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Back to Black film review by UK film critic George Wolf. Starring Marisa Abela, Eddie Marsan, JackO'Connell directed by Sam Taylor-Johnson. HOME | FILMS | REVIEWS Back to Black Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 16, 2024 Directed by: Sam Taylor-Johnson Written by: Matt Greenhalgh Starring: Marisa Abela, Eddie Marsan, JackO'Connell Since Walk Hard gave the music biopic genre a well-deserved skewering nearly 20 years ago, new entries have scored with ambitious fantasy (Rocketman ), pandered with crowd-pleasing safety (Bohemian Rhapsody ) and curiously turned a superstar into a one note supporting player (Elvis ). Back to Black ‘s biggest drawback is a failure to commit to one vision, rightly giving Amy Winehouse agency for her own destiny, but pulling some important punches that could have deepened the impact. Marisa Abela (Barbie ‘s “Teen Talk Barbie,” TV’s Industry ) is sensational as Amy, ably capturing the wounded soul and the defiant train wreck while laying down some impressive lip sync performances. Her chemistry with an equally terrific Jack O’Connell (as Blake Fielder-Civil) fuels the film’s best moments, as the tortured lovers navigate between heartsick devotion and toxic co-dependency, sometimes reminiscent of Sid and Nancy . Biopics usually benefit from narrowing the focus, but director Sam Taylor-Johnson and writer Matt Greenhalgh reach outside the romance for a rushed look at Amy’s journey to stardom and some seemingly sanitized takes on her relationships with Dad Mitch (Eddie Marsan) and “Nan” Cynthia (Lesley Manville). Anyone who remembers the Oscar-winning doc Amy will notice a much different treatment of Mitch Winehouse here. How much of this was required for the family blessing is unclear, but the film does benefit from a depiction of Amy that finds a balance of forgiveness and accountability. Taylor-Johnson’s hand is steady but fairly generic, with a tendency to revisit some obvious visual metaphors. And though you end up wishing Back to Black could have confidence enough to sharpen its edge, stellar performances flesh out the sad tragedy of a gifted life spiraling out of control. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Genocidium film review by UK film critic Alasdair MacRae. Starring Eva Langlet, Alexandre David Lejuez directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Genocidium Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Jul 14, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Eva Langlet, Alexandre David Lejuez CONTENT WARNING: Rape, Suicide. When Angèle (Eva Langlet) leaves the house one day without a face mask she is kidnapped by a killer known as The Dictator (Alexandre David Lejuez). Once held captive in his dingy loft The Dictator then forces a mask onto her and proceeds to torture and rape her. In the intervals between torture, Angèle fantasizes about her death, be it by her own hand or by her captor. What director Alexandre David Lejuez presents here is anti-mask, anti-vax rhetoric in a wrapping of misogynistic violence. He seems to conflate the needs of the public health system with genocide, religious persecution, and martyrdom. The film opens with a quote from political philosopher and Holocaust survivor Hannah Arendt, as if the Holocaust and wearing a face mask are comparable!? From there Lejuez, fittingly both playing The Dictator and being the film’s director, forces Angèle to be sick in her own mask, beats her repeatedly, and engages in a prolonged rape scene that lasts for five whole minutes. Then after seeing Angèle die many violent deaths we are left with the closing image of Christ on the cross. Staggering. To be clear Genocidium is not challenging or culturally significant like the films associated with New French Extremity. Nor does it have the constructs of a Lars Von Trier or Michael Haneke film. And it does not meet the grade of lo-fi pulp that is associated with Rob Zombie. It is simply a flimsy and insulting allegory shot mostly at a Dutch angle and accompanied by classical music in order to disguise itself as being capable of containing a credible idea. Watch the trailer here . About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

Lamb film review by UK film critic William Hemingway. Starring Aoife Duffin, Eanna Hardwicke, Evie and Faye O’Sullivan directed by Sinead O’Loughlin. HOME | FILMS | REVIEWS Lamb Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2023 Directed by: Sinead O’Loughlin Written by: Sinead O’Loughlin Starring: Aoife Duffin, Eanna Hardwicke, Evie and Faye O’Sullivan The title of writer/director Sinead O’Loughlin’s short film, Lamb is detailed part way through the story by its chilling antagonist Paul (Hardwicke), explaining as he does that, “If you want a ewe to go somewhere, you don’t bother with her, you take the lamb,” and this rather brutal but pragmatic insight is the perfect microcosm for the rest of what we see on screen. On this fateful given day, Sarah (Duffin) is taking time out at home with her baby daughter, Lucy (O’Sullivan). Everything seems to be pretty regular and mundane with the toast being burned, the smoke alarm going off and the door being opened to allow us to see the exterior of this small, lonely cottage tucked away in a leafy corner of the countryside. With character and setting duly established it’s not long before some sort of plot/conflict turns up in the form of Paul, sneaking in as he does through the open door and lurking in the out of focus background until it’s time for him to fully enter the frame. Once firmly embedded in the scene, Paul quickly makes himself at home and sits down at the breakfast table for some toast and some tea. Unsure as to what’s really going on, and whether her home intruder is actually a threat or merely a little bit lost, both mentally and physically, Sarah then tries to placate him as best she can. It doesn’t take long though for Paul to play his hand and bare his teeth as he ramps up the tension and lets slip that he’s picked his timing perfectly after having Sarah under surveillance for quite some time. So, following in the footsteps of a plethora of home invasion movies from Straw Dogs (1971), to Funny Games (1997), to Us (2019), Sarah has to figure out how to deal with the situation while simultaneously trying to keep her and her family safe. With only fifteen minutes for the entire scenario to play out she doesn’t have long and in the end it’s O’Loughlin’s canny writing which saves the day, along with some really strong performances from the two leads. O’Loughlin’s direction is solid and sure, moving with and facing the characters as and when the focus is needed, while the cinematography from Dan Keane keeps plenty of light in the frame as the darkness creeps in through their movements and expressions. The sound design and minimal score from Die Hexen works well with the scenario but it’s really Eanna Hardwicke’s performance as Paul which sells Lamb to the audience. There’s nary a foot put wrong throughout the entire runtime save for maybe some baby cries which obviously don’t match with the infant on screen. There’s a lot to recommend Lamb to the viewer with all technical aspects handled well, but sadly there’s not an awful lot to stand it apart either. At fifteen minutes the plot remains fairly basic and the seasoned audience member will already know the familiar feeling of tension from other, similar films. The story goes almost exactly where you expect it to with the dialogue taking a familiar route towards the denouement, just tweaked here and there to offer an Irish lilt. While Lamb is definitely strong in what it does, it does what it does and doesn’t go any further than that. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Farewell Symphony film review by UK film critic Chris Olson. Starring Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou directed by Xiwen Miao. HOME | FILMS | REVIEWS Farewell Symphony Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 14, 2022 Directed by: Xiwen Miao Written by: Xiwen Miao Starring: Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou “Brave women always pay a higher price.” Having recently interviewed filmmaker Xiwen Miao , I jumped at the chance to watch (and review) one of her short films. Farewell Symphony is a sumptuous and aching portrayal of life’s journeys and the loyalties we have to face, and break, if we are to ever find happiness. Qunxi Wang plays the younger version of the lead role Yang Yang, a talented cellist whose family expects her to toe a life of preordained expectations. When she defies them and moves to New York to pursue her dream of playing music, we can see the sacrifice still troubling her decades later through the life of older Yang Yang (played by Joy Sung Kim). Farewell Symphony is full of beautifully short music sequences, such as younger Yang Yang furiously playing her cello after a disastrous dinner with her family, or the older version playing solo on a stage without an audience. These scenes are the true highlight of the short film, Miao seems completely capable of mesmerising her audience with a few simple ingredients. The scenes between the older Yang Yang and her partner Maria (played brilliantly by Anne Ruttencutter) are perhaps the most emotionally affecting. With Maria’s ailing health clearly provoking a multitude of buried hurts for our protagonist, it is their loving affection for each other that becomes a much-needed antidote to the cruel abandonment shown to younger Yang Yang by her parents (Yuebo Wang and Xiaolan Wang). But the crossroads that our lead finds herself in seems just as crushing as her one decades ago, whether to continue to pursue her musical career at the cost of leaving those closest to her. It’s a film that deftly touches upon expected gender roles and social conventions without ever needing to spell it out for the viewer. Yang Yang’s numerous dilemmas create instant empathy from an audience who will understand to varying degrees the expectations thrown on to them by their own family members. The migration that the central character takes is also key. The idea of uprooting one’s self to another country in order to pursue a dream is hard enough, let alone when her loved ones condemn her for it. This severed connection plays out particularly brilliantly with the Grandpa character, expertly played by Jianshe Zhou. Farewell Symphony is a subtle family drama with a rich musical tapestry that makes it engrossing for the audience throughout. There are a few bum notes along the way, such as some wooden dialogue being performed in the dinner scene but these are far and few between. Largely, Miao composes a generously engaging story and then delivers it spectacularly on the parallel stages of young life and older life. About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

Bird of Paradise film review by UK film critic Joe Beck. Starring Neda Davarpanah, Jeffery Thomas Johnson, Brian Ronan Murphy, McKensie Lane directed by Reza Amidi . HOME | FILMS | REVIEWS Bird of Paradise Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: May 30, 2024 Directed by: Reza Amidi Written by: Reza Amidi Starring: Neda Davarpanah, Jeffery Thomas Johnson, Brian Ronan Murphy, McKensie Lane To many people around the world Los Angeles is the pinnacle of arts and entertainment. Reaching it is like making your way to the summit of Everest for artists in industries ranging from film, music, television, and art. It’s the City of Angels for a reason, where a miraculous big break could be just around the corner, with the fame and millions that might come with it. It’s also the City of Broken Dreams, where for every star that is born, another five people have their aspirations crushed, and are forced, reluctantly into a life they never wanted. ‘Bird of Paradise’ has its protagonist caught between the two, and after a slow start, becomes a tense and unnerving thriller. Reza Amidi’s film attempts to navigate the commentary on the shallowness of Los Angeles and the lifestyle often associated with it, alongside the mystery and thriller elements necessary to keep the story engaging. The commentary is far from tactful, and often heavy handed in it’s approach with regards to the struggles of trying to make the initial breakthrough, and then in the sinister backroom dealings that run Hollywood, which have their shadiness amped up to the max. This gives us a series of characters that are full of tropes - the dodgy talent rep, the stuck up producer, the uncaring agent - making the film seem less and less believable, which is fine for a straight thriller, but bad for a thriller that wants to depict the Hollywood system and its murkiness. The film immediately establishes its thriller elements by opening with the abduction at gunpoint of Sasha (McKensie Lane), the wife of bad comedian, and by all accounts even worse husband, Bobby Garrison (Brian Ronan Murphy). We are then thrust into the life of aspiring actor Kat (Neda Davarpanah), and her struggles to get her career off the ground when she is suddenly presented with the opportunity of a lifetime by talent rep Dominic Dunaway (Jeffery Thomas Johnson) - a supporting role in a studio film called ‘Bird of Paradise’. Kat wants to be an actress but is far from ready from the pressures that fame, celebrity, and working at the height of the film industry in Hollywood, and begins suffering a series of breakdowns, which only heighten her anxiety surrounding the disappearance of Sasha, who had previously been cast in her role. She fears deeply for her safety, and with her world turned upside down begins seeing things and having mysterious dreams, as she becomes more and more involved in the mystery behind Sasha’s disappearance and murder. Reza Amidi directs the film well, particularly in terms of building suspense and tension as the film develops, and in establishing an unnerving sense around so many otherwise ordinary interactions, and a horror film with his directing would almost certainly be an exciting watch. However, the script, also by Amidi, is lacklustre, particularly in regards to dialogue which is often one-note and devoid of any subtext, which doesn’t help the actors, whose performances lack note, and never particularly endear themselves or their characters to the audience. ‘Bird of Paradise’ thrives in building suspense and tension, however as a portrait of Hollywood and Los Angeles it feels shallow, whilst its screenplay detracts from the story, ultimately making the film feel altogether very surface-level. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Confession film review by UK film critic Jason Knight. Starring Ivan Shibanov, Eduard Chekmazov directed by Anastasia Norenko. HOME | FILMS | REVIEWS Confession Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 23, 2023 Directed by: Anastasia Norenko Written by: Anastasia Norenko Starring: Ivan Shibanov, Eduard Chekmazov A desperate man enters a church, seeking redemption. It is late 19th century Russia and a priest (Chekmazov) is inside a large church by himself at night-time. Suddenly, he hears a noise and turning around he sees a man (Shibanov) stumbling towards him. The stranger appears to be deeply upset and has blood stains on his clothing. He then goes on to explain the reasons behind his arrival and to ask whether there is hope for him to save his soul. This is a dark, sinister and dramatic short story about an extraordinary encounter following a terrible event. The film begins with peacefulness, with the priest going about his business and it is when the unknown man enters the scene that the atmosphere changes dramatically. The man has an alarming appearance, sweating and bloodied clothes and wastes no time in revealing that he is suffering, that he has committed a vile act and that he demands to know whether his actions can be forgiven. The core of the film is the long monologue that the stranger embarks on, which divulges his state of mind, his deeds and his perspective regarding his current situation. As the dramatic monologue is the center here, Shibanov's performance is vital in order for this short to have an effect, and he succeeds perfectly. The entire film was shot as one ten-minute-long take and Shibanov utterly steals the show, playing a damaged and religious man who is on the edge of insanity. His acting is dynamic and his character painfully totters around the large hall as he speaks, either looking at the priest or images of saints or Jesus. His character is pitiful and menacing at the same time. As mentioned, this short is one long take and Norenko executes that outstandingly, moving the camera around Shibanov and capturing the beautiful interior of the church. The whole narrative takes place inside the church and filming it as one long take makes it look like a play. The mise-en-scene deserves commendations due to the clothing and the church's belongings, with candles used to light the place and Dmitriy Gorevoy's cinematography creates a darkened and melancholic environment, which becomes more impactful because of the ominous music. This is a dark story about the aftermath of a devastating tragedy and focuses on the emotions of the perpetrator. The film addresses religion, death and regrets and has many great aspects, however, it is Shibanov's acting that adds the most significant value. It might be fair to point out that it could have had a better conclusion as it ends abruptly. Nevertheless, Norenko has made a film worthy of significant praise, just as she did with On the Third Step . About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Close film review by UK film critic Joe Beck. Starring Marco Fausto Daidone, Gianluca Meotti directed by Lorenzo Sicuranza. HOME | FILMS | REVIEWS Close Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Dec 15, 2024 Directed by: Lorenzo Sicuranza Written by: Lorenzo Sicuranza, Francesco Teselli Starring: Marco Fausto Daidone, Gianluca Meotti What makes a relationship a close one? Is is the quantity of time spent in another’s company or the quality of that time? How quickly can you form a close relationship? In minutes or does it take hours and days? Those are the questions ‘Close’ raises, though it doesn’t necessarily explore them to a satisfactory level of nuance and depth. ‘Close’ begins with an extract from a poem by Ferdinand Freiligrath - “O love, as long as you can love! O dear, as long as you love! The hour is coming, the hour is coming; Where you stand at graves and lament!” - and the essence of those four lines is felt throughout the rest of the film as well. It’s a poem that expresses the need to love while you can love, because it may not last forever, and whilst that is effectively captured in ‘Close’, the film doesn’t spend enough time exploring the relationship between its characters to truly understand the bond that they share. Franz (played by Marco Fausto Daidone) is all alone in an unfamiliar city as he prepares for a piano competition. Alone in his hotel room he cannot get through to his mother on the phone and is left overwhelmed by his own solitude. All that changes when Andrea (played by Gianluca Meotti) bursts in looking for shelter from the police. Andrea is clearly a dangerous fugitive and angrily remonstrates on the phone to his accomplice but this doesn’t perturb Franz, and very quickly the two strike up something of a friendship. Emphasis must be put on how quickly this happens. One moment Andrea is yelling on the phone, the next he and Franz are sat at the piano playing together with a closeness and sensuality between them. It’s as though a chunk of the film were taken out between the two scenes and we are supposed to just believe that they struck up a friendship just like that. There’s connective tissue between the events and this is a pattern that continues throughout the film. It’s a fault in the screenplay by Lorenzo Sicuranza and Francesco Teselli as they fail to effectively set up any of the events of the film. You sense that had the film been perhaps longer and more able to bridge the gaps between scenes then it would have been a far more moving rumination on loneliness and the human need for closeness and relationships. As it is, Lorenzo Sicuranza’s impeccably beautiful directing is let down by the gaps in the screenplay and the film feels rather unfulfilling. ‘Close’ is a disappointing film. It’s one that is full of unfulfilled potential as it fails to properly explore the depths of its questions and themes, and instead feels rushed and incomplete. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Hood Witch film review by UK film critic Hope Madden. Starring Golshifteh Farahani, Amine Zariouhi, Jérémy Ferrari directed by Saïd Belktibia. HOME | FILMS | REVIEWS Hood Witch Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2025 Directed by: Saïd Belktibia Written by: Saïd Belktibia, Louis Penicaut Starring: Golshifteh Farahani, Amine Zariouhi, Jérémy Ferrari Thou shalt not suffer a witch to live. It’s a popular sentence in the Old Testament, one used to excuse a lot of needless suffering, mainly women’s. It’s not the only spot in the Bible that condemns sorcery, divination and what not. Jesus never mentioned it, though. (He never said anything about women being submissive to their husbands, either.) Islam is no more forgiving, and Nour (Golshifteh Farahani, Paterson ) is about to run afoul of keepers of both faiths and keepers of none in Hood Witch . Co-writer/director Saïd Belktibia examines the muddy difference between a religion’s acceptable magic and harmful witchcraft. However similar the practice, the differentiator seems to be based primarily on whether a woman benefits. Nour makes a living smuggling exotic animals into Paris, mainly to be used in rituals of healing. Newly divorced and struggling financially to raise her son Amine (Amine Zariouhi), Nour is in the development stages of a new app that will link users to a variety of different healers. Nour knows it’s all smoke and mirrors. Her impressionable son is not so sure. Her abusive ex (Jérémy Ferrari, sinister) is willing to believe, as long as it’s a man of religion wielding the mirror and blowing the smoke, and as long as it’s his ex-wife who suffers. Though Hood Witch is far more a drama/thriller than an outright horror film, it does follow a longstanding genre tradition of using witchcraft to point out religions’ hypocrisy and misogyny. But the filmmaker goes further, complicating characters by implicating capitalism as being equally dangerous—particularly to the desperate and easily manipulated—as religion. Farahani delivers a fierce, passionate performance full of rage, compassion and vulnerability. Nour is sharp and not without a conscience, but when tragedy strikes it’s because of her meddling. The consequences, though, are deeply unsettling. Belktibia’s pacing and framing match Nour’s panic, and it’s impossible not to panic along with her. Hood Witch is a tough watch, as misogyny and apathy play out in the film the same way they play out every miserable day, infecting each generation like a poison. The rage that fuels Nour and the film is what feels most relatable. “People think I’m possessed by the devil. I think I’m just angry.” There are unexplored ideas and mixed messages that keep Hood Witch from becoming a great film, but it’s an angry, observant thriller and solid reflection of the time. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Plunder Quest film review by UK film critic Brian Penn. Starring Jake Fallon, Katherine Flannery, Eric Rosenberg directed by Kalani Hubbard. HOME | FILMS | REVIEWS Plunder Quest Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Feb 16, 2022 Directed by: Kalani Hubbard Written by: Kalani Hubbard Starring: Jake Fallon, Katherine Flannery, Eric Rosenberg The indomitable hero has long been a recurring film character, and provides a welcome change from the shiny power laden superhero. This type is human, deeply flawed but impossible to defeat. John McClane from Die Hard springs to mind; Rambo would stake a muscle bound claim and of course Indiana Jones, the eponymous hero of the unforgettable adventure franchise. We now have a young pretender as the Adventures of Thomas Walters unfold before our very eyes. Thomas Walters (Jake Fallon) is a small time con man who has never knowingly sold an authentic item in his life. However, when he sells two prohibition whiskey bottles he learns of the rum running trade; a tale that fires his imagination, but more importantly provides a means of making money. He ropes in waitress and love interest Amber (Katherine Flannery) as they plot the recovery of plundered whiskey from the prohibition era. Their quest leads them to Bannerman’s Castle atop an island on the Hudson River in New York. Rum running was rife as alcohol was smuggled across waterways to avoid prevailing laws. ‘Rum Row’ was a line of ships located offshore who would transfer cargoes to smaller craft. The pair are convinced that Bannerman’s Castle was used as a stop-off point and go in search of a courier to take them there. They approach the dubious Vane Briscoe (Eric Rosenberg), who looks like he just walked off the set of Pirates of the Caribbean. He sets Thomas and Amber a number of tasks before agreeing to take them. They duly weigh anchor and set off for Bannerman’s Castle. Once there they discover an island full of mystery and intrigue. But have they picked up enough clues on the way to find the treasure they seek? Plunder Quest is eminently watchable and nicely put together. However, it makes no attempt to hide its inspiration as Indiana Jones looms at every possible turn. Walters wears a brown leather jacket and satchel thrown over his shoulder just like Indy. The soundtrack is also reminiscent of John Williams’ score for the Indy movies. None of which is a bad thing; all films carry influences from others, but Walters as a character needs to find a stronger, more distinctive identity. His line in wisecracks also needs beefing up if he aspires to his predecessors’ status. But among the familiar characters and plotline is an intriguing history lesson in Americana. The rum running trade around New York is fascinating and will be new to many viewers. The bottom line must always be entertainment value, and this film ticks that particular box with relative ease. About the Film Critic Brian Penn Indie Feature Film < All Reviews Next Film Review >

All Inclusive film review by UK film critic Jason Knight. Starring Maximiliano Rojas, Alejandra Herrera, Leopoldo Serrano directed by Duvan Duque Vargas. HOME | FILMS | REVIEWS All Inclusive Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 25, 2023 Directed by: Duvan Duque Vargas Written by: Duvan Duque Vargas Starring: Maximiliano Rojas, Alejandra Herrera, Leopoldo Serrano A family of three goes to a resort for leisure and business. However, things do not turn out as they hoped. Fernando (Serrano) arrives at a retreat near Bogota, Colombia with the intention of relaxing, spending time with his family and doing a bit of business. Accompanying him are his wife, Natalia (Herrera) and young son, Fer (Rojas). Once they settle in, they have fun with fellow guests and business associates, with whom Fernando tries to collaborate professionally. However, there is trouble behind closed doors as things between Natalia and Fernando are not good and it is taking its toll on their child. This short drama explores the life of a dysfunctional family while they are on holiday. The film starts with a scene of happiness, with the family in the car, en route to the resort, cheerfully singing along to a song on the radio. It is when they are in their private rooms that the arguing begins. As time passes, they socialise and attempt to maintain a positive image, still, things get even worse when Fernando makes connections with shady people. The performances are great and the characters' struggles are the main subject of the narrative. Fernando is a man who loves his family, but has a bad temper and makes careless decisions. Natalia is a gentle person who falls victim to her partner's actions and Fer suffers because of the family issues and significant emphasis is placed on his perspective. Regarding the technical side of things, the stunning cinematography by Konstantinos Koukoulios deserves many commendations and it is one of the film's strongest aspects. This is a story about an unstable family, about personal struggles and it explores family values. It is an emotional viewing with dramatic scenes and a plot in which the heroes go downhill, yet there are glimpses of hope. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Hellraiser film review by UK film critic Hope Madden and George Wolf. Starring Jamie Clayton, Odessa A'zion, Adam Faison directed by David Bruckner. HOME | FILMS | REVIEWS Hellraiser Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 5, 2022 Directed by: David Bruckner Written by: Ben Collins, Luke Piotrowski, David S. Goyer Starring: Jamie Clayton, Odessa A'zion, Adam Faison Did you know that this is the 11th film in the Hellraiser franchise? There are 10 others, most of them terrible, a couple unwatchable. Why? How could it be so hard to create fresh horror from Clive Barker’s kinky treasure trove? It appears David Bruckner (The Ritual , The Night House) wonders the same thing. He and screenwriters Ben Collins, Luke Piotrowski and David S. Goyer had no trouble peeling the flesh from this franchise and exposing something raw and pulsing. Oh yes, and gay, but if you didn’t pick up on any of the gay themes in out-and-proud Barker’s series before they cast a trans woman to play The Priest aka “Pinhead,” you missed a lot. Jamie Clayton, with a massive thanks to makeup and costume, offers a glorious new image of pain. In fact, the creature design in this film surpasses anything we’ve seen in the previous ten installments, including Barker’s original. Each is a malevolent vision of elegance, gore and suffering, their attire seemingly made of their own flayed flesh. There’s also a story, and a decent one at that. Bruckner’s core themes replace the S&M leanings with trauma and addiction, following a young addict named Riley (Odessa A’zion) as she ruins everyone and everything she touches. Riley’s boyfriend Trevor (Drew Starkey) has some inside info on where rich people stash their valuables, but when the two break open a safe… there’s only that strange puzzle box inside. And what a glorious puzzler it is. Like everything about the film’s visual design, there’s new richness and lethal detail to the box. It hides complicated new configurations, and Bruckner – whose horror cred is now firmly established – reveals them in intriguing tandem with the slippery rewards offered by the Cenobites. Fans of the original classic may have been understandable wary of a rebranding, but this new vision overcomes a slightly bloated buildup for a more than satisfying crescendo. The kinks may be gone, but the chains are still chilling, in a darkly beautiful world full of sensual, bloody delights to show you. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The Watchers film review by UK film critic Hope Madden. Starring Dakota Fanning, Olwen Fouéré directed by Ishana Shyamalan. HOME | FILMS | REVIEWS The Watchers Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Jun 6, 2024 Directed by: Ishana Shyamalan Written by: Ishana Shyamalan Starring: Dakota Fanning, Olwen Fouéré Tales of Irish fae folk can be terrifying. Often part ecological horror, part folktale, they can hit a primal fear of powerlessness and loss of identity. Ishana Shyamalan’s feature debut The Watchers , which she adapted for the screen from a novel by A.M. Shine, tackles these notions and adds a comment on voyeurism as entertainment. Mina (Dakota Fanning), an unhappy American girl working at a pet store in Galway, agrees to drive a day to get a rare bird to a zoo. “Good chance to see the Irish countryside.” GPS is shite in heavily forested areas, the road becomes just muddy tracks, then the car seizes and stops. One terrifying thing leads to another and suddenly she’s racing, birdcage in hand, toward a metal door being held open if she can get to it in 5, 4, 3, 2… Credit Shyamalan (or my enduring fear of the woods?) for ratcheting tension early on. If you’ve seen the trailer, you know what happens next: she’s trapped inside with three others, one wall is a window, and at night those damn fae folk come to watch those inside. It’s a great set up and a compelling, strange premise—the kind of thing the filmmaker’s father might make, and just as fraught with possible missteps. Remember how cool the trailer for Old was? The Watchers is heavy with symbolism, from the bird in the cage to Mina’s personal roleplay games to the reality TV DVD collection someone left for the trapped to watch. There’s no denying the film is impeccably structured, Shyamalan unveiling complications and backstory as the structure dictates. Performances are solid as well. Fanning’s portrayal is a bit faraway and dead inside, which suits the character but makes for a relatively lowkey lead. The ever-formidable Olwen Fouéré is charismatic enough to make up for that, and both Georgina Campbell and Oliver Finnegan fill out their roles with raw tenderness. Mina’s name (her twin sister is Lucy) is a clear nod to Ireland’s most iconic horror writer, Bram Stoker. The entirety of the film feels just that superficially Irish. Nor is there any authenticity to the ecological horror, although there’s plenty of opportunity. But the real issue—as is so often the case in a creature feature—is the monster FX. Not good. Bad, even. That’s too bad because, though hardly revolutionary and rarely scary, The Watchers is an often-intriguing thriller. But it doesn’t hold up to the great Irish horror that came before it. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >