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Everything Will Dissolve in the Void film review by UK film critic James Learoyd. Starring Diana Galimzyanova directed by Diana Galimzyanova. HOME | FILMS | REVIEWS Everything Will Dissolve in the Void Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jul 31, 2024 Directed by: Diana Galimzyanova Written by: Kirill King Starring: Diana Galimzyanova Everything Will Dissolve in the Void is a new and inventive music video from filmmaker Diana Galimzyanova. It's dark and moody - depicting the subject in what appears to be an abandoned complex of buildings as they smash objects to the beat. The music, which is of a high production value, certainly feels incredibly nihilistic and operates with the handheld, often sporadic, visuals to create a feeling of rebellion. It's enjoyable to watch for it holds a real energy and sense of creativity; however, a couple artistic decisions hold it back from being a truly great and stylistically cohesive music video. The piece's strengths lie in the production design, mise-en-scene and overall atmosphere and concept - with the location acting as an eery representation of mood; the piece's weaknesses, on the other hand, lie for the most part in its overuse of AI manipulated imagery, which may work for some, but personally took me out of the experience. When discussing the mise-en-scene, what might be most impressive about Everything Will Dissolve in the Void is the video's attention to detail. Meaning, the creative attention paid to each element of what we're seeing in the video footage. For example, the application of the pale makeup and darkness around the eyes is a detail which subtly adds an implication that our subject is not fully 'alive' as it were - residing in the titular 'void'. It's a nice touch and a little goes a long way. The building itself is also just phenomenal as an environment and accomplishes so much of the formation of a tangible, haunted atmosphere. Its baron sensibility as well as the random assortment of objects scattered around the character is unsettling to say the least. Occasionally within the music video whilst we observe the subject having fun and causing havoc, the film's format will change to an augmented AI video wherein the person is transformed into what appears to be a vampiric or ghoul-like creature - similar to the filmmaker's other video art work. The light will be flashing and made to look vivid and scratchy. This is a problem in as much as the work does not need this manipulation in any way. The video is fun to view and would be even more enjoyable without the in-your-face AI reality; it detracts from the in-camera work done on set as well as the visual attributes of the world they've worked to create. Namely, there's some quite dynamic cinematography at play. The decision to have the camera be completely handheld and always in motion - moving in and out, spinning and tracking with the individual - really works in the movie's favour. But to conclude, this new music video is a really admirable effort. I particularly admire the amount of creatives involved in the production -- consisting of the director/performer, camera person, makeup artist, and music artist. This demonstrates an embracing of collaboration; an enthusiastic showcase of everyone's talents. Thus, the work is rich with deep and metaphorical ideas and, whilst oftentimes imperfect, is a brave and stylised production. About the Film Critic James Learoyd Music Video < All Reviews Next Film Review >

Joker: Folie à Deux film review by UK film critic Jack Salvadori. Starring Joaquin Phoenix, Lady Gaga, Brendan Gleeson directed by Todd Phillips. HOME | FILMS | REVIEWS Joker: Folie à Deux Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Sep 5, 2024 Directed by: Todd Phillips Written by: Scott Silver, Todd Phillips Starring: Joaquin Phoenix, Lady Gaga, Brendan Gleeson Back in 2019, director Todd Philipps reassured that Joker was always pitched as one movie, not set up to have any sequels, and in his own words, “that’s it”. 
Hence, when news broke out in 2022 that "Joker 2" was in development, I instantly feared that the $1 billion earnings at the worldwide box office was enough of a reason to repaint Joaquin Phoenix’s nose in red. Yet, Joker: Folie à Deux is not just capitalising on the original’s profit, it’s not simply expanding the character’s story, but rather it’s a response to the über popularity it has achieved since. Todd Phillips has to deal with following up the success of his previous movie, just as Arthur Fleck, now safely locked in the criminal ward at Arkham State Hospital, has to cope with his newly found celebrity status as a high profile criminal. Two years after his violent breakdown turned him into the anarchic embodiment of social discontent, Arthur’s highly anticipated trial is coming up.
Diving deeper into the Batman universe, the prosecution is led by Distinct Attorney Harvey Dent, while Arthur’s eyes are cast on Harleen Quinzel, a madly in love groupie of the dangerous clown. 
On one side his lawyer wants to plead insanity due to multiple personality disorder, splitting the trauma survivor Arthur from the killer Joker. On the other, his followers, heralded by his girlfriend, are only the jester. His identity is in question as much as his faith, as he risks the electric chair but also losing his messianic lure. To cope with all this, Arthur uses music to mend his inner fractures to be whole again, losing himself in colourful, theatrical fantasies. This allows Phillips to find a fresh approach to tackle his sequel through the musical, referencing Sweet Charity and Parapluis de Cherbourg rather than Taxi Driver and King of Comedy , distancing himself even more from the previous one. Yet the greatest influence comes from Sidney Lumet’s Network . Joker became a sensation for the masses, both in Gotham and in cinemas all over the world, because he was “mad as hell, and wasn’t going to take it anymore”. He shouted a lot but eventually had very little to say. And just like Howard Beale, once the populist chanting runs out, he becomes irrelevant. This is why the audience that is expecting the same satisfying empowerment found in the first film is going to be disappointed, if not enraged, by this new one. Joker: Folie à Deux acquires a meta dimension, establishing a direct conversation with them, the ones who idolised the character with T-shirts and tattoos, the incels who dance on the stairs and worship Tony Soprano and Heisenberg, without actually understanding them.
This is a commercial film that sinks its own toxic fanbase: or, in pure joker style, cinematic anarchy. About the Film Critic Jack Salvadori Film Festival, Theatrical Release < All Reviews Next Film Review >

So I Erased His Face film review by UK film critic Amber Jackson. Starring Sophia Haslé and Benjamin Kauffman directed by Yimeng Yuan. HOME | FILMS | REVIEWS So I Erased His Face Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Dec 8, 2022 Directed by: Yimeng Yuan Written by: Yimeng Yuan Starring: Sophia Haslé and Benjamin Kauffman Trigger warning for the film: abuse So I Erased His Face is a twelve minute short drama that uncovers the traumatic wounds of an aspiring painter. Apparently inspired by true events, the female protagonist is wounded and worrisome as she must process very complex thoughts and emotions throughout the film. Saddening and with vulnerability, this is a delicately beautiful film that pairs aesthetics with grief to convey a strong message. The painter is ultimately recovering from a toxic relationship which is understandably very upsetting. As a result, she has selectively forgotten moments of a toxic relationship much like a response to trauma. Yet at the same time, she still wants to remember fonder moments of this time perhaps in an attempt to make peace with what happened to her. This is all explored through her sensational artwork and a fixation on paint during every scene, which director Yimeng Yuan builds up to very quickly and thereby creating a kaleidoscope of imagery and expression for the viewer to gaze at. Consistent metaphors of painting and artistry are constantly present in the film, as the artist speaks on the journey of conception to completion of a piece of art. It is a very quotable script mostly in part due to its intensity as every line is intended to be raw and palpable as we are invited to experience the painter’s life alongside her. This allows for the short to feel very avant-garde, as the camera intrudes upon the painter and holds our gaze obsessively on painting as well as following the characters interacting with the art. Yimeng Yuan allows us into the space, but also challenges us within it. Atmospherically, the film feels foreboding and forlorn. Alongside the up-close-and-personal camera, most scenes being dimly lit is an intriguing contrast and makes the tone ominous. This is definitely explicit insight for the viewer with regards to how the painter feels. Likewise, it is a very quiet film, with some score that reflects a sombre mood. As the painter over-analyses past events and her responses to them, it is equal parts pensive and painful to see her struggle alone. Yet, it does not feel exploitative for her inner psyche to be deconstructed on screen, rather validating and empowering for her to share her story even though she has perhaps not come to terms with it. This short film about abuse and agony is brilliant and challenging watch with the sensitive subject matter tackled on screen. Although painful for the protagonist, there is a slither of hope for her future that the viewer must hold on to. Ultimately, So I Erased His Face is a very moving and powerful watch. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Big George Foreman film review by UK film critic George Wolf. Starring Khris Davis, Forest Whitaker directed by George TillmanJr. . HOME | FILMS | REVIEWS Big George Foreman Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Apr 27, 2023 Directed by: George TillmanJr. Written by: Frank Baldwin, George Tillman J r. Dan Gordon Starring: Khris Davis, Forest Whitaker Sixteen words in that title, leaving little room for nuance or any shred of mystery about the tale being told. And it’s a perfect fit for a film that is content to just summarize a life like a Wikipedia timeline, choosing the safest, most easily digestible path. After a brief flashback segment, director and co-writer George Tillman Jr. (Soul Food, Men Of Honor, Notorious , The Hate U Give ) just ticks off the events of George Foreman’s life in simple, linear fashion. He grew up poor in Houston, started boxing during his time in the Jobs Corps, won an Olympic Gold in 1968, won the heavyweight belt from Frazier in ’73, lost to Ali’s “rope a dope” strategy in ’74’s Rumble in the Jungle, quit to be full-time preacher in ’78, came back to the ring 10 years later and won the heavyweight championship again in 1994 at the age of 45. All of that info is always a search engine away, but Tillman Jr. just regurgitates it onscreen, never embracing the chance to dig deeper or deliver any new insight. And there are two great opportunities here. The first is George’s relationship with longtime mentor “Doc” Broadus, portrayed with heart and sensitivity by Oscar-winner Forest Whitaker. The second is Foreman’s conversion to a Man of God. Either one of these could have given the film a strong foundation to build around, and an easier route to getting audiences closer to the real Big George. Khris Davis (Judas and the Black Messiah ) beefed up considerably to play Foreman, and while he looks the part, fight sequences range from lackluster recreations to the WTF choice of a deep-faked Davis being inserted into real footage from Foreman’s 1991 bout with Evander Holyfield. Comical portrayals of both Muhammad Ali and Howard Cosell only feed a longing for the historical relevance of the 1996 doc When We Were Kings. George’s rise to gold medals, heavyweight belts and best-selling grills has indeed been extraordinary. It deserves better than the ordinary treatment that comes from Big George Foreman . About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Company of Four film review by UK film critic Joe Beck. Starring Angus Foulkes, Harry Walters, Gabriel Phelan, Charlie Tantam directed by Harry Walters. HOME | FILMS | REVIEWS Company of Four Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 4, 2023 Directed by: Harry Walters Written by: Harry Walters Starring: Angus Foulkes, Harry Walters, Gabriel Phelan, Charlie Tantam It’s strange both how little, and how much, the world has changed over the past one hundred years. Sure, we’ve made huge technological strides, and we’re certainly a more inclusive and diverse society than we were a century ago, but still, very little has changed about people themselves. You’ll still find the same bonds of family, love, friendship running between people, same as you did then, and, unfortunately, you’ll still find the same loss of impassioned youth. When those soldiers went to war in 1914, and over the course of the following four years, they thought that they were stopping a conflict on such a scale happening again, and yet over one hundred years later we continue to see war, albeit of a very different nature, in Europe once again. ‘Company of Four’ captures the innocence of many of those young men who lost their lives, or indeed lost that unstained purity of youth, fighting for their country all those long years ago, before tactfully making us question the futility of it all. Written and directed by Harry Walters, ‘Company of Four’ depicts four young boys eager to serve their country and make their families proud as they stand on the brink of being called up for active service. The boys mess around, taking the mick out of one another, as lads still do, and put on brave faces to mask their nerves. Nobody really wants to say it, though Edward (Harry Walters) comes closest, but they know that there’s a good chance that they might not return and they’re scared for their lives.

 While Walters’ script is effective in establishing the bonds of connection between the group, its dialogue sometimes feels forced and unnatural, a shallow attempt to pick up the kind of language teenagers were saying a hundred years ago. This truly comes to the fore in an incredibly awkward scene between James (Angus Foulkes) and his mother, which is dreadfully stiff, not helping either actor, who both sound incredibly bored. 

 Walters’ directing, on the other hand, serves him far better, adeptly establishing the relationship between camera with his lens, which also captures, at times, some impressive cinematography. Perhaps more impressive is his ability to make you empathise with the characters in the bluntness of his direction - there isn’t anything flashy to take away from the grim reality and sense of impending doom for these young men, Walter’s understands that subtlety is needed in his direction, and that is what he delivers. 

 The real killer moment of ‘Company of Four’ comes when it sharply cuts to the present day - we see two lads, same as those from one hundred years ago, walking down the street laughing. They’re the same lads but they don’t have war on their minds, hell, they don’t even know if they had family that fought in world war one, as Walters’ makes his final, most damning point on the futility of war. ‘Company of Four’ may occasionally encounter a rough patch, but it does more than enough to get across its potent, and sadly still pertinent, message across both effectively and emotionally. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Modern Arcana film review by UK film critic Jason Knight. Starring Serina Ojala, Mariah Salazar, Rico Changeux, Mike Wird directed by Thomas Wingerd. HOME | FILMS | REVIEWS Modern Arcana Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 26, 2023 Directed by: Thomas Wingerd Written by: Thomas Wingerd, Thea Chard Starring: Serina Ojala, Mariah Salazar, Rico Changeux, Mike Wird Two people in the afterlife repeatedly live through a series of different lives. A man (played by Changeux and voiced by Wird) passes away and ends up in the afterlife, which (in this feature) involves being in the middle of a forest and wearing a tiger-like, colourful mask. With him is another deceased person, a young woman named Estelle (played by Ojala and voiced by Salazar), who calls him Leo and is wearing an almost identical mask. She informs him that the two of them have been together in previous lives and that if he wishes, he can return to the world of the living and live the life of whoever he wants and the way to do that is to die in the afterlife. The two of them take turns in living lives they want to, with one person remaining in the forest, waiting for the other to return. As they continue to do this, their relationship develops more and more and they begin to question whether they could do something more meaningful. This feature is a fantasy story where a lot happens. The majority of the narrative takes place in the forest, with the two protagonists enjoying the afterlife together, growing deep feelings for each other and trying to understand what would make them happy, out of all the lives they are experiencing, what exactly would be the best thing for them to gain out of all this? Basically, the screenplay alternates between the two of them in the forest and the lives they live when they die, which is done by one killing the other (with the other's permission) and the alternative lives are primarily why a lot happens, as they are plenty and diverse, although shown briefly. Between them, Estelle and Leo become a pirate, a whale, an MMA fighter, an astronaut among other things and they sort of become short intriguing stories (from various filmmakers), enabling the film to explore a variety of genres, including horror, sci-fi, adventure and animation. Of course, a lot also happens in the forest, with the romance that develops between the two heroes, the character development they go through and the dance scenes. The dance sequences turn the film into a musical and their main purpose appears to be to highlight the blooming relationship between the two lead characters. These scenes are accompanied by music that is either gentle or hip-hop and they are very well choreographed thanks to Wingerd, Heather Cino and Sky Shaver and the creative editing by Wingerd and Jesse Rarick adds to their good quality. Regarding Estelle and Leo, they are people (departed ones during most of the feature) who are struggling with their identity, they are having difficulties comprehending who they want to be and what would be the ideal life for them. However, what they do know is that they care deeply for each other and although they constantly wear those masks, the audience can still sympathise with them. The mise-en-scene is interesting, with trees covered with colourful handprints, the masks and the clothing, that is the work of Wingerd and Emily Luebcke. Significant praise goes to the creativity that was contributed to the animation during the whale sequence (which is narrated rather enthusiastically by Michael Winslow) and to the magical music by Jordan Polovina. This film is a fantasy love story with drama, comedy and dancing that explores the afterlife and the meaning of life. It is a journey of self-discovery that looks into the idea of people undestanding what it is that brings them happiness and therefore live the best life possible. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Spinning Man film review by UK film critic Swati Verma . Starring Travis Mitchell, Booth Daniels directed by Jordan Rosenbloom. HOME | FILMS | REVIEWS The Spinning Man Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Dec 29, 2022 Directed by: Jordan Rosenbloom Written by: Jordan Rosenbloom, Ben Eisen Starring: Travis Mitchell, Booth Daniels The writer-director Jordan Rosenbloom introduces the audience to an extraordinary situation the two male protagonists Stan the spinning man (Travis Mitchell) and Jim (Booth Daniels) are trying to combat with. The plot of the short film-The Spinning Man revolves around a man named Stan a radio jockey who is adapting to a new lifestyle as a result of a nuclear explosion The film opens with a message playing on the radio along with an eerie sound in the background as the several tracking shots assist the filmmaker to establish the subject matter of the film thus appealing for an emotional connection from the viewers and also increasing the degree of engagement with the content of the movie. The long shot of the blast showcases the details of the long-term effects it had on people living in the vicinity. The colour pallet is a combination of white, blue, red, black, and grey allowing the audience a better understanding and interpretation of the various scenarios the film takes us through. The set design, dim lighting, dialogue, costume, hair, and makeup defines a sense of disruption in the daily routine of the main lead and many others Travis Mitchell plays Stanley who is forced to live in isolation as things around him turn on his head for the worse. Mitchell through his brilliant acting skills effectively brings out various emotional and physical nuances of human behaviour when exposed to such emergencies. The body language, voice modulation, facial expressions, and eyes communicate the multiple shades portraying the much-required dynamism as a skill to survive the difficult days. Booth Daniels as Jim is like a breath of air. He adds enthusiasm to the conversation Jim and stan have. Daniels works on creating the contrast while Travis continues chatting subtly making the script interesting for the audience up until the climax. The parallel lead actor does an amazing job to be able to uplift the film and get the desired reaction from Stan the spinning man in the film as well as the viewers watching the same. The Spinning man pays homage to mankind highlighting the ability to continuously evolve as per the changes in their lives. The short film talks about the importance of searching for self-worth and keeping busy which helps survive the toughest circumstances. The cinematic piece reiterates how critical it becomes to find some sort of mental peace and stability to battle the hardships unpredictable conditions bring with them. The creative piece tells us that struggles in life in a common occurrence and resilience are an essential quality that needs to be developed as sometimes being strong is the option one has. I want to appreciate the director Jordan Rosenberg and the writer Ben Eisen for keeping the script close to the realism factor and reminding the viewers regarding things we deal with regularly but don’t pay attention to the same very often. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Awakening film review by UK film critic William Hemingway. Starring Eric Gravez, Amanda Kiener, Mohamad Khatib, Porter Scanlon directed by Alex Culberson. HOME | FILMS | REVIEWS Awakening Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Jul 20, 2024 Directed by: Alex Culberson Written by: Alex Culberson Starring: Eric Gravez, Amanda Kiener, Mohamad Khatib, Porter Scanlon A soldier, Grimes (Gravez), wakes up in a mine shaft after a blast or a quake or a cave-in of some kind and finds that the rest of his team are dead. The intro sequence has already told us that survivors are not always the strongest or the smartest, but more often than not the luckiest, so we have to assume that Grimes is one of the lucky ones. After coughing his guts up, stumbling around for a while and checking on the rest of his team, Grimes finally heads down the tunnel and gets comms chatter from the Doc (Khatib), who he is very happy to hear from. But there are things other than what he knows which are also in the mine shaft with him. After moving a little way down the tunnel, Grimes comes across a character who is no longer what he once was. The guy has deep, black inky eyes, blood coming from his mouth, and dark black veins branching out all across his skin. He comes for Grimes in the expected lumbering way until he is shot and put to the ground, where Grimes also lands and pops a load of fungal spores into the air, which he ingests. Cue some quick shots of blood cells and colourful graphics to suggest that our hero is now also infected and will inevitably turn into one of those things he just killed – which are, of course, if you haven’t guessed it yet, yes, that’s right – they’re zombies. There’s no need for head shots here though, as these zombies will go down with a few rounds to the gut, and that’s not the only thing which doesn’t track properly in student writer/director Alex Culberson’s new short film, Awakening . Despite the synopsis mentioning an asteroid mining facility, there is nothing within the main body of the film to suggest that what we are seeing is out in the depths of space. We get no explanation as to the ‘quake’ which occurred just before we join the story and there’s certainly no explanation as to what Grimes’ wife (Kiener) and child (Scanlon) also seem to be doing there. Everything is garbled in quick, minimal dialogue, with one line to suggest that Grimes ‘needs off this rock’ and one that there may or may not be a ‘ship’ on standby. Other than that, this story could take place in Cornwall for all we know. The plotting seems to dive around thick and fast, with Doc coming in and out real quick before Grimes’ wife pops up on comms, then in the mine, and then somehow even Grimes’ child entering the story at the end. Nothing ever really gets explained properly and while there is undoubtedly betrayal and subterfuge going on behind the scenes, Culberson is never able to make any of this clear with his dialogue or plotting. In fact, we just have to rely on our own sci-fi references and knowledge – mostly of the Alien franchise but of other things, too – to see what’s going on and figure out what Culberson probably means. The fact that he’s lifted the main character name straight from zombie phenomenon The Walking Dead also shows the level of originality we are getting in this short film. Awakening does, however, have a decent look to it, with director of photography Luke Park making the best use of spot lighting to fill his frames and keep the shadows in the background. The sound design is also pretty good, with all the audio linking in with the scenes naturally to offer some pretty tense atmosphere. The costumes and effects deserve praise, too, with everything giving off the feel of a bigger budget project and the attention to detail allowing the audience to feel somewhat pulled into the scenario. It’s just a shame that the audience still doesn’t really know where they are or know about anything that’s going on beyond the scope of the camera. While Awakening is actually pretty well made, it suffers irredeemably from bad plotting and dialogue and a confused manner in which it tries to tell its story. There’s just too much that’s been borrowed from somewhere else and nothing new to see in what is essentially a boring film about a guy in a tunnel. Awakening , ironically, doesn’t see how its unoriginality permeates through almost every scene and would do a lot better if it opened its eyes a little to try something new. It’s only one step from space zombies to space zombie Nazis and that is a road that nobody wants to go down – anymore. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Clodagh film review by UK film critic Jason Knight. Starring Brid Ni Neachtain, Katelyn Rose Downey, Jim Kitson, Aidan O'Hare directed by Portia A. Buckley. HOME | FILMS | REVIEWS Clodagh Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 13, 2024 Directed by: Portia A. Buckley Written by: Michael Lindley, Portia A. Buckley Starring: Brid Ni Neachtain, Katelyn Rose Downey, Jim Kitson, Aidan O'Hare An elderly religious Irish dance instructor is hesitant about accepting a talented girl into her class. Mrs Kelly (Neachtain) is a priest's housekeeper and she also takes care of the church and works at a school as a coach for an Irish stepdance class for girls. One day, after some persuasion, Kelly agrees to let an experienced young girl named Clodagh (Downey) join her class. After Clodagh watches the students perform, it is her turn and her dancing abilities greatly impress Kelly and Mr Hickey (Kitson), the violinist. Overwhelmed with what she saw, Kelly is very eager to train the new student. However, an unexpected discovery prevents Clodagh from doing so. A lot of things are part of this short drama. The narrative utilises dancing and religion in order to tell a story about dreams, self-reflection, self-discipline, old age and inner struggles. The film is seen through Kelly's perspective and the conflict arises from her refusal to go against her beliefs so that she can let Clodagh join her class. The reason why Clodagh cannot be accepted is minor, nevertheless, Kelly seems unwilling to overlook it, yet simultaneously, she really wants it to happen and must face herself if she is to achieve what she wants. Kelly is a is a person who strongly believes in never doing wrong, a discipline she obviously gained from a strict and religious upbringing. She has a passion for step-dancing, however the way she was raised prevented her from pursuing that activity. She now has a lonely life, living with a priest and she manages to find joy by teaching dancing. Kelly goes through significant character development and Neachtain plays the part remarkably well. Step-dancing has a big role in this film, as the joys of this activity are felt by the protagonists. The scene where Clodagh dances is arguably the highlight of the film and that is due to the uplifting atmosphere and the filmmaking creativity. First of all, the choreography by Clare Watson and Lisa Watson is terrific and Downey puts on a great performance during the event and so does Kitson, playing the violin. Then, there is the camera movement that is quite impressive, especially with the arc shots, which along with Harry Cepka's speedy editing make the sequence quite lively. And finally, the scene would not have been this good had it to been for the music by Fergal Scahill. On the surface, this is a story about dancing and religion. Deeper, it is a story about a woman's life that reaches a crucial point: having to decide whether she must remain royal to her perspectives or bend them slightly in order to gain. A beautiful and emotional short film that appears to carry a message that states that sometimes people need to pay the price in order to get what they want. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

1946: The Mistranslation that Shifted Culture - BFI Flare film review by UK film critic Amber Jackson. Starring Sharon Roggio, Kathy Baldock, Ed Oxford directed by Sharon Roggio. HOME | FILMS | REVIEWS 1946: The Mistranslation that Shifted Culture - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 18, 2023 Directed by: Sharon Roggio Written by: Jill Woodward and Jena Serbu Starring: Sharon Roggio, Kathy Baldock, Ed Oxford ‘Research into recent interpretation of the Bible results in a re-evaluation of the traditional prohibitions on gay sex.’ Trigger warning: Religious and parental trauma, references to suicide. The main argument for homophobia, especially in the United States, is that ‘the Bible says it is wrong’ - but what if that was never the intention? These are the questions asked in this hard-hitting documentary 1946: The Mistranslation that Shifted Culture. Directed by Sharon Roggio, this film features Christians Kathy Baldock and Ed Oxford who make a ground-breaking discovery that the word ‘homosexual’ first appears in the Bible as late as 1946. From this, they seek to uncover the truth behind this translation of the text and unearth plenty more shocking truths along the way. This is a documentary that tackles massive differences of personal and religious opinion, alongside Christians and activists seeking to change hearts and minds within the Church. Kathy Baldock and Ed Oxford and others within this film seek to uncover the truth behind the apparent mistranslation of ‘homosexual’ in the Bible in the United States. There is a clear conflict between sexuality and scripture woven into the framework of the documentary, as it recognises LGBTQ+ Christians’ daily struggle for acceptance. They love God and the Church, but also wrestle with their own thoughts and feelings concerning sexual orientation. The film effectively explores feelings of disconnect that religious LGBTQ+ people experience everyday with personal testimony and real experience. Whilst the film shares mostly white experiences, a queer Native American anecdotal perspective is shared, as well as a plethora of different scholars and professors commenting on the implications of translated Bible passages and the effect on queer people. This documentary seeks to reach everyone, irrespective of their identity and faith. Roggio’s documentary style is very raw and contains plenty of archive footage and videos and photos from her childhood, as well as animated drawings to bring history back to life. As well as Baldock and Oxford sharing their personal anecdotes, Roggio shares her private family experience growing up gay with her minister father whole-heartedly believing that homosexuality is a sin against God. She shares a heart-breaking reality for many LGBTQ+ people in America and across the world who are not only accepted by their family, but also feel unwelcome in their churches. Roggio successfully conveys a powerful loss of community and sanctuary that queer Christians experience when they are rejected by the Church that cannot be replicated. Whilst it is a deeply sad narrative, Roggio seeks to use her work to ultimately offer hope and kinship to her audience. Speaking on the alleged mistranslation, Baldock and Oxford examine the ideologies and Whilst linguistic powers behind Corinthians 6:9-10 in the Bible. These undefined Greek words and confusion leads them to find Reverend David S. Fearon, the gay man who originally discovered the mistranslation and wrote to the translators to correct them. His academic journey is also explored in the film, as well as his recognition that the word ‘homosexual’ would have plenty of social implications and Biblical reprints. Roggio does an excellent job at handling public opinion and politics within the context of LGBTQ+ communities. The film posits how major socio-historical events weaponised LGBTQ+ people and ultimately created irreversible damage, which is not only engaging, but also very thought-provoking to watch. Through this work, Sharon Roggio and those within the film display true strength in exploring personal testimony and trauma on camera. In sharing plenty of differing religious and social beliefs, the film highlights how the fight for acceptance is still not over as LGBTQ+ people are still being persecuted for their identities, with religion often being used as the main argument. Despite not having a clear outlook on the future, those within the film speak only to hope for change for future generations through solidarity. What is clear is that queer people can and should be able to practice their chosen faith and the film’s message is as beautiful as it is powerful. This is a fantastic documentary that recognises the need to break a cycle of generational trauma for LGBTQ+ Christians in the United States. In doing this, it aims to provide LGBTQ+ Christians a sense of peace and community. It is insightful and educational and well worth watching. To find out more about The Stroll and other films featured at BFI Flare 2023, see the BFI website or read more of our BFI Flare coverage at www.ukfilmreview.co.uk About the Film Critic Amber Jackson Documentary, World Cinema, LGBTQ+, Film Festival < All Reviews Next Film Review >

Waiting For Magic Hour film review by UK film critic William Hemingway. Starring Aline Almeida, Aidan O'Sullivan, Michael Parle directed by Gerard Lough. HOME | FILMS | REVIEWS Waiting For Magic Hour Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Sep 15, 2025 Directed by: Gerard Lough Written by: Gerard Lough Starring: Aline Almeida, Aidan O'Sullivan, Michael Parle An out-of-town photographer and her driver visit the sights of Donegal to get some snaps of the local landmarks, all the while trying to find some common ground from which to build their relationship. Natalya (Almeida) has just landed in Donegal for a job. She’s got to get out and about in the local area and find the best beauty hotspots to photograph for a new calendar. Her driver, Sean (O’Sullivan), is also there to act as some sort of guide, and he takes her out to the coast early in the morning before the sun comes up so that she can capture the ‘Magic Hour’; that special time of day, just before sunrise or sunset, when it’s not quite day and not quite night, where the light does some magical things, and which photographers are drawn to like moths to a flame. Right from the start, Natalya comes across as pretty stand-offish, and she only sees Sean as being there to get her from place to place and nothing else. So, when he starts asking questions about the photography, and just what it is that Natalya wants to capture on this assignment, she brushes him off pretty quickly and makes clear that she’d rather he stay quiet. Sean, however, can’t not use his gift of the gab, and keeps pressing Natalya to open up a little as they spend some time together. Wherever she goes, he follows like a little lost puppy, hanging in the background like a bad smell while she pops off a few rounds of the shutter to snap a hill, or a wave, or an old ruin. While they get out and about in the countryside, the odd-couple are buffeted by some pretty overbearing music which accompanies them on their travels. The 80’s synth-pop blasts out over the visuals from composer Michael McElroy, never really making the effort to match up with what’s happening on screen, building an emotional resonance all of its own without seeming to take into account the motivations or actions of the characters. There’s a sense of heightened action and intensity which comes from the music, trying to imbue the story with immediacy and excitement, while in actuality two people stand by a roadside or argue about an umbrella on a beach. There’s not a lot of plot action going on in Waiting For Magic Hour , which might help explain the dominance of the soundtrack in the film. With writer/director Gerard Lough being a veteran filmmaker of short films and music videos, he leans into his expertise to tell us the story in his own way. Most of the driven narrative comes from the music itself, with there being very little on offer from the almost non-existent plot and the minimal dialogue, meaning that most of the film takes on the form of a music video, where we follow the characters around the scenes, from location to location, all to the sounds of a synthesizer and not much else. The acting, too, lets the film and the storytelling down, as nobody is suited to their role or is able to offer a convincing portrayal of who they’re supposed to be. Almeida, in particular, finds it difficult to get her words out, with her strong accent getting in the way of understanding what she is saying, especially in the latter stages of the film. Her character, too, is let down by the fact that her pictures are pretty poor, marking her out as less than professional as a photographer. O’Sullivan, as Sean, never convinces either, delivering his lines flat, or nearly not at all, with no real feeling behind any of them, while Michael Parle as the jobbing actor George, ironically comes across as the worst actor of the lot. In the end, Waiting For Magic Hour outs itself as a rom-com, just one with no romance and no comedy involved. The conversations are so stilted and minimal that it’s almost impossible a relationship could develop between the two characters, especially when there’s no chemistry on screen either, and the closest they get to romance is realising that they kinda quite like each other. Thankfully, the film has been cropped at the fourteen-minute mark, so there’s no languishing about in the scenario, but then there’s not much scenario to talk about in the first place. Lough’s cinematography is the highlight of Waiting For Magic Hour , taking in as much of the Donegal countryside as he can get, but even that isn’t enough to make up for the lack of story and characterisation elsewhere. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Jack Bottomley writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Jack Bottomley My interest in film started at an early age, though in fairness everybody at some point in life is interested in a medium- film, music, books, and radio. My interest in film began in youth being captivated by the films showing at my local cinema (Space Jam at one point!) and has grown progressively since then. Star Wars is undoubtedly my biggest love but I have developed a taste for many genres particularly Sci-Fi and Horror. Like many people in education, I was uncertain where I wanted to go and really found a firm direction in A-Level Media Studies. Since that point, my filmic interest has become central from graduating from the University of Central Lancashire (UCLan) in 2012 to writing for all my various contacts and visiting some wonderful places on work experience. Follow On Twitter Read My Film Reviews