Skinamarink film review by UK film critic George Wolf. Starring Lucas Paul, Dali Rose Tetreault directed by Kyle Edward Ball. HOME | FILMS | REVIEWS Skinamarink Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 11, 2023 Directed by: Kyle Edward Ball Written by: Kyle Edward Ball Starring: Lucas Paul, Dali Rose Tetreault (Tom Hanks SNL voice) “My name is Kyle Edward Ball…and I’m going to scare the HELL out of YOU!” And you know what? He just might do it. Be extra prepared if the title Skinamarink reminds you of those fun singalongs from Sharon, Lois & Bram. Because Ball’s brand of nightmare fuel taps into the very essence of childhood fears, exploiting those exposed nerves with a committed resolve we haven’t seen since Laurence Olivier in Marathon Man . Is it safe? It is not. Ball’s premise is brilliant simplicity. It’s 1995, and two young children, Kaylee (Dali Rose Tetreault) and Kevin (Lucas Paul), wake in the night to find they are alone, with the windows and doors in their house suddenly gone. In an instant, the stakes are familiar – but not because you’ve seen this before. It’s because there’s probably some version of this nightmare in your past. You were just a kid, separated from your parents and trying in vain to reach them or call out for help, or maybe just escape. Remember how scared you were? Ball and cinematographer Jamie McRae do, and they twist that knife again and again for 100 slightly bloated minutes of dark, disorienting dread. Cinematography and sound design are intertwined in an analog, cathode-ray aesthetic that recalls vintage, grainy VHS. The children whisper to each other (“Where do you think Dad is? I don’t know.”) as they wander from room to room, with Ball’s camera never allowing you one second of relief. All through this fright night, familiar sources of comfort such as toys and cartoons turn eerily sinister, accentuating the feeling that it’s not just these kids that are in peril, it is childhood itself. POV is often at floor level, and then tight into a corner of the ceiling or high above the room and rising. You squint in the direction of the children’s flashlight, trying in vain to decipher anything about the house that will give you some sense of its layout, and you strain to separate the cracks of white noise from that deeper voice speaking to the children. Come upstairs. Look under the bed. Close your eyes . Ball started down this harrowing hallway by filming 3-4 minute short films of the actual dreams described by viewers of his YouTube channel. Some two years ago, his 29-minute short Heck emerged as the wonder of primal fear that inspired Skinamarink. And though it is a bit disappointing that the single most bone-chilling (and to be fair, most explanatory) moment of the short didn’t make it in the feature, Ball’s $15,000 budget buys much more killer than filler. More than just nightmarish, this is a literal nightmare onscreen. And the intimate nature of nightmares means that the film’s patient, psychological assault is likely to bring out the “nothing happens!” barbs from those seeking more universally visceral thrills. But for others, the whispers of Skinamarink will hit like a sonic boom. And they will be hard to shake. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Soil and the Sea film review by UK film critic Jason Knight. Starring N/A directed by Daniele Rugo. HOME | FILMS | REVIEWS The Soil and the Sea Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 7, 2024 Directed by: Daniele Rugo Written by: Elias Khoury Starring: N/A Stories about the atrocities of the Lebanese Civil War. This feature-length documentary is filled with accounts about the devastating experiences and losses that people in Lebanon went through because of this terrible conflict. These people, are the interviewees and they describe the events that led to them losing a loved one, suffering brutality in the hands of the militia and witnessing unspeakable things. The structure of the documentary is quite interesting. None of the interviewees are seen or officially identified. Instead it is their voice-over gives them presence as they narrate their harrowing stories. While they speak, the film goes through shots that are usually related to the described events. For instance, while one person talks about an incident at a university, their voice-over is accompanied by shots of an educational institution and when another refers to a monastery, a monastery is on-screen. The film moves from one person's account to the next and every story begins with a date and a place for events that took place during the war in various locations across Lebanon, including Beit Meri, Tripoli and Anjar. For the vast majority of the feature, people are absent from the screen, leaving mostly buildings and landscapes to be present. By utilising this technique, the filmmakers make Lebanon the protagonist of this feature in some ways, revealing how the country has suffered due to the conflict as well as its citizens. The score by Yara Asmar succeeds in creating a dramatic atmosphere and deserves praise. However, the real drama is developed by the interviewee's words, as they tell their dark and distressing stories. They talk about bombings, seeing dead people everywhere, having loved ones disappearing and being taken away themselves and being subjected to interrogation and torture. Listening to them is quite upsetting. The documentary specifically points out the fact that the war caused people to place many victims in the ocean or in mass graves throughout Lebanon. This shocking information reveals some of the horrifying consequences of war and how chaotic things were in that country during the conflict. Rugo does a terrific job as the director and creates many great shots of buildings, landscapes, ruins and the ocean. The parade scenes provide an insight into Lebanon's culture and the archival footage highlights the inhuman events that occurred. This dramatic documentary explores the Lebanese Civil War through the perspective of civilians, revealing the atrocities of that conflict and the tremendous suffering that it brought. It is a memorable viewing that makes the viewer aware of the destructive effects of war. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

A large selection of free films to watch on the UK Film Channel. Including short films, horror movies and documentaries. FREE Films to Watch Come one, come all. Free films to watch are here to stay on our sister website UK Film Channel. Part of our dedication to supporting indie film, we want to provide a safe place where filmmakers can have their movies watched by a lovely audience (who are probably skint and don't want yet another film streaming subscription - even if they already use their brother's logins). Where can I watch free short films? Go to www.ukfilmchannel.co.uk The films are all free, publicly listed on platforms such as YouTube or Vimeo. Short films, indie movies, documentaries, lots of hours of free entertainment. Simply go to the website and scroll through the various sections dedicated to free films or use the buttons below. FREE Horror Films FREE Horror Films FREE Comedy Films FREE Comedy Films FREE Documentaries FREE Documentaries ALL FREE FILMS ALL FREE FILMS ADD YOUR FILM ADD YOUR FILM

Thieves in the Night film review by UK film critic Jason Knight. Starring Wayne O. Reid, Tim C. Hudson, Claudia Barba, Liv Paige, Sabrina Bale directed by Maximilian Feurstein, Ted Dontchev. HOME | FILMS | REVIEWS Thieves in the Night Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 10, 2024 Directed by: Maximilian Feurstein, Ted Dontchev Written by: Maximilian Feurstein, Ted Dontchev Starring: Wayne O. Reid, Tim C. Hudson, Claudia Barba, Liv Paige, Sabrina Bale A group of criminals hold a family hostage in their own home. It is night-time during the Christmas holidays and Ray (Reid), Cody (Hudson) and Sofie (Barba) are up to no good. They have just killed some people and are now walking the streets with a bag filled with money. Seeking refuge and armed with guns and knives, they break into the house of a family of four: Joseph (Tyler Winchcombe), his partner Stella (Bale), their teenage daughter Mia (Paige) and young son Eli (Sandy Button). The crooks gather the family in the living room (apart from Eli) and their intention is to spend the night in that household and leave in the morning. However, complications will lead to danger and violence. Separated into three acts, each with its own title, this home invasion feature works well as a psychological thriller, with the tension rising and rising, even though initially the pace is slow. Once the intruders have taken control of the three family members, they proceed to search for a possible fourth, they phone their boss to make plans and then a discussion occurs regarding Mia, as she is the only member in the household who is black. Things get further complicated with the arrival of Joseph's brother, Ben (Olly Bassi), who has a military background. Ben proves to be rather resilient and challenges his captors and it is because of him that the family finds the strength to fight back. The three invaders are revealed to be professional criminals and out of the three of them, Cody is the one who stands out the most and by a long shot. With a quick temper and frequent profanity, he comes across as aggressive and more than willing to resort to violence. He plays a sort of car-and-mouse game with the family and takes a disturbing interest in Mia. Out of the intruders, he is the one who does most of the talking and whose life is explored the most. In comparison to Cody, Ray and Sofie are less talkative and Ray in particular is reluctant to use violence and has manners. Sofie pretty much sinks in the background. Regarding the family members, Mia and Ben are the ones who are explored the most, while Stella and Joseph are more or less in the background and especially Eli, who spends the majority of the film hiding from the intruders. Ben is the most courageous and methodical, traits that were obviously gained by his time in the military and he aims to turn the tables on his captors. Regarding the score, great praise goes to the work of Michel Andriessen, whose rythmic instumental and soft tense acoustic music contributes significantly to the atmosphere of the story. It would be fair to say that regarding the home invasion genre, this feature does not possess much originality. Bad people trespass on someone's property, they capture them, unexpected people show up, the captive begin to resist their captors. All these are often present in this genre. Nevertheless, this is a tense thriller that succeeds in building up suspense and contains many nail-biting moments. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Amazon Prime < All Reviews Next Film Review >

The Find film review by UK film critic Jason Knight. Starring Sacha Alexander, Karen Birch directed by Erik Bostedt. HOME | FILMS | REVIEWS The Find Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 2, 2022 Directed by: Erik Bostedt Written by: Adam Richard Carroll Starring: Sacha Alexander, Karen Birch A professional meditator finds a large parcel full of cash. A meditation expert (Alexander) lives with his partner (Birch) in a house near the beach. One day, while going for a walk by the seaside, he comes across a mysterious package and discovers that it contains money. He keeps it, a decision that puts his life in danger, as there are sinister people who are looking for it. This short begins as a peaceful drama and moves towards thriller territory. The story is not just about a person finding lost money and facing the consequences of not reporting the discovery, as the screenplay spends a great deal of time exploring the main character's life. The main character works from home, where he has a studio that he uses to make meditation videos, which he then puts online. It is clear that, apart from a passion for meditation, he also enjoys nature and photography, as he goes for walks at the beach and takes photographs. His relationship with his partner is also shown, which is a blissful one, with the two of them meditating together, living a quiet life and planning to open a meditation centre. Although the scenes that involve the lost money add tension, nothing is revealed about the identity of the men who are searching for it, making the narrative being mostly about the protagonist's life and aspirations. Dialogue is limited, leaving the viewer to understand the story and the characters through their actions. Alexander is very convincing as a professional meditator, who wants to move on to better things and Birch does a good job as his partner who supports him. Bostedt's superb directing is one of the highlights of this film. He creates wonderful establishing shots of beaches and perfectly captures the beauty of the area. There are also creative shots that show the action through the protagonist's camera point of view. Carroll worked on the beautiful cinematography and was also responsible for the editing, where he did a marvellous job, utilising dissolve techniques to great effect. The sound is another strong aspect. The filmmakers effectively capture the sound of waves, almost making the viewer feel like they are by the ocean. The dramatic music is another magnificent addition and includes piano score. This is a very well made film, with an intriguing plot and dramatic atmosphere. It is an interesting viewing that deserves praise and recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

An Unnerving Realisation film review by UK film critic Chris Buick. Starring Pierce Joseph, Denis Kiely, Mary T Lynch directed by Seán Leahy. HOME | FILMS | REVIEWS An Unnerving Realisation Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Jan 22, 2025 Directed by: Seán Leahy Written by: Jack Holman Starring: Pierce Joseph, Denis Kiely, Mary T Lynch While looking back at photos of his younger self with his parents before dinner, Nicholas begins to question why these photos only show him from a certain age. Where are all the pictures from before, when he was born or his years as a baby? His parents reassure him as best they can with their explanations, but Nicholas soon discovers a darker and more sinister reason. A film that centers around the idea of a dark and long–kept family secret coming to light should be fertile ground for any compelling short, but An Unnerving Realisation unfortunately misses the mark in telling a meaningful story. Technically, the film has no real issues, and the direction really is the aspect that gives the film and its plot that bit more oomph. There are a couple of moments where the film flips from landscape to portrait and back again, which in context is an understandable creative choice to accentuate a POV perspective and there are some other interesting camera angles and tricks implemented too. But it’s not enough to redeem a lack of polish, depth, and context in the film’s story. While the secret at hand is eventually revealed, the context and burning questions behind it all remain frustratingly unclear, unanswered and the whole thing is left ultimately, unresolved. Who were these people before this shocking event, what drove it all to happen and who are they now? None of this is ever offered up by the film or even the characters themselves, not by their conversations, their actions, or even their expressions, resulting in a trio of one-dimensional characters it’s hard to get invested in and with too many lingering questions left unsettled. The performances themselves are hard to comment on, mostly because as mentioned, the actors themselves have very little to be working with to make any kind of impact. Kiely, who actually had the biggest potential to be the most interesting character of the three given the nature of the reveal, instead contributes the least due to his father character essentially being confined to almost exclusively sitting at the dinner table scrolling through his phone, occasionally glancing upwards to make sure the other two are still there. Lynch has a bit more to do, pulling off the worried yet loving mother look in her interactions with Nicholas, with a knowing exchange between the two at the end. Joseph gets the most to do understandably and performs the part well enough despite this role also being fairly limited, but manages to get the emotion across just right in the film's one key moment. It all ends without any real resolution or consequence meaning that while this realisation might be unnerving for Nicholas, for the viewer it’s more of an underwhelming one. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Shaggy Dog Story film review by UK film critic William Hemingway. Starring Maya Perez, Phil Perez, Sanna Knippelmeyer, Xavi directed by Phil Perez. HOME | FILMS | REVIEWS Shaggy Dog Story Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: May 20, 2022 Directed by: Phil Perez Written by: Phil Perez Starring: Maya Perez, Phil Perez, Sanna Knippelmeyer, Xavi Everybody loves a good Shaggy Dog Story ; a twisting yarn full of ups and downs, laughs and tears, which usually ends up with an anticlimactic ending that no-one was expecting. Thankfully, film-maker Phil Perez decided which of these elements he wanted to use and which he wanted to leave out in telling his own Shaggy Dog Story , keeping his tale to a succinct seven and a half minutes and allowing his ending to still be surprising if not entirely climactic. Phil's daughter Maya is having a tough time dealing with the deteriorating health of their dog, Xavi. He is a bearded collie who during lockdown 2020 developed Degenerative Myelopathy, more commonly knows as MS for dogs. Xavi's back legs have lost most of their motor function and he can't catch balls or fetch sticks like he used to. Maya still loves him as much as ever though, and spends as much time with Xavi as she can, showering him with attention, affection and hugs. Xavi still likes to join in wherever he can and often manages to find himself encapsulated in Maya's world of role-play. Whether as a wigged unicorn or a lifelike stuffed toy (a la E.T.), Xavi is a constant companion to Maya, as she is to him. The two seem inseparable as the days go by and the story plays out, but always in the background is the spectre of Xavi's condition and just how much further he is going to deteriorate. The relationship between Maya and Xavi is obviously at the heart of this Shaggy Dog Story , and because the events and emotions being dealt with on screen are all real, there is a genuine sense of the love and concern which exists between the two. The relationship between Maya and her parents also adds complexity to this as they try to stay pragmatic and realistic in the face of insurmountable odds, whilst at the same time finding a way to deal with their own feelings as Maya shares hers. The film itself tells the story in the form of a video diary, where everything has the feel of a home video, with Dad capturing moments on camera which may not have long left to be experienced in real life. The audience feels brought into the household to witness what may be Maya and Xavi's last days together and to experience the highs and lows along with them. This can mean that there's not much to pick out from the film in terms of direction or acting but Phil Perez still manages to get some nice shots in there, utilising his cinematography skills where he can. Maya and Xavi's story is a very personal one and therefore plays out as such on film. While this particular Shaggy Dog Story certainly has all the feels you could hope for, it ultimately comes across as a story which belongs to someone else. Maya will undoubtedly be very glad in years to come to have this enduring testament to her and Xavi's relationship, and be happy that she was able to share it with others. For the rest of us though it may just feel like one more Shaggy Dog Story in a world where everyone has their own Shaggy Dog Story to tell. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

The Last Laugh film review by UK film critic William Curzon. Starring Zachary Coleman, Samuel Lawrence directed by Spencer Anderson. HOME | FILMS | REVIEWS The Last Laugh Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Apr 21, 2026 Directed by: Spencer Anderson Written by: Zachary Coleman Starring: Zachary Coleman, Samuel Lawrence The Last Laugh is a short piece that follows a police officer (Samuel Lawrence) apprehending a clown (Zachary Coleman) with their two opposing ideals at odds. Despite the film's incredibly brisk runtime, it wastes no time building tension and executing its ideas almost immediately. While there isn't much material to sustain a feature-length runtime, the filmmakers clearly intended to execute their distinct vision as depicted on screen. The most impressive aspect of The Last Laugh is its camerawork and fluid editing choices, which are on display. Dan Abrams, serving as both cinematographer and editor for the piece, utilises unique framing choices, including extreme close-ups during moments of severe conflict, and switches to wide framing to give the viewer a sense of the surrounding area. It's an incredibly visceral experience that doesn't let up until its final moments. However, without any prior context to the arising conflict between the two central characters, it's difficult to comprehend what is actually occurring, as the narrative throws the viewer in the deep end, requiring them to decipher what has led to this confrontation. It's a deeply frustrating aspect of the piece due to the lack of character development or thematic purpose, aside from the brief exploration of crime themes. The brief use of music is incredibly impactful and accompanies the severity of the conflict extremely well. Going into the film blind is genuinely a rewarding experience as it's a rather unique piece of indie filmmaking that relies only on a single dispute between two opposing ideologies. While the narrative isn’t fleshed out much, it's extremely refreshing to see an uncompromised vision executed to this level of absurdity. Despite the film having fairly sparse material to work with, the filmmakers do their best to convey their talent with such raw production value. Its absurd nature is commendable, and the narrative does sweep the rug from under the viewer with a shocking twist. Both central performances from Samuel Lawrence in his portrayal of the police officer and Zachary Coleman’s portrayal of the clown are mostly impressive. Samuel Lawrence, in particular, conveys a profound level of restraint when trying to diffuse the situation and decipher the clown’s intention. Zachary Coleman, on the other hand, is deeply haunting and manipulative as he attempts to play mind games with the police officer about his plans as a criminal. Both performances complement one another incredibly well, and it's one of the most impressive aspects of the piece, given the limited material they were given to work with. While the film would’ve benefitted deeply from a prolonged runtime to flesh out the central characters more profoundly, the filmmaker’s intent was clearly in the right place, as the minimal ideas are executed aptly despite its shortcomings. The Last Laugh is a bizarre and questionable experience that throws the audience into a state of conflict between two opposing characters with a severe lack of context. Whilst there is minor material to latch onto outside of the central conflict, the lack of spectacle may have been intentional and instrumental in helping the filmmakers execute the idea they envisioned with this short piece. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Whispers of Freedom film review by UK film critic Chris Buick. Starring Cameron Ashplant, Wendy Makkena, Darragh Cowley directed by Brandon Ashplant. HOME | FILMS | REVIEWS Whispers of Freedom Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jun 3, 2025 Directed by: Brandon Ashplant Written by: Brandon Ashplant Starring: Cameron Ashplant, Wendy Makkena, Darragh Cowley "The GDR is an outpost of peace and socialism" Whispers of Freedom , written and directed by Brandon Ashplant, delicately dramatises one of the most significant individual stories from one of history’s most important periods. Starting back in July 1985, post-WWII Germany had now been split into two for the best part of forty years, the Federal Republic of Germany (FRG) in the west and the German/Deutsche Democratic Republic (GDR) in the east, where the film’s story based on true events is set. And that story is one of Chris Gueffroy (played here by Cameron Ashplant), who in 1989 was the last person to be shot while attempting an escape over the dividing Berlin Wall. As was the case for many East Germans throughout this time, Gueffroy’s disillusionment towards the occupying regime and its oppression on freedoms grew as he did, but his ongoing resistance to toe the party line and generally do his duty, would lead to a life of great difficulty, prospects of education, employment and general living conditions would be limited, if not completely withheld, and while leaving was not impossible, it was almost always unimaginable. His ideals and his convictions in them would also mean hardships not just for himself but for friends and family, specifically his mother Karin (Makkena), herself wishing to just be content with their lot, knowing it could easily be so much worse. Yet while Whispers of Freedom uses Gueffroy’s fascinating specific narrative as its focus, the film is also painting a bigger and more encompassing picture of what living under this “socialist dream” truly meant for East Germans, many like Chris, desperate for change, but many others also like Karin, desperate just to keep their heads down and be thankful. It moves between a historical drama and a character driven one touching on the major points along the way but ultimately delivers on both, and the films harsh grays, low lighting and overall minimalist mise-en-scène, all combine effectively to instantly transport its audience back in time forty years to evoke a palpable sense of what such a life might have been like in a country divided by Cold War tensions. And to somehow portray every nuance of something so significant through such a contained, particular human story, in under twenty-five minutes no less, speaks volumes to Ashplant’s abilities as a screenwriter, fully demonstrating how important this point in human history truly was, something that perhaps might not have been truly grasped going in but surely will be going out. In the filmmakers words, Whispers of Freedom looks to ultimately “serve as a timely reminder to audiences the world over about those who are fleeing oppression in search of genuine political freedom”, which is something still so incredibly pertinent today, meaning Whispers of Freedom isn’t just a highly accomplished piece of filmmaking, but also a critical piece of work we should all pay attention to, and ideally, learn from. Now watch Chris Buick's Video Film Review on our YouTube channel of Whispers of Freedom . Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Dinner film review by UK film critic Swati Verma. Starring Hoa Thuy, Hoang Duc Anh, Ho Phog directed by Linh Tran. HOME | FILMS | REVIEWS Dinner Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 31, 2022 Directed by: Linh Tran Written by: Linh Tran, Monze Lozano Starring: Hoa Thuy, Hoang Duc Anh, Ho Phog The short film-"Dinner" falls under the genre of Social drama. The cinematic piece communicates the concerns about social evils like infidelity and the harmful effects the secrets and lies can have on the people around. The director Linh Tran and writer Monze Lozano work on the script to showcase the nuances of such situations arising in the life of the protagonist and his family. The set design, lighting, makeup, camera work and costume design want to convey the presence of tension, anger, and pain at home. The director uses elements like Conflict and Drama so beautifully to bring out the essence of the movie to create awareness among the audience regarding the subject matter. Linh chooses Vietnam as the location of his movie along with the local television actors to play the characters written by him. By doing this he wants to go back to his roots through this film and also increase the degree of emotional engagement with the target audience. The plot of this short film revolves around a boy named Quan who is a stubborn yet a mature child. One day while coming back from school he witnesses something that makes him question the sole reason for his existence and the family dynamics. In terms of performance Hoang Duh Aah the child artist outshines in the film. He portrays the struggles of a little boy resorting to anger and fights to combat the emotional turmoil within him so effortlessly. Hoa Thuy plays the role of the mother of Quan in the story. She is completely broken inside because of what life has thrown at her but she wants to be strong and protect her son from unforeseen situations. The contrasting feeling is aptly illustrated by the actress making the character very relatable to the audience. Ho phong plays the father of the central character. He is the bad guy in the eyes of the audience. He continuously tries to amend the circumstances for himself and his family. The ordeal of not being understood by his son and wife is visible through the body language and the facial expressions of the male actor. The theme of the film is a troubled marriage from a child's perspective. This movie talks about the adverse effect the child has to bear because of a hostile set-up at home. The makers of this film want to tell the audience about how sensitive children can be in general. There should be a sense of responsibility in the parents to make sure the children are exposed to all happy and healthy atmosphere for their all-around development. Both the parents should also keep in mind that the child feels comfortable sharing anything with them if the need arises. To make the future bright we should work on making the present happy. No one should have the right to take away the innocence of children from them ever. The director has given the film an open ended closure so that the audience can interpret the film as per their understanding. I am really happy with the subtle treatment of the film considering the seriousness of the topic being discussed. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Fun-Sized Trouble film review by UK film critic Patrick Foley. Starring Jaclyn Bethany, Kelly Hancock, Zita Bai directed by Qiyu Zhou. HOME | FILMS | REVIEWS Fun-Sized Trouble Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 21, 2021 Directed by: Qiyu Zhou Written by: Qiyu Zhou, Zita Bai Starring: Jaclyn Bethany, Kelly Hancock, Zita Bai With bold, shocking portrayals of sexuality, and the trials and tribulations women face in everyday (and not-so-everyday) life, Fun-Sized Trouble is not one for pearl-clutchers. But anyone with a wicked sense of humour will find both hilarity and commentary in its grounded absurdity. The film is a short anthology of snapshots into 3 women’s lives as they are presented with unwanted and unexpected sexual scenarios. Dine-In follows a mother (Kelly Hancock) and daughter (Leslie Bessen) being accosted by a homeless flasher. POV involves a couple (Jaclyn Bethany and Shamin Shukkoor) having their voyeuristic exploits exposed. And Mommy involves a young mother (Zita Bai) being publicly humiliated when an affair is exposed. Fun-Sized Trouble pulls no punches with its stories of how views on female sexuality are imposed in modern society. At times hilarious, at other times disturbing, the three shorts are thematically linked with a biting overtone of frustration from director Qiyu Zhou – and female viewers will surely come away asking a simple question – “Why do we have to put up with this ****?”. The women in each short take very different approaches to their humiliation. Kelly Hancock’s mother is stubborn and stoic when faced with harassment, in contrast to Jaclyn Bethany’s trench coat-wearing daredevil who confronts her abusers directly – before turning her ire on her partner who shamelessly abandons her. The mistress played by Zita Bai is a mixture of the pair – fighting back against her abusers but also able to withhold her subjugation without missing a step, in order not to alarm her daughter. The director demonstrates that in reality, whatever response the three gave would never really have addressed the root cause of the problem – that being societies views and expectations of women where sex is involved. The film also addresses underlying factors in order engage with deeper commentary. An upper-class LA glamour mom’s inability to drop her demeanour of superiority – even when presented with a dangerous predator – comes across as tragic as it does respectable. Manipulative behaviour of a partner is covered in POV , which makes the boyfriend’s abandonment even crueller. And cultural differences are at the heart of Mommy – particularly East-Asian views on honour and shame. These intertwining themes (along with an overall disdain for social media/sharing culture) elevate the film and give it a machine gun-like approach to its commentary – with fantastic results. The ensemble cast give suited performances, though no one really stands out as especially memorable. Kelly Hancock’s visible yet restrained disgust is a highlight, and will leave audiences conflicted on her prior cold nature. Jaclyn Bethany also brings a vulnerability to her character that infers added tragedy to the short in which she stars. Beyond this there is not a great deal of opportunity for a single cast member to really stand out. The message is the clear star of the show. The film is also imaginatively directed – with Qiyu Zhou showing her ability to innovate with storytelling. A shot focusing solely on the mother in Dine-In really emphasises the woman’s horrific ordeal without trivialising or scandalising matters. The first-person, phone camera filming in POV is another daring choice – though the abandonment of this feels like something of a cop-out. Only Mommy really lacks in this department – and is the least memorable of the shorts because of it. You sense that Fun-Sized Trouble is a film that could care less of any opinions. Its fiery views are restrained enough to entertain, but at its heart lies a strong political energy that imbues it with heart and drive – to go with its farcical dark humour. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film, World Cinema < All Reviews Next Film Review >

$13 film review by UK film critic Patrick Foley. Starring Melissa Skirboll, Meghan Martin directed by Melissa Skirboll. HOME | FILMS | REVIEWS $13 Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 18, 2026 Directed by: Melissa Skirboll Written by: Penny B. Jackson, Melissa Skirboll Starring: Melissa Skirboll, Meghan Martin Melissa Skirboll’s short $13 is a bite-sized emotional gut punch – a seemingly innocuous character piece at first that takes a shocking turn, taking viewers on an unexpected journey within its short narrative. 2 women take a stroll alongside the Hudson River in New York City. The older of the pair (Skirboll) reminisces about frustrations with her former boss Bernie. The younger of the pair (Meghan Martin) can relate – having her own frustrations with her lot. But as the story develops, we realise that the location is of utmost relevance – the presence of One World Trade Centre suddenly looming large. The younger woman realises that the story she is being told is not a typical one, and the trauma of 9/11 is felt by both parties. The twist at the heart of $13 will be most people’s lasting memory. And while the sudden revelation of the story’s true nature will shock, it is impressive that Melissa Skirboll makes it work. Delivered with a less capable hand, it may have come across as trite or inauthentic. However, Skriboll is careful not to over-egg the introduction of a historic tragedy in her short film’s narrative. Landing with an initial, earth-quaking shock, the moment is given chance to breath and dissolve into the film in a manner that feels genuine. This is accomplished through the musical cues, the use of silence and the impressive performances of Skirbol herself and Meghan Martin. The film is shot beautifully, making full use of the New York skyline at sunset. The setting is obviously plot-relevant, but the ambience created is also critical for the story’s success. Taking place at sunset feels like no coincidence, as Skirboll’s character yearns to come to terms with a pivotal moment in her life even 25 years on. The contrast with the unforgettable images of 9/11, which took place in the daytime, to the film’s evening glow gives a quiet appreciation of time passed. There are some moments where the dialogue becomes a little clunky. It feels a little forced at first for the character of Bernie to be introduced, and there are a few other instances of exposition that grate. But once the film finds its momentum, the writing is impeccable. Once Skirboll’s character recounts the people she knew who worked in the towers, audiences will be silently gripped and moved. The women’s bond also convinces, and the chemistry between Skirboll and Martin flourishes with defined dialogue that successfully creates the idea of an age-gap friendship. $13 accomplishes so much with just a conversation. It is destined to move audiences, not just thanks to its shocking twist, but because of fantastic dialogue and performances that make for an engrossing rollercoaster of a film. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >