Search Results

HOME | FILMS | REVIEWS Tales from Pandora's Box: Chapter One Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Apr 22, 2022 Directed by: Jason DeStefano Written by: Jason DeStefano Starring: Raina Ariel, Analyn DeStefano, Jason DeStefano Inheriting the chaotic nature of the mythological artefact its story is based on, Tales from Pandora’s Box: Chapter One is an anthological collection of occult tales relayed it’s the titular Greek legend. The result is an intriguing and artistic feature, but one that can feel repetitive and overlong. The film is made up of a number of short stories told to the viewer by Pandora (Raina Ariel), who documents the chaos unleashed upon the world since her legendary box was opened. Included amongst these are tales of cults who have turned hostile, serial killers receiving mysterious new callings, and witchcraft in some notorious familiar locations. As her stories are told, similarities begin to emerge, and links between the grizzly tales become clear. Billed as ‘chapter one’ of an unknown number of feature-length films, Tales from Pandora’s Box features a mixed bag of gruesome tales woven together to create the outline of an overarching story, which presumably will stretch across the remainder of its series. However much of the focus of the film is on the individual stories themselves. Director Jason DeStefano does a good job of adjusting pacing, themes and settings for the different segments. However repeated use of the same music and stock imagery of a red hallway, and certain camera effects, leave the film feeling repetitive. The stories themselves are of the classic ‘ghost story’ styling and delve into all kinds of occult and arcane mythology that will interest horror fanatics. Some last only a matter of minutes, and end up feeling rushed, whereas others enjoy further focus. Those who stick with the film will be rewarded by the revelations which connect the different sections together – though the sheer number of these make this a difficult task, and audiences can’t be blamed if they struggle to remember the large number of plots and characters, who sometimes end up sharing similarities. The film does feel overlong, particularly with the aforementioned hallway scenes which eat up several seconds using the same footage and music for the beginning of every story. Creating the idea of reaching into the box for each look at its power is an interesting idea, but the execution feels a little lazy. In contrast, some of the slower, more artistic stories themselves are among the film’s best. The narration’s tendency to over-explain detracts from some of the more complex of the tales – which never really have time to fully develop. The director’s ability to create unease, tension, confusion and awe through clever use of camerawork could have been better utilised here. The film’s rotating cast never really get much of a chance to thrive given the scattergun approach to the storytelling. However, Lucille Summers’ turn as the physical interpretation of Pandora intrigues between the stories themselves – remaining true to the basics of the original myth whilst adding sexuality and lust which unnerves as much as it arouses. Raina Ariel’s voiceover feels a little generic however, and suffers from an overeager script. Fans of mythological-based horror and witchcraft will find enough in Tales from Pandora’s Box to satisfy their cravings for the creepy. But the excessive length of this film means many will fail to reach the conclusion that ties its many tales together. Given that there will be at least another chapter, it’s a struggle to see how another offering will sustain itself. About the Film Critic Patrick Foley Digital / DVD Release, World Cinema, Film Festival < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Pod Generation Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 9, 2023 Directed by: Sophie Barthes Written by: Sophie Barthes Starring: Emilia Clarke, Chiwetel Ejiofor, Vinette Robinson There are some scary implications to be found, but The Pod Generation is no horror show. In this near future world, couples – and women, specifically – willingly line up for the chance to get pregnant outside the womb. Writer/director Sophie Barthes (Cold Souls , Madame Bovary ) cooks up a smart, darkly funny and satirical look at the many faces of “progress” that still gets stuck on repeat in the third act. Rachel (Emilia Clarke) has a well-paid gig monitoring influencers (that’s a full-time job!) at a tech firm. Her husband Alvy (Chiwetel Ejiofor) is a botanist and teacher. And from cognitive assistants to breathing bars and nature “sessions,” Rachel’s fine with all the comforts provided by technology, while Alvy is much more comfortable keeping things actually natural. So there’s a conflict when Rachel gets an unexpected message from tech giant Pegazus. After years on the waitlist – there’s an opening at The Womb Center! Do Rachel and Alvy want to be next to grow their baby in a pod? Alvy is plenty wary, but Linda, the Womb Center director (Rosalie Craig, terrific) is mighty persuasive. In a speech that feels like the cynical sister to America Ferrera’s truth bomb from Barbie , she wins the couple over with the reasons why women are no longer “victims of biology.” We’ve seen films about the hidden dangers of technology for years now, but Barthes brings a slyly vital approach to the discussion, and gets a big assist from production designer Clement Price-Thomas. Everything in this world is sleek, futuristic and creepily intrusive, but just close enough to our own surroundings that we have no problem accepting it as possible (even probable). Pair that with the excellent work from Clarke and Ejiofor, and Barthes has fertile ground to dig in. She peppers the outside with some dry, funny barbs about relationships and work life, while the meat in the middle takes on gaslighting and the slippery slope of trading control for convenience. And yet, as big and worthy as these ideas are, you expect the pregnancy arc to end with a little more bite. There’s more than enough to keep us engaged while a desperate couple is weighing their options, but once it’s decision time, The Pod Generation doesn’t offer much beyond what we’ve known since we were amazed by the click wheel. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Rise of the Footsoldier Origins UK Cinema Release Chris Olson Tuesday, July 27, 2021 at 10:57:23 AM UTC VINNIE JONES STARS AS REAL-LIFE HARDMAN AND THE ULTIMATE GANGSTER IN BRITISH TRUE CRIME THRILLER RISE OF THE FOOTSOLDIER: ORIGINS Only in cinemas September 3rd . Courtesy of Signature Entertainment. The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Lock, Stock and Snatch superstar Vinnie Jones teams up with premiere acting veteran Keith Allen (Kingsman, Shallow Grave) for British true-crime thriller RISE OF THE FOOTSOLDIER: ORIGINS, a brutal account of how real-life, hard-as-nails Falklands War veteran Tony Tucker came to be involved in one of the most notorious gangland murders in British history. As well as Jones, outstanding as fearsome doorman Bernard O'Mahoney, and Allen as formidable nightclub owner Dave Simms, the film features some of the cream of the crop of home-grown actors including Craig Fairbrass (Muscle) – returning as notorious drug-dealer Pat Tate - P.H.Moriarty from The Long Good Friday, Billy Murray (Eastenders), Michelle Collins (Eastenders), George Russo (Top Dog), the brilliant Roland Manookian (RocknRolla), a genius cameos from reality TV royalty Chris Hughes and the late and great Heavy D. Directed by Nick Nevern (director and star of The Hooligan Factory and star of popular BBC comedy series Motherland), who co-wrote the script with producer Andrew Loveday, this is a blisteringly good thriller, set against a superbly realised backdrop of the late 80s rave scene, with a pulsing soundtrack featuring the likes of New Order and Ultravox. A future Brit gangster classic that gives the likes of Layer Cake, The Gentlemen and Legend a run for their money. Jam-packed with foul-mouthed and often hilarious dialogue, explosive moments of violence, and a gripping plot that tells it like it happened, RISE OF THE FOOTSOLDIER: ORIGINS is a must-see for anyone after an authentic crime biopic that hits like a knuckle-duster polished to a high shine. This is Blow, Essex style, and it will knock your socks off. Get your tickets front and centre now and prepare to get blasted. RISE OF THE FOOTSOLDIER: ORIGINS is showing ONLY in cinemas from 3rd September, released by Signature Entertainment Watch Rise of the Footsoldier Free Online. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date ​ Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

HOME | FILMS | REVIEWS The jar Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Aug 17, 2021 Directed by: Carleton Rodgers Written by: Carleton Rodgers Starring: Brandon Brownlee, Paul McGuinness, Rachel McGrane, CaolanJohnson, The film opens with a child wearing a space helmet with instructions of a mission playing in the background. This scene gives the audience the idea that the little boy has a dream of becoming an astronaut. The child collects money in a jar for the same purpose. The plot also revolves around the relationship between the father and son. The father (Paul McGuinness) tries very hard to support Jake's dream despite the financial troubles and work difficulties. The story also focuses on the struggles the little protagonist faces as a family unit and at school to fulfill his desire to embrace space. Jake(Brandon Brownlee) finds himself closer to his wish of attending a space school by facing all the challenges put forward by Brandon(Caolan Johnston). The plot point that breaks Jake into pieces is when he finds his dad injured because of an accident. The father is in a deep financial crisis. The money in the jar is the only way the duo can pay for the rent and food. Jake can only watch his dream shatter in front of his eyes. He wears his helmet and goes into his fantasy land of the planets and stars, moves towards the sun to avoid the reality of his life. Jake comes out of his dream to find out that his jar is empty. Paul McGuinness can portray the father's feeling so effortlessly. The father is very emotional, heartbroken, and helpless when he has to destroy all the hopes and dreams his son had out of life to deal with the monetary issues in their household. Sarah (Rachel McGrane) and Norton (WillOHare) are two more members from Team Jake who support him at school. Sarah is a courageous person who holds Jake together as she dares to stand up to Brandon when he tries to be unreasonable towards Jake. The viewers make up the fourth pillar in the support system of Jake. The audiences choose to dislike Brandon as well and protect the lead character against all odds. The director/writer (Carleton Rodgers) has managed to keep the audience involved with the film up until the end. The screenplay is simple, and it does not seem to be lengthy. The film has an open-ended closure. The viewers get the freedom to analyze and interpret the cinematic piece as they want to. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS A Love Song Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 26, 2022 Directed by: Max Walker-Silverman Written by: Max Walker-Silverman Starring: Dale Dickey, Wes Studi Filmmaker Max Walker-Silverman’s feature debut A Love song blesses us with 81 minutes of Dale Dickey, a gorgeous western landscape, and not much else. It is enough. Dickey is Faye, a solitary figure with a face full of longing at Campsite 7. She sets her crawdad traps, makes her coffee, studies birds and their calls by day, stars and their positions by night, and waits. Dickey’s performance is a master class in authenticity, as always. She’s been the grizzled Appalachian or the kindly townsfolk in countless films and shows. Rather than hide the years that stretch across her face, she looks out from behind them, eyes bright and observing. She wears a lifetime of experience, and that, along with her instinctive natural performances, creates depth and richness. All that and more is called for in Walker-Silverman’s film because for about 80% of its running time, we’re alone with Faye and witness to Dickey’s achingly real performance. Faye’s solitude is broken up here and there. A friendly couple a few campsites over invite her for dinner. An odd group of siblings arrives with a peculiar request. A kindly and encouraging mailman stops by. Eventually, Faye’s patience pays off in the form of her childhood friend, Lito (Wes Studi). Decades of absence and years of meaning stand between Lito’s charming smile and Faye’s searching eyes. There’s magic and nostalgia for old-fashioned love stories in Walker-Silverman’s script, but these veteran actors don’t bend to sentiment. Both know how to blend innocence with renewal, reimagining coming-of-age as they do. Walker-Silverman’s camera lights on visual metaphors: hearty wildflowers bursting through dried earth, a transistor radio that always seems to know what to play. His film brims with the kind of beauty and type of characters reminiscent of Chloé Zhao’s work, but A Love Song is more meditative. It’s beautiful, touching and real. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Blazing World Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 14, 2021 Directed by: Carlson Young Written by: Carlson Young Starring: Carlson Young, Udo Kier, Vinessa Shaw Creepy twin stuff, Udo Kier, alternate realities—yes, The Blazing World . I am in. Co-writer/director/star Carlson Young takes us on a strange journey as Margaret Winter, haunted twin who lost her sister ten years ago. Struggling to get by, she relents and visits her needy mother (Vinessa Shaw) and difficult father (Dermot Mulroney), who are packing up Margaret’s childhood home for sale. And that is the last normal thing that happens. Working with cinematographer Shane F. Kelly (Boyhood ), Carlson conjures a beautifully melancholic world, one that almost seems like our world but only if you squint. The colors and music suggest a vibrant but eerie dreamscape, the ideal spot for Margaret to lose herself – and maybe find her sister. The title suggests Margaret Cavendish’s 17th Century feminist utopia, but Young’s script (co-written with Pierce Brown) takes only the loosest inspiration. Rather than the tale of a woman learning to lead in another realm, this The Blazing World reimagines one life’s greatest traumas as fantastical games to be overcome. Carlson herself does a solid job of shouldering heroine duties, and she surrounds herself with talent. While Shaw and Mulroney deliver wild and eerie performances, it is Udo Kier you’ll remember best. Of course it is! As gamesman, devil and guide, he charms in his wearily creepy way. Young’s writing can’t quite keep up with her knack for casting, though. While several scenes in and of themselves stand out spectacularly, and the weaving together of the various images creates a strange and intoxicating flavor, the underlying story is just too slight and the metaphors somewhat tortured. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Small Talks Film Review average rating is 3 out of 5 Critic: Alasdair MacRae | Posted on: Aug 28, 2022 Directed by: George Sheard Written by: George Sheard Starring: Charles Doherty, Hollie Hurrell Taxi driver, Robert, (Charles Doherty) picks up a concerning fare one night in Chloe (Hollie Hurrell), a distressed young adult wanting to be dropped off at a nearby river. After the car breaks down Robert decides that he must intervene and talk to his passenger about her troubling behaviour. Suicide prevention is a tricky topic to discuss, and director George Sheard has taken perhaps the riskiest approach to the issue, a literal discussion where a person tries to dissuade the other from attempting suicide. In this short, the two characters are given little-to-no background and the audience is thrust with them into this extreme situation. Almost the entirety of Small Talks is played out in mid-close up, shot/reverse shot, and with such little use of cinematic devices, it puts the weight of the drama on the actors and the script. The director has put the film on a very narrow and limited path to success with a steep fall-off on either side. Fortunately, the writing and the performers selected are up to the task. Hollie Hurrell gives a striking performance as Chloe, lost in a desperate spiral of depression, hurt, and anger. Her frustration at her inability to communicate effectively conveys her trapped raw emotion. Charles Doherty is the likable Robert, tactfully attempting to counter the rapid descent without making matters worse, whilst also signalling a mutual understanding of Chloe’s situation. The pair manage to hold the gravity of the conversation for it to ultimately have a moving pay-off. One noteworthy and a possibly controversial choice made in the short is that the word suicide is noticeably absent from the dialogue. Whilst this may help the dialogue in terms of the drama, with both characters carefully circling the topic whilst trying to skewer it, it actually goes against the current mental health guidelines of asking a person outright if they are thinking about committing suicide. Perhaps the most interesting discussion point considering Small Talks is otherwise such a literal film. Whilst Small Talks does its best to make a rod for its own back, it does still carry emotional weight. The film’s successes can largely be boiled down to great performances from the lead actors, and a flawed but undeniably human script. About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Sarajin Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Oct 1, 2023 Directed by: Justin Kim WooSŏk Written by: Justin Kim WooSŏk Starring: Jongman Kim, Taehee Kim Filmmaker Justin Kim WooSŏk’s heartfelt and understated short film Sarajin explores a small story in a much bigger picture, one about the impact of climate change. Jongman Kim plays an immigrant fisherman living in Alaska. Things are tight, as the snow crabs that his livelihood depends on have disappeared, forcing his captain to keep the boat anchored. With pressure at home from his partner (Ki Jin Kim) to provide for their family, our protagonist faces a tough decision: whether to wait it out or to move on. Sarajin is based on real-life closures of fisheries and how this impacts huge communities of people who have lived and fished in one place for generations. Whilst the film never engages in heightened melodrama, keeping a low poignancy throughout, it is still a very striking story about how the changing oceans (caused by human actions) can drastically impact the lives of common people. Beautifully shot and low-key with its dialogue, Sarajin is the strongest when contemplative. A simple shot of a rusted boat in the harbour, or a lingering shot through the truck window as our fisherman drives him despondent. It’s a film that encourages the feeling of tranquillity in order for you to really consider what’s being depicted here. The performances support this through dispirited exchanges, such as the couple exploring their hopeless situation, or the crew on the boat longing to get the green light to go back out to sea. The glum tone would be altogether too much if it weren’t for the engaging filmmaking and strong acting. The film’s title means “disappearing” in Korean and the layered meaning here is as equally as devastating as the plot. Often, considerations of climate change focus largely on the natural impact and how we might see drastic changes to weather, sea levels and such. What we aren’t usually presented with are the aspects of our global communities that will be lost forever. With his short film Sarajin , Justin Kim WooSŏk has opened a door for his audience that it may be impossible to shut if you have engaged with his piece enough. There are already aspects of our lives that will be lost to the history books, with lots more likely on the horizon. Being forced to move on from our homes is one of the most unnatural experiences in the world and yet this could be the experience for many if our neglect of the ocean and other essential parts of nature continues. About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Andes: 50 years Later Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 25, 2022 Directed by: Chris McNaughton Written by: Chris McNaughton Starring: Eduardo Strauch The backdrop and title of the short film chosen by the director Chris Mcnaughton get the film to right away appeal to the emotions of the masses. The opening sequence of the documentary has a message about the importance of love. In the very first shot, the camera tracks the museum to flush the audience with memories of the 1972 real-life incident. The use of the projector to showcase the old photos of the people who were present at the time transports the viewers to the same timeline. The musical track by Simon Daum and Yo Yo Ma complements the theme of the short film and assists the makers to bring out the range of emotions all of the people involved are feeling. The storyline of the cinematic piece is based on a true event. The plane carrying a rugby team from Montevideo Uruguay crashed into the high Andes Mountain. The film tells the extra- ordinary tale of the 16 survivors beating all the natural hurdles for straight 72 days. These people who battled through all the terrifying circumstances and miraculous events deserved to be remembered and document their struggles so that the audience gets to know about their bravery. The short film/documentary takes the form of a firsthand narration from one of 16 survivors- Eduardo Strauch. The use of a real survivor in the buildup of the narrative and the natural lighting in each frame of the movie and newspaper article in the museum provides a sense of realism to the documentary. The introduction and voice modulation of Eduardo Strauch highlights the pain, struggle, conflict and, misery. It is very difficult to relive the tormenting experience again and again. Eduardo is brave to do so and share his experience with us through this beautiful film. The camera-man manages to capture the magnificent landscape of the sight of the crash. The beautiful location chosen for the shooting of the movie by the cast and crew is a great choice so that they enjoy the picturesque view while absorbing the moving storyline of the cinematic piece. The makers also showcase the model of the planes used in 1972 with the help of the old clips available to them. This was done so that the topic of the movie becomes relatable to the audience and they don’t get bored with the historical event the film sheds light on. The documentary reminds us of a few very important life lessons that we tend to forget/ take for granted. It tells how crucial it is to be adaptive to the given situation. The film also reiterates the importance of nature, the presence of love in one's life, and the power of the human mind. Both love and the mind become critical factors for pushing oneself towards survival. It also teaches us that looking for happiness in consumerism rather than within oneself is the wrong way and then blaming the world for the mindset isn’t right. The short film gives out even the minute details of the real life plane crash giving importance to continuity in the creative piece so that the audience knows all about heroic tale of the event. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Frannie Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 14, 2022 Directed by: Alan Cameron Written by: Alan Cameron Starring: Emily Brolin, Dawn Brolin, Eli O'Brien, Bryant Daugherty, Marvin Novogrodski A young woman returns to her family home after a long absence and deals with her dysfunctional relatives. After spending several years away from her family, Frannie (Emily Brolin) is asked to come back and help her mother (Dawn Brolin), who is going through difficult times. Frannie dislikes her relatives and is eager to leave. However, as time passes, she gets to know them better and begins to appreciate them more. And she also starts a relationship with Luke (Daugherty), a friendly neighbour. This comedy drama takes a look into family values and the idea of finding a purpose in life. Frannie has unconventional family that includes her mother whose emotional state has gone downhill after her husband left a few months ago, her clumsy brother Teddy (O'Brien) and her uncle Rob (Novogrodski), who is a heavy drinker and spends a great deal of time on a sofa, on the house's lawn. As the story progresses, Frannie interacts more and more with her relatives and, although they have their differences, things between them improve as they begin to care for each other. The screenplay has funny and awkward moments, some adult humour, revelations and there are moving scenes and scenes of confrontation and reconciliation. As the titular character, Emily Brolin delivers a strong performance a woman in her twenties who is estranged from her family and is at a point in her life where she does not know which would be the best choices for her. Her character is intelligent and strong and goes through significant character development throughout the story. Dawn Brolin also does a great job as her mother, who uses a megaphone as a means to let her emotions out. Arnaud Drieu makes a wonderful contribution by developing music that is beautiful and dramatic and accompanies the scenes very effectively. This feature is an emotional and humorous story that deals with family, reconciliation and self-discovery. It reveals the significance of having a caring family and the joys that come with that. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Scaring Women At Night - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 30, 2023 Directed by: Karimah Zakia Issa Written by: Karimah Zakia Issa & Ace Clamber Starring: Izaiah Dockery, Kavita Musty, Dashawn Lloyd Blackwood “While grappling with his own fears, moving through the world as a trans man, he does his best to navigate his new dynamic with women.” Having had its world premiere at TIFF in 2022 and part of BFI Flare’s 2023 selection, Scaring Women At Night is an impactful short film that speaks to the lived experiences of one transgender man. As he presents as masculine, he seeks to understand how he can be more approachable to women without making them fearful of him. This is particularly prevalent at night, when the film’s storyline takes place, as he is walking behind a woman who believes that he is following her. In trying to not appear threatening, this is an interesting introspective film that considers an entirely different perspective to the trans male identity and experience. Cinema has seldom considered stories and narratives in this way, and so it is refreshing to see a very contemporary issue handled in such an incredibly authentic way. The story focuses on protagonist Ash having a conversation with himself about who he is now after his transition, particularly concerning his relationships with women. As he walks home alone, he encounters a woman also walking alone, leading the film to openly confront their individual fears. Filmmaker Karimah Zakia Issa explores how Ash has lived experiences from each side and is the guiding force for audiences to see an all-too-familiar event differently. He has adapted to survive, yet is confronted by these additional societal challenges. There is a real sense of unease created that extends throughout the short, with fears that many can relate to, particularly the reality of being followed. The filming is excellent, with scenes being spliced together often with jarring jump cuts to keep the viewer alert. Placing a trans character into this action allows these fears and issues to be considered in a new way. Ash attempts to make his appearance less scary, for example, in realising that he may now be considered a threat by presenting as male. It is a truly raw inner conflict, as the resolution is unclear. Scaring Woman At Night is a fantastic beginning of a conversation that leaves the viewer wanting to learn more. As this is a pre-feature short film, it is exciting to consider how the film will be developed into a feature. It is a refreshing perspective to be considered on screen and not one to be missed. About the Film Critic Amber Jackson LGBTQ+, Short Film, Film Festival < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Where the Flowers Bloom Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 1, 2023 Directed by: Olivia Luying Wang Written by: Olivia Luying Wang Starring: Dina Selimovic, Erik Scilley, Danilo Crovetti In a challenging and emotional short drama, Olivia Luying Wang’s Where the Flowers Bloom tackles trauma, depression, and anti-war sentiment in a well-acted and produced but at-times surface-level and melodramatic account of one woman’s attempts to come home from battle. Former soldier Diana (Dina Selimovic) has returned home from war with haunting accounts of tragedy a sinister accomplice. Her husband Max (Erik Scilley) makes efforts to reclaim normality for the pair, but Diana’s PTSD creates a barrier between them. When their neighbour’s child Oleg (Danilo Crovetti) visits, Diana’s life reaches a crossroads as she realises her struggle to make human connection. Where the Flowers Bloom is an intense and emotionally heavy short that pulls no punches with a harrowing account of the damage that the unresolved traumas of war can inflict on soldiers. The film is unafraid to portray the horrors of war or to portray the realities of suicide and self-harm (for which viewers should be aware). Diana’s grief is brought to life by a spectacular performance from Dina Selimovic, who portrays the character with complexity, compassion and respect – and utterly convinces the audience that untold pain resides behind her striking eyes. The film looks great as well, with cool tones seeped over the screen that pull the viewer into Diana’s sadness-tainted world. Diana and Max’s home forbodes over the pair and further creates a sense of darkness and distance with the select sources of light only penetrating in brief moments to match the protagonist’s emotional state. The script does let the film down, with clunky and expository dialogue that never really convinces despite impressive delivery. Viewers are whacked over the head with story beats and thematics, which unintentionally create a sense of insecurity on the filmmakers’ part that audiences wouldn’t keep up with the plot. This is not to say that the film isn’t moving or touching, and it is clear that the filmmakers’ hearts are in the right place. But melodrama is the result of the attempt to punch straight through the viewer’s ribcage and tug as hard as possible at their heartstrings. The film’s final image is the ultimate embodiment of this mindset, and is sure to be divisive. Audiences must be left to their own decision as to whether they think it is necessary or appropriate (I stray on the side that thinks it is just about justified), but regardless, it is certainly evidence that the mantra of ‘less is more’ has been left by the wayside. Where the Flowers Bloom is ultimately a brave and memorable short film that does have imperfections. It is imperfect, but its compassionate message is admirable and unashamed. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >