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

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 A Haunting in Venice Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Sep 13, 2023 Directed by: Kenneth Branagh Written by: Michael Green, Agatha Christie Starring: Kenneth Branagh, Tina Fey, Kelly Reilly If we’re going to congratulate Rian Johnson for reviving the murder mystery, save a backslap for Kenneth Branagh. His Murder on the Orient Express came two years before 2019’s Knives Out , and though Branagh may be adapting decades-old Agatha Christie classics, he’s proven adept at giving them a stylish and star-studded new sheen. Branagh also stars again as Hercule Poirot, the legendary Belgian detective who showed a friskier side (probably thanks to Johnson’s sublime Benoit Blanc character) in last year’s Death on the Nile . Now for the third in their mystery series, Branagh and screenwriter Michael Green embrace the season with a gorgeous and frequently engaging update of Christie’s 1969 novel “Halloween Party.” It is 1947, when the now-retired and war weary Poirot meets up with his old friend Ariadne Oliver (Tina Fey) in Venice. Oliver is a famous writer who considers herself quite the smarty, but she needs Poirot’s help to debunk the work of Mrs. Reynolds (Michelle Yeoh), a medium whose talks with the dead are pretty damn convincing. The setting is a Gothic manor with a disturbing past, where Poirot agrees to attend a seance on Halloween night. There, after a children’s party, Mrs. Reynolds will attempt to give Rowena Drake (Kelly Reilly) the answers she seeks about the murder of her daughter, Alicia (Rowan Robinson). But another murder soon steals the show, with even Poirot himself questioning his own eyes as things in the night go plenty bumpy. Branagh again teams with cinematographer Haris Zambarloukos (Belfast , Death on the Nile ), enveloping the film in a haunted house vibe that is wonderfully foreboding. The camera explores the confines of the manor via angles that are often extreme and disorienting, while lingering on cloaks, masks and other various other articles of creep. Poirot is a changed man since last we met. He’s seen too much evil, and believes in “no God, no ghosts,” as a cloud of trauma and grief that fits the film’s mood hangs over him. Branagh and his stellar ensemble (including Jamie Dornan, Camille Cottin and Belfast ‘s Jude Hill) work their character edges well, making sure no one is ever quite above suspicion. And those suspicions are easier to play with when the source material isn’t as well known. But while revamping a deeper cut is welcome, the chance for creepy surprise does come at a price. The core mystery just isn’t as compelling. Branagh and Green make alterations that prolong the chill factor, but result in moments that seem more like a Christie disguise than the face of the master herself. A Haunting in Venice ‘s lingering impression is as a slice of well-dressed fun. It’s a Spooky Season movie for those who don’t like things too scary, and an Agatha Christie tale for those who’d rather not think so hard. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Hairy Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Aug 19, 2022 Directed by: John Ferrer Written by: Harry Metcalfe Starring: Matt John-Hemmings, Erika Sviderskyte, Ryan Elliot You know what it's like – you look through the profiles on the app, find someone you like, you swipe right, meet up, have a good time and then you get invited in for a cup of coffee – then comes the bombshell that you've been waiting for all evening: her flatmate's a werewolf. David (John-Hemmings) is facing this exact predicament as he lingers on the doorstep of his new date Jess' (Sviderskyte) house. Naturally, he's not taking this rather vital information very seriously as he considers making the obvious biting jokes and the obligatory growling noises. Once inside the date starts to heat up and David and Jess are having a great time until David needs to head back downstairs to use the loo. His earlier nonchalance and refusal to heed warnings, however, has meant that Gary (Elliot), the flatmate/werewolf has escaped his room and is out on the prowl. What follows is a great mix of horror and comedy as David and Jess work together to rein Gary back in and get him safely back into his room before he can do any damage to them or anyone else. Writer, Harry Metcalfe keeps things sharp and funny as the cute couple formulate plans and strengthen their relationship while director, John Ferrer handles the horror brilliantly, keeping the beast in the shadows until he is ready to be properly revealed. The entire production of Hairy is a blast from start to finish. Right from the off the audience is rooting for this kooky couple and both main actors encapsulate the fun, adventurous nature of each of their characters wonderfully. Everything, from the cinematography, to the sound recording, to the editing, to the music and the end credits screams fun to the viewer and it's hard not to have a stupid wide grin on your face as you watch the antics play out on screen. Which is not to say that Hairy isn't scary when it needs to be, with the werewolf standing up to scrutiny even in the close-up shots. For eleven joyous minutes Hairy takes you on a wild ride that you're sure to want to go back to again and again. It's obvious just how much love went into the film and how much heart was put into getting everything just right. There is almost not a single misstep in the whole production save for maybe a slightly lengthy tug-of-war towards the end and a mildly laboured Stalin joke but even these can be overlooked as they fit in so well with the whole experience. Hairy is one of those rare beasts, a film that grabs you from the start and doesn't let go. To paraphrase a conversation from the beginning of the film – If it's a choice between the Hairy beast and the smooth shaven Prince – go for the beast every time. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Chris Buick There are a couple of things in my life I am passionate about; music, Lego, Batman, Lego Batman. But the one thing that always stands miles above all others is film. My informal education started from a very young age with my parents, especially my mum, introducing me to classic films and taking me on countless trips to the local cinema to see the latest big releases. Since then I have never looked back and my passion for film keeps growing every day and it still amazes me the power cinema can have and the experiences it can give you. Having the opportunity to write for UK Film Review has given me the amazing privilege of experiencing a wide range of works from all different genres, topics and directors that I would otherwise have probably never seen, as well as being able to learn from the other writers and improve my own writing in the process. Listing my favourite films can be hard, but there are some that always come back to me. Jaws (my all-time favourite), Inglourious Basterds, Baby Driver, The Dark Knight and Young Frankenstein, as well as being a fan of the works of great directors such as Damien Chazelle, Edgar Wright, Taika Waititi and Christopher Nolan. Follow On Twitter Read My Film Reviews

HOME | FILMS | REVIEWS Bad Luck Banging or Loony Porn Film Review average rating is 4 out of 5 Critic: Alasdair MacRae | Posted on: Jan 18, 2022 Directed by: Radu Jude Written by: Radu Jude Starring: Katia Pascariu, Claudia Ieremia, Olimpia Malai Bad Luck Banging or Loony Porn is the latest film from Romanian new wave director Radu Jude. The narrative revolves around schoolteacher Emi, whose private sex tape has somehow made it onto the internet and now her job is under threat. The film is divided into three acts with an additional prologue and epilogue. Whilst Emi’s ‘trial’ at the hands of the parent-teacher association may take place in the third act, Jude’s film represents a defence from the outset. The prologue functions as Exhibit A, the sex tape in question, an explicit but clumsy amateur film. Around the cinema, there may be gasps and a feeling of unease. Some people decide to talk through it to quell their discomfort. But to resign this to shock value would be reductive. It may be something that is unusual for cinemagoers to see on the big screen but this begins the defence; that the video is not in fact offensive, merely taboo. Without showing the tape Jude’s argument would lose all credibility, and as he goes on to display, sex tapes are the least of society’s issues. Act one follows Emi in her daily life as she wanders the streets, visiting shops and markets. The camera is frequently disinterested in her, floating away to capture comic observations of daily life in Romania in a documentary-like fashion. There are billboards of buff men and sexually suggestive women. Shops selling Frozen and emoji branded backpacks occupy equal time and space as those which sell religious literature. Men get out of ridiculously oversized cars, or just clutter the streets, sometimes doing nothing more than holding a rather large watermelon. Amongst this we see glimpses of male entitlement and rage: one man hits another with his car as they quarrel about who has right of way. Altogether the camera is more interested in documenting any and all of these things than our grey suit-wearing protagonist. Jude exonerates her by effectively eschewing her from her own story. The second act is where Jude gets to the real crux of the matter through the medium of an unconventional dictionary segment. Presented like a slideshow, we see Romanian words and their cultural definitions; sometimes satirical and humorous, at other times they spark outrage. All serve to turn the spotlight on the failings of Romanian society. He juxtaposes blowjobs with genocide; making explicit references to widespread sexism, child abuse, and the tightening grip of fascism. The images displayed here are undoubtedly the most shocking in the film which threatens to make the surrounding plot feel totally redundant. For the third act, we return to Emi who awaits a trial at the hands of the parent-teacher association. It begins with the parents demanding to watch the sex tape because they need to see the evidence (cue the men watching lasciviously). The farcical affair spirals further out of control as discussions that extend as far as to the morality of education are heckled by one individual incessantly making ‘road runner sounds’. This segment of the film becomes rather testing the longer it plays out, mainly due to the frustration that backwards minded individuals who dominate conversation are a current fixture in daily life. Fortunately, the epilogue rounds the film off with a cathartic flourish. During the second act, cinema is defined by relating it to Perseus’ shield: the mirror used to indirectly look at and consequently slay Medusa. Whilst Jude’s film does clarify the serpentine foe in a unique and incisive fashion, there are times we begin to stare directly at our adversary and feel paralysed by despair. About the Film Critic Alasdair MacRae Theatrical Release, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Beating Superbugs Better: Can We Win? Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 10, 2023 Directed by: William Mudge Written by: Jean Mudge Starring: Tom Patterson, Steffanie Strathdee, Timothy Lu, Ramanan Laxminarayan An informative documentary about bacteria that are resistant to antibiotics, which are also called superbugs. There are certain bacteria that are immune to medicines, which makes treatment harder and therefore increases the possibility of death and disease spread. Through interviews with experts on bacteria and animation, this film explores in depth how these bacteria are created, how they spread and what is being done in order to fight them and the results are intriguing and worrying. It is revealed that millions of people around the world lose their lives to these bacteria and that if solutions are not found, the consequences will be severe. A number of the most hazardous bacteria are examined, including methicillin-resistant Staphylococcus aureus (MRSA), Clostridium difficile (C. diff) and Tuberculosis. The film looks into how these diseases affect people through the use of animation that involves bacteria and molecules and through interviews of individuals who have suffered and recovered from the bacteria. The former patient interviewees include Tom Patterson, who was infected while travelling in Egypt and he, along with his wife Steffanie Strathdee and the other survivors share their dramatic experiences. Apart from the survivors, the list of interviewees includes Global Economist Jim O'Neill, Antibiotic Developer and Infectious Disease Expert John Rex and other experts whose knowledge puts together an image of the global situation with superbugs. There are often animated sequences that involve 3D Animation and they (along with the voice-over that is provided by Fiona M. Hughes) are quite helpful in understanding how bacteria work. William Mudge also worked on the creative editing and the result is great and even better with the addition of Christopher Rife's music. This is certainly an interesting documentary that is also shocking due to the revelations that it contains. It raises awareness of antimicrobial resistance and points out that its occurs mainly because of people's irresponsible actions and suggests that efforts are required from everyone in order to prevent bacteria from spreading. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >