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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 Materna Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Aug 11, 2021 Directed by: David Gutnik Written by: David Gutnik, Assol Abdullina, Jade Eshte Starring: Kate Lyn Sheil, Jade Eshete, Lindsay Burdge With Materna , director David Gutnik presents four emotional vignettes of women and their relationships with either their mother figures, their children, or both. While the four women’s stories intersect in a brief, tense moment on a New York subway car, their backstories and how they came to be in that particular car are quite different. The flashbacks don’t depict simple, saccharine, Hallmark Mother’s Day card relationships. These relationships are layered and complicated—with longing and frustration, the urge to shelter and the urge to smack. Each of the four lead actresses, Kate Lyn Sheil, Jade Eshete, Lindsay Burdge, and Assol Abdullina, rises to the challenge and convincingly demonstrates the emotional range of her subject. (Eshete and Abdullina also co-wrote the screenplay with Gutnik.) Rory Culkin shows up to illustrate that the maternal instinct is not solely the purview of those with two X chromosomes. It’s not a perfect film. The initial segment, while it does pique the viewer’s interest, maybe doesn’t best set the stage for the ones that follow. There are elements that seem to signal sci-fi or body horror that aren’t carried through in the rest of the film. And because of the brevity of each of the vignettes, some of them seem a little roughly sketched, lacking in details that would more solidly ground the perspective of the woman depicted. At the point of intersection in the subway car, each of the women is keeping herself to herself and adhering to the unspoken etiquette of public transportation. But then a white man starts loudly trying to engage them in conversation that quickly devolves into harassment and violence. This screaming, egomaniac clearly sees himself as the most important person in the shared space and aims to capture everyone’s attention, making his private life public, doing a kind of emotional manspreading. It’s interesting to contrast this with what the women are dealing with and how their private lives either do or do not impact this public space. This is Gutnik’s first feature film and I’m looking forward to seeing what’s next. About the Film Critic Christie Robb Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Amelia Eilertsen Amelia Eilertsen is a writer at UK Film Review. Follow On Twitter Read My Film Reviews

Chapel of Rest Listen to our review on the film podcast What our film review said: READ FULL REVIEW The theme of death is clear from the opening of the film, with the setting and general atmosphere but Cash goes deeper than just writing a film about death. He explores complex issues such as the scandal of child abuse in the Catholic church and what it means to protect family members all while telling a dramatic and exciting story. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Freedom Street Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 14, 2022 Directed by: Alfred Pek Written by: Alfred Pek Starring: JN Joniad, Nur Azizah, Ashfaq Hussain Whilst Freedom Street is a documentary which focuses on the plight of refugees caught between Australia and Indonesia, UK audiences will find plenty of relevance in director Alfred Pek’s examination of brutal government policy, impossible bureaucratic baton-passing and media cruelty towards refugees and asylum seekers in our own country. Pek, an Australian-Indonesian migrant, hosts the documentary, which examines the complex historical relationship between Australia and Indonesia, as well as the domestic factors in each country that have forged their respective stances on immigration. Amongst this, the stories of three refugees – JN Joniad, Nur Azizah and Ashfaq Hussain – are told, with the devastating and outrageous treatment they are subject to from the two governments laid bare. Freedom Street is an outstanding documentary which brilliantly explains and deconstructs the complex immigration relationship between Australia and Indonesia, and the impact this has on the vulnerable people who are beholden to it. It takes a difficult and controversial subject, and brilliantly presents the bluster and bureaucracy of Australian politics that have created hostile conditions for refugees, only to cut through this devastatingly with the enthralling and dignified accounts directly from the mouths of the people caught up in the cruelty. The long interviews with the refugees whose stories the documentary follow are fascinating, with Pek making sure to present these in a visual and dynamic way without sensationalising. At times these can get a little long, and the intensely detailed nature drags in moments. But largely viewers will be encapsulated by the danger and risk taken by these fundamentally innocent people who are just desperate for their freedom. The documentary benefits from a longer filming schedule – taking place over a number of years – as we see how the subjects grow and face increasing challenges from the Australian state – particularly Nuz Azizah, whose life story could be a movie in itself. The rest of the film utilises stock and news footage to present the historical context of the Asia/Oceania region’s stance on refugees and asylum seekers, with some impressive and at times shocking examples which clearly demonstrate the battle at hand to change hearts and minds. The footage will likely be familiar to Australian viewers, but not so much to those of us in the UK – though certainly similar words have shamefully been ushered by our own politicians when referring to refugees – particularly those like those in the film who arrive by boats. Surrounding this are experts and activists who present a variety of views relating to Australia’s policies on immigration, who are well-researched and credible to the documentary’s benefit. Whilst a little overlong at times with a tendency to ramble, Freedom Street impressively presents an impassioned critique of Australian immigration policies, and presents true stories from refugees victimised by them that are impossible to ignore. Watch the official trailer here . CORRECTION: In the video review, it is stated that the filmmaker sought asylum in Australia. This is incorrect, he was actually an immigrant to Australia. About the Film Critic Patrick Foley Digital / DVD Release, Documentary, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Showing Up Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 12, 2023 Directed by: Kelly Reichardt Written by: Jonathan Raymond, Kelly Reichardt Starring: Michelle Williams, Hong Chau Visual poet of the day-to-day Kelly Reichardt returns to screens this weekend with a look at art as well as craft in her dramedy, Showing Up . Michelle Williams is Lizzy, a sculptor who’s not getting enough done for her upcoming show. It’s a small show in a small gallery not exactly downtown, but it’s a show and she’s got a lot of work left to do. So does Jo (Hong Chau, one of three 2023 Oscar nominees in the cast!), Lizzy’s neighbor and landlord. In fact, Jo has two shows coming up, so who knows when she’ll be able to fix Lizzy’s water heater? And just like that, Reichardt leaches the glamour from the art world, dropping us instead into a place far from glitzy but bewilderingly human. Williams is characteristically amazing, her performance as much a piece of physical acting as verbal. You know Lizzy by looking at her, at the way she stands, the way she responds to requests for coffee or work, the way she reacts to compliments about her work, the way she sighs. Williams’s performance is as much in what she does not say as what she does, and the honesty in that performance generates most of the film’s comic moments. Chau knocks it out of the park yet again, and like Williams, she presents the character of Jo as much in her physical action as in her dialog. The chemistry between the two is truly amazing, simultaneously combative and accepting, or maybe just resigned to each other. Reichardt’s phenomenal cast does not stop there: Judd Hirsch (irascible and hilarious), John Magaro (sad with an undercurrent of potential danger), Andre Benjamin (chilling), Maryann Plunkett (frustrated) and Amanda Plummer (weird, naturally). As is so often the case, the environment itself is its own character, every gorgeously mundane detail filmed in Reichardt’s go-to 16mm film. She and cinematographer Christopher Blauvelt once again find the grace and beauty in the spots everyone else ignores. Like Nicole Holofcener and Claire Denis, Reichardt invests her attention in the small moments rather than delivering a tidy, obvious structure. The result feels messy, like life, with lengths of anxiety and unease punctuated by small triumphs. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Avaak(Unsaid) Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jul 20, 2023 Directed by: Pankaj Khanchandani Written by: Pankaj Khanchandani Starring: Rakesh Ankalkoti, Madhura Tapre, Promod Kale The writer-director Pankaj Khanchandani is an independent filmmaker who wants to highlight the change in dynamics of any relationship because of the lack of communication. Khanchandani has written an intricate script and talented actors like Rakesh Ankalkoti, Madhura Tapre and Promod Kale have managed to give life to the director’s imagination. The plot of Avaak (Unsaid) revolves around Suraj (Rakesh Ankalkoti) who wants to move to a different city for better career opportunities his mother Sheela does not want him to go but he leaves without seeking his mother’s permission creating an irreparable impact on their lives forever. The film opens with a long shot of a house with dim lighting where Suraj is shown leaving the house in the present followed by Avaak going back to a series of flashbacks to establish the subject matter of the movie. The carefully written day-to-day conversations between all the characters in the dramatic piece increase the degree of audience engagement with the content making it real and relatable. The white and black colour palette dim lighting, rustic set design, dialogues, sound, costume, hair, makeup, and props are kept natural to complement the mood of Avaak (Unsaid) so that it emotionally appeals to the audience. In terms of performance, Rakesh Ankalkoti plays Suraj who is a loving and responsible son to his parents with his own set of dreams relating to his career. The young actor showcases the struggle of Suraj when is in the dilemma of choosing his priorities or the professional dream. Ankalkoti understands the nuances of different situations in the screenplay and modifies his acting skills according to what is required of him. Madhura Tapre plays the role of the mother in the film. Tapre portrays various shades of her character efficiently as well as effectively right from emotional to angry. The senior actress transitions from one timeline to another in Avaak ensuring the presence of the continuity factor. Promod Kale as the loving and supportive father is a treat to watch all through the running time of the film. Kale as an actor brings the stability to the household that makes the backbone of Avaak. Kale illustrates all the qualities of an ideal father and inspires the audience with his screen time in the film. Avaak (Unsaid) talks about the role of communication in shaping any relationship, not being expressive can be detrimental to the equation between people in the future. The short film reiterates the need to fill the gap between two generations to better understand each other and work towards a lifestyle in which they can coexist happily. The cinematic piece restates the importance of maintaining their individuality as a person because one cannot fullfil any responsibilities when he or she isn’t confident and happy in their life. The creative piece also highlights the various insecurities an elderly couple face and their dependence on their offspring increases with time. Avaak also tells the audience about the significance of spending the maximum time with parents before it is too late and the only option left is to regret later. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

What You Can't Promise Listen to our review on the film podcast What our film review said: READ FULL REVIEW What You Can’t Promise succeeds in both entertaining audiences, and exploring its own concept thanks to engaging dialogue and two strong performances...this smaller scale production deserves real praise for trusting in its bread-and-butter elements of plot, script and performances – without which no film can succeed. Proudly supporting MediCinema for our 2022 film festival.

Short Film Reviews Welcome to the UK Film Review page for short film reviews . Here you will find some of the best and brightest sparks in a sea of cinema. Filmmakers from across the globe submit their short films to us to be reviewed, and our Contributors lovingly dissect them. If you would like one of our team to write a film review of your short film, please use the form below or visit our Submit Your Film page Our short film reviews are written by passionate film critics across the UK and aim to highlight and promote terrific filmmaking when we find it. We are always honest with our reviews, so if you are looking to submit your short film for review, please do so knowing that we will not alter what we have said because you don't like it. There is a wealth of amazing talent in the short film industry, and we hope by writing film reviews about this underexposed creativity we can get your movies to a new audience...but we need your help. Please join in the chatter on our social media channels so that we can grow our community and share the joy. Use the buttons in the footer to Like us on Facebook, Follow us on Twitter, and Subscribe to us on YouTube #supportindiefilm. Get Your Short Film Reviewed ↓ alexjames96 Apr 19 2 min A Happy Ending Short Film Review alexjames96 Apr 19 2 min Shear Disturbance Short Film Review alexjames96 Apr 19 2 min Watch What I Do Short Film Review alexjames96 Mar 17 2 min After Hours Short Movie Review alexjames96 Mar 17 2 min Cinerama (Music Video) Short Film Review Chris Olson Mar 1 3 min Film Podcast: George Clooney Rowing Biopic Scoops Film of the Month Chris Olson Feb 22 3 min Film Podcast: Anthony Hopkins drama crowned "Film of the Month" alexjames96 Feb 17 2 min Mannequin Short Film Review alexjames96 Feb 17 2 min The Separation Short Film Review alexjames96 Feb 17 2 min Bare Foot Short Film Review William Hemingway Jan 18 8 min Filmmaker Interview with Jiwon Lee alexjames96 Dec 19, 2023 2 min Dominion Short Film Review alexjames96 Dec 19, 2023 2 min Homecoming (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min Sunset Drive Short Film Review Chris Olson Nov 28, 2023 5 min Filmmaker Interview with Alexander Ratter alexjames96 Nov 16, 2023 2 min Purely Cosmetic Short Film Review alexjames96 Nov 16, 2023 2 min What Remains Short Film Review alexjames96 Nov 16, 2023 2 min Sheep F-cked In the Head Short Film Review Chris Olson Nov 13, 2023 3 min Filmmaker Interview with Aimie Willemse alexjames96 Oct 13, 2023 2 min Uncharted Expedition Short Film Review More Film Reviews Cast Away Joe Beck The Protégé Chris Buick On My Level William Hemingway Changing Tides Patrick Foley Jane Austen's Period Drama Joe Beck Company Chris Buick Boy.With.Angel.Wings William Hemingway Wait Till It Drops Joe Beck Fugue Jason Knight Circus Swati Verma It Could Be You Jason Knight Bestias Patrick Foley OBA OMO (The King Child) James Learoyd IRAN: A People Forever in Revolution James Learoyd Guilty Swati Verma Devon William Hemingway I am the Wanderer: Director's Cut Jason Knight My Obsession with Death Chris Buick Clodagh Jason Knight Alleviate Joe Beck Whippy Patrick Foley The Other John James Learoyd What I'm Hiding From You Jason Knight Rooftops Swati Verma The Siren Chris Buick Load More Reviews What is a short film review? A short film review is often written by a movie critic and it's their opinion on a film that is less than sixty minutes long. Short film reviews still explore every aspect of a movie. How do I write a short film review? Writing a short film review needs to cover multiple aspects of the movie. Including the script, the characters, performances, cinematography, score & sound design, editing and so on. How long should a film review be? A film review should be as long as the house style. Some publications provide lengthier reviews than others. A general minimum word count would be 300. How much money do film critics make? Film critic salaries depend massively on their publication. Many film critics are freelancers, meaning they get paid per review and sometimes this is based on word count. Making money through film reviews can be challenging.

HOME | FILMS | REVIEWS The Andes: 50 years Later Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 25, 2022 Directed by: Chris McNaughton Written by: Chris McNaughton Starring: Eduardo Strauch The backdrop and title of the short film chosen by the director Chris Mcnaughton get the film to right away appeal to the emotions of the masses. The opening sequence of the documentary has a message about the importance of love. In the very first shot, the camera tracks the museum to flush the audience with memories of the 1972 real-life incident. The use of the projector to showcase the old photos of the people who were present at the time transports the viewers to the same timeline. The musical track by Simon Daum and Yo Yo Ma complements the theme of the short film and assists the makers to bring out the range of emotions all of the people involved are feeling. The storyline of the cinematic piece is based on a true event. The plane carrying a rugby team from Montevideo Uruguay crashed into the high Andes Mountain. The film tells the extra- ordinary tale of the 16 survivors beating all the natural hurdles for straight 72 days. These people who battled through all the terrifying circumstances and miraculous events deserved to be remembered and document their struggles so that the audience gets to know about their bravery. The short film/documentary takes the form of a firsthand narration from one of 16 survivors- Eduardo Strauch. The use of a real survivor in the buildup of the narrative and the natural lighting in each frame of the movie and newspaper article in the museum provides a sense of realism to the documentary. The introduction and voice modulation of Eduardo Strauch highlights the pain, struggle, conflict and, misery. It is very difficult to relive the tormenting experience again and again. Eduardo is brave to do so and share his experience with us through this beautiful film. The camera-man manages to capture the magnificent landscape of the sight of the crash. The beautiful location chosen for the shooting of the movie by the cast and crew is a great choice so that they enjoy the picturesque view while absorbing the moving storyline of the cinematic piece. The makers also showcase the model of the planes used in 1972 with the help of the old clips available to them. This was done so that the topic of the movie becomes relatable to the audience and they don’t get bored with the historical event the film sheds light on. The documentary reminds us of a few very important life lessons that we tend to forget/ take for granted. It tells how crucial it is to be adaptive to the given situation. The film also reiterates the importance of nature, the presence of love in one's life, and the power of the human mind. Both love and the mind become critical factors for pushing oneself towards survival. It also teaches us that looking for happiness in consumerism rather than within oneself is the wrong way and then blaming the world for the mindset isn’t right. The short film gives out even the minute details of the real life plane crash giving importance to continuity in the creative piece so that the audience knows all about heroic tale of the event. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Frannie Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 14, 2022 Directed by: Alan Cameron Written by: Alan Cameron Starring: Emily Brolin, Dawn Brolin, Eli O'Brien, Bryant Daugherty, Marvin Novogrodski A young woman returns to her family home after a long absence and deals with her dysfunctional relatives. After spending several years away from her family, Frannie (Emily Brolin) is asked to come back and help her mother (Dawn Brolin), who is going through difficult times. Frannie dislikes her relatives and is eager to leave. However, as time passes, she gets to know them better and begins to appreciate them more. And she also starts a relationship with Luke (Daugherty), a friendly neighbour. This comedy drama takes a look into family values and the idea of finding a purpose in life. Frannie has unconventional family that includes her mother whose emotional state has gone downhill after her husband left a few months ago, her clumsy brother Teddy (O'Brien) and her uncle Rob (Novogrodski), who is a heavy drinker and spends a great deal of time on a sofa, on the house's lawn. As the story progresses, Frannie interacts more and more with her relatives and, although they have their differences, things between them improve as they begin to care for each other. The screenplay has funny and awkward moments, some adult humour, revelations and there are moving scenes and scenes of confrontation and reconciliation. As the titular character, Emily Brolin delivers a strong performance a woman in her twenties who is estranged from her family and is at a point in her life where she does not know which would be the best choices for her. Her character is intelligent and strong and goes through significant character development throughout the story. Dawn Brolin also does a great job as her mother, who uses a megaphone as a means to let her emotions out. Arnaud Drieu makes a wonderful contribution by developing music that is beautiful and dramatic and accompanies the scenes very effectively. This feature is an emotional and humorous story that deals with family, reconciliation and self-discovery. It reveals the significance of having a caring family and the joys that come with that. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS McEnroe Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 17, 2022 Directed by: Barney Douglas Written by: Barney Douglas Starring: John McEnroe, Bjorn Borg, Billie Jean King, Patti Smyth The run of bad boy Nick Kyrgios all the way to this year's Wimbledon singles final brought inevitable comparisons with the equally temperamental John McEnroe. They both railed against the tennis establishment with its inherent snobbery and elitism, but other similarities are more difficult to pin down. This new film by Barney Douglas throws more light on the kid who so spectacularly burst onto the scene as an 18-year-old. The original enfant terrible transformed tennis in the late 1970s with the rarest of talents. Quickly dubbed 'Superbrat' he was a gift to comedy writers far and wide. No comedy sketch or routine was complete without that familiar mop of curly hair and red headband. But for all his volatility and comic strip persona John McEnroe was a gifted left-hander and arguably, the greatest serve and volley player of all time. As the frames start to roll on this engrossing film, we begin to understand what a deeply complex man John McEnroe is. His wife Patti Smyth makes the most telling observation early on. She read John's report from first grade as a six-year-old. His teacher noted 'John is very harsh on himself'’. It betrays an obsession with perfection even at a very young age. His blow-ups on court were highly amusing and endeared him to many. Such antics were reminiscent of people playing tennis in the park on a Sunday afternoon as they argued over every point lost. But for McEnroe it was symptomatic of a deep rooted insecurity; failure was always attributed to circumstances beyond his control. His intense rivalry with Bjorn Borg is well documented. McEnroe broke the Swede's five year run of Wimbledon singles titles in 1981. With only three years between them McEnroe expected an ongoing duel but Borg was to all intents and purposes retired at 25. How could McEnroe prove he was the world's greatest tennis player if Borg wasn't around to beat on a regular basis? Again the quest for perfection looms large in McEnroe's life and a continual need to prove himself. The effect of Borg's absence cannot be underestimated. McEnroe's last grand slam titles were in 1984, by which time he had embarked on a toxic relationship with Tatum O'Neal. His subsequent divorce and later marriage to Patti Smyth gave him the stability he craved. However, it’s still difficult to draw conclusions from a remarkable life. The documentary cleverly links the narrative with film of McEnroe walking through deserted New York streets; another passage pictures him walking through a bleak desert that suddenly clouds over into a thunderstorm; all of which feels symbolic of a quest for answers and peace of mind. But this remains a frank and disarming portrait of a most charismatic sporting icon. About the Film Critic Brian Penn Theatrical Release, Documentary < All Reviews Next Film Review >