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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 Hello in Here Guilty Devon I am the Wanderer: Director's Cut My Obsession with Death Death of a Mule Clodagh Alleviate Whippy The Other John Straight Through Crew Civil War Load More

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 Hello in Here Read Review average rating is 2 out of 5 Devon Read Review average rating is 4 out of 5 Whippy Read Review average rating is 5 out of 5 Civil War Read Review average rating is 3 out of 5 Sting Read Review average rating is 4 out of 5 Who We Were Read Review average rating is 4 out of 5 Monkey Man Read Review average rating is 2 out of 5 The First Omen Read Review average rating is 4 out of 5 Femme Read Review average rating is 3 out of 5 Wicked Little Letters Read Review average rating is 4 out of 5 Remembering Gene Wilder Read Review average rating is 3 out of 5 Godzilla x Kong: Thew New E,mpire 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 Hello in Here Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Apr 16, 2024 Directed by: Casey McAdams Written by: Casey McAdams Starring: Chynna Walker, Autumn Breaud, Annie Gill If Hello in Here is any indication, independent cinema is still very much in a ‘Covid’ era. This drama is set directly during the pandemic and addresses the familiarity we now all share with isolation, depression and monotony, and how inability to connect has far-reaching consequences that extend long after the lockdown is done. The story revolves around Kara (Chynna Walker) and her life alone during the initial months of the pandemic. Recently single and living alone, she’s convinced that solitude shouldn’t be a problem. But when she ends up furloughed, life becomes an endless cycle of coffee, home workouts, obscure foreign television and arguing with customer service representatives. The long spell alone leads to strange dreams that seem to have deeper meanings, as she contemplates her existence slowly falling apart. Hello in Here ’s biggest problem is that it is the latest in the line of self-reflective Covid films that have little to really say beyond the importance of community, communication, and how lockdown was really, really boring. Its portrayal of a young professional’s life becoming a droning routine of small distractions is competent enough, and the majority of its audience will be able to relate to Kara’s inexplicable sudden interest in Portuguese TV or Kafka-esque battle with her phone company. But in 2024, the film struggles to cover ground that has not been tread before, and in more interesting and innovative forms such as Bo Burnham’s Inside. That’s not to say there is nothing original here. The dream sequences are jarring in the most welcoming way, allowing writer-director Casey McAdams to inject some oddity that shocks viewers out of the stupor they begin to share with Kara. These colourful moments are spaced throughout the film and are used as important story beats. Whilst benefitting from their scarcity, the film would be more engaging and dynamic if a few more of these moments were present – though the flipside would be sacrificing the relatable pandemic recreation that the film captures. Chynna Walker’s performance matches the scale of the task placed upon her as the film’s central and solo figure. Walker brilliantly finds Kara as someone who lacks the time in her day to stop and take stock of what her life has become. But when outside events stop her from plowing through, her natural reaction turns against her and beaten-down stoicism is no longer enough to sustain her soul. Her pivotal confrontation with the latest faceless customer service advisor in pitch-black darkness is a touching and traumatic finale to the film that rides off of a sort of anti-momentum – as all the meaninglessness and lost time finale cause Kara to crack, with hopefully a reassessment of herself to follow. Hello in Here is a solid enough (if overlong) film that doesn’t quite achieve enough to stand out in what is now a pandemic of pandemic films that all have familiar messages to say. The experimental elements allow it to stand out a little, and there will be viewers for whom Kara’s life speaks to more personably. But in the same way that regular life did, perhaps its time for indie cinema to move on from the pandemic. About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Filmmaker Interview by William Hemingway Hi Antonia, Thanks for sitting down with us to chat about your films and filmmaking. Where in the world do we find you today and how are you doing? I am in Santa Monica, California – about 6 blocks from the Pacific Ocean in Los Angeles. I’m a surfer – so being near the ocean helps. You’ve just completed a Director’s Cut of your film Sleep No More. Can you give us a little background to the story of the film and say what it was that made you want to revisit it again? What differences can the audience expect from the new version? I grew up and hung out with troubled teens, as I was one too -- the ones your parents don’t want you to hang out with. Many of them were small town crooks, and the more talented ones burglarized homes in Santa Monica - on the nicer side of town – the side of town where my mother owned a home. So the initial inspiration for this story centered around my best-guy friend, who was a first class musician, extremely handsome, and a master thief. The reason I wanted to revisit this film was for a number of reasons, first and foremost there were a few scenes I felt shouldn’t be in the film and I also wanted to adjust the ending a bit. Originally, we had a different ending, but the producing team felt strongly that the original ending with some adjustments would be best for the film, and I couldn’t help but agree. Sleep No More also began life as a short film, My Left Hand Man. Can you talk us through some of the process of developing the film from one format to the other? How was that process for you personally? I wrote My Left Hand Man solo, but I had a partner on the feature length script. Anne Heffron has a dark, unique sense of humor, so she brought in her own unique style. A lot of the bits that are absurd, like Miss Rose sitting at the bottom of her empty pool sun bathing, came from her bizarre and often absurd sense of humor. Also, we added a lot of characters to the feature version, so once we wrote back stories for those characters and determined how they connected and intertwined with the lead characters we had a lot to play with. The plot is still the same as the short though. I remember when I was really young and had told my father I wanted to be a writer, he said that all the plots had already been written by Shakespeare and so my focus should be on creating interesting characters and how they navigate through the story. You’ve talked before about the film being representative of your time growing up in LA without it being entirely autobiographical. What was it that you saw in the characters that made you want to tell their story? This film is about my family – it’s actually quite personal – but in a highly fictionalized setting and format. I mean no one can argue that the film industry is not the most moral and ethical industry – and I literally grew up surrounded by film folks. My uncles and step dad were in the industry too. Everyone and everything I was exposed to up until middle school, when I hung out with kids from the bad parts of town, was entertainment industry centric. Not to mention my family went through an incredibly violent and highly publicized murder when I was barely out of elementary school. So even though I wasn’t consciously connecting it – the ending of my film is influenced and connected to the murder of Dorothy Stratten. Also, Luke Kleintank’s character, Beckett is based partly on myself but mostly on my best guy-friend I mentioned above, the master thief, who quite tragically robbed my mother’s house when I was 16. I found out much later that it was him, and that betrayal crushed me. He apologized and I did forgive him. My group of friends helped me understand the mind of a thief – they get a thrill out of it – some can’t help but steal while others do it if they are desperate for money. My friend’s mother was mentally ill and couldn’t work, so he struggled financially growing up. There are a strong variety of themes throughout Sleep No More, ranging from Shakespeare to comic books to abusive relationships. Can you talk us through how you used these themes to develop your story and why you wanted to use them in your film? Great question. So, growing up, cinema was like Jesus or God in our house; great cinema was all-knowing and could teach you anything you needed to know about life, art and humans. Cinema was literally worshipped, and it pervaded everything we did and said. On the flip side of that was TV, there was NO TV at my father’s home, if we wanted to watch something it had to be a movie, and his collection was not contemporary, all but a few were made before 1959. Then at my mother’s home, she took the remote with her to work, so we were rarely allowed to watch TV and she frowned upon it as well. Now keep in mind this was before The Sopranos and what I call the Golden Age of TV which began with that show in 1999 – which, ironically, my father ended up being an actor in. In general, other things such as traditional school, college and things like morality and how to conduct oneself as a parent were secondary to art. My childhood was anything but idyllic, my parents fought amongst each other and in the media and in books. My father was a huge success when I was quite young, but struggled to work in the 80’s and 90’s, while my mother had huge success throughout the 80’s and 90’s. But still cinema was the WORD. In Sleep No More, I took these ideas to the extreme - Shakespeare is cinema and comic books are TV. I have studied Shakespeare, read every play, and have gone to see many of his plays whenever I’m in London. I identify so much with so many of his works, perhaps because my childhood at times felt like a never-ending drama and that at times it was very public and a lot like theatre. So, I really wanted to intertwine Shakespeare’s mythos into my first feature. And yes, I would die to direct a Shakespeare play in the UK! Even though the patriarch is a hopeless gambler and alcoholic, who puts his entire family in jeopardy, he won’t tolerate bad grammar, comic books or state-mandated education. He lives in a fantasy world of Shakespeare and conducts himself like one or several of the Bard’s characters. You wrote this film with your writing partner Anne Heffron, was this something that you felt you needed or wanted to do from the beginning or was the process of coming together more organic? Is having a writing partner something that you are keen to do again in the future? This was the second screenplay we wrote together, the first one she asked if I wanted to write a screenplay with her and I was struggling with a novel I couldn’t finish so that sounded a lot more fun. Since I had grown up in the film business, I figured it has to be easier than writing a novel, which it most certainly was, at least for both of us. That first screenplay, a road trip film about a mother who sets out to find a daughter she gave up for adoption as an infant, got a lot of attention in Hollywood and so we naturally wanted to write another script together. Anne went on after that to write a memoir and is working on other prose and I kept writing screenplays, but if there is ever a project where we can write together again, I’d be down. Before deciding to direct you had already been in the film business for some time. You’ve been an executive producer, producer, production assistant, post production supervisor, writer, director and actor. How invaluable was this experience when you finally came to direct and did you find that you used skills learned from these other roles as you were heading up your own film? I used all my skills, all of them. I produced mostly after I had directed, and I didn’t enjoy that at all, but I wanted to help my dad get his film made, so I went for it and I was able to help make that happen, which he was very grateful for, and of course I am now too, since it turned out to be his last film. Most of my other credits you mentioned: acting, production assistant, assistant editor credits were “before”.  I quit the business for 11 years, during that time I fell in love, left Los Angeles, got married, and had a child. I actually swore I’d never return to film. Then came “after”. After I began writing with Anne and then I directed my first short, I knew that all along I was destined to direct. The notion of being a director had literally never occurred to me. When I was young, my father had so many ups and downs, so much unemployment and disappointments, I just couldn’t imagine living a life that way. Ironically, I’ve been confronted with similar challenges he faced, but I am so passionate about making films that I will never walk away again. Just like dearly departed father. He was very encouraging, and he would have told me if I was a terrible director or writer, my parents didn’t mince words, or bullshit about talent, not ever. You grew up and started your career in the Hollywood film industry, but making Sleep No More, and the original short My Left Hand Man, meant that you were now involved in independent filmmaking. How much does the process differ in getting a film made and seen when you are doing it all independently? What do you feel are the benefits/drawbacks of making an independent film? What I would do to make a studio film! To have access to all the money I need and a support system of trained professionals. I just don’t have that in the indie world. I miss the studios terribly. Independent filmmaking is brutal, I worked at WB, Sony and Paramount and I had no idea at the time how great I had it. It’s become so hard to make a film. There are stops and starts and financiers who pull out at the last minute; there are actors who drop out that cause the picture to fold; and distribution is a killer. The main reason I’m putting out this film now is that the original distributor went bankrupt shortly after buying my film and my film got buried in lawsuits, so it really never saw the light of day. To the best of my knowledge it never got a chance in Europe, so the public at large both here and overseas had no access to it. Your parents, Peter Bogdanovich and Polly Platt, were both big players in their own ways in the filmmaking business, your father as a director and your mother as a producer and production designer. Do you feel that the types of careers in the film industry still follow some sort of typecasting in terms of gender? Do you feel that you were more accepted, as a woman in the film industry, when you were working in the more ‘unseen’ roles and was there ever any doubt for you about becoming a director? Were there ever any difficulties that you faced from other people’s perception of women’s roles in film? My parents taught me so much about filmmaking – SO MUCH. We talked about making movies and how to make movies all the time - at every meal, in the car and while watching films, on set and on vacation. My mother was a genius, I was there the day she brought home Matt Groening’s Life In Hell cartoon and told me she was taking it to Gracie Films as this guy had the goods! There are many, many more stories like that about my mom’s ability to discover talent. I told her I wanted to work in film when I was about 10 and so she took it upon herself to mentor me, even though she often pushed me towards science and college all the time (I was very good at math, chemistry, biology and physics). I think she pushed me towards other fields as she wanted me to have a steady income. But it never stuck. I think it’s much easier to be a male film director. I have very close friends in the VFX industry who will call me from set and tell me some young male director who has no clue how to direct is at the helm and it’s a disaster. They tell me they wish I was the director, and I wish I were too! I get calls from editors too about the very same thing. When I was working in the more “unseen” roles I thought about editing, but never directing, until I started directing theatre and writing screenplays later in my life. I think all women have been exposed to sexual harassment at work, my mother told me quite a few stories, but kept it to herself, as she would have for sure lost her job back then. I have dealt with those issues and never went public about it, but I don’t tolerate that anymore under any circumstances, and I would certainly deal with any such conduct immediately on my film set. It really has changed ME TOO and I’m so happy about that. The last few years, I have been very fortunate to find a group who are all about the work and I feel safe to create and build projects with them. You’ve previously mentioned that you learnt a lot through osmosis by watching your parents work, which must have been an incredible experience for you growing up. Since you’ve carved your own path for yourself and come back to filmmaking have you been inspired by anyone else in the filmmaking industry or perhaps by other writers, stage directors or other professionals? My father was not necessarily attracted to stories about crime, murder and violence, but as a kid I was. Although I love a wide range of films and filmmakers I was always drawn to dramas and dark subject matter. I was obsessed with Francis Ford Coppola’s early works and Apocalypse Now changed my life. Ridley Scott’s early works like Blade Runner is a film I’ve watched over and over, and many other of his earlier films. The directors that have inspired me since right before and after I become a director would be Quentin Tarantino, Martin Scorsese and Paul Thomas Anderson - I study There Will Be Blood and Boogie Nights – to me they are both master classes in contemporary cinema. I adore David O. Russell – Three Kings is literally one of my favorite films. And then there is Alejandro Inarritu – he’s got to be my favorite contemporary film maker – from his first film, Amores Perros, which I saw in the theatre in 2000 when it came out, to The Revenant. Now that doesn’t necessarily mean I want to make all gritty and violent films, I’ve actually been leaning towards dark comedy lately, as I feel the world needs to laugh right now. What’s next for you after this? Are there any projects that you currently have on the go and what are you looking forward to that you can see in your future? Yes! I am directing a fantasy comedy/drama about a Catholic boarding school for child geniuses, who set out to build a rocket that will get them to heaven. It’s more otherworldly rather than pure fantasy. It’s incredibly unique and very inspiring. My producer, Josh Russell, also happens to be a brilliant screenwriter, and he wrote it. I am very excited to explore this genre and the comedy is what really drew me in – I can’t wait to make people laugh. After that, I have a WWII script that my parents wrote in 1968 – it’s like Schindler’s List meets Ocean’s 11 – it’s unbelievable and I’m going to cast mostly Europeans for this and of course shoot in Poland where the story takes place. Where can people get to see the new cut of Sleep No More and how can we keep up to date with what’s happening with the film and any other Antonia Bogdanovich projects? Sleep No More comes out in the US for a limited theatrical day and dates in July – it will be on Prime Video, VOD, Apple + and a few other streamers, too. In the UK, we aren’t sure yet, but after the Cannes film festival I will be able to tell you more, as we are selling foreign distribution there. #WilliamHemingway #FilmmakerInterview

Film Feature by Chris Olson UK Film Club was back in March with a new episode of their film podcast. Hosts Brian Penn and myself (Chris Olson) brought you a jam-packed show with a heavy dolloping of great movies to check out, across the spectrum of film. As with all episodes of UK Film Club, the podcast covered theatrical releases (in cinemas), streaming movies, independent cinema (short films & features), and a nostalgia pick. It was one film that impressed Brian the most though and his coveted Film of the Month award went to Wicked Little Letters starring Olivia Colman, Jessie Buckley, Timothy Spall, Anjana Vasan and more. In Brian's written film review, he summed the plot thusly: Rose Gooding (Jessie Buckley) is a feisty Irish girl who brings her daughter to the sleepy town of Littlehampton in the 1920s. Her husband died during the Great War and aims to start a new life in a tight knit community. However, trouble is afoot when she falls out with God fearing neighbour Edith Swann (Olivia Colman), who mysteriously receives poison pen letters laced with profanity. Her father Edward (Timothy Spall) is an upstanding member of the community and repulsed by such vile prose. Soon these wicked little letters are dropping through everyone's letter box. Read our full Wicked Little Letters Review here https://www.ukfilmreview.co.uk/reviews/wicked-little-letters Soon to be on home entertainment release, I look forward to checking out Wicked Little Letters. Other movies covered in the film podcast episode 13 of UK Film Club included: Bob Marley: One Love - a biopic about the legendary music artist. Brian found this to be a safe but effective film, perhaps a little too sterile for its own good. Dune: Part 2 - a fan of Part 1, this second outing seemed to have lost its magical appeal with Brian, who likened it more to Marvel movies. If you want another film podcast opinion, check out the episode by The Fantom Zone on the UK Film Review Podcast - it goes into incredible detail! Spaceman - a Netflix movie starring Adam Sandler, this was an interesting film to say the least. It will make you think about all manner of humanity but leave you pondering how you felt about the journey. I Bring Joy - a powerful and potent indie feature film. Written and directed by filmmaker David Stuart Snell, this female-led thriller set in London pulls no punches with an incredible story about a dancer who finds a new way of life after almost being mugged. Everyone - written and directed by filmmaker Marcus Flemmings, this indie comedy set in a restaurant and told in real-time was a big hit with both me and Brian - a firm recommendation! Dagr - a fantastic found-footage film about two social media influencers attempting to run a scam who end up on the receiving end of some serious scares. Expertly done and proof that films on phones can be excellent! The ACTT - a humble and comedic short film about a community theatre group attempting to organise their new show. Full of classic theatre stereotypes and playful jibes at the scene, it's a fun movie. Beneath a Mother's Feet - from filmmaker Elias Suhail, this gripping and movie short film about one woman's struggle to be a mother and widow makes for essential viewing. Absolutely knockout! The UK Film Club podcast is one of several shows on the UK Film Review Podcast and can be found on all top platforms including Apple Podcasts, Spotify, Google Podcasts, PodBean, Pocket Casts and more.

★★★ Starring: #KieranReeves, #ZainUllah, #TeniOsho, #ArchieClark, #OliviaBurley Directed by: #Shayaan Short Film Review by: Alexandra James After Hours is a short crime film that explores some extremely dark themes. The film begins in a flat, people have been drinking, but there is one girl in particular who seems to have taken drunkenness to another level and unfortunately for her, this leaves her in a very dangerous and vulnerable position. The audience at this stage can guess what happens next for this young girl, and its at this point the story takes a sinister turn. Director Shayaan who also created North Nights has a clear passion for crime and gangster theme short films and has created his own cinematic style and its interesting to see this carry through to the film After Hours. You can see there is a particular look and feel to each of his films and its great to see this established style develop within his projects. Many of the camera angles used throughout this film were diverse and set this film at an impressive level in terms of quality. There were occasions that the film appeared too dark in places so became difficult to make out what was taking place, however, the car scenes and within the parking garage were all fantastic and helped to create this into an action-packed short. Moreover, the main protagonist was a great choice of actor, the character was filled with rage and needed to establish that dominance over others, so it was crucial that he was able to tap into that deep emotion and convey his pain and torment. I would liken this actor to Stephen Graham, who can portray a wide range of emotions in such a deep and raw way that the audience are able to feel that character’s pain. This is a crucial skill to adopt for any actor and makes for an exciting and dramatic film. Unfortunately, not all the actors were up to this standard, and this can simply be put down to inexperience and lack of confidence, this is a skill that can be acquired over time, it meant that some of the characters seemed very detached from the scene and looked somewhat emotionless when dealing with some extremely heavy and dark subjects. It was also difficult to understand how the characters were connected to one another and the story sometimes became lost amongst the chaos. With a short film, the audience need to be able to connect with the characters and know the link between them to follow the central story. When trying to determine this, the story becomes confused, and it can be hard to remain engaged. Keep it tight and concise, with such an action packed and dramatic piece we need to establish whose who so that we can watch the turmoil unfold and develop. All in all, there are some great elements to this film and Shayaan should continue to develop his projects further and delve deeper into the world of crime films, this is a clear passion of the directors that should be explored.