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HOME | FILMS | REVIEWS Yellow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 16, 2023 Directed by: Elham Ehsas Written by: Elham Ehsas Starring: Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas In August 2021, the Taliban overtook Afghanistan. This short drama explores the aftermath. It is a busy market in Kabul and a young woman (Dehrouyeh) is looking to purchase her first chadari. He enters a clothing shop and requests one from the assistant (Ehsas). He helps her make the right choice, gives her advice and is quite helpful. She does not seem to be fond of the garment and appears to realise that her life is changing. This film is about a turning point in a woman's life, following the Taliban's conquest of Afghanistan. It is obvious that it is the first time she is wearing a chadari, as she does not know how to put it on, which highlights the change that she is going through. Through her eyes, the audience sees a procedure that many women in Afghanistan are going through: getting a chadari for the first time and entering a new stage in their life. The screenplay calmly examines the procedures that the heroine undertakes in order to obtain a chadari and thus (in some ways) go through a transformation and become another person, a person who the Taliban approve of. The film dramatically points out some of the effects of the Taliban takeover. One is the degradation of women, which is explored through Dehrouyeh's character and a television news broadcast about the strict laws applied by the Taliban regarding women wearing a chadari. Another is the banning of music, which is briefly shown through Ehsas' character. One part that stands out is a dance scene that feels almost magical thanks to slow motion and creative editing by Ehsas and Ross Leppard. Director of photography Yiannis Manolopoulos does a great job with the cinematography and commendations go to Jessica Holme for the costumes. An effective point-of-view shot places the viewer in the heroine's position, helping them feel how she feels. This film is a poignant and hard-hitting commentary about the Taliban's seizure of Afghanistan, how it affects the people of that country, particularly women. It provides an insight into the current situation, painting a bleak vision of the future. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Fall Guy Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: May 2, 2024 Directed by: David Leitch Written by: Drew Pearce, Glen A. Larson Starring: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson From the first notes of the Kiss classic playing behind a montage of stunt moments across cinema’s recent history, The Fall Guy defines itself as a love story. This movie loves stunt performers. And why not? It’s pretty clever in getting audiences on board by casting maybe the most lovable movie star working today, Ryan Gosling, as Colt Seavers, hapless stuntman. (Yes, that is the same name used by Lee Majors in the kitschy 80s TV detective show, but mercifully the PI angle is dropped for the feature.) Colt, longtime stunt double for megastar Tom Ryder (Aaron Taylor-Johnson), is smitten with the camera operator on his latest film. But an accident takes him out of the stunt game and out of Jody’s (Emily Blunt) life. That is, until producer Gail (Hannah Waddingham) comes calling: Ryder’s missing and Colt must fill in on set or Jody’s first film as a director, Metalstorm , will go bust. When David Leitch made his feature directing debut in 2017 with Atomic Blonde , his decades in stunt work and stunt coordination showed. His instinct was not just to string together one fascinating piece of stunt choreography after another (though he did do that). He took advantage of his cast’s natural physical abilities to help sell the action. And where Charlize Theron is grace, strength and ability, Gosling and Blunt are goofy and adorable. That’s the vibe from start to finish. The leads share a sweet, infectious chemistry. Winston Duke is underused but fun as Metalstorm ’s stunt coordinator and Colt’s bestie, and Taylor-Johnson’s full-blown McConaughey riff is a riot. The film has some glaring problems, though. The Fall Guy’s heart is not really in its plot, and that’s fine. But at a full and noticeable 2 hours, the film needed to prune. The opening third of the film could easily lose 15 minutes because the sheer chemistry between Blunt and Gosling carries the love story without the heavy and lengthy exposition. It’s too long and it feels it, but there’s still much to be delighted by. The set pieces are fun, funny, practical and quite impressive. And they lead to a climax that lets a full cast of stunt performers and technicians just go to town. The Fall Guy is not the most memorable way to spend two hours and 9 minutes (you will want to stick it out through the credits, BTW), but it is mindless—if overlong—fun. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Emily Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2023 Directed by: Frances O'Connor Written by: Frances O'Connor Starring: Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead Wuthering Heights was always a conundrum of Gothic literature. It is mean, its tragedies ugly, its heroes selfish and boorish. It’s a dark and misanthropic piece of fiction often mistaken as romance. Lucky for all of us, Frances O’Connor appreciates the twisted nastiness of the novel and suggests a vividly unusual inner life for its author in her feature debut, Emily. Emma Mackey stars with an understated but authentic weirdness as the misfit Brontë sister. Emily doesn’t seem suited for teaching, or for much of anything. The stories she tells are childish and they embarrass her sisters, and she won’t let anyone read what she’s writing. She seems to disappoint everyone around her except her brother, Branwell (Fionn Whitehead). In O’Connor’s loose biopic, Emily finds the space to explore once her sisters are gone off to teach and she is alone with Branwell. The filmmaker slyly inserts memorable scenes from Brontë’s novel as moments, here more innocent, between brother and sister. These moments work on many levels, but mainly because writers draw from their own lives. The dynamic complicates and Emily’s transformation deepens as an unexpected, almost involuntary suiter comes into the picture. Untethered by the judgments of her sisters, Emily is free to determine her own course and the journey is intoxicating to witness. Mackey glows as her character slowly, finally comes into her own, giving us a dimensional, tender and delicately genius young woman you yearn to know better. Whitehead charms in a slightly underwritten but nonetheless poignant role. Oliver Jackson-Cohen – so different than the unrelenting narcissist of The Invisible Man – delivers the greatest arc of any character as assistant parson William. His performance is never showy, but moments of vulnerability give the film its heartbeat and heartbreak. O’Connor breathes life with all its chaos, misery and joy into the Brontës’ 19th century. Emily feels less like the vision of a newcomer than the product of a passionate kindred spirit. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Andes: 50 years Later Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 25, 2022 Directed by: Chris McNaughton Written by: Chris McNaughton Starring: Eduardo Strauch The backdrop and title of the short film chosen by the director Chris Mcnaughton get the film to right away appeal to the emotions of the masses. The opening sequence of the documentary has a message about the importance of love. In the very first shot, the camera tracks the museum to flush the audience with memories of the 1972 real-life incident. The use of the projector to showcase the old photos of the people who were present at the time transports the viewers to the same timeline. The musical track by Simon Daum and Yo Yo Ma complements the theme of the short film and assists the makers to bring out the range of emotions all of the people involved are feeling. The storyline of the cinematic piece is based on a true event. The plane carrying a rugby team from Montevideo Uruguay crashed into the high Andes Mountain. The film tells the extra- ordinary tale of the 16 survivors beating all the natural hurdles for straight 72 days. These people who battled through all the terrifying circumstances and miraculous events deserved to be remembered and document their struggles so that the audience gets to know about their bravery. The short film/documentary takes the form of a firsthand narration from one of 16 survivors- Eduardo Strauch. The use of a real survivor in the buildup of the narrative and the natural lighting in each frame of the movie and newspaper article in the museum provides a sense of realism to the documentary. The introduction and voice modulation of Eduardo Strauch highlights the pain, struggle, conflict and, misery. It is very difficult to relive the tormenting experience again and again. Eduardo is brave to do so and share his experience with us through this beautiful film. The camera-man manages to capture the magnificent landscape of the sight of the crash. The beautiful location chosen for the shooting of the movie by the cast and crew is a great choice so that they enjoy the picturesque view while absorbing the moving storyline of the cinematic piece. The makers also showcase the model of the planes used in 1972 with the help of the old clips available to them. This was done so that the topic of the movie becomes relatable to the audience and they don’t get bored with the historical event the film sheds light on. The documentary reminds us of a few very important life lessons that we tend to forget/ take for granted. It tells how crucial it is to be adaptive to the given situation. The film also reiterates the importance of nature, the presence of love in one's life, and the power of the human mind. Both love and the mind become critical factors for pushing oneself towards survival. It also teaches us that looking for happiness in consumerism rather than within oneself is the wrong way and then blaming the world for the mindset isn’t right. The short film gives out even the minute details of the real life plane crash giving importance to continuity in the creative piece so that the audience knows all about heroic tale of the event. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Frannie Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 14, 2022 Directed by: Alan Cameron Written by: Alan Cameron Starring: Emily Brolin, Dawn Brolin, Eli O'Brien, Bryant Daugherty, Marvin Novogrodski A young woman returns to her family home after a long absence and deals with her dysfunctional relatives. After spending several years away from her family, Frannie (Emily Brolin) is asked to come back and help her mother (Dawn Brolin), who is going through difficult times. Frannie dislikes her relatives and is eager to leave. However, as time passes, she gets to know them better and begins to appreciate them more. And she also starts a relationship with Luke (Daugherty), a friendly neighbour. This comedy drama takes a look into family values and the idea of finding a purpose in life. Frannie has unconventional family that includes her mother whose emotional state has gone downhill after her husband left a few months ago, her clumsy brother Teddy (O'Brien) and her uncle Rob (Novogrodski), who is a heavy drinker and spends a great deal of time on a sofa, on the house's lawn. As the story progresses, Frannie interacts more and more with her relatives and, although they have their differences, things between them improve as they begin to care for each other. The screenplay has funny and awkward moments, some adult humour, revelations and there are moving scenes and scenes of confrontation and reconciliation. As the titular character, Emily Brolin delivers a strong performance a woman in her twenties who is estranged from her family and is at a point in her life where she does not know which would be the best choices for her. Her character is intelligent and strong and goes through significant character development throughout the story. Dawn Brolin also does a great job as her mother, who uses a megaphone as a means to let her emotions out. Arnaud Drieu makes a wonderful contribution by developing music that is beautiful and dramatic and accompanies the scenes very effectively. This feature is an emotional and humorous story that deals with family, reconciliation and self-discovery. It reveals the significance of having a caring family and the joys that come with that. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Cassandro Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 14, 2023 Directed by: Roger Ross Williams Written by: Davie Teague, Roger Ross Williams Starring: Gael García Bernal, Roberta Colindrez, Perla De La Rosa There’s rarely a good reason to miss a performance from Gael García Bernal. Even when the material around him doesn’t exactly work, he always does. His performances tend to be marked with a quietly observant, charming resilience. In Cassandro , the narrative feature debut from documentarian Roger Ross Williams, Bernal amplifies that charm and resilience with an energy and magnetism that dares you to look away. Bernal plays Saúl Armendáriz, a real life El Paso amateur lucha librador. Saúl loves wrestling, loves his mother, quietly loves another closeted librador, but wants more. Because of his size, he’s been pegged a “runt” which means, in the pre-determined and choreographed matches, he must always lose. He doesn’t want to lose. What Williams and Bernal channel is lucha libre – this unusual and rarely represented world – as a microcosm for society. The odds are stacked against Saúl. He cannot win. It’s not allowed. It’s not the role he gets to play. So, he decides 1) to find a really good trainer (Roberta Colindrez, understated and excellent), and 2) play the “exotico” – that is, a wrestler who performs in drag. Exoticos never, ever get to win. And yet, the persona allows Saúl to be a little bolder, a little louder, a more vivid version of himself. It’s empowering. Cassandro still has to lose to the likes of El Gigántico because “lucha libre is a fairy tale and good must always triumph over evil.” But as his skill and charisma earn him fans, suddenly that old fairy tale feels less important to the promoters who decide match outcomes. Ross’s documentarian instincts serve the film beautifully, as the world of lucha libre is never treated as a sideshow. There’s humor here, but we laugh with characters rather than at them. And though Cassandro hits the beats you’d expect from a dramatic biopic journey, moments feel authentic rather than manipulated for dramatic effect. The entire ensemble shines, but Bernal owns the screen, his ever present smile a heartbreaking and beautiful image of the resilience and determination that fueled an icon of wrestling and LGBTQ culture. About the Film Critic Hope Madden Theatrical Release, LGBTQ+, World Cinema < All Reviews Next Film Review >

Garage Listen to our review on the film podcast What our film review said: READ FULL REVIEW This is a bleak but very well made short film that shows how PTSD affects people and raises awareness of that condition. The story is tragic and vividly exposes the tormented life of the protagonist. It will most likely leave the viewer with a thoughtful experience. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Moon Garden Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 14, 2023 Directed by: Ryan Stevens Harris Written by: Ryan Stevens Harris Starring: Haven Lee Harris, Augie Duke, Brionne Davis If you are looking for a wondrously macabre fairy tale, a nightmare that’s both fanciful and terrifying, writer/director Ryan Stevens Harris has a tale to tell. Moon Garden delivers a journey through the fertile imagination of 5-year-old Emma (Haven Lee Harris). We know from Act 1 that she funnels what she picks up from the world around her into delightfully odd, even spooky fantasies for her toys to act out. So, when trouble that’s been brewing at home (and spilling into Emma’s playtime fantasies) unexpectedly puts the tot in a coma, that fantasy world drowns out reality and Emma finds herself on a very big journey indeed. Of its many successes Moon Garden can boast set design, creature design and stop motion work at the top. All are very solid, and all collaborate to evoke a big, dark, scary world where logic bends but wonder never dies. Creature design – particularly the first creature – lives up to the expectations set early when we see Emma’s toys. And the film benefits immeasurably from a charming and believable central performance by young Harris. Excellent editing helps to make her physical journey seem more plausible, but her laughter and tears never feel less than genuine. Augie Duke, playing Emma’s distraught mother, and Brionne Davis as Dad Alex are less impressive, although it may be that the artistic vision is so much stronger in the fantastical storyline that the real-world of the parents received short shrift. Other characters glimpsed briefly within the otherworldly realm are more compelling, aided by stagey old school costuming. Wisely, the filmmaker blurs lines between good and evil, giving the story itself a kind of fluidity that feels appropriate to a dreamscape and also keeps you constantly surprised. The story, and to a degree the entire film, is hokey but Moon Garden generates more than enough of the macabre in old school fairy tales to evoke a wondrous nightmare energy. About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

FILM REVIEWS UK UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! ​ Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. ​ We even review short and independent films on the podcast. ​ Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. ​ Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Film Reviews from UK film critics LATEST REVIEWS The Fall Guy Cast Away The Protégé On My Level Changing Tides The Storm Challengers Jane Austen's Period Drama Mother Maker Lover Taker Humane Cruel Company Load More

HOME | FILMS | REVIEWS L. U. N. A. Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Jan 25, 2022 Directed by: Blake Vaz Written by: Roman Arabia & Mike Bane Starring: Fernanda Romero, Lauren DeShane, Lauren Bair Chilling and confronting, L. U. N. A. is a short film behaving like a snapshot in time as character and viewer explore an old house with secrets hidden in its depths. Protagonist Lillian’s job is to inspect an issue with a L. U. N. A. device within the house and, in the process, accidentally discovers far more than she bargained for. The film itself has a ‘classic’ type of horror vibe to it, with the look and score reminiscent of series like Stranger Things in terms of the nostalgia that it creates. Technology aside, it feels almost old-timey to watch and the plot certainly fits this structure. Arguably, the best horror stories are the ones that keep the story simple and timeless and, as Lillian enters the creepy old house, tension is built very effectively and creates equal measures of fear and intrigue. When inside, Lillian meets an unassuming couple, Jamie and Sarah, who inherited the house from Sarah’s great-grandfather. They seem like a really friendly and loving couple, which is refreshing as it is always great to see positive queer representation especially in a genre like horror. The three women have great chemistry with each other, as they seek to discover the mystery of the L. U. N. A. device, and make the content of the film equally believable and terrifying through their performance. L. U. N. A. behaves like the fourth character in the piece as it is like a virtual technology assistant. Jamie and Sarah are both convinced that it is spookily speaking to them in Spanish without being prompted. Luckily for them, Lillian is able to act as translator and help uncover the deep unsettling aspects of the house. This idea makes the story memorable as it begs the question concerning if people should be so reliant on technology. In this instance, the device makes the women question if maybe it has its own agenda. As the film plays out, the viewer begins to question this too. Camera work around the house is excellent and observes its contents carefully and creepily without being too invasive. It does this with several tracking shots surrounding the house and therefore making it feel really three-dimensional. This compares with the different – and not always upright – angles used in the interior scenes to help to build suspense well, along with plenty of red imagery to make viewing all the more intense. Including these types of shots with jump-scares adds another thrilling layer to viewing as Blake Vaz ensures that every aspect of the film is unexpected. All things considered, L. U. N. A. feels like a film that is just beginning. It is a fantastic, well-written and adventurous watch, as well as containing some sinister moments that are unsettling, but intelligent. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Bud Film Review average rating is 4 out of 5 Critic: Graham Blair | Posted on: Feb 3, 2022 Directed by: Jack McLoughlin Written by: Jack McLoughlin Starring: Shaun Fagan, Radek Derlatka Bud gives its audience a harrowing look into one mans unfortunate phone call to his son before heading into his court date. Father and son relationships are a big part of the cinematic landscape, whether it be The Pursuit of Happyness (2006), Big Fish (2003) or more recently, Chef (2014). There is a true back and forth connection with their audience through shared experience and relatability, Bud is a definite example of relatability within hardship. In its 4-minute runtime Bud , directed by Jack McLoughlin (Kate & Jake ) brings its audience into the world of an unnamed man trying to tell his son that he won’t be seeing him for an undisclosed amount of time before his court hearing. Even though the plot here is very thin, an immense performance by Shaun Fagan (Kate & Jake, Needs Must ) gives this short film all the life it needs to succeed. From what the audience sees the story is more in Fagan’s eyes than on the page here, showing the pure turmoil of having to tell the most important person in his life that he will not be around for the foreseeable future. Constantly referring to his inevitable stay at prison as ‘working away’ and that he’ll call his son when he gets to ‘the hotel’ is fantastic writing on the part of McLoughlin as well, showing this man’s true character as a caring father and compassionate figure in his sons’ life. Overall, taking full advantage of the material and the emotional centre of the character, Fagan does a stellar job here. Technically this film is again, quite simplistic with its long take, single shot format of storytelling. However, it compounds the great qualities of the films plot and message; the audience is an on looker, a third party just as the man’s jury will be. This gives us as the watcher a privileged position of judgement and ultimately understanding of a very harsh and cruel situation. However simple the film making is, it showcases the true unrest within our lead characters eyes, showing this third-party perspective even more, never being able to look away from tragedy but taking it all in. To not mention the score would be egregious as well, entering the narrative at the opportune time this very subtle yet powerful musical piece extenuates the story being told here. It gives gravitas to an already emotional moment between father and son, and it works perfectly. Any film does come with its pitfalls in the end, but for this short those pitfalls are quite shallow. The absence of closure is a big part of what makes this short film work but I can’t help but long for a conclusion, I want to see more of the relationship formed between viewer and family within our short time looking in. Overall, Bud is a breath of fresh air when it comes to dramatic shorts. It never treats its audience as anything more than a capable listener and active observer, leaving me as a reviewer to want more. A definite must watch for your next short film-athon. About the Film Critic Graham Blair Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Influencer Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 3, 2024 Directed by: Kurtis David Harder Written by: Kurtis David Harder, Tesh Guttikonda Starring: Cassandra Naud, Emily Tennant, Rory J Saper, Sara Canning A young woman murders online influencers in Thailand and steals their money. This feature-length thriller has a screenplay that moves from one character to the other. It begins with an American online celebrity named Madison (Tennant) who travels to Thailand for business as well as leisure. There she meets CW (Naud), another foreign woman and the two of them form a friendship. However, Madison's hotel room is burgled and her passport is stolen. Stranded in Thailand while she waits for a temporary passport, CW offers to take her on a tour around the country. CW's true intentions are brought to light when she takes Madison to a remote small island via boat and leaves her there to die. As CW pursues her next victim, another online celebrity named Jessica (Canning), things get complicated with the unexpected arrival of Ryan (Saper), Madison's boyfriend. As mentioned the story goes from one character to another, allowing the viewers to see the events from their perspective, kind of like Psycho . Initially, it is assumed that Madison is the main character, then she falls victim to CW's vile scheme and things then focus on exploring how she takes over her victims' online accounts in order to acquire their money and how she searches for new ones through social media, eventually choosing Jessica and trying to lure her into another trap. Then Ryan shows up and the audience follows him as he starts being a detective, attempting to locate Madison. As well as being a story about a criminal and her victims, the film explores the world of online influencers and points out the dangers of being a social media celebrity, how people can find out information about them and use them in order to commit fraud. CW makes a rather intriguing character and she is played superbly by Naud. A foreigner living in Thailand, preying on online influencers so she can gain their trust, murder them and get their money. She is basically a loner and a ruthless, cunning and remorseless individual living a life of luxury due to her crimes. It should be pointed out that the opening credits do not begin until approximately twenty-five minutes after the film has started. This is not necessarily a negative thing, just unusual and therefore awkward. The feature is supported significantly by Harder's skilful directing that includes some wonderful establishing shots that reveal the beauty of Thailand and David Schuurman's stunning cinematography is a big plus. This is a dark story about murder, deception and cybercrime. It is an entertaining psychological thriller whose highest qualities are the suspense, the interesting plot and Naud's character. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >