The Intextigator 3: The Line of the Four film review by UK film critic Joe Beck. Starring Nicole Jacobs directed by John Babu. HOME | FILMS | REVIEWS The Intextigator 3: The Line of the Four Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Aug 21, 2022 Directed by: John Babu Written by: John Babu Starring: Nicole Jacobs ‘The Intextigator 3: The Line of the Four’ is one of those films which thinks it’s a lot smarter than it actually is. It’s a film which ants to manipulate you into believing it’s a piece of high-quality, intelligent filmmaking, when in fact it is nothing more than a sub-par detective story, which offers nothing intellectually or morally stimulating. The plot is one of tired tropes as an art gallery has their prized painting stolen in the dead of night, and with no clear evidence, Detective Leah Strade (Nicole Jacobs), a not-so-subtle nod to the famous Sherlock Holmes character is set on the case. But there’s a twist - as part of an experiment (which seems like illogical timing given the robbery is headline news), she is paired with the Toronto Police’s newest recruit, the AI technology Sherlock. Anybody with a remotely cine-literate brain will immediately have their minds turned towards Paul Verhoeven’s 1987 classic film ‘Robocop’, however, where that provided a biting satire on the world of policing and the rising undercurrent of technology, ‘The Intextigator’ offers no comment, only vague hints at the dangers of being watched constantly by technology. In the end, however, even that results in nothing, as both humans and tech are placed at a stalemate as equally effective bodies of justice. This poses the question - was it all worth it? The answer is not at all. Both ultimately come to the conclusion simultaneously, meaning that we end up having to jarringly receive the same information twice, with no satisfying end result. This is indicative of a poorly written script, with too many monologues, too much repetition, and an irritating number of cuts to the AI bot’s text, in which we are forced to read what we just heard. Even the dialogue is frustratingly bland, giving us nothing to distinguish between the four suspects whom are outlined by Detective Strade for no particular reason other than they work there. There’s no reason for Strade to suspect them, and whilst her hunch proves right, it doesn’t make any of it make more logical sense. However, John Babu’s direction is sometimes engaging, and occasionally offers a creative spark to lift us out of the doldrums of the interrogation scenes, in which Nicole Jacobs does remarkably well to sustain a respectable performance in such a poorly written script. Neither of these things stop ‘The Intextigator’ from being a thoroughly boring film, where basically nothing happens. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Rule of Jenny Pen film review by UK film critic Hope Madden. Starring Geoffrey Rush, John Lithgow directed by James Ashcroft. HOME | FILMS | REVIEWS The Rule of Jenny Pen Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 5, 2025 Directed by: James Ashcroft Written by: James Ashcroft, Eli Kent, Owen Marshall Starring: Geoffrey Rush, John Lithgow In 2021, Kiwi filmmaker James Ashcroft made his feature debut with the lean and unforgiving thriller Coming Home in the Dark . While his follow up discards the taut terror of a road picture in favor of lunacy and a hand puppet, The Rule of Jenny Pen mines similar tensions. Vulnerability, institutional ignorance, helplessness, bullying—Jenny Pen comes at it from a different angle, but the damage done bears a tragic resemblance. The great Geoffrey Rush is Judge Stefan Mortensen, a self-righteous ass who finds himself institutionalized after a stroke. But as soon as he’s better, he’ll be out of there. In the meantime, he will berate and belittle staff and patients alike—even his kind roommate, Sonny (Nathaniel Lees). But Dave Creely (John Lithgow, never creepier) doesn’t think the judge is going anywhere. He doesn’t think he’s such a much, if you want to know the truth, and he looks forward to pressing every vulnerability the judge has, terrorizing him until he breaks him. Just as Dave has broken every other patient at the home—with the help of his bald little hand puppet, Jenny Pen. Back in the Sixties, hagsploitation (or psycho-biddie films) featured middle aged women with likely mental health concerns that led to various kinds of horror: What Ever Happened to Baby Jane?; Hush, Hush Sweet Charlotte; Strait-Jacket . The women’s age was what made them suspect, the films reveling in the grotesquerie of their images. Lately, though, filmmakers are realizing that the more powerful horror mines our own fears by empathizing with the aged characters, forcing us to see through their eyes. Relic, Bingo Hell, The Taking of Deborah Logan, The Demon Disorder and Bubba Ho-Tep all focus on the inevitable and terrifying vulnerabilities of aging. The Rule of Jenny Pen fits neatly into this real estate. Ashcroft’s direction situates the sadistic within the well-meaning. Hospital staff, visiting musicians, family members—all genuinely hope to make the world better for these patients. But this is a world Dave knows well, and he exploits every opportunity to wield his and Jenny’s sadistic power. Lithgow’s a maniac, making the most of his substantial physical presence among the fragile patients and delivering the most unseemly moments with relish. And Rush is his absolute equal. The veteran broadcasts pomposity with rigid authenticity that only lends power to the judge’s most helpless moments. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

I Killed Solomon Reid film review by UK film critic Patrick Foley. Starring Tygorah Smith, Ruby-Mae Cooper. Saddat Khan directed by Richard Anthony Dunford. HOME | FILMS | REVIEWS I Killed Solomon Reid Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 10, 2022 Directed by: Richard Anthony Dunford Written by: Richard Anthony Dunford Starring: Tygorah Smith, Ruby-Mae Cooper. Saddat Khan One crime has many culprits in I Killed Solomon Reid , an intriguing if indulgent docu-drama told in a ‘true crime retrospective’ style – focusing on a cast of characters whose dark secrets led to tragedy. Some years after the murder of netball coach Solomon Reid (Tygorah Smith), a documentary team are covering the true story behind the grizzly crime. Those closely tied his death give their accounts in a series of talking head interviews, as viewers discover Reid’s connection to star player Kaylee Carter (Ruby-Mae Cooper), her ex-navy father Warren (David Pilgrim), brother Luke (Adam Forrester) and school staff member Elliott Gibson (Nicholas Pople) amongst others – who all feel a responsibility for the shocking events. I Killed Solomon Reid is a gripping and enjoyably intricate drama told retrospectively as a fictional documentary series, which slowly uncovers the story of a murder over five 30-minute episodes. Each episode focuses on a member it’s cast of characters that are filled with depth and complexity – documenting how they tie into the story. It is an original and effective concept that keeps audiences invested in the fictional murder. There are hiccups with the story itself – with critical information withheld in a somewhat unnatural way in order to give each episode a revelation, but which clashes with the series’ format as a supposed non-fictional documentary. Certain episodes lose themselves down rabbit holes, with an overfocus on high-school netball drama or the prior love-life of the episode’s main character, which fail to really tie into the primary plot line of the titular character’s murder – which is where the audience’s real interest lies. The ending is hinted at and built through the series, though feels detached from many of the events that the show focuses on through its previous four episodes and ends up as a rather unsatisfying conclusion designed to give a ‘shock’ ending. The withholding of key information in this manner does result in unpredictability, but the overall storytelling suffers for it and viewers will feel cheated of the chance to have ‘solved’ the murder themselves. The interviews which are the show’s primary narrative device are well-scripted and come across as authentic, though do grow repetitive – especially with certain footage used multiple times across different episodes. These are occasionally broken up with ‘dramatic reconstructions’ of the events described. However, confusingly, the same actors carrying out the reconstructions are those giving the interviews and acting out recorded and found footage – including Tygorah Smith, whose Solomon Reid is meant to be long-dead. This utterly shatters immersion and these scenes should have been either narratively separated from the ‘documentary’ to make clear only the show’s viewers are seeing them, or left out entirely. The series is generally well acted – with Ruby-Mae Cooper’s portrayal of wide-eyed, naive Kaylee and David Pilgrim’s grimacing turn as her father Warren being particular highlights. Adam Forrester as brother Luke is also impressive, and probably the show’s best example of a character developing over the series as the weight of the events are brought back to someone talking years down the line. There are cracks in some of the performances though, with certain cast members evidently reading from a script in their segments and struggling to effectively convince viewers they are actually partaking in a real interview. But despite some shortcomings, the overall intrigue built and the originality of the show’s format make I Killed Solomon Reid an engaging and thrilling series. Despite bloat, and some storytelling issues, this 5-part docu-drama is an enigma worth solving. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Web Series < All Reviews Next Film Review >

Coast Road film review by UK film critic Brian Penn. Starring Michael Linehan, Ann Dorgan, Maria O'Callaghan, Paul Broderick directed by Brian Stynes. HOME | FILMS | REVIEWS Coast Road Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: May 8, 2022 Directed by: Brian Stynes Written by: Brian Stynes, Mike O' Dowd Starring: Michael Linehan, Ann Dorgan, Maria O'Callaghan, Paul Broderick Most people will have at least one story of a coach ride from their childhood. Whether it be a school outing or visit to the seaside it will trigger memories for mostly the wrong reasons. A grown up Killian (Derek Murphy) narrates this affecting tale of a coach trip taken with his mother as a boy. The West Cork coast provides the backdrop as a coach loaded with characters begins a journey of discovery. They have secrets to keep and stories to tell as a web of entwined lives gently unravels. Dave Burke (Michael Linehan) has organised the trip and is the local fixer. He can get you anything you want for a price, only don’t ask him where he got it from. Alice (Ann Dorgan) surveys life in forensic detail and happily swaps gossip with Fran (Maria O'Callaghan). The thuggish and moody Shane (Paul J. Coffey) adds tension to an otherwise relaxed atmosphere. The jovial mood is turned on its head when a mysterious man (Brian Collins) suddenly dies. Driver Jer (Paul Broderick) turns detective, and is convinced the passengers know a lot more than they’re letting on. They claim to know little about him but still waters often run deep. Coast Road ticks all the right boxes and makes full use of the spectacular Irish coast. Director Brian Stynes captures real geniality with characters that are instantly endearing. The partially improvised script co-written by Mike O’Dowd crackles with humour and mischief. The plotting lands squarely in Agatha Christie territory as the coach assumes an earthy equivalence to the Orient Express. A marvellous intimacy is created and the viewer is able to eavesdrop on conversations that feel natural and believable. There is real skill in portraying drama that flows from one premise into something entirely different. The film begins as a cosy almost nostalgic snapshot of a simple life. The coach is a microcosm of a close knit community where people lived in each other’s pockets. The death then changes the tenor and everyone on board becomes a suspect. The climax brings the story to a satisfactory conclusion, but is made possible by an excellent cast delivering well-judged performances. Buy UKFR Banner Space About the Film Critic Brian Penn Indie Feature Film < All Reviews Next Film Review >

Save Me From Heaven film review by UK film critic Jason Knight. Starring Abby Fitz, Diarmuid Noyes, Aida O'Malley, Muireann Ryan directed by Sean Treacy. HOME | FILMS | REVIEWS Save Me From Heaven Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 14, 2026 Directed by: Sean Treacy Written by: Sean Treacy Starring: Abby Fitz, Diarmuid Noyes, Aida O'Malley, Muireann Ryan A tense and emotional sci-fi short film from Ireland, written and directed by Sean Treacy and starring Abby Fitz, Diarmuid Noyes, Aida O'Malley and Muireann Ryan. The story is set in a future where humanity has found a way for the deceased to enter a digital version of heaven and spend eternity there. That is through a program called 'Horizons'. One stormy night, Karl (Noyes) a software engineer who works for Horizons discovers is in his workplace and, via his computer, he discovers that a young woman named Rachel (Fitz) has just passed away from a car accident and she has now reached the virtual paradise. However, since she has lost her memory, she will soon vanish forever, unless Karl finds a way to make her remember her life. A race-against-the-clock science fiction thriller with plenty of drama and tension. Through his interface, Karl desperately tries to help Rachel regain her memories and he attempts to do so by programming digital version of her loved ones (her mother (Ryan), father (Shane Lynch), daughter (O'Malley) and partner (Cal O'Driscoll)) to appear in the computerised setting that Rachel is currently in (which is a forest) and communicate with her. They interact with her via sentences that are inputted by Karl in order to answer Rachel's questions, therefore enabling conversations and he carries on with this procedure, trying to beat the dealine. Meanwhile, Rachel appears lost and confused and frightened. The music by Alberto Hernandez and Guilherme Simoes deserves special mention as they create a tense and dramatic score that is a highlight in this film as it creates a vivid atmosphere throughout. Commendations also go to the filmmaking techniques that convincingly indicate that a storm is taking place. The core of the story is about saving Rachel and Fitz delivers an emotional performance, portraying a person (or maybe their spirit) who has found themself in an unknown place without memories. However, she shows that she is capable of remembering. Noyes is sympathetic as a guy who is determined to make the impossible possible in order to save someone. O'Malley deserves recognition for being able to be believable as a loving daughter and as an emotionless part of the computer program. The screenplay explores how much technology can affect humans, going as far as to suggest that technological advancements could interact with people even after they have passed away and in doing so, this short also looks into the afterlife. Family, loss and discovering oneself (or rediscovering) also play significant roles and a main message seems to be that memories are vital for people in order to know who they are. A sci-fi story about saving someone. It would be fair to say that this film is primarily about regaining one's identity than a science fiction thriller and it works quite effectively either way. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Mukbanger film review by UK film critic Patrick Foley. Starring Quentin Laclotte, Suzanne Jouannet, Alexandre Auvergne directed by Hugo Becker. HOME | FILMS | REVIEWS Mukbanger Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 14, 2023 Directed by: Hugo Becker Written by: Hugo Becker, Sarah Malleon Starring: Quentin Laclotte, Suzanne Jouannet, Alexandre Auvergne The bizarre corner of the internet where ‘mukbanging’ resides is not one I’m familiar with, or particularly keen to become familiar with. So Hugo Becker’s short drama which takes its title from the phenomena was eye-opening in more ways than one. Despite a somewhat strange subject matter, it is a powerful look at the consequences of chasing fame and the pressures put on those who put their health on the line for notoriety. Mika (Quentin Laclotte) is a heavily overweight influencer whose fame online stems from ‘Mukbanging’ – the bizarre trend of copious over-eating for the amusement of strangers online. Mika’s doctor and his sister Solene (Suzanne Jouannet) are desperately worried about Mika’s health. But his agent/manager Yanis (Alexandre Auvergne) pressures him to push further to increase his viewing figures – and their combined earnings. A troubled family history means Mika is vulnerable to manipulation from both parties, leaving him unsure who to stand up to. Mukbanger ’s bizarre subject matter does not detract from what is a thoughtful, engaging and somewhat surreal drama. This French-language short is a fantastic interrogation of a culture of self-abuse in the pursuit of fame, which has been prevalent on YouTube and other video-sharing sites for many years. At its heart is Mika, a depressed and unhappy young man whose health is failing him, but who feels he cannot make the lifestyle changes he needs as it means giving up his source of income, as well as his source of self-worth. His obsession with viewing figures is instilled and nurtured by Yanis – a sinister presence taking advantage of Mika for his own gain – and his association of those figures with a misplaced sense of admiration or community is a tragic realisation of how internet fame can go so badly wrong. Quentin Laclotte’s leading performance is brilliantly pitiful – heartbreaking in demonstrating how helpless he feels in a lonely world which has brought him wealth and fame in a niche community, but little in the way of real human connection. His only ‘friend’ is Yanis – played in a truly unnerving fashion by Alexandre Auvergne. Auvergne’s laser-focus on numbers and total disregard for his cash-cow’s physical health or mental state makes the character memorably sociopathic – with a frightening ability to know which buttons of Mika’s to press to keep him in line. There is a disturbing dynamic the pair share that drives home Mika’s sense of worthlessness, with Yanis’ presence representing the callous and business-driven disregard that power-brokers of performers often hold. In an unregulated world which is so often driven by a race to the bottom for pure viewing figures, Yanis is an example of how extreme this can get. The film looks great – hued in grimy colours which give the impression that the world of Mukbanging is an underground culture hidden from society’s eye. Becker’s direction is key to nailing down the film’s emotional core – a highlight being Mika’s breakdown in the middle of filming a video which is intercut with reaction shots of Solene slowly losing hope that he can ever be saved. It is an uncomfortable scene that makes the audience themselves feel voyeuristic and guilty for watching someone subject themselves to such degradation, and a telling judgment of the director as to their thoughts on those who enjoy videos like Mika’s Mukbanger is original, unusual, powerful and memorable. It takes an inherent focus on emotional manipulation and control and centres this around a disturbing and discomforting online trend, but an empathetic performance by Quetin Laclotte means viewers will view this through a more relatable spectrum. Mukbanging might be worth avoiding, but Mukbanger is a satisfying-enough meal. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Chloe film review by UK film critic Jason Knight. Starring Dolores Devaujany, Georgia Sansom directed by Alexia Remoleux. HOME | FILMS | REVIEWS Chloe Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 11, 2023 Directed by: Alexia Remoleux Written by: Alexia Remoleux Starring: Dolores Devaujany, Georgia Sansom A young woman moves in with a friend of hers, only to discover that she is not what she seems. Chloe (Sansom) has just broken up with her boyfriend and needs a place to stay. Sarah (Devaujany), one of her friends, offers to accommodate her in her apartment while she gets back on her feet. Initially, Sarah appears to be a perfect companion, making Chloe feel at home and taking her out. However, as time goes by, Sarah's behaviour changes and she turns into a physical and emotional tormentor, disapproving of Chloe's lifestyle and accusing her of being promisculous and a heavy drinker. This French-speaking short begins as a drama about relationships and friendships and turns into a dark psychological thriller about duplicity, control and torment. After scenes of happiness and hope towards the future, the atmosphere changes dramatically as Sarah shows her true colours, turning into a cruel bully and Chloe becomes her victim, being constantly insulted by her harsh words. Although the abuse is primarily verbal, Sarah occasionally gets physical with Chloe, pushing her further and further into despair. As Chloe becomes more and more alienated from her friends and has her spirit crushed by Sarah's actions, it feels unlikely that things are going to change for the better. Chloe comes across as a nice person but also a vulnerable one who seems to be influenced easily by others and the viewer will most likely sympathise with her as she 'becomes trapped' in Sarah's hopeless and sadistic world. Sarah is the one who steals the show, a two-faced individual who can be kind and supporting one minute and the next she is the complete opposite and Devaujany portrays her in a way that makes her quite sinister and threatening. There are some decent songs and although it is evident that the budget was tight, that does not harm the film and director of photography Will Taylor Poole does a good job with the cinematography. This is a dark story about a person who finds herself being tormented by someone who she thought was a friend. The screenplay explores the values of friendship and romantic relationships, however to a greater degree, it also looks into the dark side of human nature, how people can be double-faced, cruel and controlling. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Lesbian Vampire Seeking Jewish Lover film review by UK film critic Jason Knight. Starring Adelyn Main, Dolly Universe, Noah Freeman directed by Chris Hale. HOME | FILMS | REVIEWS Lesbian Vampire Seeking Jewish Lover Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 22, 2025 Directed by: Chris Hale Written by: Chris Hale, Adelyn Main Starring: Adelyn Main, Dolly Universe, Noah Freeman A short horror film written by Chris Hale and Addi Main, directed by Chris Hale and starring Adelyn Main, Dolly Universe and Noah Freeman. The title is quite memorable and yes, the plot does involve a vampirism and Judaism. Laura (Main) is a vampire who resides in a small coastal town and apparently, she tends to pray on young women. One night, she goes to a nightclub in search of another victim. This potential victim is Hannah (Universe), a young, Jewish, college student. However, this time things do not turn out as Laura anticipated, as the two of them end up building a romantic relationship (without Hannah being aware that her new partner is a vampire). A dark vampire story that combines romance with lesbianism and religion. From a horror perspective, Laura gets to do what vampires tend to do, bite people (no fangs to be seen though) and avoid the sunlight. And, by the way, she does not sleep in a coffin. Her sole purpose appears to be to feed, until she meets Hannah and things turn romantic. The decision to make the film in black-and-white was a good one, as it effectively accommodates the film's dark atmosphere that is further supported by the piano melodies by Iona Davis and there is creative editing that utilises split screen and superimposition. Laura is an intriguing character, however, it would probably had been beneficial if she was explored further, her origins, how she supports herself as she seems to have her own apartment and why she becomes romantically involved with Hannah, instead of killing her. With a convincing perfomance by Main, Laura is a supernatural being who craves blood and is isolated. The arrival of Hannah, a simple young woman turns Laura's life around, revealing a softer side of her, a humane side. As mentioned, this short tells a story through vampirism, religion (Judaism in particular) and romance. It also works as a commentary about a strong bond developing under very unconventional circumstances. A dark story about the romance between a female vampire and a Jewish woman. It is an interesting viewing, although what the film's ultimate message is seems unclear. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Little Cuts film review by UK film critic Rob Jones. Starring Elise Greene, Maia Henkin directed by Maia Henkin. HOME | FILMS | REVIEWS Little Cuts Film Review average rating is 4 out of 5 Critic: Rob Jones | Posted on: Mar 24, 2023 Directed by: Maia Henkin Written by: Maia Henkin Starring: Elise Greene, Maia Henkin Horror is a unique genre in that it has to keep reinventing itself to carry its own weight. Because a lot of the purpose of it is to create a sense of fear and dread, it simply can’t just plod along doing the same thing it always has because we get desensitised to it all too easily, and recent trends have shown a bad side to that. In trying to subvert expectations, a lot of modern horrors can accidentally come across as satirical, or like they’re constantly shapeshifting in an attempt to shock us in any way they can. Little Cuts is a really interesting example of how a film can achieve something like that in a way that feels a bit more natural and refreshing. It plays into some of the genre’s oldest tropes but it does it in a way that creates an effect of a level of subversion swinging back and forth between two characters, and it’s a really interesting film because of it. It starts with a familiar shot, our two characters are at the tail end of a road trip which lands them in a cabin in the woods type setting. The cabin in question is quite a bit nicer than usual and they get there during beautiful sunshine, two minor details that do a good job of signalling that this isn’t your typical genre film already. It continues like that for quite some time as we slowly see more of the dynamic between the characters revealed. They’re long-term best friends, but one is far keener on their friendship than the other. Both are set up in such a way they could easily snap at any moment and as a viewer, there’s a lot of empathy to be had with either of them if they do. It does run out of steam towards the end when the big reveal happens, but that’s partly because the little clues that we get for where it all might be going are just so much better than any pay off for it could be - nothing lives up to the theories we make ourselves. It's as if the tension is being held together in one place by not knowing where this is all going, and then once we do it just dissipates. There are promises throughout of it veering into the slasher genre and it doesn’t quite go that far, but it does share a common problem: the reveal of the villain is never quite as fun as all of the groundwork that comes before it. That said, it only feels like such a drastic drop in tension because the first two-thirds really are that good. Little Cuts is a highly appropriate title for this film as all of the drama and the confrontation of it comes from a series of things that we might consider inconsequential in everyday life, but in being compounded over time they make a huge difference. There’s genuine nuance in the concept, and as a result, it’s a rich film which does manage to create a real emotional sense of danger. In the short time that we get to know these characters it’s so easy to feel yourself beginning to care about them both. If the mark of a good genre film is to stand up even when the frivolities of the genre are stripped away, then this is certainly a good genre film. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Hey Bro film review by UK film critic Rob Jones. Starring Terry Blackburn, Lauren Lehosky, Josh Rutgers directed by Josh Rutgers. HOME | FILMS | REVIEWS Hey Bro Film Review average rating is 1 out of 5 Critic: Rob Jones | Posted on: Apr 13, 2023 Directed by: Josh Rutgers Written by: Terry Blackburn, Lauren Lehosky, Josh Rutgers Starring: Terry Blackburn, Lauren Lehosky, Josh Rutgers There’s something to be said for a filmmaker who manages to make what they want without any budget and nothing but a smartphone as a camera setup. From that point of view, Josh Rutgers is doing something quite respectable with Hey Bro . The DIY attitude of just going ahead and making something with nothing is something that tends to be a bit rarer in film than it is in other art forms, and for all its faults this carries a level of charm with it because of that. Although this is just a ten-minute sequence from a feature film, it’s already clear to see exactly what kind of film this will be. It’s no surprise that this is mostly improvised, as it comes across as completely random for a good chunk of its runtime. The first half is centred around a confrontation that initially wouldn’t look out of place as part of a backyard wrestling promotion’s home video release. As the confrontation develops it really just ends up looking and sounding like the kind of playfighting that we’ve all been a part of at school. Nothing seems all that consequential or that well thought out, and there aren’t any payoffs that come from it. Even more confusing than its narrative, however, is how it’s edited. During the central confrontation, there are multiple points where lines of dialogue are cut off just to be repeated, almost like an action replay but without any action to replay. There’s a feeling that this is a film that only exists because someone fancied making a film, and there is a space for that. With modern technology, the process of making a film is more accessible than it’s ever been. That’s something that should be celebrated and encouraged. It is a shame though that in this case there appears to be little in the way of any thought going into it. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Trouble film review by UK film critic Jason Knight. Starring Anthony Rapp, John Rubinstein, Gwen Hollander directed by Jacob Chase. HOME | FILMS | REVIEWS Trouble Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Oct 13, 2023 Directed by: Jacob Chase Written by: Jacob Chase Starring: Anthony Rapp, John Rubinstein, Gwen Hollander A door-to-door salesman arrives at an elderly man's residence with the intention of doing some business. However, all is not what it seems. The story takes place in the U.S., during nineteen-fifties and a traveling salesman (Rapp) knocks on the door of a large house, hoping to sell some knives that he has inside his suitcase. He is greeted by the nurse (Hollander), who is looking after the elderly owner (Rubinstein) of the property. After a little misunderstanding, the man agrees to watch over the senior, while she briefly goes of to attend to other matters. The salesman then encounters the not-very-friendly aged man, who is ill and eventually allows the visitor to show him the knives. And that is when the song starts. This short film begins as a period drama about an accidental and awkward meeting between two strangers and suddenly turns into a musical and it is quite a show. Rapp proceeds to sing a catchy song filled with rhymes, whose lyrics tell a tragic background story about himself and his sister, particularly how she married a salesman who deceived and destroyed her and finally explain the salesman's current situation and intentions. The song takes up approximately four minutes of the film's ten-minute duration and the creativity makes it an enjoyable and admirable sequence. Rapp delivers a fantastic performance as he sings and dances while moving around the house, with the senior remaining seated and watching him, baffled. Reality and fantasy overlap during the song, with characters from the lyrics appearing and dancing around the property and commendations go to the camerawork and Sean Lew's choreography for the dance scenes. The song is appropriately titled Beautiful and praise goes to Alan Zachary, Michael Weiner and Zach Robinson for the remarkable work in creating a piece that supports the narrative by telling a story and is also a joy to listen to. The song sequence is the part that stands out the most, however the rest of the film is not brought down in any way, as all of the scenes help develop an intriguing story about tragedy and revenge with plot twists. And the entire film benefits greatly by Florian Stadler's wonderful cinematography and by Michael Mullen's superb work on the costumes. This film is entertaining and dramatic, with revelations. Like many musicals, this one utilises singing in order to move the plot forward and to support character development and it does so quite effectively. The singing, the dancing, Rapp's performance and the twists are what make this short a memorable experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Out of Time film review by UK film critic Jason Knight. Starring Mark Silcox, Henry Chebaane, Sadie Macgrath directed by Henry Chebaane. HOME | FILMS | REVIEWS Out of Time Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 18, 2024 Directed by: Henry Chebaane Written by: Henry Chebaane Starring: Mark Silcox, Henry Chebaane, Sadie Macgrath Humanity's food has been reduced to a single type of sustenance and a giant asteroid is heading towards Earth. Basically, this nine-minute-long film is separated into three stages: narration explaining the situation accompanied by a montage, two men having a conversation and finally another montage only that one is accompanied by a song. The plot is this: it is 2044 and things are not going well for planet Earth. Pollution has caused all food has become toxic and the RON corporation has developed a substance named 'Manna-Moolah' and it is safely edible. However, this food was created by harvesting substances from an asteroid and this activity caused the asteroid to change its course and end up in a direction that will cause it to collide with Earth. Professor Markus Pokus (Silcox), who was the corporation's chief chemist, helped create Manna-Moolah along with the help of AI, however AI took over and changed this new food, making it harmful to humans. Now, a few hours before the catastrophe, Pokus meets with Victor Kenstein (Chebaane), a former pupil in order to board a hidden spaceship and survive. As mentioned above, this short begins with a montage and a voice-over. The voice-over is provided by Macgrath and she explains the tense story with the help of a series of shots that include Pokus and computer animation depicting the asteroid approaching the planet. This section is the shortest one. The conversation between Pokus and Victor is what follows and it is intriguing and humorous. They are inside a spaceship that is disguised as a restaurant and they talk about what is going on with Manna-Moolah and the asteroid and their goal is to leave the planet, avoiding doom. Including all this, they also chat about the colour black and eggs. Now the third part. The second half or so is a music video. This section is a montage that is accompanied by the track Out of Time by LX8 (a rather appropriate choice considering that the plot involves an imminent, unavoidable disaster) and it is arguably the best part of the film. The montage is wonderfully edited by Radim Vlcek, making effective use of superimposition and dissolve techniques. The rapid montage includes images such as factories, chickens, digital numbers and Big Ben, their significance probably being to point out the factors of pollution and that time is running out. As for the song, it is quite enjoyable and (as mentioned) appropriate. This short certainly has an interesting plot, that being a sci-fi story and a race against the clock. Of course, it evidently carries important messages, raising awareness about pollution and the dangers of relying too much on technology. Overall, this is a film that is entertaining and also acts as a warning that people must protect the Earth and keep technology under control. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >