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HOME | FILMS | REVIEWS With Joyful Ring Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 29, 2022 Directed by: Gary Karapetyan Written by: Gary Karapetyan Starring: Matthew Rhodes, Elena Hollander A middle-aged man spends Christmas by himself and reminisces about the past. It is Christmas and Thomas (Rhodes) wakes up in his home and begins his day of festivity. He cooks a Chrsitmas lunch, turkey and everything, puts on formal clothing and sits by himself at the dining room table, enjoying the food and wine. He appears to be living alone and keeps on thinking of his wife (Hollander). This short is a Christmas film, however it is not one that is filled with happiness. This is a moving drama about a lonely man spending this day of festivity by himself as it is quite apparent that his wife has passed away. The film opens with a wonderful establishing shot of a neighbourhood that is covered with snow and Christmas decorations, accompanied by a festive score, while the camera moves slowly towards Thomas's house. This opening gives the impression that this is going to be a light-hearted story, however clues appear later on that indicate that the protagonist is sad, lonely and grieving. He takes antidepressants, tenderly touches a robe that probably belonged to his wife and through flashbacks, he remembers joyful times with his wife. His living room is filled with Christmas decorations, including a tree and a large collection of miniature houses and figurines, which he inspects and some of them bring back memories of his wife, as they remind him of activities they did together. For instance, tiny statues of a man and a woman sitting by a fire reminds him that he did the same thing with his wife. Thomas looking at the meaningful objects with emotion and the addition of the flashbacks make it clear that he misses his wife deeply. A great deal of praise goes to the beautiful cinematography that George Pilafdzhyan creates, who also utilises black-and-white cinematography during the brief flashbacks. Pilafdzhyan also worked on the editing and does a great job with the dissolve technique and also develops a terrific dance montage. There are no spoken words and the audience observes Thomas as he spends the day alone, having his memories to keep him company. Rhodes's performance is vital for the film to work and he succeeds at that tremendously, portraying a lonely and grieving individual. Recognition also goes to Hollander's emotional performance. Regarding the music, it is mostly festive and it captures the beauty of the moment in a melancholic way. The mise-en-scene deserves special mention, as it contains a rich collection of Christmas decorations that create a strong festive atmosphere. This is a drama about a man remembering his wife. It is a story about loss, grief, loneliness and nostalgia and it points out how empty a person's life has become after losing a loved one. At the same time, it also shows the beauty of memories and how remembering joyful times can bring happiness. It is an emotional viewing experience that is filled my tender moments and it will most likely touch the viewer's heart. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Catch the Fair One Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Feb 9, 2022 Directed by: Josef Kubota Wladyka Written by: Kali Reis, Josef Kubota Wladyka Starring: Kali Reis, Daniel Henshall, Kevin Dunn In 2016, a study by the National Crime Information Center found that out of a reported 5,712 cases of missing American Indian and Alaska Native women, only 116 cases were in the databases of the U.S. Department of Justice. The investigations into these missing women are often impeded by the lack of communication between federal, local and tribal law enforcement. Filemaker Josef Kubota Wladyka uses this real-life scenario to deliver a thoughtful – but thrilling – tale of guilt, regret and closure. Kaylee (Kali Reis) was once a promising amateur boxer. Her life fell apart though when her younger sister, Weeta (Mainaku Borrero), went missing while walking home one night. Years later, a struggling Kaylee is still searching for her sister. Desperation and guilt lead Kaylee down a dark path – one that she hopes will end with her finding Weeta alive. Catch the Fair One focuses on the important issue of missing indigenous women but does so through the guise of a revenge flick. This film is brutal. In the world of the movie, the innocent are prey and the villainous predators are always lurking and usually slinking back to the suburbs. Wladyka makes his feature debut with stunning confidence. The neatness of the storytelling is as precise as it is dark. The tonal control is extraordinary as the film straddles the line between genre and drama without fully embracing either. Catch the Fair One is heavily reminiscent of Jeremy Saulnier’s terrific Blue Ruin . The ordinary nature of the villains is chilling. Their nonchalant attitude toward dealing in sex slavery is enough to cause the hair on the back of your neck to stand up. Wladyka gets extra mileage out of casting Kevin Dunn (Transformers ) and Daniel Henshall (The Snowtown Murders and The Babadook ) as father and son bad guys. Dunn is especially disarming with the baggage he brings in this type of role. He’s one of the more recognizable “Hey, it’s that guy!” actors working today, and those roles aren’t typically this bloodthirsty. The real standout is Kali Reis. Being Reis’s first acting role, it would be easy to sit back and nitpick every acting decision she makes along the way. Fortunately, Reis’s vulnerability mixed with sheer intensity never allows for that kind of surface scrutiny to take place. She’s more than capable in the physical scenes, but it’s in those softer moments where Reis shows her quiet determination that feels so in sync with the character’s state of mind and her eventual plan. With a thrilling story and a knock-out lead performance, Catch the Fair One announces itself as one of the best movies of the year so far. About the Film Critic Brandon Thomas Theatrical Release, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Koupepia Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Aug 19, 2024 Directed by: Yorgo Glynatsis Written by: Sophia Vi Starring: Sophia Vi, Peter Polycarpou, Alexander Theo At his son’s engagement party, Petros, a widowed Cypriot man, finds himself desperate to show his support in celebration of the big occasion, but is still clearly struggling to fully come to terms with his son’s homosexuality. While attempting to navigate the new and strange environment he finds himself in, a meeting with a British Cypriot transgender woman named Eleni and their bonding over a love of food offers Petros a shift in perspective. Directed by Yorgo Glynatsis and written by Sophia Vi (who marks themselves as a bonafide double-threat by also starring as Eleni, more on that later), Koupepia is a film that through its measured and concerted approach, manages to express quite the poignant tale of one man’s attempts to move forward and realise more modern times that are ever-conflicting with their own well-established set of ideas and philosophies. Petros is a man yearning for a past where everything he knew was sure and certain, for a world and its times that doesn’t seem to be moving away from him faster than he can catch up with it. Between Glynatsis, Vi and of course all the cast but Polycarpou in particular, the entire film manages to wholly establish that underlying tension of discomfort that lies within Petros and how that affects his relationship with his son, his new partner and his trepidation in moving forward, while actually never needing to be pointedly explicit about it. The film’s winning formula is equal parts writing; Vi's is a solid script full of veritable character moments where what isn’t said is as just as deliberate and important to the whole as what is, equal parts the way Glynatsis allows the film to simply hang on each of those moments of space to augment that awkwardness and allow it to sit there as long as it needs to, while the rest is brought home by Polycarpou and Vi, who’s centerpiece encounter allows a perspective from both sides while simultaneously opening up Petros’ world to the idea that taking that first step towards acceptance by simply being there for his son can sometimes mean the most, both actors giving this crucial point of the film the right amount of attention, grace and subtly it needs. With aspirations for it to be developed into a multi-part series, Koupepia has the right team and intentions behind it to be an important piece of trans/queer cinema that could and should be given the chance to grow into something even bigger. About the Film Critic Chris Buick Short Film, LGBTQ+ < All Reviews Next Film Review >

Powdered Dandelions Listen to our review on the film podcast What our film review said: READ FULL REVIEW Whilst Powdered Dandelions may not have the same ethical quandaries as Catfish the popularity of this theme with younger adults forms an interesting and concerning cultural marker for where we are as a society. A well-crafted visual style and an excellent performance from Virago make Powdered Dandelions a heartfelt and moving short that effectively drills down into the public consciousness. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Black Panther: Wakanda Forever Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 9, 2022 Directed by: Ryan Coogler Written by: Ryan Coogler, Joe Robert Cole Starring: Letitia Wright, Angela Bassett, Tenoch Huerta The shocking news of Chadwick Boseman’s death brought plenty of feelings. One of them was curiosity about the future. How would the Black Panther franchise – newly launched via Marvel’s most impressive feature – move forward? Wakanda Forever does it with respect, love and reverence, in a worthy second effort that’s anchored by loss, grief and perseverance. One year after King T’Challa’s death, Princess Shuri (Letitia Wright) is wondering if the idea of a “Black Panther” is outdated and Queen Ramonda (Angela Bassett) is facing increased pressure to share vibranium with other world powers. The world powers, of course, aren’t just asking. And their efforts to take are aided by a new device that can detect vibranium in the environment, which brings the powerful “Feathered Serpent God” Namor (Tenoch Huerta from The Forever Purge and Sin Nombre ) out of hiding. Vibranium is also the resource vital to his undersea world of Talukan. Namor views the detection device as a threat to his nation and demands that Ramonda and Shuri turn over the scientist responsible. If they do not, Wakanda will have a formidable new enemy. Hannah Beachler’s production design rivals that of her Oscar-winning work in Ryan Coogler’s 2018 original. Wakanda itself is as stunning and fully realized as ever, while Namor’s undersea realm becomes a lush waterworld that puts Aquaman to shame. But after the defiant, often furious adventure of Black Panther , the most striking aspect of Wakanda Forever is the way it embraces the void left by the loss of both T’Challa and Boseman. Coogler, writing again with Joe Robert Cole, delivers a more contemplative film this time around. Characters wrestle with loss and power, tradition and progress, rage and mercy. The depth of the script allows Basset and Lupita Nyong’o to really shine, while Winston Duke steals many scenes with a meatier, more layered take on M’Baku. There is room for action aplenty, equally impressive whether massive seafaring attacks or intimate one-on-one battles (much thanks to the forever badass Danai Gurira). The introduction of young M.I.T. phenom Riri (Dominique Thorne) is a well-intentioned mirror to Shuri’s technical genius, but the thread ultimately lands as a bit light and superfluous next to the complexities being pondered here. Still, Coogler’s skill with both emotion and spectacle never allows the 2 1/2 hour + running time to feel bloated, and the film soars highest when the rush to war plays out against a backdrop of immense, intimate grief. Have the tissues handy for the mid-credits coda. It’s a touching toast to an absent friend, and it cements Wakanda Forever ‘s beautiful commitment to looking forward with cherished memories intact. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Devil Makes Work Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 23, 2024 Directed by: Colin O'Reilly Written by: Colin O'Reilly Starring: David Philpott, Ben Shockley, John Powell A troubled man reflects on his tormented life. This dark short film explores the life of a person who has been in prison and believes that they have failed in life. The film has a duration of four-and-a-half minutes and it is edited in a way that makes it feel like a trailer. It begins with Lawrence (Philpott), a middle-aged man covered in tattoos, sitting in an underground walkway. The film then moves on to the time when he was in prison, with himself socialising with other inmates, inmates working out and others fighting. Then he and other fellow prisoners are attending a service in a chapel, before Lawrence's Parole Board hearing takes place. According to FilmFreeway, Philpott had been in prison and had no acting experience, yet he delivers a decent performance as an individual who sees himself as no-good and is filled with regrets. His character does not speak directly and his voice is his voice-over, narrating rather negative things about Lawrence and life in general. The film uses Lawrence in order to tell a downbeat story about life's struggles and to explore life in prison. A dramatic scene that stands out takes place in a chapel, where a priest (Powell) tells the story of how Judas lost the opportunity to be good by betraying Jesus. The significance of this story appears to be that Lawrence can identify with Judas on the grounds that they both lost their way in life. The reason of his imprisonment is not revealed, however that is not important, what is important is that the viewer knows that he has lived an unfruitful life. The short has been awarded for the cinematography and it is easy to see why, as the artistry that O'Reilly' put on that is remarkable and his editing also deserves recognition, which utilises dissolve techniques effectively. The soundtrack consists of two tracks by American musician and songwriter Moby, those two being Snowball and Lilly . The former is heard throughout the majority of the film and it certainly helps to create a dramatic atmosphere. This is a dark story. It is a story that looks into some of the harsh realities of life such as crime, prison and regrets. It is a story about a person who made bad decisions and now lives in sorrow. It provides a pessimistic view regarding the world and it does so with a great deal of drama. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Finding Wilson Listen to our review on the film podcast What our film review said: READ FULL REVIEW This short is a powerful drama that explores emotional trauma, particularly post-traumatic stress disorder, war trauma and bullying, including online bullying. It effectively presents two individuals who are suffering due to distressing experiences. The narrative focuses mainly on the encounter between Jess and Nicky and it includes flashbacks of Jess being bullied and Nicky engaging the enemy during combat. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS The Card Counter Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 10, 2021 Directed by: Paul Schrader Written by: Paul Schrader Starring: Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem Dafoe The damaged man seeking redemption — it may be the most cinematic concept, or certainly among the most frequently conjured by filmmakers. When Paul Schrader is on his game, no one tells this story better. Schrader’s game in The Card Counter is poker, mainly. But if he tells the redemption story differently than others, you should see what he does with a gambling picture. Oscar Isaac and his enviable hair play William Tell, gambler. Where this film differs from others treading this territory is that, rather than being a man of a somewhat self-destructive bent drawn to the adrenaline, anxiety and thrill of the lifestyle, William is comforted by its mundane routine. When you play the way William plays, gambling is tidy. It is clean. It is predictable. William learned to count cards — and to appreciate routine — in prison. His routine is shaken up, as routines must be, by two people. La Linda (Tiffany Haddish) wants to find William a financial backer, put him on a circuit, see him win big. Cirk “with a C” (Tye Sheridan) wants more from him. The precision and power in Schrader’s writing come as no surprise, but as a director, he wields images with more unique impact here. There are three different worlds in The Card Counter : prison, casinos, haunted past. Each has its own color scheme, style and mood. The haunted past takes on a nightmarish look via fisheye lens, creating a landscape that’s part first-person shooter, part hell. Schrader’s on point with visual storytelling throughout, even though he relies on voiceover narration from the opening shot. Voiceover narration is rarely done well. It’s often, perhaps usually, a narrative cheat, a lazy device used to tell us something a stronger writer could convey visually. Not when Schrader does it. We learned that in 1976 when he wrote Taxi Driver , and he proves it again here. It helps that Isaac is a profound talent and essentially flawless in this role. He is the essential Schrader protagonist, a man desperate for relief from an inner torment through repression, redemption or obliteration. It’s at least the 4th performance of Isaac’s career worthy of Oscar’s attention, which means the Academy will probably deny that recognition again. But you shouldn’t. You should go see The Card Counter . About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Calico Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Sep 17, 2024 Directed by: Jake Mavity Written by: Sarah Mavity and Jake Mavity Starring: Malayasia Newland, Jamali Maddix, Jennifer Preston, Alec Nicholls Vitiligo is a rare skin condition which affects around 1% of the population. It is categorised by the breaking down of pigmentation within the skin, resulting in the appearance of pale patches which can be located anywhere on the body. Vitiligo can hit at any time, with no concrete results on who or why anybody might begin to suffer from the condition. In half of all cases the onset of vitiligo will come in childhood or adolescence, adding to an already difficult time in teenagers lives when their bodies are going through major changes, with the sense of losing one’s identity being magnified for those with non-white heritage. Prominent celebrities who have lived with vitiligo include the King of Pop, Michael Jackson, rising ballet star Michaela DePrince (who sadly lost her life recently), and model Winnie Harlow, however, the exposure of vitiligo on screen is still very minimal and can be felt by those with the condition to be fetishistic when included in clothing and beauty campaigns. Certainly, the writers and producers of Calico , Sarah and Jake Mavity, would like to see more in-depth and discursive projects surrounding vitiligo, and so came up with their own fifteen-minute short film to highlight the issue. Calico follows high-school student Lorrie (Newland), who has been missing lessons, diving out of classrooms and avoiding PE altogether. It doesn’t help that swimming lessons are on the cards and the other girls seem confident enough in their bodies to walk around in their swimsuits. Things have gotten so bad for Lorrie that her grades have started to suffer and this has caught the attention of headteacher Miss Hammond (Preston). So, along with PE teacher Mr Berk (Nicholls), Miss Hammond sets about staging an intervention to get Lorrie back on track, it’s just that it comes with a lot of condescending remarks, easily apportioned blame and plenty of Gen X musings on the state of the modern generation. Once Lorrie has taken her telling and been left alone to think about her future, she is surprised to find that the goldfish in the tank on Miss Hammond's desk can talk. Voiced by Jamali Maddix, the goldfish identifies with Lorrie’s plight and serves as a metaphor for finding your place in the world. Constrained by a tank which is too small for him, and which keeps him at a size which is nowhere near his potential, the goldfish asks for Lorrie’s help to find somewhere more spacious to live and grow. So, Lorrie scoops him up, makes her way to the girls’ toilets and learns a little bit about goldfish, just in time before wrongly flushing him down the pan. With crisis averted, Lorrie also learns that the goldfish she is helping is a Calico , meaning that it’s not entirely gold, but with flecks and flashes of black and silver across its scales. This helps Lorrie understand a little more and feel better about herself as she continues to help her finned friend get to the local lake. Throughout Calico , there are plenty of nice little asides and interludes from the supporting characters to help flesh out the story and the scenario. Some of the major diversions come in the form of animations, which seamlessly blend in with the live action to offer insights into just how Lorrie is feeling. There are plenty of gags going on in the background and secondary dialogue, and everything feels as though it has been thought about thoroughly to make sure that Lorrie’s story feels rounded out and complete. With that, director Jake Mavity chooses his shots well and DoP Murren Tullet keeps everything looking great, maintaining a clear balance between the indoor, outdoor and swimming pool shots. However, the real star of the show is Malaysia Newland as Lorrie. With a casting process that took around four years, it’s obvious that Sarah and Jake Mavity were waiting for exactly the right person to bring their life experience to the role. Newland is perfect, and shows a vulnerability which couldn’t be faked. She steps up to the mark in terms of Lorrie’s low times, but also shows extreme resilience in the spaces where Lorrie can be proud of herself, expressing a genuine emotion which passes easily to the audience. Calico is a great example of how to introduce a mostly unseen issue, with deep running themes, to a new audience. It takes pains to show the real-life difficulties faced by those living with vitiligo, but remembers to also keep things fun and interesting for the viewer. It is great to see someone coming to terms with who they are, even if that’s different from who they thought they were going to be, and having a positive message of loving yourself come through from the narrative. It could have been so easy for the Mavitys to focus on the negatives, but they have instead created something which speaks to all of us about how we love ourselves and others. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Albion Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 3, 2024 Directed by: Tobias Bates Written by: Tobias Bates Starring: Sam Hollis, Rosanna Adams, Ben Ellis A gunslinger is hired to track down a murderous fiend in the countryside. A bounty hunter (Hollis) is assigned to pursue a dangerous killer who leaves black feathers at the murder scenes. The timeline appears to be the nineteenth century and the hero is armed with a pistol. This seems like the plot of a Western. However, the story does not take place in the United States, the setting is Britain, so this could be classified as a different sort of Western, one that contains many elements of that genre, but a different location (in this case, a different country). Regarding the plot, it does a great job in building suspense and with a rather serious and dark atmosphere, it takes the viewer on a journey involving murder and self-reflection. It begins with the gunslinger being briefed on his mission by a sheriff (Ellis), informing him that the target is hiding in a forest. The hero proceeds by himself, dressed in black and having cowboy hat, quietly and carefully traveling through the area, encountering a slip knot, structures filled with chopped wood and a dead body, another victim or the hunted one. A significant part of the narrative is speech-free, with the hero investigating, tracking down the killer and when the two of them meet during the night, the encounter turns into a tense situation with a difficult decision to be made. The characters are unamed, which makes the plot feel mysterious. The main character comes across as a loner, a serious man who is experienced in pusuing bounties and engaging in violent confrontations. The person he is after (played by Adams) is an individual who has been forced to resort to violence in order to survive and Adams manages to make her character simultaneously menacing and vulnerable. The mise-en-scene effectively brings the story back in time, especially due to the period clothing, a fantastic contribution of costume designer Akaibi Vine. Visually, the film looks wonderful, with Bates creating many impressive and beautiful shots of landscapes and trees, which look even better thanks to Edward Hamilton Stubber's stunning cinematography. The audio is another area where this short thrives, with a mysterious, atmospheric and sinister score by Theodore Sandberg and the sound effects also deserve credit, particularly during the part where ominous whispering is heard. Perhaps the strongest aspect of this film is the dark atmosphere, with a heavy feeling of dread, the intriguing plot being a close second. It is a brutal story that follows conventions of the Western genre and it is terrifically acted and superbly directed. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Lactown Listen to our review on the film podcast What our film review said: READ FULL REVIEW The film-makers demonstrate much creative flair through direction, editing and performances. The small cast all play their roles straight, despite the often strange and eyebrow raising circumstances their characters find themselves in. Proudly supporting MediCinema for our 2022 film festival.

HoneyDough Listen to our review on the film podcast What our film review said: READ FULL REVIEW Vitko delivers an entertaining performance as a single and cheerful woman who is looking for a bit of romance and Craib does a good job as a charming man who also happens to be made out of dough. Proudly supporting MediCinema for our 2022 film festival.