Watch the Luca trailer, the newest Disney Pixar film to be released in 2021 (hopefully). If you enjoyed the Luca trailer, be sure to let us know on social @UKFilmReview as well as check out our website for more film trailers like this.. Brand new film trailers. Luca Trailer Watch the Luca trailer, the newest Disney Pixar film to be released in 2021 (hopefully). If you enjoyed the Luca trailer, be sure to let us know on social @UKFilmReview as well as check out our website for more film trailers like this. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Zero Percent film review by UK film critic William Hemingway. Starring Brandi Botkin, Chris Dettone, Kennedy Hancock directed by J.W. Cox. HOME | FILMS | REVIEWS Zero Percent Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jan 25, 2024 Directed by: J.W. Cox Written by: J.W. Cox Starring: Brandi Botkin, Chris Dettone, Kennedy Hancock Trapped in a dingy basement is Eden (Botkin). She has a thin mattress down on the floor, placed against the back wall, to serve as a makeshift bed and she has nothing save for her underwear and a very thin blanket to preserve her modesty. She has her friend Bacon, a stuffed toy pig, to help keep her company although he can’t, of course, provide her with any advice or physical assistance. The Zero Percent of the title refers to the amount of chance Eden has, as related to her by her captor, a man referred to only as the Pastor (Dettone), of her getting out of the chain around her leg which keeps her prisoner. And so we are thrust into the middle of a dark and dangerous situation, albeit one which has been told many, many times in mostly the same sort of way, as we enter into the story of Zero Percent . So, with strong reminiscences of The Disappearance Of Alice Creed (2009) and Room (2015), along with a slew of other films of a similar ilk, we’re asked yet again to sit through the imprisonment of a young female captive who must do her very best to survive, endure and ultimately escape her desperately dire situation. What writer/director J.W. Cox then does, to inject a smattering of intrigue into the rather well-worn scenario, is to suggest that something else may be going on outside the confines of the four walls of that small prison of a basement. The way that the Pastor talks, introducing ideas of needing to scavenge for supplies, mentioning the ‘end of the world’, and invoking Revelations, is supposed to suggest to Eden, and of course to us, that some catastrophic calamity has befallen society. This ambiguity is then left hanging in the air, with no way of proving or disproving its reality, to Eden or to us, and shifts the narrative slightly, more towards that of another captive/survival/horror movie, 10 Cloverfield Lane (2016). This, however, does nothing to shift the feeling that we’ve seen this sort of thing before. Thankfully, the basement isn’t quite as dingy as it may first appear, with plenty of light streaming in through the windows from up at street level. This allows cinematographer, Matthew Kennedy to capture that light, and the colour that it provides, to create some genuinely good looking shots. Cox’s direction is also steady and sure, being as he is a veteran of more than fifteen shorts over the course of his career, and none of the small details are missed when cutting to characters’ faces or the hidden machinations of Eden. The sound design is effective, except for maybe one short scene, and the score from Jack McCarthy provides a decent brooding atmosphere to keep the viewer firmly grounded in the scenario. The main performance from Brandi Botkin as Eden is also very strong. There may very well be some sort of commentary going on here from Cox about the nature of the church, or religion, or God – what with the captor being a pastor, that Eden is a pretty obvious epithet, and that nobody can legitimately verify if what the pastor is saying is the truth – but unfortunately nothing along these lines really gets explored during the short ten-minute runtime. It would have been nice if there really was something else going on behind the scenes as it would have offered another dimension to what is otherwise a pretty average captive movie with nothing else to add to an already over-saturated genre. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Mom I Am Alone film review by UK film critic Patrick Foley. Starring Erin Dickson, Morgan Black directed by Naveen Sunag. HOME | FILMS | REVIEWS Mom I Am Alone Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jun 21, 2022 Directed by: Naveen Sunag Written by: Naveen Sunag Starring: Erin Dickson, Morgan Black I wish there was a little more to say about Mom I Am Alone. A minimalist short focusing on loss, an overall lack of anything original or substantive undermines stronger performances and scene construction. The evening before an important presentation, a woman (Erin Dickson) is disturbed by the presence of a visitor at her window (Morgan Black). The young girl pleads with the woman, her mother, to let her into the house. But knowing this is impossible, the woman can only draw the curtains – as the truth of their relationship is revealed. Mom I Am Alone is a short conceptual film about loss, and how those we lose stay with us. But its overall message is confusing and lacking in both originality and gravity. The film carries many traits of a horror – with an eery and discomforting visitor in the night haunting the protagonist, resurrecting her feelings of grief. Yet the film builds to a much more positive message that acceptance of grief and loss is a part of life – and how those we lose stay with us as we move forward. The problem with this is that the main character is not shown receiving this message herself by the film’s story. Her journey from shutting out the visitor, to making her own visit to a resting place, involves too few story beats to drive home the film’s theme or demonstrate any kind of reasoning behind her character development. It feels like an entire middle section is missing from the film – which would have included critical elements of the story. Little else is raised by the plot for viewers to really relate to. There are hints that the mother may be behind the reason why she cannot allow her daughter into the house, but this is not developed or woven into the story beyond a single line of dialogue. Her lack of surprise at the visitor’s appearance conversely is a good example of storytelling – hinting towards this being a regular occurrence that she has yet to learn how to deal with. Erin Dickson gives a strong performance as the mother, torn between embracing the visitor and allowing her into the home, but grounded by the cruel reality she knows she must learn to accept. Morgan Black’s ambiguous and fractured visitor carries an ethereal air – hints to her true nature of being formed of memory and pain. Both performers are well-cast and play their roles well – it’s a shame the story does not give either a little more to portray. So where short films do have to omit depth and lengthy plots, Mom I Am Alone brings too little to the table when exploring its themes. What is left is a concept that allows for some good performances, but not a whole lot else that has not been accomplished better elsewhere. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Indie Feature Film, Digital / DVD Release < All Reviews Next Film Review >

The Pod Generation film review by UK film critic George Wolf. Starring Emilia Clarke, Chiwetel Ejiofor, Vinette Robinson directed by Sophie Barthes. HOME | FILMS | REVIEWS The Pod Generation Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 9, 2023 Directed by: Sophie Barthes Written by: Sophie Barthes Starring: Emilia Clarke, Chiwetel Ejiofor, Vinette Robinson There are some scary implications to be found, but The Pod Generation is no horror show. In this near future world, couples – and women, specifically – willingly line up for the chance to get pregnant outside the womb. Writer/director Sophie Barthes (Cold Souls , Madame Bovary ) cooks up a smart, darkly funny and satirical look at the many faces of “progress” that still gets stuck on repeat in the third act. Rachel (Emilia Clarke) has a well-paid gig monitoring influencers (that’s a full-time job!) at a tech firm. Her husband Alvy (Chiwetel Ejiofor) is a botanist and teacher. And from cognitive assistants to breathing bars and nature “sessions,” Rachel’s fine with all the comforts provided by technology, while Alvy is much more comfortable keeping things actually natural. So there’s a conflict when Rachel gets an unexpected message from tech giant Pegazus. After years on the waitlist – there’s an opening at The Womb Center! Do Rachel and Alvy want to be next to grow their baby in a pod? Alvy is plenty wary, but Linda, the Womb Center director (Rosalie Craig, terrific) is mighty persuasive. In a speech that feels like the cynical sister to America Ferrera’s truth bomb from Barbie , she wins the couple over with the reasons why women are no longer “victims of biology.” We’ve seen films about the hidden dangers of technology for years now, but Barthes brings a slyly vital approach to the discussion, and gets a big assist from production designer Clement Price-Thomas. Everything in this world is sleek, futuristic and creepily intrusive, but just close enough to our own surroundings that we have no problem accepting it as possible (even probable). Pair that with the excellent work from Clarke and Ejiofor, and Barthes has fertile ground to dig in. She peppers the outside with some dry, funny barbs about relationships and work life, while the meat in the middle takes on gaslighting and the slippery slope of trading control for convenience. And yet, as big and worthy as these ideas are, you expect the pregnancy arc to end with a little more bite. There’s more than enough to keep us engaged while a desperate couple is weighing their options, but once it’s decision time, The Pod Generation doesn’t offer much beyond what we’ve known since we were amazed by the click wheel. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Do It For Her film review by UK film critic Joe Beck. Starring Fady Elsayed, Jonathan Hansler, Patsy Prince, Malikai Nwaka directed by Shehroze Khan. HOME | FILMS | REVIEWS Do It For Her Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Jul 7, 2022 Directed by: Shehroze Khan Written by: Mohammedally Shushtari Starring: Fady Elsayed, Jonathan Hansler, Patsy Prince, Malikai Nwaka A title like ‘Do It For Her’ immediately makes you think it’ll be the latest Jennifer Anniston rom-com, but in fact, this neat little short is anything but. Rather, it’s a tale of a young man with a crippling gambling addiction - not quite to the anxiety-inducing level of ‘Uncut Gems’, and with a lot less Adam Sandler - ‘Do It For Her’ is nonetheless an effective introspective thrill-ride into the pitfalls of making a bet. Bilal (Fady Elsayed) is a young man, stumbling through his university coursework whilst living at home with his mother (Patsy Prince) and her partner Steve (Jonathan Hansler). He works, trains and spends time with friend Ryan (Malikai Nwaka), who just so happens to work with his dad at the family jewel shop. The problem with university coursework, and that tricky stage in adult life in general, is the finances. Money is hard to come by when you're a student - having to divide time between work and studies is far from ideal, and this leads Bilal down a dark path. Bilal’s plight is perhaps amplified by the fact that he is a man of faith - of Islam. The Quran forbids Muslims from gambling, however, the reckless young man that he is, Bilal puts faith on one side in order to aid his financial state. Things begin well, money is earned through the tap of a button and Bilal splurges - spending money on Ryan (who enables the addiction to begin with) and on his mother’s bake sale at the Mosque. A fresh fifty-pound note deposited in the donations box - the cupcakes must be nice. However, all is not rosy and the spiral of decline begins - Bilal’s losing streak begins and has no end in sight - it’s not long before he’s in a deeper hole than the one before he started. ‘Do It For Her’ is at its best when demonstrating the damaging effects of gambling - both on Bilal and those around him. Bilal distances himself from others, shutting himself off from friends and family and becomes aggressive and impulsive. As he begins to feel as though the noose is tightening with regards to the debt, he is prepared to risk it all in order to escape. All this is impeccably acted by Fady Elsayed, who transitions from a friendly student to a vulnerable, violent addict with ease. Elsayed captures the viewer’s attention, and ensures that however he feels, we feel to - it is a carefully measured performance, one that could, with the wrong actor, veer into overacting, however, Elsayed is phenomenal throughout. Whilst the effect of Bilal’s addiction on Ryan and Steve are both hard-hitting, the effect on his mother is rather more ambiguous. As you may have guessed by this stage - ‘Do It For Her’ refers to Bilal’s mother, a problem given that she remains an unknown entity throughout - seemingly empathetic towards Bilal but equally unjustly angry at Steve. Other characters around her - in particular Steve - are far more intriguing than the ‘Her’ the title refers to - a significant setback when believing or sympathising with Bilal’s ultimate motivation. Still, ‘Do It For Her’ is a fine example of what can be done with a good script and talented actors. Shehroze Khan is an effective director, perfectly outlining Bilal’s isolation even when surrounded by those he loves. Take a gamble on ‘Do It For Her’, it’s not the lovey-dovey mush the name suggests. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

"Theoretically a much more paranoid conspiratorial phone-call" film review by UK film critic John McKeown. Starring Jorge Villacorta, Michael Lake directed by Jorge Villacorta, Michael Lake. HOME | FILMS | REVIEWS "Theoretically a much more paranoid conspiratorial phone-call" Film Review average rating is 1 out of 5 Critic: John McKeown | Posted on: Jul 4, 2022 Directed by: Jorge Villacorta, Michael Lake Written by: Michael Lake, Jorge Villacorta Starring: Jorge Villacorta, Michael Lake There’s nothing that isn’t theoretical in this self-described ‘Comedy, Crime, Drama, Horror, Thriller’ from actor-directors Michael Lake and Jorge Villacorta. Though ‘theoretical’, with its intellectual associations, is a far too flattering adjective. What I mean is that this 110-minute piece of filmed activity is devoid of anything resembling serious humour, crime, drama, horror, or thrills. The closest it comes to any of these genres is horror. As it left me completely aghast, not with fear, dread, or shock, but teeth-grinding irritation. Not least because they hide the incoherence of this ill-conceived product behind a mask of irony, which compounds the clumsiness of the whole thing. “This exciting feature film has been inspired by the INTERNATIONAL ORGANIZATIONS DIVISION, created in 1950 to fight and promote anti-Communism through cultural warfare” the blurb to the film tells us. It begins with Michael Lake as ‘Intelligence Officer One’, speaking to camera, addressing an intelligence committee to explain that he wants the investigation into the assassination of John F. Kennedy reopened, and that he intends to pursue the investigation whether they approve or not. This opening ten minute segment is as clear as the film gets. The ensuing 100 minutes is exclusively concerned with Villacorta on a mobile phone outside some kind of mural monument, possibly in Mexico City. Who is this man? Our only guide is the blurb: “the Boss (of the CIA committee addressed by Intelligence Officer One? ) must talk to the Pro Bono Spy Hunter (a ‘Pro Bono Spy Hunter’? Don’t they usually set spies to hunt other spies? And don’t they get paid an impressive salary? ), his Valet, and face what seems ‘forceful replacement’.” The awkward syntax suggests that the Valet is the ‘Spy Hunter’, in which case the man on the mobile is the Boss. But, why is a CIA boss doing active field work? And very onerous field work at that, as he’s on his mobile phone for at least twenty four hours pacing up and down outside the monument-mural. Crucially, what on earth has this to do with the JFK investigation? The blurb also recommends that we watch the first episode of a documentary called ‘Hidden Hands, a different history of Modernism’ which, apparently, relates how the International Organizations Division sought to promote Abstract Art to counter the preferred Soviet Socialist Realism School of Art, because Abstract Art wasn’t (still isn’t) a good vehicle for promoting social ideals. I think I detected the mysterious man on the phone referring to something like this idea in the last few minutes of the film, but it’s very difficult, and very tiring, to try and follow what is actually being said, to whoever he’s speaking to (his Boss?). One problem is Villacorta’s Hispanic accent which makes no concession to clarity of sound recording as he sashays up and down outside the mural, with the camera stuck right under his chubby chin. In a later section, when day has dawned, and the traffic flows, the camera pulls away and we see Villacorta in all his glory. Yes, Villacorta, as the film seems to be as much about a hilarious Him as any jubilant but nefarious spy. During this section of the film, Villacorta becomes slightly blurred (intentionally, perhaps to suggest the idea of a passers-by view) and his voice is drowned out for several minutes by traffic and the sound of a low-flying jet. Later we see, and hear him, snacking in his kitchen at home, and - still chattering on the mobile - looking anxiously through the window, trying to detect signs of THEM, who are coming to ‘forcefully replace him’. There is one interesting line in this almost two hour sputtering body- and hand-held-camera jog through crypto-filmic narcissism: “power is just a tool to make a more comfortable life, especially if you’re a bit of a sadist.” That ‘bit’ surely must be Villacorta and Lake. Buy UKFR Banner Space About the Film Critic John McKeown Indie Feature Film < All Reviews Next Film Review >

Albert Sowerby-Davies writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Albert Sowerby-Davies I am a third-year student of History and French at the University of Oxford, currently living and working abroad in France. At university I spend most of my time reading, discussing and writing about French literature, particularly my favourite authors: Montaigne, Diderot and Flaubert. Beside my academic interests, I love to create stories, plays and short films (the latter mostly with a collage/pop-art feel to them). I enjoy drawing upon the techniques used by some of my favourite film directors such as Jean-Luc Godard, Wes Anderson and Takeshi Kitano. When it comes to cinema, I like films of all genres. I’ve always loved discussing movies, and – thanks to UK Film Review – I have now been handed the golden opportunity to put my opinions into words. Although my list is always changing, my five favourite films at the moment are Before Sunrise (1995), Rashomon (1950), Somersault (2004), Kikujiro (1999) and Beau Travail (1999). Read Latest Film Reviews

Strange Acts of Love film review by UK film critic Patrick Foley. Starring Masashi Yamamoto directed by Masashi Yamamoto. HOME | FILMS | REVIEWS Strange Acts of Love Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 28, 2023 Directed by: Masashi Yamamoto Written by: Masashi Yamamoto Starring: Masashi Yamamoto Masashi Yamamoto’s signature experimental stylings are committed towards the concept of finding ‘the one’ in Strange Acts of Love, an irreverent animated short made up of quick segments populated by a colourful cast of characters. The film showcases Yamamoto’s typically honest and eccentric humour and imaginings of life, love, heartbreak and happiness. Amongst the segments are two morph-like figures examining a microwaved heart, a couple’s relationship literally making them float, a particularly happy pair of giraffes and more. Each segment lasts seconds at most, but features a unique take on the dynamics of relationships. The art and animation is vibrant, unconventional and immediately engaging. With no dialogue and minimal sound effects, the visuals are the primary method of storytelling, and the level of detail and imagination packed into the short runtime means that each mini-story will leave an impression with the viewer. Despite the childlike art-style, the animation itself is certainly not for the kids and Yamamoto is not above getting vulgar at times to explore realistic, uncomfortable and ugly truths about love. Not every viewer will relate or appreciate every section, but the creator’s daring approach to his work is admirable regardless. The film does seem to lack an overall theme or message, and prefers instead to allow each of its smaller parts to exist on their own – linked instead by their style and larger overall focus. Audience members will be forgiven if they question just what the film’s real point is, but the point might be more that there is no point to begin with. Yamamoto’s work is more dreamlike, drifting in and out of various interpretations and ruminations without the constriction of a defined plot. It’s certainly not going to be to everyone’s taste, and the film does feel more made for committed fans of the filmmaker’s work or for specific presentation settings than for the general viewing experience. Whilst bold and boundless, the ultimate point of much of the short segments are also left to the viewer’s own receipt. Again, some are likely to question the point, but one’s own response to what they are presented with is perhaps the most interesting element of the film – and no viewer’s experience is likely to be the exact same. Strange Acts of Love requires an open mind to get the most out of. Visually striking and impressive is standard for Masashi Yamamoto – it is the emotional and intellectual response that the director is looking to stimulate that is the film’s real aim. It’s not the most effective short to engage these such questions with such a minimal plot, but more of its shorts than not will illicit a reaction. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Animation < All Reviews Next Film Review >

Big Smooth film review by UK film critic Patrick Foley. Starring Neil Fingleton, Ian Whyte, Jenny Platt directed by Paul Stainthorpe. HOME | FILMS | REVIEWS Big Smooth Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 18, 2023 Directed by: Paul Stainthorpe Written by: Paul Stainthorpe Starring: Neil Fingleton, Ian Whyte, Jenny Platt The life and story of high school basketball sensation, Game of Thrones actor and Britain’s tallest man Neil Fingleton is lovingly told in Big Smooth, a documentary feature from director Paul Stainthorpe that, like its giant subject, really stands out in a crowd whilst maintaining a down to earth and humble connection to the things in life that really matter. At 7-foot, 7-inches tall, Neil Fingleton’s life was one unlike almost anyone else’s on the planet. The documentary follows his unassuming beginnings in Durham, to attending high school and college in America on a basketball scholarship, to starring in Hollywood films and esteemed TV series upon retirement. His friends and family paint an endearing and moving picture of a man who maintained an impossible normality in extraordinary circumstances. There is a genuine warmth and care that exudes from Big Smooth. Considering Neil Fingleton’s height gave him a unique life filled with both challenges and advantages, it is to director Paul Stainthorpe’s immense credit that the personality, character and dreams of the man are as engaging as the exceptional conditions he is faced with due to his physical attributes. The story of a young boy from Durham finding his way in the alien world of US high school basketball is a fascinating story regardless of height, and the love and admiration with which the documentary’s interviewees - including Neil’s family in the UK, his guardians and friends in the USA, and his teammates and colleagues in the basketball and acting world – are similarly testament to a remarkable story of a man many viewers will be unfamiliar with. The film is considerate and contemplative when it considers Fingleton’s size – painting a picture of a boy and a man with an attribute most would consider to be a huge advantage in life, and deconstructing beliefs many may take about living life as a ‘giant’. The film does not shy away from evidencing Neil’s advantages on the court, but also details the challenges of his size – including those that meant his career may have been cut shorter sooner than players much smaller than him would have to contend with. Considering both the filmmakers’ and the interviewees’ clear admiration for Fingleton, the balance and honesty with which these are addressed makes for an authentic and convincing account of his story. The film isn’t perfect and can occasionally drop its narrative and focus in favour of the anecdotes – which whilst consistently funny and interesting can cause the viewer to lose sense of the linear story approach the director takes. It can appear that certain footage of Fingleton’s basketball career is recycled a number of times as well which has the unintended effect of undermining his accomplishments and ability raised by contemporaries by suggesting there was little else that can be evidenced beyond the shown clips. But these rough edges never take away from the film’s ultimate themes, message or intent – which is to do justice to Neil Fingleton’s remarkable story with honesty and integrity, and show that a person’s character leaves more a lasting impression on those they love than any physical quality. There’s an obvious temptation to end this review with a terrible pun about ‘reaching new heights’ or ‘towering over competition’ – but for a film that is about Neil Fingleton’s height as equally as it is NOT about it, the dad jokes have to take a back seat. Let’s just say that Big Smooth is a brilliant documentary and fine example of how to capture the essence of a life – whether it is a remarkable one or not. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Documentary < All Reviews Next Film Review >

Grey Sea film review by UK film critic Amber Jackson. Starring Toby Mitchell, Kahmal Sealey, Emma Nihill directed by Tom Morgan. HOME | FILMS | REVIEWS Grey Sea Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: May 27, 2022 Directed by: Tom Morgan Written by: Jacob Sherwood Starring: Toby Mitchell, Kahmal Sealey, Emma Nihill Mark wakes up on a beach confused and alone, unsure as to how the previous night’s events led to him being there. We get the sense that he has had a rough night but, as this short film progresses, it becomes clear that Mark’s traits have become habitual due to some dark events that took place before. Grey Sea is a quirky comedy that deals with some challenging themes and the brutal reality of finding life to be overwhelming. Young and unemployed, Mark is unable to deal with his daily despair and instead relies upon alcohol to cope every day. He first appears to be a moody and uncapable man who has no desire to do anything with his life, which is shown through his friends and housemates joking with him. The script itself is a quintessentially contemporary British script, as there are pockets of dialogue about UK news presenters, classic drinking games and pub and house party culture. Mark’s life with his friends is real, as writer Jacob Sherwood captures a relatable moment in time of a group of young people trying to live life with its many challenges. It is a reality that hits hard, and is bittersweet, especially after two years of a global pandemic. The struggle of not knowing which direction your life is going in is the crux of Mark’s story, as he begins to isolate himself with his unhealthy habits and his friends do not know how to handle it. Director Tom Morgan has opted for plenty of close-up profile shots to get an even greater visual sense of Mark’s turmoil, which is certainly effective and makes the film chilling to watch at times. Confronted are the real issues of alcoholism and depression and a lack of motivation that comes with these and suddenly the audience is led to understand why Mark feels so low. The reality behind his issues is a lot deeper and more convoluted than we realise and his interactions with other characters suddenly makes sense. Plot-wise, the film does take a few tangents along the way, but arguably this shows how Mark is just trying to survive. As he must come to terms with his grief and decide how he wishes to keep on living, he decides that his life is not wasted if he chooses to grow. Grey Sea is emotional and incredibly moving as Mark’s story reminds audiences to keep their loved ones close and that a greater future is always possible. So raise a yoghurt to the ocean, because this one is worth the watch. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

The Corridor film review by UK film critic Swati Verma. Starring Ashley Pekri, Victoria Morrison directed by James Mansell. HOME | FILMS | REVIEWS The Corridor Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jul 30, 2023 Directed by: James Mansell Written by: James Mansell Starring: Ashley Pekri, Victoria Morrison The writer-director James Mansell dives deep into the physic of the person with his intricate screenplay and Ashley Pekri understands his nuances and performs so efficiently to convince the viewers and thus increase the degree of audience engagement with the content. The plot of The Corridor revolves around an endless corridor of locked doors that holds a male prisoner as his mind begins to slowly disintegrate. The film opens with a black screen and the makers have brilliantly integrated the narration and animation to provide the audience with a visual representation of the subject matter the movie wants to shed light upon. The combination of black, white, and grey colours, set design, dim lighting, sound, dialogues, and the character sketch complements the gloomy and depressing mood of the film-The Corridor to add a sense of realism and relatability into the minds of the viewers so that they learn from it. The shaky and shivering camera work helps the creative team to highlight the fears and insecurities of the male protagonist and glimmer in the eyes of the prisoner when thinking about his lady love (Victoria Morrison) is the only source of hope when it comes to any chances of survival while combating the tough situations he is faced with daily. In terms of performance, Ashley Pekri plays the prisoner who has been living behind locked doors for years and he doesn’t know the reason why he ended up here in the first place. Pekri portrays the range of diverse emotions the man in confinement feels with every passing second. The voice modulation, body language, and eyes communicate the helplessness and mundane lifestyle he is forced to lead and also help deliver the key messages essential for the audience to continuously evolve as ardent viewers of cinema. Victoria Morrison plays the role of the man’s lover who is a sweet beautiful woman and the memory of whom stays with him at all times. Even though the screen time for Morrison is very limited she manages to leave an impact on the audience and also smooth movement of the narrative. The corridor draws a clear demarcation to explain the difference between being alone and loneliness and what can be the long-term effect of compulsory confinement on the minds of the prisoners. The short film reiterates the importance of love, hope, and memories in life so much so that it can provide the strength to move ahead in the most testing times too. The dramatic piece highlights the importance of any kind of human contact and other social elements to lead a normal healthy life. To conclude, I would like to appreciate the efforts of James Mansell and his team for attempting to depict such a sensitive subject matter by utilising the art of animation and successfully delivering the key messages to the audience. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Capo di Famiglia III film review by UK film critic Jason Knight. Starring Dirk Gunther Mohr, Anna van Dijk, Max Laros, Peter Blankenstein, Samantha van Tetering directed by Dirk Gunther Mohr, Fabienne Leenart. HOME | FILMS | REVIEWS Capo di Famiglia III Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 18, 2022 Directed by: Dirk Gunther Mohr, Fabienne Leenart Written by: Dirk Gunther Mohr Starring: Dirk Gunther Mohr, Anna van Dijk, Max Laros, Peter Blankenstein, Samantha van Tetering A crime family in the Netherlands attempts to expand their legacy, while eliminating any efforts to bring them down. This crime drama feature is the third instalment in the Capo di Famiglia franchise, following the two previous films that were released in 2017 and 2020. Powerful crime boss Vincent la Rosa (Mohr) seems to have succeeded in his goals. He and his family are wealthy, popular and happy and his son Daniel (Laros) is a well-known politician, who is constantly rising in his field. However, their somewhat peaceful existence comes under threat when the authorities and other enemies try to sabotage them. The la Rosa family is presented pretty much as the Corleone family from The Godfather . Even though they are involved in illegal activities, they are depicted as decent individuals, religious, who care deeply for each other and make positive contributions to the world, only resorting to nastiness if they believe they have no other option. Generally, they disguise themselves as law-abiding citizens. Mohr delivers a strong performance as the head of a crime organisation and his role resembles Vito Corleone in some ways. He is intelligent, calm and loves his family, however he can be cunning and ruthless when he believes it is necessary. The movie bears further similarities to Francis Ford Coppola's classic, including scenes that involve a baptism, a funeral and a family celebration. The screenplay effectively explores the relationships that the family members have with each other, and although they have their differences, they are united. They associate with a corrupted pastor (Blankenstein) and support Daniel as he climbs the political ladder. The suffering they go through as a result of tragedies reveals their vulnerable sides. As is often the case with the ganster genre, there is murder, corruption, bribery and the consequences of living a life of crime. The story is also seen through the perspective of the authorities as they try to put an end to the family's criminal deeds. As the director of photography, Robert Schepers does a great job with the cinematography, and composer Andre Schoorlemmer provides a dramatic and appropriate score. This movie from the Netherlands is fifty minutes long and an intriguing viewing, with well-written characters and great performances. There are many scenes that involve the family members supporting, comforting or confronting each other, making this feature as much as a family drama as it is a crime story, which is not a bad thing. Fans of the gangster genre should give this one a go. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >