of silhouette, layering, and starkness; Hickey knows how to make an impact by arranging subjects with purpose. I’d like to commend this movie for using digital to actively experiment. For those of us who prefer the appearance of film, it’s often more impressive if a digital piece effectively ‘does its own thing’, striving to demonstrate its own unique sensibility as opposed to replicating the classical format. Namely, the use of drone shots may - in lesser hands - feel amateurish or become distracting, but its success in this project is due to a precise, painterly quality. By using a bird’s eye view, individuals are placed against their expansive surroundings... there’s a drama to it; there’s an elegance to it. The use of motion blur/smoothing is another gamble, yet it just inherently works – as if, through the mind’s eye, what we’re seeing is impressionistic, faces and textures blurred by the past. The term ‘tone poem’ is thrown around loosely within film criticism, frequently misplaced and irksome; however, if any feature-length movie were to fit into that label, one supposes it would look something like Perennial Light . More than anything else, it’s a combination of moods and ideas represented through music, editing, and visuals (I haven’t even mentioned the sound design, which is expertly done and gives a visceral, immersive quality to the images). But there’s personality behind the form and a sincerity in every frame. A dream-like delight, it’s a pleasure from beginning to end. About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

April Skies film review by UK film critic Patrick Foley. Starring Svandis Dora Einarsdottir, Sara Hagno, Pauline Nyrls directed by Pascal Payant. HOME | FILMS | REVIEWS April Skies Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 11, 2022 Directed by: Pascal Payant Written by: Pascal Payant Starring: Svandis Dora Einarsdottir, Sara Hagno, Pauline Nyrls In a brilliantly inventive and explorative film that crosses a continent, Pascal Payant’s April Skies mixes styles and genres to tell three, intertwining stories that address pain, loss, grief and reconciliation. The film follows gravely-ill Parisian Zoe (Pauline Nyrls), recently bereaved Icelander Lara (Svandis Dora Einarsdottir) and severely depressed Swedish singing superstar Liv (Sara Hagno) who are all wrestling with difficult recent news. As each tackle confusing, challenging and tormenting elements of their grief, their seemingly disparate lives are slowly revealed to be interlinked – as one pivotal event ricochets across Europe. April Skies is both experimental and tightly woven. Payant’s film covers three stories which take place in separate European cities, and brilliantly mixes the storytelling and design of each one to match cinema from the same locale. Zoe’s story in Paris features tropes of classic French cinema – with regular fourth-wall breaking from its two characters and exploration of a nihilistic outlook in the face of death. Meanwhile Lara and Liv’s stories have a distinct Scandi-style, with bleak grey skylines the backdrop for arguments with ghosts of the past. Mixing the storytelling makes each character’s journey feel distinct, and distinguishes events that occur across separate locales and timelines. There are some rare moments where it does not serve the story – Zoe’s conversations with the audience can feel jarring after long spells within the other plotlines – but for the majority of the film, Payant’s experimental approach is a success. The stories themselves are intimate, believable and personal. Zoe’s frustration with her friend Estelle (Sophie Mousel) and her attempts at cheering her up touches on the complexity and guilt that comes with the burden of a life-altering illness. Lara’s anger at her recently departed father for his absence in her life, and his post-death attempts to connect with her are driven by the truth that the departed are not always perfect – and those hurt by them don’t always find it easy to forgive their faults in life. And Liv’s journey from depression, through self-pity, and finally strength in addressing her regrets at how she treated her former manager show what death can teach those left behind. By portraying various different stages of grief and responses to loss, the film manages to address a range of themes that will leave the audience both reflective, and with a therapeutical sense upon viewing. There are a few hiccups – some of the linkages between the stories can be seen a mile off, and certain actions of characters seem to run contrary to revelations audiences have already been parlay to. These are ultimately minor faults which don’t undermine the bigger picture of the story, or the thematic exploration that the director undertakes. Add in a unanimously fantastic cast, stunning visuals and inventive camerawork and production, and April Skies is a worthy, original watch. If its creative mixing of European cinema-styles is not enough to engage its viewers, an engaging, multi-faceted plot surely will. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >