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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 >

Bird of Paradise film review by UK film critic Joe Beck. Starring Neda Davarpanah, Jeffery Thomas Johnson, Brian Ronan Murphy, McKensie Lane directed by Reza Amidi . HOME | FILMS | REVIEWS Bird of Paradise Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: May 30, 2024 Directed by: Reza Amidi Written by: Reza Amidi Starring: Neda Davarpanah, Jeffery Thomas Johnson, Brian Ronan Murphy, McKensie Lane To many people around the world Los Angeles is the pinnacle of arts and entertainment. Reaching it is like making your way to the summit of Everest for artists in industries ranging from film, music, television, and art. It’s the City of Angels for a reason, where a miraculous big break could be just around the corner, with the fame and millions that might come with it. It’s also the City of Broken Dreams, where for every star that is born, another five people have their aspirations crushed, and are forced, reluctantly into a life they never wanted. ‘Bird of Paradise’ has its protagonist caught between the two, and after a slow start, becomes a tense and unnerving thriller. Reza Amidi’s film attempts to navigate the commentary on the shallowness of Los Angeles and the lifestyle often associated with it, alongside the mystery and thriller elements necessary to keep the story engaging. The commentary is far from tactful, and often heavy handed in it’s approach with regards to the struggles of trying to make the initial breakthrough, and then in the sinister backroom dealings that run Hollywood, which have their shadiness amped up to the max. This gives us a series of characters that are full of tropes - the dodgy talent rep, the stuck up producer, the uncaring agent - making the film seem less and less believable, which is fine for a straight thriller, but bad for a thriller that wants to depict the Hollywood system and its murkiness. The film immediately establishes its thriller elements by opening with the abduction at gunpoint of Sasha (McKensie Lane), the wife of bad comedian, and by all accounts even worse husband, Bobby Garrison (Brian Ronan Murphy). We are then thrust into the life of aspiring actor Kat (Neda Davarpanah), and her struggles to get her career off the ground when she is suddenly presented with the opportunity of a lifetime by talent rep Dominic Dunaway (Jeffery Thomas Johnson) - a supporting role in a studio film called ‘Bird of Paradise’. Kat wants to be an actress but is far from ready from the pressures that fame, celebrity, and working at the height of the film industry in Hollywood, and begins suffering a series of breakdowns, which only heighten her anxiety surrounding the disappearance of Sasha, who had previously been cast in her role. She fears deeply for her safety, and with her world turned upside down begins seeing things and having mysterious dreams, as she becomes more and more involved in the mystery behind Sasha’s disappearance and murder. Reza Amidi directs the film well, particularly in terms of building suspense and tension as the film develops, and in establishing an unnerving sense around so many otherwise ordinary interactions, and a horror film with his directing would almost certainly be an exciting watch. However, the script, also by Amidi, is lacklustre, particularly in regards to dialogue which is often one-note and devoid of any subtext, which doesn’t help the actors, whose performances lack note, and never particularly endear themselves or their characters to the audience. ‘Bird of Paradise’ thrives in building suspense and tension, however as a portrait of Hollywood and Los Angeles it feels shallow, whilst its screenplay detracts from the story, ultimately making the film feel altogether very surface-level. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

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 >

Parasocial film review by UK film critic James Learoyd. Starring Joseph Jeavons, Sam Teague, Jordan Mook directed by Joseph Jeavons. HOME | FILMS | REVIEWS Parasocial Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 22, 2025 Directed by: Joseph Jeavons Written by: Joseph Jeavons, Owen Swift, Bala Brown Starring: Joseph Jeavons, Sam Teague, Jordan Mook Parasocial is the second film by director Joseph Jeavons I’m discussing – the first being Wrists Tied – and I would argue that this is the superior of the two. As enjoyable and bonkers as Wrists Tied was, there’s a cleanness; a comic succinctness present in this one which is just outstanding. Parasocial is – and I kid you not – a laugh-a-minute comedy. This is an unashamedly dense movie, joke-wise, but it’s also not just the humour which makes this a great, low-budget short. Jeavons demonstrates a constant sense of play and chaos which really makes the whole cast feel endearing. This also lies in its structural ability to have each scene be a stimulus, or space for new jokes – as opposed to a scene meant to simply explain the plot. The film follows the character of Ricky (played by Jeavons): an innocent, easily manipulated young man who just wants to find a best friend in his roommate Dylan (Sam Teague). Dylan is a criminal investing in “illegal meats” (horse meat), stringing Ricky along for the money and the apartment. Eventually, Dylan involves Ricky in his escapades, leading to an amusing cop double-act getting involved, and an eventual shootout. Both central performances are big and fantastic and really make the movie. These performers understand comic timing; even if the jokes are simple and infantile, it still works because the viewer can clearly see how much fun they’re having. These films feature an extensive cast of performers, which is rather impressive for a no-budget work made by young people at the beginnings of their careers as filmmakers. Already they demonstrate such a willingness to collaborate with others, using film as it should be used in the early stages, a fun space in which to bounce ideas back and forth and come up with something wholly unique. Continuing with the theme of collaboration, I should also mention that Parasocial was written by three individuals: Joseph Jeavons, Owen Swift and Bala Brown. Some might argue that too many cooks spoil the broth, but quite frankly, I would say that doesn’t apply to comedy – particularly not in this instance. In the same way that Edgar Wright requires a little sprinkle of Simon Pegg to make his sensibility truly engaging, this script operates in a way that just gels together. You can tell that these jokes have been tested, for they land nicely, and with practice. For instance, one bit which is consistently funny involves Ricky turning to the camera – Malcolm in the Middle style – and saying something like “I wish Dylan was my best friend”. Dylan, of course, then hears what he says and reacts accordingly, as if Ricky’s gone mad. It’s a simple bit, and one concedes it’s been done before, but it’s great because of the rhythm, the editing, the sincerity of performance. Parasocial has a clear premise and a tight structure. Despite once again taking from the Bottle Rocket handbook of criminality = comedy, and to also endear us to the characters, this film in fact demonstrates that Jeavons has a unique vision and an artistic clarity. I’m excited to see more from these filmmakers. About the Film Critic James Learoyd Short Film < 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 >

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

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

Wicked Little Letters film review by UK film critic George Wolf. Starring Olivia Colman, Jessie Buckley, Timothy Spall directed by Thea Sharrock. HOME | FILMS | REVIEWS Wicked Little Letters Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 3, 2024 Directed by: Thea Sharrock Written by: Jonny Sweet Starring: Olivia Colman, Jessie Buckley, Timothy Spall Long before you could hide behind a keyboard and avatar, a small English village was scandalized by some expert-level anonymous trolling. Wicked Little Letters tells us that story is “more true than you’d think,” and rolls out a stellar ensemble to elevate the tale at nearly every turn. It is the 1920s in Littlehampton, England, where unmarried Edith Swan (Oscar winner Olivia Colman) still lives with her parents (Timothy Spall, Gemma Jones). Edith is known to be a dutiful daughter and devout Christian, so town tongues are wagging when she begins to receive hateful and profanity-laced “poison pen” letters in the mail. Who could be behind such unwarranted vitriol? Whaddya bet it’s that filthy Irishwoman Rose Gooding (Oscar nominee Jessie Buckley)? Rose is frequently loud, drunk and vulgar. Plus, she’s a war widow (or is she ?) with a young daughter (Alisha Weir from the upcoming Abigail ), a “reputation” and a live-in boyfriend (Malachi Kirby). Throw in the recent falling-out with Edith, and that’s enough for the town Constables (Hugh Skinner, Paul Chahidi), who arrest Rose and quickly schedule a show trial. But “Woman Police Officer” Moss (Anjana Vasan) isn’t convinced, and she risks her position by continuing to investigate the letters on her own. Director Thea Sharrock (Me Before You, The One and Only Ivan ) and first-time screenwriter Jonny Sweet don’t craft a “whodunnit” as much as they do a “whoproveit” and a “whydunnit.” The real culprit is revealed fairly early on, and the film tries to balance some British wit atop heavier themes of repression, equality, and the sanctimonious crowd who are all preach no practice. It’s historically interesting and well-meaning enough, but it reveals Sweet’s TV background through a light and obvious romp that’s rescued by heavyweight talent. Colman, Buckley and Spall are all customarily splendid, each making up for the lack of nuance in their characters with some livid-in conviction and natural chemistry. Plus, Vasan stands out in the winning supporting group as the overlooked and underestimated W.P.O. Moss. So while it’s lacking in the bite needed to leave a lasting impression, think of Wicked Little Letters as an extended cat video, one just amusing enough to take your mind off of all those nasty comments from the keyboard warriors. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Anora film review by UK film critic Matt Weiner. Starring Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov directed by Sean Baker. HOME | FILMS | REVIEWS Anora Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: Oct 31, 2024 Directed by: Sean Baker Written by: Sean Baker Starring: Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov Sean Baker doesn’t shy away from seamy subcultures, and the worthiness of people trying to get by outside of conformity. Yet it hasn’t been until his Palme d’Or winner Anora that he has found one group without any redeeming qualities. This shocking and depraved group of people is, in this case, the jet-setting global elite. Anora “Ani” Mikheeva (Mikey Madison) is no stranger to high rollers at her luxe Manhattan strip club. But there’s wealthy, and then there’s wealthy . When a party of Russians ask for a dancer who speaks their language, Ani becomes an object of desire to Ivan “Vanya” Zakharov (Mark Eydelshteyn, pitch perfect as a manic boychild whose naivete can turn on a dime from charming to something nearing sociopathic disinterest). Vanya has taken up residence in his Russian oligarch parents’ Brighton Beach mansion. He is in America to study, but spends his days playing video games and his nights partying into oblivion—anything to avoid being sent back to Russia to join the family business. His relationship with Ani quickly escalates, from sex work outside the club to becoming an exclusive escort to an impromptu Vegas marriage. This being a Baker fairytale, Ani’s whirlwind rags-to-riches marriage is only the beginning of her Cinderella story. What follows is a comically grotesque odyssey through the Russian-dominant Brighton Beach, as Vanya eludes his new bride and a superb supporting cast of family fixers and toughs sent to get the marriage annulled before more shame is brought on the Zakharov family. With the callow Vanya on the run, Baker instead focuses on the chaos and damage (both physical and emotional) left in his wake. And while this is a deserved star turn for Madison, who is electric and enthralling, she is just one of the victims of Vanya’s selfishness. She joins—or rather is dragooned into—the evening’s hunt for Vanya by a trio of Russian and Armenian strongmen, led by the beleaguered Orthodox priest Toros (Karren Karagulian, a Baker mainstay in his best role yet). For much of their night together, Baker pulls off a risky balance between outright comedy and what is, essentially, the kidnapping of a sex worker by three large, powerfully connected men. None of this would work without Baker’s characteristic empathy for everyone. And it certainly wouldn’t feel so easy-going were it not for the relationship between Ani and the silent strongman Igor, played by Yura Borisov with a standout turn that nearly rivals Madison’s. Baker’s most memorable characters are often wrestling with the American dream, and Baker himself seems like a Rorschach test for your own baggage: both pointed critic and secret optimist. Even at his most hopeful, though, there’s always a catch. Save the very few who can buy their way to hedonic bliss, carving your own real-life fairytale ending won’t look like it does in a Disney movie. About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Farewell Symphony film review by UK film critic Chris Olson. Starring Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou directed by Xiwen Miao. HOME | FILMS | REVIEWS Farewell Symphony Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 14, 2022 Directed by: Xiwen Miao Written by: Xiwen Miao Starring: Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou “Brave women always pay a higher price.” Having recently interviewed filmmaker Xiwen Miao , I jumped at the chance to watch (and review) one of her short films. Farewell Symphony is a sumptuous and aching portrayal of life’s journeys and the loyalties we have to face, and break, if we are to ever find happiness. Qunxi Wang plays the younger version of the lead role Yang Yang, a talented cellist whose family expects her to toe a life of preordained expectations. When she defies them and moves to New York to pursue her dream of playing music, we can see the sacrifice still troubling her decades later through the life of older Yang Yang (played by Joy Sung Kim). Farewell Symphony is full of beautifully short music sequences, such as younger Yang Yang furiously playing her cello after a disastrous dinner with her family, or the older version playing solo on a stage without an audience. These scenes are the true highlight of the short film, Miao seems completely capable of mesmerising her audience with a few simple ingredients. The scenes between the older Yang Yang and her partner Maria (played brilliantly by Anne Ruttencutter) are perhaps the most emotionally affecting. With Maria’s ailing health clearly provoking a multitude of buried hurts for our protagonist, it is their loving affection for each other that becomes a much-needed antidote to the cruel abandonment shown to younger Yang Yang by her parents (Yuebo Wang and Xiaolan Wang). But the crossroads that our lead finds herself in seems just as crushing as her one decades ago, whether to continue to pursue her musical career at the cost of leaving those closest to her. It’s a film that deftly touches upon expected gender roles and social conventions without ever needing to spell it out for the viewer. Yang Yang’s numerous dilemmas create instant empathy from an audience who will understand to varying degrees the expectations thrown on to them by their own family members. The migration that the central character takes is also key. The idea of uprooting one’s self to another country in order to pursue a dream is hard enough, let alone when her loved ones condemn her for it. This severed connection plays out particularly brilliantly with the Grandpa character, expertly played by Jianshe Zhou. Farewell Symphony is a subtle family drama with a rich musical tapestry that makes it engrossing for the audience throughout. There are a few bum notes along the way, such as some wooden dialogue being performed in the dinner scene but these are far and few between. Largely, Miao composes a generously engaging story and then delivers it spectacularly on the parallel stages of young life and older life. About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

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