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Why Did You Tell Me film review by UK film critic Amber Jackson. Starring Louis Findlay, Julie Stevens directed by Louis Findlay. HOME | FILMS | REVIEWS Why Did You Tell Me Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Mar 9, 2023 Directed by: Louis Findlay Written by: Louis Findlay Starring: Louis Findlay, Julie Stevens Written, directed by and starring Louis Findlay, Why Did You Tell Me is a deeply emotional short film that explores what happens when a couple reach a sudden turning point in their relationship. On the evening of her fiftieth birthday, Carla (portrayed by Julie Stevens) announces unexpected news that changes the course of both her and boyfriend Rory’s future. The viewer is positioned to be a fly on the wall as we feel as though we should not be watching this couple have a very challenging conversation that permanently alters their relationship. The two characters in this short are Rory, the useless at baking but happy-go-lucky boyfriend, and Carla, an up-tight, career-driven woman who finds herself anxious in a predicament. The two demonstrate an impressive contrast on screen as their personalities are starkly different, yet they clearly adore each other. When Carla’s news reveals a point of tension in their relationship, the two find themselves at a crossroads and cannot decide where to go from that point. The film depicts a tender yet heartbreaking moment as both characters explore a newfound tension and witness an ending of sorts. Whilst it is sad to watch, it feels like the film handles a natural conclusion and is written in a powerfully truthful way. Without giving too much away, as Carla and Rory both struggle to deal with a conflict that has presented itself, there are some problematic moments that arise that the filmmaker obviously wanted to highlight. Concerning women’s bodies and a woman’s right to choose, these issues are handled very sensitively and arguably in a realistic way. Ultimately, it definitely engages with a wider public conversation about a serious real-world issue and the emotions within the film are not only very raw, but also true to life. It is also interesting to see this type of content presented in a film that not only features a slightly older woman, but also a couple with an age gap and filmmaker Louis Findlay really considers Carla and Rory’s difference of opinion and the emotions that they will both inevitably experience. Despite pacing being slow and full of dialogue, this short film feels very realistic and like an actual real-life situation. There have been plenty of films released this year concerning similar themes and Findlay’s film fits into this very well. It clearly communicates Carla’s regret for revealing something that she is unable to take back, as well as Rory’s devastation and struggle to accept what is happening. Whilst Carla is self-assured and confident and does not want to feel guilty about the situation, Rory’s reaction may appear immature, but the viewer comes to understand the true feelings behind his reaction and helplessness. Findlay manages to cultivate a feeling of sympathy for both characters even though they are initially frustrated with each other and it makes for compelling viewing. Why Did You Tell Me is a good watch that makes its audience consider the inner workings of a couple deemed to be socially unconventional, but care very deeply for each other. It is a poignant and thoughtful film that is worth seeing. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Sharper film review by UK film critic George Wolf. Starring Julianne Moore, Justice Smith, Briana Middleton, Sebastian Stan directed by Benjamin Caron. HOME | FILMS | REVIEWS Sharper Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Feb 15, 2023 Directed by: Benjamin Caron Written by: Brian Gatewood, Alessandro Tanaka Starring: Julianne Moore, Justice Smith, Briana Middleton, Sebastian Stan It may not be a textbook Rashomon approach, but director/co-writer Benjamin Caron leans on a similar structure in his impressive feature debut for Apple Originals, Sharper. Set up in chapters named for the main personalities, the film first introduces us to Tom (Justice Smith, from Jurassic World: Fallen Kingdom and Pokémon: Detective Pikachu ). Tom owns a struggling bookstore in NYC, and is mostly estranged from his billionaire father, Richard (John Lithgow) and his new wife, Madeline (Julianne Moore). But when Tom sells a book to PhD student Sandra (The Tender Bar ‘s Briana Middleton), a relationship begins. And a few weeks later, Tom is offering to give Sandra thousands of dollars to settle her troubled brother’s debts with some bad guys. He gives her the satchel full of cash, and watches her walk away. Yeah. So, right away, we’re on Tom’s side. But then, we get Sandra’s backstory, which includes some important details about her life before walking into that bookstore, and about her shady brother. And then there’s the relationship between Richard and Madeline, which gets plenty complicated with the sudden arrival of Madeline’s ne’er-do-well son, Max (Sebastian Stan). Caron, from TV’s The Crown, Andor and Sherlock , weaves the agendas together with a fine hand, revealing mysterious secrets just when they can add the most fun to the journey. And this is an entertaining slice of life on the grift, one leaning more toward gloss and polish than neo and noir. The performances are all stellar, which ironically adds to the film’s slight stumble at the finish line. That final twist will not be hard to sniff out, even for mildly experienced film buffs. But we believe these people know all the angles, and when a character calls out a con midway through, it should only increase the chance that their antenna would be up for this same play later on. But heists and cons are just fun, aren’t they? And Sharper is a well-crafted and clever one, even with a finale that dulls its edges a bit. About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Watch True Colours at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. True Colours Listen to our review on the film podcast What our film review said: READ FULL REVIEW The script of this cinematic piece is the strongest point as it grips the audience up until the end and it forces the viewers to think about the issues addressed in the movie for a while after watching the short film. Proudly supporting MediCinema for our 2022 film festival.

Friends Forever film review by UK film critic Joe Beck. Starring Ashlee Lawhorn, Colleen O'Morrow, Julie Carney, Mark Murtha, Paige Hoover directed by Thomas Angeletti. HOME | FILMS | REVIEWS Friends Forever Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Aug 30, 2024 Directed by: Thomas Angeletti Written by: Jared Acker, Paige Hoover, Thomas Angeletti Starring: Ashlee Lawhorn, Colleen O'Morrow, Julie Carney, Mark Murtha, Paige Hoover When you discover an old abandoned house the first thing you should do is make sure that no grizzly murders or supernatural activity took place there. If you discover that nothing has happened then you’re probably in the all clear, but don’t count your chickens because you may become the original grizzly event. If by chance something has happened then run, run as fast as you can. These are the basic rules which anybody who has ever watched a horror film at any point in their life knows to follow. The characters in ‘Friends Forever’ clearly have never watched a horror film and instead label the story ‘gnarly’ and brush it aside. This is perhaps an indicator of how the story is strong in its ideas and concept but lacklustre in execution. The film opens with the murders that echo throughout the film, instantly letting the audience know its genre with eerie music, that runs throughout the film and becomes rather cheesy and overdone by the time it’s reached its conclusion. A farmer’s corn rots - bringing in the classic fear of being blighted by the devil from both classical and biblical sources - and before you know it a mother (played hauntingly by Julie Carney) is slitting the throats of her husband and children. The murders have no apparent motive, which wouldn’t be an issue necessarily, but it becomes one as the spirits of the dead haunt a new generation. The titular ‘friends forever’ are Cassandra (Ashlee Lawhorn), Erica (Colleen O’Morrow, who gives the best, most unnerving performance of the film), Ryan (Mark Murtha) and Lisa (Paige Hoover). Its 1987 and they discover the abandoned house of the murders and decide to throw a party that evening for themselves and their friends. As expected, the party goes awry - even more awry than the party in ‘A Nightmare on Elm Street Part 2: Freddy’s Revenge’ that resulted in a bloodbath - and before long there are piles of bodies on the floor, bloody spewing from all of their orifices. The idea of a party being haunted by the spirits of the dead is a good one, and in the more trippy scenes it is effective, however, the execution of the film as a whole means that its true potential is never realised. The characters never feel properly fleshed out, and so we never have reason to root for them - as is essential for any horror film. There is also the fact that the deaths come too quickly and are too numerous. There is no build of suspense or tension with a minor event to precede the first death, or any sense of horror that the characters experience as the deaths are in the middle of occurring. Additionally, the earlier killings are revealed too early, thus never allowing the characters to discover what is happening, which in the process would endear them to us as the audience more. This is indicative of the problems in the script, written by Jared Acker, Paige Hoover and Thomas Angeletti. They cut corners in the narrative and do not spend any time building up or creating characters. Angeletti’s directing similarly does a disservice to the story. He fails to imbue the film with any sense of setting - something essential for a haunted house film - whilst too often it feels as though the film lacks weight and gravity. This isn’t helped by the poor sound design, that makes each scene feel as though it is nothing more than just a scene in a film, rather than creating any sort of investment in the story. The score contains all the stereotypical sounds that you would expect in a horror film, and underwhelms in helping to create an eerie atmosphere. ‘Friends Forever’ is a lacklustre execution of a strong concept. It lacks the atmosphere, creativity and characters essential to any good horror film, and instead comes across as merely a cheap imitation. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Stranger at The Gate film review by UK film critic Jason Knight. Starring Richard McKinney, Dana McKinney, Emily McKinney, Bibi Bahrami, Saber Bahrami, Jomo Williams, Zaki Bahrami directed by Joshua Seftel. HOME | FILMS | REVIEWS Stranger at The Gate Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 24, 2022 Directed by: Joshua Seftel Written by: N/A Starring: Richard McKinney, Dana McKinney, Emily McKinney, Bibi Bahrami, Saber Bahrami, Jomo Williams, Zaki Bahrami A short documentary about Richard McKinney, an individual whose anger towards Islam almost led to a devastating event. Through interviews, photographs and archive footage, this documentary analyses a remarkable story about a person who had found himself in a dark place and as a result, believed that violence was the only answer. The person that the documentary revolves around is Richard McKinney, a U.S. Army veteran, who fought in the Middle East and Somalia. Having returned to the States, he was filled with anger and hatred towards Muslim people and decided that he was going to blow up the Islamic Center of Muncie, in Indiana. Fortunately, after coming into contact with people at the mosque, he realised the errors of his intentions and ended up becoming a Muslim and even president of the centre. As Richard is being interviewed, he talks about his past, why he started hating Muslims and what motivated him to cancel his plans for the bombing. Other interviewees include Richard's wife Dana and her daughter Emily, both of which provide an insight into what it was like living with him. Other interviewees also include Muslims who are associated with the mosque and they include Dr. Saber Bahrami, his wife Bibi and their son Zaki. Listening to the interviewee's experiences is fascinating, informative, moving and together they tell quite a story. There are many photographs of the people who are interviewed and they provide information regarding their past. The archive footage includes conflict in the Middle East and the September 11 attacks. The tense and dramatic score that is provided by Meredith Ezinma Ramsay is a great contribution that makes the moments more powerful. Jeremy Medoff and Eric Metzgar worked on the editing and did a fine job. This half-hour-long documentary provides a memorable insight into an astonishing story that could have been a movie script. The experience of viewing this encourages the idea that one must turn their back on hatred and violence and reveals the importance and joy of embracing good. About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

Mouse film review by UK film critic James Learoyd. Starring Vikash Bhai, Rakhee Thakrar, Sanish Shah directed by Max Fisher. HOME | FILMS | REVIEWS Mouse Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Nov 24, 2024 Directed by: Max Fisher Written by: Max Fisher Starring: Vikash Bhai, Rakhee Thakrar, Sanish Shah Covid-19 and lockdown-living brought with it a trend of artists, often filmmakers, wishing to lend their personal perspective on the hardships they’ve had to face. Mouse! is a prime example of a dramatic piece managing to maintain a sense of genuine sincerity while grappling with the contentious issue. The worst Covid films have tended to be icky, big-budget productions which exploit global mourning as a way of attaining an audience – with the absolute best recent films addressing Covid being ones which simply incorporate it into the background realism of the narrative (such as Mike Leigh’s Hard Truths ). The short in discussion, however, is certainly ‘about’ Covid, yet on a personal level. It’s political – as it should be – and provides authentic critical commentary on the pandemic. Operating on multiple levels of perspective and social implications, writer-director Max Fisher is concerned with how we deal with death in all forms; from the perspective of a hopeful child, to that of his jaded father feeling alienated by the flawed systems he’s forced to confront. We follow two separate stories belonging to the same family. The dad is having to deal with irksome bureaucratic pains following his father’s tragic death, in addition to processing the resentment he felt towards the man; his young son, on the other hand, spends his time playing with an adorable mouse, whose presence in the house the dad is less than pleased about. This is an effective storytelling device, for it allows the filmmakers to explore national implications, as well its microcosm - to portray the internalised poetry of a boy and his pet. Audiences are bound to enjoy the film’s parallel narrative, and the profound emotions that then reveal themselves when juxtaposing a child’s perspective of mortality with that of an adult. You could argue that the screenplay is too simplistic for a film about the pandemic; however, one could very well argue that it has enough of a perspective, and a tone which reflects upon the challenges we face in life through different ages - even if it simply scratches the surface - that the viewer is able to empathise fully with both viewpoints. There’s some great lens work in Mouse! As the majority of contemporary short films do, the visual style consists of a wide-aperture, shallow focus look. This is pleasant to the eye and definitely lends the film a sense of production value. With an anamorphic, widescreen format, and an image with plenty of fall-off and constant shimmering flares, the cinematography draws our attention to the quality of the filming equipment. Although, if there’s one problem with the mise-en-scène, it’s that it occasionally misses a trick by not holding on wide shots. It’s very much a story being told through closeups, which is apt for the emotional and grounded nature of the content; but sometimes you wish that the director and cinematographer had allowed further opportunity for complex compositions. Then again, it’s still a handsome looking piece, and made with a competence which shouldn’t go unnoticed. A genuine, well-considered and heartfelt work, it successfully moves the audience and leaves us on a sentimental note. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

My Old Ass film review by UK film critic George Wolf. Starring Maisy Stella, Aubrey Plaza directed by Megan Park. HOME | FILMS | REVIEWS My Old Ass Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Sep 26, 2024 Directed by: Megan Park Written by: Megan Park Starring: Maisy Stella, Aubrey Plaza If the assignment was to write a letter to your younger self, keeping in mind the painful mistakes you’d like to erase while illustrating John Lennon’s classic line “life is what happens while you’re busy making other plans” and peppering in some R-rated laughs, then writer/director Megan Park absolutely aced it. My Old Ass is all of that and more, a smart, funny and surprisingly emotional comedic fantasy that ranks with the best coming-of-age films of the last several years. In a breakout big screen debut, Maisy Stella (from TV’s Nashville ) is completely captivating as Elliot, a restless just-turned-18-year-old more than ready to leave her family’s cranberry farm in rural Canada for the University of Toronto in just 22 days. But after a wild and hazy birthday party with her besties, Elliot gets an unexpected visit from an old new friend: her 39 year-old self (Aubrey Plaza). It takes some unique convincing, but eventually Elliot has questions…and some weird requests. Her old ass has answers, thoughtful advice and one stern warning. “Avoid. Anyone. Named. Chad.” “Chad?” Enter Chad (Percy Hynes White). Three years removed from her standout filmmaking debut The Fallout , Park lightens the mood via a charmingly fantastical premise, but keeps the film grounded with a refreshing and authentic voice. There’s so much honesty here about appreciating the journey to finding yourself, and it’s all perfectly fleshed out by the contrast of Plaza’s jaded deadpans and Stella’s enthusiastic naiveté. Yes, life is about having the courage to make mistakes and find out what and who you really want, but it still wouldn’t hurt to be a little nicer to your brother. One day you’ll appreciate the memory. Not one moment of either performance feels false, a testament to Stella, Plaza and to the strength of Park’s script and directing vision. While none of the sentiments here may be new or even especially profound, give in to the slightly Twilight Zone setup and the way My Old Ass delivers its life lessons might just knock you on yours. And bring tissues. You’ll need them for more than just cushion when you land. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Wrath of Becky film review by UK film critic Hope Madden. Starring Lulu Wilson, Seann William Scott directed by Matt Angel, Suzanne Coote. HOME | FILMS | REVIEWS The Wrath of Becky Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: May 24, 2023 Directed by: Matt Angel, Suzanne Coote Written by: Matt Angel, Suzanne Coote, Nick Morris Starring: Lulu Wilson, Seann William Scott Back in 2012, Lulu Wilson carved out a frighteningly believable pissed-off adolescent in Jonathan Milott and Cary Murnion’s Becky . As had been the case with the filmmakers’ 2014 horror Cooties , the duo indulges a subversive fantasy that makes you laugh and turn away in equal measure – often at the same moment. Wilson returns with new directors Matt Angel and Suzanne Coote in The Wrath of Becky, playing the slightly older, no less angry youngster. Becky and her trusty hound Diego have been on the lam for several years. They’ve found a kind of peace living off the grid with elderly misanthrope Elena (Denise Burse) and making a living at a nearby diner. That peace is shattered when some Proud Boys – I’m sorry, some Noble Men – come to town. Last time around, Becky did serious damage to a handful of neo-Nazis. Seeing her gut and dismember Proud Boy stand-ins promised to be very fun. Cathartic, even. And it sometimes is, but too often the sequel gets lazy. Seann William Scott (Goon , American Pie ) leads up the contemptible group of baddies with a quietly sinister performance that carries a lot of weight. Jill Larson (The Taking of Deborah Logan ), though underused, brings a sassy surprise to the villainy and Aaron Dalla Villa is spot on as the slacker smartass of the group. Last time around, writers Ruckus and Lane Skye and Nick Morris offered their game cast a bit of intrigue and plot. The sequel’s script, penned by Angel, Coote and Becky ’s Morris, misses any of the depth beneath the murder spree. Gone, too, is the tentative logic behind Becky’s bloodbath logistics. Millot and Murnion showed you how a 12-year-old managed not only to outwit the bad guys, but to physically annihilate them. Angel and Coote do not. They cut away, then cut back and miraculously Becky has accomplished something that defies not only reason but the laws of the known universe as well as the actual story itself. In fact, every character makes a series of choices that defy the very storyline the film itself is trying to establish. Once or twice is forgivable, but eventually this lapse in internal logic becomes a real burden. Wilson’s schtick lacks some of the vibrance of the original film, partly because watching a pre-teen on a murder spree is simply more novel, shocking and funny than witnessing another angry teen on a rampage. It would have helped if the filmmakers tried a little harder to convince us Becky could do it. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Tales From the Murder Room film review by UK film critic Amber Jackson. Starring King Jeff, Gorio, Brian Lanigan directed by King Jeff & Gorio. HOME | FILMS | REVIEWS Tales From the Murder Room Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Feb 17, 2022 Directed by: King Jeff & Gorio Written by: King Jeff Starring: King Jeff, Gorio, Brian Lanigan Conceptualised and created by filmmakers King Jeff and Gorio, Tales from the Murder Room is a detective drama situating homicide detectives who must resolve a high-stakes murder investigation. Like its original episodic series, the crime-fuelled film follows the detectives as they interview and question suspects and victims who spark intense suspicion and intrigue. For a film containing limited action, each scene still manages to capture your attention. A simple setup is proved to be most effective by King Jeff and Gorio as their use of creative production design and camerawork establishes scenes very well. Longer scenes are used to effectively build tension, pairing nicely with quick dialogue to keep the viewer alert. Likewise, surveillance shots and close-ups mark a nice contrast in perspective and maintain the interrogation feel to the film. The main interrogation room set is incredibly detailed and every interrogation acknowledges the presence of the camera, portraying this as a crime-led film that has absolutely nothing to hide. Copious clever details about each crime are woven into the script, detailing its victims and suspects, which establishes a very clear picture of what is happening. As a result, the viewer is well-guided through the narrative much like they would be in a book – which is a very unique structure to befit a film. Established from the offset is what they need to be looking for, and any clues the detectives may have, which also allows the viewer to feel as though they are also solving a real crime. We are all involved in the chase to uncover the truth. First, the detectives must establish motive. Why are these killings happening and who could be responsible? This theme is woven into every aspect of the two storylines running alongside each other and a distinction is clearly marked. Whilst occurring at the same time, the two plots are distinguished by one being in black and white and the other being a colour image. The colour images each end the same way by focusing on the book, which then moves the viewer back into a black and white scene, as though we get sucked back into the book. This variation in tone between the different coloured images is clever and clearly defines different chapters of the flim where different suspects are being interrogated by the detectives. There is no reason for the viewer not to be continually hooked. This intelligent setup makes room for the filmmakers to spend a lot of time with all of their characters in order to build a deep insight into each of them. In turn, this makes for better performances as each actor portrays their character excellently and it feels real when watching. A well-paired contrast is made between the irate and frustrated suspects versus the cool and collected detectives who pride themselves on being very perceptive about the people that they encounter in their interrogation room. With a series of different incidents that they must solve, they are written with depth and, despite the serious tone of the script, elements of wit and humour are successfully included in their character development too. Tales From the Murder Room remains a fresh take on the detective genre. With sharp scene transitions and a well-written balanced script, it is worth a watch. About the Film Critic Amber Jackson Indie Feature Film < All Reviews Next Film Review >

The Derelict film review by UK film critic Jason Knight. Starring Joel Suraci directed by Dante D'Anthony. HOME | FILMS | REVIEWS The Derelict Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 15, 2022 Directed by: Dante D'Anthony Written by: Dante D'Anthony Starring: Joel Suraci An animated science fiction story. Based on the story The Derelict from the book Renegades of Ophelia's World: The Pandoran Age Chronicles 5 by Dante D'Anthony, this interesting short film takes the viewer on a journey through space. The duration is approximately twenty minutes and the narrative involves a smuggler who is forced to disappear after a deal goes wrong. The audience follows him as he travels through space in a spaceship, eventually ending up in a bar. Two thirds into the film, the narrative switches to another story, with a different protagonist. The mise-en-scene contains many elements that are often present in science fiction movies that take place in space. There are spaceships, extraordinary buildings, unknown planets, stars, robots, terrifying-looking creatures and strange clothing. Quite a lot of the action takes place inside the cockpit of spaceships, which is pretty cool. The computer animation looks good and manages to create a fantastical world. Regarding the story, it does not stand out much and the adventurous scenes are limited. The biggest strength here are the environments and the characters, as it is amusing sitting back and admiring the look of the spaceships, planets and unearthly beings. The fact that at one point the film's narrative changes plot and main character seems awkward and unexpected. The music is entertaining and includes opera, which makes the scenes feel more wonderous. Joel Suraci provides the voice-over and the result is effective. This short film is intended to be part of the full-length movie The Magnificent Warriors of Dimension War One , which should be exciting, considering the creativity that was put into this project. Looking at The Derelict on its own, it deserves attention from fans of the sci-fi genre. About the Film Critic Jason Knight Short Film, Animation < All Reviews Next Film Review >

Bluff film review by UK film critic Amber Jackson. Starring Gurj Gill, Jason Adam, Nisaro Karim directed by Sheikh Shahnawaz. HOME | FILMS | REVIEWS Bluff Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Apr 27, 2022 Directed by: Sheikh Shahnawaz Written by: Sheikh Shahnawaz Starring: Gurj Gill, Jason Adam, Nisaro Karim Written and directed by filmmaker Sheikh Shahnawaz, BLUFF is a revealing feature film that exposes the cruel reality of drug addiction in the UK. London police officer, Detective Sergeant Daniel Miller, goes undercover as a heroin addict in a small English town and infiltrates an unsuspecting drug circle to bring down an incognito drug dealer. Whilst trying to keep up pretences, Miller’s assignment pushes him to his ethical limits, as multiple levels of manipulation, deception and taking advantage take hold. Miller must blend in with his surroundings and uncover drug networks in order to alert the police. At the start of the film, the viewer is provided with plenty of information and then the script cuts back and forth to reveal character motive and what exactly is going on. Plot-wise, this film is a little far-fetched but ultimately provides a clever concept for a crime film, due to continual suspicion and red herrings. Miller also befriends Cooks, a local homeless man with a heroin addiction, and the two bond over their apparent enjoyment of drugs. Cooks, who trusts Miller almost instantly and strikes up a close friendship, gives valuable insight into the local drug scene as well as being the crux to the film’s harrowing commentary on drug addiction and street homelessness. He also leads Miller to discover Imran, a local drug supplier, who for some reason is not on the police’s radar and they set about befriending him too. The acting feels a bit wooden in parts, maybe in part due to the script occasionally stiffening up in some scenes, but Gurj Gill’s impressive performance ensures that Miller’s inner turmoil is always present. Likewise, his chemistry with Nisaro Karim (Imran) is palpable as the two men agree over shared childhood experiences and disagree over others. Whilst the cutting back and forth between scenes is confusing in parts, it suddenly all falls into place and the realities of corrupt systems are laid bare in a shocking and cruel way. Miller’s occasional narration to guide the viewer through more challenging scenes and key moments that he is reminiscing on is an emotive testimony. It feels angry and bitter, but not without immense feeling. Production-value wise, the film is very good-looking with a steady variation of camera shots that provide an overwhelming sense of Miller’s internal struggles as he gets too deep undercover. The camera is often dark and brooding when focusing on him, with lots of shadows falling across his face in the more intense scenes. These, coupled with numerous surveillance shots of the cast as he watches them go about their business feels invasive and works very well. All of this combined paints a delicate and dangerous picture of the psychology of being – or becoming – embroiled in a drug-fuelled world, without romanticising or embellishing the experience. Ultimately, we begin to question the reliability of our narrator as Miller’s perspective becomes more and more warped. His personal experiences of guilt and trauma all wrapped up in a want for justice is admirable even if it does become misguided. BLUFF is a commentary on the suffering that comes with the ‘war on drugs’ and is a bleak and cautionary tale that is worth a watch. This is Sheikh Shahnawaz’s first feature film and it will be exciting to see what projects he embarks upon next. About the Film Critic Amber Jackson Indie Feature Film < All Reviews Next Film Review >

Jingle Hell film review by UK film critic Patrick Foley. Starring Keith Szarabajka, Poonam Basu, Shalini Bathina directed by Sean Cruser. HOME | FILMS | REVIEWS Jingle Hell Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: May 12, 2023 Directed by: Sean Cruser Written by: Tyler Beveridge Starring: Keith Szarabajka, Poonam Basu, Shalini Bathina ‘You better watch out, you better not die!’ reads the tagline on Jingle Hell ’s poster. Come on guys, ‘Slashing through the snow’ was RIGHT THERE. I guess it’s at least more appropriate than ‘Oh what fun…’, seeing as this Christmas-themed horror quickly devolves into a bargain-bin, by the numbers slasher that fails in utilising its seasonal setting. Margo (Poonam Basu) and Nathan (Tyler Beveridge) arrive at a luxury rental house out in the woods for a Christmas getaway. The couple are expecting, and have taken up Margo’s sister Grace’s (Shalini Bathina) offer to spend the holidays with her and her partner Spencer (Murphy Patrick Martin). But a rift in the family following their mother’s passing means it’s not just the weather that is frosty. When a mysterious attacker in a snowman mask attacks the house, Margo must fight to protect her family. Jingle Hell suffers from the same detriments that made Winnie the Pooh: Blood & Honey such a disappointment. Both have an intriguing and engaging concept – taking joyous and family-friendly characters, settings and themes only to flip them on their heads and instil them with brutality, blood and carnage. But neither go beyond the surface of dressing up a murderer in a daft mask and costume and hoping viewers clap like seals at the farcical idea of a copy/paste slasher villain wearing a fancy dress outfit. Rather than deconstruct the holiday-movie genre or have fun with Christmas tropes (surely one of the killers could have come down the chimney…), Jingle Hell ends up as yet another occult horror film – just draped in tinsel this time. At least unlike Pooh, it has the good sense not to outstay its welcome at thirty minutes. So the trimmings are a let-down, and truthfully, the Turkey isn’t much better. Horror fans will be unimpressed with the violence on offer, with poor choreography and editing making ‘killing’ blows appear stunted and without the kind of intensity needed to get grizzly gratification centres grinding. The plot is predictable, with a twist so obvious that it can be seen through a snowstorm. A theme of family is at least somewhat original, though tying this into the actual story produces further bafflement and leaves a pile of unanswered questions – going beyond the obvious of why the killers dressed up in a snowman outfit. Performances are fine if forgettable. Poonam Basu is an enjoyable and relatable protagonist, though one never really senses a visceral vulnerability a pregnant mother ought to illicit. Murphy Patrick Martin takes chunks out of the scenery as the filthy rich and utterly irredeemable Spencer, and leaves the most lasting impression of the cast. Production is similarly passable – with some dynamic and stylishly presented shots and scenes. Though the blood effects fail to convince and further drag down the already-awkward action sequences. Jingle Hell really is little more than a bite-sized beige slasher hiding under a somewhat interesting premise. It barely makes use of its only intriguing element, and even the bread and butter of all great horror – character, themes and good old-fashioned violence are far below the standards set by its many, many contemporaries. If you want to watch something truly terrifying at Christmas, you’re better off with Krampus, Violent Night or Andrew Lincoln’s creepy stalker scenes in Love Actually. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >