Zootopia 2 film review by UK film critic Hope Madden. Starring Ginnifer Goodwin, Jason Bateman, Ke Huy Quan directed by Jared Bush, Byron Howard. HOME | FILMS | REVIEWS Zootopia 2 Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 25, 2025 Directed by: Jared Bush, Byron Howard Written by: Jared Bush Starring: Ginnifer Goodwin, Jason Bateman, Ke Huy Quan It’s been a decade since Disney rewrote their longstanding history of rocking no boats when the delightfully fearless Zootopia asked its audience to confront our own biases and recognize the way we are programmed to fear the weak to benefit the powerful. Animators Jared Bush and Byron Howard maybe looked around and noticed certain themes trending again. Zootopia 2 , which both direct and Bush writes solo this time, benefits from the same fantastic casting, same visual splendor, same wit as their 2016 Oscar winner. But Bush’s writing burns a little more brightly with anger this time, however charmingly packaged. Bunny cop Judy Hopps (Ginnifer Goodwin) and her fox partner, Nick Wilde (Jason Batemen), will not content themselves to sitting on the sidelines as rookies when there are real crimes to investigate. Judy believes the weird material she found at the scene of a smuggling crime is actually the shed skin of a snake—and reptiles are banned from Zootopia! They’re weird and dangerous! Just ask the powerful land baron heirs of generational wealth, the Lynxleys! Do you know how to immediately convince children and adults alike that Gary the heat-sensitive pit viper is, indeed, no threat all? Besides naming him Gary? Cast Ke Huy Quan, whose performance, even when it’s only vocal, sings of harmlessness. Is Gary being framed? Can conspiracy-seeking podcasting beaver Nibbles Maplestick (Fortune Feimster, hilarious) help in the investigation? Can Judy and Nick’s friendship survive another big case? Is any of this worth dying for? Boy, that last one’s a big question for a kid’s movie, but Zootopia 2 is committed to asking big questions. It’s equally committed to hilarious sight gags (Hungry Hungry Hippo and Ratatoullie were battling for my favorite, but then they brought out the hedge maze). So it’s a good balance. Bush’s plot is a little complicated for the youngest viewers, and the film takes a while to really find its groove. But it’s also shockingly relevant and sometimes powerfully emotional. Plus, Patrick Warburton as a vainglorious blond show horse movie star turned mayor is a hoot. It’s great to see a family film that reminds kids (and adults) that bullies are often the people with the most money, and that the bully is always the problem. Zootopia 2 may not be the utter revelation of the original, but it is an excellent sequel and a tale worth telling. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Lie With Me - BFI Flare film review by UK film critic Amber Jackson. Starring Guillaume de Tonquédec, Victor Belmondo, Julien De Saint Jean directed by Olivier Peyon. HOME | FILMS | REVIEWS Lie With Me - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 22, 2023 Directed by: Olivier Peyon Written by: Olivier Peyon, Arthur Cahn, Philippe Besson Starring: Guillaume de Tonquédec, Victor Belmondo, Julien De Saint Jean A moving film that explores first love and heartbreak within the gorgeous backdrop of rural France, Lie With Me features a famous writer and novelist returning to his hometown after a long absence. When Stéphane Belcourt is invited to be a brand ambassador for a local cognac label celebrating its 200th anniversary, he returns to the place he left decades ago and unintentionally discovers a connection to his secret first love. Memories of passion and pain return to him and the story moves between two teenagers handling their repressed desires, alongside an adult Stéphane struggling to cope with the weight of his past. Olivier Peyon’s film is an introspective look into powerful emotions never expressed in the beautiful backdrop of the French landscape. Whilst a love story that travels backwards and forwards in time is nothing new, Lie With Me feels fresh in its willingness to show the vulnerabilities of each character. Stéphane is now an out and proud gay man and is able to speak on his identity through his writing talents, having published many novels. Actor Guillaume de Tonquédec offers the viewer a fantastic performance as Stéphane, allowing his innermost thoughts to be accessible on camera whilst barely uttering a line. He acts with ferocious emotion as Stéphane seeks to handle his grief. His story weaves in and out of the torment of his first love with popular classmate, Thomas, and he decides to find out what happened to him after that summer thirty-five years later. What he discovers comes in the form of plenty of plot twists that throw him off the scent. The overwhelming countryside contrasts to the emotional turmoil that Stéphane and Thomas are experiencing, which is expertly conveyed through the electric chemistry between actors Jérémy Gillet and Julien De Saint Jean who portray the teenagers. Viewers can feel the humidity of a nostalgic summer in the air as both boys embrace their sexuality for the first time. This is a version of France arguably never seen before with this lens, with bristling fields and breath-taking waters offering a different type of romance. Everything that the camera captures is beautiful in many senses of the word. As Stéphane and Thomas encounter each other more and more on screen, those watching come to understand the true meaning of their summer of love through visual artistry as well as verbal. This is truly a film that speaks on the process of learning to embrace personal identity and overcoming the personal shame of same-sex attraction. Despite the beauty of the landscape and sharp colour grading, the powerfully real performances of each actor are exacerbated by a very subtle and witty script. Raw emotive scenes are injected with brief moments of humour that allow the story to feel deeply real. There are moments that are surprising and remove the film from the predictable romance genre. The realistic backdrop of the film, combined with unglamourised dialogue and actors, keep Peyon’s film feeling fresh. It is an authentic portrayal of a warm summer in love. Conversely, scenes with an older Stéphane look and feel colder, as the landscape loses its bright colours and the screen is filled with images of grey skies and fog. The ability to weave these two separate images into one film is genius and fully encapsulates Stéphane’s journey to self respect. Lie With Me represents the courage of dealing with heartbreak whilst searching for answers. It is a clear and poignant representation of a tired French man seeking to embrace his sexuality and rid himself of personal anxieties. Those alongside him give incredible performances and a devastatingly good plot makes this a film not to be missed. Buy UKFR Banner Space About the Film Critic Amber Jackson Indie Feature Film, World Cinema, Film Festival, LGBTQ+ < All Reviews Next Film Review >

Far From Water film review by UK film critic Jason Knight. Starring Lucas Nealon, Jarid Dominguez directed by Josh Cox. HOME | FILMS | REVIEWS Far From Water Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 3, 2025 Directed by: Josh Cox Written by: Josh Cox Starring: Lucas Nealon, Jarid Dominguez A short drama written and directed by Josh Cox and starring Lucas Nealon and Jarid Dominguez. Two male youths (Nealon and Dominguez) arrive at an isolated beach. There, they undress and go for a playful swim. Then, they lay on the grass and get intimate. However, all does not seem to be well. Two young men, alone, in the countryside. With this simple premise, this short tells a dramatic story about a romance that may already exist or could be just beginning. By having very limited dialogue and providing almost no information about the lives of the two protagonists, the story is mysterious and that is probably because the goal was to concentrate on the relationship, the romance, which appears to be unstable. Things start out joyfully, with the two youths enjoying each other's company and after they get intimate, the atmosphere changes, making it questionable whether the romance that develops is welcomed by the youngsters. Cox took on many roles for this project, including cinematographer and editor and the result is a viewing experience that contains wonderful shots of the beach, the ocean, the forest and the sky. The fact that the weather is unsettling adds to the drama and so does the beautiful music. The story centres on the two characters and they are the only ones in the film. The are brought together by the fact that they are attracted to each other, however, Dominguez's character appears to be the one who is unsure about the relationship, much to the dissatisfaction of the other guy. Through a homosexual romance, the screenplay explores happiness, peacefulness, self-discovery, as well as regrets and uncertainty. A four-and-a-half-minute-long film about an unsteady homosexual relationship between two young men. During its short duration, the script is able to generate a great deal of drama and end on a note of significant character development. A moving and thoughtful viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, LGBTQ+ < All Reviews Next Film Review >

Ben & Lacy film review by UK film critic Chris Buick. Starring Michael Shacket, Morgan Overley directed by Michael Shacket. HOME | FILMS | REVIEWS Ben & Lacy Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jul 13, 2023 Directed by: Michael Shacket Written by: Michael Shacket Starring: Michael Shacket, Morgan Overley Imagine you had documented and could look back at all the moments throughout a relationship, remembering all the good times but also analysing where it all went wrong when it was at its lowest? In Ben & Lacy , Ben (Shacket) is gifted a camera as a graduation gift, and with it decides to start to documenting his daily life and inner monologues. One day while vlogging at work, Ben reconnects with Lacy (Overley), an old classmate from high school. Through their self-shot camera footage, we get to see them reconnect and fall in love but also go through all the many trials and tribulations of romance. Writing, directing and starring, Shacket takes on a lot here, but demonstrating very considerable talents as a filmmaker in each. The “vlog” camera delivery of the film is an interesting concept and for the most part executed pretty well. Despite the film running at just shy of two hours, its paced well enough that this idea thankfully doesn't become a gimmick or noticeably lose its effectiveness before the end. Sure, there might be some moments where the camera set up doesn't make complete narrative sense (do they always leave the camera on when they're sleeping?). But ultimately it allows the viewer a much more intimate window to peer through in order to watch this relationship develop, from the charming highs and infinite possibilities of new love all the way through to when the real world comes crashing in after the honeymoon period and the itches of the relationship start to show, both Ben and Lacy’s insecurities and neuroses are all laid bare here with nowhere to hide, a story we’ve might have seen before but delivered like this, it feel distinctive. It runs the gamut of emotions as well; funny, sad, sweet, angering, it manages them all and it allows the story to have a good ebb and flow not just in the narrative, but the performances as well. A film like this can only work if the relationship being observed is worth the time, and luckily, due to a well-written script and two very solid performances from Shacket and Overley, we are almost always invested. It's not necessarily that you root for them, one might seriously question throughout whether they are right for each other at all, but it’s the captivating drama of two young and perhaps naïve lovers that keeps you hooked, and the dynamic between the two leads is key in selling that. Some of the drama does unfold as feeling either a bit scripted or overplayed rather than natural at times, especially in the film's explosive midway scene where both actors are giving it their all but jumping off the scale just a bit, but for the most part it does manage to strike a good balance, Overley’s delivery in the more Lacy centred second half being a particular highlight not to mention a super-sweet third act that caps everything off quite nicely. Tightly written and performed, Ben & Lacy offers an enjoyable tale of young love that is sure to stir something in even the most stoic. Ben and Lacy is available to rent or buy on Amazon Prime Video. Buy UKFR Banner Space About the Film Critic Chris Buick Amazon Prime, Indie Feature Film < All Reviews Next Film Review >

My Biggest Mistake Was Winning This Race film review by UK film critic Rob Jones. Starring Bobby Cohoat, Kyra Radomsky, David Malone directed by David Malone. HOME | FILMS | REVIEWS My Biggest Mistake Was Winning This Race Film Review average rating is 3 out of 5 Critic: Rob Jones | Posted on: Apr 10, 2023 Directed by: David Malone Written by: David Malone Starring: Bobby Cohoat, Kyra Radomsky, David Malone There’s something that feels familiar about My Biggest Mistake Was Winning This Race . It doesn’t quite fit the adult-orientated absurdist themes that it explores, but it’s almost like Inside Out . It takes a look at the inner workings of the human body in order to draw humour and life lessons from a personification of what’s going on inside us, but in this case, it’s a bunch of sperms on their way to inseminate an ovarian egg. It starts as it means to go on. The first scene we see is a series of visual gags that present the inner walls of a vagina as if they’re a metropolitan underpass. As the sperm travel, there are graffiti-like markings from past partners and STIs. Much like the markings, the sperm that are there all have a personality of their own, and they’re all competing with one another to become the one that can form a new life. The humour is essentially a high school take on how babies are made, but that isn’t to say it feels immature. It achieves what it’s aiming for mostly, and that’s just a slacker-style comedy about sperm. Some of the characterisations of the sperms can be a bit too on the nose. There are conversations about future jobs and the impact that they’ll have on the world, as if the sperms have been sentient members of society before arriving here. It isn't that it misses the point of looking at things from the perspective of something that isn't, but it's something that could've been a bit more purposeful. It would’ve perhaps been a bit more pertinent if they were loveably naive rather than being presented as all-knowing before birth. Where there could have been some really interesting opportunities for meaningful thoughts on what it means to be alive, this is really just a loose look at what’s going on in modern society. With a charming art style and a concept that will raise a smile, it’s certainly okay. Where it comes short in becoming anything more weighty, it comfortably manages to give us a few minutes of cheap humour, and sometimes that’s all that needs to be delivered. It could have been more, but it doesn’t necessarily need to be. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

The Infernal Machine film review by UK film critic Hope Madden. Starring Guy Pearce, Alice Eve, Alex Pettyfer directed by Andrew Hunt. HOME | FILMS | REVIEWS The Infernal Machine Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 22, 2022 Directed by: Andrew Hunt Written by: Andrew Hunt Starring: Guy Pearce, Alice Eve, Alex Pettyfer Guy Pearce works a lot. He has 90+ screen credits since debuting in 1990’s universally panned Aussie thriller Hunting . In the interim, he’s crafted unforgettable characters in remarkable films (Memento, The Proposition, Ravenous, Animal Kingdom, L.A. Confidential, Mildred Pierce, Lawless, Hateship Loveship , The Rover ). He’s also cashed some meaningless paychecks. Did you see The Seventh Day? Zone 414 ? In the last five years, the veteran talent has indulged in too many low-budget thrillers. I hate to call them geezer teasers because Pearce is capable of so much more than the other actors associated with these straight-to-streaming punch-em-ups. Still, that’s what they are and that’s what I half expected with The Infernal Machine. Pearce plays recluse author Bruce Cogburn in writer/director Andrew Hunt’s mind game of a thriller. Twenty-five years ago, a gunman inspired by Cogburn’s novel The Infernal Machine climbed a watch tower and took aim at the citizens below. Cogburn hasn’t written a word since. Lately, his reclusive nature’s been tested by a very ardent fan who delivers letters daily to his PO box. When Cogburn terminates the box, the letters come by courier to his isolated home, regardless of the threat of being shot on sight or mauled by Sol, Cogburn’s dog. Eventually, respect for the tenacity of this fan – an aspiring writer just wanting some advice – softens Cogburn and he agrees to a meeting. Bad decision. Hunt’s script takes wild twists and Pearce and his costars are game for the ride. Alice Eve is a lot of fun. Alex Pettyfer plays against type and mines excellent, sometimes chilling layers in limited screen time. But it’s Pearce, in sun-damage makeup, who carries each scene. He is, as he’s always been, an outstanding character actor. In his hands, Cogburn’s vanities and pretensions give the character needed depth and fit nicely with Hunt’s vision. It is a fun flick full of surprises. Flashbacks weaken the satisfaction of piecing the mystery together, so the climax itself is not as strong as the adventure that precedes it. Still, it’s great to see Pearce making an effort in a film worthy of his time. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Pocket Princess film review by UK film critic James Learoyd. Starring Naiya Novak, Natasha Brault, Amie Reiman directed by Olivia Loccisano. HOME | FILMS | REVIEWS Pocket Princess Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Nov 12, 2024 Directed by: Olivia Loccisano Written by: Olivia Loccisano Starring: Naiya Novak, Natasha Brault, Amie Reiman Stop-motion animation is quite the rare format, particularly within the independent short film scene. The reason being that it not only takes an extended period of time to get right, but it’s a craft which requires such a specialist skill-set, and an outstanding level of patience from its creators. This in and of itself is reason enough to celebrate the completion of Olivia Loccisano’s Pocket Princess . But what’s even more impressive is the fact that it’s a deeply engaging, upsetting and oddly cinematic piece which feels fully finished. This tragic and haunting fable depicts a young girl whose mother dies, so she’s left in the care of her domineering, abusive uncle. In trying to escape her tortured life, the narrative takes some intriguing turns into the dark and fantastical. Its tagline, which reads “A film for children. Perhaps,” is certainly emblematic of the movie’s unique tone - horror from a child’s perspective. There’s something fascinating about this choice of format in conjunction with the story. When you consider how, were this a live action work, it would feel unwatchably bleak; but then again, the specific style of claymation implemented is so icky, unnerving and hand-made, that it simultaneously distances us from the heavy content, while utilising the form to disrupt the audience’s psyche. When our characters are fully artificial, and the film chooses to draw attention to it visually, we find our stomachs turning at their expressions and mechanics. Namely, the disconcerting, blinking eyes of the figures captures human emotion and behaviour; however, the characteristics of its texture and movement is inherently jarring, its artifice immediately getting under the viewer’s skin. Conceivably, one issue an audience may have with the picture is with its darkest content. It’s not for everybody, but then again, nothing should be. Depictions, certainly of things like child abuse, can prove very tricky. One can imagine how a viewer may repulse at its being represented through stop-motion, and could easily label it as glib or tasteless. This cognitive dissonance of such a playful, quirky aesthetic conflicting with the visceral material definitely throws you off at first. But I would argue that when you consider the story in isolation, what it offers is an allegorical nightmare with a layer of childlike imagination. Morbid, of course, but genuine. Additionally, the aesthetic proves successful because it’s never ironic, and treats the subject-matter with the appropriate level of validity. Yet one can understand if someone thought otherwise. Great stop-motion work is such a special thing. As technology improves and becomes all the more prominent in art, it’s always refreshing when filmmakers opt for more classical, hands-on modes of storytelling. This should be considered a huge achievement for animators Sima Naseem, River Park, Lily Zhang and the rest of the team. And to any stop-motion enthusiasts, Pocket Princess is not one to miss. It’s a film which has been constructed from the ground up with incredible care, and this you can sense in every frame. An undeniably unique vision, backed up with a massively ambitious visual sensibility, this is everything an animated short film should be. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, Animation < All Reviews Next Film Review >

Portal film review by UK film critic Swati Verma . Starring Michael Sasaki, Abby Latip directed by Blank Space. HOME | FILMS | REVIEWS Portal Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 14, 2024 Directed by: Blank Space Written by: Blank Space Starring: Michael Sasaki, Abby Latip The writer-director Blank Space utilises the concept of Portal-a doorway, gate, or entrance to intertwine it with the Sci-Fi genre to bring out the best in the leading Man Michael Sasaki who plays Josh in the film. The plot of Portal revolves around Josh (Michael Sasaki), his wife Whitney (Abby Latip), and how his life changes for the better when he has an unusual and unexpected emotional conversation. The short film begins with a combination of close-mid shots giving the audience a sneak peek into the day-to-day topics between a husband and wife and later incorporating the element of alternate reality into the narrative to increase the degree of audience engagement with the content of Portal. The set design, the white and grey colour pallet, lighting, sound, dialogues, costume, hair, makeup, and props are kept simple so that the makers can add pace to the story to effectively communicate the key messages it wants to deliver to its viewers. The writer/director along with the creative team beautifully managed to maintain continuity in the script and curiosity in the minds of the audience even with such short running time. In terms of Performance, Michael Sasaki plays Josh who has become a lovable as well as responsible family man by sacrificing a lot of his emotional needs to take care of providing the best things in life to his wife and daughter. Sasaki brilliantly portrays and expresses the rollercoaster of feelings Josh has experienced in both the timelines showcased in the movie through the dialogues, body language, voice modulation, facial expressions, and his eyes. Abby Latip plays the role of Whitney (Josh’s wife). Latip has a very short screen-time; she manages to contribute to the screenplay effectively. The audience from the very beginning gets to know about the reason of the emotional quotient in Josh’s life. Therefore, this very factor binds the story together and ensures a smooth flow of the same. Portal talks about how important acceptance in the eyes of society becomes to people that they end up keeping their happiness and self-love on the back seat in terms of priorities in life. The short film reiterates that everyone should be allowed to make their choices in life and not be judged for the same because situations keep on changing with time. Portal tells the audience that the concept of decision-making completely transforms once one has entered into the phase where he/she functions as a family unit. The cinematic piece highlights what toxic people/environment can do to one’s mental health and adversely affect loved ones too in the long run. The creative piece restates that people are responsible for protecting their self-respect and no one else shouldn’t be given the right to be disrespectful. The dramatic piece talks about sharing life experiences providing an opportunity to learn and implement them in their day-to-day routine thus improvising their lifestyle. To conclude I would like to appreciate the writer-director Blank Space creating the right mix of emotions and Sci-fi to keep the audience hooked to the movie all through the 11 minutes. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Thin Black Line film review by UK film critic James Learoyd. Starring Captain Lee Peters III, Lieutenant Deuntay Diggs, Sergeant Carol Burgess directed by Jim Klock. HOME | FILMS | REVIEWS The Thin Black Line Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: May 7, 2024 Directed by: Jim Klock Written by: *N/A Starring: Captain Lee Peters III, Lieutenant Deuntay Diggs, Sergeant Carol Burgess Bill Nichols famously posed that there are six ‘modes’ of documentary based on varying levels of spectatorship, tone, and the documentarian’s active or inactive participation; The Thin Black Line would serve as a challenging study to Nichols’ celebrated rubric, for the way it’s constructed may leave the viewer uncertain about the intentions of specific moments. It really begs the question, is it possible to judge purely the formal craft of a documentary without considering its social content? - I suspect the answer is no . This feature doc is about American law enforcement following the recent political unrest regarding police brutality; - specifically, it focuses its attention on the African American individuals working as officers and their complicated relationship to the prevalent issues about discrimination. It’s quite fascinating, and heartbreaking, to hear first-hand testimony concerning the impossible position people of colour working in the force are put in; however, the overall tone, structure and singular message of the piece often feels slightly manipulative. Specifically, I’m trying to address the following clash of issues that this film creates: for one, it certainly feels like a movie made wholly in support of the police – it is constructed as such to guide that narrative and make its ‘argument’. This can, at points, feel icky – for lack of a better term – particularly when, for example, one white officer featured in just a short fragment of an interview reveals himself to be socially uneducated in terms of racial prejudice (although this really only happens once or twice... but you feel it). With the rhythm of the editing and the music playing, one can revulse at the idea that the audience is supposed to agree with the testimony. On the other hand, (and this is very important) the most valuable element of the film comes from the continual attention paid to the voices of black officers. Their stories, perspectives – no matter how they’ve been structured in the documentary’s making – are important to hear. There are some perceptive things said, some harsh truths spoken; and agree with them or not, their purpose is to be thought-provoking. It’s disturbing to hear, for example, the ways in which an African American individual – when choosing to work in law – experiences a sense of individual alienation. They discuss a deeply upsetting questioning of identity, and how the world views them with scepticism more so than others within the profession. So -- the picture, as intriguing and valid as it often is, holds problems which are difficult to overlook; and most of this is due to the way the film is made as opposed to the content itself. To circle back to Bill Nichols, arguably a solution to this cognitive dissonance would be to have the piece be purely observational... Were it a series of extended interviews of a politically confrontational (even persuasive) nature – without any music, expressive transitions, or provocative B-roll – then we could view the film without any concern that we’re being manipulated by technique. Present is the potential for great documentary filmmaking for it contains all the pieces of an incredible social document. Buy UKFR Banner Space About the Film Critic James Learoyd Documentary, Indie Feature Film < All Reviews Next Film Review >

In the Garden of Tulips film review by UK film critic Patrick Foley. Starring Ava Lalezarzadeh, Iman Nazemzadeh, Kourosh Parsapour directed by Julia Elihu. HOME | FILMS | REVIEWS In the Garden of Tulips Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 28, 2024 Directed by: Julia Elihu Written by: Ava Lalezarzadeh Starring: Ava Lalezarzadeh, Iman Nazemzadeh, Kourosh Parsapour In the chaos and tragedy of war, it is the small stories that often get forgotten or lost to time. The uprooting of lives changes the course of history, in ways that resonate for decades. In the Garden of Tulips is an intensely personal story written by star Ava Lalezarzadeh, and inspired by her own heritage, of the shattering of a family in the Iran-Iraq war. In 1988, Caroline (Lalezarzadeh) and her father Sharif (Iman Nazemzadeh) travel across Iran amidst war and turmoil to find safety. Sharif has organised safe passage for Caroline to a place away from the war – but it is a journey he cannot take. With dangers on the road, a family secret places them both at higher risk – but a determination to share positivity in their last moments together means they are able to find the light. Part war movie, part road trip, part family drama, In the Garden of Tulips is a short drama filled with tension and emotion. Shot in Los Angeles, the remarkable locations identified by the filmmakers recreate the Iranian desert brilliantly, and the set construction, costume design and of course Persian language make this a powerful recreation of 80s Iran. Caroline and Sharif’s journey across the desolate land feels both freeing and terrifyingly exposed – an effect felt most during their run in with a police officer (Milad Dylan) who threatens to expose their secret. The powerful immediate contrast of an innocent bonding moment between father and daughter and the sirens of his car feels that much more impactful thanks to the open, defenceless space. Ava Lalezarzadeh more than embodies the emotional weight that inspired the film. Torn between the life of a young girl and a survivor who knows that dangers lie around every corner, her performance as Caroline is what drives the film – with viewers easily sharing her father’s concern. Caroline’s war will not end when she reaches UN peacekeepers, or even when she escapes the Middle East. Iman Nazemzadeh is as equally powerful, their final embrace before parting a guaranteed tearjerker. Nazemzadeh’s eyes imprint onto the soul of the audience – a fantastically affecting touch for the film and one that firmly establishes this as a recreation of final memories. As a snapshot of a moment in time, the filmmakers do not opt to dwell on the causes or wider context of the war – leaving this to occasional interruptions from the radio to fill in background. This is a family story, one where the relationship between father and daughter takes centre stage – but viewers will be better suited with at least some knowledge of the background to the conflict (as well as Middle East history) to get the most from the film. In the Garden of Tulips is a strong and emotional story of separation, and one that remains tragically relevant in a tumultuous world. Ava Lalezarzadeh’s talent is clear to see in a powerful lead performance and fantastic script. Much like the journey of Caroline, this is a film that will resonate. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

A Life, or Two film review by UK film critic Nina Rawlingson. Starring Lewis Dixon, Alex Moeser, Marcela Marin Dapelo directed by Liam Kavanagh. HOME | FILMS | REVIEWS A Life, or Two Film Review average rating is 3 out of 5 Critic: Nina Rawlingson | Posted on: Aug 11, 2026 Directed by: Liam Kavanagh Written by: Liam Kavanagh Starring: Lewis Dixon, Alex Moeser, Marcela Marin Dapelo The story opens with an obsessed, rather unhinged character following and planning a way to infiltrate a man’s life. We come to meet both of these characters, Guy (Lewis Dixon) and Bruno (Alex Moeser) after bumping into each other at a pub as Bruno slowly unveils his sinister intentions. Based off of the novel ‘Strangers on a Train’ by Patricia Highsmith. The first focus is on Guy and how his life is falling apart at the seams. He is juggling his career, a divorce, and a new lover whilst his life is thrown into the spotlight in the headlines. Bruno happens to ‘overhear’ his phone conversation with his lover Anne (Leila Ballentyne). He invites himself to the table and starts his manipulation tactics, referring back to his rehearsed lines at the beginning of the film. He’s got Guy in an intimate setting, a space that is more secluded and starts his confessional. Constantly probing at Guy’s life and his decisions, at first Guy is apprehensive. We see him faced with endless phone calls and even showing a more aggressive temperament towards his wife, Miriam (Marcela Marin Dapelo). This is a great device used to show Guy’s distress, poor decision making and how his interactions differ with each character throughout. Guy stays at the table with Bruno even after everything he’s said. Bruno plies him with drink and acts like they have a bond. We see how manipulation and compliance can alter a person’s moral compass and decisions. Bruno appears to be a sociopathic character that knows what to say and how to say it, and Guy is his target to puppeteer. We get to the film’s climax, Bruno’s monologue is enhanced with the orchestral score that gets louder as Guy is actually thinking the idea through. The last sequence is Guy descending the staircase for the final time, creating the ultimate sense of dread, leaving the viewer thinking about the repercussions even after the credits roll. This works well as a short film, a decisive adaptation of the original novel. It uses two different walks of life and how we see a predator going after it's prey, especially shown through over-the-shoulder shots. The lighting creates a stark contrast from ominous tones at the beginning to the warm, inviting tones of the pub as Bruno carries out his manipulation, offering a friendly ear. While the film is set between two characters, it could have potentially utilised the space they filmed in more and evoked more emotion through the actors’ performances and editing. There is only so much you can accomplish in shorter films; however, seeing more of Bruno’s backstory would have been interesting to really delve into the psyche of the character and how increasingly dangerous he is. Overall, it is an impactful adaptation with some great cinematography and lighting choices. It draws you in with Bruno’s introduction and the anticipation of what’s to unfold, as Bruno states things like ‘you took action and I like that’ and ‘you’re one of the few in life that do things’. We see two characters fighting demons in different ways and the extent one is willing to go to. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Short Film < All Reviews Next Film Review >

My Brain Does Not Compute film review by UK film critic William Hemingway. Starring N/A directed by Henry John Griffin. HOME | FILMS | REVIEWS My Brain Does Not Compute Film Review average rating is 1 out of 5 Critic: William Hemingway | Posted on: Apr 4, 2023 Directed by: Henry John Griffin Written by: Henry John Griffin Starring: N/A In 1997 British indie rock band Radiohead released their seminal album OK Computer . The concept for the album was to talk about and highlight the ever increasing social alienation and emotional isolation felt by the then Gen-Y-ers in an age of rampant capitalist consumerism, fuelled by the onset of the digital age and a growing reliance on technology. As such it included tracks like Subterranean Homesick Alien and Paranoid Android which put into words and sounds how the modern generation was feeling whilst also heralding a shift in songwriting style and technique not just for the band itself but for a lot of music and musicians which came after. Now, in 2023, we have My Brain Does Not Compute , a three and a half minute music video accompanying a rap song which was in part created with the help of the N-Track Studio app. During the track the rap artist talks about how his brain is not like a supercomputer and continues to list myriad ways to illustrate why this is true, all the while trying to get across the refrain that “We do not compute”. There are no credits attached to the music video so it can be quite difficult at first glance to get any idea of the background to the music or the film, or to get a sense of how, where or why the content creator has chosen to express themselves with this particular song and video in this way. With just a little bit of digging though we can find that writer/director, Henry has published My Brain Does Not Compute through his own YouTube channel which he has called HG3 TV Computer Brain Channel and that this track is part of a series which runs in a very similar vein and includes other tracks such as My Brain Does Not Have Circuits and I Hate Being Not A Computer . The video for My Brain Does Not Compute is in itself unfortunately not very good. It consists entirely of the artist/creator, Henry holding his phone in his hand and filming as he wanders around his house, mostly in his kitchen but sometimes meandering into other rooms, as he goes round and round in his head and in his movements as he tries to come to terms with not being a computer. There is a lot of bright red lens bleed at the top of the frame as the camera gets shown around from room to room, which may well be an added effect, but which could also be from the fact that Henry's phone is broken. Also, there is the encroachment into the frame throughout of Henry's ubiquitous finger which hangs on the top left of the shot and rarely removes itself from the scene. There is really nothing else to the video, and while the rap track from Henry does show a lot of promise in his songwriting skills, as well as the whole enterprise being an interesting view into the repetitive journey of a mind that is trying to deal with not being a supercomputer, there is nothing in the skill and the talent of the film being shot to recommend it to the viewer. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Music Video < All Reviews Next Film Review >