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Witches of Blackwood film review by UK film critic Christie Robb. Starring Cassandra Magrath directed by Kate Whitbread. HOME | FILMS | REVIEWS Witches of Blackwood Film Review average rating is 2 out of 5 Critic: Christie Robb | Posted on: Sep 7, 2021 Directed by: Kate Whitbread Written by: Darren Markey Starring: Cassandra Magrath It’s never a good sign when you head back to your hometown and all your old school friends sidle up to you and want to get you alone to give you an elevator pitch about this new thing they’ve gotten into. Nine times out of ten it’s an MLM selling makeup or essential oils or nutritional supplements. Sometimes it’s a cult. In Kate Whitbread’s new film, the townful of anemic-looking women sporting clothing made of natural fibers in a neutral color palette and the dark undereye circles of recent motherhood are selling witchcraft. Claire Nash (Cassandra Magrath from Wolf Creek ) is back in town to uncover the circumstances of her dad’s recent sudden death and that of her mother years before. Were their deaths a consequence of mental illness and substance abuse? Or was it really the demon that haunts the forest? And are they really even dead? Why are all these townswomen carrying around bleached bones and acting like they are infants? And why are they all interested in Claire? Magrath works hard to bring her character to life, but the script isn’t doing her any favors. The movie is full of evocative settings and creepy imagery, but there’s not much time spent in character development and no real sense of the stakes. Plot elements are introduced and then dropped. Characters that appear to be important basically wander off and an antagonist…doesn’t seem to actually do anything. So, when the climax comes, it feels hollow and meaningless–very much an “is that it?” kind of moment. The Witches of Blackwood is not a good movie and it’s not quite bad enough to be fun. About the Film Critic Christie Robb Digital / DVD Release < All Reviews Next Film Review >

Out of Time film review by UK film critic Jason Knight. Starring Mark Silcox, Henry Chebaane, Sadie Macgrath directed by Henry Chebaane. HOME | FILMS | REVIEWS Out of Time Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 18, 2024 Directed by: Henry Chebaane Written by: Henry Chebaane Starring: Mark Silcox, Henry Chebaane, Sadie Macgrath Humanity's food has been reduced to a single type of sustenance and a giant asteroid is heading towards Earth. Basically, this nine-minute-long film is separated into three stages: narration explaining the situation accompanied by a montage, two men having a conversation and finally another montage only that one is accompanied by a song. The plot is this: it is 2044 and things are not going well for planet Earth. Pollution has caused all food has become toxic and the RON corporation has developed a substance named 'Manna-Moolah' and it is safely edible. However, this food was created by harvesting substances from an asteroid and this activity caused the asteroid to change its course and end up in a direction that will cause it to collide with Earth. Professor Markus Pokus (Silcox), who was the corporation's chief chemist, helped create Manna-Moolah along with the help of AI, however AI took over and changed this new food, making it harmful to humans. Now, a few hours before the catastrophe, Pokus meets with Victor Kenstein (Chebaane), a former pupil in order to board a hidden spaceship and survive. As mentioned above, this short begins with a montage and a voice-over. The voice-over is provided by Macgrath and she explains the tense story with the help of a series of shots that include Pokus and computer animation depicting the asteroid approaching the planet. This section is the shortest one. The conversation between Pokus and Victor is what follows and it is intriguing and humorous. They are inside a spaceship that is disguised as a restaurant and they talk about what is going on with Manna-Moolah and the asteroid and their goal is to leave the planet, avoiding doom. Including all this, they also chat about the colour black and eggs. Now the third part. The second half or so is a music video. This section is a montage that is accompanied by the track Out of Time by LX8 (a rather appropriate choice considering that the plot involves an imminent, unavoidable disaster) and it is arguably the best part of the film. The montage is wonderfully edited by Radim Vlcek, making effective use of superimposition and dissolve techniques. The rapid montage includes images such as factories, chickens, digital numbers and Big Ben, their significance probably being to point out the factors of pollution and that time is running out. As for the song, it is quite enjoyable and (as mentioned) appropriate. This short certainly has an interesting plot, that being a sci-fi story and a race against the clock. Of course, it evidently carries important messages, raising awareness about pollution and the dangers of relying too much on technology. Overall, this is a film that is entertaining and also acts as a warning that people must protect the Earth and keep technology under control. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Romeo's Distress film review by UK film critic Chris Buick. Starring Anthony Malchar, Jeffrey Alan Solomon, Adam Stordy, Charese Scott Cooper, Kimberley Peterson, Dave Street directed by Jeff Frumess. HOME | FILMS | REVIEWS Romeo's Distress Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Apr 2, 2025 Directed by: Jeff Frumess Written by: Jeff Frumess Starring: Anthony Malchar, Jeffrey Alan Solomon, Adam Stordy, Charese Scott Cooper, Kimberley Peterson, Dave Street James (Malchar) is hopelessly in love with the girl of his dreams Jane (Peterson), but thus far that love remains unrequited. However, determined and undeterred by the naysayers, James seeks to prove that love can indeed conquer all, even the sinister machinations of Jane’s suspiciously protective father Dale (Solomon). At a budget of just north of two-and-a-half thousand dollars and shot very sporadically over fifteen months, the style, swagger and filmmaking savvy on display make Romeo’s Distress probably one of the most impressive no/low budget achievements of its generation. Having since gone on to do more and more equally impressive projects, here in their stellar debut, writer, director and producer Jeff Frumess, along with producer/composer Nick Bohun, pulls out every micro-budget filmmaking trick in the book to fully realise this films potential and prove the gift was there from the very start. What stands above all else is the film's editing, which is instrumental in setting the film's unique tone of unease and intrigue. Shots are carefully thought out and considered, sets and locations have been ingeniously repurposed, seamlessly spliced, or even built completely from scratch. But despite all of these tricks, none of its wires ever show, and, at the risk of sounding like a broken record, it’s all an endlessly impressive execution of a clear vision. As a story, itself a surreal gothic arthouse nonconformist thriller, something akin to a marriage between Edgar Allen Poe and Shakespeare, Romeo’s Distress is as bizarre as it is captivating. After the film's rather quirky beginnings, including a truly ear-catching ditty called "Cheesecake of Love” (which most will be humming to themselves long after the credits roll), the film soon begins to weave into something of a more typical narrative. Actually, typical might be the wrong word. After James, following quite the pep talk from his Uncle Elmo (Street), decides to take his destiny into his own hands, the film never once looks to shoot straight with your typical boy hoping to get the girl love story. Instead, it layers itself by exploring a number of themes such as delusion, obsession, pain and isolation to craft a story keeps you on the hook right up until the film’s eye-widening finale, where it then simply drops everything in its audience’s lap to let them pick apart everything they’ve just seen, to figure out where the blurred lines between reality and delusion start and end. Led by unique and original writing and complemented by a fully-committed and fully-competent cast, Romeo’s Distress is a true showcase of filmmaking ingenuity, a beautifully weird, gothic, micro-budget mega hit, which almost a decade on, is still a great lesson for all wannabe filmmakers that if you truly believe in a film, you can make it. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

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

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

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

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

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

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

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

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

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