Search Results

Film news - Rise of the Footsoldier Origins UK Cinema Release. Find out more at UK Film Review. Rise of the Footsoldier Origins UK Cinema Release Chris Olson Tuesday, July 27, 2021 at 10:57:23 AM UTC VINNIE JONES STARS AS REAL-LIFE HARDMAN AND THE ULTIMATE GANGSTER IN BRITISH TRUE CRIME THRILLER RISE OF THE FOOTSOLDIER: ORIGINS Only in cinemas September 3rd . Courtesy of Signature Entertainment. The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Lock, Stock and Snatch superstar Vinnie Jones teams up with premiere acting veteran Keith Allen (Kingsman, Shallow Grave) for British true-crime thriller RISE OF THE FOOTSOLDIER: ORIGINS, a brutal account of how real-life, hard-as-nails Falklands War veteran Tony Tucker came to be involved in one of the most notorious gangland murders in British history. As well as Jones, outstanding as fearsome doorman Bernard O'Mahoney, and Allen as formidable nightclub owner Dave Simms, the film features some of the cream of the crop of home-grown actors including Craig Fairbrass (Muscle) – returning as notorious drug-dealer Pat Tate - P.H.Moriarty from The Long Good Friday, Billy Murray (Eastenders), Michelle Collins (Eastenders), George Russo (Top Dog), the brilliant Roland Manookian (RocknRolla), a genius cameos from reality TV royalty Chris Hughes and the late and great Heavy D. Directed by Nick Nevern (director and star of The Hooligan Factory and star of popular BBC comedy series Motherland), who co-wrote the script with producer Andrew Loveday, this is a blisteringly good thriller, set against a superbly realised backdrop of the late 80s rave scene, with a pulsing soundtrack featuring the likes of New Order and Ultravox. A future Brit gangster classic that gives the likes of Layer Cake, The Gentlemen and Legend a run for their money. Jam-packed with foul-mouthed and often hilarious dialogue, explosive moments of violence, and a gripping plot that tells it like it happened, RISE OF THE FOOTSOLDIER: ORIGINS is a must-see for anyone after an authentic crime biopic that hits like a knuckle-duster polished to a high shine. This is Blow, Essex style, and it will knock your socks off. Get your tickets front and centre now and prepare to get blasted. RISE OF THE FOOTSOLDIER: ORIGINS is showing ONLY in cinemas from 3rd September, released by Signature Entertainment Watch Rise of the Footsoldier Free Online. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

I Don't Know Where, but Together film review by UK film critic Patrick Foley. Starring Federico Cesari, Francesco Cicconetti, Naomi Oke directed by Luca Finotti. HOME | FILMS | REVIEWS I Don't Know Where, but Together Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 28, 2021 Directed by: Luca Finotti Written by: Luca Finotti Starring: Federico Cesari, Francesco Cicconetti, Naomi Oke Fashion, colour and vibrancy are the themes that summarise I Don’t Know Where, But Together (Non So Dove, Ma Insieme) , an Italian production from the fashion viral-video director Luca Finotti in a collaboration with Italian label MSGM. The short commercial film is filled with enthusiasm and optimism, and very much a product of its time following a brutal and difficult year. The youthful cast venture around the sunny streets of Milan making the most of their freedom, whilst of course decked out in the latest outfits curated by the fashion brand funding the whole venture. Relationships are established and teased throughout, as the 6 friends converge on a late-night outdoor party. Whilst I Don’t Know Where, But Together is clearly a commercial film designed to advertise the products of the MSGM fashion label, it at least features a creative storyline and striking cinematography that makes it a succulent, sugar-rush of a watch. Perhaps vivacious production was to be expected given the purpose of the film, and it being a creation of fashion-video specialist Luca Finotti – but it makes a welcome shift from the overly pretentious melodramatic style the genre is known for. Rather than present an unobtainable standard that works to entice viewers through desire to be a part of something exclusionary, the diverse and carefree group presented will remind audiences of their own loves and friendships – eliciting positivity and enthusiasm. The film imitates pop music videos – to such a degree viewers would be forgiven for wondering whether this was the pieces’ actual purpose. The synchronisation of music and imagery works in the film’s favour, effectively amplifying the sense of fun and excitement the film exudes. No dialogue is featured in the piece, with Finotti instead allowing his cast to tell their story through emotions and actions alone – a wise choice considering his casting call went out over Instagram and intentionally focused on non-actors. Ultimately the film is limited in that it is primarily an advert for a brand, and whilst clearly creative and original, is ultimately designed to sell clothes. The values it presents are progressive, inclusive and positive – but you can’t shake the feeling that they would be cast aside in a second for MSGM to add a zero onto their bank balance. You can’t blame Finotti, the cast, or the label to be fair to them, for commercialism. But not matter how enthusiastic or hopeful the film, there’ll always be a hint of cynicism where big money is involved. About the Film Critic Patrick Foley Short Film, Digital / DVD Release, LGBTQ+, World Cinema < All Reviews Next Film Review >

Nakam film review by UK film critic William Hemingway. Starring Anton Krymskiy, Jevgenij Sitochin, Peter Miklusz directed by Andreas Kessler. HOME | FILMS | REVIEWS Nakam Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2022 Directed by: Andreas Kessler Written by: Fabien Virayie Starring: Anton Krymskiy, Jevgenij Sitochin, Peter Miklusz In today's world climate it may be difficult to think that not so long ago those of us in the West had no real idea about the story of Ukraine. Usually bundled in under the purview of the Soviet Union, the real life stories of the land and its people have tended to be overlooked, forgotten or just never been told. During the Second World War, Ukraine was no different to other European countries in the treatment of its people by the Nazis. As a land of farmers and workers it was easy for the occupying forces to breeze through the small settlements and villages re-educating, reducing and relocating the people as they went – this treatment obviously being infinitely more so for Ukrainian Jews. In 2002, Jonathan Safran Foer shone a light on just how terrifying this treatment was as he investigated the total annihilation of Trachimbrod, a Jewish shtetl where his grandfather had lived, through his excellent novel, Everything Is Illuminated. This was then turned into a watered down, broad brush strokes film version in 2005. Now, in Nakam , from film-maker Andreas Kessler we are party to another famous story from this time, of which most of us will likely still never have heard. Nakam , in Hebrew, means revenge. It was also the name of a paramilitary organisation formed after the end of the war by around fifty Holocaust survivors who determined to set the balance of the scales right again by plotting to murder six million Germans – a plot which ultimately failed. Kessler instead chooses to focus on a much smaller, more intimate enactment of revenge told through the real life story of Mordechai 'Motele' Schlein, a young teenage boy who was known to play violin at an eatery frequented by Nazi officers. In Kessler's film, the young violinist is Mitka (Krymskiy), who has found his way recently to a new village since losing his home and his parents to the Nazi occupation. He plays every day alongside Yegor (Sitochin), a kindly old man who plays the piano and who has taken Mitka under his wing, as they make music for the guests of the tavern in return for something to eat for themselves. However, neither Yegor nor anyone else knows that Mitka is Jewish and that he has fallen in with a partisan group of resistance fighters who are determined to take revenge upon the occupying forces. When SS officer Seegler (Miklusz) takes an interest in Mitka and his playing, then resolves to bring more of his SS colleagues to the tavern for an evening of light entertainment and the further plotting of genocide, the resistance decides that it's time to spring the trap and bomb the building with all of the Nazis inside. Mitka is all ready to go along with this but suddenly he's having doubts. What if Yegor is also caught in the blast? What of the tavern owner and his daughter? Can he really count them as collateral damage in this overt act of revenge? Do the ends actually justify the means? What is immediately striking about Nakam is the attention to detail that is used to tell the story. From the costumes, to the setting, to the ways the characters talk and interact, switching from Russian to German to Yiddish, everything is placed and used for maximum authenticity. It is clear that Kessler wanted to do the story justice and took painstaking efforts to ensure that the audience felt transported back to a particular time and place. The acting, too, seems to come from a very personal space with cast and crew sharing family stories on set to inform and enhance the performances we see on screen. The three main leads each do an outstanding job of portraying their characters, these being archetypes which could be multiplied and recognised the whole country over, but who are fleshed out and performed with nuance and humanity to stand them out as individuals in a singular situation. Yegor is the everyday layman, rolled-over and resigned to his new fate while still doing what he can to survive; Untersturmfuhrer Seegler is the amiable SS officer who offers a smile and a friendly hand while also organising the submission and extermination of anyone who gets in his way; and Mitka is the hot-headed youth ready to see justice done and revenge meted out without being fully able to account for the atrocities of war nor truly count the cost of a single victory. Anton Krymskiy in particular delivers here a mature and accomplished performance as the conflicted Mitka. It is a testament to the skill and understanding of Fabien Virayie's script and Andreas Kessler's direction that so much is able to be given to the viewer within a thirty minute runtime. There is so much to unpack from each character – their inner conflict, old world view and reaction to the new order – as well as from the overarching scenario, that it is easy to be affected or overwhelmed by the events playing out on screen. There are certain moments which cut deep to the core of what it is to be human and which strike a chord across countries and decades without reaching for an answer to it all or offering a judgement on what is right – which is, of course, how it should be. It is an indictment of the fallibility of humanity and the current world order that we should again be facing the same atrocities being carried out upon the same people in their own land, just with different aggressors in different uniforms. If a film like Nakam can tell us anything it's that we should have learned from what has gone before – but to do that we must first hear the stories of those who have been silenced for so long. About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

Chapel of Rest film review by UK film critic Sophie. Starring Kyle Brookes, Sidney Kean directed by Iain Cash. HOME | FILMS | REVIEWS Chapel of Rest Film Review average rating is 4 out of 5 Critic: Sophie Price | Posted on: Feb 18, 2022 Directed by: Iain Cash Written by: Iain Cash Starring: Kyle Brookes, Sidney Kean Who would have thought that a cup of tea and a vengeful murder could happen all at once? Iain Cash’s new short film 'Chapel of Rest' takes on the meaning of simple but divinely executed, with a whirlwind of emotions and plot twists neatly packed into a fourteen minute short about avenging the unjust death of loved ones. From a director who’s previous films have won multiple awards such as Cash’s earlier film 'Dear John', ‘Chapel of Rest’ will live up to and exceed expectations of audiences with stellar writing and performances. The beginning of the film has a theatre-like feel, with the drama placed in the casual dialogue between funeral director Niel (Kyle Brookes) and priest Father Jones (Sidney Kean) sitting in an empty church accompanied by a single coffin. The pair spend time discussing their lives as both a funeral director and priest, as well as what happened to the deceased over a nice cup of tea Niel prepared for Father Jones. Even cracking jokes about the lives of a priest and funeral director amongst a global pandemic in a post-covid world of film. What truly makes the plot of this film standout however is the daringly simple plot twist that audiences will know in hindsight they should have seen coming, but nonetheless was surprising and elegantly executed. Niel tells Father Jones about how the deceased is a widower who died of old age after his wife and son both died from suicide, which in itself is a heavy concept but what Cash cleverly does with this information is slowly scatter clues in the middle and latter portion of the film about the truth: the family spoken about is actually Niel’s family, who’s brother died of suicide after being sexually abused by a preist by the name of Father Jones. Of course nothing in a film happens for no reason, even something as small as a cup of tea the priest drinks at the start which lo and behold contains a dose of poison given by Niel’s brother, just enough to paralyse and eventually kill Father Jones as a punishment for his crimes. What’s interesting about the plot is it leaves audiences lingering, waiting for action then it all comes at once as the pieces of the puzzle fit together smoothly. The penny drops for the priest along with the audience as the moments of realisation come to light. One could argue that the film’s build up dialogue took slightly too long for the purpose of the film to be revealed, however it is this build up that makes the twist that much more shocking. Kyle Brookes gives audiences an excellent portrayal of a surface level “average joe” with a myriad of malice inside. As both a stage and screen actor Brookes brings a variety of skills to his performance of the most important part of this film: the dialogue. Maintaining his cover as just another funeral director, no one would suspect the real reason he came to meet Father Joe until they catch on to the hints he is dropping halfway through the film. However once the truth is revealed his anger is evident but his face remains calm. This makes his emotions even more terrifying as he could erupt in violent outbursts but instead his character sneakily gets the revenge he’s sought for so long with a smile. Sidney Kean embodies the character of Father Jones with a similar depth to Brookes as both characters slowly but surely lose their outer facade of innocence as the film develops, the difference being Father Jones is guilty of the unimaginable and is caught in a well thought out trap laid by Niel and his family. As his frail elderly man demeanour wears off it’s clear Father Jones is only upset about being caught rather than for his actions themselves, which Kean shows well as an unsympathetic character about to meet his demise. Photography director Tim Follin does well at wrapping the film in grey cold tones to set the atmosphere from the opening shot, as well as cleverly placing the coffin mostly out of sight until it is opened and found to be empty. An interesting gem of cinematography in this film however is the end credits that roll over the backdrop of CCTV footage where the three brothers finish ending Jones’ life, which answers some audience questions that could be lingering from the final shot. Sound mixer and composer Nicolás Iaconis provides chilling pieces of music over the opening and closing credits of the film, but also makes use of quiet. If we consider silence a type of sound then Iaconis uses quiet not just because the scene is set in an almost empty church, but also forces audiences to focus on interactions between characters and makes the film all the more suspenseful. All of the above pieces of the film go towards its main themes of death, family, religion and revenge. 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. Overall, audiences will be shocked and intrigued by ‘Chapel of Rest’. It might not be an easy or uplifting watch, but the dark issues Cash takes on are real issues facing our world. The film is one of high quality all around, from the plot to the script as well as performances and technical aspects. Short, not so sweet but entertaining is the recipe of this film, one that is well worth a watch with a nice cup of tea. About the Film Critic Sophie Price Short Film < All Reviews Next Film Review >

The Long Walk film review by UK film critic Hope Madden. Starring Cooper Hoffman, David Jonsson, Mark Hamill directed by Francis Lawrence. HOME | FILMS | REVIEWS The Long Walk Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 9, 2025 Directed by: Francis Lawrence Written by: JT Mollner, Stephen King Starring: Cooper Hoffman, David Jonsson, Mark Hamill How fitting that Stephen King’s capitalist dystopian nightmare The Long Walk has finally been brought to the screen by director Francis Lawrence. Having helmed four Hunger Games films, including the most recent prequel, The Hunger Games: Ballad of Sonbirds & Snakes , he knows his way around these battles for what crumbs the wealthy deign to throw. Based on King’s 1979 novel, the film follows a group of young men, each of whom signed up for and were chosen to participate in a last man standing competition: one road, one winner, no finish line. Walk until there’s no one else walking. The catch is that you can’t quit. Hell, you can’t even slow down. You walk until you die, either of exhaustion or by bullet spray (should you break the rules). Lawrence has gathered a talented cast for these characters, beginning with everybody’s nemesis, the condescending voice of support and doom bellowing from the megaphone. Mark Hamill plays The Major with the perfect combination of swagger and benevolence to be contemptible without veering into caricature. As Ray, our hero, Cooper Hoffman impresses, even when he’s saddled with King’s unfortunately quaint dialog. The camaraderie among the “four musketeers”— Ray, Pete (David Jonsson), Arthur (Tut Nyuot), and Hank (Ben Wang)—feels contrived from the beginning, Still, Cooper and Jonsson (so impressive in Alien: Romulus ) share genuine chemistry, each elevating scenes with a glance, a shrug, a change in tone. Hoffman, in particular, plays nimbly with each of the other marchers, always delivering exactly the tone needed to keep someone’s head on straight and feet moving forward. Unsurprisingly, his moments with the invaluable Judy Greer (as Ray’s mother) are tender and heartbreaking. This is a story most have deemed unfilmable given the utterly straightforward narrative. Cinematically, there’s not a lot you can do besides walk alongside 50 or so actors as they dwindle in number. There’s little opportunity to show rather than tell. Characters are defined by their dialog, and often, they’re narrowly etched. But JT Mollner (Strange Darling ) finds sly opportunities to broaden what is essentially a war metaphor—soldiers walking side by side, friendly enough but each hoping he’s the one who survives. Mollner and Lawrence subtly draw attention to the dystopian capitalist spectacle of boys walking themselves into an early grave, all so the rest of the country can watch and learn to be good, hard workers. The Long Walk , as is always the case, will upset King purists because of its handful of plot changes. But when it comes to delivering a cinematic experience with an unfilmable novel, the movie’s a winner. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Waiting For The Drop: Rise of the Superstar DJs film review by UK film critic James Learoyd. Starring Carl Cox, Kaskade, Paul Oakenfold directed by Alexei Barrionuevo. HOME | FILMS | REVIEWS Waiting For The Drop: Rise of the Superstar DJs Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 2, 2025 Directed by: Alexei Barrionuevo Written by: N/A Starring: Carl Cox, Kaskade, Paul Oakenfold Waiting For the Drop is a new music documentary about the contemporary world of DJ-ing and electronic music culture. The result of over a decade’s worth of venue footage and talking-head interviews is an engaging – yet not always well-articulated – story with a multitude of moving parts. Director and producer Alexei Barrionuevo is very much making a film about the industry for those interested in the industry... which is not to suggest that it is inaccessible to the average non-house-music-obsessed viewer, for instance. This is simply a case of a documentary’s rich content and contexts outweighing the piece’s overall craft and spectatorial consistency. All audience-members will engage in fascinating areas of discussion. For instance, the movie touches on how, once big business caught on to how lucrative the scene was becoming, they attempted to commercialise the movement without knowing what about it appealed to the masses. The invasion of capitalistic intent within art will not only speak to music-lovers but to film-lovers as well, since we’re living in this age of great division between the biggest, most superficial products of cinema and the most tiny, perceptive works from independent creatives. It’s a film which expertly explores the fine line between what’s cool and what isn’t, and the external forces which have a bearing on that dichotomy. Throughout the feature’s runtime, we get valuable insights into the perspectives of some celebrated professionals. These interview snippets are golden; fascinating for their confidence, candour and occasional contradictions. You’re almost left wishing that the film had taken its time a little more to remain with these personages and their stories. Because if there’s a definite problem in Waiting For the Drop , it’s the sense that this is a most by-the-books, general overview of such a vast range of topics. After a while, the viewer will realise that we’re simply viewing footage of crowds in arenas, put to music and informative voiceover, with fragmentary testimony sprinkled in. In this way, the film lacks any kind of cinematic punctuation. It’s a phenomenal piece of research, yes, and some of the images are impressive; but it struggles to maintain a structure and therefore momentum. One way in which to fix this would be to focus in on a single subject or sequence – for instance, seeing what a day in the life of a DJ is like; the practical pressures and processes they must go through every night. Ideally, I’d like to follow them on that journey. One can safely say that, through watching this 95-minute film, this reviewer has learnt more and comprehended further the workings of an industry which I heretofore had little to no awareness of – in addition to now understanding the appeal of such a genre and such a movement. Alexei Barrionuevo and the rest of the production team should be proud of what they’ve accomplished, for on a level purely of accumulation and arrangement, this is a formally competent, well researched, well organised document. Despite complaints that this movie fails to be quite as experiential and emotionally immersive as one might hope, Waiting For the Drop is sure to educate a great many viewers when it comes to the history and culture of authentic electronic music. About the Film Critic James Learoyd Indie Feature Film, Documentary < All Reviews Next Film Review >

Pages of Love film review by UK film critic Jason Knight. Starring Jessica Johnson, Samantha, Mark directed by Samantha and Joan. HOME | FILMS | REVIEWS Pages of Love Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 20, 2022 Directed by: Samantha and Joan Written by: Samantha and Joan Starring: Jessica Johnson, Samantha, Mark A woman attempts to find the ideal man, while taking relevant advice from her mother. Single mum Samantha wants to find the right man for her and is having trouble doing so. Her supportive and optimistic mother gives her advice about the qualities she should be looking out for when she meets potential companions. After several unsuccessful efforts, Samantha finally meets Mariano, a friendly and well-meaning man who appears to be ticking all the right boxes. Could this be the man for her? This feature is a romantic comedy that explores themes of romance, religion, the development of relationships and taking the right advice regarding what makes a good partner. The narrative follows the progress that Samantha makes with Mariano, while she repeatedly listens to her mother as she tells her about what she believes are the best characteristics a man can have. The screenplay keeps switching between the dates with Mariano and her mother advicing her. Samantha and Mariano spend time together going horseriding, eating in restaurants or relax in Mariano's home doing various activities. Mariano comes across as friendly and helpful, while Samantha is a bit sceptical. There are sweet and moving moments and there are moments of drama. There are many chapters throughout this film, each of which is introduced with a title card and they are used to specify how many times Samantha has seen Mariano, the number of dates she had with men who were inappropriate and the times her mum advices her about men, which are structured in alphabetical order, meaning that every time a new lesson begins, the title card reads ''Pages of Love A-B-C'', ''Pages of Love D-E-F'' etc., and it goes all the way to Z throughout the movie and each letter represents the first letter of a word that desctibes a decent man. This use of title cards is amusing and helps understand the story better. The editing includes creative wipe techniques that resemble a page being turned and by utilising this method, the filmmakers reference the film's title. Many scenes consist of long takes, with the camera stationary and the soundtrack is entertaining. This feature is a love story and a comedy and it is interesting enough to watch and the acting is OK. The production value indicates that filming was done on a small budget and occasionally the audio does not sound good. Nevertheless, this does not prevent this movie from being a decent achievement. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Motherland film review by UK film critic Brian Penn. Starring Tiffany Chu, Kim Tae-woo, Kyung Hong directed by Christina Yoon. HOME | FILMS | REVIEWS Motherland Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Oct 1, 2023 Directed by: Christina Yoon Written by: Minkyu Kang, Christina Yoon Starring: Tiffany Chu, Kim Tae-woo, Kyung Hong All adopted children agonise over one question that picks at a wound that never quite heals. Why did my birth parents give me up? The most loving of adoptive parents offer familiar comfort - they were chosen whilst others had to take the children they were given. Although effective it soon wears thin as a child usually needs to know why, and to meet the people that brought them into the world. Directed by Christina Yoon this film explores the fallout when that child becomes an adult and starts asking questions. Leah (Tiffany Chu) was adopted and raised in America but born in Korea. She returns to the land of her birth to search for her birth mother. Her first stop at the adoption agency hits the proverbial brick wall. They refuse to supply details without the consent of her birth parents. Leah seems to be thwarted but then takes advantage of a lapse in security. She gets the documents translated and sets off to discover the truth behind her adoption. Motherland is a well constructed piece and accurately traces the emotional wreckage that adoption leaves in its wake. It is fundamentally an act of kindness; when people can’t cope with parenthood they decide to give a child the life they deserve. That is the theory, but the reality is often different to the idealistic vision in the adoptee's mind. Some stones are best left unturned, but Leah’s actions are perfectly natural for someone who doesn’t know who she is or where she comes from. There is a delicate balance between dealing with the consequences or just leaving the past behind. Ignorance is bliss but only for those who can afford it. Each scene is sparse and economical in its execution. Clean cinematography frames Tiffany Chu in perfect light and shade. A heart rending tale told with brutal honesty. About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

Goons film review by UK film critic Joe Beck. Starring Chad Anderson, Roberto Arrizon, Severen Cole, Chad Meisenheimer directed by Alexis White. HOME | FILMS | REVIEWS Goons Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Mar 22, 2023 Directed by: Alexis White Written by: Jose Duran Starring: Chad Anderson, Roberto Arrizon, Severen Cole, Chad Meisenheimer Funny films make us laugh for a multitude of reasons. Sometimes it’s because they’re so utterly insane that it’s impossible not to laugh, other times it may because it makes a fart joke, and at that moment we feel as though we’re ten years old. More often than not, however, we laugh because the characters offered to us in comedies are endearing, perhaps sometimes when they shouldn’t be, and because the humour, however bonkers, has a level of grounding in the human experience. ‘Goons’ has neither compelling characters nor a solid level of grounding in the human experience, and as a result most of its jokes fall flat, leaving a dull, if harmless, film. Leaning heavily into the mockumentary sty a slight 23 minutes ‘Goons’ sometimes feels like a knocked-down version of ‘The Office’, no doubt an influence on it’s creators Alexis White and Jose Duran, who sometimes use the offbeat interviews to the camera popularised by the iconic show. Naturally, of course, you also have the character prone to the ‘Jim-stare’ directly at the camera, in this case Johnny (Chad Anderson), who plays the part of group leader. He introduces himself as the CEO of the sanitation department at a well-known, mouse-related, company, in the film’s first, and possibly funniest bit. Johnny is joined by his ‘goons’, Andy (Roberto Arrizon) - the gym buff with dubious gang ties, Drew (Severen Cole) - the ‘looks of the group’ and a male stripper, and Sal (Chad Meisenheimer), the tech-savvy kid (grown man) loitering in parents basement’s across America. The introduction segment is as good as ‘Goons’ gets - a solid, and quite funny introduction to a seemingly interesting, if a little broad, collection of characters. From here the film could have explored the dynamic between the group, but the most we learn is that they’ve known each other for fifteen years. Alternatively, they could have been taken down a zany path, enriching their characters and endearing themselves as we see them confront a set of strange events, but instead the plot is relatively safe and uninventive. This means that we’re left with a set of stagnant characters trapped inside a tame plot, and so we become bored. Even the addition of a couple of side characters fails to add to spice up the group dynamic, they’re all beset with money woes in the face of their eviction notice but that’s pretty much all the insight we’re offered into them. This stagnancy isn’t helped by the the forced nature of Duran’s dialogue, which becomes loquacious and tiresome, giving a bad reflection of the actors, who come across as irritating more often than endearing. Though it doesn’t reflect tremendously in quality, it is evidently clear the passion which both cast and crew put into ‘Goons’, with Alexis White’s directing competent, and the actors always appearing just moments away from bursting into laughter themselves. The chemistry between the quartet feels natural, and is genuinely warming to see, making a not-so-good film at least put a small smile on this critic’s face. That’s all very nice, but it doesn’t take away from the simple fact that ‘Goons’ is lacking a great deal in actual quality, and most importantly it’s lacking in laughs. It’s as though they filmed a bunch of guys having fun together, without ever actually letting us in on the joke - funny to themselves perhaps, but everyone else is clueless as to why they’re laughing. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Rocky Climbed a Mountain film review by UK film critic Swati Verma. Starring James Rolfe, Derek Wayne Johnson directed by James Rolfe. HOME | FILMS | REVIEWS Rocky Climbed a Mountain Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 9, 2024 Directed by: James Rolfe Written by: James Rolfe Starring: James Rolfe, Derek Wayne Johnson The writer-director and Youtuber James Rolfe (video game and film reviewer) along with Derek Wayne Johnson talk to the audience about the detailed analysis of various film projects Rocky Iv to be specific. This gives film enthusiasts plenty of opportunities to learn from the various videos on his Youtube channel. The plot of the short film revolves around James Rolfe who attempts to find and climb the same mountain that Rocky Balboa (Sylvester Stallone) climbed and bravely conquers his quest to become strong enough to defeat the human monster Ivan Drago in Rocky IV in 1985. Rocky Climbed a Mountain begins with Rolfe showcasing the footage from an old video of all the Rocky films the most famous of all being the art museum steps and later talks about Rocky IV in which the protagonist climbs the mountain maintaining the interest of the audience in the narrative from the very start and tries to hold on to the audience engagement all through the running time of the film. The set design, colour palette, lighting, sound, dialogues, costume, hair, makeup, and props have been kept natural to give a sense of realism, relatability, and depth to the storyline to appreciate the amount of detailing James Rolfe wants to work with so that the viewers also share the same emotion with regards to Rocky IV and Sylvester Stallone after watching the documentary. James Rolfe in addition to direction and writing features in the documentary. The dedication and love for what he does is visible as he embarks on a trip which is elusive and dangerous in many ways. The voice modulation, body language, facial expressions, and eyes tell us about the ever-increasing intensity as we move forward with each twist and turn with the unfolding of the storyline. Derek Wayne Johnson is an editor by profession and a close friend of Rolfe who accompanies him in his mission of looking for real-life locations that match the shots taken in the movie Rocky IV. Johnson provides the desired emotional support and motivation to complete the trip successfully and achieve most of the predetermined goals. Rocky Climbed a Mountain talks about the ability to express the passion one has for a certain area of interest and to showcase the same with the work they do providing a certain degree of satisfaction and peace within. The documentary reiterates the importance of loved ones especially when combating a risky life-threatening situation in life. It highlights the emotional responsibility of a parent and a spouse one has to fullfil by coming back home safely every time. The cinematic piece teaches its audience that every human being is allowed to be emotionally vulnerable at times irrespective of gender. The creative piece also restates the value of time well spent with people who are important to us when we consider the temporary nature of life. To conclude I would like to say the documentary aptly works as a tribute to the senior actor Sylvester Stallone from James Rolfe and Derek Wayne Johnson with valuable life lessons incorporated in it. About the Film Critic Swati Verma Documentary < All Reviews Next Film Review >

It's Ok to be Different film review by UK film critic Swati Verma. Starring Morwenna Banks directed by Robin Toyne. HOME | FILMS | REVIEWS It's Ok to be Different Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Aug 17, 2022 Directed by: Robin Toyne Written by: NA Starring: Morwenna Banks The director Robin Toyne along with the team strongly believes in combining Drama, Cinema and Creativity together to provide these youngsters with additional needs the medium of expression so that the audience also gets an opportunity to understand and connect to their life stories on an emotional level with the wonderful narration by Morwenna Banks. The plot of the film revolves around Cornwall's unique theatre group for children with special needs drawing on their experiences of living through Covid to devise a new play. With humour, heart, and honesty they tell it as they see it. There are a lot of challenging perceptions of disability from the first rehearsal to the premier at Cornwall's iconic Minack theatre, inviting us into their colourful world. The cinematic piece follows a nonlinear storyline taking the form of a narration. The DOP Mat Lingard captures a close-up shot of a man rolling out the red carpet followed by a series of mid-shots and long shots to give an insight into an award ceremony establishing the subject matter of the movie and making it engaging for the viewers. The colour platelet, set design, lighting, dialogues, costume, and makeup has been kept natural by the filmmaker so that the viewers get to experience a sense of realism while watching the documentary and also salute these extraordinary people to fight through all the hardships to emerge stronger each time. The members of the Drama Express led by Simon Allison (Creative director, Drama Express) and his wife Emma Allison support the youth to realize and achieve their dreams of performing on stage just like their peers in the regular world with the help of volunteers and specialists. Drama Express ensures that it works with utmost commitment, sincerity, and care toward the individual needs of everyone. Richard Spain (Amelia's Dad), Carolyn Schuoler (Jimmy's Mum), Bonita Wallis (Ruby's Mum) and others feel immensely happy that their children are in the safe hands where they will get the wings to fly towards their goal and aspirations and not live with the fear of the need to fit in the society. It's Ok to be Different talks to its audience about accepting self as they are and appreciating the feeling of being valued by family and friends and not trying to fit into someone else's criteria. This documentary deals with the challenges of parenting during the pandemic especially in the case of differently-abled children. The cinematic piece educates the viewers regarding being open and willing to stay true to showcasing the real personality and avoid wearing a mask to cover up as fakeness does not work on a long-term basis. The creative piece reiterates the importance of songs that help to express all kinds of emotions. The film aims at normalising the notions relating to disability and appeals to the masses to become empathetic towards it but still respect the person for whom they are. The Drama Express gives these young people an opportunity to explore social skills like friendship and beat the feeling of sadness, anxiety, and loneliness which were the byproduct of the pandemic. Robin Toyne (Director) and Mat Lingard (Cinematographer) have jointly co-produced this project and I want to appreciate all their efforts to make such a beautiful and impactful movie accessible to a wider audience. About the Film Critic Swati Verma Documentary < All Reviews Next Film Review >

So You Wanna Be Black?! film review by UK film critic Jason Knight. Starring Gareth Mort, Tiffany Thomas, James Sowle directed by Daniel Glenn-Barbour. HOME | FILMS | REVIEWS So You Wanna Be Black?! Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 17, 2023 Directed by: Daniel Glenn-Barbour Written by: Daniel Glenn-Barbour Starring: Gareth Mort, Tiffany Thomas, James Sowle A young Causasian man faces challenges due to his relationship with a black woman. Gareth (Mort) is in a happy romantic relationship with Sandra (Thomas). However, there is also trouble, as their interracial relationship occasionally draws the unwanted attention of racist individuals. On top of that, Gareth has to deal with his racist stubborn uncle (Sowle), who disapproves of his nephews's willingness to date a black person. Racism plays a big part in this short drama uses an interracial romance in order to explore racism and the racism is shown being addressed to a white person (Mort) by a black person and being addressed to a black person (Thomas) by a white person. Gareth's uncle appears to represent what typical racist might be like, which is a person who sees things the way they want to see them and refusing to view them from another perspective. The film is separated into two chapters: 'Love' and 'Hate' and the screenplay emphasises these two words. The Love chapter consists of a barbecue that is attended by Gareth and Sandra and several others. They chat and enjoy themselves, then the atmosphere changes when a black stranger approaches the couple and proceeds to pick on Gareth for being Caucasian. The Hate chapter begins by introducing Gareth's uncle, his racist ideas and how he unsuccessfully attempts to convince his nephew to share his point of view. The story then moves to the couple somewhere outdoors, where two Caucasian strangers proceed to insult Sandra because of her race. The film contains a great deal of racist bullying and explores the strong bond between the couple, who refuse to let others get between them. There some aerial shots that look wonderful thanks to creative cinematography and the songs that make up the soundtrack were a good choice. This short deals with racism, interracial relationships and nationality. It explores the racism that can be inflicted upon an interracial couple by both Caucasian and black culprits and it points out that the positive feelings that people have for each other can keep them strong and united. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >