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Marching On Together film review by UK film critic James Learoyd. Starring Pete Foster, Joe Facer directed by Dan Lovatt, Adam Sandy. HOME | FILMS | REVIEWS Marching On Together Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jun 12, 2024 Directed by: Dan Lovatt, Adam Sandy Written by: Dan Lovatt, Joe Facer Starring: Pete Foster, Joe Facer 'You can't choose your family' seems to be the main sentiment in this well-observed if slightly undynamic domestic drama Marching On Together (2023). It focuses on the fraught relationship between a young man and his judgmental, seemingly conservative grandfather as they get into a contentious conversation while watching football. Concluding with a twist ending (of sorts), the piece offers up a naturalistic character-study with deeper connotations unsaid. With some intelligent writing and strong intentions, it's slightly unfortunate that the filmmaking fails to be as engaging as the central premise, but it's absolutely worth a watch nevertheless. There are two strong performances featured in the picture, and this isn’t a film that’s afraid of depicting unlikable, complicated characters. The performers are playing with a lot of upsetting subtextual ideas, and they handle it well. The screenplay is undeniably effective; rich with many upsetting themes, all explored with maturity. This all makes for a most watchable piece of work which holds the viewer’s interest through intelligent writing and its discussion of common social issues. But regrettably, the film’s stylistic elements leave a bit to be desired. Critics will often say that a film suffers from a kind of theatricality. They may state something to the effect of "this would work much better as a play" - and I find this quite condescending. What they mean to question is whether cinema, as an artistic medium, is being utilised to its fullest potential - with a focus, of course, on visual over thematic or narrative traits. While this is valid, some may fail to consider that the filmmaker in fact wished to use the form for that very reason. Marching On Together is not an inherently cinematic piece, and it does arguably suffer because of that; however, I'd suggest that this isn't because of the scenario but instead the storytelling. There's a slight lack of confidence in the direction. For example, the sequence of dialogue that works the least is when we're cutting between two angles, both of which are wide two-shots from a similar distance from the subjects. With both shots holding the exact same visual information without guiding our eye to any specific point in frame, the cuts don't just become superfluous but also distracting. Wide shots are great, but if one character is really emoting then a closeup wouldn't go amiss. There are some absolutely wonderful shots in this short, and the use of widescreen is impactful when it comes to framing the two characters in the same moment whilst emphasising emotional distance. What is needed, however, is a willingness to go slightly bigger, closer and deeper - something the talented filmmakers are clearly capable of. To surmise, Marching On Together is undoubtedly an original short film which admirably sheds a light on a complicated family dynamic. I’m also certain that a great many viewers will be able to relate either personally or simply emotionally to its content and message. Even though the blocking isn’t always up to scratch, it’s a strong effort and I implore the filmmakers to keep producing dramatic work like this. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

La Cocina film review by UK film critic Patrick Foley. Starring Raul Briones, Rooney Mara, Anna Diaz directed by Alonso Ruizpalacios. HOME | FILMS | REVIEWS La Cocina Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 13, 2025 Directed by: Alonso Ruizpalacios Written by: Alonso Ruizpalacios, Arnold Wesker Starring: Raul Briones, Rooney Mara, Anna Diaz The success of shows like ‘The Bear’ and ‘Boiling Point’ might be a message – and not just that audiences are really hungry all of a sudden. Grind culture and the unsustainable pressures placed on unappreciated employees to simply get by has led to an interest in chaotic workplaces – with fast-paced restaurants an obvious environment for filmmakers to explore what all this stress and madness means in the grand context of life itself. La Cocina is the latest feature in this mould, offering an original angle with a focus on the immigrant experience. Situated in Times Square, ‘The Grill’ is a tourist trap restaurant staffed by immigrant cooks who work on a knife edge to keep up with fast-paced orders through long, tiring days. The promise of citizenship is dangled over them by owner Rashid (Oded Fehr). Pedro (Raul Briones) is a cook who has been made such a promise, and he sees it as his way to a dream life with waitress girlfriend Julia (Rooney Mara). But floods, new staff, pregnancy and stolen money mean that life, and the future of all the workers at The Grill is at the behest of the powers that be. La Cocina’ s 2-hour runtime means it is difficult to maintain either its intensity or its philosophical edge throughout – which are its strongest features when in full effect. The frantic, macho and deafening kitchen environment will feel familiar to Bear fans, and Alonso Ruizpalacios’ interpretation is still entertaining enough to grab viewers’ attentions and raise blood pressures. One can feel their fingers getting greasier and grimier as the staff hustle to keep up with the demands from the all-powerful patrons above, kept in line by Lee Sellars’ autocratic head chef. Dehumanisation is a big theme of the film – with each character feeling increasingly broken by an uncaring system of demand, demand, demand. The energetic direction helps this land perfectly. Adapted from a 1957 stage play and modernised to reflect 2020s dynamics, the film explores race relations in the workplace and how low-income immigrants are exploited ruthlessly for labour. The largely Hispanic workforce is far from a monolith – with the Mexicans, Dominicans, Colombian and more in the kitchen all distinguishing themselves from the others. Bubbling tensions under the surface, such as doubts around Pedro’s relationship with Julia, anger at Rashid and the staff's fraught co-existence with Max (Spenser Granese) explode in a memorable and destructive conclusion that is worthy of the simmering stress levels built throughout the story. Raul Briones thrives as ill-tempered Pedro, a chauvinistic and reactive man but one who dreams big and believes in a better world most around him think is a fantasy. His relationship with pensive Julia feels doomed to failure due to their clashing personalities, though the meaningful chemistry the pair share when alone creates enough hope to validate Pedro’s dreaming. Rooney Mara feels a little underused in the role, and Julia’s traumatic decisions through the film feel underexplored. Other characters like Estela (Anna Diaz) are set up to play a larger role than they end up doing – enjoying meaningful and wonderfully crafted dialogue but ultimately lacking a larger impact on the story. La Cocina is more than just a side dish to wildly successful contemporaries serving up a similar course. It makes salient and driven points about immigrant culture and the disposable attitude towards working people. It is a little overlong and oddly structured (some key events happen earlier than it feels necessary in context of the story), but you’d definitely order from this particularly kitchen again. IN UK & IRISH CINEMAS FROM FRIDAY 28 MARCH About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Night Doctrine film review by UK film critic Patrick Foley. Starring Lynzy Billing, Milad Yousufi directed by Mauricio Rodriguez Pons & Almudena Toral. HOME | FILMS | REVIEWS The Night Doctrine Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 16, 2023 Directed by: Mauricio Rodriguez Pons & Almudena Toral Written by: Lynzy Billing Starring: Lynzy Billing, Milad Yousufi Journalist Lynzy Billing’s quest to find the truth around her family’s fate leads to a haunting documentary examining the horrors of night raids in The Night Doctrine, a tactic utilised by the US to eliminate targets in Afghanistan with flaws that led to the death of innocents. An animated short, the documentary features portrayals of Billing at different stages of her life from her birth in Afghanistan, to losing her mother and sister during a night raid, to working as a journalist investigating the use of the tactic by the US in her home nation during the war on terror. She speaks to families who have lost innocent loved ones during raids, as well as former Afghan army members who perpetrated raids that cost innocent lives to weigh the human cost of a risk-addled and callous methods of war. There is a haunting quality to The Night Doctrine. Its echoes a similar war documentary Waltz With Bashir, and like its animated counterpart, the creative graphic presentation brilliantly portrays the horrors of war without the use of actual footage. Lynzy’s personal tale and the trauma of those who have had family members fall victim to the raids, and those who live with the regret of carrying them out against innocent civilians make the film as real as it gets despite its presentation in a medium so often pigeon-holed ad the realm of the fantastical. Images such as a fracturing photograph of Lynzy’s family, or the falling ash of a cigarette forming patterns on a map of insurgent groups to represent the paradoxical creation of terrorists as a result of raids designed to stop them are powerful and lasting. Despite occasional lapses in quality, the film’s animation amplifies its human message. As an investigative piece, there is a sense that the analysis of raids themselves is lacking. Little time is devoted to the actual purposes of the raids or why they were utilised, and only passing mention is given to intelligence failures and their role in raids targeting the wrong people – which feels like a significant factor to omit. There is an implied notion as well that the concept and tactic of night raids originated with the US army, as opposed to being a quite standard method of war and enforcement for centuries. And it’s a missed opportunity that the film does not note or compare the use of domestic night raids by the United States in law enforcement – especially considering high-profile incidents such as the killing of Breonna Taylor – as evidence that the dangers of such tactics extend beyond wartime setting. Such analysis is understandable given that the film is primarily focused on the human stories that have been affected by raids – and it’s fair for Billing’s focus to stay with Afghanistan considering her ties. It would have however benefitted from further evidencing that night raids are a US-specific innovation given the framing in the film. The featured stories themselves are remarkable and the accounts the filmmakers have been able to secure – particularly from the former Afghan soliders whose identities were anonymized – are eye-opening and emotionally devastating. The resultant emotions are that of empathy and compassion for those whose lives were upturned and destroyed by the war. The film exists therefore as a contemporary and important accounting of a period of history that continues to unfold today. Not all of the questions it raises are answerable – but the human cost it examines is already immeasurable, and its success is in capturing the emotional impact of this in a striking and affecting style. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Documentary < All Reviews Next Film Review >

Brick Wall film review by UK film critic Swati Verma. Starring Ian Montgomery, James Anite, Shazea Rahman directed by Chrstian Haywood. HOME | FILMS | REVIEWS Brick Wall Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 21, 2023 Directed by: Chrstian Haywood Written by: Christian Haywood Starring: Ian Montgomery, James Anite, Shazea Rahman The writer-director Christian Haywood along with the charity called Mind in West Essex work together on the short film-Brick Wall to remind its audience of the value of continuously improving the quality of life which would be beneficial in the long term through the story of male protagonist Ian Montgomery and his mates at the construction site. The plot of the movie revolves around the workers battling mental health issues and what steps should be taken toward suicide prevention in the construction industry. The film opens with a voiceover with the noise of a work in progress providing even the minute details so that the content can increase audience engagement with it to keep the viewers hooked from the very beginning. The cinematographer Samuel Perry Falvey effectively utilises the camera angles, white, red, black, and grey colour tones, set design, lighting, sound, dialogues, costume, hair, makeup, and props to complement the essence as well as the key messages and elevate the impact of the same making it a learning experience for everyone. A very well-written series of conversations between the various characters and the protagonist assists the filmmakers to add the elements of intensity and depth so that the audience can understand the nuances and Brick Wall stays with them even after finishing the film. Brick Wall talks about the need to prevent suicide by spreading awareness and telling people the importance of asking for help and giving them a platform to share their problems so that the maximum number of lives are saved. The cinematic piece highlights that People dealing with mental issues should understand that they require assistance instead of building a wall around them, this can increase the suffering therefore can be detrimental to loved ones living with them. The short film reiterates that quashing the taboos and fears regarding to every concern related to the mind is crucial. The cinematic piece also tells us that everyone can take appropriate steps to make their lives better with the necessary love, emotional support, and respect. Brick Wall restates the significance of the role of friends, family, and colleagues, or any person one trusts with sensitive topics mentioned in the movie should allow them to be present in times of need for the wellbeing of all the parties affected. Struggling with the problems within seems that the difficulty is even bigger but sharing with someone can calm the person down and also give the confidence to deal with the issue. I want to appreciate the efforts of Christian Haywood and the team for collaborating with Mind West Essex to highlight the cause of mental health at the construction sites that need to be spoken about more and more. I hope many directors take inspiration and make movies on such topics giving a chance to the audience to learn from projects like these. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Sea Dragon film review by UK film critic Swati Verma. Starring Kiara Holley Paliano, Harvey Dean, Michael Howe directed by James Morgan. HOME | FILMS | REVIEWS Sea Dragon Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 15, 2022 Directed by: James Morgan Written by: Lawrie Doran, James Morgan Starring: Kiara Holley Paliano, Harvey Dean, Michael Howe The black starry with the fossil remains in the background and the white font colour used for the title-Sea dragon as it appears onscreen give the audience an idea about the theme of the short film. The director James Morgan and writer Lawrie Doran work on the script of this period drama to give homage to Mary Anning (Kiara Holley Paliano) and her discoveries. The plot revolves around a young fossil hunter who attempts to find out more about the mysterious skull that she believed would be beneficial for knowing about the evolution of life on Earth. Sea Dragon is set in England in 1812. The set design transports the audience to the Era. The costume designer Emily Rose Yiaxis and the hair/makeup artist Simone Philcox dress each character of the narrative aptly thus increasing the degree of audience engagement with the film. The director of photography Clemens Majunke uses the long shot of the sea and the mountains followed by a combination of wide-mid shots to directly dive into the subject matter of the film. The change in lighting is done so efficiently without breaking the continuity of the scene at the time of the switch between the day and night scenes. The filmmaker cleverly uses the close-up shots and the voice modulation to intensify the confrontation between Mary Anning and Mr. Henley and create the required conflict for the smooth movement of the narrative. The dialogue delivery by the entire cast gives a sense of royalty which is in sync with the timeline the movie is set in. In terms of performance, Kiara Holley Paliano plays the role of Mary Anning is the perfect casting for the part. Kiara portrays the determination of discovering something substantial that would prove to be beneficial for people who have a keen interest in the field of science. The range of emotions calmness, angst, and happiness can be seen on her face. The viewers relate to the central character and enjoy the journey Mary wants to take us on through the film. Harvey Dean is Joseph Anning who is a very strong support system in Mary's life. The bond between Harvey and Kiara transcends onscreen as well. The contrast between the two siblings is an interesting element of the script and the same is enjoyed by the audience. Michael Howe as Mr. Henley is strong representation of society in this particular era. Mr. Henley puts hurdles at every step in the way of Mary who is trying to fulfill her dramatic need in the story. The short film talks about believing in one's dreams and following the heart to pursue the career of one's choice. The drive to achieve the set goal boosts up due to family support. The audience gets to learn a lot from the lead female character to not give-up easily to societal pressure and continuously thrive each day to make a difference in the lives of many. The cinematic piece gives a glimpse of the struggle the English paleontologist had to go through to prove their theories that made our present better. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Vole film review by UK film critic Jason Knight. Starring Paul Dewdney, Gabriel Okafor directed by Ewan Thomas. HOME | FILMS | REVIEWS Vole Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 12, 2024 Directed by: Ewan Thomas Written by: Ewan Thomas, Harrison Tate Starring: Paul Dewdney, Gabriel Okafor An elderly man and a youngster are in the middle of a forest. Alone and trapped. An old man (Dewdney) is in the isolated countryside. There is no building of any sort to be seen and he appears to be by himself. As he walks around collecting wood, he spots an unconscious young man (Okafor) lying on the ground. He is wearing a business suit and has a wound on his head. Eventually, he regains consciousness and demands to know what is going on. The aged man claims that he does not know what is happening and while the two of them spend time in the wilderness together, dramatic conversations regarding the values of life and humanity occur. An obvious element that makes this short intriguing is the mystery. What is going on? Why are two people trapped in the woods, unable to leave? How did they end up there? As the youth makes a run for it, he discovers that no matter how far he travels, there is no sign of civilisation. The wildnerness seems to be endless. So where are they then? Are they in a supernatural world? And what about the elderly man? How long has he been in the woods, all by himself? At the beginning he is seen doing a hitchhike hand sign by a road and keeping some sort of record. Why is he doing these? Certainly, these are questions that the viewer would like to know the answers for. In some ways, the film feels like a psychological survival horror story. Two people trapped in an isolated place where escape seems impossible. However, the deepest core is reveiled when the old man expresses his opinion regarding people. He believes that humans rely on objects in order to feel complete and that they are slaves to those who have authority. Generally, he suggests that without possessions, people are no different than animals. The youngster is a character that represents the contradiction to that belief: a businessman, a person who firmly believes in society, who owns a lot of things and wants more. The fact that these two men are now in nature seems to signify that they now have nothing apart from themselves and in certain ways have become animals, forced to live out of whatever nature has to offer and at the same time, they are free, away from society's complications. The atmospheric and sinister score by Magnus Fielding is a big plus and Kimia Modaressi Chahrdehi and Thomas Wright do a good job with the editing, especially when utilising fast cutting. The lighting techniques also stand out, particularly during night-time, when the two protagonists are sitting next to a campfire and sound designer Ava Doyle also deserves commendations for the effective sound effects. This is a tale of survival and isolation and it offers a rather negative point of view regarding humanity. The performances are strong and the old man makes an interesting character. Although the plot is successful in drawing attention, the viewer might be disappointed by the questions that remain unanswered. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Dare to Dream film review by UK film critic Patrick Foley. Starring Jonny Labey, Sapphire Brewer-Merchant, Bryan Ferguson directed by Alex Bates. HOME | FILMS | REVIEWS Dare to Dream Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Apr 26, 2022 Directed by: Alex Bates Written by: Alex Bates Starring: Jonny Labey, Sapphire Brewer-Merchant, Bryan Ferguson As movies like Boiling Point, reality shows like Masterchef, and Gordon Ramsey’s entire existence has shown; being a chef is stressful business. Dare to Dream is a story about the unbearable pressure of the cooking industry, which when coupled with a self-imposed desire to prove his worth to his father, brings one young chef to the brink. Upon losing out to rival Emily (Sapphire Brewer-Merchant) in a culinary arts competition, Theo (Jonny Labey) resolves to win the next year’s competition to prove his worth to himself, and his domineering father Ryan (Bryan Ferguson), a successful celebrity chef whose affection Theo is desperate to attain. Theo’s past with his dad is explored whilst he punishingly pushes himself to the limit to live up to his father’s shadow. It is a funny coincidence that Dare to Dream finds itself released close to the debut of Netflix smash-hit Boiling Point, given that both involve chefs pushed to the limit of sanity by the pressures of their industry, and run into struggles involving drugs and the failure to live up to a celebrity who they are close to personally. But this short should not be seen as just a starter to the feature-length main course. Director Alex Bates’ focus on a complex, toxic father-son relationship and more artistic interpretation of protagonist Theo’s struggles make Dare to Dream stand out as both an emotionally impactful and visually exciting story. Jonny Labey’s performance as Theo is impressive and multi-layered, and he brilliantly shoulders an intense leading role. Theo is steely and cool at times, broken and distraught at others. But Labey’s command of the role means this never steers into histrionic territory. His chemistry with Bryan Ferguson, who plays father Ryan, is crucially important factor in portraying a fractured relationship between the pair – one that is often antagonistic yet with a lingering respect and love. Sapphire Brewer-Merchant’s role is relatively small as rival Emily, but her excellent understated showing tells enough for the audience to understand that her and Theo’s rivalry is built on a healthy respect – a positive influence on the pair to push each other rather than the negative one Ryan exerts. Alex Bates takes full advantage of the cinematic potential of cookery, with meticulous focus on the kitchen scenes which accentuate the culinary arts to a thrilling and tense pursuit of perfection. The metronomic score in these scenes forces a piercing concentration from viewers, as they are sucked into the pressure of Theo’s world. As his mental state declines and psychotic episodes increase, the film becomes darker and filled with shadow – mirroring Theo’s isolation and unhealthy focus on his own shortcomings. The film does have its flaws, with the year-long timescale not realised particularly effectively. Ryan’s apparent esteemed status as a celebrity chef never really comes across either, and the significance of the culinary arts competition (or possible relative lack of significance, given Theo’s tendency to overburden himself) could also have been established better. These troubles with world-building are likely a result of the shorter runtime, and do not end up detracting from the key themes of the film. The film’s conclusion also feels overly theatrical, stagy and dramatically convenient – ironically almost an exact criticism Boiling Point shares. But aside from this, a strong chef’s kiss for Dare to Dream, a fine example of how to build character and relationships and blend them with cranked-up intensity to produce gripping drama. A few missteps with its storytelling aside, this short film deserves a Michelin star. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Spooky Bastard film review by UK film critic Swati Verma. Starring Rafe Bird, Vicki Reckless directed by Michael Bird, Rafe Bird . HOME | FILMS | REVIEWS Spooky Bastard Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 25, 2023 Directed by: Michael Bird, Rafe Bird Written by: Michael Bird, Rafe Bird Starring: Rafe Bird, Vicki Reckless The word Spooky incorporated in the title of the short film usually refers to Sinister or ghostly in a way that causes fear and unease assisting the filmmakers to increase the audience engagement with the content via the leading couple Jamie (Rafe Bird) and Helena (Vicki Reckless). The plot of Spooky Bastard revolves around a loud crash in the middle of the night, and a cloaked figure in the garden one thing is for certain…. Jamie has found himself in a horror movie-and boy does he hate it when that happens! The ethereal cloaked figure has just one purpose…to spook. But what happens when it isn’t working? Well, things got to get really spooky… Now Jamie and his girlfriend Helena must discover how to rid themselves of the enraged Spooky Bastard so that they can just get a good night’s sleep…And wait for the credits to roll. In the opening sequence, a long shot of the house is shown followed by a close-up shot and mid-shots of the male protagonist along with eerie sounds in the background to elevate the horror genre and also adding hints of comedy to establish the subject matter the film deals with. The movie has incorporated comic references in the carefully written conversations between characters related to Nottingham providing it with the necessary local vibes so that the viewers relate to the same. The makers have decided to create a contrast by taking up the domestic issues every husband and wife go through daily so that the audience feels involved and does not get bored with the constant mention of Western and science fiction themes. The white, black, and blue colour pallet, camera angles, set design, dim lighting, dialogues, costume, hair, makeup, and props complement the switch between different genres and elements ensuring the continuity and smooth flow of the narrative. In terms of performance, Rafe Bird plays Jamie who is a fun-loving person who loves his life with his better half but soon is dealing with a spirit in a horror movie. Bird exudes brilliant comic timing in his body language, voice modulation, dialogue delivery, and the reaction shots given by him in a situation as per the demand of the script. Vicki Reckless as Helena is high on energy attempting to strike a balance between professional as well as personal life. Reckless portrays a fearless attitude as she deals with the situation. She is all calm and composed initially but takes the form of a ninja later. The young actress is a true inspiration to many making Helena relatable in the eyes of the audience. The Spooky Bastard talks about functioning as a unit to deal with any unforeseen emergencies. The short film also reiterates the need for emotional support and understanding between couples or families to combat and survive the testing times. The horror film celebrates womanhood and tells us that asking for help from women in one’s life should be a matter of pride, especially wives because it truly defines partnership in a wedlock. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Letting Go film review by UK film critic Chris Olson. Starring Allison O'Connor, Allison Chobanian, Caleb Oyelowo, Sullivan Smith directed by Olivia Medrano. HOME | FILMS | REVIEWS Letting Go Film Review average rating is 2 out of 5 Critic: Chris Olson | Posted on: Sep 1, 2022 Directed by: Olivia Medrano Written by: Olivia Medrano Starring: Allison O'Connor, Allison Chobanian, Caleb Oyelowo, Sullivan Smith A coming-of-age short, filmmaker Olivia Medrano’s Letting Go captures the rose-tinted glory days of youth through a series of happy yet threatless beach scenes that regrettably leave no impression in the sand. A group of friends head to the beach and the jams kick in. The montage of them enjoying the location in beautiful sunny weather feels like a scenario from decades ago whereby a friend would have acquired a digital camera and decided to film their mates on a day out. The lack of characterisation or plot keeps this piece as thin as a postcard and with the music becoming the absolute main feature - the short film becomes essentially a music video. The final section of Letting Go does give us a bit of story, comparing the changing of life to surfing, however, it’s too little too late by then. If viewed as a mood piece, there are certainly plenty of audience members out there who will connect with the vibe of this movie. It has all the classic trappings of the “end-of-an-era” style flick: the group of kids on the verge of adulthood, the endless horizon of the ocean representing their future, and the soundtrack which does a lot more heavy lifting than in other genres. As a young filmmaker, Medrano should be commended for her ability to capture the essence of this time in a young person’s life, if not in a full-bodied storyline at least in some of the aesthetics she achieves. From a filmmaking perspective, Letting Go has plenty of rough edges that would be unfair to shine a spotlight on. The editing could certainly be improved as could the sound - with only a few bits of dialogue it seems a shame they are quite hard to hear against the music - but there is an energy and passion to the flow which certainly achieves the aforementioned coming-of-age film feel. If the film had added a few minutes of story before the characters arrived at the beach, helping us to ground the viewer in who these people are and why we should care about them, it would have gone a long way in creating more depth and enjoyment. As it is, the film feels like a student assignment that got exported into a MOV file before anyone had the chance to proof it. Hats off to the artist of the main song though, an absolute banger. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Earlybird film review by UK film critic Brandon Thomas. Starring Joshua Koopman, Julie Pope directed by Martin Kaszubowski. HOME | FILMS | REVIEWS Earlybird Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Mar 27, 2024 Directed by: Martin Kaszubowski Written by: Martin Kaszubowski Starring: Joshua Koopman, Julie Pope Artistic risks are hard. Conventional wisdom states that the safest artistic endeavors tend to be the most successful. This is true for movies, music, writing, and theater. Why else would we be gifted with theatrical productions of Mrs. Doubtfire or have ten Fast & Furious movies? Michael (Joshua Koopman) is the owner of a struggling independent theater company. The theater’s go-to has always been tried-and-true classics like Romeo & Juliet or Julius Caesar , and even those aren’t getting many butts into seats. After his landlord informs him that the rent is going up, Joshua decides to call it quits with the theater. At the urging of his wife, Sarah (Julie Pope), Michael dusts off an old oddball script of his own in an effort to be more creative during the theater’s remaining weeks. When the show is a surprise hit, Michael and his staff begin looking for even odder shows to produce. On the periphery, Earlybird seems like the kind of movie we’ve seen a thousand times before. You know, the one where the scrappy crew of lovable losers has to overcome insurmountable odds and always comes out on top. Except, that’s not exactly what Earlybird is. No, while Earlybird does contain said lovable losers, the path to “coming out on top” isn’t as predictable. The key to Earlybird ’s freshness is the lack of devotion to plot. The real conflict doesn’t come from whether or not the theater company will actually close. Instead, the drama and driving force throughout the film are the relationships between the characters. Joshua’s transition from burned out and uninspired to all-consumed and flippant takes center stage (ahem). Koopman and Pope lead the cast with a natural and charming chemistry. Theirs is a relationship that feels lived in and supportive. As Joshua’s behavior begins to strain their relationship, writer/director Martin Kaszubowski never goes for the easy sitcom-level drama. The honesty of their predicament is all the drama Earlybird needs. There are so many times that Earlybird feels like it’s going to play it safe. However, the cleverness of the script and the scrappiness of the overall production helps to keep the film on its toes. While a comedy, belly laughs aren’t exactly the target of the film. There’s an overall sweetness to Earlybird that shows itself early and never quite goes away. The film seemingly wraps up a little too nicely, but it ultimately feels earned given the strength of the previous 1 hour and 45 minutes. Sometimes a little extra sweetness at the end isn’t such a bad thing. About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Jess Plus None - BFI Flare film review by UK film critic Amber Jackson. Starring Abby Miller, Marielle Scott, Rory O'Malley directed by Mandy Fabian. HOME | FILMS | REVIEWS Jess Plus None - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 24, 2023 Directed by: Mandy Fabian Written by: Mandy Fabian Starring: Abby Miller, Marielle Scott, Rory O'Malley ‘For lovers of romcoms with a difference: Jess is stuck in the woods for an off-the-grid wedding and must find a way to deal with her ex, her friends and, frankly, herself.’ Jess, an anxious and emotionally affected woman, is stuck in the woods for her college best friend, Melanie’s, wedding in Jess Plus None, a film about the trials and tribulations of love and heartbreak in a modern age. Putting every person in Jess’ friendship group together for a wedding quickly becomes a “pressure-cooker” situation, particularly because her ex-girlfriend Sam is also a wedding guest and Jess is still in denial about the break-up. This is a deeply funny romantic comedy that highlights many contemporary struggles concerning relationships, singledom and living off the grid even just for a few days. The film wrestles with very different character types in the same space who are all demanding what they need, but no one is able to listen to each other. Whilst there are moments that feel sad or moving, there are plenty of laugh out loud moments. Ultimately, it is great to see a leading bisexual female character in a feature-length film and writer and director Mandy Fabian has created a character in Jess that is both flawed and relatable. Jess is a protagonist who is in desperate need of support mostly because she is the odd one out in her main friendship group. She is unable to relate to her friends anymore and they are not happy with her past actions, which results in plenty of moments where the viewer experiences sympathy towards Jess. It is clear that she is lonely and desperately tries to socialise with her friends as she always has done in the past, but there is now a disconnect. There are plenty of witty and hilarious moments in the script, with plenty of awkward conversations that are equally funny and uncomfortable. Lots of interactions throughout the film seem forced, particular due to the fact that other characters feel uneasy around Jess. As they are mostly at different life stages to Jess, they do not know how to speak to her anymore, and neither does she. The wedding weekend feels like a ticking time bomb as everyone sees Jess as really awkward and so do not include her in group discussions. Whilst this seems outrageous for a group of adults to do, it speaks volumes to the isolation that Jess is experiencing. It is very poignant to include this in a film, as Jess is made out to be the bad guy partly because she sees little value in herself. In addition to the humour, there are plenty of emotive scenes about the relatable struggle of maintaining friendships and relationships as an adult. Large life changes have happened to Jess’ friends, including new relationships, expanding a family and getting married, none of which are happening to her. Being the only single friend left in the group, Jess is desperate to maintain these connections amongst plenty of changes. She ultimately wants to learn to accept what she actually deserves, regardless of whether reconciliation is possible or not. Jess Plus None truly examines a protagonist at a crossroads and trying to embark upon a journey towards trying to gain ownership over their life. It is a situation that many adults may face at some stage of their life with those around them. Mandy Fabian has successfully crafted a film that works towards a realisation that actually it is okay if not everything works out. About the Film Critic Amber Jackson Film Festival, LGBTQ+ < All Reviews Next Film Review >

Lamb film review by UK film critic William Hemingway. Starring Aoife Duffin, Eanna Hardwicke, Evie and Faye O’Sullivan directed by Sinead O’Loughlin. HOME | FILMS | REVIEWS Lamb Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2023 Directed by: Sinead O’Loughlin Written by: Sinead O’Loughlin Starring: Aoife Duffin, Eanna Hardwicke, Evie and Faye O’Sullivan The title of writer/director Sinead O’Loughlin’s short film, Lamb is detailed part way through the story by its chilling antagonist Paul (Hardwicke), explaining as he does that, “If you want a ewe to go somewhere, you don’t bother with her, you take the lamb,” and this rather brutal but pragmatic insight is the perfect microcosm for the rest of what we see on screen. On this fateful given day, Sarah (Duffin) is taking time out at home with her baby daughter, Lucy (O’Sullivan). Everything seems to be pretty regular and mundane with the toast being burned, the smoke alarm going off and the door being opened to allow us to see the exterior of this small, lonely cottage tucked away in a leafy corner of the countryside. With character and setting duly established it’s not long before some sort of plot/conflict turns up in the form of Paul, sneaking in as he does through the open door and lurking in the out of focus background until it’s time for him to fully enter the frame. Once firmly embedded in the scene, Paul quickly makes himself at home and sits down at the breakfast table for some toast and some tea. Unsure as to what’s really going on, and whether her home intruder is actually a threat or merely a little bit lost, both mentally and physically, Sarah then tries to placate him as best she can. It doesn’t take long though for Paul to play his hand and bare his teeth as he ramps up the tension and lets slip that he’s picked his timing perfectly after having Sarah under surveillance for quite some time. So, following in the footsteps of a plethora of home invasion movies from Straw Dogs (1971), to Funny Games (1997), to Us (2019), Sarah has to figure out how to deal with the situation while simultaneously trying to keep her and her family safe. With only fifteen minutes for the entire scenario to play out she doesn’t have long and in the end it’s O’Loughlin’s canny writing which saves the day, along with some really strong performances from the two leads. O’Loughlin’s direction is solid and sure, moving with and facing the characters as and when the focus is needed, while the cinematography from Dan Keane keeps plenty of light in the frame as the darkness creeps in through their movements and expressions. The sound design and minimal score from Die Hexen works well with the scenario but it’s really Eanna Hardwicke’s performance as Paul which sells Lamb to the audience. There’s nary a foot put wrong throughout the entire runtime save for maybe some baby cries which obviously don’t match with the infant on screen. There’s a lot to recommend Lamb to the viewer with all technical aspects handled well, but sadly there’s not an awful lot to stand it apart either. At fifteen minutes the plot remains fairly basic and the seasoned audience member will already know the familiar feeling of tension from other, similar films. The story goes almost exactly where you expect it to with the dialogue taking a familiar route towards the denouement, just tweaked here and there to offer an Irish lilt. While Lamb is definitely strong in what it does, it does what it does and doesn’t go any further than that. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >