Search Results

Rebuilding Word on the Water film review by UK film critic Joe Beck. Starring N/A directed by Jochnowicz. HOME | FILMS | REVIEWS Rebuilding Word on the Water Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Apr 16, 2023 Directed by: Jochnowicz Written by: N/A Starring: N/A It’s always difficult talking about films like ‘Rebuilding Word on the Water’ because it almost feels like bullying a defenceless child for no particular reason. Films of this nature, niche independent documentaries made on a next to nothing budget are essential to the indie cinema landscape and for shaping the talents of filmmakers, they just aren’t terribly cinematic, and often aren’t particularly interesting either. The film, which is split into three parts on Youtube, begins with a poem about going to sea in a sieve - it’s a clear early signal of both the sweet heart at the centre of ‘Rebuilding Word on the Water’ but also the eccentric nature of the main players involved. There’s Noy, a frenchman who originally owned the boat before it was converted into Word On The Water, a floating bookshop, in 2010. Noy is a bit of a character to say the least, disappearing frequently but always seeming to return just when he’s needed. There’s also Paddy and John, co-owners of the boat and business, who are both equally enthusiastic about their inventive business model and eager for the restoration plans to get underway. They are joined by an eclectic series of people throughout, all contributing odd jobs towards the restoration of the boat. The issue is that Dianti, the Dutch barge at the centre of ‘Rebuilding Word on the Water’ is very old - 100 years in fact - and hasn’t been taken out onto the water for around 15 years. A further hiccup is that they have just ten days to reach Hemel Hempstead, where Dianti will undergo maintenance and receive a new, working, engine, before the low at Apsley closes for maintenance itself. Chronicling their journey down the river for repairs, and the continued struggles faced along the way - war in Ukraine, adverse weather conditions, some horrible hangovers - this should be at least mildly interesting, but, in reality, no matter how big an event this rebuild may have felt for those involved, to those with no prior investment, we’re given very little reason to care. It’s difficult to attribute blame to director Jochnowicz, or anybody involved, though you do sense that some more ambitious directing or editing could add a little more flair and interest to the events on screen. It isn’t as though these aren’t interesting people - they all seem to have led interesting lives, full of stories of hardships and fun times, it’s just difficult to find a sticking point to truly become invested in a story that ultimately amounts for little more than a water-based episode of ‘DIY: SOS’. Granted, ‘Rebuilding Word on the Water has an extremely human touch, and may encourage more people to visit their bookshop, but it quickly becomes repetitive, and, when that happens the rather simplistic editing truly comes to the fore. Sweet, yes, but cinematic? Not at all. ‘Rebuilding Word on The Water’ would make a sweet little segment on a teatime chat show, but as a film, it’s a long slog, which offers little in the way of thrills, and lots in the way of corny accents and an overload of information. About the Film Critic Joe Beck Documentary < All Reviews Next Film Review >

Demigod film review by UK film critic Brandon Thomas. Starring Rachel Nichols, Jeremy London directed by Miles Doleac. HOME | FILMS | REVIEWS Demigod Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Oct 11, 2021 Directed by: Miles Doleac Written by: Miles Doleac, Michael Donovan Horn Starring: Rachel Nichols, Jeremy London We know we’re in for a good time when a couple of hapless Americans venture into rural Europe. I’ve lost count of how many of these movies have been released over the years, but they’re almost always worth a casual look. I consider myself a well-traveled fella, but there’s always been something about the backwoods of Europe that sends a shiver down my spine. I’m sure Europeans feel the same way about Kentucky. Robin (Rachel Nichols, G.I. Joe: The Rise of Cobra and TV’s Alias ) and her boyfriend, Leo (Yohance Myles), travel from the U.S. to a rural part of Germany after Robin’s grandfather, Karl (Jeremy London, Mallrats ), dies. Robin and her father left Germany when she was young, and she hasn’t been back since. As she and Leo explore the cabin and its grounds, they are soon confronted by a strange cult, and find themselves scrambling through the region’s famed Black Forest, fighting for their lives. For a film that has folklore at the forefront, Demigod never gets bogged down by too much world-building exposition. Director (and co-star) Miles Doleac keeps the film moving at a snappy pace. The action sequences are well shot and edited, with a delightful level of energy. The majority of the production value is found in the cinematography and how it captures the vast, isolated forest. But when the Demigod himself makes his eventual appearance, the result is borderline disappointing. Having your titular character look like a distant cousin of the laughing deer head in Evil Dead II isn’t going to set the word of mouth on fire. Thankfully, the sheer brutality of the character helps keep the chuckles away. The film’s cast is pretty solid from top to bottom. Nichols makes for a strong heroine, selling the vulnerability of the character better than she does physicality. Director Doleac himself makes the biggest impression as German woodsman, Arthur. It’s a well-written character that allows Doleac to dance back and forth from a good guy to a bad guy to every gray area in between. Demigod doesn’t have a lot of narrative surprises up its sleeve. However, what it lacks in story twists and turns, it more than makes up for with exciting, bloody carnage. About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

L. U. N. A. film review by UK film critic Amber Jackson. Starring Fernanda Romero, Lauren DeShane, Lauren Bair directed by Blake Vaz. HOME | FILMS | REVIEWS L. U. N. A. Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Jan 25, 2022 Directed by: Blake Vaz Written by: Roman Arabia & Mike Bane Starring: Fernanda Romero, Lauren DeShane, Lauren Bair Chilling and confronting, L. U. N. A. is a short film behaving like a snapshot in time as character and viewer explore an old house with secrets hidden in its depths. Protagonist Lillian’s job is to inspect an issue with a L. U. N. A. device within the house and, in the process, accidentally discovers far more than she bargained for. The film itself has a ‘classic’ type of horror vibe to it, with the look and score reminiscent of series like Stranger Things in terms of the nostalgia that it creates. Technology aside, it feels almost old-timey to watch and the plot certainly fits this structure. Arguably, the best horror stories are the ones that keep the story simple and timeless and, as Lillian enters the creepy old house, tension is built very effectively and creates equal measures of fear and intrigue. When inside, Lillian meets an unassuming couple, Jamie and Sarah, who inherited the house from Sarah’s great-grandfather. They seem like a really friendly and loving couple, which is refreshing as it is always great to see positive queer representation especially in a genre like horror. The three women have great chemistry with each other, as they seek to discover the mystery of the L. U. N. A. device, and make the content of the film equally believable and terrifying through their performance. L. U. N. A. behaves like the fourth character in the piece as it is like a virtual technology assistant. Jamie and Sarah are both convinced that it is spookily speaking to them in Spanish without being prompted. Luckily for them, Lillian is able to act as translator and help uncover the deep unsettling aspects of the house. This idea makes the story memorable as it begs the question concerning if people should be so reliant on technology. In this instance, the device makes the women question if maybe it has its own agenda. As the film plays out, the viewer begins to question this too. Camera work around the house is excellent and observes its contents carefully and creepily without being too invasive. It does this with several tracking shots surrounding the house and therefore making it feel really three-dimensional. This compares with the different – and not always upright – angles used in the interior scenes to help to build suspense well, along with plenty of red imagery to make viewing all the more intense. Including these types of shots with jump-scares adds another thrilling layer to viewing as Blake Vaz ensures that every aspect of the film is unexpected. All things considered, L. U. N. A. feels like a film that is just beginning. It is a fantastic, well-written and adventurous watch, as well as containing some sinister moments that are unsettling, but intelligent. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Purgatory (2025) film review by UK film critic William Curzon. Starring Edward Tarling, Paul Perkins directed by Henry Thompson. HOME | FILMS | REVIEWS Purgatory (2025) Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 28, 2025 Directed by: Henry Thompson Written by: Henry Thompson Starring: Edward Tarling, Paul Perkins Purgatory explores a Doomsayer named Isaac in a daily routine of trying to recruit individuals to join Satan’s army. The piece adopts a darkly comedic undertone as it briefly explores how pedestrians perceive Issac’s ideology in a modern-day setting. The filmmakers didn't want viewers to make fun of Issac but somehow sympathise with him, even with his outlandish ambitions. Even with its brief length, the film grapples with themes of neglect and the desire to be seen by others as a Doomsayer, the primary focus director Henry Thompson wished to convey to the audience. The piece is immediately absorbing, thanks to its creative opening titles and a Simon & Garfunkel needle drop, which sets the tone for the duration of the runtime. The direction is engaging, with frequent use of wide-angle shots to present the neighbourhood in which Isaac engages in his routine. Another standout feature is its musical score, which is briefly interjected into scenes with no dialogue, tonally fitting the piece to further engage the viewer with its satirical edge. Comedic dialogue between Isaac and the individuals that pass him in the street is outstandingly effective due to the way he reacts to their confused states with back-and-forth gags that never fail to deliver. The most impressive feat of the screenplay is how the viewer can immediately feel empathy for Isaac, despite its condensed runtime and lack of character development. However, the most significant detriment to the piece is its abrupt conclusion, which can make the time spent with Isaac and the supporting characters feel underwhelming due to the little narrative impact. An extended runtime could've potentially explored more of Isaac’s characterisation and what drives him to hold these beliefs, as well as the impact this has had on his relationship with others and the community that surrounds him. Depictions of Doomsayers in cinema and the media have been neglected, so filmmakers must shine a light on individuals with these beliefs, as it can further educate audiences on topics they may find uncomfortable to experience and discuss. The performances are a major standout, even with minimal screen time. The lead performance from Edward Tarling, who portrays Isaac, is endearing and easy to connect to due to his comedic timing and commitment to the character's ideology. While it is perhaps more challenging to connect with the supporting characters due to their cruel and dismissive attitudes towards Isaac’s views, they do deliver some of the funniest gags and leave a memorable impression on the viewer. The performances and formal choices are memorable, but sadly, the overall resolution and conclusion to the narrative amount to relatively minor, with an abrupt cut to the credits. Although the use of extended footage is sprinkled throughout to give the viewer a more in-depth look into Isaac’s living situation, a longer runtime would've made the overall impact so much deeper. Purgatory is a solid attempt at a depiction of the daily life of a Doomsayer with a wide array of impressive formal choices, even with its limited production budget. While the performances and needle drops are memorable, the brisk pacing ultimately impacts the film’s memorability and emotional resonance due to its lack of character development and the overall narrative, which amounts to very little. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

The One Note Man film review by UK film critic Chris Olson. Starring Jason Watkins, Ian McKellan (narrator), Louisa Klein, Crystal Yu, Paul Barber directed by George Siougas. HOME | FILMS | REVIEWS The One Note Man Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Sep 30, 2023 Directed by: George Siougas Written by: George Siougas Starring: Jason Watkins, Ian McKellan (narrator), Louisa Klein, Crystal Yu, Paul Barber Irresistibly charming and poignant, short film The One Note Man delivers a rousing tale of one man's stagnant existence being galvanized by a disruption to his own clockwork routine by a loose thread on his jacket. Jason Watkins plays the titular One Note Man, a musician who lives alone and lives a "Groundhog Day" lifestyle that is filled with the trappings of a man going through the motions. His part in an orchestra is brief, yet essential, but he leaves right after his one note is done and carries on with all the same meticulous duties he structures his day around. One day, however, a clothing malfunction sees him jolted out of his routine only to discover the beauty and talent of a fellow musician (Louisa Klein) in his orchestra. Much to the chagrin of his serious conductor (Crystal Yu), our man starts to hang around and mix things up, noticing the beauty of life all around him. With no words but a phenomenal score, writer and director George Siougas keeps The One Note Man moving at a jaunty pace throughout. The editing is sharp, creating a comedic sense of timing in our protagonist’s life which unfolds like a montage of monotony. Watkins is a worthy wordless performer, keeping you enriched throughout with a heightened physical performance that balances the cheeky story with the pathos. The scowling from the conductor (Crystal Yu) is perhaps the funniest thing in the film, again, making the most of a physical performance - mostly her piercing eyes. Louisa Klein delivers a fierce meet cute and her violin chops are outstanding. Siougas isn’t done there, though, with the admirable casting. Paul Barber rocks up as a florist and Ian McKellan turns up for some narration! As with any film eschewing dialogue for tone, The One Note Man takes its audience seriously - even with the numerous moments of comedy. This is a film about a man living in sadness, his days slipping away with an increasing sense of pace. Its relevance to a modern audience is nothing short of a slap in the face and yet, with the addition of classical music we get to remove ourselves (just a little bit) and rejoice in the silliness and almost farcical nature that masks the depressing first half of the short film. As an entire piece, it’s pitch-perfect (no, not that film) and manages to earn a sense of timeless charm. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Now a new, award-winning feature documentary The Beatles and India from Silva Screen Productions and Renoir Pictures explores the lasting legacy from their ground-breaking visit to Rishikesh. . Brand new film trailers. The Beatles and India Trailer Official Trailer for The Beatles and India Released “The Beatles were tired of the west’s commercialised capitalist culture and looking for spiritual peace, but we looked upon them as exciting symbols of modern culture” Ajoy Bose, director When the world’s most famous band The Beatles made their seminal trip to India in 1968, not only did it inspire a new musical direction for the band, it paved the way for a brand new sound that still resonates across cultural and musical landscapes to this day. Now a new, award-winning feature documentary The Beatles and India from Silva Screen Productions and Renoir Pictures explores the lasting legacy from their ground-breaking visit to Rishikesh. It sheds light on how India shaped the development of the greatest ever rock band and their pioneering role in bringing together two vastly different cultures. The film is set for its UK digital release on 4 October, courtesy of 101 Films and will also screen at select Everyman Cinemas on 31 August as part of their Everyman Music Film Festival. This unique historical film chronicles the enduring love affair between The Beatles and India that began more than half a century ago. The Beatles and India follows a rarely seen, fascinating time in John, Paul, George and Ringo’s career and brings it to life with archive footage, recordings and photographs, alongside eye-witness accounts, expert comments and visually stunning location shots. In 1968 the legendary band brought their Western celebrity circus to a remote Himalayan ashram in Rishikesh in search of spiritual enlightenment. What happened next had a profound effect on the whole band… and the whole world. Inspired by Ajoy Bose’s book, Across The Universe - The Beatles In India, British Indian music entrepreneur Reynold D’Silva has taken the amazing saga further by producing Bose’s directorial debut. Bose and cultural researcher, co-director, Pete Compton, have created an audio-visual presentation that stands apart from the many documentaries on the band, delving deep into the most crucial period of their evolution from the world’s most famous pop stars into multi-faceted pioneering musical artists. The documentary won Best Film Audience Choice and Best Music in Tongues On Fire, the 2021 UK Asian Film Festival, where it premiered earlier this year. An accompanying album, Songs Inspired By The Film The Beatles And India performed by Indian artists and the score album will be released on Silva Screen Records on 29 October, along with a DVD and Blu-ray release of the film from Cherry Red. Released on digital 4 October 2021. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience.

Parallel Mothers film review by UK film critic Hope Madden. Starring Penelope Cruz, Milena Smit, Aitana Sanchez-Gijon directed by Pedro Almodovar. HOME | FILMS | REVIEWS Parallel Mothers Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 26, 2022 Directed by: Pedro Almodovar Written by: Pedro Almodovar Starring: Penelope Cruz, Milena Smit, Aitana Sanchez-Gijon Resilient women, absent men, memory, family, trauma, grace—somehow filmmaker Pedro Almodóvar revisits every one of these ideas to one degree or another in each film he makes. Parallel Mothers , the auteur’s latest, hits all those notes. But the song is never the same. In this case, Janis (Penélope Cruz) and Ana (Milena Smit) meet in the maternity ward. Both are about to become single mothers, both pregnancies unplanned. Janis, a career woman who’d thought her time had passed, is elated. Ana, a teen with her own parent problems, is terrified. The two share a room, deliver on the same day, and bond over the blessing of their first daughters. Life, of course, takes the women and their babies in unexpected directions but it is the bond that the film celebrates. Almodóvar’s vibrant tone creates an atmosphere where anything could happen. Parallel Mothers could turn on a dime and become a murder mystery (notes of Hitchcock in that score), political allegory (a radiant backstory full of non-actors begs for your attention), or even a comedy. Instead, it takes shape as a messy family drama, one so full of twists it recalls the filmmaker’s 1988 breakout Women on the Verge of a Nervous Breakdown. Plot turns certainly suggest one of his raucous, over-the-top comedies, but Parallel Mothers is poignant in its drama. The shocks and surprises are handled with sincerity by the cast, who imbue the film with an intimacy that grounds it. Cruz— Almodóvar’s go-to for a transcendent woman—commands the screen, an empathetic central figure even when Janis’s choices are morally muddy. Smit cuts a curious and melancholy figure, a perfect mix to suit Ana, a woman still discovering who she is. Her enigmatic presence is balanced by Aitana Sánchez-Gijón as an entirely different kind of mother. The three women orbit each other, the men in their lives conspicuously absent. It’s the absence, among other things, that gives Parallel Mothers its power. As complicated and showy as the dramatic twists are, it’s the backstory of Spain’s Civil War—the longing, the absence of fathers and husbands—that haunts the film. It’s one of Almodóvar’s most tender films, and one of Cruz’s very finest performances. And though both always play well together, they have again found something new and remarkable to say. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

The After film review by UK film critic Jason Knight. Starring David Oyelowo, Amelie Dokubo, Jessica Plummer directed by Misan Harriman. HOME | FILMS | REVIEWS The After Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 19, 2023 Directed by: Misan Harriman Written by: John Julius Schwabach, Misan Harriman Starring: David Oyelowo, Amelie Dokubo, Jessica Plummer A man's world is shattered after a devastating incident. It is a nice day in London and Dayo (Oyelowo), a man who holds a high-profile financial position, is with his young daughter Laura (Dokubo), on their way to meet her mother (Plummer). All is looking wonderful, until out of the blue, a terrible incident occurs. In his first short film, photographer Misan Harriman tells a moving story about a man who loses everything and becomes a changed person. Prior to the fateful event, Dayo was a happy family man, who pushed work aside in order to spend time with his loved ones. Now, he has become a quiet loner, having lost the will to remain connected with people who are concerned about his well-being, including friends and social workers. One way the film explores his current life is with a series of scenes of various of his passengers, each having its own atmosphere, whether it involves a father being proud of his son, an emergency, a loss or an argument. By listening to his passengers, Dayo seems to repeatedly be reminded of everything he has lost. As the main character, Oyelowo plays a man who is broken by grief, an individual who goes from happy to torn apart and does not know how to carry on with his life and Oyelowo delivers a powerful performance, which adds significant value to the film. Now to the technical aspects, there are some fantastic establishing shots that benefit greatly by Si Bell's cinematography and the fillmakers are creative with the sound, during scenes where voices sink in the background. Regarding the soundtrack, Francesco Le Metre develops music that includes sentimental piano melodies and the song Let It All Go by Birdy and Rhodes was an excellent choice. Unsurprisingly, this film won the Best Live Action Short at the Oscar-qualifying HollyShorts Film Festival. It is an emotional and hard-hitting drama with superb acting and great character development and it explores psychological deterioration due to the effects of loss and grief. Viewers will most likely find the story intriguing and be moved by the ending. About the Film Critic Jason Knight Short Film, Netflix < All Reviews Next Film Review >

Succuba film review by UK film critic William Hemingway. Starring Keith Johnson, Ketrick 'Jazz' Copeland, Nichole Tate Jackson directed by Jaron Lockridge. HOME | FILMS | REVIEWS Succuba Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 8, 2023 Directed by: Jaron Lockridge Written by: Jaron Lockridge Starring: Keith Johnson, Ketrick 'Jazz' Copeland, Nichole Tate Jackson Even if Nope (2022) wasn't that good of a film; it was basically just Jaws (1975) in the desert with aliens and a few false steps; it did allow Jordan Peele to tell us what he knew about cinema. He said it with his previous films, too – Get Out (2017) and Us (2019) – that if cinema is going to be diverse and inclusive then it's going to need to have black made films with real black characters. Now, writer/director Jaron Lockridge is looking to follow in those very same footsteps as he presents us with his feature-ish length horror story, Succuba . Eddie Williams (Johnson) is a pastor in Whiteville, Tennessee. He lost his wife not so long ago and has perhaps been questioning his faith since. He's still doing his community fellowship rounds though and takes it upon himself to call on Maurice, who hasn't been turning up to church for the past few weeks. At Maurice's house, however, something shocking has happened. Ready to start a house fire at the same time as blowing his brains out, Maurice is found dead at the kitchen table, but there's something else, something far more sinister, waiting, tied up in the bedroom and now it has attached itself to Eddie. Cut to Sheriff Philip Grover (Copeland) who's been out electioneering with his wife (Jackson). The next day he needs some downtime and so sets off to his usual fishing spot to relax a little. On the way back home his truck cuts out and so Sheriff Grover needs to find someone to help and somewhere to get out of the rain. It just so happens that the first house he comes across and the first door he knocks upon belongs to former Pastor Williams, who unfortunately is looking decidedly worse for wear. Now it seems like it's time to get to the bottom of things. What Lockridge is offering to us in Succuba is a real grass-roots production that speaks to the heart of home-grown cinema. He has taken an idea which may well seem fairly standard in the horror genre and applied his own vision to it entirely so that it becomes a personal tale, perhaps even an allegory, that fits in with the world he sees around him. Lockridge's vision was so strong that he could picture the actors he wanted playing the parts and so wrote the characters with them in mind. His vision then extended to the setting, the way the story would play out and the way he would shoot the scenes, meaning that he also took on the roles of editor and cinematographer for the film. As a creature feature, Lockridge does a lot of the right things in Succuba to keep the tension high and the audience hooked. Small teases and flashes of the monster scare our imagination into action, the presentation of Pastor Williams as some sort of monster himself keeps us on the edge of our seat, and the closed in surroundings where most of the tale is told engenders a feeling of claustrophobia that only tightens the nerves. The best thing which sells the story, however, is that the characters themselves are well drawn and believable, as well as being played expertly well, especially by Keith Johnson as Eddie. There are still some things in amongst all this that Lockridge doesn't quite get right, especially with the minimal (to no) lighting and sound design. There are far too many too long shots which should have been cut far earlier and at times it does seem like Lockridge is padding the film out to give it more heft. For a seventy minute film it still feels as though there's not quite enough to justify the length and in the end Succuba would have benefited from being a good half-hour shorter and just a bit punchier and tight. Still, for a film with such a small budget it does what it does well, uses its characters and actors properly, and has that Peele appeal which audiences should appreciate. About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

Hit Man: Secrets of Lies film review by UK film critic Joe Beck. Starring Richard Kind, William Sadler, Karen Allen, Peter Riegert directed by Elias Plagianos. HOME | FILMS | REVIEWS Hit Man: Secrets of Lies Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 11, 2023 Directed by: Elias Plagianos Written by: Elias Plagianos Starring: Richard Kind, William Sadler, Karen Allen, Peter Riegert You may expect a film entitled ‘Hit Man: Secrets of Lies’ to be a middling action film, with a bald man played by either Timothy Olyphant or Rupert Friend totting some heavy duty weapons. Instead, ‘Secrets of Lies’ is a cold, brooding thriller - a character study asking why we do what we do, especially when what we do has such a profound impact on others. The hitman at the centre of ‘Secrets of Lies’ isn’t the muscle-man you expect in these sort of films either, instead he’s a world-wearied Richard Kind, who’s starting to feel all the years he’s put into the business take a toll on his body. Kind plays JP Keller, though for much of the film is Al Gordon, as he navigates interwoven plots involving a therapy session and a mission to a quiet rural town. Following the vein of the iconic ‘The Sopranos’, it’s always interesting to see a bad guy in therapy and forced to face the weight of their actions. That’s what Keller has to do, seeking a connection and understanding of his past and how it has impacted the man which he became. Therapist Jerrald Been (William Sadler) doesn’t offer very much in terms of comfort, more nodding on as Keller talks about his childhood and his absent father. That’s further built upon on Keller’s mission, which takes him to a leafy All-American town in the north, the kind of idyllic place men of his age normally retire. His target is Ed Vandemeer (Peter Riegert), who quietly enjoys life in the witness protection programme with his wife Betty (Karen Allen). We never learn what Ed has done and that’s the point. It outlines the coldness of Keller’s job, and how little of it involves any passion. Writer-director Elias Plagianos illustrates this inherent coldness in Keller, which has come from years of making his living on the misfortune of others. He approaches everything with a sigh and a sad glance, with the knowledge that his time spent in this communal town will be abruptly cut short by his own responsibilities and actions. Based on the novel ‘Hit Man’ by Lawrence Block, Plagianos brings the story to life adeptly, with a nuanced screenplay and competent direction clearly painting a character that can blend in anywhere, and with a danger about his presence, mixed with years of regret and tiredness. Richard Kind is impressive in the lead role, possessing both a brewing menace and a genial warmth in equal measure. It’s a subtle performance, not showy at any point but instead focused on a deft glance and the slyly false intonation in his voice. It is always nice to see the likes of Sadler, Allen and Riegert grace our screens and they provide honest performances, particularly Allen, to match Kind’s subtlety. The title itself doesn’t make sense, how can you have a secret of a lie? But that is besides the point, as is the occasional stupidity of the screenplay, which forces you at times to suspend belief. Nevertheless, ‘Hit Man: Secrets of Lies’ is a surprisingly taut film, a cold study of a man doubting his profession, yet compelled to carry out one last job regardless. At a certain point it becomes a part of him, he’s institutionalised or no longer cares enough to change his path, and that’s what makes ‘Secrets of Lies’ such a chilling film. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Boy Kills World film review by UK film critic George Wolf. Starring Bill Skarsgård, Quinn Copeland, H. Jon Benjamin, Famke Janssen directed by Moritz Mohr. HOME | FILMS | REVIEWS Boy Kills World Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 25, 2024 Directed by: Moritz Mohr Written by: Moritz Mohr, Arend Remmers, Tyler Burton Smith Starring: Bill Skarsgård, Quinn Copeland, H. Jon Benjamin, Famke Janssen Boy Kills World feels like a film the gamers are going to love. For the rest of us, it offers a hyper stylized, uber-violent riff on The Hunger Games by way of Kill Bill while it harbors Deadpool aspirations and a coy surprise waiting in act three. But while the style is never in doubt, real substance is lacking. Bill Skarsgård supplies plenty of physical charisma as “Boy,” whose family was murdered years earlier during a lethal event known as “The Culling.” Once a year in this post apocalyptic landscape, enemies of ruling matriarch Hilda Van Der Koy (Famke Janssen) are rounded up and executed for sport and entertainment. Though Boy survived the assault, he was left deaf and mute, and has spent several years training with a mysterious shaman (Yayan Ruhian) until the time was right to take his revenge. Against the shaman’s advice, Boy feels the time is now. And though he’s evolved into a singular killing machine, Boy is not alone. He has an inner voice adopted from a favorite video game (veteran voice actor H. Jon Benjamin), and a fever dream imagination that often bickers with the ghost of his rebellious little sister (Quinn Copeland). On the eve of another Culling, Boy’s martial arts rampage of blood begins, and one of his early weapons of choice is a cheese grater. Go on. In his debut feature, director and co-writer Moritz Mohr skillfully captures the frenzied, level-up mayhem of video games. Cinematographer Peter Matjasko, composer Ludvig Forssell and editor Lucian Barnard help complete the gaming pastiche, while the screenplay keeps Benjamin supplied with commentary that’s consistently fueled by meta-sarcasm that never hits the master level of self-awareness. As Boy starts up the ladder of the Van Der Koy family (Michelle Dockery, Brett Gelman, Sharlto Copley) and their Head of Security (Jessica Rothe), he falls in with a group known as the Resistance before the narrative takes its unexpected pivot. Boy’s states of delirium have already opened the door for an unreliable narrator, so Mohr commits considerable effort (and exposition) in making sure we understand the twist. But what we need even more is a reason to care. Much like Hardcore Henry almost ten years ago, the film’s gaming mindset results in action that is visually exciting, but as emotionally empty as a “Play again?” reset. There’s never any motivation to get invested in the stakes, or in the attitude that often reeks of desperation hipness. So while Boy Kills World ‘s target audience may be blown away, those outside the center will find some tedium inside this finely orchestrated mayhem. There’s no doubt you’ll find a few new uses for your cheese grater. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Return to Seoul film review by UK film critic George Wolf. Starring Park Ji-min directed by Davy Chou. HOME | FILMS | REVIEWS Return to Seoul Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Mar 24, 2023 Directed by: Davy Chou Written by: Laure Badufle, Davy Chou Starring: Park Ji-min “Your birth name is Yeon-Hee. It means ‘docile’ and ‘joyous.'” None of those things apply to Frédérique (Park Ji-min), whose name was changed after a French couple adopted baby Yeon-Hee and moved her from Seoul to Paris. 25 years later, she’s back. In Return to Seoul (Retour à Séoul ), the trip “home” becomes a catalyst for one woman’s search for identity, as director and co-writer Davy Chou crafts a relentlessly engrossing study of character and culture. Now 25, “Freddie”‘s planned vacation in Japan is diverted by a typhoon, and she lands in Seoul “by surprise” – or so she tells her adoptive mother in France. But it isn’t long before Freddie is visiting the agency that handled her adoption, and reaching out to her birth parents to gauge interest in a meeting. And from the minute we meet Freddie, she is purposefully upending the societal expectations of her heritage. When Freddie laughingly explains it away to her friend Tena (Guka Han) as “I’m French,” Tena quietly responds that Freddie is “also Korean.” Freddie’s birth father and mother have very different reactions to her outreach. Chou moves the timeline incrementally forward, and Freddie’s two-week holiday becomes a new life in Seoul, one that’s fueled by restlessness and unrequited longing. In her screen debut, Park is simply a revelation. Her experience as a visual artist clearly assists Park in realizing how to challenge the camera in a transfixing manner that implores us not to give up on her character. Freddie is carrying a soul-deep wound and pushes people away with a sometimes casual cruelty, but Park always grounds her with humanity and restraint. As the narrative years go by, Chou adds flamboyance without seeming overly showy, and manages to toe a tricky line between singular characterization and a more universal comment on Korean adoptees. Freddie begins to embody the typhoon that pushed her toward this journey of self, and Return to Seoul becomes an always defiant, sometimes bristling march to emotional release. And when that release comes, it is a rich and moving reward for a filmmaker, a performer, and all who choose to follow. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >