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Mukbanger film review by UK film critic Patrick Foley. Starring Quentin Laclotte, Suzanne Jouannet, Alexandre Auvergne directed by Hugo Becker. HOME | FILMS | REVIEWS Mukbanger Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 14, 2023 Directed by: Hugo Becker Written by: Hugo Becker, Sarah Malleon Starring: Quentin Laclotte, Suzanne Jouannet, Alexandre Auvergne The bizarre corner of the internet where ‘mukbanging’ resides is not one I’m familiar with, or particularly keen to become familiar with. So Hugo Becker’s short drama which takes its title from the phenomena was eye-opening in more ways than one. Despite a somewhat strange subject matter, it is a powerful look at the consequences of chasing fame and the pressures put on those who put their health on the line for notoriety. Mika (Quentin Laclotte) is a heavily overweight influencer whose fame online stems from ‘Mukbanging’ – the bizarre trend of copious over-eating for the amusement of strangers online. Mika’s doctor and his sister Solene (Suzanne Jouannet) are desperately worried about Mika’s health. But his agent/manager Yanis (Alexandre Auvergne) pressures him to push further to increase his viewing figures – and their combined earnings. A troubled family history means Mika is vulnerable to manipulation from both parties, leaving him unsure who to stand up to. Mukbanger ’s bizarre subject matter does not detract from what is a thoughtful, engaging and somewhat surreal drama. This French-language short is a fantastic interrogation of a culture of self-abuse in the pursuit of fame, which has been prevalent on YouTube and other video-sharing sites for many years. At its heart is Mika, a depressed and unhappy young man whose health is failing him, but who feels he cannot make the lifestyle changes he needs as it means giving up his source of income, as well as his source of self-worth. His obsession with viewing figures is instilled and nurtured by Yanis – a sinister presence taking advantage of Mika for his own gain – and his association of those figures with a misplaced sense of admiration or community is a tragic realisation of how internet fame can go so badly wrong. Quentin Laclotte’s leading performance is brilliantly pitiful – heartbreaking in demonstrating how helpless he feels in a lonely world which has brought him wealth and fame in a niche community, but little in the way of real human connection. His only ‘friend’ is Yanis – played in a truly unnerving fashion by Alexandre Auvergne. Auvergne’s laser-focus on numbers and total disregard for his cash-cow’s physical health or mental state makes the character memorably sociopathic – with a frightening ability to know which buttons of Mika’s to press to keep him in line. There is a disturbing dynamic the pair share that drives home Mika’s sense of worthlessness, with Yanis’ presence representing the callous and business-driven disregard that power-brokers of performers often hold. In an unregulated world which is so often driven by a race to the bottom for pure viewing figures, Yanis is an example of how extreme this can get. The film looks great – hued in grimy colours which give the impression that the world of Mukbanging is an underground culture hidden from society’s eye. Becker’s direction is key to nailing down the film’s emotional core – a highlight being Mika’s breakdown in the middle of filming a video which is intercut with reaction shots of Solene slowly losing hope that he can ever be saved. It is an uncomfortable scene that makes the audience themselves feel voyeuristic and guilty for watching someone subject themselves to such degradation, and a telling judgment of the director as to their thoughts on those who enjoy videos like Mika’s Mukbanger is original, unusual, powerful and memorable. It takes an inherent focus on emotional manipulation and control and centres this around a disturbing and discomforting online trend, but an empathetic performance by Quetin Laclotte means viewers will view this through a more relatable spectrum. Mukbanging might be worth avoiding, but Mukbanger is a satisfying-enough meal. About the Film Critic Patrick Foley Short Film, Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Interstate film review by UK film critic Jason Knight. Starring Adam Jones, Joseph Lloyd Lopez directed by Samuel McIntosh. HOME | FILMS | REVIEWS Interstate Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 12, 2023 Directed by: Samuel McIntosh Written by: Samuel McIntosh Starring: Adam Jones, Joseph Lloyd Lopez A young man has deep thoughts while committing a very sinister deed. It is pitch-black night-time and a car is moving in the darkness, in an isolated location. The driver is a middle-aged man and sitting in the passenger seat is a youth. It is revealed that they are involved in very nasty things and are up to no good. This short dark thriller follows two individuals as they head in the middle of nowhere in order to discard something. The story is primarily told through the perspective of Louie (Jones), the younger man. The older one, Kurt (Lopez) appears to be the one who is more in control and focused on their mission. Louie is less keen about what he is currently doing and keeps thinking about his life, about how he would had rather been a painter. As the two associates carrie on with their venture, things get out of hand, leading to tense moments. The film begins with the shot of a sign about dreams being abandoned. This sign seems to be relevant to the character of Louie, as his thoughts indicate that he longs for a different life. The narrative contains several sequences where Louie is lost in his thoughts. These sequences consist of his voice-over talking about his desire to be a painter and about a dream he has. The sequences also consist of montages that involve superimposition and dramatic music. McIntosh's creative editing, along with Jones's voice-over and Austin Anderson's score, make Louie's personal thoughts quite emotionally impactful and offer an insight into his character. Jones does a good job as a person who is reluctant about what they are currently doing. Lopez is rather convincing as a person who is experienced in what he does and his performance is dramatic and dynamic. As the whole narrative takes place in a deserted location, during night-time, the lighting is limited, however interesting lighting techniques are utilised and praise goes to Peter Phan for the work on the cinematography. By utilising a plot about two criminals heading to an isolated location in order to take care of some business, this short tells a story about an individual who is in a situation where he does not belong. Apart from being a crime thriller, this short is also about self-discovery, regrets and broken dreams. It is a dark crime story and one that manages to be emotional as well. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Bridge of the Doomed film review by UK film critic Jason Knight. Starring Kate Watson, Robert LaSardo, Michael Pare, Sarah French, William 'Bill' Connor directed by Michael Su. HOME | FILMS | REVIEWS Bridge of the Doomed Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 27, 2022 Directed by: Michael Su Written by: Adrian Milnes Starring: Kate Watson, Robert LaSardo, Michael Pare, Sarah French, William 'Bill' Connor A zombie outbreak is taking place and the United States Armed Forces are fighting back. In this horror film, a virus is infecting people and turning them into flesh-eating zombies. The story takes place in the U.S., where a team of soldiers are sent to defend an isolated bridge that goes over a river, as it is the only way the undead can reach the other side. The platoon must fight off the hostiles and at the same time try to deal with a group of survivors that they encounter in the countryside. This is a low-budget zombie movie that tells a story about an outbreak through the eyes of the military. The screenplay does not waste any time bringing the audience into the mayhem, by beginning with an army base being attacked. There are plenty of elements that are almost always present in zombie films, such as a lot of zombies, a lot of killings, a lot of gore and a lot of shooting. The plot is basically a fight for survival, with the soldiers defending the bridge, while having other problems that include running out of food and getting into confrontations with the band of civilians, who are led by the stubborn Big Jim Bill (Connor). The main character is Hernandez (Watson), a tough, no-nonsense sergeant who turns out to be a great fighter and makes a good heroine. Other notable characters include General Vasquez (LaSardo), who sends the soldiers to the bridge, Big Jim Bill and Susan (French). The zombies look the way they often do: rotting, covered in blood and moving awkwardly. There are plenty of scenes where the undead do what they do best: devouring people. A lot of praise goes to the zombie makeup and the makeup for the injuries, which are usually accompanied by gruesome sounds when they are inflicted. Clint Carney and Ted Phelps worked on the music and do an interesting job, creating a score that is tense and also sounds electonic at times. It is worth mentioning that the song What Doesn't Kill Me (Had Better Start Running) by Psycho Synner was a great choice. This soldiers-versus-zombies horror feature is not memorable, yet the action and slayings are worth the viewing. The acting is poor and so is the script and there is an attempted rape scene that is quite unsettling. Nevertheless, fans of the zombie genre should give this one a go. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Fly Me To The Moon film review by UK film critic Brian Penn. Starring Scarlett Johansson, Channing Tatum, Woody Harrelson directed by Greg Berlanti. HOME | FILMS | REVIEWS Fly Me To The Moon Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 13, 2024 Directed by: Greg Berlanti Written by: Keenan Flynn, Bill Kirstein, Rose Gilroy Starring: Scarlett Johansson, Channing Tatum, Woody Harrelson The 1960s gave birth to the modern world, and nothing was more emblematic than the Apollo 11 mission landing a man on the moon for the first time. It capped an extraordinary decade that saw tumultuous change both politically and socially. Anything was now possible in the white heat of new technology. Fly me to the Moon perfectly captures the mood and spirit of a unique era. NASA is slowly cranking up to the launch of Apollo 11 in July 1969. Flight director Cole Davis (Channing Tatum) is frantically fighting fires, but still haunted by the memory of three astronauts who perished when Apollo 1 was being tested. Slippery government agent Moe Berkus (Woody Harrelson) must sell the mission to a sceptical American public. The project depends on adequate funding to strengthen a shoestring budget. So Berkus turns to Kelly Jones (Scarlett Johansson), a marketing whizz kid with a dubious past. She soon sweeps through the NASA geek pool and puts the mission on everyone’s lips. However, Kelly and Cole clash on organisation and methods as lift-off approaches. Scarlett Johansson steals the film with a smart and sassy portrayal of Kelly Jones. Styled very much like Marilyn Monroe she looks amazing as the camera instantly falls in love with her. Channing Tatum is essentially the straight man; the earnest lantern jawed all-American boy drawn to Kelly’s charms. Woody Harrelson delivers a useful cameo as the duplicitous Moe Berkus and adds to the storyline’s comedic value. The film itself builds on the established facts of Apollo 11 but also offers a nifty line in the ‘what if’ scenario. The political dimensions are well documented as local dignitaries are schmoozed to the point of distraction. One or two conspiracy theories are aired to great effect and mix nicely with the truth. A brilliant soundtrack complements a visual palette of colours to create a handsome looking film. In retrospect the space race was really about getting to the moon first. It was the Americans and not the Russians who made it and secured bragging rights for generations to come. But the film also shows what a remarkable achievement the moon landings were. To perch three men on the end of a glorified firework, and get them to the moon and back without a scratch was a stroke of genius. Amidst the froth their courage and ingenuity still shines through. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Anniversary film review by UK film critic Hope Madden. Starring Diane Lane, Kyle Chandler, Madeline Brewer directed by Jan Komasa. HOME | FILMS | REVIEWS Anniversary Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Oct 28, 2025 Directed by: Jan Komasa Written by: Lori Rosene-Gambino, Jan Komasa Starring: Diane Lane, Kyle Chandler, Madeline Brewer Jan Komasa’s political thriller Anniversary certainly boasts an impressive cast. Diane Lane leads the film as Ellen Taylor, a Georgetown professor celebrating her 25th wedding anniversary to renowned DC chef, Paul (Kyle Chandler). Their four children will be there: high schooler Birdie (Mckenna Grace), famous comic Anna (Madeline Brewer), environmental lawyer Cynthia (Zoey Deutch) and her husband (Daryl McCormack), and beloved son who never made much of himself, Josh (Dylan O’Brien). Plus, Josh brought new girlfriend, Liz (Phoebe Dynevor). That one can’t be trusted. Komasa crafts a “they have it all” opening to prepare us for the inevitable downfall. Ellen and Paul truly love each other, and their bickering kids love them and each other as well. But there’s an invasive species at their garden party, and no matter how strong Ellen believes her family to be, bad stuff is coming. To Komasa’s credit, his script—co-written with Lori Rosene-Gambino—is no pulpy thriller about a vixen corrupting a family. True to the filmmaker’s previous output (Corpus Cristi, Suicide Room ), Anniversary dives into the large scale and intimate damage one persuasive but errant prophet can do. Liz has a belief system encapsulated in her new book, “The Change.” It advocates that the people, passionate and unified, step beyond this broken democracy and create a single party that will redefine the country’s future. What transpires between Ellen and Paul’s 25th and 30th anniversary parties is a debilitatingly likely image of America’s near future. The ensemble works wonders with slightly written characters. Komasa and Rosene-Gambino outline the insidious evolution with clarity, but the tale is too superficial to mean much. It’s a very talky script, yet very few questions are answered. Anniversary is entirely vague on the actual philosophy of “The Change”, making it tough know what people cling to and what the Taylors reject. Worse, character arcs exist exclusively to further the plot. Deutch bears the worst of this, but everything in the film—especially the character development—is tell, don’t show. Aside from O’Brien’s, no arc is character driven. Each is plot driven and some are absurd. Dynevor fares best, carving out a memorable, broken antagonist, a delicate survivor not to be trusted. She and Lane are formidable as antagonist and protagonist, but Anniversary doesn’t know exactly what to do with them. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Suit & Bone film review by UK film critic Isaac Parkinson. Starring Shanika Warren-Markland, Hugo Nicolau, Joerg Stadler, Bethan Dixon Bate directed by Dulani Wilson. HOME | FILMS | REVIEWS Suit & Bone Film Review average rating is 3 out of 5 Critic: Isaac Parkinson | Posted on: May 24, 2022 Directed by: Dulani Wilson Written by: Dulani Wilson Starring: Shanika Warren-Markland, Hugo Nicolau, Joerg Stadler, Bethan Dixon Bate An intriguing descent into a mythical hellscape of uncanny surroundings and other-worldly games of chance. Suit and Bone ’s opening exposition tells us of the rules of its world, speaking of a coin which grants safe passage to the travelling dead. It also hints to something greater than mere safe passage which will tempt those who seek something beyond death. A man approaches a mansion in the middle of a barren wasteland of fire and debris. The sun appears too bright, synthetically so, as its flares light up his world in flashes. Embers and ashes fill the air, and crows perch threateningly on branches. Entering the building, he slips a card up his sleeve, hinting at his intentions to find that something greater. Ascending a tall spiral staircase shot from below, voices and whispers populate the space of spirits and present a foreboding threat. The palatial rooms he now finds himself in have a futuristic, yet regency feel. The harsh outdoor environment is contrasted by clean interiors and extravagant decadence. The blocking is neat and the use of mirrors is particularly clever in drawing him and Fate together despite their distance in the room. The fire in the hearth matches the fire in the distant sky outside, creating a washed-out, ethereal look to the room itself. Presenting Fate with offerings of riches, he is angry to see all he has received in return is a coin, and instead wishes to gamble for something more valuable than a peaceful death. The space then shifts as if by magic to a more intimate setting. Both the man and Fate are sat on the floor facing each other, the flickers of fire against her face providing a warmer feel than the harsh whites of the first room. She introduces a deck of cards, seemingly somewhere between playing cards and tarot, which will determine the man’s fate. Flashes of a third location then appear, showing the man in a more grounded environment, set closer to, if not in, the real world. As his fate is decided, his shouts echo through each layer we have seen, showing they are all occurring at once. The film then closes with musings similar to its opening, bookending its fantastical philosophies of fate and free will. Its descriptions are just ambiguous and absorbing enough to leave me with a feeling of incompleteness, wishing to explore its ideas more and immerse myself further in its world. About the Film Critic Isaac Parkinson Short Film < All Reviews Next Film Review >

Meet Me in the Bathroom film review by UK film critic Rachel Willis. Starring Julian Casablancas, Albert Hammond Jr., Karen O. directed by Will Lovelace, Dylan Southern, Andrew Cross. HOME | FILMS | REVIEWS Meet Me in the Bathroom Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Nov 9, 2022 Directed by: Will Lovelace, Dylan Southern, Andrew Cross Written by: Lizzie Goodman Starring: Julian Casablancas, Albert Hammond Jr., Karen O. Based on the book by Lizzy Goodman, Meet Me in the Bathroom finds documentarians Dylan Southern and Will Lovelace exploring the New York City rock scene of the early 2000s. Opening in 1999, the film treats us to a little history of the popular music scene of the time. Artists like The Offspring, Blink 182, and Fred Durst of Limp Bizkit dominated the radio and airwaves (mostly courtesy of MTV). Our introduction to a new wave of rock in New York begins with the duo that made up The Moldy Peaches. We’re treated to several home movie moments of the two getting acquainted, not only with their new city (many of these bands are transplants to NYC) but also with the young men who would make up the band The Strokes. The biggest benefit of adapting a book about a music scene is the access to footage from some of the early concerts. Watching bands like The Strokes, Interpol, and the Yeah Yeah Yeahs play to small crowds is one of those things that cannot be replicated in book form. The film also adapts the book’s narrative style – overlaying the footage and images with soundbites from several of the people who were part of the scene. You’ll find no talking heads here – the best part of the documentary is getting to watch the timeline unfold. The trick of adapting such an expansive book is knowing where to concentrate your focus. The majority of the film focuses on three bands – The Strokes, Interpol, and James Murphy (LCD Soundsystem). And though the filmmakers reduce the number of bands covered compared to the book, there are still too many others brought into play. The Moldy Peaches are our introduction, but they drop out as the film passes through 2001. TV on the Radio comes into play briefly, and one of the scene’s most interesting bands, The Liars, gets even less attention. Several other mentions are made, but each is so quick as to be forgettable. Because of this shifting focus as we weave from The Strokes to Interpol to the Yeah Yeah Yeahs and beyond, things get messy. It’s impossible to keep track of every band and person introduced. If the filmmakers had whittled down the book’s focus just a bit more, they could have delivered a more interesting documentary. About the Film Critic Rachel Willis Theatrical Release, Documentary < All Reviews Next Film Review >

Encanto film review by UK film critic Hope Madden. Starring Stephanie Beatriz, Maria Cecilia Botero, John Leguizamo directed by Jared Bush, Byron Howard, Charise Castro Smith. HOME | FILMS | REVIEWS Encanto Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 22, 2021 Directed by: Jared Bush, Byron Howard, Charise Castro Smith Written by: Charise Castro Smith, Jared Bush, ByronHoward Starring: Stephanie Beatriz, Maria Cecilia Botero, John Leguizamo No one wants to believe themselves ordinary. Not even calm, supportive Mirabel Madrigal (Stephanie Beatriz). But ordinariness happens to be her defining quality because she is the first Madrigal in three generations who has no magical gifts. Her mother can heal with food. Her sister has super strength. Her cousin can shapeshift. But when the day came for Mirabel to receive her magical gift, nothing happened. When the magic of the Madrigal family — magic that has kept the entire town of Encanto in peaceful enchantment for decades — starts to crack, is it all because of Mirabel? One of many reasons that Disney’s 60th feature Encanto charms is that this unsure adolescent does not find out she’s secretly a princess. She has no makeover. It isn’t romance that helps her see her own specialness. Thank God. Lin-Manuel Miranda’s music is another reason. Infectious, upbeat and surprisingly insightful, the songs in Encanto speak to individual insecurities in a way that hardly suggests the magical nature of the film. Lyrics illustrate sincere worries about letting people down, living up to expectations and other universal and yet intimate worries. If you worry the film sounds a bit drab and reasonable, fear not because the vibrant color, lush landscapes, intricate interiors and clever, high-energy animation keep the magic popping. Set in Colombia, Encanto reflects the magical realism favored in the literature of the land and that, too, makes for a unique cartoon experience. John Leguizamo and Maria Cecilia Botero join Beatriz in a voice cast that brims with pathos, love and energy, just like the family they depict. Much about the complex interactions within the family feels like honest if uncharted territory for a Disney outing — flawed heroes, loving villains, and the notion that selfishness and selflessness as equally problematic. The flip side of that coin is that the world of Encanto doesn’t feel very big and the stakes don’t feel very high. If that were the only drawback to co-directors Jared Bush, Byron Howard and Charise Castro Smith’s approach it would hardly be worth mentioning. Unfortunately, they undermine the complexity they find in familial love with a too-tidy ending that robs Encanto and its inhabitants of some hard-won lessons. About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Licorice Pizza film review by UK film critic Hope Madden. Starring Alana Haim, Cooper Hoffman directed by Paul Thomas Anderson. HOME | FILMS | REVIEWS Licorice Pizza Film Review average rating is 5 out of 5 Critic: Hope Madden | Posted on: Dec 15, 2021 Directed by: Paul Thomas Anderson Written by: Paul Thomas Anderson Starring: Alana Haim, Cooper Hoffman Each new Paul Thomas Anderson film defies expectations. Few fans of the lunatic frenzy of Boogie Nights or Punch Drunk Love would have expected the somber period dramas of The Master or There Will Be Blood . And I don’t know that anybody saw Phantom Thread coming. Why not follow that meticulously crafted, deliberately paced tale of love and poison with a coming-of-age comedy? Well, Anderson’s latest, Licorice Pizza, is just that, and it’s a slice of Hollywood life awash in squeamish adolescent truth, politics, and waterbeds. Anderson returns again to the 1970s, an era where few are as at home. In his 1997 breakout Boogie Nights , he used the porn industry to showcase the changing politics of the end of the decade while exploring alienation, family, and merkins. He journeyed back to the decade in 2015 with his underappreciated private dick flick Inherent Vice, again looking at individuals on the fringes and the choices that put them there. While Licorice Pizza is far sunnier than those, it again examines choices and consequences against a vividly articulated 1970s LA. Anderson’s film manages to be simultaneously familiar and entirely authentic. What does it feel like? If Robert Altman had attempted a coming-of-age flick, maybe? Or if Linklater made a screwball romantic comedy? Among Licorice Pizza ’s many triumphs, the film nails its time period, not only in visual detail but in cinematic tone. It is loose, forgiving, and along for the ride as 15-year-old entrepreneur Gary Valentine (Cooper Hoffman) woos life, Hollywood and, in particular, Alana Kane (Alana Haim), his much older paramour. Both stars charm and disarm. Cooper’s sweet-natured confidence masks an adolescent tenderness that, when it shows itself, is almost crushing in its honesty. And Haim’s funny, awkward naivete mirrors the film’s own giddy feel. Danger edges but never fully punctures the sunshine of youth that brightens every scene of the movie. But that darkness is there, looming like the creepy guy staring at your office window, or the cops who arrest you mistakenly, or the volatile Hollywood producer who may or may not smash your window (or your head) in with a crowbar. (Thank you, Bradley Cooper, by the way, for that brief but unforgettable performance.) Cooper is not the only Hollywood big wig gracing a few minutes of screen time. Sean Penn drops in as a well-known action star and has not been this entertaining since Fast Times at Ridgemont High. Don’t ask him about Kuala Lumpur! The massive ensemble, evocative soundtrack and party atmosphere conjure Boogie Nights , the comfortable family dysfunction recalls Punch Drunk Love , the lumbering walk and surprising charm from the lead is reminiscent of PTA alum and dearly missed Philip Seymour Hoffman, Cooper’s dad. It’s nostalgic. It’s uproarious, dangerous, just-this-side-of-innocent fun. It’s a near-masterpiece. It’s a Paul Thomas Anderson movie. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Carer film review by UK film critic William Curzon. Starring Mario McEntee, Maria McDermottroe, Aine Ryan directed by Noel Brady. HOME | FILMS | REVIEWS The Carer Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 12, 2025 Directed by: Noel Brady Written by: Mario McEntee Starring: Mario McEntee, Maria McDermottroe, Aine Ryan The Carer follows James Donnelly, an unemployed and lonely individual dealing with the grief from the death of his mother. James then discovers a friend of his is silently grappling with a terminal illness. The piece deals with whether James can cope with all the pain and grief bottled up inside him while trying to navigate his own future ambitions as a carer. The first thing to take away from the film's presentation is its raw depiction of social realism. It grapples with loneliness and isolation within its central protagonist and themes of community within working-class and impoverished environments. The film has a fly-on-the-wall-like experience and feels incredibly lived-in as it depicts characters seeking work and connection to others. The pacing moves at a breakneck speed to represent the desperation of James’ struggles to accept the pain of losing his mother while simultaneously trying to grieve the deterioration of his close friend's illness. It can sometimes feel jarring with how fast each sequence switches to the next without giving the viewer time to process the previous scene. One of the crucial standouts of the piece is the central performance from Mario McEntee, who is deeply powerful and portrays a profound level of empathy for his close friends and loved ones. McEntee also wrote the film, which is an impressive feat in itself; both writing and performing as the lead role is pretty astounding for a low-budget short film. The rest of the supporting cast, including Austin Grehan in particular, are also fantastic and undeniably raw in their presence within each scene. While its themes and characters are remarkably presented, due to the film's minimal runtime, it is perhaps difficult as a viewer to fully resonate with the characters due to the lack of time spent with them. However, the use of flashbacks was wonderfully interwoven within the narrative and effective due to the use of black and white photography to represent James’ inner longing and grief for his mother. Another aspect of the filmmaking that stood out in its cinematography is the use of close-ups of the actors during scenes of dialogue, which almost had a documentary-esque feeling to it due to the more indistinct imagery on display. Perhaps this was due to budget limitations; however, it added to the experience and potentially served as a stylistic choice to match the tone and feeling director Noel Brady wanted to convey to the viewer. While this presentation might not work for everyone, it's perhaps a more authentic way of presenting these characters and themes of social realism. Thematically, while there isn't much to chew on due to a lack of runtime and quick-paced editing, it still does a solid job of getting across its ideas to the viewer and bringing a powerful and bittersweet conclusion in its final moments. The Carer is a solid short piece from Noel Brady with a distinct style in its representation of social realism and raw authenticity in its performances and filmmaking. It may suffer from a blistering pace, attempting to fit in as much as possible within a short span of time. This still manages to effectively conclude in an emotionally resonant resolution for James’ character growth and would likely stick with viewers long after the credits roll. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

When The Balloon Bursts film review by UK film critic Swati Verma . Starring Dinithi Fernando, Lance Lawyer, Brian Robert Calfano directed by Tanmay Srivastav. HOME | FILMS | REVIEWS When The Balloon Bursts Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: May 1, 2025 Directed by: Tanmay Srivastav Written by: Tanmay Srivastav, James Philips Hunter Shallcross Starring: Dinithi Fernando, Lance Lawyer, Brian Robert Calfano Writer-director Tanmay Srivastav along with other writers James Philips, and Hunter Shallcross attempts to bring out the emotions/struggles of the foreign students through this beautiful intriguing film. Dinithi Fernando, Lance Lawyer, and the supporting cast understand the nuances therefore building the degree of audience engagement with the content instantly. The plot of When The Balloon Bursts revolves around two foreign exchange students who experience the pressure of every day life. They reminisce in their shared love for poetry. But as the pressure builds their will to keep going is tested and there’s no telling when the balloon will burst. The short film begins with a combination of mid-closeup shots of a door from where we see Niya (Dinithi Fernando) enter school followed by the class in a chaotic mood sets up the subject matter of the movie. The conversation in her mother tongue has been incorporated to provide the female protagonist with a sense of relief. The voiceover utilised by the makers makes the storytelling more intense with a crucial subplot. The set design, colour pallet, lighting, camera angles, sound, music, dialogues, costume, hair, makeup, and props are kept natural to complement the various situations in the storyline. In terms of performance, Dinithi Fernando plays the role of the female protagonist Niya who is trying to gather all her strength and confidence to strike a balance between academics as well as life in the new country. Fernando showcases two different personalities of Niya very effectively so that the makers can depict her equation with her dad and school authorities as the narrative picks up pace. Lance Lawyer plays Joshua who motivates Niya with a special note as they are in the same situation in life. Lawyer as Joshua is treat to watch as he subtly talks about his learnings from the life experiences and shares the same with Niya so she can use it to make her a better person both on a personal as well as professional level. When The Balloon Bursts reiterates that all kinds of struggles/ pressures in people’s lives will always exist but it depends on us how we handle it to paint our canvas and lead our lives how we want to. The short film talks about the importance of a strong support system from friends, family or even strangers so that they can provide one the courage to express and not suffer in silence. The dramatic piece teaches the audience how crucial it is to prioritise mental health. The cinematic piece also talks about the responsibility the authorities must exercise towards all students so that these children can openly communicate regarding any physical or mental discomfort while pursuing the courses of their choice. It is often said that change is the only constant but one needs some comfort in order to excel academically. When The Balloon Bursts highlights that one should be ready to combat every situation in life because it is unpredictable. The creative piece tells us that not only hard work but overall well-being is necessary to achieve success in a true sense. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Bermuda Island film review by UK film critic Joe Beck. Starring Tom Sizemore, Noel Gugliemi, Sarah French, Victor V Gelsomino directed by Adam Werth. HOME | FILMS | REVIEWS Bermuda Island Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jan 12, 2023 Directed by: Adam Werth Written by: Michael Mahal, Sonny Mahal, Robert Thompson Starring: Tom Sizemore, Noel Gugliemi, Sarah French, Victor V Gelsomino The year is still young and yet with ‘Bermuda Island’ we already have a frontrunner for the worst film of 2023. Derivative in story, haphazard in direction, and abysmally written, Adam Werth’s film is a painful reminder that the straight-to-video market is a graveyard of faded talents in sorry excuses for films. The faded talent in question is Tom Sizemore, once promising supporting talent in films like ‘Saving Private Ryan’, ‘Heat’, and ‘Point Break’; it’s safe to say that with a film like ‘Bermuda Island’ his career has taken a turn for the worse. By and large, however, Sizemore is just another bland face in a film which tries to be so much more than it is. The characters are one-note, given a singular characteristic to define their actions. This is lazy writing, and as a consequence, every character lacks nuance or depth. Not a surprise in a film of this nature, sure, but rather more significantly no character does anything in the slightest to endear themselves to the audience. It’s a real problem in a film like this when you’re rooting for the monsters to kill everyone. Oh yeah, there are monsters in ‘Bermuda Island’, a film which begins with the FBI busting a crime boss and also features monsters, which don’t even try to appear remotely as though they aren’t wearing Halloween costumes, running amok on a deserted island. The opening scenes involving the FBI contribute nothing to do with the actual plot - though fortunately we only have to stand the poor choreography and editing for a little over three minutes. We then, through a series of news reports about an upcoming hurricane, move to the airport, where we’re given a run through of a number of characters that are all supposed to be significant. Of course, we know that the only reason why we spend five minutes frantically cutting and panning across the waiting area is that the flight will inevitably crash. The issue is, that most of the characters we’re introduced to play a minimal role in the events on the titular ‘Bermuda Island’ following the plane crash. Indeed, for so much spotlight on the criminal (played by Noel Gugliemi), he conspicuously disappears never to be mentioned again following the plane crash. Oh, and where did Tom Sizemore sneak off to. The issue is that we spend twenty minutes in the company of these characters when in reality we could have spent five and learned the exact same. The opening twenty minutes serve purely as an excuse to feature two former Hollywood almost-men in Tom Sizemore and Noel Gugliemi in a pathetic bid to draw in more viewers. 
The real stars of the show are Sarah French and Victor V Gelsomino as Carolyn and Damon, two passengers who find a romantic connection following the crash, John Wells, as Bruce, who mysteriously inhabits the island, and Wesley Cannon, as FBI agent Victor Sweden, the central antagonist of the group. The acting from the quartet is competent if uninspired. In truth, they aren’t given much of anything to work with due to a woefully bad screenplay Robert Thompson. Each line of dialogue is robotic, with excessive exposition and plainly inhuman interactions. Coupled with a directing style which fails to realise that the island needs to be its own character, the film feels amateur at best, and at worst as though it were made by thirteen-year-olds. There is not a beat of ‘Bermuda Island’ which hasn’t been adopted from some other, greater, piece of media. The mystery surrounding Bruce points to Kong: Skull Island, while the monsters (oh yeah, there are monsters) boast a strange resemblance to the monster(s) in ‘Predator’. Perhaps most obviously the film is derivative of ‘Lost’, one of the most influential TV shows of all time. For example, in ‘Bermuda Island’ there’s the Asian man with a faint grasp of English (Jin), the crooked guy (Sawyer), only this time he doesn’t make it to the island, the large man for comedic effect (Hurley), and Carolyn and Damon reflect the love story of Jack and Kate. The problem here is that ‘Bermuda Island’ lacks any of the world or character building from the TV show which made JJ Abrams a big deal. Instead, it’s like a knock-down version, as though story ‘creators’ Michael and Sonny Mahal saw the first episode of ‘Lost’ thought it was a cool idea, and decided to make a similar film with no concept of character development. ‘Bermuda Island’ is, if you’d pardon the expression, a real plane crash of a film, one in which nobody comes away unscathed, not even the audience. About the Film Critic Joe Beck Digital / DVD Release < All Reviews Next Film Review >