The Quiet Ocean film review by UK film critic William Curzon. Starring Juliette Crosbie, Jennifer Zamparelli, Geraldine McAlinden directed by Katie McNeice. HOME | FILMS | REVIEWS The Quiet Ocean Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jul 28, 2026 Directed by: Katie McNeice Written by: Barry Smyth Starring: Juliette Crosbie, Jennifer Zamparelli, Geraldine McAlinden The Quiet Ocean follows Kansas (Juliette Crosbie), a receptionist at an Irish motel, in a future where individuals go to end their lives. One night, she meets a guest, Maria (Jennifer Zamparelli), and finds herself falling in love with her. The short piece is a dystopian tale of melancholy and regret, focusing on themes of queer love and gender roles. One of the most astounding aspects of The Quiet Ocean is its visually striking production design. Despite evident budget constraints that ran counter to the filmmaker's vision, the piece is a staggering achievement in production values, with all the technical aspects firing on all cylinders. The titular motel is visually stunning, with neon lighting set against a gloomy fog. While the filmmakers intentionally don't expand the worldbuilding beyond the expository voice-over explaining how the motel operates, the ambiguity is welcome, allowing the audience to piece it together themselves. The low-key lighting in the exterior of the hotel is another commendable choice, giving the motel an eerie feel. Serving as the film's cinematographer, Carol Tormey does a tremendous job of framing the titular motel and both central characters. The piece primarily consists of close-ups between Kansas and Maria to create a sense of intimacy and yearning, essentially assisting their already compelling chemistry. The shift to establishing shots of the motel is also a commendable choice, as it gives the audience a sense of the scale within the exterior sequences. These specific framing choices are complemented by the boxed-in 4:3 aspect ratio that gives the piece a sense of claustrophobia and intimacy. Seeing the grainy photography set against the gloomy fog makes the experience visually appealing throughout. Katie McNeice, serving as the film's director, executes the themes of queer love and gender roles sincerely. It takes a steady pace to establish the relationship between the two central characters without ever putting a foot wrong. Despite the film's brisk runtime and lack of worldbuilding, every dramatic beat is executed profoundly thanks to the writing and direction from Katie McNeice. The way the filmmakers tackle the themes of regret and the inevitability of death in a bleak, dystopian future is an apt topic for this narrative, and it feels wholly singular and original. While the piece could have delved more into the relationship of Kansas and Maria, the short runtime feels welcoming. Each interaction between Juliette Crosbie and Jennifer Zamparelli in their portrayals of Kansas and Maria, respectively, feels natural and nuanced. This is thanks to two committed central performances that bounce off one another to create a magnetic sense of chemistry. While the audience doesn't spend a substantial time with Kansas and Maria, both performances shine and convey the themes of longing convincingly. The conclusion to the piece lands on a quiet and meditative note that may linger on viewers’ minds. Despite how abrupt it may be to certain viewers, the execution is undoubtedly moving and may leave audiences wanting more. The Quiet Ocean is a deeply moving portrayal of queer love in a dystopian world. It's a beautiful and unique tale drenched in melancholy and longing. Despite its lack of characterisation, the piece is held together by two terrific performances, a subtle yet effective musical score and admirable editing choices. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz.. Brand new film trailers. Wicked: For Good We at UK Film Review have eagerly awaited every glimpse into Jon M. Chu’s epic two-part adaptation of Wicked . Following last year's monumental first instalment, which captivated global audiences and shattered records, the final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz. And what a glimpse it is – a tantalising two minutes and fifty-five seconds that leaves us breathless, confirming that this sequel is poised to deliver on every front. The trailer opens with the charmingly naive, yet increasingly influential, Glinda, played with radiant sincerity by Ariana Grande, being told, "It's more important than ever that you lift everyone's spirits, as only you can." This immediately sets the stage for her ascent as the "glamorous symbol of Goodness," residing in the opulent Emerald City palace under the tutelage of the formidable Madame Morrible, brought to life with chilling precision by Oscar winner Michelle Yeoh. Glinda’s journey into the spotlight is juxtaposed with the stark reality of Elphaba’s exile. Cynthia Erivo, whose powerhouse performance in the first film garnered immense praise, returns as Elphaba, now demonised as The Wicked Witch of the West, hidden within the Ozian forest. The trailer hints at her continued fight for the freedom of Oz’s silenced Animals and her desperate quest to expose The Wizard’s true nature. The visual spectacle, as expected from a Jon M. Chu production, is nothing short of breathtaking. From the glittering grandeur of the Emerald City to the ominous, windswept landscapes that mirror Elphaba’s isolation, every frame is meticulously crafted. The special effects appear to have been elevated even further, promising an immersive experience that will transport audiences directly into this reimagined Oz. The iconic imagery of Elphaba soaring through the sky, wand in hand, is truly captivating, while the contrasting scenes of Glinda’s lavish Ozian wedding to Prince Fiyero (Jonathan Bailey) promise both joyous celebration and underlying tension. The emotional core of Wicked has always been the complex, enduring, and ultimately transformative friendship between Elphaba and Glinda. This trailer, more than any before it, places this relationship at the absolute forefront. We see the painful estrangement, the consequences of their divergent choices, and the palpable longing for reconciliation. Glinda’s attempt to broker peace between Elphaba and The Wizard is clearly doomed to fail, driving them "only further apart." The trailer’s snippets of dialogue, such as "I’ve heard it said that people come into our lives for a reason," resonate deeply, underscoring the profound impact they have had on each other. The stakes are visibly higher in For Good . The "angry mob" rising against the Wicked Witch creates a palpable sense of danger, hinting at the thrilling confrontation that awaits. The ominous arrival of a certain girl from Kansas, alluded to in the film details, will undoubtedly throw a further wrench into their already complicated lives, threatening Nessarose and setting in motion events that will forever transform Boq and Fiyero. The narrative promises to be a gripping exploration of good versus evil, friendship versus betrayal, and the courageous act of standing up for what is right, even when the world is against you. Stephen Schwartz’s legendary music and lyrics, which are the very heart and soul of Wicked , sound more potent than ever in this cinematic rendition. The snippets of score accompanying the visuals are stirring, building anticipation for what we know will be powerful and emotionally charged musical numbers. The blend of classic stage material with a refreshed orchestral landscape, crafted by John Powell and Schwartz himself, promises to honour the original while elevating it for the big screen. Wicked: For Good is not just a sequel; it is the culmination of a story that has resonated with millions worldwide. The final trailer reinforces that this will be an epic, emotionally charged, and visually stunning conclusion. Cynthia Erivo and Ariana Grande, supported by an incredible ensemble cast including Jeff Goldblum, Michelle Yeoh, and Jonathan Bailey, appear poised to deliver performances that will solidify their interpretations of these iconic characters in cinematic history. As the trailer eloquently states, "Who can say if I've been changed for the better, because I knew you...". This final chapter promises to explore that transformative power of friendship, ultimately challenging perceptions of what it truly means to be "good." We at UK Film Review are counting down the days until Wicked: For Good graces our screens. When is the Second Wicked Film Coming Out? Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

AVALUDAN film review by UK film critic Matt Trapp. Starring Dhurga Lingasparan, Sivakumar Palakrishnan, Seshan Veerappan directed by Darshan Kunasagran. HOME | FILMS | REVIEWS AVALUDAN Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Jul 30, 2026 Directed by: Darshan Kunasagran Written by: Subash Kumar, Darshan Kunasagran Starring: Dhurga Lingasparan, Sivakumar Palakrishnan, Seshan Veerappan The Tamil language drama AVALUDAN builds rapidly in intensity over its 15 minute runtime, delivering a damning statement on patriarchy and the domestic abuse of women. The film’s rising intensity builds to a powerful and surprising crescendo, which combined with the confident filmmaking and excellent performances across the board, make this a tense and satisfying watch. The film starts with Raman (Sivakumar Palakrishnan) in his home kitchen, preparing an honestly fantastic looking meal. Cinematographer Muhammad Syakir Bin Subana captures Raman’s care and attention through his culinary skills, immediately cluing the audience into what kind of man he is. AVALUDAN is structured nonlinearly, jumping seamlessly between a present day interview with the police and flashbacks that generously feed the viewers with more context. We soon learn in this interview that Raman’s daughter Radhi (Dhurga Lingasparan) has reported that her husband Rajan (Seshan Veerappan) has been missing for two days. Thanks to a focused screenplay from writers Subash Kumar and Darshan Kunasagran, as well as Lingasparan’s excellent performance as a woman stuck in an abusive and unfulfilling marriage, AVALUDAN the film wastes no time in exploring themes of marital coercion and domestic assault. Veerappan’s performance as Rajan is equally deserving of praise, as he plays the role of a controlling, aspirational patriarch with venom. There’s a measure of complexity within Rajan which gives depth and believability to his character; he’s desperate for a child with Radhi because he feels that people are laughing at him, and he feels as though he has “achieved nothing in [his] life so far”. His insecurity manifests as abuse, and as the narrative bounces back to the police station, there’s an impending sense that something is awaiting Rajan to have caused his disappearance. While director Darshan Kunasagran does an excellent job of bringing all the elements of the film together into one coherent piece, I cannot help but feel like I would have liked to see more of Palakrashnan’s performance. He is ever present through the film, sitting next to his daughter in the police interrogation room, but considering his role within the film’s larger conversation about the importance of community and the protection of women, he does unfortunately fade into the background a little. Still, it’s laudable that AVALUDAN centres Radhi’s story, never depriving her of agency despite her circumstances. Without spoiling the film’s climax, I feel it mostly nails the landing. While it pushes against the boundary of believability, the performances from the cast sell the drama of the conclusion. AVALUDAN is a compelling drama with complex characters that feel entirely fleshed out and well realised. The short’s subject matter is heavy, but Kunasagran doesn’t stop this from weighing the narrative down with a sense of self-seriousness. It’s still a thrilling watch, with information and character motivations constantly revealed at a steady pace. Most appropriate is the film’s title, which translates loosely to ‘with her’. Considering the motif of female solidarity, it’s a fitting summation of the ideas that Kunasagran is clearly invested in. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Seeking The First Dinosaur Hunters film review by UK film critic Jason Knight. Starring Felicity Hawthorn, Greg Chapman directed by Felicity Hawthorn, Greg Chapman. HOME | FILMS | REVIEWS Seeking The First Dinosaur Hunters Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 31, 2022 Directed by: Felicity Hawthorn, Greg Chapman Written by: Felicity Hawthorn, Greg Chapman Starring: Felicity Hawthorn, Greg Chapman A fascinating documentary about dinosaurs. This hour-long film is presented by Felicity Hawthorn and Greg Chapman, who analyse how the efforts from certain individuals in the nineteenth century managed to make dinosaurs known to the world. Some of these historical people include fossil collector and palaeontologist Mary Anning, theologian, geologist and palaeontologist William Buckland, geologist and palaeontologist Henry De la Beche and biologist, comparative anatomist and palaeontologist Richard Owen. The documentary explores how the individuals mentioned above and others were able to discover and identify remains as belonging to dinosaurs and bring them to the attention of the world. Thanks to their achievements, people became aware of certain kinds of extinct species, including the Plesiosaurus, the Megalosaurus and the Ichthyosaur. Hawthorn and Chapman make rather friendly and informative presenters and their work takes them to a variety of places, including Charmouth Beach, where there are plenty of fossils to be found, Charmouth Heritage Coast Center, Crystal Palace Park and Oxford University Museum of National History. The two presenters are quite knowledgable about the subjects and talk about them with enthusiasm. They also interview Chris Moore, the co-author of Jurassic Blue. Lyme Regis: 200 Million Years BC and Dr. Koen Stein, a palaeontologist at the Royal Belgian Institute of Natural Sciences. The documentary has plenty of fossils to be seen, many skeleton fossil replicas of dinosaurs and highlights include Attenborough's Sea Dragon and the original remain of a Megalosaurus that was discovered by Buckland, which is a partial jaw with teeth. This is a rather interesting documentary that investigates the people who significantly helped expand the world's knowledge of dinosaurs and becoming familiar with these individuals and their remarkable accomplishments is intriguing and at times amusing thanks to the likeable presenters. This feature is highly recommended for those who have a keen interest in dinosaurs, as they will have a rather informative experience. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

44 film review by UK film critic William Hemingway. Starring Sarah Hashmi, Rudraksh Thakur, Pragati Mishra directed by Dhwani Shah. HOME | FILMS | REVIEWS 44 Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Feb 24, 2024 Directed by: Dhwani Shah Written by: Dhwani Shah Starring: Sarah Hashmi, Rudraksh Thakur, Pragati Mishra Whilst there have been a fair number of time-loop films given to audiences over the years; with the most prominent and worthwhile examples of these likely being, Groundhog Day (1993), Run Lola Run (1998) and Edge Of Tomorrow (2014); there are not so many which present us with the idea of a space-loop, or even better a spacetime-loop, where our main character is confined to a certain locale from which they cannot escape, no matter which direction they take to try and leave. In writer/director Dhwani Shah’s new short film 44 , however, this is exactly what we get. As the film opens we are able to witness the pre-amblings of a drug deal as three stooges bicker amongst themselves in the dark of a back alley. They’re waiting for their contact and one of their team (Thakur) is already looking worse for wear with a large gash right across his nose, while one of the other members (Mishra) is getting really anxious about the whole affair, saying that she wants to leave. Within all this we are introduced to Stu (Hashmi), the only named character, who we are set to follow for the rest of the film, and it is her who notices a blinking light on one of the top floors of a nearby derelict tower block. Soon enough the cops turn up and a betrayal is revealed, but none of this really matters as it is only a very brief way in to the actual story, as Stu runs into the previously mentioned creepy tower block to hide from the authorities. This particular block was never completed and then left to decay, meaning that it is only an empty concrete shell with scores of exposed steel rods emerging from the pillars and walls. Despite there not being any windows or internal walls to reflect or hide her light, Stu still flashes her torch around willy-nilly to try and see where she is going, obviously ignoring the fact that if she could see a light on the top floor from outside, then the police would definitely be able to see her torchlight as she waves it about. But let’s not get caught up in the semantics. So, without further ado, Stu sets about heading up the stairs to find a hiding space. Now sure, floor 2 and floor 3 probably aren’t going to cut it as the best places to hide, but surely you’d think that by floor 24 or floor 25, and there’s still no cops on your tail, you’d probably stop there and wait it out. Not Stu though, and so she climbs all the way up to floor 44, where something strange happens. Not only are there noises of bottles being kicked and other creepy noises coming from that floor, but no matter how any times she goes up or down the stairs from here, she always ends up back in the same place – back on floor 44. With a strong horror element running through the entirety of Shah’s short film, there is always an intense feeling of mystery and fear which comes across. Shah’s direction adds to this by using oblique camera angles and repetitive sequences to add to the confusion, while the score from Ashwin Syam builds the creepiness factor with intense chords and off-kilter sounds. The acting, too, from Sarah Hashmi as Stu is commendable and believable, even if there are small inconsistencies in her character’s actions, and her performance is central to selling the core concept of the film to the audience. While it may be easy for some to figure out just where 44 is going in its seventeen-minute runtime, with things being fairly well telegraphed from the first encounter, it does come together very well in the end and offers a well-rounded denouement which satisfies all of the elements within the film. Each technical aspect is handled well and the feel of the film is one which holds together through to the end. It’s just a shame there’s not more to this production, such as a proper lead-in to the story, or a more involved conflict within its middle, as with just having a little extra given to the audience to round everything out in the story and characterisation, 44 could have been elevated to something truly unique from something that is essentially still only a decent concept, not fully fleshed out. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release, World Cinema < All Reviews Next Film Review >

A Boy Who Dreamt of Electricity film review by UK film critic Holly Baker. Starring Anil Dadheech, Rakhi Mansha, Kunal Mehta directed by Jigar Nagda. HOME | FILMS | REVIEWS A Boy Who Dreamt of Electricity Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Jun 8, 2026 Directed by: Jigar Nagda Written by: Shubham Ameta, Jigar Nagda Starring: Anil Dadheech, Rakhi Mansha, Kunal Mehta A Boy Who Dreamt Of Electricity (2024) is an Indian spoken feature-length debut film by director Jigar Nagda. Set in the remote village of Udaipar, Rajasthan, the story unfolds around a young boy named Bheru, eager for a solution to his family’s struggle with a lack of electricity. When a marriage proposal falls through, the family can no longer take how literally disconnected they are from the rest of the world. This sends Bheru on an adventurous mission, full of obstacles, to bring electricity to their family and in so doing, connect them with the rest of the world. Many of us are used to relying on electricity in daily life. For instance, you are likely reading this review on an electronic device, just as I am writing it. The lights are likely turned on in whatever building you are reading this in, and you might have your mobile phone to hand. This reliance on electricity is one that a large amount of the population often take for granted. Many people are unable to imagine living without it, with the thought of going on a camping trip sounding like an utter nightmare. Nagda, along with co-writer Shubham Ameta brings an important humbling perspective to viewers, highlighting how much of what we do is made possible because of electricity. The film forces audiences to simply imagine themselves in the film’s scenario, living in a tribal village where you are viewed at the bottom of a social hierarchy, largely due to this lack of electricity. Such a setting provides an important moment of reflection, where viewers will find themselves more appreciative of what they have. Rather than the commodity that electricity is treated as in the Western world, in A Boy Who Dreamt of Electricity, electricity is portrayed as magical. In one scene taking place along a road at night time, the glow of neon lights in the darkness is captured with such beauty, giving this buzzing electric presence a dreamlike feel. Through such an adoring use of cinematography, viewers share this admiration for the occurrence of electricity just as the characters are continuously expressing throughout the film. Not only is this effective as a touching personification of electricity in the film, but the emotional response for viewers seeing electricity in this light is one which importantly conveys the vitality and often magical impact that electricity can have on people’s lives. In another moment, the film effectively compares electricity with the sublime by picturing Bheru gazing into the distance over a mountainous view, the landscape speckled with lights. Bheru is longing to be a part of this out-of-reach world, its beauty and significance on the same level to him as nature’s most incredible structures. The film’s original score, along with the use of unprofessional actors, gives the world of A Boy Who Dreamt Of Electricity a unique and authentic feel. Much of the film appears shot like a documentary, with a lingering focus on objects and use of real locations, including outdoor streets and communal areas. The viewer therefore feels as if they are peering into a real world, which is a significant creative choice as the struggle of living without electricity is one that many face, and yet many of us do not often consider this without it being shown to us. Though the cast is largely unknown, the performances are brilliantly convincing. This realism is enhanced through great costuming and set design. Several scenes, such as one that takes place on a local bus, are vibrant and full of dedication, with extras of all ages costumed in a variety of colours, all true to Rajasthan's tribal dress culture. It is exciting to see a developing nation displayed on screen with a dedication to capturing the country’s beauty, as well as the beauty of the lives of those who reside there. Overall, the film has a strong sentiment for togetherness, both within the context of the electricity theme which permeates the film, and in the focus on human connection, which viewers will find to be deeply touching. Buy UKFR Banner Space About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

Suitable Flesh film review by UK film critic Hope Madden. Starring Heather Graham, Barbara Crampton, Judah Lewis directed by Joe Lynch. HOME | FILMS | REVIEWS Suitable Flesh Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 24, 2023 Directed by: Joe Lynch Written by: Dennis Paoli, H.P. Lovecraft Starring: Heather Graham, Barbara Crampton, Judah Lewis I’m going to guess Joe Lynch is a Stuart Gordon fan. Who isn’t?! The Mayhem director returns to the horror genre with a Lovecraftian fable, but this is no garden variety Lovecraft. Lynch’s vibe and manner – not to mention co-writer and cast – lean closer to Gordon homage than outright cosmic horror. Lynch loosely adapts Lovecraft’s The Thing on the Doorstep, writing with Stewart’s longtime collaborator Dennis Paoli (Re-Animator, From Beyond, Castle Freak, Dagon ). Their tale shadows psychiatrist Elizabeth Derby (Heather Graham), who – against her own better instincts – takes on a new patient. Asa (Judah Lewis) believes his father is trying to steal his body. Cleaving to science and yet inexplicably attracted to the young man, Derby fails to understand her patient’s claims until it is too late – an evil entity has moved from Asa’s father into Asa and is now threatening to take over Dr. Derby’s body. Graham’s a bit of campy fun in a dual role – far more fun when she gets to dig into the hedonistic villain character. It’s a performance that lets the actor stretch a bit and she seems to relish the darker side of the role. Likewise, Lewis excels in particular when the sinister force inhabits meek and terrified Asa. Of course, no Gordonesque Lovecraftian flick is complete without the glorious Barbara Crampton (Re-Animator, From Beyond, Castle Freak ). Crampton’s Dani, Derby’s uptight colleague and best friend, becomes an ideal foil for the transformed psychiatrist. Graham and Crampton vamp it up as the demon oscillates between them, which is as much fun as it sounds like it would be. The film feels very much like a Dennis Paoli film and fans of his Gordon collaborations have reason to celebrate. But Suitable Flesh doesn’t entirely deliver on its promise of mayhem. It never quite leaps off that cliff the way Paoli films usually do and for that reason feels a tad tame. But a game cast and a bit of 80s inspired lunacy ensure a good time is had by all. Plus, that’s a great title. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

$TACK$ film review by UK film critic Swati Verma. Starring Mark Christopher Laurence , Diahnna Nicole Baxter directed by Gerald Webb. HOME | FILMS | REVIEWS $TACK$ Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Jan 9, 2023 Directed by: Gerald Webb Written by: Gerald Webb Starring: Mark Christopher Laurence , Diahnna Nicole Baxter The writer-director Gerald Webb presents how humans tend to behave in case of any emergency caused by the COVID-19 and the underlying twist that gets the audience hooked to $TACK$. The plot of the short film revolves around unprecedented times that forces two fierce rivals to come face to face for the first time in over a decade to close a deal on the most valuable substance on earth that involves the exchange of a lot of money. The film opens with a long shot tracking the city along with the thrilling background music as the camera pans into a garage set-up and the combination of black white and blue colour palette of the movie assists the filmmaker to establish the subject matter of the dramatic piece. The cinematographer Thomas Hennessy utilizes dim lighting to provide a sense of tension, mystery, and suspense in minds of the viewers making them eagerly wait for the climax. The dialogues, costume, hair, makeup, and jewelry perfectly complement the mood and also help the audience differentiate between the two gangs of criminals. Despite the film having a running time of 5 minutes, it delivers the key messages to its audience effectively. In terms of performance, Mark Christopher Laurence plays Hector a gang leader who is hungry for money as he believes that money is the basic requirement for survival. Laurence has brilliant comic timing as being happy for everyone is essential, especially in the post-pandemic days. Diahnna Nicole Baxter plays the role of Magdalena who is very practical with what he wants to do with the deals and she can even shake hands with a rival when it comes to the well-being of her people. Baxter adds the elegance and glamour necessary for her portrayal as a criminal mob leader. The chemistry between Diahnna Nicole Baxter and Mark Christopher Laurence does the major emotional uplifting of the film and provides the essence of the drama essential for the movie to get the viewers hooked to the content. $TACK$ highlights that people should be responsible for the attitudes, assumptions, and judgements buried inside themselves. The emergence of the Covid 19 virus has taught the audience to be majorly self-dependent but also be humble as well as be open to taking help from somebody when in need. $TACK$ has reminded the viewers that the lockdowns have allowed the loved ones to spend time together and ponder upon the best and worst aspects of their personalities and make them better in the future. The short film reiterates the prime focus of life is survival and so the public should always be ready to hassle through hard times, concentrating on their health and happiness. The cinematic piece teaches the viewers that there is set rules as well as limitations even in a rivalry and it needs to be respected at all costs. I want to appreciate the efforts made by Gerald Webb and the cast and crew for the graceful as well as subtle treatment and execution of such a sensitive topic. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Novice film review by UK film critic Brandon Thomas. Starring Isabelle Fuhrman, Amy Forsyth directed by Lauren Hadaway. HOME | FILMS | REVIEWS The Novice Film Review average rating is 5 out of 5 Critic: Brandon Thomas | Posted on: Dec 16, 2021 Directed by: Lauren Hadaway Written by: Lauren Hadaway Starring: Isabelle Fuhrman, Amy Forsyth Those who know me best know that I don’t have a competitive bone in my body. Growing up, I was only interested in playing sports for fun. Once everyone started taking winning seriously, I was out. Even a more-than-casual game of Monopoly is enough to make me throw up my hands and say, “Pass.” Look, I get the allure of competitive sports. To a lot of folks, it’s like a drug and they constantly need that fix. In art, the competitive spirit has made for some wonderful films. Rocky , Hoosiers , and Rudy highlight the best that sports can bring about in people. However, there is a dark side too. Competition can morph into obsession and even borderline addiction. Director Lauren Hadaway’s film The Novice is a riveting depiction of the obsessive lengths an athlete will go to reach their goals. College freshman Alex Dall (Isabelle Furhman of Orphan ) has set an almost impossible goal for herself: to make it onto the varsity rowing team as a first-year novice. Despite warnings from the coaching staff that novices rarely make varsity, Alex and another novice, Jamie (Amy Forsyth of Coda ), devote themselves almost exclusively to training. Whether it’s obsessively eating healthy foods, rowing until they blackout, or solo training on the water before sunrise, the girls attain absolute tunnel vision toward their goal. As the season progresses, Alex’s physical and mental health begins to decline as the prospect of losing varsity becomes a possibility. The Novice is one of the most confident feature debuts I’ve seen in a long time. Hadaway’s directorial finesse is on point as she keeps the film expertly drifting between sports drama, psychological thriller and tragic romance – all while never committing to any particular genre. It’s a choice that keeps audience expectations constantly fluid and on edge. That same sense of unpredictability extends to the film’s lead character, too. The early scenes where Alex is presented as the spunky underdog quickly give way to scenes of the character obsessively training, verbally accosting school staff and even mutilating herself. Hadaway’s excellent script doesn’t let Alex off easy, but it also isn’t a complete indictment of her behavior. The visual language of The Novice is another highlight. Hadaway’s camera does a lot of the heavy lifting as it lingers on Alex’s intense workouts. The focus on Alex’s sweaty, nearly exhausted body, conveys that there’s something not right with this. Again, it walks that fine line between competitiveness and obsession. With an amazing script, an outstanding lead performance, and a laser-focused director, The Novice ends up being one of the absolute best films of 2021. Buy UKFR Banner Space About the Film Critic Brandon Thomas Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

L’ Arrêt Du Temps (The Pause of Time) film review by UK film critic Patrick Foley. Starring Iro Gkoulitou, Yioryis Partalidis, Anastasia Delta directed by Achilles Tsoutsis. HOME | FILMS | REVIEWS L’ Arrêt Du Temps (The Pause of Time) Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 7, 2022 Directed by: Achilles Tsoutsis Written by: Achilles Tsoutsis Starring: Iro Gkoulitou, Yioryis Partalidis, Anastasia Delta The romantic heart of Paris has sparkled on screens as long as reels have spun in cinemas. Whether these interpretations accurately represent the reality of the city, or are a fantastical idealisation of a monolithic modern metropolis like any other is up for debate. What is not, is the inspiration that artists have found there for generations. L'Arrêt Du Temps (The Pause of Time) , shows how dreams can be invigorated by the city’s indescribable atmosphere. Former lovers and Paris residents Anna (Iro Gkoulitou) and Jean-Luc (Yioryis Partalidis) convene many years after their break-up in a café. Anna had left the city after becoming disillusioned with her dancing career, whilst Jean-Luc gave up dreams of becoming a writer to pursue law. Lack of accomplishment and fulfilment haunt the pair. Yet a chance encounter with an unnamed stranger (Anastasia Delta) has the potential to change their lives forever. There is a distinct and unsurprisingly French feel to L'Arrêt Du Temps, which is a love letter to Paris and its ability to incubate dreams much in the same way that La La Land is to Los Angeles. Presented in French and in vintage monochrome, the short weaves the story of two former lovers with the essence of the city of light – and how inspiration and dreams should play their own role in one’s destiny as much as love does. The small café in which the film is largely set expands beyond its own boundaries to marinate the film in ex-lovers’ former Parisian lifestyle, bringing the city’s history and modernity together in a timeless purgatory. A simple yet intriguing story is told effectively in the short runtime, featuring sophisticated characters who are developed naturally by a fantastic script. Both Anna and Jean-Luc’s history together, as well as their wider background, emerge authentically to tell their parallel stories – with enough familiarity, understanding and chemistry between them encouraging audiences to root for their rebuilding whilst also conjuring enough respect for their independence and desires to create confident in their strength as individuals. The result is two characters filled with depth, who each stand at a multidirectional crossroads in their lives – with viewers engrossed in which path they will take. Iro Gkoulitou shines as Anna, an ambitious and driven dreamer who has found herself lost after a crisis of confidence and loss of a relationship. Gkoulitou is simultaneously confident and vulnerable, and the duality at the centre of her performance indirectly explains that her return to her old city, to meet her old boyfriend is a quest for answers and direction. Yioryis Partalidis’ Jean-Luc is just a dial or two below the classic French cool that the character seems to yearn for, but the care and empathy Partalidis brings makes him an inspiring modern ex-boyfriend. Sensual moments between the two show audiences that there is much more to their meeting than a catch-up – and that these are not exclusively romantic is where the short’s brilliance lies. Steering strongly into the romantic heart of Paris and its ability to inspire, L'Arrêt Du Temps proves that there must be some special essence that follows former Parisians wherever they go. Watch the Official Trailer for the film here . Or watch Patrick Foley provide his review on our YouTube channel in the video below! Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Anuja film review by UK film critic Jason Knight. Starring Sajda Pathan, Ananya Shanbhag, Nagesh Bhonsle, Gulshan Walia directed by Adam J. Graves. HOME | FILMS | REVIEWS Anuja Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 30, 2024 Directed by: Adam J. Graves Written by: Adam J. Graves Starring: Sajda Pathan, Ananya Shanbhag, Nagesh Bhonsle, Gulshan Walia A young girl and her younger sister try to raise money for the latter to attend an exam for a scholarship admission. Anuja (Pathan) is a child who lives with her older sister, Palak (Shanbhag) in Delhi, India. The two of them live in poverty and work long hours at a garment factory, owned by the egocentric Mr Verma (Bhonsle). Verma has Anuja working for him illegally and one day, Mr Mishra (Walia), an educator, arrives at the factory with the intention of persuading Anuja to take part in an exam that will get her into boarding school. The test is scheduled to take place shortly and the two siblings must raise money for the participation fee. While they do so, Anuja must decide what it is that she wants. The actress that plays the titular character was rescued from the streets of Delhi and now resides in a Salamm Baalak center. The video that accompanies the closing credits shows her viewing the film, along with other children. Evidently, this short drama raises awareness of child poverty in India and promotes the Salaam Baalak Trust, a non-profit organisation whose goal is to improve the lives of underpriviledged children in Delhi. From one perspective, this short drama is about two young girls on a mission to make things better for themselves and they embark on a journey that involves selling bags in order to pay for the exam participation fee, being chased by a security guard and enjoying themselves with food and cinema. Sisterhood is a theme here, as the strong bond between Anuja and Palak is quite evident and Palak cares deeply for her little sister and wants her to move up in life (It is worth mentioning that the film highlights Palak's cleverness). Poverty and hardship are also major here, as the two heroines are poor and stuck in a job where they are treated unfairly and the film begins with Palak narrating a sad story about injustice. However, regardless of their circumstances, the two girls remain strong and optimistic, probably and primarily because they have each other's support. In some ways, Verma's character is the antagonist and he seems to epitomise corruption and cruelty. A rude, selfish, manipulative and disrespectful man, he is willing to utilise Anuja's mathematical skills for his own benefit without a care or thought regarding the child's best interests. The filmmakers make good use of slow motion and Graves and Krushan Naik do a great job with the editing, particularly when dissolve techniques are utilised. Regarding the audio, the beautiful and dramatic music by Fabrizio Mancinelli significantly enhances the viewing experience. This short is a commentary on child poverty and child labour in India and it attracts attention to the work of the Salaam Baalak Trust. Storywise, it is a drama about two siblings struggling with life and pursuing a goal that will potentially change the life of one of them. It is a story about struggle, support, moving on to better things and making life-changing decisions and it deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Distant Memories film review by UK film critic Jason Knight. Starring Sissy O'Hara, Christie Devine directed by Chris Esper. HOME | FILMS | REVIEWS Distant Memories Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 28, 2024 Directed by: Chris Esper Written by: Chris Esper Starring: Sissy O'Hara, Christie Devine An elderly woman suffering from Alzheimer's disease remembers parts of her life. This short film takes a dramatic look into the above condition by observing the memories of a person who has the disease. The ten-minute-long film does not have much in the way of a narrative and focuses Anna (O'Hara), who has Alzheimer's as she recalls one event of her life after the other and that is executed in a rather interesting way. Basically, the entire film involves Anna being at an imaginary place where she is surrounded by shelves that are filled with personal objects of hers. Around her and the objects, there is darkness. Anna then proceeds to approach and interact with one object at a time, some of which are a doll, an old-fashioned telephone, a music box, a sand clock, a doll house, an old projector and television. Every object helps her remember a significant part of her life. For instance, when she touches the doll, children's laughter is heard, indicating her childhood, when she picks up the phone, a conversation is heard, ostensibly one she took part in. Her memories are visualised when she gets to the doll house, the projector and the television, leading to memories of her husband or of herself as a child or spending time with her adult daughter (Devine) at home. The ''place'' she is in appears to represent how she feels. The fact that she is surrounded by darkness seems to indicate that apart from the objects mentioned above, everything alse is lost in the dark, because she cannot remember anything else. The objects are the memories she still has and they bring joy in her as they can help her relive happy times. The screenplay explores Anna's life, which (thanks to the effects the objects have on her) is revealed to be one that was well-lived, with a happy childhood, a good husband and loving parents. The script also shows the devastating effects of her condition, which causes cherished memories to fade. The main concept appears to be an individual holding onto her remaining memories before they are gone. The filmmakers make creative uses of sound effects when Anna interacts with certain objects and are equally creative when she approaches other objects such as the television and projector, as with grainy, old foorage, the television and the projector reveal her as a child. There is no music, apart from the song American Pie by Don McLean, which was a good choice. This short is a dramatic commentary about Alzheimer's disease and O'Hara's outstanding performance vividly shows the devastating effects it has on people. From a positive perspective, it also reveals the happiness that memories bring and therefore, how valuable they are. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >