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Habit film review by UK film critic Hope Madden. Starring BellaThorne, Libby Mintz, Josie Ho directed by Janell Shirtcliff. HOME | FILMS | REVIEWS Habit Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Aug 18, 2021 Directed by: Janell Shirtcliff Written by: Libby Mintz, Janell Shirtcliff Starring: BellaThorne, Libby Mintz, Josie Ho Bella Thorne is the best thing about writer/director Janell Shirtcliff’s zany thriller Habit . When is that ever a good sign? Thorne plays Mads, a Jesus-loving Texan transplanted to Hollywood’s underbelly to be with her two hometown besties Evie (co-writer Libby Mintz) and Addy (Andreja Pejic). Mads really loves Jesus. Like in an entirely unwholesome way. But that’s the least of her problems after Evie’s one-night stand makes off with all the drugs and money the girls are holding for Eric (Gavin Rossdale). This movie tries so hard to be Tarantino by way of John Waters and it fails so absolutely that it gets credit for commitment. What it lacks is inspiration—Shirtcliff’s odyssey requires that we be shocked by Mads’s behavior, surprised by the stilted lunacy of her pursuers, and weirdly drawn into her unseemly world. The fact that none of it feels especially wild, or that the pursuers lack originality and panache, takes a backseat to the film’s lacking cinematic quality. Individual scenes have no structure – they drag, most of them missing purpose, punchline or punch. Nothing feels especially taboo, and that’s a problem because, without any real “wild” in these antics, you find yourself paying attention to the writing or, worse still, the acting. Rossdale has a tough time developing a character, partly because there’s no telling whether to like or dislike Eric. Shirtcliff and Mintz have no idea what to do with the real villains, Queenie (Josie Ho) and Tuff (Jamie Hince). The filmmakers dress them up like something out of Pee-wee’s Playhouse, but their villainy is sloppy and suspect. Habit plays like a film made by people who really liked David Lynch’s Wild at Heart , Tony Scott’s True Romance , and everything John Waters ever made, but had no real idea what they liked about it. The result is a mishmash of borrowed ideas, none of them interesting enough to merit the label subversive. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

We Stay Here film review by UK film critic Patrick Foley. Starring Kristin Frohnapfel, Vinit Parmar directed by Vinit Parmar. HOME | FILMS | REVIEWS We Stay Here Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Dec 12, 2022 Directed by: Vinit Parmar Written by: Vinit Parmar Starring: Kristin Frohnapfel, Vinit Parmar Documentarian Vinit Parmar immerses himself in the lives of refugee children living in Berlin in We Stay Here, an intimate examination of how a struggling immigration system fails those it is meant to protect, and how even in the most difficult circumstances, children deserve a place to grow up in peace. The film takes place largely in a refugee home run by Kristin Frohnapfel, a centre manager doing all she can to keep the shelter habitable whilst acting as childminder for over a hundred families. Children of different ages, backgrounds and origins, who are at differing stages of their asylum hearing receive individual focus. As they navigate the simple trials of childhood, the growing right-wing movement against refugees is featured – which along with the squalid site in which they currently live, demonstrates the dangers of the world they may one day face. We Stay Here is a formless documentary – existing as a pure account of a snapshot into the lives of Berlin’s refugee children. For the majority of the film, the director neglects to frame the footage he has captured with any agenda or story. As the children’s families circumnavigate legal appeals that could literally mean life or death, the film instead documents the children as they play, laugh, cry, fight and undergo the same trials of any child born in the borders of the country they reside in. Whilst the message is not made explicit, it is clear. And in how the director steps back, it is even more powerful. This is the film’s ultimate strength – so much so that the later inclusion of news footage of far-right, neo-Nazi demonstrations actually manage to feel forced. It may be that most audiences who watch the film will be well aware of the concerning rise of hate-groups across Europe, but the film feels more powerful with this as a silent, tragic undercurrent than as something that is explicitly shown. A scene from which the film takes its title – in which a clear parallel is drawn between a gang of skinheads and a group of the refugee girls – just about avoids triteness due to this, and either a stronger focus on the right-wing elements of modern Germany, or leaving this as a totally silent or hinted-at menace may have served the documentary better than what feels like an unresolved, half-hearted coverage. Kristin Frohnapfel is the only adult perspective the audience truly receive, and her complex, difficult role is handled with sensitivity and respect by the director. She does communicate with the camera outside of the children’s view, but matches their ignorance of its presence when performing her role. Audiences will sympathise with her for what is a challenging task, and gain an appreciation for those who work tirelessly in service of those in need. The documentary’s conclusion does initially appear to misrepresent her departure from the centre for dramatic effect – omitting a key piece of information to create a sense of further abandonment on which the film initially ends – prior to a coda. It seems somewhat of an unfair framing of how Kristin’s time with the children ends, and leads to a strange emotional beat. We Stay Here is a brave and admirable film, though one that is not without its flaws. However, the key to its success is the emotional bond viewers will form with its subjects. The director deserves major credit for his wisdom in recognising this – and allowing the film to float on an emotional and authentic wave. About the Film Critic Patrick Foley Digital / DVD Release, Documentary, Indie Feature Film, World Cinema < All Reviews Next Film Review >

Red film review by UK film critic William Hemingway. Starring Jennie Cruz Calvo, Marleen Irani directed by Marleen Irani. HOME | FILMS | REVIEWS Red Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Oct 14, 2022 Directed by: Marleen Irani Written by: Shafira Sardar Starring: Jennie Cruz Calvo, Marleen Irani Red : the colour of love, of passion, of desire; but also the colour of anger, of aggression, of danger. In her new short film, director Marleen Irani explores the different aspects, meanings and uses of the colour Red to tell the story of a lone, young woman (Jennie Cruz Calvo) – a story that could rightly be extended to encompass the stories of many young women around the globe. Writer Shafira Sardar deliberately keeps her protagonist nameless and silent throughout, with her story being told by a disembodied voice (played with conviction by Irani herself), who relays thoughts and feelings about her that only an intimate companion could know. It is up to the viewer to decide who this over-reaching voice could belong to – a parent, a lover, a friend – or if it is merely a manifestation of the young woman's superego, a voice in her own head that critiques and judges her choices and actions. The woman is heading out on a date. The rain may be pouring down and the wind blowing through the streets but she's going anyway, determined to allow herself the time to meet and be met by others. We see her putting on red lipstick, bright red, which we are informed by the voice is not her usual colour and must therefore be for the purpose of impressing somebody else. What is the point in that? The lights of the city dazzle and shine as they are reflected in the puddles and the rain soaked windows. As you might expect, colour and lighting play a large part in setting the scene and mood for the young woman's story, and a lot of attention is given to their placement and punch, almost reflecting and defining her character as we watch her on this journey. The direction is considered and assured too, as we get a mix of close-up and wider shots, establishing the woman in time and place, while the voice muddies the waters of what we think we believe. Irani remembers to step back from time to time to watch the falling rain, the city lights or the wind between the leaves and some of the best shots of the film are those without anyone in them at all. There is a lot that is said in the short five minute runtime of Red , and a lot that is left unsaid but rather shown. The woman's story in the end may not be that original, but then has a universal underpinning that will speak to many viewers individually. Red is a well crafted short film that shows Irani to be a director who appreciates the impact of a strong visual image. About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

Sands of Purgatory film review by UK film critic James Learoyd. Starring Bryony Tebbutt, Brandon Ashplant, Sapphire Brewer-Marchant directed by Alex Bates. HOME | FILMS | REVIEWS Sands of Purgatory Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 28, 2025 Directed by: Alex Bates Written by: Alex Bates Starring: Bryony Tebbutt, Brandon Ashplant, Sapphire Brewer-Marchant Sands of Purgatory is a riveting, yet slightly inconsistent, dystopian action film which merges the mythic with contemporary concerns. Much like Mad Max , the film opens with a short explanatory monologue about the baron landscapes our heroes now inhabit, the result of global warming. The filmmakers take these ideas and place the characters in what can only be described as a Dune -inspired battling scenario. But this film – while it occasionally misses the mark – is much more than its influences and does some interesting things with its cinematic conceit. “In a post-apocalyptic wasteland, a vengeful wanderer attempts to track down the cult who killed her partner” is the IMDB synopsis for the film; and yet, it unfortunately feels a lot more complicated than that. This critic has not found evidence of Sands of Purgatory being a proof-of-concept short – which is quite confusing. The concept feels perfectly suited to a feature. And based on the tone and pacing of this short picture, one would think that this was made to demonstrate just how much these passionate filmmakers can do on a low budget. There’s an interesting narrative to be explored, as well as stylistic flourishes, so all that is lacking is that slightly bigger budget. One aspect which unfortunately reveals its budget is the combat sequences. They are slightly hit-or-miss but mostly hit! You rarely see swordfights in low-budget movies – the main reason being that they’re so practically challenging to pull off. So, it’s admirable that this film embarks so wholeheartedly on this venture, even when it looks a little iffy. For the most part, it’s exciting! -- and the seemingly lightweight camera really gets in on the action. But to make it truly seamless would require trained stunt people and extensive technical coordination. Its overall look and feel is strong. There’s a subjective, shaky feel at play here which works best at its most kinetic and frantic; worst, though, at its most static. The use of digital warp-stabilisation is only occasionally distracting, but due to the extreme nature of the visuals – with its often wide lenses and deep depth of field – there's almost something suitably maximalist about it. What’s really lovely is the colour grade, which manages to be both subtle and stylish. None of the real immersion, however, could have been achieved without this film’s most impressive characteristic: the locations and their cinematic implementation. Every shot showcases utterly awe-inspiring surroundings. The film was shot entirely in Guernsey, with the filmmakers apparently having a fair amount of freedom to shoot in important historic sites. The results are quite simply spectacular. We have massive industrial areas; beaches scattered with interesting wartime implements; and even what appears to be a genuine castle for the final almighty set-piece. This film benefits from feeling like such a passionate, collaborative effort from everyone involved; the kind of production which you can tell was a hoot to be part of. This tale of retribution is thoroughly entertaining and, despite its couple shortcomings, manages to offer the audience some real spectacle and characters to invest in. About the Film Critic James Learoyd Short Film, LGBTQ+ < All Reviews Next Film Review >

In Cold Light film review by UK film critic Hope Madden. Starring Maika Monroe, Jesse Irving, Troy Kotsur directed by Maxim GIroux. HOME | FILMS | REVIEWS In Cold Light Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jan 20, 2026 Directed by: Maxim GIroux Written by: Patrick Whistler Starring: Maika Monroe, Jesse Irving, Troy Kotsur Maxime Giroux’s gritty thriller In Cold Light keeps you off kilter, moving from dreamy confusion to full-on sprint and back again. Maika Monroe is Ava, and our first sprint with Ava ends in a violent drug bust. But after her two-year sentence, she finds herself back in Ponoka, Alberta. No fresh start, she’s clean but she’s otherwise ready to return to leading the smalltime drug operation she left behind. But they’ve moved on. Her twin brother (Jesse Irving) tries to reason with her, tries to convince her to take the 40k he’s been setting aside for her while she did her time, but Ava can see that her once small operation has bitten off more than it can chew and is now dealing with real big, real bad guys. She’s right, and those bad guys are the reason for more sprinting. The story itself is somewhat simple, but Giroux, working from Patrick Whistler’s script, keeps your attention by revealing information as necessary, and by situating Ava’s world inside something lived-in but not ordinary. The context gives the story roots, authenticity, and opportunity for some pretty wonderful, dreamlike sequences. Monroe’s sharp. The character of Ava is interior, speaking only as necessary, always thinking, weighting options. The performance feels caged, desperate but simultaneously controlled. Monroe’s long been a master of using stillness to manipulate a scene and an audience. She did it with precision in Watcher , among other films. Once again, Monroe uses an electric silence to say more than dialog could properly manage. Giroux surrounds her with a game supporting cast. Troy Kotsur delivers a particularly layered performance, and a cameo from Helen Hunt is chilling. There’s not a weak link in the ensemble, and barely a stray or needless phrase in the script. If anything, the film could have used maybe a few more sentences of exposition, especially as it closes. To leave so much up to interpretation invites the suggestion of plot holes, which In Cold Light doesn’t have, but it does leave more to the imagination than it probably should. Regardless, it’s a more than solid thriller and another impressive turn from Monroe. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Melaka film review by UK film critic Swati Verma . Starring Muhlis Gursoy directed by Muhlis Gursoy. HOME | FILMS | REVIEWS Melaka Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Aug 14, 2023 Directed by: Muhlis Gursoy Written by: Muhlis Gursoy Starring: Muhlis Gursoy The writer-director Muhlis Gursoy through his beautiful creation pays tribute to his motherland as well as his natural parent. The projects like Melaka and Istanbul allowed him to follow his passion and caught the attention of the surroundings. The plot of the movie revolves around a cinematic short film that takes one through the beauty of the city of Melaka Malaysia. Melaka opens with a black screen and an alarm vibrating while it continues to snooze off getting the audience ready to build an emotional connection with the content and gradually falling in love with the beauty of Melaka Malaysia from the very beginning of the screenplay. The transitions and continuity between the various shots are maintained to add realism and relatability to the subject matter and keep the viewers interested for the entire running time of the film. A series of long shots to showcase even the minute details of Gursoy’s travel experiences in this particular trip A series of mid-shots and close-up shots are used to capture the cultural references of Melaka to increase the degree of audience engagement with the movie. The set design, colour pallet, camera angles, locations, lighting, sound, dialogues, costume, hair, makeup, and props complement the subject matter as well as the mood of Melaka. In terms of performance, Muhlis Gursoy plays multiple roles like director, cinematographer, editor, and producer in making of this beautiful ode to express praise, glorification of the land that has seen one’s childhood and helped in becoming what one has always dreamed of and also to the mother who has given birth to their offspring to be able to do so. Gursoy brilliantly balances between technicalities of filmmaking and the much-required emotional depth to keep the audience engaged especially in case of such a short running time of the film. Nurhaiza Gursoy (Mother of Muhlis Gursoy) who becomes his biggest cheerleader as well as the inspiration behind kickstarting Melaka and discovering the love and passion relating to photography and videography. Melaka talks about staying true to one’s roots and appreciating the same every chance they get. The short film reiterates the importance of loving and supportive parents that can assist the child to achieve both short-term and long-term goals in life even with the regular struggles that everyone faces. The dramatic piece tells its audience about the significance of various experiences in life and the joy of capturing them with the help of the camera. The cinematic piece teaches us how essential it is to learn the art of giving back in the form of tribute for the unconditional love nature provides us with to blossom daily. The creative piece restates the power of expressing what one feels towards the place they belong to or their loved ones because there is no right time as such to plan these things and we as people should listen to our hearts/instincts. To Conclude, I would like to thank the makers for reintroducing major life lessons the viewers needed to revisit and its subtle treatment to make it close to real-life situations. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Grima film review by UK film critic Jason Knight. Starring Monroe Cline, Lynn Allinger directed by Richie Harrington. HOME | FILMS | REVIEWS Grima Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Nov 7, 2025 Directed by: Richie Harrington Written by: Richie Harrington Starring: Monroe Cline, Lynn Allinger A short horror film written and directed by Richie Harrington and starring Monroe Cline and Lynn Allinger. Regarding the title, just explaining that ''Grima'' has a variety of meanings and one of them is a feeling of disgust that is related to the sound of nails scratching a chalkboard, which is probably the most appropriate one considering the events in the story. Sinister things are taking place inside a classroom. All the students are sitting at their desks, completely still, with their heads down. Their teacher (Allinger) is walking around, inspecting them very closely, making sure they are all obeying. One of them, Jen (Cline), is not and the teacher (Finster is her name) confronts her and viciously makes sure that the unruly girl learns her lesson by applying her nails to the blackboard and making ugly noises. Five minutes of tension and spooky moments and nails scratching a chalkboard. This is a wickedly fun film, whose main strength is arguably Allinger's character, a teacher from hell. The screenplay loses no time becoming gripping, turning towars the supernatural and bringing the viewer in an environment filled with dread, with Brendan F. Cochran's ominous music and Larry Tang's cinematography fitting in just fine. The sound effects are another plus, especially when it comes to nails being pressured against a blackboard. A lot of creativity is clearly present in the special effects, creating grotesque moments like a face disintegrating and the skin being removed from a hand. Any negative observations? That would be hard. This is a very well-made short with plenty of scares. As mentioned, Finster is a major asset and this is because it is this character that creates most of the elements that make this film a horror story. Played brilliantly by Allinger, Finster is like Cruella de Vil, a wicked and terrifying person, who might even be a witch. Cline portrays the poor schoolgirl who falls victim to Finster's attention, being emotionally tormented for failing to learn discipline. The director states that this project acknowledges the awful sound of nails on chalkboard, something that greatly annoys him and there is plenty of that happening in this story. Blackboards and nails aside, punishment, fear, cruelty, guilt and honesty are other themes that drive this story. A horror film with a nightmarish teacher and the dreaded sound of combining nails with chalkboards. According to Harrington, this short is a proof of concept for a feature film and that is something to look forward to. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Let Me Go film review by UK film critic Jason Knight. Starring Bella Kouds, Jaime Jacobo directed by Elisa Gruber. HOME | FILMS | REVIEWS Let Me Go Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Jul 9, 2023 Directed by: Elisa Gruber Written by: Elisa Gruber Starring: Bella Kouds, Jaime Jacobo An experimental short film with surrealism. This piece of filmmaking appears to be focusing on the life of an unnamed young man, who seems to be living a solitary life in a house, in the countryside. There is hardly a narrative here, with no spoken words or even written words to help provide clues regarding what is going on here, who is this man and what is his current situation. Beginning with establishing shots of mountains in the desert, oceans, the sky and clouds, the film then moves on to the protagonist and the audience observes him as he engages in a variety of simple activities that include reading a book, washing his hands, taking a shower or sitting in a swimming pool. Things get more complicated with the arrival of a woman who appears to be his partner and a mysterious and sinister-looking figure that seems to be a woman wearing a black gown and having her face coveres in some kind of heavy makeup that makes her look beautiful and threatening at the same time. From then on, the film keeps on cutting bewteen the man by himself, him having intercourse with his partner and the strange figure wondering around without an obvious reason. What the film is about is probably open to interpretation. It appears to be exploring loneliness, nostalgia and depression, as the man gives the impression that he is lonely and suicidal because he puts his head underwater in the pool, presumably to drown himself and the sex scenes might be his memories of a relationship that ended. And the bizarre, otherworldly figure? She could be a manifestation of the man's nightmares and emotional wounds. As mentioned, there is no speech, instead the audio begins with chanting and then whispering that carries on throughout the film, accompanied by a wonderful piano score. There are awkward camera movements and quite a few repetitions, meaning shots that are shown again and again. What is the point of this? Not very clear. There are creative lighting techniques and frequent use of split screen and superimposition. Three things stand out in this short. One is the dark figure, another is the piano melody and the other are the sex scenes, which are quite intimate. If these three are taken away, what is left that provides any sort of significance here? Not much. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

I Wanna Dance With Somebody film review by UK film critic Brian Penn. Starring Naomi Ackie, Tamara Tunie, Stanley Tucci, Clarke Peters directed by Kasi Lemmons. HOME | FILMS | REVIEWS I Wanna Dance With Somebody Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Dec 28, 2022 Directed by: Kasi Lemmons Written by: Anthony McCarten Starring: Naomi Ackie, Tamara Tunie, Stanley Tucci, Clarke Peters Biopics can be strange and unpredictable beasts; sometimes wildly inaccurate and unduly sensational, they can present a gross distortion that looks no further than a trashy tabloid headline. But occasionally they become a work of art; a portrayal of real people leading real lives; a story that balances fact against the required level of fiction to carry it on screen. Whitney Houston had a life touched by genius but wrecked by the expectation of others. A unique talent that left us far too soon and now sadly confined to the history books. I wanna dance with somebody is the title of Whitney's bouncy, chart topping pop anthem from 1985. But the story begins in the gospel drenched atmosphere of church. Whitney Houston (Naomi Ackie) is a prodigious teenager with model looks and an extraordinary voice. The hothouse environment is assured by mother Cissy (Tamara Tunie), herself a legendary session vocalist. Her potential is realised by Clive Davis (Stanley Tucci) who signs her for Arista Records. A wildly successful career follows; three diamond albums, seven consecutive US number 1's and a starring role in the Bodyguard, one of the biggest grossing films of the 90s. However, the duplicitous John Houston (Clarke Peters) soon exploits his position as Whitney's father and manager; while a toxic relationship with singer Bobby Brown (Ashton Sanders) adds to an increasingly troubled life. Overall, the film is faithful to Whitney's memory without beautifying her image. It seems to bear out much of what is already known about her life. For example, it's entirely upfront about her addiction to drugs and alcohol. The level of exploitation exerted by John Houston is alarming and well documented. Her conflicted sexuality is also explored in detail, particularly her relationship with personal assistant Robyn Crawford. All of which adds little to the sum of human knowledge. The film's producer is Pat Houston, Whitney's sister-in-law, who is presumably an insider ‘who knew’. However, one always has to take into account an individual perception of events. But it’s still hugely entertaining and represents one of the great icons of popular culture. For those who recall the 80s Whitney was the voice with singular appeal; it rekindles precious memories of the last truly great decade for pop music. English actor Naomi Ackie is excellent and captures Whitney’s mannerisms with great precision. Wisely, she lip-synchs on her biggest hits but add her own vocals where possible. What lingers most strongly is Whitney’s outrageous talent; someone who could turn ordinary songs into classics with a vocal flourish. Beyoncé and Mariah Carey are nothing more than tribute acts trailing in her wake. But how incredibly sad that her life ended in the way it did. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Memory film review by UK film critic Hope Madden. Starring Jessica Chastain, Peter Sarsgaard, Brooke Timber directed by Michel Franco. HOME | FILMS | REVIEWS Memory Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 11, 2024 Directed by: Michel Franco Written by: Michel Franco Starring: Jessica Chastain, Peter Sarsgaard, Brooke Timber “I remember…” These are the first words uttered in Michel Franco’s deceptively spare drama, Memory. Sylvia (Jessica Chastain) is celebrating 13 years of sobriety at an AA meeting. She’s brought her daughter, and those around her are remembering her impact on them. For the next 140 minutes, Franco examines what’s true and what’s faulty in the human memory, and what he finds is sometimes harsh and unpleasant, but just often, profoundly tender. Chastain’s performance is brittle but with complexity and depth. Sylvia’s life, and her hard-edged wall, are built from the years of being denied her truth. She knows who she is and she’s doing what she can with that. Saul (Peter Sarsgaard, astonishing) does not always know who he is, but when he does the film shimmers with life and humanity. Saul follows Sylvia home from a high school reunion of sorts. The catalyst is provocative in that it makes Sylvie reconsider her own memory, which allows those around her to reignite their assault on its veracity. A razor-sharp ensemble lends remarkable support to Chastain and Sarsgaard. Jessica Harper, in particular, is picture perfect, her sly and cheery manipulation leading to an emotional climax blistered by authenticity. Memory is a bit of a departure for Franco, who’s films often keep audiences at arm’s length from the emotional turmoil beneath a character’s enigmatic surface. Not so here. Chastain’s slowly melting wall of ice creates real intimacy, and what she reveals beneath is raw. She and Sarsgaard are veteran talents reveling in an opportunity to discard artifice and create something untidy. Their work, particularly in scenes together, testifies again to each actor’s remarkable skill. Franco’s films rarely answer all the questions they ask, and can feel almost shapeless and often hopeless. Memory is a departure here as well. Though it’s far less rigidly structured than many Hollywood films, there’s a comforting structure to it and, more comforting, an undeniable spark of hope. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Stopmotion film review by UK film critic Hope Madden. Starring Aisling Franciosi, Caoilinn Springall,TomYork directed by Roberg Morgan. HOME | FILMS | REVIEWS Stopmotion Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 20, 2024 Directed by: Roberg Morgan Written by: Robin King, Robert Morgan Starring: Aisling Franciosi, Caoilinn Springall,TomYork There will be moments when you’re watching Robert Morgan’s macabre vision Stopmotion that you’ll think you see the twists as they’re coming. That’s a trick. Morgan, writing with Robin King, assumes you’ll catch the handful of common horror twists, but he knows that you won’t predict the real story unfolding. Although you should because he’s given you every clue. Aisling Franciosi (The Nightingale ) is Ella. She’d like to make her own stop-motion animated film, but instead she’s helping her mom finish hers. Ella’s domineering mother Suzanne (Stella Gonet, very stern) is a legend in the field, and she makes Ella feel as if she has no stories of her own to tell. But when Suzanne is hospitalized, Ella determines to finish her mother’s film. Her boyfriend Tom (Tom York) sets Ella up in a run down, empty flat where she can work and he can check in on her, bring dinner and take care of her. Sounds perfect, doesn’t it? Unless Ella really has no stories to tell, or the story she tells is too scary, even for her. Stopmotion delivers a trippy, uncomfortable, and deeply felt tale of a struggling artist. This is a descent into madness horror of sorts, but it’s also the story of an artist coming to a realization about what scares her most. Franciosi’s turn is brittle and often internal. Ella’s insecurities float to the surface, and Franciosi’s unafraid to make the protagonist frequently unlikeable. The dual storylines—live action and animation—are both well told, but the real pleasure is in the gruesomely tactile movie Ella is making. Her characters—wax and feather, bone and blood and ash—come to life in a lumbering, grotesque way that hints at any number of possible horrors. This should come as no surprise to anyone who’s seen Morgan’s animated shorts, including “D Is for Deloused” in ABCs of Death . The animator sees the monstrous possibilities in his medium, clearly. But his feature debut balances that with an existential ugliness in Ella’s real life, and thanks to committed and nuanced performances from the whole small ensemble, both sides keep you riveted. About the Film Critic Hope Madden Theatrical Release, Indie Feature Film, Animation < All Reviews Next Film Review >

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