Arco film review by UK film critic Hope Madden. Starring Oscar Tresanini/Juliano Valdo, Margot Ringard Oldra/Romy Fay directed by Ugo Bienvenu, Gilles Cazaux. HOME | FILMS | REVIEWS Arco Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 28, 2026 Directed by: Ugo Bienvenu, Gilles Cazaux Written by: Ugo Bienvenu, Félix de Givry Starring: Oscar Tresanini/Juliano Valdo, Margot Ringard Oldra/Romy Fay A child who can’t wait to grow up goes against his parents’ wishes and stumbles head long into a dangerous adventure. Between the family-film formula for its plot and the hand-drawn animation, Ugo Bienvenu and Gilles Cazaux’s Oscar nominated Arco feels like it comes from another time. And that’s a lot of its charm, because the retro-futuristic vibe balances a delightful vintage SciFi quality with a disconcerting reality. Arco (voice in English by Juliano Valdo, in French by Oscar Tresanini) is a boy from the distant future who, sort of accidentally, travels back in time to 2075 where he crash lands in the life of a lonely little girl named Iris (Romy Fay/Margot Ringard Oldra). With her parents working in the city, joining by hologram for dinners and bedtime, Iris spends most of her time with a nanny robot named Mikki, and a toddler brother named Peter. But Arco shakes up her world, offering connection and companionship she’s been missing. Together, they’ll figure out how to get him back to his time before it’s too late. Again, the premise itself is not that unusual. It’s essentially E.T. Bienvenu, writing with Félix de Givry, livens up the story with the loony humor of a bumbling threesome bent on finding the rainbow boy. They’d seen a boy just like him as children, and nobody believed them. Now they want proof. The bowl cuts and rainbow sunglasses mark the characters—voiced in English by Will Ferrell, Andy Samberg, and Flea—as harmless goofballs, but they serve more purpose than simply comic relief. The miracle the filmmakers conjure with Arco is that the childlike wonder of the characters, the wholesome storyline, and the beautiful animation belie the absolute bleakness of the film’s context. The world around Iris is literally on fire, a danger that Bienvenu illustrates with lush ferocity and amplifies with a daring, feverishly paced third act. Those two worlds—hopeful wonder and bleak reality—inevitably collide, and though Act 3 resolves as you likely expect it to, it taps into the bittersweet emotion and timeless hope that marks all great family films. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema, Animation < All Reviews Next Film Review >

Dead Man's Wire film review by UK film critic George Wolf. Starring Bill Skarsgård, Dacre Montgomery, Colman Domingo directed by Gus Van Sant. HOME | FILMS | REVIEWS Dead Man's Wire Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 14, 2026 Directed by: Gus Van Sant Written by: Austin Kolodney Starring: Bill Skarsgård, Dacre Montgomery, Colman Domingo Even without the cameo from Al Pacino, Dead Man’s Wire has the gritty, absurdist vibe of legendary 70s thriller Dog Day Afternoon. Also based on true crime events, the latest from director Gus Van Sant leans on a timely, anti-hero tone and some stellar performances for a look into the desperate edges of the American dream. Bill Skarsgård is utterly manic and completely magnetic as Tony Kiritsis, who held an Indianapolis mortgage company executive hostage in February of 1977. Kiritsis, who hoped to build a shopping center on his 17 acres of land, became convinced that Meridian Mortgage president M.L. Hall (Pacino) was sabotaging the project. Finding M.L. out of town, Kiritis settled on son Richard Hall (Dacre Montgomery from Stranger Things ) for his plan of revenge. Armed with a sawed-off shotgun and a “dead man’s wire” running from the trigger to Richard’s neck, Tony demanded media access, immunity, compensation and a personal apology from M.L. himself. Tony’s mood swings with wild abandon, but he’s downright starstruck when telling his story to WCYD deejay Fred Temple, the “voice of Indianapolis.” The great Colman Domingo plays Temple with a grounded mix of caution and curiosity, as the confused local celeb is reluctantly pulled into a life-or- death drama where a potential murderer is a gushing fanboy. Writer Austin Kolodney comes from a comedy background, and Van Sant weaves some darkly comedic layers through terrific period details that only enhance the through line from 1977 to today’s breaking news. Just two years ago, we saw how a communal feeling of hopelessness can turn a fugitive into a heroic man of the people. Dead Man’s Wire reminds us this feeling of simmering resentment is as old as the art of stacking decks. And while his narrative approach ultimately carries more polish than bite, Van Sant and a terrific ensemble never fail to make this history lesson an engaging high wire act of sadness, surprise and bittersweet delight. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Hustle film review by UK film critic George Wolf. Starring Adam Sandler, Juancho Hernangomez, Queen Latifah directed by Jeremiah Zagar. HOME | FILMS | REVIEWS Hustle Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jun 9, 2022 Directed by: Jeremiah Zagar Written by: Will Fetters, Taylor Materna Starring: Adam Sandler, Juancho Hernangomez, Queen Latifah Adam Sandler’s passion for basketball is fairly well known, so the fact that Hustle is a love letter to the NBA shouldn’t be a huge surprise. And, this being a sports movie, you can expect some familiar benchmarks the film wisely doesn’t shy away from. But this film about the heart and commitment that’s required in the Association boasts plenty of both from nearly everyone involved, landing Netflix an enjoyable winner. Sandler plays Stanley Sugerman, a road-weary scout for the Philadelphia 76ers whose devotion to the team owner Rex Merrick (Robert Duvall) is finally rewarded with a job on the bench as Assistant Coach. But with clear shades of the Buss family drama in L.A., Rex’s son Vince (Ben Foster) wrestles control of the team from his sister (Heidi Gardner), and Stan is back living out of a suitcase while he scours the globe for a susperstar. Writers Will Fetters and Taylor Materne set some nice stakes early, as Vince dangles a return to coaching in front of Stan. The quicker he finds the team a game-changing phenom, the sooner he can be home closer to his wife (Queen Latifah) and daughter (Jordan Hull). On a gritty playground in Spain, Stan thinks he’s found his unicorn in the 6’9” Bo Cruz (NBA vet Juancho Hernangomez). The talk of big money lures Bo to Philly, but the path to a payday hits some roadblocks, and Bo’s longing for this mom and daughter back home creates some effective character-driven parallels with Stan. Sandler and Hernangomez share a sweet, funny chemistry, and a constant stream of past and present NBA stars adds plenty of authenticity. Even better is director Jeremiah Zagar’s (We the Animals ) skill in framing on-court action with speed, sweat and a tense, in-the-moment feel that gives the standard sports themes some needed vitality. Hustle is a story of father figures, redemption, perseverance, and leaving your mark. No one’s claiming to re-invent anything here, and the winking nod to an iconic Rocky moment cements a self-awareness that only adds to the film’s charm. It’s also another example of Sandler’s versatility, and the good that comes from surrounding himself with unique voices. When Sandler cares, he shines. And he clearly cares about basketball. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >

The Air Between Us film review by UK film critic Jason Knight. Starring Jordan Nancarrow, Crayton Cambridge, Andrew English, Bryn Bergwall directed by Newton Mayenge. HOME | FILMS | REVIEWS The Air Between Us Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 6, 2026 Directed by: Newton Mayenge Written by: Lydia Lane Starring: Jordan Nancarrow, Crayton Cambridge, Andrew English, Bryn Bergwall A short drama directed by Newton Mayenge, written by Lydia Lane, and starring Jordan Nancarrow, Crayton Cambridge, Andrew English, and Bryn Bergwall. Tyler (Nancarrow) and Sasha (Cambridge) are a couple who have just moved into a new home. However, all is not well, as Sasha appears to be unwell, being unhappy and experiencing trouble breathing. Does she have an illness? Is she sad about something? Her troubles are damaging her relationship with Tyler and, as concerned as he is, he does not know how to help her. Eventually, on Sasha's request, they separate and Tyler turns to his friend, Jack (English) for comfort and advice. Can they find out what is wrong with Sasha? The screenplay operates kind of like a mystery, with Jack trying to discover what the source of Sasha's misfortunes is, a mystery that might even be concerning him, as he too claims that he feels unwell in their new house. A lot of drama ensues as Tyler and Sasha try to figure things out and when it is discovered why their well-being has been negatively affected, it is an unexpected discovery. Cambridge's role is that of a woman who does not know why she is suffering, why she is constantly feeling gloomy and having trouble breathing. Although she cares for those around her, her unknown condition causes her to isolate herself from others. Nancarrow plays her supportive partner, who wants to help but is unable to, because he does not know what is going on. English and Bergwall are sympathetic as the couple's caring friends. The film is rather efficient when it comes to acknowledging the significance of support, friendship and reaching out for help. Perhaps at its center, it seeks to educate viewers that sometimes the source of one's mental problems, why they are feeling down might be attributed to the air that they breathe, pointing out that unclean air can affect physical and mental health. It discloses that things that are not visible, such as air, can have negative effects on people and it also presents a solution: air filters. An emotional drama that raises awareness of polluted air harming people. It explores a threat that appears invisible and alerts viewers that if they are feeling poorly and cannot figure out why, then the cause might be the air that they are constantly breathing in their homes, or other places where they spend a great deal of time. The fact that this short points all this out, makes it worthy of significant attention. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Belief film review by UK film critic Jason Knight. Starring Erika Hamilton, Barrett Hamilton Loubek, Mykee Selkin, Tia Robinson, Charley Harper Loubek directed by Christian Loubek. HOME | FILMS | REVIEWS Belief Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 4, 2024 Directed by: Christian Loubek Written by: Christian Loubek Starring: Erika Hamilton, Barrett Hamilton Loubek, Mykee Selkin, Tia Robinson, Charley Harper Loubek A short drama written and directed by Christian Loubek and starring Erika Hamilton, Barrett Hamilton Loubek, Mykee Selkin, Tia Robinson and Charley Harper Loubek. Lennox (Selkin) and his wife (Robinson) and daughter (Harper Loubek) have just moved to another house and in one of their boxes, Lennox discovers a letter that was send to his mother (Hamilton) from his school when he was a boy. This accidental discovery causes Lennox to remember the tremendous efforts and sacrifices his mother went though in order to give him a good life. This heart-warming story is primarily a mother-and-son relationship, showing a devoted parent who is determined to help her child achieve in life after the school he attends announces that he is unsuitable to carry on with his lessons. So she decides that Lennox will be home-schooled from now on and she will teach him herself. She removes a door from their home, converts it into a desk and proceeds to teach her boy, while working as a nurse and socialising with friends. As time passes, the two of them make progress and Lennox proves that he is intelligent and capable. Watching a single parent go to such lengths for their only child is very inspitational and emotional and the plot twist in the end shows how much she loves and believes in her son. As moving and beautiful as all this is, it wouldn't had such an emotional impact without the wonderful selection of songs that include Found by Jacob Banks, I've Got Reasons by Mary Jane Hooper and Don't Let The Devil Fool You by A Moment In Time. Could there be something in this great and moving film that could had been done differently? Perhaps the use of repetition should had been cut down a bit. The flashbacks that show Lennox as a child being home-schooled by his mother are constructed as a montage that repeatedly alternates between scenes that primarily involve Lennox at home, being taught by his mum, Lennox playing in a playground playground and his mother working or playing cards with friends. Although the obvious purpose of these scenes present the lifestyle of the two protagonists and their progress, maybe there were too many of them as some are almost identical to others and do not seem to add anything to the narrative. This short gains enormously from the strong performances, particularly by Hamilton as a single mother who is being strong for her son and is determined to support him. When the screenplay was written, Husband-and-wife Christian Loubek and Erika Hamilton waited for their children (Barrett Hamilton Loubek and Charley Harper Loubek) to reach the appropriate age in order to play the parts in the film and they both do a great job. The themes that are explored are numerous. This is a story about parenthood, particularly motherhood, about the sacrifices a parent does for their children so they can succeed in life. As the title suggests, belief is another subject, believing in others and self-belief. Support is of course another and so is the idea that people should not let others convince them that they are worthless, which leads to the belief that one must never give up. From a different perspective, as all the characters are African Americans, this film works as a commentary about life of African Americans in the United States and the presence of books that include Malcolm Little: The Boy Who Grew Up To Become Malcolm X and Assata: An Autobiography seems to point out the struggles of African Americans. By viewing this film, people will have the privilege of experiencing an inspirational and moving story filled with love, support and inner strength that will hopefully encourage them to believe that they can achieve even when the odds are against them. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Spooky Bastard film review by UK film critic Swati Verma. Starring Rafe Bird, Vicki Reckless directed by Michael Bird, Rafe Bird . HOME | FILMS | REVIEWS Spooky Bastard Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 25, 2023 Directed by: Michael Bird, Rafe Bird Written by: Michael Bird, Rafe Bird Starring: Rafe Bird, Vicki Reckless The word Spooky incorporated in the title of the short film usually refers to Sinister or ghostly in a way that causes fear and unease assisting the filmmakers to increase the audience engagement with the content via the leading couple Jamie (Rafe Bird) and Helena (Vicki Reckless). The plot of Spooky Bastard revolves around a loud crash in the middle of the night, and a cloaked figure in the garden one thing is for certain…. Jamie has found himself in a horror movie-and boy does he hate it when that happens! The ethereal cloaked figure has just one purpose…to spook. But what happens when it isn’t working? Well, things got to get really spooky… Now Jamie and his girlfriend Helena must discover how to rid themselves of the enraged Spooky Bastard so that they can just get a good night’s sleep…And wait for the credits to roll. In the opening sequence, a long shot of the house is shown followed by a close-up shot and mid-shots of the male protagonist along with eerie sounds in the background to elevate the horror genre and also adding hints of comedy to establish the subject matter the film deals with. The movie has incorporated comic references in the carefully written conversations between characters related to Nottingham providing it with the necessary local vibes so that the viewers relate to the same. The makers have decided to create a contrast by taking up the domestic issues every husband and wife go through daily so that the audience feels involved and does not get bored with the constant mention of Western and science fiction themes. The white, black, and blue colour pallet, camera angles, set design, dim lighting, dialogues, costume, hair, makeup, and props complement the switch between different genres and elements ensuring the continuity and smooth flow of the narrative. In terms of performance, Rafe Bird plays Jamie who is a fun-loving person who loves his life with his better half but soon is dealing with a spirit in a horror movie. Bird exudes brilliant comic timing in his body language, voice modulation, dialogue delivery, and the reaction shots given by him in a situation as per the demand of the script. Vicki Reckless as Helena is high on energy attempting to strike a balance between professional as well as personal life. Reckless portrays a fearless attitude as she deals with the situation. She is all calm and composed initially but takes the form of a ninja later. The young actress is a true inspiration to many making Helena relatable in the eyes of the audience. The Spooky Bastard talks about functioning as a unit to deal with any unforeseen emergencies. The short film also reiterates the need for emotional support and understanding between couples or families to combat and survive the testing times. The horror film celebrates womanhood and tells us that asking for help from women in one’s life should be a matter of pride, especially wives because it truly defines partnership in a wedlock. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Scalpel film review by UK film critic William Hemingway. Starring Barbara Berger, Eystein Berger, Richard H Lyford directed by Richard H Lyford. HOME | FILMS | REVIEWS The Scalpel Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Aug 12, 2024 Directed by: Richard H Lyford Written by: Richard H Lyford Starring: Barbara Berger, Eystein Berger, Richard H Lyford In the 1930’s young, experimental filmmaker, Richard H Lyford was busy writing his own stage and screenplays as well as creating his own silent films, even though he was still only a teenager. By 1936, at the tender age of nineteen, Lyford already had over fifty stage/screenplays under his belt and was working on his seventh film, The Scalpel . The films Lyford made were some of the first ‘indie’ movies produced outside of the confines of Hollywood and pioneered the use of special effects, double-exposure and heavy make-up to help create his visual narrative style. By the 1940’s Lyford was working for Disney, and his techniques in hi-speed animation helped make Dumbo (1941), Pinocchio (1940) and Fantasia (1940) the classics they are today. Unfortunately, a lot of Lyford’s early work was lost to history and it wasn’t until after his death that many of his films were rediscovered in the basement of his Seattle home, which he had converted into his own private cinema. It is thought that some of those early ‘indies’ may never have left Lyford’s basement and had therefore never been seen by the general public. In 2019 the world finally got to experience As The Earth Turns , a 1938 work from Lyford, which had been restored and fitted with a new orchestral soundtrack from composer Ed Hartman, at the behest of the Lyford family. Today, The Scalpel has gone through the same process and is now ready to be presented to the world for the first time. Very much in the same vein as Dr. Jekyll and Mr. Hyde (1931), The Scalpel follows the goings on in a medical laboratory where some highly unethical practices are taking place. Dr Howard Van Cleve, played by Lyford himself, is engaged in some dangerous experiments, using what has proven to be a lethal compound to try and cure ‘cretinism’(!). The doctor has been experimenting on himself and repeatedly injecting his thyroid with the serum, to obviously horrifying results. Of the nurses on shift, Miss Cummings, played by Lyford regular Barbara Berger, is the pluckiest and therefore most susceptible to encountering the horrors of Dr Van Cleve. As she tries to help her fellow nurse after a freak explosion, Nurse Cummings faces off against him, or more accurately the monster he has become, and is the victim of a brutal attack. While the doctors in the lab are operating, they also have to deal with the monstrous Van Cleve, until somebody can defeat the monster and save the day. Populated by friends and family, and with most of the cast and crew recruited from Seattle’s Franklin High School, The Scalpel is an early monument to the dedication and passion of independent filmmakers. The fact that this film was able to be made at all is down to the vision and hard work of one man, and what he managed to create stands proudly alongside some of the bigger budget studio productions of the day. The use of special effects and double-exposures are exciting to behold in such an early indie work, and the make-up, especially in the transformations, is horrifyingly magnificent. Of course, there are things that could be nit-picked at in terms of the production, which are perhaps not as smooth or as professional as a Hollywood movie, but in all honesty, why would anyone focus on that when a new classic has been revealed to us and we get to revel in a newly discovered piece of history hitherto unseen by any living soul? The fact that we are able to view this film at all is a triumph. All praise and credit should go to Ed Hartman for taking on these projects and for bringing them back to life for a new generation, a new century and a new millennium. The Scalpel is an important part of film history, from an important contributor to the development of film, and as each year goes ticking by it’s only going to become more important that The Scalpel , and other films like it, are available for us to watch. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, Short Film < All Reviews Next Film Review >

Amigo film review by UK film critic Hope Madden. Starring Javier Botet, David Pareja directed by Oscar Martin. HOME | FILMS | REVIEWS Amigo Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 29, 2022 Directed by: Oscar Martin Written by: Javier Botet, Oscar Martin, David Pareja Starring: Javier Botet, David Pareja Friends are the family we choose. Yeah, that’s all well and good until one of them turns into Annie Wilkes from Misery . But it looks like Javi (Javier Botet) has chosen well in David (David Pareja). Director Óscar Martín’s film Amigo , co-written with both Botet and Pareja, opens on David carrying Javi from his car, across a snowy lawn, into an old farmhouse, and to a comfortable bed. That’s not all. David will sit up all night in the chair next to Javi’s bed, just in case his friend-in-need needs anything. That’s devotion. As the next 80 minutes crawl past, we’re alone with the pair in their isolation. They’re far from town. Snow and ice have made the streets impassable. David’s low on his own medication, and that scar on his forehead marks the throbbing pain he can’t control without it. Plus, shouldn’t Javi be in a hospital? Slowly but surely, Martín’s film descends with its characters into a nightmare, kind of Whatever Happened to Baby Jane without the egos or lipstick. To develop palpable tension, Martín takes full advantage of Javier Botet’s physical presence. The actor’s made a name for himself playing silent, nightmare images in REC (Nina Medeiros), Mama (Mama), The Conjuring 2 (Crooked Man), Insidious: The Last Key (Key Face), Slender Man (Slender Man) and more. While he put his physical performance to use doing creature work for Guillermo del Toro, Álex de la Iglesia and other filmmakers, Amigo changes that perspective. Botet’s long, gaunt frame is webbed with the scars of an auto accident, his gangle of bones a macabre reminder of his vulnerability. Botet’s performance, much of it nearly silent, aches with rage, melancholy and helplessness. Javi’s quiet, burning anger could simply be the natural result of his situation. And his best friend David counters the hostility with buoyant, devoted energy and an unflagging smile. Pareja’s depiction of David’s gradual decline unsettles. Martín rushes nothing, and though he leaves breadcrumbs, you’ll never know for sure where he’s leading you. The result is a somber, unnervingly realistic punch to the gut and a reminder that friendship does not have to be forever. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Mexed film review by UK film critic Swati Verma. Starring Chantal Brindley directed by Lissi Simpson. HOME | FILMS | REVIEWS Mexed Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Nov 18, 2021 Directed by: Lissi Simpson Written by: Lissi Simpson Starring: Chantal Brindley The title of the short film Mexed is made up of two words- Me and Mixed. It indicates that the creative piece talks about someone's personal experiences. The cinematic piece poses a lot of questions at the very start. The makers have attempted to find the answers to the same. The film makes the issue clear to the audience with the title appearing on the black screen. Mexed revolves around an emotional outburst of a biracial woman. She has raised her voice to support the black life matters campaign in 2020. The protagonist featured in the video tells us about the hardships she faced as a child and continues to face them as she struggles to fit into society. She loses her trademark for people who don't feel the need to accept her natural self. She is angry at people who use the word "Frizzy" to refer to her hair. In the concluding moments of the movie she breaks free, heals, grows, and learns about the uniqueness of her personality. The writer-director Lissi Simpson uses spoken word to give the film a personal touch and vent her anger. The movie showcases the journey of discovering, accepting, and loving self. The filmmaker prefers the forest/ natural surroundings to go ahead with the making of the short film. This choice made by Lissi gives access to an open space to express all the sentiments the individual is trying to convey through this project. Lissi creates a mixture of various elements like Dance, Emotions, hair type, and natural surroundings to come up with Mexed. It forces the audiences to engage with the content and think about all the questions Mexed raises. The director Lissi Simpson also faces big challenges while presenting Mexed in front of the masses amidst the ongoing pandemic with the availability of limited resources and new corona virus rules imposed on the entertainment industry. Despite all the difficulties and restrictions, she manages to deliver a beautiful piece with a strong message in it Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Embrace film review by UK film critic Joe Beck. Starring Natte You directed by Axel Zeltser. HOME | FILMS | REVIEWS Embrace Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 15, 2025 Directed by: Axel Zeltser Written by: Axel Zeltser Starring: Natte You How much do you notice when you walk to work each day? Are you one of those people that could say exactly how many drains you pass, or do you walk idly by, headphones in and with a head full of stress and worry about the day ahead? Sometimes it pays to be attentive, to notice the small changes to our typical environment and typical routine. ‘Embrace’ is an extremely concise film that leaves you with a lot to think about in just a short runtime, not least the amount of attention we pay to the world around us. In its short two minute runtime Axel Zeltser’s ‘Embrace’ follows Melanie (played by Natte You) as she navigates her everyday life, full of challenges and the rigours of monotony, as well as the looming backdrop of a stalker, who calls her phone and tries to assert his control over her. Each day she walks the same streets, completely oblivious to the wider world around her. She doesn’t notice the cold, grey, metal bucket that stays stationary down an alley, because, well, why would she? It doesn’t matter that the creepily scratched number on the side of the bucket seems to change each day for no apparent reason, that isn’t what suddenly causes Melanie to notice what had been hiding in plain sight. ‘Embrace’ is a clever film in how it uses the bucket and the secret behind it as a metaphor for the stalker Melanie is facing. The stalker, like the bucket, is a constant ominous presence in Melanie’s otherwise ordinary life, only one is ostensibly present to her and the other is not. The bucket haunts her by its very presence, and ultimately when she is drawn to it, seeks to control her, just in the same way as her stalker does. Writer and director Axel Zeltser depicts this metaphor with precision, and executes his message well. Throughout it is well edited, both visually and audibly, with beautiful shots of the winding Parisian streets that make up Melanie’s commute cut together with glimpses into her work as a therapist to the sound of footsteps, doorbells and phones ringing. Zeltser directs with a firm hand, a breezy pace and a strong vision, which is executed well, and yet, as the film hurdles to its conclusion, ‘Embrace’ leaves an underwhelming taste in the mouth. The ending of the film is weird. Your mileage for it may vary, but certainly it’s a change of pace from the rest of the film and takes a tangible mystery into the realm of disbelief. It’s an ending that feels superimposed from another film and placed into ‘Embrace’, and for that reason the film doesn’t quite stick its landing. Nevertheless, ‘Embrace’ is, for the most part, a well-made, concise horror, with a sharp, thought-provoking metaphor throughout. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Chasing Chasing Amy film review by UK film critic Hope Madden. Starring Sav Rodgers, Joey Lauren Adams, Kevin Smith directed by Sav Rodgers. HOME | FILMS | REVIEWS Chasing Chasing Amy Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 30, 2024 Directed by: Sav Rodgers Written by: Sav Rodgers Starring: Sav Rodgers, Joey Lauren Adams, Kevin Smith Nearly 30 years ago, Kevin Smith did what he does best. He made a film so simple, so personal, so deeply human, so profoundly myopic, so densely problematic, so deeply heterosexual-white-dude that it was hard not to simultaneously hate and love it. In fact, of all Smith’s movies, his 1997 straight-boy-falls-for-lesbian romcom Chasing Amy fits that (rather lengthy) bill best. Hell, just being the indie darling of 1997 – pinnacle Weinstein era – creates additional problems, let alone the way Smith’s script funhouse mirrors his offscreen relationship with the star (Joey Lauren Adams, who earned a Golden Globe nomination for her vivid performance). Whew, that’s a lot to unpack, and it’s not even the primary focus of Chasing Chasing Amy. For documentarian Sav Rodgers, stumbling across Smith’s film in his parents’ stash of Ben Affleck flicks as a kid saved his life. Literally. During his toughest times, Rodgers would watch the film every day. He’d never seen queer people in a film before. And he wanted to believe that one day he would find the kind of love Holden (Affleck) expressed for Alyssa (Adams). And yet. For many (most?) in the LGBTQ community, Chasing Amy is nothing if not problematic. So, what begins as Sav’s odyssey through the film’s New Jersey landmarks turns into an investigation into the movie’s queer depictions, then becomes an enduring friendship with Smith himself before turning into a remarkable examination of the seedy state of independent film in 1997. And that alone would be more than worth the price of admission. Indeed, Rodgers gets better, more insightful talking head interviews for this doc than I’ve seen in any documentary in the last several years. Guinevere Turner (who wrote 1997’s Go Fish and partly inspired the character of Alyssa), in particular, is a treasure. But even as Rodgers’s film metamorphosizes, so does its filmmaker. Because Rodgers is himself a large part of his film – the film’s impact on his own life did inspire the documentary – the director cannot help but document his own journey. And not his journey as a filmmaker, but as a trans man. Rodgers possesses sharp storytelling instincts and a cinematic presence so sincere and authentic it could break your heart. You come away from this film hoping genuinely for his happiness and waiting eagerly for his next film. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, LGBTQ+, Documentary < All Reviews Next Film Review >

BEIGE film review by UK film critic Amber Jackson. Starring Olivia D'Lima, Hannah Almond Barr directed by Hannah Almond Barr. HOME | FILMS | REVIEWS BEIGE Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Oct 20, 2022 Directed by: Hannah Almond Barr Written by: Olivia D'Lima Starring: Olivia D'Lima, Hannah Almond Barr BEIGE is a mini short film conveying the awkward and at times painful moments of a mixed-race actor during auditions. Writer Olivia D’Lima provides viewers with a real insight into real life comments from those within the industry and how cringe-worthy they can be. This is ultimately an uncomfortable and comedic look at actors putting themselves out there for rejection. Yet, it is also incredibly vulnerable as it highlights how much more work needs to be done in order for UK society, and indeed much of the acting and entertainment industry, to work out racial prejudices and preconceptions. Director Hannah Almond Barr does a fantastic job at positioning the camera to gaze upon the actress, Chloe, intrusively, as though the producers are scrutinizing everything about her appearance. You get the sense throughout the short that she is very uneasy with the pressure and indeed the comments made about her hair and skin colour. It is shocking, yet unsurprising, that a mixed-race woman is being treated in this manner. Time and time again, we hear stories about these types of issues within the acting world and the casting process more specifically within this film, where an actor is described as ‘ethnically vague or ‘too white’ or ‘too dark’. This short is brutally and unashamedly honest and should be commended because of it. Chloe must confront infuriating questions like ‘no, but where are you REALLY from?’ and ‘can you straighten your hair?’ – all whilst maintaining a polite smile, with frustration burning in her eyes. D’Lima and Barr together manage to encapsulate these overwhelming feelings of anger and disappointment, tinged with the sad reality that the producers have probably already made up their mind before Chloe has even left the room. Audition processes are already brutal and unnerving as an actor, but it is worse to be confronted by weird and unnecessary comments that are painful to watch. This scene shows a whole other dimension to how difficult it is for a performer to also have their identity pulled apart and interrogated, as well as being moulded into a box against their will. As a short film, it is very snappy and to the point and conveys its themes very successfully within just five minutes. In addition to the harsh acting world, the length of the film attests to the realities of a brilliant actress only getting a limited amount of time to show what she can do. Although she is a very good performer and shows range, Chloe is not given enough time or enough of a chance from the panel to prove herself. Her ethnicity comes into question again and again and those holding the auditions leave a sour taste in the viewer’s mouth as we know exactly what is going on when they say that she is not ‘enough’ of anything. The fantastic end credits song ‘Mixed Feelings’ by the brilliant NENDA exactly sums up the mood of the film: that too many people think that mixed-race women are not ‘enough’. BEIGE has a simple setup and yet is very effective in its closeness to reality. It confronts the issues surrounding racial bias and prejudice within the acting and film world with equal measures of humour and honesty, making it well worth a watch. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >