Release Date – 20th September 2024, Cert – 12, Run-time – 1 hour 56 minutes, Director – Cédric Kahn

Activist Pierre Goldman (Arieh Worthalter) accepts the charges of robbery against him, however denies two accusations of murder, determined to argue his case in court.

The Goldman Case is said to have been meticulously researched from newspaper articles, courtroom transcripts and plenty of information surrounding the 1975 trial it’s based on. Set entirely in the courtroom and following the trial of the titular activist it very frequently feels like a reconstruction. We see French activist Pierre Goldman (Arieh Worthalter) passionately fighting his corner as, while accepting charges of robbery, he fights against accusations of the murder of two chemists during a robbery. “Why can’t he stop?” the lawyers ask themselves as he keeps interrupting and shouting over whoever is speaking, “no idea”.

The trial is certainly slow, and can occasionally feel rambling due to how much it seems to want to capture an almost verbatim style to the proceedings. Yet, there’s still interest to be found within the naturalistic nature, especially surrounding the back-and-forth around Goldman. While descriptions from witnesses “describes the accused like thousands of men in the Paris area” everyone seems certain that they recognise the man jumping in and shouting over the rest of the trial – frequently not doing himself any favours.

Because of the based-on-a-real-trial nature of things there’s further interest to be found within the events, fully contained in the courtroom, even when, due to how much certain points have been seen in other courtroom drama both fictional and biographical, some elements feel familiar. However, due to how much the film seems to want to capture the actual trial the recreation style creates a slow feeling, causing a number of instances to feel drawn-out and lacking in drama to properly engage. Things work as a whole, especially when properly digging into Goldman and the conflicting points for and against his case, but there occasionally feels some distance to be some points, with the recreation vibe strongest in such patches as they feel like almost a bridge between the louder dramas.

While holding interest in its louder dramas, and back and forths surrounding Goldman and his case, The Goldman Case makes for slow viewing at times due to feeling more like a recreation than a fuller courtroom drama.

Release Date – 9th February 2024, Cert – 15, Run-time – 1 hour 42 minutes, Director – George Amponsah

20-year-old Ash (Stephen Odubola) is part of a street robbery gang in order to raise money to support his family, however he quickly learns that it’s a world that’s very difficult to leave.

As a chaotic robbery of a jewellery shop attempts to unfold a woman stops outside the scene to tell one of the criminals “your mother would be ashamed!” In the moment it’s a line that seems quite out of place and that perhaps the scene could have done without, to keep a consistent feeling that things are going wrong. It’s also one of a number of lines which causes Gassed Up to feel as if it could do with another draft or two. To additionally allow it to feel more of its own than a number of British gang and teenage crime films it seems to be inspired by.

Over a rather bumpy course we follow 20-year-old Ash (Stephen Odubola). Looking for money to support his younger sister (Rawdat Quadri), who he looks after, and hopefully get his mum into rehab, he finds himself a part of a street gang, swiping phones from people’s hands as they speed by on mopeds. The phones and other stolen items get taken back to the boss (Jelena Gavrilovic) and some of the money share given out to the group. However, these are just early days for the small gang of friends who seemingly get a good kick out of this method of fast-and-easy money, bigger things are around the corner such as shop robberies.

As things escalate Ash becomes increasingly hesitant about his place in the group, however finds himself threatened to stay. He wants to protect his family, and paper-thin relationship with girlfriend Kelly (Mae Muller), but what’s the easier way to do this: stay or leave? As this question bounces around the protagonists mind we see more of the criminal world he finds himself in, and the repercussions it has on his friends too. Yet, with each location, party or club scene the film provides little to properly connect with due to how familiar it all feels. Even when the film goes on a tangent for a scene or two or brings up an aside, often relating to Ash’s relationship or something else about his personal life, the visible bumps mean that there’s little emotional engagement to be formed and so we simply watch as things meander along in rather slow fashion.

Even when things seem to be picking up, even if just to being generally fine, something else comes along to knock things down. Whether it be another aside, out-of-place-feeling line of dialogue or even just something lacking subtlety – when the villainous boss is truly angry and shows the threat she can pose to the group she wears a giant spider necklace. Things just never come together during Gassed Up, causing it to fall behind with need of a more polished screenplay and fuel to pick up the pace and bring some energy.

In need of another draft or two Gassed Up falters with an over-familiar set of themes which never manage to create a connection with the viewer, making for an even slower set of events.

Release Date – 3rd November 2023, Cert – PG, Run-time – 1 hour 49 minutes, Director – Nicolas Philibert

Documentary looking into the activities taken part in by attendees and staff of a floating Parisian centre for those with mental illnesses and disabilities.

The key detail about On The Adamant is given via title cards at the very end of the film. After just over 100 minutes where on multiple occasions you wish that the film would delve into the work of the boat a bit more than simply observing it happening. The information that we eventually get feels better suited to the start of the film. I genuinely believe that if it had been featured at the start then as a whole this documentary would be better instead of often feeling lacking in information and interest from the audience.

The purpose of the titular Adamant is as a mental health centre for this with illnesses and disabilities. Special activities are put on each day, especially leaning towards creative arts and expression, which are observed throughout the film. We see various attendees, members of staff and patients taking part in art sessions, movie club discussions and other meetings with the basis of each moment very much being show don’t tell. However, due to the lack of context for the boat, floating on the River Seine, almost everything feels like showing. You’re simply watching without very much connection to what’s being shown.

When the film does tell it’s more from the figures on the boat telling their own personal stories. Whether it be tales from their past, or a creative release that they get from creating music, the personal feelings we hear of are the most effective, if infrequent, moments of the film. We jump between people and activities for the duration of the run-time with the main throughline being the titular location. Aside from this everything simply seems like a shift to a new moment with only a small connection to what came just before. With little sign of structure things overall feel even longer, drawn out as a whole and sometimes as individual segments with little to be engaged or interested by.

There’s almost a sense of frustration when the explanatory title cards appear at the end to provide detail to the previous 100+ minutes. A time which would have likely been more emotionally engaging and interesting in its depiction of escape and expression for those with mental disorders and disabilities. Yet, even knowing this there’s still a sense that the film is rather slow, perhaps overlong, and quite disjointed in its jumping from scene to scene.

Due to almost entirely showing without much telling On The Adamant feels as if it misses out key information and context which could turn a slow, unstructured documentary into something more interesting and emotionally engaging.

Release Date – TBC, Cert – TBC, Run-time – 1 hour 41 minutes, Director – Ladj Ly

Activist Haby (Anta Diaw) leads a fight against a new interim mayor (Alexis Manenti) clamping down with increasing pressure on her working class Parisian suburb.

Furniture tumbles from windows towards an increasing group of uncertain former-residents, each one wrapped up in multiple layers of clothing as they try to carry as much as possible with them. It’s an extended sequence of angry drama, fiercely captured by director Ladj Ly as his protagonists and their neighbours are suddenly evicted from their apartment block after it’s been deemed unsafe to live in. The building lies within a suburb of predominantly working class figures neglected by the local government. Billboards advertise “a new beginning for the projects” starting soon in the area, something being fought against with increasing passion by the majority Black population, led by hopeful-mayoral candidate Haby (Anta Diaw)

Through Haby Ly demonstrates a fiery passion as she takes on recently-installed interim mayor Pierre (Aleix Manenti) – a man who wishes to continue in his regular work as a paediatrician until properly elected, helping him be recognised as an upstanding member of the (wealthier) community. Also under fire is his deputy Roger (Steve Tientcheu), also a mayoral hopeful, both figures find themselves facing more and more action from the residents of Haby’s community, “why bother rebuilding an entire neighbourhood just to end up with the same problem?” The politics are very clear throughout and make for heated drama at each stage. After his brilliant debut in the form of 2019’s Les Miserables Ly demonstrates himself as a French cross between Ken Loach and Spike Lee.

As things progress a number of the sequences regarding the mistreatment of the struggling community, and indeed their later responses, become hard to watch. The tension rises amongst the heat and anger that’s on display, fear that something might go wrong leading to even worse circumstances or repercussions. Helped by a set of great performances from the leads, and surrounding ensemble, to push forward the ensuing political battle the naturalism adds to the film’s overall power and gripping nature.

Naturalism which helps to bring a universality to the unfolding events. It helps to form even more interest in what’s happening to the characters and the debates at hand. A push of ‘at home’ relevance to the story adds to the impact that it already has thanks to how easy it is to engage in the first place. Watching as Haby tries to represent the unheard voices around her, frustrated by being ignored, abandoned and moved on for more of the same, if not worse. It’s an excellently crafted drama with plenty of anger fuelling it in both personal, up close exchanges and longer sequences where the distance of the politicians from the moment further adds to the rage emitted from the screen. All coming together to create an effectively burning political drama spurred by its relevance and universality.

Ladj Ly confirms himself as one of the fiercest directors working today with an angry drama of burning passion. Further fuelled by its political relevance there’s a good deal to engage with in this well-performed story of activism and marginalisation.

Release Date – TBC, Cert – TBC, Run-time – 1 hour 20 minutes, Director – Ehsan Khoshbakht

Ehsan Khoshbakht takes a personal lookback at the underground cinema culture during his days in Iran, and the people who helped keep film alive.

Celluloid Underground is a personal love letter from director Ehsan Khoshbakht not just celluloid and cinema but to projector and projectionist. Over 80 minutes he takes a dive into his memories of the underground cinema culture during his days in Iran, how film was kept alive against a government erasing it. Film began acting as both an escape and act of resistance, even when any frame containing any resemblance of a kiss was removed.

“Film, when projected, they were glamour and dream” says Khoshbakht in his calm voiceover. A belief agreed upon by friend and film collector Ahmad. Ahmad’s collection of celluloid reels and cinema and projection related items provide a good deal for the director to call back to with enough of a link to make this feel like not just a scattered set of memories. While it might not stop things from occasionally feeling like the film is more showing and telling rather than landing a proper effect.

This feeling particularly arrives in the final 15-20 minutes where as things near wrapping up and catching up to today the film feels as if it somewhat deviates to other areas. Slightly more about Ehsan and Ahmad, the former moving on and escaping Iran, than the titular celluloid underground culture and the risks faced by it even existing. The final line may be worth it, providing one of the most effective moments in the film, but things feel as if they slow down due to having slightly moved away.

Yet, things are still carried through by Khoshbakht’s passion for cinema, which carries much of the film and helps to move it along, It adds further backing to the fight to keep the medium alive during his time in Iran, and the effect that it can, and does, have on people. Such moments make for the most interesting and engaging points across 80-minutes. The care and passion on display feeling most engaging compared to those moments which feel more show-and-tell. Luckily, there’s enough interest to be found within Celluloid Underground’s short run-time to make it an overall worthwhile love letter to those keeping cinema alive against oppression.

While it might occasionally feel more show-and-tell, and the final stages may deviate from the initial look at underground cinema culture, there’s enough passion from Khoshbakht to create interest across Celluloid Underground’s 80-minute run-time.

Release Date – 23rd February 2024, Cert – N/A, Run-time – 1 hour 33 minutes, Director – Robert Morgan

After the passing of her mother (Stella Gonet) Ella (Aisling Franciosi) is determined to finish a stop-motion film they were working on, however with her determination comes isolation and eventual demons.

When asked why she’s spending her time making an animated film Ella (Aislin Franciosi) tells the young girl that’s just burst into her workspace (Caoilinn Springall) “because I like it, and I’m good at it. And it’s like I’m bringing something to life”. After the passing of her controlling mother (Stella Gonet) Ella becomes more and more determined to finish the stop-motion project they were working on together, wanting to make it just as perfect as her mum would have had it. However, as she isolates herself the models seem to take a new life of their own – especially as they begin to take on a much more flesh-like form thanks to their non-plasticine materials.

The demons which start to haunt Ella as she locks herself away take various different forms amongst the horrors of Stopmotion. While there might be an initial air of eeriness to certain moments they don’t exactly create a feeling of being truly on-edge. Where the real effect lies is in the moments focusing on the stop-motion animation and the potential lives that the models and characters take on. For a good chunk of the film these brief instances are the best moments – rooting in Ella’s insistence that “I don’t know how to do anything else”, haunting her just as much as the idea of the project itself.

As things progress the real world mixes more with the animation, bringing in extra detail with some truly effective gore and puppet design, courtesy of designer Dan Martin. Ella finds herself delving into an uncertain world and with her the horror amplifies making for a stronger second half, particularly in the third act where the uncertainty is ramped up as part of the visuals. Bringing out the horror more – generally improving as the film goes on – and allowing for the overall course to progress further and with more pace. Things may be slightly staggered to start with as they gradually grow amongst a weird drug sequence early in the film, but as a whole the 93-minute run-time isn’t felt. It takes some time to come together, but indeed the best stuff revolves around the titular focus of stop-motion and just how real and personal it can become.

It might take a bit of time to build things up and develop its horror, but once it does Stopmotion produces a good deal of effect through its visual design and the pacier course of its second half.

Release Date – 22nd March 2024, Cert – 15, Run-time – 1 hour 32 minutes, Directors – Cameron Cairnes, Colin Cairnes

With his talk show failing in the ratings host Jack Delroy (David Dastmalchian) attempts to put on a live edition meddling with the occult, however as the effects break out of the studio the end of the golden age of talk shows nears.

Despite insistence from his staff that things are getting out of hand Jack Delroy (David Dastmalchian) powers through his live broadcast, being branded “the biggest TV event since the moon landing”. The host made a successful transition to the screen from radio – Dastmalchian mastering the radio-to-TV voice – and is determined to overcome failing ratings to Johnny Carson’s increasingly popular Tonight Show. The way to do this is through a live broadcast, inviting mystics, hypnotists and people who have dealt with possession to discuss the occult and psychic powers. The documentary-style opening sets the scene and tells us that what we’re about to see is restored footage from the original live broadcast, with added behind the scenes details. From there the chaos builds up until a frantic and genuinely scary ending.

Where Late Night With The Devil best succeeds is in its attention to detail. The set, the conversations, including wisecracks from Delroy, and the initial awkwardness as things start to break down feel so authentic to the golden age of talk shows. With the box-like aspect ratio of the broadcast segments the feeling is heightened that little bit more to make something truly believable. Bringing about both humour and increasing tension when things start to break out of the TV studio.

Even with professional debunker Carmichael Hunt (Ian Bliss) on hand to reveal what’s really happening and how the audience at home and in the studio are being duped there’s still an eerie sense combatting against his rational explanations. Yet, aren’t the destructive occurrences – especially as Jack welcomes a young girl (Ingrid Torelli) living with a demon inside her which perhaps knows something about the host’s tragic past – all just part of the unpredictable course of live TV? That’s why it’s done, right?

As things develop and new guests appear, conflicting with each other and the ensuing developments of the broadcast, the creepiness enhances. It’s hard not to be gripped by the film with its simplistic yet highly effective course, helped by the attention to detail, and the fast flow, in how the allegedly broadcast bulk of the film works. The entire cast and crew comes together to make a more engaging and effective piece of work. Understanding and capturing the style with an accuracy which brings in both natural laughs and eventual eeriness. With the opening giving the needed context it also sets the tone for a truly enjoyable 90 minutes with a real entertainment, not to mention thrill, factor. As if grinning with the audience preparing for what’s to come.

As things start to fly (quite literally) it all feels justified and contained within what has been built up. Questions still slightly circulate as to how much of what we’re seeing is set-up simply to mess with the viewer (à la Ghostwatch) and how much is more supernatural. The lines blur masterfully within Dastmalchian’s professionality-maintaining expressions in front of the camera and frustrated exclamations behind the scenes – “I’m trying to save this f*cking show!” Everything comes together to make for an excellent quasi-mockumentary powered by a top central performance superglued to the detail of its surroundings. Amusing and chilling it flies by, and I can’t wait to experience it again.

David Dastmalchian shines in a performance as detailed as its surroundings, capturing an authentic golden age of talk shows vibe, everything comes together to create amusement and tension, brilliantly built up in equal measure for full effect in the whirling finale.

Release Date – 22nd March 2024, Cert – PG, Run-time – 1 hour 42 minutes, Director – Pablo Berger

When a robot runs out of battery the day the beach closes for the season he and his dog best friend dream of when, and how, they will reunite.

Robot Dreams feels perfect for a series of YouTube shorts. Based on Sara Varon’s graphic novel of the same name the colourful animal-filled world pops from the screen with plenty to like about the background details of this 2D animated world. The sequences which construct the narrative as a separated pair of best friends – a dog and robot – dream about when, and how, they will reunite feel sometimes like a compilation of related shorts put together into a feature. A rather sweet set of events, light and happy up until the point where the episode ends with everyone being sad and alone again – again, perfect for YouTube.

The pair, having quickly become best friends and bonding over Earth, Wind And Fire’s September (heavily used throughout the film and creating a definite earworm for days after), are split up when the robot runs out of battery on a beach the day it closes for the upcoming winter months. Whilst the dog tries his best to find a way to get onto the beach to allow his friend to walk again and come home, the robot lies dreaming about all the possible friends and encounters he might have while still in his current situation.

While bordering on repetition in the lengthy second act, back-and-forthing between the two perspectives and how things change for them over the months, it’s testament to the film and the way the stories hook you just how much you stay in place. Told without any dialogue and relying simply on the visuals (and the joyous power of September) it tells a simple set of events with an enjoyable style to connect with all ages – with the ability to cater for younger kids too with the cartoon style and some of the gags, such as a snowman turning blue after drinking a slushie.

With the bouncing to and from in the second act the 102 minute run-time feels slightly on the long side, especially with the stream of dreams vs reality sequences bordering on repetitious and losing engagement towards the end. Yet, where the film ends up is certainly interesting in the way that it links back to the opening stages of a growing friendship, the dog buying his best friend to combat loneliness. There’s plenty of light humour in seeing one teach the other the basics of the world around them and the fun that can be found.

While the fantasies amongst the separations work well the more direct bookends of the narrative have a better flow and provide more overall enjoyment. Especially in showing the warming friendships and the joy which sparks from them, whether it be through the characters dancing to a song, marvelling at things in the street or simply being in the company of their best friend.

While it might occasionally feel like a joined-up web series in the sequences of the second act Robot Dreams has enough sweetness and warmth within its family style and animation to help it along its likable tale of changing friendships.