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HOME | FILMS | REVIEWS A Wild Life Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Mar 21, 2024 Directed by: Marie-Andrée Lemaire Written by: Zachary Goldman Starring: Robert Goodman, Raphael J. Bishop Sometimes it is the most simple things that have the most magical of healing properties. Nature, and time spent in it, be it swathes of rolling green grass, dense woodland, or even the open water or vast expanses of desert plaines, can soothe both the mind and the soul, putting life in perspective and making all our troubles that seemed so overwhelming before dissipate. The company of people, those whom you are able to form a deep connection with can also heal the mind and soul, letting us know that there are those that understand us out there. ‘A Wild Life’ portrays both those things, and though perhaps a little surface level, it is nonetheless beautiful and heartwarming to see the impact both have throughout the film. ‘A Wild Life’ establishes itself as a meditative, reflective film from the outset, with a score that immediately comes across as fitting the mould of thought-provoking and contemplative, while the opening shot is of leaves in a stream, as the water gently washes over them. It is a film about the virtue of life, and living life in nature and with people you connect to, but it is also a film about grief and sadness, and how individual’s move past those things. This is especially true of the old man, Chester (who is played by Robert Goodman with a weary charm and bluntness about him), who we first meet as he looks across a beautiful vista across a lake and brings a gun to his head. Chester has lost purpose in his life and feels as though he lacks any reason to continue with it, and so, with his wife having given in to ‘sadness’, he feels it is his time now to commit suicide. It’s chastening seeing a man having lost hope prepared to give his life away, but his attempted suicide is interrupted when the eager young boy scout Arthur (played by Raphael J. Bishop) comes stumbling into the picture pleading for help. Arthur has become separated from his scout group, and, having injured his knee, seeks the help of Chester to both strap him up and help him find his way. At first Chester is bemused and cold, though across the film he becomes tender and it appears as though he has rediscovered his joy for life once again. As Chester and Arthur sing camp songs and wear their white vests as they clamber through the wilderness we see not a young boy and an old man, but two young boys, both full of adventure and spirit for life, as Arthur, and the woodland that surrounds the two of them, have helped Chester rediscover his spark. Marie-Andrée Lemaire directs the film beautifully, and it is aesthetically beautiful, picking up on the little intricacies of the woods and using the natural lighting, and how it reflects off water, to the film’s advantage. The script, written by Zachary Goldman, is at times a little too obvious, but whilst it perhaps doesn’t go far enough in terms of nuance with its themes, it is nonetheless solid executing its simplicity very well. ‘A Wild Life’ is a life-affirming film, one which maybe doesn’t truly push the boundaries, but is nonetheless joyous to watch, and a reminder that life is much like its title suggests. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Riddle of Fire Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Mar 21, 2024 Directed by: Weston Razooli Written by: Weston Razooli Starring: Phoebe Ferro, Charlie stover, Skyler Peters, Lio Tipton An inseparable band of foul-mouthed children drawn into a fairytale-like quest might sound very of the moment, but Riddle of Fire shows how much richness there is to explore in the hands of a unique voice that doesn’t settle for pastiche. It’s hard to pin down any single genre that gets loving attention from writer-director Weston Razooli, but imagine the Goonies adventuring through the world of Mandy … and it only gets dreamier from there. Children Alice (Phoebe Ferro), Hazel (Charlie Stover) and Jodie (Skyler Peters) liven up their summer vacation by stealing a video game console, only to be thwarted by a lock on the family television. In exchange for game time, the kids must bake a blueberry pie to cheer up Hazel and Jodie’s sick mother (Danielle Hoetmer). When a key ingredient gets snatched up by John Redrye (Charles Halford), the trio—who call themselves the Immortal Reptiles—follow him back to his house, where he lives with the cult-like Enchanted Blade. When they accidentally stow away in the cult’s truck on a trip into the woods to hunt a prized stag, the group hardly notices that their afternoon has gone from whimsical fetch quest to life-or-death survival. As the kids play a game of cat and mouse with the cultists, Razooli heightens the fairytale elements. The cult leader, a witch named Anna-Freya (played with beguiling menace by Crazy, Stupid, Love .’s Lio Tipton ), figures out they are not alone. It is only with the help of her daughter Petal (Lorelei Mote), a princess with powers of her own, that the children manage to outsmart the gang and escape back into town—but not away from danger. Razooli’s mix of humor and danger ratchets up the suspense for any adult watching the movie even as the young heroes remain defiantly unbothered. It’s a proper fairytale, and also a stylish throwback to an era of movies that delight in the mischief of featuring young kids getting into real trouble. But Riddle of Fire rises above other nostalgic retreads in the way it commits to the mystery and unease of the world Razooli creates for a remarkably assured feature debut. The film captures the spirit of adventure for weird kids in a grown-up world. And how sometimes it’s worth risking everything to play a cool video game. About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS RedSin: Martyrs of Dissent Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Mar 20, 2024 Directed by: Christopher Ortiz Written by: Christopher Ortiz Starring: Jay Welch, Bill Weeden, Leo Giannopoulos, Patrick Heraghty Evolving from the 18-minute proof-of-concept short RedSin , RedSin: Martyrs of Dissent marks a more fleshed-out, more action-packed cut of that same story from writer/director Christopher Ortiz. When a troop of former Gulf War veterans starts being taken out by a mysterious terrorist organisation called RedSin, the CIA enlists the help of Jenson McKane to stop them due to his fraternal ties with the group’s leader Nathan. RedSin: Martyrs of Dissent adds an extra high-tension half hour to that aforementioned concept piece, complete now with deeper character exploration, a few more impressive fight scenes, and of course, plenty more drama. In truth, it veers heavily into the melodramatic a lot of the time, but given the high concept and high stakes here, its 24-esque vibe suits the film quite well. A number of the performances reflect this too. Most of the film's scenes are fraught with incredible tension, and usually one if not all of the characters in any given scene will undoubtedly become increasingly animated about something or other, whether it’s exclaiming vehemently about what’s at stake here or pointing fingers of blame. Standout goes to Heraghty’s CIA agent Burns, who at times looks like he could actually blow at any second but delights in his role, but really the whole cast gets the brief and again, it all fits that high-octane vibe that the film is obviously going for. Extending a concept short to a longer feature can come with its own set of challenges. Pacing needs to be considered, extra scenes need to feel like they have a purpose rather than just extending the runtime. Luckily, RedSIn: Martyrs of Dissent feels like it does well not just to pad out but to complete its story. The film could have even benefited from extending itself a bit further if budgets and time had permitted some scenes to breathe a bit more and for some more backstory to be unfolded. The film also lacks a bit of focus in the beginning, we start by thinking we are following the narrative of one character but find ourselves suddenly following that of another, meaning there’s less time to get invested and up to speed before the climax. But overall, it's an entertaining near hour that does a pretty decent job at establishing and achieving nearly everything it needs and wants. Some unfortunate hiccups come with the film’s audio, a change in score could have helped some of the later action scenes pack a bit more punch but are instead all too similar throughout, and the audio mixing of the score muffles some of the dialogue in the final showdown which means it loses its impact. But it’s the film’s fight scenes that show Ortiz’s real strength, a filmmaker who clearly fancies themselves as an action director and clearly has the chops to do so meaning these are the film’s real highlights. An entertaining and well-told story of redemption, revenge and remorse with some great fight scenes along the way, RedSin: Martyrs of Dissent shows a filmmaker's real promise that could be truly fulfilled by some much-deserved backing and investment. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Lae Night with the Devil Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Mar 20, 2024 Directed by: Cameron Cairnes, Colin Carines Written by: Colin Cairnes, Cameron Cairnes Starring: David Dastmalchian, Laura Gordon, Ian Bliss Who remembers The Amazing Randi? He was that magician, author and “professional skeptic” who would come on the Johnny Carson show to debunk anyone claiming to have supernatural, paranormal or occult powers. Memories of Randi aren’t required to feel the pull of Late Night with the Devil, but if you grew up around 1970s TV, you’re likely to have an even deeper appreciation for this high-concept homage from filmmakers Cameron and Colin Cairnes. The Australian brothers who gave us the terrific low budget horror 100 Bloody Acres have essentially crafted their found footage genre entry, all centered around broadcast and BTS footage from the last episode of Night Owls with Jack Delroy , a nighttime talk show trying to compete with Carson. The film’s prologue—featuring foreboding narration from Michael Ironside—tells us that by the late 70s, Delroy (a terrific David Dastmalchian) had been worried about the future of the show, which led to a fateful gamble. Cue the footage! Delroy’s “Randi” is Carmichael Haig (Ian Bliss, perfectly smug), who condescendingly debunks the show’s first guest, clairvoyant Christou (Fayssal Bazzi). Haig is then ready to do the same to Dr. June Ross-Mitchell’s (Laura Gordon) claim that her young patient Lilly (Ingrid Torelli) is possessed by a demon. But Lilly’s got a surprise for sweeps week. Cameron and Colin share the writing/directing duties, and they set an effective time stamp early on through solid production design and patient editing. The mood is one of appropriately cheesy humor amid some uneasy dread. After all, we know what these wide-lapeled jokesters don’t: something nasty is about to go down. The Cairnes boys take their time getting there, letting Dastmalchian reel us into Delroy’s easy charm and increasingly questionable backstory. Dastmalchian—a longtime supporting MVP blessed with a memorable face—is finally getting his chance to carry a film, and he does not disappoint. Kudos also go out the effects department, rolling out a (mostly) practical finale that serves as a perfect capper to the film’s finely tuned aesthetic. Computer wizardry has no place in this world, and the Cairneses keep it refreshingly real. Ultimately, what Late Night with the Devil has in mind is more like an R-rated Twilight Zone , with a twisty moral backed up by blood. Expect devilish fireworks and frisky throwback fun, even if you’re not scared out of your bellbottoms. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS You'll Never Find Me Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2024 Directed by: Josiah Allen, Indianna Bell Written by: Indianna Bell Starring: Brendan Rock, Jordan Cowan A somber experiment in atmospheric horror, Josiah Allen and Indianna Bell’s feature You’ll Never Find Me waits out a storm with a couple of curious characters. Patrick (Brendan Rock) sits quietly if unhappily in the kitchen of his trailer. It’s late—after 2 in the morning—and he seems a tad morose. When a persistent knock on his door punctures the noise of the storm, he ignores it as long as he can. Eventually, he admits a stranger (Jordan Cowan), barefoot, drenched and shivering. She was caught in the storm and just needs a ride to town. At this time of night? What’s really going on here? The film feels lost in a dream—the lighting, the silences, the pair’s lonesome and broken expressions. The co-directors linger on the actors’ faces, allowing the paranoia to shift so you’re never fully sure of either character. Everybody in You’ll Never Find Me moves slowly. Everything moves slowly. You don’t know who to trust because neither of these two seems to trust the other, and you can’t judge either of them for it. Surely, they’re not both up to something nefarious. Maxx Corkindale’s sometimes roving camera reveals something creepy in the trailer’s tidy, tightly enclosed ordinariness. The sound design is hushed and foreboding, blending with Darren Lim’s score to work the nerves. The result allows the film to suggest something supernatural, although all other signs point to very human crimes. A slow boil like this requires committed, compelling performances and both Cowan and Rock deliver. Eventually the gender politics on display unnerve, and what’s what the film is more than truly scary. It’s unnerving. The third act doesn’t entirely deliver on the promise made earlier in the film, but Bell and Allen have crafted an unsettling and spooky feast for the senses. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS 7 Kills, 3 Songs & a Banana Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Mar 19, 2024 Directed by: Richard Fysh Written by: Richard Fysh Starring: Alexandria Romanov, Mark Bogumil, Charleston Harvey “A casually coherent concoction of chaos. And fruit.” Would you like to watch a thrilling murder-mystery film that is equally comedic and horrific? Then you’ve come to the right place, as Richard Fysh’s American feature film fits the bill. This is a movie certainly unlike any other. Merging horror, satire and even the essence of a musical, 7 Kills, 3 Songs & a Banana ticks all the boxes for being absurd in a fun way. Containing all the hallmarks of a horrifying thriller, including sex and death, the film is a slightly funky take with music - and bananas. 7 Kills follows Amber (Alexandria Romanov), a vibrantly cynical young woman who identifies as a lesbian. At the start of the film, she is struggling to deal with the sudden death of her ex-girlfriend, Rachel (Charleston Harvey), which forms the crux of the story. With a killer on the loose, as well as Rachel’s boyfriend Steve (Mark Bogumil), sparks fly and venomous words are exchanged in this bitter satirical feature. An engaging interpretation of a modern-day slasher film, 7 Kills clearly takes inspiration from those before it in the genre. Slowly building suspense and integrating various moments of gory horror, the film successfully charts Amber’s journey as she tries to come to terms with her emotions. However, there are elements of the film that unfortunately fall flat. With some moments feeling awkward and some of the actors struggling to convey the essence of the dialogue, the feature struggles to keep pace - giving the viewer permission to lose interest. Likewise, parts of the narrative feel inconsistent and cut around a bit too much, again losing some of the meaning. As the story goes through the motions, we lose sight of Amber’s motivations which confuses some of the scenes. Whilst 7 Kills is not perfect, there is something captivating about it. The viewer finds themselves invested in Amber’s story, whether we like it or not, in addition to the lives of the supporting cast that all become intertwined in a cocktail of drama. Whilst it is not perfect, making a film with a very minimal budget is no small feat and should be commended. Parts of the satire are glorious, but some lands a bit dry - although that may just be the English filmmaking influence! Dealing with challenging subjects including homophobia, mental health, grief and murder, 7 Kills deserves some merit for handling these subjects in a comedic way without being offensive. Being originally from Doncaster in the UK, writer and director Richard Fysh’s American-based film cuts through the noise and posits his ironic perception of US culture, alongside some of the trials and tribulations of the modern world. 7 Kills holds great potential as a feature and Fysh is certainly one to watch as his unique style develops. About the Film Critic Amber Jackson Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

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 >