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A Manchester Story film review by UK film critic Jason Knight. Starring Figen Murray, Clint Boon, Michael Cox, Dr. Cath Hill, Adam Lawler directed by Anton Arenko. HOME | FILMS | REVIEWS A Manchester Story Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 31, 2022 Directed by: Anton Arenko Written by: N/A Starring: Figen Murray, Clint Boon, Michael Cox, Dr. Cath Hill, Adam Lawler A powerful, moving and inspiring documentary about the generous and courageous contributions and achievements that people in Manchester completed, following the devastating attack that was carried out by a suicide bomber at the Manchester Arena on the 22 of May 2017, shortly after a concert by American singer Ariana Grande had taken place. Basically, the structure of this documentary consists of several individuals being interviewed. These individuals consist of people who where deeply affected by the terrible event, some of which where present at the arena when the explosion occurred. These people explain how their life was affected by the attack and how they were motivated them to take action and do things that will help their community and these include organising an event involving hundreds of bikers, making sure that traumatised survivors get the support they need, setting up a choir called the 'Manchester Survivors Club' and tatooing images of the Machester Bee on people. These actions were done with the intention of honoring the ones who lost their life because of the incident and to show that the city of Manchester has not been broken by the event and that the people who live there are strong, united and able to overcome destructive events and their aftermath. Some of the interviewees include Eve Senior, a young dancer who was severely injured and was determined to dance again. Michael Cox, a biker who helped organise a massive gathering of bikers for strength and support, Figen Murray, who lost her son Martyn Hett due to the incident and decided to do her part in making security tighter at public events and tattoo artist Sam Barber, who started spreading tattoos of the Manchester worker bee, which is an emblem of the city and represents unity. All the interviewees come across as friendly, caring and intelligent and it is emotional listening to their stories and they also show that they are determined to be strong and help others. Aside from the interviews, there is also footage of crowds attending events, paying tribute to the victims and footage of the interior of the arena during that fateful night. There are photographs of some of the victims, the interviewees and of people participating in events such as the choir and motorcycle event and many photos of the Machester Bee, either as a sticker or a tattoo. Tris Dunn does an amazing contribution with the beautiful and dynamic score, which provides a melancholic atmosphere and a feeling of hope. This documentary reveals the power of the human spirit. It introduces the viewer to some hard-working and warm-hearted individuals, whose refusal to let a terrible tragedy bring them and their community to their knees and whose determination to help, move forward and make a difference proved that love, spirit and unity prevail. This viewing is highly recommended. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

The Arborist film review by UK film critic Patrick Foley. Starring Catrin Stewart, Rhodri Meilir, Nicholas McGaughey directed by Clare Sturges. HOME | FILMS | REVIEWS The Arborist Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 18, 2021 Directed by: Clare Sturges Written by: Clare Sturges Starring: Catrin Stewart, Rhodri Meilir, Nicholas McGaughey The torment, anguish and lingering pain of grief, as well as the elusive relief of acceptance are at the heart of The Arborist, a short, personal story from director Clare Sturges that mixes gorgeous cinematography with raw emotion. When tree surgeon Laura (Catrin Stewart) discovers that her sister Eloise’s memorial tree is dying, she heads to her childhood home to try and make sense of the overwhelming sense of loss she once again feels. There, she is reunited with estranged older brother Joe (Rhodri Meilir), who faces his own struggles relating to their shared pain. In the aftermath of their family tragedy, Laura looks for solace and reconciliation. The Arborist is a short film which beautifully portrays sorrow, and the complex and difficult emotions people face in the aftermath of unimaginable loss. As a semi-autobiographical piece, the story is imbued with the personal experiences of director Clare Sturges, who masterfully translates her own grief on-screen in a manner which absorbs viewers into protagonist Laura’s story. The show-don’t-tell approach of the majority of the film says as much as words ever could, and clear care is taken to ensure these scenes never become hokey or cliched. The personal, intimate scenes of Laura piecing together her old life at home contrast with the atmospheric, eery outdoor scenes in the forests. Both are equally impressive and stand out as highlights of the film – to the great credit of Sturges and director of photography Christopher Jacobi. Laura piecing together letter block toys she and her twin would play with is a simple, yet devastating bit of visual storytelling. Whilst the way in which the trees themselves, particularly the memorial tree for Eloise, feel like characters in their own right is another impressive demonstration of the film’s direction – increasing the sense of solitude and isolation. The film’s takes a thematic journey which follows the natural development of its characters. From portraying the complex and counter-productive actions we take when we suffer, the film proceeds to highlight the necessary, relieving and sometimes illogical route we all must take to accept life’s harshest developments, and come to terms with even the worst events in our lives if we are to move past them. Laura and Joe’s reunion progresses from almost antagonistic, to a place audiences will sense they can begin to rebuild their lives, and their family from. It is a truly human journey, and one the film earns by having raw emotion at its forefront. The performances of Catrin Stewart and Rhodri Meilir anchor the film, both displaying shared devastation yet resulting in very different methods of coping. Stewart’s Laura almost inquisitively pursues her own grief when the loss of her sister’s tree brings her pain to the boil. Meanwhile Meilir’s Joe is mercurial, and presents a challenge for viewers as to how to react to him. This is a brilliantly engaging characterisation that shows everyone handles grief in their own way – as his seeming passiveness is clearly shown to be a coping mechanism. The Arborist is a worthy and artistic portrayal of grief that is elevated by the vision of its director, and the solemn yet visceral performances of its two stars. It is a film packed with heavy emotion, yet strangely therapeutic despite a tragic overtone. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Moonage Daydream film review by UK film critic George Wolf. Starring David Bowie directed by Brett Morgan. HOME | FILMS | REVIEWS Moonage Daydream Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Sep 14, 2022 Directed by: Brett Morgan Written by: Brett Morgan Starring: David Bowie Longtime David Bowie fans know of his early fondness for the “cut up” method to writing songs – literally cutting up lines of written lyrics and then shifting them around in search of more enigmatic creations. Director Brett Morgen takes a similar approach to telling Bowie’s story in Moonage Daydream , a completely intoxicating documentary that immerses you in the legendary artist’s iconic mystique and ambitious creative process. Bowie’s estate gifted Morgen with the key to the archives, and the celebrated documentarian (The Kid Stays in the Picture, Jane, Cobain: Montage of Heck ) pored through the thousands of hours of footage for moments that could stand on their own while serving a greater narrative. The result is a glorious explosion of sound and vision, revealing Morgen’s choice to trust himself as film editor was also a damn good one. Anchored by atmospheric bookends that evoke Bowie’s image as the ethereal “man who fell to Earth,” Morgen unleashes a barrage of concert sequences, still photos and interviews clips, interspersed with bits of old movies, news reports and pop culture references. It’s a luscious and cinematic (especially in IMAX) mashup, and one that slowly unveils a subtle but purposeful roadmap. The music is thrilling and visceral, of course, but the interview footage reveals Bowie to be tremendously inquisitive and philosophical. We see him as a truly gifted artist who felt satisfaction when he “worked well,” but apprehension with new projects (such as painting) that didn’t yet meet his standards. At first, Morgen’s approach may seem scattershot, as he appears more concerned with blowing our minds than chronological purity. But what becomes clear is that Morgen’s commitment leans toward grouping slices of Bowie’s life that speak to who he was (i.e. juxtaposing a “Rock and Roll Suicide” performance from the 70s with comments about his “sellout” 80s period). And by the time Bowie’s looking back fondly on his first meeting with wife Iman, an appropriate and touching timeline has emerged. Though the last years of Bowie’s life are skirted just a bit, Moonage Daydream is like no music biography that you’ve ever seen. It’s a risky, daring and defiant experience, which is exactly the kind of film David Bowie deserves. Expect two hours and fifteen minutes of head-spinning fascination, and a sense that you’ve gotten closer to one Starman than you ever felt possible. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Djinn film review by UK film critic Patrick Foley. Starring Ezra Dewey, Rob Brownstein, Tevy Poe directed by David Charbonier & Justin Powell. HOME | FILMS | REVIEWS The Djinn Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 2, 2021 Directed by: David Charbonier & Justin Powell Written by: David Charbonier & Justin Powell Starring: Ezra Dewey, Rob Brownstein, Tevy Poe Forget about magic lamps, blue skin, or improv-comedy – David Charbonier and Justin Powell’s The Djinn is a terrifying and tense story of a wish-granting spirit with some serious terms and conditions attached. Dylan (Ezra Dewey) is a young boy who lives alone with his father Michael (Rob Brownstein). Dylan is mute, and is dealing with a traumatic experience involving his now-absent mother 9 months earlier. When he uncovers an ancient book, he finds within it a spell which will summon a Djinn - who will grant him one wish. In his haste, he wishes for a voice. But little does he know, this Djinn does not grant wishes freely – one must survive one full hour against its magical and vindictive power, or risk being dragged into a shadowy world. The Djinn is an impressive horror which brings some interesting ideas to the table but runs out of momentum as it progresses. The film’s 80s setting follows an ongoing media trend popularised by the likes of Stranger Things and It, and the film’s early stages makes great use of this aesthetic with a vibrant score and learned homages to 80’s style cinema. The film could have stood out amongst the trend with its’ home-based survival setting – however these retro elements are largely dropped as the plot develops in favour of basic horror cliches – which are executed just fine, but do little to make the film original. The film’s uses horror and tension very well, and the directors deserve praise for resisting the growing temptation amongst filmmakers to overload on the gore in favour of more impactful use of violence when required. The danger is amplified by the youth of the film’s star Ezra Dewey, and viewers will be on the edge of their seat as the Djinn stalks him through the house. The film also makes great use of the fact that both predator and prey are mute – with barely a word spoken outside of the opening and conclusion. There is an exposition-heavy narration which becomes necessary for the plot’s sake, but the film is at its scariest when the Djinn’s pursuit of Dylan is a terrifying enigma. The plot is straightforward, though it promises more than it ends up delivering. The concept of a murderous demon challenging its victim to a contest of survival for a life-changing reward is unique, and hints that Dylan may not actually want what he wishes for suggest an absorbing dilemma for the protagonist. However, the film does not really explore these dynamics in favour of a standard pursuit-horror story for the majority of its run, with a twist ending which follows up certain elements but fails to really deliver on what the film sets up as its key messages. A note should be made of star Ezra Dewey, whose performance as Dylan is thankfully strong and authentic – avoiding a downfall of so many child-led horror stories. Dylan is vulnerable and powerless against the Djinn, but his resourcefulness and intuitiveness upon which he relies upon to survive are portrayed brilliantly. Given the character does not speak, Dewey’s ability to portray him so well entirely physically is doubly impressive. The Djinn is entertaining enough and provides a suitable horror experience, but some missed opportunities to really explore a fascinating dynamic prevent it from living up to its potential. In Cinemas and on Digital Friday 17th September. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Film Festival < All Reviews Next Film Review >

Love Beyond Dreams film review by UK film critic Chris Buick. Starring Simin Vaswani, Harish Vaswani, Stefan Badea directed by Jeremiah Kipp. HOME | FILMS | REVIEWS Love Beyond Dreams Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jun 28, 2024 Directed by: Jeremiah Kipp Written by: Simin Vaswani Starring: Simin Vaswani, Harish Vaswani, Stefan Badea Stifled by the trappings of parenthood and their diminishing intimacy, Simin (Simin Vaswani, who also writes and produces) is taken for an art gallery date by her husband Harish (played by real life partner Harish Vaswani) in an attempt to inject some much-needed spark back into their marriage. After becoming completely entranced with one painting in particular, Simin is whisked away into an extraordinary dream world filled with romance and dancing where she embarks on journey of rediscovery for her passion and love for Harish. Love Beyond Dreams ’ main strength is undoubtedly in its presentation, a tremendous amount of care and attention is brought to every scene but where it really outdoes itself is in the film’s core dream sequence, which is the part it had to nail and absolutely does. As Simin is swept around the dancefloor by Stefan Badea’s effortlessly debonair Antoine, we ourselves are swept away by the fantastical wonder that director Jeremiah Kipp, cinematographer Dominick Sivilli and the rest of this highly talented creative team conjure up. Complementing the beautiful imagery, the lighting and colour palettes really bolster that ethereal dream-like feel and then it’s the soaring score that caps everything off almost perfectly, fewer shots of a doe-eyed Simin staring longingly and endlessly at things might have helped keep the pace of the film a bit better and perhaps the film should have been allowed to speak on its own as well without the unnecessary voiceover. But the brilliantly executed dance sequence definitely evokes glowing comparisons to big screen examples such as La La Land and other Hollywood musical classics, it’s a sequence that is made even more electric by the stellar work done by the two leads tasked with the gargantuan responsibility of selling it. The chemistry between Simin and Antoine (Badea) is positively palpable, something that really stands in stark contrast (as is intended) against the much more inhibited connection between Simin and Harish when we first meet them but which of course relights itself once a reinvigorated Simin comes back to reality. And whether it’s intentional or not (and I for one am willing to believe it is), Love Beyond Dreams could leave you with many different interpretations as to exactly what story it’s telling, which makes the films exploration of the complexity of human nature that much more nuanced and interesting. Yes, on the surface, Simin’s journey might simply speak to a desire for her current life to be one filled with greater passion, but maybe it’s instead a yearning for a different life entirely she wished she had taken, or maybe even about a former lost love? For some that might be reading too much into it but such is the strength in how Love Beyond Dreams is presented that you can’t shake the feeling like that there might just be that bit more under the surface to dissect, and each viewer might end up taking some idea of their own away at the end of it all. Love Beyond Dreams is a film swelling with highly commendable work, real emotion and depth. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Mark #2 film review by UK film critic Patrick Foley. Starring John Richmond directed by John Richmond. HOME | FILMS | REVIEWS Mark #2 Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jan 16, 2023 Directed by: John Richmond Written by: John Richmond Starring: John Richmond From director John Richmond comes solo project Mark #2 – an ambitious and innovative short sci-fi that unfortunately fails to adequately realise an aimless plotline that feels somewhat out of its reach. Mark #2 (John Richmond) is the world’s first clone. The original Mark passed away from cancer, and now Mark #2 holds the secret to create replicas of himself – although his own DNA is breaking down. When his shadowy government hear of his technology, he goes on the run – determined to protect humanity’s new hope from being used to create super-soldiers. As Mark #2 begins to think for himself, and as a devastating attack threatens humanity’s survival, he realises the potential he holds to create a new peaceful dawn for mankind. For a homemade, auteur sci-fi short, Mark #2 deserves an extra layer of acknowledgement for the areas in which it is a success. Director, writer and star John Richmond’s vision for his story is bold and ambitious, and creatively realised in how the world he has aimed to create is framed. The film opens with Mark, only a year old, narrating the audience through his relatively unexceptional ‘birth’ day. Richmond’s deadpan-style delivery, and the tragicomic activities Mark partakes in to celebrate make for an amusing introduction – and a promising opening of the film as a ‘day in the life’ of a clone that acts for an intriguing hook. Unfortunately, as the film’s story begins to crumble as soon as it really picks up. Little is explained relating to Mark’s technology that is so in-demand, or how it evolves into a miracle cure-all for humanities ills. The ‘government’ chasing Mark down are never given any kind of motivation or characterisation beyond shadowy and evil. And a pivotal attack from ‘that biological weapon’ which wipes out most of humanity (triggering Mark’s saviour story) happens seemingly at random, with no explanation offered to the viewer and little done to contextualise the event’s purpose. It leaves a plotline that is seriously disjointed and confusing, with little stakes or engagement points for the audience to involve themselves with. Furthermore, the film’s storytelling increasingly relies on Mark’s narration – which loses its early charm in favour of exposition dumps which race through earth-changing developments at lightspeed. This is understandable to an extent given the film’s lower budget not allowing the realisation of a biological attack or visuals of an actual cloning process, but little is offered in lieu to engage the audience with the characters in the film or the poorly defined themes. By the end, it feels like the director gives up trying to find logical solutions to his plot, which has long since left the tracks. It's a shame, as Mark #2 ’s opening quarter genuinely engages with viewers and outperforms its limitations as it establishes a world where cloning is possible and in realising a seemingly normal man with an abnormal origin. Aiming for too grand a scale is where the film falls apart both production and plot-wise. It feels like the director’s intended message – that humanity is what makes someone human – would have been achievable without inflating the story’s scope beyond anything the film could hope to present. Points for ambition, but engaging characters, story and stakes shouldn’t be abandoned for magnitude. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Space Rodent film review by UK film critic Patrick Foley. Starring David Minard, Robert Carrera, Leah Bernard directed by Jason Morris. HOME | FILMS | REVIEWS The Space Rodent Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 7, 2025 Directed by: Jason Morris Written by: Jason Morris, Robert Carrera Starring: David Minard, Robert Carrera, Leah Bernard Irreverant sci-fi comedy The Space Rodent has a can-do charm to it that will win over even sceptical viewers – which admittedly included myself at first. This story of four friends who encounter giant rats from another galaxy never takes itself too seriously, and generates some overcomes some early hiccups and a slower start to bring the laughs. Best friends and fellow layabouts Mac (Robert Carrera) and Dean (David Minard) hang out at home whilst their partners Amanda (Leah Barnard) and Skylar (Shelby Broadnax) head out on a drive. But trick or treaters are the least of their worries when giant monstrous rats from out of space travel through a wormhole in search of a new home. After a gruesome home invasion, the gang must gather together and use whatever weapons they can find to fight off the invasion. The Space Rodent is a jambalaya of sci-fi and buddy comedies galore. There are hints of Always Sunny in Philadelphia, Shaun of the Dead, and Red Dwarf in its humour and the application of this in a sci-fi setting, with some solid observational comedy to boot. Mac and Dean are unlikely action stars (which of course, makes them the more likely stars of a comedy…) whose lives are aimless before they have to fight for them. Much like the aforementioned Always Sunny, they are hardly there to be admired or even sympathised with – but so that their ‘unique’ view of the world can be put up against an extraterrestrial threat. Themselves inspired by classic sci-fi and action films, it is fun watching their super-team form, which of course includes their grounded and capable girlfriends who play the straight guy. The film feels aimed at stoners or man-children (in the least offensive use of the term…) similar to the protagonists, who will find amusement and recognition in the references, absurdist comedy and genre-experimentation. The playing around and gentle mocking of tired tropes is fun, and the efforts of the team to prepare for the final battle leads to some fun set-pieces, such as Mac’s pride over the creation of a butter-knife rake. It’s all jovial stuff, though nothing ground-breaking or entirely original. The space rodents themselves are glorious creations – clearly puppets but carrying with them a menace and substance that puts some million-dollar CGI monstrosities to shame. The piercing red eyes and erratic flailing are genuinely quite unnerving, even though the film never really posits to be a full horror. It adds a weight to the fight scenes and will undoubtedly be appreciated by sci-fi fanatics. Elsewhere production is strong, with some appropriate punky backing tracks that match the underdog nature of the heroes and inventive scene staging, particularly when the rats are on-screen. Some of the car scenes with Amanda and Skylar are coloured by a blue tint that is a little overwhelming, but outside of this the film outperforms its production limitations impressively. When The Space Rodent finds its feet around a third of the way in, it becomes a really enjoyable and fun sci-fi/horror/comedy ride. Prior to this it fails to really capture its audience and create a bond with its heroes – which is a shame if viewers tap-out early-on. It doesn’t really come close to living up to its influences, but one gets the sense this wasn’t the aim. The aim is to give the audience a fun ride – and this mission is accomplished. Watch our video film review of The Space Rodent . About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Another Day film review by UK film critic Alasdair MacRae. Starring Gráinne Good, Alan Hall directed by Daniel Topic. HOME | FILMS | REVIEWS Another Day Film Review average rating is 4 out of 5 Critic: Alasdair MacRae | Posted on: Jan 13, 2022 Directed by: Daniel Topic Written by: Alan Hall & Gráinne Good Starring: Gráinne Good, Alan Hall After a spontaneous hook up, Sam (Alan Hall) and Sinéad (Gráinne Good) rekindle the lost romance of their youth. Is this a chance for them to start anew or are their other commitments too big a hurdle to overcome? Guitar strings reverberate. A bittersweet melody forms over a sequence of shots of the couple looking at one another. Their eyes meet, their hands’ press against each other. As they touch, the memory of their love surfaces. The tempo of the music picks up, it verges on excitement. Their hands move together, dancing. They push through the centre of the screen into focus as everything around them fades into a soft blur. A beautiful cinematic opening. Then comes the rude awakening. The couple are forced to confront reality and the serious discussions of ‘what next?’ begin. Even though much of the dialogue is hard to swallow, Good and Hall truly sell the feeling of the narrative with their performances. The tenderness in their longing glances. The gentleness of their voices. The intimacy of their relationship feels believable. They make the everyday tragedy of an opportunity for a new beginning feel like the only thing that matters in the world. Together they give nuanced, filmic performances that justify the minimalistic style. The sparse bedroom set works mostly as a blank canvas allowing some variety in movement, but the visuals are largely structured around punctuating close-ups. The sound design works to distil the actors’ voices and is manipulated at times to isolate the couple’s memories to great dramatic effect. The film is bookended by a second montage. During the finale, there is a heart-fluttering visual expression that is a little clunky in execution but expresses the sentiment of the short as succinctly as the opening. This kind of experimentation is what makes watching short films exciting. The kind of risks that pay off. Ultimately, Another Day is a very accomplished short in which every member of the crew seems to contribute to more than one core aspect of the film. It is visually and audibly emotive thanks to DoP-editor Alba Skottowe and sound designer-musician Michael Smith. Producer-writer-performers Alan Hall and Gráinne Good are compelling and engaging on-screen. Altogether this comprises an impressive fully-formed directorial debut for director-editor Daniel Topic. It is a joy to see the convergence of such talent to craft what is undeniably a moving experience. About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Wished film review by UK film critic Michael Brennan. Starring Xia Yu, Yan Ni, Victoria Song, Pan Binlong, David Wu directed by Dayyan Eng. HOME | FILMS | REVIEWS Wished Film Review average rating is 3 out of 5 Critic: Michael Brennan | Posted on: Feb 24, 2022 Directed by: Dayyan Eng Written by: Justin Malen and Dayyan Eng Starring: Xia Yu, Yan Ni, Victoria Song, Pan Binlong, David Wu What happens when an insurance salesman is offered 19 of his childhood wishes by a mischievous "Earth Goddess"? Carnage, destruction, high jinks and hilariousness. Wished is a 2017 romance/fantasy Chinese film that created a name for itself thanks to its awards triumph, winning accolades at the Chinese American Film Festival, Los Angeles Film Awards and New York Film Awards for editing, acting, and cinematography. From its hilarious premise to its bonkers characters, Wished is a surprisingly charming film that captures romance and fantasy perfectly. The film starts with the Earth Goddess, played by Yan Ni, telling the audience how she playfully tinkers with people's daily lives so they "do good". We quickly learn that her next client/victim is Ma, a thirtysomething salesman whose life isn't going so well. After being invited to speak to a room full of students about his career, Ma Fendou, played by Xia Yu, realises that his career in the family business isn't all it's cracked up to be. After breaking up with his longtime girlfriend, Ren Shanshan, played by K-pop's Victoria Song, a collection of unfortunate events propels Ma to question his life and his choices. From his relationships to his career, Ma thought his life would be "more", which is a profound and relatable statement. He gets wrapped up in the idea of "what should've been", or better yet, "what could have been", which is a sad, relatable and heartbreaking moment to watch. Seeing her moment to cause some mischievous fun, Earth Goddess Shangguan Furong enters Ma's life and tells him that she will grant 19 of his childhood wishes. At first, Ma doesn't believe a word of what she is saying, and he goes on to live his day-to-day life without a care in the world. However, this is when the fantasy elements kick into high gear, and strange things begin to occur. From wacky hairdos, his desire for his childhood teacher, to acquiring the skills of the legendary basketball player Michael Jordan, Ma's life is turned completely upside down. From this point on, the film embraces its incredibly camp and comedic fantasy elements, taking us on a wild cinematic experience. However, despite screenplay writers Dayyan Eng and Justin Malen's best efforts, the film lacks a consistent tone and rhythm. Unfortunately, Wished jumps from one scene to the next with no real sense of purpose or intention, hindering the story's overall impact. Each scene feels slightly disjointed from the last, which is a real shame. Aside from those minor issues, the film is exceptional and is undoubtedly worth checking out. It's as romantic, hilarious, and above all, slightly absurd (in the best way). While Wished is somewhat predictable in the story department, its predictability doesn't take anything away from its satisfying (and hilarious) ending. The highlight of this film is Earth Goddess Shangguan Furong, played by Yan Ni. Not only does she introduce herself like a pro, but her sharp quips are what make this film so delightful. Ni injects a degree of comedy into the role that keeps you entertained and connected from start to finish. About the Film Critic Michael Brennan Theatrical Release < All Reviews Next Film Review >

It's Never Too Late (To Say You're Sorry) film review by UK film critic Joe Beck. Starring Liam Pennington directed by Craig Hamilton. HOME | FILMS | REVIEWS It's Never Too Late (To Say You're Sorry) Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Aug 21, 2022 Directed by: Craig Hamilton Written by: Liam Pennington Starring: Liam Pennington ‘It’s Never Too Late (To Say You’re Sorry)’, has that distinct feel of an indie, debut short film, which all great short films possess. It demonstrates the talents of the writer, director, and actors, potentially providing them with a footing to further their careers in the world of film, whilst also telling an interesting, coherent story. Of course, the downside, though in the long run it often turns out to be the upside, of such films, is that they are inherently flawed, with the unpolished edges of a fledgling filmmaker such as Craig Hamilton. This is one of the finest recent examples of such a film - a handheld, nine-minute short, shot as though the filmmaker has something to prove, but also something to say. ‘It’s Never Too Late (To Say You’re Sorry)’ follows Ste (Liam Pennington), as he seeks to find peace with a childhood friend with whom he has long since grown distant towards. Now middle-aged, Ste hasn’t spoken to his friend in 22 years, when they had one of those familiar fallouts over a girl. The film is filled with wonderfully nostalgic anecdotes about the things the two got up to in their childhood - the fun, the games, the bending of the rules. There’s talk of pubs and plimsolls and terrifying next-door neighbours - the sorts of things which all seemed like major events when we were young, but now we’ve all grown and experienced the world they seem rather inconsequential, and a safe space to cast our minds too. Ste’s Gran once said to him “don’t hold grudges because you only end up hurting yourself”. It’s a lesson we could all do with learning, or else we are left with a void of despair and hatred. That void is only explored when emotions are unlocked, as ‘It’s Never Too Late (To Say You’re Sorry) shows with a truly emotional gut punch. Though that would have been an apt place to conclude, the film then runs a little past its stay, as a song kicks in which doesn’t quite match the sombre tone of the rest of the film - it’s one of those slight missteps. 
 Whilst, the film is tender in its portrayal of this broken friendship, you do wish that it would dwell a little longer on the event in question which split the friends up, though you wonder whether this was intentional - the past is merely a memory, after all, and we shouldn’t let it affect our future too such a great degree. That is, however, a relatively minor quibble with ‘It’s Never Too Late (To Say You’re Sorry), which is, for the most part, a caring story of how important it is for us to treasure our friendships, and cling onto them should they bring us joy. This is a short film with so much heart, that it’s impossible not to feel emotional at times, as it strikes a chord with every human being on the planet. We all know that feeling of losing a friend, whether it be abruptly disagreeing, or a slow drift apart, it is a familiar course for all of us. The film tells us not to let go, and right now, as we live in dark times, that’s a message more important than ever. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Two's A Crowd film review by UK film critic Amber Jackson. Starring Hugo Speer, Angus Castle-Doughty, Shaparak Khorsandi directed by Andy Burse, Angus Castle-Doughty. HOME | FILMS | REVIEWS Two's A Crowd Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Mar 6, 2023 Directed by: Andy Burse, Angus Castle-Doughty Written by: Angus Castle-Doughty Starring: Hugo Speer, Angus Castle-Doughty, Shaparak Khorsandi Two’s A Crowd is a comedic short film that explores a day in the life of two struggling actors whose paths unexpectedly cross one day in London. They are the polar opposite of each other in terms of personality, and yet when their days collide at a terrible audition, their skills are tested like never before. With the action of the short taking place in London, these two characters portray the bleak and bitter reality of struggling actors tackling the audition process, but with plenty of hilarious twists. This is a really well constructed and filmed short created and acted by Andy Burse and Angus Castle-Doughty that captures the hard-hitting, yet often hilarious, realities of actors hoping for their next job opportunity. The camera follows the action very well throughout the film and conveys a very real sense of the streets of London. Already praised online for its accuracy, it is not hard to see why with plenty of laugh out loud moments filling the screen. Although some scenes feel as though they have been created for comedic effect, they also seem very true to life at the same time, which make for fun viewing. Andy Burse and Angus Castle-Doughty ultimately have fantastic and compelling chemistry as they work exceptionally well together to portray two actors who are characteristically polar opposites. Their ability to show a real life situation for actors auditioning for jobs is brilliant, as they portray how gruelling the process can be. These actors are tired and tortured, but their experience of this unexpected union leads to interesting - if not strange - consequences for the both of them. Uncomfortable moments that feel as though they are drawn from real life extend onto the screen and capture the true idiocy that actors could hypothetically experience during this process. As both men struggle to contend with the expectations of producers and directors they meet, they also convey relationships between other actors and the challenges that this presents, as both characters display how both their personal and industry judgements inform their relationships. These moments transcend across this twenty-minute short film and do very well to convey how difficult it can be to feel motivated and work in a job that handles plenty of rejection. Every actor in this film gives an excellently eccentric performance, with plenty of excellent timing and quick-witted dialogue moments filling the script. Additionally, there is a fun voice over from a phone call from an agent which sounds awfully like a Pam Ferris cameo and she is in fact in the credits as casting agent ‘Sherry’. That is just one of many bizarre and wonderful ongoing things that viewers can expect to enjoy during this short film. With lines such as “you must be the only actor in the world to get sacked from the panto!” feeling incredibly off-the-cuff and based in truth, this is a film that is worth watching for a hearty laugh. Two’s A Crowd is fed up and bitter about a challenging industry, but in a way it is also a love letter to it. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Balloon Animal film review by UK film critic Brandon Thomas. Starring Katherine Waddell, Ilia Volok directed by Em Johnson. HOME | FILMS | REVIEWS Balloon Animal Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Apr 6, 2023 Directed by: Em Johnson Written by: Em Johnson Starring: Katherine Waddell, Ilia Volok Movies set in or around circuses often have a darkness to them. If the animal cruelty doesn’t get to you then the limitless tales of alcoholism and depression will. Oh, and one of them has Pee-wee Herman running around. Thankfully Balloon Animal leaves the cruelty and boozing behind in favor of a thoughtful character piece about isolation and expectations. Poppy Valentine (Katherine Waddell) makes the balloon animals at Valentine’s Traveling Circus, owned by her overbearing father Dark Valentine (Ilia Volok). The once bustling circus now plays to sparse, apathetic crowds. Dark’s intense dependence on his daughter is fueled by his wife’s abandonment of him years before. After her father offers her a more significant role in the business, Poppy begins to question her place in the circus, her father’s life, and the world at large. At first glance, the premise of Balloon Animal reads like half of dozen indie dramas released since the mid-90s. That assessment isn’t completely untrue, to be fair. However, the difference is in the execution. Writer-director Em Johnson delivers an honest – but never quite brutal – drama that always feels real to its characters. Poppy’s trajectory through the film is natural and doesn’t end up where you think it will. Setting this story inside a traveling circus is a fascinating choice. Johnson shows little interest in digging into the mechanics of the circus or its day-to-day. The focus is on the people who live and work inside this nomadic community. For them, it’s just a job (for now). For Poppy, though, there’s a cost of isolation and monotony that she’s unable to ignore and eventually begins to reject. The performances are just as notable as the film’s tight storytelling. Waddell’s naturalistic charm makes her a great focal point. She delicately straddles Poppy’s creeping loneliness while allowing the character’s meek pragmatism to shine through. It’s not a showy role, but Waddell does so much with it. Likewise, Volok turns what could be a wholly unlikable character into someone with pathos. His ferocity is equaled only by his ability to elicit empathy from the audience. Balloon Animal doesn’t end with any definitive answers for its characters. What it does, though, is give them a stopping point for this particular story in their lives and a starting point for an entirely new one. About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >