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

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

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

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

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

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

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

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

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HOME | FILMS | REVIEWS La Danza Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 21, 2023 Directed by: Philip Brocklehurst, Valentina Sarracini Written by: N/A Starring: Valentina Sarracini, Margie Newton An entertaining short video with music and dancing. The title refers to a Puerto Rican music genre that is associated with ballroom dancing and it is quite an appropriate title. Two women (Sarracini and Newton) film themselves dancing, using a smartphone camera or a webcam. The camera is constantly static and the location appears to be a large living room. The two dancers are always looking at the camera and smiling and never speak. Both are rather close to the camera, although one is further back and to the front dancer's left. The video begins with both of them waving at the viewer, while part of the song Good Morning Tokyo by Tokyo's Revenge plays. Then, the dancing begins. Brocklehurst's creative editing is one of the key elements that make this short a rather amusing experience. Once the women begin to dance, the repeat cut technique is put into use over and over again, beginning with a shot that shows the women dancing for about a second, then the same shot is repeatedly shown, countless of times, with the editing becoming faster and faster, giving the impression that they are dancing impossibly rapidly and also makes the music sound like an intensely repetitive beat. This technique is utilised for quite a large part of the film and the result is entertainingly awkward and funny. Other techniues include a sequence where the normal image repeatedly alternates with an upside-down image of the same shot, hence showing the dancers dancing upside-down, adding to the fun. There is also brief black-and-white cinematography and the use of slow motion makes the dancing look different. At the bottom right corner of the screen, the name of the video-sharing social media platform 'TikTok' is visible, promoting the company and making this short a positive statement on social media by revealing how sharing videos online can help spread joy. The obvious purpose of this one-and-a-half-minute long music video is to provide amusement and it succeeds. The atmosphere that is developed thanks to the editing, along with the dance moves and smiles, will most likely put a smile on the viewer's face. About the Film Critic Jason Knight Short Film, Music Video < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Genocidium Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Jul 14, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Eva Langlet, Alexandre David Lejuez CONTENT WARNING: Rape, Suicide. When Angèle (Eva Langlet) leaves the house one day without a face mask she is kidnapped by a killer known as The Dictator (Alexandre David Lejuez). Once held captive in his dingy loft The Dictator then forces a mask onto her and proceeds to torture and rape her. In the intervals between torture, Angèle fantasizes about her death, be it by her own hand or by her captor. What director Alexandre David Lejuez presents here is anti-mask, anti-vax rhetoric in a wrapping of misogynistic violence. He seems to conflate the needs of the public health system with genocide, religious persecution, and martyrdom. The film opens with a quote from political philosopher and Holocaust survivor Hannah Arendt, as if the Holocaust and wearing a face mask are comparable!? From there Lejuez, fittingly both playing The Dictator and being the film’s director, forces Angèle to be sick in her own mask, beats her repeatedly, and engages in a prolonged rape scene that lasts for five whole minutes. Then after seeing Angèle die many violent deaths we are left with the closing image of Christ on the cross. Staggering. To be clear Genocidium is not challenging or culturally significant like the films associated with New French Extremity. Nor does it have the constructs of a Lars Von Trier or Michael Haneke film. And it does not meet the grade of lo-fi pulp that is associated with Rob Zombie. It is simply a flimsy and insulting allegory shot mostly at a Dutch angle and accompanied by classical music in order to disguise itself as being capable of containing a credible idea. Watch the trailer here . About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

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