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HOME | FILMS | REVIEWS Seagram Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 19, 2024 Directed by: Matthew Hornibrook Written by: Matthew Hornibrook, Tom Lowe Starring: Loki Pickering, Connor Wheaton, Paul Burt The writer-director Matthew Hornibrook along with his Co-writer Tom Lowe work with the action genre incorporating the romantic reason to construct a story where the male protagonist Seagram (Loki Pickering) takes revenge from Taylor (Connor Wheaton). The plot of the short film revolves around Seagram a modern- day gunslinger, who sets out to find the culprits who murdered his girlfriend and avenge her. Seagram begins with Taylor the villain narrating the story to the viewers sitting in the forest at night with fire lit around him. This is a smart move by the makers to increase the degree of audience engagement with content. The nonlinear pattern of Seagram helps the viewers interact with different characters as it moves to various subplots to add realism, relatability, and depth to this dark vengeance saga. The set design, the combination of black, white, blue, and red colours, lighting, sound, dialogues, costume, hair, makeup, and props are aptly designed to suit the genre as well as the theme of the movie. The fight sequences between York, Seagram, and Taylor are made interesting for the audience to watch by combining some of the hand combats and gunshots. In the performance department, Loki Pickering plays the titular role. Seagram suffers from heartbreak as he has lost the love of his life and wants to fight to get justice for her. Pickering portrays the right mix of emotions like anger, tears, love, and trauma giving an insight to the audience into Seagram’s plan to take revenge on Taylor and other people involved. Connor Wheaton plays Taylor the antagonist of the film who kills Seagram’s girlfriend for his selfish motive. The makers choosing Wheaton’s character to tell the tale provides the time for the audience to understand Taylor as well as other characters through his point of view and decide who to support in the climax. Wheaton utilises voice modulation, body language, facial expressions, and eyes as both a storyteller and a villain. Paul Burt plays York who is in Taylor’s team. Seagram tracks down his hiding place and defeats him to find out more about the man responsible for his girlfriend’s death. Burt’s character arc is constructed appropriately with long hair, and tattoos so that the viewers can relate to York as well as the plot point. Tony Bligh plays the role of the contact who leads Seagram first to York followed by the big fish Taylor. Though Bligh has very short screen time he helps the male protagonist fulfill his dramatic need. Seagram talks about always making the right choices in life because wrong choices tend to lead people into trouble leaving no alternatives of coming back seeking for any positive improvements that can make one’s future better for both self as well as the loved ones. The short film reiterates the importance of trust, love, and being respectful in any relationship because there can be several reasons to give up on each other but finding the strength within to stand by the person one is in love with no matter what the situation proves to be the real strength. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Coming to You Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Mar 19, 2024 Directed by: Gyuri Byun Written by: Gyuri Byun Starring: Eunae "Nabi" Jeong, Sunhwa "Vivian" Kang, Yejoon Joung, Hankyeol Lee Writer/director Gyuri Byun’s Coming to You is a monument to the love and support families can provide for their children even if it takes the older generation a minute to get there. The Korean documentary follows Hankyeol, a person who is gender-fluid, but pursuing a legal identification change from female to male. This requires the partnership of his mom, Nabi. (In Korea, up until 2019, this process required filling out 18 different legal documents—including parental approval regardless of the child’s age. So, even if you’re an adult in your 30s.) Sharing the spotlight is Yejoon, a gay man, and his mom, Vivian. Initially, Vivian thought Yejoon would be better off living abroad for the rest of his life rather than living in a homeland that lacks same-sex marriage rights. Right now Korea isn’t a super-friendly space for the LGBTQ+ community. But PFLAG (an international organization dedicated to support, education, and advocacy for LGBTQ+ people and their loved ones) and other groups are working to change that. Coming to You , a documentary years in the making, illustrates the challenges and struggles of parents in a conservative society when they find out their kid doesn’t fit society’s expectations for who they are and/or how they behave. A society that can be hostile and violent. Homophobic. Transphobic. A society where suicide is the leading cause of death of people aged 10-39 (BBC ). But, it’s not all struggle. There’s hope and joy here, too—changes in the legal system, evolving attitudes after challenging conversations, fierce love and devotion. Support. Allyship. Love. Centered on the mothers’ journeys to acceptance, the film could have benefitted from a deeper exploration of the children’s experiences. A few more interviews with them would have really strengthened the project. But the moms are raw and honest, flawed but trying. And the extent they are willing to listen, love, and change to support their kids is just beautiful. About the Film Critic Christie Robb Digital / DVD Release, LGBTQ+, World Cinema, Documentary < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Living As Leo Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Feb 6, 2024 Directed by: Cameron Lee Horace Written by: Cameron Lee Horace Starring: Joe Snape, Margaret Bunting, Jessica Hawkes, Helen Austin Leo (Snape) is an awkward teenager who finds it difficult to socialise and make friends. He lives at home with his Gran (Bunting) for reasons which remain unexplained, so we’ve got no idea what happened to his parents. We can probably assume that it was bad, though. Worried about Leo’s happiness and mental health, his gran gets him a new dog, and even though he can’t manage to think of a name to give it, Leo loves his new pal along with the company and friendship it provides. However, being the lonely, awkward teenager that he is, Leo also has other things on his mind and he has taken to watching his neighbour, Skylar (Hawkes) from out of his window with some binoculars. It is for reasons known only to himself as to why Leo would actually want anything to do with Skylar, as she is a completely toxic airhead whose main talent seems to be for bitching and putting people down. Still, Leo wants to put himself through the humiliation of actually asking Skylar out, so he goes for it the next day at the bus stop with excruciatingly foreseeable results. The fact that fellow toxic hosebeast, Lucy Loose Lips (Austin) is there to witness the whole fiasco only serves to make things worse. Just when things look about as bad as they’re going to get for Leo, something else happens which turns his whole world upside-down and he suddenly has a big decision to make which will affect his entire future. This all may sound like quite a lot to fit into a short film with a runtime of under five-minutes but really everything is introduced with a large set of kid gloves and gets passed over quite quickly, leaving writer/director Cameron Lee Horace with enough time to throw in a couple of stylish narrative segues along the way. Sadly these little diversions, such as when Leo breaks the fourth wall and starts talking to the camera for no reason at all, add nothing to the story or the overall feel of the film. Horace has also previously said that he was put off submitting Living As Leo to film festivals because of audio issues which weren’t up to the quality he expected, and this does come across during the film, although not enough to make that much of a difference to the viewing experience. There’s also the fact that Leo’s new dog pal is actually animated rather than real, and even though the cartoonishness isn’t badly done or jarring in any way, it is quite distracting when trying to get into the real life issues which Leo is facing. Whilst there may be something to be said for the highlighting of the trials and tribulations of adolescence there’s nothing here that hasn’t been said before and better elsewhere. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Concerto for Abigail Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 18, 2024 Directed by: Jan Miller Corran Written by: Jan Miller Corran Starring: Monica Young, Andrea Bogart, Christine Grantz Sheppard, Jetta Martin A musician struggles to keep her life in order as she gradually loses her hearing and starts a romantic relationship with a fan. Samantha (Young) is a successful and famous musician. However, she has recently found out that her hearing is deteriorating and in the near future she will lose it completely. Nevertheless, she is determined to remain strong and carry on with her life. She meets Abigail (Bogart), who is a big fan of hers and the two of them begin dating and become romantically involved. Samantha does not disclose her condition to Abigail, creating problems in their relationship and simultaneously, she has to deal with her manager, Katherine (Sheppard), who wants to expand Abigail's career, regardless of being aware of her issue. The plot of this feature drama bears similarities to the 2019 film Sound of Metal , about a drummer who loses his ability to hear. Unlike that film though, Concerto for Abigail is less heavy on drama, with the experience of slowly becoming deaf being less vivid and has a protagonist who has accepted her misfortune. The two main conflicts consist of Samantha keeping her problem a secret from her new partner and Katherine making things harder for her with her naive behaviour. Plenty of romance goes on and plenty of confrontations, along with moving moments. The film explores the challenges of losing one's hearing, such as Samantha being unaware that people are talking to her and the emotional impact her condition is having on her. More attention appears to be given to the significance of honesty and understanding in relationships and the importance of support to help someone get through hard times and to achieve their goals. Samantha makes a heroine that the viewer will most likely sympathise with. An accomplished musician who is facing never listening to music again, her passion, but faces it with bravery and dignity, continuing to enjoy life. Abigail, is a nurse and her fan, who also becomes her lover but is unable to understand what is troubling her. Katherine is a well-meaning person, who occasionally seems to unwillingly think selfishly. As this is a story about a musician, unsurprisingly music is often present and is a joy to listen to, whether when Samantha performs on stage with her two colleagues or when the non-diegetic score by Kanoa Wolfe-Doblin arrives with some beautiful and dramatic piano melodies. Visually, the film looks great thanks to Cameron Schmucker's cinematography and director Corran adds value with some wonderful aerial shots. This is a feature about a woman who is going through very challenging times. It is a heart-warming and inspiring story about romance, personal struggles, self-reflection and about being optimistic and strong in order to face life's challenges. About the Film Critic Jason Knight Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

HOME | FILMS | REVIEWS NADIA Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 18, 2024 Directed by: Teddy Nygh Written by: Alex Tenenbaum Starring: Rosa Coduri-Fulford, Richie Campbell, Ben Bailey Smith, Denise Gough Every year, normally around Christmas time, a slew of charities release short films or adverts both as an appeal for donations and in order to raise awareness of whatever issue they wish to put in the spotlight. These issues often range from international affairs - be it war, or famine, or the consequences of a major natural disaster - to those far closer to home - loneliness, poverty, or indeed, homelessness. ‘NADIA’ isn’t one of those adverts per se, however, it plays much like an extended version of one, both to its merit and to its detriment. ‘NADIA’ hits all the emotional beats and heartstrings that those adverts are supposed to reach. It has a likeable, if deeply troubled main protagonist, the titular Nadia, played marvellously by Rosa Coduri-Fulford, whom we connect to more as her troubles are revealed. Initially it would be simple to interpret Nadia as a bratty teenage girl, unfocused on her schoolwork and purposefully disruptive in her maths lessons, which are taught by Ben Bailey Smith, but, drawing back the curtains on her life, we come to understand the problems in her personal life. The film, directed with confidence by Teddy Nygh, promotes the issue of homelessness, particularly in young people, and outlines both the causes of this terrible problem, and the ways in which help is available. Nadia becomes homeless when kicked out of her own house by her equally troubled mother, played by Denise Gough, and is forced to live rough, spending a night on a park bench, trying to revise for her exams by her phone torch. Following the beats of the aforementioned adverts, Nadia’s aid comes in the form of one of her teachers, played charismatically by Richie Campbell, who finds her on a park bench and sets out to find her a home. Though not by any fault of Campbell’s, who is pretty good with the one-dimensional material he has to work with, it is in his character that ‘NADIA’s flaws are exposed, with the detrimental aspect of being so similar to charity adverts revealing itself. Campbell’s character exists solely to reel off lines about the depth of the homelessness problem in the UK and to demonstrate how support is out there, at one point even breaking the fourth wall to address the audience directly. The character takes the film away from being a narrative driven drama, in which the struggles of homelessness and possible solutions are demonstrated subtly, and pushes it into the realm of awareness campaign. It’s a character that works to raise awareness and push donations, but fails to elevate the film as what it is, a piece of drama. That isn’t too say that his message, and indeed the message of the film is unimportant and shouldn’t be heard. In fact, on a human level, if as a result of this film and that character a young person like Nadia is helped off the street and away from rough sleeping, then it is important and good. Whilst the lack of drama towards the film’s end is frustrating, it is understandable, and does not significantly detract from what is a well directed and especially well acted film with a poignant theme and message to get across. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Drawn Out Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 18, 2024 Directed by: Teddy Nygh Written by: Shazia Rashid Starring: Jon Jon, Percelle Ascot, Ashley Walters 2018’s Drawn Out remains a powerful and moving drama about the cycle of gang violence that claims young lives across London – with its story of one fateful punch – and the vengeance, violence and fear it unleashes constructed from the real experiences and tragic incidents of the North London estate upon which it was filmed. When Aaron (Jon Jon) and Jacob (Joshua Blissett) are chased by rival gang members through their North London estate, a punch thrown by Aaron in an attempt to get away leads to tragedy. He unintentionally kills Sean (Jordan Aloye), who is brother to the feared and psychotic Strapz (Percelle Ascot). As Strapz sets out for revenge, Aaron and Jacob hide out with Big Mo (Ashley Walters), but they know their actions will catch up with them eventually. Drawn Out is a community-led film tinged with bittersweet authenticity. Watching the film knowing that it is inspired by an amalgamation of real experiences and events makes the consequences and collapse of multiple young lives in the film all the more heartbreaking. Aaron is a portrayed as a caring and thoughtful young man who makes a terrible choice that has shocking, uncontrolled consequences. His life quickly transforms from taking care of his brother and striking up romance with his girlfriend, to a desperate fight for survival. His association with gangs is his own costly decision, but his actions can also be construed as being forced by an undercurrent of violence within the community. No greater example of this violence can be found than the terrifying Strapz – played by Percelle Ascot with exceptional menace. Strapz is driven by rightful anger at his brother’s death – yet his hypocrisy is clear to see as he takes sick pleasure wielding a gun, and striking down an underling in much the same fashion that costs his own brother his life. Strapz can be seen to be irredeemable by his later actions – but a poignant, wonderfully-staged scene in which he breaks down in his car shows he is a victim of the cycle too. The depth of the characters is a clear result of an innate understanding of the complexity around gang-life and inner-city crime on behalf of the filmmakers, who correctly identify that the system and the cycle are much more prominent problems than any individual. Tension and fear are sewn throughout the storytelling. Director Teddy Nygh’s long, lingering and torturous patience during the opening chase sequence as Aaron and Jacob hide from their pursuers gives just a tease that things might end up ok – before life changes for everyone. Aaron’s desperation to evade Strapz as the walls close in become increasingly risky and frantic – and lead to further tragedy that Shazia Rashid’s script builds with devastating effectiveness. The violent, patriarchal culture comes to draw in everyone close to Aaron, and threatens to echo down generations. It’s only a brave decision to face the consequences that may help close the gap, and even then the film is careful to show that one action alone cannot fix everything – it takes a community effort. Films like Drawn Out which are birthed from real community experiences are an invaluable artistic endeavour that capture the essence and realities of social issues like no other. Only by identifying the truth behind stories can tragedies be learned from – and this truth radiates throughout the narrative of this short. It’s a fantastic film, and one that is unfortunately still relevant today as it was in 2018. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Do We Have A Chance? Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 17, 2024 Directed by: Valentina Galdi Written by: Valentina Galdi Starring: N/A From Italian writer/director Valentina Galdi, Do We Have A Chance? is a short animation which looks to discuss the difficulties of growing up gay in the modern world. Animated by Réka Kiss, in a very simple manner, the story similarly follows a very simple narrative which will undoubtedly feel very familiar to anyone who has had to go through their adolescent years facing these challenges. Using simple line drawings, the characters in the film are portrayed as cutesy, big-eyed, button-nosed children, who come across as very relatable to the viewer. None of the characters speak, perhaps as a deliberate choice from Galdi to indicate the lack of voice certain sections of society may have, but also this manages to keep the scope of the film as wide as possible, allowing the universality of the message to come through. Instead, we have a simple piano based score from Lorenzo Quaranta to lead us through the film. Do We Have A Chance? follows a young boy who seems to have trouble socialising or being around others. Rather than join in the games in the park, the boy prefers to sit under a tree and focus on his drawings, one of which just happens to be of one of the cute boys who is also in the park. Suddenly, when a rogue football is launched across the field, it hits the lonely boy on the head and we then get to see just what is going on inside his mind. We follow the young boy’s story as he can’t make up his mind to talk to anyone, let alone approach the cute boy to let him know how he feels. Back at home, social media naturally plays a part, and even though the young boy has found a way to contact the boy that he fancies, he still has major doubts about taking that first step and actually admitting publicly that he likes him. This leads the young boy to some pretty dark places, as we see how he feels he is viewed by the world, and we watch as his worst fears come to the fore. Despite its simple animation style and pared back narrative, the main thrust of Do We Have A Chance? is still very effective. The darkness that the young boy feels, along with the judgement offered by the rest of society, is well handled and easily felt by the audience. But rather than just focus on the troubles and difficulties, which do have serious consequences if there is no support or guidance around on offer, Galdi chooses to highlight these issues and then move on to a more positive, and even helpful, resolution. This gives Do We Have A Chance? a slight feel of a public service broadcast, as it does its best to educate and so replicate the real life thoughts, feelings and concerns of teens who may be questioning their sexuality, or already know that they are gay. Its gentle style and accessible tone mean that the film could be shown in classrooms to high school children as a way into discussion about the subject, especially the darker parts of where being judged and ostracised can lead a person, and also how we can offer support or behave as an ally to someone who might need a bit of help. At just under five-minutes, there’s not a lot of time to go into too much detail and so Do We Have A Chance? remains as a simple, easy lead in to the subject, but one which tells its story with a lot of heart. About the Film Critic William Hemingway Digital / DVD Release, Short Film, Animation, LGBTQ+, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS 18 Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Mar 17, 2024 Directed by: Teddy Nygh Written by: Shazia Rashid Starring: Shaquille Ali-Yebuah, Aimée Kelly, Harry Kirton, Nicola Hughes Reaching the tender age of eighteen is a unique pivotal point in anyone’s life. Yes, technically you are an adult now, congratulations. And you can now do all the things you’ve always wished you could as you enter what seems like a whole new world of infinite possibilities and potential that has opened itself up right in front of you. But that one day where everything changes on a piece of paper in no way means you’re suddenly now equipped to handle everything life throws at you from then on. Eighteen is a wakeup call in many ways, and short film 18 tells the heart-breaking powerful story of that realisation for three young adults, for whom this is an eighteenth birthday they will never forget, for all the wrong reasons. Looking to make Ali’s (Kelly) eighteenth birthday as special as it can be, her young beau Jerome (Ali-Yebuah) enlists the help of his best friend Eddie (Kirton) to come up with some ideas. Writer Shazia Rashid succeeds in immaculately creating authentic characters that may be of age but are still young at heart and at mind. Jerome’s naivety at romance but overall good-hearted nature is ultimately charming and relatable, mixed with a certain sense of bravado and over-confidence he shares with Eddie to really emphasise that feeling one can get at that age where the world is seemingly yours for the taking. Whereas Ali, perhaps younger but more mature, expects that little bit more from Jerome, and balances the other two in a much-needed way as the voice of reason and maturity of the group. But then there’s the moment where their innocence doesn’t just fade away, it is completely obliterated. The scene in question, is simply a directing triumph. It captures every emotion that could possibly be felt and the way it sets you on edge after punching you in the gut is a testament to director Teddy Nygh’s eye for visual storytelling, capturing perfectly that moment where the significance of coming of age really sets in and lives are changed forever. And it’s the three, truly great young leads, who front what must be said is also a tremendous overall supporting cast, that might be the most impressive. Ali-Yebuah, Kirton and Kelly (who have all deservedly gone on to do even more great things since) are just astounding in their performances, and it is Kirton especially who is most inspiring to watch as they go through that unstoppable transition from care-free brand-new adult to now needing to face the hard realities of life head on for themselves and realising there is no guide book for it, and what a bombshell that can be. It’s a film that covers so many themes; friendship, trauma, love, judgement, loss, grief and the fact that in all these aspects the entire effortless cast doesn’t blink once is incredible. A brilliantly well-crafted drama that showcases the true complexities of human emotion and what it means to grow up that not only deserves its awards but could stand up there with some of the other coming of age classics. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS An Anthology of Men Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 16, 2024 Directed by: Aranyak Chakrabarty Written by: Aranyak Chakrabarty Starring: Siddhartha Barman, Meher Ali, Amisha Rai, Arun Thapa A unique exploration of life and its complications. This hour-long film from India is surreal and seems to leave many things open to interpretation. The feature is separated into five chapters, each with its own title: Naivety, Finesse, Futility, Distant Echoes, Rebel. The structure is basically five stories that alternate between a car journey. It begins with a man walking in the countryside and entering a vehicle, driving away. Then, after a while, he stops and picks up a guy who is apparently waiting for him in the middle of a forest. The film then moves to the first chapter and when that ends, it goes back to the car moving on a road in the wilderness and picking up another person. As mentioned this feature is surreal. There is no dialogue, not even when characters are apparently communicating with each other. During the sequences with the car, every person who is waiting for the car is standing in the middle of the road, smiling and they carry on grinning as they are in the vehicle, never speaking. Going to the chapters now, the stories, they are surreal and certainly have some awkward moments. Again, there is no speech and they all move at a slow pace, with many long takes of characters doing a variety of actions. Regarding the strange scenes, one involves a man being fond of women's underwear, another a man entering someone else's home and playing with a duck, while another has a cockroach in a toilet. Looking at the stories from a different perspective now. What are the messages that they are carrying? According to a text on FilmFreeway, this film aims to explore nihilism and destiny. How this feature looks into these two concepts might depend on the viewer due to the surreal and unclear ways that things are presented. One example might be the story that includes killing of a duck, indicating that some people are animal lovers while others are not. Another might be the cockroach in the toilet, which might suggest that some people are no better than that. Generally, the film contains bad elements, be it animal cruelty, threats and it also touches on cancer. That might be a way that it deals with nihilism. Regarding destiny, how the film looks into this idea might be harder to acknowledge. Chakrabarty does a great job with the directing and creates many wonderful shots of nature that add value to the viewing experience, as does the emotional music by himself and Bikram Seal that includes piano melodies. As mentioned, there is are no spoken words, however, there is voice-over at the beginning and end of the feature by Dibakar Mukherjee, talking about life and fate. This was intended to be an anthology regarding destiny and nihilism. Does it accomplish that? That probably depends on the viewer's perspective. It is a quiet, slow-moving, surreal journey that will most likely be appreciated predominantly by those who understand and value the art of filmmaking the most. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Portal Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 14, 2024 Directed by: Blank Space Written by: Blank Space Starring: Michael Sasaki, Abby Latip The writer-director Blank Space utilises the concept of Portal-a doorway, gate, or entrance to intertwine it with the Sci-Fi genre to bring out the best in the leading Man Michael Sasaki who plays Josh in the film. The plot of Portal revolves around Josh (Michael Sasaki), his wife Whitney (Abby Latip), and how his life changes for the better when he has an unusual and unexpected emotional conversation. The short film begins with a combination of close-mid shots giving the audience a sneak peek into the day-to-day topics between a husband and wife and later incorporating the element of alternate reality into the narrative to increase the degree of audience engagement with the content of Portal. The set design, the white and grey colour pallet, lighting, sound, dialogues, costume, hair, makeup, and props are kept simple so that the makers can add pace to the story to effectively communicate the key messages it wants to deliver to its viewers. The writer/director along with the creative team beautifully managed to maintain continuity in the script and curiosity in the minds of the audience even with such short running time. In terms of Performance, Michael Sasaki plays Josh who has become a lovable as well as responsible family man by sacrificing a lot of his emotional needs to take care of providing the best things in life to his wife and daughter. Sasaki brilliantly portrays and expresses the rollercoaster of feelings Josh has experienced in both the timelines showcased in the movie through the dialogues, body language, voice modulation, facial expressions, and his eyes. Abby Latip plays the role of Whitney (Josh’s wife). Latip has a very short screen-time; she manages to contribute to the screenplay effectively. The audience from the very beginning gets to know about the reason of the emotional quotient in Josh’s life. Therefore, this very factor binds the story together and ensures a smooth flow of the same. Portal talks about how important acceptance in the eyes of society becomes to people that they end up keeping their happiness and self-love on the back seat in terms of priorities in life. The short film reiterates that everyone should be allowed to make their choices in life and not be judged for the same because situations keep on changing with time. Portal tells the audience that the concept of decision-making completely transforms once one has entered into the phase where he/she functions as a family unit. The cinematic piece highlights what toxic people/environment can do to one’s mental health and adversely affect loved ones too in the long run. The creative piece restates that people are responsible for protecting their self-respect and no one else shouldn’t be given the right to be disrespectful. The dramatic piece talks about sharing life experiences providing an opportunity to learn and implement them in their day-to-day routine thus improvising their lifestyle. To conclude I would like to appreciate the writer-director Blank Space creating the right mix of emotions and Sci-fi to keep the audience hooked to the movie all through the 11 minutes. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Frida Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Mar 14, 2024 Directed by: Carla Gutierrez Written by: CarlaGutierrez Starring: Frida Kahlo Director Carla Gutiérrez lets Frida Kahlo speak through her words, photos, and most movingly, self-portraits (including images from her illustrated diary) in the documentary Frida . The film moves through the years of Kahlo’s life, weaving in her own words and images from her young life. Film from the time period helps set the scene of Frida’s childhood in Mexico. Photos of Kahlo and her parents illustrate her spoken memories. The documentary makes impressive use of Kahlo’s paintings to bring the legend to life. This is a documentary that puts the soul of the artist front and center of her own story. When Frida tries to bring in its own artistry, it suffers by comparison. The choice to highlight certain sections of black and white film in bright colors feels tacky compared to the rich paintings. Used to better effect are animations that enliven the artist’s works. In addition to Kahlo’s own words, voices from those who knew her pepper the film. Classmates, former boyfriends, and friends add layers to the portrait the film paints. It is impossible to study Kahlo’s life without examining her relationship with fellow artist Diego Rivera. His influence on her life was profound, as was hers on his. Kahlo’s emotional highs and lows allow the audience to know her in a way that enhances an understanding of her art. Like so many artists, the true impact of her work would only be understood after her death. But in life, it brought her joy. For those unfamiliar with Frida Kahlo, this is a lush and impressive introduction to her life and art. About the Film Critic Rachel Willis Digital / DVD Release, Documentary, World Cinema, Amazon Prime < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Snack Shack Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Mar 14, 2024 Directed by: Adam Rehmeier Written by: Adam Rehmeier Starring: Connor Sherry, Gabriel LaBelle, Mika Abdalla Four years ago, Adam Rehmeier’s Dinner In America arrived as a delightfully subversive 90s punk rock rom-com. Snack Shack finds the writer/director still navigating the 90s with hilarious R-rated delight, even as the punk rock ‘tude has been usurped by capitalistic dreams. It’s 1991 in small town Nebraska, and teen best friends A.J. (Conor Sherry) and Moose (The Fablemans ‘ Gabriel LaBelle) are coming hot into summer with some big plans. They score at the dog track, market their own homemade beer and are working more than enough angles to please the Gordon Gekko poster hanging on the wall. But then an unexpected new hustle presents itself. The boys’ older friend Shane (Nick Robinson) – who’s a bit of a local hero thanks to his service in Kuwait – is home to manage the local pool, and he gives the foul-mouthed young Gekkos a tip on how to win the city council’s summer contract for the poolside snack bar. Before long, business is booming, and that 75-cent upcharge for using ketchup to write “fuck” on a hotdog (a “fuckdog!”)is paying off big time. Will success go to their heads? Will A.J. earn enough cash for his Alaskan trek with Shane, AND earn the respect of his parents (David Costabile and Gillian Vigman, both priceless)? And what about Brooke, the hot new lifeguard (Mika Abdalla)? Could she actually come between these hometown homies? You’ll know where some of this is going, but Rehmeier’s script delivers foul, horny hilarity, and outstanding turns by both Sherry and LaBelle stand out in a letter perfect ensemble. The time stamp is again spot on, with Rehmeier’s freewheeling style crafting an infectious mashup of The Way Way Back, Superbad and Project X . And most importantly, Rehmeier captures that zest for life on the cusp of adulthood without a whiff of pandering or condescension. The boys will do some growing up during this one crazy summer, and the film will grow up with them. Slowly, parents don’t seem quite as lame, the hijinx aren’t as silly and some important lessons about love, sex, death and friendship hang in the air just long enough to hit just hard enough. Fuckdogs are still funny, though, homie, just like a surprise punch to the nuts. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >