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Predestination film review by UK film critic Jason Knight. Starring Ethan Hawke, Sarah Snook, Noah Taylor directed by Peter Spierig, Michael Spierig. HOME | FILMS | REVIEWS Predestination Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 10, 2022 Directed by: Peter Spierig, Michael Spierig Written by: Peter Spierig, Michael Spierig Starring: Ethan Hawke, Sarah Snook, Noah Taylor A time-traveling agent must find a way to catch a serial bomber. Based on the short story -All You Zombies- by acclaimed American science fiction writer Robert Anson Heinlein, this interesting and dramatic sci-fi thriller has a narrative that keeps moving around time (as is often the case with movies that deal with time travel) and a great deal of twists and turns. The majority of the story takes place between the forties and seventies. Hawke plays a man who works as an agent for an organisation that uses time travel in order to prevent crimes before they are committed. Someone called the ''Fizzle Bomber'' has carried out numerous atrocities and the agent and his associates are determined to end the bombings. Following an event that nearly cost him his life, the agent ends up as an undercover bartender during a mission in New York City in 1970. A man walks in and as the two of them chat, he ends up telling the agent his rather extraordinary and tragic life story. Their meeting will end up changing both their lives. Basically, the story of this feature could be separated into two parts: approximately the first half consists of the man in the bar revealing his story and the second half is about trying to catch the bomber. Although on the surface this is a science fiction thriller, it is actually more of a drama. It is a film about self-discovery, about loss, about romance, about struggle and about making difficult decisions. The customer's story contains a lot of emotion and a surprising revelation. After his story is told, the movie moves back into sci-fi territory, with plenty of time traveling, tension and life-or-death situations. There action is limited, which is not a bad thing as the movies gets the viewer's attention with its creative screenplay that contains an intriguing plot and quite a few plot twists. Hawke delivers a strong performance as a seasoned time-traveling agent, however Snook deserves a lot of praise for her work, (spoiler alert) as she convincingly portrays two characters, one of which is male and the other female. Since the narrative keeps moving through various decades of the twentieth century, the clothing often changes and it looks great thanks to costume designer Wendy Cork. Special credit also goes to the amazing work by makeup effects artist Steve Boyle. The feature benefits significantly by the tense and dramatic music, which is a great contribution by Peter Spierig. This is a sci-fi feature that, instead of action, focuses on character study. It aims to tell a story about painful experiences and making sacrifices for the greater good and it is worthy of recognition. Watch Predestination Online at the UK Film Review VOD. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Ferrari film review by UK film critic Hope Madden. Starring Adam Driver, Penelope Cruz directed by Michael Mann. HOME | FILMS | REVIEWS Ferrari Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Dec 22, 2023 Directed by: Michael Mann Written by: Troy Kennedy Martina, Brock Yates Starring: Adam Driver, Penelope Cruz My first worry as I watched Michael Mann’s long-awaited return to the screen, Ferrari , was triggered by a line delivered by Enzo Ferrari’s (Adam Driver) mother (Daniela Piperno). In recalling the death of her eldest child, she muses, “The wrong son died.” There is, of course, no more clichéd way to begin a biopic. Just ask Walk Hard . But Mann, working from a 30-year-old by script the late Troy Kennedy Martina and Brock Yates, veers from formula immediately after that bit of dialog. His approach does not always work, but buoyed by a few remarkable performances, he recreates a compelling piece of history. Though Driver’s accent is sometimes questionable, he sidesteps cliché in every scene. His Enzo Ferrari is a singular man, driven and emotionally careful but quietly compassionate and endlessly human. The performance is soulful and delightfully humorous, and he makes even the script’s most convenient or obligatory dialog feel authentic. He’s got nothing on Penélope Cruz, though, who’s a solid contender for an Oscar nomination in the role of Enzo’s wife and business partner, Laura. Moody, funny, but more than anything, worn thin by years of grief and anger, Laura is a character unlike any other in this film or most any other. Cruz dials the drama back just when you’d expect an eruption, erupts at surprising moments, and refuses to make Laura Ferrari a cartoon or a villain. With these performances at the center of the film and the specter of death in both the rear view and the headlights, Ferrari delivers an emotionally charged adventure. The real possibility of disaster – within the family, within the business, and on the racetrack – is a current running through every scene. Mann captures the thrill and dread inside that danger with a restless camera and visceral racing action. Thanks to commitment to the human drama, the action never feels glossy or superficial – thrill for thrill’s sake. Mann’s latest embraces the compromise and corrosion that accompany success. It feels less stylish than a Michael Mann film, but more human. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Ireke: Rise of the Maroons film review by UK film critic Jason Knight. Starring Tobi Bakare, Demetri Turin, Atlanta Bridget Johnson, Alex Franklyn, Westy Baba directed by Gbolahan Peter Macjob. HOME | FILMS | REVIEWS Ireke: Rise of the Maroons Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 11, 2025 Directed by: Gbolahan Peter Macjob Written by: Gbolahan Peter Macjob Starring: Tobi Bakare, Demetri Turin, Atlanta Bridget Johnson, Alex Franklyn, Westy Baba A feature-length period drama from Nigeria, written and directed by Gbolahan Peter Macjob and starring Tobi Bakare, Demetri Turin, Atlanta Bridget Johnson, Alex Franklyn and Westy Baba. The year is 1697 and British Forces invade West Africa, capture several Africans and bring them to Jamaica for slavery, among them a young boy named Atanda (Bakare). Years later, Atanda is now a grown man, living as a slave in the plantation of Gerard (Turin), a ruthless man. Atanda endures the daily brutalities of the plantation and strikes up a romance with Adunni (Johnson), another slave who works primarily in Gerard's house and who attracts the unwanted attention of Johnson (Baba), an obnoxious slave who has earned a privileged rank that places him above regular slaves. Meanwhile, nearby is a large group of Maroons, escaped slaves who are planning to attack the plantation. This film is quite hard-hitting when it comes to depicting the viciousness of the British colonial authorities. Unfortunate slaves are whipped, hanged and burned to death, revealing the terrible times that occurred. The screenplay also explores the Maroons, their dedication to training for battle and their strong desire fro freedom. Among this, the audience gets to know the protagonists, their struggles and their motivations. The impressive mise-en-scene effectively creates an early eighteenth century setting, thanks to the costumes and structures. In terms of acting, the cast could had done a better job. There are moments of strong acting, however, throughout the feature, the performances just fail to be convincing. Regarding the characters, it is the bad guys that stand out. Turin is rather menacing as a cruel plantation owner who will not hesitate to hurt or kill and his wife, Catherine (Franklyn) is on the same level. Baba is Johnson, the smiling, treacherous fiend who has his eyes set on Adunni. Although Atanda comes across as sympathetic, he is not very engaging. Johnson's character, Adunni, works much better, a good-hearted woman trying to survive. Obviously, this is a story about slavery and it also acts as an account of the rise of the Maroons against the British colonial authorities. Moreover, it is also about bravery, rebellion, racism, cruelty and the strength of the human spirit. On one hand, people who watch this film will become familiar with the time when Maroons rebelled against British rulership and on the other hand, they will experience a moving and dramatic story about resisting brutality and pursuing freedom. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Undergrads film review by UK film critic Jason Knight. Starring Chloe Skoczen, Trace Guzman, Dillon Orth, Elijah McNally, Ali Rosenthal, Xavier Goodman, Maya Caulfield, Madi Hart directed by Andrew Zuckerman. HOME | FILMS | REVIEWS Undergrads Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 12, 2022 Directed by: Andrew Zuckerman Written by: Andrew Zuckerman, Dillon Orth Starring: Chloe Skoczen, Trace Guzman, Dillon Orth, Elijah McNally, Ali Rosenthal, Xavier Goodman, Maya Caulfield, Madi Hart A dramatic insight into the lives of several college students. The story follows two groups of young friends. One consists of three boys: Jaimie (Guzman), Wyatt (Orth) and Drew (McNally) and the other consists of Chloe (Skoczen), Sam (Rosenthal) and Leila (Caulfield). Jaimie and Chloe are in a relationship which is being put to the test as Chloe is going to be moving to New York City for studies. The audience observes the youngsters over the course of a weekend as the guys go to a cabin in the countryside to relax and the girls celebrate Leila's birthday. With his feature film debut, Zuckerman creates an experience that is about self-discovery, about making plans for the future and finding one's place in the world. It also explores themes of romance and friendship. Various events take place that affect the lives of the protagonists and they include Chloe's decision to move to New York, Wyatt's discovery that his former girlfriend has met someone else and the relationship that Drew begins with Bella (Hart). There are moments of joy and moments of confrontation and drama. The characters are seen having a good time, partying, talking to each about how they feel and trying to deal with their issues. The film also shows relationships ending and the beginning of others. The performances are quite good and specific mention goes to Orth, who portrays a sporty character who goes through a great deal of drama with the knowledge that his ex-girlfriend does not want him back. Skoczen and Guzman are convincing as a seemingly idyllic couple, who might actually not be right for each other. Goodman also does a good job as the cheerful host of a college campus radio show. The movie has a rather entertaining soundtrack and a great deal of praise goes to the animation during the opening credits. The screenplay effectively explores the characters' lives. This is a moving and thoughtful film about individuals who are at a stage where their life is going through significant changes. The main message it appears to be carrying is that sometimes things just do not work out and people should come to terms with the facts and move on. Well acted and with a narrative that contains elements many young people can identify with, this feature is an achievement that deserves recognition. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

I Killed Solomon Reid film review by UK film critic Patrick Foley. Starring Tygorah Smith, Ruby-Mae Cooper. Saddat Khan directed by Richard Anthony Dunford. HOME | FILMS | REVIEWS I Killed Solomon Reid Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 10, 2022 Directed by: Richard Anthony Dunford Written by: Richard Anthony Dunford Starring: Tygorah Smith, Ruby-Mae Cooper. Saddat Khan One crime has many culprits in I Killed Solomon Reid , an intriguing if indulgent docu-drama told in a ‘true crime retrospective’ style – focusing on a cast of characters whose dark secrets led to tragedy. Some years after the murder of netball coach Solomon Reid (Tygorah Smith), a documentary team are covering the true story behind the grizzly crime. Those closely tied his death give their accounts in a series of talking head interviews, as viewers discover Reid’s connection to star player Kaylee Carter (Ruby-Mae Cooper), her ex-navy father Warren (David Pilgrim), brother Luke (Adam Forrester) and school staff member Elliott Gibson (Nicholas Pople) amongst others – who all feel a responsibility for the shocking events. I Killed Solomon Reid is a gripping and enjoyably intricate drama told retrospectively as a fictional documentary series, which slowly uncovers the story of a murder over five 30-minute episodes. Each episode focuses on a member it’s cast of characters that are filled with depth and complexity – documenting how they tie into the story. It is an original and effective concept that keeps audiences invested in the fictional murder. There are hiccups with the story itself – with critical information withheld in a somewhat unnatural way in order to give each episode a revelation, but which clashes with the series’ format as a supposed non-fictional documentary. Certain episodes lose themselves down rabbit holes, with an overfocus on high-school netball drama or the prior love-life of the episode’s main character, which fail to really tie into the primary plot line of the titular character’s murder – which is where the audience’s real interest lies. The ending is hinted at and built through the series, though feels detached from many of the events that the show focuses on through its previous four episodes and ends up as a rather unsatisfying conclusion designed to give a ‘shock’ ending. The withholding of key information in this manner does result in unpredictability, but the overall storytelling suffers for it and viewers will feel cheated of the chance to have ‘solved’ the murder themselves. The interviews which are the show’s primary narrative device are well-scripted and come across as authentic, though do grow repetitive – especially with certain footage used multiple times across different episodes. These are occasionally broken up with ‘dramatic reconstructions’ of the events described. However, confusingly, the same actors carrying out the reconstructions are those giving the interviews and acting out recorded and found footage – including Tygorah Smith, whose Solomon Reid is meant to be long-dead. This utterly shatters immersion and these scenes should have been either narratively separated from the ‘documentary’ to make clear only the show’s viewers are seeing them, or left out entirely. The series is generally well acted – with Ruby-Mae Cooper’s portrayal of wide-eyed, naive Kaylee and David Pilgrim’s grimacing turn as her father Warren being particular highlights. Adam Forrester as brother Luke is also impressive, and probably the show’s best example of a character developing over the series as the weight of the events are brought back to someone talking years down the line. There are cracks in some of the performances though, with certain cast members evidently reading from a script in their segments and struggling to effectively convince viewers they are actually partaking in a real interview. But despite some shortcomings, the overall intrigue built and the originality of the show’s format make I Killed Solomon Reid an engaging and thrilling series. Despite bloat, and some storytelling issues, this 5-part docu-drama is an enigma worth solving. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Web Series < All Reviews Next Film Review >

A Ticket To Paradise film review by UK film critic William Hemingway. Starring Zulfiqar Ghouri, Zainab, Sagar, Hameed Ali directed by Awais Hameed. HOME | FILMS | REVIEWS A Ticket To Paradise Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jan 26, 2025 Directed by: Awais Hameed Written by: Awais Hameed and Mohsin Tariq Starring: Zulfiqar Ghouri, Zainab, Sagar, Hameed Ali In Pakistan a young man wins tickets to Medina on a gameshow, which he hopes to use to fulfil his parents’ lifelong dream of completing the pilgrimage of Umrah. Siraj has struck it lucky. He has entered a television gameshow and won two tickets to Medina as a result. Siraj thinks that he can finally give his parents what they have always wanted, a way to conduct the pilgrimage of Umrah, by giving them the tickets and sending them on their merry way without the crippling cost which would normally be involved. There’s only one problem – Siraj and his family are considered ‘illegal’, and as such have no identity cards or passports, nor do they have any way of obtaining them. In his hurry to provide for his parents, Siraj solicits advice from his best friend Saleem, who tells him of a forger that could help out with the document situation. This, however, will elicit an enormous cost in and of itself, and so Siraj must go cap in hand to his boss to ask for the money to pay for this service. His boss, a shrewd but not unkind man, offers to help, but in return he asks for Siraj’s ‘ancestral’ boat as collateral. The boat has sat in the harbour for a long time without being taken to sea, as it used to belong to his brother who was lost on the waves years before. Nobody in the family is happy about this idea, but Siraj sees it as the only way to give his parents what they want, and can’t see the point in letting the boat rot away without anyone to sail in her. As Siraj weighs up the cost of his parents’ spiritual salvation, and what the family may lose in return, he must search his own conscience and test his own faith to decide what he holds most dear. Director and co-writer Awais Hameed helps us through Siraj’s story, mixing between interior shots of the family home and open seascape down by the harbour. Siraj’s life certainly seems pulled in two directions, and Hameed shows us some good scenes with some quality photography in both sections. Getting into the story of Siraj’s situation is easy, and his continued motivation, even in the face of obvious tragedy, carries the engagement of the audience all the way to the end. At seventeen-minutes, A Ticket To Paradise takes the time to tell it’s story properly. There’s enough space for all the necessary relationships and conversations to have meaning, and there’s some nice cinematography along the way. On the surface, A Ticket To Paradise may seem to have some basic motivations and archetypal conflict, but underneath the simplistic narrative lies some powerful imagery as well as a deeper message which really comes through in how the story turns out. There’s a little more than meets the eye at first glance, and if you decide to buy A Ticket To Paradise , you’ll find a genuine film which tries to deliver on what it promises. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Ernest and Celelstine: A Trip to Gibberitia film review by UK film critic Christie Robb. Starring Lambert Wilson, Pauline Brunner directed by Julien Chheng, Jean-ChristopheRoger. HOME | FILMS | REVIEWS Ernest and Celelstine: A Trip to Gibberitia Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Aug 31, 2023 Directed by: Julien Chheng, Jean-ChristopheRoger Written by: Agnes Bidaud, Didier Brunner, Guillaume Mautalent Starring: Lambert Wilson, Pauline Brunner This follow-up to the Academy-Award nominated 2012 movie Ernest and Celestine and an animated television series, all based on works by writer/illustrator Gabrielle Vincent, has the beloved duo of bear and mouse on a quest. They have returned to Ernest’s hometown of Gibberitia to have his violin (a stradabearius) repaired by its creator, only to find that his formerly enchanting land filled with bears playing music has become a repressive regime. A new law has banned music with more than one note. Children are forced to take on the careers of their parents regardless of their personal inclination. And a masked hero of the underground resistance periodically pops up to protest with impromptu saxophone solos. I had the chance to watch the movie with my nine-year-old-daughter, Emmy Clifton. Here’s our take. Mom Says: The animation is beautiful, like watching a moving watercolor. The quest to find joy and individual purpose in a society determined to force one into a predetermined course is important. However, the film seems a bit spare. The relationships between the characters could have used some more fleshing out. But, I am coming late to this franchise having missed the previous installments. The conflict spoke to my daughter who paused the film periodically to voice her suggested solutions to Ernest and Celestine’s problems. Impressive that the production team managed to tackle the ideas of fascism and political overreach in a low-stakes, nonviolent, way that speaks to children. It’s quirky and charming with some great visual gags and a musical theme that will keep you humming long after you’ve walked away from the film. Kid Says: I loved everything about the movie, except that, if you look really closely, all the animals have human hands. I did not like that. The cute art style reminded me of Studio Ghibli movies. About the Film Critic Christie Robb Theatrical Release, World Cinema, Animation < All Reviews Next Film Review >

Drop film review by UK film critic Hope Madden. Starring Meghann Fahy, Brandon Sklenar, Violett Beane directed by Christopher Landon. HOME | FILMS | REVIEWS Drop Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 10, 2025 Directed by: Christopher Landon Written by: Jillian Jacobs, Chris Roach Starring: Meghann Fahy, Brandon Sklenar, Violett Beane The thing about Drop , Christopher Landon’s new first date thriller, is that we’ve seen it before. Maybe not this exact scenario, but the idea. Go all the way back to 2002’s Phone Booth , when Joel Schumacher and a self-righteous sniper trapped Colin Farrell on a pay phone. Or back to 2014 and Drop co-writer Chris Roach’s extortion-by-text-in-the-sky thriller, Non-Stop. The point has always been that, via our technology, we’re helplessly surveilled and those watching can pull strings we don’t want pulled. It can be effective because it mines our collective reality. And Landon and a game cast keep the cat-and-mouse antics about as believable as they can be. Meghann Fahy (The Unbreakable Boy , White Lotus ) is Violet, a single mom out on her first date since the death of her abusive husband. She leaves her precocious 5-year-old Toby (bespectacled Irish internet sensation Jacob Robinson) at home with her sister (Violett Beane) and heads to a downtown Chicago high rise for a pricy dinner with too-good-to-be-true Henry (Brandon Sklenar). But before she can even taste that calamari appetizer, Violet’s phone starts pinging with messages, including a command to check her home security footage. If Violet doesn’t kill Henry, the masked man in her living room will kill Toby. Landon (Freaky , Happy Death Day , Scouts Guide to the Zombie Apocalypse ) has a strong track record with horror comedies, but Drop is not really either. It’s a tidy thriller, and though Landon’s instinct for humor gives the first date banter a charming quality, he can’t quite direct his way out of the script’s physical limitations and storytelling contrivance. Almost, though. Landon gives the penthouse eatery a dizzying fishbowl quality. Between savvy editing and the cast’s commitment, tensions rise with gamesmanship that usually feels fairly authentic. But then, a dramatic convenience reminds you that this is a movie, and that no human would react as the character is reacting if, indeed, a gun was pointed at their 5-year-old. Still, Drop exceeds low expectations mainly on the charisma of the cast and two universal fears: technology and first dates. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Ezzera & Gore-Girl Horror Anthology film review by UK film critic William Curzon. Starring Julia Van Dam, Paige Hounsome directed by Jeremy Decker, Jarvis Greiner, Brandon Rhiness. HOME | FILMS | REVIEWS The Ezzera & Gore-Girl Horror Anthology Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Dec 1, 2025 Directed by: Jeremy Decker, Jarvis Greiner, Brandon Rhiness Written by: Kristin Breitkreutz, Lindsay Christopher, Brandon Rhiness, Adam Storoschuk Starring: Julia Van Dam, Paige Hounsome The Ezzera & Gore-Girl Horror Anthology follows a woman who discovers an old VHS tape in her deceased parents’ basement, which contains a series of short horror films recorded from a late-night cable TV show hosted by the titular characters. While the premise is derivative of other anthology titles such as the V/H/S franchise, the central host segments from Ezzera Eve (Julia Van Dam) and Hellenore the Gore-Girl (Paige Hounsome) grant the piece a unique twist on the concept. Perhaps the biggest issue with the piece is the severe lack of tension and engagement within each story, primarily due to the glaringly sparse time allocated to develop these ideas and the central conflict. While each tape does vary in quality and tonal shifts, there is ultimately an overly convoluted amount of material that feels assembled poorly to see what sticks. As something interesting begins to occur within a story, it bafflingly concludes and simultaneously switches to the next story. It's a bizarre choice that feels like the screenwriters ran out of ideas whilst trying to cram in as much material as they could. The narrative directly becomes less interesting when it cuts away from the delightful host segments, wonderfully performed by Julia Van Dam and Paige Hounsome. The writer/director Brandon Rhiness employs some decent gags throughout most of the stories and effectively displays his distinct love for the genre as the darkly comedic elements soar. Unfortunately, these sequences are few and far between as the breathless pacing can feel disorientating with a severe lack of horrific scares and loss of tension towards the conclusion. While the make-up and costuming are commendable given the budget constraints, the frightful imagery feels undercooked and visually unappealing at times. There are also some bizarre editing and directing choices that seemingly see the piece cutting away from its own violence, with certain stories concluding almost immediately. Prolonging specific stories could have given the final film more depth, while further fleshing out ideas and granting each story an actual conclusion. The performances, for the most part, are serviceable for the plot of each story; however, they are nothing groundbreaking to elevate the material. On the other hand, Julia Van Dam and Paige Hounsome, portraying the titular characters, profoundly carry the material as they are astonishing performers. Whenever the film cuts away from the host sequences, it makes you question whether the entirety of the piece should have been based around their mischief, as their chemistry is incredible. The wraparound story with the titular characters is, unfortunately, underwhelming, though. Each short ultimately isn't given enough narrative flair to be compelling enough for the audience to stay on board with it. Thankfully, the quick-moving pace never makes the first half dull; however, it loses momentum towards the back half and feels like a chore to sit through its final moments. The piece, unfortunately, overstays its welcome and becomes too overly bloated with a mind-numbingly meandering finale. The Ezzera & Gore-Girl Horror Anthology is a baffling attempt at a horror anthology piece with decent gags throughout and an overly convoluted amount of short stories that amount to minor. While it displays moments of campy fun and a brisk pace, its ultimately underwhelming antagonists and questionable acting choices bring it down and make it feel like an endurance test to sit through. Can we get a spin-off feature based entirely around Ezzera Eve and Hellenore the Gore-Girl instead, please? About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

The Mortuary Assistant film review by UK film critic Hope Madden. Starring Willa Holland, Paul Sparks directed by Jeremiah Kipp. HOME | FILMS | REVIEWS The Mortuary Assistant Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 10, 2026 Directed by: Jeremiah Kipp Written by: Tracee Beebe, Brian Clarke Starring: Willa Holland, Paul Sparks Director Jeremiah Kipp hits the exact right tone as he opens his latest feature, The Mortuary Assistant . Based on the popular video game, the film follows Rebecca Owens (Willa Holland) through her first night on her own at the mortuary. Before she can fly unaccompanied, she completes her first solo autopsy, as the mortician (Paul Sparks) watches. The scenes are clinical, filmed in close-up, Kipp manufacturing the best combination of mundane and macabre. Soon enough, Rebecca will begin her first overnight shift, and the clients are not your run of the mill cadavers. Kipp, working from a script by Tracee Beebe, finds organic ways to give Rebecca a backstory. Flashbacks are not intrusive until they need to be, as the film warps that history into another way to really ruin Rebecca’s first night on the job. John Adams figures into Rebecca’s past. He’s a perfect choice for a loving dad and for what that pesky demon haunting the mortuary has planned for her. Holland’s great in a tough role. Rebecca carries probably 90% of the film, much of that screentime spent alone or with a lifeless (?) corpse. It’s an internal character, not an extrovert or the type who talks to herself, and the actor impresses, commanding attention and driving action. Bebee’s script adds some depth to the game storyline as well, using Rebecca’s backstory to develop a theme of addiction that suits the horror and helps to explain Rebecca’s connection to events. Sparks delivers an enjoyable performance, stiff and weird as you might expect from a mortician, certainly from this particular mortician. Supporting turns from the small ensemble (Keena Ferguson Frasier and Emily Bennett, in particular) elevate emotion, whether that emotion is heartbreak, fear, or revulsion. Plus that demon is freaky. Frequent gamers may be able to make more sense of the actual mythology—possession, demonic bindings, the minutia of morgue work. Still, The Mortuary Assistant transcends the issues that usually plague big screen game adaptations and delivers fun, creepy demonic horror. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Dimanche film review by UK film critic Jason Knight. Starring Marie Luciani, Aidan Grossman, Geoff Mays, Mercedesz Mesza directed by Fatty Soprano, Shawn Vasquez. HOME | FILMS | REVIEWS Dimanche Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 8, 2021 Directed by: Fatty Soprano, Shawn Vasquez Written by: Fatty Soprano, Aidan Grossman, Marie Luciani Starring: Marie Luciani, Aidan Grossman, Geoff Mays, Mercedesz Mesza A teenage girl realizes that she is growing up and decides to make significant changes in her life. A young girl (Luciani) is at home, inside a large bedroom, where she is applying makeup on the face of a young man (Grossman), who is approximately the same age as her. That man is her brother and he is dressed in women's clothing. As she works on the makeup, she tells her brother soon she will be turning eighteen and that she has decided to use money she has saved to pay for breast implants. She explains that she is going to do this because a girl named Charlotte (Meszaros), who is a former friend of hers, did the same and her life changed. She became popular and began receiving offers to appear in photoshoots and rap videos. She seems to envy Charlotte's success and wishes to accomplish the same. And she believes that getting breast implants will get her there. This interesting short drama explores themes of coming-of-age, self-discovery, depression, jealousy, being different and how social media affect young people. During her long monologue, the girl mentions that Charlotte has many followers on Instagram, in comparison to her and she is annoyed by that as she seems to believe that being popular online is a big deal. The film seems to suggest that social networking services can have negative consequences on a person't psychology. The long monologue that the heroine delivers goes on almost throughout the whole film. Her desire to move on to better things is clearly expressed and so are her feelings. Apart from doing the makeup, she is occasionally seen standing in the room or lying on the bed while talking. Luciani plays her part well. Her brother remains silent, sitting still while the makeup is applied. With the exception of a few outdoor shots at the beginning, the entire narrative takes place inside the bedroom. The mise-en-scene is intriguing. The room's walls are covered with Christmas lights, CDs and posters of entertainers or television shows. There are various books scattered here and there and there is guitar. All these provide information about the characters' interests and hobbies. The cinematography is wonderful and according to the filmmakers, they aimed to give this project a 90s look. There is also brief black-and-white cinematography and a short montage of black-and-white stills. The beautiful piano music provides a melancholic feeling. During the final moments, the atmosphere changes dramatically, becoming rather sinister. A man enters the room, who appears to be their father. He seems angry with them and shows signs that he is about to use violence. Here, the film seems to be raising awareness for domestic violence. Dimanche provides an insight into the kind of influences that social media have on the lives of young people and will most likely offer the viewer a thoughtful experience. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Toast film review by UK film critic Chris Buick. Starring Natalie Hughes directed by Lawrence Rowe. HOME | FILMS | REVIEWS Toast Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Nov 2, 2023 Directed by: Lawrence Rowe Written by: Lawrence Rowe Starring: Natalie Hughes Writer/director Lawrence Rowe’s film Toast takes the idea of eating one's feelings to create a short film that is simple but highly substantial and satisfying, much like toast in fact. Following a difficult breakup, our main character (played brilliantly by a highly commendable Hughes) has taken solace in what might be the king of all comfort foods; toast. But what seems to start out as a love letter to our versatile bready friend soon transforms into something much deeper, a story of heartache where toast-based soliloquies thinly veil the tragic tale of lost love underneath. It’s a metaphor that’s fun and unique for sure, but in no way does it ever take away from the sincerity that Toast has as a film by taking its subject lightly. What the toast concept does do is make the film that bit more accessible than that of your typical tale of failed romance, and weirdly also more relatable. Heartache is a universal feeling difficult to verbalise for most, but it would be a safe bet to say most who have shared that experience will be able to find common ground here, the comparisons to feeling like a thrown-away piece of bread will not be lost on most. And that’s a testament to the hard work that Rowe and their team do with only two and a half minutes to play with. Toast manages to portray that kind of emotional turmoil almost completely, visual cues such as discarded pieces of toast and teabags as well as the gut punch shot of an engagement ring lost among the debris of crumbs all come together to create such a full picture of the disarray our protagonist now finds themself in. And carrying it all, off giving the film the true gravitas, emotional heft and delivery that it needs to really work, is Hughes who is remarkable, able to really exemplify that veritable “smiling through the pain behind the eyes” aspect that allows you to truly feel every bit of emotion the film is trying to achieve, their frantic monologue of a person teetering on the edge, being kept afloat purely on a life raft of toast and butter both captivating and heartbreaking. Manging to fully realise its story about a very universal facet of the human condition, Rowe’s film might be one of the more poignant and thoughtful pieces of work you might see centred around toast. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >