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The Fist of the Condor film review by UK film critic Daniel Baldwin. Starring Marko Zaror directed by Ernesto Diaz Espinoza. HOME | FILMS | REVIEWS The Fist of the Condor Film Review average rating is 4 out of 5 Critic: Daniel Baldwin | Posted on: Apr 6, 2023 Directed by: Ernesto Diaz Espinoza Written by: Ernesto Diaz Espinoza Starring: Marko Zaror Since 2006, the Chilean powerhouse team of writer/director Ernesto Diaz Espinoza and martial arts superstar Marko Zaror has been delivering some of the best independent action cinema in the world. From raucous martial arts mayhem (Kiltro ) to street-level superhero satire (Mirageman ) to Eurospy parody (Mandrill ), their wild body of work together has been a diabolical fondue of influences ranging from kung fu movies to spaghetti westerns to blaxploitation cinema and beyond. What makes them all the more impressive is that of the four previous films they’ve made together, no two are alike in terms of style and tone. Other than a good time, you never know what you’re going to get from an Espinoza and Zaror pairing. The Fist of the Condor sees this duo reuniting for the first time in almost a decade. Their last outing, the rogue assassin tale Redeemer , had been their weakest effort to date, but I’m happy to report that they’ve bounced back here and then some. A deep-flowing love of classic kung fu cinema has always run throughout their collaborations, but it’s never flowed as deeply or as lovingly as it does here. This is a martial arts adventure just as concerned with evoking the philosophy of both the genre and the real-life practices behind it as it is in showcasing expertly-choreographed fights. There is a poeticism behind the fisticuffs on display here that calls to mind the Hong Kong classics of yore, leaving us with a masterful modern piece of meditative martial arts cinema that would make the Shaw Brothers smile. Espinoza has always had a way with striking imagery that is a delicious mix of exquisite location photography and beautiful artifice that holds decades of movie knowledge behind it. Condor is no different, as it births some of the best sequences his wonderful mind has conjured to date. All backed by another excellent ‘70s-infused score by longtime collaborator Rocco, of course! Those whose only experience with Marko “The Latin Dragon” Zaror are his villainous turns in Hollywood films such as John Wick: Chapter 4 and Machete Kills might be surprised to see the monk-like heroism of his primary role here. Fear not, however, as he also plays his own evil twin! His heroic (but not innocent) protagonist Guerrero is his best role since Kiltro and one we’ll be lucky to see continue, since this is meant to be the first in a trilogy. The next two cannot get here soon enough. About the Film Critic Daniel Baldwin Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Goodnight Henry film review by UK film critic William Hemingway. Starring Joseph Marcell, Ryan Gage, Sharon Rooney directed by Isher Sahota. HOME | FILMS | REVIEWS Goodnight Henry Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Oct 9, 2022 Directed by: Isher Sahota Written by: Isher Sahota Starring: Joseph Marcell, Ryan Gage, Sharon Rooney In the early hours of 18th October 1865 the then Prime Minister, Henry John Temple, 3rd Viscount Palmerston did indeed shuffle off his mortal coil, so when Goodnight Henry tells us that the events depicted within the short film 'occurred in truthful actuality – sort of', there is at least that. Everything else, however, is up for discussion as writer/director Isher Sahota fills us in on what could have happened that fateful night. Mr Pageant (Marcell) is the mouthpiece of the Prime Minister and when we meet him he is busy hammering out the details of a trade/taxation agreement with the French Ambassador, Godefroi while the errant elder statesman is otherwise engaged. Godefroi (Gage) is not happy about the deal and feels he should be dealing directly with the Premier but Mr Pageant is a steadfast figure who handles the Frenchman with the condescension he thinks he deserves. When a sudden scream is heard echoing through the halls of Brocket Hall, Mr Pageant reluctantly leaves the negotiations and sets off to find out what is the matter. It seems that the elderly Lord Palmerston has been getting his balls polished in the billiard room by Rosalind (Rooney) the maid and the exertion has finally been too much for him, leaving him dead and in a compromising situation. And that damned deal still hasn't been signed. What follows is a web of intrigue and deceit as the three interested parties each try to wrestle what they can from the situation before Lady Palmerston gets home and scuppers the whole affair. The script keeps things tight between the three main characters as they bare their teeth at one another and display their jet black underbellies, each vying for position as they manhandle the Prime Minister back to somewhere more respectable. The whole scenario is obviously played for laughs and the fine elegance of the surroundings contrast beautifully with the filthy underhandedness of the personalities involved. A lot of care and attention has been given to the lighting and the colour in the scenes, with Adam Singodia's cinematography managing to enrich the sumptuousness of the lavish country pile as the foreground blazes forth out of the inky blackness of the shadows beyond. The acting is nothing short of exemplary with each character being played down to a T by the seasoned professionals who inhabit them. This is helped by their precise casting in roles that feel familiar to them and will therefore in turn feel familiar to the viewer. Joseph Marcell will be best known to the world as Geoffrey the butler in The Fresh Prince Of Bel-Air, and again here he plays a forthright, outspoken underling with an air of grace and nobility about him. Ryan Gage offers a wonderful French accent which he most likely perfected in his role as Louis XIII in a recent TV adaptation of The Three Musketeers, while also leaning into his other famous role as Alfrid Lickspittle in Peter Jackson's The Hobbit trilogy (2012-2014). Then there's Sharon Rooney, the breakout star of My Mad Fat Diary who shines as Rosalind, another character who could be looked over and pushed around by others but who is more than capable of standing up for herself. In lesser hands Goodnight Henry could have turned out as a campy, unremarkable affair but with the talent on show, both in front of and behind the camera, it's easy to see that the production team have managed to make nearly all the right choices. While there is still an air of Horrible Histories or Upstart Crow about the film, it provides a rollicking twelve minutes which should keep even the most pedantic historians entertained throughout. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Caesar The Musical film review by UK film critic Jason Knight. Starring Dan Folino, William Clarence Marshall, Jayson Gage, Steph Geber, Marc Moritz directed by Mike Petrone. HOME | FILMS | REVIEWS Caesar The Musical Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 1, 2021 Directed by: Mike Petrone Written by: Mike Petrone Starring: Dan Folino, William Clarence Marshall, Jayson Gage, Steph Geber, Marc Moritz As the title suggests, this is a story about the life of Roman statesman and general Julius Caesar, who governed the Roman Republic as a dictator from 49 BC until 44 BC. It is a stage play, filled with music and songs that tell his life's story. The narrative begins with 25-year-old Caesar being captured by pirates on his way to Greece and follows his actions and achievements from there, covering significant events including his conquest of Gaul with the aid of Marc Antony, his victory over Pompey and his assassination. The film also explores his relationship with Servilia and Cleopatra. Other characters include Brutus, Decimus and Vita. The feature was shot on location at the Maltz Performing Arts Center in Cleveland, Ohio and watching it is like going to the theatre. The action takes place on a stage, with the actors and actresses having conversations or narrating the story by singing, although there is also limited normal dialogue. The performers tend to stand still throughout, however there are sequences that involve dancing. The cast deliver dynamic performances and their voices sound powerful and full of emotion. The award-winning score consists of fantastic numbers that make the audience feel like they are at the opera. The performers sometimes look at the camera and sometimes they look off-screen. Although the plot deals with dramatic events, there are also comical parts, particularly a song that involves a rather amusing performance by Moritz as Pompey. Petrone's direction includes plenty of closeups of the performer's faces and when songs occur, the film does not show all performers on screen simoultaneously but rather cuts from one to another as they sing. By utilizing this technique, the sequences seem more exciting. The filmmakers also often use the dissolve technique and occasionally there is narration. Regarding the mise-en-scene, the clothing that the cast wear looks great and gives the impression that it belongs in that period. The same goes for the weaponry and furniture. Right from the beginning, this entertaining and educational musical captures the viewer's attention with the wonderful singing and outstanding music, which are the film's two strongest aspects. This interesting achievement has drama, fun, historical facts and figures and deserves a great deal of praise. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Pages of Love film review by UK film critic Jason Knight. Starring Jessica Johnson, Samantha, Mark directed by Samantha and Joan. HOME | FILMS | REVIEWS Pages of Love Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 20, 2022 Directed by: Samantha and Joan Written by: Samantha and Joan Starring: Jessica Johnson, Samantha, Mark A woman attempts to find the ideal man, while taking relevant advice from her mother. Single mum Samantha wants to find the right man for her and is having trouble doing so. Her supportive and optimistic mother gives her advice about the qualities she should be looking out for when she meets potential companions. After several unsuccessful efforts, Samantha finally meets Mariano, a friendly and well-meaning man who appears to be ticking all the right boxes. Could this be the man for her? This feature is a romantic comedy that explores themes of romance, religion, the development of relationships and taking the right advice regarding what makes a good partner. The narrative follows the progress that Samantha makes with Mariano, while she repeatedly listens to her mother as she tells her about what she believes are the best characteristics a man can have. The screenplay keeps switching between the dates with Mariano and her mother advicing her. Samantha and Mariano spend time together going horseriding, eating in restaurants or relax in Mariano's home doing various activities. Mariano comes across as friendly and helpful, while Samantha is a bit sceptical. There are sweet and moving moments and there are moments of drama. There are many chapters throughout this film, each of which is introduced with a title card and they are used to specify how many times Samantha has seen Mariano, the number of dates she had with men who were inappropriate and the times her mum advices her about men, which are structured in alphabetical order, meaning that every time a new lesson begins, the title card reads ''Pages of Love A-B-C'', ''Pages of Love D-E-F'' etc., and it goes all the way to Z throughout the movie and each letter represents the first letter of a word that desctibes a decent man. This use of title cards is amusing and helps understand the story better. The editing includes creative wipe techniques that resemble a page being turned and by utilising this method, the filmmakers reference the film's title. Many scenes consist of long takes, with the camera stationary and the soundtrack is entertaining. This feature is a love story and a comedy and it is interesting enough to watch and the acting is OK. The production value indicates that filming was done on a small budget and occasionally the audio does not sound good. Nevertheless, this does not prevent this movie from being a decent achievement. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Hocus Pocus 2 film review by UK film critic Hope Madden. Starring Bette Midler, Kathy Najimy, Sarah Jessica Parker directed by Anne Fletcher. HOME | FILMS | REVIEWS Hocus Pocus 2 Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 29, 2022 Directed by: Anne Fletcher Written by: Jen D'Angelo, David Kirschner, Blake Harris Starring: Bette Midler, Kathy Najimy, Sarah Jessica Parker Thirty years ago (more or less), Disney released a family-friendly seasonal comedy that underperformed and was forgotten. Forgotten, except by every 8-year-old who watched Hocus Pocus then or would go on to rewatch it annually during spooky season. The entertainment behemoth finally realized what it had and commissioned a sequel. Hocus Pocus 2 reunites willful witches Winnifred (Bette Midler), Sarah (Sarah Jessica Parker) and Mary (Kathy Najimy) with Salem, the town that hates them. What is it that reawakens the evil Sanderson sisters? A somewhat convoluted storyline, actually, but it involves female empowerment and community and it’s charmingly, inoffensively told. Halloween’s here, and with it, Becca’s (Whitney Peak) 16th birthday. She’ll celebrate this year as every year by sharing a little spookiness in the woods with her bestie, Izzy (Belissa Escobedo). It’ll be the first year that the third in their trio, Cassie (Lilia Buckingham), doesn’t join because she’s hanging out with her boyfriend. Meh! Anyhoo, the Sandersons are accidentally conjured. Somehow the local crystals and essential oils purveyor (Sam Richardson, likable as ever) is mixed up in things. And Cassie’s dad – kindly Mayor Traske (Tony Hale) – is in mortal danger! Director Anne Fletcher (The Proposal ) hits enough nostalgic notes that adult fans of the original will feel seen. Its contemporary story allows for brand new witch-out-of-water scenarios to explore, and, of course, the sisters are always up for a musical number. But this is definitely a kids’ film. The original was a kind of sibling to Fred Dekker and Shane Black’s 1987 family film Monster Squad . Both showed poorly at the box office and went on to become beloved seasonal fixtures. Hocus Pocus brought the sensibilities into the nineties by, for one thing, recognizing that boys can also be virgins. HP2 modernizes further. To begin with, not every citizen of Salem is white. And though it’s impossible to entirely redeem three characters looking to eat children, at least the sequel skims the ideas of systemic misogyny. But mainly it offers campy, scrappy, bland but amiable fun. Midler, Najimy and Parker reinhabit the old trio well enough to remind us why so many kids loved the original. Whether HP2 can strike the same chord with today’s youth is tough to tell, but at least there’s a Halloween flick everyone can watch together. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Luke 6:37 film review by UK film critic Jason Knight. Starring Ingrid Marsh, Shelby Lattany, Benjamin Lafayette directed by Remone Jones. HOME | FILMS | REVIEWS Luke 6:37 Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 15, 2024 Directed by: Remone Jones Written by: Remone Jones Starring: Ingrid Marsh, Shelby Lattany, Benjamin Lafayette A dramatic family confrontation is taking place inside a church. Since the title of this short drama refers to a religious passage about condemnation and forgiveness, one can expect that this is a story that involves dramatic scenes and religion (actually almost the whole narrative takes place inside a church). The screenplay is the aftermath of a family get-together that does not go well due to a mother's disapproval of her children's actions. The mother is Carmen (Marsh), a middle-aged woman who she arrives at a church one evening after having stormed away from her two grown-up offspring Joseph (Lafayette) and Jamelia (Lattany). She is very upset and she is soon joined by her children, who are quite unhappy with her behaviour. What follows is a heavy confrontation, during which Carmen expresses her disappointment regarding her son's homosexuality and her daughter getting pregnant, while they accuse her of being unfair. The passage that the title refers to involves judgement, condemnation and forgiveness and in this case, these three heavy actions are addressed to Carmen. The reasons for this are that she is stubborn, harsh and critical towards Jamelia and Joseph and shows no sign of remorse for her cruel words and the reason for this is most likely because she is a deeply religious person. On the other hand, her children do not seem to share her beliefs (religious or otherwise ) and they try hard to make her accept their choices. Jones utilises handheld camera effectively and Tomas Posada deserves a lot of praise for the wonderful cinematography. Unsurprisingly, since the setting is the interior of a church, thanks to the work of Theo Elwell, there is church music to be heard, along with hymns. This short is a dramatic confrontation that mixes family drama with religion. It is about a dysfunctional family whose differences are tearing it apart and the drama rises sky-high thanks to the dialogue and the strong acting by the three leads. Ultimately, the message that the film aims to communicate appears to be the words that are within the passage that the title refers to, which is that people must not judge or condemn and they must forgive instead. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Cubic Zirconia film review by UK film critic Chris Olson. Starring Keith Lamont Johnson, Kate Mobley, Carter Nelms directed by Jaron Lockridge. HOME | FILMS | REVIEWS Cubic Zirconia Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 25, 2024 Directed by: Jaron Lockridge Written by: Jaron Lockridge Starring: Keith Lamont Johnson, Kate Mobley, Carter Nelms Brimming with tension and superbly directed, filmmaker Jaron Lockridge’s crime drama Cubic Zirconia transcends the frills and spills of the genre to deliver us something more potently human. Keith Lamont Johnson stars as Bobby Clarke, a Tennessee detective investigating the recent disappearance of local woman Tamara. Once the latter’s body is discovered, Bobby is joined by a fellow detective from another agency Natalie Brim (Kate Mobley) in a race against time to locate Tamara’s children, who are also missing. Tone can be everything when it comes to crime dramas and Cubic Zirconia has that understated grit of a show like True Detective . Writer and director Jaron Lockridge knows how to create an engulfing atmosphere that audiences will effortlessly slip into whilst this intelligently plotted story unfolds. Whilst the sum of all parts may seem humble, the result is a fantastic example of movie-making that prioritises great storytelling and performances. Keith Lamont Johnson is simply sensational in the leading role. His character is given a brilliant backstory which emotionally connects us with where he’s at in the present day and Lamont Johnson handles this emotional depth with deft skill. His interaction with the supporting cast is great and his chemistry with Mobley fashions an engaging onscreen partnership for viewers to enjoy. Mobley herself gives a splendid turn as the tactful yet passionate partner to Bobby and has plenty of great scenes throughout the movie. Some of the set designs and location choices let the movie down a little - this could have been a budgetary restriction - such as a tub of ice cream that needed its name blurred out (likely for copyright reasons) and a few of the “press” scenes which looked a little flat with the characters standing against a wall and no pans around the room to see the journalists. That being said, they were necessary scenes to give the investigation weight and were only small moments that may jerk the audience out of the brilliant atmosphere that is curated by the filmmakers. The story has plenty of well-written characters and believable scenes, enhancing the credibility of this crime drama. Plaudits to Carter Nelms who plays Jeff, the father of the missing girls, whose anguished scenes and intense behaviour are mesmerising to watch. Fans of strong crime dramas will be in their element here and the movie has a wide general appeal for great storytelling, fantastic characters, and an engaging plot that builds wonderful momentum through each act. Give us a franchise of Bobby solving mysteries with Lamont Johnson in the role and Lockridge at the helm and we will be happy campers. Now watch our Video Film Review of Cubic Zirconia . About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

That Time Is Now film review by UK film critic Patrick Foley. Starring Bhasker Patel, Marion Githegi directed by Henry Chebaane. HOME | FILMS | REVIEWS That Time Is Now Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 23, 2025 Directed by: Henry Chebaane Written by: Henry Chebaane Starring: Bhasker Patel, Marion Githegi Sci-fi short That Time Is Now tackles humanity’s irrepressible obsession with technologies that threaten to destroy us. In this case, AI, and its environmental impact on plant life. Made over 48 hours and on a shoestring budget, it is an impressive example of how to set out stakes in a film and explore these through engaging characters. Doctor Wokozi (Marion Githegi) is sent back 30 years from 2060 to 2030, on a mission that is essential for human life to continue. Extinction is a real threat in Wokozi’s future, due to the loss of plant life around the world. Wokozi has one final journey to the past using her advanced AI model, but it is a meeting with target Professor Seva (Bhasker Patel) that inspires her to bring a message forward instead. The environmental impact of new technologies is an under-discussed danger that is usually left out of the ethical debates around their use. Much like Bitcoin, AI needs enormous data centres to run, which can out-do those of small countries at times even in this early stage of its widespread use. It is this issue which That Time Is Now is focused on, and its consequences which it envisages. The film’s opening monologue from Wokozi is an excellent example of how to quickly set out the stakes and context of a film. She explains the world she has been sent from and how it came to be, as well as the purpose of her journey and the importance of achieving her goal. The mention that her time in the ‘past’ is limited and unpredictable, meaning she could be pulled back to the future at any moment, is a particularly clever touch which makes every interaction she has with the professor meaningful. Wokozi and Seva share great mentor-mentee chemistry, with Seva already in mourning for a world he feels may be beyond saving. It is Seva who has identified AI as the culprit, and senses that nothing now can change how humanity thinks. Marion Githegi delivers a more hopeful performance as the younger Wokozi, someone who, like younger people today, have to act now on threats like climate change. Much of the pair’s relationship is left to the imagination and context is left for the viewer to fill in – which helps the film build a wider world in some respects but also leaves open some plot holes, such as why the Professor has never communicated his feelings before if he is a previous target of the Doctor. For a lower budget, the film looks great. It doesn’t feature a ton of futuristic technology, however the time-travel elements such as Wokozi’s goggles looks authentic and convincing. The majority of the film is set in an empty London at sunset – with a haunting ambiance that perfectly matches the film’s tone. Director Henry Chebaane’s staging of the story is also strong, with slow lingering shots of his leading pair. It is somewhat the opposite of the urgency implied by the title, but the Professor’s insistence that it is the message that matters comes through loud and clear. That Time Is Now has a determined message and clear aim that long pre-dates its rapid creation time. It can afford to leave some of its details vague to get this across and does so successfully, on the strength of a well imagined world, threat and characters. This is definitely one to make the time for, now. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Un/Cut film review by UK film critic Brian Penn. Starring Gordon Hickey, Jeremie Cyr-Cooke directed by Gordon Hickey. HOME | FILMS | REVIEWS Un/Cut Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Jul 14, 2022 Directed by: Gordon Hickey Written by: Gordon Hickey Starring: Gordon Hickey, Jeremie Cyr-Cooke Un/Cut is a curiosity on many levels and really not what the viewer would necessarily expect. Bored businessman (Gordon Hickey) is rooted to a grey, non-descript hotel room. He right swipes on his smartphone looking for a diversion to brighten up his evening. He alights on a bearded and mysterious individual. The bored businessman guiltily rubs what appears to be a wedding ring. Complete with a devil emoji he directs his new companion to the appropriate room. Bearded man (Jeremie Cyr-Cooke) arrives and they exchange pleasantries. They soon get down to business but their liaison soon takes a novel turn. This is where the narrative path would usually dive into the guilt of a man away from home cheating on his partner out of loneliness, boredom or frustration. But no, between the sheets the talk is more a discussion of manners, social custom and the origins of a surgical procedure performed on men as babies. Well, there is no cause to elaborate any further as it would entirely ruin the plot and viewers would be less likely to give it a spin. The dialogue is concise with a genuinely surprising exposition of a true story folks. This is a clandestine liaison in a hotel room and has ‘booty call’ written all over it; and to all intents and purposes that’s what it is. But it’s where the plot goes after the initial premise is established that really raises this short film to a different level. Logically, the action takes place in one room, but facilitates some lively verbal exchanges between the characters. The audience is then compelled to consider a message that is much more cerebral than physical or visual. It becomes a cleverly constructed study of assumptions that endure because people always accept what they’ve been told. A very well thought out piece that broadly ticks all the right boxes. About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

Flesh Wanting Blood film review by UK film critic William Hemingway. Starring Ioana dArk directed by Diana Galimzyanova. HOME | FILMS | REVIEWS Flesh Wanting Blood Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Sep 1, 2025 Directed by: Diana Galimzyanova Written by: N/A Starring: Ioana dArk Whatever your views on AI and its use in the creative sectors, there’s no arguing with the fact that this is the way things are going from now on. From the very start of the creative process, anyone can now use AI to develop ideas from prompts and begin to create their new dream world, whether that be in prose, or lyrics, or music, or art, or any number of different expressive outlets. Far from it just being used to circumvent copyright law, stealing people’s voices for advertising and things like that, AI can be seen as another tool in the artists toolbox, which needs its own skill and investment to master, but which in the right hands can create new pieces of art or entertainment which could never have been achieved given any real-world deficits in the level of the artist’s budget, skill, environment, or equipment. Entirely new worlds can be conjured up for nearly nothing, without the need for a huge production budget and crew, and narratives can be created from thin air, populated by ghosts of characters, who look and sound like the real thing but who are really empty, hollow masks that don’t quite move right. Anything can now be created for any purpose – and yes, we know that 98% of it will be used for advertising and porn – but there’s also the chance, that like here, in Diana Galimzyanova’s video for the track, Flesh Wanting Blood by Ioana dArk, that we’ll also get some creativity along with it that showcases how AI can help to create art. Using the Luma Dream Machine AI, Galimzyanova creates her world of bloody horror to coincide with the music of Ioana dArk, following blood spattered women around and facing off against scarily masked men. The artist herself is cut into the narrative at times, using, at least to start with, what I can only assume is actual video, while the AI world around her tells its own story of dark machinations and demonic charades. Hooded characters, robed strangers, and bloodied brides walk around together in a dreamlike fashion, partaking in a twisted masquerade, as people switch places, morph into others, and disappear into the scenery as though they weren’t there. There’s not what you would call a conventional plot to the music video, though undoubtedly there is meaning to what’s happening on screen. The themes of the video most likely coincide with the themes of Flesh Wanting Blood , although it’s difficult to tell when you’ve no idea what on earth is being sung. The music itself is hard to characterise, it’s hard to know what to even really call it – post-punk? electro-death? misery? – but whatever it is, Galimzyanova seems to get it and is able to direct her AI in exactly the right area to represent it visually to the audience. The track goes on for about five-and-a-half minutes, so for anyone not interested in this genre of music or film, it might be a bit of a slog to get through the music video to the end. However, for everyone else there’s plenty of good imagery and inferred narrative from the characters on screen to sustain your interest, while the matching of the mood to the music really enhances the enjoyment of both, because it is done so well. There’s always, however, the feeling that any AI production is an empty, soulless vacuum, as there’s no real craft or artistry behind the construction of it. There were no costume designers to make the dresses or create the masks, there were no builders or chippies to make the sets to film on, there were no cinematographers or lighting technicians to get the right look for the camera, there was no real hand in anything that got presented to us, and so it leaves us feeling cold and underwhelmed, and even a little bit patronised. That might change as we get more used to it, but in the meantime it’s good to have positive examples, like Flesh Wanting Blood , of AI being used effectively to complement art, and in so doing, becoming art in its own right. About the Film Critic William Hemingway Digital / DVD Release, Music Video < All Reviews Next Film Review >

The Light Keeper film review by UK film critic Jason Knight. Starring Alice Beton, Elizabeth Nightingale directed by Tamas Levardi. HOME | FILMS | REVIEWS The Light Keeper Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 19, 2024 Directed by: Tamas Levardi Written by: Tamas Levardi Starring: Alice Beton, Elizabeth Nightingale Tamas Levardi decided to make a short film without much planning. The result is a dynamic and fast experience with a duration of three minutes and twenty seconds. In this case, spoken words exist only in the form of voice-over and there is not much of a story to follow, which is not a bad thing. The film is heavily edited, constantly cutting back and forth in time, with each shot lasting a few seconds maximum. There is only one person present and that is a young woman (Berton) and the viewer follows her as she traverses a number of locations that are either on civilisation grounds or in the countryside. The plot point appears to be when she discovers a photographic camera inside an abandoned building. Up until that point, the scenes seem to take place in chronological order and it is after that when the narrative turns non-linear and keeps alternating rapidly between scenes that show the unnamed woman utilising the camera to take pictures on fields or inside a church or being inside a darkroom, developing her photographs. What is the plot? The events seem to show that finding the camera ignited a spark in the woman's life and she now constantly uses the device in order to view and understand the world through other perspectives. However, in numerous shots she appears to be upset, distressed and frustrated, maybe even angry as she is seen screaming. She gives the impression that she is desperate to achieve something, maybe to discover something. This is what could be interpreted by looking at the visuals. The voice-over was done by Elizabeth Nightingale and her words help understand the story further. The sound of her voice is almost a constant whisper and she talks about being a lost person, about her perspectives regarding life and that some sort of event helped her find her path. Filming was done by using natural lighting almost entirely and the film is beautifully shot with a handheld camera and Levardi takes great advantage of sunrises and sunsets to create terrific visuals. The fast cutting editing makes a tense experience, however it would not be as thrilling without the dynamic score by Michele Masin that becomes more and more powerful as the film progresses. This film could be viewed as a montage or maybe a trailer. It is certainly a captivating piece of work that stands out thanks to the creativity regarding the directing and editing, the powerful music and Beton's performance, which is impressive considering that she reportedly did not have professional acting experience when she worked on this project. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Target film review by UK film critic Sam Quarton. Starring Charlie Toko, Damian Verguson, Isabel Monroe, Ajay Kalyansingh directed by Tony Mitsinga. HOME | FILMS | REVIEWS Target Film Review average rating is 4 out of 5 Critic: Sam Quarton | Posted on: Dec 24, 2021 Directed by: Tony Mitsinga Written by: Tony Mitsinga Starring: Charlie Toko, Damian Verguson, Isabel Monroe, Ajay Kalyansingh Robbery and police “stop and search” are placed cheek by jowl in Tony Mitsinga’s Target Institutional racism within the UK is indefatigable. In under two weeks, the Johnson government has set in motion the Police Bill and the Nationality and Borders Bill: the most draconian legislation observed in decades, granting governmental authority to strip a person of their citizenship without warning – disproportionately affecting millions of BAME citizens – and expanding police “stop and search” powers to unfathomable heights. But as the foulness of this state-sanctioned evil festers, it is essential to acknowledge the work of filmmakers refusing to remain taciturn in the face of racism: Tony Mitsinga’s Target is no exception. A powerful no-budget short about the frightening similarities between criminal gangs and the police, Target places these two entities cheek by jowl; their attitudes posited in the same framework of aggression: one scenario a robbery, the other a stop and search – by the end of the film’s one-minute running time, there is little to distinguish the two. And as writer-director, Mitsinga is adept at showing the mechanics of fear underpinning the speech of these violent criminals and so-called agents of the law: “oi, what are you doing in these ends, fam?”, asks one thug (Damian Verguson); “tell us where you’re coming from and where you’re going”, asks a policeman (Charlie Toko) - these intrusive questions are broken down to their intimidatory essentials, the only discernible difference is their delivery. Here, words are weapons; cruel little devices used to enforce a regime of humiliation over their victims. But of the two encounters, the police appear most terrifying. Their powers to “stop and search” – or harass and harangue – are hidden under a cloak of legitimacy; a systemic process of intimidation protected by law. Do not show fear, though. This would be admittance of guilt: “you seem nervous, are you hiding something?”. Though packed with emotional heft, these disturbing set pieces are not infallible: slipshod costume design dons the police officers in fancy dress-esque uniforms constituted by ill-fitting caps and comically large badges; venomous taunts are sometimes diluted by poor line delivery; turbulent camerawork shakes – assumingly by accident – from one end of the screen to the other. But these flaws are few too far and between to interfere with Mitsinga’s ambition. Target is an uncomfortable nay essential reminder that racism is a pervasive force: an evil found on our streets and in our homes; an evil embedded in law and upheld by its agents. About the Film Critic Sam Quarton Short Film < All Reviews Next Film Review >