Fully embracing its offbeat humour, Turkiewicz’s film is more Napoleon Dynamite than Reservoir Dogs, and it works. Rudnitsky and Soni are great together as the duo of lovable loser cinephiles who’ve got nothing better to do than hang out at a diner all day whenever they’re not at therapy. Jonathan is the hot-headed schemer who makes up for in confidence what he lacks in intelligence, whereas the slickly moustached Steve is a cross between Michael Cera and John Hader who’s all too happy to go along with his friend’s plans. David’s straight-faced sardonic wit bounces off her accomplices’ bromance wonderfully, and Alexander, while not given that much to do, brings a lot of fun to the role.

Despite Tarantino’s reputation for violence, there’s no ear-slicing or blood-splattered shootout to be found in Turkiewicz’s tribute to the filmmaker. Apart from one brief sequence towards the end, the references to his filmography are light-hearted gags and aesthetic choices (like dividing the film into chapters) that are in keeping with the rest of this feature’s style. Although Turkiewicz has crafted a hugely enjoyable heist movie, he doesn’t lean far enough into the Pulp Fiction director’s quirks to capture what makes his works so appealing. Moreover, a tangle of plot threads in the third act disrupts the otherwise tightly paced script before arriving at its feel-good conclusion.

Stealing Pulp Fiction doesn’t replicate the magic of the director it pays homage to, but it is a highly entertaining comedy outing by its own rights.

Andrew Murray

Stealing Pulp Fiction does not have a release date yet.

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The documentary’s starting point is the brutal killing of farm worker Charles Walton in 1945. Found lying in a field in the village of Lower Quinton, impaled with his own pitchfork and a cross carved into his chest, the murder sent shockwaves throughout the nation. When a famed investigator was unable to solve the case, the lingering mystery opened the door to all sorts of wild theories connected to superstition and the growing rise of witchcraft in the following decades.

Using a collection of talking heads and archive footage, Russell closely examines the similarities shared between Walton’s death and elements within the films that were inspired by the incident, namely The Wicker Man. The parallels are so intertwined that various scenes from these films act as dramatic reenactments of what’s being discussed. The line between real-world witchcraft and fiction is further blurred with the inclusion of clips from documentaries from that time. Images of nude worshippers dancing around a fire and participating in initiation ceremonies bear such a striking resemblance to what’s portrayed in the movies that “Fact” or “Fiction” markers have been added to the footage.

A grainy presentation and atmospheric score make this documentary feel like it’s been plucked straight out of the 70s. With so much to discuss, however, the narrative occasionally loses its focus and ventures off into winding tangents before eventually getting back on track.  Despite taking some detours along the way, The Last Sacrifice is an endlessly fascinating insight into horror history and its links to Britain’s own occult underbelly.

Andrew Murray

The Last Sacrifice does not have a release date yet.

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Set in the summer of 1994, the film sees 15-year-old Emily (Stefani Kimber) become cast in an avant-garde production of Hamlet. Being the youngest cast member, she has nothing but respect for the production’s director, Reinhardt (Eric Johnson), and looks up to her fellow actors. Despite the rehearsals being non-stop and physically demanding, Emily is delighted to be there and is determined to impress Reinhardt to prove that she belongs. However, when she becomes entangled within the power dynamics and complex relationships within the group, she realises that she might be in over her head.

Kimber is spectacular here. Her bright-eyed wonderment captures the excitement of being part of something new and interesting, even if those outside of the production don’t understand the appeal. Audiences, likewise, only get glimpses of scenes and ideas about what the show is supposed to be. It could be terrible, but the concept of setting costumes on fire alongside some expressive choreography is enough to convince her that the show and its creator are genius.

Johnson likewise gives a remarkable performance. Reinhardt is like a marginally less intense but just as dangerous version of Whiplash’s Fletcher. Although his drive to push his actors to achieve perfection doesn’t involve hurling chairs across the room, he is willing to put them in dangerous situations and submit them to humiliation in the name of his art. More concerning, though, is the romantic relationships he forms with some of the female performers. When Emily catches his attention, what starts as attending parties evolves into something more predatory. Galea-Davis navigates this delicate issue with care, ensuring that these moments hit hard without becoming exploitative or tasteless.

Beautifully shot and brilliantly acted, Galea-Davis uses her real-life experience to scrutinise harmful power dynamics within a captivating coming-of-age-style drama.

Andrew Murray

The Players does not have a release date yet.

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A large part of this flick’s charm comes from Laymon’s ability to move between tragedy and comedy with ease. In an early scene, hearing about Lilly’s rough upbringing is enough to make her counsellor burst into tears. Later, a tearjerker of an anecdote about a childhood dog gives way to what is easily this movie’s sweetest moment. More than hitting the required emotional beats, every aspect of this feature is imbued with an authenticity that’s rich in tenderness and charm.

Ferreira’s exuberant performance perfectly captures the feature’s vibrant personality. Alongside bringing a high energy and endless likeability to the role, the star likewise gives the character a real sense of vulnerability during the more intimate moments, enabling viewers to connect with her on a deeper level. Leguizamo is also excellent throughout. His kind-hearted tones and tortured dad jokes are a consistent source of warmth, and watching the pair’s onscreen chemistry is another one of this film’s many dazzling bright spots. Stewart, too, is phenomenal as Lilly’s comically terrible father, who during one scene, hands her an itemised bill of everything he’s spent on her (including baby food).

Laymon moves through this semi-autobiographical tale at a brisk pace. While there’s sufficient time spent fleshing out Leguizamo and Ferreira’s newfound friendship, a messier third act temporarily knocks the movie off its stride.  A lot of significant developments occur towards the final stretch in quick succession, which aren’t given as much time to be developed or reflected upon. Despite some haste getting to the ending, though, the filmmaker nevertheless nails the final moments, delivering a powerful end to Lilly’s journey in what is a superb feature debut.

Andrew Murray

Bob Trevino Likes It does not have a release date yet.

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Shot in a handheld style, there’s a roughness to the presentation that gives the film a naturalistic feel, whilst the frantic movements between characters mirror the chaos gripping the familial unit. Karazisis is phenomenal as the patriarch who’s as concerned about preserving his own reputation within the village as he is protecting his own blood. His intensity is the direct opposite of Nikouli’s quietly constrained Christos, whose silence carries the weight of his moral dilemma. Comparatively, Iordanopoulos is left on the sidelines throughout most of the runtime despite Pavlos being the spark that blows the powder keg, and this is where the main issues of Meat lie.

Nakos explores a handful of intriguing questions throughout his script. However, these ideas rarely go anywhere. Alongside the on-the-nose metaphor of the family owning a slaughterhouse, the growing suspicion from some of the villagers towards Takis prods at the influence of small-town gossip while Christos’ status as an immigrant nudges the narrative towards themes of prejudice. These plot points may add to the dramatic stakes, but their barebones execution stops the tension from hitting their intended heights, ending this tragedy on an underwhelming finale.

A stellar core cast convey the nuanced drama within Nakos’ ambitious debut. Without fully developing its compelling ideas, however, Meat concludes on a disappointing low.

Andrew Murray

Meat does not have a release date yet.

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From the opening scene, where Billie’s grandmother warns her not to talk about her mother in a school presentation, it’s evident that the topic is a delicate talking point. Hushed whispers about how to handle the subject when Billie isn’t listening give viewers clues about why her mother is no longer present. Unlike audiences, Billie is too young to understand what’s going on. To her, this new information is a cruel lie that’s easier to ignore. By keeping Billie’s perspective separate from the adults in her life, Marcotte explores this delicate situation through the eyes of its young protagonist to inject moments of neon-lit wonderment throughout her feature debut.

Boyd is nothing short of spectacular here. Despite her age, the star carries the brunt of the emotional weight on her shoulders, with a tense kitchen standoff involving a goldfish bowl being one of this film’s most impactful moments. Boyd is at her finest, though, whenever the script calls for her to be a child. Scenes of her playing in the snow with her best friend or losing herself in her own imagination make up the beating heart of this film. While the filmmaker doesn’t embrace the creativity of the latter as much as the title would suggest, their inclusion bring a touch of magic to the screen whenever they appear.

By framing this intimate family drama through the eyes of the young protagonist caught up in the centre of it all, Marcotte succeeds in telling a heartfelt story of a family going through change, led by an extraordinary performance from Boyd.

Andrew Murray

Neon Dreaming does not have a release date yet.

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Watch the trailer for Neon Dreaming here:

Although Bako’s film is framed as a critique of Nigeria’s systems, its tale of the corrupt getting rich while hardworking citizens struggle to scrape by is universal. It’s understandable why Kingsley would be lured into his uncle’s world of extravagance and wealth after failing to provide for his mother and siblings through legitimate means for so long, even if it comes at the cost of what he believes to be right. Nnadiekwe’s endearing performance goes a long way in making his character’s plight sympathetic to audiences, but it’s Chukwujekwu who consistently steals the spotlight as his charismatic presence and booming voice dominate the frame. Though it’s no secret that he’s a shady con artist, it’s all too easy to become drawn to someone like him.

In terms of its plot and tone, this film is all over the place. The first half is spent piling on various plot points, many of which never reappear. The movie also has a habit of switching between light-hearted comedy and serious drama at a moment’s notice; sometimes the transformation happens within the space of a single cut. Though the choppiness is often jarring, the filmmaker and actors’ commitment to making these scenes work is all part of the Nollywood charm.

I Do Not Come to You by Chance isn’t perfect. It’s a little rough around the edges and could be a bit more focused. However, its strong performances, relevant themes and spirited nature make for an entertaining time.

Andrew Murray

I Do Not Come to You by Chance does not have a release date yet.

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Starring Baby Assassins’s Akari Takaishi, with a script penned by franchise creator Yugo Sakamoto, the plot follows college student Fumika (Takaishi) become haunted by the ghost of recently murdered hitman Hideo (Masanori Mimoto) when she finds the bullet that killed him. When it’s discovered that he’s able to possess her body, effectively turning her into an unstoppable fighting machine, they decide to form a pact to enact vengeance on Hideo’s killer so that his spirit can leave Fumika alone.

Before the unlikely duo get to the vengeance part of the plot, viewers will have to sit through a lot of extraneous material as the pair learn to work together while taking care of some other problems, which can only be solved by beating up some bad guys. While the onscreen violence doesn’t reach the same levels of insanity and gore as Machine Girl, the action is fast and fluid and each blow lands with a satisfying squelch or crunch. The main highlight, however, is Takaishi’s scene-stealing dual performance. Playing both the non-violent student and a possessed Fumika, the star effortlessly switches between both roles during brawls to deliver what are this flick’s best gags.

Although there’s plenty of joy to be found within Ghost Killer’s creative action and offbeat humour, its blend of comedy and thriller doesn’t always work as intended. In addition to slapstick that often doesn’t stick the landing, Hideo’s quest for revenge likewise follows a generic route that lacks surprises. A rushed final act that sees an ultimately inconsequential antagonist meet a disappointingly quick end also dulls the excitement and leaves this movie feeling underwhelming at points.

Ghost Killer isn’t a perfect film. Its combination of genres doesn’t always hit the mark, and its plot is a little messy. What Sonomura’s latest feature is, though, is a whole lot of guilt-free fun that’s filled with excellent action and a superb performance from Takaishi.

Andrew Murray

Ghost Killer does not have a release date yet.

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Set within a quirky Alpine town where everyone speaks English and oompah music can always be heard playing in the background, Sew Torn takes place within a world of its own, and what a fascinating place it is to be. Barbara drives an old car with an oversized spool of thread stuck to the back, her sewing box plays a catchy recording every time it’s opened, and there’s an elderly sheriff who also serves as the town’s pastor (K Callan). Macdonald fills his film with imagination, creating something that’s uniquely his own. This creativity also extends to the surprising ways that Barbara uses her sewing skills to jury-rig Home Alone-style traps and contraptions. Although she repeats the same trick more than once, watching their elaborate designs unfold is wholly satisfying every time.

Connolly gives a solid performance in the central role as her character is thrust into three very different circumstances. John Lynch, who plays ruthless mobster Hudson, is another notable standout. After making a brief but strong first impression in the first scenario, the actor is given plenty of opportunities to lean into the role in later scenes to show viewers why he’s to be feared.

Each of the branching pathways Barbara takes is as entertaining as the last. Each is embroidered with a generous helping of dark humour and goes in an unexpected direction. Less successful, though, are the overarching plots about what transpired during the pivotal deal alongside Barbara still reeling from her mother’s death. Compared to everything else this movie has to offer, these aspects are surface-level additions, which Macdonald is unable to stitch into the rest of his debut.

Although it has the occasional misstep along the way, Sew Torn is a remarkable feature debut that’s as imaginative as it is weird. It also marks the start of what could be a promising career for a filmmaker with a distinctive voice.

Andrew Murray

Sew Torn does not have a release date yet.

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Set in 1980s Dublin, Durnin’s film is a vibrant coming-of-age tale that balances being a light-hearted comedy about two friends who are trying to stay out of trouble while hunting for clues alongside being a heartfelt story of brotherhood and community. As a mystery, Spilt Milk is anchored around a genuinely compelling investigation, complete with some unexpected twists and turns as the friends chase down new leads. Although Bobby’s turbulent home life makes it easy to point the finger towards his quick-to-anger father (Laurence O’Fuarain), who’s consistently at Oisin’s throat, there’s a lot more going on that the young protagonist doesn’t yet understand. When the bigger picture does start to fall into place for Bobby, the flick transitions into a triumphant rallying cry from a community that’s had enough.

From the moment he appears on screen to excitedly announce that he’s got another plan (that’s bound to get him and Nell into trouble), Sulliven is a constant delight. In addition to his enthusiasm and endless charm being well-suited to the script’s less serious moments, the newcomer successfully nails the more emotionally demanding moments, consequently lending more weight to the brotherly relationship at this film’s core. Brophy is also wonderful and O’Fuarain is a force to be reckoned with – but it’s Danielle Galligan as the boys’ dedicated mother who stands out as one of the strongest performances.

Scored by a quintessentially 80s collection of new wave and synth tracks, Spilt Milk is a joy to watch from start to finish in Durnin’s winner of a feature debut.

Andrew Murray

Spilt Milk does not have a release date yet.

Read more reviews from our Glasgow Film Festival coverage here.

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