Candlelight film review by UK film critic Jason Knight. Starring Michael Tatomir directed by Rodriguez Jennings. HOME | FILMS | REVIEWS Candlelight Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 12, 2021 Directed by: Rodriguez Jennings Written by: Rodriguez Jennings Starring: Michael Tatomir During a thunderstorm, a man lights a candle in his darkened home, where he appears to be pursued by something sinister. A young man (Tatomir) is inside his house and outside it is pouring with rain. Suddenly, the lights go out, causing him to panic and hastily look for a candle and light it. As he tries to remain calm, he hears frightening noises and objects appear to be moving by themselves, indicating that there is some sort of entity is his household. This is quite a spooky short horror film, which centres on the idea of being alone in the dark. The idea that one is in the darkness all by themsleves and there is something out to get them. Not a single word is spoken, the man is the only person seen and the audience observes the silent protagonist as he desperately tries to keep his candle lit, as if light is the only thing that can protect him from whatever it is that he is afraid of. Almost the entire story takes place after the lights seize to work and watching the man walk around in the darkness is unsettling and creates feelings of isolation and claustrophobia. The lighting effects are rather creative and add to the sinister atmosphere. The sound effects play a key part in giving this film a chilling atmosphere. There are the sounds of rain, thunder, wind blowing and doors screeching, all of which create feelings of dread. But the most frightening sound is the growling sound that is produced by an unseen entity. When the growl is heard, the viewer expects something to jump out from the darkness. As Tatomir's character is the only individual in the film, his performance is vital in making the story work and he does so very effectively. He is convincing as he attempts to remain calm and keep his candle lit, while at the same time appearing to be menaced. This short goes to territories that deal with a haunted house and things that go bump in the night. The protagonist being by himself in the darkness that takes over and the unnerving noises will most likely give the audience the chills. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Journey Home film review by UK film critic Jason Knight. Starring Jennifer Martin, Mike Bodie, Alex Good directed by Christopher Houlston. HOME | FILMS | REVIEWS Journey Home Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Nov 9, 2021 Directed by: Christopher Houlston Written by: Christopher Houlston Starring: Jennifer Martin, Mike Bodie, Alex Good A couple's marriage suffers as the husband struggles to deal with a devastating loss. It is the wedding anniversary of Hannah (Martin) and her husband (Bodie). Hannah attempts to convince him to go to church with her, which is something he has not done for a long time.He refuses in order to stay at home and make the required preparations for a surprise anniversary party. As he begins to do so, he has a sudden flashback of a traumatic event and as a result is unable to continue with the preparations. When she returns home, Hannah is deeply hurt by his failure to acknowledge their anniversary and the two of them end up arguing about their marriage, discussing their feelings and trying to comfort each other. This short drama is very heavy on emotions and explores themes of marriage, loss and how much people need each other, how important it is to support each other. The story takes place at the couple's property and focuses on how a soldier's post-traumatic stress disorder is affecting him and his relationship with his wife. There are heartbreaking scenes that reveal how much the two protagonists are suffering by the husband's experiences from when he was away fighting a war. The film also shows that they care deeply for each other and are determined to overcome the obstacles in order to remain together. Both Martin and Bodie deliver terrific and emotional performances as individuals who are hurting internally. Bodie is a person who is trying to deal with the loss that he suffered during a conflict and as a result he has unwillingly become distant towards his wife. Martin is a wife who loves her husband but is finding it more and more difficult to cope with the lack of communication she has with him. The wonderful music by Stewart Dugdale is one of the strongest aspects here and includes a dramatic, beautiful piano score that adds great value to the scenes. Edward Massey creates outstanding cinematography, especially during the flashback scenes. There is also a brief and well-constructed scene that involves a flashback about the husband's experiences in warfare. The effective use of gunshot sound effects, shouting, sinister music and lighting techniques make this part harrowing and it provides a vivid insight into the husband's troubled state of mind. This short film is a powerful and emotional story about a person attempting to overcome their sorrows. It presents a marriage that is on the brink of collapse and how love and support can keep it strong. The acting, script, music and cinematography make this an admirable achievement that deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Beth + Jeremy and Steve film review by UK film critic William Hemingway. Starring Lucas Friedman, Briana Ratterman, Matthew Dibiasio directed by Daniel Hill. HOME | FILMS | REVIEWS Beth + Jeremy and Steve Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 16, 2025 Directed by: Daniel Hill Written by: Daniel Hill Starring: Lucas Friedman, Briana Ratterman, Matthew Dibiasio A mid-thirties married woman starts an ill-advised affair with a teenage boy in an attempt to see if she still has a lust for life left within her, all the while completely unaware that her husband has been on their trail the entire time. Beth (Ratterman) isn’t getting on well with her husband, Steve (Dibasio). They argue constantly over the little things and they just can’t seem to get on the same page with anything. Whenever they try to face the big stuff and talk about what’s wrong with their relationship, Steve lies or avoids the issue, and Beth can’t herself answer any of the questions she’s asking of him. Simultaneously, Jeremy (Friedman) is busy getting friendzoned by his high-school dating partner as she moves on to pastures new, and he begins to wonder if he comes up to scratch as suitable boyfriend material. What better time, then, for a meet-cute in a Portland indie record store? As their eyes meet over the stacks of vinyl, Beth approaches Jeremy and acts all coy about getting back into something she thought she gave up on a long time ago. She makes it clear that she’s just into him because of his arty nature and their shared interest in retro style and music, and that she doesn’t want to jump his bones in any way – besides she’s married and he’s in high-school. So now that they both know that, there’ll be no opportunity for shenanigans or naked jiggy-jiggy time. And yet… Glossing over the fact that Beth is in actuality committing statutory rape in the state of Oregon, writer and director Daniel Hill goes right on with letting the relationship flourish before any consequences are met. Then, when these consequences do come, they don’t come from the state or federal law, but from Steve himself, who has suspected Beth of cheating on him and has started following her around. What follows is a strange game of cat-and-mouse as Steve gets himself firmly in the middle of Beth and Jeremy’s love affair, tagging along as a third-wheel on some occasions, and asking some pretty fetishistic questions about what they’re getting up to. This up-ending of the social narrative in this menage-a-trois is what’s supposed to give Beth + Jeremy and Steve it’s edge, however, it in reality only serves to mock the sincerity of the drama played out in the earlier stages of the film, before Steve bulldozes in with his strangely psychopathic ways. The real meat-and-potatoes of the relationship comes from when Beth and Jeremy are getting to know each other, bonding over music and sharing a zest for living in much the same way as Joseph Gordon-Levitt and Zooey Deschanel in 500 Days Of Summer (2009). The music takes on a thematic importance between the two and their relationship gets mapped out to the background tones of some pretty nifty indie tracks, with the songs blending seamlessly into the narrative of the film in a manner akin to Cameron Crowe’s best. The acting, too, along with the script-writing, is at its best when it’s between Beth and Jeremy. Briana Ratterman does an exceptional job of relaying the awkward coquettishness of an older woman seducing a younger man for the first time, and she is always natural and believable in every scene she’s in. Matthew Dibiasio also works hard to put in a good performance as the calmly unhinged Steve, however, he is let down by some inconsistent characterisation as well as a fairly clouded motivation. It’s obvious he’s some kind of pervert underneath it all, getting some sick satisfaction from controlling the affair from the outside, but it’s never really explained why he’s so weird, and weirdly okay with the way things are. At all times it’s clear with Beth + Jeremy and Steve that we’re watching an indie movie. All of the technical aspects are well handled, especially the aforementioned music and sound design, but there’s an economy to everything else that keeps the story so self-contained that it seems there’s not a wider world outside of the ken of the three main characters. This is a solid feature debut from writer/director Daniel Hill, but at no point does it jump the rope to reach the heights of something more. The story, in the end, turns out to be pretty banal, and despite the sometime characterisation of ‘crazy’ Steve, the denouement leaves the characters exactly where you’d expect them to be at the end of it all. For all that, Beth + Jeremy and Steve does intrigue for the first two acts, and Steve aside, the portrayal of actual, real-life, insecure people, getting themselves into relationships they know are a bad idea, is so well handled, that it’s a tonic to the dog-whistle modern-day sexual politics of something like the disappointingly bad, Babygirl (2024), which offers similar situations but from a wholly unrealistic and fantastical viewpoint. Beth + Jeremy and Steve is two-thirds of a good movie, but lacks the teeth to be anything more, when in the end nobody really learns anything and not that much changes in their lives once it’s all over. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Boys Like You film review by UK film critic Jason Knight. Starring Lindsay Bennett-Thompson, Liam Francis Collins, Louis Emerick directed by Paul Holbrook. HOME | FILMS | REVIEWS Boys Like You Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 13, 2024 Directed by: Paul Holbrook Written by: Lindsay Bennett-Thompson, Paul Holbrook Starring: Lindsay Bennett-Thompson, Liam Francis Collins, Louis Emerick A middle-aged woman tracks down a young man, leading to dramatic consequences. June (Bennett-Thompson) is a married woman with children and she seems to be unhappy with her life. She has been observing a youth named Chris (Collins), who is a drug dealer. One day, she goes to the pub where he hangs out, with the supposed intention of meeting him. He notices her and sits with her and the two of them talk. The events that follow are rather astonishing. This short drama revolves around a woman's decision to change her life, perhaps in order to get some answers. Approximately the first half of the screenplay is about the conversation between June and Chris. Their awkward interaction involves topics that include why she is at the pub, purchase of drugs, social class differences, their views on certain types of people, their family and whether they are happy. While this is taking place, it is not clear why June is interested in Chris and he is unaware that she has been watching him. The other half is the aftermath of their encounter. June left the pub, leaving behind a written message for Chris. The contents of that message have left him gobsmacked and she does not know how to proceed. In comparison to the first half, this part has limited dialogue and alternates between Chris being affected by June's revelation and her struggling to decide what she will do next. The two leads are quite different individuals. June is a person who appears to have it all: a family, a house, a comfortable life, yet she seems to be feeling unfulfilled and has probably decided to meet Chris in order to fill in gaps in her life. Clearly, talking to him has a profound effect on her as she is constantly uneasy and hesitant during their conversation. Unaware of June's knowledge, Chris is confident and cheerful, yet he partially reveals his aggressive side. The filmmakers utilise interesesting techniques during the sequences where diegetic sounds disappear and an ominous music takes place. These dramatic moments reveal June's anxious state of mind, along with close-ups. The beautiful cinematography by James Oldham is one of the strongest aspects of the film, its quality creating a dark and moody atmosphere and the slow motion sequences effectively make drama. The contribution by composers Jim Cornick and Matthew Loveridge deserves recognition as they develop a sinister and dynamic score that adds significant tension. The decision to add the song The Great Pretender by the American vocal group The Platters during the closing credits was definetely a good one. This short is about a life-changing encounter. It is supported by outstanding performances from Bennett-Thompson and Collins, portraying characters that are explored by a well-written script that contains quite a plot twist. The film's message appears to be that sometimes things should be left as they are and the final shot is mind-bending. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Devil's in the Detail film review by UK film critic Patrick Foley. Starring Barbara Spevack, Gerard Rogan, Alastair Lawless directed by Barbara Spevack. HOME | FILMS | REVIEWS The Devil's in the Detail Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Sep 15, 2024 Directed by: Barbara Spevack Written by: Barbara Spevack Starring: Barbara Spevack, Gerard Rogan, Alastair Lawless If films were ranked on pun-value alone, The Devil’s in the Detail would get full marks. Taking a common saying and running a mile, this short comedy sketch is amusing in parts, but lacking in quality control and flourish. Angered by a smoking ban put in place on Earth, the Devil (Barbara Spevack) sets out to ensure her favourite bar – ‘the detail’ – remains under her own domain. Adrian (Gerard Rogan), Peter (Jamie Sime) and James (Alastair Lawless) – a trio of damned souls, get to work on figuring out a legal way in which the drinking hole can circumvent the ban – without earning themselves further punishment. The Devil’s in the Detail lasts only 5 minutes. With a concept that could easily be one that That Mitchell and Webb Look left on the cutting room floor, it feels like a relatively simple task to build a logical comedy sketch in this window. Yet viewers will be left waiting for laughs that never really come. It feels like the best gag is the one in the film’s title – that ‘the detail’ would be a bar where the devil hangs out in. Beyond an extravagant performance from Barbara Spevack, an amusing smash-cut from the noisy club to a backroom full of lawyers piling over paperwork, and a weaselly lawyer whose presence in Hell is presented as self-explanatory, the film fails to illicit much humour. Its plot (so to speak) is even undercut midway through the film – with the concluding revelation - that the bar’s presence in Hell meaning that Earth laws don’t apply - being outright stated ahead of time. It is poor storytelling, and audiences will be questioning why the apparently key realisation wasn’t acknowledged when it was first raised in the film – around about a minute earlier. The film’s lower budget means lower production values are a necessity. It’s unlikely many viewers will be totally convinced by the overlay of strobe lights or VFX flames surrounding the lawyer’s table – but this carries its own charm for a film that isn’t taking itself too seriously. Varying sound levels are more of a hinderance – with a noticeable and unnatural drop when characters begin to speak which feels amateurish in the worst way. It’s not all negative, with strong costume design for the Devil complimented by a confident and convincing performance from Barbara Spevack. The concept itself has some interest, and the mixing of the mundane and monstrous is an engaging setting. But the potential for humour and parody is largely left unexplored. Never do we get any real concept of the consequences for the Devil of ignoring the ban, why it has been enforced in the first place or why the trio are responsible for bringing it to her attention. Beyond criticism for sweeping bureaucratic enforcement, there isn’t even much critique of the legal system – a shame as the concept is ripe for potential in this regard. It’s not great that the funniest gag that The Devil’s in the Detail is in its opening credits. The film never really gets off the mark, and ends underwhelmingly. A different and more developed story direction would have been worth exploring, and the embers of humour that are here mean this one is sent to Purgatory, not total damnation. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Digital / DVD Release < All Reviews Next Film Review >

The Abyss Below film review by UK film critic Jason Knight. Starring Tommy Carmichael, Naomi Richards, Steve Huggins directed by Jack Turner. HOME | FILMS | REVIEWS The Abyss Below Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 19, 2025 Directed by: Jack Turner Written by: Jack Turner Starring: Tommy Carmichael, Naomi Richards, Steve Huggins A short supernatural horror film written and directed by Jack Turner and starring Tommy Carmichael, Naomi Richards and Steve Huggins. An injured woman (Richards) dials 999, telling the dispatcher that her son, Samuel (Carmichael) attacked her and she knocked him unconscious in self-defence. However, it is soon revealed that is not the case, as Samuel is actually lying on the kitchen floor, dead, with multiple stab wounds. His mother killed him. Then, Samuel wakes up in the forest, in a state of shock, having presumably died and entered the afterlife. After walking around for a while, he encounters a middle-aged man (Huggins), who claims to be his father, Lucius, who passed away a long time ago. Following an emotional reunion, Lucius tells his son that he must make a choice: stay with his father or return to the world of the living and confront his mum. A tense and dark story that begins as a thriller about domestic violence before entering the supernatural. One rather evident feature is the eerie and ominous music by Lennie Stanford that creates a feeling of tension throughout the film. The plot is quite intriguing and keeps holding the viewer's attention over eleven dramatic minutes, with murder, reunion in life after death and revenge dominating the narrative. Although sometimes the acting is not very convincing, generally, it is decent. Carmichael plays a youngster who has fallen victim to his mother's murderous intentions and finds solace and happiness by being with his father. However, he appears to be a person who cannot leave the past behind. Huggins' character comes across as a loving father, who might also have a hidden dark side. Richards portrays a woman who pretty much serves as the story's villain, a disturbed woman who seems to be homicidal. Murder is what primarily drives the plot, particularly filicide and mariticide. The film explores mother-and-son and father-and-son relationships and provides its version of the afterlife and also acknowledges domestic violence, self-reflection, reminiscing the past and choices. Furthermore, it appears to be stated that revenge leads to bad consequences. This short can be appreciated for the themes that it explores and it can also be viewed for the interesting plot. Overall, this is a film that is gripping from start to finish. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

No Stars Anymore film review by UK film critic Jason Knight. Starring Magdalena Kozikowska-Pienko directed by Lukasz Rog. HOME | FILMS | REVIEWS No Stars Anymore Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 30, 2021 Directed by: Lukasz Rog Written by: Lukasz Rog Starring: Magdalena Kozikowska-Pienko One night, a female member of the S.W.A.T. (Special Weapons And Tactics) forces goes on a mission along with her team, leading them towards very sinister occurrences. Jemma (Pienko) is a lonely woman who is a S.W.A.T. Team Member and she believes that the world is coming to an end. One evening, she joins her unit in investigating certain locations that include a household, a warehouse and a field where there is a small fire burning and a screcrow that includes the skull of a horned cattle. Eventually it becomes apparent that they are going up against dark and dangerous forces. This short dramatic sci-fi is Rog's directorial big screen debut, which was shot and made entirely by himself and it was filmed in the city of Rzeszow, Poland. Visually, the film is quite dark, with many scenes taking place during night-time and in locations that have limited lighting. The majority of this forty-minute film is spent following the S.W.A.T. team as they search the designated areas, wearing their uniform and body armor and holding their firearms that contain torches. They spend a great deal of time walking around and inspecting and there is suspense as they keep on, not knowing what they are going to encounter. Generally, the atmosphere is rather mysterious throughout. Pienko makes her big screen acting debut in her role as a person who seems to be confused and sad. Although she is the main character, when she joins her team, due to the fact that they all wear the same uniform and look alike, she blends in with them and in a way the whole squad becomes the protagonist. Speech is limited in this film and as far as the audio goes, it is the music that takes over, which is haunting, mesmerising and dynamic, accompanying the images effectively. Rog does a great job as director and creates terrific aerial shots of buildings and landscapes. There is also a well-constructed montage consisting of news footage that shows riots and makes good use of fast cutting. This accomplishment offers an interesting and intriguing experience. The story, score and atmosphere make this short film an admirable achievement that is worth pursuing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Twofold film review by UK film critic Joe Beck. Starring Phoebe Campbell, Rebecca Calder, Clinton Blake directed by Ella Greenwood. HOME | FILMS | REVIEWS Twofold Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 30, 2023 Directed by: Ella Greenwood Written by: Toto Bruin Starring: Phoebe Campbell, Rebecca Calder, Clinton Blake A scintillating film of lost love, ‘Twofold’ moves at breakneck speed, a rush of love and anger that are only real in films. Yet, while it certainly goes beyond the realms of believability, it progresses confidently forward, and takes us with it on a delightfully heartbreaking and passion-fuelled rollercoaster. Shot gorgeously in one sweeping take, it is testament to the talents of director Ella Greenwood and her actors Phoebe Campbell, Rebecca Calder and Clinton Blake that at no stage does the film ever lose its edge of drop a beat. Greenwood directs with a kind of poise unusual to such a film, and as she sensually moves the camera in towards the actors, who are ever leaning closer and closer, she captures the raw intensity of their emotions, and butterflies in their stomachs. Only when Matthew (Clinton Blake) casually strolls into the frame is this intensity interrupted and a lesser director would have lowered the standard of their camerawork at this point, yet Greenwood maintains a firm grasp on the camera, maintaining the intimacy of previous scenes, so that you feel that Matthew’s presence really is an interruption, rather than just an excuse to give the actors and director some rest from the gruelling one-take. Campbell and Calder are exquisitely matched as the conflicting souls of Allie and Erin respectively. The two possess a magnetic chemistry which makes their simmering romance, and desolate past together seem all the more real, allowing you to forgo any sense that just maybe things are moving a little too fast. Allie and Erin are at a party celebrating the New Year’s festivities, or, more precisely, Allie is working while Erin is a guest, when the two meet downstairs in the kitchen. The dim lighting as Allie shocks Erin, who is stealing a drink, immediately sets the mood, and the characters run with that intimacy, until a shocking revelation takes the film in an unexpectedly curious direction. With a twist that surely M. Night Shyamalan would be proud of, Toto Bruin’s screenplay is a curious beast. On the one hand, it expertly sets the scene and creates tension through the weight of a word that oozes off the screen. On the other, it is too direct, with subtext either not there, or weakly convening a point, which doesn’t help the overall sense that ‘Twofold’ is in a hurry to reach its conclusion. This wouldn’t be a problem, and often happens in one-take films, if it weren’t for the fact that it leaves points carelessly glossed over, when they should be explored further with just a few extra lines. Nevertheless, ‘Twofold’ is mesmerising and haunting in equal regard, in a manner which takes you by surprise yet never feels too rogue. There’s something beautiful in its rushed expression and outpouring of wild emotive passion - and this goes through a whole range of emotions - which is captured through Ella Greenwood’s lens with an equal enthusiasm, tempered with a restraint which only amplifies both the intimacy and aggression that Phoebe Campbell and Rebecca Calder display with a sense of potency. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Monkey Enters Lanka film review by UK film critic Isabelle Ryan. Starring Dhvel Patel, Carmen Rain Lykoo, Saie S Surendra directed by Saie Surendra. HOME | FILMS | REVIEWS Monkey Enters Lanka Film Review average rating is 2 out of 5 Critic: Isabelle Ryan | Posted on: Jan 14, 2022 Directed by: Saie Surendra Written by: Saie Surendra Starring: Dhvel Patel, Carmen Rain Lykoo, Saie S Surendra “The world’s fastest growing crime is abduction and human trafficking.” Saie Surendra’s award-winning short film opens with this sobering fact. It prepares the audience for a dark, realistic look at the crime before launching into a retelling of a section of the Sanskrit epic Rāmāyanam. In fact, the credits reveal that this was only one of six inspirations. Surendra acknowledges at the film’s opening that this story has been told many times, and as such his version may not be the one we have heard before. The story of Hanuman, the formidable simian disciple of the great Lord Rama, exists in many forms. Shades of Wu Cheng’en’s Journey to the West , another inspiration here, can be found in Akira Toriyama’s manga Dragon Ball . In this version, Hanuman (voiced by Surendra) has been tasked with tracking down Sita (Carmen Rain Lykoo), Rama’s beloved wife. Along with hundreds of women from across the world, Sita has been abducted by the tyrant Ravana (Dhvel Patel). His designs on Sita are clear, but Ravana has been cursed by a previous victim; if he tries to rape someone, he will burst into flames. As he attempts to convince Sita to submit to him and forget her husband, Hanuman lies in wait. The most compelling aspect of the film is its combining of 3D animation and live action. Hanuman is entirely computer generated, as are much of the backgrounds and environments. The fight scenes get the same treatment. The human characters, meanwhile, are played by live actors (except when Hanuman needs opponents to quickly dispatch). Surendra oversaw the VFX, while the 3D environments were created by Nazar Daniyel, Pefro Roque, Victor Gomez, Hoang Nguyen and Kían Kreikamp. The decision is a fascinating one, and for the most part it works. Hanuman looks fittingly uncanny – he is of course a god among men – but while the humans he faces would be outmatched either way, it is a little disappointing to see fights won so easily, with no sense of danger for the protagonist. In any case, Monkey Enters Lanka won the Best VFX award at Best Istanbul Film Festival and Anatolia International Film Festival, as well as Best Experimental Film at Screen Power Film Festival in London. Unfortunately, the film struggles in other technical aspects. There are moments when, despite the heavily rendered 3D environments, it is abundantly clear that scenes were shot outside; the microphone picks up wind sounds easily, muffling the characters’ words. Andrii Brynzak’s music, while suitably rousing, plays too loudly in some dialogue scenes. It must be said, though, that the singers – from the Chinese lead Jennifer Ong to the choir – are fantastic. The acting throughout is fittingly melodramatic, though the film’s message seems somewhat unclear. The curse placed upon Ravana is not fully explored, but the film appears to suggest that simply ‘submitting’ to someone is the same as giving consent. Surely Ravana would still burst into flames even if Sita didn’t fight back? In addition, Rama (who we briefly see towards the film’s end) is viewed by Sita and the other women as an example of what a man should be. However, she explains to Ravana that while he sees women as ‘objects’, Rama sees them as ‘goddesses’. The problem here is that, either way, women end up objectified. Sita and the other women are either viewed as objects for Ravana’s sexual pleasure, or as untouchable, divine beings; and in both cases, their personalities and agency are secondary at best. Monkey Enters Lanka takes inspiration from many classic tales. Saie Surendra has updated the medium but, unfortunately, not the message. Buy UKFR Banner Space About the Film Critic Isabelle Ryan Short Film, Animation, Indie Feature Film < All Reviews Next Film Review >

Eenie Meanie film review by UK film critic Hope Madden. Starring Samara Weaving, Karl Glusman, Andy Garcia directed by Shawn Simmons. HOME | FILMS | REVIEWS Eenie Meanie Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Aug 21, 2025 Directed by: Shawn Simmons Written by: Shawn Simmons Starring: Samara Weaving, Karl Glusman, Andy Garcia Remember how great Cleveland looked in Superman ? Writer/director Shawn Simmons takes us back to The Land, as well as to Toledo, for his thriller set among Ohio’s low rent criminal underbelly, Eenie Meanie . It’s not exactly as tourism friendly as Superman . Samara Weaving is Edie, and when we meet her, she’s really struggling to make something of her life. A day job as a bank clerk, night classes, maxed out credit cards, bleary nights studying. And then her one mistake—she stops by to share some news with her ex, John (Karl Glusman, The Bikeriders, Watcher ). But John’s gotten himself into some trouble. And try as she might to leave him and his trouble behind, the semi-fatherly crime lord she used to work for (Andy Garcia, delightful) will kill John unless Edie saves him. And to do that, she falls back on some old skills as a getaway driver in a big score. Simmons has crafted a fun, twisty, funny thriller full of sharp turns. Weaving effortlessly carries the film as the tenderhearted badass who knows better. Glusman is infuriatingly excellent as that epic dumbass you want to smack but can’t help but hug. And maybe also smack. Solid support from Garcia, Steve Zahn, Mike O’Malley, and Randall Park fills every scene with laughs, pathos, violence, and fun. But it’s the sly way Simmons braids together tales of co-dependence, trauma, loyalty, and resilience that gives Eenie Meanie unexpected heft. Weaving has proven her genre moxie again and again (Ready or Not , Mayhem, The Babysitter, Guns Akimbo, Azrael ), so it comes as no surprise that she brings the goods as the lead in an action comedy thriller. What’s impressive is the honesty and the genuine emotional conflict she expresses within this relationship. She and Glusman revel in the dysfunction, played for exasperated laughs in the early going. But as Simmons tale develops, unveiling more of their relationship and backstory, that same chemistry takes on a relevance and power that allows Eenie Meanie to deliver a climax more powerful than you might expect. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Blossom film review by UK film critic Chris Olson. Starring Vasilis Prekas, Zoi Theodoropoulou directed by Achilles Tsoutsis. HOME | FILMS | REVIEWS Blossom Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jun 8, 2024 Directed by: Achilles Tsoutsis Written by: Achilles Tsoutsis, Alexandros Moustas Starring: Vasilis Prekas, Zoi Theodoropoulou Dedicated to filmmaker Michael Cacoyannis, Blossom is a short film that celebrates the easy relationship between theatre and film. Written by Alexandros Moustas and Achilles Tsoutsis (with the latter directing), this 8-minute short film is all about being inspired by both art forms. Vasilis Prekas plays Michael, a lawyer who harbours a silent passion for becoming a film director. After attending a play and a chance encounter with actress Elle (Zoe Theodoropoulou), whom he helps with some contract issues, Michael feels inspired to go and make his movie. Whilst he feels anxious about the prospect, Elle consoles Micheal by telling him to dance if he “digs it” - just get out there and dance. Blossom is a short film told with warmth and love for both theatre and film. There is a respectful nature to the characters and how they interact. The chemistry between Elle and Michael is excellent, even if we only get a short time with both characters, with the actors delivering a memorable sequence with a stunning backdrop during one particular scene. There is some nice character development and points for the audience to get a deeper understanding placed within the movie. We get to see Michael’s humdrum office life, and Elle refers to her discontent about needing to work in a cafe in order to support her theatre career, and these are essential in building a worthwhile connection with the viewer, Tsoutsis shows confidence in letting scenes breathe when they need to, or utilising techniques such as montage to help tell this compact tale. By delivering a film about inspiration and following your dreams with such short but sharp tenacity, it’s an impressive piece that will likely connect with a broad audience. That’s not to say it couldn’t have been expanded, there was definitely scope to further this story and to delve deeper into each character’s history and future, but that would perhaps diminish the impact of the film’s message about how such a small encounter could make such a large difference to someone’s life. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

Jake & Pete’s Christmas Special film review by UK film critic William Curzon. Starring Luke Marley, Taylor Taberner, Kaitlyn Walker directed by Luke Marley. HOME | FILMS | REVIEWS Jake & Pete’s Christmas Special Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Dec 4, 2025 Directed by: Luke Marley Written by: Luke Marley, Taylor Taberner Starring: Luke Marley, Taylor Taberner, Kaitlyn Walker Jake & Pete’s Christmas Special follows the titular characters in their small town in Gloucestershire, when the spirit of Christmas seems to have left. Jake and Pete must find a way to restore it in time for Christmas, just around the corner. Heavily reminiscent of South Park (1997-), the piece even pays loving homage to the series as it clearly wears its influences on its sleeve with its deeply raunchy and absurd comedic elements. One of the most endearing qualities of the piece is the gorgeous animation, which suits the tone and setting perfectly for the Winter season in Gloucestershire. Its animation is predominantly impressive to witness despite its budget limitations. The film also surprisingly feels incredibly grounded, given the absurd nature of the more fantastical elements of the narrative. However, the use of a visualisation of gameplay implemented into the animation can look bizarre and unnatural, ultimately detracting from the film’s style. Specific pieces of dialogue are also delivered inadequately due to the use of subdued voice acting, which detracts from the experience. While many of the comedic gags effectively land, the raunchy dialogue becomes grating and repetitive towards the end, despite its limited runtime. However, the live coverage sequences are mostly brilliant as they employ social commentary on the current state of the cost-of-living crisis within the UK. The piece feels profoundly British within its iconography and references, which may not resonate with audiences outside the UK as much. It's accompanied by a lovely Winter backdrop, which is integral to the narrative and again feels heavily inspired by South Park. The central three characters, Pete (Taylor Taberner), Jake (Luke Marley) and Beth (Kaitlyn Walker), all work well together with fun onscreen chemistry as their banter and charm are the driving point of the experience. On the other hand, specific supporting players are deeply unlikeable due to their absurd and misogynistic nature. While the social commentary is justly impactful in its attempt at darkly comedic satire, many of the gags come off as problematic and sometimes uncomfortable to digest as a viewer. The film can also lose some steam towards the conclusion, thanks to how stilted and awkward the central conflict between characters feels at times. Its narrative amounts to just minor, with a lack of character development for either Jake or Pete, and their bizarre motives don't give the audience enough reason to care enough about where they eventually end up. The performances across the board are solid, in particular Kaityn Walker, who portrays Beth. She is ultimately the heart and soul of the narrative and a far more likeable leading player than Jake and Pete. Another major standout is the use of music, which is effectively implemented throughout to fit the tone and Christmas setting. This is a prime example of a piece of filmmaking that may resonate with a target demographic of teenagers for repeat viewings, thanks to its provocative and edgy humour. Jake & Pete’s Christmas Special is a fun and endearing comedic piece with an effective splice of social commentary regarding the state of the cost-of-living crisis in the UK. While it may suffer from bizarre creative decisions in the art direction and insensitive jabs at creative talent in the film industry, it draws on well-loved influences to deliver a charming Christmas delight. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >