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Knocking film review by UK film critic Rachel Willis. Starring Cecilia Milocco directed by Frida Kempff. HOME | FILMS | REVIEWS Knocking Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Oct 5, 2021 Directed by: Frida Kempff Written by: Emma Brostrom, Johan Theorin Starring: Cecilia Milocco It’s easy for horror films to pigeonhole the mentally ill into stereotypical terrors that disturb those who’ve never experienced mental illness (or known someone to suffer from it). You often find the “split personality” films where one of the personalities is a murderer, or with a paranoid schizophrenic who can’t tell reality from hallucination terrorizing friends and family. But once in a while, a horror film reminds you there is a real person suffering – someone who is more than their label. And that’s when things get truly unsettling. Working from a script by Emma Broström, director Frida Kempff captures the uncertainty and fear of a woman struggling to be believed in the Swedish film, Knocking. Molly (Cecilia Milocco) suffered a mental breakdown following a traumatic event. After spending time in a mental health facility, she’s deemed capable of being on her own. Moving into a new apartment and advised to turn it into a home, Molly attempts just that. But the nightly knocking on her ceiling keeps her from settling into her new life. What follows is a fairly predictable conundrum – is Molly hallucinating or is the knocking—perhaps attempts at Morse Code and a cry for help—real? This isn’t the sole focus of the film. Kempff isn’t just interested in letting us guess at Molly’s situation, she also digs into the quickness with which people dismiss her. Because of Molly’s often erratic behavior and her past, police, neighbors, and health care workers tend to disregard her fear. Milocco nails her role. She convincingly sells the character’s firm belief yet utter confusion surrounding the knocking. She portrays a woman trying to cope yet infused with obsession. As Molly tries to solve the mystery behind the knocking, everyone in her building becomes suspect. In a particularly captivating scene, we watch Molly confront a group of men who live on the floor above her – the floor from which the knocking persists. The men recognize and respond to Molly’s distress, but they’re not listening to her. Though raising an alarm that someone needs help, the men make their own conclusions based solely on Molly’s behavior. The scene would be flawless if not for some cliché and distracting camerawork. When you’re mentally ill, everyone is quick to disbelieve you (extra skepticism if you’re a woman). In the film, this creates disturbing tension as the knocking reaches a pitch of intensity. It doesn’t really matter if the knocking is real; what matters is that Molly believes it – but nobody believes her. A truly terrifying concept. About the Film Critic Rachel Willis Theatrical Release, World Cinema < All Reviews Next Film Review >

Measure of Revenge film review by UK film critic Christie Robb. Starring Melissa Leo, Bella Thorne directed by Peyfa. HOME | FILMS | REVIEWS Measure of Revenge Film Review average rating is 3 out of 5 Critic: Christie Robb | Posted on: Mar 15, 2022 Directed by: Peyfa Written by: Kenny Walakandou Starring: Melissa Leo, Bella Thorne Life imitates art when famous Broadway tragedian, Lillian Cooper’s rock star son and his pregnant girlfriend die of an apparent drug overdose. Or is it murder? Inspired by intrusive thoughts of revenge that manifest as visions of famous characters Lillian has portrayed on stage, the heartbroken mother stalks the streets of New York searching for those responsible and hatching a plot to make them pay for their misdeeds. Along the way, Lillian (Melissa Leo) joins forces with young photographer/drug dealer, Taz (Bella Thorne) whose motivations may not be entirely transparent. Like a stage performance, first-time director Peyfa’s Measure of Revenge can lean a bit toward the histrionic—sudden, jarring discordant tones of the score; dialogue that runs backward when Lillian is having a tough time emotionally; characters literally rending their clothes in grief. But it’s a clever film, a mystery that isn’t entirely linear with an ending that doesn’t tie itself up in a neat little bow. You gotta work for the resolution and there’s room for debate (and some discussion about how forensic evidence could probably play a greater role in the fate of at least one character). However, the film may spend too much time on its theatrical gimmick to the detriment of character development. This is especially true of the dead son and those who may have been motivated to do him wrong. Academy Award-winner Leo (The Fighter ) is magnetic, showing an incredible range—from bubbly anticipatory delight at seeing her son return from a successful rehab stint through to wrathful avenging angel. And along the way, we are treated to snippets of some of the greatest tragic characters of all time—Hester Prynne, Hedda Gabler, Lady Macbeth, and Hamlet’s Ghost among them. About the Film Critic Christie Robb Digital / DVD Release < All Reviews Next Film Review >

Clocking the T film review by UK film critic William Curzon. Starring Jana Nawartschi, Ben Hicks, Lee Simonds directed by Michael Thibault . HOME | FILMS | REVIEWS Clocking the T Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Oct 14, 2025 Directed by: Michael Thibault Written by: Michael Thibault Starring: Jana Nawartschi, Ben Hicks, Lee Simonds Clocking the T follows Dave (Ben Hicks), an internet troll who lies for a living. The narrative also follows Candace (Jana Nawartschi), a woman who works in human resources at a blood lab. In this romantic comedy, they meet through an online space and attempt to explore the possibility of a relationship forming as they embark on a journey of self-discovery. While the premise is intriguing, the piece struggles to fully engage the viewer within the absurd characterisation of Dave and how this impacts his lifestyle and the relationship that blossoms with Candace. The central performance from Ben Hicks is intentionally grating to emphasise his deceptive personality as an internet troll. On the other hand, Jane Nawartschi gives an endearing performance as Candace and is far more compelling thanks to her likeable personality and nuanced characterisation. The screenplay employs screwball dialogue between the characters, which, unfortunately, creates an awkward and stilted impression, making it demanding to engage with. Pieces of dialogue throughout can also become difficult to hear, due to distortion in the audio and baffling use of ADR. There’s a lack of cohesion in the narrative, and not much to chew on outside of the aimless endeavours the characters go through, and this can make the experience and overall conclusion feel unearned and ultimately underwhelming. Specific formal choices are commendable thanks to the unique colour grading and editing that flows incredibly well into a scene change. For example, the edit utilises the day and night cycle simultaneously, changing, and this is an impressive feat from an editor’s perspective, making the pacing flow more smoothly. The piece can suffer from lethargic pacing due to the rom-com genre being overdone to a fault, and this take on that specific genre rarely offers anything memorable outside of the filmmaking. The direction, unfortunately, feels bland with an inadequate use of blocking and struggles to elevate how unengaging the narrative becomes. However, the musical score effectively anchors the more intimate character moments, and the use of original music is another factor that aids the emotional resonance throughout. Another standout that plays well into the online dating approach is the use of text pop-ups as characters are interacting through technology. One of the substantial issues with the overall investment is the lack of chemistry between the two leads. Dialogue between the two feels stilted and awkward, making it challenging to engage with their relationship. However, as the film progresses, their chemistry does feel more natural and heartwarming to endure. The supporting cast, unfortunately, feels robotic in their performances due to a lack of character development and the way in which they oddly interact with Dave and Candace. Dave’s characterisation bafflingly amounts to relatively minor, and the overall culmination of his character arc feels like an afterthought. Thankfully, the viewer is given closure to Candace’s arc, and some emotional catharsis is received. It's just a shame the story ends abruptly, with both characters not receiving satisfying character growth. Clocking the T is unfortunately a poor attempt at reinventing the rom-com genre with a central romance that just does not land, and a slow-burning narrative with a lack of thematic flair. While the musical score is energetic and engaging, and specific editing choices are commendable, the two lead performances lack the required chemistry to captivate the audience into their struggles triumphantly, and the overall resolution fumbles the culmination of Dave’s character arc. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Inanimate film review by UK film critic Swati Verma. Starring Rohan Khurana, Sneha Gosh, Ankan Mullick directed by Suryadoy Gosh. HOME | FILMS | REVIEWS Inanimate Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 4, 2022 Directed by: Suryadoy Gosh Written by: Suryadoy Gosh Starring: Rohan Khurana, Sneha Gosh, Ankan Mullick The name of the film-Inanimate refers to a non-living object. The writer-director Suryadoy Gosh has built the narrative around a unique love story that surprises the audience. The abstract nature of the film and the combination of various languages like Hindi, English, and Bengali allows the filmmakers to attract a large number of viewers to the creative piece. The plot of the short film revolves around a lonely man with no friends who finds solace in restoring old broken things. One fine day he stumbles upon a discarded female mannequin. After restoring the same he enjoys its company. She becomes his only place of peace and comfort in an unforgiving world. In the opening sequence a focus light on the Mannequin followed by a close-up shot of the protagonist Ani (Rohan Khurana) who is seen standing in the confession box. The director Suryadoy Gosh and cinematographer Prachie Bedi do not shy away from highlighting the flaws of the male lead. The black and white colour palette along with the lighting, set design, background music, dialogues, make-up, and costumes increase the elements of drama and mystery in the movie. Bedi elegantly captures the mannequin's journey of self-discovery and the new world to which she is introduced courtesy of Ani. The major landmarks of Kolkata have been covered by the DOP to enhance the theme of the film further. The use of writing letters as a tool by the creative team to communicate the emotional outburst of the central character helps the storyline of the film move smoothly. In terms of performance, Rohan Mehra plays Ani who is struggling to survive in the demanding world. Rohan Mehra showcases how strong Ani appears to be but he strongly needs someone to become the emotional support that he can hold on to for life. Mehra portrays the transformation from a lonely person to a friend to the little boy so effortlessly. Sneha Gosh as a female mannequin is very charming and attractive. Gosh does not have any dialogues in the film but manages to pick up the body language of the doll which helps her leave a lasting impression with her acting skills on the audience. Ankan Mullick plays the role of the kid in the film. This child artist provides the necessary light moments in the storyline to create a balance between thrill and drama. Mullick gives the reason to escape the problems of Ani's life for a short while. The bond between Ankan Mullick and Rohan Mehra is enjoyed by the viewers of the short film. Inanimate raises an important question about How far one can go for the sake of love. It becomes important to express their feelings and not struggle with what society expects from people living in it. The film talks about thinking about the possible consequences before allowing oneself to be emotionally attached to something or somebody. The film teaches the viewers to be sensible and practical and not lose their own identity to chase love. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Desperate End film review by UK film critic William Hemingway. Starring Omurbek Izrailov, Taazim Umotaaly directed by Narboto Anarbaev. HOME | FILMS | REVIEWS The Desperate End Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Jul 7, 2025 Directed by: Narboto Anarbaev Written by: Robin A Townsend Starring: Omurbek Izrailov, Taazim Umotaaly In Kyrgyzstan, a married couple run down to the basement for shelter when it is announced on the news channels that nuclear war has broken out and everyone has been targeted, with the bombs about to land on Bishkek in fifteen minutes time. Diana (Umotaaly), is busy making lunch for herself in the kitchen. She’s a bit distracted, listening to music on her headphones while she’s cooking, and doesn’t hear the news coming from the telly that nuclear war has broken out all over the planet. Almaz (Izrailov), on the other hand, is in the middle of the city when the news breaks, and has to deal with the rising panic on the streets as well as the military presence in the air, as he tries his hardest to get back to the one he loves. After a frantic drive through town, Almaz and Diana reunite with just enough time to get themselves down to the basement, where they can wait out the inevitable fallout together. Once down in the basement, however, things get even more tense as Almaz takes the opportunity of the world ending to relieve himself of some of the burden of guilt he has been feeling over the past wee while. His guilt relates to the gambling that he has been getting himself into recently, as well as the actions he has taken to keep himself afloat at the casino after all of his losses. This outpouring of guilt takes Diana by surprise, and after a lengthy bout of wailing and gnashing at each other, she decides the only course of action is to reveal a secret of her own concerning a girls’ holiday that she took earlier on in the year. As the countdown to the end of the world nears zero, the two former lovers hash out their relationship issues with each other and turn their last fifteen minutes together into the worst fifteen minutes of their lives. As you might have gathered, everything in The Desperate End is rooted firmly in the extremes of melodrama. The relationship issues that are being aired by the couple are something that would make Dynasty or any cheap Mexican soap blush, but what makes them so ridiculously over-the-top is the fact that both characters thought that now was a good time to get them out. If all you had was fifteen minutes left with the one you loved, would you really take that time to unburden yourself of guilt and make them miserable with your truths? Couple this then, with the fact that a gun suddenly appears from nowhere, for no reason and with no explanation, and you can see that writer/producer Robin A Townsend is basically trying to stuff as much padded tension into his story as he can muster, without really giving much of a thought as to why it has to be there. Consistency is also an issue with Townsend’s script, as the characters swing about all over the place in terms of their emotion and attachment to each other: They love each other, they hate each other, they love each other, they hate each other, they’d do anything for each other, they just want to hurt each other, they want to forgive each other, one of them’s dead. It’s all completely farcical and makes no sense in terms of characterisation or narrative as it’s all so unbelievable. Then there’s the fact that nobody else is in the basement with them – we can hear them in the halls and the stairwell – but right until the last moments nobody else seems to want to take shelter in the pretty massive basement at the bottom of the apartment block. The military presence, too, and the government response to the threat makes no sense in the end, when the rug is inevitably pulled from under us. Given the explanation we receive for the entire narrative, why there would be military helicopters overhead in urban areas, is anyone’s guess. All of this is a real shame for The Desperate End , because in terms of getting the shots of panic in the streets, as well as the unnecessary military presence, director Narboto Anarbaev does an excellent job. Some of the shots on the streets are truly striking, it’s just a shame that in the end they don’t make much sense, and for the rest of the film we are stuck down in a dark basement with two nonsensical characters trying to carry a story that doesn’t exist. Both leads are very committed to their roles, bringing the melodrama to their lines and their faces as best they can as they try to make the script make sense, but in the end their talents are wasted as it’s just too difficult to care about something that was so unnecessary to begin with. The Desperate End looks good and is a fine example of technical filmmaking, especially considering Townsend deliberately chose to make his film in Kyrgyzstan, which caused all sorts of logistical issues. Unfortunately, there’s nothing in the narrative or characterisation which makes sense and the film really suffers for that. Townsend believes that optioning this short as a first instalment in an anthology around the same circumstances, is a good idea, however, with The Desperate End coming out so poorly, it may be best that he play to his strengths in producing and either offer writing duties to someone else for the time being, or take some time out first to sharpen his skills in that area, if he really intends on making more like this. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Sissy film review by UK film critic Hope Madden. Starring Aisha Dee, Hannah Barlow directed by Hannah Barlow, Kane Senes. HOME | FILMS | REVIEWS Sissy Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 26, 2022 Directed by: Hannah Barlow, Kane Senes Written by: Hannah Barlow, Kane Senes Starring: Aisha Dee, Hannah Barlow Horror is especially preoccupied with the doppelganger nature of social media – how you can lose yourself in the make-believe world of the “you” you present online. Co-writers/co-directors Hannah Barlow and Kane Senes dig into that duality with their Aussie horror, Sissy . Sissy – or as she’d rather be called now that she’s a grown up, Cecilia (Aishe Dee) – feels blessed. Thanks to her 200k followers and the products she gets paid to work into her videos, she has a fulfilling life. She is loved. She is enough. She is doing her best. Maybe she’s not really doing that well, actually. She even hides when she spies her childhood BFF at the grocery store, but Emma (Barlow, who also stars) sees her anyway. She even invites Cecilia to tonight’s big bachelorette party, and tomorrow’s drive out to the country for a weekend-long celebration! If you’ve seen Bodies Bodies Bodies or, indeed, any horror movie, you know that second part is not going to go well for everyone. Like Halina Reijn’s gruesome comedy, Sissy plays around with genre expectations and spotlights the ins and outs of Gen Z. Dee works wonders as a woman trying to practice what she preaches, earn from what she practices, and find fulfillment in online followers when friends IRL are less welcoming. The cast that surrounds her is universally strong, each one manipulating the sly, darkly funny script to shock and delight. Barlow and Senes never entirely abandon the old-fashioned slasher, either. Sissy delivers starling gore FX that feel simultaneously in keeping with the black comedy and somehow too disturbing to fit. Well done! The filmmakers tease the new terrain of a world populated with virtual personalities. Who’s the good guy? Who isn’t? Is anybody? Sissy doesn’t break new ground here, but thanks to a knowing script and a lead performance that sells itself, you’ll enjoy the show. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

William Curzon writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. William Curzon I am a recent graduate with a Bachelor of Arts in Media and Film and TV, and film has been my greatest passion my whole life. My appreciation for more independent films grew as a teenager when I discovered smaller releases at the time, such as The Lobster and The Witch, at my local arthouse cinema. I often travel to London to seek out celluloid presentations such as 15/70mm IMAX at the BFI IMAX, which is my personal favourite film format. I also attend Q&A screenings with directors and creative influences to get a better insight into the film industry. I have always loved to dissect specific types of filmmaking in a wide variety of genres, and I began reviewing films as a teenager and posting short reviews via social media. My current favourite filmmakers are Paul Thomas Anderson, Christopher Nolan, Luca Guadagnino and Denis Villeneuve. My favourite films are Call Me By Your Name, Moonlight, Room and The Lord Of The Rings: The Fellowship of the Ring, although I find it impossible to do a definitive ranking. These are just the titles that have resonated with me the most from my teen years to adulthood. I hope you enjoy my reviews. Follow On Twitter Read My Film Reviews

The Shackles film review by UK film critic Jason Knight. Starring Rekha Dahatonde, Pawan Kale directed by Suraj Vilas Dalvi. HOME | FILMS | REVIEWS The Shackles Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 19, 2022 Directed by: Suraj Vilas Dalvi Written by: Suraj Vilas Dalvi Starring: Rekha Dahatonde, Pawan Kale A couple have a conversation while walking home through the countryside. It is a hot day and a husband (Kale) and his wife (Dahatonde) are on their way home on foot, carrying bags of goods. They are both eager to get home and relax and have something to eat. While they are walking , they have a chat about the wife's sister and what they are going to do when they arrive home. Following a minor injury, things get more dramatic. Basically, this short drama follows a couple's journey home and it explores their relationship, which does not appear to be good. The husband disapproves of her sister and tells her off for failing to keep up with him. Later on, things get more tense, as he falls behind and she does not wait for him, resulting in an argument between them. The husband is the one who expresses negative feelings, including lack of sympathy, cruelty and anger. he comes across as controlling, rude and shows that he also has an aggressive side. The wife is presented as the victim of his behaviour and she tries to put up with him. Dalvi does a great job as the director and creates well-executed long takes and wonderful establishing shots of nature, which also gain from Akash Bankar's beautiful cinematography. Music is absent from the film, apart from the score during the closing credits, which closes the film effectively. This dramatic story focuses on an unhealthy marriage and looks into themes that involve problems that can exist within a marriage, including arguments, cruelty, indifference, controlling behaviour and domestic violence. It is a well-made film and a decent achievement. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Infinite Storm film review by UK film critic George Wolf. Starring Naomi Watts directed by Malgorzata Szumowska. HOME | FILMS | REVIEWS Infinite Storm Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Mar 23, 2022 Directed by: Malgorzata Szumowska Written by: Joshua Rollins Starring: Naomi Watts Just last month, The Desperate Hour showcased Naomi Watts in an almost one woman show. Infinite Storm adds a few more cast members, and this time Watts isn’t just figuratively carrying a film on her back, she’s literally carrying another human. Based on the true life adventure that found search and rescue climber Pam Bales trying to descend New Hampshire’s Mt. Washington before a storm hits, the film leans heavily on Watts to make a rescue infinitely more emotional. On her way down the mountain in Oct. 2010, Bales encountered a lone climber she called “John” (Billy Howle) immobile and unprepared for the bitter cold and biting, 50 mph winds. Risking her own life, Bales’s extensive training was often rebuffed by the uncooperative John as she tried to get them both safely home. First-time screenwriter Joshua Rollins adapts Ty Gagne’s New Hampshire Union Leader article with added layers of sympathy designed to quicken our emotional attachment. Pam’s chosen to ignore the weather forecast and climb because it’s the anniversary of something traumatic in her life, and climbing “is cheaper than therapy.” This isn’t a documentary, so bulking up the narrative is a smart play by Rollins and director Malgorzata Szumowska (whose excellent The Other Lamb was woefully underseen). Szumowska employs onscreen digital timekeeping to keep the pressure on, while deftly weaving Pam’s flashbacks into the harrowing, well-crafted set pieces filmed in the Slovenian Alps (cheaper than N.H.). Yes, we do eventually get to the source of Pam’s trauma, but the reveal is just slightly askew from what we’re expecting, which is welcome. Watts again proves she’s more than capable of handling a film’s heavy lifting. She’s rugged throughout the physicality that’s required, and effortlessly human within the ordeal. Pam may not understand why John is acting the way he is, but her commitment never feels false or convenient. And even if John is sometimes unresponsive, Watts has someone to talk to this time, helping Pam’s expressed inner thoughts feel more organic. The common challenge for adventure films like this is to make an individual experience speak in universal terms. Watts pushes Infinite Storm past some by-the-numbers moments for a worthy reflection on struggle and healing. Not to mention the value of a dry pair of socks. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Kaamdev film review by UK film critic Patrick Foley. Starring Vishal Om Prakash, Shriya Jha, Harleen Rekhi directed by Prabhakar Pant. HOME | FILMS | REVIEWS Kaamdev Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 18, 2024 Directed by: Prabhakar Pant Written by: Prabhakar Pant Starring: Vishal Om Prakash, Shriya Jha, Harleen Rekhi Hindi-language short Kaamdev is a short film in the mould of an Indian sitcom – a novelty to most UK-viewers – that handles matters like family strife, poverty and isolation with an affable, yet slightly lightweight humour. When he struggles with finances and the shame of earning much less than his wife, Dev (Vishal Om Prakash) receives an unexpected phone call. Promising him untold earnings, the woman on the end of the line, Sona (Harlee Rekhi), lures Dev in to what seems like an obvious scam. But the pair end up finding unexpected common ground between them as the truth comes out. Kaamdev is a surprisingly amusing and heartfelt short film that enjoys experimenting with genre staples to result in an original concept. Accompanied by a live-studio-audience-style laugh-track throughout, though never attempting to convince the viewer that it was shot as such, much of the film exists in a strange space whereby Dev’s story feels almost ominously surreal. This is never fully committed to by the director, yet the absence of the laughter as the film proceeds and becomes all the more sincere makes for a surprisingly powerful impact. The film is packed with similarly classic sitcom-esque humour. None of the jokes are particularly strong, though perhaps land better in the original Hindi than they do over translation. Dev’s financial circumstances are the basis for much of the back-and-forth in the film’s opening third, as well as when Sona becomes increasingly frustrated at her failure to extract money from her mark. It’s old-school humour, and perhaps much more prescient in its native country than in the UK, but much of it translates well enough. The plot of the film is straightforward enough and acts mainly as a vehicle for the humour. Where perhaps it falls short is that a major decision by Dev at the film’s end doesn’t feel earned, and doesn’t have any consequences of note once it is made despite significant build-up of Dev’s financial situation. The lack of a physical meeting between Dev and Sona is a factor in this, as is the general failure to land Sona as a sympathetic, or crucially, trustworthy character. Granted, it is a sickly-sweet sitcom where normal human behaviour need not always apply, but given the prominence given to contemporary political and societal issues, it undermines some of the better aspects of commentary the film includes. Perhaps it is the failure to really commit to challenging its own genre that left Kaamdev feeling like a film of unfulfilled potential to me, but a return to the comforting, ‘all’s-well-that-ends-well’ sitcom wrap-up meant this film felt ultimately average. It’s got a good heart, but lacks real punch or purpose. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

King Judith film review by UK film critic Patrick Foley. Starring Nicole Fancher, Emily Ernst, Rhonda Boutte directed by Richard Bailey. HOME | FILMS | REVIEWS King Judith Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 9, 2022 Directed by: Richard Bailey Written by: Richard Bailey Starring: Nicole Fancher, Emily Ernst, Rhonda Boutte The American Deep-South is an increasingly popular setting for gothic-thrillers, from season 1 of True Detective to 2020’s The Devil All the Time. King Judith follows in this tradition – with a mysterious anthology of stories linked to one detective’s search for missing women. Detective Miriam Leaf (Nicole Fancher) is pursuing leads in the disappearance of three women. Each of the disappeared were academics – studying folklore tales of ‘the lady in the lake’ across the Deep South. From her first interview with Doyenne (Rhonda Boutte), it is clear that Miriam carries her own mystery – and as she delves deeper into the case, she begins to experience strange visions of the lady in the lake herself. King Judith eschews traditional narrative expectations to result in an artistic and experimental feature that examines gender-roles, political commentary and mental well-being. The film is unlikely to be to everyone’s taste – with its lucid and opaque storytelling and ever-drifting focus which never truly commits to one plotline. Extended dance and dream sequences do not necessarily assist with this, even whilst setting the film’s unnerving, dark wonderland-style tone. Through its segmented stories, the film does engage viewers and raises intriguing moral and ethical commentaries. However, the interconnection between these stories, and how they link to an overall theme feels lacking – and without fully committing to the approach, audiences will be left wondering what the point is – especially given the stakes raised in the film’s initial, overarching detective plot strand. Whilst the film should be commended for forgoing handholding, and allowing viewers to take their own experience from the stories, its failure to allow for surface-level understanding undermines its efforts elsewhere. An undeniable success for the film is its tone, set by brilliant visuals and direction, as well as equally impressive set design and location. Director and writer Richard Bailey has experience with rural gothic thrillers and mystique from his previous feature A Ship of Human Skin, and a similarly unnerving atmosphere is threaded through King Judith. Whilst narratively confusing, the ‘lake’ dream scenes succeed in creating the impression of Miriam being dragged deeper into a foreign world as she explores the mystery. The colour-drained hue over the imagery distances the viewer, and makes the modern-day setting cold and unfamiliar. The film’s acting is similarly strong – with Nicole Fancher’s Miriam anchoring the story as a worn, troubled detective lost in a confusing world. Her early interactions with the darkly charismatic Rhonda Boutte show a contrast between Miriam and the inhabitants she desperately needs to decode. Elsewhere, the scenes between Catherine (Jenny Ledel) and Pressure Mike (Ace Anderson) are a highlight of the story chapters, with the two actors brilliantly capturing the film’s unique approach to gender dynamics and power. It’s hard to tell whether King Judith achieves the aim of the director, as no-one could mistake it for anything but untraditional - and its elusive plotline which leaves opportunity for engagement as well as resolution could well be the desired outcome. For most viewers, including this one, the lack of a cohesive and legible structure was to the film’s detriment, regardless of what artistic accomplishment this may have allowed. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Music to Die For film review by UK film critic Jason Knight. Starring James Doran, Deanna Ritchie, Nigel O'Neill, Jolene O'Hara directed by Rebecca Doherty. HOME | FILMS | REVIEWS Music to Die For Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 6, 2024 Directed by: Rebecca Doherty Written by: Rebecca Doherty Starring: James Doran, Deanna Ritchie, Nigel O'Neill, Jolene O'Hara After a long time, two musicians remeet at a pub one night and discuss the fateful past. It is night-time in Northern Ireland and Sean (Doran) and Eve (Ritichie) are entertaining a small crowd inside a pub. Sean is playing the piano, while Eve does the vocals with a microphone. The night appears to be calm and uneventful. Then Sean notices a person in the crowd who he recognises and the night takes quite a dramatic turn. An emotional and powerful short that centers on a dramatic encounter that involves the Troubles and confronting a terrible past. The screenplay skilfully makes a transition from a light-hearted drama into a harsh story about a devastating incident that changed lives forever. Initially Sean and Eve are enjoying themselves while they perform and during breaks they chat about moving on to better things, how they view the audience and also touch on the Troubles. Then, the arrival of Tom (O'Neill) an old acquaintance of Sean significantly changes the atmopshere, leading to a conversation (or maybe more of a verbal confrontation) between the two men about a tragedy for which Sean believes that Tom is responsible. Doran and O'Neill deliver superb performances and Sean and Tom make intriguing characters, two musicians who used to work together and have not seen each other for ages and the conflict between them is where the film is at its most dramatic. Sean is presented as the good guy, while Tom is (to some extent) the antagonist, although not a vile individual but rather a well-meaning person who made a grievous error. The music is a big plus and the film almost feels like a musical due to the frequent numbers. Eve and Sean perform various times and the piano along with Eve's singing voice (which belongs to Jolene O'Hara) are rather pleasant and the contribution by Robert Peoples with the wonderful violin melodies adds significant value. Visually, the film also triumphs thanks to the creative lighting and the terrific cinematography by Fiachra O'Longain. This short is a drama about a brief encounter where the past returns to haunt two middle-aged men. It is a moving story about regrets, self-reflection and the suffering caused by the Troubles. The themes that are explored, along with the heavy drama, strong acting and beautiful score makes this film a commendable achievement. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >