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Hypnotic film review by UK film critic Brian Penn. Starring Ben Affleck, Alice Braga, William Fichtner directed by Robert Rodriguez. HOME | FILMS | REVIEWS Hypnotic Film Review average rating is 2 out of 5 Critic: Brian Penn | Posted on: Jun 15, 2023 Directed by: Robert Rodriguez Written by: Robert Rodriguez, Max Borenstein Starring: Ben Affleck, Alice Braga, William Fichtner Delving into the theatre of the mind may be an inviting proposition for many. With a multi-dimensional perception of reality and the power of hypnosis; it takes a skilful hand to put such ideas on the screen and actually make them work. Sadly, the mind games engineered by director Robert Rodriguez don’t quite come off. Police detective Danny Rourke (Ben Affleck) is in recovery following a series of emotional meltdowns. He tells a therapist how the disappearance of his daughter Minnie led to the breakdown of his marriage. He is judged fit for duty and joins his partner on a stakeout. They are watching a bank when an unknown individual begins to instruct those around him. A robbery appears to be progress but Rourke is drawn to a safety deposit box inside the bank. He finds a picture of his daughter with a simple message ‘find Lev Dellrayne’. Rourke pursues the assailant as mayhem surrounds them but somehow avoids his grasp. A series of mind bending events lead him to a psychic called Diana Cruz (Alice Braga). They have an immediate connection and join forces to find Dellrayne (William Fichtner), who they believe holds the key to Minnie’s disappearance. The film has identity issues from the very beginning; is it a thriller, horror, sci-fi or psychological pot boiler; or perhaps a mixture of all four rolled into one. But it doesn’t succeed on any meaningful level and leaves the viewer wondering what the last 93 minutes have really been about. A challenging storyline is a refreshing change from the visual candy floss that is often served up. But Hypnotic is impenetrable with a series of twist and turns that make absolutely no sense. Reality and illusion is interchangeable and no amount of slick cinematography can save it. Ben Affleck gives it everything (as do the entire cast) but even he doesn’t seem convinced by Rourke or the narrative. It’s undoubtedly well-made and brilliantly executed; but the same can be said of any film with a decent budget. So it leaves a largely shapeless mass of unanswered questions that can only annoy the viewer. There are one or two shocking moments that could make you drop your popcorn; but they are few far between in a piece that feels dangerously self-indulgent. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Blonde film review by UK film critic Hope Madden, George Wolf. Starring Ana de Armis directed by Andrew Dominik. HOME | FILMS | REVIEWS Blonde Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Sep 27, 2022 Directed by: Andrew Dominik Written by: Andrew Dominik, Joyce Carroll Oates Starring: Ana de Armis Andrew Dominik felt like an odd choice to bring Joyce Carol Oates’s epic fictionalization of Marilyn Monroe’s life to the screen. His films up to now, though excellent, wouldn’t necessarily suggest an aptitude for a female-focused biopic. Most recently, the filmmaker’s crafted two magnificent documentaries on singer/songwriter Nick Cave. Prior to that, he made two woefully underseen Brad Pitt dramas (Killing Them Softly, The Assassination of Jesse James by the Coward Robert Ford) after his Aussie breakthrough, Chopper . Each of these films is excellent, and each of them is broodingly, tenderly, decidedly masculine. If Dominik was an unconventional pick, Cuban performer Ana de Armas seemed a downright peculiar choice for the lead role. She’s no doubt beautiful enough to play the legendary stunner, and her work in Knives Out and Hands of Stone have shown her versatility as an actor. And why not get a little nutty? Monroe’s story has been told more times than Dracula’s – at least seven features and TV movies have been made about Marilyn, and she’s figured prominently in countless other flicks. Can they give us something we haven’t seen? Yep. They give us nearly 3 hours of NC-17 wallowing. Dominik’s film, which he adapted himself from the source novel, does little more than fetishize Monroe’s suffering. De Armas fills the role well enough. Yes, her accent takes you out of scenes from time to time, but that’s not really the trouble with the character. Monroe gets a single opportunity to stand up for herself in two hours and 46 minutes. It’s fun. It’s great to watch the character who’s been abused and misused the entire film finally feel a quick surge of pride. This one sequence – the one moment of agency given Monroe in the film’s entire running time – becomes the catalyst of her downfall, of course. Prior to this moment, de Armas is asked only to hover on the verge of tears. Nearly every instant after is degradation for a character rendered nearly inhuman by broadly brushed daddy issues and mental instabilities. While the film’s visual style is often intriguing, Dominik’s aggressive approach feels borrowed. He channels Lars von Trier with wave upon wave of punishment, then recalls Gaspar Noe through extended takes featuring shock-value POVs. And the irony of that NC-17 rating is that it’s not earned the old-fashioned way. The scene that almost certainly drew the most ire from the ratings board does not feature one second of nudity, yet lands as excess most wretched. If it all doesn’t add up to an abuse of de Armas, then it amounts to abuse of an audience. The point of Blonde seems to be that the almost global objectification of Marilyn Monroe meant an unendurably tragic life and death. To prove the point, Dominik objectifies Marilyn Monroe to a point that is nearly unendurable. About the Film Critic George Wolf Netflix < All Reviews Next Film Review >

Dimanche film review by UK film critic Jason Knight. Starring Marie Luciani, Aidan Grossman, Geoff Mays, Mercedesz Mesza directed by Fatty Soprano, Shawn Vasquez. HOME | FILMS | REVIEWS Dimanche Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 8, 2021 Directed by: Fatty Soprano, Shawn Vasquez Written by: Fatty Soprano, Aidan Grossman, Marie Luciani Starring: Marie Luciani, Aidan Grossman, Geoff Mays, Mercedesz Mesza A teenage girl realizes that she is growing up and decides to make significant changes in her life. A young girl (Luciani) is at home, inside a large bedroom, where she is applying makeup on the face of a young man (Grossman), who is approximately the same age as her. That man is her brother and he is dressed in women's clothing. As she works on the makeup, she tells her brother soon she will be turning eighteen and that she has decided to use money she has saved to pay for breast implants. She explains that she is going to do this because a girl named Charlotte (Meszaros), who is a former friend of hers, did the same and her life changed. She became popular and began receiving offers to appear in photoshoots and rap videos. She seems to envy Charlotte's success and wishes to accomplish the same. And she believes that getting breast implants will get her there. This interesting short drama explores themes of coming-of-age, self-discovery, depression, jealousy, being different and how social media affect young people. During her long monologue, the girl mentions that Charlotte has many followers on Instagram, in comparison to her and she is annoyed by that as she seems to believe that being popular online is a big deal. The film seems to suggest that social networking services can have negative consequences on a person't psychology. The long monologue that the heroine delivers goes on almost throughout the whole film. Her desire to move on to better things is clearly expressed and so are her feelings. Apart from doing the makeup, she is occasionally seen standing in the room or lying on the bed while talking. Luciani plays her part well. Her brother remains silent, sitting still while the makeup is applied. With the exception of a few outdoor shots at the beginning, the entire narrative takes place inside the bedroom. The mise-en-scene is intriguing. The room's walls are covered with Christmas lights, CDs and posters of entertainers or television shows. There are various books scattered here and there and there is guitar. All these provide information about the characters' interests and hobbies. The cinematography is wonderful and according to the filmmakers, they aimed to give this project a 90s look. There is also brief black-and-white cinematography and a short montage of black-and-white stills. The beautiful piano music provides a melancholic feeling. During the final moments, the atmosphere changes dramatically, becoming rather sinister. A man enters the room, who appears to be their father. He seems angry with them and shows signs that he is about to use violence. Here, the film seems to be raising awareness for domestic violence. Dimanche provides an insight into the kind of influences that social media have on the lives of young people and will most likely offer the viewer a thoughtful experience. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Placebo film review by UK film critic Chris Olson. Starring Drew Elston, Thomas Coulston directed by Sunny Dhinsey. HOME | FILMS | REVIEWS The Placebo Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Nov 23, 2022 Directed by: Sunny Dhinsey Written by: Gian Singh Starring: Drew Elston, Thomas Coulston Feature film The Placebo , starring Drew Elston and Thomas Coulston, is a deep and meaningful exploration of humankind’s existential crisis. A Writer (Elson) is being haunted by a recurring dream that sees him digging on a beach at sunrise near two towers. When exploring this dream with his brother (Coulston), who is also a doctor, the two characters engage in a series of debates that cover all manner of life’s big unanswered questions. The Doctor reluctantly agrees to drive the Writer to the beach, and the Writer agrees to take some pills from the Doc’s glove box. Upon arriving at the beach, our central character attempts to recreate the exact conditions of the dream and ends up unearthing a skull from the sand - creating a visual nod of the head to Shakespeare’s iconic “To be or not to be” from Hamlet - which also appears at the beginning of the film along with some other famous quotes about life. Battered by the lack of purpose he was hoping to find on the beach, the writer declares everything to be BS and starts to fall even deeper into his despair. Characters suffering from depression can be exhausting to be with, a harsh truth but one we see no clearer than in The Placebo. Being around the Writer’s growing cynicism and mental torment at the pointlessness of the world is hard going on the viewer. Whilst the reflections on life’s weighty themes (God, purpose, essence) are intelligently written and the film has an academic quality some audiences will likely embrace, it’s a bleak experience and one that doesn’t offer enough emotional balance or story development in order to atone for it. The individual performances are good, in particular, Drew Elston who dives deep into the increasingly erratic central character. His rollercoaster moods are compelling and the highlight of The Placebo is his emotive scene on the beach. Sadly, the chemistry and the interactions between the actors felt wooden and rehearsed. In many scenes, it feels like the actors are waiting for each other to finish lines so they can speak and many of the minor characters disrupt the flow of the film by injecting poorly delivered lines of dialogue. In a film so heavily reliant on the dialogue between the two central characters, it seems a shame more chemistry was not established and a more natural acting style achieved. Without spoiling the final third, it’s worth noting that the plot does break into something more compelling in terms of the meaning of life and acts that can derail someone’s entire belief system. The film feels unsure of how to deliver the human element alongside the titular pill, with the latter feeling completely underdeveloped. It seems a shame the film devoted so much time to the repetitive back and forth between the Writer and the Doc, rather than delivering a more structured story. That being said, it’s an ambitious film with some really great visuals (the aforementioned beach scene being particularly noteworthy). It has a thought-provoking script, some impressive standalone performances, and finishes strongly. The Placebo is currently available to watch on Amazon, watch the trailer here . About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

The North film review by UK film critic Jason Knight. Starring Bart Harder, Carles Pulido directed by Bart Schrijver. HOME | FILMS | REVIEWS The North Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 9, 2025 Directed by: Bart Schrijver Written by: Bart Schrijver Starring: Bart Harder, Carles Pulido A feature-length adventure drama written and directed by Bart Schrijver and starring Bart Harder and Carles Pulido. An English-speaking Dutch production that was filmed in the Scottish Highlands. Estranged friends Chris (Harder) and Lluis (Pulido) reunite and decide to go hiking for a month in the Scottish Highlands via the West Highland Way and the Cape Wrath Trail, with the intention of reaching Cape Wrath and in hope of rebuilding their friendship. However, dramatic complications will unstable things between them. This slow-burn film does not rely on the narrative in order to have an impact, rather, it focuses on character development and the relationship between Chris and Lluis. Through long takes and establishing shots and without any music, the viewer follows the two men as they go through their outdoor adventure, walking through mountains and several inhabited locations, sleeping in a tent, catching up and meeting other travellers. Schrijver's directing is an aspect that adds massive value. He creates many fantastic shots that reveal the beauty of the Scottish countryside and are supported by Twan Peeters' cinematography. Whether the camera is still or moving, the frame captures magnificent images of nature, making this feature a pleasure to watch from start to finish. The fact that the pace is slow would not had been an issue had it not been for the lengthy duration. The slow storytelling, that takes its time to move the plot forward is an effective way to explore the characters and acknowledge the activity that they are doing: traveling through beautiful scenery. However, experiencing this for more than two hours might be overdoing it, making the film feel overlong. Chris and Lluis have a bond between them, yet, they are quite different. Chris has a good job, a partner and hopes to have children one day. On the other hand, Lluis appears to lack direction in life and does not seem to be completely honest with Chris. On the surface, this is a story about hiking, camping and exploring nature. More deeply, it explores self-reflection, friendship, isolation and dishonesty. An outdoor adventure with a lot of drama. Some viewers might disapprove of the slow pace. Nevertheless, Schrijver's directing and the themes make this feature an achievement that deserves recognition. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Equaliser 3 film review by UK film critic Brian Penn. Starring Denzel Washington, Dakota Fanning directed by Antoine Fuqua. HOME | FILMS | REVIEWS Equaliser 3 Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Sep 11, 2023 Directed by: Antoine Fuqua Written by: Richard Wenk Starring: Denzel Washington, Dakota Fanning Denzel Washington has an outstanding CV but was missing ‘action hero’ from his collection of accolades. Something like ‘Die Hard’ or ‘Lethal Weapon’ would be just the job to demonstrate his undoubted versatility. That was remedied by the Equaliser (2014) and its sequel in 2018. Now in a convenient quarterly cycle we have the third instalment. The franchise is based on an original TV series starring Edward Woodward as retired intelligence agent Robert McCall. Our hero has a dark past but forges a new existence protecting the innocent against the mad, bad and dangerous. A train of events take McCall (Denzel Washington) to a small town in Southern Italy where he decides to settle. But old habits are hard to break and he reports evidence of a criminal network to CIA operative Emma Collins (Dakota Fanning). The Camorra soon come calling and begin to intimidate the locals. But they hadn’t reckoned with McCall and the unique skill sets he can bring to the party. Equaliser 3 is typical of a franchise insofar all memory of the previous one disappears when you watch the current release. Not that it’s necessary to watch previous editions to enjoy this film. It gains more credibility because it has a strong leading man; Washington doesn’t let the visuals do all the work, and builds a strong character that smacks of the world weary agent who can’t leave his old life behind him Amidst the slick designer violence is a coherent story that has the feel of a modern Western. The tale of a stranger in town protecting the weak from the strong is the template for many films in the genre especially the Magnificent Seven. It also evokes memories of Clint Eastwood's memorable portrayal of the man with no name. There is resonance with the moody presence of McCall, who rarely utters his own name perhaps in silent tribute to his predecessor. There are moments of genuine tension, where McCall shows controlled aggression and a minimal use of dialogue to make his point. The bad guys have met their match, and the audience are left in no doubt as to whose side they should be on. Washington raises this film above the usual action movie caper which has been made countless times before. The Amalfi Coast of Italy provides a stunning backdrop and is the perfect location for a holiday. But if you do go make sure Robert McCall's in the vicinity. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Fishtank film review by UK film critic James Learoyd. Starring Tiffany Chu, Isaac Jay directed by Wendi Tang. HOME | FILMS | REVIEWS Fishtank Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Aug 2, 2024 Directed by: Wendi Tang Written by: Wendi Tang Starring: Tiffany Chu, Isaac Jay There’s a unique poetry to Wendi Tang’s near-perfect new drama Fishtank which is slightly difficult to define. It’s a film as hypnotic as it is absurd; sincere as it is painful, and deeply introspective from beginning to end. Centred around the character of Jules (played excellently by Tiffany Chu), this 17-minute short is a strikingly perceptive examination of a woman’s life following alcohol addiction, and the bizarre, metaphorically imbued occurrence that’s taken over her life since being sober. What might that occurrence be, you ask? Well, poor Jules has been vomiting up goldfish for some time now and thought best to take care of her new-found friends by keeping them in the titular fishtank, of course. It’s an unusual conceit for sure; one bound to put some viewers off – particularly those who aren’t willing to follow a plot whose logic is bound by that of the mind as opposed to the real world. But for those who are willing to submit themselves to the journey will discover that the movie’s dealings in the absurdist provide an affecting, poignant mode of discussion. Allow us to get the obvious out the way. In terms of audio and visuals, this piece is exemplary. A lot of my love for Fishtank starts with its gorgeous look - the cinematography really never puts a foot wrong. It has a wonderfully soft, vibrant, grainy, film feel about it; operating subtly, but veering into the expressionistic when called for. This must be one of the most beautiful looking shorts I've seen in a long time, and for that it deserves a great deal of recognition. The film's technical and stylistic sensibilities - extending, of course, to the superb sound design - are astoundingly refined and well-considered throughout. And yet, having praised all this, it is the picture's exploration of its theme as well as the audacious, surreal nature of the narrative which keeps us glued to the screen. This is not a conventional film, and it doesn't care to be; but through that artistic bravery comes some truthful messaging. There are many evocative little details and ideas which elevate the concept from being gimmicky to profound. For instance, you may find that in some ways it's about the experience of having someone else try to fix a person’s trauma for them; the damage that can be caused by playing the hero and disrupting the healing process. Then again, you could also view it as a story about the numb response to big events following the period of substance abuse -- as the protagonist at one point states, "Not everything happens for a reason". Towards the end, a dramatic tonal shift occurs which I can imagine may not go over so well with some audiences; however, when viewing it through the lens of a recovering alcoholic's emotional world and psychological responses, one may find that the movie's sudden darkness rings true. And the important thing is that you have no choice but to admire these big swings, for it certainly feels like a completely original and uncompromised vision. I hope the team who produced the short continue to collaborate together, perhaps even in a range of genres since the craft and ability is so clearly there. Keep an eye out for Fishtank because it’s a rare gem and one of the most powerful short-form works I’ve seen in some time. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

What Men Do For Love film review by UK film critic Jason Knight. Starring Jerome Wright, Morgan Scriven directed by Sai Karan Talwar. HOME | FILMS | REVIEWS What Men Do For Love Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 29, 2024 Directed by: Sai Karan Talwar Written by: Sai Karan Talwar Starring: Jerome Wright, Morgan Scriven A dentist is holding captive the man who has been sleeping with his wife. Shot in black-and-white, this short has a narrative that takes place in real time and was filmed as one fifteen-minute-long take. The setting is a large room with limited lighting, perhaps a storeroom. Martin (Scriven) is a youngster and he is tied to a chair that is tied to a pillar. His captor is Charles (Wright), a middle-aged dentist who has very negative feelings towards Martin because he has been having an affair with his wife, Brenda. What starts out as a revenge story turns into much more, as the two guys engage in a dramatic conversation filled with accusations, insults, sarcasm, self-reflection, shouting and profanity. In the beginning it appears to be a life-and-death situation, looking like Charles is about to exact terrible revenge on his defenceless prisoner. However, Martin manages to turn the tables by criticizing Charles of not been a worthy husband, pointing out his age in particular. Martin's resilient and offensive behaviour sets off a long verbal exchange, with each man expressing their point of view regarding the present situation, Brenda and what love is. As Martin constantly berates Charles and shows no remorse, Charles finds himself reflecting on his role as a husband and the two of them end up building a sort of rapport. This is a confrontation between two angry individuals and both Wright and Scriven are superb in their performances, delivering a great deal of drama. Wright plays a simple man who is torn apart by his partner's adultery and wants to get even, however he embarks on a journey of self-reflection instead. Scriven's character is an aggressive and stubborn man who sees no wrong in his actions. Since the entire film is one long take at the same location, it feels like watching a play and commendations go to the methodical camerawork, with the camera continuously moving around from one character to the other, making face close-ups or having both people in the frame. The fact that the film is in black-and-white makes the dark atmopshere even darker thanks to Joshua Carrington Birch's work on the cinematography. This thriller is a dramatic story about infidelity, revenge and self-reflection. It is the aftermath of a forbidden affair, which has led to a tense situation where a man ends up learning from his captive. The intriguing plot, strong acting and admirable camerawork are the main elements that make this short a gripping viewing from start to finish. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Vortex film review by UK film critic Jason Knight. Starring Billy Gardell, Emily Alabi, Christopher Titus, Jeremy Luke, Nick Gracer, Jamie McShane directed by Richard Zelniker. HOME | FILMS | REVIEWS The Vortex Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 15, 2025 Directed by: Richard Zelniker Written by: Steven Barr, Richard Zelniker Starring: Billy Gardell, Emily Alabi, Christopher Titus, Jeremy Luke, Nick Gracer, Jamie McShane A feature-length drama directed by Richard Zelniker, written by Zelniker and Steven Barr and starring Billy Gardell, Jaina Lee Ortiz, Emily Alabi and Jeremy Luke. This film is currently streaming on Amazon Prime and is scheduled to be released in the UK in September via Tubi. To begin, the title card that opens the feature is a bit misleading. The text describes the devastating fire that occurred at the MGM Grand Hotel and Casino in Las Vegas on the 21st of November 1980 and (following dramatic opening credits) it is stated that the events in the story take place a few hours before the fire. These clues might give the impression that this is going to be a survival thriller, with people trapped inside a burning building, trying desperately to get to safety. This is not the plot. What is the plot then? It centres on Pete Finnegan (Gardell) a stand-up comedian. He is currently in the MGM Grand Hotel doing his comedy gigs and the narrative starts after he finishes his latest one and retires to a room with slot machines, where he sits down and uses one of them to play some poker. While he is there, a variety of people he is familiar with keep paying him a visit. These individuals include Jackie (Alabi), a cleaner, Johnnie (Luke), a musician, Ginny (Ortiz) and Jimmy (Titus) and Louie (Gracer), two loan sharks as Pete has gotten himself into serious debt. The vast majority of the narrative takes place in the slot machine room, with Pete interacting with other characters, listening to their stories and giving them advice, while at the same time trying his luck on one of the machines. So, no, this is not a feature about a burning building (although the fire does play a part in the story), however, that is not a bad thing. This is a drama and a dark comedy and (to a certain degree) also a thriller. Some of the strengths are the colourful characters that are explored effectively thanks to the well-written screenplay that also contains great dialogue. Additionally, there is composer Asdru Sierra's contribution, that being a jazz score that is accompanied by a great deal of drumming. Zelniker gets quite creative with the filmmaking techniques, creating a feature that consists of many long takes with a hand-held camera, a process that is accompanied by Justin Richards' moody cinematography. As he is a stand-up comedian in real life, Gardell appears to have no issues bringing his comedic qualities on the screen, creating a seasoned comedian who means well, yet his clumsy actions have gotten him into deep trouble with criminals. Regarding the criminals, they are the two debt collectors who are after Pete and the menace that they both generate thanks to the performances of Titus and Gracer, makes them perhaps the most intriguing persons who interact with Pete. So all these people having discussions with Pete reflect what? Self-reflection and misfortunes are present themess, with the characters describing experiences and issues. Moreover, stand-up comedy and money issues are also acknowledged. The main thing that viewers will see here will be a man sitting at a slot machine and talking to other people. This might seem kind of dull, but actually, it is a viewing that is filled with numerous interesting stories, impressive camerawork and some decent jokes. About the Film Critic Jason Knight Indie Feature Film, Amazon Prime, Digital / DVD Release < All Reviews Next Film Review >

Rindido film review by UK film critic Alasdair MacRae. Starring Noriel M. Jarito, Chanel Latorre, Vic Tiro directed by Noriel M. Jarito. HOME | FILMS | REVIEWS Rindido Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Jul 31, 2023 Directed by: Noriel M. Jarito Written by: Noriel M. Jarito Starring: Noriel M. Jarito, Chanel Latorre, Vic Tiro An Overseas Filipino Worker or OFW is forced to return home to the Philippines only to find that his long-term partner has been unfaithful in his absence. Rindido (Deranged ) opens with a statement from writer-director-star Noriel M. Jarito outlining his concerns with the mass migration of Filipino people, who are forced to leave the country to work abroad in order to provide for their families, and the intense isolation and subsequent societal issues that come with such a burden. After a baffling prologue, we see the protagonist Efren (Noriel M. Jarito) return to the Philippines, as he wanders the streets the handheld, fast-cutting style captures snippets of his surroundings. He seems out of time with the world around him, unable to keep up. He feels alien, at odds with the place that was once his home. A dynamic way of depicting the character’s difficulties on returning home. However, once he makes it back to his apartment and his partner, Rindido becomes frustratingly one-dimensional. The partner in question (Chanel Latorre), is given a limited role. She is introduced as a sex object, ogled by the men in the neighbourhood as she walks by in a figure-hugging dress. From there she flirts with one of them which is duly interrupted by the arrival of Efren who chases the love rival off. After she performs sex with Efren, they begin to discuss her betrayal. All is not as it seems as she begs for his forgiveness, but he envisages her seducing another man by performing sexually suggestive actions with a banana which causes him to launch into a murderous rage. The encounter ultimately lacks complexity, even though the misogyny appears evident, below the surface is nothing but more misogyny. There is no exploration of loneliness, long-distance relationships, possessiveness, masculinity, mental health, or any other obvious themes that could have been addressed let alone anything abstract. What follows is an outpouring of male rage as Efren seeks out and violently attacks those who had slept with his partner to avenge his lost honour, or something to that effect. The remaining run time consists of hammy fight scenes made dramatically worse by unnecessary post-production sound effects and poor audio mixing. And when the film comes to a close there appears to be nothing left of the sympathetic thread that was started concerning the real-life struggles of OFWs. Rindido is so absorbed with being a second-rate revenge thriller that it stomps all over any interesting dialogue that could have been had concerning OFWs. It is unclear as to why Jarito leads with a statement about the issue if it is going to be passed over so readily for what is just another tale about a so-called ‘crime of passion’. About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

Matcha And Vanilla film review by UK film critic William Hemingway. Starring Qyoko Kudo, Tomoko Hayakawa directed by Hamish Downie. HOME | FILMS | REVIEWS Matcha And Vanilla Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 27, 2022 Directed by: Hamish Downie Written by: Hamish Downie Starring: Qyoko Kudo, Tomoko Hayakawa For those of us interested in following the happenings of Bake Off: The Professionals there's no need to explain what matcha is, other than to say that it is one of patisserie queen, Cherish Finden's favourite flavours to use in dessert making, as long as the flavour is finely balanced and not too much of it is used. For everyone else it's probably best to say that matcha is a green, ground powder made from specially grown tea leaves, which has a slightly bitter, earthy taste to it. What writer/director Hamish Downie is doing, pairing Matcha And Vanilla in his new feature's title, is describing the bittersweet nature of life, which gives with one hand and takes away with the other, while also describing in basic terms the personality of his two lead characters. Ai (Kudo) is quiet and timid and doesn't share much about herself with others. She likes the simple life and takes pleasure in things being comfortable and easy. Yuki (Hayakawa), by contrast, likes to stand out. She wears funky glasses and dyes her hair. She likes to take risks and seeks excitement through experience. Their tastes may be different, but in a delicately balanced way they complement each other to create something new – in this case their blossoming relationship. Ten years later and Ai and Yuki are settled down together in an Osaka apartment, happy in themselves and in each other, but still keeping their relationship a secret from the outside world. Their love for each other is apparent, and is evidenced in full by plenty of softcore scenes with skin on skin, which feel like they're in soft focus even if they're not. Downie takes his time to pile on the 'sweet' scenes at the beginning, making sure the audience understands the depth of love between the two women, as soon enough the 'bitter' parts of life come crashing in. Both women suffer tragedy which they can't initially communicate with one another, both deciding to lie about their situation to their partner as they try to protect them from a grief too terrible to bear. Ai has lost her job and has been trying for weeks to get a new one to no avail. Yuki, however, has been given a cancer diagnosis which knocks her for six when she finds out she only has a few months left to live. The rest of the film then deals with the fallout of this trauma and how desperately alone the two women find themselves in the face of traditional, conservative Japan. What is most striking about Matcha And Vanilla is of course the relationship between the two main characters. Ai and Yuki are both obviously positive and dutiful and live without harming anyone, yet are forced to live as 'friends' or 'sisters' so that no-one starts asking uncomfortable questions or 'outs' them to the rest of the community. Both lead actresses do an exceptional job of portraying their character, delivering real, unvarnished, believable and natural performances throughout some really challenging scenes. This is the film's real strength and luckily, as the main actresses are on screen for pretty much every frame, this carries the film, allowing the audience to believe in the scenario and the relationship to the end. Unfortunately though, a lot of the rest of the film isn't stitched together very well. There are plenty of nice shots from DoP/Producer Paul Leeming, and Downie's direction seems solid, if not really reaching for more, but in the end it's the technical aspects which let the film down. There's some quite patchy sound editing going on, with some parts so hard to hear that it was just as well there were subtitles on the screen. The video editing somewhat suffers the same fate with some scenes ending quite abruptly and some that seem shoehorned in without much cause. Then there's the music, arranged by Deron Reynolds, who also co-wrote most of the original songs played on the soundtrack. These schmalzy, warbling oddities almost seem like a pastiche of other more famous songs which they sound similar to, and detract and distract from what's happening on screen. There is a real disconnect between the songs and the visuals from which the film only suffers. All in all, Matcha And Vanilla survives as a worthwhile film due to its important, relevant story and the incredible ability of its two main leads. It is touching and tragic in equal measure and really strives to bring home the message of what it's like for members of the LGBTQ+ community in what is still one of the most rigid societies on the planet. Despite its faults Matcha And Vanilla has plenty to offer the audience and makes real a difficult situation which still only ever gets hidden behind closed doors. About the Film Critic William Hemingway Indie Feature Film, World Cinema, LGBTQ+ < All Reviews Next Film Review >

The Wedding Banquet film review by UK film critic Hope Madden. Starring Kelly Marie Tran, Lily Gladstone, Bowen Yang directed by Andrew Ahn. HOME | FILMS | REVIEWS The Wedding Banquet Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 16, 2025 Directed by: Andrew Ahn Written by: Andrew Ahn, James Schamus Starring: Kelly Marie Tran, Lily Gladstone, Bowen Yang Back in 1993, Ang Lee scored his first Academy attention when The Wedding Banquet was nominated for Best Foreign Language Film. The marriage of convenience farce reimagined rom-com tropes and landed emotional hits thanks to nuanced direction and generous characterizations. A generation later, director Andrew Ahn reimagines once again. His sweet film reexamines the same culture clash and romantic comedy tropes, this time with more of an insider’s viewpoint in an allegedly more progressive world. Min (Han Gi-Chan) is a wealthy Korean man in the US, making art and living with his commitment phobic boyfriend, Chris (Bowen Yang). The couple stays in the guest house behind the home of their friends Lee (Lily Gladstone) and Angela (Kelly Marie Tran), long-committed partners living through the heartbreak, hope, and financial burden of IVF. Min’s student visa is about to expire, and his grandmother (Oscar winner Youn Yuh-jung ) has decided Min needs to return to Korea and take his place in the family business. So, Min decides to marry a sex worker…no, wait. That’s a different movie. No, when Chris refuses Min’s sincere marriage proposal, he proposes something different. He will pay for Lee and Angela’s IVF if Angela will marry him to keep him in the country. What follows is a dear if too broad comedic fable about found family, acceptance, and forgiveness. There’s no way Ahn—working from a script co-written with Lee’s original writing collaborator, James Schamus—could have foreseen the sinister cloud that hangs over immigrants, IVF patients, gay marriage, indigenous women, the entire LGBTQ+ population, and essentially every human represented by a character in this film. The Wedding Banquet already feels nostalgic for a time when disapproving grandparents and medical bills were the only things a gay couple had to worry about. That aside, Gladstone, You-jung, and Ang Lee regular Joan Chen (as Angela’s mother) are true talents. They do what they can to bring depth to their roles. Yang struggles with the dramatic needs of his character while Tran has trouble with the comedic, but there’s charm in the mess. Ahn conjures a bubbly, romantic confection and maybe that’s needed right now. About the Film Critic Hope Madden Theatrical Release, LGBTQ+ < All Reviews Next Film Review >