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Bottoms film review by UK film critic Hope Madden. Starring Rachel Sennott, Ayo Edebiri directed by Emma Seligman. HOME | FILMS | REVIEWS Bottoms Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Aug 31, 2023 Directed by: Emma Seligman Written by: Emma Seligman, Rachel Sennott Starring: Rachel Sennott, Ayo Edebiri Bottoms essentially follows a traditional teen comedy path, from the first day of senior year (with the high expectations of finally turning your popularity and romantic luck around) through that fraught homecoming football game. Our underdogs hatch a scheme to win the affections of the hot cheerleaders. But if you saw co-writer/director Emma Seligman and co-writer/star Rachel Sennott’s uncomfortably brilliant 2020 comedy Shiva Baby , you have some idea of what you’re in for. Expect a chaotic, boundary pushing satire unafraid to offend. PJ (Sennott) and Josie (Ayo Edebiri, so funny earlier this summer in Theater Camp ) are their high school’s ugly, untalented gays. PJ is always scheming to get some cooch, and this will be their year. Her idea? Start a fight club for the girls in the school. Or, you know, a self-defense club. Where you wrestle around and hit and get excited and sweaty and close. Josie is not down with this, but PJ usually gets her way and the next thing you know –well, you saw Fight Club, right? Because those men were only convincing themselves they were being pushed around, bullied and disempowered. Part John Hughes, part Jennifer Reeder, part Chuck Palahniuk, Bottoms exists in a bizarre world of deadpan absurdism so littered with smart, biting commentary that you’ll need to see it twice to catch all of it. Sennott and Edebiri are as fun a set of besties as Beanie Feldstein and Kaitlyn Dever in Booksmart . Maybe even as fun as Beanie Feldstein and Saiorse Ronan in Lady Bird . Nicholas Galitzine is a riot as the quarterback, Jeff, and Ruby Cruz delivers as the one earnest lesbian hoping to empower and create solidarity with this club. Seligman’s tone, her image of high school and high school movies, is wildly, irreverently funny and fearless. It’s hilarious, raunchy, and so much fun. About the Film Critic Hope Madden Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

Perpetua film review by UK film critic Patrick Foley. Starring Sangeetha Gowda, Vicki Gard, Jasmine Cavanough directed by Marshall Weishuai Yuan. HOME | FILMS | REVIEWS Perpetua Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Aug 26, 2021 Directed by: Marshall Weishuai Yuan Written by: Marshall Weishuai Yuan Starring: Sangeetha Gowda, Vicki Gard, Jasmine Cavanough The perils of social media obsession are explored in Marshall Weishuai Yuan’s Perpetua, a short film which explores the cyclical nature of online validation through the experience of an aspiring young model. Arya (Sangeetha Gowda) spends her evenings perfecting her online profile in an attempt to further ambitions of fame and fortune. Her small following gets her noticed by prestigious photographer Rich (Firdaws Adelpour), but her mother Sandra (Vicki Gard) is concerned why she has seemingly been selected at random. Arya excitedly ignores her warnings, but discovers that the online fashion world has a dark side. Perpetua is an intriguing short film which addresses contemporary challenges young women face in the modern modelling industry, and the deceptive ways in which filters, lighting and camera angles distort reality and trigger feelings of inadequacy. The film aims at the dual targets of predatory power brokers, as well as society’s inability to combat our tendency to judge ourselves against a perfect, unrealistic ideal. In only 14 minutes, the film effectively demonstrates the dangers of both, with a straightforward yet foreboding and authentic story. The film has some rough edges which drag the overall quality down, such as unimaginative camerawork and clunky, awkward dialogue at times. Scenes between Arya and her mother grind the pace of the film to a halt and the relationship between the two is not established satisfactorily. The film does pick up in the modelling studio, where subtle clues to Rich’s nature are sprinkled throughout until his disturbing behaviour is revealed to the viewer. It is an excellent demonstration of how predatory figures are able to evade the consequences of their actions, and a necessary warning in a post-‘Me Too’ world. Arya’s antagonistic interactions with experienced model Nancy (Jasmine Cavanough) are another excellent demonstration of the toxicity of the industry. Sangeetha Gowda’s performance as Arya is strong throughout – with her building sense of discomfort in the studio and crushing sorrow once she realises the consequences of the deception both heart-breaking and disturbing. Her initial naivety and determination to follow through on her dream set up her tragic exploitation – and allow viewers to understand that even outwardly confident people can have their insecurities taken advantage of. Firdaws Adelpour similarly shines as the slimy Rich – an initially warm and inviting figure who takes advantage of industrial power and natural charisma to blur the lines of abuse with girls he works with. Adelpour’s layered display prevents the character becoming a caricature, and demonstrates the complexities which allow such figures to avoid punishment so often. The film’s ambiguous ending will leave some viewer’s downbeat; however, the cyclical nature of the film is crucial for the key theme – that being the need to break the never-ending feedback loop which coerces young girls to aspire for a perfection which they are constantly bombarded with, but is totally illusionary. There is a hint that Arya’s method of regaining some of her independence could be the key for this, and this interpretation of the film’s finale does offer some semblance of a happy ending. But beyond this, the film is a scathing criticism, and important warning, of the dangers of an industry - and a society - that has failed to challenge serious problems. With this short, Yuan highlights this in an engaging and informative fashion. About the Film Critic Patrick Foley Short Film, Indie Feature Film < All Reviews Next Film Review >

The Electrical Life of Louis Wain film review by UK film critic Hope Madden. Starring Benedict Cumberbatch, Claire Foy, Andrea Riseborough, Toby Jones directed by Will Sharpe. HOME | FILMS | REVIEWS The Electrical Life of Louis Wain Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 21, 2021 Directed by: Will Sharpe Written by: Simon Stephenson, Will Sharpe Starring: Benedict Cumberbatch, Claire Foy, Andrea Riseborough, Toby Jones Did you know that there was a time, at least in England, when cats were not a popular house pet? And it wasn’t really that long ago. How weird is that? Not weird enough to stand out in the highly unusual and very endearing film The Electrical Life of Louis Wain . The ever-reliable Benedict Cumberbatch plays Wain, artist whose drawings of adorably anthropomorphized cats took Victorian England, and then the world, by storm. Will Sharpe’s biopic looks to introduce us to the eccentric, charming, and ultimately tragic world of this friend of the feline. Sharpe’s film is a swirl of color and energy led onward by the droll musings of narrator Olivia Colman, who gets all the best lines. (“Aside from its bizarre social prejudices and the fact that everything stank of shit, Victorian England was also a land of innovation and scientific discovery.”) As Wain’s life unravels before us, wonderful actors populate the screen: Toby Jones as the publisher who sees great, if unusual, things in Wain; Claire Foy as the governess-turned-wife whose love would bring Wain joy and scandal; Andrea Riseborough, as the eldest sister far better suited to the world of business and awfully frustrated with her unsuitable brother. At the center of everything is Cumberbatch, more than up to the challenge of creating a lovable outsider, a man so full of something wonderful and so destined to be eaten alive. Sharpe has trouble with that balance, even if Cumberbatch does not. While Wain’s talent brought joy to many across the world, his gullible nature, wild lack of business savvy and likely mental illness made him an easy mark in a callous world. Sharpe, who co-wrote the script with Simon Stephenson, has a difficult time conveying the madness that would be Wain’s undoing. He keeps us at arm’s length from Wain, even as Cumberbatch repeatedly invites in. The actor and performance are wonderful, outdone only by an underused Riseborough as the one character even more shackled by the realities of the world. But Sharpe’s vision is not sharp enough, and he ties up Wain’s frantic and messy life with far too much tidiness, a cinematic shortcut that doesn’t suit the film or the subject. Too much effort goes into wrestling Wain’s madness into a coherent, cinema-friendly plotline and it feels like the artist is being cheated once again. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Mr Burton film review by UK film critic Chris Olson. Starring Toby Jones, Harry Lawtey directed by Marc Evans. HOME | FILMS | REVIEWS Mr Burton Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 3, 2025 Directed by: Marc Evans Written by: Tom Bullough, Josh Hyams Starring: Toby Jones, Harry Lawtey An enigmatic Toby Jones and revelatory Harry Lawtey head up this enchanting biopic of an actor once coined "the natural successor to Olivier" by critic Kenneth Tynan. Set in 1942 in Port Talbot, Mr Burton navigates the story of Richard Burton CBE - Wales’ greatest star. We meet a young Rich (Lawtey) in typically humble beginnings. The son of a drunken miner, Rich lives with his doting sister (Aimee-Ffion Edwards) and her curmudgeonly husband (Aneurin Barnard), the latter of whom is desperate for Rich to either pay his way or move out. Finding inspiration and solace through the firm but fair teacher, Mr Burton (Jones), Rich quickly finds his life’s calling of becoming an actor. The Master and the Student formula works well here, not least because it’s based on a true story. Audiences will feel in familiar territory as we see the heartwarming arc of a cold yet clearly caring teacher embrace the talented yet tragic teen, nurturting him to become not just a world-famous actor but also to feel loved by someone. Whilst there are pacing issues with the film, Mr Burton has a rich and sumptuous atmosphere that beautifully captures these fascinating characters and the difficult times they lived in. Not only do they have the hardships of wartime Wales to deal with, but notes of speculation about orientation and scandalous living arrangements also play out, giving the movie a powerful subplot. It is Rich’s social disconnect that is the film’s most powerful theme; however, he wants to become an actor, play different people, and is happy to change the sound of his voice, the clothes he wears - he doesn’t feel connected to his identity. His palpable fear that no one wants him becomes cemented in a brilliant scene where Mr Burton meets Rich’s biological father (Steffan Rhodri) regarding a name change. The mise en scene is sublime, beautifully recreating the time period, as well as the enchanting music, which adds to the classical depth being explored in the film’s obvious passion for theatre, acting, and indeed Wales. The payoff is well worth the journey, if only to spend time with fantastic actors paying homage to another fantastic actor. MR BURTON WILL SCREEN ON 10 NOVEMBER 2025 AT 8PM ON BBC ONE About the Film Critic Chris Olson Digital / DVD Release < All Reviews Next Film Review >

40 Acres film review by UK film critic Hope Madden. Starring Danielle Deadwyler, Michael Greyeyes, Kataem O'Connor directed by R.T. Thorne. HOME | FILMS | REVIEWS 40 Acres Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 30, 2025 Directed by: R.T. Thorne Written by: R.T. Thorne, Glenn Taylor, Lora Campbell Starring: Danielle Deadwyler, Michael Greyeyes, Kataem O'Connor At one time, a lot of people were promised 40 acres and a mule. It was a lie. But Hailey Freeman’s ancestor had freed himself, left his family behind, and walked to Canada to make his own promises. Generations later, Hailey (Danielle Deadwyler, a force of nature) will be damned if the apocalypse, wandering cannibals, or a teenage boy’s hormonal behavior is going to jeopardize that farm. Co-writer/director R.T. Thorne’s post-apocalyptic horror/thriller feature debut 40 Acres benefits early and often from inspired framing, gorgeous shot making, and one remarkable performance. Indeed, Deadwyler is so good that sometimes the cast around her can’t keep up. She’s the matriarch of the Freeman farm and she’s a hard woman. She has to be, but the land is providing for the family, and the family is protecting it from those outside the electric fence and barbed wire who might want to come inside. The bigger problem might be Hailey’s oldest, Manny (Kataem O’Connor), whose restlessness and desires put the family at risk. Thorne uses flashbacks sparingly, which gives them some weight. Wisely, these serve less to explain the apocalypse than to hint at relationships and character, because, naturally, the real story here is not the flesh eaters moving from farm to farm, but the strains of coming of age within this pressure cooker. Many films—horror movies, in particular—rely on terrible decision making to move the plot forward. 40 Acres weakens as it moves from Act 2 to Act 3 with wildly bad character choices. But something has to trip this family up so Thorne can show off remarkable instincts for action cinematography, as well as his lead’s range. Yes, we know Danielle Deadwyler—snubbed by Oscar for her searing performances in The Piano Lesson (2024) and Till (2022)—is a magnificent actor. One of the best working today. But you might not realize (unless you’ve seen her fantastic 2019 thriller Devi to Pay ) that she’s also quite at home in genre films. The degree to which she brings authenticity to her role as an Army veteran annihilating redneck cannibals with machetes is breathtaking. Michael Greyeyes (Wild Indian , Blood Quantum ) delivers needed warmth and humor, and he and Deadwyler share a touching chemistry. A full slate of nasty marauders impresses, especially veteran genre actor Patrick Garrow. The writing periodically drags 40 Acres backwards, particularly the budding romance and related choices. But for thrills-aplenty action with something on its mind, you could do worse than this. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Create or Die film review by UK film critic Patrick Foley. Starring David Axe, Mike Amason, Aaron Blomberg directed by Sarah Massey. HOME | FILMS | REVIEWS Create or Die Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Feb 26, 2024 Directed by: Sarah Massey Written by: Sarah Massey Starring: David Axe, Mike Amason, Aaron Blomberg A low-budget indie documentary about low-budget indie filmmaking – it’s indie-ception with Sarah Massey’s Create or Die, a heartfelt and heart-filled documentary featuring filmmaker David Axe – a cinema romantic who believes in the importance of creativity in the face of adversity as he strives to realise his visions despite the limits put upon him. Across its 68 minutes, the film features contributions from Axe himself as well his cast and crew as they bring to life his passion project ‘Acorn’ in the Georgia backwoods. They discuss the process of low-budget filmmaking as well as their motivations for pursuing what feels like a thankless endeavour – knowing the hours and money they commit may lead to little recognition. But through these testimonies, the brilliance and necessity of the indie space is evident. Create or Die is both a character study of its subject David Axe and a look behind the scenes at the world of independent filmmaking. Axe is positioned as the indie world’s equivalent of Uwe Boll or Ed Wood – albeit with considerably more self-awareness. He knows his films are no good and accepts it. But his drive and love for the art of filmmaking pushes him during the production of Acorn, a film about a director desperate to make a great movie before their death (psychiatrists must have cartoon dollar signs in their eyes). Despite his avowed lack of ability behind the camera, in front of it Axe makes for a genuinely motivational and inspirational figure, with unrepentant and insightful commentary on the indie scene and process. His cast and crew similarly exude passion for their work, with commitment evident through their own interviews. The multi-faceted angles the audience receives from the crew is where the film begins to engage on the actual process of low-budget filmmaking. Combined with Axe’s experience as director, his technical crew and acting talent give their own stories and detail how they came to work on their films. Particularly moving is actress Morgan Shaley Renew’s experiences that echo those of her character’s, as strong evidence as any that there is as much passion in tiny projects as there is in larger ones. There is ultimately a limit to the analysis, and the film’s purpose is to celebrate passion and commitment as opposed to a close examination of filmmaking. Massey’s close ties to Axe from previous projects mean this was never going to be an interrogation, but the film’s sympathy to Axe, his crew and their combined dreams never feel unearned or unwarranted. Yet even despite his self-deprecative nature, there is some genuinely good advice on display – such as not straining your resources to outperform a budget. Axe may not be a critical darling, but his experience is still valuable. To realise a film in spite of scant budgets, critical revulsion and pandemics requires uncanny perseverance and heart – regardless of the quality of the final product. Create or Die captures this sense impressively – and is a worthy acknowledgment of the passion of David Axe and his team, even if it is in itself better than anything they have ever produced. Hopefully director Sarah Massey is not quite so modest about her own work – because it is a genuinely excellent example of what one can do with a vision and a camera. About the Film Critic Patrick Foley Digital / DVD Release, Documentary < All Reviews Next Film Review >

To The Moon film review by UK film critic Jason Knight. Starring Gaith Saleh, Ali Saleh, Duggal Ram, Leah Baskaran directed by Adil Ladha. HOME | FILMS | REVIEWS To The Moon Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 24, 2021 Directed by: Adil Ladha Written by: Adil Ladha Starring: Gaith Saleh, Ali Saleh, Duggal Ram, Leah Baskaran A young boy who dreams of going to the moon uses his imagination in order to escape from his unstable household. The story of this short film takes place on the 20th of July 1969, which was the day American astronauts Neil Armstrong and Buzz Aldrin became the first people ever to land on the Moon. Nish is a little boy sitting outside his home, wearing a handmade astronaut helmet and listening to the mission taking place through a radio. He then goes home, where his father ignores him and his brother. The boy then proceeds to watch the spectacular events on television and when an argument begins between his parents, he enters his fantasy world, where he imagines that he is an astronaut who is landing on the Moon. The film was made in a way that sees the world through the eyes of the child and the narrative contains drama and things get quite upsetting when the couple argue. The atmosphere suddenly changes when the boy abandons the real world and switches to his fantasy. The fantasy section is arguably the best part of the film thanks to all the elements present. The child imagines that he is inside a spaceship, travelling through space and the mise-en-scene consists of a spaceship and controls that are made out of cardboard and a miniature Earth. All these look like they were made by children. The use of lighting is rather creative during this scene and the shaky camera gives the impression that the cardboard spaceship is actually moving. The imagination scene is quite a mesmerising and enjoyable ride. The radio and television in the film give the impression that they were made during the sixties. The performances are good. Gaith is convincing as a boy filled with enthusiasm and imagination about the wonders of travelling through space. Ram is the strict and serious father and Baskaran is the mother who is kind and gentle to her two sons. The voice of the radio presenter covering the space event is heard almost throughout the entire film and the music by Jodie Grayer is beautiful, emotional and dramatic and during the dream part it sounds rather adventurous. To The Moon is an interesting and admirable achievement that looks into the life of a young boy and explores his dreams. It also pays homage to the 1969 Moon Landing and encourages people to follow their goals. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Ticket to Paradise film review by UK film critic Brian Penn. Starring George Clooney, Julia Roberts directed by Ol Parker. HOME | FILMS | REVIEWS Ticket to Paradise Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Sep 25, 2022 Directed by: Ol Parker Written by: Ol Parker, Daniel Pipski Starring: George Clooney, Julia Roberts Rom-com movies stir many different emotions for those who care to watch them. Fans of the genre love stories that tug at the heart strings and expose their more sensitive side. The best ones make us laugh, cry and then smile as the customary happy ending is served with a generous helping of sentiment. The warm glow of satisfaction is all we need for the full thumbs up. This new film by Ol Parker just about nails it but owes much to the star power of the leads. Lily Cotton (Kaitlyn Dever) has just finished law school but is dreading graduation day as her divorced parents are seated next to each other. David (George Clooney) is a successful architect whilst Georgia (Julia Roberts) is an art dealer of some renown. They trade insults and go their separate ways, much to the relief of Lily who jets off to Bali before starting work at a Chicago law firm. However, the estranged couple join forces when they realise Lily has not only fallen in love with Bali but also the local seaweed farmer Gede (Maxime Bouttier). Georgia is determined Lily should not make the same mistake she made 25 years previously. David grudgingly agrees as they land in Bali for the wedding. However, the experience makes them re-evaluate their own relationship as Lily's nuptials approach. Ol Parker directed ‘Mama Mia! here we go again’ and has applied the same principle here. Grab some A-listers and take them to a spectacular location. In this case it's Australia's Gold Coast convincingly standing in for Bali. There's no question the formula works but relies on the obvious chemistry between Clooney and Roberts. They are a charming combination and rapidly assuming a mantle once held by Cary Grant and Katherine Hepburn. Take them out of this film and we are left with just the location and a mediocre script. The plotline relies on a tried and trusted rom-com device; the divorced couple who seemingly hate each other but deep down inside are still madly in love. Lily is a reminder of the one thing they got right and find solace in a shared history. There's something predictable but also very comforting about ‘Ticket to Paradise’. It finishes on a high with a few laughs along the way thanks to George and Julia. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Wonka film review by UK film critic Brian Penn. Starring Timothée Chalamet, Olivia Colman, Calah Lane directed by Paul King. HOME | FILMS | REVIEWS Wonka Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jan 13, 2024 Directed by: Paul King Written by: Simon Farnaby, Paul King, Roald Dahl Starring: Timothée Chalamet, Olivia Colman, Calah Lane In the distant realms of childhood it’s a fair bet that Roald Dahl featured in the literary choices made by most. A magical mix of imagination and youthful humour would easily put him on reading lists. This latest iteration of the kids’ classic doesn’t disappoint with a beautifully packaged combination of music and special effects. Director Paul King cut his teeth on Paddington and producer David Heyman has Harry Potter among his many credits. It’s therefore safe to say the story is in very safe hands. Willy Wonka (Timothée Chalamet) arrives in town with dreams of becoming a chocolatier. He has an eye on the shop he’d like to buy but decides to rest at the sanctuary run by Mrs Scrubitt (Olivia Colman). Noodle (Calah Lane) warns him not to sign anything. However he signs a contract that condemns him to a life of drudgery and debt. In a dark and grimy laundry Willy toils with Noodle and Abacus Crunch (Jim Carter). With the help of his new friends he secretly weaves a magical recipe that quickly alerts the local cartel of chocolatiers. The cartel led by Slugworth (Paterson Joseph) is determined to stop him and enlist the help of the local constabulary. If that isn’t enough he is dogged by a troublesome Oompa Loompa (Hugh Grant) regarding the small matter of some stolen cocoa beans. There’s no doubting the brilliance of a film that takes on board everything modern technology can offer. Hugh Grant’s delightful cameo as an Oompa Loompa is a marvel of computer generated imagery. The design is drawn from a vivid colour box that blends perfectly with a luxurious soundtrack. There are new songs written for the film by Neil Hannon from the Divine Comedy. He adds a characteristic dose of whimsy especially on ‘A World of Your Own’. However, it doesn’t quite reach the melodic precision of ‘Pure Imagination’ a song from the 1971 film. As an ensemble piece it works superbly with a bright cast that obviously revelled in the experience. Timothée Chalamet brings a vital charm and sense of mischief to the title role, whilst Olivia Colman is great fun as the evil Mrs Scrubitt. Some may find Wonka overly bland and loaded with sickly sweet sentiment. It is a children’s fantasy but there’s no reason why it shouldn’t appeal across the board. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Goddess, Garbage & Gerwalt film review by UK film critic Joe Beck. Starring Aleksandra Corovic directed by Aristotelis Chaitidis, Alkistis Kafetzi. HOME | FILMS | REVIEWS Goddess, Garbage & Gerwalt Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Nov 24, 2023 Directed by: Aristotelis Chaitidis, Alkistis Kafetzi Written by: Aristotelis Chaitidis Starring: Aleksandra Corovic The idea that humans have screwed up the planet is nothing new, and it’s certainly not a new idea to bring to cinema, perhaps expressed in the biggest, if not the best, way through Adam McKay’s 2021 comedy ‘Don’t Look Up’. Whilst ‘Goddess, Garbage & Gerwalt’ doesn’t have an angry Jennifer Lawrence or a hyperventilating Leonardo DiCaprio, it does have a similar message of morbidity surrounding the future of our planet, only this short creates a strangely frustrating aura, an almost cult like trance in order to convey what is actually a very straightforward metaphor. The message of the film, which is directed by Aristotelis Chaitidis and Alkistis Kafetzi, is a relatively straightforward one, expressing how far humanity have strayed from nature and the way in which, if inclined to have faith, the world was created. It’s a story of how mankind’s pollution, technology and industrialisation have caused irreversible damage to natural landscapes and wildlife, leading to the extinction of numerous species of both plants and animals alike. The issue is that such a straightforward concept and message is conveyed in a manner that overcomplicates its idea to the extent that the broader themes no longer even seem relevant, and it instead comes across as pretentious. A German film, written by Aristotelis Chaitidis, who also stars as a lone, headphone wearing figure, who is more than slightly crazy and is emblematic of mankind’s ignorance towards the damage cause, ‘Goddess, Garbage & Gerwalt begins in darkness with a mystical voiceover narration, which continues throughout. It is the voice of Aleksandra Corovic, who appears moments later as the titular Goddess (from which we can infer that Chaitidis plays Gerwalt). Following a long aerial shot of the field in which she has crashed to earth, she emerges from a pile of garbage, not too dissimilar from the ideas of shooting stars themselves as celestial garbage. From there, the film is devoted to following this goddess, this fallen star as she comes to terms with the destruction wreaked upon earth by mankind, as she wanders around this desolate field, with dead or dying vegetation, and the only sound that of the wind turbines which dwarf even her. Mankind has gone too far, technology has become too great, greater than even a higher power, and it provides a stark difference to the nature now rotting at its feet. The film concludes that the inability to escape our shortcomings despite meaning well, is simply human nature, and therefore, we as humans, though the cause of climate change and natural destruction, are compelled by our own nature and thus powerless to stop it. Chaitidis writes the dialogue better than the overall story, though he and Kafetzi direct the film in a stiff manner, coming across as robotic, and lacking the authenticity or character that is really needed to enrapture an audience. Neither actor is given much to work with, instead forced to look glumly into the camera or out across the rotting land around them, rather than handed any real opportunity to give a dramatic turn. Whilst not a bad film per se, ‘Goddess, Garbage & Gerwalt’ is at times a tedious watch, mishandling and overcomplicating its straightforward ideas so that they become too convoluted, and creating a strange cultish serenity that never truly feels right. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Damned film review by UK film critic Chris Buick. Starring Odessa Young, Joe Cole, Rory Kinnear, Siobhan Finneran, Francis Magee directed by Thordur Palsson. HOME | FILMS | REVIEWS The Damned Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Dec 31, 2024 Directed by: Thordur Palsson Written by: Thordur Palsson, Jamie Hannigan Starring: Odessa Young, Joe Cole, Rory Kinnear, Siobhan Finneran, Francis Magee Eva (played wonderfully by a near-impeccable Odessa Young), is a 19th century-widow who, following the tragic death of her husband some years prior, now finds herself in charge of a fishing vessel and its crew of men as they work an especially harsh winter in an isolated and unforgiving Icelandic landscape. A sufficiently bleak and despairing setup already in its own right, but with The Damned , writer/director Thordur Palsson then proceeds to torment us (in a good way) with a folklore horror that relentlessly builds up genuine dread, tension and discomfort from start to finish. Already facing the harshest of elements and coming to terms with the possibility that they might not make it through the winter, Eva and her crew spot another shipwrecked just off the coast near their station. Now, Eva is faced with an impossible choice; save the survivors or abandon them to ensure the survival of her men. That choice sets the tone for what becomes a harrowing tale of guilt and consequence, and their power to corrupt the human mind. It’s at this early moment of the film where Palsson’s and the film's path is set, slowly tightening itself around the viewer without ever once letting up that feeling of unease, hitting its big moments at the right times all of which are elevated by Stephen McKeon’s chilling soundtrack. The perfect Icelandic setting, as utterly stunning as it is unforgivingly brutal, itself needs mention here as an essential character doing as much heavy lifting for this film as anything else to really sell that feeling of sheer isolation. Most should agree and feel everything the film intends, but how much each viewer ultimately gets from The Damned by not just how it proceeds from there but indeed culminates could vary. It’s a slow-paced film for sure, not glacial thankfully but definitely takes its time stepping forward, which most should also agree is its strength rather than its flaw. It earns its payoffs in the scarier moments through that hard work and patience, rather than relying upon a relentless barrage of diminishing returns. Where it could ultimately be most divisive however is in its ending. It isn’t one that doesn’t satisfy necessarily, but rather leaves you with more questions than it really answers, so while the overall ride over the film's almost ninety-minute runtime is stellar, the final landing seems a bit shaky. The ending does however, play fantastically well with the film’s overall themes of guilt and superstition, all of it is driven and truly put across by a fantastic cast. Stalwart performers such Siobhan Finneran and Francis Magee deliver at every turn, as does of course Rory Kinnear’s (Game of Thrones) brief but substantial appearance as the crew’s helmsmen, another fine entry by the always entertaining actor. But it’s Joe Cole’s (Peaky Blinders, Gangs of London) and Odessa Young’s (The Staircase, The Stand) that steal the show, Cole’s affectionate and caring second-in-command who hope clings to shines, but it’s Young, who really has the whole weight of the film on her shoulders, has to and succeeds with aplomb in driving the emotion and trauma of the film in a performance so captivating you can’t not watch her. As far as directorial debuts go, Palsson probably couldn’t ask for better, and for fans of the genre, The Damned is a must-see. About the Film Critic Chris Buick Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Dadu film review by UK film critic Patrick Foley. Starring Brian George, Rishan Dhamija, Joyce Greenleaf directed by Raghav Puri. HOME | FILMS | REVIEWS Dadu Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Feb 12, 2023 Directed by: Raghav Puri Written by: Raghav Puri Starring: Brian George, Rishan Dhamija, Joyce Greenleaf A bittersweet but uplifting short from director Raghav Puri, Dadu tells a character-driven unlikely love story with authenticity and sweetness without schmaltz or melodrama. Daman (Rishan Dhamija) lives with his Dadu (Brian George) who suffers from memory loss. Facing constant resistance from his grandson, Dadu sneaks out one day to walk in the park, and has a chance encounter with dog-walker Rita (Joyce Greenleaf). The pair bond, and an unlikely romantic pairing begins to spark. Dadu finds a new enthusiasm for life, but Daman worries whether the pairing is all it seems to be. Packing emotional punches aplenty and a ton of character across its impressive cast, Dadu is a fine short focusing on family, love, loss and finding meaning from heartbreak. Raghav Puri brilliantly portrays a loving but strained relationship between Daman and Dadu, in which neither experience true fulfilment or joy. Dadu’s rebellious nature leading him to a new lease of life demonstrates the film’s message: that life is for living and outgoingness is a path to happiness – a lesson both grandfather and grandson need to be taught. Dadu’s chance encounter with Rita reverberates through multiple lives – changing all of them for the better – and all starts with Dadu’s key decision to find connection rather than stay couped up at home. Daman’s fear for his grandfather is understandable – but it’s not until he embraces Dadu’s new romance himself that their relationship starts to find further meaning. It’s fine storytelling – that web multiple characters and throughlines together in short order. Brian George gives a wonderful performance in the leading role, walking a tightrope of vulnerability and grumpiness to portray Dadu’s pride whilst validating Daman’s fears about his safety as his memory begins to fail. His softening upon meeting Rita is central to convincing viewers of the film’s story, as it is his change in character which sets in motion multiple character changes across the rest of the film’s cast. Rishan Dhamija is similarly strong as grandson Daman, whose fears for his father never come across as malicious. The film is vibrant and bright giving a sense of a late setting summer sun so strongly that audiences will practically feel the warmth on their face. The director has a wonderful grasp of the story through the visuals, following Dadu erratically as he stubbornly paces through his house as he is about to venture out against his grandson’s wishes – before framing the camera statically upon meeting Rita as he finds a place in the world he wishes to settle and remain. It’s this type of command of the storytelling that demonstrates Puri’s belief and personal stake in the film’s success – and it’s a success that is genuine, heart-wrenching and earned. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film, World Cinema < All Reviews Next Film Review >