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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 >

HOME | FILMS | REVIEWS Hard Shells Don't Crack? Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 12, 2023 Directed by: Richard Mcafee Written by: Richard Mcafee Starring: Richard Mcafee, Naz Akther When we look back at lockdown 3 years on, most people tend to remember the mad parts – people being shamed for sitting too close to each other on a beach or in a park, washing our weekly shop, zoom quizzes – and how ridiculous we all now feel that Boris was throwing weekly raves in number 10 all along. No Hard Shells Crack? – a short produced during that tumultuous time, is a reminder that the reasons for our community isolation were very real, and failure to abide with the rules risked real stress on the NHS. In a darkened and foreboding room, a man (Richard Mcafee) is tormented by the presence of his partner’s hard-shelled suitcase. As the case begins to shake uncontrollably, an incessant and disturbing rattle fills the room. The man cannot fight the temptation to open the case and see what is contained inside. No Hard Shells Crack? purportedly symbolises the British public’s inability to comply with Covid-19 guidelines during the 2020 lockdown, and the subsequent strain placed on the NHS as a result of this. This is symbolised in the film by a rattling, possessed and overused suitcase – brought into a man’s home and quickly becoming a distraction through unbearable rattling and shaking that demands the man’s attention. Struggling with isolation and surrounded by darkness, the man opens the suitcase despite the obvious warnings and is met by a terrifying occupant. Covid and lockdown itself is only briefly hinted at, but a critical view of the man’s inability to fight temptation is evident. His clear isolation and struggle is also portrayed through impressive and affecting lighting – which conjures memories of the time when days seemed to blur into one. However, without pre-existing knowledge of the context, it would not be particularly evident to the viewer that the film is relating to lockdown. Beyond disapproval of the protagonist’s disregard of warning in the face of temptation, the film does not really have anything particularly clear or relevant to say about lockdown-breakers. It’s unfortunate for the film in retrospect that breaches were occurring within the seats of power during its setting – as a lack of commentary on this integral hypocritical detail robs it of some of the emotional power the film would have had in 2020. The film’s sound design is outstanding – audiences will want to jump into their screens to open the case themselves such is the agonising clattering they are subjected to. Add in further stimulants like the classic boiling kettle, ticking clock, and masticating of the man’s partner (Naz Akther), and you have a symphony of stress induction that brilliantly realises the rising pressure of the man to give in to temptation. Opaqueness may have been an intentional choice for Hard Shells Don’t Crack, but a little more clarity within its storytelling would have been a benefit for this short. Impressive production makes this still well worth checking out, and the experimental film design resulting from the pandemic and lockdowns is still intriguing to this day. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Echoes Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 8, 2021 Directed by: Anthony Kalmeta Written by: Anthony Kalmeta Starring: Dane Oliver, Melanie Abernathy, Chase Blanchard A troubled man struggles to remember the relationship he had with a woman. A man (Oliver) is alone inside a messy household, with limited lighting. He appears to be upset and confused and goes through pictures of him with a young woman named Ava (Abernathy). It is indicated that he is in the apartment he used to share with Ava when they were together and he now cannot recall what led to their breakup and is suffering as a result. He watches a VHS tape containing home video footage of her, apparently interacting with a man named Oliver, who is believed to be the name of the protagonist. As he tries harder and harder to bring back his memories, he seems to be gradually losing his sanity. This short is a dark psychological thriller that takes the viewer into the mind of a very unstable individual. The narrative plays a lot with his memories and appears to be leaving it up to the audience to decide what is real and what is not, sort of like a David Lynch film. The film leaves more questions than answers and it does so in a great way, leaving the viewer intrigued. Kalmeta is rather creative with the editing and makes interesting use of fast cutting and match cuts. The film contains several sequences that repeatedly cut between a shot of something and an identical shot that shows the same thing, but during a different period. For instance, there is a shot of a window, through which there is a bright, sunny day and then it cuts to the same shot, only this time it is night-time and there is rain. Another interesting editing technique involves a sequence that cuts between a closeup of the man's face and a shot Ava sitting at a table during a flashback. As they both speak, the film keeps cutting from one to the other, creating the illusion that they are having a conversation in real time. Oliver is convincing as a broken man who appears to be going through tough times and does not appear to know what is happening to him. Abernathy and Blanchard do a good job with their roles. Isaiah Walk does an amazing job with the cinematography, developing a downbeat feeling that goes well with the story. There are many parts throughout the film where the image goes to and from out of focus and by doing so it seems to be blending reality with fiction. The score is a contribution by Caleb Allen Parker and it sounds dramatic and haunting, creating a dark and sinister atmosphere. Makeup artist Lucy Navarrette also deserves credit, with the realistic injury work done on Oliver's face. Echoes is a sinister journey into the life of a disturbed person. The narrative makes the audience act as a detective and pick up the pieces and attempt to put them together in order to solve the puzzle that the film creates. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Impossible to Imagine Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jun 10, 2022 Directed by: Felicity Tillack Written by: Felicity Tillack Starring: Yukiko Ito, William Yagi, Kazuya Moriyama In what is a distinctly modern piece of Japanese indie cinema, Impossible to Imagine explores gender roles, class divide and romance with a traditional tint – resulting in an emotionally moving yet at times stunted drama feature. A young woman living in Kyoto, Yuki (Yukiko Ito) is desperately trying to save her business – her family’s kimono shop that is running into financial troubles. An entrepreneur Hayato (William Yagi) comes across the shop and offers his help. The pair develop a romance, and fall in love. But Hayato’s desire to find his place in the world begins to grind against Yuki’s wish to carry on her family legacy. The pair begin to wonder if the happiness they have found originates from the right place. Impossible to Imagine is something of a modern Japanese fairy tale – presenting the story of a romance, and its two participants representing two sides of contemporary Japanese culture: one which values tradition, family and status quo, the other which seeks modernisation, internationalism and ambition. These themes are presented alternatively throughout the film as competing and co-operating through the lens of Yuki and Hayato’s relationship – a clever method of presenting the difficult balance required to celebrate heritage whilst building a better world. Hayato’s biracial background is similarly a key element to his character. His inner divide stemming from Japanese and Australian heritage results in his desire to reach out to a wider world, and explore new horizons – in contrast to Yuki’s deep-set roots in her hometown. The story also presents Hayato’s difficulties in fitting in with Japanese society due to his heritage. Whilst this is not the primary theme of the film, and is handled with a soft touch, it shows an impressive awareness and ability on behalf of director Felicity Tillack to address serious and significant political and societal issues with sensitivity and respect. Yukiko Ito and William Yagi share a meaningful chemistry that grows alongside their budding romance. The pair’s differences intermingle and spiral as they become more immersed in each other’s lives, with anticipation built in audiences as to whether opposites will attract or implode. The performances are understated and contemplative – particularly Ito’s – allowing viewers to submerge gently into the events unfolding. Whilst lacking the burning passion many Western viewers will be used to from romance/drama films, it fits the Japanese stylings perfectly. The film’s lower budget means there are some rough edges production-wise. Image quality is not as immersive as it could be and is somewhat unimaginative with angles and shots. Long conversational scenes sometimes drag even allowing for the film’s slower pace. And repetitive music cues become grating after a while – despite the sound of the Shakuhachi being one of life’s most soothing. These are largely minor issues but they become more noticeable as the film continues. Impossible to Imagine ’s slower pace won’t be for every viewer, and it’s focus on contemporary Japanese issues will be lost for some. But as a classic love story that slowly and naturally unfurls, it never goes far astray. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Ava: A Twist In The Road Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 26, 2022 Directed by: Catherane Skillen Written by: Catherane Skillen Starring: Catherane Skillen, Bill Lewis, Steve Dellatori A woman’s life is turned upside down in Ava: A Twist in the Road, the debut feature of director and star Catherane Skillen which, unlike its protagonist, never quite finds its own path. When her long-term partner Bobby (Bill Lewis) suddenly passes away, Ava (Skillen) is left devastated, depressed, and unexpectedly destitute. No formal records exist of the pair’s relationship, leaving all of Bobby’s possessions and funds to his bitter son Robert (Steve Dellatori), who blames Ava for destroying his parent’s marriage. With the help of friends Leanne (Tannis Benedict) and Trisha (Maggie Dewan-Smith), she works to build herself a new life. There is something refreshing in Ava’s story of an older woman casts into unfamiliar surroundings, seeking to forge a new path in life despite her advancing years. It’s a shame however that the film fails to decide what it really wants to be. Tonally, it’s bipolar – swerving from harrowing drama to light-hearted feel-good film from scene to scene like a drunken shopping cart. A comedic scene of Ava’s first day on a job is followed by a sorrowful one in which she gives away money she desperately needs to a homeless person. Whilst this could have been effective to some degree as a representation of the grieving process, it comes across as awkward, uncomfortable and confusing to the viewer given the regularity of the atmospheric shifts, and both the drama and the comedy are weakened by each other’s presence. The story is confusing and unsatisfying, and fails to really explain the context behind Ava’s relationships with key characters or give any real conclusions. Robert is almost psychopathically hateful of Ava for her relationship with his father. But given that this relationship lasted 25 years, it’s confusing that Ava appears shocked at his behaviour following Bobby’s death (she also probably should have learned not to call him ‘Bobby Jr.’ by now…). Little conclusion is given to several storylines that are raised, such as Robert’s fraudulent efforts to secure his father’s property or his lawyer’s resignation – which given the level of focus these receive early on, is quite frustrating. The script is poor, with a total absence of subtext as characters directly stating their desires and primary emotions as a baseline manner of communication that makes every line feel scripted and unnatural. Solid performances would have been unlikely to save this, but the film lacks these too. Catherane Skillen does a good job with more emotionally draining scenes as Ava, but basic conversations come across as rehearsed and forced. Her chemistry with Bill Lewis as her onscreen partner is non-existent, and audiences will struggle to believe that these supposedly star-crossed lovers were truly meant to be. Steve Dellatori yells a lot – but his Robert lacks any nuance that could have pointed to an inner conflict that would add dimension and intrigue to the character. There are some highlights, such as a tear-jerking scene of Ava wondering around the house her and Bobby shared with each other on the night of his death, reliving old memories. Ava’s first day working at a kiosk also delivers the film’s message that there is more to life than riches – and more scenes like this would have been welcome. It feels at times like the story is on the verge of a grand revelation about how older women are treated by society, and how older unmarried partnerships come with risks where callous family members are concerned. But it disappointingly never really breaks new ground with this thread. There is passion and originality in Ava: A Twist in the Road , but the film falls frustratingly short of delivering the basics of story, script and character. This film needs to find its own path before Ava can find hers. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Amazon Prime < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Eye Without a Face Film Review average rating is 1 out of 5 Critic: Alicia Moore | Posted on: Aug 8, 2021 Directed by: Ramin Niami Written by: Ramin Niami Starring: Dakota Shapiro, Luke Cook, Vlada Verevko, Rebecca Berg “An agoraphobic young man named Henry (Dakota Shapiro,) living with Youtuber and struggling actor Eric (Luke Cook,) hacks the webcams of young women. He begins to suspect that one of them is a serial killer and cannibal.” When writing reviews, I want to open with something that will make others feel intrigued enough to read and explore more of the text. However, there is no comparison between a three minute read and a nearly two hours long film – it is imperative to gasp viewers almost immediately in film. Eye Without a Face unfortunately leaves you wondering if there will ever be a moment of true intensity; one weighted enough for you to become part of the horror story that is strenuously unfolding. Eye Without a Face progresses very slowly, in both the storyline and visually through cinematography. The story doesn’t expand at all and eventually just becomes predictable. Not predictable in a familiar ‘well, at least I can expect any sudden terrors now’ type of way, it feels more disappointing that you can instantly guess where the story is leading and how it will conclude. As well as this, there are elements of backstory introduced that aren’t expanded upon efficiently either. My guess is that such a painful backstory given to Henry was to make viewers feel conflicted within themselves; to feel empathy and sympathy for someone who is, simply put, a criminal. But because of the lack of further explanation it doesn’t have that effect. I felt a bit like Henry as I was watching the film – stuck in a dimly lit room in front of my computer, surrounded by unnerving silence that made me squirm in my seat. Maybe that was the intent, to make viewers feel as if they are part of Henry and his troubles, but if that was the intent then it definitely could have been executed better. I wish I was squirming like a fish out of water because I felt compelled by the horror in front of me but I was simply flapping around in hopes that the silence would collapse in on itself sooner or later. There are some wonderful shots to pinpoint throughout the film. There are many repeated sequences used throughout too which does add some good context to Henry’s surroundings and the outside environment that he struggles with, but there’s only so much repeating you can let your eyes take in. These up-close, computer screen sequences could have made a huge impact if they were rapidly used within the first quarter of the film. This would have given audiences a wider insight into the characters’ lives before the focus of blood and knives decide to ensue. Dismissing the repetitive aspect though, one of my favourite shots throughout Eye Without a Face is the long running introduction to Henry’s house window. The suspense this scene in particular gives at the start of the film is amazing; I just wish camera work like this was used more often and more appropriately throughout the film to better build on atmosphere. The acting is alright overall — most of the written dialogue can make it extremely hard at times to either take some characters seriously or to not recoil in discomfort at their choice of words. I do have to commend Dakota Shapiro for his portrayal of Henry; especially in the ending climax. It would be incredible to see him work on another character with deeper, disturbed emotions since his great understanding of this side of acting and how he can use his tone of voice, volume and body language to portray these emotions almost felt wasted here. Eye without a Face takes an interestingly modern approach to horror through the use of technology while also incorporating the dangers of social media. It may not be as ‘chilling’ as other films in a similar category, Unfriended immediately comes to mind here, but it will make you want to tape up all of your webcams for sure… so if you want a striking addition to any paranoia on this subject, give it a watch. Eye Without a Face will be on digital 23 August 2021. About the Film Critic Alicia Moore Digital / DVD Release < All Reviews Next Film Review >

Alexandra James My passion for film began at an early age, it was my dad who opened my eyes to the wonderful world of cinema. I was shown many classics from his youth which allowed me to immerse myself in Hollywood and British stars such as Peter Sellers, James Stewart, Alfred Hitchcock, Terry Thomas and many more. From then on, my interest in film began to grow and I chose to study English Literature and Film, Television and Radio Studies at University level. I became fascinated by the history and complex intricacies that surround the silver screen. It became apparent that my favourite genres were Horrors and Thrillers, the excitement and nail-biting sensation makes for a completely mesmeric experience and always has me at the edge of my seat. Writing allows me to express myself and I am grateful to have had the opportunity to share my thoughts and views on UK Film Review, especially on a subject that captivates me and that I have complete adoration for. Follow On Twitter Read My Film Reviews