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Lux Æterna film review by UK film critic George Wolf. Starring Béatrice Dalle, Charlotte Gainsbourg directed by Gaspar Noé. HOME | FILMS | REVIEWS Lux Æterna Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 18, 2022 Directed by: Gaspar Noé Written by: Gaspar Noé Starring: Béatrice Dalle, Charlotte Gainsbourg For anyone who’s still wary of the Gaspar Noé sensory assault in full feature length form, Lux Æterna offers a slight variation. Oh, he’s still beating us about the face and neck with psychedelic imaging, pulsating rhythms and immersive colors, he’s just keeping it to under an hour this time. And, even bringing along a dare-I-say lighthearted touch to this meta mashup of cinema and witchcraft. Most everyone here is playing themselves, starting right at the top with Béatrice Dalle and Charlotte Gainsbourg talking shop. They swap stories, laugh heartily at their “shit films” and eventually get down to the business of making “God’s Work,” a post-modern tale of witches. Dalle is directing, Gainsbourg is starring, and once on set, the laughter gives way to a cascade of madness and hysterics, rendered even more disorienting by Noé’s consistent use of split screen formatics. Not only is following both sides often challenging, but anyone sensitive to flashing lights might well be overwhelmed. The “God’s Work” producer is hatching a plan to get Dalle fired from the project. Gainsbourg is juggling trouble at home and unsolicited pitches from an aspiring director (Karl Glusman from Noé’s Love ), while her female co-stars (including Abbey Lee and Clara Deshayes) face a string of indignities. Noé intersperses it all with clips and quotes from films and filmmakers he admires, and when a lighting miscue becomes a flashpoint for total chaos on the production, Noé’s embrace of the breakdown is clear. This is where his art thrives, and Lux Æterna finds Noé nearly winking at his own reputation. Longtime aficionados may feel a bit slighted, but any neophytes will get a healthy appetizer to help decide if you’re up for bigger portions. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Satu - Year of the Rabbit film review by UK film critic Jason Knight. Starring Itthiphone Sonepho, Vanthina Saysana, Athit Silavong, Tao Chanthavong directed by Joshua Trigg. HOME | FILMS | REVIEWS Satu - Year of the Rabbit Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 23, 2025 Directed by: Joshua Trigg Written by: Joshua Trigg Starring: Itthiphone Sonepho, Vanthina Saysana, Athit Silavong, Tao Chanthavong A feature-length drama written and directed by Joshua Trigg and starring Itthiphone Sonepho, Vanthina Saysana, Athit Silavong and Tao Chanthavong. In Laos, a desperate woman (Chanthavong) is forced to leave her infant child at a monastery in the Pha Tang village in Laos. Years later, Bo (Saysana), a seventeen-year-old woman and aspiring photojournalist living in Vientiane runs away from her abusive father and ends up at the monastery, where she meets Satu (Sonepho), the boy who was left there by his mother. Soon after, one of the monks (Silavong) decides that it would be better for Satu if he and Bo travelled together to Muang Ngoy, where it is believed that is where Satu's mother lives, so he can join her as the monastery has found itself in jeopardy due to several unexploded bombs being located nearby. Bo agrees and the two of them embark on the long journey. This is a dramatic and moving story that relies heavily on the rapport that develops between Satu and Bo as they travel through Laos either by motorcycle or on foot, have fun, get into some misadventures and have confrontations between them. Additionally, the screenplay alternates with two other storylines, one of which involves the monks at the monastery trying to contact the authorities and the other is about Satu's mother rescuing a man from a river. The film is filled with dramatic and heart-warming moments, which are supported by Joshua Szwezda's music. Trigg adds significant further qualities thanks to the superb directing, with shots that capture the beauty of the surrounding landscapes. To a certaing degree, this is a road movie with a Satu and Bo as the travelers. Satu may be a child, however he shows maturity far beyond his years as he understands morality and is determined to be reunited with his estranged mother. Bo is a well-meaning youngster who strives to pursue her goals and throughout the journey, she becomes a sort of mother figure to Satu. Regarding Satu's mother, she is a good person who has been left with deep emotional wounds due to losing her boy. This story is a journey. An emotional journey that explores self-discovery, self-reflection, friendship, support, honesty, regrets and aspirations and it looks into all this extensively. A story about an encounter between two strangers that ends up changing their lives and teaching them valuable lessons about life. It is moving film with a script that shows the struggles of life and the joys that it offers. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Changing Tune film review by UK film critic William Hemingway. Starring Olivia Dowd, Freddy Goymer, Maya Pillay, Barry Smith directed by Nick Fuller. HOME | FILMS | REVIEWS Changing Tune Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 4, 2025 Directed by: Nick Fuller Written by: Nick Fuller Starring: Olivia Dowd, Freddy Goymer, Maya Pillay, Barry Smith A couple facing difficulties in their relationship hash it out at the kitchen table in order to reset the boundaries and lay bare the unfairly weighted imbalance within. Phil (Goymer) is a musician. At least that’s what he calls himself, even if he doesn’t have a recording contract or seemingly play his songs live. When we meet Phil, he has just crashed his car, shown to us by some pretty basic shaky-cam footage to suggest the impact. We later find out that the only thing Phil was interested in after the crash was his external hard drive which he had kept beside him on the front seat. This was because his hard drive had everything on it relating to his music, including videos and other media he had paid for, because he was trying to get his music out there by himself. A flashback scene then gives us the lowdown on why Phil finds himself in the situation he’s in, as we watch a cringe inducing interview that he has with a testy record company exec. This bruising interview was never going to get anywhere as the exec (Smith) has no time for Phil or his music, and in his best Alan Sugar manner, the exec says pretty much everything derogatory that he could say apart from the immortal words, ‘You’re Fired.’ To top it all off, Phil’s partner Becky (Dowd) has just been informed by the bank that he’s spent all of their money, well actually, all of her money, and she wants to know just what the hell has been going on. So, for the large part of writer/director Nick Fuller’s, Changing Tune we sit down with Phil and Becky and get into the nuts and bolts of their relationship. Then, half way through the focus shifts, and we get another point of view as Becky shares some wine with her best friend, Melanie (Pillay) and the two of them talk it out together, still at the kitchen table. This two-handed narrative gives us important information from both Phil and Becky’s perspectives and helps us dig down into the feelings that underpinned their relationship in the first place. Unfortunately though, this is as far as we go, and none of the story ever moves very far away from that kitchen table. The location is set, the lighting is placed, the camera moves to its designated positions, and the dialogue is spoken, just with a change of character half way through. The dialogue, also, just like the eerily spotless kitchen, comes across as very clinical at times, even as the characters express what are supposed to be deep seated emotions. They say the words, but there’s very little feeling behind them, as though they’re trotting out standard lines which we would expect any troubled partners to say to each other, before moving on to the next part of their conversation. This is not to say that the performances are not good, because they are, and both Freddy Goymer and Olivia Dowd do their characters justice in their presentation of the narrative. It’s just that’s there’s not a lot of depth behind the words they are saying and the surface level conversation is as far as things go. This also gets evidenced in the denouement of the story, where an ending is offered that seems to buck the trend of the direction of travel, and most of what was discussed is seemingly thrown in the bin. While Changing Tune has its moments and is a well put together short film, it never really takes off in terms of its narrative and the inner turmoil of the characters is never really explored. Writer/director, Nick Fuller has obviously also intended the piece to be a showcase for his own musical talents, as he wrote or co-wrote almost all of the songs which appear in the film. However, the music doesn’t play as big a role in the film as you might expect, and judging by what’s on offer, it’s no real surprise that Phil wasn’t getting any traction with what he was producing. For its thirteen-minute runtime, Changing Tune offers a brief insight into a broken relationship, and by swapping out Phil’s passion for music for something else, many people will be able to relate to the scenario displayed on screen. Sadly, there’s not much else going on beneath the surface and the characters and scenario could have benefitted from a more orchestral background rather than the one-man band that we get. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Harvey Greenfield is Running Late film review by UK film critic Chris Buick. Starring Paul Richards, Liz Barker, Annette Badland, Alan Hay, Norman Lovett, Patrick Monahan, Ewan MacIntosh directed by Jonnie Howard. HOME | FILMS | REVIEWS Harvey Greenfield is Running Late Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Jul 11, 2025 Directed by: Jonnie Howard Written by: Jonnie Howard, Ray Howard, Paul Richards Starring: Paul Richards, Liz Barker, Annette Badland, Alan Hay, Norman Lovett, Patrick Monahan, Ewan MacIntosh Harvey Greenfield is Running Late , the micro-budget feature directed by Jonnie Howard and co-written and performed by the brilliant Paul Richards, tells the tale of the eponymous shambles Harvey, a self-professed “ugly Hugh Grant” with an ill-fitting suit and possibly “a million illnesses that his white blood cells are too polite to fight back against”. A textbook people pleaser, unable to ever say no to anyone or anything, deal with any kind of confrontation, or even decide what sandwich to eat, Harvey Greenfield might be one of the most lovable messes of a human being that has ever been portrayed on screen. Setting off at lightning pace, dragged along by Harvey’s constant running from one commitment to the next, the film not so much breaks the fourth wall but rather demolishes it completely, as Harvey persistently addresses the audience with his lament for life rather than any lust for it. Stress, anxiety, fear, indecisiveness, these are the things Harvey knows he has and are crippling him, but also counters with, how could he not? Firstly, there is his job and his gruff, grandiose boss, Mr. Buckley (a delicious performance by Alan Hay) at the floundering publishing company demanding his complete commitment. There is his mum, desperate to see him so she can finally go to the shops, or the mechanic, calling about the dodgy beater he is badgering Harvey to buy. And finally, there is his inversely calm and put-together girlfriend Alice (Barker), who just wants him, for once, to get a hold of himself and be there when she needs him. And if that wasn’t enough, Harvey’s ability to somehow get himself into a string of other increasingly bizarre scenarios just keeps piling on that stress. Agree to be the best man at your “best friend's” wedding that you don’t even really like? Attend a funeral for someone you don’t even know because it would be rude not to? Or having to deal with someone trying to sell you a pig even though you keep telling them they’ve got the wrong person. All this craziness Harvey somehow manages to pull into his orbit makes Harvey Greenfield is Running Late an exhaustingly stressful ninety-plus minutes. However, what a truly beautiful ride it is. It’s non-stop yes, but it’s a non-stop triumph from start to finish. Firstly, it’s very funny, both in its blatant jokes, puns and references as well as its subtle ones, each landing with maximum impact thanks not just to a clever script, but inspired direction and cinematography as well. It can also be sad and heartfelt in-between those moments of levity, you for sure want to both hug and shake Harvey at the same time and as we journey through Harvey's story from lonely child to barely functioning adult, the film ends up fully formed as a poignant piece on the utmost importance of looking after one’s mental health. And breathing life into all of it is a cast full of beautifully weird and engaging characters, portrayed by a parade of genuine icons like Annette Badland, Norman Lovett, the late Ewen MacIntosh and even the one and only, Dave Benson Phillips. Main players such as the aforementioned Hay and Liz Barker as the too understanding Alice, also excel of course. But this is the Paul Richards show, and their making Harvey so frustrating yet so utterly loveable and compelling might be the film's biggest achievement. Touching and hilarious, and having already found success and acclaim on the stage, Harvey Greenfield is Running Late undeniably deserves even more on the big screen. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Swing Bout film review by UK film critic Jason Knight. Starring Ciara Berkeley, Ben Condron, Frank Prendergast, Sinead O'Riordan, Chrissie Cronin directed by Maurice O'Carroll. HOME | FILMS | REVIEWS Swing Bout Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 12, 2024 Directed by: Maurice O'Carroll Written by: Maurice O'Carroll Starring: Ciara Berkeley, Ben Condron, Frank Prendergast, Sinead O'Riordan, Chrissie Cronin A great deal of drama is taking place between fighters, coaches and promoters on the day of a major boxing event. This feature from Ireland is a boxing film, however it might not be what most people might expect, meaning that there are no actual boxing fights to be seen, not even a ring for that matter. Instead, it is a story that focuses on character development and drama, whith the narrative taking place backstage, before and during a day of boxing matches. There are a variety of characters and the screenplay alternates between them throughout, exploring their situations. The main protagonist would be an up-and-coming boxer named Toni (Berkeley), who is about to engage in a career-defining bout against Vicki (Cronin) in a series of short boxing matches that are part of a televised boxing program. Toni is determined to succeed, however things take a dramatic turn when her trainer Emma (O'Riordan) informs her that she must throw the fight in exchange for a large sum of money. The main subject is the fixed fight and the story navigates other subplots that include promoter Micko (Prendergast) getting into serious trouble with the law and Emma's relations with Micko's brother, Jack (Condron) and Gary (Gerard Kearney), a reporter for a boxing channel on social media. One of the main subjects is corruption within the world of sports and the film explores to a great length how people, particularly coaches and promoters, are willing to take advantage of athletes for their own personal gain. The script actually goes even deeper, suggesting that even a parent might not take their offspring's mental well-being under serious consideration, as indicated by Vicki's father (Johnny Elliott). The screenplay effectively explores the protagonists and their struggles. Toni is a hard-trainer, determined to succeed in the world of boxing and leave her troubled past behind. She motivates herself by listening to a recording of motivational speeches on her headphones. Emma, Gary, Micko and Gary represent the corruption that exists in the sporting world. Micko in particular stands out due to Prendergast's electrifying performance as as a guy who has gotten himself into deep trouble and becomes more and more desperate as the authorities close in on him. Vicki makes an intriguing character, a fighter who talks and acts tough, while behind all that, she is vulnerable. O'Carroll is quite creative with the directing and develops some well-executed long takes. The audio benefits significantly from BK Pepper's contribution for the dramatic score and the songs Are You Ready? by Beacon Light and Joshua Silverberg and Standing Tall by Antimo Puca Kelly. As mentioned, no boxing fights take place on-screen, yet the result of engaging in full-contact combat sport competition is evident on people's faces (now would be a good time to mention that physical violence without the gloves is present and rather graphic) and recognition goes to make-up artist Aitana Silvana for the outstanding work. A fixed fight, a serious crime, tensions between fighters, corrupt trainers and promoters, confrontations, insults, back-stabbing, a life-and-death situation. This is what viewers will see in this intriguing drama about the world of boxing that includes strong acting and a tense screenplay. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Lost in Terra Dimension film review by UK film critic Jason Knight. Starring Lizelle Gutierrez, Kat Lehto, Zoey Grayce, John Moamar, Colin Shull directed by Kat Lehto, Lizelle Gutierrez. HOME | FILMS | REVIEWS Lost in Terra Dimension Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Sep 15, 2022 Directed by: Kat Lehto, Lizelle Gutierrez Written by: Lizelle Gutierrez, Kat Lehto Starring: Lizelle Gutierrez, Kat Lehto, Zoey Grayce, John Moamar, Colin Shull A group of righteous forces do battle against an evil, powerful entity. This fantasy feature focuses on two sisters, who are Zeandra (Gutierrez) and Spacle (Lehto) and a world of multiple dimensions and people with superpowers. After Spacle is captured by despicable Dictator Doom-X (Moamar), Zeandra must find a way to rescue her with the help of magical allies. With a limited budget, filmmakers created an hour-long story that is a fairy tale adventure about love, magic, danger and courage and also explores themes of sisterhood and self-discovery. Although the two siblings are the main protagonists, the film contains multiple characters that include a group of women called Z-Fairies (no wings), Doom-X who serves as the main antagonist and his followers. Basically, the plot is a battle of Good vs Evil and a rescue mission. The screenplay follows Zeandra as she attempts to find her sister and also observes Spacle as she is being held captive. The movie has plenty of elements that place it into the fantasy category and these elements include characters using their supernatural powers for combat, which resemble lightning and fire, a talking horse, a mask that makes the wearer invisible and a magic key. As this was filmed on a low budget, the special effects do not look great, however they are good enough to give the audience the right impression regarding what is happening in the scenes. Much of the story takes place in the countryside or at abandoned buildings. Regarding the clothing, most of it is casual and nothing really stands out. The bad guys wear black, which is rather traditional in movies but apart from that, the clothers appear normal. Going to the acting now, it would be hard to give it any praise as it is quite poor. Vasilios Alagiannis and Ly Vui worked on the editing and utilise superimposition and dissolve techniques to decent effect. Vui also composed the score, along with Steven Lizama and the music sometimes sounds adventurous, emotional or magical. The sound effects are creative and a positive addition to the film. Whether this feature is enjoyable pretty much depends on the person. In order for someone to enjoy this imaginative adventure, they will probably have to not take it seriously. The low production value is evident throughout and the occasional clumsy camerawork does not help. If a viewer can look past the flaws and focus on the story, then they might be content. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Ten With a Flag film review by UK film critic James Learoyd. Starring Bryan Moriarty, Julie Martis, Julia Winwood, Adam Barnett directed by Vasco Alexandre. HOME | FILMS | REVIEWS Ten With a Flag Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jul 7, 2024 Directed by: Vasco Alexandre Written by: Joe Capps, Haines Joseph Paul Starring: Bryan Moriarty, Julie Martis, Julia Winwood, Adam Barnett Ten With a Flag has an undoubtedly clear vision. I don't just mean it has a high concept... its tone, mood and design all work in tandem to elevate the dystopia being depicted. With some entertaining Orwellian concepts and a genuinely frightening conclusion, this level of consistency is not always so common in low-budget science-fiction. For the most part, the performances - which hold that bizarre Yorgos Lanthimos cadence - are watchable and layered. The same can be said about the story which, despite its indulging in the classic tropes, arguably does so with skill and restraint. Based in an authoritarian/1984-type world, the film centers around a pregnant woman and her spouse who discover that their unborn child has been labeled a 'ten'. It's a starting point which leads to some interesting discussion of class, governmental oppression, monetary value - all the classics. With the help of precise pacing, we remain engaged in the story and its characters, even if we may already be privy to some of its plot conventions. In terms of cinematography, the short is operating at a competent, even high, level. Particularly admirable is the range of focal lengths implemented as well as the use of the interior spaces to craft and complement the images. However, the film's use of wide-screen is slightly troubling and not always successful. One understands the intentionality, as sci-fi definitely belongs in that aspect ratio, but the manner in which the piece was shot suggests that this may not have been the plan from the outset. This becomes noticeable when subjects' faces are composed strangely or when certain objects are jarringly cut out of frame. It's unfortunate that the wide-screen format is never used to create depth or incorporate multiple subjects onscreen (on each side of the frame, for instance). Having been filmed in 16:9 and presumably composed by the cinematographer for that aspect ratio, you can't help but feel that the black bars detract from the visual information we're receiving. This is my only real complaint and certainly the only aesthetic issue with the movie. On a narrative level, the piece is quite elegant. I would like to draw attention to the third act which is truly effective. It consists of a scene in which a character is killed; it’s not just the best moment in the film, but it’s also emblematic of how to strike terror into your audience. The magic trick in this instance is holding on the reaction shot of the individual who isn’t being attacked – the emotional intensity of their silent response gives us all we need. A work which understands its limitations - and how to stretch and manipulate them - is a sign of a strong artistic presence. The decision not to cut to the action is also a lot more unsettling and urges the viewer to fully consider the implications of what we hear offscreen. As stated, there is a lot to admire in Ten With a Flag . Not only does the short create tension, but it also takes on the great task of crafting a world with a unique internal logic. It does so successfully due to its distinctive stylistic voice; characteristics such as the monotone delivery and the ambitious set design grounds the viewer in an idiosyncratic but not all that unbelievable reality. While not without flaw, I would highly recommend this film to a science-fiction enthusiast. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Love With Black Spots film review by UK film critic Joe Beck. Starring Oli Harding, Saffron Walters, Bailey Dowler directed by Oscar Wenman-Hyde. HOME | FILMS | REVIEWS Love With Black Spots Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Sep 9, 2022 Directed by: Oscar Wenman-Hyde Written by: Oscar Wenman-Hyde, Jade Wenman-Hyde Starring: Oli Harding, Saffron Walters, Bailey Dowler As we grow up, certain things which once seemed like the biggest deal in the world fade into the background, and become minor inconveniences. It is a fact of life. ‘Love With Black Spots’ is a film built in the same vein, dealing with something which would have seemed like the biggest problem in the world at age fourteen, but for anyone older seems like nothing. The problem is that the protagonists of this film are both in their 20s - they no longer have that excuse of naivety. A couple has moved into their new house, as we understand thanks to the shot of boxes being carried up to the door’s peephole, which gives director Oscar Wenman-Hyde the chance to play around, with an intriguing shot from the angle. Wenmam-Hyde’s direction is competent throughout, at times exceeding that solid baseline, and as such, it stands as the only stable component of an otherwise cringe-worthy and childish film. The couple, Jack (Oli Harding) and Isla (Saffron Walters) are clearly discordant, throwing little niggles and bites at each other, with little nuggets of other failings in their relationship thrown into the script (for example, the fact that Jack never viewed the house before moving in). At this stage the script, penned by Oscar and Jade Wenman-Hyde, appears slight, giving us critical information subconsciously in a very natural way - all is looking good. However, things quickly fall apart after the couple christen their new house and discover the main issue of the film, and the inspiration behind its title - a ladybug infestation. To any ordinary grown adult this would be no big deal, you either go around exterminating them, remove them, or hire an exterminator to deal with the problem. However, for Jack and Isla this only strains their relationship further, and they grow apart - if they hardly seemed to know each other before then they’re worse than strangers now. This could, emphasis on could, have possibly worked had the script continued to be at least functional. Instead, in an attempt to present the two as distant, the script creates a wall between them, and the dialogue becomes turgid, painting the actors in an extremely negative light. That’s not to say that none of the film’s shortcomings falls to the responsibility of the actors - who lack any semblance of chemistry, which becomes a bigger issue at the turning point of the film. The turning point is so ridiculous, yet so innocuous that you wouldn’t even realise it unless you’d read the synopsis beforehand. The relationship between Jack and Isla hinges on Jack accidentally swallowing a ladybug, an incident with no dramatic effect whatsoever, and which is incredibly forgettable. Supposedly as a result of the ladybug, the couple becomes all loved up again. The sentence doesn’t need a follow-up to explain the illogicality of the premise. It’s around that point where the film truly begins to fall into tatters, as Isla becomes thoroughly unlikeable and their relationship progresses without ever showing us any real signs of true affection between the two. Also synonymous with bad teenage dramas of the same ilk is the trope of the ‘gay best friend’, in this instance, a character played by Bailey Dowler called Red, because he’s ginger - a sign of the attention afforded to this character. This is just another example of ‘Love with Black Spots’ taking the worst parts of 00s teen movies and moulding them into a short film with adults as its protagonists. In the end, despite a promising start, ‘Love with Black Spots’ ends up falling into the tropes and pitfalls of a genre that it shouldn’t even fall into. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

X_X film review by UK film critic Swati Verma . Starring Laura Winckles, Sarah Johnson directed by Sarah Johnson. HOME | FILMS | REVIEWS X_X Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Jan 8, 2025 Directed by: Sarah Johnson Written by: Laura Winckles Starring: Laura Winckles, Sarah Johnson People often say don’t let the past affect the present as well as the future. The director Sarah Johnson and writer-director Laura Winckles deep dive into the crime/ revenge genre to give us an intriguing script showcasing the complexities of relationships in the lives of our female protagonists Eva (Sarah Johnson) and Mia (Laura Winckles). The plot of the X_X revolves around the discovery of a cryptic photo. The relationship between the two best friends shatters, leading to a spiral of revenge, betrayal and fatal confrontation that unravels long buried secrets. The short film begins with upbeat/mysterious music, opening credits, and a few opening shots playing to introduce the leading ladies to the viewers increasing the degree of audience engagement with the content from the very start. A long shot followed by a series of mid shots is utilised by the makers to add the element of thrill and pace into the storyline to maintain the viewer’s interest. The set design, white, black, red, blue colours utilised for colour pallet, a combination of dim lighting and bright lighting to demonstrate the change in mood, music, dialogues, costumes, hair, makeup, and props are effectively incorporated in the narrative to elevate the climax. In terms of performance, Sarah Johnson plays Eva who is a strong girl but is still healing from a heartbreak in the past. Johnson understands the nuances, and layers her character has in her personality portrays it convincingly to make her relatable in the eyes of the audience. Johnson beautifully depicts the emotional rollercoaster Eva experiences with each subplot in the story. Laura Winckles plays Mia Eva’s best friend who appears to be helpful and kind but has a lot of things to find out about her as the screenplay progresses by both Eva and the viewers alike. The young actress showcases body language, voice modulation, facial expressions, and eyes needed to demonstrate revenge, betrayal, and a huge showdown in the climax. X_X talks about the efforts required to keep any relationship working for a long time and how a dirty secret/ unwanted behaviour can bring it crashing down forever with no chance of making it the same ever again. The short film reiterates the importance of peace of mind, prioritising taking care of one’s mental health instead of going back to something which can be further detrimental to the same. The cinematic piece teaches the audience that one should get rid of all negative emotions like jealousy, regret, betrayal as well as revenge because life is very valuable and not worth losing for petty things. The creative piece also talks about how crucial living in the present is without worrying about the past or the future because one cannot control either. To conclude I would like to appreciate Sarah Johnson, and Laura Winckles for keeping the viewers hooked on to the content even with less than 5 minutes run time. The Sequel is a good idea to appeal to the viewers who choose to come back and watch the second part. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

A-Train: New Beginnings film review by UK film critic Jason Knight. Starring Chris Carthern, Salem Way, Mina Kess, Joey G, Boaz Hernandez directed by Chris Carthern. HOME | FILMS | REVIEWS A-Train: New Beginnings Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Oct 22, 2024 Directed by: Chris Carthern Written by: Chris Carthern Starring: Chris Carthern, Salem Way, Mina Kess, Joey G, Boaz Hernandez A short superhero dark comedy fan film set in the world of the satirical superhero television series The Boys . Written and directed by Chris Carthern, the film stars himself as the titular character and including in the cast are Salem Way, Mina Kess, Joey G and Boaz Hernandez. So what is the plot then? Well, the heroes (the members of a team of superheroes named The Seven) do not go up against a supervillain, instead the attention is focused on speedster A-Train. Super-fast A-Train has accidentally killed a woman while running and this results in him being thrown out of the super team. Things are not looking good for A-Train, however he develops a new ambition: he will become a famous rapper. This short has a lot of things going for it. To begin, the costumes, the ones worn by the performers portraying the superheroes look cool and resemble the ones in the TV show, some examples being clothing worn by A-Train (of course, since his name is in the title), Homelander and Starlight. Next, there are some pretty neat (although not very realistic) effects, particularly when the heroes utilise their superpowers, making eyes glow and beams of light come out of eyes and causing body parts to explode. As A-Train is determined to become a rapper, he collaborates with a music studio and a large portion of the film consists of music videos of him singing. The videos look great thanks to the directing and Chong Ahn's work on the editing and cinematography and fans of rap will most likely appreciate the amusing songs that include titles such as Mr. Run Through Ya Girlfriend , Get Out The Way and Speedster Rap . The animated part is also quite a bonus. Is there anything missing? Could something had been done better? This short is approximately 20 minutes of entertainment and it never seizes to be so thanks to the music, the performances and dark humour. Taking all these under consideration, one could not have asked for much more. Looking at the performances now, they are quite entertaining. This short is intended to be a comedy and the acting by pretty much all the cast is light-hearted. Some who stand out are obviously Carthern as the main character, a clumsy superhero and aspiring rapper and Way as Homelander, the no-nonsense and sarcastic leader of the superhero team. On the surface, this is superhero comedy. Looking deeper, (and as the title suggests) the story explores the idea of starting over, turning one's life around and pursuing new goals. Furthermore, it is also a commentary about the music industry (the world of rap in particular), social media, self-discovery and the idea of becoming a celebrity. This amusing short is ideal for people looking for a fun time. It pays homage to The Boys series and superhero films in general and it will most likely appeal primarily to fans of the series, superhero fans and rap fans. About the Film Critic Jason Knight Short Film, Music Video < All Reviews Next Film Review >

Do Not Touch film review by UK film critic Jason Knight. Starring Seann Walsh, Sofia Engstrand, Charlotte Hamblin directed by Harrison Newman, James Newman. HOME | FILMS | REVIEWS Do Not Touch Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 2, 2023 Directed by: Harrison Newman, James Newman Written by: James Newman Starring: Seann Walsh, Sofia Engstrand, Charlotte Hamblin A man's life spirals out of control, following a one-night stand. Ben (Walsh) has made a mistake. He slept with Claudia (Engstrand), who happens to be an artist and after they have intercourse, she takes a picture of him lying in bed and keeps the condom. A couple of days later, Ben watches television and finds out that Claudia has been banned from a gallery due to the explicit nature of one of her pieces. That piece consists of a canopy bed, onto which photographs and names of her various lovers have been glued, along with the condom that was used for each occasion. Ben's photo and name are included and in a couple of days he is planning to visit that gallery, along with his partner. Now Ben is desperate to find a way to stop Claudia's work from ruining his life. This short adult comedy is quite an experience and it focuses on a guy who has found himself in quite an awkward situation and follows the mental breakdown he goes through and his attempts to get himself out of potential trouble. Beginning with a shot that zooms in towards a house, while the sounds of intercourse are heard, it is clear that this is going to be a wacky experience. And generally, the plot is quite madcap: a man trying to remove a picture of himself from an object covered with photos of men and used condoms. As the protagonist, Walsh is rather amusing as an adulterer whose cheating has gotten him into an embarrassing situation that might destroy his life and Walsh's performance succeeds at being panicked and desperate. The filmmakers utilise all sorts of interesting techniques that work well largely thanks to Oswald Schuman's editing. There are two creative montages that between them contain fast cutting, close-ups and fish-eye lens techniques. Director of photography Oscar Read develops great cinematography which includes brief use of black-and-white. Large pink letters are used to announce the day of the week, revealing that the story takes place over the course of several days. Regarding the audio, there are some sequences that contain overlapping voices and others where the diegetic sounds disappear and only non-diegetic music is heard, which includes the sound of drums. The addition of Gymnopedie No.1 by Erik Satie was an interesting choice. This short tells an outrageous and funny story about adultery, art and consequences. The adult humour might not be to everyone's taste, however for those who enjoy adult comedies, this is an experience that will not disappoint. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Ceres film review by UK film critic William Hemingway. Starring Juliet Stevenson, Hannah Morrish directed by Amelia Sears. HOME | FILMS | REVIEWS Ceres Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jul 25, 2023 Directed by: Amelia Sears Written by: Hannah Morrish Starring: Juliet Stevenson, Hannah Morrish In Roman mythology, Ceres was worshipped as the goddess of agriculture, grain crops and fertility, however, more importantly for today's story, she was also the goddess of maternal relationships. Ceres can be seen as the Roman counterpart to her predecessor in the Greek pantheon, Demeter whose roles and stories she mostly shares, but in one thing above all else do they have a common manifest destiny, that of the fate of their daughter. Proserpina, the daughter of Ceres , links directly to the Greek goddess Persephone and shares her story almost completely; that being her abduction by the god of the Underworld (Pluto/Hades) to be his queen (also not forgetting that he is her uncle). For this, Proserpina was given the moniker of 'the maiden' and her tale became one of the saddest in the entire mythological canon. As she was to be rescued by the messenger of the gods, she was tricked into eating the fruit of the Underworld and so was forever bound to spend a third of each year (the cold, lifeless, winter months) there. It seems fitting then that writer and star of this new short film, Hannah Morrish should use these characters and the outline of this story to build a modern tale which focuses on domestic abuse. The Daughter (Morrish) returns to a place she knows, a place that perhaps she once used to call home. The house is empty but she finds the key and lets herself in, then sets about ridding herself of the oppressive weight which burdens her. Eventually, The Mother (Stevenson) comes home and they work together to plant new seeds and mend old relationships. Everything in Ceres is very understated, from the minimal dialogue, to the muted colours of the earth and the stone, to the way the two characters interact with one another. There is always an overarching power which accompanies every scene; a history that is great and vast but never gets alluded to; which nevertheless gets relayed in the commanding presence of the two lead actors. Director, Amelia Sears carefully allows us to share in the quiet, tender moments between mother and daughter, bringing us in close to their hands and their faces, letting us feel in the dirt and plant the future alongside them, with the result being a beautiful and intimate experience for the viewer. What Morrish and Sears have achieved with Ceres is no mean feat, telling within a fifteen minute short film a story which resonates down through the ages. On the surface, Ceres can be taken as a gentle, personal film of the relationship between mother and daughter as both seek refuge from the oppression that exists outwith, but its true genius lies in the fact that there is so much more hiding behind what we see and hear, that the characters and their unshifting fates are something truly mythical in scale. When Gods and Monsters are all we see on screen these days, pumped up to the max in technicolor, ripping cities to shreds with their indomitable power, it is entirely refreshing and welcome to see a film which treats these stories with the respect and care with which they were forged – keeping them simple, real and as a blueprint to guide the lives of normal people; those of us who are merely moulded from clay. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >