BongoReviewer

If I'm for real, the writing ruins this film. The script felt crazy underdeveloped; it left main characters extremely underdeveloped, mainly Adam. It truly felt like the writers gave more depth to the side characters rather than one of the main characters, in my opinion, which really throws off the balance of the film.

The casting, on the other hand, was excellent. Isabelle Fuhrman as Charlotte was a lovely choice. Her performance was nothing short of Oscar worthy, given what she had to work with. Despite the lack of believable chemistry on Adam's side and horrendous pacing, you have no trouble believing Charlotte is head over heels in love. Gabby Kono Abdy as Helen was a great pick for the best friend role. Their dynamic was so sweet and they sold it well.

Mena Massoud as Adam was okay. He's charismatic, and given the material, he did his best. But I didn't feel he put his full effort into building chemistry with Isabelle. Truthfully, bar his Aladdin performance, he doesn't seem like the best fit for romcoms. That being said, the writing really ruins his performance. There are little to no tender scenes between Adam and Charlotte, and the lack of loving scenes makes Adam come across as very manipulative and borderline abusive toward Charlotte, rather than truly in love.

Whether that was on purpose or just a result of terrible pacing and directing, either way it truly affected how I viewed him throughout. His behavior feels emotionally charged, and without a resolution or apology for his behaviour it goes full throttle into toxicity rather than tragedy. I genuinely thought Jimmie Fails, who played Seth, would've done an excellent job as Adam. His performance had warmth and true feelings, and he felt more emotionally available than Adam ever did. But given the terrible pacing and lack of development, I'm not sure even he could have been seen as someone convincingly in love. So I can't pin it all on Mena.

This movie isn't let down by the actresses and actors. It's let down by the directing and the script. In all honesty, I would give this movie a hard skip if you're looking for a convincing romcom. Would be a 3 out of 10 if it wasn't for the clear effort the actors and actresses put in throughout to make this anything more than a straight to DVD level movie.

Bone-Face isn't your typical gore-heavy, kill-frenzy slasher. Yes, it fits the genre, but at its core, it's a whodunit mystery, driven by dialogue and packed with shocking twists throughout.

I'm not particularly familiar with the low-budget movie scene - I just stumbled across it while scrolling IMDb's recent releases, ignoring the review ratings. But I have to say: what an introduction! I assumed I'd figure out the killer early on, but the script is crafted well enough to keep you genuinely guessing.

Truth be told, I was a bit concerned at first. The acting felt shaky in the beginning, with some of the campers clearly more expressive than others. But once the diner scene hit, I was sold. Every single actor in that sequence delivered - and considering this is a low-budget film, I was expecting some uneven performances. Instead, it was surprisingly solid across the board.

And let's not forget the camerawork - especially in the diner. It genuinely felt like you were right there with them, adding a layer of immersion that elevated the tension and atmosphere.

Even the ending delivers a final twist. Sure, it might feel a little unsatisfying in how it wraps up depending on how you feel, but it still lands that last jab - leaving you questioning everything and rethinking what you thought you knew.

Marching Powder is a high-energy, emotionally charged glimpse into working-class British cinema that brings you right back to the golden era of gritty, character-driven storytelling. It's not a film that demands deep dissection-it hits you in the gut, not the brain-and that's exactly why it works.

I've known of Danny Dyer for years, mostly because of his background-he's a working-class lad who's grown into a surprisingly progressive figure by those standards, similar to my own. But this was my first time watching him in a lead role, and I was genuinely surprised. His performance as Jack is far better than I expected: raw and layered. Jack isn't just a caricature of a football hooligan-he's a man caught between the old codes of masculinity and the shifting expectations of a modern, liberal world. Dyer nails the frustration, the bravado, and the vulnerability with a kind of lived-in authenticity that's hard to fake.

Stephanie Leonidas, as Dani, is the emotional anchor of the film. Her portrayal of a frustrated but devoted wife is quietly powerful. Dani isn't just a sidekick-she's a woman reclaiming her identity, going back to art school, and trying to rebuild the life she sacrificed. Her scenes with Jack are emotional yet heartfelt, especially when they clash. You can feel the love, the resentment, and the hope all tangled together. Their chemistry is undeniable, and it truly reflects the struggles many working-class women face compared to men, giving the film its emotional weight.

The film does a solid job dissecting the mentality of working-class men today-the resistance to change, the struggle to adapt to a more liberal world, and the internal battle between pride and progress. Jack's journey isn't clean or heroic, and that's the point. The ending might feel unsatisfying on the surface, but it reflects something real: change isn't linear. It comes in fits and starts, and sometimes it's two steps forward, one step back.

There's a lot of heart in this film, even if it's buried under layers of bravado and chaos. It's loud, messy, and unapologetically British-and despite it not being to everyone's taste, and the clear lack of a deep story, I feel for most viewers it'll get the message across well.