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HOME | FILMS | REVIEWS Picture Day Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Nov 16, 2024 Directed by: Kelly Pike Written by: Kelly Pike Starring: Oona Yaffe, Michelle Krusiec, Michael Perl Picture Day is the powerful new drama from writer-director Kelly Pike, and tells a tale of childhood rebellion and anxieties. “A girl must prepare herself for picture day” is the surprisingly simple premise for the film. And yet, within this conceit, comes potential for some wonderfully reflective, and meditative, storytelling. It’s a rich movie, and outstandingly well-made, filled to the brim with ideas about family and girlhood. Our protagonist Casey, for one, displays a naturalistic portrayal of confusion and resentment which rings true throughout. This is a lived-in story – one which you can tell is told from a place of truth and memory. The first thing you may notice while watching is the movie’s slow pace. This is always wonderful to see, particularly in the context of a drama. When a piece such as this allows the viewer to settle into the environments and the emotions on screen, it becomes a far more rewarding watch than your average short film. What this also displays is impeccable control of tone. This is an amazingly atmospheric and subjective picture, and it puts in the effort to gradually build its world and its ideas, as opposed to simply laying it all out in front of us. So how does the film hold our attention, without a conventionally dense plot? You could argue that the most obvious factor is the cinematography. This is an undeniably beautiful movie. Shot in an anamorphic 35mm-look which really lends itself to a story feeling like a memory – the grain and shallow focus taking on some faded quality. It’s so vibrant and textured that the viewer finds oneself completely overwhelmed by certain shots. For instance, there’s one wide shot which tracks to the left along with Casey on her bicycle – the sunset flaring into the lens and filling the frame with gold. It’s unbelievable work. This is a seemingly simple movie infused with detail. Namely, the character of the father having a military job is something of a background feature, completely implicit; however, when you - as an audience member - begin to think about its implications, you realise that this girl has probably had a challenging life, and perhaps this is a family which is always moving around, never settling. This also lends the piece a touch of realism – a portrait of American life for a young person, feeling alienated at a specific place and time. The family politics are also perfectly realised, with the controversy of the haircut and then ear-piercings being small issues at face-value, but their being used as emotional warfare is well-observed. I adored this film, and audiences I’m sure will be equally engaged by its story and style. It’s destined to do fantastically, and readers should not miss the opportunity to seek it out. The sound design is phenomenal, the editing isn’t heavy-handed and allows the shots to breathe. Impeccable performances across the board, and a core vision which has a lot to say. Picture Day will have you immersed from beginning to end, and will stick in your memory long after you’ve watched it. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Corsage Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 3, 2023 Directed by: Marie Kreutzer Written by: Marie Kreutzer Starring: Vicky Krieps Neither hero worship nor maudlin tale of objectification, Corsage delivers a daring reimagining of the life of Empress Elisabeth of Hungary, played with mischievous relish by Vicky Krieps. This is hardly the first fanciful reworking of a historical biopic. Director Pablo Larraín has reconsidered two such lives as tragic cinematic poems – 2021’s Spencer and 2016’s Jackie . Just last year, Andrew Dominik turned America’s most recognizable icon into the object of punishment porn (Blonde ). While two of those films are lovely and one is unwatchable, it took filmmaker Marie Kreutzer to reimagine one iconic life without simplifying the tale’s heroine to a tragic beauty to pity. Kreutzer’s year-in-the-life is fictional, though Empress Elisabeth was certainly real. Her presence clearly influences this picture, but Kreutzer’s fantasy – replete with the most gloriously misplaced modern songs – looks askew at the renowned and misunderstood beauty. As Sofia Coppola did with her empathetic and under-appreciated portrait, Marie Antoinette , Kreutzer and Krieps establish the startling aloneness facing a royal woman, particularly a foreign sovereign married into royalty abroad. Krieps excels in particular during scenes where Elisabeth struggles to leverage what power is available to her. The audacity of Elisabeth’s behavior unveils a fiery joy and brittle vulnerability in Krieps’s performance. Wonderfully refreshing are the vanity and selfishness that are allowed to creep into the portrait. Corsage ’s hero is no saint. She’s a free spirit to be admired, as well as a self-centered brat willing to require the sacrifice from others she’s disinterested in making herself. Here again, Krieps is a superstar. Elisabeth’s flaws are outrageous, her strengths enviable, her oppression great. In Krieps’s hands, the composite is an endlessly compelling conundrum, as frustrating as she is fascinating. The film sees power as freedom and acknowledges how little of it there is for women, even women who seem to have it all. In the end, it’s the film’s and Krieps’s humanity ­that make the final moment of freedom feel earned and victorious rather than fraught with compromise. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Joyride Film Review average rating is 3 out of 5 Critic: Christie Robb | Posted on: Dec 22, 2022 Directed by: Emer Reynolds Written by: Ailbhe Koegan Starring: Olivia Colman, Charlie Reid A cozy story of mutual self-discovery, director Emer Reynolds and writer Ailbhe Keogan’s Joyride delivers a series of poignant moments but unfortunately not enough of them to result in a believable conclusion. The excellent Olivia Colman plays Joy, a solicitor that has recently given birth to a late-in-life baby that she wishes to give away to a childhood friend. The delightful Charlie Reid plays Mully, a teenager who has recently lost his mom to cancer and is left with a scumbag dad who wants him to steal money from a hospice fundraiser to clear his debts. Their lives intersect when the two try to use the same stolen taxi. The transitional nature of a road trip during a transitional period in both of their lives provides the opportunity for each of the two to learn things they never knew about themselves and to grow and mature as individuals. They are doing this while rolling through the Irish countryside, which is quite a pleasurable backdrop. The two leads are very talented and their banter is written naturally enough to be believable. However, the plot at times veers into the ridiculous, ignoring so much of the way the actual world works as to leave you wondering if you accidentally got the genre wrong and you are watching a fantasy. It’s a world in which you can evade the police by simply turning into the first driveway on the side of the road and 13 year-old-boys can function as effective lactation consultants. But, if you are looking for a movie to attempt to give you heart-expanding holiday feelings without the Hallmark tinsel explosion, Joyride might be the movie for you. About the Film Critic Christie Robb Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Carmen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 17, 2023 Directed by: Benjamin Millepied Written by: Loic Barrere, Alexander Dinelaris, Lisa Loomer Starring: Melissa Barrera, Paul Mescal For this latest reimagining of the classic story, director Benjamin Millepied credits inspiration from Prosper Mérimée’s original novella from 1845, and Alexander Pushkin’s poem “The Gypsies” from 1824. Flashing more modern vibrancy through culturally rich music and dance, this new Carmen arrives as a wonder of visionary composition that struggles to find an equally compelling connection to its characters. The writing team of Loic Barrere, Alexander Dinelaris and Lisa Loomer crafts a surface-level tale of lovers on the run. Aidan (Paul Mescal) is a troubled Marine veteran volunteering on a night patrol along the Mexican border, while Carmen (Melissa Barrera) is trying to cross after the death of her mother. A violent altercation leads to casualties, and the two are soon trying to stay one step ahead of authorities. Millepied (choreographer and co-star of Black Swan ) knows his way around a dance number, getting an assist from flamenco specialist Marina Tamayo for sequences that sport some thrilling fluidity. The acclaimed talents of cinematographer Jörg Widmer (The Tree of Life, V for Vendetta ) and composer Nicholas Britell (Moonlight, If Beale Street Could Talk ) are also on full display, rounding out a veteran stable of technical skill that consistently lifts the film’s imagery and scope. Mescal (Aftersun ) continues to show a gift for quiet nuance, Barrera (In the Heights, Scream , Scream VI ) finally breaks out of her reliance on posing, and the veteran Rossy de Palma (various Almodóvar projects) steals scenes as a savvy nightclub owner, but the script seems content to keep depth at a distance. Pushkin’s centuries-old themes of noble savages and the tragedy of life are too often given a heavy hand, needing a rescue by the visual poetry on display. This Carmen tells us “dancing will you heal you.” Indeed, it’s one of the cures for what ails a less than passionate romance. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Seven Jewish Children Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Nov 15, 2024 Directed by: Omri Dayan Written by: Caryl Churchill, Omri Dayan Starring: Alice Wallis, Sam Ebner-Landy, Clara Francis, Rivka Michaeli The latest conflict in Gaza is yet another tale of unbearable human tragedy to strike a region scarred by war. This highly intelligent but provocative short film is based on a 2009 play by Caryl Churchill. It was originally written in response to the 2008-2009 Israeli strike on Gaza. This only proves that the oldest news is the latest news as an endless cycle turns with ominous regularity. The play was first performed at the Royal Court and polarised opinion as Churchill's plays often do. Such is its power several plays have been written in response. The film instantly betrays its theatrical origins as a disembodied voice shouts 'action'. The company of actors quickly move around a sparsely populated stage as they deliver tightly packed dialogue. The narrative describes seven distinct episodes in Jewish history and essentially asks two questions. What do we tell our children about the past and how does it affect the present and future? Key phrases are repeated throughout the piece. The characters plaintively cry 'tell her' or 'don't tell her'. Shouldn’t history reflect the truth however painful or inconvenient it might be. Does it serve any real purpose when it’s told in such a selective manner? It's a huge subject reduced to a microcosm and then crammed into the tiniest of formats. The stand-off between Israel and Palestine is ingrained with complexity and could never be distilled in a fifteen minute film. Its religious, historical, political and economic dimensions create a melting pot of ideas. With so many moving parts the rights and wrongs are more difficult to examine. The film makes no secret of where its sympathies lie and deserves credit for picking a side. But in so doing sacrifices any semblance of perspective and balance. Seven Jewish Children is eloquent and highly sophisticated storytelling. But there’s a nagging suspicion that only one side of the story is being told. The past reveals varying levels of good, bad and downright ugly. So there's no harm in providing the full picture. In times of war nobody has totally clean hands; the reality is that people suffer when too much power is in the hands of too few. This could be a brilliant piece of theatre; it just needs to recognise the grey areas of human existence. About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Tomorrow Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2024 Directed by: Aryasb Feiz Written by: Aryasb Feiz Starring: N/A A young boy and his new found friend must face down the wrath of an angry shopkeeper in order to acquire some much needed medicine. In writer/director Aryasb Feiz’s short film animation, Tomorrow , we meet an unnamed young boy as he travels the streets of the city. We find out in the opening shots of the film that he is a thief, stealing from a street cart as he cuts about his business and finds somewhere to loiter. The boy’s favourite perch is by a tree which looks onto a small road containing an antique shop. He witnesses a small exchange between the owner and a customer and has an idea, however, the purloined food which he still has in his hands has now earned him a new furry companion. Distracting the dog with the food, the young boy heads into the antique store for a little light robbery. He seems to know where the stash is hidden and heads straight for the small ampoules of liquid stored on the underside of the chair. It’s no surprise that the burly shopkeeper catches him and gives him what for, but then the boy’s new friend comes along to help save the day. The two of them run away home, until the boy gives the poor dog the slip and it has to use its nose to find him again. Once they are reunited, we find out what the whole commotion was about and we see that the boy’s father needs the medicine to stay alive. Sadly, one ampoule only gives relief for a day and the next morning the young boy is back outside the antique shop looking for a way to get in and get some more medicine. This constant worry of only having enough for today, and needing to keep repeating the cycle in order to survive, is what leads Feiz to ask the question – What about Tomorrow ? Throughout the story there’s a lot of minor threat and a smattering of intrigue, with the medicine not always being in the same place and the dog getting caught in the basement and other comic capers going on. The animation itself is cutesy and endearing, helping to invest the viewer in the relationship between the boy and the dog, with there being shades of Dug from Up (2009) coming through as well as a ‘Disneyfied’ feel to the whole film. However, there’s a lot to be played for going on in the background, and the sombre yet beautiful music from Fereydoun Bahrami keeps the tone of the film where it needs to be. There’s plenty to enjoy as the narrative runs through the scenario, but strangely it never feels as though we’re getting anywhere. Despite there being three storywriters involved with the project, it seems that neither of them got around to introducing a theme or a moral or a message to the film. There’s the odd situation that an antique dealer seems to have a stranglehold on the supply of medicine instead of chemists or clinics or hospitals, and it’s unclear by the end of the film whether we should be on the boy’s side or not, as he is an obvious thief. Getting a message across is also hindered by Feiz’s decision to film without any dialogue. What must have been a conscious choice to try and save the universality of the film, has ended up costing the filmmakers in terms of truly delivering what they wanted to say. There is so much muddied in with the story of Tomorrow that it seems Feiz and his friends forgot to take a stance. There’s nothing else there apart from the immediate storyline and by the end of the film everything is back to square one. Whilst this may in fact be Feiz’s main idea, nothing has been learnt upon the way, and the reoccurrence of every Tomorrow is only because nobody moves on – so what’s the point? As it stands though, the one-time story from Tomorrow is fun while it lasts and the immediate relationship between the dog and the boy is entertaining enough for the seventeen minutes that we’re watching for. If some of the action wasn’t so obviously violent, and the guiding principle was better expressed, Tomorrow looks as though it could be an intro animation shown before a Disney feature film. However, there needs to be more underneath the story to really give this animation something worth talking about. About the Film Critic William Hemingway Short Film, World Cinema, Animation < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Stop Making This Hurt Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 13, 2022 Directed by: Susie Kimnell Written by: Susie Kimnell Starring: Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta A man meets his former partner in a restaurant and they discuss the past. A man (Swift) is sitting at a restaurant table by himself. Closing time is approaching and the place is quiet and a bit darkened. Eventually, he is joined by a woman (Collins), with whom he used to have a relationship. The two of them have a conversation and it becomes apparent that things between them ended up badly. The man attempts to apologise and make things better, however, it becomes evident that he did something terrible. This dark short film begins as a drama about a broken relationship and as the story progresses and more and more clues are brought to light, things move towards thriller territory. The main element is the conversation between the two protagonists, which tells a lot about their lives, particularly about the man's life, about what kind of person he is and the findings are not positive and just keep getting worse and worse. Swift delivers a chilling performance as an individual who has very dark secrets and a very sinister hidden personality. Although, he can appear charming and cheerful, it is obvious that ultimately, he is a bad person. Collins does a terrific job as a his ex-partner who was a victim to his actions and knows what he really is. The film is free from music, apart from the ending, which is where Duncan Pittock and Richard Lacy make their contribution with a sinister score that makes an effective closing. Ben Mann also deserves commendations for the work on the cinematography. This short has a very-well-structured screenplay that starts with more or less normality and revelation after revelation lead to a devastating truth. Through well-written dialogue and strong acting, this film tells a dark and memorable story. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Influenced Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 8, 2022 Directed by: Asad Panjwani Written by: Asad Panjwani Starring: Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins An online celebrity is pursued by an obsessed fan. While walking home one night, social media influencer Amber (Nikolaiets) is approached by Dane (Cochlan), a man who claims to be one of her followers. He proceeds to speak to her and offer her chocolates and refuses to leave her alone, causing her to panic and run to her house. He runs after her and enters her property by force. What follows is a nasty confrontation that goes from bad to worse. This short is a stalker thriller that explores the world of internet personalities, particularly the bad side of it. It suggests that social media celebrities can affect certain individuals the wrong way and that can have very unfortunate consequences. It also points out that sometimes influencers can be double-faced and pretend to have a certain personality, in the interest of gaining followers. The film is tense and has plenty of nail-biting moments. Dane chases Amber through a street and the two of them get into a physical confrontation inside her home. Things get more and more out of hand and become life-threatening. However, there are also comedic moments, such as when the crazed fan removes his shoes once he has entered Amber's property. It is not clear whether the story is also meant to be a dark comedy, however the comical feeling is there. The acting is not the best, but that does not spoil the film. Nikolaiets plays an internet celebrity whose job has ended up getting her more than she bargained for. Cochlan is the one who steals the show with his vivid portrayal of a disturbed individual who is obsessed with Amber. Praise goes to the dynamic, tense and sinister score, which works rather effectively during the opening, where Dane is introduced, making it clear that he has sinister intentions. Special mention also goes to fight choreographer Holly Prentice, who makes the hand-to-hand fight scenes tense and vicious. The stylised closing credits also deserve commendations. This short is definitely interesting and keeps the viewer on the edge of their seat. It is a story about obsession, mental health and the dangers of being an online celebrity. The fact that it ends on a cliffhanger may be unsatisfying for some, but may be approved by others. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Pylon Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 15, 2024 Directed by: Barnaby Blackburn Written by: Barnaby Blackburn Starring: Louis Thresher, Tommy Finnegan, Olivia Lynes, Elly Condron A short thriller drama written and directed by Barnaby Blackburn and starring Louis Thresher, Tommy Finnegan, Olivia Lynes and Elly Condron. Two children siblings, Sara (Lynes) and Thomas (Finnegan) are walking in a field by themselves. Shortly, they encounter a gang of teens who have an airgun. The two groups seem to know each other and following vicious taunting and bullying by the unruly and aggressive youths, Thomas is forced to commit a life-threatening act that will spread chaos and peril. This ten-minute-long short contains a great deal of tension and drama. Beginning as a story about bullying, it transfers to a life-and-death situation. Although the screenplay is distressing, it is intriguing and deserves praise for the heavy drama. Watching two defenceless children (particularly Thomas) being tormented by a group of older boys is quite upsetting and reveals the harsh realities of such situations: inconsiderate individuals targeting the vulnerable just to amuse themselves. And then, things turn into a race-against-the-clock rescue mission. The story is dark and the ending is devastating and this is how this film gets the viewer's attention, making them contemplate the terrible events that take place. The heavy atmosphere is supported by Luis Almau's ominous and dramatic score and the decision to include Die Trauernde by Johannes Brahms during the closing credits was a wise choice as it effectively accompanies the melancholy following the tragic ending with a poignant plot twist. Another aspect to be mentioned would be the well-executed long takes. If there is something that could had been improved or done differently, then that would be the ending, which leaves one of the characters in a crucial situation and it probably would had been a better resolution if their fate was revealed. Regarding the acting, it is strong and dramatic. Arguably, the one who stands out the most is Thresher, who plays Benny, the one who appears to be the leader of the gang. An aggressive and critical youngster, he mercilessly and cruelly torments and humiliates Thomas. Finnegan and Lynes are sympathetic as two innocent children who become targets for bullies. The themes in this film are quite harsh. Bullying is a main one and it is vividly portrayed, showing the awful ways perpetrators torment and the effects is has on the victims, making them feel broken and humiliated. The short is also a commentary about yob violence, the consequences of reckless actions and fractured family ties and perhaps, to some extent, neglectful parenting. Regarding positive subjects, the story looks into self-esteem, bravery and parental love. This is not a happy story. This is a dark story about tormenting and its consequences and the hard-hitting ways that it explores them makes it a harsh viewing but also a thoughtful and memorable one. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Night of the Tommyknockers Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 17, 2022 Directed by: Michael Su Written by: Rolfe Kanefsky Starring: Richard Grieco, Jessica Morris, Angela Cole, Robert LaSardo, Tom Sizemore, Michael Beran Regarding the title, it should be mentioned that this feature is not related to Stephen King's book The Tommyknockers . This is a comedy horror Western survival film. The plot takes place during the late 19th century. A band of outlaws robs a bank and finds out about a town called Deer Creek, where there is a mine nearby that has gold. The gang go there, with the law in pursuit. Once there, they find the place deserted and realise that something is terribly wrong. Horrible creatures known as 'Tommmyknockers', who live inside the mines, have overtaken the area and are devouring people. Having found themselves in a life-threatening situation, the robbers must collaborate with the remaining survivors if they are to make it through this alive. This is an enjoyable movie with plenty of action and humour that combines the Western genre with horror comedy. The narrative begins as horror, with miners being killed by the monsters, then switches to Western for a while, with a bank robbery and a shootout, before going back to horror, with the deadly entities attacking the town. There are quite a few characters, however there is not a main character, with the focus going from one person to the other. Some characters who stand out are Dirk (Grieco), the leader of the gang, Betsy (Cole), the only woman in the gang, Marshal Steed (Sizemore) and Lucky (LaSardo), a member of the gang. There are plenty of fights between people and the monsters, with guns or melee weapons being used in order to fight them. There is a lot of gore and some gruesome scenes, where victims are torn apart by the creatures. As one character after the other is killed, one wonders who (if anyone) will be the survivor. The mise-en-scene is rather interesting and contains elements that are often seen in Westerns and horror. Regarding Westerns, the clothing looks great and so do the firearms and buildings. For horror, the Tommyknockers look horrible and terrifying and they are arguably the highlight of the film. They have sharp teeth and their appearance generally resembles that of zombies. A lot of praise goes to the creativity that was applied to the monsters and to the makeup involving wounds. The acting is not realistic, however that does not damage the movie a lot, as this is also a comedy and although few characters come across as likeable, the performances are entertaining nevertheless. The feature gains from tense music, interesting lighting techniques and special mention goes to the cool opening credits, that consist of a creative montage, accompanied by a great score. To summarise, this is a Cowboys versus Monsters movie and an enjoyable one too. The story is intriguing, the fight scenes are entertaining and the creatures look great. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS I Love My Dad Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Aug 2, 2022 Directed by: James Morosini Written by: James Morosini Starring: James Morosini, Patton Oswalt, Claudia Sulewski We live in an era where cringe-comedy reigns supreme. From HBO’s Eastbound and Down to the American remake of The Office (so many cringe-inducing episodes), modern comedy seems hellbent on making us uncomfortable. While these two examples and many others only tend to dabble in discomfort, the new film I Love My Dad uses it to full effect while going places many movies could only dream of. Chuck (Patton Oswalt of Ratatouille and Young Adult ) has a terrible relationship with his son, Franklin (I Love My Dad writer/director James Morosini). Chuck was an absentee father who missed birthdays, made empty promises, and disappointed his son every chance he could. After Franklin blocks his dad on social media and won’t take his calls, Chuck decides to “borrow” the online identity of Becca, a waitress at a local diner, to catfish his way back into his son’s life. The premise of I Love My Dad is enough to make most people go, “Wait, what?” The execution though? Well, that’s something even more anxiety-riddled. Morosini knows exactly what he’s doing with this subject matter and carries it out through the entire running time. I Love My Dad is like a cinematic car accident you can’t help looking at as you drive by. However, in this case, the car accident is a very well-made movie. Morosini cleverly brings to life the text conversations between Franklin and “Becca” by using the real actress (Claudia Sulewski) to act them out alongside him. It’s an impressive way to show how connected Franklin feels toward Becca and only helps ratchet up the tension. By the time the inevitable truth is revealed, even the audience feels invested in this fraudulent relationship that Chuck has conjured between him and his son. So much of the success of I Love My Dad hinges on the casting of Chuck. Make no mistake, Chuck is a scumbag of the highest order, but having someone as likable as Patton Oswalt play him sets up certain expectations. Even as Chuck digs himself deeper and deeper, it’s difficult to completely root against him. Oswalt’s naturally affable demeanor is hard to get past even when the character he’s playing is so deplorable. It’s perfect casting that makes you think, “Well if HE’S the bad guy, what else can happen?” The supporting cast is peppered with some fun faces. Lil Rel Howery (Get Out ) shows up as Chuck’s work friend who gives him the catfishing idea. And the always-on-fire Rachel Dratch (Saturday Night Live ) nearly walks away with the entire movie as Chuck’s very horny girlfriend. I Love My Dad explores some dark and taboo territory but still manages to wring out a lot of laughs along the way. Maybe don’t watch it with your parents, though. About the Film Critic Brandon Thomas Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Belief Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 4, 2024 Directed by: Christian Loubek Written by: Christian Loubek Starring: Erika Hamilton, Barrett Hamilton Loubek, Mykee Selkin, Tia Robinson, Charley Harper Loubek A short drama written and directed by Christian Loubek and starring Erika Hamilton, Barrett Hamilton Loubek, Mykee Selkin, Tia Robinson and Charley Harper Loubek. Lennox (Selkin) and his wife (Robinson) and daughter (Harper Loubek) have just moved to another house and in one of their boxes, Lennox discovers a letter that was send to his mother (Hamilton) from his school when he was a boy. This accidental discovery causes Lennox to remember the tremendous efforts and sacrifices his mother went though in order to give him a good life. This heart-warming story is primarily a mother-and-son relationship, showing a devoted parent who is determined to help her child achieve in life after the school he attends announces that he is unsuitable to carry on with his lessons. So she decides that Lennox will be home-schooled from now on and she will teach him herself. She removes a door from their home, converts it into a desk and proceeds to teach her boy, while working as a nurse and socialising with friends. As time passes, the two of them make progress and Lennox proves that he is intelligent and capable. Watching a single parent go to such lengths for their only child is very inspitational and emotional and the plot twist in the end shows how much she loves and believes in her son. As moving and beautiful as all this is, it wouldn't had such an emotional impact without the wonderful selection of songs that include Found by Jacob Banks, I've Got Reasons by Mary Jane Hooper and Don't Let The Devil Fool You by A Moment In Time. Could there be something in this great and moving film that could had been done differently? Perhaps the use of repetition should had been cut down a bit. The flashbacks that show Lennox as a child being home-schooled by his mother are constructed as a montage that repeatedly alternates between scenes that primarily involve Lennox at home, being taught by his mum, Lennox playing in a playground playground and his mother working or playing cards with friends. Although the obvious purpose of these scenes present the lifestyle of the two protagonists and their progress, maybe there were too many of them as some are almost identical to others and do not seem to add anything to the narrative. This short gains enormously from the strong performances, particularly by Hamilton as a single mother who is being strong for her son and is determined to support him. When the screenplay was written, Husband-and-wife Christian Loubek and Erika Hamilton waited for their children (Barrett Hamilton Loubek and Charley Harper Loubek) to reach the appropriate age in order to play the parts in the film and they both do a great job. The themes that are explored are numerous. This is a story about parenthood, particularly motherhood, about the sacrifices a parent does for their children so they can succeed in life. As the title suggests, belief is another subject, believing in others and self-belief. Support is of course another and so is the idea that people should not let others convince them that they are worthless, which leads to the belief that one must never give up. From a different perspective, as all the characters are African Americans, this film works as a commentary about life of African Americans in the United States and the presence of books that include Malcolm Little: The Boy Who Grew Up To Become Malcolm X and Assata: An Autobiography seems to point out the struggles of African Americans. By viewing this film, people will have the privilege of experiencing an inspirational and moving story filled with love, support and inner strength that will hopefully encourage them to believe that they can achieve even when the odds are against them. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >