movieguy3000

Fear Below is a well-produced film on a technical level, with strong cinematography, solid costume design, and impressive location choices. The visual effects are passable, though it's clear that editing is used strategically to mask a limited budget-particularly when it comes to the shark, which is rarely seen.

The performances are competent, though not standout. Reactions to life-threatening situations, especially during shark attacks, feel flat and unconvincing. The lead actress delivers a convincing British accent, but it still feels strangely forced and disconnected from the setting. Her emotional scenes, particularly when crying, come across as staged rather than authentic.

Unfortunately, the characters themselves aren't compelling enough to carry the story. The mob boss character fails to exude any real menace, and Josh McConville's portrayal of an ethnic character using a European accent feels miscast; an actor of that background would have added needed authenticity. The story lacks depth and tension-it's neither particularly scary nor engaging.

The music score is decent but ultimately forgettable. While Fear Below is competently made, it struggles with weak storytelling and flat character development. For a more impactful and emotionally engaging experience, check out The Cost, the director's previous and much stronger effort.

Overall, the team behind Echo 8 has done exceptionally well considering the limited budget. It's a commendable effort and a solid foundation if the plan is to build a trilogy-but there are some key areas that need improvement moving forward.

The martial arts choreography is already quite good, but for the sequels to really stand out, it needs to elevate from good to great.

The script and storytelling, however, fall short. The pacing is slow, the dialogue occasionally cringeworthy and awkward. The film would benefit from dropping the cheesy one-liners and focusing more on grounded drama and intense action. Characters need to evoke genuine emotion-both from themselves and from the audience.

In terms of performances, most of the cast struggles, but Maria Tran delivers the strongest performance. The actress playing the mother also holds her own, and Mike Leeder brings a photogenic and compelling presence to the screen.

Visually, the poster leans too far into a sci-fi aesthetic-it would be better reimagined in the style of a gritty martial arts action film.

The cinematography is one of the weaker elements, feeling more like a student film or backyard project with an amateur color grade to match. For future installments, bringing in a professional cinematographer could make a huge difference.

That said, this is still a remarkable achievement for indie filmmakers out of Western Sydney, and a milestone for the Asian-Australian creative community.

Hey Screen Australia-maybe it's time to invest in this team instead of continuing to fund content that fails to find an audience. This is the kind of work people want to see.

Maria Tran is absolutely one to watch, and it's exciting to imagine what she could create with proper backing and real investment.

It's hard to ignore the suspicion that many of the glowing 10/10 reviews for this film may be coming from people involved in the production, especially since it's only been screened mainly for industry audiences so far as it's not a proper cinema release.

While the film is competently made and does have a few nice moments, the overall storytelling falls short. Much of the dialogue feels awkward and unnatural, with several scenes bordering on cringe-worthy and on the nose. The film attempts to tackle themes of racism, but many of these moments come across as forced and contrived rather than authentic or impactful.

It's admirable that the two women behind the project have brought their personal story to the screen, but the result lacks emotional power. This isn't a cinematic experience-it feels more like something you'd see on Lifetime or Hallmark. While there's certainly an audience for that, the filmmakers may want to consider this as constructive feedback if they're aiming to create more grounded, cinematic works in the future.

The screenplay is one of the weaker aspects, filled with uncomfortable and at times unrealistic scenes. The acting, largely from an unknown cast, is uneven. Mikela, in the lead role, gives a performance that feels overly forced. She's trying hard, but it doesn't quite land, also she has a lack of being photogenic and I see this in a sincere and not in an insulting way A person DOESNT need be attractive, skinny etc, it's about the right casting and the camera capturing someone interesting or photogenic. It's clear that acting isn't her primary profession, and while it's understandable to want to play yourself in your own story, sometimes it's better to let experienced actors take the lead.

Conversely, the actress playing Beloude (herself) is more convincing and arguably delivers the film's strongest performance.

Visually, the cinematography is decent, but the color grading gives the film a flat, TV-like aesthetic rather than a cinematic one. Direction also feels muddled, which may be a result of having two directors-a setup that often leads to a lack of cohesion.

The romantic subplot between Carmen and her love interest lacks chemistry. Elliott Giarola, who gave a stunning performance in Streets of Colour, feels underused here. He plays a cheerful Aussie larrikin well, but the role doesn't allow him to showcase his depth as an actor.

Special mention to some of the African actors who did a wonderful job.

The poster for the film looks like it was whipped up in Canva by one of the team who have no idea about design, frames, colors or asthetics, same goes for the awkward trailer starring one of the ambilical brothers.

Ultimately, Carmen & Beloude is a watchable film, albeit riddled with flaws. It may resonate with an older or female audience, but it falls short of being a strong or memorable cinematic work.