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

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

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

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

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

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

Slant film review by UK film critic Chris Buick. Starring Michael Nikou, Sigrid Thornton, Elena Mandalis, Ryan A. Murphy, Kate Lister, Pia Miranda, Neil Pigot directed by James Vinson. HOME | FILMS | REVIEWS Slant Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Apr 9, 2025 Directed by: James Vinson Written by: Michael Nikou Starring: Michael Nikou, Sigrid Thornton, Elena Mandalis, Ryan A. Murphy, Kate Lister, Pia Miranda, Neil Pigot From the very start, you can sense that Australian film Slant is going to offer up something quite unique and interesting to sink your teeth into for close to two hours. And indeed, by the end, not only has it delivered on both those points, but this twisty thriller also provides several laughs, shocks and a lot of crazy fun. Derek Verity (Nikou) lives at home with his alcoholic-in-denial mother, Vivianne (Thornton) and his seemingly meek (but quite unhinged) older brother Billy (Murphy). Derek has aspirations to become a big-time journalist and, in a crazy stroke of luck, is reluctantly assigned by boss Una (Lister) to cover the story that has the whole of Australia talking, the disappearance of Elizabeth McGowan. Everyone of course thinks the husband did it, but with no proof and no interviews being given, Derek, in order to get his story before his rival Olyvia (Chapman) can, looks to find an in by befriending Elizabeth’s sister Kaye (Mandalis), who also believes Elizabeth’s manipulative and controlling husband Martin (Pigot) is guilty beyond doubt. While from this you might now be expecting a set up for a juicy whodunnit thriller that would be sufficiently entertaining in itself, Michael Nikou (writing as well as starring) and director James Vinson decide to pull the rug from underneath that early premise to add in instead a second, equally compelling family drama around the Veritys themselves. Yet, rather than then simply demote the news story thread to a mere subplot, Nikou and Vinson somehow manage to effortlessly balance and create a harmonious double-helix of ideas, the case helping bring to light many things within the Verity family that have remained unsaid for too long, along with all the resentment, anger and truths that eventually come flooding out, with those revelations and evolving dynamics then shaping the course of the investigation in very unexpected ways. Slant is a film with many, many strengths, and choosing its best facet is almost impossible. However, if one had to, it could almost certainly be its writing. The performances, which are equally truly commendable across the board, make what is already a stellar, slick and quick script really sing. It has that edge that only Australian humour seems to have skillfully delivered by a company of always on-point actors, not to mention twists that will genuinely make you gasp and a real knack for building incredible tension. But what’s most impressive is how Nikou’s script can move through the funny, to the poignant, to the downright bonkers and back again so seamlessly. Some moments descend slightly into farce, but counting those would require less than half a hand; everything else, from the light moments to the dark, is simply a blast. It's a crazy fun rollercoaster to be on that might shake very occasionally, but thanks to its script, its enjoyable and exemplary cast, and terrific direction, Slant is a brilliant piece of filmmaking that will keep you laughing, keep you guessing and ultimately, keep you entertained. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

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 >