Crack film review by UK film critic Jason Knight. Starring Marquis Moodie, Charda Jameson, Nino Cimino, Zoe Meehan directed by Gregory Hatanaka. HOME | FILMS | REVIEWS Crack Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 7, 2025 Directed by: Gregory Hatanaka Written by: Nino Cimino Starring: Marquis Moodie, Charda Jameson, Nino Cimino, Zoe Meehan A feature-length crime drama written by Nino Cimino, directed by Gregory Hatanaka and starring Marquis Moodie, Charda Jameson, Cimino and Zoe Meehan. The title probably gives away a lot. Yes, this is a film with a story that involves drug dealing and like many films with such a plot, there are criminals, shootings, beatings and murders. In this case, the story takes place in Los Angeles, where Byron (Moodie), a young African American, makes a living by selling drugs for Mickey (Cimino), his long-time friend and mentor. Things are going smoothly, until Didi (Meehan), Byron's sister, gets into trouble with her boyfriend (Omari Washington) and complications arise between Byron and his partner, Venus (Jameson). This feature works well as a crime story with the heroes (or maybe antiheroes) doing what they tend to do in their line of work: sell drugs and eliminate anyone who tries to harm them. The screenplay does a good job in exploring the characters, revealing the loving relationship between Byron and Venus, how much Byron cares for his sibling and the unstable relationship between Mickey and his partner, Annette (Heather Marie Zagone). As mentioned, there are plenty of crimes taking place and there is also romance, arguing and soul-searching. Regarding the directing, there are well-executed aerial shots and as for the soundtrack, it gains from the addition of some good songs. It could be argued that it might be hard to comprehend what kind of story this actually is. For the most part, it appears to be a serious, hard-hitting film about living a life of crime, with violence and drama present. However, there are times where things move towards comedy, particularly during scenes that involve Mickey and Annette. These scenes do not seem to go with the dark atmosphere of the rest of the film. Moodie's character is a well-meaning guy who happens to be a drug dealer. He is willing to resort to violence if he believes it is necessary, yet he loves and respects those around him. He embraces the life that he has, even if it involves illegal activities because that is what he has always known. Venus is the love of his life, the kind-hearted person who wants him to stop being a criminal. Cimino is the one who steals the show with the portrayal of his character, a seasoned gangster from New York City who knew Byron since he was born and used to do (illegal) business with his father. Mickey's friendly and lively attitude make him stand out from the rest. He is a man who is enjoying life, understands his line of work and makes sure that he is protecting the ones that he cares about. Obviously, this is a story about drug dealing and urban crime in general. Additionally, it also explores romantic relationships, family relationships and loyalty. Furthermore, it is a story about self-reflection and making life-changing decisions. Fans of the crime genre fill probably find this feature to be worth their while. There is nothing original to be found, but the narrative and the characters are interesting and Cimino's performance adds a great deal of value. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

My Nights Glow Yellow film review by UK film critic Amber Jackson. Starring Michelle Mao, Matt McGorry, Yvette Lu directed by Hannah Bang. HOME | FILMS | REVIEWS My Nights Glow Yellow Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Oct 4, 2023 Directed by: Hannah Bang Written by: Hannah Bang Starring: Michelle Mao, Matt McGorry, Yvette Lu Indeed Rising Voices presents filmmaker Hannah Bang and her short film My Nights Glow Yellow - a foreboding look into what would happen if humans could capitalize on loneliness. Whilst a platonic companion-for-hire wrestles with her own longing for true connection, this short film takes a quiet and contemplative look at what it truly means to feel alone. Hannah Bang’s film explores an incredibly fascinating concept, which feels like something out of a Black Mirror episode. It holds an almost-dystopian look at capitalism and how people can charge for their time. Protagonist, K (Michelle Mao), appears to have a desire for order and sense in the midst of a chaotic world. But as the storyline unravels, the viewer is offered a greater sense of her feelings of frustration and futility. She lives with her sister and seemingly has no connection to her, despite being needed by her - all of which contributes to a very sad reality. Her encounters with supposed strangers who have paid for her time feel disjointed and meaningless, as they appear to be getting satisfaction out of socializing, but it doesn’t truly mean anything. Through her work, Bang delves into the intricacies of what it truly means to be human through her characters, as each person craves more. The performances offered from Mao and Matt McGorry (Michael) in particular are brilliant, as their chemistry is great to watch. K’s apparent need to work hard, whilst Michael begins to take advantage of her time, is compelling as the film hints at the dangers of what happens when a person crosses the boundaries between companionship and financial gain. This foreboding film is situated amongst some clever camera angles and shots of electric yellow imagery, from egg yolks, to flames, to cakes. It is bright and beautifully captured, with striking golden tones offering gorgeous shots of the city. Yet, at the same time, there is a sense of unease perforating the screen whilst watching. The viewer cannot help but feel unsettled, as the direction of the film feels unclear - and then suddenly it all makes perfect sense. My Nights Glow Yellow is a beautifully tragic and yet strangely empowering watch. It explores the futuristic idea that a person can use their hard-earned money to pay for what - or who - they want and, whilst that comes at a price, it is certainly intriguing to witness. Hannah Bang is a South Korean writer/director with a love for stories about complex and imperfect people. She is currently developing her first feature film, Husk. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Golden Kash film review by UK film critic Amelia Eilertsen. Starring Sunny Chaudhary, Kavita Kaushik, Himanshu Luthra, Akshay Khanna, Ujjwal Chaudhary, Ram Kashyap directed by Druhv Behl. HOME | FILMS | REVIEWS Golden Kash Film Review average rating is 4 out of 5 Critic: | Posted on: Sep 9, 2021 Directed by: Druhv Behl Written by: Druhv Behl Starring: Sunny Chaudhary, Kavita Kaushik, Himanshu Luthra, Akshay Khanna, Ujjwal Chaudhary, Ram Kashyap Golden Kash is an ambitious, well-paced, enjoyable dark comedy with a charismatic cast and clean vision to boot. What starts off as a kidnap thriller quickly evolves into situational comedy that is brave enough to flirt with the fourth wall, and through all that, the manages to story keep its bearings. The opening music may distract from the visual quality of the film in the first few seconds, but once things quiet down and the ambience sets in, the eye is immediately captivated by the use of shadow and colour. Shadows and silhouettes give the film a distinct noir feel, an ominous foreboding of what’s in store, and it’s all a cleverly crafted misdirect. Humour and unexpected high jinks were the last elements I expected to see in a film that centres on greed. From the kidnapper that demands a ransom and gets a call back from a phone salesman to the aloof father too engrossed with a cricket game to pick up his phone, Golden Kash creates the perfect arena for each of its leading men to one-up each other in the hopes of a fat paycheck. Each of the actors performs their part convincingly, with enough wit to stick the landing. While the breach of the fourth wall midway through the plot is abrupt, the film manages to keep the momentum of the story moving forward. This is where we meet Ujjwal Chaudhary’s character, an unmotivated phone salesman who works the nightshift and dreams of a better life. Ujjwal’s character addresses the camera—or rather, the audience—in an expository segment where he rants about his shortcomings, and lucky for him, he stumbles upon an opportunity to change his circumstance (or does he?). Ujjwal has wit, charm and the cinematic presence to keep the audience engaged. (And perhaps even get them to root for him!) While the ending does jump a few steps, asking the audience to draw conclusions and pave over what few plot holes the script has, Golden Kash is a prime example of how experimental, genre-bending films (if executed well) can be quite an enjoyable experience. Buy UKFR Banner Space About the Film Critic Short Film < All Reviews Next Film Review >

Original Skin film review by UK film critic Joe Beck. Starring Sorcha Groundsell, Olive Gray directed by Mdhamiri A Nkemi . HOME | FILMS | REVIEWS Original Skin Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: May 15, 2024 Directed by: Mdhamiri A Nkemi Written by: Eve Hedderwick Turner Starring: Sorcha Groundsell, Olive Gray To touch another’s skin is something so simple, yet it can be so sensual. Of course, not always, sometimes it is simply the shaking of hands after a football match, or simply a doctor examining you. But sometimes, maybe even often, when two people touch skin on skin, it is a sensual, tantalising experience. Be it a simple brush of two hands, or a couple holding hands in the street or caressing one another in bed, there is something sensual about feeling another’s skin. ‘Original skin’ understands this acutely, and depicts the importance of skin and the sense of touch in a fittingly sensual manner. ‘Ordinary Skin’ focuses on an unnamed young woman, played by Sorcha Groundsell, who has issues with her skin. There’s a sensitive red patch on her arm, which she finds herself constantly picking at. This is an alternate reality, where through having sex you switch bodies with the other person. Early assumptions are that this causes discomfort in the skin hence the sensitive patch, though the opposite could be true, and it may be due to the young woman’s frigidity that suffers such an issue. The young woman lives in a convent type place, and is sent away one night by the people, whom she calls sisters. As they drive through London she is entranced by the blindingly neon lights and general hubbub, which make London, like any other major city so enchanting at night time. Through a surprising, and not altogether convincing, turn of events, the young woman finds herself in sequin cardigan and at a nightclub, where she is enraptured by another alluring young woman, played by Olive Gray, and ends up sleeping with her, and, in the process, swapping bodies. Director Mdhamiri A Nkemi perfectly understands the sensuality and sexuality of the film - the concept of sex being a transferal of bodies in itself is both these things. He directs the film, and in particular the sex scene between the two young women as something raw, passionate, and tender. The blurriness of it all enhances the sensuality, whilst the impeccable use of light in these scenes creates a rawness and vulnerability about them. This is pre-empted by the scenes of the young woman travelling through London, which is shot with similar sensuality, and is just as affecting. Although the script, written by Eve Hedderwick Turner, at times loses itself, with a couple of unconvincing plot points, the dialogue is nonetheless well written, and ultimately the concept itself is ingenious and bold. ‘Ordinary skin’ is a deeply sensual film, which is tantalisingly sexual and transgressive, and well worth experiencing. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Born of Water film review by UK film critic Joe Beck. Starring Olivia Ephgrave, Dave Hyett. Andrew T Hislop, Ethan Hitchon directed by Alex Bates. HOME | FILMS | REVIEWS Born of Water Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Jun 14, 2023 Directed by: Alex Bates Written by: Alex Bates Starring: Olivia Ephgrave, Dave Hyett. Andrew T Hislop, Ethan Hitchon When a film is titled ‘Born of Water’ and opens with an excerpt from Johns 3:5, you expect it to be heavily guided by faith, perhaps offering some profound spiritual message. ‘Born of Water’, the title itself drawn from that same Bible passage, is not that film, and lacks holiness in the moving pictures that it depicts using those biblical references only as a lazy way to impose faux-spirituality to enhance a painfully mediocre film. Though the film begins with a prayer, it quickly tires of such religious threads, maintaining them for all of one minute, as Alex Bates’ takes us on a gruelling ordeal more worthy of Chad Stahelski’s ‘John Wick’ quadrilogy or Robert Eggers’ magnificent ‘The Northman’, though those wonderful films are more fulfilling in terms of plot, action and violence, not to mention religious allegories. This is particularly disappointing, and reflective of many films in the current cinematic landscape, given that with such a story as ‘Born of Water’ it doesn’t seem much of a stretch to further embed a sense of spirituality to the story, which would make the film as a whole far more encompassing in spite of its many other flaws. ‘The Invasion of the Fairies’ is a commonly known folk tale on the island of Guernsey, yet even fewer know of the events that inspired the story, and which ‘Born of Water’, in a haphazard manner, aims to show. The island was invaded in 1572 by Owain Lawgoch, crushing the island’s hastily prepared militia, and forcing islanders to live in hiding and flee to remote areas of refuge until peace could be negotiated. ‘Born of Water’ focuses on one woman, separated from her sick baby daughter, and her attempts, in the midst of the raid, to return to her daughter’s side. The female protagonist of the film, titled only as ‘The Mother’ is played by Olivia Ephgrave to disappointing effect, lacking both charm and believability as a woman turned from meekness and righteousness to vengeance. Ephgrave lacks chemistry with Ethan Hitchon, her on-screen husband, and when isolated fails to command the screen even when committing acts of glorified violence and undergoing immense pain in order to survive, and find her daughter. Her line delivery feels contrived and fails to convince, whilst her general lack of screen presence makes it difficult to root for the character, despite her obvious morality and motives. As such ‘Born of Water’ lacks a heart, not helped by a screenplay which is abject at best, with too much emphasis on certain lines and movements, and a bizarre illogicality about it, with the sudden announcement of the husband’s departure to fight for the militia lacking any pretext. Bates’ directing is slightly better, improving as the film progresses from remarkably average to above competent towards the end, aided with some gorgeous cinematography by Matthew Stockreiter. Nevertheless, ‘Born of Water’ is a disappointing film, doubly so as it is filled with promise. The core issue is that it lacks a heart, reflected in both performances and script and demonstrated by its faux-spirituality. Any passion that does exist for this story amongst the cast and crew hasn’t translated through, and it is instead a rather cold, passionless ordeal of a film. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Licorice Pizza film review by UK film critic Hope Madden. Starring Alana Haim, Cooper Hoffman directed by Paul Thomas Anderson. HOME | FILMS | REVIEWS Licorice Pizza Film Review average rating is 5 out of 5 Critic: Hope Madden | Posted on: Dec 15, 2021 Directed by: Paul Thomas Anderson Written by: Paul Thomas Anderson Starring: Alana Haim, Cooper Hoffman Each new Paul Thomas Anderson film defies expectations. Few fans of the lunatic frenzy of Boogie Nights or Punch Drunk Love would have expected the somber period dramas of The Master or There Will Be Blood . And I don’t know that anybody saw Phantom Thread coming. Why not follow that meticulously crafted, deliberately paced tale of love and poison with a coming-of-age comedy? Well, Anderson’s latest, Licorice Pizza, is just that, and it’s a slice of Hollywood life awash in squeamish adolescent truth, politics, and waterbeds. Anderson returns again to the 1970s, an era where few are as at home. In his 1997 breakout Boogie Nights , he used the porn industry to showcase the changing politics of the end of the decade while exploring alienation, family, and merkins. He journeyed back to the decade in 2015 with his underappreciated private dick flick Inherent Vice, again looking at individuals on the fringes and the choices that put them there. While Licorice Pizza is far sunnier than those, it again examines choices and consequences against a vividly articulated 1970s LA. Anderson’s film manages to be simultaneously familiar and entirely authentic. What does it feel like? If Robert Altman had attempted a coming-of-age flick, maybe? Or if Linklater made a screwball romantic comedy? Among Licorice Pizza ’s many triumphs, the film nails its time period, not only in visual detail but in cinematic tone. It is loose, forgiving, and along for the ride as 15-year-old entrepreneur Gary Valentine (Cooper Hoffman) woos life, Hollywood and, in particular, Alana Kane (Alana Haim), his much older paramour. Both stars charm and disarm. Cooper’s sweet-natured confidence masks an adolescent tenderness that, when it shows itself, is almost crushing in its honesty. And Haim’s funny, awkward naivete mirrors the film’s own giddy feel. Danger edges but never fully punctures the sunshine of youth that brightens every scene of the movie. But that darkness is there, looming like the creepy guy staring at your office window, or the cops who arrest you mistakenly, or the volatile Hollywood producer who may or may not smash your window (or your head) in with a crowbar. (Thank you, Bradley Cooper, by the way, for that brief but unforgettable performance.) Cooper is not the only Hollywood big wig gracing a few minutes of screen time. Sean Penn drops in as a well-known action star and has not been this entertaining since Fast Times at Ridgemont High. Don’t ask him about Kuala Lumpur! The massive ensemble, evocative soundtrack and party atmosphere conjure Boogie Nights , the comfortable family dysfunction recalls Punch Drunk Love , the lumbering walk and surprising charm from the lead is reminiscent of PTA alum and dearly missed Philip Seymour Hoffman, Cooper’s dad. It’s nostalgic. It’s uproarious, dangerous, just-this-side-of-innocent fun. It’s a near-masterpiece. It’s a Paul Thomas Anderson movie. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

A Letter To Black Men film review by UK film critic Jason Knight. Starring Baba Oyejide, Jesse Lihau, Lynsey Murrell directed by Kiosa Sukami. HOME | FILMS | REVIEWS A Letter To Black Men Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 13, 2022 Directed by: Kiosa Sukami Written by: Kiosa Sukami Starring: Baba Oyejide, Jesse Lihau, Lynsey Murrell A former prisoner tries to prevent a youth from going down the wrong path. Kevin (Lihau) is an unmotivated young man who commits petty crime, socialises with the wrong people and lives with his sister Kelsie (Murrell), who is against criminal activities. Black (Oyejide) is an old acquaintance of theirs who has just been released from prison and has understood his errors. When he finds out that Kevin is getting more and more involved with crime, he decides to take action and try to stop him from making the same mistakes. This short crime drama takes a hard-hitting look into urban crime, particularly gang violence, drug dealing and their consequences. Storywise, this film is about a reformed ex-convict making efforts to make a naive young man understand that committing crime will destroy his life, which proves difficult, as Kevin refuses to listen. There is a great deal of drama and confrontation and crime, including beatings and drugs. The protagonists deliver very strong performances. Oyejide is superb as a good-hearted individual who has turned his back on crime and tries to act as a mentor to Kevin and help him make the right choices and appreciate the value of education. Lihau's character is a youngster who does not see the wrongs of being a criminal and Murrell does a great job as Kevin's caring sister. Sukami directs very well and creates some well-executed long takes. Director of photography Miguel Carmenes develops beautiful cinematography and the dramatic music is a significant addition that includes wonderful guitar and piano melodies. The dramatic voice-over adds to the atmosphere. This is a powerful drama that deals with the devastating consequences of being a criminal. However, there is more to this story than crime, as it explores the importance of support, making amends and making the right decisions. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Paws of Fury: The Legend of Hank film review by UK film critic Hope Madden. Starring Michael Cera, Samuel L. Jackson, Ricky Gervais directed by Chris Bailey, Mark Koetsier, Rob Minkoff. HOME | FILMS | REVIEWS Paws of Fury: The Legend of Hank Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Jul 15, 2022 Directed by: Chris Bailey, Mark Koetsier, Rob Minkoff Written by: Mel Brooks, Ed Stone, Nate Hopper Starring: Michael Cera, Samuel L. Jackson, Ricky Gervais Who’s up for a perfectly harmless, slight, not especially funny cartoon? Well, depending on how hot it is outside and how bored your kids are, Paws of Fury: The Legend of Hank could be worse. Hank (Michael Cera) dreams of being a samurai. Ika Chu (Ricky Gervais) dreams of ridding the land of this ugly little town that ruins the view from his palace. How about making Hank the samurai that protects that ugly village? Hank will be a terrible samurai! He’s a dog! Who ever heard of a dog samurai? Well, who ever heard of a cat Western? But that’s what we essentially have here, because Hank has crossed many treacherous lands to find his way to the land of cats so he could fulfill his destiny, even if nobody there wants him. Like at all. OK, maybe little Emiko (Kylie Kuioka), who also dreams of becoming a samurai. But definitely not Jimbo (Samuel L. Jackson), the town drunk who used to be a samurai before shame led him to catnip. It sounds like it should be funny. There’s also the supporting voice cast, if you need to be impressed: George Takei, Michelle Yeoh, Djimon Hounsou, Aasif Mandvi, Gabriel Iglesias, Mel Brooks. Brooks also co-wrote the screenplay, which explains a lot. A dozen or so jokes littered throughout the film might have been funny 60 or so years before the target audience was born. Very few jokes connect to dogs, cats, samurai films, Westerns—anything in particular, but they lack that fun, random feel. A giant toilet figures prominently. There is flatulence. Cera and Jackson definitely share an odd couple quality—enough that I’d love to see them do a live action film together. But Yeoh and Takei are wasted, and Gervais gets no good dialog to deliver (though he does a villain well). Hounsou’s fun. The movie looks fine—not great, but fine. Its themes about acceptance are muddled and soft peddled, though—another victim of weak writing. A profoundly odd short film called Bad Hamster precedes Paws of Fury , though. There’s that. Just depends how hot it is, I guess. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Companion film review by UK film critic Hope Madden. Starring SophieThatcher, JackQuaid directed by Drew Hancock. HOME | FILMS | REVIEWS Companion Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 30, 2025 Directed by: Drew Hancock Written by: Drew Hancock Starring: SophieThatcher, JackQuaid It’s not to say that writer/director Drew Hancock is saying anything new, exactly. Most of the ideas are borrowed, and even the look of Companion feels cribbed from more insightfully stylized films. But the way he puts these ideas and images into play and keeps them playing guarantees a mischievously, wickedly good time. On the surface is a timely reminder of themes played out on film since Bryan Forbes’s 1975 Stepford Wives and before. But today, as AI and sexual predation become terrifyingly acceptable, the tension feels wildly of-the-moment. Sophie Thatcher (so good just last year in Heretic ) is Iris. She doesn’t know it yet, but Iris is a robot companion, an emotional support robot, a f*ck bot. She and Josh (Jack Quaid) are hanging with Josh’s friends Eli (Harvey Guillén), Patrick (Lukas Gage) and Kat (Megan Suri) at Kat’s boyfriend Serey’s (Rupert Friend) for the weekend. Things get out of hand. Lars and the Real Girl meets Revenge meets AI meets maybe twenty other movies, but damn if Hancock and this sharp ensemble doesn’t make it work. A great deal of the film’s success is in our investment in these themes, the way we recognize and respond to buttons Hancock pushes. But what’s maybe more impressive is the plotting and structure of the thriller underneath. It’s smart, its beats make sense and amplify tension. A couple of reveals are telegraphed, but it’s not nearly enough to sink the fun of the story. And it’s funny. Guillén can be counted on for hilarity, but the dark sense of humor that flows through this thriller as surely as blood consistently strikes the right chord. Quaid convinces as entitled “nice guy” Josh, an excellent foil for Thatcher. Her turn in Heretic offered a glimpse of the instincts on display here. Thatcher seems simultaneously aloof and vulnerable, unnatural and human. She gives the film a depth of character, a heartbeat that allows it more punch than your garden variety dark comedy. Hancock does settle for humor, biting though it may be. The script flirts with darker, edgier but no less honest ideas, but Companion isn’t here to expose all of that. Because that stuff is just not funny, and outright horror films need content too. Turns out it’s kind of fun to be on the side of AI for a change. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Hello Darlin' film review by UK film critic Patrick Foley. Starring Doug Allen, Nimmi Harasgama, Daisy Badger directed by Gary Delaney. HOME | FILMS | REVIEWS Hello Darlin' Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Apr 6, 2022 Directed by: Gary Delaney Written by: Edward Hockin Starring: Doug Allen, Nimmi Harasgama, Daisy Badger Hello Darlin’ is a geezer-ific, morally obtuse drama from director Gary Delaney, which features some great tension and character building, but is let down by plot holes and an ending which feels detached from the rest of the story. The result is an engaging, if flawed film which doesn’t quite deliver on its promise. Les Dalton (Doug Allen) is an ex-soldier recently released from prison for armed robbery. He is stalked by detective Derek Clayton (Patrick Carney Jr) who brought him down 9 years earlier, as he attempts to rebuild his life with daughter Holly (Daisy Badger) and new neighbour Aanya (Nimmi Harasgama). But both his friends and enemies believe Les still has stolen gold stashed away somewhere, despite his objections. And that belief soon gets him into trouble again… There’s a lot about Hello Darlin’ that really doesn’t work. It’s central macguffin (the mysterious gold) is given little definition or detail – such as where it was stolen from or how it came to be hidden. The plot is confusing and convoluted, and features some rushed and poorly explained developments – such as Les and Derek’s impromptu alliance only shortly after it is established that the detective has spent 9 years planning to take revenge on his rival. Character motivations are all over the place as well, with pretty serious transgressions from Holly and Les’ wife Carol (Sian Reeves) raised and dropped in sudden fashion. The ending also feels a poor fit thematically, and fails to really wrap up the numerous plotlines. However, despite this, there is something enjoyable and engaging about the film that is worth checking out. Doug Allen is brilliantly empathetic as the hero who cannot quite escape his dark past. Learning to direct an inner fury and calculated malice at those who deserve it, whilst working on making up for his past failings with his family and recovering from PTSD make him a fascinating anti-hero, and Allen’s quiet yet intense performance serves the character brilliantly. His chemistry with Nimmi Harasgama is convincing and makes for a believable love story between two very different characters. Similarly, Patrick Carney Jr and Daisy Badger are strong as allies and antagonists to Les. It’s just a shame that their characters in particular do not act more consistently within the story. The film is shot in a dynamic manner and director Gary Delaney shows a real ability to build tension in a number of scenes. The night-time break-ins are pulsating (though the lighting in the second makes it hard to follow) and even simple conversations are directed in such a way to bring a sense of unease in viewers as to character’s true intentions. Fight scenes are believable and brutal, and impressively restrained in their number given the film’s premise, to the greater effect of those that do take place – which are used sensibly to progress character development. Hello Darlin’ is not a classic, but for an intense, well-performed drama that builds its characters well and intensifies its central premise, it works well. The plot unfortunately falls apart somewhat, and undermines some excellent stuff elsewhere – leaving the film’s potential unfulfilled. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

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.. Brand new film trailers. Focker-in-Law Just when you thought the Byrnes-Focker family tree couldn't handle any more psychological trauma, Hollywood has decided to shake the branches once again. At UK Film Review , we must admit to being thoroughly intrigued by the official trailer for Focker-In-Law . Universal Pictures seems to have realized that the only logical progression for a franchise built entirely on weaponized father-in-law anxiety is to pass the torch of neurosis down to the next generation. This time, however, the tables have turned spectacularly, and Greg Focker is about to find out exactly what it feels like to be the overprotective patriarch under siege. The premise flips the script beautifully. Greg—once the ultimate victim of polygraph tests and secret surveillance—is now the one strapping a lie detector machine to a prospective new family member, Olivia Jones. The twist? Olivia isn't some meek, easily intimidated outsider. She is an FBI hostage negotiator. This means that while Greg thinks he is playing mind games, Olivia is casually pulling the strings of strategic emotional puppetry. She doesn’t just intend to marry into the family; she explicitly announces her plan to free Greg's son, Henry, from his father's suffocating grasp. What makes Focker-In-Law look so deliciously witty is this battle of passive-aggressive titans. Ben Stiller returns to his signature role with that brilliant, eye-twitching panic we’ve all grown to love, but watching him navigate the evolution from an "outsider in the hot seat" to the defender of the castle is a stroke of comedic genius. The trailer hits its comedic stride when it leans into the franchise's rich history. Robert De Niro’s iconic character looms large over the proceedings, leading to a genuinely hilarious sequence where a panicked mishap results in someone accidentally "baby birding" Grandpa Jay. The dialogue is delightfully sharp and painfully awkward, packed with cringeworthy banter about childhood nicknames, boundaries, and the ever-sacred "circle of trust." The friction between Greg and Olivia looks set to carry the film, culminating in a spectacular verbal showdown where Greg desperately declares he will not be a little Pinocchio to her "evil Geppetto." It is a classic comedy dynamic, but elevated by the fact that the antagonist is an elite government interrogator who can manipulate a room with a single sentence. While UK Film Review hasn’t yet seen the final cut, this trailer provides an incredibly promising glimpse into a comedy that knows exactly what its audience wants. It takes the timeless dread of meeting the parents, infuses it with high-stakes psychological warfare, and wraps it in a warmly familiar family dynamic. 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. 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.

Smoke and Mirrors: The Story of Tom Savini film review by UK film critic Brandon Thomas. Starring Tom Savini, Tom Atkins, Howard Berger directed by Jason Baker. HOME | FILMS | REVIEWS Smoke and Mirrors: The Story of Tom Savini Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Oct 19, 2021 Directed by: Jason Baker Written by: Jason Baker Starring: Tom Savini, Tom Atkins, Howard Berger The word “Savini” conjures up a lot of historic imagery in the minds of horror fans. From the zombies in George Romero’s Dawn of the Dead to the ground-breaking slasher effects in the original Friday the 13th , Tom Savini has been involved in some of the most iconic horror movies of the last 40 years. In the documentary Smoke and Mirrors , director Jason Baker moves past the well-known effects work, and digs into the personal and the passions of the horror icon. We’re living in a time where documentaries focusing on filmmakers and other notable TV and movie personalities have become ubiquitous. A lot of these are quite good, but usually end up checking many of the same boxes. Talking heads do a lot of the heavy lifting, and the main subject’s participation isn’t always guaranteed. Thankfully, Savini himself is front and center in Smoke and Mirrors . Having Savini so involved gives Smoke and Mirrors a larger sense of legitimacy. There’s also a notable difference in focus that might not have happened had the film relied solely on interviews and secondhand accounts. Instead of offering retreads of effects stories he’s told dozens of times before, the film gets deeply personal with Savini. From touching on tragedy he experienced as a child, to the horror he witnessed in Vietnam, Savini doesn’t hold back when discussing the trials he’s faced in his life. A particularly surprising bit for me was learning just how passionate Savini was – and is – about acting. He comes alive when talking about the stage productions he was a part of and how that opened doors he never dreamed of. There’s a twinge of “What if…” sadness surrounding Savini’s acting career that he delicately dances around due to personal obligations. Smoke and Mirrors goes out of its way to highlight Savini’s character over his career. The interviews that are peppered in all end up in the same place: talking about what an amazing guy Tom Savini is. The importance of his contributions to cinema is never forgotten, but the value of the man over the work takes center stage. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Documentary, Indie Feature Film < All Reviews Next Film Review >