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Hot Box film review by UK film critic Patrick Foley. Starring Julie Whelan, Steve Tsang, Brandon Rhiness directed by Brandon Rhiness. HOME | FILMS | REVIEWS Hot Box Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Dec 1, 2025 Directed by: Brandon Rhiness Written by: Brandon Rhiness Starring: Julie Whelan, Steve Tsang, Brandon Rhiness Everyone has that one party that ascends into legend, regaled amongst friend groups long after the days of debauchery leaves them behind. Hot Box is a multi-branching comedy that follows the odd-ball attendees at house party that is on the verge of swerving out of control onto the road to infamy. The feature follows a number of different friends who have all arrived at the party for wildly differing reasons. There’s the group of goth girls who believe a serial killer is stalking the night out for his next victim, the religious society trying to steer party-goers from their sinful ways, the sex-deprived guys who are convinced a porn star is in attendance, and the guy who is freaking out that his boss is organising drug tests the next day. Their stories inevitably end up colliding and colluding, making the party a night to remember for all of them. Following in the footsteps of Dazed and Confused, Superbad and American Pie , Hot Box is a fun and lively attempt to capture the fleeting madness of partying in your teens and twenties. It is suitably filled with energy, consisting of quickfire storylines, eccentric characters and enjoyable misdirects that mean audiences will be seldom bored whilst watching. Rhiness has a fantastic sense of when to hold back from wackiness or vulgarity, and when to ramp it up to escalate the layered, yet mostly relatable predicaments. Some of the storylines are a little out-there. The religious group who’ve ventured into the party solely to preach the good word stretch credibility, and their presence feels like it is for the filmmakers to take shots at the low-hanging fruit of evangelism that has been hit far more effectively in high school movies since the dawn of time. Their persistence and childlike ignorance lead to a few laughs, and Mary (Elizabeth Chamberlain) acts as something of a protagonist as the audience’s introduction to the rest of the cast. However the premise of their presence is shallow. Perhaps it is more relatable to US audiences (the film’s primary target), but UK viewers may find the jokes don’t travel as well. It probably would have also been a benefit to give a little more focus to certain characters and put more time into making them memorable rather than spreading the characterisation too thin. Mary and her fellow churchgoers are at least memorable, but other members of the cast are interesting by virtue of what happens to them rather than what the audience knows of them. The panic of an imminent drug test failure is a great set-up for hijinks, as is the uncertainty of approaching someone about an unconfirmed porn career. Yet what these moments mean to the characters themselves are what makes them memorable. An overabundance of storylines may be at fault here – with all being fun but few carrying any substance. Hot Box is undeniably entertaining, and anyone looking for a party film will find enough here to satisfy their craving for youthful craze. But you get the sense that a little more focus would have led to more memorable characters and a tighter grasp of story. Like any great party though, it’s a great time even if the details are a little fuzzy. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Counterpart film review by UK film critic William Hemingway. Starring Jacob Huey Correa directed by Ethan Grover. HOME | FILMS | REVIEWS Counterpart Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 21, 2025 Directed by: Ethan Grover Written by: Ethan Grover Starring: Jacob Huey Correa A musician who is finding it difficult to compose his newest piece of work finds some unexpected help from an other-worldly version of himself. The unnamed composer (Correa) wakes up to the continuous ticking of a metronome. He’d fallen asleep on his bed with all of his clothes on as he desperately tried to get something of his new composition out of his head and onto the page, but to no avail. Picking up some of what he wrote, and trying to get some sort of tune out of it, is no use, and he scrumples up the paper and throws it in the bin. Sitting in dumbstruck silence at his keyboard, looking at the keys with no hope, he suddenly hears a noise outside the window, as a great shadow moves menacingly beyond the shades of the blind. With a flash of white light, the composer is transported to another realm, or at least a version of him is, and that damned metronome is busy rhythmically counting out the seconds again. He, too, is all dressed in white, as are all of his surroundings, suggesting that he is in some sort of ethereal plane of beauty or heavenliness, and he finds that it might just be here that the answer to all of his creative problems lies. Exploring this realm, the angelic composer tries to find himself and the music that has been eluding him up until now. At only six-and-a-half minutes long, Counterpart doesn’t have a lot of time to tell its story. This doesn’t really matter, however, as the composer and his doppelganger are the only characters in the film and there is no dialogue between them. The plot is very thin on the ground, too, with only the bare bones of what is needed to share a narrative given to the viewer to chew upon, and everything being over with almost as soon as it started. There are no surprises or side-lines in Counterpart , with everything going in exactly the direction you would expect it to, until it reaches the denouement that you always knew was coming anyway. All of the technical aspects are handled proficiently enough, with writer/director, Ethan Grover placing the camera where he needs to within the confined environment to keep the face and the emotion of the composer in the frame, while DoP James Nield highlights enough of a difference between one world and the next to make sure that we always understand where we are. Sound obviously plays a big part in the narrative of Counterpart , with the first half of the film being eerily silent, save for a few incidental sounds, while the second half comes alive once the composer starts to put his new composition together. The music itself, sadly, isn’t all that exciting or enticing for the viewer, and it’s hard to believe that the composer would really go to all these lengths, and find such inspiration in his other-worldly muse, just for the short snatches of music that we get. While there’s nothing wrong with what we’re being given as an audience, it just doesn’t engender enough interest to necessarily justify us being there in the first place. Counterpart is a short, simple film that does exactly what it says on the tin. There are no frills, and definitely no spills, to speak of, and by the time it’s finished there a distinct feeling of ‘meh’ about the whole affair. Something this bare is difficult to get excited about, as it does what it needs to do and nothing else. Still, for what it is, and what it sets out to achieve, it manages it all pretty well. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Teen Killer film review by UK film critic Jason Knight. Starring Sullivan Grace, Allison O'Connor, Ashton Pulis, Isabel Davison directed by Olivia Medrano. HOME | FILMS | REVIEWS The Teen Killer Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 30, 2022 Directed by: Olivia Medrano Written by: Olivia Medrano, Allison O'Connor, Sullivan Smith Starring: Sullivan Grace, Allison O'Connor, Ashton Pulis, Isabel Davison A teenage serial killer is having trouble disposing of a body. Alex (Grace) is a teenage girl who kills people. Although she tends to be cautious when she commits murder, one day she kills an acquaintance who payed her an unexpected visit and now she needs to get rid of the body. So she calls two of her friends to assist her. Her friends are Sam (O'Connor) and Kyle (Pulis) and they are unaware of her deranged activities. Will the three of them be able to cover-up the crime? Regarding the mise-en-scene, there is gore and a disturbing scene in which body parts are being placed inside a blender. When characters are looking at the camera and speaking, a boom microphone appears sometimes, creating comical feelings. This short thriller is presented as a mockumentary, although not the entirety of it is filmed that way. It begins with Alex holding a clapperboard, looking into the camera and introducing herself as a serial killer. Then a title card states that the events in this 'documentary' are true, apart from the ridiculous bits. This clever and humorous introduction effectively sets up the tone of the story. After Alex talks about her killings and explains why she commits them, the narrative moves to the murder of Becky (Davison) and to the actions that are required in order to dispose of her dead body, which is pretty much the main focus of this film: the killer and her friends trying to get rid of a dead person. And that is not a negative thing, as the plot is intriguing and there is plenty of dark humour. The acting may not be great, however that does not stop the performances from being amusing. Pulis, especially, is quite comedic as a sensitive guy who freaks out by the shocking situations he unwillingly has to deal with. Alex's stepfather is a good supporting character, who is cheerful and oblivious to his stepdaughter's murderous personality. The two biggest strengths here are the story and the humour. Having a serial killer as a protagonist and observing her as she does nasty things is something that catches people's attention and the dialogue and gruesome situations are supported well by clever dark humour. This is an interesting achievement and and those who enjoy dark humour mixed with the slasher genre will most likely find this short comedy thriller appealing. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Cure film review by UK film critic Rob Jones. Starring Gordon Hickey, Sally Elsbury, Conor Clear, Anthony Hickey, Shane Casey, Brian Moore, SJ Mrad, Simon Mombrun, Joel Vivas directed by Gordon Hickey. HOME | FILMS | REVIEWS The Cure Film Review average rating is 3 out of 5 Critic: Rob Jones | Posted on: Mar 8, 2023 Directed by: Gordon Hickey Written by: Gordon Hickey Starring: Gordon Hickey, Sally Elsbury, Conor Clear, Anthony Hickey, Shane Casey, Brian Moore, SJ Mrad, Simon Mombrun, Joel Vivas The Cure explores a fascinating subject, something which is an unfortunately real paranoia of modern western life. The old saying that money is the root of all evil is one that tends to ring quite true, and perhaps the ultimate evil would be that pharmaceutical companies are actively working against curing illnesses for their own financial gain. In the case of this film, we meet a scientist who's been working, quite successfully, on finding a cure for HIV. Understandably he’s excited at the prospect of getting to work one morning to check his latest trial results, with the expectation that they should’ve gone very well. Except they’ve actually gone horrifically badly. What we then fall into is a story that introduces a number of compounding elements to suggest something isn’t quite right, and before we know it we have a Tom Clancy-esque action-thriller playing out. There are parts that can feel disjointed from one another. It isn’t that anything happens without reason or purpose, it’s just that the scenes required to progress the narrative can feel as if they’re coming together in a way that isn’t natural. It’s almost like a James Bond film where the central character has to be astute at everything to even stand a chance of survival against a diverse cast of villains, but without the backstory to justify it or the opposition to necessitate it. Our protagonist in The Cure is a great martial artist who’s so intelligent that he’s a threat to organisations that are powerful enough to arrange a hit on him, and he has a loving partner with the intuition to tell him exactly what he needs to do to trigger a confrontation to show off those martial arts skills. It wouldn’t be unfair to say it all comes across as quite convenient, but crucially without the humour to suggest that it might be deliberate. Where The Cure shines however is in its production value. There are beautifully framed camera shots from beginning to end, and some innovative uses of what appears to be a drone camera to capture an extended chase sequence. The task of making a short action film almost seems like a contradiction in terms given the usual excesses of the genre, but this really does achieve the feeling of something a lot bigger than it actually is. Equally, its soundtrack does a fantastic job of helping us to navigate the tonal shifts, of which there are a few. It almost feels like two different films, competing with and pushing against one another as much as they’re trying to stick together. There’s a fascinating concept at the heart of the story which is wholly relevant to modern fears and concerns, but it’s just to facilitate a sort of wish-fulfilment experience. Despite the intriguing subject matter that the story is built upon, it doesn’t really matter very much. Aside from the statement that poor public health is essential for a number of profitable businesses, and that that’s bad obviously, there doesn’t seem to be much interest in digging below that surface stance very much. Instead, it’s all an engine to get us to a point where we have a character that’s easy to root for fighting for his life. There’s no doubt that this is a fun watch, but it’s hard to ignore that it could’ve been an insightful one as well. About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

The Good Boss film review by UK film critic George Wolf. Starring Javier Bardem, Manolo Solo, Almudena Amor directed by Fernando Leon de Aranoa. HOME | FILMS | REVIEWS The Good Boss Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Sep 1, 2022 Directed by: Fernando Leon de Aranoa Written by: Fernando Leon de Aranoa Starring: Javier Bardem, Manolo Solo, Almudena Amor For awhile, The Good Boss (El buen patrón) seems to reflect that elusive uncertainty principle the characters often discuss. The more we try to pin it down, the less we know of its nature. And then writer/director Fernando León de Aranoa reveals his hand in a delightfully satirical manner, only to end up tipping the scale in the opposite, obvious direction. And that would cause a furrowed brow from Julio Blanco (Javier Bardem), head of the Blanco Industrial Scales corporation. Blanco’s life – and work – is about perfectly equal measures. “Hard work, balance, loyalty” is the company motto. Employees are family. Their problems are Blanco’s problems. And just when he’s a finalist for a prestigious business excellence award, Blanco’s got plenty of problems. A longtime worker’s son is in trouble with the law. His production head’s wife might be banging another employee. And that new young intern (Almudena Amor) is returning Blanco’s frequent glances. But worst of all, a guy he “had no choice” in firing (Óscar de la Fuente) is camped out across the street, protesting Blanco with signs and a bullhorn. And the guy will not leave. As de Aranoa ticks off the days of the week, there are some glimpses of playful humor in the drama. But when Thursday rolls around, and Blanco’s security guard starts complementing the bullhorn guy’s rhyme schemes, The Good Boss starts having finger-wagging fun with the myth of benevolent “job creators.” Bardem, no surprise, is a wonder. He slowly reveals cracks in Blanco’s facade of ethical bullshit, while never causing us one moment’s doubt about Blanco’s firm belief in this image he’s created. For Blanco, as long as the scales appear balanced, they are, regardless of the tricks it took to get there. And anyway, he needs that award and the government subsidies that come with it. We don’t want “those artists” to hog the award money, do we? Yes, the satirical fruit can hang pretty low, and de Aranoa’s subplot juggling skills start to waver as his narrative becomes more madcap. But right to the bitter end, Bardem can be trusted most when Blanco deserves it least, making sure The Good Boss is a satisfying day at the office. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Truth film review by UK film critic Jason Knight. Starring Eleanor Grainger, James Craister, Alan Davison directed by Gabriel Brown. HOME | FILMS | REVIEWS Truth Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Jul 1, 2023 Directed by: Gabriel Brown Written by: Sam Richardson Starring: Eleanor Grainger, James Craister, Alan Davison A man exacts vicious revenge on his cheating wife. Amy (Grainger) wakes up in a garage, with her hands tied. Her partner Henry (Craister) has brought her here and he is furious. Henry accuses her of having had an affair with a guy named John and now he wants to get even. Amy pleads with him to let her go, however, it is soon proven that things have past the point of no return. This short is an adultery/revenge thriller that is filled with tension and dread from start to finish. The screenplay places the viewer in Amy's shoes, who is trapped in a desperate situation. At the mercy of Henry, she constantly begs him to stop and that she is remorseful for her actions. However, her captor is beyond the point of forgiveness and has turned into a bloodthirsty monster. He threatens her with a knife, repeatedly and angrily blames her for having destroyed their lives and demonstrates just how far he has gone. The atmosphere gets worse and worse and it is evident that things are going to end terribly. Then, the plot twist arrives, one that belongs in the same category as The Usual Suspects , one that makes the audience question everything they witnessed previously. It might be hard to know which character to side with, as both Amy and Henry have done terrible things. Amy has betrayed her husband and Henry has kidnapped her and threatens her life. Although Amy is the one who primarily comes across as the victim, as she is the one who is tied up and tearfully begging for her life, Henry is also a victim, a victim to her selfish cheating. Both Grainger and Craister deliver very strong performances. The film gains from a beautiful cinematography thanks to Caleb Chambers and Brown creates some well-executed long takes. The sinister and dramatic music by Lucy Green is a great addition and crucial when it comes to developing a menacing and dreadful atmosphere. This short grabs the viewer's attention right from the beginning and never loses its grip. The dramatic protagonists, intriguing plot, dreadful atmosphere and unpredictable ending make this quite a memorable experience. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Film news - Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date. Find out more at UK Film Review. Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Chris Olson Tuesday, August 10, 2021 at 3:07:02 PM UTC Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. To include 9 deleted scenes as well as a gag reel, Marvel fans will be stoked to hear Black Widow will be coming to home viewing very soon. Having delayed the cinematic release date due to the pandemic which started last year, the wait will hopefully be worth it for film fans. In Marvel Studios’ action-packed spy thriller Black Widow, Natasha Romanoff — aka Black Widow — confronts the darker parts of her ledger when a dangerous conspiracy with ties to her past arises. Pursued by a force that will stop at nothing to bring her down, Natasha must deal with her history as a spy and the broken relationships left in her wake long before she became an Avenger. Scarlett Johansson reprises her role as Natasha/Black Widow, Florence Pugh stars as Yelena, David Harbour portrays Alexei/The Red Guardian, and Rachel Weisz is Melina. Black Widow — the first film in Phase Four of the Marvel Cinematic Universe — is directed by Cate Shortland and produced by Kevin Feige. Read our Black Widow film review . Marvel Studios’ Black Widow Bonus Features* Gag Reel – Take a look at some of the fun mishaps on set with the cast and crew of Black Widow . Deleted Scenes Grocery Shopping – Natasha heads into a grocery store to prepare for her journey through Norway. After a long drive, she arrives at her destination: a mysterious trailer in the middle of nowhere. Bike Chase – Tailed by assailants, Natasha and Yelena speed through the city in order to escape their nemeses. Gulag Fight – Alexei squares up against several enemies and is quickly overpowered. When all hope seems lost, Natasha leaps in to lend a hand in the fight. Smile – The Taskmaster protocol is activated in a tense moment, and an iconic helmet is unveiled. Come After Me – Secretary Ross and Mason discover an important message Natasha left behind. Walk and Talk – Alexei and Melina have a playful exchange. The Taskmaster arrives and faces off with Alexei. Widows in Training – Yelena and Alexei awaken in captivity. Melina hands the Taskmaster vials while the Widows train. Kiss – Alexei and Melina reunite after the action. Natasha grieves over an untimely demise in the brutal aftermath. Ohio – Natasha witnesses the carefree nature of the Ohio suburbs through the neighbourhood children. Filmmaker Introduction Featurette – Director Cate Shortland introduces the film and her vision for it. Sisters Gonna Work It Out Featurette – Watch Scarlett and Florence as they train, fight, and bond to become the sister duo in Black Widow . Listen as the cast and crew discuss the characters, rigorous training, and building the dynamic between the two fearsome siblings. Go Big If You’re Going Home Featurette – Step back to appreciate the size and scale of Black Widow ’s solo film. Shot around the world, the film balances family and drama with mind-blowing action. The cast and crew reveal the intricacies of stunts that made the film so action-packed. *bonus features vary by product and retailer The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Istina film review by UK film critic Patrick Foley. Starring Nika Rozman, Milica Vuksanovic, Elizabeta Djorevska directed by Tamara Denic. HOME | FILMS | REVIEWS Istina Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 16, 2023 Directed by: Tamara Denic Written by: David M. Lorenz Starring: Nika Rozman, Milica Vuksanovic, Elizabeta Djorevska In case you only focused on strange blonde wannabe strongmen who briefly controlled the Anglosphere and now devote their time to their own egos and stoking the flames of division, you may be horrified to know that the battle for truth is still ongoing, and is a worldwide one. Troubling governments and movements have sprung up all over Europe, with the far-right on the rise in the West the brink of turmoil worryingly close in the Balkans. Istina is the story of a journalist with ties to both, and how populism poses a serious threat to those who shine a light on injustice. Jelena (Nika Rozman) is a Serbian photojournalist who has fled Belgrade for her daughter Lara (Millica Vuksanovic) after reporting on the rise of far-right movements. Residing in Germany, she continues to report on her old home from afar. But when a similar movement arises in her new one, she faces a difficult decision to return to covering dangerous and hostile forces in-person, and what this could mean for both her own safety – and her daughters’. Istina is a brilliantly contemporary short drama film about the fight for truth in dangerous circumstances. Concerns around the rise of the far-right are sadly Europe-wide at present, and the film’s focus on the most aggressive and intimidating brands of neo-Nazi-like organisations makes for uncomfortable-yet-important viewing with a disturbingly relevant context. The fears that Jelena experiences and her inability to live a normal life are at the film’s heart, and the relationship between her and her daughter is brilliantly portrayed to make clear to viewers her real focus in life. Torn between her instinctive love and need to protect, and sense of duty to make the world a better place for her child gives Jelena a central dilemma – and the filmmakers explore the various tenets of this impressively. The story does feel too light on detail however which impacts on the audience’s investment and the rationality of Jelena’s actions. Whilst it is evident the movement Jelena is reporting on is an extreme right-wing group, viewers are only given hints at what they actually stand for and what specific views they hold. Similarly, Jelena is shown to be a determined and fearless photographer with contacts at news groups – but the consequences of her reports and the impact she has had in diminishing the groups she opposes is left vague. Given that she is willing to risk her life for her cause, a little more specificity would have been welcome – although this choice does allow the story to be applicable to differing organisations. Nika Rozman gives an effective performance as Jelena – hardened and authoritative with enough vulnerability to convince viewers of the danger she faces. Millica Vuksanovic is brilliant as her daughter Lara and outperforms her younger years with surprising depth, presenting a childlike fear for her mother. The parental chemistry they share gives the movie unexpected heart. Istina is not without its flaws, but its impressive representation of the importance, the validity and the dangers of journalism in the face of intimidation makes this an accomplished piece of filmmaking. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

The Whale film review by UK film critic George Wolf. Starring Brendan Fraser, Sadie Sink, Ty Simpkins directed by Darren Aronofsky. HOME | FILMS | REVIEWS The Whale Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Dec 20, 2022 Directed by: Darren Aronofsky Written by: Samuel D. Hunter Starring: Brendan Fraser, Sadie Sink, Ty Simpkins By now you’ve probably heard plenty of accolades about Brendan Fraser’s “comeback” performance in Darren Aronofsky’s The Whale . It’s all true. And that emotional standing O at Cannes? He deserved it. It’s a stupendous performance, in a movie that’s always struggling to keep up with him. Fraser, under some pretty impressive prosthetics and makeup, is Charlie, who pretends his laptop camera is broken so his online writing students won’t glimpse his obesity. Charlie spends almost every moment of the day in his Idaho apartment, resisting face-to-face contact with anyone except his caring nurse Liz (Hong Chau, Oscar-worthy herself). Liz and Charlie share a connection to the traumatic event that sent Charlie down the path of eating himself to death, and Liz’s frustrated admonishments about Charlie’s habits seem to have little effect. What does stir Charlie from his destructive routine are two surprise visits. One is from Thomas (Ty Simpkins), a missionary from New Life Ministries. The other is from Ellie (Sadie Sink from Stranger Things and Fear Street), Charlie’s angry, spiteful and estranged teenage daughter. Screenwriter Samuel D. Hunter adapts his own play, and while Aronofsky offsets the chamber piece roots with sufficient cinematic vision, not all of Hunter’s themes make an equally successful transition. The Moby Dick metaphor is frequent and obvious, but woven as it is through the lens of a composition teacher, settles in as an organic and relatable device. Similarly, Hunter’s points about the often judgmental and unforgiving nature of religious groups aren’t exactly profound, but their character-driven delivery is welcome. But the heavily dramatic relationship between Charlie and Ellie – and later, Ellie’s mother (Samantha Morton) – suffers from the stage-to-screen edit. Emotions often escalate from two to ten in an instant, straining authenticity and pushing the manipulative wave that threatens to consume the film. It doesn’t help that Aronofsky’s camera flirts with fetishizing Charlie’s shame, though Fraser’s tenderness is always the film’s saving grace. His every expression is etched with a soul-deep pain that’s finally being pierced by a last hope for redemption. Far from the maudlin exercise this character could have been, Fraser’s is an endlessly compassionate performance that will not let you give up on Charlie, or the film. And you may very well see the resolution coming by the second act, but regardless, don’t forget to have the tissues handy for the third. Every time The Whale needs saving, fear not, Fraser will keep it afloat. About the Film Critic George Wolf Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

Perennial Light film review by UK film critic James Learoyd. Starring Jack O'Mahony, Colin Hickey, Clara Rose Hickey directed by Colin Hickey. HOME | FILMS | REVIEWS Perennial Light Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Jan 27, 2024 Directed by: Colin Hickey Written by: Colin Hickey Starring: Jack O'Mahony, Colin Hickey, Clara Rose Hickey Perennial Light (2024) is a wondrous experience. So unlike anything being produced in the mainstream, it’s an art film which epitomises what’s interesting about experimental filmmaking. Told without dialogue or conventional narrative, this independent Irish movie paints a seemingly autobiographical portrait of one man’s life – from his troubled youth up to adulthood. From the tragedies that befall him, to fragments we see of family life in a rural setting... you get the sense that you’re witnessing a flow of memories, recalled with both nostalgia and melancholy. The film is a visual feast, shot fully in black-and-white; but one of the most intriguing elements is how drawings and animatics are used to provide emotional context for our protagonist’s journey - infusing these wistful, monochromatic images with deeper meaning. We’re shown childlike illustrations depicting everything from love and excitement for the world, to the darker, more reflective moments in the character’s psyche. However, it’s not so simple as ‘representing the character’s thoughts and feelings’: the pictures (like the rest of the visuals) provide an all-encompassing sense of a universal experience; how nature too plays a part in the trajectory of a life. Colin Hickey has managed to create an operatic drama with the simplest of tools - using what’s around him as subjects that may evoke a feeling. Much of the piece is structured through imagery of animals, greenery, as well as the weather. It almost goes without saying that the Terrence Malick influences can be felt throughout (a compliment of the highest regard), and it’s certainly Koyaanisqatsi (1982)-esque in its posing of the organic with the industrial; but comparisons can also be drawn to artists and directors you may not expect... For example, Mike Mills’ emotional short film I Am Easy to Find (2019) shares many similarities -- the chronicling of a person’s psychological life, contemporary monochrome cinematography, and use of music. One is also reminded of the recently departed Terence Davies (one of the greatest filmmakers to ever live) whose meditative style served as a mode of self-exploration, very much a form of remembering . It’s a testament to the level of craft and creativity present in Perennial Light that so many great visual artists can be felt in its making; but there’s also just as much to be said about the cinematography alone. The black-and-white is one thing: presented with stunning contrast and depth -- accentuating detail in the shadows and highlights to harness the full effect -- it in no way feels like a cinematic gimmick. Yet what’s more important is it’s a movie made by someone who clearly understands composition. There are many frames that are overwhelming for their use of silhouette, layering, and starkness; Hickey knows how to make an impact by arranging subjects with purpose. I’d like to commend this movie for using digital to actively experiment. For those of us who prefer the appearance of film, it’s often more impressive if a digital piece effectively ‘does its own thing’, striving to demonstrate its own unique sensibility as opposed to replicating the classical format. Namely, the use of drone shots may - in lesser hands - feel amateurish or become distracting, but its success in this project is due to a precise, painterly quality. By using a bird’s eye view, individuals are placed against their expansive surroundings... there’s a drama to it; there’s an elegance to it. The use of motion blur/smoothing is another gamble, yet it just inherently works – as if, through the mind’s eye, what we’re seeing is impressionistic, faces and textures blurred by the past. The term ‘tone poem’ is thrown around loosely within film criticism, frequently misplaced and irksome; however, if any feature-length movie were to fit into that label, one supposes it would look something like Perennial Light . More than anything else, it’s a combination of moods and ideas represented through music, editing, and visuals (I haven’t even mentioned the sound design, which is expertly done and gives a visceral, immersive quality to the images). But there’s personality behind the form and a sincerity in every frame. A dream-like delight, it’s a pleasure from beginning to end. About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Mr. Mimoto film review by UK film critic Jason Knight. Starring Jon Xue Zhang, Kelsey Cooke, Noa Nikita Bleeker directed by Govind Chandran. HOME | FILMS | REVIEWS Mr. Mimoto Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 20, 2023 Directed by: Govind Chandran Written by: Govind Chandran Starring: Jon Xue Zhang, Kelsey Cooke, Noa Nikita Bleeker Under orders, two women abduct a man. Is he the right man though? Frankie (Cooke) and Darlene (Bleeker) are two young women who are up to no good and work for someone sinister. Their current mission is to kidnap a man called Mr. Mimoto (Zhang) and keep him prisoner for a certain amount of time. So they catch him, bring him to a smart property and tie him to a chair. However, there seems to be a problem: the man claims that he is not Mr. Mimoto but Shin, leaving the two girls to figure out if he is telling the truth. This short dark comedy utilises a kidnapping situation in order to explore racism and (to a lesser degree) social media. Shin (or Mr. Mimoto?) is has an Eastern Asian appearance, just as the one the abductors were supposed to snatch. As the unknown man has no I.D. on him, or a social media address, the two women have a hard time finding out whether he is their target or not. They actually have a picture of him on their phone, yet he insists that is not him and proceeds to lecture them regarding their ignorance of how all Eastern Asians look the same to other races. That appears to be the film's main point and criticism: that people tend to believe that Eastern Asians all look the same, even if they are from another country of that region, like Japan or China. The performances are entertaining and the characters are interesting. Frankie and Darlene are clearly amateurs in their line of work, as they drink a refreshment while keeping the man prisoner, place a regular shopping bag over the man's head after having tied him up and they chill out while they wait for him to wake up and of course, they are unsure whether they kidnapped the right person. They argue with the man and on top of that, their boss is putting pressure on them via phone. Frankie comes across as sensitive and nervous, while Darlene seems more focused and determined. The man himself, he plays it cool and criticizes his captors' naivety and inability to distinguish Eastern Asian individuals. There are creative filmmaking techniques that include title cards that are accompanied by what sounds like Eastern Asian music and the song Jarabe Tapatio, that is heard as a ring tone and during the closing credits was an excellent choice that supports the comedic atmosphere. As well as being funny, this short addresses thoughtful issues: that a lot of people tend to think that Eastern Asians look alike, which the screenplay explores humorously and also the world's obsession with social media. Issues aside, this is an intriguing story, with clever dialogue and amusing characters and it does a great job in maintaining suspense. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Black Boy's Don't Cry film review by UK film critic Joe Beck. Starring Madison Ledyard King, Angel Joy directed by Madison Ledyard King. HOME | FILMS | REVIEWS Black Boy's Don't Cry Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Oct 27, 2024 Directed by: Madison Ledyard King Written by: William Hunter-Raey, Kamodjia, Glenn A. Robinson IV Starring: Madison Ledyard King, Angel Joy It’s a common mantra and sad fact of life that boys don’t cry. It’s something deeply ingrained in society and the historic pressures of masculinity. To this day it is still shocking when you see a man cry either in real life or on screen, such is the extent to which cultural values have been so slow to change. This heightened masculinity is even more present traditionally in the black community, and ‘Black Boys Don’t Cry’, demonstrates the overwhelming pressures of that effectively and rather beautifully. The film follows Evan (played by Madison Ledyard King), a young black college student for whom the pressures of life have suddenly built up. He struggles to concentrate on his studies, and is told that his grades are slipping. His parents message him and call to check in on him, but they encourage strength rather than vulnerability. Nothing seems to appeal to him, and it feels as though he is floundering, uncertain of his next steps for both his present and his future. He’s caught in the abyss and can’t seem to find a way out from it. He is referred to counselling to try and resurrect his falling academical attainment. When he tries to protest and justify his rough patch he is bluntly told that everybody is going through things. It’s the sort of language used so frequently to avoid men truly opening up about their feelings. Evan can’t cry because that would be a sign of weakness. The only way is through, and the only way he can get through is by thinking that everyone else is struggling just the same. It’s a way of telling him to ‘man up’, a phrase that itself is deeply linked to the overbearing pressures of masculinity. Madison Ledyard King’s film does this effectively throughout, giving a relatable and endearing portrait of a man’s life when it is riddled with doubt. As well as portraying the film’s lead character with a weariness that will be familiar to many, he imbues the film with a sense of claustrophobia with his directing, as it constantly feels as though the walls are closing in around him. The sound of the film too, is incredible, with a wonderful score and beautiful songs on the soundtrack, that perfectly epitomise the issue of a crisis of masculinity. ‘Black Boys Don’t Cry’ is a painfully beautiful film, tenderly portraying the overwhelming burden that traditional masculinity places on a man. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >