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Speak No Evil film review by UK film critic William Hemingway. Starring Teni Osho directed by Shayaan. HOME | FILMS | REVIEWS Speak No Evil Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 28, 2024 Directed by: Shayaan Written by: Shayaan Starring: Teni Osho In the interests of avoiding confusion, it may be worthwhile mentioning that at this point in time, production studio Blumhouse are releasing their newest film, starring James McAvoy, called Speak No Evil . It is a remake of the Danish horror film of the same name which was released two years ago, and as you might expect, has nothing to do with the film we are reviewing today. So, today’s offering from WM Productions, writer/director Shayaan, and co-writer Kieran Rees, is a four-minute short containing only one character and a short TV cameo from Boris Johnson. We follow our unnamed protagonist (Osho) as he gets himself jazzed up, ready for a night of low-level terrorism; dancing around his kitchen, pointing finger guns at himself in the mirror, and putting on his faintly creepy Phantom of the Opera mask as he heads out onto the streets of the city. Boris has been on the telly lying to the public and the Home Affairs Select Committee, and we see him bumbling over his words as our guy flits past in a pirouette as he’s warming himself up for the night ahead. The first scene plays a lot like a music video, with some wild and winsome tones getting us all in the mood while our guy throws some shapes on the kitchen dancefloor. With no dialogue forthcoming it looks as though this might be all we get – and that in itself would have been no bad thing – but soon the mood shifts, the music takes a much more sinister tone, and the visuals show us that our man may not be the happy-go-lucky optimist that he first seemed. There is a great attention to lighting throughout the whole of Speak No Evil , which Shayaan uses to fill their frames and highlight their character. Similarly, the sound design creates a real sense of atmosphere and plays a large part in expressing the intentions of the main character to the audience. It’s just unfortunate that there are no credits from which to reference the skilled workers behind these technical aspects, and if it so happens that Shayaan did all the work behind the scenes theirself – in what was a one day shoot and five hours of post-production – then they should be commended greatly for the level of outcome achieved. It’s not so easy to determine a message or a moral from Speak No Evil ’s denouement, ending as it does on a bit of an arthouse note. The title obviously alludes to the theme of the film, but still it’s hard to figure just who or what is being aimed at, even if the only spoken words in the film are “Fuck Boris”. It is unclear whether Shayaan is suggesting we take the law into our own hands, or that we should speak truth to power through demonstrable acts, or if those in power should speak truth to the people lest they suffer the consequences, or what. There is a slight niggling sensation that Speak No Evil could be glamourising or endorsing terrorist acts, but to be honest everything is so low-key and vague that anything expressed is unlikely to have any impact at all. Still, the film looks good and the music’s great, so even if you don’t agree with the sentiment, or the message gets lost along the way, there’s still lots to like in this four-minute short. About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

Farewell Symphony film review by UK film critic Chris Olson. Starring Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou directed by Xiwen Miao. HOME | FILMS | REVIEWS Farewell Symphony Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 14, 2022 Directed by: Xiwen Miao Written by: Xiwen Miao Starring: Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou “Brave women always pay a higher price.” Having recently interviewed filmmaker Xiwen Miao , I jumped at the chance to watch (and review) one of her short films. Farewell Symphony is a sumptuous and aching portrayal of life’s journeys and the loyalties we have to face, and break, if we are to ever find happiness. Qunxi Wang plays the younger version of the lead role Yang Yang, a talented cellist whose family expects her to toe a life of preordained expectations. When she defies them and moves to New York to pursue her dream of playing music, we can see the sacrifice still troubling her decades later through the life of older Yang Yang (played by Joy Sung Kim). Farewell Symphony is full of beautifully short music sequences, such as younger Yang Yang furiously playing her cello after a disastrous dinner with her family, or the older version playing solo on a stage without an audience. These scenes are the true highlight of the short film, Miao seems completely capable of mesmerising her audience with a few simple ingredients. The scenes between the older Yang Yang and her partner Maria (played brilliantly by Anne Ruttencutter) are perhaps the most emotionally affecting. With Maria’s ailing health clearly provoking a multitude of buried hurts for our protagonist, it is their loving affection for each other that becomes a much-needed antidote to the cruel abandonment shown to younger Yang Yang by her parents (Yuebo Wang and Xiaolan Wang). But the crossroads that our lead finds herself in seems just as crushing as her one decades ago, whether to continue to pursue her musical career at the cost of leaving those closest to her. It’s a film that deftly touches upon expected gender roles and social conventions without ever needing to spell it out for the viewer. Yang Yang’s numerous dilemmas create instant empathy from an audience who will understand to varying degrees the expectations thrown on to them by their own family members. The migration that the central character takes is also key. The idea of uprooting one’s self to another country in order to pursue a dream is hard enough, let alone when her loved ones condemn her for it. This severed connection plays out particularly brilliantly with the Grandpa character, expertly played by Jianshe Zhou. Farewell Symphony is a subtle family drama with a rich musical tapestry that makes it engrossing for the audience throughout. There are a few bum notes along the way, such as some wooden dialogue being performed in the dinner scene but these are far and few between. Largely, Miao composes a generously engaging story and then delivers it spectacularly on the parallel stages of young life and older life. About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

Rupture film review by UK film critic Jason Knight. Starring Mark Strange, David Lamont, James Bryhan, Shally Tria-Amanda, Nisaro Karim directed by Ranjeet S. Marwa. HOME | FILMS | REVIEWS Rupture Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 15, 2023 Directed by: Ranjeet S. Marwa Written by: Daniel White, Ranjeet S. Marwa Starring: Mark Strange, David Lamont, James Bryhan, Shally Tria-Amanda, Nisaro Karim An ex-con sets out to take revenge on the people who wronged him. It is the near future, and Raven (Strange) is a criminal and he is planning to do a highly-paid illegal job with his associates. The act gets him arrested and imprisoned, leaving his pregnant partner Amanda (Tria-Amanda) in a vulnerable situation as Raven's gangster friends refuse to help. Amanda decides to continue her life without him and when he is released a few years later, he sets off to settle the score with his former colleagues and he will do so rather viciously. Vengeance and betrayal are the main themes in this action thriller, with an angry and emotionally damaged man going after the people who wronged him and destroyed his life. Beginning with Raven murdering three of the ones who double-crossed him, a flashback reveals the events that led to the protagonist's current vengeful status. In comparison to the second half, the first half is a bit slow, focusing on introducing the characters and revealing the magnitude of what Raven lost due to his imprisonment. Later on, things get quite exciting as he proceeds to eliminate the bad guys, taking out a lot of them, with cool action scenes taking place in a variety of places, including a club and a bar. Arguably, the action sequences are the highlight of the feature, with Raven tearing through his foes like a one-man army, shooting them, stabbing them or beating them. These scenes are directed in a way that resembles the John Wick movies, making them look rather cool and the hand-to-hand combat contains great choreography. The mise-en-scene is interesting, containing several gadgets that look futuristic, including glasses and computer chips that seem to be attached to people's heads. Unsurprisingly, there are plenty of guns and a fair amount of blood. Raven makes an interesting anti-hero and as an individual who is willing to resort to violence and whose actions cause great pain to Amanda, he is hardly likeable, with Strange's voice-over providing an insight into his damaged mind. Although Coby (Karim) is a loyal friend to him, Amanda appears to be the only person in his life who is truly decent and Tria-Amanda plays the part very well. Lamont is Smoke, the leader of the crooks, a drug user with a Mohawk haircut and Sanford (Bryhan) stands out due to his not-very-handsome appearance. Sometimes the acting is weak, however it does not ruin the experience. The feature contains interesting lighting techniques and the filmmakers make effective use of slow motion. The soundtrack is enjoyable and includes electronic music and special mention goes to the animation during the opening and closing credits. This is a futuristic revenge action thriller with criminals, plenty of profanity and a great deal of shooting and physical fighting. The story, characters and tense action provide an amusing experience, however this is not just a brainless action film, as it also has heavy drama and points out the consequences of turning to crime. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Perfect Days film review by UK film critic Hope Madden. Starring Koji Yakusho directed by Wim Wenders. HOME | FILMS | REVIEWS Perfect Days Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2024 Directed by: Wim Wenders Written by: Wim Wenders, Takuma Takasaki Starring: Koji Yakusho Wim Wenders is having a year. Though his epic 3D documentary Anselm somehow regrettably missed out on a Best Documentary nomination from the Academy, his unhurried slice-of-life Perfect Days caught their attention. Nominated for Best International Film, Wenders’s lovely drama tails Hirayama (Koji Yakusho, perfection) through about two weeks in his life. Hirayama doesn’t have a lot to say, but he misses nothing in his days driving from public restroom to public restroom with Tokyo Toilet written on the back of his pristine blue jumpsuit. Tools in rubber-gloved hand, Hirayama is meticulous as he works. He has a routine that suits him—brings him joy, even—and Wenders cycles us through that routine day after day after day. At a full two hours, Perfect Days begs your indulgence with this montage of minutely changing events. The cumulative effect is, at first, lulling. As days pass, some small change draws attention and we try to predict a plot—will this turn into a love story, will that create financial chaos, is a tragic backstory of abuse about to come to light? Not the goal of this movie. The film actually began as a commissioned short film meant to celebrate Tokyo’s pristine public toilets. I swear to God. It blossomed from there into a lithe, meditative character study shouldered by an impeccable Yakusho. Though there are moments in the film that feel orchestrated—today, this happens; today, this happens—but not one breath, smile or nod of Hirayama’s head betrays the fiction. His is a mainly solitary, nearly silent life that can be surmised as a middle-aged man’s intentional creation. Hirayama has left something behind, has stripped himself of something, and what remains is what he finds vital: work where you can see a result; floor to ceiling shelves of books; a tidy and enormous collection of cassette tapes; a room full of tiny plants taking root, thanks to his tender care. You could fit Hirayama’s dialog on less than a single page, and there are times when his silence feels forced and almost comedic. But Yakusho’s brilliantly nuanced, heartbreakingly felt performance makes up for any flaws in the film. Wenders punctuates scenes with joyously on-the-nose song choices—minus the cassette hiss—and the final few singalong minutes showcase one actor’s transcendent work. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Anora film review by UK film critic Matt Weiner. Starring Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov directed by Sean Baker. HOME | FILMS | REVIEWS Anora Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: Oct 31, 2024 Directed by: Sean Baker Written by: Sean Baker Starring: Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov Sean Baker doesn’t shy away from seamy subcultures, and the worthiness of people trying to get by outside of conformity. Yet it hasn’t been until his Palme d’Or winner Anora that he has found one group without any redeeming qualities. This shocking and depraved group of people is, in this case, the jet-setting global elite. Anora “Ani” Mikheeva (Mikey Madison) is no stranger to high rollers at her luxe Manhattan strip club. But there’s wealthy, and then there’s wealthy . When a party of Russians ask for a dancer who speaks their language, Ani becomes an object of desire to Ivan “Vanya” Zakharov (Mark Eydelshteyn, pitch perfect as a manic boychild whose naivete can turn on a dime from charming to something nearing sociopathic disinterest). Vanya has taken up residence in his Russian oligarch parents’ Brighton Beach mansion. He is in America to study, but spends his days playing video games and his nights partying into oblivion—anything to avoid being sent back to Russia to join the family business. His relationship with Ani quickly escalates, from sex work outside the club to becoming an exclusive escort to an impromptu Vegas marriage. This being a Baker fairytale, Ani’s whirlwind rags-to-riches marriage is only the beginning of her Cinderella story. What follows is a comically grotesque odyssey through the Russian-dominant Brighton Beach, as Vanya eludes his new bride and a superb supporting cast of family fixers and toughs sent to get the marriage annulled before more shame is brought on the Zakharov family. With the callow Vanya on the run, Baker instead focuses on the chaos and damage (both physical and emotional) left in his wake. And while this is a deserved star turn for Madison, who is electric and enthralling, she is just one of the victims of Vanya’s selfishness. She joins—or rather is dragooned into—the evening’s hunt for Vanya by a trio of Russian and Armenian strongmen, led by the beleaguered Orthodox priest Toros (Karren Karagulian, a Baker mainstay in his best role yet). For much of their night together, Baker pulls off a risky balance between outright comedy and what is, essentially, the kidnapping of a sex worker by three large, powerfully connected men. None of this would work without Baker’s characteristic empathy for everyone. And it certainly wouldn’t feel so easy-going were it not for the relationship between Ani and the silent strongman Igor, played by Yura Borisov with a standout turn that nearly rivals Madison’s. Baker’s most memorable characters are often wrestling with the American dream, and Baker himself seems like a Rorschach test for your own baggage: both pointed critic and secret optimist. Even at his most hopeful, though, there’s always a catch. Save the very few who can buy their way to hedonic bliss, carving your own real-life fairytale ending won’t look like it does in a Disney movie. About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Answer Your Phone film review by UK film critic Jason Knight. Starring Oliver Midson directed by Benji Wragg. HOME | FILMS | REVIEWS Answer Your Phone Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 4, 2024 Directed by: Benji Wragg Written by: Benji Wragg Starring: Oliver Midson A young man is being pursued by something sinister, while someone is attempting to contact him via his mobile phone. This spooky and tense short horror film from Australia tells a story that follows the concept of a person being stalked by a menacing force. It is night-time and an unnamed youth (Midson) is walking home. He enters a deserted car park and begins to feel uneasy. He also receives texts from someone named Nancy (apparently his partner), who wants to know his whereabouts. The man repeatedly looks around him, as if he believes that someone (or something) is after him. As Nancy tries calling him, he proceeds to run home, however will he be safe there? This short horror film wastes no time in announcing that this is going to be a scary experience, with the opening letters that make up the title being red and stylised and accompanied by a sinister score. And the tension and suspense remain firm during the five-minute duration, with the viewer wondering what the protagonist is running from (if he is running from anything). And that is an interesting thing here because the screenplay does not make it clear whether the hero is actually being targeted by some entity or if it is all just in his head. He never speaks and his frantic behaviour gives the impression that he is terrified that something bad will happen to him. Furthermore, no entity of any kind is seen, making it seem that it is the messages and missed calls that are troubling him. Interestingly, since his mobile phone appears to be menacing him, this film could also be viewed as a commentary about how mobile phones have profoundly become part of people's lives today, how callers always expect the other person to answer them and the main character could be considered a victim who is desperately trying to break free from this psychological prison. Going to the technical now, the ominous and tense music mentioned above is a great plus and contributes significantly in developing the right atmosphere thanks to the efforts by Drew Handcock. Also regarding the audio, the song Despair by In Vanity was a great choice to close the film with. The creativity involving the camerawork and editing deserves commendations, with the filmmakers utilising camera techniques that include shaky P.O.V. cam, arc shot and Scott David Lister's editing that makes a very effective fast cutting sequence. And all of these filmmaking techniques are supported by Darby Maxwell's moody cinematography. This is a frightening psychological horror short that has quite an effect thanks to the suspenseful and dark atmosphere, Midson's performance and the music. By the way, the protagonist is wearing a top that has the word 'NOPE'. Would that be a reference to the 2022 sci-fi horror feature? It would be rather cool if that was the case. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Yellow film review by UK film critic Jason Knight. Starring Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas directed by Elham Ehsas. HOME | FILMS | REVIEWS Yellow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 16, 2023 Directed by: Elham Ehsas Written by: Elham Ehsas Starring: Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas In August 2021, the Taliban overtook Afghanistan. This short drama explores the aftermath. It is a busy market in Kabul and a young woman (Dehrouyeh) is looking to purchase her first chadari. He enters a clothing shop and requests one from the assistant (Ehsas). He helps her make the right choice, gives her advice and is quite helpful. She does not seem to be fond of the garment and appears to realise that her life is changing. This film is about a turning point in a woman's life, following the Taliban's conquest of Afghanistan. It is obvious that it is the first time she is wearing a chadari, as she does not know how to put it on, which highlights the change that she is going through. Through her eyes, the audience sees a procedure that many women in Afghanistan are going through: getting a chadari for the first time and entering a new stage in their life. The screenplay calmly examines the procedures that the heroine undertakes in order to obtain a chadari and thus (in some ways) go through a transformation and become another person, a person who the Taliban approve of. The film dramatically points out some of the effects of the Taliban takeover. One is the degradation of women, which is explored through Dehrouyeh's character and a television news broadcast about the strict laws applied by the Taliban regarding women wearing a chadari. Another is the banning of music, which is briefly shown through Ehsas' character. One part that stands out is a dance scene that feels almost magical thanks to slow motion and creative editing by Ehsas and Ross Leppard. Director of photography Yiannis Manolopoulos does a great job with the cinematography and commendations go to Jessica Holme for the costumes. An effective point-of-view shot places the viewer in the heroine's position, helping them feel how she feels. This film is a poignant and hard-hitting commentary about the Taliban's seizure of Afghanistan, how it affects the people of that country, particularly women. It provides an insight into the current situation, painting a bleak vision of the future. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Cursed Memory film review by UK film critic William Hemingway. Starring Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS Cursed Memory Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 15, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna In a moment of crisis, a woman loses her faith and writes a letter to Jesus, pleading for a miracle. Melinona is a survivor of the Easter Sunday Bomb Attacks, which took place in Sri Lanka on 21st April 2019. She carries mental scars of that day, when her Christian centre of worship was targeted by ISIS backed radicals, although she has always kept her belief – until now. In a letter, she explains to Jesus why she is putting him in a box and stuffing him under the sink, and how she has come to the realisation that she may have been wasting her time talking to him in the first place. Melinona has got herself into a bit of a pickle, you see. She’s been lending out the money her son has been sending her from his faraway job, lifting iron in a cold country, and she’s not been asking for any interest on it. She doesn’t know what she’ll do when her son comes home and finds out that she doesn’t have the money, and so it’s JC’s fault for abandoning her in this time of need. She tells of her woes in this letter, never intending for it to be read by anyone but Jesus, but somehow it becomes a firelighter for the family’s shame, as it falls into the wrong hands and gets distributed far wider than anyone had imagined. Over the course of twenty-seven minutes, we are treated to Melinona’s troubles and her Cursed Memory . The letter seems cursed, too, as it takes on a life of its own, passing between hands, being read through different mouths and in different voices. Director, Ranga Bandaranayake, appears to have a clear vision of how Melinona’s story should be told, and this comes through in how well thought out every scene is, with the writing from, Chamara Prasanna Kodithuwakku, giving plenty of characterisation and context to work with on screen. When matched up with some strong production value, the solid writing and impressive direction help Cursed Memory to stand out as a well put together piece of film. From the full-on three-minute credits sequence, to the haunting melodic tones of Lahiru Madiwila’s music, to the casting choices and background detail in the scenes, there’s been a lot of thought and production behind getting Cursed Memory to be just the way it is – and it has paid off. Melinona’s journey is one of trauma and of recovery, and it weaves its way through the lives of everyone around her, bringing us with along with it too, until we are invested in her story as much as her son, or daughter-in-law, or priest. The filmmakers certainly know how to put a film together, and show a real understanding of how to use visual language to tell a story, making Cursed Memory a little more memorable than the rest. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Close film review by UK film critic Joe Beck. Starring Marco Fausto Daidone, Gianluca Meotti directed by Lorenzo Sicuranza. HOME | FILMS | REVIEWS Close Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Dec 15, 2024 Directed by: Lorenzo Sicuranza Written by: Lorenzo Sicuranza, Francesco Teselli Starring: Marco Fausto Daidone, Gianluca Meotti What makes a relationship a close one? Is is the quantity of time spent in another’s company or the quality of that time? How quickly can you form a close relationship? In minutes or does it take hours and days? Those are the questions ‘Close’ raises, though it doesn’t necessarily explore them to a satisfactory level of nuance and depth. ‘Close’ begins with an extract from a poem by Ferdinand Freiligrath - “O love, as long as you can love! O dear, as long as you love! The hour is coming, the hour is coming; Where you stand at graves and lament!” - and the essence of those four lines is felt throughout the rest of the film as well. It’s a poem that expresses the need to love while you can love, because it may not last forever, and whilst that is effectively captured in ‘Close’, the film doesn’t spend enough time exploring the relationship between its characters to truly understand the bond that they share. Franz (played by Marco Fausto Daidone) is all alone in an unfamiliar city as he prepares for a piano competition. Alone in his hotel room he cannot get through to his mother on the phone and is left overwhelmed by his own solitude. All that changes when Andrea (played by Gianluca Meotti) bursts in looking for shelter from the police. Andrea is clearly a dangerous fugitive and angrily remonstrates on the phone to his accomplice but this doesn’t perturb Franz, and very quickly the two strike up something of a friendship. Emphasis must be put on how quickly this happens. One moment Andrea is yelling on the phone, the next he and Franz are sat at the piano playing together with a closeness and sensuality between them. It’s as though a chunk of the film were taken out between the two scenes and we are supposed to just believe that they struck up a friendship just like that. There’s connective tissue between the events and this is a pattern that continues throughout the film. It’s a fault in the screenplay by Lorenzo Sicuranza and Francesco Teselli as they fail to effectively set up any of the events of the film. You sense that had the film been perhaps longer and more able to bridge the gaps between scenes then it would have been a far more moving rumination on loneliness and the human need for closeness and relationships. As it is, Lorenzo Sicuranza’s impeccably beautiful directing is let down by the gaps in the screenplay and the film feels rather unfulfilling. ‘Close’ is a disappointing film. It’s one that is full of unfulfilled potential as it fails to properly explore the depths of its questions and themes, and instead feels rushed and incomplete. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Corsage film review by UK film critic Hope Madden. Starring Vicky Krieps directed by Marie Kreutzer. HOME | FILMS | REVIEWS Corsage Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 3, 2023 Directed by: Marie Kreutzer Written by: Marie Kreutzer Starring: Vicky Krieps Neither hero worship nor maudlin tale of objectification, Corsage delivers a daring reimagining of the life of Empress Elisabeth of Hungary, played with mischievous relish by Vicky Krieps. This is hardly the first fanciful reworking of a historical biopic. Director Pablo Larraín has reconsidered two such lives as tragic cinematic poems – 2021’s Spencer and 2016’s Jackie . Just last year, Andrew Dominik turned America’s most recognizable icon into the object of punishment porn (Blonde ). While two of those films are lovely and one is unwatchable, it took filmmaker Marie Kreutzer to reimagine one iconic life without simplifying the tale’s heroine to a tragic beauty to pity. Kreutzer’s year-in-the-life is fictional, though Empress Elisabeth was certainly real. Her presence clearly influences this picture, but Kreutzer’s fantasy – replete with the most gloriously misplaced modern songs – looks askew at the renowned and misunderstood beauty. As Sofia Coppola did with her empathetic and under-appreciated portrait, Marie Antoinette , Kreutzer and Krieps establish the startling aloneness facing a royal woman, particularly a foreign sovereign married into royalty abroad. Krieps excels in particular during scenes where Elisabeth struggles to leverage what power is available to her. The audacity of Elisabeth’s behavior unveils a fiery joy and brittle vulnerability in Krieps’s performance. Wonderfully refreshing are the vanity and selfishness that are allowed to creep into the portrait. Corsage ’s hero is no saint. She’s a free spirit to be admired, as well as a self-centered brat willing to require the sacrifice from others she’s disinterested in making herself. Here again, Krieps is a superstar. Elisabeth’s flaws are outrageous, her strengths enviable, her oppression great. In Krieps’s hands, the composite is an endlessly compelling conundrum, as frustrating as she is fascinating. The film sees power as freedom and acknowledges how little of it there is for women, even women who seem to have it all. In the end, it’s the film’s and Krieps’s humanity that make the final moment of freedom feel earned and victorious rather than fraught with compromise. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Hazard film review by UK film critic William Hemingway. Starring Nicholas G Sims, Jay Dukes, Alonzo Hester directed by Daniel Bergeson. HOME | FILMS | REVIEWS Hazard Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jun 15, 2022 Directed by: Daniel Bergeson Written by: Daniel Bergeson Starring: Nicholas G Sims, Jay Dukes, Alonzo Hester In America fewer than 2% of the people who visit national parks are black or African American. In his new short film Hazard , writer/director Daniel Bergeson suggests a few reasons why this may still be the case and offers a hopeful vision of the future where the natural splendour of the countryside is able to be enjoyed by all. Naturally, the history of Hollywood hasn't helped in showcasing the pleasures, pastimes and outdoor pursuits of the average black family. From It Happened One Night (1934) through Easy Rider (1969), to National Lampoon's Vacation (1983) and Planes, Trains and Automobiles (1987), then Road Trip (2000), Little Miss Sunshine (2006), Sex Drive (2008) and now Nomadland (2020), it's been goofball loners, stoners and moaners; families, friends and would be lovers who are the sole concern of road trip movies and all almost exclusively white. Bergeson has now tried to redress the balance a little, imagining a simple scenario of what it might be like for a black family – father, son and uncle – to take a road trip out into the countryside and try to commune with nature for a couple of days. Marcel (Sims) has bundled his tech-wired son Xavier (Hester) into the back of the car and has also roped in his brother Kevin (Dukes) to come along for the ride. The conversation seems pretty natural and true to life as they head out on the open highway, and even though not everyone is jazzed about a couple of days away from the bright lights of the big city, they all seem to want to make the best of the situation they now find themselves in. America though has different ideas. When the car suddenly cuts out, what has up to now been fun family times, immediately becomes three black males sitting in a vehicle by the side of the road. Bergeson is careful not to drift into sensationalism as the scenario plays out, managing to walk a tight line between ramping up the tension and keeping the simple humanity of the situation alive. His focus is always on the family and it is a strength to see each character work out how to be around the others so that a common love can be expressed. This theme continues throughout the rest of the film and into the campsite, where new challenges and characters are introduced. Split into a series of small discrete scenes, Hazard takes its time to round out its characters and build on its premise. The use of comedy to balance out the more serious themes works well and everything is underpinned throughout by a strong sense of togetherness. Everybody does a good job to ensure the quality of the production and it's easy to see that the message at the heart of the film is a large motivator for that. From top to bottom the characters are perfectly cast, with Jay Dukes as Kevin being a standout performer in amongst a strong group of actors. The cinematography from Bobby Peacock is eye-catching and colourful while Daniel Bergeson's direction offers us a slew of well chosen shots, ranging from a nice wide-angle, down to a frog's eye view and then somehow onto a tree trunk split screen. Hazard wins on all counts as a feel good film, and even manages to give some of the old, classic, family road trip movies – the white ones – a run for their money. It has all the right elements in all the right measure and has a subject at its heart that speaks more to a modern audience. Hazard dreams of a more inclusive America; somewhere where the margins of statistics about population and culture don't sit at 2%; and it is a very enjoyable experience to witness the imagery of that dream, if even for the little time that we get it. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Wicked Little Letters film review by UK film critic George Wolf. Starring Olivia Colman, Jessie Buckley, Timothy Spall directed by Thea Sharrock. HOME | FILMS | REVIEWS Wicked Little Letters Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 3, 2024 Directed by: Thea Sharrock Written by: Jonny Sweet Starring: Olivia Colman, Jessie Buckley, Timothy Spall Long before you could hide behind a keyboard and avatar, a small English village was scandalized by some expert-level anonymous trolling. Wicked Little Letters tells us that story is “more true than you’d think,” and rolls out a stellar ensemble to elevate the tale at nearly every turn. It is the 1920s in Littlehampton, England, where unmarried Edith Swan (Oscar winner Olivia Colman) still lives with her parents (Timothy Spall, Gemma Jones). Edith is known to be a dutiful daughter and devout Christian, so town tongues are wagging when she begins to receive hateful and profanity-laced “poison pen” letters in the mail. Who could be behind such unwarranted vitriol? Whaddya bet it’s that filthy Irishwoman Rose Gooding (Oscar nominee Jessie Buckley)? Rose is frequently loud, drunk and vulgar. Plus, she’s a war widow (or is she ?) with a young daughter (Alisha Weir from the upcoming Abigail ), a “reputation” and a live-in boyfriend (Malachi Kirby). Throw in the recent falling-out with Edith, and that’s enough for the town Constables (Hugh Skinner, Paul Chahidi), who arrest Rose and quickly schedule a show trial. But “Woman Police Officer” Moss (Anjana Vasan) isn’t convinced, and she risks her position by continuing to investigate the letters on her own. Director Thea Sharrock (Me Before You, The One and Only Ivan ) and first-time screenwriter Jonny Sweet don’t craft a “whodunnit” as much as they do a “whoproveit” and a “whydunnit.” The real culprit is revealed fairly early on, and the film tries to balance some British wit atop heavier themes of repression, equality, and the sanctimonious crowd who are all preach no practice. It’s historically interesting and well-meaning enough, but it reveals Sweet’s TV background through a light and obvious romp that’s rescued by heavyweight talent. Colman, Buckley and Spall are all customarily splendid, each making up for the lack of nuance in their characters with some livid-in conviction and natural chemistry. Plus, Vasan stands out in the winning supporting group as the overlooked and underestimated W.P.O. Moss. So while it’s lacking in the bite needed to leave a lasting impression, think of Wicked Little Letters as an extended cat video, one just amusing enough to take your mind off of all those nasty comments from the keyboard warriors. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >