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Nativity film review by UK film critic Amber Jackson. Starring Brandon J. Somerville, Patricia Galvez, Jennifer Titus directed by Zach Caplan. HOME | FILMS | REVIEWS Nativity Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Feb 24, 2023 Directed by: Zach Caplan Written by: Brandon J. Somerville Starring: Brandon J. Somerville, Patricia Galvez, Jennifer Titus Written by Brandon J. Somerville, Nativity is a wild introspective look into the future of technology and its potential control over humanity. The short film portrays a young married couple in the year 2092 who meet with their doctor to genetically construct their first child, but as they have to make more decisions about this chapter of their future, they encounter great difficulty with the situation as well as with each other. With the plot getting straight to the point, and themes drawing the viewer in and potentially starting audience debate, Nativity feels like a terrifying look at what humanity could become if given the chance. ‘The Nativity Program’ that this young couple encounter is a section of healthcare that has been developed to allow parents autonomy and choice when starting a family. Parents are able to select physical and emotional characteristics, as well as personality type for their unborn child, as well as how they are born. However, although appealing to the young couple at the start, issues and confusion soon arise as they come into conflict with each other as well as the system. Themes are obvious from the outset, as the doctor leading the conversation states: “the margin for error is slim now, we can’t afford unproductive members of society in America anymore.” It highlights a contemporary debate over technology being overproduced, as well as an existential look into a future society. Whilst the script over-explains in parts, it speaks on a very unique concept for a film that is very well presented. There are clear fears concerning scientific development, history and the unknown, particularly considering tradition versus new medicine - issues relevant to our current world. As 2092 is now less than seventy years away, the idea of a large change to having a baby existing in the near future feels terrifying. It is easy for viewers to feel fully immersed in every scene because of this, as they are encouraged to consider what the right decision is for the couple, or if there is such a thing as a right decision. Two parents debating human existence makes for compelling viewing, as the choices that they make are overwhelming and previously not physically possible. Each actor gives a fantastic performance as they do well to portray confused and existential people who feel differently about a situation. The struggle over fearing a loss of humanity and something sacred to human existence versus a woman’s right to choose concerning childbirth and sacrifices is also a brilliant conflict to display on screen with such humanity and heartache and this is portrayed with sensitivity. This short film is ultimately a well-made scientific dilemma that is delicately handled on screen, yet probes its audience to ponder over a wild future for humanity. When humans are permitted to ‘play creator’ on screen, traditionally it is turbulent and traumatic. Yet, with this short film, it leaves these characters and the film’s end in a more ambiguous way, as if left deliberately unresolved or up to personal interpretation. This is the best and only way that Nativity could end - because what is the right decision? About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Mr Burton film review by UK film critic Chris Olson. Starring Toby Jones, Harry Lawtey directed by Marc Evans. HOME | FILMS | REVIEWS Mr Burton Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 3, 2025 Directed by: Marc Evans Written by: Tom Bullough, Josh Hyams Starring: Toby Jones, Harry Lawtey An enigmatic Toby Jones and revelatory Harry Lawtey head up this enchanting biopic of an actor once coined "the natural successor to Olivier" by critic Kenneth Tynan. Set in 1942 in Port Talbot, Mr Burton navigates the story of Richard Burton CBE - Wales’ greatest star. We meet a young Rich (Lawtey) in typically humble beginnings. The son of a drunken miner, Rich lives with his doting sister (Aimee-Ffion Edwards) and her curmudgeonly husband (Aneurin Barnard), the latter of whom is desperate for Rich to either pay his way or move out. Finding inspiration and solace through the firm but fair teacher, Mr Burton (Jones), Rich quickly finds his life’s calling of becoming an actor. The Master and the Student formula works well here, not least because it’s based on a true story. Audiences will feel in familiar territory as we see the heartwarming arc of a cold yet clearly caring teacher embrace the talented yet tragic teen, nurturting him to become not just a world-famous actor but also to feel loved by someone. Whilst there are pacing issues with the film, Mr Burton has a rich and sumptuous atmosphere that beautifully captures these fascinating characters and the difficult times they lived in. Not only do they have the hardships of wartime Wales to deal with, but notes of speculation about orientation and scandalous living arrangements also play out, giving the movie a powerful subplot. It is Rich’s social disconnect that is the film’s most powerful theme; however, he wants to become an actor, play different people, and is happy to change the sound of his voice, the clothes he wears - he doesn’t feel connected to his identity. His palpable fear that no one wants him becomes cemented in a brilliant scene where Mr Burton meets Rich’s biological father (Steffan Rhodri) regarding a name change. The mise en scene is sublime, beautifully recreating the time period, as well as the enchanting music, which adds to the classical depth being explored in the film’s obvious passion for theatre, acting, and indeed Wales. The payoff is well worth the journey, if only to spend time with fantastic actors paying homage to another fantastic actor. MR BURTON WILL SCREEN ON 10 NOVEMBER 2025 AT 8PM ON BBC ONE About the Film Critic Chris Olson Digital / DVD Release < All Reviews Next Film Review >

The Seductress from Hell film review by UK film critic Jason Knight. Starring Rocio Scotto, Jason Faunt, Raj Jawa, Kylie Rohrer, James Hyde directed by Andrew de Burgh. HOME | FILMS | REVIEWS The Seductress from Hell Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 21, 2024 Directed by: Andrew de Burgh Written by: Andrew de Burgh Starring: Rocio Scotto, Jason Faunt, Raj Jawa, Kylie Rohrer, James Hyde Following a lengthy period of torment, a young woman resorts to murder. Zara (Scotto) is an aspiring actress living in Los Angeles with her husband, Robert (Faunt). Unfortunately, things are not good as the couple is facing financial difficulties. To make matters worse, Robert is an abusive partner and Zara is the victim of his controlling and violent behaviour. Eventually, she reaches breaking point and decides that she is not going to take it anymore and kills him. However, her murderous actions will not stop there, as she proceeds to target other individuals, while her acquaintances Derek (Jawa) and Maya (Rohrer) become suspicious. A slow-paced psychological horror feature that centers on a woman being pushed over the edge by abuse and turning into a vengeful monster. Zara's character goes through significant development as she turns from a quiet, frightened youth who is (from various perspectives) being held prisoner by her domineering spouse, into a cold-blooded and methodical killer. Her transformation does not occur overnight, but has being building up over time, as suggested by a notebook with contents about satanism that she keeps hidden. What changes mostly inside her (apart from becoming a murderer) is confidence. Rebelling against her spouse and the world in general seems to have given her a great deal of self-esteem, which she uses in order to become independent. It could be argued that to some degree, this film contains elements of misandry. This might be indicated by the fact that some male characters are presented in a negative light. For instance, there is Robert, a double-faced, abusive husband. Then, there is Jeffrey (Hyde), the film producer Zara meets, who seems to view women primarily as sexual objects. And there is also a disrespectful police officer (Andy Lauer). By having these male characters containing such negative traits, it would be hard not to perceive that the film is exposing the dark side of men. Arguably, the highlights are the numerous times when Zara has one of her victims bound, completely at her mercy. The feeling of dread is heavy as she torments them ansd tells them the nasty things she intends to do to them, but so is the drama, as she explains herself, revealing the torment she went through and her rather dark perspectives regarding the world. She believes that she is punishing bad people and she takes pleasure in doing so. There is creative use of lighting and the director utilises unconventional camera angles and frequent long takes. The sinister score by Elezeid helps create a dark atmosphere throughout. On the surface, this is a psychological horror film that also dwells into the slasher genre. Looking further, it is a story about abuse, revenge and rebellion that also looks into domestic violence and dishonesty. Sometimes the acting is unconvincing and some viewers are likely to find the slow pace frustrating. Nevertheless, this is an intriguing feature that gains a lot of quality thanks to the sinister atmosphere and Scotto's dramatic performance. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Mandrake film review by UK film critic Hope Madden. Starring Dierdre Mullins, Derbhle Crotty directed by Lynne Davison. HOME | FILMS | REVIEWS Mandrake Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 8, 2022 Directed by: Lynne Davison Written by: Matt Harvey Starring: Dierdre Mullins, Derbhle Crotty I have about six different cousins named Cathy Madden, but Lynne Davison’s Mandrake is not about any of them. I hope. Davison’s tale follows probation officer Cathy Madden (Dierdre Mullins), whose recently assigned client, Mary Laidlaw (Derbhle Crotty), has the county in a tizzy. Old “Bloody” Mary is thought to be a witch, you see, and no one’s too keen on her being let out after what she did to her husband in those woods. Twenty years wasn’t long enough. It’s tough to do something surprising within the witch genre. These films generally fall into two categories: she’s evil and in league with Satan, or she’s misunderstood and being wronged by hateful townfolk. Davison blurs that line. Her handling of Matt Harvey’s script treads a provocative path of moral ambiguity that requires constant guesswork and generates real dread. Connor Rotherham’s cinematography draws out the best in Vanessa O’Connor’s production design to give Bloody Mary’s environment a primal, organic and dizzying feel. Everything is draped in moss and knotted with roots. You can almost smell the rotting leaves. It’s gorgeous and dense, simultaneously lovely and terrifying. Crotty, all wild hair and knowing eyes, blends effortlessly into this primordial world. Mullins perfectly complements that performance with her own complex take on Madden. Straightforward with no time for nonsense, the parole officer still weakens, and Mullins finds depth here. The two performers play on their opposing look and vibe not to illustrate differences but to unveil sympathies. Mandrake never falls back on one-dimensionality. Characters are messy. They do the wrong thing, then the right thing; behave monstrously and also with kindness. The film is also mercifully light on religion, instead pitting the scientific world against something older. Whether that world and its options are more sinister is in the eye of the beholder. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Malum film review by UK film critic Hope Madden. Starring Jessica Sula directed by Anthony DiBlasi. HOME | FILMS | REVIEWS Malum Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 28, 2023 Directed by: Anthony DiBlasi Written by: Anthony DiBlasi, Scott Poiley Starring: Jessica Sula Equal parts Assault on Precinct 13 and The Shining by way of Charles Manson, Anthony DiBlasi’s Malum is a quick, mean, mad look into the abyss. Jessica Sula stars as a rookie cop whose first night on the job is a babysitting gig, so to speak. The new station is up and running and all she has to do is sit tight at the old station, redirect anyone who stops by, and wait for morning. So far, so Carpenter. Jessica (her character’s name, as well) actually requested this stint because her dad, a hero, ended his career in this very building and she just wants the two careers to overlap, if only for one shift. But the cult that her father put an end to one year ago tonight has designs on Jessica. DiBlasi is reimagining his own 2014 flick Last Shift , although it feels more like a riff on Carpenter’s 1976 Precinct 13 than anything. Regardless, what the filmmaker does is confine the audience along with our hero in a funhouse. As the film wears on its nightmarish vibe intensifies. Weird characters and genuinely unsettling scenarios play out, some of them predictable but most of them surprises. The jump scares work, the gore plays, and the creature effects are top notch. Inspired supporting turns from Natalie Victoria, Sam Brooks and Kevin Wayne keep the bizarre tensions building and Sula’s grounded, understated hero holds the mayhem together well. Malum gets nuts, exactly as it should. Though it never feels genuinely unique, it manages to avoid feeling derivative because of DiBlasi’s commitment to the grisly madness afoot. The result is a solid, blood soaked bit of genre entertainment fully worthy of your 92 minutes. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Blurred Lines film review by UK film critic Chris Olson. Starring Ryan Brown, Jonathan Taylor, Simon Connolly directed by Corry Raymond. HOME | FILMS | REVIEWS Blurred Lines Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 22, 2022 Directed by: Corry Raymond Written by: Corry Raymond Starring: Ryan Brown, Jonathan Taylor, Simon Connolly Half legal drama half personal, short film Blurred Lines explores the copyright infringement case around the popular 2013 song of the same name. Robin Thicke provides vocals on the track and is played by Ryan Bown. We see the man struggle when questioned about his involvement with the song, and his personal battle with drugs and alcohol during the recording and the promotion since. Pharrell Williams (played by Jonathan Taylor) is also under heavy fire, calling into question his abilities as a songwriter and whether he borrowed elements of music from Marvin Gaye in order to create the infamous song. With a polished finish and a well-crafted sense of conflict and tension throughout, Blurred Lines is a short film that uses the faces of its characters to do the bulk of the heavy lifting. We are given plenty of close-up shots of Robin and Pharrell to expertly expose their anxiety, whilst jumping around chronologically in the story in order to keep the viewer on their toes. We see the characters in the studio, seemingly excited about the “birth” of the song but there is also a sense of foreboding in some of the non-verbal exchanges. The scenes where they are giving testimony see these tensions come to bear, as each of the main characters seems troubled in different ways as to how they ended up here. This is brilliantly exampled when Robin plays out a popular chord progression on a small keyboard, in order to demonstrate the plethora of pop songs that use it. His attempt to redeem himself with Pharrell by restoring the dents to the former NERD artist’s reputation feels loaded with regret and pathos. The editing is important in the film to reflect Thicke’s troubled state of mind. We jump bluntly from his interview answers to them being read back to him in the legal setting. This is unnerving viewing and the performance of Simon Connolly as the questioner is full of brilliant intimidation and cool retorts. As with any representation of history, it’s going to be difficult to cover all angles. With Blurred Lines, it feels that this isn’t short film territory. There’s not enough development given to the backstory or the outcome and it feels that we are given a snapshot of something that needed to be much bigger. The angst between Thicke and Williams needed to be played out over a longer period in order for the culmination and payoff to be more effective. As it is, the film is engaging, stylishly filmed, and full of plenty of highlights, viewers may just find themselves without much time to explore the space between the lines. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Samvarana (Closure) film review by UK film critic James Learoyd. Starring Mehul Bhatt directed by Monil Kumar. HOME | FILMS | REVIEWS Samvarana (Closure) Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 12, 2024 Directed by: Monil Kumar Written by: Monil Kumar Starring: Mehul Bhatt Samvarana (Closure) is an interesting and honest portrayal of family estrangement, written and directed by Monil Kumar. It tells the story of a father (played by Mehul Bhatt) whose wife is seriously ill, so, he attempts to make contact with his son who has his own family and whom he hasn’t been able to see for many years. It’s a film about isolation, loneliness and the pain of wanting to fix something in one’s life which may very well be unfixable. We follow the protagonist as he recalls memories, leaves voicemails, and goes to his son’s house – but to no success. Much of the short effectively captures these difficult feelings; however, its plot-light approach, in addition to a couple technical mishaps, means that we don’t quite engage in the emotions being conveyed as much as the filmmakers may want us to. But nevertheless, the script is subtle, poignant and feels as if it comes from a deeply personal place, therefore it is absolutely worth your attention. There are some lovely visual concepts on display in this picture. For instance, there’s a wonderful moment in which the protagonist recalls him and his wife sitting on a bench peacefully; then, the filmmakers cleverly use the sunset to transition to a different time wherein the two characters are replaced with children playing in the park -- the colours are different, but the composition of the shot remains the same. This is some intelligent filmmaking, and utilises film as a form of expression to the best of its ability (i.e. no dialogue needed). Unfortunately, a few shots in the movie appear slightly flat looking. Shot digitally, most exterior sequences are filmed using tight apertures – exposing dust on the lens or sensor. It would also appear that, despite everything being in focus in this manner, the camera has been set to auto-focus which means that there’s the occasional jitter. What the camerawork displays, however, is that the cinematographer and director clearly comprehend the language of shot sequencing; how to implement closeups and wide shots and when, so I really admire the film’s coverage even if (from a cold, technical standpoint) there’s a hiccup here and there. The narrative of Samvarana, as sparse as it is, holds a kind of authenticity. To be estranged from a family member is such a common but crushing part of everyday life, and what this short film aims to capture is less the event itself, and more the quiet, reflective darkness which comes with time flying by. It’s quite profound, although offers no resolution - suggesting, one supposes, that there is no resolution to be found within such a situation. And yet the titular “closure” arguably comes at the very beginning, in the form of an onscreen quote which argues that one must “let go” so as to enjoy living in the moment. To conclude, the film is a terrific effort and it’s available to watch for free right now on YouTube. It also feels like an early work from artists who will grow creatively and go on to create even more amazing works. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Daylight Saving Time film review by UK film critic William Curzon. Starring Zara Flynn directed by David Vail. HOME | FILMS | REVIEWS Daylight Saving Time Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 15, 2025 Directed by: David Vail Written by: David Vail Starring: Zara Flynn Daylight Saving Time is a self-reflection on grief, depression and self-loathing through the lens of a broken individual grappling with the sudden loss of her partner. Presented through surrealism, the narrative features a drug-fueled protagonist and a moody atmosphere that pervades the story. The film deals with the repercussions of the damage grief can cause to ourselves and to others, and the exploration of addiction as a coping mechanism for pain. The piece opens with a high pulse and energetic energy stylistically, utilising music within a party sequence as the central character drowns out her self-pity through excess and loudness while partying. The camera chooses to focus on her body through visual storytelling to convey the profound pain she is putting herself through to numb the pain of her inner turmoil. The focus then slowly transitions into self-reflection as the central character tries to piece together her grief and why her partner chose to commit suicide. The use of voice-over is another effective narrative device that feels unsettling due to its placement within dream-like sequences. While the narrative can feel stagnant due to the piece being presented through a surrealist angle, the central performance does keep the story engaging, even if it is demanding to experience frequently due to the sombre subject matter. At times, the story can also feel confused, due to the character’s state of mind vastly changing through her drug and alcohol addiction. While this does a solid job of conveying the visceral point of view of its central protagonist, it would have been beneficial to give more leeway to the viewer due to how challenging and ambiguous it can feel. One of the substantial standouts of the piece is the musical score. Wonderfully composed by Ryan Vail, the score is melancholic and haunting to reflect the film's themes and potentially aid the overall level of emotional resonance to leave a lasting impact on the viewer long after the credits roll. Another stylistic choice that stands out formally is the use of black and white cinematography to potentially convey the protagonist letting go of her grief and falling into the depths of her destructive release. The direction is truly splendid due to how it cuts from scenes of excess to more calm and reflective scenes; a heavy use of close-ups tracks the protagonist to express urgency and changing states of mind. Tonally, these themes can be tough to grasp as a viewer due to how uncompromising this feels while exploring themes of suicide, depression and grief. However, filmmakers need to shine a light on heavy themes such as this to let others know they're not alone in this, and cinema can be a mirror of reality for some to escape into. Even with a condensed runtime, the piece does an incredible job of expressing its themes and giving the audience a sense of what the central character is going through. The conclusion to the narrative is ambiguous and haunting in what is suggested for the character’s fate. Daylight Saving Time is a compelling depiction of the destruction grief can cause to individuals and a visceral sensory experience due to how painstakingly raw it is. Led tremendously by a terrific central performance from Zara Flynn, and wonderfully written and directed by David Vail. While the piece can feel exhausting to endure by the end of the runtime, it still manages to feel astoundingly powerful and haunting in its presentation, even with its faults along the way. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Sonic the Hedgehog 2 film review by UK film critic George Wolf. Starring Ben Schwartz, Idris Elba, Jim Carrey directed by Jeff Fowler. HOME | FILMS | REVIEWS Sonic the Hedgehog 2 Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Apr 6, 2022 Directed by: Jeff Fowler Written by: Pat Casey, Josh Miller, John Whittington Starring: Ben Schwartz, Idris Elba, Jim Carrey I apologize in advance if I slip and call him Crash Bandicoot. I know it’s Sonic – Sonic the Hedgehog, but I’ve got limited first hand experience with any game after Frogger and sometimes get careless. I do have experience with the first Sonic the Hedgehog movie from two years ago, so more of that same broadly-drawn, kid-friendly eye candy was not a surprise. What I wasn’t expecting was so much more of it, and those 30 extra minutes turn a harmlessly forgettable romp into a real test of patience. Most of the gang returns from part one, including Ben Schwartz as the voice of Sonic, that speedy little alien who runs around Seattle looking for opportunities to earn the heroic moniker of “Blue Justice!” But his human “dad” Tom (James Marsden) cautions Sonic of the need to grow up and remember that the moments that make a hero are not for him to choose. Sonic will get those chances to prove himself, thanks to the return Dr. Robotnik aka “Eggman” (Jim Carrey) and a new, not blue meanie from space. The ginger-maned Knuckles (voiced by Idris Elba) is a skilled Akidna warrior with an old score to settle against the hedgehog. That means Sonic and his buttcopter-powered pal Tails (voiced by Colleen O’Shaughnessey) will have to fight harder than ever to make sure the all-powerful Master Emerald does not fall into evil hands. Director Jeff Fowler again shows a good feel for letting the effects department do some flexing, and the mixing of live-action with animation is admittedly impressive. But like the first film, the storytelling here is so exaggerated that even Carrey’s cartoonish mugging doesn’t seem that much over the top. Screenwriters Pat Casey and Josh Miller get an assist this time from John Whittington (The Lego Batman Movie ), but are still committed to putting big, obvious eyebrows on nearly everything. The welcome exception is Knuckles, and Elba’s perfectly authoritative delivery makes his character’s humorless interactions that much more humorous. It’s the one aspect of the film that doesn’t seem geared to keep the attention of easily distracted children. But hey, kids, how do you like dance offs? Sonic 2 sets the needle drop and move busting level to unnecessary, pushing the run time to nearly two hours, even before the obligatory mid-credits peek at part three. And all this time I thought speed was Sonic’s superpower. Or maybe that’s Crash. About the Film Critic George Wolf Theatrical Release, Animation < All Reviews Next Film Review >

Far From Water film review by UK film critic Jason Knight. Starring Lucas Nealon, Jarid Dominguez directed by Josh Cox. HOME | FILMS | REVIEWS Far From Water Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 3, 2025 Directed by: Josh Cox Written by: Josh Cox Starring: Lucas Nealon, Jarid Dominguez A short drama written and directed by Josh Cox and starring Lucas Nealon and Jarid Dominguez. Two male youths (Nealon and Dominguez) arrive at an isolated beach. There, they undress and go for a playful swim. Then, they lay on the grass and get intimate. However, all does not seem to be well. Two young men, alone, in the countryside. With this simple premise, this short tells a dramatic story about a romance that may already exist or could be just beginning. By having very limited dialogue and providing almost no information about the lives of the two protagonists, the story is mysterious and that is probably because the goal was to concentrate on the relationship, the romance, which appears to be unstable. Things start out joyfully, with the two youths enjoying each other's company and after they get intimate, the atmosphere changes, making it questionable whether the romance that develops is welcomed by the youngsters. Cox took on many roles for this project, including cinematographer and editor and the result is a viewing experience that contains wonderful shots of the beach, the ocean, the forest and the sky. The fact that the weather is unsettling adds to the drama and so does the beautiful music. The story centres on the two characters and they are the only ones in the film. The are brought together by the fact that they are attracted to each other, however, Dominguez's character appears to be the one who is unsure about the relationship, much to the dissatisfaction of the other guy. Through a homosexual romance, the screenplay explores happiness, peacefulness, self-discovery, as well as regrets and uncertainty. A four-and-a-half-minute-long film about an unsteady homosexual relationship between two young men. During its short duration, the script is able to generate a great deal of drama and end on a note of significant character development. A moving and thoughtful viewing. About the Film Critic Jason Knight Short Film, LGBTQ+ < All Reviews Next Film Review >

Gladiator II film review by UK film critic Hope Madden. Starring Paul Mescal, Denzel Washington, Connie Nielsen directed by Ridley Scott. HOME | FILMS | REVIEWS Gladiator II Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 20, 2024 Directed by: Ridley Scott Written by: David Scarpa, Peter Craig, David Franzoni Starring: Paul Mescal, Denzel Washington, Connie Nielsen Ridley Scott knows how to stage an epic. At 87, he’s lost none of his flair with massive battles on land or sea, nor with the brutal intimacy of hand-to-hand combat. And he still knows how to cast a movie. His narrative skills have taken a step back, but his eye has rarely been sharper. It’s been 24 years since Scott’s Oscar-bedecked Gladiator cemented its position as the best sword-and-sandal film, but in the age of Caesars, only 14 years have passed. Scott opens Gladiator II with a lovely animated sequence honoring the fallen Maximux, as well as many of the filmmaker’s most iconic images. And then we land on the film’s present-day African coast, a battle with a Roman navy led by Acacius (Pedro Pascal), a nation subdued, and a grieving widower (Paul Mescal) claimed as prisoner of war. But we know he’s no ordinary prisoner. For the next 2+ hours, Scott toys with “echoes through eternity” as he undermines much of the rebellious political nature of his original in favor of a returning king parable. That, a few wobbly accents, a couple of narrative dead spots, and a really poor decision involving sharks weaken the sequel. But a good gladiator can’t be stopped, and Mescal is a really good gladiator. Russell Crow layered righteous rage with tenderness. Mescal replaces that tenderness with a vulnerability that only makes the rage more unruly. A touch of mischievous good humor humanizes the character and compels attention. As does Denzel Washington. I dare you to take your eyes off him. Vain but wise, calculating and saucy, Washington’s Macrinus proves a much more complicated foe than the original’s wholly dishonorable, incestuous crybaby Commodus. But the simplicity of good v evil clarified Gladiator ’s appeal. Macrinus is harder to hate. Joseph Quinn and Fred Hechinger supply the syphilitic excess this go-round as twin Emperors Geta and Caracalla. Connie Nielsen returns, regal as ever, though no more skilled at staging coups. The balance of the cast is uniformly solid if not entirely memorable. Gladiator II delivers an often exhilarating, mainly gorgeous spectacle populated by enigmatic characters performed admirably. It does not live up to Gladiator . But what could? About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Chantilly Bridge film review by UK film critic Tori Hanes. Starring Talia Shire, Ally Sheedy, Helen Slater, JoBeth Williams, Jill Eikenberry directed by Linda Yellen. HOME | FILMS | REVIEWS Chantilly Bridge Film Review average rating is 3 out of 5 Critic: Tori Hanes | Posted on: Mar 24, 2023 Directed by: Linda Yellen Written by: Michael Leeds, Linda Yellen Starring: Talia Shire, Ally Sheedy, Helen Slater, JoBeth Williams, Jill Eikenberry ime: the paramount unreasonable force, promised to break most any sacred bond Earth has to offer. Navigation through the inevitable – birth, death, marriage, divorce, getting drunk with your friends – will be the muse of filmmakers until our rock stops spinning. Chantilly Bridge is, in so many ways, a unique viewing experience. Going in completely blind, it’ll take unfamiliar audiences a hefty portion of their viewing time and brain power (unless they constitute the aid of ol’ pal Google) to decipher that this film is a sequel. Its predecessor, Chantilly Lace , was released 30 years ago into the warm reception of television movie stardom. Director and co-writer Linda Yellen returns for Chantilly Bridge , leaning on presumed familiarity like a splintered crutch to shape her wobbly narrative. Initially enlisting confusing flashbacks to scoot forward a clunky and unimpressive premise, Bridge eventually cracks the crutch over their good knee and sprints forward toward the meat of the film: the character chemistry. The cast is loaded with veteran talent, including Talia Shire, Ally Sheedy, JoBeth Williams, Helen Slater, Jill Eikenberry and Lindsay Crouse, who all reprise their roles from ’93. The chemistry is palpable, and the film relies on improvisation to fill in the massive gaps between loose plot beats. These moments of filler snuggled within the “story” are to be savored. They’re teeming with the authenticity that makes film viewing a life affirming experience. If you’ve ever been lucky enough to find yourself intertwined in a conversation steered by women who deeply, irrevocably, unconditionally care for each other, you’ll feel Chantilly Bridge ’s genius stir the deepest cockles of your heart. What’s maddening is the production’s backward desire to hinder enjoyment. The cinematography makes the film’s made-for-tv roots obvious: intensive exposure and lighting, clinical color palettes, and jarringly un-inherent shots. Often, speakers will be out of frame for incredibly long beats while the camera lingers on a polite listener. This coincides with the clunky moments of obvious scriptedness – when Chantilly Bridge attempts to be a film, it largely fails. When it allows itself to be a vehicle for female friendship, it astounds. Through the nauseatingly winding start, an angry thought flickered: “how can a film say so much and mean nothing?” As the women on screen selflessly shared the complexities of connection and joy, the same thought reemerged in the shape of an ashamed trickle: “how could I have been so stupid?” About the Film Critic Tori Hanes Digital / DVD Release < All Reviews Next Film Review >