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I Don't Know Where, but Together film review by UK film critic Patrick Foley. Starring Federico Cesari, Francesco Cicconetti, Naomi Oke directed by Luca Finotti. HOME | FILMS | REVIEWS I Don't Know Where, but Together Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 28, 2021 Directed by: Luca Finotti Written by: Luca Finotti Starring: Federico Cesari, Francesco Cicconetti, Naomi Oke Fashion, colour and vibrancy are the themes that summarise I Don’t Know Where, But Together (Non So Dove, Ma Insieme) , an Italian production from the fashion viral-video director Luca Finotti in a collaboration with Italian label MSGM. The short commercial film is filled with enthusiasm and optimism, and very much a product of its time following a brutal and difficult year. The youthful cast venture around the sunny streets of Milan making the most of their freedom, whilst of course decked out in the latest outfits curated by the fashion brand funding the whole venture. Relationships are established and teased throughout, as the 6 friends converge on a late-night outdoor party. Whilst I Don’t Know Where, But Together is clearly a commercial film designed to advertise the products of the MSGM fashion label, it at least features a creative storyline and striking cinematography that makes it a succulent, sugar-rush of a watch. Perhaps vivacious production was to be expected given the purpose of the film, and it being a creation of fashion-video specialist Luca Finotti – but it makes a welcome shift from the overly pretentious melodramatic style the genre is known for. Rather than present an unobtainable standard that works to entice viewers through desire to be a part of something exclusionary, the diverse and carefree group presented will remind audiences of their own loves and friendships – eliciting positivity and enthusiasm. The film imitates pop music videos – to such a degree viewers would be forgiven for wondering whether this was the pieces’ actual purpose. The synchronisation of music and imagery works in the film’s favour, effectively amplifying the sense of fun and excitement the film exudes. No dialogue is featured in the piece, with Finotti instead allowing his cast to tell their story through emotions and actions alone – a wise choice considering his casting call went out over Instagram and intentionally focused on non-actors. Ultimately the film is limited in that it is primarily an advert for a brand, and whilst clearly creative and original, is ultimately designed to sell clothes. The values it presents are progressive, inclusive and positive – but you can’t shake the feeling that they would be cast aside in a second for MSGM to add a zero onto their bank balance. You can’t blame Finotti, the cast, or the label to be fair to them, for commercialism. But not matter how enthusiastic or hopeful the film, there’ll always be a hint of cynicism where big money is involved. About the Film Critic Patrick Foley Short Film, Digital / DVD Release, LGBTQ+, World Cinema < All Reviews Next Film Review >

Paws of Fury: The Legend of Hank film review by UK film critic Hope Madden. Starring Michael Cera, Samuel L. Jackson, Ricky Gervais directed by Chris Bailey, Mark Koetsier, Rob Minkoff. HOME | FILMS | REVIEWS Paws of Fury: The Legend of Hank Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Jul 15, 2022 Directed by: Chris Bailey, Mark Koetsier, Rob Minkoff Written by: Mel Brooks, Ed Stone, Nate Hopper Starring: Michael Cera, Samuel L. Jackson, Ricky Gervais Who’s up for a perfectly harmless, slight, not especially funny cartoon? Well, depending on how hot it is outside and how bored your kids are, Paws of Fury: The Legend of Hank could be worse. Hank (Michael Cera) dreams of being a samurai. Ika Chu (Ricky Gervais) dreams of ridding the land of this ugly little town that ruins the view from his palace. How about making Hank the samurai that protects that ugly village? Hank will be a terrible samurai! He’s a dog! Who ever heard of a dog samurai? Well, who ever heard of a cat Western? But that’s what we essentially have here, because Hank has crossed many treacherous lands to find his way to the land of cats so he could fulfill his destiny, even if nobody there wants him. Like at all. OK, maybe little Emiko (Kylie Kuioka), who also dreams of becoming a samurai. But definitely not Jimbo (Samuel L. Jackson), the town drunk who used to be a samurai before shame led him to catnip. It sounds like it should be funny. There’s also the supporting voice cast, if you need to be impressed: George Takei, Michelle Yeoh, Djimon Hounsou, Aasif Mandvi, Gabriel Iglesias, Mel Brooks. Brooks also co-wrote the screenplay, which explains a lot. A dozen or so jokes littered throughout the film might have been funny 60 or so years before the target audience was born. Very few jokes connect to dogs, cats, samurai films, Westerns—anything in particular, but they lack that fun, random feel. A giant toilet figures prominently. There is flatulence. Cera and Jackson definitely share an odd couple quality—enough that I’d love to see them do a live action film together. But Yeoh and Takei are wasted, and Gervais gets no good dialog to deliver (though he does a villain well). Hounsou’s fun. The movie looks fine—not great, but fine. Its themes about acceptance are muddled and soft peddled, though—another victim of weak writing. A profoundly odd short film called Bad Hamster precedes Paws of Fury , though. There’s that. Just depends how hot it is, I guess. About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

The Night Out film review by UK film critic Amber Jackson. Starring Nicole Boucher, Tess Rianne Sullivan, Michael Alexander directed by Jordan Burbank. HOME | FILMS | REVIEWS The Night Out Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Dec 2, 2021 Directed by: Jordan Burbank Written by: Jordan Burbank Starring: Nicole Boucher, Tess Rianne Sullivan, Michael Alexander On the eve of Claire’s eighteenth birthday, her closest friend Mona plans to take the rather excited, yet anxious, teenager out for the evening. Although it seems all-too-simple, as the night unfolds and the two begin to drink to celebrate, a much darker and more sinister undertone to the story is revealed. Written and directed by Jordan Burbank, The Night Out is a brief yet compelling film about two young women confronting the reality of a big and uncomfortable world. In a true Thelma and Louise style, Claire and Mona have a ‘ride or die’ companionship that make the chemistry between them more loving whilst also revealing their contrasting personalities. Despite both being small town country girls, Mona is wild unlike Claire who is more naïve and innocent. In such a short space of time, the viewer is able to get such a large sense of their individual characters. The joy at the start of the film, where they are each elated to see where life takes them on the precipice of adulthood is palpable. Their friendship remains the primary catalyst for the film as they drive to a motel to celebrate and we are taken on a chaotic yet bold journey – until the unthinkable happens. A simple yet effective plot avoids being basic due to its effective way of storytelling, as most of the substance is contained in what is said as well as unsaid. Long silences filled with dread are carefully executed, with the camera-making deliberately slow to build drama. This compares to the careful aerial shots of the small-town world containing the young women, which are beautiful and also eerie. They contribute to the overall disorienting feel of the film and convey no real sense of time or place. The intelligence in this allows the viewer to slip into a false sense of security. When something sinister happens suddenly, the gradual build of the film later reveals that it had in fact been building the entire time. Fun and yet foreboding, The Night Out is a true example of excellent filmmaking within the short film genre. With the importance of young women being made to confront the dangers of the real world as they reach adulthood, this directorial debut by Jordan Burbank is sure to strike a chord with anyone who watches it. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Master Gardener film review by UK film critic Hope Madden. Starring Joel Edgerton, Quintessa Swindell, Sigourney Weaver directed by Paul Schrader. HOME | FILMS | REVIEWS Master Gardener Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: May 17, 2023 Directed by: Paul Schrader Written by: Paul Schrader Starring: Joel Edgerton, Quintessa Swindell, Sigourney Weaver A damaged man imposes order on his life, eventually growing confident enough in this structure to try to save someone else because he cannot save himself. That’s right. This is a Paul Schrader movie. Like most of Schrader’s best features (First Reformed, The Card Counter , all the way back to his script for Taxi Driver ) Master Gardener delivers a variation on that same riff. Lucky his characters are so compelling they keep us watching. In this case, that character – the titular gardener – is Narvel (Joel Edgerton). Narvel tells us, via his journal: Gardening is a belief in the future, that change will come in its due time. Is Schrader growing more optimistic? Or will we grow to hope for Narvel only to witness the worst possible outcome (a la Card Counter )? Longtime fans may get a little nervous before the general moviegoer, but either way, Schrader sets a hook early. The other element that jumps out early is the look of this film. Schrader’s gift for visual composition has never seen so exceptional a vehicle. Fitting, given the beauty of a garden. The lovely orderliness of Narvel’s garden is set against the riotous disarray that arrives in the shape of Mya (Quintessa Swindell): sloppy clothes, hair everywhere, no plans, no future. Maya doesn’t crave orderliness. Mya just is. What Mya is not is like her Great Aunt Norma (Sigourney Weaver, letter perfect as the wealthy matriarch of the estate). Norma has arranged for Mya to apprentice on the property. She’d like Narvel, or “Sweet Pea” as she calls him, to look after the girl. The arrival of this outsider sets wheels in motion. Narvel’s once orderly world now falls victim to his own past, drug dealers, the Feds. Edgerton’s a solid choice for the role, stoic but roiling with regret and quietly desperate for redemption. Swindell’s free spirit, tempered with the justifiable righteousness of youth, offers an excellent counterweight and Weaver outshines them all, stealing every inch of scene she’s in. But they don’t have enough to do. Redemption feels unearned. Drug addiction is treated as too easily overcome. Most troubling is the way racism is skirted throughout the film. “Gardening is the manipulation of the natural world, the creation of order out of disorder,” Narvel tells us. Filmmaking can provide much the same exercise. But forgiveness comes too easy for this damaged antihero, and Master Gardener feels too much like Schrader light. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Crack film review by UK film critic Jason Knight. Starring Marquis Moodie, Charda Jameson, Nino Cimino, Zoe Meehan directed by Gregory Hatanaka. HOME | FILMS | REVIEWS Crack Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 7, 2025 Directed by: Gregory Hatanaka Written by: Nino Cimino Starring: Marquis Moodie, Charda Jameson, Nino Cimino, Zoe Meehan A feature-length crime drama written by Nino Cimino, directed by Gregory Hatanaka and starring Marquis Moodie, Charda Jameson, Cimino and Zoe Meehan. The title probably gives away a lot. Yes, this is a film with a story that involves drug dealing and like many films with such a plot, there are criminals, shootings, beatings and murders. In this case, the story takes place in Los Angeles, where Byron (Moodie), a young African American, makes a living by selling drugs for Mickey (Cimino), his long-time friend and mentor. Things are going smoothly, until Didi (Meehan), Byron's sister, gets into trouble with her boyfriend (Omari Washington) and complications arise between Byron and his partner, Venus (Jameson). This feature works well as a crime story with the heroes (or maybe antiheroes) doing what they tend to do in their line of work: sell drugs and eliminate anyone who tries to harm them. The screenplay does a good job in exploring the characters, revealing the loving relationship between Byron and Venus, how much Byron cares for his sibling and the unstable relationship between Mickey and his partner, Annette (Heather Marie Zagone). As mentioned, there are plenty of crimes taking place and there is also romance, arguing and soul-searching. Regarding the directing, there are well-executed aerial shots and as for the soundtrack, it gains from the addition of some good songs. It could be argued that it might be hard to comprehend what kind of story this actually is. For the most part, it appears to be a serious, hard-hitting film about living a life of crime, with violence and drama present. However, there are times where things move towards comedy, particularly during scenes that involve Mickey and Annette. These scenes do not seem to go with the dark atmosphere of the rest of the film. Moodie's character is a well-meaning guy who happens to be a drug dealer. He is willing to resort to violence if he believes it is necessary, yet he loves and respects those around him. He embraces the life that he has, even if it involves illegal activities because that is what he has always known. Venus is the love of his life, the kind-hearted person who wants him to stop being a criminal. Cimino is the one who steals the show with the portrayal of his character, a seasoned gangster from New York City who knew Byron since he was born and used to do (illegal) business with his father. Mickey's friendly and lively attitude make him stand out from the rest. He is a man who is enjoying life, understands his line of work and makes sure that he is protecting the ones that he cares about. Obviously, this is a story about drug dealing and urban crime in general. Additionally, it also explores romantic relationships, family relationships and loyalty. Furthermore, it is a story about self-reflection and making life-changing decisions. Fans of the crime genre fill probably find this feature to be worth their while. There is nothing original to be found, but the narrative and the characters are interesting and Cimino's performance adds a great deal of value. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Alice, Darling film review by UK film critic George Wolf. Starring Anna Kendrick, Charlie Carrick, Wunmi Mosaku, Kaniehtiio Horn directed by Mary Nighy. HOME | FILMS | REVIEWS Alice, Darling Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 19, 2023 Directed by: Mary Nighy Written by: Alanna Francis, Mark Van de Ven Starring: Anna Kendrick, Charlie Carrick, Wunmi Mosaku, Kaniehtiio Horn Remember the palpable tension in the opening moments of 2020s The Invisible Man ? We didn’t need visual evidence to believe Elisabeth Moss’s character was desperate to flee an abusive relationship. We felt it simply from the strength of Moss’s performance. Anna Kendrick delivers similar results in Alice, Darling , reaching new career heights as a woman who has lost all sense of self to a controlling, manipulative partner. Alice (Kendrick) can’t even join her besties Sophie and Tess (Wunmi Mosaku and Kaniehtiio Horn, both terrific) for happy hour without Simon (Charlie Carrick, politley menacing) texting multiple requests aimed at reminding Alice just who she answers to. When the ladies rent a secluded lake house for a week-long celebration of Tess’s birthday, Alice tells Charlie her time away from him is strictly work-related. But once they’re at the cabin, Alice’s anxious behavior convinces her two friends that everything is not fine at home. Kendrick – who also serves as an executive producer – has recently opened up about her regret and shame from letting a previous abusive relationship carry on too long. This is an understandably personal project for her, and she channels her own pain into a compelling portrait of a woman nearly suffocating from manipulation, where every message notification and car wheel on gravel serves as a trigger. An apt underwater metaphor is just one of those skillfully employed by director Mary Nighy in an impressive debut that benefits from subtlety and confident restraint. Alice’s moments of self-harm are evident but not overdone, and her growing interest in the case of a local girl gone missing is understood simply from Kendrick’s quiet fascination. Alanna Francis’s thoughtful script does eventually reveal Charlie’s gaslighting methods in action, but never to the point where it seems something needs to be proven, because nothing does. This is no he said/she said. Kendrick has us believing from the start, as Alice, Darling becomes a healing journey back to self, and an intimate reflection on what love is not. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Poser film review by UK film critic Hope Madden. Starring Sylvie Mix, Bobbi Kitten directed by Noah Dixon, Ori Segev. HOME | FILMS | REVIEWS Poser Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 1, 2022 Directed by: Noah Dixon, Ori Segev Written by: Noah Dixon Starring: Sylvie Mix, Bobbi Kitten No matter how familiar the synopsis might sound to you, know for certain that Poser will surprise you. Directors Noah Dixon and Ori Segev , working from Dixon’s script, drop you into the indie music scene you may never have realized existed in Columbus, Ohio. Lennon (Sylvie Mix) wants to change that with her podcast. She may not have a lot of listeners, but she promises those who do listen a deep dive into the scene, with interviews and performances from the best bands you’ve never heard of. She’s kind of banking on that last bit, actually. Mix’s open stare and stealthy movement — a technique she used to great effect in her haunted Christmas flick Double Walker — here feels slyly deceptive. Lennon’s an introvert, a fan, an artist herself. Or is she? A clever opening in an art gallery sets wheels in motion, and you’re never quite sure how sympathetic Lennon really is. Mix masters pseudo-innocence, only betraying Lennon’s true nature in glimpses during meet-ups with her sister. Lennon’s real purpose materializes with the introduction to idol/muse Bobbi Kitten, a rock star on the scene who is all that Lennon would like to become. Like a cagey, pink-haired Jena Malone, Kitten commands the screen playing a version of herself. The singer from Columbus-based indie band Damn the Witch Siren, Kitten performs along with bandmate Z Wolf, whose presence adds a fascinating air of whimsy, danger and apathy. Though Kitten and Mix are more than enough to keep your attention, the music scene and Columbus itself offer fascinating, pulsating ensemble support. The music for Poser , and the likely ad-libbed dialogue from band members, enliven every scene. And Columbus looks terrific. Logan Floyd’s gorgeous cinematography meshes with performances and story to depict the melancholy and madness that go hand-in-hand with youth, art and punk rock. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

A Road To A Village film review by UK film critic Jason Knight. Starring Dayahang Rai, Pasupati Rai, Prasan Rai, Prem Subba directed by Nabin Subba. HOME | FILMS | REVIEWS A Road To A Village Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 6, 2025 Directed by: Nabin Subba Written by: Mahesh Rai, Nabin Subba Starring: Dayahang Rai, Pasupati Rai, Prasan Rai, Prem Subba A feature-length drama from Nepal directed by Nabin Subba, written by Subba and Mahesh Rai and starring Dayahang Rai, Pasupati Rai, Prasan Rai and Prem Subba. Maila (Dayahang), hi wife, Maili (Pasupati) and their young son, Bindre (Prasan) live in an isolated village in eastern Nepal, living a quiet life with Maila working as a basket weaver. Although they do not have much, they are happy. However, following the construction of a road that connects their village to more populated and industrialised areas, the family find themselves facing massive challenges as the villagers appear to start obtaining their resources from places that have become accessible due to the new road. A hard-hitting drama that follows a poor family struggling because of the consequences of economic progress. Told through the perspectives of Maila and Bindre, the screenplay works as a sort of father-and-son story, exploring the activities and experiences of these two characters, with the father trying to find ways to support his family and his boy getting into trouble and dreaming of things that can now be supplied thanks to the road, such as soft drinks and televisions. A lot of drama throughout, with hope and efforts towards a better tomorrow being the main forces that move the plot forward. The viewing is further enriched by Subba's directing which is superb and effectively captures the beauty of the surrounding landscapes and the wonderful music by Heidi Li is another great addition. As mentioned, the story is told primarily through the perspective of Maila and Bindre. As a result of this, Maili seems to become a secondary character, she is kind of left in the background and perhaps the story would had been even more engaging if the script spend more time concentrating on her point of view as well. The acting is strong. Dayahang's emotionally portrays a family man with a tragic past, who goes to great lengths to cope with the changes that are occurring in his village, while simultaneously trying to be a good husband and father. As his wife, Pasupati's character is a capable woman, a strict mother who shares her husband's pain regarding a terrible loss. Their child, Bindre, is a well-meaning yet troublesome and rebellious schoolboy who is keen on having new products that are brought to his attention including televisions, sunglasses and soft drinks. The plot centres on a family and family values are a major theme such as parenting. Moreover, poverty, financial difficulties and loss also play a big part in this story that acknowledges the fact that progress can also have negative consequences for some people such as damaging their income. From a different perspective, this feature provides an insight into what life is like in Nepal's countryside. This film is about struggle, it is about trying to make ends meet in a place where one is not needed any more. It is a family drama and a dramatic journey about pursuing a better life. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

A Tight Squeeze film review by UK film critic Lawrence Bennie. Starring Rinzin Thonden, Keegan Garant, Jack Haycock directed by Colton Caulfield. HOME | FILMS | REVIEWS A Tight Squeeze Film Review average rating is 3 out of 5 Critic: Lawrence Bennie | Posted on: Nov 23, 2025 Directed by: Colton Caulfield Written by: Colton Caulfield Starring: Rinzin Thonden, Keegan Garant, Jack Haycock From the pen and directorial chair of Colton Caulfield comes A Tight Squeeze , a short, surreal sneak-peek into the intriguing world of the actor's audition. Remi (Rinzin Thonden) is excitedly called back for an opportunity to join a promising improv group. A friend of one of the troupe, Remi however has to win over Bobby (Keegan Garant), the imposing head of the company. In just 12 minutes, Caulfield crafts a tight, tense tale in just twelve minutes across two settings - Remi's home and the theatre. The set-up is realistic; the situation surreal - Remi's water-bottle vanishes when Bobby sits on it. Did it fall off the seat? Is Remi losing his grip? Or, more worryingly, has it (somehow) gone into Bobby? It's all very simple and silly on paper, but surprisingly sustained for tension on the screen. Rather than going for a more obvious absurdist-screwball approach, Caulfield's film (much like Remi's experience at the theatre) jolts against expectations. Instead of playing for the comedy, the focus is a battle between Remi and Bobby. Bizarrely, Remi's predicament seems like one of the company's improv exercises come-to-life. A daft, fantastical scenario which nonetheless Remi has to play completely straight, or he's out. An alternative of course is we're watching Remi's mental technique first-hand. Perhaps the water-bottle forms part of a focusing technique and is all part of his method? More metaphorically (and intriguingly) perhaps it symbolises Remi's goal, his shot at success on the stage. Caulfield has Bobby decked out all in blue, just like the water-bottle. When Remi introduces himself to the group, Bobby cuts in with "Oh, forgot to mention, Remi is here for a call-back". It's a positive enough note, but it seems, somehow, to throw off Remi. From here, Bobby is increasingly built as Remi's adversary, to the point where it comes to a final verbal showdown between the two. However, is Bobby really his nemesis or is everything going on simply a projection of Remi's insecurity and desperation at getting accepted into the group? "Wow, that rocked!" acclaims Bobby when he reveals the outcome of Remi's efforts. That said, Remi's friend Alex (Jack Haycock) looks more than on-edge by the end of it. And, having proved himself and been successful, Remi is reunited with the Bobby-fied water-bottle. Quirky and absurdist, yet with its feet firmly on the stage, A Tight Squeeze reels out a lot of interesting questions from a simple set-up in a short-time. Unlike Remi and Bobby's theatrical tussle, it may not rock but it's certainly worth a call-back. About the Film Critic Lawrence Bennie Short Film < All Reviews Next Film Review >

Guide to Country Roads: The Holiday Special film review by UK film critic James Learoyd. Starring Dion Kelly, Aaron Medd, Adam Rooney directed by Adam Boland. HOME | FILMS | REVIEWS Guide to Country Roads: The Holiday Special Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Dec 21, 2024 Directed by: Adam Boland Written by: Adam Boland Starring: Dion Kelly, Aaron Medd, Adam Rooney Guide to Country Roads: The Holiday Special weaponizes incoherence to comic effect. This three-minute movie does everything in its power to disregard any sense of linear structure, although it is by no means an abstract or surreal work. It would be more accurate to describe it as an improvisational project that was made in a day, and that – to its credit – it embraces these hand-made attributes. The atmosphere created through the no-budget approach is one of familiarity; however, the random nature of the film’s technical construction is only as entertaining as it is baffling. With the most endearing aspect being the fact that it’s just a bunch of lads trying to make something fun and dumb with limited resources, the film can absolutely be enjoyed like a home video. But this only goes so far. Additionally, the fact that this short film is just one in a long YouTube series poses its own problems when considered in isolation, but I’m discussing its strengths and weaknesses as a short film. In terms of the filmmaking, there are a few nice details. Firstly, when the short begins, we get these lovely shots of Christmas ornaments. They’re made interesting through the use of some golden light being cast across the subjects, as if the sun is rising through the windows. This brief moment is wonderful to watch – it not only looks pretty, but also demonstrates a level of ingenuity and creativity from the makers. The “Weird lookin’” joke also works really well because of its filmic elements. The use of a sudden closeup of Timothy is jarring, and, through the amusing editing and repetition, it manages to get a laugh. Another successfully humorous aspect of the piece is the use of overly dramatic, action-movie music, implemented towards the film’s absurd climax. It fulfills the sense of irony that the scenario is going for, as well as incorporating a genuine stylistic trait into the storytelling. This leads to the toy gun being fired: the movie cuts to black, which is another sign that the creatives behind the project recognise – and are able to appropriately utilise – conventional movie-language in their work. When questioning whether the piece at all operates as a stand-alone work, most will find the answer to be a resounding No . The issue becomes that the majority of jokes included are effectively inside-jokes, in that their relevance is based on us knowing the individuals as well as the previous episodes – thus leading the bits to fail in the eyes of the uninitiated viewer. This also makes their style of humour rather inaccessible to anyone who happens to stumble upon the video online, which, of course, limits their audience. Then again, the attitude of the work and its stars perhaps gives the impression that they care less about entertaining your average viewer than they do about entertaining each other. And that’s more than fine! One can absolutely enjoy their antics, as well as the playful sensibility of what they’re trying to do, without necessarily knowing the Guide to Country Roads lore. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Find film review by UK film critic Jason Knight. Starring Sacha Alexander, Karen Birch directed by Erik Bostedt. HOME | FILMS | REVIEWS The Find Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 1, 2022 Directed by: Erik Bostedt Written by: Adam Richard Carroll Starring: Sacha Alexander, Karen Birch A professional meditator finds a large parcel full of cash. A meditation expert (Alexander) lives with his partner (Birch) in a house near the beach. One day, while going for a walk by the seaside, he comes across a mysterious package and discovers that it contains money. He keeps it, a decision that puts his life in danger, as there are sinister people who are looking for it. This short begins as a peaceful drama and moves towards thriller territory. The story is not just about a person finding lost money and facing the consequences of not reporting the discovery, as the screenplay spends a great deal of time exploring the main character's life. The main character works from home, where he has a studio that he uses to make meditation videos, which he then puts online. It is clear that, apart from a passion for meditation, he also enjoys nature and photography, as he goes for walks at the beach and takes photographs. His relationship with his partner is also shown, which is a blissful one, with the two of them meditating together, living a quiet life and planning to open a meditation centre. Although the scenes that involve the lost money add tension, nothing is revealed about the identity of the men who are searching for it, making the narrative being mostly about the protagonist's life and aspirations. Dialogue is limited, leaving the viewer to understand the story and the characters through their actions. Alexander is very convincing as a professional meditator, who wants to move on to better things and Birch does a good job as his partner who supports him. Bostedt's superb directing is one of the highlights of this film. He creates wonderful establishing shots of beaches and perfectly captures the beauty of the area. There are also creative shots that show the action through the protagonist's camera point of view. Carroll worked on the beautiful cinematography and was also responsible for the editing, where he did a marvellous job, utilising dissolve techniques to great effect. The sound is another strong aspect. The filmmakers effectively capture the sound of waves, almost making the viewer feel like they are by the ocean. The dramatic music is another magnificent addition and includes piano score. This is a very well made film, with an intriguing plot and dramatic atmosphere. It is an interesting viewing that deserves praise and recognition. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Venom: Let There Be Carnage film review by UK film critic Hope Madden. Starring Tom Hardy, Woody Harrelson, Michelle Williams, Naomie Harris directed by Andy Serkis. HOME | FILMS | REVIEWS Venom: Let There Be Carnage Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 30, 2021 Directed by: Andy Serkis Written by: Kelly Marcel, Tom Hardy Starring: Tom Hardy, Woody Harrelson, Michelle Williams, Naomie Harris An unusual note about comic book movies is that the sequel is often, perhaps usually, superior to the original. Why is that? Because the original can be so burdened by telling an origin story – usually one we already know. Venom: Let There Be Carnage is one such film, superior to the original not because we already knew the symbiote antihero’s origin tale, though. Rather, director Ruben Fleischer’s much-maligned 2018 blockbuster suffered from a choppy first act and uninspired direction. With director Andy Serkis (this guy knows how to motion capture) at the helm and a streamlined writing team (Kelly Marcel is the only writer from the original film to return, this time sharing the pen with star Tom Hardy), Let There Be Carnage determines its tone and pace from the opening scene and, for better or worse, rides that through to its concluding, post-credit moments. The tone runs far closer to horror-comedy than the original, a theme that suits the story of frenemies, one trying to keep the other from eating human brains. Hardy returns as Eddie Brock, a one-time superstar San Francisco reporter who ran afoul of his fiancé (Michelle Williams), his news outlet and the law last go-round, but found a life partner in the flesh-hungry extra-terrestrial parasite, Venom (also voice by Hardy). They have inadvertently infected cannibal serial killer Cletus Kassidy (Woody Harrelson) with symbiote blood, and now he, too, has a little voice and big alien inside of him. Harrelson and his slightly digitally modified eyeballs offer villainous fun — though, to be honest, Riz Ahmed’s evil genius in the previous film was not only underappreciated but superior to Harrelson’s lunatic menace. Still, Hardy is the reason to see the film. His Eddie is put upon and weary while his Venom is boisterous and often very funny. Through the two performances, Hardy delivers the type of lived-in animosity needed to sell any odd-couple story. Though the CGI was sharper last time, the overall aesthetic Serkis creates is far campier and Goth, which feeds the film’s spooky season vibe. Williams, in a smaller role, finds her stride, though Naomie Harris’s underwritten character is a shame. The result is a mish-mash of messy, frenetic fun with a higher body count than you might expect. Plus a post-credits stinger worth sticking around to see. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >