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Film news - First Cow Blu-ray and DVD Release Date. Find out more at UK Film Review. First Cow Blu-ray and DVD Release Date Chris Olson Monday, July 12, 2021 at 10:26:31 AM UTC ON BLU-RAY AND DVD FROM 9 AUGUST 2021 AVAILABLE ON MUBI NOW DIRECTED BY KELLY REICHARDT SCREENPLAY BY JONATHAN RAYMOND AND KELLY REICHARDT STARRING JOHN MAGARO, ORION LEE, TOBY JONES, AND EWEN BREMNER MUBI, the global distributor and curated film streaming service, is pleased to announce that Kelly Reichardt’s critically acclaimed First Cow will be available on Blu-ray and DVD from 9 August 2021 and can now be pre-ordered. Award-winning director Kelly Reichardt (Meek’s Cutoff, Wendy and Lucy) returns with the eagerly awaited First Cow, a gripping and glorious story of friendship and petty crime in the Old West. A taciturn loner and skilled cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune. Soon the two collaborate on a successful but precarious cake-making business, the longevity of which is reliant upon the clandestine participation of a wealthy landowner’s prized milking cow – the very first, and only, in the territory. With this simple premise, Reichardt paints an authentic portrait of harsh frontier life in the early nineteenth century, depicting the immense, unsettling quietude of rural America and interrogating the very foundations on which the country was built. Following its premiere at the Telluride Film Festival, First Cow screened at the Locarno Film Festival, the New York Film Festival, and competed for the Golden Bear award at the Berlin Film Festival. It won Best Film at the 2020 New York Film Critics Circle Awards, and last month was nominated for three Film Independent Spirit Awards including Best Feature and Best Director. Combining sumptuous cinematography with a gently melancholic tale of pilfered dairy, sweet cakes and old-fashioned camaraderie, First Cow is the celebrated magnum opus of one of cinema’s most vital independent filmmakers. PRE-ORDER FIRST COW HERE Read our First Cow Film Review . The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Renters: The Holiday Special film review by UK film critic Patrick Foley. Starring Dylan Manley, Leigh Carroll, Darragh Boland directed by Adam Boland. HOME | FILMS | REVIEWS Renters: The Holiday Special Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jan 19, 2025 Directed by: Adam Boland Written by: Adam Boland Starring: Dylan Manley, Leigh Carroll, Darragh Boland Renters: The Holiday special is a follow-up to amateur filmmakers SixBananasinaKnot’s Renters – a short, irreverent snapshot of the mania that ensues when disturbed young men are tasked with sharing the same living space and making monthly payments. The follow-up maintains a frenzied humour and direction, but lacks a comprehensive throughline to justify a sequel (to the knowing admission of the filmmakers…) Starring Dylan Manley, Darragh Boland, Leigh Carroll and Shane O’Grady – reprising their roles as a gang of eccentric reprimands – the film follows the gang as they embark on a homemade film project. The ‘Holiday’ part of the film’s title does some seriously heavy lifting as there is little festive about the short, but an unlikely effort to make it big as amateur directors leads to a few chuckles. The appeal of Renters comes from the filmmakers themselves. There is something admirable about an unapologetic piece made by and for a group of mates and released out into the world to find whatever audience shares the same sense of humour – likely those in a similar living environment where you are never quite sure if your roommates have psychotic tendencies. The opening credit openly admits that the guys are out of ideas – and its hard to really pinpoint what the point of the film is beyond breathing more life into the gang from the first short. Their capturing of the rental life makes this watch enjoyable and relatable (even though most people will not have experience of being the subject of their cohabitants amateur film project), though it is hard to make this a sales pitch in of itself. Prior knowledge of the characters from the first film is a must to have an appreciation of the group’s dynamics and circumstance. For a homemade production, the dialogue is quite impressive, and the cast deliver it with conviction – bolstering the unlikely world of the renters and making their characters believable (or as believable as they can be given their actions…). Most of us will have known a Dylan or Darragh in our lives through Uni halls or from paying a grand a month to flatshare with 8 people because how else can you live in London these days… and their bizarre, directionless lives will bring up old memories for viewers. Renters: The Holiday Special is odd – much like its predecessor. It’s an admirable effort from its amateur filmmakers who deserve credit for throwing ideas out there. Although it fails to raise as many laughs as the original. The filmmakers say they are out of ideas, and most viewers will agree. But ideas were never really the point of the series anyway… About the Film Critic Patrick Foley Short Film, Web Series < All Reviews Next Film Review >

Gloria’s Cut film review by UK film critic James Learoyd. Starring Olivia Gropp, Raleigh Tabora directed by Olivia Gropp. HOME | FILMS | REVIEWS Gloria’s Cut Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 2, 2026 Directed by: Olivia Gropp Written by: Olivia Gropp Starring: Olivia Gropp, Raleigh Tabora Gloria’s Cut is a bloody and satirical short film about a struggling actress working at a diner. One night, she ends up confronting a seemingly more successful (and infinitely more pretentious) actress who finds her way into said diner. The two of them begin by discussing pages of a script for an audition which both characters wish to pursue. What progresses is an increasingly volatile, revealing and ultimately – as established in its cyclical opening – murderous encounter. There is so much to enjoy about the narrative of this picture as well as its superbly flashy and slick production. Whilst this is a chamber-piece for the most part, all of the structural skill is placed clearly on display; yet furthermore, within its 15-minute runtime, the filmmakers manage to also probe some deep and perceptive areas of interest... Thematically speaking, what Gloria’s Cut presents is an engaging take on favouritism in the entertainment industry and encouraged pursuit/obsession with stardom – but through the lens of reflexive 90s nostalgia. This is a high-level screenplay, and one which I should mention is being used as a proof-of-concept for a feature-length project titled No Doubt . Personally, I find this fact to be a bit of a two-edged sword. For if there is any complaint I have of the film (though not so much of the work itself but the context provided) it’s that the heightened, to-the-point tone suits a short-form piece so well that one can’t necessarily envision it being as impactful as a long-form piece. However, having seen how incredibly well the filmmakers can get a handle on tone, setting and message, I’m confident that the feature will share this same level of artistic care and genre-based passion. My only worry is that it would feel similar to The Substance (also better as a short) whose tone becomes tiresome and repetitive. But like many short films, what we witness is effectively a single extended conversation, and what allows the audience to engage with these ideas in the first place is the terrific style and mood being constructed through the sound and visuals. There’s an irresistible neon aesthetic at play here, with both lighting and colour producing a simultaneously grimy yet comforting atmosphere. Because of this specificity of style and place, I was sold on the film within the first few shots. If anything, the fact that the film takes place in the 90s is more a satisfyingly convenient aesthetic tool rather than a story-trait – although it never feels like a gimmick. Written, directed and starring Olivia Gropp, this is a movie with a unique, personal vision. I’m also happy to report that Gropp manages all three of her creative roles with great success – this is not an indulgent or unbalanced work; it is, instead, carefully directed, effectively written and entertainingly performed. And the fact that this is a self-directed work may only add to the cohesion of the vision. To surmise, Gloria’s Cut demonstrates some truly impeccable storytelling and cinematic flair – a fun talky work of drama as well as an appropriately exaggerated gore-fest. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

We Need to Do Something film review by UK film critic Hope Madden. Starring Sierra McCormick, Pat Healy, Vinessa Shaw directed by Sean King O'Grady. HOME | FILMS | REVIEWS We Need to Do Something Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 1, 2021 Directed by: Sean King O'Grady Written by: Max Booth III Starring: Sierra McCormick, Pat Healy, Vinessa Shaw We’ve all felt a little trapped lately. But the pandemic was completely different depending on your situation. Were you trapped and utterly alone, like Bo Burnham? Because that seemed sad and reflective, funny and inspirational and wildly successful. (See Inside if you haven’t.) Or were you trapped with your family? We Need to Do Something is a parable about being stuck for a long time with the people you know best and were probably sick of in the first place. The world outside your doors offers a high possibility of death, but the world inside might be even worse. Parable is a strong word. We Need to Do Something is a nightmare. Mel (Sierra McCormick, The Vast of Night ) made it home from her friend’s house just in time to miss the tornado. Her mom (Vinessa Shaw) ushers everyone —Mel, her little brother Bobby (John James Cronin) and their dad (Pat Healy) — into the safest room in the house, the bathroom. Here they will wait out the storm. The storm damages the house, and they are pinned in. Days go by. Why hasn’t anyone come for them? Why is their dad such a dick? What are those noises outside the door? Director Sean King O’Grady, working from the screenplay Max Booth III adapted from his own novella, mixes claustrophobic dread and adolescent angst with few enough contrivances that he never loses your interest. Hints dropped early in the story come to hideous life later on (as ugly secrets sometimes do at things like family holidays and vacations or when you’re stuck for a long time in the bathroom). And though the “theater of the mind” component, piquing interest in what exactly lay outside that door, could be stronger, the performances are enough to keep your attention. Healy, in particular, delivers a characteristically unpleasant performances, feeling very much like a trapped rat. The hallucinogenic subplot about guilt and trauma and adolescent experimentation with pink goth suggests that the more time you spend with your parents, the more overwhelmed you’ll be by nameless shame and guilt. That feels right. There’s no real story here. The whole film is essentially Act 2: no catalyst, no resolution. That doesn’t make for a deeply satisfying story, but it does feel a lot like the pandemic. About the Film Critic Hope Madden Theatrical Release, Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

Incompleteness-Season 1 film review by UK film critic Jason Knight. Starring Matt Bailey, Clarence Wethern, Katie Willer, Bethany Ford Binkley, Christine Weber, Juan Rivera Lebron directed by David Ash. HOME | FILMS | REVIEWS Incompleteness-Season 1 Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 17, 2023 Directed by: David Ash Written by: David Ash Starring: Matt Bailey, Clarence Wethern, Katie Willer, Bethany Ford Binkley, Christine Weber, Juan Rivera Lebron The first season of a web series that involves a group of people in Minneapolis, their struggles, their complications and the ways they look at life. Consisting of eight episodes and with a total duration of six hours, this series has a narrative that contains three intertwining storylines. A feature is in production and the story follows people who are involved. Alex (Bailey) is the director and he is married to Jodi (Binkley), who is pregnant with their son. Alex is going through a crisis as he has terminal cancer and desperately tries to keep things together for the reaminder of his life by completing the film, making videos of himself for his son to view after his passing and dealing with Jodi, who is in a big state of unhappiness. Chelsea (Weber) and Michael (Lebron) are the two leads of the movie and they begin a romantic relationship and as time goes by, it appears that they will have a future together. Paul (Wethern) is the scriptwriter and he meets and starts a relationship with Kayla (Willer), a waitress at a coffee shop. The three storylines involve a different couple and romance is one of the series' themes. However, self-reflection and the meaning of life are arguably what is primarily explored, which is evident by the characters' situations and perspectives. People in the story engage in meaningful conversations or go on monologues regarding what life is. For instance, Paul communicates to Kayla his unconventional views regarding life, believing that there is no free will, but rather, things happen because of some other force and Michael sees life as an illusion. For self-reflection, all characters consider who they are and what they want, for instance Jodi is very unhappy with her life and Chelsea wants to look for better opportunities. Regrets, mortality, mental health, terminal illness, religion, support and film-making are among the other themes that are examined in this series that contains moving moments, confrontations, interesting dialogue, suspense and a couple of awkward scenes of a sexual nature. Paul is perhaps the most intriguing character. His views on life are unique and he seems to have a dark side that is quite disturbing. On top of this, he has created an algorithm that apparently contains the key to immortality and some nasty people in China are determined to get their hands on it. The story of Alex and Jodi is quite dramatic, with a marriage that is falling apart, financial issues and a man who will most likely never see his child. Chelsea and Michael are the ones who go through more stable events. It is worth mentioning that there is also an unknown woman who spies on some of the characters. Repetition is present here and what is meant by that is that characters are do the same actions time and time again. For instance, Alex frequently works on his computer, doing editing and characters are often on their laptops and there is also a lot of pillow talk. There are also some interesting imaginative scenes. Long takes are common, with the camera being static and Ash is creative with the editing. Another technique that is utilised frequently is text messages appearing in bubbles. Regarding the soundtrack, Charlie McCarron provides a dramatic and beautiful score and the sellection of songs is rich. Nearly all the episodes contain the track Psalm 23 by Carrallee during the closing credits for dramatic effect. Arguably, the aspects that stand out the most are the ideas that the series theorises about what life is. How did life begin? What is reality? Do people control their actions or is everything already decided by a higher power? Apart from this, the acting is strong, the dialogue is well-written, the story and characters are engaging, making the viewer look forward to the next season. About the Film Critic Jason Knight Web Series < All Reviews Next Film Review >

Theater Camp film review by UK film critic Hope Madden. Starring Ben Platt, Molly Gordon, Nick Galvin directed by Molly Gordon, Nick Lieberman. HOME | FILMS | REVIEWS Theater Camp Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jul 26, 2023 Directed by: Molly Gordon, Nick Lieberman Written by: Noah Galvin, Molly Gordon, Nick Lieberman Starring: Ben Platt, Molly Gordon, Nick Galvin There are certain comedies that feel lovingly, mockingly plucked from experience. The School of Rock . Wet Hot American Summer . Theater Camp. The premise of the latter is relatively familiar: a summerlong theater camp will be foreclosed on or snapped up by a spendier competitor unless somehow, some way, a little inspiration and a little fairy dust help the lights and the show go on. At the center of the crisis: Amos (Ben Platt) and Rebecca-Diane (Molly Gordon, who also co-writes and co-directs). Amos instructs in drama, Rebecca-Diane reads auras, conducts seances, and teaches musical theory. The pair has been inseparable since childhood – a conceit made all the more believable with the actual archival footage of wee Gordon and Platt, both 4-years-old, dancing together onstage. Touches like this help to develop the feeling that this is a lived-in love, a mash note to the awkward, petty, ridiculous, glorious, accepting, embracing, creative community that forms artists. Both Platt and Gordon deliver touching, flawed, funny performances. The balance of the ensemble shines as well. Jimmy Tatro nails the earnest dumbass bro pegged to run the camp while his mother (Amy Sedaris – genius as always) is in a coma. Co-writer Noah Galvin offers a sneaky comic presence from his opening moments and eventually steals the show (and the show within the show). I would have loved to see the Janet (Ayo Edebiri) side story developed. Edebiri’s every moment of screentime is an understated riot. Likewise Sedaris, with little more than a cameo, was missed when she was off screen. But the large cast, most with limited screen time, manages to craft memorably eccentric characters who come together to create a community. This is the film’s real magic, something the cast and filmmakers – including Gordon’s co-writer and co-director, Nick Lieberman – convey with mockery borne of familiarity and love. Theater kids are bound to see themselves here, and the loose structure and inside jokes may weaken the experience for everyone else. But underneath the affectionate mockery lurks a moving testament to the nurturing effect of belonging. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Blue Plastic Bag film review by UK film critic Swati Verma . Starring Bijan Karim, Alden Doyle, Nilufar Moayeri directed by Bijan Karim. HOME | FILMS | REVIEWS Blue Plastic Bag Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 16, 2023 Directed by: Bijan Karim Written by: Bijan Karim, Alden Doyle, Nilufar Moayeri Starring: Bijan Karim, Alden Doyle, Nilufar Moayeri The writer-director Bijan Karim strongly believes in continuously looking within and rediscovering self to improvise on both the personal as well as professional levels in life. The short film-Blue Plastic Bag highlights the same through all three protagonists Armin (Bijan Karim), Lance (Alden Doyle), and Yasmin (Nilufar Moayeri). The plot of the movie revolves around Armin a loner who decides to divide his time between his mother Yasmin a painter and his friend Lance also a painter while his girlfriend is away. In the opening scene, the camera captures various slice-of-life moments from the life of Armin as the tracking shot is effectively utilised to showcase the mundane lifestyle of the central character. A series of mid-shots and close-up shots are used to portray the contrasting perspective of Yasmin and Lance on life, therefore, allowing the audience to better understand the nuances of the subject matter of the film. The set design, colour palette, and lighting. background music dialogues, costume, hair, and makeup have been kept natural to provide the viewers a sense of realism and relatability with the content hence increasing the degree of audience engagement with the content. The editing of the film gives a smooth movement of the narrative hence not breaking the element of continuity and the emotional connection of the viewers with the dramatic piece. In terms of performance, Bijan Karim plays Armin who goes through a tough time while making various decisions that make a lot of changes in his life so he wants to seek help from his loved ones. Karim utilises body language, voice modulation, and facial expressions to effectively communicate the range of emotions the character is experiencing. The actor knows how to balance emotions and logic and this is the very aspect that makes the audience hold on to Armin up until the climax of the film. Nilufar Moayeri plays the role of the mother of Armin who wants to safeguard her child from getting hurt and encourages him to find happiness for himself as it becomes the most important thing to survive the testing times. Moayeri with her portrayal brings the much-required experience to shape up Yasmin and put across her thoughts to uplift the storyline. The bond between Nilufar Moayeri and Bijan Karim assists in providing depth to the onscreen mother- and son relationship helping the filmmakers to deliver the key message of the creative piece. Alden Doyle as Lance with his excellent comic timing gives a refreshing take on the expectation of the younger generation from life as he lends his ears to the problems of his friend. Lance emotionally appeals to the viewers and they learn a lot of life lessons from him during the running time of the cinematic piece. Blue Plastic Bag talks about the importance of family and friends at all stages of life and one shouldn’t hesitate to ask for help in fear that he/she has grown up and should be dealing with the issues themselves. The short film tells us it becomes crucial to stay true to self and take care of the decisions made regarding the choices as one cannot make the mistake of losing his/her identity while complying with the rules and regulations of any relationship. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Disremember film review by UK film critic Patrick Foley. Starring Matthew Simpson directed by Matthew Simpson. HOME | FILMS | REVIEWS Disremember Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Feb 23, 2026 Directed by: Matthew Simpson Written by: Matthew Simpson Starring: Matthew Simpson Matthew Simpson’s Disremember is an incredibly impressive solo project that won’t be ‘disremembered’ in a hurry. This memory-bending mystery thriller is solo-directed by its star, and tackles emotional questions around PTSD, trauma and addiction. The film follows Rob (Matthew Simpson), a former soldier tormented by alcoholism and memory-loss. After learning that his wife wants a divorce, Rob finds himself in the home of a friend with no memory of how he arrived. Determined to piece together his mind, he takes steps to track his movements – including setting up CCTV to monitor his actions. What he finds twists his world upside down. Disremember is an astounding piece of filmmaking and a proper production triumph from its creator and star Matthew Simpson. The credits demonstrate some of the techniques used in the film’s creation, with the innovation use of face-tracking cameras a particular highlight as they are used to simulate Rob’s fragile mental state. The process is seamless and means Matthew Simpson can focus on delivering a memorable performance, confident that the production steps put into place make for fluid camera work that draws the viewer into Rob’s world. Largely set in a single location, Simpson makes sure that his film is visually stimulating and invigorating, thanks to a combination of the aforementioned camera work and impressive lighting that adds an unnerving unsteadiness to the experience. The plot is centred around Rob’s traumatised and fractured memories, as he tries to piece together the mystery of his relationships and how he has come to find himself alone in the apartment. There will be some familiar territory for fans of predecessors like Memento – such as the presence of the protagonist as narrator and an inherent unpredictability to recollections that border on suspicion. Simpson’s storytelling is gripping, even if some of the film’s twists lean towards the predictable side. Rob’s history in the military is interwoven with trauma and alcoholism which lead to all kind of different plot threads and story angles as the mystery is explored, that are sure to keep viewer’s attention. A unique production alone makes Disremember worth checking out, and Matthew Simpson’s herculean efforts at bringing his idea to the screen singlehandedly deserve serious plaudits. In some ways it is a bonus that the film is as good as it is in as many traditional ways as novel ones. A fantastic, visceral leading performance, winding and engrossing plot and immersive atmosphere would serve any film, of any size, of any budget well. That Simpson accomplishes all of these along with his restrictions is truly commendable. Disremember makes its US premiere on 15th and 18th March 2026 at the Cinequest Film & Creativity Festival in California. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Tiou Dou Goun (Tomorrow's Village) film review by UK film critic James Learoyd. Starring Souleymane Gaye, Caroline Bassono, Adeline Dorothee Kando directed by Gail Malbete. HOME | FILMS | REVIEWS Tiou Dou Goun (Tomorrow's Village) Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: May 29, 2024 Directed by: Gail Malbete Written by: N/A Starring: Souleymane Gaye, Caroline Bassono, Adeline Dorothee Kando Tiou Dou Goun (Tomorrow’s Village) is a simple yet well-measured piece of documentary filmmaking. This informative film is about an ecological campaign taking place in Burkina Faso, Africa – a country which the filmmakers describe as having been “plagued by political instability and security threats”. The individuals featured in the picture are on a mission both social and environmental: to create a resurgence of grown commodities and the market, making the surrounding community financially reliable. The film, in great detail, documents the project’s evolution and this particular type of eco-political campaign is important to draw attention to. A mission such as this demonstrates the need for nature preservation; it also demonstrates how much an actively engaged, collaborative group can achieve – and how important that is, specifically in such a rural environment wherein families need more unique resources to thrive. Thus, to showcase such a venture in the form of a documentary feature is a greatly admirable, positive thing. A lot of the documentary looks quite beautiful. There’s a consistent aesthetic at play based around the consistent use of a medium-to-long range prime lens (probably 85mm), with a fully open aperture. What this produces is a soft, compressed, cinematic look; although it occasionally results in an over-abundance of intense closeups which, in terms of docu-informative content, makes for the occasional distraction. - But I don’t wish to complain as it has a lovely, vibrant look; one which an audience will enjoy looking at. The use of widescreen is also a pleasant thing to see – particularly if you’re watching this film as a critic on something other than a cinema screen; you still get to sense that scope and grandeur. The only explicit formal problem --not to sound like a broken record-- is the use of auto-focus... it is so so strange how many independent films are burdened with this problem. There’s a counterintuitive nature to it in that the cinematographer uses it because they do not have the crew or faculties to pay constant attention to manual focus apparatus, but in doing so accentuates this kind of studenty characteristic. As a documentarian, you should encourage oneself to learn focusing manually – to gain that invaluable muscle-memory. It differentiates a documentary that is great (which this one certainly is) to one that is masterful. It’s a supremely educational watch. Not so much emotional or poetic in its structure or form, but fully given to the subject-matter and its practical complexities. A reservation some may have is that we don’t fully get a sense of the subjects’ emotional state, and this may prevent the spectator from entering into the piece on a deeper, internal level. We witness the nuances of the campaign and its interesting ups and downs; however, the greater universal/experiential message must be extrapolated by the audience for the film itself doesn’t present a thematic thread as such. It can be slightly didactic, at times overwhelming in terms of the density of spoken information. But it is wonderfully rich with the culture of its focus and leaves you wanting to learn even more about the country’s hardships and solutions. About the Film Critic James Learoyd Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

Amanda film review by UK film critic Hope Madden. Starring Benedetta Porcaroli directed by Carolina Cavalli. HOME | FILMS | REVIEWS Amanda Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jul 21, 2023 Directed by: Carolina Cavalli Written by: Carolina Cavalli Starring: Benedetta Porcaroli Like some sort of bourgeoise, European Napoleon Dynamite, the diabolically deadpan Amanda (Benedetta Porcaroli) is a weird, mesmerizing mess (the character, not the film). Writer/director Carolina Cavalli’s feature debut delivers on the weird and mesmerizing, but the vision is intentional and its delivery confident. The titular character, a 25-year-old with no friends or job who rails against nonexistent oppressors while sponging off her parents, is as off-putting as any narcissist would be. At the same time, thanks to Cavalli’s witty script and Porcaroli’s surprising wealth of vulnerability, you can’t help but root for Amanda. Her only friend is the family’s middle-aged maid who doesn’t mind so much, but she’d rather spend time with her own kids than get dragged to another rave. Afraid she’s a loser, will always be a loser, Amanda decides to become besties with Rebecca (Galatéa Bellugi), the daughter of a family friend. This is not something Rebecca will accept voluntarily. Cavalli’s fills dining rooms, bedrooms, gravel paths and cinemas with a dark whimsy that’s hard to pull off. Her film borders on the absurd but never fully crosses over – kind of a Yorgos Lanthimos (particularly Dogtooth ), but with more heart and less devastating cynicism. Amanda is the embodiment of a generation of lonely people unable to form human connection, but her charm is her sincere desire to find that one person who connects with her – regardless of her profound selfishness, interest in nothing, and desire to do nothing except save up enough supermarket store points to win an electric fan. Cavalli populates Amanda’s world with a few equally odd characters. Rebecca’s self-imposed isolation becomes a fascinating counterpoint to Amanda’s involuntary version. Giovanna Mezzogiorno, playing Rebecca’s mother, offers a liltingly bizarre turn. Margherita Missoni is a delight playing Amanda’s pharmacist sister, a woman so weary of Amanda’s irresponsible divadom that she appears to melt. It’s a perversely lovely, lonely world. Cavalli lenses an environment simultaneously elegant and bucolic, a kind of fairy tale where nobody’s feeling very optimistic of a happy ending but are unready to embrace reality quite yet. It leaves a little room for hope. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Die My Love film review by UK film critic Jack Salvadori. Starring Jennifer Lawrence, Robert Pattinson, Sissy Spacek directed by Lynne Ramsay. HOME | FILMS | REVIEWS Die My Love Film Review average rating is 5 out of 5 Critic: Jack Salvadori | Posted on: May 19, 2025 Directed by: Lynne Ramsay Written by: Lynne Ramsay Starring: Jennifer Lawrence, Robert Pattinson, Sissy Spacek Lynne Ramsay comes in swinging with a jagged, intoxicating fever dream that grabs you by the throat and refuses to let go. Die My Love is a razor-sharp portrait of postpartum despair, psychological free-fall, and the quiet, daily violence of domestic life. Bold and uncompromising, it’s hard to believe that it’s adapted from Ariana Harwicz’s 2012 novel, as you’d swear it was born on celluloid. This isn’t just a film about going mad: it’s one that feels like going mad. Jennifer Lawrence gives a career-best performance as Grace, a young mother exiled to a remote Montana countryside home with her partner Jackson (Robert Pattinson). The film opens in a blaze of erotic energy, only to pull away the rug right after. The sex dies. A baby arrives. And suddenly, Grace is left alone with a screaming infant. Lawrence plays her like a woman dancing on the edge of a razor blade, a magnetic ticking bomb as feral as terrifyingly alive. Ramsay, the undisputed poet of maternal chaos, constructs the film like a slow-boiling panic attack. Every choice, from the oppressive sound design to the jagged, staccato editing, works to keep you trapped inside the labyrinth of Grace’s disintegrating psyche, delivering one of, if not the, strongest films of the year. And Ramsay never stoops to cliché. Her direction is brutal and beautiful in equal measure, without ever condescending to predictable, overdramatised scenes No hand-holding. No melodrama. Just raw, sustained tension. It’s hyperrealistic like an intimate documentary, like a mirror to our own demons, yet dripping with cinematic flair. And we need to talk about music: from offbeat lullabies to needle drops that feel like emotional grenades, the soundtrack slaps hard, deepening the dread and twisting the knife. Every frame feels dangerous. A primal scream in cinematic form. Not for the faint-hearted, nor the TikTok-scrolling casual. Also: Lynne Ramsay definitely hates children. Confirmed. About the Film Critic Jack Salvadori Theatrical Release, Film Festival < All Reviews Next Film Review >