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Yellow film review by UK film critic Jason Knight. Starring Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas directed by Elham Ehsas. HOME | FILMS | REVIEWS Yellow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 16, 2023 Directed by: Elham Ehsas Written by: Elham Ehsas Starring: Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas In August 2021, the Taliban overtook Afghanistan. This short drama explores the aftermath. It is a busy market in Kabul and a young woman (Dehrouyeh) is looking to purchase her first chadari. He enters a clothing shop and requests one from the assistant (Ehsas). He helps her make the right choice, gives her advice and is quite helpful. She does not seem to be fond of the garment and appears to realise that her life is changing. This film is about a turning point in a woman's life, following the Taliban's conquest of Afghanistan. It is obvious that it is the first time she is wearing a chadari, as she does not know how to put it on, which highlights the change that she is going through. Through her eyes, the audience sees a procedure that many women in Afghanistan are going through: getting a chadari for the first time and entering a new stage in their life. The screenplay calmly examines the procedures that the heroine undertakes in order to obtain a chadari and thus (in some ways) go through a transformation and become another person, a person who the Taliban approve of. The film dramatically points out some of the effects of the Taliban takeover. One is the degradation of women, which is explored through Dehrouyeh's character and a television news broadcast about the strict laws applied by the Taliban regarding women wearing a chadari. Another is the banning of music, which is briefly shown through Ehsas' character. One part that stands out is a dance scene that feels almost magical thanks to slow motion and creative editing by Ehsas and Ross Leppard. Director of photography Yiannis Manolopoulos does a great job with the cinematography and commendations go to Jessica Holme for the costumes. An effective point-of-view shot places the viewer in the heroine's position, helping them feel how she feels. This film is a poignant and hard-hitting commentary about the Taliban's seizure of Afghanistan, how it affects the people of that country, particularly women. It provides an insight into the current situation, painting a bleak vision of the future. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

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

For You, The Disappeared film review by UK film critic Jason Knight. Starring Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS For You, The Disappeared Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 12, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara A short documentary about people disappearing in Sri Lanka, directed by Ranga Bandaranayake and written by Chamara Prasanna Kodithuwakku. For decades, countless of citizens of Sri Lanka have vanished without a trace. This twenty-minute-long film aims to acknowledge this. Via a large selection of dramatic photographs and several interviews, viewers will become aware of the tremendous suffering that has been caused due to people losing their loved ones and that this situation is continuing today. They will also be informed of the Monument of the Disappeared, a structure built in order to serve as a place of mourning and to honor those who vanished and of the Dabindu Collective, an organisation that protects the rights of women labourers in the free trade zone. The photographs are quite vivid. They consist of people protesting, individuals holding pictures of lost loved ones and devastating results of brutal conflict. All this is superbly edited by Vishwa Ranga Surendra and the visuals are accompanied by dramatic music thanks to the contribution of Nadika Weligodapola and voice-over by Dhammika Bandara and Nishadi Bandaranayake. The interviewees are Basil Fernando, a Human Rights activist, Samanmali Hettiarachchi, the Director of Dabindu Collective, Brito Fernando, a Human Rights activist and Professor Chandraguptha Thenuwara. Listening to them paints a picture of the dark side of Sri Lanka. The filmmakers utilise an intertesting technique with the obvious intention of creating drama. This involves numerous sequences that begin with the photo of two to five people. Then the film cuts to a lit candle that goes out and when it does, the image turns black-and-white and there is a loud noise that resembles a gunshot. It then cuts back to the photo, where one person is suddenly replaced by a photo frame and inside it is a dark silhouette of a person, apparently of the one who is not present in the picture with the others. This method is a way of visualising a disappearance and acknowledging the emptiness that it causes to their loved ones. This film emphasises a very serious issue that has affected many people in Sri Lanka, points out corruption and supports fight for justice. This documentary is an informative, shocking and poignant viewing. It raises awareness of the disappearances that are taking place in Sri Lanka and pays tribute to the ones who vanished and this makes it a viewing worthy of attention. About the Film Critic Jason Knight Short Film, Documentary, World Cinema < All Reviews Next Film Review >

The Iron Claw film review by UK film critic Matt Weine. Starring Zac Effron, Jeremy Allen White, H arris Dickinson directed by Sean Durkin. HOME | FILMS | REVIEWS The Iron Claw Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Dec 22, 2023 Directed by: Sean Durkin Written by: Sean Durkin Starring: Zac Effron, Jeremy Allen White, H arris Dickinson For the Von Erich professional wrestling family, success in the ring—starting in the freewheeling territory days and continuing into the present—has existed uneasily alongside the “family curse.” Writer/director Sean Durkin (Martha Marcy May Marlene and The Nest ) brings together his lifelong love of wrestling with a keen ability to heighten psychological tension to the breaking point and then see what fills the void that comes after that break. The Iron Claw charts these harrowing ups and downs starting with family patriarch Fritz (Holt McCallany), whose overbearing presence dominates every aspect of his children’s lives. The athletic Von Erich children unquestioningly glide into the path Fritz lays out for them, the family business of wrestling. The series of events that ultimately spin out of this fateful choice gives rise to the legend of the curse, which the brothers deal with in their own (mostly taciturn) ways. Kevin (Zac Efron) is the genial audience stand-in, who wants nothing more than to please his father and have fun in and out of the ring with his brothers. This includes the charismatic David (Harris Dickinson), golden boy Kerry (Jeremy Allen White) and the sensitive aspiring artist Mike (Stanley Simons). Fritz and the boys are given varying degrees of personality and dialogue that at times sacrifices depth for quick characterizations. But with so much biopic ground to cover, Durkin narrows in on Kevin as the one bearing witness to all the inexplicable tragedy. It’s a difficult role to serve, and Efron delivers a commanding performance. As the family’s Job-like suffering grinds down his stoicism and filial loyalty, he remains tethered to hope and the possibility of a different life thanks to his stalwart wife Pam (Lily James, matching Efron with a vibrant performance that elevates her otherwise dutiful lines). The result is a mesmerizing sports movie with more echoes of Malick than Aronofksy. Call it a curse or call it bad luck, but Durkin’s deft handling of these events turns public tragedy into a searing meditation on familial bonds and the limits of a certain type of masculinity. About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Critically Acclaimed film review by UK film critic Joe Beck. Starring Thomas Loone, Mia Mills directed by Thomas Loone. HOME | FILMS | REVIEWS Critically Acclaimed Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Sep 5, 2022 Directed by: Thomas Loone Written by: Thomas Loone Starring: Thomas Loone, Mia Mills Imagine a gritty British drama, set in the dark, urban environment of Scotland - a far cry from the picturesque view many have of the area. It sounds a lot like ‘Trainspotting’, but imagine ‘Trainspotting’ through the veins of Ken Loach, Mike Leigh or Jim Sheridan. That’s the film which ‘Critically Acclaimed’ tantalisingly taunts you with in the beginning, and although you know that it must end, you don’t want it to. The good thing is that ‘Critically Acclaimed’ doesn’t dramatically nosedive after an exhilarating opening, instead gently plateauing over the remainder of its runtime into an effective commentary on the other side of fame. The star at the forefront of the piece is Jim (played by Thomas Loone, who also directed and wrote the short), who has just delivered an impressive performance in an upcoming film, and has been heralded as the ‘next Fassbender’ in overwhelmingly positive early critic reviews. Life seems to be on the up for Jim, he’s been paid a lot for the film, and is garnering the attention of the press - doing interviews for all your daytime TV shows. There’s another side to fame, however, and it’s a side that many fail to adapt to. The false niceties of the interviewee, Cassandra Higgins (played by Mia Mills), who hasn’t even seen the film, and the onslaught of inane questions turn out to be the straw which breaks the camel’s back and brings out Jim’s anxieties. Jim’s already become alienated from his friends due to his newfound fame, and is struggling to adapt to the spotlight. With a pressing agent, who clearly doesn’t have Jim’s best interests at heart, he’s slowly finding himself falling in on himself, and seeing the rough side of his new career. Perhaps the best thing about ‘Critically Acclaimed’ is the fact that were this short to do well, and Thomas Loone’s fabulous performance to be recognised, it wouldn’t be too difficult to imagine him in the same situation a couple of years from now. It certainly deserves to do well, and Loone certainly deserves the recognition his performance is controlled and measured, showing us the panic in his mind as he’s scared of how people will judge him for the interview answers, with the tell-tell sign being in his eyes, which are scared and constantly flickering upwards. In the film-within-a-film he’s a more engaging character - confident and decisive - but he easily switches mannerisms to the quiet, toned-down Jim. Loone’s direction is strong and steady, though is the weakest of his three roles as the writing far excels it - delivering a clear, concise, to-the-point screenplay, the kind Jim’s PR would be very fond of. The only stumbling block for the film is in some disappointing supporting performances and a slight tail-off towards its conclusion, which feels out of character with the rest of the film, and doesn’t quite deliver the sharp message which the rest of ‘Critically Acclaimed’ so wonderfully sets up. Nevertheless, it is a film which, like the film it features, should have critics gushing, especially over its central performance, and should propel Thomas Loone onto a path similar to his character. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

No Bears film review by UK film critic George Wolf. Starring Jafar Panahi, Naser Hashemi, Vahid Mobasheri directed by Jafar Panahi. HOME | FILMS | REVIEWS No Bears Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 8, 2023 Directed by: Jafar Panahi Written by: Jafar Panahi Starring: Jafar Panahi, Naser Hashemi, Vahid Mobasheri Even of you know nothing of acclaimed Iranian filmmaker Jafar Panahi, No Bears (Khers nist) should be an absorbing and compelling experience. But when you consider that Panahi (This Is Not a Film , Taxi, Closed Curtain ) not only shot the film in secret, but currently sits in a Tehran prison, and is barred from writing, directing, giving interviews or traveling outside Iran until 2030, his continued commitment to agitation through artistic expression grows immeasurably inspirational. With No Bears , Panahi uses the parallel lives of two Iranian couples to comment on the struggles of that expression, and on the powerful forces that conspire to restrict free will. Panahi plays himself, arriving at a small village near the Turkish border to set up a base where he can direct his latest film remotely, joining the set through internet connection. While two actors in his cast (Mina Kavani and Bakhtiyar Panjeei) are trying desperately to land fake passports and flee Iran, Panahi quickly becomes a person of interest in the village. Word has spread that Panahi may have unwittingly snapped a photo of a young Iranian woman (Darya Alei) with a man (Amir Davari) other than the one who has “claimed” her. Villagers are demanding the photo as proof of a grave misdeed, while the woman in question fears the bloodshed that will come from the photo’s existence. Despite numerous reassurances to Panahi about “honorable” intent, the pressure from the villagers only increases, much like the desperation of his actors looking to start a new life. Panahi films in a style that is understandably guerilla, but stands in sharp contrast to the dense, and thrillingly complex storytelling at work. He is deftly calling out both the oppressors and the enablers, while he weighs the rippling effect of his own choices amid a deeply ingrained bureaucracy of fundamentalism and fear, superstition and gossip. No Bears is a brave and bold blurring of fact and fiction, with Panahi embracing the gritty authenticity of the most urgent first-person documentary and the layered storylines of a political page-turner. It may be his most daring project to date, accentuated by a defiant final shot that teeters on the line between ending and beginning. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

The Man In The White Van film review by UK film critic James Learoyd. Starring Sean Astin, Madison Wolfe, Brec Bassinger directed by Warren Skeels. HOME | FILMS | REVIEWS The Man In The White Van Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 21, 2025 Directed by: Warren Skeels Written by: Warren Skeels, Sharon Y. Cobb Starring: Sean Astin, Madison Wolfe, Brec Bassinger Warren Skeels’ The Man In The White Van tells the story of a series of grisly murders taking place in Florida in the 1970s. This plot actually serves more as the backdrop to an effective portrayal of a family’s domestic life, and the kids’ school life. We have two parents (Sean Astin and Ali Larter) and three children (Madison Wolfe, Brec Bassinger and Gavin Warren). Between these quaint family dialogues, we see glimpses of ruthless murders as the impending titular horror gets ever closer to our main characters and their home. Many an audience member are sure to compare this movie to Fincher’s singular masterpiece Zodiac (2007). This is not only due to screenplay (by Skeels and Sharon Y. Cobb) and its similarities in subject-matter, place and time; but also because of the deliberate steps this movie takes to replicate Zodiac ’s aesthetic – even down to the font of the opening credits. Yet what impressed this critic was how the filmmakers took the Fincher aesthetic – which has so often been overused and technically misunderstood as simply having a ‘desaturated colour palette’ – and applied its deeper nuances to the tale being told. For instance, one Fincher attribute which works well is the use of subtle camera adjustments so as to mimic a character’s physicality. And, thankfully, this film has a gorgeous, varied palette, consisting of pastel colours and vibrant sunsets. This is a sturdy looking movie with incredible production values. Outside of impeccable technical consistencies – such as the precision of the focus-pulling or wonderful balance of the lighting – some of the most impressive and immersive moments of cinematography involve scenes in cars, shots attached to the outside of cars, or even the camera dollying around a car to reveal more visual information whilst in transit. There must be a lot of greenscreen at play, but the fact that it goes unnoticed is honestly astonishing. Something that won’t go down so well with viewers is the sound. Now, I’m not referring to the sound recording (which is perfect) or even the foley work (which is also fantastic); I’m referring specifically to the criminal overuse of sinister musical cues. There are so many threatening sequences in this movie which could benefit massively from the pure terror of absolute silence – allowing the horror to unfold before us without manipulation. There’s a certain sense of spoon-feeding present in the constant violin screeching at any sight of the white van, which, after the opening scene, we get. But its worst sin is having these screeches take place during moments of false-threat – like the little brother making our protagonist jump. For a film without an outrageous, blockbuster budget, the proper realisation of the period-setting should be considered a genuine achievement on a level of set and costume design. The family home feels authentic, the vintage cars are lovely to look at, and much of the budget has even gone to playing some classic tracks. All of this is illustrative of an attention to detail, as well as an intelligent use of budget, to enable some truly convincing world-building. The Man In The White Van will be available on DVD & Digital from 29th September About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Joyride film review by UK film critic Christie Robb. Starring Olivia Colman, Charlie Reid directed by Emer Reynolds. HOME | FILMS | REVIEWS Joyride Film Review average rating is 3 out of 5 Critic: Christie Robb | Posted on: Dec 22, 2022 Directed by: Emer Reynolds Written by: Ailbhe Koegan Starring: Olivia Colman, Charlie Reid A cozy story of mutual self-discovery, director Emer Reynolds and writer Ailbhe Keogan’s Joyride delivers a series of poignant moments but unfortunately not enough of them to result in a believable conclusion. The excellent Olivia Colman plays Joy, a solicitor that has recently given birth to a late-in-life baby that she wishes to give away to a childhood friend. The delightful Charlie Reid plays Mully, a teenager who has recently lost his mom to cancer and is left with a scumbag dad who wants him to steal money from a hospice fundraiser to clear his debts. Their lives intersect when the two try to use the same stolen taxi. The transitional nature of a road trip during a transitional period in both of their lives provides the opportunity for each of the two to learn things they never knew about themselves and to grow and mature as individuals. They are doing this while rolling through the Irish countryside, which is quite a pleasurable backdrop. The two leads are very talented and their banter is written naturally enough to be believable. However, the plot at times veers into the ridiculous, ignoring so much of the way the actual world works as to leave you wondering if you accidentally got the genre wrong and you are watching a fantasy. It’s a world in which you can evade the police by simply turning into the first driveway on the side of the road and 13 year-old-boys can function as effective lactation consultants. But, if you are looking for a movie to attempt to give you heart-expanding holiday feelings without the Hallmark tinsel explosion, Joyride might be the movie for you. About the Film Critic Christie Robb Theatrical Release < All Reviews Next Film Review >

Speak No Evil film review by UK film critic William Hemingway. Starring Teni Osho directed by Shayaan. HOME | FILMS | REVIEWS Speak No Evil Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 28, 2024 Directed by: Shayaan Written by: Shayaan Starring: Teni Osho In the interests of avoiding confusion, it may be worthwhile mentioning that at this point in time, production studio Blumhouse are releasing their newest film, starring James McAvoy, called Speak No Evil . It is a remake of the Danish horror film of the same name which was released two years ago, and as you might expect, has nothing to do with the film we are reviewing today. So, today’s offering from WM Productions, writer/director Shayaan, and co-writer Kieran Rees, is a four-minute short containing only one character and a short TV cameo from Boris Johnson. We follow our unnamed protagonist (Osho) as he gets himself jazzed up, ready for a night of low-level terrorism; dancing around his kitchen, pointing finger guns at himself in the mirror, and putting on his faintly creepy Phantom of the Opera mask as he heads out onto the streets of the city. Boris has been on the telly lying to the public and the Home Affairs Select Committee, and we see him bumbling over his words as our guy flits past in a pirouette as he’s warming himself up for the night ahead. The first scene plays a lot like a music video, with some wild and winsome tones getting us all in the mood while our guy throws some shapes on the kitchen dancefloor. With no dialogue forthcoming it looks as though this might be all we get – and that in itself would have been no bad thing – but soon the mood shifts, the music takes a much more sinister tone, and the visuals show us that our man may not be the happy-go-lucky optimist that he first seemed. There is a great attention to lighting throughout the whole of Speak No Evil , which Shayaan uses to fill their frames and highlight their character. Similarly, the sound design creates a real sense of atmosphere and plays a large part in expressing the intentions of the main character to the audience. It’s just unfortunate that there are no credits from which to reference the skilled workers behind these technical aspects, and if it so happens that Shayaan did all the work behind the scenes theirself – in what was a one day shoot and five hours of post-production – then they should be commended greatly for the level of outcome achieved. It’s not so easy to determine a message or a moral from Speak No Evil ’s denouement, ending as it does on a bit of an arthouse note. The title obviously alludes to the theme of the film, but still it’s hard to figure just who or what is being aimed at, even if the only spoken words in the film are “Fuck Boris”. It is unclear whether Shayaan is suggesting we take the law into our own hands, or that we should speak truth to power through demonstrable acts, or if those in power should speak truth to the people lest they suffer the consequences, or what. There is a slight niggling sensation that Speak No Evil could be glamourising or endorsing terrorist acts, but to be honest everything is so low-key and vague that anything expressed is unlikely to have any impact at all. Still, the film looks good and the music’s great, so even if you don’t agree with the sentiment, or the message gets lost along the way, there’s still lots to like in this four-minute short. About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

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Mary film review by UK film critic Joe Beck. Starring Juliette Regnier, Logan Cutler-Smith directed by Jo Rou, Dan Riordan. HOME | FILMS | REVIEWS Mary Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Oct 25, 2022 Directed by: Jo Rou, Dan Riordan Written by: Justin Lazor Starring: Juliette Regnier, Logan Cutler-Smith Loss is difficult for everyone, especially the loss of a parent. They are the people who we always, whether consciously or subconsciously look towards for help and guidance, who helped to shape our being. As we ourselves grow older and forge our own lives, separate from those of our parents, we often come to appreciate them all the more, making their death, though we understand it to be inevitable, all the more profound. Most of us grieve for a short period of time, carrying that burden on our shoulders, making our lives just a little bit heavier. However, we still mourn the loss each day, merely in different ways - there is a wonderful quote from Keanu Reeves: “Grief changes shape, but it never ends” - and occasionally it’ll come to the surface, whether that be in tears, anger, or even terror. ‘Mary’ details the last of those three, as Rich (an impressive Logan Cutler Smith), a by-the-books insurance salesman, makes a house call on an elderly woman, Mary (Juliette Regnier), a year after his mother’s passing. What begins as an ordinary visit becomes an exercise in coming to terms with his sense of responsibility for his mother’s death, and the wide range of emotions that in itself ensues. Rich begins to see parallels between Mary and his deceased mother - their tastes in ornaments and the way in which they bake their brownies, not to mention the mannerisms inherent in any sweet, old lady. The parallels are unnerving, amplified by the continued confusion by both characters in referencing each other as ‘mother’ and ‘son’, but the film doesn’t become terrifying until Mary lists, in excruciatingly long fashion, the ways in which Rich feels responsible for his mother’s death, and tensions reach their boiling point. Elderly women have long had the ability to terrify us. Think of Mrs Bates in Psycho, or the rotting old woman in the bathtub in ‘The Shining’ - both of those women are terrifying not through words but through actions, however. Mary is more like the Blind Medium in ‘The Others’, save for the fact that she possesses the sweet voice of a woman her age rather than the uncanny voice of a child. She is hidden in the shadows for the first half of the short, as directors Jo Rou and Dan Riordan build up suspense through words and darkness alone. Juliette Regnier is excellent as the unsettling title character, each word manifests terror the second it leaves her lips, and her eyes have that air of decrepitude about them, which just suggests that something is off. In fact, were it not for the fact that the script, penned by Justin Lazor, is a little too obvious, then Regnier’s performance would be all the more convincing. Unfortunately, the script fails to cajole the viewer into falling for Mary’s initial charm - lines like ‘difficult to find…difficult to leave’ make it plain that there’s something off about her - and similarly weakens the suspense created through Rou and Riordan’s crafty direction. The film is shot with an artistic flourish and feels like an 80s B-Movie with modern-day editing, as the directors insert deeper layers into a film which is, at times, and particularly towards the end, a bit of fun. Whereas normally you would deem that to be out of touch with the otherwise serious tone of the film, throughout ‘Mary’ is embedded with an undercurrent of the absurd, and that is briefly let loose in its climax. As such, ‘Mary’ is an amalgamation of three words which don’t usually go together - ‘loss’, ‘terror’, and ‘fun’. Make of that what you will, but if nothing else, after watching ‘Mary’ maybe you’ll think twice before accepting the next brownie you’re offered. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Cursed Memory film review by UK film critic William Hemingway. Starring Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS Cursed Memory Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 15, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna In a moment of crisis, a woman loses her faith and writes a letter to Jesus, pleading for a miracle. Melinona is a survivor of the Easter Sunday Bomb Attacks, which took place in Sri Lanka on 21st April 2019. She carries mental scars of that day, when her Christian centre of worship was targeted by ISIS backed radicals, although she has always kept her belief – until now. In a letter, she explains to Jesus why she is putting him in a box and stuffing him under the sink, and how she has come to the realisation that she may have been wasting her time talking to him in the first place. Melinona has got herself into a bit of a pickle, you see. She’s been lending out the money her son has been sending her from his faraway job, lifting iron in a cold country, and she’s not been asking for any interest on it. She doesn’t know what she’ll do when her son comes home and finds out that she doesn’t have the money, and so it’s JC’s fault for abandoning her in this time of need. She tells of her woes in this letter, never intending for it to be read by anyone but Jesus, but somehow it becomes a firelighter for the family’s shame, as it falls into the wrong hands and gets distributed far wider than anyone had imagined. Over the course of twenty-seven minutes, we are treated to Melinona’s troubles and her Cursed Memory . The letter seems cursed, too, as it takes on a life of its own, passing between hands, being read through different mouths and in different voices. Director, Ranga Bandaranayake, appears to have a clear vision of how Melinona’s story should be told, and this comes through in how well thought out every scene is, with the writing from, Chamara Prasanna Kodithuwakku, giving plenty of characterisation and context to work with on screen. When matched up with some strong production value, the solid writing and impressive direction help Cursed Memory to stand out as a well put together piece of film. From the full-on three-minute credits sequence, to the haunting melodic tones of Lahiru Madiwila’s music, to the casting choices and background detail in the scenes, there’s been a lot of thought and production behind getting Cursed Memory to be just the way it is – and it has paid off. Melinona’s journey is one of trauma and of recovery, and it weaves its way through the lives of everyone around her, bringing us with along with it too, until we are invested in her story as much as her son, or daughter-in-law, or priest. The filmmakers certainly know how to put a film together, and show a real understanding of how to use visual language to tell a story, making Cursed Memory a little more memorable than the rest. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >