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Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 3 out of 5 The Fall Guy Read Review average rating is 2 out of 5 On My Level Read Review average rating is 3 out of 5 Changing Tides Read Review average rating is 4 out of 5 Challengers Read Review average rating is 3 out of 5 Humane Read Review average rating is 1 out of 5 Cruel Read Review average rating is 3 out of 5 Boy Kills World Read Review average rating is 4 out of 5 The Beast Read Review average rating is 4 out of 5 Infested Read Review average rating is 3 out of 5 Ghostbusters: Frozen Empire Read Review average rating is 2 out of 5 Bestias Read Review average rating is 3 out of 5 Back to Black Read Review Chris Olson Mar 8 2 min Film Podcast - Dune: Part 2 Chris Olson Mar 1 3 min Film Podcast: George Clooney Rowing Biopic Scoops Film of the Month Jan 20, 2023 3 min TAR FILM REVIEW Taryll Baker Oct 13, 2022 2 min Empire of Light - Film Review Oct 11, 2022 3 min Bones and All LFF Review Oct 7, 2022 3 min White Noise (2022) LFF Review Sep 20, 2022 2 min Sanctuary TIFF Review UK Film Review Sep 13, 2022 5 min FrightFest 2022 Highlights May 25, 2022 3 min Top Gun: Maverick Film Review Apr 23, 2022 3 min The Unbearable Weight of Massive Talent Film Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

HOME | FILMS | REVIEWS Wicked Little Letters Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 3, 2024 Directed by: Thea Sharrock Written by: Jonny Sweet Starring: Olivia Colman, Jessie Buckley, Timothy Spall Long before you could hide behind a keyboard and avatar, a small English village was scandalized by some expert-level anonymous trolling. Wicked Little Letters tells us that story is “more true than you’d think,” and rolls out a stellar ensemble to elevate the tale at nearly every turn. It is the 1920s in Littlehampton, England, where unmarried Edith Swan (Oscar winner Olivia Colman) still lives with her parents (Timothy Spall, Gemma Jones). Edith is known to be a dutiful daughter and devout Christian, so town tongues are wagging when she begins to receive hateful and profanity-laced “poison pen” letters in the mail. Who could be behind such unwarranted vitriol? Whaddya bet it’s that filthy Irishwoman Rose Gooding (Oscar nominee Jessie Buckley)? Rose is frequently loud, drunk and vulgar. Plus, she’s a war widow (or is she ?) with a young daughter (Alisha Weir from the upcoming Abigail ), a “reputation” and a live-in boyfriend (Malachi Kirby). Throw in the recent falling-out with Edith, and that’s enough for the town Constables (Hugh Skinner, Paul Chahidi), who arrest Rose and quickly schedule a show trial. But “Woman Police Officer” Moss (Anjana Vasan) isn’t convinced, and she risks her position by continuing to investigate the letters on her own. Director Thea Sharrock (Me Before You, The One and Only Ivan ) and first-time screenwriter Jonny Sweet don’t craft a “whodunnit” as much as they do a “whoproveit” and a “whydunnit.” The real culprit is revealed fairly early on, and the film tries to balance some British wit atop heavier themes of repression, equality, and the sanctimonious crowd who are all preach no practice. It’s historically interesting and well-meaning enough, but it reveals Sweet’s TV background through a light and obvious romp that’s rescued by heavyweight talent. Colman, Buckley and Spall are all customarily splendid, each making up for the lack of nuance in their characters with some livid-in conviction and natural chemistry. Plus, Vasan stands out in the winning supporting group as the overlooked and underestimated W.P.O. Moss. So while it’s lacking in the bite needed to leave a lasting impression, think of Wicked Little Letters as an extended cat video, one just amusing enough to take your mind off of all those nasty comments from the keyboard warriors. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Carmen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 17, 2023 Directed by: Benjamin Millepied Written by: Loic Barrere, Alexander Dinelaris, Lisa Loomer Starring: Melissa Barrera, Paul Mescal For this latest reimagining of the classic story, director Benjamin Millepied credits inspiration from Prosper Mérimée’s original novella from 1845, and Alexander Pushkin’s poem “The Gypsies” from 1824. Flashing more modern vibrancy through culturally rich music and dance, this new Carmen arrives as a wonder of visionary composition that struggles to find an equally compelling connection to its characters. The writing team of Loic Barrere, Alexander Dinelaris and Lisa Loomer crafts a surface-level tale of lovers on the run. Aidan (Paul Mescal) is a troubled Marine veteran volunteering on a night patrol along the Mexican border, while Carmen (Melissa Barrera) is trying to cross after the death of her mother. A violent altercation leads to casualties, and the two are soon trying to stay one step ahead of authorities. Millepied (choreographer and co-star of Black Swan ) knows his way around a dance number, getting an assist from flamenco specialist Marina Tamayo for sequences that sport some thrilling fluidity. The acclaimed talents of cinematographer Jörg Widmer (The Tree of Life, V for Vendetta ) and composer Nicholas Britell (Moonlight, If Beale Street Could Talk ) are also on full display, rounding out a veteran stable of technical skill that consistently lifts the film’s imagery and scope. Mescal (Aftersun ) continues to show a gift for quiet nuance, Barrera (In the Heights, Scream , Scream VI ) finally breaks out of her reliance on posing, and the veteran Rossy de Palma (various Almodóvar projects) steals scenes as a savvy nightclub owner, but the script seems content to keep depth at a distance. Pushkin’s centuries-old themes of noble savages and the tragedy of life are too often given a heavy hand, needing a rescue by the visual poetry on display. This Carmen tells us “dancing will you heal you.” Indeed, it’s one of the cures for what ails a less than passionate romance. About the Film Critic George Wolf Theatrical Release < 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 >

HOME | FILMS | REVIEWS Stop Making This Hurt Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 13, 2022 Directed by: Susie Kimnell Written by: Susie Kimnell Starring: Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta A man meets his former partner in a restaurant and they discuss the past. A man (Swift) is sitting at a restaurant table by himself. Closing time is approaching and the place is quiet and a bit darkened. Eventually, he is joined by a woman (Collins), with whom he used to have a relationship. The two of them have a conversation and it becomes apparent that things between them ended up badly. The man attempts to apologise and make things better, however, it becomes evident that he did something terrible. This dark short film begins as a drama about a broken relationship and as the story progresses and more and more clues are brought to light, things move towards thriller territory. The main element is the conversation between the two protagonists, which tells a lot about their lives, particularly about the man's life, about what kind of person he is and the findings are not positive and just keep getting worse and worse. Swift delivers a chilling performance as an individual who has very dark secrets and a very sinister hidden personality. Although, he can appear charming and cheerful, it is obvious that ultimately, he is a bad person. Collins does a terrific job as a his ex-partner who was a victim to his actions and knows what he really is. The film is free from music, apart from the ending, which is where Duncan Pittock and Richard Lacy make their contribution with a sinister score that makes an effective closing. Ben Mann also deserves commendations for the work on the cinematography. This short has a very-well-structured screenplay that starts with more or less normality and revelation after revelation lead to a devastating truth. Through well-written dialogue and strong acting, this film tells a dark and memorable story. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Cikgu Hana Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Nov 23, 2023 Directed by: Wan Dinnie Written by: Wan Dinnie Starring: Charlene Jane, Herlea Titieanna Tasked with an assignment to write about the history of their country, two students are transported back to the past where they learn all about their country’s rich history and how it has shaped their lives today. Malaysian short-film Cikgu Hana: Director’s Cut , the version that was submitted for this review, prefaces itself with an apology. It seems that in post-production many of the films production files stored on an external hard drive were lost or damaged, meaning that only ten percent of the files were recoverable. What is presented here is a re-edited version of what was salvageable with very mixed results. What we do get to enjoy in what is presented over the films six-and-a-half-minute runtime is a beautifully created visual spectacle of rotoscoping, a process animators use where live-action footage is traced over frame by frame to create some truly wonderful animated works of art that add depth and flourishes to sequences that otherwise couldn’t have been achieved. And that is where Cikgu Hana really shines. The animation here looks amazing, really bringing the whole piece alive, awash with vibrant colour and pure imagination that is a joy to watch. Much like the film's predecessor Hana , the previous offering from D-Mulsion Productions that is equally remarkable visually, Cikgu Hana is a feast for the eyes. But unfortunately, given the state of the rest of the film, this is a re-edit that is very rough around the edges and with simply way too many pieces missing. Narratively there are clear gaps, plot points jump suddenly from one to another and it becomes hard to keep a grasp on what exactly is going on, although the animation does help a lot to convey the intended story as best as it can. Editing is choppy and jarring, which is of course to be expected given so little to work with, but it does undeniably have a big impact, even hindering the fabulous artistry at times. On the positive side, the film does manage to showcase the obvious talent these filmmakers have, a fact all the more confirmed by looking at what was achieved with Hana , so it’s really frustrating and saddening to know that here there would have been definite quality, that if troubles hadn’t occurred this film could have really sang. One does sympathise of course with what must be a heartbreaking loss of a lot of quality work, especially if the aforementioned and fully completed Hana is anything to go by, but one can also only judge what they are presented. And unfortunately, this film in this state doesn’t have enough. It’s a real shame that what would have been clearly a lot of hard and considered work hasn’t been able to make it to the finished product. If Cikgu Hana can one day be fully realised as it was meant to and deserves to be, it could be something special. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >