Art film review by UK film critic Jason Knight. Starring Art directed by Stacey Stone. HOME | FILMS | REVIEWS Art Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 8, 2024 Directed by: Stacey Stone Written by: N/A Starring: Art A short documentary directed by Stacey Stone. This is the second documentary by Stone and producer Diane Mellen about homeless people in California. The subject here is Art. A middle-aged homeless man living in Santa Barbara. The film crew interviews him regarding his life and follow him as he goes about his day-to-day activities. The most intriguing aspects of this project is that it provides a perspective regarding what it is like to be homeless and it introduces the viewer to Art. Art comes across as an intelligent and friendly person who appears to have adapted to his lifestyle. He has a shopping trolley filled with his belongings and he tends to spend his time near the beach. Regardless of his harsh life, he gives the impression that he is experiencing joy as he explains that he is constantly near people and that being near people means that he is not alone, even if those people are strangers and that he is living a free life. Nevertheless, the audience will most likely feel sorry for him and the beautiful and melancholic score by Jerry Deaton and Will and Jason Fiedtkou seems to highlight the sadness of his situation. If there are flaws in this eleven-minute-long film, one could be that maybe it would had been beneficial if there was more information regarding Art's past, particularly how he ended up being homeless. Another would involve the sequences involving superimposition. Although, Stone's creativity as editor is to be commended, the purpose of these techniques, what effect they are supposed to have is not clear and they feel unnecessary and they same could be said about the use of black-and-white at several parts. Obviously, homelessness is the main theme here, an insight into how homeless people live, how they view the world from their unfortunate situation. From other perspectives, the film also reveals the happiness that can be found in appreciating the simple things in life such as being around people, even if they are strangers, being near the ocean or playing with a ball. This documentary is poignant and intriguing. Through the experiences of one person it looks into the world of homeless people and reveals the hardships they go through and that they are able to enjoy life regardless of their difficult circumstances. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

Black Screen film review by UK film critic Joe Beck. Starring Hanns Gal, Stuart Nixon directed by Mohamed Mussa. HOME | FILMS | REVIEWS Black Screen Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 12, 2024 Directed by: Mohamed Mussa Written by: Mohamed Mussa Starring: Hanns Gal, Stuart Nixon There’s great beauty in the mundanity of life, but also pain, anguish, and frustration. Whilst the smallest parts of our life can sometimes bring us incredible satisfaction, though we may never understand why, the repetitiveness of the everyday can also wear us down into a state of exhaustion and despair at the cyclical nature of our life, with the feeling that we are getting nowhere. This is something shown by ‘Black Screen’, which makes the mundane seem dangerously alluring, yet ever so painful and delicate as well. Mohamed Mussa’s film opens with the sound of heavy breathing before a violin kicks in playing a tempered, high pace tune to reflect a state of rising panic in the yet unseen heavy breather. The subject of the heavy breathing is never named, though he is a man played by Hanns Gal, who we first encounter lying in his bed, seemingly holding back tears whilst we assume his world surrounds him. So much of the film carries the same ambiguity through it, which is both to its credit, and its pitfall. Whilst such ambiguity is at times beautiful, particularly in an extended sequence in which Gal’s character is dramatically dancing around his room, swaying and moving rhythmically, and maybe, for the only time in the film, happily, before he takes down a note of something that has popped into his head. Much of life is like the dance, we sway and move, often in happiness, before something comes along, and disrupts our flow, though rarely are we disrupted as abruptly as the sharp cut which ends this scene, when perhaps it hadn’t reached its natural conclusion. Gal’s performance is central to the film, and really what tethers it together, with very little else making much sense. From struggling to hold in his tears as he lies on his bed, to the immense pain of repression which he is able to express just from a series of angry yelps in the shower, often the only place a man can truly give into his vulnerability, where nobody can hear or see tears running down his face. It is a remarkable performance, one of tenderness, vulnerability, yet also repression, as he is forced to hold in the words he wishes to say and instead express his anger or pain through grunts and sad, despairing looks. 
 Indeed the first lines of dialogue are not even uttered until the eighteenth minute of the film, when Gal and his characters friend, played by Stuart Nixon, engage in a breezy philosophical talk as they walk down the road on a sunny summer’s evening. They talk about unlocking the full potential of the human mind and Gal says ‘what must rise must fall’, and very little of what they say makes any coherent sense. It’s as though Mussa had several interesting ideas, and wanted his characters to vocalise them all, without any through line between. The film is at its best when nobody is talking. Therefore ‘Black Screen’ is a frustrating film to watch, for though its beauty is in its unspoken ambiguity, it perhaps leans into this too much and sacrifices audience engagement for that, with the attempt to reinvest the viewers with dialogue, which is similarly ambiguous, falling well flat. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Andes: 50 years Later film review by UK film critic Swati Verma. Starring Eduardo Strauch directed by Chris McNaughton. HOME | FILMS | REVIEWS The Andes: 50 years Later Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 25, 2022 Directed by: Chris McNaughton Written by: Chris McNaughton Starring: Eduardo Strauch The backdrop and title of the short film chosen by the director Chris Mcnaughton get the film to right away appeal to the emotions of the masses. The opening sequence of the documentary has a message about the importance of love. In the very first shot, the camera tracks the museum to flush the audience with memories of the 1972 real-life incident. The use of the projector to showcase the old photos of the people who were present at the time transports the viewers to the same timeline. The musical track by Simon Daum and Yo Yo Ma complements the theme of the short film and assists the makers to bring out the range of emotions all of the people involved are feeling. The storyline of the cinematic piece is based on a true event. The plane carrying a rugby team from Montevideo Uruguay crashed into the high Andes Mountain. The film tells the extra- ordinary tale of the 16 survivors beating all the natural hurdles for straight 72 days. These people who battled through all the terrifying circumstances and miraculous events deserved to be remembered and document their struggles so that the audience gets to know about their bravery. The short film/documentary takes the form of a firsthand narration from one of 16 survivors- Eduardo Strauch. The use of a real survivor in the buildup of the narrative and the natural lighting in each frame of the movie and newspaper article in the museum provides a sense of realism to the documentary. The introduction and voice modulation of Eduardo Strauch highlights the pain, struggle, conflict and, misery. It is very difficult to relive the tormenting experience again and again. Eduardo is brave to do so and share his experience with us through this beautiful film. The camera-man manages to capture the magnificent landscape of the sight of the crash. The beautiful location chosen for the shooting of the movie by the cast and crew is a great choice so that they enjoy the picturesque view while absorbing the moving storyline of the cinematic piece. The makers also showcase the model of the planes used in 1972 with the help of the old clips available to them. This was done so that the topic of the movie becomes relatable to the audience and they don’t get bored with the historical event the film sheds light on. The documentary reminds us of a few very important life lessons that we tend to forget/ take for granted. It tells how crucial it is to be adaptive to the given situation. The film also reiterates the importance of nature, the presence of love in one's life, and the power of the human mind. Both love and the mind become critical factors for pushing oneself towards survival. It also teaches us that looking for happiness in consumerism rather than within oneself is the wrong way and then blaming the world for the mindset isn’t right. The short film gives out even the minute details of the real life plane crash giving importance to continuity in the creative piece so that the audience knows all about heroic tale of the event. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Ghost Train film review by UK film critic Rachel Willis. Starring Joo Hyun-young, Jeon Bae-soo directed by Se-woong Tak. HOME | FILMS | REVIEWS Ghost Train Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Feb 19, 2026 Directed by: Se-woong Tak Written by: Jo Ba-Reun Starring: Joo Hyun-young, Jeon Bae-soo Several strange incidents at a subway station spark the curiosity of a YouTube content creator in director Se-woong Tak’s film Ghost Train . To understand the real issues surrounding the rash of bizarre occurrences, Horror Queen Da-kyeong (Joo Hyun-young) bribes tales from a station master (Jeon Bae-soo) with fancy spirits (some of which I wouldn’t mind trying). As the station master spins each yarn, we’re privy to what really happens to each person at the center of the individual tales. At times, what we’re shown during the movie is not what appears on the surveillance tapes the station master shows to Da-kyeong. There are several unsettling concepts at work to help unnerve the viewer. A woman who repetitively bangs her head against the train door sends passengers scurrying to another car. This is a motif that pops up at different moments, helping to create an atmosphere of dread. Each of the station master’s stories has a uniqueness that makes the movie flow like an anthology horror. However, the style and atmosphere remain consistent, setting a creepy tone throughout. The framing story is the movie’s weak link. The Horror Queen herself isn’t nearly as compelling as the individuals in the station master’s tales. Da-kyeong’s nemesis at work is a stereotypical mean girl, and her work love interest is about as interesting as a blank sheet of paper. It’s with impatience that we wait for the next of the station master’s tales. However, as the film enters the final act, the framing story picks up steam. As Da-kyeong learns more about the station and its history, her story starts to get its teeth. Unfortunately, those teeth are never quite sharp enough to explain the overall mystery around the ghost train. While there are a lot of memorable and interesting parts, they never quite come together as single narrative. That said, the movie is creepy enough to remain interesting, and overall, an intriguing series of ghost stories. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, World Cinema < All Reviews Next Film Review >

The Itch film review by UK film critic William Hemingway. Starring Nathan Nagvajara, John Potvin, Eva Melania Mendez Martinez directed by Gordon Phillips. HOME | FILMS | REVIEWS The Itch Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jan 15, 2026 Directed by: Gordon Phillips Written by: Gordon Phillips Starring: Nathan Nagvajara, John Potvin, Eva Melania Mendez Martinez A man undertakes a debilitating experiment which causes him to scratch at his body while it oozes, bleeds, and decomposes over the days he spends in the facility. Will (Nagvajara) has awoken in a basement room where he knows little about what’s going on around him. He is under surveillance in every room of the bare apartment he’s using as a makeshift laboratory, with CCTV cameras in the bedroom, bathroom, and kitchen watching his every move. There is an enigmatic note left in the bathroom cabinet by a guy named ‘Rog’ (Potvin), encouraging Will in whatever course he has embarked upon, while several small vials of an unknown serum are lined up in a sequentially numbered row beside it. Will is taking notes in a journal as he progresses through this seeming medical trial, apparently aware that he has some mission to accomplish, and that he is doing it for the love of a long-lost partner who died prematurely. He keeps waking up at later points each day, knocked out from the previous day’s injection, and always with something new happening to his body, nothing that is ever any good. His body starts to itch and ache; he’s getting scratches and lesions on his skin; parts of him are starting to flake and peel away; and his insides are just screaming to get out. It sounds like the medicine is working. Over the course of a week, we follow Will as he falls apart due to the experiment he is participating in. The story pieces together each day as we check back in to see how he is doing. Spoiler alert: He’s not doing very well. In a very Cronenberg fashion, Will slowly descends deeper and deeper into body horror territory, as The Itch he feels inside him begins to overtake his multiple senses. There’s plenty of bodily fluids being expelled, and dirty liquids flowing into filthy drains, as Will’s condition progresses towards its conclusion, with nothing much being given away until the end about what kind of motivation could exist in order for someone to do this to themselves willingly. In this way, The Itch , owes a lot to recent body horror sensation, The Substance (2024), as Will’s psyche is fractured in two, and the memory blackouts become more frequent and intense. Still, he pushes forward on his trajectory, somehow feeling that the outcome will be beneficial, if not for him then for someone else, or society as a whole. This also causes echoes of The Fly (1986), as Will’s addiction can’t be sated and each step forward brings about another severe debilitation in his condition. In the end, what Will becomes is nothing of his former self, with only this new ideal filling his every impulse. Told in short, sharp bursts, The Itch tells its tale in under fifteen minutes, with an extra expository sequence hemmed in during the credits to help us get a better understanding of what has transpired. There’s plenty of jump cuts and clashing imagery, along with the requisite gory outpourings, from writer, director, editor, and producer, Gordon Phillips, with a soundtrack of scratchy strings played alongside to keep everything off-kilter. The cinematography from Marcelo Quinones saturates the screen with white light, while also pulling us into the deep, dark places that Will needs to go to as he fights for his survival. These technical aspects are all very well accomplished, and they meld together in a sub-dungeon, holy trauma kind of way to really boost the effectiveness of the feeling that the audience is exposed to. If there’s something to gripe about, it’s that we’re not party to Will’s backstory until very near the end, or even beyond that. This keeps us from connecting truly with his character, not knowing him to be sympathetic or otherwise, as we watch him endure his suffering. This categorises the body horror as slightly voyeuristic and fetishized, as we don’t feel any need for what he’s going through. This can make The Itch seem like an homage to the previously mentioned films, without really allowing it to strike out on its own. While The Itch takes succour from those that have gone before, it is hard to see the true originality needed for it to stand out from a fairly oversized pack, despite the fact that it is extremely well made. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Ribbon film review by UK film critic Jason Knight. Starring Hannah Gray, Joseph Beard, Matthew Brown, Debbi Tucker directed by Cade Thomas. HOME | FILMS | REVIEWS Ribbon Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 22, 2021 Directed by: Cade Thomas Written by: Cade Thomas Starring: Hannah Gray, Joseph Beard, Matthew Brown, Debbi Tucker A story about two siblings, a homeless woman, a new boss and ribbon dancing. Maggie (Gray) is a young woman who is tired of living at her parents' house and decides to temporarily live with Michael (Beard) her brother, at his apartment. Michael works at a well-established company and the owner has passed away, leaving his son Connor (Brown) to fill his shoes. Connor attempts to befriend Michael and asks for his help regarding the outrageous plans he has for the company. Meanwhile, while job hunting, Maggie learns about a ribbon dancing competition that is taking place at a shopping centre and wants to take part for the cash prize. However, competition rules state that she must have a partner. She then encounters Pearl (Tucker), a homeless woman who claims that she is a ribbon dancer and is willing to support Maggie with the competition. Delighted, Maggie invites Pearl to live with her at her brother's home, leading to all sorts of complications. This low-budget comedy-drama provides a comical insight into life in present-day United States. It explores family values, self-discovery, the challenges of dealing with a new employer, homelessness, the idea of supporting others, looking for opportunities and moving on to better things and it shows that sometimes people are not what they seem to be. The narrative takes consists of two storylines which consist of Maggie's efforts to prepare for the competition and Michael as he tries to cope with Connor's demands. There is plenty of humour and awkward situations. There is significant character development as the two siblings face their problems and begin to find out more about themselves. The performances are OK, with Gray being convincing as a cheerful, optimistic and also naive individual. Tucker is believable as a homeless person and Beard does a good job as a down-to-earth guy. Brown is entertaining as a man who has been given responsibilities he does not want. Although the majority of the movie is in colour, it includes sequences that utilize black-and-white cinematography and it is unclear why these sequences are like that and feel strange. At certain points, the camerawork is clumsy or shaky. The filmmakers use the split screen technique effectively. The music by Chrim is rather interesting and amusing, adding positive qualities to the viewing experience. Ribbon is mostly a comedy that teaches some lessons about life, including the need to have a goal and the importance of helping each other. The characters are interesting and the plot is likely to keep the viewer engaged. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Last Show film review by UK film critic William Curzon. Starring Anna Arthur, Adrian Berry, Chenine Bhathena directed by Lisle Turner. HOME | FILMS | REVIEWS The Last Show Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jul 23, 2026 Directed by: Lisle Turner Written by: Lisle Turner Starring: Anna Arthur, Adrian Berry, Chenine Bhathena The Last Show is a documentary piece that follows the final London International Mime Festival and highlights its cultural significance to the theatre community. The festival featured miming, visual theatre, clowning, puppetry and dance from a wide variety of cultures from around the world. Primarily focusing on the artists who contributed to the festival, the documentary is a compelling portrait of theatre’s monumental impact. One of the documentary's greatest strengths is its blend of archival footage and informative interviews based around many of the central figures. While the documentary maintains a brisk runtime, it never feels rushed, taking the time to explore the festival’s cultural impact and celebrate the many individuals who have devoted their lives to keeping theatre accessible. It's an inspiring and informative piece of art that has, sadly, been affected over the last decade by a lack of government funding and the pandemic. The documentary explores the artists impacted by this and how they cope with the lack of support. The filmmakers don't shy away from the profound pressure the arts council suffered from to gain funding, and it's engaging to see how many years the festival sustained its longevity despite its hardships. It's a concise documentary that wastes no time, exploring the festival in depth while shining a spotlight on the inspiring artists whose passion and talent have helped shape its legacy. The film is a visually stunning portrait of the awe-inspiring aspects of theatre and its transformative power for audiences around the world. The material may encourage viewers to seek out more theatre productions due to how striking the archival footage is. While it may not resonate with viewers who have little interest in theatre, the filmmakers do a tremendous job of drawing audiences into the festival’s rich legacy and lasting cultural impact. As the film’s cinematographer, Kie Cummings does a terrific job framing each interview, using intimate close-ups that foster a strong sense of connection with each subject. While the shift to archival footage may be jarring to some viewers, the blend of interviews keeps the material utterly engaging. One of the most surprising aspects of the documentary is its musical score. Though understated throughout, Jonny Pilcher’s score is imbued with melancholic motifs that perfectly complement the documentary’s tone and elevate its closing moments to impressive heights. The documentary conveys a powerful message about the state of the arts in the UK and the importance of supporting a widespread art form such as theatre in the current post-Brexit climate. It also explores how theatres embraced virtual performances throughout the pandemic, aided by additional government funding that helped keep the arts accessible. Perhaps the most emotionally compelling aspect of the piece is the question asked about how future generations will champion this art form. It's a hopeful and awe-inspiring sentiment that comes with an anxiety about how long artists can sustain theatre. It may deeply resonate with viewers who have a connection to theatre and the festival itself. The Last Show delivers an emotionally resonant portrait of the artists grappling with the loss of the London International Mime Festival, confronting their anxieties with honesty and compassion. It's an inspiring piece of work that shines a heavy light on the struggling theatre industry and the incredibly inspiring artists who poured their hearts and souls into it. Buy UKFR Banner Space About the Film Critic William Curzon Documentary, Short Film < All Reviews Next Film Review >

Surfing film review by UK film critic James Learoyd. Starring Harry Clarke, Louis Hill, Charlotte Fishwick directed by Duane Adamoli. HOME | FILMS | REVIEWS Surfing Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jun 8, 2026 Directed by: Duane Adamoli Written by: Harry Clarke Starring: Harry Clarke, Louis Hill, Charlotte Fishwick Surfing is a superb, tightly constructed drama. Set in Birmingham in 1969 (effectively the vague backdrop to our story since the action only takes place in one room), a down-on-his-luck musician finds himself sleeping on a friend’s sofa when he receives a phone call about a potential gig. This gig isn’t for him, however, but meant for the person whose sofa he’s crashing on. Our protagonist Pete, played by Harry Clarke in a performance which the whole film hinges on, feels like a British reimagining of the similarly ill-fated, self-sabotaging character of Llewyn Davis in the 2013 Coen Brothers masterpiece. Clarke (who is also the film’s writer-producer) delivers a great performance which is both effectively comedic and holds pathos. And in terms of the technical side of the production, director Duane Adamoli is also the film’s cinematographer and editor. Whilst this is a small-scale production, Adamoli and Clarke have formed a strong collaborative team – with one in charge of story and performance, the other in charge of aesthetics and assembly. Both demonstrate an impressive level of craft in their respective areas, making Surfing a near-faultless cinematic expression. It’s not easy to find anything of note to complain about with regards to this short. The only possible flaw I can find has more to do with the very nature of current short-filmmaking than it does with the movie itself... By deciding to tell a story based around a series of phone calls – set, as I’ve mentioned, in one room – you’re bound to have a critic or two say that the filmmakers have limited themselves in terms of creative scope. While watching, I personally do not find this to be the case. And yet, you can’t help but be reminded that this is what a great proportion of short films are these days. It makes sense since it saves time and money; and out of all the shorts this critic has seen recently that fall into said category, this resides in the very top tier in terms of quality. The cinematography and design of this project appeals to me greatly on a personal and artistic level. What follows is a quote provided in the submission notes for Surfing : “Our aim was to create a character study reminiscent of early 1970s cinema and, through unorthodox methods, such as placing a pair of tights over the lens and make the film feel as though it had genuinely been shot in that period.” For those who maybe aren’t filmmakers or who have little interest in low-budget cinematography techniques, this may even sound gimmicky. But when you see just how well these shots work, and how authentic the grain and the haze feels, it’s incredibly exciting for a fanatic like myself. The very specific period of low-light, low-contrast, murky and desaturated image-making – exemplified through Vilmos Zsigmond’s collaborations with Altman on The Long Goodbye and McCabe & Mrs. Miller (the greatest cinematographer-director combo there ever was or will be) – is the most fun aesthetic to be inspired by and attempt to recreate, even digitally. And why it works is because Surfing is not just trying to resemble film stock, but evoking the messy, textural, rebellious visual experiments of that era. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Questionable film review by UK film critic Matt Trapp. Starring Jacob Watson, Duy Hong Pham, Morgan Moses directed by Joseph Jeavons. HOME | FILMS | REVIEWS Questionable Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Jul 30, 2026 Directed by: Joseph Jeavons Written by: Joseph Jeavons Starring: Jacob Watson, Duy Hong Pham, Morgan Moses Questionable is a superhero spoof directed and written by Joseph Jeavons. When two criminals inadvertently schedule a bank heist on the same day, they plot to work together to take out their common enemy, the unorthodox hero known as Questionable Man. There’s no doubt that the film is lacking in substance, and the script is far from being as tight as it could be. However, the likable cast and snappy editing keep the short from dragging, and there’s plenty of charm in here to amuse audiences willing to give these oddballs some attention. The fantastically named Duke Maplecloth (Jacob Watson) and Danny (Duy Hong Pham) are common thieves aspiring to be supervillains. Questionable Man is the only major road block to their career aspirations, and he ends up the catalyst who brings these two would-be rivals in an unlikely alliance. The performances from Watson and Pham are laid back and easy, and while they don’t necessarily fit the image of being hardened career criminals, it works in the film’s favour, building out a universe of lovable eccentrics who talk of robbing banks as though it’s entirely routine. Questionable Man, played by Morgan Moses, is soon introduced, and he immediately sticks out as the only character in this world who seems to possess any fighting capabilities whatsoever. In an unexpectedly well edited scene, he interrupts a would-be supervillain’s pathetic attempt at mugging a woman’s purse, slamming the assailant’s head into a brick wall. Moses portrays the character with a comedic stoicism, excellently juxtaposing his ridiculous costume; the hero appears to wear a wetsuit, a gold chain, and a label that reads ‘Hello, my name is Questionable Man’. It’s idiosyncratic, uncynical, and very easy to like. It’s worth acknowledging that Questionable doesn’t aspire to be much more than an absurd romp, and while it succeeds in being a fairly dumb parody of a genre nearly everyone is familiar with, it’s a shame that Jeavons doesn’t use this opportunity to really comment on or say anything. Questionable could have aspired to be a little bit more; locations are limited to two alleyways and one copse, and the whole short has an improvisational energy that gives what little plot there is very little drive. I can easily imagine that audiences who are not charmed by the fairly amateur production will find themselves bored by Jeavons’ film, wishing that the satire was focused in a particular direction. While the action scenes are well edited, and for my money the highlight of Questionable , I would have liked to see more of them, and potentially expanded in scope. The cast have a great energy when they’re grappling with each other and tumbling to the ground. Perhaps next time Jeavons will lean into this, and allow his cast to show off their stunt action chops? There’s no denying that the cast carry the energy of the film, and while Questionable ’s concept as a superhero parody is far from novel, it’s nonetheless enjoyable to see a group of actors sincerely having fun, playing loosely and with room to inject their own personality into the film. Jeavons knows his strengths, and at only 8 minutes in length, he knows how long the comedy in Questionable can be sustained. While Questionable doesn’t aspire to say much of anything, it’s worth acknowledging that this isn’t exactly new for films in the superhero genre. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Garage film review by UK film critic Jason Knight. Starring Adam Kaufman, Mark Collier, Seth Braverman directed by Aaron Sanders. HOME | FILMS | REVIEWS Garage Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Oct 28, 2021 Directed by: Aaron Sanders Written by: Aaron Sanders, Linda Balaban Starring: Adam Kaufman, Mark Collier, Seth Braverman An insight into the mind of a troubled man as he attempts to confront the nightmares that were caused by a traumatic incident during his childhood. A boy named Joshua (Braverman) is cycling home when a grown man (Collier) approaches him and asks him to join him in his garage, where they could play. After the child reluctantly agrees, the man snatches him. Forty years later and the now adult Joshua (Kaufman) is tormented by the memories from his devastating experience. After repeatedly returning to the garage where he encountered the fiend, one night he finally decides to drive there, determined to battle his demons once and for all. This short is a powerful and dark psychological thriller that is based on the director's own experiences as a victim of childhood sexual abuse and it explores the effects of post-traumatic stress disorder. It reveals how an inhuman action can destroy a person's life, making their life unbearable. Time seems to be unable to heal Joshua's wounds and therapy appears to be leading nowhere. He believes that is up to him to overcome his trauma and that he can accomplish that by entering the place where he suffered, the garage. The performances are great and Kaufman is dramatic and emotional as a person who went through a traumatic experience and has been suffering for decades as a result. He is emotionally unstable, hears voices from the past and imagines seeing himself at the same age that he was when the fateful incident occurred and he also hallucinates seeing the culprit. Braverman does a good job as an innocent child and Collier is convincing as the creepy and dangerous abductor. The film utilises creative lighting techniques and the wonderful cinematography by Michael Nie provides a gloomy atmosphere. Jay Gruska makes an outstanding contribution with the score, which is tense and sinister and provides a frightening and pessimistic atmosphere. This is a bleak but very well made short film that shows how PTSD affects people and raises awareness of that condition. The story is tragic and vividly exposes the tormented life of the protagonist. It will most likely leave the viewer with a thoughtful experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Dear Evan Hansen film review by UK film critic George Wolf. Starring Ben Platt, Julianne Moore, Kaitlyn Dever directed by Stephan Chbosky. HOME | FILMS | REVIEWS Dear Evan Hansen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Sep 23, 2021 Directed by: Stephan Chbosky Written by: Steven Levenson Starring: Ben Platt, Julianne Moore, Kaitlyn Dever It’s not that Evan himself is hard to like, even flawed and unlikeable main characters can be ambitious and welcome. The real challenge for the big screen adaptation of Dear Evan Hansen is turning the young man’s choices into something truly hopeful and inspiring. Evan (Ben Platt, whose Broadway performance garnered one of the musical’s many Tony awards) is a painfully shy, anxiety-ridden high school senior getting assignments from his therapist that involve writing letters to himself. Through a convoluted mixup that actually lands as plausible, one of those letters ends up in the hands of Connor Murphy (Colton Ryan), another troubled young man who can’t make friends. When Connor takes his own life, his mother (Amy Adams) and stepfather (Danny Pino) read the letter and reach out to Evan, looking for comfort from someone they believe must have been their son’s best friend. It’s a cruel and horrible lie, one that Evan ultimately indulges because it makes his own life better. Evan gains friends, he becomes close to Connor's wealthy family while his own mother (Julianne Moore) works late to makes ends meet, and he gets alone time with Connor’s sister Zoe (Kaitlyn Dever), who just happens to be Evan’s longtime crush. While the facade can’t last, it’s one that’s chock full of possibilities for another shallow YA specialness parade. But director Stephen Chbosky and writer Steven Levenson do manage to craft moments of truth that help offset the manipulative atmosphere. Chbosky’s (The Perks of Being a Wallflower, Wonder ) choice to have the cast sing live is a smart one, bringing a needed intimacy to the music and giving Platt the chance to really impress. But while Chbosky often maneuvers into and out of the music with style, too many of those set pieces seem tentative, with only a few of the songs (“Requiem,” “Words Fail,” “So Big, So Small”) resonating beyond the frequent and generic “I feel seen” messaging. Platt truly has a wonderful voice, but he has trouble trading what served him so well on the stage for a more nuanced film approach to emoting. Yes, at 27 Platt is a bit too old now for the role, but that’s less of a problem than surrounding him with such authentic screen talent. As Evan becomes less of an awkward outcast, Platt’s screentime with Adams, Moore and especially Dever (who gives the film its most honest moments) only highlights a need for understatement that Platt and Chbosky don’t address. At a robust 137 minutes, Dear Evan Hansen has plenty of time to grapple with the moral conundrum at its core, but ultimately falls just short of the more universal insight it seeks. The film shows us teens that are stressed and over-medicated, with feelings of inadequacy compounded by social media expectations and misunderstood by families and peer groups. Then when tragedy occurs, the shock opens avenues for exploitation and personal gain. Evan takes one of them. There are teachable moments there, and the soaring melodies of Dear Evan Hansen will put occasional lumps in your throat. But is Evan’s journey a thoughtful and cautionary parable, or a shameless exploitation in itself? In the end, neither. Much like its flawed main character, it’s a mess of awkward and misplaced intentions, as likely to generate facepalms as it is a loving embrace. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Zone 414 film review by UK film critic Hope Madden. Starring Guy Pearce, Matilda Anna Ingrid Lutz, Travis Fimmel directed by Andrew Baird. HOME | FILMS | REVIEWS Zone 414 Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Sep 2, 2021 Directed by: Andrew Baird Written by: Bryan Edward Hill Starring: Guy Pearce, Matilda Anna Ingrid Lutz, Travis Fimmel “Do you know what rich people want? Everything.” True enough. And in lesser hands, that line might feel trite, but Andrew Baird’s SciFi neo-noir Zone 414 boasts a very solid ensemble. Mostly. The actor delivering that line, the always formidable Olwen Fouéré (The Survivalist ), joins reliable character actors including Jonathan Aris, Ned Dennehy, Jóhannes Haukur Jóhannesson, Antonia Campbell-Hughes and Fionnula Flanagan (The Others ) to populate this low-rent Blade Runner . Which Blade Runner ? Either one — although the beauty in a wig with blue bangs suggests Baird leans more recent. She’s Jane (Matilda Anna Ingrid Lutz, Revenge ), a sexual synthetic living in the upscale seedy utopia Zone 414, where meat (humans) pay lots of money to spend time doing whatever they want with the likes of Jane. But that’s not why David Carmichael (Guy Pearce) is in the zone. The super-wealthy mad hatter who designs these high-end toys, Marlon Veidt (Travis Fimmel), hired Carmichael to find his runaway teenager. Veidt’s daughter wishes to be synthetic so she doesn’t have to feel anything. Yes, all the neo-noir tropes. None missing. What Bryan Edward Hill’s script lacks in originality, Baird tries to make up for with world-building. It works to a degree and is aided immeasurably by the committed turns from his supporting players. Pearce is as reliable as always, but that doesn’t necessarily mean much. He turns down about as many roles as Bruce Willis or Nicolas Cage. Zone 414 is not one of his best. It’s not one of his worst, either, but he does have a couple of problems. One is that his big, dramatic scenes tend to pair him not with the exceptional supporting talent, but the weaker leads. Lutz carries off the superficial damsel in distress well enough, but when the film asks her to get a little Ex Machina on us, she flails. Worse still is Fimmel’s mad genius. That make-up and fat suit don’t help. I’m sure he’s not meant to be comic relief, but it’s hard to see him any other way. Much of this is redeemed by a few intriguing scenes, but the writing fails Baird a few times too often. Zone 414 tries really hard. It often fails. But not always. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >