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HOME | FILMS | REVIEWS Nocturnes Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Dec 18, 2024 Directed by: Anirban Dutta, Anupama Srinivasan Written by: Anirban Dutta, Anupama Srinivasan Starring: Ramana Athreya, Gendan Marphew, Mansi Mungee You’ll never look at a moth the same way again after seeing them up close—very close—in Nocturnes . The new documentary film from Anirban Dutta and Anupama Srinivasan is an intimate look at the hawk moth population in the dense forests of the Eastern Himalayas. But this isn’t a traditional nature documentary. Night after night, the filmmakers slowly reveal the work of the scientists as they study the moths, with a slice of life in the laboratory here and there. Mostly, though, there is only a well-lit screen in the middle of a dark forest, with only a scientist or two and a few local guides to assist with the meticulous photography. Nocturnes is the kind of film that’s impossible to not use the word “meditative,” but that also doesn’t fully do justice to Dutta and Srinivasan’s subject. It is meditative, sure, but also hypnotic—and never dull. And like other philosophical nature documentaries (with Koyaanisqatsi feeling like its biggest spiritual predecessor), Nocturnes is as much interested in humanity’s relationship to the natural world as it is to the moths themselves. Climate change might seem far away from the verdant forests, but its presence and our human effects on a delicate ecosystem hover over the research. Nocturnes looks beautiful and sounds even better. And yet the nonstop insect and animal noises from the forest (a soundtrack that pairs well with a restrained score by Nainita Desai) is nothing compared to its clarion call for humans to reflect on our place in the environment. And how even the smallest creatures can become a subject of endless fascination and study with the right perspective. About the Film Critic Matt Weiner Theatrical Release, World Cinema, Documentary < All Reviews Next Film Review >

Latest Short Film Reviews On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page. Chasing Euphoria A short psychological thriller written and directed by Shayaan and starring Aryan Sadaat, Riccardo Habet and Bakh Syeda. Two young best friends (Sadaat and Habet) are spending a night out in the city. Then one of them spots a girl (Syeda) sitting by herself and he decides to approach her. She rejects him, however she is keen on his friend and the two of them begin dating, much to the other guy's annoyance. As the two of them continue to blossom their relationship, the rejected begins spying on them and his aggressive and disturbing behaviour spirals out of control. This short has an intriguing plot, beginning as a drama about relationships before turning into a thriller about stalking. As Sadaat's character becomes more and more obsessed with the couple, the bond he has with his friend is gradually destroyed as he clearly envies his ability to get along with girls and they turn against each other, arguing fiercely. The character development involving Sadaat's character is the heart of the film as the screenplay follows him as he falls into a personal abyss, drinking heavily, isolating himself and being consumed by anger and jealousy. The tension and drama rapidly build up as he targets the couple. It is also worth mentioning that there is a reference to one of the director's previous films. As vivid as the tension and drama are, the ending feels disappointing and that would be because it does not directly explain what actually happened. If it was intentional to have a story that ends with question marks and leaving the viewer to guess the events that took place then that was probably a mistake as a more obvious conclusion would had made the film's messages more evident. Also, regarding aspects that could had been improved, there is a fast cutting that shows what appears to be sparkles. Evidently, this was intended to help reveal the character's troubled state of mind. It is an interesting effect but maybe unnecessary. As Sadaat portrays the character whose actions are the main focus of the plot, his performance is vital for the film to have an effect and Sadaat pulls it off terrifically. Basically, his character is a youth whose personality changes throughout the story, turning from a simple guy into an angry fiend with sinister intentions who becomes obsessed with the relationship between his friend and the girl and is broken because he is unable to have a romantic relationship. Habet's character goes through good and bad experiences as he finds happiness with romance yet has to deal with his friends abusive and self-destrutive actions. Psychological deterioration, self-destruction, stalking, obsession and jealousy are major themes in this story and they are explored through Sadaat's character and so is the idea of being unable to find romance. More cheerfully, this story involves friendship and the joys of romantic relationships. This is a film anout a person who struggles to deal with their personal issues and ends up being a danger to themself and others. The intriguing plot, the tension, the drama and the strong performances add value, however some viewers might be unhappy with the unclear ending. VIEW REVIEW Ronnie California: The King of Artesia The self-contradicting facets of the immigrant experience are brilliantly dissected by Adi Kalidindi in Ronnie California: The King of Artesia, an imaginative and fun short film featuring an Indian man living in 90s America who tries to fit in in with his new country by taking up a classic pastime – organising an illegal gambling ring. The titular Ronnie California (Anand Mahalingam), following successful application for a name-change, looks to cement his place in America by running an illegal gambling ring out the back of his failing Saree shop. With interest on the rise, he becomes more and more extravagant with his dealings, and takes on the persona of a shady 70s car salesman. But his recklessness isolates his friends, who sense the law closing in. With impressive production, a canny and critical eye and plenty of laughs, Ronnie California is an accomplished and enjoyable short. It examines the immigrant experience using its title character, who wants nothing more than to fit in. And make lots of money. The use of ‘Ronnie’ to draw attention to discrimination and othering that Indians face in the United States is at the heart of the film. But where it shines comedically is in its devotion in never white-washing Ronnie’s shady qualities as a person. It’s hard to tell where his desire for acceptance ends and his willingness to bend the law for his own aims begins. There is a sympathy for the character in the film, but his sliminess and disregard for friends like Sidd (Nirvan Patnaik) adds real layers. Ronnie’s slow breakdown culminates in the law closing in and a moral choice which is one of the film’s most chaotic, dramatic and funny moments. The build-up of the character and his place in the ‘American Dream’ consistently balances drama and comedy, ensuring to highlight the faceless bureaucracy that crushes everyday Americans under its feet as a force that breaks down communities as well. Anand Mahalingham shines in the lead role. His performance as Ronnie – a man desperately trying to embody a mobster persona, is tragically hilarious. His Indian roots are never that far from the surface, and become more and more prominent as he gets more and more desperate. Nirvan Patnaik’s Sidd is more of a moral centre in the film – his quote about being a servant in both societies cuts deep to the core of Ronnie’s futile scheme. There’s a ton of depth to Ronnie California, beyond some great laughs and performances. The deconstruction of societal pressure on immigrants and what we expect for them to fit in is quietly profound throughout the short plot – not least in the tragi-comic choice the protagonist makes for his new name. Ronnie California might not be authentic, but his story definitely is. VIEW REVIEW What I Think Of You Two old friends meet up again to go for a wee walk in the woods, but a lot of retrodden ground needs to be covered when one of them can’t move on from the past. Steven (Watson) and Nick (Cumming) haven’t seen each other for a while. They used to hang out together but they don’t anymore and Nick has recently been in touch to see if he can remedy the situation. The two old pals have decided to go for a wee hike in the woods and hills around the city, with the green trees, rolling fields and tumbling water providing the perfect backdrop for a little reminiscing. The best buds are happily enjoying each other’s company, finding out about each other’s lives again, but as soon as the subject of current relationships is brought up the air turns a little funny and Nick finds himself not able to say very much. It seems that there is a bigger past at play which may not have run its course and this walk in the woods may just be a pretence for an unfinished conversation which needs to be had. Directed very ably by Max Hanover, What I Think Of You is really the baby of producer, writer and star, James Cumming. Taking on the role of Nick, Cumming bravely plays the more unsympathetic character of the piece, showing that he is more concerned about getting things right for his film than he is about looking good on camera. His script is relatable and genuine, with the two main characters feeling very ‘normal’ in their everyday language and issues. Both Jack Watson as Steven and James Cumming as Nick keep the feeling of the conversation very natural with their portrayal of the troubled friends, and the straightforward way the narrative plays out is helped by their believable everyday delivery. Cumming is also helped out in all corners by some crisp, luxuriant cinematography from Alex Roberts, a gentle, enigmatic score from Lizzie Mikietyn, and some great quality audio recorded by Paul Travers. All of these elements are very well handled and add immeasurably to the audience’s enjoyment of the film, allowing Cumming to air his themes through the dialogue as he touches on some pretty deep-seated issues. What I Think Of You seems very personal to James Cumming. He completely understands the themes he is trying to portray and writes his characters as though he knows them intimately. This all helps to keep the story and scenario of the film believable and relatable. What I Think Of You is, however, restricted by its focus and its narrative, with nothing more dramatic than a heated conversation happening during its entirety. There is plenty to like in the fifteen-minute runtime of What I Think Of You and what was expressed here, by cast and crew, is hopefully just a taster of what’s to come further down the line. VIEW REVIEW Close What makes a relationship a close one? Is is the quantity of time spent in another’s company or the quality of that time? How quickly can you form a close relationship? In minutes or does it take hours and days? Those are the questions ‘Close’ raises, though it doesn’t necessarily explore them to a satisfactory level of nuance and depth. ‘Close’ begins with an extract from a poem by Ferdinand Freiligrath - “O love, as long as you can love! O dear, as long as you love! The hour is coming, the hour is coming; Where you stand at graves and lament!” - and the essence of those four lines is felt throughout the rest of the film as well. It’s a poem that expresses the need to love while you can love, because it may not last forever, and whilst that is effectively captured in ‘Close’, the film doesn’t spend enough time exploring the relationship between its characters to truly understand the bond that they share. Franz (played by Marco Fausto Daidone) is all alone in an unfamiliar city as he prepares for a piano competition. Alone in his hotel room he cannot get through to his mother on the phone and is left overwhelmed by his own solitude. All that changes when Andrea (played by Gianluca Meotti) bursts in looking for shelter from the police. Andrea is clearly a dangerous fugitive and angrily remonstrates on the phone to his accomplice but this doesn’t perturb Franz, and very quickly the two strike up something of a friendship. Emphasis must be put on how quickly this happens. One moment Andrea is yelling on the phone, the next he and Franz are sat at the piano playing together with a closeness and sensuality between them. It’s as though a chunk of the film were taken out between the two scenes and we are supposed to just believe that they struck up a friendship just like that. There’s connective tissue between the events and this is a pattern that continues throughout the film. It’s a fault in the screenplay by Lorenzo Sicuranza and Francesco Teselli as they fail to effectively set up any of the events of the film. You sense that had the film been perhaps longer and more able to bridge the gaps between scenes then it would have been a far more moving rumination on loneliness and the human need for closeness and relationships. As it is, Lorenzo Sicuranza’s impeccably beautiful directing is let down by the gaps in the screenplay and the film feels rather unfulfilling. ‘Close’ is a disappointing film. It’s one that is full of unfulfilled potential as it fails to properly explore the depths of its questions and themes, and instead feels rushed and incomplete. VIEW REVIEW Largo It’s an astonishing turn of events that Largo, a story funded by the refugee council about a Syrian child’s mission to set sail to find his parents, would be released in the weeks following the stunning collapse of the monstrous Assad regime that was cause of so many risking their lives to flee. The hostility many have faced in safe nations is a source of shame – and Max Burgoyne-Moore and Salvatore Scarpa’s short is required watching for those in need of an empathy transplant. Musa (Zack Elsokari) lives on the coast with sponsor guardian Grace (Tamsin Greig). Having fled the civil war in his native Syria, he awaits the arrival of his parents who have promised to join him – despite the dangerous naval journey they must take. Facing discrimination from locals, Grace does what she can to comfort Musa. But a betrayal triggers the young boy into taking a fateful decision, and using an old boat he has rigged up, he sets sail to find his family. Largo is a film that leaves a lasting, moving impression. Beautiful and heartbreaking, it asks real questions of its audience – asking how we would react in unfathomable circumstances. The British coastal town that acts as its setting is a purgatory for Musa – a holding cell for him to await a family that viewers sense will never come. It’s a hard enough circumstance – but as it slowly emerges that trust is hard to come by, Musa feels left with no choice but to take his life back into his hands. It turns a mirror on us as a community and a society, and asks whether we are willing to allow the real Musas across the world to come to the same conclusions. Youngster Zack Elsokari is remarkable in the lead role. A portrayal of childhood trauma has rarely felt so authentic – particularly in his anger in place of expressiveness. Musa displays great innovation, investigation and intelligence, but still struggles to truly understand the world or come to terms with the most likely outcome of his search. His innocence has persevered despite everything that has happened to him, a secret message of hope buried deep in a desperately sad narrative. Tamsin Greig is on typically strong form as Grace, Musa’s guardian who struggles to find the right spot between disciplinarian and caregiver. The film’s moving finale is set in motion by the actions of children – a group of youngsters whose curiosity around Musa’s life has not yet been set to hatred by their surroundings. It is they who raise the alarm, that triggers the best kind of community response. A town that figuratively pushes Musa away now rallies to pull him back – with the message that isolation and discrimination have tragic ends. Few films capture the complexity of the child refugee experience better than Largo. At a moment in history when the springs of hope are emerging in Syria, we as individuals are still ultimately powerless to shape the events that lead to crisis. Largo inspires one to change what they can control – their behaviour and empathy towards those in our own communities. It is a riveting and moving short, that will never not be timely. VIEW REVIEW The Castle of Baron Finch A short horror film written and directed by Don Cunningham and starring himself alongside Jay Pennington, Elisabeth Anne Steigelman and Brad White. The year is 1863 and Dr. Christopher Cushing (Cunningham) has travelled from England to Germany in order to rescue his wife Isobel (Steigelman), who has been abducted by Baron Janos Finch (Pennington), a vampire. Chistopher must find them, do battle with the monster and save his beloved spouse. Filmed over a period of six years in Menard, Texas, this short is clearly meant to pay tribute to the horror films of the silent era. Filming was executed in black-and-white with the image looking grainy. There is no speech, no diegetic sound at all actually and the dialogue is presented through sentences on title cards just like the old days. What is heard is the gothic music Andreu Jacob that plays throughout and creates a sinister and dramatic atmosphere. Looking at the mise-en-scene, the action takes place in the countryside and there are locations that are often associated with vampire stories such as a cemetery, a castle and it should be mentioned that there is also a coffin. As for the narrative, it pretty much alternates between Christopher trying to locate his wife and Finch spending time with Isobel, teaching her how to be a vampire. Eventually, things lead to desperate life-and-death situations. It is also worth mentioning that another famous horror film creature makes its appearance. The following is not intended to bring the film down, however, fans of the vampire genre might be disappointed by a couple of things. Firstly, there are no fangs to be seen (Finch never reveals his) and secondly, Finch appears to be walking around in broad daylight and vampires are supposed to be creatures of the night, yes, the image is black-and-white, however, the sky looks like it is daytime. Again, these two observations are not ment to damage this short but they go against the conventions that are associated with vampire films. Regarding the performances, arguably Pennington is the one who stands out, portraying a vampire. Dressed in black, with long hair and a beard, he is constantly grinning, with an evil look on his face, making it clear that he is bad. Steigelman plays his victim. Wearing a white dress, looking like a bride, she appears to be under the influence of some kind of spell as she walks alongside Finch, smiling. And then there is Cunningham, who impersonates Dr. Cushing (an obvious homage to actor Peter Wilton Cushing), a brave man, determined to get his wife back. Going to the themes now, this is a story about desperation, rescue, revenge, cruelty and tragedy. A story about Good vs Evil. This is probably not meant to be a modern horror film, but rather a tribute to Gothic Horror Silent Films. Fans of the horror genre will most likely appreciate this twenty-minute long dark story that brings the viewer back in time, showing them what horror films used to be like. VIEW REVIEW I Could Dom A woman is shut down by her friends when she posits the idea that she could absolutely be a dom, so she sets out to prove them wrong. Men really can be dumb, witless freaks, can’t they? It seems that angry, bucktoothed, sex-pest, Andrew Tate may have been right about them – and let’s be clear, if he is right about this it’s the one and only thing he’s ever been remotely in the ballpark of being right about – that men are far too interested in being led about by the idea of making their pee-pee tingle. (His words, not mine.) The mere existence of the fact that Findom is a real thing, that’s financial domination to the uninitiated, is testament to this, along with OnlyFans model Sophie Rain, who seemingly racked up $43 million in earnings in the past year, with her top supporter apparently funding $4.7 million of that himself. These simps are everywhere and are becoming ever more prevalent in a post-lockdown society, where it’s easier to stay alone in your bedroom and pretend that you’re in a relationship with someone who’s only ripping you for every last cent, rather than actually go outside and have real life interactions with people. So, in the spirit of the modern generation, rather than actually going out and having sex, they’re deciding to make films about it instead. Writer, director and star, Madison Hatfield has decided to shine a light on the subject of domination in sex-play, even though she is a self-confessed novice herself. Her character, June is a lot like her – a people pleaser who always thinks of others first before setting about getting what she wants. With I Could Dom , Hatfield has decided to explore the side of herself which could be let out if the right situation arose, and so we watch as June bumbles about in some tight leather trying to take control and take what she wants when she gets a date with Jeff (Evans). This encounter is set-up by a Sex and the City style ‘ladies that lunch’ meeting between June and her two friends, Marigold (Alline) and Deb (Thomas). The other two are well versed in their respective sexual roles, with Deb extorting some poor sap who can’t stop touching himself, and Marigold sharing how she likes to be choked and slapped in the bedroom. Poor June though, is lost in amongst the conversation and when she tentatively suggests that she could dom, literally the whole room looks at her to tell her she’s wrong. Nevertheless, June gets onto the SneakyLynx app to set herself up as a dominatrix so that she can get out there and explore her new found confidence. As with most dating apps, even the non-overtly sexual ones, Jeff is a needle in a haystack as the only sane, sensible guy out there who has a decent, unthreatening tone and a relatable profile. However, Jeff definitely wants to sub and when faced with the buxom, curvaceous, leather-clad figure of June, he begins to think that all of his Christmases have come at once. Unfortunately for Jeff, June is in over her head and she can’t stop being polite, trying to make sure he is comfortable, and using the word ‘sorry’ way too much. Jeff does his best to put June at ease and is remarkably understanding in the face of such a poor dominatrix, but when he feels that June might not be getting anything out of this, he pulls out the safe-word and calls a halt to proceedings before any jiggery-pokery can begin. This causes June to have a bit of an existential crisis and she begins comparing herself to a soapdish – which does actually make sense within the narrative. Throughout I Could Dom there’s a cheeky, raunchy, titillating humour which aims to lead the vanillas amongst us delicately through the world of sex-play. The colour and lighting coming through Cristian Bernal’s cinematography also keeps things nice and soft as the sexy times heat up and almost immediately cool down, leaving the viewer feeling safe and content at all times as the very personal issues of finding ourselves through ourselves and each other get explored. The main message of loving yourself comes through nice and clear, especially in the closing moments, and the casual reminder that we’re all just a little bit freaky inside, with the need for us to be okay with that, also hits a nice comfortable note. Hatfield’s script and narrative have a nice measure of spicy fun to them and her performance as June stands out as a beautiful piece of comedy. There are nice allusions to art and mythology peppered throughout the fifteen-minute runtime, helping us to understand that people have been building fantasies around sex for a very long time, and there is room in the scenario for something bigger to be developed around this idea. Unfortunately though, the fact that I Could Dom lacks bite in its telling, is what lets it down. With Jeff being the first and only guy that June meets in this bearpit of sexual gratification, and that everything works out for the best immediately, just isn’t indicative of the real life scene. Nowhere do the letters S&M or BDSM get mentioned, showing just how tame the humour and the scenario really are in handling the downright dirty sex acts usually involved in the ritual humiliation of others for sexual gain, and overall I Could Dom feels like it’s pulling on a costume and pretending to be something it’s not. Definitely tastes more like vanilla than hot, sweaty PVC and ground metal. VIEW REVIEW The 21 *A warning to readers that the following review contains discussion of serious subject-matter. The 21 is a new animated short which depicts some viscerally disturbing real-world events. It’s an artistic retelling (and recontextualization) of the execution of 21 men committed by ISIS in a 2015 video. It goes without saying that it’s the most horrific event for a piece of art or media to be based around. On the film’s website, they intelligently talk about how they wished to “highlight[...] the courage and unshakeable faith of the martyred men, proving that gentle faith is stronger than religious fear-mongering.” So, what we get is a piece made to pay tribute to the brave men who were murdered out of hate as a result of their faith. The topics in discussion, whilst unbearably upsetting, are displayed with enough of a cinematic sense of drama, and guidance through the use of narration, that we’re able to stomach the viewing experience. And yet, most importantly, the film still doesn’t shy away from showing genuine human evil in all its ugliness. It’s very powerful work. Starting with the unique look, the film’s animation style is simply spectacular. This piece has been described by its makers as being comprised of “Neo-Coptic Iconography” as a way of paying respect to the Coptic faith, which is a fascinating school of aesthetics to adhere to – particularly in relation to animation. This would suggest that the artists – of which there were many (almost a hundred) involved in this production across multiple countries – wished to adopt a vibrant, expressionistic approach to presenting real-life events; guided, stylistically and dramatically, by the spiritual. To tell this deeply serious narrative, a two-dimensional form of animation is implemented, characterised by block colours, intense imagery, and often abstract storytelling. Audiences will find themselves in awe of the technical prowess on display. Through its textures and crafting of light, one cannot ignore the level of passion and detail being showcased on-screen. In addition to the stunning visuals, other filmic techniques are also used to further immerse viewers in the absolute terror of what’s being depicted in the film. Specifically, sound, colour, and editing were by no means overlooked during the piece’s construction. The manner in which the movie cuts imagery together – considering clearly each shot’s impact, shape, composition and feeling – to then complement or juxtapose one another, is precisely what editing is all about. Many working in the animation industry have stated how one has to effectively edit the picture simultaneously to “shooting” the picture, meaning that no excess of animated imagery would be produced due to rigorous storyboarding. You could view this as a limitation, but in the case of The 21 , it only seems to have enhanced its creative capabilities. To surmise, this is incredibly brave and phenomenally inventive filmmaking. The extensive team of animators, filmmakers and researchers who worked on this piece should be proud of their work. It is to get recognition both as a collaborative piece of visual art and as a social document of sorts. As informative as it is tragic, The 21 is a phenomenal piece of design, and an undeniably admirable tribute. VIEW REVIEW Motel Room In the movies, it is very rare that anything good happens in a motel room. Barring the conception of John Connor in ‘The Terminator’, you’ve got criminals - ‘From Dusk Till Dawn’, weirdness - William Friedkin’s ‘Bug’, and of course, most famously psychopaths - The Bates Motel in ‘Psycho’. Therefore, you’d be forgiven for walking into ‘Motel Room’ with trepidation, fearing an onslaught of horror or debauchery, but what you actually get is something extremely earnest and heartwarming. The film follows the friendship that develops between a young Armenian teenage boy, Sevag (played by Sebastian Rosero) and the prostitute, Megan (played by Tammy Kaitz) that the boy’s father hires to take his virginity. His father, Massis (played by David Gianopoulos) is a hyper-masculine figure, one whom has plenty of experience with Megan - even requesting the Massis special for his son as he kisses her and hands him over. He doesn’t understand his son, nor does his son understand him. To his father, a boy losing virginity at the age of fifteen is normal, however, for Sevag it is the last thing he wants to indulge in, not least because of his repressed homosexuality. It’s established smartly in the film’s opening that the film takes place in the midst of the AIDs crisis, on the night of Freddie Mercury’s death no less. For a while these fears are left to simmer in the background, but they never go away, and has its undertones in every line, for which credit must be given to writer Sahag Gureghian. When it does come back to the fore it potent and sensitively handled, serving only to amplify Sevag’s fears of both sex and coming out to his father - who thinks AIDs only affects gay people, whom he says have to die. All this is revealed tenderly to Megan, herself a fully fleshed out character. There’s regret in what she does, but you sense that in talking to Sevag - rather than forcing the poor boy into something he doesn’t want to do - there’s some redemption or relief that she has taken that path in life. She helps him, of course, that is what the film is ostensibly about, but under the surface, he helps her too. Such tenderness is reflected in the directing by Bradford Lipson, whose use of soft lighting only adds to the warmth and genuine care with which Megan handles Sevag. Each shot is well directed and at no point does the pace lag, it is an altogether well made film from a filmmaker with a bright future. Furthermore, Lipson brings the most out of Sebastian Rosero and Tammy Kaitz, who each give dynamic, vulnerable performances, and bounce off each other well. ‘Motel Room’ is a beautifully, tragic film in many ways. It is one that remains important even though we’ve moved on from the times that it depicts, and that in itself is tragic, but it is beautiful because it contains such warmth and ultimately hope for a better, more understanding world. VIEW REVIEW The Emerald Wasp “All things bright and beautiful as they say” runs contrary to both The Emerald Wasp’s sickly visual language and its sinister message, for this short film is anything but. The liturgy in the idiomatic phrase serves only as a sardonic overture to a film that repudiates such pastoral optimism in favour of a more grim natural order. Peter Renzullo crafts a seven-minute narrative steeped in unease, where nature's most grotesque manipulations draw reflections to the darker aspects of human relationships. For a seven-minute chatty little chamber piece, one that refreshingly disregards expository information that would find the script operating outside the present conversation, The Emerald Wasp could be considered airy if not for the crushing weight its central analogy imposes. The film opens in the same confines it finds its conclusion. A single room, one table, two people on either end. Khan (Jay Jay Jegathesan), a discernible demoniac who shares the tale of the emerald wasp and Isabella (Mirae Jang), who principally listens with an odd subservience. The Emerald Wasp marks the growing tension between the two, leveraging the chilling biology of its titular insect — a creature that subdues its prey with methodical cruelty — as both a literal and symbolic framework, reducing the abstraction inherent in themes of control, parasitism, and the fragility of autonomy down to singular universal instincts stipulated by the laws of nature. Essentially it’s eat or be eaten, you’re either in control or you’re not. The short film’s visual language, marked by a veneer of jaundiced greens and decaying hues, forgoes any striking colour contrasting or traditional beauty, replacing it with a visual malaise that mirrors the wasp’s morbid elegance. Without the tax that depth of surroundings or colour demand, the film’s flat overlay fatigues the eyes, lulling you into a kind of semi-consciousness, solely hooked on the rhythmic cadence found in the monologue of a madman. Renzullo isn’t worried about the calibre of acting on screen and it shows — he shoots with a suffocating intimacy bringing us face-to-face with Khan. Interestingly, it’s not until the film’s final moments that Renzullo pans the camera around for us to see Isabella, revealing what we could have guessed mere seconds in, that she’s sitting across the table from the mad philosopher against her will, tied to the chair. At this point we don’t know what’s worse: having to endure the torture she’ll inevitably succumb to or listen to her oppressor drone on about his deranged beliefs any longer. As the incessant sounds of clock ticks propel The Emerald Wasp to its logical conclusion, we realise it is less a conventional short film and more a condensed thesis on the ubiquitous grammar felt in every intersection of life that dictates control. This is not a film that aims to shock; rather, it seeks to unsettle, to burrow under the skin and linger like the phantom sting of its namesake. VIEW REVIEW

Music Video Reviews One of the most exciting sub-genres our critics review is music videos. They are often incredible pieces of storytelling, either in their own right or aligned with the song playing over them. On this page you will find a great selection of music video reviews from the team of critics at UK Film Review. If you are a filmmaker or artist who would like us to review your music video, submit your film here . When it comes to reviewing a music video, the process differs slightly from perhaps a narrative short film or documentary. The music has to be explored far more intimately than if it were a soundtrack because that's where the story originates from rather than being added further down the line. Music videos do conform to genres but these are often musical genres rather than film categories, for example pop, folk, rock, rap etc. So this will also influence the music video review our critics write because the target audience is going to be considered. Music videos may take a variety of forms or even combine different aspects to create a different effect on the viewer. For example, it is common for a music video to contain a small narrative, as well as live performance footage. Top filmmakers making music videos will be able to immerse you into the song and story without leaving you feeling like you have just watched a promo piece. Choreography is also a common trait in music videos, with dance sequences and flash mobs recurring - often in pop music videos. Editors of music videos will have their work cut out to ensure the choreography looks tight and engaging without it feeling staged or lifeless. Hopefully the array of music video reviews you see below will include some gems for you to peruse. Don't forget to scroll to the bottom of the article, as we often include the actual music video so you can watch it for yourself. Unspoken by LT Jason Knight A-Train: New Beginnings Jason Knight The Dragonborn Comes-Main Theme Jason Knight The Panharmonion Chronicles: Times of London Patrick Foley Lost All Care Joe Beck Everything Will Dissolve in the Void James Learoyd Rooftop Screamers Joe Beck Hot Chip Eleanor Swati Verma A New Kind of Life Jason Knight alexjames96 Jun 6 2 min read Ain’t my Vibe Short Music Video Review alexjames96 Mar 17 2 min read Cinerama (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min read Homecoming (Music Video) Short Film Review alexjames96 Nov 16, 2023 2 min read Sheep F-cked In the Head Short Film Review Theo Aug 1, 2022 2 min read Service for The King short film review Chris Olson Sep 28, 2021 2 min read Stroke Code Music Video Review More Film Reviews

FILM REVIEWS UK UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. We even review short and independent films on the podcast. Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Film Reviews from UK film critics LATEST REVIEWS Nocturnes Chasing Euphoria Ronnie California: The King of Artesia What I Think Of You Close Numbered Lives The End September 5 Scrap Rhino Man Kraven the Hunter Oh, Canada Load More

Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! We do receive payment from PR companies and other filmmakers for services such as promoting their film, or skipping to queue, but this has nothing to do with the movie review itself. Whilst you will see our latest movie reviews here you should also follow UK Film Review on our social media profiles, as well as subscribe to our popular film podcast. This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 4 out of 5 Nocturnes Read Review average rating is 3 out of 5 Chasing Euphoria Read Review average rating is 4 out of 5 Ronnie California: The King of Artesia Read Review average rating is 3 out of 5 What I Think Of You Read Review average rating is 2 out of 5 Close Read Review average rating is 3 out of 5 Numbered Lives Read Review average rating is 3 out of 5 The End Read Review average rating is 4 out of 5 September 5 Read Review average rating is 4 out of 5 Scrap Read Review average rating is 5 out of 5 Rhino Man Read Review average rating is 2 out of 5 Kraven the Hunter Read Review average rating is 3 out of 5 Oh, Canada Read Review average rating is 5 out of 5 Largo Read Review average rating is 3 out of 5 Queer Read Review average rating is 4 out of 5 The Castle of Baron Finch Read Review average rating is 3 out of 5 I Could Dom Read Review average rating is 3 out of 5 The Man in the White Van Read Review average rating is 5 out of 5 Nosferatu Read Review average rating is 4 out of 5 The 21 Read Review average rating is 5 out of 5 Motel Room Read Review average rating is 3 out of 5 The Emerald Wasp Read Review average rating is 4 out of 5 Weightless Words Read Review average rating is 3 out of 5 Blurred Lines (2024) Read Review average rating is 3 out of 5 Nightbitch Read Review average rating is 4 out of 5 Flow Read Review average rating is 3 out of 5 Werewolves Read Review average rating is 4 out of 5 I'll Be Frank Read Review average rating is 3 out of 5 Get Away Read Review average rating is 5 out of 5 The Last Ranger Read Review average rating is 3 out of 5 Y2K Read Review average rating is 3 out of 5 Peace Process Read Review average rating is 3 out of 5 Bull Street Read Review average rating is 3 out of 5 That Christmas Read Review average rating is 4 out of 5 Perform Read Review average rating is 3 out of 5 Lots Love Read Review average rating is 3 out of 5 Walnuts Read Review average rating is 3 out of 5 Til Your Last Breath Read Review average rating is 3 out of 5 Maria Read Review average rating is 3 out of 5 Freelance Read Review average rating is 4 out of 5 Farewell Read Review average rating is 3 out of 5 Lovesick Read Review average rating is 4 out of 5 Conclave Read Review average rating is 3 out of 5 Nutcrackers Read Review average rating is 3 out of 5 Lola Dust Read Review average rating is 3 out of 5 Opportunity Read Review average rating is 4 out of 5 The Other Birthday Read Review average rating is 3 out of 5 Moana 2 Read Review average rating is 4 out of 5 Beatles '64 Read Review average rating is 4 out of 5 Cubic Zirconia Read Review average rating is 4 out of 5 Molina Read Review average rating is 4 out of 5 Mouse Read Review average rating is 4 out of 5 Moeder Read Review average rating is 4 out of 5 Happy Pals Read Review average rating is 3 out of 5 To Hell With You Read Review average rating is 4 out of 5 Petro Read Review average rating is 3 out of 5 The American Question Read Review average rating is 4 out of 5 Rita Read Review average rating is 4 out of 5 Buscando Alma Read Review average rating is 3 out of 5 The Miner's Son Read Review average rating is 4 out of 5 Gladiator II Read Review average rating is 5 out of 5 Kruste Read Review average rating is 4 out of 5 Wicked Read Review average rating is 3 out of 5 Flirting with Darkness Read Review average rating is 4 out of 5 A Place to Fall Down Read Review average rating is 5 out of 5 My Week with Maisy Read Review average rating is 3 out of 5 Street Trash Read Review average rating is 4 out of 5 From Above Read Review average rating is 5 out of 5 Meal Ticket Read Review average rating is 5 out of 5 Neither Donkey Nor Horse Read Review average rating is 4 out of 5 Picture Day Read Review average rating is 3 out of 5 Seven Jewish Children Read Review average rating is 3 out of 5 Tomorrow Read Review average rating is 4 out of 5 Pylon Read Review average rating is 2 out of 5 Red One Read Review average rating is 4 out of 5 A Real Pain Read Review average rating is 4 out of 5 Unspoken by LT Read Review average rating is 4 out of 5 Pocket Princess Read Review average rating is 4 out of 5 Orango Read Review average rating is 4 out of 5 A Beautiful Day Read Review average rating is 3 out of 5 Sileo Read Review average rating is 3 out of 5 Death Read Review average rating is 5 out of 5 Into the Unknown Read Review average rating is 2 out of 5 That's the Spirit Read Review average rating is 3 out of 5 Art Read Review average rating is 4 out of 5 My Name Is Alfred Hitchcock Read Review average rating is 4 out of 5 Memoir of a Snail Read Review average rating is 4 out of 5 Belief Read Review average rating is 3 out of 5 Breakdown Read Review average rating is 3 out of 5 Miss or Misses Read Review average rating is 3 out of 5 Another World Read Review average rating is 2 out of 5 Through the Stew Read Review average rating is 2 out of 5 Here Read Review average rating is 3 out of 5 Signs of Allegiance Read Review average rating is 4 out of 5 Absolution Read Review average rating is 5 out of 5 Anora Read Review average rating is 4 out of 5 Emilia Pérez Read Review average rating is 4 out of 5 Chasing Chasing Amy Read Review average rating is 3 out of 5 Continuance Read Review average rating is 4 out of 5 In the Garden of Tulips Read Review average rating is 3 out of 5 Savanna by AMAFFI Read Review

Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 4 out of 5 Nocturnes Read Review average rating is 4 out of 5 Ronnie California: The King of Artesia Read Review average rating is 3 out of 5 What I Think Of You Read Review average rating is 3 out of 5 The End Read Review average rating is 4 out of 5 September 5 Read Review average rating is 4 out of 5 Scrap Read Review average rating is 2 out of 5 Kraven the Hunter Read Review average rating is 3 out of 5 Oh, Canada Read Review average rating is 5 out of 5 Largo Read Review average rating is 3 out of 5 Queer Read Review average rating is 3 out of 5 I Could Dom Read Review average rating is 3 out of 5 The Man in the White Van Read Review Chris Olson Mar 8 2 min read Film Podcast - Dune: Part 2 Chris Olson Mar 1 3 min read Film Podcast: George Clooney Rowing Biopic Scoops Film of the Month - Jan 20, 2023 3 min read TAR FILM REVIEW Taryll Baker Oct 13, 2022 2 min read Empire of Light - Film Review - Oct 11, 2022 3 min read Bones and All LFF Review - Oct 7, 2022 3 min read White Noise (2022) LFF Review - Sep 20, 2022 2 min read Sanctuary TIFF Review UK Film Review Sep 13, 2022 5 min read FrightFest 2022 Highlights - May 25, 2022 3 min read Top Gun: Maverick Film Review - Apr 23, 2022 3 min read The Unbearable Weight of Massive Talent Film Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

Short Film Reviews Welcome to the UK Film Review page for short film reviews . Here you will find some of the best and brightest sparks in a sea of cinema. Filmmakers from across the globe submit their short films to us to be reviewed, and our Contributors lovingly dissect them. If you would like one of our team to write a film review of your short film, please use the form on our Submit Your Film page Our short film reviews are written by passionate film critics across the UK and aim to highlight and promote terrific filmmaking when we find it. We are always honest with our reviews, so if you are looking to submit your short film for review, please do so knowing that we will not alter what we have said because you don't like it. There is a wealth of amazing talent in the short film industry, and we hope by writing film reviews about this underexposed creativity we can get your movies to a new audience...but we need your help. Please join in the chatter on our social media channels so that we can grow our community and share the joy. Use the buttons in the footer to Like us on Facebook, Follow us on Twitter, and Subscribe to us on YouTube #supportindiefilm. The selection of short film reviews you see below are mostly for films submitted to us. In this instance, the filmmaker has requested us to watch and provide a short film review. Alternatively, visit our Latest Short Film Reviews page . Get Your Short Film Reviewed The Curious Clever and Collectively Convoluted Case of Detective Ebeneezer Maisonette   Short Film Review Hardwicke Circus: The Prison Gig Short Film Review Through the Stew Short Film Review Filmmaker Interview with Zehua Yang Isabella Short Film Review Finger Food Short Film Review Warrior: Predator Short Film Review A Hell of a Trip to Delicias Short Film Review No Tell! Short Film Review Last Rendezvous Short Film Review In The Moonlight Short Film Review Bridge Short Film Review Bird Drone Short Film Review Ain’t my Vibe Short Music Video Review Surprise Short Film Review A Happy Ending Short Film Review Shear Disturbance Short Film Review Watch What I Do Short Film Review After Hours Short Movie Review Cinerama (Music Video) Short Film Review More Film Reviews Chasing Euphoria Jason Knight Ronnie California: The King of Artesia Patrick Foley What I Think Of You William Hemingway Close Joe Beck Largo Patrick Foley The Castle of Baron Finch Jason Knight I Could Dom William Hemingway The 21 James Learoyd Motel Room Joe Beck The Emerald Wasp Rohan kaushal I'll Be Frank Jason Knight The Last Ranger William Hemingway Peace Process James Learoyd Perform Jason Knight Lots Love Patrick Foley Til Your Last Breath Chris Buick Farewell James Learoyd Lovesick William Hemingway The Other Birthday Jason Knight Molina Chris Buick Mouse James Learoyd Moeder William Hemingway Happy Pals Jason Knight To Hell With You Joe Beck Buscando Alma James Learoyd Load More Reviews What is a short film review? A short film review is often written by a movie critic and it's their opinion on a film that is less than sixty minutes long. Short film reviews still explore every aspect of a movie. How do I write a short film review? Writing a short film review needs to cover multiple aspects of the movie. Including the script, the characters, performances, cinematography, score & sound design, editing and so on. Sometimes we consider the piece only as a short film; whether it works in that format, other times we may think of it as a "proof of concept" for something longer, or perhaps a piece of a web series/TV show. These can be important to consider when writing a short film review. How long should a film review be? A film review should be as long as the house style. Some publications provide lengthier reviews than others. A general minimum word count would be 500. This may be also for SEO reasons, as short film reviews that are longer may be more likely to rank higher on Google. The important thing to remember is that the review should be well-structured, not full of bloated points to fill up the word count. How much money do film critics make? Film critic salaries depend massively on their publication. Many film critics are freelancers, meaning they get paid per review and sometimes this is based on word count. Making money through film reviews can be challenging. Video Short Film Reviews Below you will find a selection of short film reviews in video form! This is where one of the UK Film Review Critics records their review and we upload it to our YouTube channel (as well as TikTok and Meta Reels in some cases). A Place to Fall Down Short Film Review by Chris Olson A short film about coping with loss and grief, film critic Chris Olson gave A Place to Fall Down 4 stars. Watch his video short film review here to here from the man himself about his thoughts and feelings. OK/NOTOK Short Film Review by Patrick Foley In this short film review from Patrick Foley, he gives us his opinion of the brilliant movie OK/NOTOK. Set in a futuristic world where AI robots are available as companions (as long as you can afford the subscription), it's a riveting piece. Betrayed Short Film Review by Chris Buick Film critic Chris Buick offers up a fantastic video short film review for Betrayed. A movie about a girl with special powers who, with the help of her protective father, must elude those who would use her for nefarious means.

HOME | FILMS | REVIEWS Chasing Euphoria Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 18, 2024 Directed by: Shayaan Written by: Shayaan Starring: Aryan Sadaat, Riccardo Habet, Bakh Syeda A short psychological thriller written and directed by Shayaan and starring Aryan Sadaat, Riccardo Habet and Bakh Syeda. Two young best friends (Sadaat and Habet) are spending a night out in the city. Then one of them spots a girl (Syeda) sitting by herself and he decides to approach her. She rejects him, however she is keen on his friend and the two of them begin dating, much to the other guy's annoyance. As the two of them continue to blossom their relationship, the rejected begins spying on them and his aggressive and disturbing behaviour spirals out of control. This short has an intriguing plot, beginning as a drama about relationships before turning into a thriller about stalking. As Sadaat's character becomes more and more obsessed with the couple, the bond he has with his friend is gradually destroyed as he clearly envies his ability to get along with girls and they turn against each other, arguing fiercely. The character development involving Sadaat's character is the heart of the film as the screenplay follows him as he falls into a personal abyss, drinking heavily, isolating himself and being consumed by anger and jealousy. The tension and drama rapidly build up as he targets the couple. It is also worth mentioning that there is a reference to one of the director's previous films. As vivid as the tension and drama are, the ending feels disappointing and that would be because it does not directly explain what actually happened. If it was intentional to have a story that ends with question marks and leaving the viewer to guess the events that took place then that was probably a mistake as a more obvious conclusion would had made the film's messages more evident. Also, regarding aspects that could had been improved, there is a fast cutting that shows what appears to be sparkles. Evidently, this was intended to help reveal the character's troubled state of mind. It is an interesting effect but maybe unnecessary. As Sadaat portrays the character whose actions are the main focus of the plot, his performance is vital for the film to have an effect and Sadaat pulls it off terrifically. Basically, his character is a youth whose personality changes throughout the story, turning from a simple guy into an angry fiend with sinister intentions who becomes obsessed with the relationship between his friend and the girl and is broken because he is unable to have a romantic relationship. Habet's character goes through good and bad experiences as he finds happiness with romance yet has to deal with his friends abusive and self-destrutive actions. Psychological deterioration, self-destruction, stalking, obsession and jealousy are major themes in this story and they are explored through Sadaat's character and so is the idea of being unable to find romance. More cheerfully, this story involves friendship and the joys of romantic relationships. This is a film anout a person who struggles to deal with their personal issues and ends up being a danger to themself and others. The intriguing plot, the tension, the drama and the strong performances add value, however some viewers might be unhappy with the unclear ending. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Ronnie California: The King of Artesia Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Dec 16, 2024 Directed by: Adi Kalidindi Written by: Adi Kalidindi Starring: Anand Mahalingam, Nirvan Patnaik, Shalini Bathina The self-contradicting facets of the immigrant experience are brilliantly dissected by Adi Kalidindi in Ronnie California: The King of Artesia, an imaginative and fun short film featuring an Indian man living in 90s America who tries to fit in in with his new country by taking up a classic pastime – organising an illegal gambling ring. The titular Ronnie California (Anand Mahalingam), following successful application for a name-change, looks to cement his place in America by running an illegal gambling ring out the back of his failing Saree shop. With interest on the rise, he becomes more and more extravagant with his dealings, and takes on the persona of a shady 70s car salesman. But his recklessness isolates his friends, who sense the law closing in. With impressive production, a canny and critical eye and plenty of laughs, Ronnie California is an accomplished and enjoyable short. It examines the immigrant experience using its title character, who wants nothing more than to fit in. And make lots of money. The use of ‘Ronnie’ to draw attention to discrimination and othering that Indians face in the United States is at the heart of the film. But where it shines comedically is in its devotion in never white-washing Ronnie’s shady qualities as a person. It’s hard to tell where his desire for acceptance ends and his willingness to bend the law for his own aims begins. There is a sympathy for the character in the film, but his sliminess and disregard for friends like Sidd (Nirvan Patnaik) adds real layers. Ronnie’s slow breakdown culminates in the law closing in and a moral choice which is one of the film’s most chaotic, dramatic and funny moments. The build-up of the character and his place in the ‘American Dream’ consistently balances drama and comedy, ensuring to highlight the faceless bureaucracy that crushes everyday Americans under its feet as a force that breaks down communities as well. Anand Mahalingham shines in the lead role. His performance as Ronnie – a man desperately trying to embody a mobster persona, is tragically hilarious. His Indian roots are never that far from the surface, and become more and more prominent as he gets more and more desperate. Nirvan Patnaik’s Sidd is more of a moral centre in the film – his quote about being a servant in both societies cuts deep to the core of Ronnie’s futile scheme. There’s a ton of depth to Ronnie California, beyond some great laughs and performances. The deconstruction of societal pressure on immigrants and what we expect for them to fit in is quietly profound throughout the short plot – not least in the tragi-comic choice the protagonist makes for his new name. Ronnie California might not be authentic, but his story definitely is. About the Film Critic Patrick Foley Short Film, Digital / DVD Release, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS What I Think Of You Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Dec 15, 2024 Directed by: Max Hanover Written by: James Cumming Starring: Jack Watson, James Cumming Two old friends meet up again to go for a wee walk in the woods, but a lot of retrodden ground needs to be covered when one of them can’t move on from the past. Steven (Watson) and Nick (Cumming) haven’t seen each other for a while. They used to hang out together but they don’t anymore and Nick has recently been in touch to see if he can remedy the situation. The two old pals have decided to go for a wee hike in the woods and hills around the city, with the green trees, rolling fields and tumbling water providing the perfect backdrop for a little reminiscing. The best buds are happily enjoying each other’s company, finding out about each other’s lives again, but as soon as the subject of current relationships is brought up the air turns a little funny and Nick finds himself not able to say very much. It seems that there is a bigger past at play which may not have run its course and this walk in the woods may just be a pretence for an unfinished conversation which needs to be had. Directed very ably by Max Hanover, What I Think Of You is really the baby of producer, writer and star, James Cumming. Taking on the role of Nick, Cumming bravely plays the more unsympathetic character of the piece, showing that he is more concerned about getting things right for his film than he is about looking good on camera. His script is relatable and genuine, with the two main characters feeling very ‘normal’ in their everyday language and issues. Both Jack Watson as Steven and James Cumming as Nick keep the feeling of the conversation very natural with their portrayal of the troubled friends, and the straightforward way the narrative plays out is helped by their believable everyday delivery. Cumming is also helped out in all corners by some crisp, luxuriant cinematography from Alex Roberts, a gentle, enigmatic score from Lizzie Mikietyn, and some great quality audio recorded by Paul Travers. All of these elements are very well handled and add immeasurably to the audience’s enjoyment of the film, allowing Cumming to air his themes through the dialogue as he touches on some pretty deep-seated issues. What I Think Of You seems very personal to James Cumming. He completely understands the themes he is trying to portray and writes his characters as though he knows them intimately. This all helps to keep the story and scenario of the film believable and relatable. What I Think Of You is, however, restricted by its focus and its narrative, with nothing more dramatic than a heated conversation happening during its entirety. There is plenty to like in the fifteen-minute runtime of What I Think Of You and what was expressed here, by cast and crew, is hopefully just a taster of what’s to come further down the line. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Close Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Dec 15, 2024 Directed by: Lorenzo Sicuranza Written by: Lorenzo Sicuranza, Francesco Teselli Starring: Marco Fausto Daidone, Gianluca Meotti What makes a relationship a close one? Is is the quantity of time spent in another’s company or the quality of that time? How quickly can you form a close relationship? In minutes or does it take hours and days? Those are the questions ‘Close’ raises, though it doesn’t necessarily explore them to a satisfactory level of nuance and depth. ‘Close’ begins with an extract from a poem by Ferdinand Freiligrath - “O love, as long as you can love! O dear, as long as you love! The hour is coming, the hour is coming; Where you stand at graves and lament!” - and the essence of those four lines is felt throughout the rest of the film as well. It’s a poem that expresses the need to love while you can love, because it may not last forever, and whilst that is effectively captured in ‘Close’, the film doesn’t spend enough time exploring the relationship between its characters to truly understand the bond that they share. Franz (played by Marco Fausto Daidone) is all alone in an unfamiliar city as he prepares for a piano competition. Alone in his hotel room he cannot get through to his mother on the phone and is left overwhelmed by his own solitude. All that changes when Andrea (played by Gianluca Meotti) bursts in looking for shelter from the police. Andrea is clearly a dangerous fugitive and angrily remonstrates on the phone to his accomplice but this doesn’t perturb Franz, and very quickly the two strike up something of a friendship. Emphasis must be put on how quickly this happens. One moment Andrea is yelling on the phone, the next he and Franz are sat at the piano playing together with a closeness and sensuality between them. It’s as though a chunk of the film were taken out between the two scenes and we are supposed to just believe that they struck up a friendship just like that. There’s connective tissue between the events and this is a pattern that continues throughout the film. It’s a fault in the screenplay by Lorenzo Sicuranza and Francesco Teselli as they fail to effectively set up any of the events of the film. You sense that had the film been perhaps longer and more able to bridge the gaps between scenes then it would have been a far more moving rumination on loneliness and the human need for closeness and relationships. As it is, Lorenzo Sicuranza’s impeccably beautiful directing is let down by the gaps in the screenplay and the film feels rather unfulfilling. ‘Close’ is a disappointing film. It’s one that is full of unfulfilled potential as it fails to properly explore the depths of its questions and themes, and instead feels rushed and incomplete. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Malum Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 28, 2023 Directed by: Anthony DiBlasi Written by: Anthony DiBlasi, Scott Poiley Starring: Jessica Sula Equal parts Assault on Precinct 13 and The Shining by way of Charles Manson, Anthony DiBlasi’s Malum is a quick, mean, mad look into the abyss. Jessica Sula stars as a rookie cop whose first night on the job is a babysitting gig, so to speak. The new station is up and running and all she has to do is sit tight at the old station, redirect anyone who stops by, and wait for morning. So far, so Carpenter. Jessica (her character’s name, as well) actually requested this stint because her dad, a hero, ended his career in this very building and she just wants the two careers to overlap, if only for one shift. But the cult that her father put an end to one year ago tonight has designs on Jessica. DiBlasi is reimagining his own 2014 flick Last Shift , although it feels more like a riff on Carpenter’s 1976 Precinct 13 than anything. Regardless, what the filmmaker does is confine the audience along with our hero in a funhouse. As the film wears on its nightmarish vibe intensifies. Weird characters and genuinely unsettling scenarios play out, some of them predictable but most of them surprises. The jump scares work, the gore plays, and the creature effects are top notch. Inspired supporting turns from Natalie Victoria, Sam Brooks and Kevin Wayne keep the bizarre tensions building and Sula’s grounded, understated hero holds the mayhem together well. Malum gets nuts, exactly as it should. Though it never feels genuinely unique, it manages to avoid feeling derivative because of DiBlasi’s commitment to the grisly madness afoot. The result is a solid, blood soaked bit of genre entertainment fully worthy of your 92 minutes. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >