Shaken & Stirred: The Story of Flair Bartending film review by UK film critic Patrick Foley. Starring Colby Ashton, Lindsay Palumbo, Lorenzo Garcia directed by Deborah Richards. HOME | FILMS | REVIEWS Shaken & Stirred: The Story of Flair Bartending Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 5, 2025 Directed by: Deborah Richards Written by: Deborah Richards Starring: Colby Ashton, Lindsay Palumbo, Lorenzo Garcia Most people won’t know that the fancy juggling tricks you see when ordering a Margarita are not just a bored bartender’s way of keeping themselves entertained or picking up girls. Flair bartending has a history that involves international contests, rigorous training and competitive rivalries, and these are the subject of Deborah Richards’s fantastic documentary Shaken & Stirred . The feature-length film delves into the history of flair bartending and how it emerged from established bars in the US to become a worldwide phenomenon where competitors meet to try and outdo each other with ever-more outlandish tricks with bottles, shakers and more. The different forms of the art are discussed, as well as organisational splits that mean different styles have emerged demanding different skillsets. The film covers one of these organisations and the competitors looking to become the best, showing their personal stories and the meaning they found behind the bar. Shaken & Stirred is impressive not just because of the detail it provides on flair bartending (of which there is plenty). Its best quality is its critical and unflinching analysis, which highlights the struggles that flair is experiencing at a competitive level. Much of the film is spent with female flair competitors like Lindsay Palumbo, who speak openly about their experiences of misogyny in the sport which prioritised their appearance over their skill. The decline of the competitions and events are highlighted as well, detailing a drop in interest since the Tom Cruise-in-Cocktail -inspired peak. Richards allows her subjects to speak openly and honestly, with many happy to oblige but clearly feels no obligation to give her own filter – a surprising and refreshing thing considering the access she has to the world of flair. Different competitors in the FBA championships are highlighted throughout the film such as Colby Ashton and Lorenzo Garcia, who discuss their backgrounds, standing and how they came into flair. It can be a little difficult to keep track of so many competitors at times, but the ensemble approach shows that flair does not attract just one type of personality. Audiences will be invited to find their favourite amongst the group – though a camaraderie is evident from Richards’ presentation. Their tricks themselves are given ample airtime, with the bartenders’ abilities allowed to speak for themselves – and destined to take audience’s breath away. These are not the guys flipping a shaker down at your local, and it shows! You could probably cut Shaken & Stirred down a little bit or rework some of the sequencing of the film to more imaginatively present the competition alongside the history of flair as a sport. But this film is a genuinely insightful and engaged look at a world most of us will have been exposed to, but very few will know about. To entertain and inform is the simplest aim of any documentary, and Deborah Richards’ film effortlessly achieves this. But as with the bartending world, it is the flair that makes it stand out – in this case coming from the film’s in-depth and honest analysis and loving criticism. This is one film well worth raising a glass to. Watch our Video Film Review on our YouTube Channel! Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Documentary < All Reviews Next Film Review >

Interviews by UK Film Review with some of the best filmmaking talent around. Read about the movie industry and more. Interviews UK Film Review are lucky enough to work with some of the best and most exciting filmmakers in the world. From the best indie and short film directors, to actors, composers, editors and more, we cover them all in our Film Reviews and every now and then we are able to conduct interviews with them to find out about their insight into the movie industry. We ask the questions our lovely readers want the answers to, like: Who are your filmmaking influencers? What are the toughest aspects of making a film today? What projects are you working on next? Were there any funny anecdotes from your filmmaking process? Where do you see the film industry going in the next one year? What would you say if you were a dolphin? ...That last one is a bit of a joke but the brilliant filmmaking talent we interview do give some amazing answers so be sure to check those out. If you are a filmmaker and want to do an interview with us in order to promote your film, why not get interviewed by us?Filmmaker Interviews are a fantastic way to promote your cast and crew alongside your movie, reaching a bigger audience, or simply use our online form to submit your film for a review. Please note that the list to be reviewed can be rather long (think months not weeks), but like waiting in line at Disneyland it will definitely be worth it!...probably. That all being said and done, what are you waiting for! Click one of the interviews listed on this page to read the article.

Tiny Little Voices film review by UK film critic James Learoyd. Starring Samantha Thornton-Rice, Jay Rincon, Matt Vickery, Lana Eade directed by Chris Rogers. HOME | FILMS | REVIEWS Tiny Little Voices Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jun 25, 2025 Directed by: Chris Rogers Written by: Chris Rogers Starring: Samantha Thornton-Rice, Jay Rincon, Matt Vickery, Lana Eade The debut feature by writer-director Chris Rogers, Tiny Little Voices feels like the great British fever-dream. On its surface, a feel-good romcom about a woman who can’t seem to get out of her own head; a person who hears voices uttered by comically inclined inanimate objects. And... *said in Gary Marshall movie trailer voice* she may find her perfect man where she least expects him . But here’s the flip side to that coin: it’s a movie about Covid. Specifically, a comedy about Covid... and boy does it have some odd things to say about Covid! Right off the bat, here’s what’s uniquely great about Tiny Little Voices : it accurately, if not with piercing astuteness, captures the feeling of that mid-lockdown psychological break. I’m sure many will feel represented by the mental coping mechanism of speaking your heart out to an audience of an empty room. And it’s super funny and well-done! We have hundreds of voices coming in and out, anthropomorphising her household in some incredibly amusing ways. It’s emblematic of the kind of beautiful chaos this movie offers to its unsuspecting audience. The viewer’s feelings for these playful characteristics may though conflict with the slightly troublesome Covid-humour. Much of this story centers around characters trying to convince other characters to, to put it bluntly, stop being... germophobic? This is simply not humorous or relatable to most, and I must say that it stings a little to see ‘comedy’ sequences involving one person laughing at another’s cartoonishly exaggerated germ awareness. Whatcha trying to say, movie? Viewers can come to their own conclusions. A few technical highs include the audio which is clean and consistent throughout. This is quite the achievement when you consider the sheer variety of location-types featured throughout, yet the level of smoothness behind the soundtrack gives the impression that the sound department know how to do their jobs. And on a visual level, whilst it’s not the most stunning film, it is, importantly, pretty damn consistent. There’s care behind this production, and it’s nice to see London shot so lovingly in these authentic locations. But ultimately, the reason we’re engaged throughout the piece’s two-hour runtime is due to the performances which feel genuinely tone-appropriate, unembarrassed, and unapologetically entertaining across the board. A lot of praise should be attributed to the main four cast members and their devotion to sincere, cartoonish fun – whom, it should be noted, also have the range for some convincing romantic scenes (ooh la la). But the supporting players are terrific as well. A delightful bunch! Audiences may very well enjoy most every scene of this movie, and still leave their viewing thinking to themselves, “what a strange thing for a person to make!” I say this with no judgement as someone who has made a great many films which elicit such a reaction. What makes it particularly strange, however, is the fact that it’s not a surreal film (though it has surreal elements); it’s not meant for a provocative arthouse screening – in fact, you could say with how much of a kooky romp this is, it couldn’t feel further from those territories. And yet, there’s no getting around the fact that this picture holds some deeply bizarre messaging and is socially at odds with its own aesthetic motivations. Many will inevitably find great joy in many a moment, as did this critic. But nevertheless, what a strange thing for a person to make! Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

Fugue film review by UK film critic Jason Knight. Starring Anya Williams, Sam Halpenny, Georgina Russell, Jack Tivey directed by Alberto Lais. HOME | FILMS | REVIEWS Fugue Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Apr 21, 2024 Directed by: Alberto Lais Written by: Alberto Lais, Matthew Neubauer Starring: Anya Williams, Sam Halpenny, Georgina Russell, Jack Tivey A woman is on the run from a dangerous crime boss. Mia (Williams) is a small-time criminal in London, doing odd jobs for gangsters here and there. One night, she is tasked with delivering drugs to a household. However, things go terribly bad, ending up in murder and she flees the scene along with Naz (Russell), an associate of the crooks. One of the victims was a relative of feared crime lord Kane (Halpenny) and now Mia must keep running in order to stay ahead or her pursuer. This rather intriguing and dark short seems to be a combination between the neo-noir and urban neo-Western genres. Regarding the neo-noir elements, Mia is an antiheroine, a criminal who has gotten herself into a life-threatening situation and armed with a gun and a sharp brain, she plans her (and Naz's) escape. The film begins with a voice-over containing harsh words and the story involves criminals, murder, drugs and a significant part takes place at a cemetery at night-time. As for the Western elements, Kane's character adds quite a bit to that, by him being the antagonist, with an accent that matches characters in such films and his clothing also belongs in that place, most notably his footwear and bolo tie. Also, the climax involves an event that is a signature of Westerns. Mia and Kane make quite interesting protagonists. Played dramatically by Williams, Mia is aware of her situation and the world and she is a loner, a woman who used to be associated with Kane and after disappearing from his sight, she now lives in the shadows. She also appears to be superstitious, as she believes that the appearance of a fox means that danger is coming. Having a death stare and placing blood in his mouth, Kane is quite a character and is portrated with great menace by Halpenny. He is a murderous, psychopathic and vengeful man and his presence steals the show. Russell's character more or less acts like a sidekick to Mia, a lowlife who unwillingly found herself in deep trouble and is trying to survive. One of the strongest aspects of this short is Paul Bellon de Chassy's stunning cinematorgraphy that contributes in creating a dark atmopshere throughout. Composer David Denyer further supports the sinister scenes filled with tension with the thumping electronic score. A neo-noir, an urban neo-Western and a female buddy film. The story, cinematography, characters and performances raise the quality very high and result in a tense and dramatic crime thriller about survival and murder. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Room 20 film review by UK film critic Brian Penn. Starring Anthony Riach (voice), Paulina Kowalewska (voice) directed by Anthony Riach . HOME | FILMS | REVIEWS Room 20 Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jan 10, 2024 Directed by: Anthony Riach Written by: Anthony Riach Starring: Anthony Riach (voice), Paulina Kowalewska (voice) In this age of super sleek animation and the annoyingly clean lines of Pixar, it's easy to forget it was once an art and not a science. To be raised on the films of Walt Disney was an education in itself. There was fascination in what was a painstaking process. Just imagine an animator toiling over every frame of action as they slowly brought characters to life. Room 20 evokes much the same curiosity and sense of wonder. Even more remarkable is the end product which, at a lean nine minutes and fifty seconds packs immense detail and largely without spoken dialogue. The hero of the piece is strangely a man with no name; which is appropriate as he sports designer stubble, a poncho and Fedora hat. This gives off a distinct Clint Eastward vibe in Spaghetti Western mode. He begins a journey of self discovery and tentatively steps through the door to Room 20. We are treated to a visually arresting narrative that feels like the most vivid of dreams. The film opens with a lonely walk through a bleak landscape which will be familiar to many from their own dreams. With the emphasis on time our hero searches and finds Room 20. But what will he find beyond the door? The result is enigmatic, confusing but ultimately fulfilling experience. The hero's journey takes him from happiness to sadness and every emotion in between. Every scene is packed with symbolism that can be read in any number of ways. He is constantly checking his watch and seemingly transfixed by time; perhaps a man searching for what's missing in his life, but is time running out? Room 20 throws all these possibilities at the viewer who must draw their own conclusions. The style of animation is unashamedly nostalgic, and doesn't seem to rely on CGI or other digital enhancements. The visuals are rich and created with cinematic techniques to the fore. Writer and director Anthony Riach has made a film that can be as simple or complex as we want it to be. But a significant shout must also go out to animation director Aaron Mark Brown who truly understood the vision. Buy UKFR Banner Space About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

PN & Friends: Algore film review by UK film critic Jason Knight. Starring Todd Montesi, Joseph Lewis Dixon, Kenzie Klem directed by Todd Montesi. HOME | FILMS | REVIEWS PN & Friends: Algore Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 21, 2025 Directed by: Todd Montesi Written by: Todd Montesi Starring: Todd Montesi, Joseph Lewis Dixon, Kenzie Klem Part of the sci-fi comedy web series PN & Friends, this could be classified as a feature, written and directed by NYC comedian Todd Montesi and starring himself, Joseph Lewis Dixon and Kenzie Klem. The plot? It is quite extraordinary. There is this guy (Montesi) who is called PN and he is a supernatural being, a glitch actually and it is revealed that he is the latest version of another PN (also played by Montesi), who, many centuries ago, craved power and domination. Now, PN, the good one who lives in present day United States, must collaborate with his associates and try to find out what exactly is going on. This fifty-minute-long feature mixes live action with animation in order to tell the story. The narrative consists mainly of Good PN talking on his phone, attempting to discover what he needs to do next and many animated sequences that provide the backstory. Understanding the story is not mandatory for this project to be apprecciated as the visuals are rather cool. With computer animation, viewers will see a variety of things, the majority of which appear to be in Ancient Egypt and they include powerful entities in human forms, guards and pyramids. Additionally, both PNs appear in animated forms, the bad PN as an Egyptian ruler and the good one as a robotic entity. The animation creates an exciting world filled with supernatural beings and watching all this is enough to make one forget about the story. And then there is the entertaining soundtrack. The acting is not convincing, but that is OK and more about that later. And regarding the animation, although it looks great, it can be a bit repetitive, contantly showing more or less the same images again and again. No, the performances are not believable, however they are entertaining by the cast in general. Montesi and Dixon in particular, succeed admirably at being amusing in their roles. Montesi should get most of the credit as the main protagonist, portraying two characters: a guy who does not know who he is or what is going on and his evil version. This story is about Good vs. Evil and saving the world. It is also about self-discovery, heroism and technology including artificial technology. A wild journey. A satirical and surreal experience whose main strengths are the animated scenes. The whole thing is amusing and a good way to introduce people to this web series. Buy UKFR Banner Space About the Film Critic Jason Knight Web Series, Animation, Indie Feature Film < All Reviews Next Film Review >

The Quiet Ones film review by UK film critic Matt Weiner. Starring Gustav Dyekjaer Giese, Amanda Collin, Reda Kateb directed by Frederik Louis Hviid. HOME | FILMS | REVIEWS The Quiet Ones Film Review average rating is 3 out of 5 Critic: Matt Weiner | Posted on: Feb 19, 2025 Directed by: Frederik Louis Hviid Written by: Anders Frithiof August Starring: Gustav Dyekjaer Giese, Amanda Collin, Reda Kateb Chicago. Miami. London. Los Angeles… Copenhagen? The city might not spring to mind as a cinematic crime capital. But The Quiet Ones from director Frederik Louis Hviid is here to rectify that with a taut retelling of the largest heist in Danish history. In both direction and tone, with a suitably lean script by Anders Frithiof August, The Quiet Ones brings the spirit of Michael Mann to Scandinavia. Kasper (Gustav Giese) is a boxer who is too much of a loser to even be a contender. (He can’t even rise to “coulda been the guy the contenders knock out on the way to better matches.”) He yearns to be something more, and Giese lends the stoic Kasper enough ambiguity that it’s never fully clear if he wants to succeed more for his family or himself. Although part of that also stems from the script having little time for motivation or character development that extends beyond criminal shorthand and quick tropes. Kasper has ties to the criminal underworld through his brother-in-law, and gets tapped by a ruthless killer (Reda Kateb) to help plan the daring robbery of a cash-handling business that holds tens of millions of international currency in a nondescript warehouse. There is little that exists in the world of The Quiet Ones outside of the planning and execution of the heist, but then that’s not the movie it wants to be. Instead, Hviid delivers a series of gripping, highly effective action sequences. Long takes and inspired framing never shy away from brutality, especially the heart-pounding opening that sets the tone for what to expect from the robbers. The film excels at what it’s there to deliver, but has much less in the way of compelling connective tissue for anything else. And that’s even more so for the cops side of the cops and robbers equation. Maria (Amanda Collin, the only person called on to flash even more pained silent grimaces than Kasper) is a security guard at the warehouse that gets robbed. As an aspiring police officer, her singular focus puts her on a collision course with the thieves. But there’s just not enough time with most characters, and the inevitable confrontation comes across as overdetermined rather than climactic. There’s also the financial crisis of 2007-2008 that hovers over the heist through news reports and imbues the film with some occasional social commentary that the script itself doesn’t have time to get to. But this is ultimately a heist movie. The Quiet Ones and its crew are there to do one job, and they do it well. Buy UKFR Banner Space About the Film Critic Matt Weiner Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Ava: A Twist In The Road film review by UK film critic Patrick Foley. Starring Catherane Skillen, Bill Lewis, Steve Dellatori directed by Catherane Skillen. HOME | FILMS | REVIEWS Ava: A Twist In The Road Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 26, 2022 Directed by: Catherane Skillen Written by: Catherane Skillen Starring: Catherane Skillen, Bill Lewis, Steve Dellatori A woman’s life is turned upside down in Ava: A Twist in the Road, the debut feature of director and star Catherane Skillen which, unlike its protagonist, never quite finds its own path. When her long-term partner Bobby (Bill Lewis) suddenly passes away, Ava (Skillen) is left devastated, depressed, and unexpectedly destitute. No formal records exist of the pair’s relationship, leaving all of Bobby’s possessions and funds to his bitter son Robert (Steve Dellatori), who blames Ava for destroying his parent’s marriage. With the help of friends Leanne (Tannis Benedict) and Trisha (Maggie Dewan-Smith), she works to build herself a new life. There is something refreshing in Ava’s story of an older woman casts into unfamiliar surroundings, seeking to forge a new path in life despite her advancing years. It’s a shame however that the film fails to decide what it really wants to be. Tonally, it’s bipolar – swerving from harrowing drama to light-hearted feel-good film from scene to scene like a drunken shopping cart. A comedic scene of Ava’s first day on a job is followed by a sorrowful one in which she gives away money she desperately needs to a homeless person. Whilst this could have been effective to some degree as a representation of the grieving process, it comes across as awkward, uncomfortable and confusing to the viewer given the regularity of the atmospheric shifts, and both the drama and the comedy are weakened by each other’s presence. The story is confusing and unsatisfying, and fails to really explain the context behind Ava’s relationships with key characters or give any real conclusions. Robert is almost psychopathically hateful of Ava for her relationship with his father. But given that this relationship lasted 25 years, it’s confusing that Ava appears shocked at his behaviour following Bobby’s death (she also probably should have learned not to call him ‘Bobby Jr.’ by now…). Little conclusion is given to several storylines that are raised, such as Robert’s fraudulent efforts to secure his father’s property or his lawyer’s resignation – which given the level of focus these receive early on, is quite frustrating. The script is poor, with a total absence of subtext as characters directly stating their desires and primary emotions as a baseline manner of communication that makes every line feel scripted and unnatural. Solid performances would have been unlikely to save this, but the film lacks these too. Catherane Skillen does a good job with more emotionally draining scenes as Ava, but basic conversations come across as rehearsed and forced. Her chemistry with Bill Lewis as her onscreen partner is non-existent, and audiences will struggle to believe that these supposedly star-crossed lovers were truly meant to be. Steve Dellatori yells a lot – but his Robert lacks any nuance that could have pointed to an inner conflict that would add dimension and intrigue to the character. There are some highlights, such as a tear-jerking scene of Ava wondering around the house her and Bobby shared with each other on the night of his death, reliving old memories. Ava’s first day working at a kiosk also delivers the film’s message that there is more to life than riches – and more scenes like this would have been welcome. It feels at times like the story is on the verge of a grand revelation about how older women are treated by society, and how older unmarried partnerships come with risks where callous family members are concerned. But it disappointingly never really breaks new ground with this thread. There is passion and originality in Ava: A Twist in the Road , but the film falls frustratingly short of delivering the basics of story, script and character. This film needs to find its own path before Ava can find hers. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Amazon Prime < All Reviews Next Film Review >

In the Ghostbusters: Afterlife Official Trailer 2, we also get a glimpse of a fan favourite - but in mini-form - the Stay-Puft Marshmallow! If this doesn't get film fans onboard for another outing of Ghostbusters, we don't know what will.. Brand new film trailers. Ghostbusters Afterlife Official Trailer Ghostbusters: Afterlife Official Trailer 2! Directed by Jason Reitman, this reboot of the classic Ghostbusters franchise stars Finn Wolfhard, Mckenna Grace and Carrie Coon, as well as a smorgasbord of other terrific acting talents. In the Ghostbusters: Afterlife Official Trailer 2, we also get a glimpse of a fan favourite - but in mini-form - the Stay-Puft Marshmallow! If this doesn't get film fans onboard for another outing of Ghostbusters, we don't know what will. Following in the semi-recent boot steps of 2016's female-led Ghostbusters , which starred Kristen Wiig and Melissa McCarthy, Ghostbusters: Afterlife has already been on the receiving end of a wave of criticism from die-hard fans, who want the original series left alone. If this Ghostbusters: Afterlife official trailer is anything to go by, though, this could be a fantastic addition to a well-loved movie collection. 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.

A Good Person film review by UK film critic Brian Penn. Starring Florence Pugh, Morgan Freeman directed by Zach Braff . HOME | FILMS | REVIEWS A Good Person Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Apr 1, 2023 Directed by: Zach Braff Written by: Zach Braff Starring: Florence Pugh, Morgan Freeman Psychologists often speak of the ripple effect where a series of consequences are caused by a single action or event. Like skimming stones on water the resulting waves impact far and wide. This new film by Zach Braff digs deep into the lives of characters in the aftermath of a catastrophic event. Allison (Florence Pugh) seemingly has everything going for her; she has met the man of her dreams Nathan (Chinaza Uche) and they soon announce their engagement. However, the ideal is shattered when tragedy strikes Nathan’s family. Allison’s part in the event drives a wedge between the couple and they eventually separate. She resorts to alcohol and drugs in a vain attempt to cope with the past. Her mother despairs but persuades her to attend a self-help group. Purely by chance Nathan’s father Daniel (Morgan Freeman) is a member of the same group. In sessions they slowly learn more about each other; particularly Daniel’s fractious relationship with Nathan. This sets in motion a subsequent chain of events that will affect family dynamics again. The classic stages of grief are portrayed in vivid detail as Allison endures shock, denial, anger, depression and finally acceptance. Although the emotional ride isn’t as bumpy as one might expect. The characters aren’t always drawn in the most sympathetic light, so there is less inclination to feel sorry for them. It becomes a more authentic portrayal of what grief can do to people; and readily accepts it can bring out the best or worst in the human condition. This makes the narrative much stronger as the characters can be viewed with more dispassion. It doesn’t tug at the heartstrings as a story of this type very easily could. But presents an already dysfunctional family with a double whammy; a traumatic event followed by the inevitable fallout. More often than not it’s the actors that save a film and both leads are at the very top of their game. Florence Pugh is brilliant as the talented musician who plunges to the depths of addiction but finds peace and redemption. Morgan Freeman delivers a typically gritty performance as the ex-cop fighting his demons and estrangement from his son. In the hands of less talented actors it would have badly hit the rocks. But the quality of acting compensates for any deficiency there might be in the script and plot. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

21st & Colonial film review by UK film critic Jason Knight. Starring Angelo Reyes, Sue Prado, Ogden Buck, Dominique Madison directed by Angelo Reyes. HOME | FILMS | REVIEWS 21st & Colonial Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 11, 2021 Directed by: Angelo Reyes Written by: Angelo Reyes, Toby Osborne Starring: Angelo Reyes, Sue Prado, Ogden Buck, Dominique Madison A story about the lives of a young African American drug dealer and a troubled police officer. Omar (Buck) is going through tough times. His mother is angry with him for selling drugs and he has just found out that his girlfriend Stephanie (Madison) is pregnant with his child and, as a result, her parents are throwing her out of their house. Meanwhile, a cop named Carlos (Reyes), who used to be in the marines, is suffering from post-traumatic stress disorder and is ignoring the pleas of his wife and colleague that he seeks help. Based on true events, this short crime drama follows two individuals who appear to be quite different, while in fact, they have significant similarities as both of them are struggling with serious issues. Omar is living a life of crime because he believes that is the only way he can move forward and Carlos is damaged by his past, leading him to become aggressive and distant. The narrative keeps cutting between the lives of these two men, observing them as they go about their business and interact with people. This is a powerful film, as it deals with serious issues. It begins with a powerful quote by Martin Luther King Jr. about going against violence and it explores the consequences that crime, drug dealing, PTSD and police brutality have on people and it does so rather dramatically. There is tension, emotional scenes and scenes of joy, all of which effectively move the plot towards its conclusion. The acting is strong. Buck is convincing as a well-meaning person who keeps making the wrong decisions and Madison is very dramatic as an individual whose life is rapidly turned upside down. Perhaps Reyes plays the most intriguing character, which is that of a dangerous man who is about to snap. The music by Will Musser is one of the best aspects here. The score is tender, tense and includes beautiful piano tones. Its addition creates atmosphere that goes well with the scenes. This is a hard-hitting story that shows how people's actions can have devastating consequences. It depicts people's lives crossing paths with dramatic effects and it does so very effectively. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Downton Abbey: A New Era film review by UK film critic Hope Madden. Starring Hugh Bonneville, Maggie Smith, MichelleDockery directed by Simon Curtis. HOME | FILMS | REVIEWS Downton Abbey: A New Era Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: May 19, 2022 Directed by: Simon Curtis Written by: Julian Fellowes Starring: Hugh Bonneville, Maggie Smith, MichelleDockery The Crawleys exit the roaring 20s a bit cash-strapped (can’t fix the roof but can holiday en masse, butlers in tow). Fans of the long-running series, now unleashing its second feature film, can rest easy. Heads held high, the family is ready to face a new decade with new leadership and the same old posh spirit. Elegant escapism of the breeziest order, Downton Abbey: A New Era follows the idle rich through the travails of trying to remain both idle and rich. Now about that attic. It seems a film producer hopes to shoot a movie in Downton. Lord Grantham (Hugh Bonneville) wants no part of it, but Lady Mary (Michelle Dockery) is running the show now. She hates to seem common, but the fee will fix those leaks. Of course, the servants are thrilled to have real-life movie stars in the building. All except Mr. Carson (Jim Carter), who can’t bear to see the family stoop so low. Why, the Queen of England sat right at that table! Meanwhile, Lady Grantham (Maggie Smith, scene-stealing, as is her way) is surprised to have inherited a French villa from a man she knew many wistful years ago. Mysterious? Or is it scandalous?! So, off half the family goes to investigate, leaving Lady Mary and the servants to contend with the handsome director (Hugh Dancy), charming actor (Dominic West) and dour actress (Laura Haddock). The old gang has fun stretching their familiar characters a bit for the big screen, although director Simon Curtis (My Week with Marilyn) has a tough time staging the interior conversations as anything more than expensive TV set pieces. Still, the expansive grounds are gorgeous and Nice is gorgeous, and it can be restful to spend a full two hours where the stakes are no higher than whether or not the world will remember granny as a tramp. Downton Abbey is a really well-dressed, well-acted, well-produced, uptight soap opera. Droll dialog, stunning locales and exquisite costuming elevate each scene to something more than a guilty pleasure, but the film’s sites never veer from its target audience. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >