The Man In The White Van film review by UK film critic James Learoyd. Starring Sean Astin, Madison Wolfe, Brec Bassinger directed by Warren Skeels. HOME | FILMS | REVIEWS The Man In The White Van Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 21, 2025 Directed by: Warren Skeels Written by: Warren Skeels, Sharon Y. Cobb Starring: Sean Astin, Madison Wolfe, Brec Bassinger Warren Skeels’ The Man In The White Van tells the story of a series of grisly murders taking place in Florida in the 1970s. This plot actually serves more as the backdrop to an effective portrayal of a family’s domestic life, and the kids’ school life. We have two parents (Sean Astin and Ali Larter) and three children (Madison Wolfe, Brec Bassinger and Gavin Warren). Between these quaint family dialogues, we see glimpses of ruthless murders as the impending titular horror gets ever closer to our main characters and their home. Many an audience member are sure to compare this movie to Fincher’s singular masterpiece Zodiac (2007). This is not only due to screenplay (by Skeels and Sharon Y. Cobb) and its similarities in subject-matter, place and time; but also because of the deliberate steps this movie takes to replicate Zodiac ’s aesthetic – even down to the font of the opening credits. Yet what impressed this critic was how the filmmakers took the Fincher aesthetic – which has so often been overused and technically misunderstood as simply having a ‘desaturated colour palette’ – and applied its deeper nuances to the tale being told. For instance, one Fincher attribute which works well is the use of subtle camera adjustments so as to mimic a character’s physicality. And, thankfully, this film has a gorgeous, varied palette, consisting of pastel colours and vibrant sunsets. This is a sturdy looking movie with incredible production values. Outside of impeccable technical consistencies – such as the precision of the focus-pulling or wonderful balance of the lighting – some of the most impressive and immersive moments of cinematography involve scenes in cars, shots attached to the outside of cars, or even the camera dollying around a car to reveal more visual information whilst in transit. There must be a lot of greenscreen at play, but the fact that it goes unnoticed is honestly astonishing. Something that won’t go down so well with viewers is the sound. Now, I’m not referring to the sound recording (which is perfect) or even the foley work (which is also fantastic); I’m referring specifically to the criminal overuse of sinister musical cues. There are so many threatening sequences in this movie which could benefit massively from the pure terror of absolute silence – allowing the horror to unfold before us without manipulation. There’s a certain sense of spoon-feeding present in the constant violin screeching at any sight of the white van, which, after the opening scene, we get. But its worst sin is having these screeches take place during moments of false-threat – like the little brother making our protagonist jump. For a film without an outrageous, blockbuster budget, the proper realisation of the period-setting should be considered a genuine achievement on a level of set and costume design. The family home feels authentic, the vintage cars are lovely to look at, and much of the budget has even gone to playing some classic tracks. All of this is illustrative of an attention to detail, as well as an intelligent use of budget, to enable some truly convincing world-building. The Man In The White Van will be available on DVD & Digital from 29th September Buy UKFR Banner Space About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

See all the films officially selected for the 2022 UK Film Review Festival. The 2022 UK Film Review Festival Supporting Toby Jones in A Moral Man Enjoy... Here are all of the officially selections films being showcased at the 2022 UK Film Review Festival. A Manchester Story Best Documentary A Moral Man Best Short Film Anonymous Best Feature Film Another Day Best Drama Baroness Best Short Film Boomslang 2: The Dinner Best Comedy Brother Troll Best Short Film Cha Best Short Film Chapel of Rest Best Short Film Clout Best Feature Film Coast Road Best Crime/Thriller Community Service Best Short Film / Best Drama, Best Drama, Best Short Film Doll Best Horror Film Fat Boy Best Short Film File Not Found Best Horror Film Finding Wilson Best Short Film For I Am Dead Best Short Film, Best LGBTQ+ Film, Best Drama Garage Best Short Film Green Lanes Best Drama Film, Best Drama Holestepper (Pisahueco) Best Short Film Hollow Best Short Film HoneyDough Best Short Film Jumpers for Goalposts Best Short Film Kowalsky Best Short Film Lactown Best Short Film

Perfect Days film review by UK film critic Hope Madden. Starring Koji Yakusho directed by Wim Wenders. HOME | FILMS | REVIEWS Perfect Days Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2024 Directed by: Wim Wenders Written by: Wim Wenders, Takuma Takasaki Starring: Koji Yakusho Wim Wenders is having a year. Though his epic 3D documentary Anselm somehow regrettably missed out on a Best Documentary nomination from the Academy, his unhurried slice-of-life Perfect Days caught their attention. Nominated for Best International Film, Wenders’s lovely drama tails Hirayama (Koji Yakusho, perfection) through about two weeks in his life. Hirayama doesn’t have a lot to say, but he misses nothing in his days driving from public restroom to public restroom with Tokyo Toilet written on the back of his pristine blue jumpsuit. Tools in rubber-gloved hand, Hirayama is meticulous as he works. He has a routine that suits him—brings him joy, even—and Wenders cycles us through that routine day after day after day. At a full two hours, Perfect Days begs your indulgence with this montage of minutely changing events. The cumulative effect is, at first, lulling. As days pass, some small change draws attention and we try to predict a plot—will this turn into a love story, will that create financial chaos, is a tragic backstory of abuse about to come to light? Not the goal of this movie. The film actually began as a commissioned short film meant to celebrate Tokyo’s pristine public toilets. I swear to God. It blossomed from there into a lithe, meditative character study shouldered by an impeccable Yakusho. Though there are moments in the film that feel orchestrated—today, this happens; today, this happens—but not one breath, smile or nod of Hirayama’s head betrays the fiction. His is a mainly solitary, nearly silent life that can be surmised as a middle-aged man’s intentional creation. Hirayama has left something behind, has stripped himself of something, and what remains is what he finds vital: work where you can see a result; floor to ceiling shelves of books; a tidy and enormous collection of cassette tapes; a room full of tiny plants taking root, thanks to his tender care. You could fit Hirayama’s dialog on less than a single page, and there are times when his silence feels forced and almost comedic. But Yakusho’s brilliantly nuanced, heartbreakingly felt performance makes up for any flaws in the film. Wenders punctuates scenes with joyously on-the-nose song choices—minus the cassette hiss—and the final few singalong minutes showcase one actor’s transcendent work. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Fyre Rises film review by UK film critic Matt Trapp. Starring Paul Marlon directed by Paul Knight. HOME | FILMS | REVIEWS Fyre Rises Film Review average rating is 2 out of 5 Critic: Matt Trapp | Posted on: Apr 27, 2026 Directed by: Paul Knight Written by: Paul Knight Starring: Paul Marlon Paul Knight’s Fyre Rises is a classic setup for a violent crime thriller; a retired criminal, now out of the game and living an honest life with his family, is pulled back into the life he left against his will. Unfortunately, Fyre Rises crumbles under the weight of its lofty ambitions, failing to provide much in the way of excitement and thrill and instead retreading the ground of similar and better films. While it should be lauded for attempting to create a British gangster epic, the film awkwardly lumbers its way through locations and sporadic languid action sequences, gesturing towards the drama that it never manages to sell. Richard Fyre (Paul Marlon) used to be in the business of crime, but now he’s simply a dad living in the suburbs, struggling to get by. He’s even been reduced to accepting leftovers from the local greasy spoon to feed his family. He’s soon pulled back to his mercenary ways when Priest, a religious zealot slash gangster (reminiscent of Joker by way of Temu) sends his goons to recruit Fyre for another mission. Fyre accepts the job for the sake of his struggling family, and soon finds himself not so merrily on a plane to Spain. Immediately, the film demonstrates a lack of faith in how it establishes Fyre’s justification for ‘one last job’. Not only is he compelled by Priest’s henchmen who beat him senseless, Fyre is also forced back in due to his dire financial situation. It’s clumsy, and would have been far cleaner to pick one or the other; either his family is threatened and he’s doing this job for their safety, or he’s seeking out his old employment without his family knowing so that he can ‘be a man’, and provide for them as he knows he should. It’s a messy and unconvincing inciting incident, which in turn makes Fyre feel passive as a protagonist. The opening act of Fyre Rises is reminiscent of Jonathan Glazer’s Sexy Beast , although instead of going from sunny Spain to a grey and damp United Kingdom, it’s the other way around. What Glazer nails is the careless bliss of protagonist Gal (Ray Winstone) who has retired happily in Spain, his red flesh cooking under the beating sun. Gal’s reluctance to do ‘one last job’ is reflected externally by the UK’s dismal weather. When Paul Knight takes viewers to Spain, it’s golden and sun-drenched, the score introduces a classical guitar, and it gives the impression of a careless summer holiday. Of course it’s not easy to depict Spain as miserably as the UK, but the choice to show beaches and bikini-clad sunbathers in part of a montage creates a complete tonal dissonance. Fyre should be anxious, devastated to be back in his old life which he apparently made a significant effort to escape. It creates a whiplash which could have either been avoided altogether or intentionally leaned into. Perhaps more attention could have been given to Fyre’s ironic anguish at being in a beautiful paradise, lying uncomfortable and vulnerable on a crowded beach. Knight could have incorporated the oppressive heat of the sun, cracking Fyre’s skin and burning his face, his sweat visibly and uncomfortably running down his face. Instead, we barely see Fyre outside in the daylight, and in one instance he’s sat next to the hotel pool in the shade barely looking inconvenienced. More than likely, the narrative reason for Fyre and crew taking on a job in Spain was that the production had an opportunity to shoot outside of the UK in a surface level attempt to expand the scope of the film. Fyre Rises ultimately crumbles under the weight of its ambitions, and in attempting to look and sound like an epic, it draws attention to a pervasive lack of polish. The sound mix is noticeably choppy in one scene where Fyre’s voice can be quietly heard mumbling as one of Priest’s goons confronts him. Fyre’s dialogue isn’t loud or clear enough to be understood, so it comes across as an error in the final mix. Hell, it may well have been an error, I’m not sure. The film is edited vaguely too, with many interior locations doing a poor job to establish where characters are in relation to each other. The action scenes are few and far between, which could be considered a positive considering how slapdash they’re put together. Quick cuts, close angles, and muddy lighting keep the action vague and difficult to follow. Fyre Rises could have been better served as a 40 minute short, with fewer locations, a simpler narrative, and more attention given to its few action set pieces. It feels like a project that was simply too big for the cast and crew, and at nearly two hours long, it’s an endurance test. It’s hard to know how sincerely Fyre Rises was produced. On the one hand, there’s some real enthusiasm from the cast, particularly Aaron Sidwell’s performance as Priest which should be praised for how much life he injects into the film when he’s on screen, as derivative as the character is. On the other hand, the film is not coy about Eric Roberts’ casting, who shows up remotely on a screen at the end of the film in a transparently brazen attempt to add a recognisable name to the poster. Fyre Rises misses the mark by skipping the fundamentals of good storytelling and filmmaking, instead attempting to mask its narrative failings with unremarkable spectacle. Buy UKFR Banner Space About the Film Critic Matt Trapp Indie Feature Film < All Reviews Next Film Review >

Influencer film review by UK film critic Jason Knight. Starring Cassandra Naud, Emily Tennant, Rory J Saper, Sara Canning directed by Kurtis David Harder. 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. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Wicked Little Letters film review by UK film critic George Wolf. Starring Olivia Colman, Jessie Buckley, Timothy Spall directed by Thea Sharrock. HOME | FILMS | REVIEWS Wicked Little Letters Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 3, 2024 Directed by: Thea Sharrock Written by: Jonny Sweet Starring: Olivia Colman, Jessie Buckley, Timothy Spall Long before you could hide behind a keyboard and avatar, a small English village was scandalized by some expert-level anonymous trolling. Wicked Little Letters tells us that story is “more true than you’d think,” and rolls out a stellar ensemble to elevate the tale at nearly every turn. It is the 1920s in Littlehampton, England, where unmarried Edith Swan (Oscar winner Olivia Colman) still lives with her parents (Timothy Spall, Gemma Jones). Edith is known to be a dutiful daughter and devout Christian, so town tongues are wagging when she begins to receive hateful and profanity-laced “poison pen” letters in the mail. Who could be behind such unwarranted vitriol? Whaddya bet it’s that filthy Irishwoman Rose Gooding (Oscar nominee Jessie Buckley)? Rose is frequently loud, drunk and vulgar. Plus, she’s a war widow (or is she ?) with a young daughter (Alisha Weir from the upcoming Abigail ), a “reputation” and a live-in boyfriend (Malachi Kirby). Throw in the recent falling-out with Edith, and that’s enough for the town Constables (Hugh Skinner, Paul Chahidi), who arrest Rose and quickly schedule a show trial. But “Woman Police Officer” Moss (Anjana Vasan) isn’t convinced, and she risks her position by continuing to investigate the letters on her own. Director Thea Sharrock (Me Before You, The One and Only Ivan ) and first-time screenwriter Jonny Sweet don’t craft a “whodunnit” as much as they do a “whoproveit” and a “whydunnit.” The real culprit is revealed fairly early on, and the film tries to balance some British wit atop heavier themes of repression, equality, and the sanctimonious crowd who are all preach no practice. It’s historically interesting and well-meaning enough, but it reveals Sweet’s TV background through a light and obvious romp that’s rescued by heavyweight talent. Colman, Buckley and Spall are all customarily splendid, each making up for the lack of nuance in their characters with some livid-in conviction and natural chemistry. Plus, Vasan stands out in the winning supporting group as the overlooked and underestimated W.P.O. Moss. So while it’s lacking in the bite needed to leave a lasting impression, think of Wicked Little Letters as an extended cat video, one just amusing enough to take your mind off of all those nasty comments from the keyboard warriors. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Close film review by UK film critic Joe Beck. Starring Marco Fausto Daidone, Gianluca Meotti directed by Lorenzo Sicuranza. HOME | FILMS | REVIEWS Close Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Dec 15, 2024 Directed by: Lorenzo Sicuranza Written by: Lorenzo Sicuranza, Francesco Teselli Starring: Marco Fausto Daidone, Gianluca Meotti What makes a relationship a close one? Is is the quantity of time spent in another’s company or the quality of that time? How quickly can you form a close relationship? In minutes or does it take hours and days? Those are the questions ‘Close’ raises, though it doesn’t necessarily explore them to a satisfactory level of nuance and depth. ‘Close’ begins with an extract from a poem by Ferdinand Freiligrath - “O love, as long as you can love! O dear, as long as you love! The hour is coming, the hour is coming; Where you stand at graves and lament!” - and the essence of those four lines is felt throughout the rest of the film as well. It’s a poem that expresses the need to love while you can love, because it may not last forever, and whilst that is effectively captured in ‘Close’, the film doesn’t spend enough time exploring the relationship between its characters to truly understand the bond that they share. Franz (played by Marco Fausto Daidone) is all alone in an unfamiliar city as he prepares for a piano competition. Alone in his hotel room he cannot get through to his mother on the phone and is left overwhelmed by his own solitude. All that changes when Andrea (played by Gianluca Meotti) bursts in looking for shelter from the police. Andrea is clearly a dangerous fugitive and angrily remonstrates on the phone to his accomplice but this doesn’t perturb Franz, and very quickly the two strike up something of a friendship. Emphasis must be put on how quickly this happens. One moment Andrea is yelling on the phone, the next he and Franz are sat at the piano playing together with a closeness and sensuality between them. It’s as though a chunk of the film were taken out between the two scenes and we are supposed to just believe that they struck up a friendship just like that. There’s connective tissue between the events and this is a pattern that continues throughout the film. It’s a fault in the screenplay by Lorenzo Sicuranza and Francesco Teselli as they fail to effectively set up any of the events of the film. You sense that had the film been perhaps longer and more able to bridge the gaps between scenes then it would have been a far more moving rumination on loneliness and the human need for closeness and relationships. As it is, Lorenzo Sicuranza’s impeccably beautiful directing is let down by the gaps in the screenplay and the film feels rather unfulfilling. ‘Close’ is a disappointing film. It’s one that is full of unfulfilled potential as it fails to properly explore the depths of its questions and themes, and instead feels rushed and incomplete. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Yellow film review by UK film critic Jason Knight. Starring Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas directed by Elham Ehsas. 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. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Film Festival Partners A selection of the Film Festivals that UK Film Review is a Media Partner for. Soho London Independent Film Festival Shining a light on stories that matter Soho London Independent Film Festival (SohoLIFF) is a ‘short film’ festival based in the heart of Soho, in London’s West End. We love films that could make a difference, that give a voice to those who have been marginalised. We simply love great films that are engaging, from the dark and gritty to the eccentric and flamboyant. We welcome all genres and have a particular interest in films with a social and environmental message, films that matter. SohoLIFF Thurs 25th – Sun 28th of January 2024 75 Dean Street, Soho, London W1D 3SQ SohoLIFF features live screenings, panel discussions and workshops over four consecutive days, culminating in a gala-night award ceremony to celebrate all the festival’s films! Our Audience Choice Award, voted for by the public, brings with it an amazing opportunity for the winner to have their film poster displayed across Storm’s huge digital billboards in prominent London locations, all thanks to our wonderful Soho neighbours, Clear Channel. Throughout the year we host our ‘Soho Spotlights’ which provide advice and insights for filmmakers – from industry professionals, covering subject matters ranging from finance to distribution. We also host panels and masterclasses featuring industry experts, which are free to our filmmakers. Filmmakers have an opportunity to be interviewed for our Soho Spotlights in the run-up to our festival and awards night as well. Run by a group of passionate professionals and enthusiastic newcomers, this is one not to be missed. More Screen and Story Film Festival The Screen and Story Film Festival is an open global festival giving filmmakers a platform to showcase their stories to diverse audiences across the world. Our first edition opened as a result of the pandemic in 2020 with our first virtual edition featuring 21 shorts from 10 countries. This year we are expanding our film programme to screenings of shorts, features and documentaries. The 2021 festival edition will bring its inaugural screenwriting competition to celebrate the power of storytelling combined with a full range of industry-leading events. All screenings, events and talks will be held virtually. Our 2021 edition sees a global open call for submissions that encourages all filmmakers to submit their work. With no submission or ticket fees, the festival focuses on one common mission: to enhance and empower worldwide filmmaking, providing a platform to all regardless of location, race, sexuality, gender identity, faith, disability or socio-economic background, with no exceptions. The Screen and Story Film Festival is run by likeminded volunteers from different sectors of the professional film community all working towards one common mission. We exist to enhance and empower global filmmakers and writers around the world, giving a platform to all in-discriminative of location, race, sexuality, gender, religion, disability or socio-economic background, with no exceptions. Our Values are to: - To find, develop and promote undiscovered international filmmaking talent, encouraging them to showcase their films and let their voices be heard in an engaging and inspiring atmosphere where creativity and powerful storytelling abounds. - To level the playing field for filmmakers, always providing equal opportunities to all through a broad open call free from theme at least once a year. - To create an all-encompassing support network of filmmakers for the filmmakers. Fostering connection for collaboration, encouragement and advice. - To give independent film a diverse and worldwide audience and reach a wide range of communities with films they may not generally have access to. - To be nomadic and take the festival to interesting and unexplored territories. - To be accessible to everyone, everywhere, regardless of location. More Yellowstone International Film Festival In the city of culture, art, and heritage. Yellowstone International Film Festival is dedicated to celebrating the world-class cinema. Yellowstone International Film festival is home to independent cinema from around the world. YIFF puts filmmakers first and provides the opportunity for recognition and publicity for quality films and documentaries. Our aim is to be an advocate for filmmakers with a unique vision and to promote their work by showcasing it to a large audience. which is why our mission is to carefully consider and select a wide range of films to promote to the indie film-loving crowd. YIFF will be a global adventure of the premiere, screenings, nightly red carpets, daring documentaries, eye-opening short films, We also focus films under special categories such as LGBTQ films, Women Empowerment films, environmental films, Students Films. More Cheap Cuts Documentary Film Festival Cheap Cuts Documentary Film Festival is the only UK festival dedicated exclusively to short documentary. Cheap Cuts showcases the best of British and international short documentary talent. We strongly believe in content over form and are interested in the stories you have to tell and not the equipment or budget used to do so. Cheap Cuts is committed to helping promote equality within film and every year at least 50% of our programme is formed of short documentaries directed by women. Our programme offers a variety of filmmaking styles; including experimental, animation and observational documentary and there are some great appearances from films that really push the boundaries of documentary. More Little Wing Film Festival Little Wing Film Festival takes place in August / September in London. Now in its second year, the LWFF will play host to a selection of fantastic short films from UK filmmakers, as well as some exciting workshops hosted by the Little Wing Film Festival organisers. Little Wing Film Festival Facebook - @littlewingevents Twitter - @LittleWingFF Instagram - @littlewingfilmfestival More Fringe Queer Film Fest Since 2011, Fringe! Queer Film & Arts Fest has been an entirely volunteer-run organisation rooted in London's queer creative scene. In Novembers, and throughout the year, we showcase an eclectic mix of films, arts and events celebrating LGBTIQA+ stories from around the world, welcoming everybody. Fringe! Queer Film Fest started in 2011 as a community response to arts cuts carnage, and since then we’ve ‘expanded exponentially to become one of the most innovative and exciting festivals on the circuit.’(Londonist) From feature films to experimental installations, workshops and lively debates to wild parties, Fringe! hosts a multitude of diverse events to tickle every one of the senses. You'll see us flooding East London's cinemas, art galleries, pop-up venues and basement clubs with the powerful, provocative and strange. As we continue to develop and our Fringe! Queer Film Fest family continues to grow, some things stay the same: a lot of our screenings and events are free or affordable, we remain open to new voices and ideas, and we’ll always be queer: celebratory but critical as hell. More Beeston Film Festival THE BIGGEST INTERNATIONAL SHORT FILM FESTIVAL IN THE MIDLANDS is the Beeston Film Festival. It is now open for its SIXTH year and now ranks in the top 100 Best Reviewed Festivals from the 8,000 festivals registered worldwide. The festival takes place over five days across several venues and screens over 120 films from 35 countries, creating a truly international cinematic experience. It will take place late March 2020. The Beeston Oscar, or B’Oscar, is presented to the best film in the following categories - Drama, Horror, Comedy, Documentary, Animation, Crime, Science Fiction and Student. Further prizes include Best Director, Best Script, Best Cinematography, Best Acting Performance, Best Soundtrack & Sound Design, Women’s Voices and an Audience award, too. The selection process includes review by a team of local Beestonians who select the film accepted into the festival and determine the B’Oscar nomination shortlists. Our B’Oscar award jury comprises of film professionals from across the globe including UK, US, Belgium, France, India, and Taiwan. More High Peak Indie Film Festival High Peak Independent Film Festival is a not-for-profit film festival that celebrates shorts and feature films from some of the best filmmakers around the world. The festival showcases up and coming talent from independent filmmakers across a four-day event of film, events and networking parties. Set in the beautiful town of New Mills, the festival takes place at the old theatre, New Mills Art Theatre, an almost hidden five hundred seater venue that takes you back to the past when you walk in. New Mills, only 45 minutes away from Manchester and Sheffield, is an easy commute and is worth the visit just to see the rolling hills that surround the village. It’s also known for making the famous Swizzles Matlow sweets! In the festival’s inaugural year back in 2017, the festival hit off with a bang and received great reviews from filmmakers, film lovers and those who just heard about it through word of mouth. It showed 51 films across a three and a half day event. In its second year, the festival will showcase 60 films (56 shorts, 4 features), amongst hosting an array of events and networking opportunities for filmmakers and festival goers alike. Programmes at this year's festival include our dedicated Young Filmmakers Shorts that include a selection of short films by young filmmakers aged 13-18-year-olds from around the world, a category that is always free for entry to those of that age. There is also a Women in Film programme that is dedicated to the outstanding work of female filmmakers in the independent film industry and our Best of the North which celebrates the best of local talent. As well as many other shorts programmes, we are showcasing four feature films, including holding two UK Premieres for Sarah Barker’s ‘The Subject’ and Christophe Leclaire’s ‘Le Portrait’. Our events for this year include our prestigious awards ceremony which comes jam-packed with entertainment and a live set from local artists, James Holt, and our returning movie-themed brass band night, which really is something not to be missed! We also have our free 10-hour filmmaking challenge on the Thursday and panels on Saturday and Sunday too. More Barnes Film Festival Barnes Film Festival is now planning its fourth film festival, taking place in Barnes in September 2019. The festival showcases filmmaking talent from across the UK, workshops and panel talks, together with award-winning films from around the world. Barnes Film Festival celebrates diversity, passion and creativity, and connects all filmmakers – and anybody interested in film – with industry professionals. As well as our Filmmaking Competition, the Festival will host inspiring film events for all, including workshops, discussions, screenings and gatherings, with leading figures from the film, documentary and animation industries. Whether you’re a filmmaker, or a film fan looking to discover something new, there’s something at Barnes Film Festival for you! Come along to our next Festival and be part of something fantastic. More British Urban Film Festival The British Urban Film Festival was founded in July 2005 to showcase urban independent cinema in the absence of any such state-sponsored activity in the UK (at the time). To date, the festival has screened over 500 films, securing broadcast platforms for a majority of Black and urban independent writers, actors, actresses, producers and directors on the BBC i-player, Channel 4, Community Channel (now Together TV), Showcase TV and London Live. In February 2018, BUFF Originals was launched to act as the production and distribution arm of the British Urban Film Festival. Its' debut feature - No Shade - was released in UK cinemas in November 2018, making director Clare Anyiam-Osigwe the 6th Black British female director (to date) to secure theatrical distribution in over 120 years. Emmanuel Anyiam-Osigwe is the founder and Chairman of the British Urban Film Festival and officially, one of the 100 most powerful and influential figures in independent film, according to a list published by the UK Power 100 in June 2019. For his work as executive producer of 'No Shade' (BUFF's first, fully funded and independently released feature film), Emmanuel was also listed as 1 of 5 standout inductees by the UK Power 100. More London Independent Film Festival Due to come to London in April/May 2020, the London Independent Film Festival is a particularly important event in the cinematic calendar. Mostly because it provides a fantastic stepping stone for new filmmakers, and a great festival to be part of. LIFF (London Independent Film Festival) puts on a selection of fantastic screenings, events, and workshops that attract big fans across the capital. Filmmakers who are looking to submit their film to a London Film Festival should seriously consider the LIFF. It has a strong pedigree amongst the industry and can provide exposure to some of the movie-making community's big players. For instance, at the London Independent Film Festival 2020, there will be a special event hosted by our Editor-in-Chief, Chris Olson, on film marketing. This is a fantastic partnership that is sure to benefit all who are able to attend. We are hoping to add a few more entries to this page as we review films that will be appearing in the LIFF lineup. You can also check out special features that have been provided by the festival organisers, or exclusive interviews. One such interview can be found between UK Film Review and Festival Director Natasha Marburger - so be sure to check it out. More Grimmfest Film Festival Grimmfest is one of the UK's leading festivals of horror, sci-fi, fantasy & cult cinema, taking place every year in Manchester. This truly independent genre film festival is dedicated to sharing the best new short and feature films from both emerging and established filmmakers, hosting a wealth of World, European, UK and Northern premieres across the 4-day event. Previous Grimmfest highlights range from international successes What We Do in the Shadows, The Babadook, Train to Busan, The Woman and American Mary, to those made closer to home such as Howl, Grabbers, Before Dawn, Let Us Prey and Colin. Over the years they've welcomed a vast number of guests, including horror mainstays Robin Hardy (The Wicker Man), Ken Foree (Dawn of the Dead, From Beyond), Brian Yuzna (Re-Animator, From Beyond) and Italian soundtrack maestros Goblin, alongside Britain's own Ross Noble (Stitches), Alice Lowe (Sightseers, Prevenge) and Liam Cunningham (Game of Thrones, Dog Soldiers). The 2017 edition attracted thousands of genre film fans, press and industry guests to the city, with highlights including World Premieres of gritty Manchester-set horror film Habit and stunning animated documentary Borley Rectory, featuring the voice talents of Reece Shearsmith, Nicholas Vince and Julian Sands. Ted Geoghegan's Mohawk and Rob Grant's Fake Blood had their first European outings, alongside UK premieres of the WW1-set Trench 11, Fantasia favourite Poor Agnes and Russian supernatural thriller The Bride. The Francesca Eastwood-starring M.F.A., Sitges-selected Rabbit and festival favourite Dave Made a Maze also had their first UK screenings at the festival. Northern Premieres included Better Watch Out, Replace, Game of Death, Killing Ground, Still/Born, 68 Kill, Ruin Me, Double Date, Freehold (Two Pigeons), Leatherface and Attack of the Adult Babies. 2017 Q&As and special guests included filmmakers and stars from Habit, Borley Rectory, Fake Blood, Trench 11, Double Date and Attack of the Adult Babies. The Festival's 9th edition proved once again that Grimmfest is one of the most welcoming genre film festivals in the world. "In all respects I can honestly say 'Grimmfest did me proud'! I've attended film premieres before but I've never felt such a warm atmosphere or watched cast and crew members be so well looked after, myself included" - Sara Dee (Actress - Borley Rectory) "We were honoured to have our UK premiere at Grimmfest. They did a great job of promoting the film, and their efforts led to a slew of great press; their PR people are really on top of it and we are forever grateful. It really helped establish an audience for our movie in the UK" - Bill Watterson (Director - Dave Made a Maze) "All the films looked and sounded amazing. Talking with the fans and filmmakers at the fest was a blast. I loved everything about Grimmfest. I very much look forward to screening another film there" - Matt Stuertz (Director - Tonight She Comes) More

Bird of Paradise film review by UK film critic Joe Beck. Starring Neda Davarpanah, Jeffery Thomas Johnson, Brian Ronan Murphy, McKensie Lane directed by Reza Amidi . HOME | FILMS | REVIEWS Bird of Paradise Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: May 30, 2024 Directed by: Reza Amidi Written by: Reza Amidi Starring: Neda Davarpanah, Jeffery Thomas Johnson, Brian Ronan Murphy, McKensie Lane To many people around the world Los Angeles is the pinnacle of arts and entertainment. Reaching it is like making your way to the summit of Everest for artists in industries ranging from film, music, television, and art. It’s the City of Angels for a reason, where a miraculous big break could be just around the corner, with the fame and millions that might come with it. It’s also the City of Broken Dreams, where for every star that is born, another five people have their aspirations crushed, and are forced, reluctantly into a life they never wanted. ‘Bird of Paradise’ has its protagonist caught between the two, and after a slow start, becomes a tense and unnerving thriller. Reza Amidi’s film attempts to navigate the commentary on the shallowness of Los Angeles and the lifestyle often associated with it, alongside the mystery and thriller elements necessary to keep the story engaging. The commentary is far from tactful, and often heavy handed in it’s approach with regards to the struggles of trying to make the initial breakthrough, and then in the sinister backroom dealings that run Hollywood, which have their shadiness amped up to the max. This gives us a series of characters that are full of tropes - the dodgy talent rep, the stuck up producer, the uncaring agent - making the film seem less and less believable, which is fine for a straight thriller, but bad for a thriller that wants to depict the Hollywood system and its murkiness. The film immediately establishes its thriller elements by opening with the abduction at gunpoint of Sasha (McKensie Lane), the wife of bad comedian, and by all accounts even worse husband, Bobby Garrison (Brian Ronan Murphy). We are then thrust into the life of aspiring actor Kat (Neda Davarpanah), and her struggles to get her career off the ground when she is suddenly presented with the opportunity of a lifetime by talent rep Dominic Dunaway (Jeffery Thomas Johnson) - a supporting role in a studio film called ‘Bird of Paradise’. Kat wants to be an actress but is far from ready from the pressures that fame, celebrity, and working at the height of the film industry in Hollywood, and begins suffering a series of breakdowns, which only heighten her anxiety surrounding the disappearance of Sasha, who had previously been cast in her role. She fears deeply for her safety, and with her world turned upside down begins seeing things and having mysterious dreams, as she becomes more and more involved in the mystery behind Sasha’s disappearance and murder. Reza Amidi directs the film well, particularly in terms of building suspense and tension as the film develops, and in establishing an unnerving sense around so many otherwise ordinary interactions, and a horror film with his directing would almost certainly be an exciting watch. However, the script, also by Amidi, is lacklustre, particularly in regards to dialogue which is often one-note and devoid of any subtext, which doesn’t help the actors, whose performances lack note, and never particularly endear themselves or their characters to the audience. ‘Bird of Paradise’ thrives in building suspense and tension, however as a portrait of Hollywood and Los Angeles it feels shallow, whilst its screenplay detracts from the story, ultimately making the film feel altogether very surface-level. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

English Rose film review by UK film critic Patrick Foley. Starring Adam Houghton, Katie Benbow, Peter O'Connor directed by Alexander Bather. HOME | FILMS | REVIEWS English Rose Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 4, 2024 Directed by: Alexander Bather Written by: Alexander Bather, Adam Houghton Starring: Adam Houghton, Katie Benbow, Peter O'Connor The ‘Bonnie & Clyde’ model has been explored by everyone from Oliver Stone to Bruce Springsteen – there’s just something about a young couple, crazy in love, leaving a bloody trail of destruction behind them that gets the creative pulses racing. English Rose is a British take on the structure, and Alexander Bather’s short makes sure to push it to the excess. Shortly after killing her husband, ‘Butterfly’ (Katie Benbow) is picked up on the road by Adam (Adam Boughton). Initially horrified by her actions, Adam reveals he has his own deadly tendencies. The terrible twosome embarks on a combined crime wave that leads them to a violent confrontation with the law. English Rose is a thrill-ride, promising and delivering violence, chaos, twists and turns that make for an entertaining, if mindless 15 minutes. The film wrenches the attention of the viewer – making absolutely certain that one is engaged through its stylistic vibrance. If you’re expecting a typical bloody road trip film, turn everything up a degree and slap British accents all over the place – that is English Rose. It’s over-the-top and a little corny, but still grounded in bloody realism that makes its brutality really pop. It’s perhaps not a surprise that Bather isn’t aiming for prestige drama status with his short. Dialogue is cliched and exposition-heavy, though still carries charm given the film’s cards are laid clearly on the table from the get-go. Where the film raises some themes of desperation, abuse, isolation and the delusional state love can leave one in, these are only explored at surface level. Tender moments with the couple in the car could have been expanded upon a little with more of a background provided for the leads, which in turn would have added to the impact of their actions and consequences thereof. There is simmering chemistry between Katie Benbow and Adam Boughton, a metaphorically corrosive kind in the film’s case. Their performances precisely capture the sense that their meeting is a spark that sets of a fire – an unfortunately ideal pairing for a uniquely destructive rampage. The confidence each character gains from the other is underlined by each’s uncertainty before they come clean to one another about their nature. Elsewhere Peter O’Connor gives a remarkable short showing as unfortunate cashier John What – whose terror is a heartbreaking reminder of the real-life consequences of the couple’s deadly actions. English Rose excels in excess. Impressively cinematic in its presentation and vibrancy, the short is well-worthy of a bigger screen – delivering explosive action and a colourful leading pair. There is not a whole lot of depth – not wholly a problem but a shame given the unexplored layers hinted at for the leading characters. But for a stylish roller coaster of a film, it does not disappoint. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Cursed Memory film review by UK film critic William Hemingway. Starring Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS Cursed Memory Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 15, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna In a moment of crisis, a woman loses her faith and writes a letter to Jesus, pleading for a miracle. Melinona is a survivor of the Easter Sunday Bomb Attacks, which took place in Sri Lanka on 21st April 2019. She carries mental scars of that day, when her Christian centre of worship was targeted by ISIS backed radicals, although she has always kept her belief – until now. In a letter, she explains to Jesus why she is putting him in a box and stuffing him under the sink, and how she has come to the realisation that she may have been wasting her time talking to him in the first place. Melinona has got herself into a bit of a pickle, you see. She’s been lending out the money her son has been sending her from his faraway job, lifting iron in a cold country, and she’s not been asking for any interest on it. She doesn’t know what she’ll do when her son comes home and finds out that she doesn’t have the money, and so it’s JC’s fault for abandoning her in this time of need. She tells of her woes in this letter, never intending for it to be read by anyone but Jesus, but somehow it becomes a firelighter for the family’s shame, as it falls into the wrong hands and gets distributed far wider than anyone had imagined. Over the course of twenty-seven minutes, we are treated to Melinona’s troubles and her Cursed Memory . The letter seems cursed, too, as it takes on a life of its own, passing between hands, being read through different mouths and in different voices. Director, Ranga Bandaranayake, appears to have a clear vision of how Melinona’s story should be told, and this comes through in how well thought out every scene is, with the writing from, Chamara Prasanna Kodithuwakku, giving plenty of characterisation and context to work with on screen. When matched up with some strong production value, the solid writing and impressive direction help Cursed Memory to stand out as a well put together piece of film. From the full-on three-minute credits sequence, to the haunting melodic tones of Lahiru Madiwila’s music, to the casting choices and background detail in the scenes, there’s been a lot of thought and production behind getting Cursed Memory to be just the way it is – and it has paid off. Melinona’s journey is one of trauma and of recovery, and it weaves its way through the lives of everyone around her, bringing us with along with it too, until we are invested in her story as much as her son, or daughter-in-law, or priest. The filmmakers certainly know how to put a film together, and show a real understanding of how to use visual language to tell a story, making Cursed Memory a little more memorable than the rest. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >