Search Results

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 >

What Josiah Saw film review by UK film critic Hope Madden. Starring Robert Patrick, Nick Stahl, Scott Haze directed by Vincent Grashaw. HOME | FILMS | REVIEWS What Josiah Saw Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 2, 2022 Directed by: Vincent Grashaw Written by: Robert Alan Dilts Starring: Robert Patrick, Nick Stahl, Scott Haze Just when you think you know where director Vincent Grashaw’s Southern Gothic What Josiah Saw is going, you meet Eli. One at a time, Grashaw introduces us to the Graham children. At first, it’s poor Tommy (Scott Haze), a simple fella living at home with Graham patriarch, Josiah (Robert Patrick). Josiah doesn’t think much of Tommy. He doesn’t think much of God, either, but he’s having a change of heart. Then Grashaw switches gears and introduces us to Tommy’s brother Eli (Nick Stahl), who lives hard. He’s run afoul of some bad people (including Jake Weber in a welcome cameo) and is in some pretty desperate straits. Finally, we meet sister Mary (Kelli Garner), whose trauma sits far nearer the surface and strengthens our unease about the inevitable family reunion. The Grahams reunite, drawn by the lure of oil money: the Devlin corporation hopes to drill on their land. The money could mean a fresh start for everyone. But some details need to be handled first. Moving from story to story, What Josiah Saw keeps you on your toes. Grashaw glides easily from one style to the next, although Eli’s gritty thriller storyline is the most intriguing. It feels more complete, less bait and switch, and benefits from Stahl’s naturalistic, resigned performance. Not every episode works as well. The stones left unturned and strings left untied from one tale to the next, though, give the film a rich, dark present-day. From the outset it’s clear there’s a traumatic backstory waiting to be revealed, so it’s to Grashaw and writer Robert Alan Dilts’s credit that the messy present keeps pulling our interest. Patrick delivers a strong turn, mean-spirited and commanding. He’s at the center of the mystery, the center of everybody’s trauma in a film mainly concerned with how you live with the marks left by your childhood. Ambiguity in the third act is becoming a theme in horror this year. Alex Garland’s Men , the recent stalker horror Resurrection , and now, What Josiah Saw. Sometimes it’s brave to let the audience own the experience and make the call. More often, it feels indecisive or muddy. I’m not sure all the clues are here to help make the determination for What Josiah Saw , but even without proper closure, Grashaw paints a creepy picture. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The Hand of God will be released in select cinemas in December and on Netflix on December 15, 2021. The World Premiere will take place on 2nd September at the 78th Venice International Film Festival. . Brand new film trailers. The Hand of God Trailer The Hand of God Teaser Trailer Released The Hand of God will be released in select cinemas in December and on Netflix on December 15, 2021. The World Premiere will take place on 2nd September at the 78th Venice International Film Festival. From Academy Award-winning writer and director Paolo Sorrentino (The Great Beauty), comes the story of a young man’s heartbreak and liberation in 1980s Naples, Italy. The Hand of God follows Fabietto Schisa, an awkward Italian teen whose life and vibrant, eccentric family are suddenly upended—first by the electrifying arrival of soccer legend Diego Maradona and then by a shocking accident from which Maradona inadvertently saves Fabietto, setting his future in motion. Sorrentino returns to his hometown to tell his most personal story, a tale of fate and family, sports and cinema, love and loss. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September.

Betrayed film review by UK film critic Chris Buick. Starring Stefan Butler, Suzy Bastone, Caitlin Cameron directed by Ewan Gorman, Dagmar Scheibenreif. HOME | FILMS | REVIEWS Betrayed Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Oct 16, 2024 Directed by: Ewan Gorman, Dagmar Scheibenreif Written by: Caitlin Cameron, Philip Halmarack, Jay Shurey Starring: Stefan Butler, Suzy Bastone, Caitlin Cameron Determined to protect his daughter from those who would seek to utilise her unique abilities for potentially nefarious means (no spoilers as to the specifics here), Sam (Butler) hides his daughter Isobel (Cameron) away day-after-day at an undisclosed location for what he sees is her own safety. But with Isobel growing more and more tired of feeling like a prisoner, and with a gang of other interested parties led by the uncompromising Lauren (Bastone) closing in, Sam begins to feel himself backed into a corner and running out of people he can trust. A proof-of-concept short looking to present enough of itself so as to become a fully-fledged feature, Betrayed thankfully does everything it might need to in order to get itself noticed and raised to the next level. Here, we are introduced to an array of intriguing characters and teased by a number of luring backstories and half-explored relationships in a script that is tantalisingly crafted by writers Cameron, Halmarack and Shurey. Everything presented to us is deliberately kept at a very top-level, the audience never knowing too much about what is really going on and finding ourselves scrambling to put what little information we have together and yet realising there are still many pieces of this puzzle we can’t get our hands on. As more doors open into each of these characters lives and stories and circumstances, just as we’ve had our peek inside each one it is slammed back on our faces again, importantly never leaving us with frustration but rather with exciting questions we need answered. Whether all this potential can be fully realised in a feature remains to be seen, but based on what is presented here, it at the very least deserves its chance. The film can be a bit overly dramatic at times, some of the character moments a bit forced and over-exaggerated to make sure they make their point. But these moments really are few and far between. Betrayed has a cast where everyone knows their role and plays it admirably to create something bigger and better than the mere sum of their parts. The film also keeps things fresh with different storytelling techniques and a mix of themes to boot, some that it must be said need more context and prior warning for viewers i.e. a scene involving an upsetting sexual assault, but otherwise, it’s a film that’s been thought out enough to hook you right in and fully justify being given the chance offer even more. Very much like the pilot of an intriguing drama, and with apparently more to be revealed in a potentially upcoming “ISOBEL” feature, with its plethora of themes, varied characters and well-paced and balanced storytelling, Betrayed is a film that not only promises a lot more but also proves it’s likely to deliver on it. Watch our Video Film Review below. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Fyre Rises film review by UK film critic Swati Verma. Starring Paul Marlon, Aaron Sidwell, Charlene Aldridge directed by Paul Knight. HOME | FILMS | REVIEWS Fyre Rises Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 21, 2025 Directed by: Paul Knight Written by: Paul Knight Starring: Paul Marlon, Aaron Sidwell, Charlene Aldridge The writer-director Paul Knight blends emotion with the crime and action genre to tell the story of the protagonist (Paul Marlon) who is trying to safeguard his wife Maddie (Charlene Aldridge) and his children from the Antagonist the Priest (Aaron Sidwell) shapes up knight’s vision perfectly to increase the degree of audience engagement with Fyre Rises all through the running time of the film. The plot of Fyre Rises revolves around a Debt-ridden pacifist Richard Fyre who is propositioned to return to his abandoned mercenary ways by a Flamboyant zealot priest to eliminate his international competition in exchange for a clean slate. The feature film begins with a black screen and a voice-over informing about a status report. It starts with an opening sequence of a masked man dressed in black stuck in some unforeseen situation a perfect subplot to establish the subject matter of Fyre Rises. The makers have adapted connotations of fire like rage, danger, and life complexities into the narrative to make it multi-layered, realistic, and relatable in the eyes of the viewers. The storyline moves through various countries as well as timelines adding depth. The set design, black, red, and bluish colour palette, mix of natural and dim lighting, sound, camera angles, costume, dialogue, hair, makeup, and props complement the screenplay increasing the intensity according to the situation in the script. In terms of performance, Paul Marlon Plays Richard Fyre who is trying to move on from his dark past to create memories with his family while he is forced to do a task for the sake of the safety of those he loves. Marlon portrays the nuances of Fyre’s emotions as he handles many unforeseen situations in the narrative. The body language, voice modulation, facial expressions, and eyes are utilised well by the actor to depict the struggles, and helplessness that keep changing Richard Fyre as a person with each subplot in the storyline. Charlene Aldridge plays Maddie (Fyre’s wife) who is a pretty strong support system to him understanding what he is going through but also has her share of emotions she can share with her husband limited because she has the responsibility of taking care of the house as well as the children. Aldridge strikes a perfect balance between the duties of a wife as well as a mother with her acting skills. Aaron Sidwell plays the role of the Priest-villain. Priest commits all his evil doings in the name of God. He often does specific makeup to hide his real identity. Sidwell has beautifully incorporated body language, voice modulation, and dialogue delivery to bring the character to life onscreen inducing the fear in the audience’s eyes. Fyre Rises talks about the importance of showcasing the strong side of your personality and fighting injustices because everyone tends to take advantage of one’s vulnerabilities. The feature film reiterates the beauty of the relationship between the parents and children. The unconditional love, and protection parents give their children is incomparable. The cinematic piece highlights that no person can run away from their past completely so one needs to learn to live with it and move from it in pursuit of happiness and a peaceful life. About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

The Whisper film review by UK film critic James Learoyd. Starring Ivisita Ivanova directed by Teddy Nikolova. HOME | FILMS | REVIEWS The Whisper Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Apr 3, 2025 Directed by: Teddy Nikolova Written by: Miroslav Petkov, Teddy Nikolova Starring: Ivisita Ivanova The Whisper has a most simple premise, told with a high level of cinematic competence. It’s a tried and tested formula: a woman – in this case Sophie (Ivisita Ivanova) – walks through the woods alone and begins to realise that some dark, unseen force has a hold over the forest. She encounters objects which suggest that she should not go any further, but she does. We as the audience follow, held by the tension of the scenario and intrigued by the dramatic nature of the locations depicted. Delving into the occult, hauntings and possession, this is obviously a film we’ve seen before. However, that doesn’t mean that this horror-short by director Teddy Nikolova isn’t doing anything new; in fact, there are plenty of apt aesthetic techniques being implemented to support this classic narrative in fun and exciting ways. Plot-wise, there’s not much to discuss. Penned by Nikolova and their co-writer Miroslav Petkov, the narrative is serviceable, and most definitely proves successful at constructing an effective setup and striking conclusion. Yet outside of that, we’re presented more with atmosphere than themes and a fully-fledged story. And that’s fine. It quickly becomes apparent that the filmmakers are far more interested in both how they’re telling their story, and how adept they are at replicating the genre tropes and conventions. Thus, we can view this work as a practice piece of sorts; an arena in which these budding artists can flex their creative muscles. It’s a picture which contributes sincerely and positively to the legacy of horror cinema. Audiences therefore will enjoy a movie made by film-fans who are passionate about the genre they’re drawing from to create something personal. Visually, there’s something reminiscent of John Carpenter’s style in The Whisper . A floaty, voyeuristic quality imbues the camerawork with a cold sense of emotional removal. But through this continuous following and tracking also comes the really unnerving aspect of the cinematography. It's as if the character drags the camera with them through the dangerous environment, and whatever is a threat to this subject will also end up being a threat to us, the audience. It’s a dialogue-free exercise in visual storytelling, so while we can’t necessarily empathise with Sophie – beyond the surface-level anyway – we can still very much place ourselves in this physically vulnerable space. Towards the story’s end, however, shots become shrouded in darkness – but this lacks the tangible quality of the bright, frightening woodland in previous minutes. More attention could have been paid to lighting the dark space with a more dynamic hand; a look of clarity without losing the sensation that we are truly in the dark. This is a hugely challenging ask, particularly for those without the resources to make the image pop. But in that case, maybe a different kind of conclusory set-piece could have been settled upon. Nevertheless, what this short film illuminates is a group of filmmakers’ comprehension of filmic structure as well as the standard tone of a horror movie. An impactful work of mood and dread indeed. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Aftersun film review by UK film critic Hope Madden. Starring Paul Mescal, Frankie Corio directed by Charlotte Wells. HOME | FILMS | REVIEWS Aftersun Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 10, 2022 Directed by: Charlotte Wells Written by: Charlotte Wells Starring: Paul Mescal, Frankie Corio When you were 11, what did you think you would be doing now? For a lot of parents encountering this query from their own 11-year-old, a joke might ward off any painful introspection. For Aftersun ’s Calum (a riveting and tender Paul Mescal), the long silence seems to echo with more than just unreached potential. Calum and his preteen daughter Sophie (Frankie Corio, remarkable) spend a holiday together in Turkey sometime in the mid-1990s, judging from the tech, which includes Sophie’s digital8 camcorder. While the blurry, fragmented, buzzing presence of camcorder images is a long-tired filmmaking crutch, writer/director Charlotte Wells gives it deeper purpose. The fractured, off-center but intimate footage mirrors Sophie’s fuzzy memory. The gaps in reality, and the distance between what something looks like and what’s really going express adult Sophie’s (Celia Rowlson-Hall) struggle as she looks back on the fraught relationship between her younger self and her distant father. The film moves at a languid pace, but Wells repays your patience with a rich and melancholy experience. Like Sophia Coppola with her similar Somewhere , Wells and cinematographer Gregory Oke capture palpable longing, nostalgia and heartbreak. Neither film structures a tidy narrative, instead trusting viewers to pay attention and piece together fragments to form a whole image. Wells also benefits from two bruised but buoyant central performances that help you see what’s not being told and feel what characters are trying to keep hidden. Mescal’s charming, innocent, awkward father is as much the memory of a lost daughter as he is a flesh and blood man. His performance aches with authenticity, and Mescal’s chemistry with young Corio only furthers that poignant realism. Though the loose narrative may frustrate some, as a work of remembrance, Wells’s first feature film delivers something powerful and powerfully impressive. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Voyage To Himalaya film review by UK film critic William Hemingway. Starring Teodor Tulpan, Catalin Mastan directed by Octavian Repede. HOME | FILMS | REVIEWS Voyage To Himalaya Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Dec 31, 2023 Directed by: Octavian Repede Written by: Octavian Repede and Teodor Tulpan Starring: Teodor Tulpan, Catalin Mastan In the Spring of 2022 a group of twelve international climbers from as far afield as Romania, The Netherlands, India and Canada came together to tackle the ascent of one of the most remote and difficult peaks in the world, that of Kangchenjunga. The short film, Voyage To Himalaya – The Kangchenjunga Expedition 2022 is the story of that ascent. Situated deep in the Himalayan mountains, Kangchenjunga is the third highest peak within that mountain range and as such is also the third highest peak in the world, standing at 8586m tall. As one of the more inaccessible peaks to reach, it can take a ten day march (or one pretty hairy helicopter ride) just to make it to base camp at Kangchenjunga, and as such it sees just one summit attempt from climbers for every twenty-five seen at its most famous neighbour, Mount Everest. This does not mean, however, that there is nobody else on the mountain when our intrepid team arrives – far from it – and the first thing that becomes immediately apparent is that extreme mountain climbing is big business for those in the region. Some BBC style narration helps us join the team up into the mountains where we find that the entire expedition is provided for and run by a Himalayan mountaineering tour operator. Just like a regular package holiday to Zante, the agency organises flights and transfers, nightly accommodation whilst travelling to the destination, and all meals along the way. Once at the base camp all mod cons are provided with tents and food and paraphernalia for comfortable living brought by the Sherpas to make sure that everything runs smoothly and everyone has a good time. Base camp is already pretty busy, with several other expeditions set up as well, and to all intents and purposes a small village of bright orange tents has risen up out of the snow. There is a very small window each year where the weather is clear enough for mountaineers to attempt to reach the summit and this year (2022) the expedition we’re following has taken a few weeks through April and May, right around Easter, to try to make their ascent. The climb takes several days, over several stages, and takes in four further camps higher up the mountain, in order to reach the peak. There is a lot of to-ing and fro-ing between camps due to weather issues and acclimatisation for the climbers but all in all everything seems positive for managing to ascend to the summit. On hand are a couple of Romanian climbers, Teodor Tulpan and Catalin Mastan, and it is Tulpan who is taking the footage of his journey to share with us. He also provides some narration from his journal as he relays some of his thoughts and feelings along the way, although this can at times feel perfunctory as he shares some of the mundane details, too. Throughout Voyage To Himalaya there are obviously some breath-taking visuals to behold. The clouds, mountains and sky look glorious in full HD and it’s clear to the viewer that what we’re seeing is a view which is literally unlike anything else on the planet. Tulpan does a good job of taking it all in as well as showing enough of the camps to give a rounded view of how the expedition functions. Despite the travelogue narration not really adding very much to the feel of the documentary, a good understanding and a great sense of wonder is still transmitted to the audience. While Voyage To Himalaya may well be more of a personal travelogue or home video for those undertaking the journey that year, its documentary aspects do enough to broaden the scope of its audience out to the wider mountaineering community, as well as those who like to watch stunning photography. There’s more than enough unique content here to keep the viewer interested for an easily palatable forty-five minute runtime. About the Film Critic William Hemingway Digital / DVD Release, Short Film, Documentary < All Reviews Next Film Review >

The World Cruzer film review by UK film critic Jason Knight. Starring David Nathan, Gerrit Schmidt-Fob, Jurgen Thormann, Philipp Moog directed by Yorick Niess. HOME | FILMS | REVIEWS The World Cruzer Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 16, 2022 Directed by: Yorick Niess Written by: Yorick Niess Starring: David Nathan, Gerrit Schmidt-Fob, Jurgen Thormann, Philipp Moog An extraordinary journey through planet Earth, humanity and space. This rather intriguing and genuine documentary from Germany makes the audience feel like they are traveling around the globe, arriving at any part of it in the blink of an eye, and seeing the beauty of it and mankind's progress. The people who view this film will see a lot of things, as it contains a rich collection of images that seem to show what life is like on Earth. The entire feature is basically a one-hour-and-forty-minute long montage of wonderful images, some of which are about Earth and others about space. It could also be categorised as a music video, with electronic music by the band Reecode. There is voice-over from a narrator and several other individuals who appear to portray unknown and unseen characters. The narrator talks about an entity called The World Cruzer, who embarks on a journey, traveling around the world. The character voices belong to a group of people who express their opinions on a variety of subjects including acceptance, happiness and self-discovery. Their words appear like text messages from messaging apps, pointing out that this is a way many people communicate these days. Regarding the words and messages, they come across as philosophical and wise and some seem to be advice on how to live a productive life. The visuals appear to represent the topic of the narration that accompanies them. Visually, the documentary contains stock footage, animation and photographs. The images cover many areas, including social issues, space, nature, the ocean and people around the world. The viewers will see many animals, both on land and in the ocean, all kinds of people, beautiful landscapes and astronauts in space. There is a great deal of slow motion and Niess did a great job with the editing. Interestingly, if the voice-over was removed, this would be a different kind of experience, taking the viewer on a journey filled with wonderful music and mesmerising visuals. It would also make an interesting viewing if there was nothing to see, no images only audio, with people listening to the voice-over and score. Although to some it might feel a bit overlong, this documentary is quite a journey and one that explores the wonders of Planet Earth and the evolution of mankind. It is a calming and fascinating look into Earth, humanity and space. About the Film Critic Jason Knight Indie Feature Film, Documentary, World Cinema, Music Video < All Reviews Next Film Review >

Insentient film review by UK film critic Patrick Foley. Starring David Arkema, Clayton Stocker Myers, Elizabeth Saint directed by Sohale Dezfoli. HOME | FILMS | REVIEWS Insentient Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Aug 20, 2021 Directed by: Sohale Dezfoli Written by: Sohale Dezfoli Starring: David Arkema, Clayton Stocker Myers, Elizabeth Saint They say that the best revenge is a life well lived. Someone probably should have probably shared that snippet of wisdom with the co-leads of Insentient , who have decided that the best revenge is to rob your ex-girlfriend at gunpoint – with predictably tragic consequences. Heartbroken after discovering his girlfriend’s (Elizabeth Saint) infidelity, Stan (David Arkema) enlists his brother Marty (Clayton Stocker Myers) in a revenge plan. At a diner, the pair discuss their scheme – which will involve an armed break-in and the theft of an undisclosed item that has great meaning to the former lovers. But as the brothers take action, they discover that plans made in anger never go as expected. Insentient is an ambitious short film that tries its best to formulate thought-provoking statements on the futility of revenge and the inability to let go. But it is let down by a half-baked story and clunky dialogue. The film’s premise is basic enough – a jilted lover embarking on a revenge mission with an ally who does not share the same emotional red mist. But this ends up over-complicated with the inclusion of a bizarre, mysterious Mcguffin the pair are planning to steal. This item is never explained nor revealed, and the pair’s determination to acquire it feels forced because of this. Quite what would be so precious to all three characters, with their varying motivators, is left ambiguous – and comes across as a failed attempt at forcing an unnecessary mystique onto the film. Marcelles Wallace’s briefcase this is not. There seems to have also been a determination to pack in as much cliched, hokey dialogue as possible into the short’s 20-minute runtime. Some low-lights include “Death is peace”, “What if she’s packing?” and constant, uncomfortable and elusive references to the mysterious ‘It’. Designed to add depth to the film, this instead results in barely a line of believable, human exchange in the piece. The need to preserve the unnecessary mystery of the item desired by the brothers is a major culprit in the awkwardness of the writing, but beyond that, other moments are simply contrived and trite. Too many awkward attempts at meaningful one-liners lead to disappointing consequences. It's a shame because the film is shot well, with some effective shaky camera work which emphasises the uncertainty and inexperience of the two brothers. The tension leading up to the invasion is built well with a rising score, and a late stand-off is handled very well by director Sohale Dezfoli. There are some missteps however, with a random cut-away to a shadowy figure featured prominently with little pay-off, or flashbacks inserted without much thought to how they serve the story. The film is very character focused, with the brother’s relationship placed squarely at centre of the story. Clayton Stocker Myers is the highlight as Marty, who is conflicted over his loyalty to his brother and his concern about the danger of the plan. Myers brings depth to the role and shows range as the pair take things too far. David Arkema’s Stan meanwhile spends most of the film looking like he’s about to burst into tears. His fragile emotional state is on display, but it all comes across as a little over-dramatic. There’s a decent idea in Insentient, but the director’s determination to extract deeper meaning from his film ends up undermining the depth the subject brings naturally. The short is too overcooked to be anything really special. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film, Amazon Prime < All Reviews Next Film Review >

All Eyes On You film review by UK film critic Jason Knight. Starring Laura Nock, Callum Parker, Tammy Heath, Barry Smith directed by Ted Clarke. HOME | FILMS | REVIEWS All Eyes On You Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 20, 2025 Directed by: Ted Clarke Written by: Ted Clarke Starring: Laura Nock, Callum Parker, Tammy Heath, Barry Smith A short mystery horror film written and directed by Ted Clarke and starring Laura Nock, Callum Parker, Tammy Heath, Barry Smith. Filmed in four days, in Market Bosworth, this project was produced by Apollo Productions, which is a team of DMU (De Montfort University) film students and graduates. Young couple Claire (Nock) and Adam (Parker) arrive at a small village, where Adam has inherited a house from his late aunt. Soon after they arrive, strange things begin to happen that involve the locals such as super-friendly neighbours, a postman walking into their home, a suspicious black car and a photographer seemingly taking pictures of them. What is going on? The anxious couple tries to figure that out while simultaneously reflecting on their dramatic past. The plot is a what-on-earth-is-going-on type and that is arguably the primary element that makes this short so watchable, with a creepy atmosphere and characters behaving like they came out of a David Lynch film. The couple keep on encountering these peculiar people one after the other and begin to suspect that some sort of sinister force is moving against them. The suspense and the drama fill the place, effectively accompanied by Thomas Pearce's music that can be either sentimental or sinister. The film ends on a rather dramatic and surreal note, one that could also be described as a cliffhanger. It is a memorable ending, however, it does not provide any clear answers regarding what is going on in the village, why the residents are behaving the way they doo. And this is not necessarily a negative quality, as sometimes, ending a story with mystery can make it intriguing. Concentrating on the performances now, it is Parker who steals the show as a quick-tempered youngster who becomes increasingly agitated by all the bizarre occurrences. Nock plays his sensible partner, who is deeply affected by his behaviour and also by the odd events. The rest of the cast consists of the actors portraying the unusual and sort of nosy habitants, Heath and Smith being the ones who stand out the most as the extremely friendly neighbours. The screenplay creates a suspenseful and tense story that is filled with paranoia, dread and to some extent, xenophobia as well. The film is also about starting over but also about facing the past. Moreover, domestic abuse is also explored. A creepy story with strange characters. Viewers will most likely appreciate this short due to the suspenseful atmosphere and the mystery, however, they might be divided by the inconclusive ending. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Grand Tour film review by UK film critic Jack Salvadori. Starring Gonçalo Waddington, Crista Alfaiate directed by Miguel Gomes. HOME | FILMS | REVIEWS Grand Tour Film Review average rating is 5 out of 5 Critic: Jack Salvadori | Posted on: May 25, 2024 Directed by: Miguel Gomes Written by: Miguel Gomes Starring: Gonçalo Waddington, Crista Alfaiate It’s the journey, not the destination Few films aim to lift the audience to a different dimension. Even fewer actually succeed in such a daring quest; Miguel Gomes’ extraordinary new film, Grand Tour , manifests this transcendental power that could only be described as pure cinema, questioning the very essence of reality and fiction and eventually finding the answer to organically embrace both. Framed by the crumbling colonial empire at its sunset, the film opens in 1918 with British civil servant Edward awaiting his fiancée Molly at Mandalay station, in Burma, joining him in the Far East after many years apart. But just before she is about to disembark from her transatlantic, he gets cold feet and runs away. And so the titular "Grand Tour" begins, with Edward hopping on an odyssey across many iconic cities all over South East Asia- and Molly relentlessly nipping at his heels in each stop. The chase, marked by minimal telegrams and narrated in the native languages of the characters’ ever-changing locations, soon becomes playfully complicit, as Molly refuses to give up her lover despite Edward’s punctual desertions. An odd screwball comedy, to an extent, in which the protagonists never share a scene together. But after all, “this is a Portuguese film”, reminds us Gomes, sardonically. Yet, the greatness of this film relies in its form. The story experimentally unfolds switching classically staged scenes with documentary inserts from modern times, shot by Gomes as he was writing the screenplay while retracing the "Grand Tour" himself. The period, fictional scenes are old-fashionably black&white and take place inside handcrafted studio sets, while the contemporary footage is voyeuristically captured in the streets, observing the unexpected grace in the real world, mostly showing faraway and forgotten storytelling ways, precursors of cinema, such as folkloristic dances, shadows and puppets shows. These inserts serve as a brilliant device to merge fiction with reality, the spectacle of the world and the intimacy of vision, proving that the world of cinema and the real world are complimentary of each other, and allowing Edward to fade away in the environment, as he longs to hide and disappear. The contemporary cuts are drastically reduced as we follow Molly’s travels, since, opposite to her lover, she has a more proactive and vital approach, she wants to live and therefore is more physically present. If you don’t sigh at the sound of Singapore slings, Tibetan temples and Saigon’s monkeys, you might be immune to this film’s charm. The fascination relies in its exhilarating depiction of exotic fetishism, the romantic, illusory westernised gaze upon South-Asian iconography. Casablanca was shot in a backlot in Los Angeles, and you wouldn’t find anything like "Rick’s Café Americain" in its real namesake. And yet, there’s something that lures any cinephile to that dreamy fictitious place instead, a place that can only exist in light form, on a silver screen. The legendary East in Grand Tour belongs to the same cinematic map, cruising on a fabricated nostalgia whose roots are part of our collective imagery but that never actually belonged to us. According to the Portuguese filmmaker, the ticket to embark on this journey across space and time is belief. A faith that relies in the images, and that the viewers must have in order to appreciate the magic on screen. There is too much effort to show reality on film, and it’s good to believe in the unbelievable again. About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >