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Playdurizm film review by UK film critic Patrick Foley. Starring Gem Deger, Austin Chunn, Issy Stewart directed by Gem Deger. HOME | FILMS | REVIEWS Playdurizm Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Dec 8, 2022 Directed by: Gem Deger Written by: Gem Deger, Morris Stuttard Starring: Gem Deger, Austin Chunn, Issy Stewart It’s borderline impossible to summarise Playdurizm in anything less than a thesis. This LGBT, synth-drenched sci-fi horror thriller mystery is ruthlessly gory, unapologetically scandalous and effortlessly cool – if outright baffling and confusing for large parts of its runtime. One thing’s for sure – it leaves one hell on an impression. When Demir (director Gem Deger) awakens in a trashed, extravagant dream house, he has a sense that something is seriously off in the world. When Andrew (Austin Chunn), an adonis of a man claims to be Demir’s best friend, the strange unrecognised world feels a little more appealing to Demir. But Andrew’s psychotic girlfriend Drew (Issy Stewart) makes it her business to stand between the pair. But Andrew’s desires are more complex, and might be more than either of them can provide. Playdurizm is clearly the product of a defined vision from director and star Gem Deger – and qhat a vision it is. The world we see is tuned to the max – filled with over-the-top sex, violence, extravagant characters, memorable music and visuals and a story that ricochets from intriguing, charming, horrifying and traumatising. It is not a film for the faint of heart, and its horror extends far beyond buckets of blood and brandishing of knives. Psychological torture is imbued throughout the film, and a pivotal scene of rape towards the story’s end may be too much for unsuspecting audiences. Viewer discretion very much advised. But this overabundance of brutality should not dissuade willing viewers from what is a bold and memorable experience. The ambiguous dynamic between Demir and Andrew is a fascinating heart to Demir’s exploration of his strange new world, which feels alive, pulsating and vibrant. It seems to be Gem Deger’s personal goal to make sure that no viewer feels they can take their eyes off screen for even a second – lest they miss an unexpected twist in reality or a shocking new demonstration of sex, violence or depravity. This certainly can result in sensual overload at points, and the plot becomes muddled at parts in lieu of interpretive storytelling and experimental artistic expression. Multiple viewings are likely to be required to decode the story – whether audiences are willing to commit to this depends on personal preference. The director deserves praise for sticking to their vision, and originality is always welcome in filmmaking. But be prepared for a WTF-heavy watch. There’s an ‘uncanny valley’ feel to many of the film’s performances. Gem Deger’s Demir is our grounded entry into the film, who’s amnesia allows the viewer to emphasise with his confusion at the world around him. Issy Stewart’s Drew and Christopher Hugh James Adamson’s Jeremy are the most disturbing and unnerving characters he encounters – and the first hint that not all is as it seems. But it is Austin Chunn who, by design, is the film’s most mercurial, complex and interesting star. Andrew is the paradoxical object of Demir’s desires – part Chris-Evans-lookalike dreamboat with a clear caring side, part toxic, manipulative and deadly purveyor of twisted violence. The chemistry the leading pair share makes becoming invested in the unpredictable dance between the two that runs throughout the film impossible to resist. Playdurizm is an unforgettable, fearless watch. It’s unusual style of storytelling will confuse some viewers, and the abundance of graphic sex and violence may put off others. But it’s cinematic quality can’t be denied. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

Mean Girls film review by UK film critic George Wolf. Starring Angourie Rice, Renee Rapp, Tina Fey directed by Samantha Jayne, Arturo Perez Jr.. HOME | FILMS | REVIEWS Mean Girls Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 11, 2024 Directed by: Samantha Jayne, Arturo Perez Jr. Written by: Tina Fey Starring: Angourie Rice, Renee Rapp, Tina Fey Some of us find the idea of reliving high school during this social media age to be downright horrifying. Mean Girls takes us there, throwing in enough songs, sass and relatable humor to make the trip entertaining. Still horrifying, but entertaining. And speaking of social media, word is I need to stress again that there are songs – this is an adaptation of the Mean Girls musical, and not a remake of the 2004 film. Those songs, from Jeff Richmond and Mark Benjamin, are woven pretty seamlessly into the larger-than-life drama of high school by co-directors Samantha Jaye and Arturo Perez, Jr. Tina Fey adds some new sensibilities to her updated script, but keeps the core tale of “queen bees and wannabes” instantly familiar. Cady (Angourie Rice from The Nice Guys and Beguiled ) goes from home schooling in Kenya to being the new girl at North Shore High in Illinois. Shown some lunchtime pity by Janis (Moana ‘s Auli’i Cravalho) and Damian (Jaquel Spivey in an impressive debut), Cady agrees to infiltrate the “plastics” clique of the evil Regina George (Reneé Rapp) and her sycophants Gretchen (Bebe Wood) and Karen (Avantika). But, of course, Cady falls for Regina’s ex Aaron Samuels (Christopher Briney), and finds herself caught in the lure of burn books, backstabbing and cutthroat social climbing. It’s all a fertile playground for sudden bursts of song and dance, though the musical set pieces often betray the directors’ extensive TV background and come off feeling a bit constricted. Not every song here is a “banger,” but the vocal talents of the cast – especially Cravalho and Rapp – help tunes like “Meet the Plastics” and “I’d Rather Be Me” make an impression, while the clever wordplay in “Stupid With Love” and “Sexy” stir up infectious fun. And just wait ’til you hear what song Damian has chosen for the talent show. This young cast is loaded with talent, Fey and Tim Meadows make reliably solid reprisals, and Busy Phillips brings some mischievous self-awareness to her turn as Regina’s overly chummy mom. If there’s a weak spot here, it’s the under use of the always funny Jon Hamm, who gets a glorified drive-by as the requisite coach teaching sex education. Does this musical adaptation re-imagine its original film with as much meaning as the new Color Purple ? No, it does not. But this Mean Girls brings a new zest that keeps the fetching from feeling like fan service, and enough generational upkeep to forge common ground between longtime graduates and a new class of fans. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Five Devils film review by UK film critic Hope Madden. Starring Adèle Exarchopoulos, Sally Dramé directed by Léa Mysius. HOME | FILMS | REVIEWS The Five Devils Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 4, 2023 Directed by: Léa Mysius Written by: Léa Mysius Starring: Adèle Exarchopoulos, Sally Dramé The magical realism of Léa Mysius’s sophomore feature takes a minute to suss out. Things feel straightforward enough, at least for a time. Although, how can a person miss the magic in Sally Dramé’s little face? Dramé plays Vicky, and she plays her magnificently. Vicky’s an odd duck, disliked intensely at school but happy as can be accompanying her mother, Joanne (Adèle Exarchopoulos) to the pool where Joanne is an instructor and lifeguard. But all is not right at home between Vicky’s parents, and when her dad’s sister Julia (Swala Emati) comes to stay, things really come undone. Mysius expertly balances family drama with fantastical elements to achieve an emotional honesty about a complex topic. The drama itself borders on melodrama, with backstabbing, coupling and uncoupling, and sexual relations of an almost Greek tragedy sort. Understated performances from the entire cast keep it from devolving into soap opera, but Mysius has something better than that in store. The time travel magic of the film, limited as it is to the impish Vicky, allows for a childlike innocence, even when the implications of that magic become very dark. Essentially, by straddling soap opera antics and fantasy elements, Mysius can ask more questions about family entanglements than she answers. But the questions she asks are so rarely tackled that leaving them hanging does not feel unsatisfying. Again, so much of the success of the film sits with the emotionally honest performances. Exarchopoulos once again delivers raw vulnerability that never feels staged. In fact, despite its sometimes lurid narrative meanderings, there is nothing showy about The Five Devils . This is an unusual film, generous with its characters even as it looks at the selfishness of love, the neediness within family, and the strange battles we fight. About the Film Critic Hope Madden Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

Woman of the Photographs film review by UK film critic Brandon Thomas. Starring Hideki Nagal, Isuki Otaki directed by Takeshi Kushida. HOME | FILMS | REVIEWS Woman of the Photographs Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Feb 7, 2023 Directed by: Takeshi Kushida Written by: Takeshi Kushida Starring: Hideki Nagal, Isuki Otaki Vanity has been a part of human existence for ages. The standards of beauty come and go with the passage of time, but no matter where we are in history, people have sought to look attractive. In Woman of the Photographs , director Takeshi Kushida offers a compelling statement on the broad spectrum of beauty, and how either end of it can be equally damaging. Kai (Hideki Nagai) is a Japanese photographer who spends most of his days taking standard portraits and then endlessly photoshopping them for his vain clients. Only on the side does Kai get to dabble in a more artistic expression of his photography. While taking photos of insects in the forest, Kai stumbles upon Kyoko (Itsuki Otaki), an Instagram influencer who has just fallen from a tree trying to get the perfect photo. It’s not your standard meet-cute, and Kyoko certainly isn’t your standard model. After inviting herself for a ride home with Kai, Kyoko slowly integrates herself into Kai’s daily life. What starts as a symbiotically awkward relationship slowly morphs into something more sinister as both Kai and Kyoko become obsessed with a more destructive form of beauty. What makes Woman of the Photographs so interesting is how delicately it dances around being a horror film. The first half of the movie feels more akin to a quirky indie drama than it does something in the genre realm. As Kai and Kyoko’s relationship deepens later in the film, the tendrils of horror finally make their appearance, calling to mind something close to Cronenberg-lite. The body horror in Woman of the Photographs isn’t as pronounced as that of David Cronenberg. No, Kushida’s desire seems to be to purposefully hold back on the excessive gore and instead force the audience to think about standards of beauty when it comes to surface-level imperfections. The horror emphasis is less on Kyoko’s wound itself and more the obsessiveness with which Kai and Kyoko marvel upon it. There’s also a fascinating commentary on the state of modern Japan and the isolation many of its citizens feel. While not exactly suffering from hikikomori (the Japanese phenomenon of extreme isolation), Kai’s relationship with other people is often felt only through the viewfinder of a camera. On the opposite end is Kyoko, whose only connection with others – outside of Kai – is through her Instagram page where she obsesses over each and every shot of herself that she posts. Woman of the Photographs slowly unravels from a quirky first act to a much more sinister final half. For those with the patience, the methodical descent into Japanese body horror will be well worth the investment. About the Film Critic Brandon Thomas Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Keeper film review by UK film critic Kieran Freemantle. Starring Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss directed by Osgood Perkins. HOME | FILMS | REVIEWS Keeper Film Review average rating is 2 out of 5 Critic: Kieran Freemantle | Posted on: Nov 19, 2025 Directed by: Osgood Perkins Written by: Nick Lepard Starring: Tatiana Maslany, Rossif Sutherland, Birkett Turton, Eden Weiss Keeper is the third film directed by Osgood Perkins to be released within 18 months. With Keeper , he made a restricted arthouse offering. Liz (Tatiana Maslany) is an artist who's about to celebrate her first anniversary with her doctor boyfriend, Malcolm Westbridge (Rossif Sutherland). Malcolm plans to take Liz to his family’s cabin in the woods for a weekend. However, when they go to the cabin, Liz starts to experience visions and dreams. Longlegs made Perkins’ name as a director. It was a critical hit and a commercial success, making $128 million from a $10 million budget. His follow-up, The Monkey , was promoted that it was from the director of Longlegs . He’s responsible for two of Neon’s grossest films. Sadly, Keeper did not make it a hat-trick of success for Perkins. Perkins has shown himself to be a versatile director. Longlegs was a supernatural version of The Silence of the Lambs , and The Monkey was a hilarious horror-comedy in the vein of the Final Destination movies. Keeper was a minimalistic film due to its small cast and setting, and was a slow burn. It has ended up being a divisive film, only earning a D+ score from CinemaScore users. Keeper earned this negative reputation because of its slow pacing. Liz was alone for most of the film as she pottered around the cabin. Maslany was terrific in the film and the saving grace in the film, but she could only do so much to carry the film with her lack of characterisation. Keeper felt like it wanted to be an elevated horror but didn’t have enough to say like the greats in the subgenre, such as Get Us , The Lighthouse , and Midsommar . Nor was there enough appeal for more mainstream audiences. Perkins attempted to create a creepy atmosphere, and there is a gradual ratcheting up. It started small with Liz’s visions and a monster appearing in the background and following her, although I did want to shout ‘look behind you’ like I was watching a pantomime. There was more peril as the film progressed, like an unwanted visitor and creepy beings becoming present. Keeper only got going when the film reveals the whole picture, and there was a genuinely horrifying creature. It was a barmy affair, which has been typical of Perkins’ previous films’ third acts. It was a shame it took so long to get there. It was a reverse of Alex Garland’s Men , where that film had a solid first two acts, but an insanely bad third act. Keeper wanted to be a film about coercive control. Malcolm presented himself to be a nice guy, but his behaviour became more troubling as time passed, like when he offered Liz a piece of chocolate cake. Keeper joins a growing cohort of # MeToo-inspired horror films and thrillers. However, the sci-fi film Companion was a better 2025 film that explored the issue of coercive control and how someone can fight against it. A more positive aspect of the film was the score by Edo Van Breemen. It used a lot of percussion and felt like it would have fitted in another horror film. Keeper was a film that had potential because of the central relationship and Maslany’s performance, but it was underdeveloped and underwhelming. About the Film Critic Kieran Freemantle Theatrical Release < All Reviews Next Film Review >

Leviathan film review by UK film critic William Hemingway. Starring Lauren Cornelius, Matthew Lloyd Davies, Rafe Bird directed by James Mansell. HOME | FILMS | REVIEWS Leviathan Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 3, 2025 Directed by: James Mansell Written by: Bradley Harper Starring: Lauren Cornelius, Matthew Lloyd Davies, Rafe Bird In Victorian London, another body of a slain girl has landed on the slab of a famous surgeon, who has also enlisted the help of two others to help him get to the bottom of the recent spate of killings in the city. Whitechapel, 1888 – and there’s only one thing on the mind of most Londoners of the time; the frightful, horrifying, and truly macabre Ripper murders. To this day, the sensationalism of these gruesome killings still holds a deep fascination for many, due in no small part to the fact that the murderer was never caught, and that ‘Jack the Ripper’ never faced justice or revealed his identity to the world. There have been many subsequent novels, documentaries, academic treatises, films, plays, and television series which have deigned to put their spin on the whole affair, yet still, no-one has come up with a cast-iron proof of who the killer might have been. Here, in Leviathan , from writer Bradley Harper, and based on his book A Knife In The Fog , we get another look at what may have transpired had three famous faces of the time come together to pool their respective talents. We are introduced, in turn, to Margaret Harkness (Cornelius), a journalist and author who has a special interest in the squalid lives of those living on the streets of the city; Arthur Conan Doyle (Bird), the famous author and creator of Sherlock Holmes, who obviously has a vested interest in deductive reasoning; and Professor Joseph Bell (Lloyd Davies), the renowned Edinburgh surgeon who was the basis and inspiration for Sherlock Holmes, whose eye for detail, impressive logical mind, and meticulous method of working, saw him become a useful consultant for police forces of the time. Down at the local coroner’s court, these three heavyweights get together to pore over the body of a newly slain victim, to see what they can glean from the mode of her demise. Really though, the body takes second place to the exposition of the three main characters, as they stand around the slab and have it out over their own ideas and deductions on the case. The two gentlemen are rather stuck in their old-fashioned Victorian ways, and are of course portrayed as needing the fresh, new perspective and approach offered by the tenacious young woman in their midst. Harkness then bulldozes in and takes control of the proceedings, so that misogynistic prejudices don’t cloud the judgement of the men during the autopsy, and that only proper deductions are reasoned out. Unfortunately, this means that Miss Harkness is portrayed as an irascible, obtuse, antagonistic and aggressive version of some sort of proto-feminist. Everything that comes out of her mouth is full of venom and scorn and she barely says a word that does not demean, diminish or berate the men whom she has been welcomed by to help. For the entire fifteen-minutes of screen-time, she takes the bit between her teeth and casts a shadow of indignance over the whole proceedings. It is very difficult to watch this performance from Lauren Cornelius because it makes her character out to be extremely difficult to like, when not a single word, glance, action or motivation is elicited that does not show a deep-seated hatred for men, outlining her as a ridiculously overplayed stereotype. The story, then, also goes nowhere, as once Miss Harkness has said her piece, the film is over. Leviathan plays as an introductory act, or more specifically a pre-credits sequence to a television series, where the characters are introduced, the motivations are realised, and the notion revealed that the chase is on. Sadly, this is as far as we go, and we have to wonder if Bradley Harper’s book also stops there, or if he actually has a story to tell which will apparently get given to us when the rights are bought and a full series or feature can be developed. Thankfully, the period costume, lighting, photography, and direction are all spot-on, with this one-room chamber piece giving the feel of a dark, dangerous London outside its door. Director, James Mansell, brings everything together expertly and boasts a clarity of vision which emanates Victorian London all over the screen. The titles and credits fill in the gaps we don’t see, floating etchings of street scenes in front of us by candlelight, while Mat Hamilton’s string heavy score drowns us in the misery and darkness surrounding the characters and themes of this tale. As a production, Leviathan is very well handled, and it would stand-up alongside other big budget Victorian London enterprises from the BBC or any streaming service, in the look and feel it provides. With these three characters coming together, Leviathan should genuinely be a great introduction to an enthralling story which could run and run. As it is though, it lands as an average beast, which needs to round out its characters and understand better how they relate to one another, so that the audience is invested in how they work together to chase down one of the most intriguing cases in all of modern history. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

A Place to Fall Down film review by UK film critic Chris Olson. Starring Clifton Collins Jr., Larissa Dias, Niklaus Lange directed by Duane Hansen Fernandez. HOME | FILMS | REVIEWS A Place to Fall Down Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 18, 2024 Directed by: Duane Hansen Fernandez Written by: Duane Hansen Fernandez Starring: Clifton Collins Jr., Larissa Dias, Niklaus Lange The short film, and directorial debut, A Place to Fall Down , from filmmaker Duane Hansen Fernandez, is a sombre dive into one man’s sorrow as he attempts to navigate grief, loss, and his own existence in a new chapter of his world. Jose (Clifton Collins Jr.) is a particularly talented mechanic. His exacting clients place a lot of pressure upon him to deliver incredible results for their vehicles, however, Jose is struggling to cope in the aftermath of losing a loved one. We find him at the beginning of the film listening to a meditation recording only to be disturbed by the piercing pinging of his phone. We then witness Jose go about his day in a state of palpable anxiety, images flitting in like bullets to the brain and we wonder whether our protagonist will endure to the end of his shift when he receives a fortunate phone call. A post-COVID tale of how we have all become damaged by grief in some way, A Place to Fall Down is a tonally sharp exploration of how devastating loss can be and through the eyes of one man, we see the vast spectrum of emotions which tag along with it. Jose’s suffering does not reveal itself as smashing plates against the wall nor bottling it down as the strong silent type, he in fact displays very typical (if not that dramatic) responses to losing a loved one. This authentic yet personal approach from writer/director Duane Hansen Fernandez gives the short film a slow, but very real, gut punch. The location of the garage is utilised brilliantly. A place where broken things come to be fixed is poignant enough but the filmmakers here make it seem extremely isolating. Jose appears lost amongst the maze of automobiles and when he finds out his assistant isn’t coming in for the day, he becomes immediately distressed at the prospect of being alone with his thoughts - something grief-sufferers will thoroughly relate to. This atmosphere is beautifully enhanced by the exquisite turn by Clifton Collins Jr. who tells as much of his character’s agony through his eyes as he does from any of the dialogue (which is also very well-written). As a short film, A Place to Fall Down works on most levels. Viewers will be hard-pressed to not emotionally engage with the piece but, to use a motoring term, it never gets into the higher gears in terms of the tale being told. Some audiences may feel the story needed to move into more varied territory to fully flesh out this character and the impact grief was having on him. As it is, the well-chosen elements, terrific central performance, and authentic approach to storytelling still make this a captivating and memorable journey. Watch our Video Film Review of A Place to Fall Down . About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Charlevoix Street film review by UK film critic Patrick Foley. Starring Tay Jones, Eiquna Ferguson, Deandre' Horner directed by LaTracey McDowell. HOME | FILMS | REVIEWS Charlevoix Street Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Oct 6, 2022 Directed by: LaTracey McDowell Written by: LaTracey McDowell Starring: Tay Jones, Eiquna Ferguson, Deandre' Horner Lower budget indie movies have, more than most genres, been the source of some of horror’s most inventive and engaging original stories, as well as acting as a platform for unknown directors to springboard into bigger and better things. Unfortunately, Charlevoix Street is a misfire that both falls victim to its budgetary restrictions, and fails to engage on the basics like story, acting and an engaging premise. On a street mysteriously devoid of children, Von Robay (Deandre’ Horner) one of only two youngsters who are residents, disappears in alarming circumstances. His parents Donnie (Tay Jones) and Elizabeth (Eiquna Ferguson) organise a search, and show their concern in public. But behind closed doors, a conspiracy is underway with a dark secret at its heart. Charlevoix Street is a horror film riddled with issues. Some of these, such as poor sound design or production quality are the result of its lower budget and are somewhat forgivable. However, an incomprehensible story, acting that swings from wooden to unbelievably hammy (with no in-between) and poor writing are far less so, and mean that there is little that impresses about this directionless, 60-minute ramble towards ‘horror’. The ensemble cast are victims of an opaque storyline that loses focus of its emotional core. The fear inherent with a lost child ought to be a bedrock for the creation of an environment of terror. Yet this beat is undermined almost immediately by revelations around the child’s fate and identity of their kidnappers within the film’s first few minutes, and lost entirely as focus shifts throughout to far less engaging or intriguing plotlines with the rest of the film’s cast. Dreadful dialogue is another detriment to the film, with unnatural exposition at the forefront of far too many exchanges being required just to cling onto the continuously unravelling plot. One particularly revelatory scene between Samuel (Midtah Phenephom) and Billie (Ashly Sutherland) descends into laughably bad territory, with attempts at disclosing dark secrets instead coming off as crass, and then comedic. It’s unfortunately symbolic of much of the film’s writing – which could be mistaken for an avant-garde B-movie surrealist dark comedy viewed in a certain way. It's a shame that the film falls so far short of its ambitions, as it is clearly the intent of the director and writer LaTracey McDowell to weave a complex and multi-layered web of intrigue and explore this through dark characters. But failing to ascertain a clear through line with its plot, and the continuous building upon story points which lead far from the film’s emotional core and introduce new, random elements far too late into the story end up collapsing the whole house of cards. With these basics so far out of order, the lower production quality that could have been forgiven is only more distracting and unforgiving. It feels like Charlevoix Street needed to go back to the drawing board and decide what it actually wants to be. Because an inventive, engaging indie horror that punches above its weight it is not. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Film Festival < All Reviews Next Film Review >

Savanna by AMAFFI film review by UK film critic Chris Buick. Starring Ibrahim Maalouf directed by Jeff Tomsic. HOME | FILMS | REVIEWS Savanna by AMAFFI Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Oct 28, 2024 Directed by: Jeff Tomsic Written by: Eric Michael Roy, Paris Libby Starring: Ibrahim Maalouf Within its first few moments, where the opening vista of the frankly jaw-dropping Saudi Arabian desert and the seraphic opening notes of Grammy-nominated French-Lebanese trumpeter Ibrahim Maalouf’s evocative jazz composition come together, Savanna , a short-film advertisement from the AMAFFI Perfume House clearly has ambitions to create something beyond sheer product placement and firmly elevate its showcase of that product into something much more. Savanna by AMAFFI is inescapably, first and foremost a commercial for a product and as such, that product is understandably front and centre here, its shining green bottle the undeniable focus of attention throughout a number of scenes. But honestly, despite all that, nothing should take away from the fact that the directors, the post-production team and of course not failing to mention all the other clearly talented individuals involved here as well, have indeed created that “captivating collaboration” of product and cinema they were hoping for. Of course, Savanna looks great, as you would expect from productions of high-end marketing campaigns such as these. That aforementioned Saudi desert setting never gets boring to look at, whether it's bathed in glorious sunset or impeccably lit up at night. But where some commercials of this ilk would be content to simply splash the cash on pretty sunsets, a man digging aimlessly in the sand, or another inexplicably riding a bike through bustling city streets with seemingly no connection to what it’s selling, Savanna actually looks and manages to tell a genuinely cohesive and enchanting story. It’s one of “a love that exists but is yet to be found”. A man (played by Maalouf) plays his music straight from the soul in search of the love of a woman that he can never quite grasp, yearning endlessly for that love which is never fully realised, is impossible to describe but he can feel through his music, the one thing that brings him closer and closer to her. It’s surprisingly effective, not just in giving the viewer something tangible to actually follow and feel, but for those interested and aimed at, will undoubtedly evoke that exact intended feeling for the product itself. Especially when all of that is then combined with Maalouf’s dreamlike jazz arrangement, itself starting off softly and building to a resounding crescendo as he finally is able to embrace his love. But it’s the harmony of all these elements that highlights the most important facet of this whole endeavour, because while all of these aspects in isolation are indeed impressive themselves, Savanna by AMAFFI more than anything really is a wonderful achievement that post-production producer Benjamin South can be proud of in how they seamlessly tie it all together to create such a brilliant blend of sight, story and sound. Sure, at its core Savanna by AMAFFI has a job to do, and if one wants to be cynical of any possible cinematic merit a perfume commercial can achieve then that’s their choice. But with Savanna , while there is that end goal, there also is genuinely an applaudable labour of love and creativity at work here to create this “story about the inspiration of love.” About the Film Critic Chris Buick World Cinema, Short Film < All Reviews Next Film Review >

The Audition film review by UK film critic Amber Jackson. Starring Kevin Leslie, Anita Chui, Xander Berkeley directed by Bizhan Tong. HOME | FILMS | REVIEWS The Audition Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Nov 11, 2022 Directed by: Bizhan Tong Written by: Bizhan Tong Starring: Kevin Leslie, Anita Chui, Xander Berkeley Written and directed by Bizhan Tong, The Audition is a psychological thriller where aspiring actor, Larry Boyle, must fight to keep the people in his life alive. So described as ‘the audition of a lifetime,’ and with the majority of the action on video calls, the story weaves in and out of Larry being controlled by a faceless voice online who takes sadistic pleasure in playing a confusing and cruel game with Larry. Having his narrative controlled for him, Larry must confront his demons along with his discomforts. Tong’s bleak feature raises questions of surviving a global pandemic whilst trying to make sense of what is real. The film deals with feelings that audiences will remember well from times of quarantine and questions all through the lens of a mediocre and opinionated actor trying to find work. Larry’s mindset is warped by ideas of hoaxes and institutional racism and at first the script is jarring as you cannot quite place the tone. His opinions are dangerous, and the film is trying to make a point of this, particularly that he wishes to “preserve white history.” Him having no redeemable qualities means that the viewer cannot hold any sympathy for him even after he starts experiencing the life-or-death challenges set for him. As it seems as though the film seeks to raise awareness of the selfishness of humanity, this leaves the overall tone to fall flat at times. Tong clearly wants viewers to consider what a post-covid world could look like amongst a society with divided people. A running theme of cancel culture and anxieties over doxing sets the feature up to be an all-consuming video call world for Larry to navigate and battle his way out of. As everything spirals out of control, he questions the world around him like never before. It is a very unfeeling feature in its brutal violence and bizarre playing with people’s lives. As Larry is caught up in a game orchestrated for him, what happens in front of his screen is very all-consuming as he starts to question who the anonymous voice is. Camera shots throughout the film are very clever and consist of varying angles and tacking shots during scenes. As a result, the film feels very three-dimensional and has a very high production value. Cut between these scenes are real footage clips of George Floyd protests and #BlackLivesMatter events, as well as people in their own homes on video calls commenting on social issues. This mix of media adds a realistic dimension to the film as though we are witnessing another aspect of society in an online format. However, despite this interesting concept, the film does feel slow and drawn out in parts. The script is overdone at times and the plot grows confusing as it develops out of control. We struggle to make sense of what is going on as the characters do and continue to question the ‘screen reality’ that we are presented with. Tension is built up well within intense scenes and there is plenty more unpredictability in the second half of the thriller, but action sequences are lacking and are sometimes not very believable. Each acting performance is the saving grace of this film as it is incredibly emotive, particularly during more dramatic moments. Viewers do not have a hard time believing what each character goes through, as their mortality is continually threatened. Questions are also raised concerning acting and the entertainment industry, alongside inauthentic representation for the viewer. Although unsure if the filmmaking intentions are good or not, racism is interrogated on screen and Larry in particular is not redeemed for his negative speech. The Audition subverts expectations in that it allows viewers to route for the innocent characters rather than a flawed and bigoted protagonist. It is dark in excessive measures and focuses on human suffering during and after an unprecedented social event. About the Film Critic Amber Jackson Indie Feature Film < All Reviews Next Film Review >

Where There Is Love, There Is No Darkness film review by UK film critic Chris Olson. Starring Oumar Diaw, Ramata Sow, Albert Delpy directed by Stevan Lee Mraovitch. HOME | FILMS | REVIEWS Where There Is Love, There Is No Darkness Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 14, 2025 Directed by: Stevan Lee Mraovitch Written by: Stevan Lee Mraovitch Starring: Oumar Diaw, Ramata Sow, Albert Delpy Set in modern-day Paris, writer and director Stevan Lee Mraovitch’s indie feature film Where There Is Love, There Is No Darkness is a telling portrayal of humanity at its best and worst. Oumar Diaw plays Seydou, a Senegalese man living in Paris, trying to earn enough money to support his pregnant wife (Ramata Sow) back home by working as a delivery man. The tiring job role and rude customers aside, his circumstances become even bleaker when the man who pays them goes missing and his account is frozen. Fortunately, Seydou’s bonds with the other delivery guys he knows, as well as an unlikely encounter with an elderly man in need (Albert Delpy), will give him the support he needs to find the light in this dark time. Through hard work, his faith, and an unyielding commitment to kindness, Seydou becomes a modern hero. Where There Is Love, There Is No Darkness is a beautifully crafted film on a modest budget (around €200,000). Seydou’s travels on his bike around the urban Parisian landscape make for a wonderfully cinematic exploration, whilst we are delivered a fully-fledged story with plenty of tension, peril, and moving moments of emotional connection. The camaraderie between the riders from Senegal is infectious, from their banter about the hardships of their jobs to group singing songs from home, it provides a stark contrast to the often disrespectful behaviour they face from the people they deliver food to and those they work for. The indie feature film taps into many important social issues, including migration and modern slavery, and these are given expert dramatic poignancy by the filmmakers. There is a wonderful balance, however, with heartwarming moments of pure humanity, such as Seydou’s blossoming friendship with Albert, whom the former helps, out of purely good motives without any expectation of reward. The film’s name derives from an African proverb, and audiences will certainly feel a distinct uneasiness between the lifestyle that first-world countries “enjoy” and that of the one Seydou comes from. A scene in the film involves Seydou morosely talking about a fisherman he’s watching in Paris, where the river is bereft of fish and children playing in it. This is brought into a more deeply felt poignancy later in the film when we learn that it was Seydou’s occupation back home before the “Big Ships” arrived. Oumar Diaw is absolutely terrific onscreen and does so much heavy-lifting throughout the film’s numerous calls on his energy. From appearing weary and desolate in a cafe, to passionately inspiring his friends, through to thoughtfully praying, it’s a wide-reaching role and one portrayed in spectacular fashion. A few moments in the movie let it down slightly; the sequences where Seydou is in normal speed and the crowds around him are sped up felt jolting and not completely necessary. Some of the dialogue between the group of riders also felt exposition-heavy and came across as less authentic than it should have. These gripes, however, are merely superficial damage to an otherwise remarkable package. The "package" being an extraordinary film delivered with warmth, awareness, and a moving commitment to human storytelling. For such marvellous filmmaking, Stevan Lee Mraovitch and his crew are deserving of a mighty tip. About the Film Critic Chris Olson Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Reflected Self film review by UK film critic William Hemingway. Starring Barney Jones, Marielle Clare, Daisie Boyes directed by Kelvin Richards. HOME | FILMS | REVIEWS The Reflected Self Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Aug 7, 2024 Directed by: Kelvin Richards Written by: Kelvin Richards Starring: Barney Jones, Marielle Clare, Daisie Boyes The Reflected Self , from writer, director and producer Kelvin Richards, based on his own book of the same name, initially presents itself as a regular ‘isolated cabin’ thriller, when Dion (Jones) and Nia (Boyes) burst through the door of an old cottage, into their new lives. The boxes are barely in through the door before Dion is the subject of some sort of demonic possession, where the requisite long-haired scary lady pops up, with her eyes all glassy, to let us know there’s some malignant presence hanging around. Richards takes all the time in the world to show us round the cottage; lingering in all the rooms, languidly ascending the staircase, lounging in the sunlight from the windows; and it’s something we’d better get used to, as this will be the only location for almost the entirety of the film. As the narrative moves along a little, we can tell that there’s a lot of love between Dion and Nia, it just not quite clear which form that takes. Eventually we get to realise that Nia is Dion’s sister, and that they’ve shared a tragedy in which they lost their parents to a house fire. They have moved to the cottage to start again, but now the scary lady won’t leave Dion alone, and just who is that woman in the old photograph anyway? So, with the bare bones of a cabin thriller in place, and everything from The Evil Dead (1981), to The Cabin in the Woods (2011), to The Shining (1980) available for reference, you’d think we’d be getting on with digging up some history and maybe a couple of graves, and start finding out just what’s behind the dark force in the cottage. Not so for The Reflected Self , which then reveals its true face as a psychological thriller, as Dion suffers a break in reality and new character, Aria (Clare) turns up unannounced, looking suspiciously like the scary lady with glassy eyes. From here on in, The Reflected Self takes its own path and tries to sell you its own story, keeping the characters in more of a grounded reality, and frankly forgetting about the supernatural element altogether. It seems that Richards was intent on making something a little more Lynchian, with characters switching places and names and alternating narratives being thrown at the viewer, however, it is not something that he really succeeds at. The lines between Dion’s realities are kept clear with some nice lighting and beard continuity going on, but there’s nothing in the characters to make us care that they can be fluid in their backgrounds and their motives. Despite an apparent desire to emulate David Lynch, especially pieces of Mulholland Drive (2001), along with parts of Mr Robot (2015-2019) and Shutter Island (2010), The Reflected Self misses on all counts. There is no drama on the screen to keep us interested and any conflict or drama from the characters is only assumed. Everything is talked about rather than shown, but instead what we do get are long, drawn-out shots that are quiet and slow and dull and grey and don’t know when to finish. Luca Fagagnini simply throwing some chords around to try and deepen the atmosphere doesn’t really help either. In the end The Reflected Self probably suffered from budget restraints which severely hindered its narrative ability. Understandably the film was all shot in one location, but would it honestly have taken so much to get some imagery of engulfing flames, or a facial memory of Dion’s parents going on? The fact that all we get are the same rooms, many times, slowly, just isn’t enough to satisfy a visual narrative nor a hundred-minute runtime. In fairness to Kelvin Richards, the story he laid out all makes sense and comes together well towards the end. Knowing how it finishes also allows us to see why certain decisions were made and how certain dialogue was scripted earlier on so that it was in keeping with the overarching narrative. This is all to Richards’ credit, and he should be happy with the story of The Reflected Self , but in transferring it to film perhaps it could have benefited from a more concise telling and a lot more attention to visual style, in order for it to really connect with a viewing audience. About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >