Mrs. Harris Goes to Paris film review by UK film critic Hope Madden. Starring Lesley Manville, Jason Isaacs, Isabelle Huppert directed by Anthony Fabian. HOME | FILMS | REVIEWS Mrs. Harris Goes to Paris Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 12, 2022 Directed by: Anthony Fabian Written by: Anthony Fabian, Carroll Cartwright, Keith Thompson Starring: Lesley Manville, Jason Isaacs, Isabelle Huppert Brimming with wholesome, plucky charm reminiscent of an altogether lost style of filmmaking, Mrs. Harris Goes to Paris dares you to dream. A working-class woman enchanted with a Dior gown decides to scrimp, gamble and save until she can afford one of her own. That’s an adventure in itself, but once the funds are secured, Mrs. Harris is off to the City of Light to make her dream come true. Lesley Manville is wonderful in the title role. She manages somehow not to turn Ada Harris into a “by crikey guvna” cartoon character. Like the hero of Paul Gallico’s several “Mrs. ‘Arris” novels, the widowed cleaning lady does drop a quaint colloquialism now and again. But Manville’s performance glows from within, her lovely blue eyes convincing us of Mrs. Harris’s cleverness, optimism and indefatigable spirit. Director Anthony Fabian surrounds Manville with remarkable talent, from Jason Isaacs to Lambert Wilson to the great Isabelle Huppert. Each has a lesson to teach Mrs. Harris, and each very definitely has something to learn. But the film never leans toward comeuppance as a means of satisfaction. Instead, Fabian’s tale, co-written with Carroll Cartwright and Keith Thompson, takes pleasure in warmth and extols the virtues of empathy. The writing team delivers a nuanced version of Gallico’s tale, one that’s hardly about capitalistic pleasures. Mrs. Harris’s arc aligns more with the garbage men on strike than with the bourgeoisie who can afford (but may not deign to pay for) designer frocks. Still. The charm wanes long before the two-hour mark. Even Manville, whose performance is a sheer joy, can’t overcome some of the more tiresome and hokey material. There are too many characters with too many entanglements, each of which is too tidily and thoroughly buttoned up. Had Fabian been able to trim about 20 minutes from Mrs. Harris’s adventure, the result might have been pure pleasure. Instead, it’s a sometimes tedious but just as often delightful way to window shop. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Kreaster film review by UK film critic James Learoyd. Starring Sal Rendino, Greg Nutcher, Laura Poe directed by Jacob Cooney. HOME | FILMS | REVIEWS Kreaster Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jul 27, 2025 Directed by: Jacob Cooney Written by: Bill Hanstock, Jacob Cooney, Phillip Buchanon Starring: Sal Rendino, Greg Nutcher, Laura Poe Jacob Cooney’s new horror short, Kreaster , certainly gives the impression of a big-budget sci-fi romp – equipped with plenty a visual effect, spectacle and narrative ambition. Yet, this 14-minute chiller about a lone survivor of an alien invasion on Easter Island doesn’t leave one feeling fully satiated by the story being told. Let’s quite literally start at the beginning. Kreaster has an utterly impeccable opening shot which, in a short time, demonstrates all the positive technical aspects of the film. The camera very slowly pushes into our protagonist who’s sat fearful on the floor. In the foreground, however, is a cacophony of chaos: soldiers firing machine guns, quick but effective glimpses of giant tentacles attacking the inhabitants. It lasts for around a minute and is expertly conceived and stunningly well-orchestrated. We then transition to the bulk of the film, which is a conversation between said survivor (played well by Sal Rendino) and two military operatives (Greg Nutcher and Laura Poe, who fit the roles excellently). Ultimately though, the fact that the film then becomes an almost 15-minute recount of an event leads to the picture’s rather unsatisfactory denouement. If we’re purely discussing the technical, we’d have to address a couple of minor shortcomings. The colour grade – whilst I’m not an absolute expert – is definitely a mixed bag. Each individual shot in isolation looks great in terms of the dramatic, cinematic style that’s being implemented; however, transitions to other shots within a single sequence reveal a certain lack of consistency. In some shots, the highlights (the brightest parts of the frame) appear white, whereas in other shots, they appear as a toned-down dark grey – presumably to accommodate for inconsistent exposure. The shadows have the same issue, wherein they’re occasionally black and occasionally grey. If you’re purely a film-goer, this will not be a significant issue. But here’s the thing: filmmakers like to watch films as well, and this might very well disrupt the viewing experience. The computer-generated imagery used in the film is incredibly impressive in parts, particularly for a short film. Again, it’s not completely flawless, but it serves its purpose pretty damn well. It’s at its best when, as discussed earlier, it’s leaning into a goofy, fun sci-fi/horror aesthetics (tentacles and what have you). Alternatively, you could argue that it’s at its worst when the movie attempts to get a little more gritty and shocking; specifically, the CGI blood splatter just feels cartoonish and should have been done practically. Who doesn’t love some proper fake blood? The piece concludes about as predictably as you can imagine, with not only the twist – but the exact execution and final beats of the twist – existing fully in the spectator’s knowledge of sci-fi conventions before the film even starts to build up to the ‘shock’ moment. I’ve explained my reservations, but I wish to make clear that this is a solidly good movie, effective as both a work of science-fiction and horror cinema. It’s also a well-shot, well-designed work, complemented nicely by perfectly-toned performances; a film which knows how to have some fun, and that’s something you can never knock. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Barbie film review by UK film critic Hope Madden. Starring Margot Robbie, Ryan Gosling directed by Greta Gerwig. HOME | FILMS | REVIEWS Barbie Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jul 19, 2023 Directed by: Greta Gerwig Written by: Greta Gerwig, Noah Baumbach Starring: Margot Robbie, Ryan Gosling The world today is split. On the one hand there is a rabid sect donning their finest sparkles in anticipation of Margot Robbie’s Barbie . On the other hand, there are those who cannot believe people are this unreasonably geeked over a movie about Barbie. And then there are the Greta Gerwig fans, who perhaps have a complicated but mostly contemptuous relationship with the doll but will nonetheless stride through the pink boas and tiara glare to soak up whatever glorious wonder the filmmaker has to give us. That was me, that last one. I’ve come to witness Gerwig’s hat trick. Barbie , which director Gerwig co-wrote with Noah Baumbach (that slouch), delivers smart, biting, riotous comedy with more whimsy than anything this politically savvy has any right to wield. It’s a role Robbie was clearly born to play. Barbie’s endless run of perfect days actually ends, and she has to seek the advice of Weird Barbie (Kate McKinnon, perfection). You’ve seen the ads – she has to go to the real world to solve her problem. But there’s one hiccup. (That’s not true, there are plenty of them, but it all starts with this first one.) Ken stows away in the back of the Barbie Dream Car. Ryan Gosling, the man behind the tan, plays Existential Crisis Ken and it’s possible he’s never been better. That’s a big statement because he was nearly perfect in Drive . Also, The Nice Guys . Also, Half Nelson . Plus, Blue Valentine . He’s good. This is my point. But his Ken delivers all the self-effacing humor of The Nice Guys with sincere pathos and a vacuous tenderness it’s hard to describe. And my god, that dance number! Simu Liu, Michael Cera, Issa Rae and Alexandra Shipp also get to carve out some funny screentime, but the whole cast shines. Barbie does not work without a tightrope of a tone, and everyone walks it with their heels off the ground. Gerwig’s lack of cynicism may be the thing that shines brightest in all three of her films. Lady Bird was the most open and forgiving coming of age film I’ve ever seen, and also probably the best. Who on earth thought we needed another Little Women until Gerwig mined it for the gorgeous feminism that always drove it? Barbie is a brilliantly executed, incredibly fun, brightly colored, completely logical feminist statement that should be remembered come awards season. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Faces of Death film review by UK film critic George Wolf. Starring Barbie Ferriera, Dacre Montgomery directed by Daniel Goldhaber. HOME | FILMS | REVIEWS Faces of Death Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 7, 2026 Directed by: Daniel Goldhaber Written by: Daniel Goldhaber, Isa Mazzei Starring: Barbie Ferriera, Dacre Montgomery It’s almost quaint now to remember the word-of-mouth infamy achieved by the original Faces of Death in 1978. By the mid-80s it was a cult favorite at the video store, with a lurid promise to unveil shocking video of real fatalities. Though the non-stock footage was faked (yes, even the monkey scene), hyperbolic stories of the film’s effect continued to gain traction and the sequels were cranked out. This new Faces is not one of those. Writer/director Daniel Goldhaber smartly brings that pre-viral legend into the internet age, tucking the bloody hunt for a serial killer inside the dulling nature of modern-day voyeuristic fetishes. Barbie Ferreira stars as Margot, who works as a website content moderator for a company promising to protect “the young and innocent.” Though she occasionally flags a video for violations, most make it through – which is just how her manager prefers it. But when Margot sees some videos of murders that look alarmingly real, it sets her off on the trail of a killer (Dacre Montgomery) intent on recreating scenes from the original Faces of Death . Though employees at Margot’s firm are strongly discouraged from researching the videos they moderate, she begins sleuthing. What Margot finds, of course, is an internet audience eager for the brutality, and online footprints that aren’t difficult for a tech savvy psycho to follow. Stupid decisions (especially by young people) are a staple of horror films, and Margot makes a maddening amount. But Goldhaber (How to Blow Up a Pipeline ) is able to mirror most of them alongside the questionable bargains we’ve made as a web-obsessed society. “It’s an attention economy, and business is booming.” Our killer (Montgomery gives him both Silence of the Lambs and Red Dragon vibes) know his audience, and Goldhaber gives the funny games he plays with both his victims and Margot a nice sense of tension. Sure, you may want to slap some sense into most of these people, but then again, is your own browser history MENSA worthy? The rough patches in the story go down easier thanks to the savvy, in-the-moment winks Goldhaber flashes while telling it. Why has the explosion of technology that holds so much positive potential continued to reveal the worst parts of ourselves? If you give the people what they want, how culpable are the people that want it? Michael Haneke may have asked the question more eloquently, but Goldhaber and Faces of Death have more trashy, finger-wagging fun. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Adam from Willesden Green film review by UK film critic Chris Buick. Starring Riccardo, Bakh Sayeda, Shayaan, Teni directed by Shayaan. HOME | FILMS | REVIEWS Adam from Willesden Green Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Jan 15, 2024 Directed by: Shayaan Written by: Shayaan Starring: Riccardo, Bakh Sayeda, Shayaan, Teni After his girlfriend Sia drops the bombshell that she is now going to a different university than him and effectively ending their relationship, Adam finds himself in a race against time across town to get to Sia’s place in one last attempt to change her mind before she goes, or at least to say one last goodbye. Excelling in technical prowess but falling short in terms of storytelling, Adam from Willesden Green visually shows off a great deal of style but doesn’t deliver enough substance to go with it. Technically it’s hats-off, the film does consistently look and feel very well polished throughout. Camerawork is tight, lighting is on-point and while there might not be any amazing trickery on display, it’s a very well-executed, good-looking piece of filmmaking that gives this short a real cinematic feel throughout. But despite how good it might look, it is a shame that the script joining all these accomplished scenes together falls somewhat shorter in terms of quality. The necessary beats needed to make sure the plot has a beginning, middle and end are there, but other than that the film lacks any real depth, purpose or indeed clarity in the story it's trying to tell. In giving itself just under seven minutes to tell its story, the film needed to act quickly in order to get us involved and invested, but it sadly squanders too much of that time. The odd and short-lived sexual extortion sub-plot that suddenly appears and disappears in the middle contributes almost nothing, is not needed and eats up nearly a third of that runtime, perhaps an attempt to invoke a bit of drama but it's time that could have been better spent helping us connect with the characters. Why should Adam’s desperation to see his girlfriend one last time matter to us? How long have they been together? What’s their relationship like? It’s never really established why this is all so important to Adam, is it young love or is it simply pride? While not all of these need to be answered, there needs to be something to go on, and we are simply not given enough time or information to even really form any kind of opinion of him, let alone root for him. The writing is somewhat stronger in terms of its dialogue which does itself go through highs and lows but does at least feel authentic and consistent to the characters, even if some lines do fall into crass or cringe but for the most part are in keeping with the characters delivering them. Sia’s general apathy towards pretty much everything and Adam’s desperation are consistent and keep these characters feeling somewhat distinct, it’s just not enough unfortunately to help us want to know them more. Adam from Willesden Green is a great-looking film that covers all the essential parts it needs to get from A to B, but despite its ambition lacks a number of key elements to make it work properly. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

The Night Out film review by UK film critic Amber Jackson. Starring Nicole Boucher, Tess Rianne Sullivan, Michael Alexander directed by Jordan Burbank. HOME | FILMS | REVIEWS The Night Out Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Dec 2, 2021 Directed by: Jordan Burbank Written by: Jordan Burbank Starring: Nicole Boucher, Tess Rianne Sullivan, Michael Alexander On the eve of Claire’s eighteenth birthday, her closest friend Mona plans to take the rather excited, yet anxious, teenager out for the evening. Although it seems all-too-simple, as the night unfolds and the two begin to drink to celebrate, a much darker and more sinister undertone to the story is revealed. Written and directed by Jordan Burbank, The Night Out is a brief yet compelling film about two young women confronting the reality of a big and uncomfortable world. In a true Thelma and Louise style, Claire and Mona have a ‘ride or die’ companionship that make the chemistry between them more loving whilst also revealing their contrasting personalities. Despite both being small town country girls, Mona is wild unlike Claire who is more naïve and innocent. In such a short space of time, the viewer is able to get such a large sense of their individual characters. The joy at the start of the film, where they are each elated to see where life takes them on the precipice of adulthood is palpable. Their friendship remains the primary catalyst for the film as they drive to a motel to celebrate and we are taken on a chaotic yet bold journey – until the unthinkable happens. A simple yet effective plot avoids being basic due to its effective way of storytelling, as most of the substance is contained in what is said as well as unsaid. Long silences filled with dread are carefully executed, with the camera-making deliberately slow to build drama. This compares to the careful aerial shots of the small-town world containing the young women, which are beautiful and also eerie. They contribute to the overall disorienting feel of the film and convey no real sense of time or place. The intelligence in this allows the viewer to slip into a false sense of security. When something sinister happens suddenly, the gradual build of the film later reveals that it had in fact been building the entire time. Fun and yet foreboding, The Night Out is a true example of excellent filmmaking within the short film genre. With the importance of young women being made to confront the dangers of the real world as they reach adulthood, this directorial debut by Jordan Burbank is sure to strike a chord with anyone who watches it. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

This is a Man's World film review by UK film critic Rob Jones. Starring Lida Kheylnezhad, Khashayar Sepehri directed by Parastoo Azad. HOME | FILMS | REVIEWS This is a Man's World Film Review average rating is 3 out of 5 Critic: Rob Jones | Posted on: Mar 9, 2023 Directed by: Parastoo Azad Written by: Parastoo Azad, Khashayar Sepehri Starring: Lida Kheylnezhad, Khashayar Sepehri It’s the middle of the night, and an actress gets into the back of a cab on the way to a party. Everything starts off in a reasonably normal fashion as a chatty cab driver tries to pass the time by making conversation, asking her about her destination, how familiar she is with the area, and what she’s up to tonight. At least, this is all stuff that comes across as reasonably normal, and even pedestrian, to a man. As the story progresses and the driver’s intentions are made clear, we learn that he wasn’t just trying to make conversation previously, but rather that he had far more sinister intentions. This is a Man’s World delivers, if nothing else, an important message about how much more danger exists in the world for women. Shot in one take and with a single camera, we’re focused on our lead, played by Lida Kheylnezhad, as she reacts to the actions of the cab driver from start to finish. Visually, it’s reminiscent of films like Locke and Collateral, with its only lighting coming from street lights outside of the vehicle. Sometimes it’s difficult to make out facial expressions because of that, but in a way that adds to the tension of it all. As we look to our central character for guidance on how to feel about the situation that she’s in, it isn’t always immediately available. This creates a sense of unease and confusion which is entirely appropriate. Where This is a Man’s World perhaps lacks a little is that the whole experience of the encounter is the conversation in the back of the cab and what comes from it, which tends to be resolved fairly quickly. There is no big flourish and the drama comes to a peak before quickly deflating quickly. It does leave us with a reason for reflection and a slice of an experience that not everyone will be privy to, but it would have elevated the impact of the film if it were to leave us with more of a bang than a whimper. It’s very effective in creating a sense of fear and a reason for apprehension, and from that potentially comes an understanding from the audience which has a chance to make a difference. What could be quite a difficult watch for all its subtleties for someone who’s been in a similar situation before, could be quite an enlightening watch for someone who hasn’t. The dialogue is clever and meaningful in creating space for reflection in just what can be interpreted as menacing for good reason, but that just wouldn’t be considered by most without that first-hand experience. This is a Man’s World works in a number of ways, but it could have gone a lot further. In a way, it even feels like a first draft, but certainly the first draft of something with the potential to become quite special. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Adventures in Success film review by UK film critic Rachel Willis. Starring Lexie Mountain, Khan Baykal directed by Jay Buim. HOME | FILMS | REVIEWS Adventures in Success Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Mar 8, 2022 Directed by: Jay Buim Written by: Jay Buim, Susan Juvet, Rachel Gayle Webster Starring: Lexie Mountain, Khan Baykal Fair warning – this film may be the most unpleasant experience you’ll ever have with the female orgasm. Writer/director Jay Buim, along with co-writers Susan Juvet and Rachel Webster, has crafted one of the most uncomfortable, meandering and sometimes funny mockumentaries with the film Adventures in Success. Focusing on the group Jilling Off, we follow “energy transformationist” Peggy (Pegasus) Appleyard (Lexi Mountain) as she leads a group of men and women to the Catskills to harness the energy of the female orgasm in “the womb room.” Joining this group is newbie Erica (Yaz Perea-Beltran). At first, Erica’s seeming skepticism makes her feel like our straight woman among these guys and gals who use terms like “economic ejaculate.” A hilariously uncomfortable scene involving the extreme invasion of Erica’s personal space by another member is one of the film’s highlights. There are several scenes that are so uncomfortable you can’t help but laugh. Otherwise, you might spend most of the film squirming in your seat. As Peggy, Mountain embraces the role of sex goddess guru, and the film is better for it. A personal highlight was Peggy’s cover of Bruce Springsteen’s I’m On Fire , but it’s mostly a moment that doesn’t fit well into the overarching story. The movie is full of these, as if the writers didn’t know how to fill 90 minutes about a group whose sole purpose is ‘jilling off.’ Another downfall is the fairly large cast of characters – not just the Jilling Off members, but townspeople who pop up from time to time (many more than once), usually to give their two cents on the group who’s descended on their town. It’s hard to keep track of everyone. The film tries to make you care about the members of the cult, but so much time is spent making fun of them it’s hard to feel sympathy for their struggles. Some films can strike a good balance, but Success never manages to do so. The film sometimes offers a strangely empowering message about women’s sexuality and female pleasure. It’s too bad the filmmakers’ mocking tone buries it beneath a lot of silliness. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release < All Reviews Next Film Review >

No One Can Hear You film review by UK film critic William Curzon. Starring David Olaniregun, Finn O'Toole, Jadesola Odunjo directed by Lyo Yuson, Finn O'Toole. HOME | FILMS | REVIEWS No One Can Hear You Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: May 6, 2026 Directed by: Lyo Yuson, Finn O'Toole Written by: Finn O'Toole Starring: David Olaniregun, Finn O'Toole, Jadesola Odunjo No One Can Hear You follows Fermi (David Olaniregun), an individual who wakes up aboard a derelict spacecraft, rescued by a lone castaway, Milo (Finn O’Toole). As they both strive to repair the ship and return to Earth, a troubling revelation emerges. The piece evidently wears its influences on its sleeve, with direct homages to Ridley Scott’s Alien (1979) in its title and thematic borrowings from other science fiction properties. No One Can Hear You almost immediately draws the viewer into its dense yet grounded spacecraft setting, with an incredibly creative opening title sequence that showcases its astounding production design. Despite the film's budget constraints working against it, the VFX and set design are immaculate, making the experience feel lived-in and transformative for the audience. While its concept and narrative feel derivative of other science fiction media, there’s a clear passion and love from the filmmakers in each frame. Even if it does borrow a lot from other pieces of science fiction, the execution of these ideas and themes is the most important factor when making a film, and the filmmakers execute their material with flying colours. The use of subtle world-building is effective as the dialogue never gets bogged down in exposition, making the viewer instantly engage with its dense futuristic setting. Despite the film taking place in a one-location setting for its entirety, the pacing remains steady and engaging as both characters devise a plan to repair the spacecraft. The chemistry and witty dialogue help as we see Fermi and Milo’s relationship grow, which is one of the most engaging aspects of the material. This keeps their relationship fairly grounded despite its setting. Fred Newnham, serving as the film's composer, delivers a low-key and melancholic musical score, anchoring the more emotionally resonant dialogue-heavy scenes. The piece possesses a brisk runtime and steady pace; however, the incredible editing takes its time in fleshing out the characters and setting. The material never overstays its welcome or concludes too soon. Gabi Talalaj, serving as the film's camera operator, primarily utilises tracking camera movement in the opening of the piece as Fermi attempts to devise a solution to the isolated situation he finds himself in. This builds some visceral tension almost immediately and keeps the viewer in a state of vulnerability throughout. The use of needle drops is also a surprisingly impactful factor, which fits the film's tonal shifts exceptionally well. While the use of animation in exterior shots outside the spacecraft can be distracting, it's an impactful compromise given the budget the filmmakers are working with. The performances are solid across the board, in particular David Olaniregun’s portrayal of the central character Fermi. It's an impressive performance given how he conveys so much with only one other performer present for most of the runtime, as he attempts to figure out what happened to him and his fellow crew member Ola (Jadesola Odunjo). Finn O’Toole, in contrast, uses more subtle characterisation in his portrayal of Milo, presenting the character in a more closed-off way, which is later explored in the film's central revelation. While the central revelation is somewhat predictable, if the audience is familiar with other science fiction media, its execution is impactful as the film draws to a haunting and open-ended conclusion. No One Can Hear You is an engaging yet derivative piece of science fiction which executes its ideas tremendously. Despite its shortcomings and over-reliance on homage, it's a well-made piece of indie filmmaking anchored by its central performances and astounding production design. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

The Dreamcatcher film review by UK film critic Joe Beck. Starring Suddhosatva Majumder, Santilal Mukherjee, Aritraa Sengupta directed by Ankit Santra. HOME | FILMS | REVIEWS The Dreamcatcher Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Oct 13, 2023 Directed by: Ankit Santra Written by: Ankit Santra Starring: Suddhosatva Majumder, Santilal Mukherjee, Aritraa Sengupta Dreams have the paradoxical duel power to both inspire and haunt all at once. They can be harsh reminders of the past and our previous mistakes or missed opportunities, but also they can provide hope and ideas for future greatness and happiness. As you get older the more you wish that your dreams were memories - happy memories of life’s greatest hits - yet to dream of memories is a double-edged sword. They can be a painful yet joyous reminder of times once had in our youth, but can also bring back our worst moments, when everything felt as though it was down in the gutter and the ones that change you irreversibly into the person whom you have now become. ‘The Dreamcatcher’ - an artfully composed meditation on life and the mistakes that we make - is one of those memories - the kind you wish you could go back and change because of how significantly it has altered you into the person you have become now. For Bihaan, now an older man played by Santilal Mukherjee, this memory has haunted him most of his adult life, coming back all too vividly when confronted with a former lover, Angana, played by Aritraa Sengupta. Bihaan has falls into a state of deep regret and self-loathing, referring to himself as vermin and degrading himself and humanity. It’s fitting, therefore, that he is an artist, those creatures filled with the most regrets and emotions, not least of all a painter. Bihaan is a propaganda artist, and having completed his most recent painting of sunflowers - which recur throughout the film - he is the mood for reflection. His idea behind ‘the sunflowers’ is that the flowers are confused between the light of the sun and that of the bombs, hence why they grow so much in Ukraine and Russia, in a metaphor illustrated beautifully by his calm words over a well-drawn animation. He questions how hatred and genocide can be beautiful, before turning from the wider scope of humanity in on himself to trace his journey of becoming what he calls a vermin. This takes him back to his younger self, played by Suddhosatva Majumder, as he recounts the day he wronged Angana. Director Ankit Santra, who also wrote the sumptuous screenplay, directs this with supreme confidence, from the beautifully lit tracking shot across a restaurant until we find ourselves at Bihaan and Angana’s table, where tensions between the couple are high. Bihaan has committed infidelity, and Angana knows, with the split screen employed by Santra further iterating the emotional divide between the lovers. Indeed, Santra directs excellently throughout, with his lighting bringing the intensity of the memory to life, particularly as Bihaan paints Angana naked for seemingly the last time. There is reason to question Bihaan’s sanity - who is he really speaking too, is it Angana or simply a figment of his imagination. Though perhaps at times Ankit Santra gets lost himself amidst Bihaan’s questioning of the human spirit, ‘The Dreamcatcher’ is nonetheless an excellently crafted film - worthy of the immortal Franz Kafka, who’s work, particularly ‘The Metamorphosis’ was an inspiration for Santra - with its thoughtful meditations on moral corruption and human nature largely ringing true in an incredibly engaging manner. Film, like paintings or like any art for that matter, can capture dreams, and that is what Ankit Santra has done so well with ‘The Dreamcatcher’. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Sweetness film review by UK film critic Hope Madden. Starring Kate Hallett, Herman Tømmeraas, Aya Furukawa directed by Emma Higgins. HOME | FILMS | REVIEWS Sweetness Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 11, 2026 Directed by: Emma Higgins Written by: Emma Higgins Starring: Kate Hallett, Herman Tømmeraas, Aya Furukawa Back in 1982, German filmmaker Eckhart Schmidt released The Fan , a horror thriller about a teenage girl obsessed with a pop music star. It’s a wild, weird, uncomfortable technopop ride, and I admit I expected (hoped?) Emma Higgins’s Sweetness would be a kind of American update. Because The Fan is so very weird, yet somehow relatable. Higgins’s film is very different, and a touch more on the believable side. Kate Hallett (Women Talking) is Rylee, unpopular high school kid with an obsessive crush on Floorplan lead singer Payton Adler (Herman Tømmeraas). His pouty pretty face covers nearly every inch of her bedroom walls and ceiling. Her headphones are always in, his emotional vocals drowning out the mean girls in class, her father’s overly eager girlfriend (Amanda Brugel), and everything else Rylee doesn’t want to hear. When bestie Sidney (Aya Furukawa, Fall of the House of Usher ) leaves Rylee behind after a Floorplan concert, she meanders alone until being struck by a car driven by the very impaired object of her affection, Payton Adler! Totally worth it! What follows is a crooked path lined with the faulty logic of the young and the twisted imagination of a filmmaker who’s spent most of her career embedded with pop stars. Higgins has directed scads of music videos. That’s probably why the music for this film is so unnervingly authentic, exactly the kind of thing that would make a troubled teen swoon and believe her life had been saved. Even if she’d, in fact, just been run down by a car. Furukawa and Tømmeraas both shine, one as a semi-vacuous but still good friend, the other as a good-looking opportunist with a drug problem. Hallett anchors the film with a sort of wide-eyed yet world wearied performance that’s as heartbreaking as it is frustrating. Higgins never laughs at or Rylee and her youthful obsession. Though the movie doesn’t wallow in the maudlin, avoiding angst at all possible turns, the filmmaker demands that we empathize with this girl in a way that’s both moving and nightmarish. Stylish cinematography and slick production design emphasize the pop music stylings, but the film is hardly all glossy exterior. There are some telegraphed moments and a couple of convenient contrivances, and anybody seriously shocked by Rylee’s choices definitely needs to see The Fan . But there’s a twisted, broken little heart here and Higgins and Hallett want you to witness it. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Pandemic Spy film review by UK film critic Alasdair MacRae. Starring Brooks Livermore, Aislinn De’Ath directed by Daniel D. Moses. HOME | FILMS | REVIEWS Pandemic Spy Film Review average rating is 3 out of 5 Critic: Alasdair MacRae | Posted on: Jan 13, 2022 Directed by: Daniel D. Moses Written by: Daniel D. Moses Starring: Brooks Livermore, Aislinn De’Ath A short sketch designed around the impracticalities of spy work during the pandemic. Films about the pandemic were inevitable, but right now, they are frankly taboo. How can something we are living through be portrayed on screen in a manner that is palatable? And in this instance, how can it be funny in a world where almost every joke is likely to have passed through social media which we are increasingly more reliant on? Pandemic Spy ’s brevity and wit somehow make it an enjoyable encounter despite its off-putting title. Brooks Livermore stars as Fisher, our spy, whose information exchanges with agent Penny (Aislinn De’Ath) usually take place on an inconspicuous park bench. Now, the park is scarcely populated and the bench is cordoned off with safety tape. He begins to discover that there isn’t really a way to subtly trade secrets at 2 metres. What follows is a mix of slapstick gags designed around the two agents trying in vain to conduct their business whilst maintaining their cover. Some of it works, some of it doesn’t. The physicality of the performances means the visual comedy tends to be more chuckle-inducing than the at times over-written dialogue. Sometimes the simple jokes are best as a right-to-left pan would prove as it unveils the scale of the farce. Pandemic Spy ’s aesthetics are overtly influenced by the work of Edgar Wright. The quick pans, modulation of movement speeds, and slick, fast-paced editing give it a comic tone that feels familiar. More layers are added by allowing interplay between Fisher and the audience. He is granted a noir-style retrospective narration as well as the ability to break the fourth wall. This works as Livermore is instantly likeable and his charisma makes even the exploration of the darker side of the pandemic feel bearable. Like all good spies, the film has a secret weapon in the form of the original score from Patrick Moore. A Mission Impossible pastiche that keeps the film kinetic, the rhythm of the percussion and bass tones cutely underwrite the comedy to keep the mood buoyant. Pandemic Spy may have shot itself in the foot sheerly through existing but it still manages to get the job done. A rather charming comedy short that is equally playful and measured. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >