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Stop Making This Hurt film review by UK film critic Jason Knight. Starring Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta directed by Susie Kimnell. HOME | FILMS | REVIEWS Stop Making This Hurt Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 13, 2022 Directed by: Susie Kimnell Written by: Susie Kimnell Starring: Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta A man meets his former partner in a restaurant and they discuss the past. A man (Swift) is sitting at a restaurant table by himself. Closing time is approaching and the place is quiet and a bit darkened. Eventually, he is joined by a woman (Collins), with whom he used to have a relationship. The two of them have a conversation and it becomes apparent that things between them ended up badly. The man attempts to apologise and make things better, however, it becomes evident that he did something terrible. This dark short film begins as a drama about a broken relationship and as the story progresses and more and more clues are brought to light, things move towards thriller territory. The main element is the conversation between the two protagonists, which tells a lot about their lives, particularly about the man's life, about what kind of person he is and the findings are not positive and just keep getting worse and worse. Swift delivers a chilling performance as an individual who has very dark secrets and a very sinister hidden personality. Although, he can appear charming and cheerful, it is obvious that ultimately, he is a bad person. Collins does a terrific job as a his ex-partner who was a victim to his actions and knows what he really is. The film is free from music, apart from the ending, which is where Duncan Pittock and Richard Lacy make their contribution with a sinister score that makes an effective closing. Ben Mann also deserves commendations for the work on the cinematography. This short has a very-well-structured screenplay that starts with more or less normality and revelation after revelation lead to a devastating truth. Through well-written dialogue and strong acting, this film tells a dark and memorable story. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Emily film review by UK film critic Hope Madden. Starring Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead directed by Frances O'Connor. HOME | FILMS | REVIEWS Emily Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2023 Directed by: Frances O'Connor Written by: Frances O'Connor Starring: Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead Wuthering Heights was always a conundrum of Gothic literature. It is mean, its tragedies ugly, its heroes selfish and boorish. It’s a dark and misanthropic piece of fiction often mistaken as romance. Lucky for all of us, Frances O’Connor appreciates the twisted nastiness of the novel and suggests a vividly unusual inner life for its author in her feature debut, Emily. Emma Mackey stars with an understated but authentic weirdness as the misfit Brontë sister. Emily doesn’t seem suited for teaching, or for much of anything. The stories she tells are childish and they embarrass her sisters, and she won’t let anyone read what she’s writing. She seems to disappoint everyone around her except her brother, Branwell (Fionn Whitehead). In O’Connor’s loose biopic, Emily finds the space to explore once her sisters are gone off to teach and she is alone with Branwell. The filmmaker slyly inserts memorable scenes from Brontë’s novel as moments, here more innocent, between brother and sister. These moments work on many levels, but mainly because writers draw from their own lives. The dynamic complicates and Emily’s transformation deepens as an unexpected, almost involuntary suiter comes into the picture. Untethered by the judgments of her sisters, Emily is free to determine her own course and the journey is intoxicating to witness. Mackey glows as her character slowly, finally comes into her own, giving us a dimensional, tender and delicately genius young woman you yearn to know better. Whitehead charms in a slightly underwritten but nonetheless poignant role. Oliver Jackson-Cohen – so different than the unrelenting narcissist of The Invisible Man – delivers the greatest arc of any character as assistant parson William. His performance is never showy, but moments of vulnerability give the film its heartbeat and heartbreak. O’Connor breathes life with all its chaos, misery and joy into the Brontës’ 19th century. Emily feels less like the vision of a newcomer than the product of a passionate kindred spirit. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Good Boy film review by UK film critic James Learoyd. Starring Indy, Shane Jensen, Arielle Friedman directed by Ben Leonberg. HOME | FILMS | REVIEWS Good Boy Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 30, 2025 Directed by: Ben Leonberg Written by: Alex Cannon, Ben Leonberg Starring: Indy, Shane Jensen, Arielle Friedman If you’ve seen the trailer, you know that Good Boy is a supremely inventive new supernatural horror movie, uniquely told from a dog’s perspective. As you would expect, this effect is achieved through a clever use of reaction shots, observational shots, and genuine performing from the adorable dog in question. It’s certainly an achievement in animal direction – an exciting experiment, and thoroughly watchable. And yet... you can’t help but feel that the film is slightly missing something in the visual department; some extra flourish or stylistic trait which should just seamlessly bring the whole thing together. Nevertheless, if you like dogs (as I do, and there couldn’t really be a more empathetic protagonist) and like horror (as I do), there’s very much a baseline of enjoyment this movie offers to its audience. You’re going to spend time with a cute dog, and there’s going to be a spooky atmosphere – sold. Whilst there are some very beautiful shots in the film – mostly taking place outdoors in the woods, coloured with this striking blue tinge – what may distract the well-versed cinemagoer is the frequent use of digital manipulation. We have constant artificial zooming in and out, not necessarily revealing more information but, on the surface, making the shot more active. And one can completely understand why the filmmakers opted for this digital style: when filming with animals, you want to get the clearest, widest coverage possible in case of unexpected movement or action. But the result of this is a lack of tactility, a lack of precise cinematography. This is a shame since the lighting is pretty stunning – as is the overall design and tone of the piece. What’s undeniable about the direction, however, is the fact that this movie does a lot with a little. There’s not actually too much of a plot; more a simple scenario in which the film can operate. In addition to just a single location, two characters and no extravagant budget for insane set-pieces. Taking that into account makes the watchability of this picture all the more of an achievement. But it’s just a shame that it never quite manages to go beyond that and still has that slightly unpolished student-film feel. Not to suggest that it’s incompetently done – far from it; simply that the end-product lacks that secure sense of refinement that you tend to get from a well-tailored theatrical release. What’s refreshing is that this is a truly fun horror movie. This critic’s fear going in was that the film would have this cruel sensibility, and the dog would suffer. What’s more the case is that Indy is an audience surrogate; a brave explorer who – as the classic Kuleshov effect would concur – provides other shots with emotional power and context. And perhaps the shrewdest decision on the filmmakers’ part was making the film only 72 minutes in length. This is a film designed to be short and sweet. It’s a cutsie little concept explored successfully. And I, for one, can’t wait to see what Indy does next! GOOD BOY opens in cinemas in the UK & Ireland on 10 October 2025 About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >

Influenced film review by UK film critic Jason Knight. Starring Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins directed by Asad Panjwani. HOME | FILMS | REVIEWS Influenced Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 8, 2022 Directed by: Asad Panjwani Written by: Asad Panjwani Starring: Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins An online celebrity is pursued by an obsessed fan. While walking home one night, social media influencer Amber (Nikolaiets) is approached by Dane (Cochlan), a man who claims to be one of her followers. He proceeds to speak to her and offer her chocolates and refuses to leave her alone, causing her to panic and run to her house. He runs after her and enters her property by force. What follows is a nasty confrontation that goes from bad to worse. This short is a stalker thriller that explores the world of internet personalities, particularly the bad side of it. It suggests that social media celebrities can affect certain individuals the wrong way and that can have very unfortunate consequences. It also points out that sometimes influencers can be double-faced and pretend to have a certain personality, in the interest of gaining followers. The film is tense and has plenty of nail-biting moments. Dane chases Amber through a street and the two of them get into a physical confrontation inside her home. Things get more and more out of hand and become life-threatening. However, there are also comedic moments, such as when the crazed fan removes his shoes once he has entered Amber's property. It is not clear whether the story is also meant to be a dark comedy, however the comical feeling is there. The acting is not the best, but that does not spoil the film. Nikolaiets plays an internet celebrity whose job has ended up getting her more than she bargained for. Cochlan is the one who steals the show with his vivid portrayal of a disturbed individual who is obsessed with Amber. Praise goes to the dynamic, tense and sinister score, which works rather effectively during the opening, where Dane is introduced, making it clear that he has sinister intentions. Special mention also goes to fight choreographer Holly Prentice, who makes the hand-to-hand fight scenes tense and vicious. The stylised closing credits also deserve commendations. This short is definitely interesting and keeps the viewer on the edge of their seat. It is a story about obsession, mental health and the dangers of being an online celebrity. The fact that it ends on a cliffhanger may be unsatisfying for some, but may be approved by others. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Watcher film review by UK film critic Swati Verma. Starring Samad OluKunle, Tyreke Leslie, Anita Bright directed by Ivo Bright. HOME | FILMS | REVIEWS Watcher Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 30, 2023 Directed by: Ivo Bright Written by: Ivo Bright Starring: Samad OluKunle, Tyreke Leslie, Anita Bright The writer-director Ivo Bright likes to follow his passion of filmmaking and explores the genre of crime with a well-knit script that evokes a sense of fear and isolation in the minds of the audience hence hooking them with the content with the help of the protagonist Raheem (Samad OluKunle). The plot of the short film revolves around Raheem and his friends who are trying hard at convincing him that someone watching and following them. The only hang-up is, Raheem does not believe it thinking that his friends are winding him up and they are growing confident that the watcher is getting closer with every passing minute. Watcher opens with a black screen along with an eerie background sound followed by the title of the film establishing the subject matter of the film. The DOP Cassius Kane utilises the combination of a series of tracking shots, mid-shots and close-up shots allowing the viewers to interact with the characters and be involved from the very beginning. The bluish-black colour palette, dim lighting, set design, dialogue, costume, hair, and make-up complements the concept and adds the element of realism to the same. In terms of performance, Samad OluKunle plays Raheem who believes in what he sees. OluKunle understands the nuances and portrays the multi-layered character with the right mix of emotions and logic as per various situations in the screenplay. Tyreke Leslie plays the role of Raheem’s friend who spots the mysterious being for the very first time in the film. Leslie manages to establish an emotional connection with the audience due to his dialogue delivery, voice modulation, and facial expressions, and the comic timing is on point. Leslie has a very strong screen presence and therefore he can ensure to provide the desired push to the narrative when necessary. Watcher talks about building such strong bonds that no stranger can break all the ties and walk away. Trust is the most important element in a friendship or any relationship, especially when going through tough patches or hardships. The short film reiterates that mental peace and well-being becomes crucial and sharing how one feels with family and friends helps combat and emerge victorious. The psychological thriller restates that one shouldn’t always go for a physical fight especially if one does not know about the enemy and analyse all possible repercussions of the action one takes. The crime drama tells its audience that it is very good to be self-reliant but one cannot ignore the value of friends as well as loved ones and regret it in the latter stage of life. Watcher discusses that there is nothing wrong with staying true to one’s emotions and listening to those who care in the hope of a better future. The short film tells its audience the significance of unconditional love and support are the bonus elements required to make friendship deeper and stronger over the years. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

George film review by UK film critic Patrick Foley. Starring Jack Sambrook directed by Jack Sambrook. HOME | FILMS | REVIEWS George Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 20, 2024 Directed by: Jack Sambrook Written by: Jack Sambrook Starring: Jack Sambrook Mockumentary George is quietly a smart, insightful short which follows its eponymous subject as he is freshly released from the clink, offering an amusing critique of the prison and rehabilitation system with a light touch. When a documentary team receives only one response to their requests to recently released prisoners, they spend a day following him as he navigates his new liberty. However, George (writer and director Jack Sambrook) seems to have learnt little from his time inside, reverting to his old ways of drug-dealing, drinking and unemployment. Though he believes he can easily slot back into his previous life, the world has changed around him – with unexpected consequences… Using its faux-documentary format, George manages to both entertain and provoke with its tale of a reprimanded young man who seems to have learnt or benefitted little from a system that is designed to act in a self-fulfilling cycle. George as the protagonist is quite clearly someone who takes limited interest in improving his life or living within the law, but as the film demonstrates, it seems that there is little effort being made to ensure he does so anyway. By framing the film through a ‘documentarian’s’ lenses, the viewer feels an intimate connection with the ‘subject’ – seeing that his life is allowed to drift without any significant direction. The viewer spends most of the film anticipating George’s re-arrest – effectively questioning what the whole point of the prison system is meant to be. Jack Sambrook impressively realises George – capturing a sense that despite his eccentricities, he is not a bad person at heart. George as a ‘subject’ rather than a protagonist allows the viewer to take on the ‘observer’ role that the documentary team present. Sambrook cleverly utilises this to leave a sense of uncertainty around George’s nature; sometimes presenting as mildly threatening and other times as wholesome and welcoming. It makes the viewer question their own perception of criminals and former prisoners, even as we witness George committing petty crimes. The plot does meander at points – though this is likely an intentional choice on behalf of the filmmakers to show George’s purposeless and drift. A shocking twist at the film’s conclusion is also somewhat out of sync with the film’s message, but is in line with the dark humour woven throughout the story. George leaves enough of an impression to make its audience ask questions of its setting and subject without making grandiose or dramatic statements. A shorter runtime, humour and absurd conclusion soften its critical edges somewhat, but there’s significant depth and thought in Sambrook’s film. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

English Rose film review by UK film critic Patrick Foley. Starring Adam Houghton, Katie Benbow, Peter O'Connor directed by Alexander Bather. HOME | FILMS | REVIEWS English Rose Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 4, 2024 Directed by: Alexander Bather Written by: Alexander Bather, Adam Houghton Starring: Adam Houghton, Katie Benbow, Peter O'Connor The ‘Bonnie & Clyde’ model has been explored by everyone from Oliver Stone to Bruce Springsteen – there’s just something about a young couple, crazy in love, leaving a bloody trail of destruction behind them that gets the creative pulses racing. English Rose is a British take on the structure, and Alexander Bather’s short makes sure to push it to the excess. Shortly after killing her husband, ‘Butterfly’ (Katie Benbow) is picked up on the road by Adam (Adam Boughton). Initially horrified by her actions, Adam reveals he has his own deadly tendencies. The terrible twosome embarks on a combined crime wave that leads them to a violent confrontation with the law. English Rose is a thrill-ride, promising and delivering violence, chaos, twists and turns that make for an entertaining, if mindless 15 minutes. The film wrenches the attention of the viewer – making absolutely certain that one is engaged through its stylistic vibrance. If you’re expecting a typical bloody road trip film, turn everything up a degree and slap British accents all over the place – that is English Rose. It’s over-the-top and a little corny, but still grounded in bloody realism that makes its brutality really pop. It’s perhaps not a surprise that Bather isn’t aiming for prestige drama status with his short. Dialogue is cliched and exposition-heavy, though still carries charm given the film’s cards are laid clearly on the table from the get-go. Where the film raises some themes of desperation, abuse, isolation and the delusional state love can leave one in, these are only explored at surface level. Tender moments with the couple in the car could have been expanded upon a little with more of a background provided for the leads, which in turn would have added to the impact of their actions and consequences thereof. There is simmering chemistry between Katie Benbow and Adam Boughton, a metaphorically corrosive kind in the film’s case. Their performances precisely capture the sense that their meeting is a spark that sets of a fire – an unfortunately ideal pairing for a uniquely destructive rampage. The confidence each character gains from the other is underlined by each’s uncertainty before they come clean to one another about their nature. Elsewhere Peter O’Connor gives a remarkable short showing as unfortunate cashier John What – whose terror is a heartbreaking reminder of the real-life consequences of the couple’s deadly actions. English Rose excels in excess. Impressively cinematic in its presentation and vibrancy, the short is well-worthy of a bigger screen – delivering explosive action and a colourful leading pair. There is not a whole lot of depth – not wholly a problem but a shame given the unexplored layers hinted at for the leading characters. But for a stylish roller coaster of a film, it does not disappoint. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Hazard film review by UK film critic William Hemingway. Starring Nicholas G Sims, Jay Dukes, Alonzo Hester directed by Daniel Bergeson. HOME | FILMS | REVIEWS Hazard Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jun 15, 2022 Directed by: Daniel Bergeson Written by: Daniel Bergeson Starring: Nicholas G Sims, Jay Dukes, Alonzo Hester In America fewer than 2% of the people who visit national parks are black or African American. In his new short film Hazard , writer/director Daniel Bergeson suggests a few reasons why this may still be the case and offers a hopeful vision of the future where the natural splendour of the countryside is able to be enjoyed by all. Naturally, the history of Hollywood hasn't helped in showcasing the pleasures, pastimes and outdoor pursuits of the average black family. From It Happened One Night (1934) through Easy Rider (1969), to National Lampoon's Vacation (1983) and Planes, Trains and Automobiles (1987), then Road Trip (2000), Little Miss Sunshine (2006), Sex Drive (2008) and now Nomadland (2020), it's been goofball loners, stoners and moaners; families, friends and would be lovers who are the sole concern of road trip movies and all almost exclusively white. Bergeson has now tried to redress the balance a little, imagining a simple scenario of what it might be like for a black family – father, son and uncle – to take a road trip out into the countryside and try to commune with nature for a couple of days. Marcel (Sims) has bundled his tech-wired son Xavier (Hester) into the back of the car and has also roped in his brother Kevin (Dukes) to come along for the ride. The conversation seems pretty natural and true to life as they head out on the open highway, and even though not everyone is jazzed about a couple of days away from the bright lights of the big city, they all seem to want to make the best of the situation they now find themselves in. America though has different ideas. When the car suddenly cuts out, what has up to now been fun family times, immediately becomes three black males sitting in a vehicle by the side of the road. Bergeson is careful not to drift into sensationalism as the scenario plays out, managing to walk a tight line between ramping up the tension and keeping the simple humanity of the situation alive. His focus is always on the family and it is a strength to see each character work out how to be around the others so that a common love can be expressed. This theme continues throughout the rest of the film and into the campsite, where new challenges and characters are introduced. Split into a series of small discrete scenes, Hazard takes its time to round out its characters and build on its premise. The use of comedy to balance out the more serious themes works well and everything is underpinned throughout by a strong sense of togetherness. Everybody does a good job to ensure the quality of the production and it's easy to see that the message at the heart of the film is a large motivator for that. From top to bottom the characters are perfectly cast, with Jay Dukes as Kevin being a standout performer in amongst a strong group of actors. The cinematography from Bobby Peacock is eye-catching and colourful while Daniel Bergeson's direction offers us a slew of well chosen shots, ranging from a nice wide-angle, down to a frog's eye view and then somehow onto a tree trunk split screen. Hazard wins on all counts as a feel good film, and even manages to give some of the old, classic, family road trip movies – the white ones – a run for their money. It has all the right elements in all the right measure and has a subject at its heart that speaks more to a modern audience. Hazard dreams of a more inclusive America; somewhere where the margins of statistics about population and culture don't sit at 2%; and it is a very enjoyable experience to witness the imagery of that dream, if even for the little time that we get it. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

The Show film review by UK film critic Joe Beck. Starring Richard Rowden, Marie Everett directed by Richard Rowden. HOME | FILMS | REVIEWS The Show Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Aug 10, 2022 Directed by: Richard Rowden Written by: Richard Rowden Starring: Richard Rowden, Marie Everett As Britain swelters in yet another heatwave this summer, there will be many people looking for a getaway to some exotic foreign location. The chance to escape Britain’s heat for the inexplicably cooler heat of another country, and lounge by a pool is irresistible. So, at this time of year more than any other, we empathise with Jackie (Marie Everett) when she discovers that her partner Sam (Richard Rowden) has swapped Bali for the Lake District for a romantic time away. 
 The writings on the wall for the couple at the centre of ‘The Show’, as it becomes plain to see within a couple of minutes that they aren’t going to have their happily ever after. The undercurrent of animosity and distance between the pair grows - Sam is preoccupied with his phone, Jackie is unwilling to embrace nature, and they’re constantly undermining each other with little sarcastic digs. Therefore, the destruction of their relationship comes as no surprise, removing the majority of tension from the situation. The fact that Jackie’s sister has recently been dumped by her partner of nine years and is staying with the not-so happy couple is merely foreshadowing the impending doom of Jackie and Sam’s relationship, but the apparent seriousness of the subject matter is undermined by what can only be described as a disastrous choice of soundtrack. The arguments and crumbling of the relationship are paired with a soundtrack not too dissimilar from those old 60s comedies - with this destroying any semblance of tonal consistency. The film appears uncertain of its true identity - caught between a comedy and a drama, and ultimately ending up as neither, just a conglomeration of good parts undermined by one large bad part. That’s because everything else is good, or at least solid, with the acting from Everett and Rowden standing out the most. The two have good chemistry and appear comfortable going toe to toe with each other, trading snide remarks. The direction is also solid, capturing the picturesque beauty of the Lake District, and also surprising us with a heavily-hinted twist at the conclusion. It’s a shame, therefore, that the film lacks an identity, and is confused with what it wants to be - there are moments where you want to reach out, and gently nudge in the right direction, to guide it to a respectable four-star rating. However, that’s something no one can do, and so, despite its obvious charm and numerous good qualities, ‘The Show’ falls short of the mark, instead imprinting only its own confusion on the viewer. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Influencer film review by UK film critic Jason Knight. Starring Cassandra Naud, Emily Tennant, Rory J Saper, Sara Canning directed by Kurtis David Harder. HOME | FILMS | REVIEWS Influencer Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 3, 2024 Directed by: Kurtis David Harder Written by: Kurtis David Harder, Tesh Guttikonda Starring: Cassandra Naud, Emily Tennant, Rory J Saper, Sara Canning A young woman murders online influencers in Thailand and steals their money. This feature-length thriller has a screenplay that moves from one character to the other. It begins with an American online celebrity named Madison (Tennant) who travels to Thailand for business as well as leisure. There she meets CW (Naud), another foreign woman and the two of them form a friendship. However, Madison's hotel room is burgled and her passport is stolen. Stranded in Thailand while she waits for a temporary passport, CW offers to take her on a tour around the country. CW's true intentions are brought to light when she takes Madison to a remote small island via boat and leaves her there to die. As CW pursues her next victim, another online celebrity named Jessica (Canning), things get complicated with the unexpected arrival of Ryan (Saper), Madison's boyfriend. As mentioned the story goes from one character to another, allowing the viewers to see the events from their perspective, kind of like Psycho . Initially, it is assumed that Madison is the main character, then she falls victim to CW's vile scheme and things then focus on exploring how she takes over her victims' online accounts in order to acquire their money and how she searches for new ones through social media, eventually choosing Jessica and trying to lure her into another trap. Then Ryan shows up and the audience follows him as he starts being a detective, attempting to locate Madison. As well as being a story about a criminal and her victims, the film explores the world of online influencers and points out the dangers of being a social media celebrity, how people can find out information about them and use them in order to commit fraud. CW makes a rather intriguing character and she is played superbly by Naud. A foreigner living in Thailand, preying on online influencers so she can gain their trust, murder them and get their money. She is basically a loner and a ruthless, cunning and remorseless individual living a life of luxury due to her crimes. It should be pointed out that the opening credits do not begin until approximately twenty-five minutes after the film has started. This is not necessarily a negative thing, just unusual and therefore awkward. The feature is supported significantly by Harder's skilful directing that includes some wonderful establishing shots that reveal the beauty of Thailand and David Schuurman's stunning cinematography is a big plus. This is a dark story about murder, deception and cybercrime. It is an entertaining psychological thriller whose highest qualities are the suspense, the interesting plot and Naud's character. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Corsage film review by UK film critic Hope Madden. Starring Vicky Krieps directed by Marie Kreutzer. HOME | FILMS | REVIEWS Corsage Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 3, 2023 Directed by: Marie Kreutzer Written by: Marie Kreutzer Starring: Vicky Krieps Neither hero worship nor maudlin tale of objectification, Corsage delivers a daring reimagining of the life of Empress Elisabeth of Hungary, played with mischievous relish by Vicky Krieps. This is hardly the first fanciful reworking of a historical biopic. Director Pablo Larraín has reconsidered two such lives as tragic cinematic poems – 2021’s Spencer and 2016’s Jackie . Just last year, Andrew Dominik turned America’s most recognizable icon into the object of punishment porn (Blonde ). While two of those films are lovely and one is unwatchable, it took filmmaker Marie Kreutzer to reimagine one iconic life without simplifying the tale’s heroine to a tragic beauty to pity. Kreutzer’s year-in-the-life is fictional, though Empress Elisabeth was certainly real. Her presence clearly influences this picture, but Kreutzer’s fantasy – replete with the most gloriously misplaced modern songs – looks askew at the renowned and misunderstood beauty. As Sofia Coppola did with her empathetic and under-appreciated portrait, Marie Antoinette , Kreutzer and Krieps establish the startling aloneness facing a royal woman, particularly a foreign sovereign married into royalty abroad. Krieps excels in particular during scenes where Elisabeth struggles to leverage what power is available to her. The audacity of Elisabeth’s behavior unveils a fiery joy and brittle vulnerability in Krieps’s performance. Wonderfully refreshing are the vanity and selfishness that are allowed to creep into the portrait. Corsage ’s hero is no saint. She’s a free spirit to be admired, as well as a self-centered brat willing to require the sacrifice from others she’s disinterested in making herself. Here again, Krieps is a superstar. Elisabeth’s flaws are outrageous, her strengths enviable, her oppression great. In Krieps’s hands, the composite is an endlessly compelling conundrum, as frustrating as she is fascinating. The film sees power as freedom and acknowledges how little of it there is for women, even women who seem to have it all. In the end, it’s the film’s and Krieps’s humanity that make the final moment of freedom feel earned and victorious rather than fraught with compromise. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Attachment film review by UK film critic Hope Madden. Starring Josephine Park, Sofie Grabol, Ellie Kendrick directed by Gabriel Bier Gislason. HOME | FILMS | REVIEWS Attachment Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 7, 2023 Directed by: Gabriel Bier Gislason Written by: Gabriel Bier Gislason Starring: Josephine Park, Sofie Grabol, Ellie Kendrick There are not nearly enough horror films based in Jewish folklore. Have you ever seen a dybbuk movie? You should. So far, I’ve seen three – Marcin Wrona’s beautiful 2016 haunting, Demon ; Keith Thomas’s 2021 horror, The Vigil ; and writer/director Gabriel Bier Gislason’s latest, Attachment . The thing about dybbuk stories is that I’ve never seen one go well for anyone. Fun! On the surface – and even just below – Attachment is an astute observation on being new to the family, particularly in a situation where the relationship itself is probably not that welcome. All families are weird, but they are weird in such individual ways. Gislason picks that scab effectively, as does his cast. Josephine Park is Maja, a Danish actress best known – really, only known – for playing Santa’s Elf in a long-defunct TV series. She literally runs into Leah (Ellie Kendrick) at a bookstore. Leah is in from London doing some research, the two fall quickly in love, and after Leah is injured during a seizure, Maja offers to return with her to London and her mother’s care. There is something quietly astute about the way Gislason sets up the dynamic: the willfully oblivious love interest, the domineering parent (Sofie Gråbøl) unwilling to be gracious, and the insecure new love unsure how to make herself fit into the family. All of it feels authentic, even if the stakes and weirdness are clearly ratcheted up a few notches. Attachment delivers slow-burn horror that repays close attention but never falls to gimmickry. Yes, the situation is absurd, but everyone behaves in a way that is rooted in real-world expectations and experiences. When the film changes its point of view, you realize where its compassion really lies. Attachment is a nightmare about parenting, about releasing your everything – your beautiful, tender baby – into a vast and brutal world. At the center of the entire nightmare is love, of course, because there is no real horror unless love is at stake. It’s that knowledge that makes the film hurt. Hug your mom. About the Film Critic Hope Madden Digital / DVD Release, LGBTQ+ < All Reviews Next Film Review >