Ladybug film review by UK film critic William Hemingway. Starring Corinne Irving, Dani May Cook directed by Jason Galea. HOME | FILMS | REVIEWS Ladybug Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Oct 7, 2024 Directed by: Jason Galea Written by: Jason Galea Starring: Corinne Irving, Dani May Cook Ladybug is a nine-minute arthouse film from writer/director Jason Galea depicting, according to the tagline, ‘a haunted woman’. With this being an arthouse film, the subject matter is somewhat hidden in amongst the imagery on display and in truth it’s pretty difficult to identify just what on Earth is actually going on at all. For fans of Galea’s earlier work this should, however, not come as much of a surprise. His time with the band King Gizzard & The Lizard Wizard , animating a lot of their music videos, especially highlights a tendency towards the absurd and the sublimely ridiculous which Galea injects into his visual style. (Particularly impressive examples of this would be for the songs ‘Robot Stop ’ and ‘The River ’ which I would encourage everyone to have a look at.) Here in Ladybug though, there is no preconceived lyrical storyline to follow and so no basis for Galea to match his visuals to. Instead he’s doing it all himself, creating his own narrative, building a structure for a visual story, and then using all of his creative knowhow to express that to the viewer through his own visual techniques. The result, as you would expect, is really quite visually impressive, with a lot of striking shots of things coming together and breaking apart, exploding like stars and coalescing into eye like substances, or something like that, because it’s still not entirely clear what’s going on. The parts of the film which move away from the visual techniques and which include the characters are by far the poorest. It’s unclear what the two women are doing or what they represent, just that one comes into a dark apartment and switches on a few dimly lit lightbulbs then walks through the dark woods, while the other stares out at the camera from behind a warped glass window. There’s no dialogue to help the viewer understand what’s going on, so we’re just left to our own devices to try and unlock the mysteries behind what Galea is trying to say. The title, Ladybug , may well represent a lot to do with the dots flying about on the screen, as well as the colour scheme, but otherwise again we’re left at a loss as to just what is being represented throughout the film. As an arthouse piece, Ladybug works well enough, with it being enigmatic and metaphorical in its expression, and visually stunning in parts to boot. Unfortunately, it doesn’t offer enough for the audience to hold onto to get very much from the narrative or characterisation. In fairness, it’s obvious that something’s going on, that one woman is haunted by something, which is likely represented by the other woman in the frame, but in terms of finding out what that actually is, we’re all pretty much left in the dark. Jason Galea’s talent as an animator and visual expressive is undeniable, but a story writer he is not, and that lets him down when creating his own vision for his own narrative. My only hope is that this will get better with time and practise. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Upside film review by UK film critic Swati Verma. Starring Philip Rafferty, Keenan Dunleavey, Rachel Murray directed by Jim Mcmorrow . HOME | FILMS | REVIEWS Upside Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 28, 2022 Directed by: Jim Mcmorrow Written by: Jim Mcmorrow Starring: Philip Rafferty, Keenan Dunleavey, Rachel Murray The name "Upside" has connotations of some unusual situation that needs to be dealt with. The font of the title of the film is cleverly been chosen by the director Jim Mcmorrow to lighten the mood of the audience while he addresses the topic of Down's syndrome. The DOP Michael Reynolds shakes the camera slightly to denote the upheaval in their lives as a family unit. The close mid-shot used by the cameraman to establish the bond between the mother and two brothers that makes up the basic building block of the narrative of the film. The audience eagerly waits to see how the dynamics between the three characters change over the running time of the film. The script of the film is very well written around a major health issue that needs to be discussed. The continuity factor of the storyline plays a crucial role to keep the essence of the gripping yet emotional tale the director is trying to convey. The plot of the short film revolves around a young man suffering from Down's syndrome who attempts to gain some independence on his 18thbirthday from the overprotective yet loving mother. Will Stephen get the normal life he has always craved for? In the performances department, I want to first talk about Matul McGibbon the child artist who plays the young Dylan. He manages to switch effortlessly from being excited for his new-born brother to becoming more of a responsibility-driven person later on. The sense of maturity and understanding of the script by the young actor is commendable. Next, I want to talk about Keenan Dunleavey who essays the role of Stephen. The struggles within him to fit into society seems real and relatable to the audience. The character desperately wanting some sense of normalcy in life is portrayed with utmost realism. Phillip Rafferty is the older Dylan. Phillip makes sure he keeps his body language close to Matul McGibbon while playing the grownup Dylan so that the viewers don’t perceive him as a completely different character. Phillip effortlessly imbibes the various aspects of Dylan's personality. Rachel Murray is the mother of Dylan and Stephen in the short film. She displays a range of emotions. Murray is a loving mother yet transforms into an overprotective guardian when her insecurities about losing her younger son crop up. The viewers sympathize with the mother but also want her to deal with life situations better. The colour palette, lighting are kept natural while the music is intense in a few sequences where specific crucial details are shared with the audience so that the viewers feel involved with the storyline and don't lose out on the message the film delivers at the end. Upside movie shows the viewers how one is very much capable of finding happiness in any given situation in life. Family becomes the ultimate support system no matter what we are experiencing. It is very crucial to understand, respect, and give the desired space to everyone to coexist peacefully. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The North film review by UK film critic Jason Knight. Starring Bart Harder, Carles Pulido directed by Bart Schrijver. HOME | FILMS | REVIEWS The North Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 9, 2025 Directed by: Bart Schrijver Written by: Bart Schrijver Starring: Bart Harder, Carles Pulido A feature-length adventure drama written and directed by Bart Schrijver and starring Bart Harder and Carles Pulido. An English-speaking Dutch production that was filmed in the Scottish Highlands. Estranged friends Chris (Harder) and Lluis (Pulido) reunite and decide to go hiking for a month in the Scottish Highlands via the West Highland Way and the Cape Wrath Trail, with the intention of reaching Cape Wrath and in hope of rebuilding their friendship. However, dramatic complications will unstable things between them. This slow-burn film does not rely on the narrative in order to have an impact, rather, it focuses on character development and the relationship between Chris and Lluis. Through long takes and establishing shots and without any music, the viewer follows the two men as they go through their outdoor adventure, walking through mountains and several inhabited locations, sleeping in a tent, catching up and meeting other travellers. Schrijver's directing is an aspect that adds massive value. He creates many fantastic shots that reveal the beauty of the Scottish countryside and are supported by Twan Peeters' cinematography. Whether the camera is still or moving, the frame captures magnificent images of nature, making this feature a pleasure to watch from start to finish. The fact that the pace is slow would not had been an issue had it not been for the lengthy duration. The slow storytelling, that takes its time to move the plot forward is an effective way to explore the characters and acknowledge the activity that they are doing: traveling through beautiful scenery. However, experiencing this for more than two hours might be overdoing it, making the film feel overlong. Chris and Lluis have a bond between them, yet, they are quite different. Chris has a good job, a partner and hopes to have children one day. On the other hand, Lluis appears to lack direction in life and does not seem to be completely honest with Chris. On the surface, this is a story about hiking, camping and exploring nature. More deeply, it explores self-reflection, friendship, isolation and dishonesty. An outdoor adventure with a lot of drama. Some viewers might disapprove of the slow pace. Nevertheless, Schrijver's directing and the themes make this feature an achievement that deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Wonka film review by UK film critic Brian Penn. Starring Timothée Chalamet, Olivia Colman, Calah Lane directed by Paul King. HOME | FILMS | REVIEWS Wonka Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jan 13, 2024 Directed by: Paul King Written by: Simon Farnaby, Paul King, Roald Dahl Starring: Timothée Chalamet, Olivia Colman, Calah Lane In the distant realms of childhood it’s a fair bet that Roald Dahl featured in the literary choices made by most. A magical mix of imagination and youthful humour would easily put him on reading lists. This latest iteration of the kids’ classic doesn’t disappoint with a beautifully packaged combination of music and special effects. Director Paul King cut his teeth on Paddington and producer David Heyman has Harry Potter among his many credits. It’s therefore safe to say the story is in very safe hands. Willy Wonka (Timothée Chalamet) arrives in town with dreams of becoming a chocolatier. He has an eye on the shop he’d like to buy but decides to rest at the sanctuary run by Mrs Scrubitt (Olivia Colman). Noodle (Calah Lane) warns him not to sign anything. However he signs a contract that condemns him to a life of drudgery and debt. In a dark and grimy laundry Willy toils with Noodle and Abacus Crunch (Jim Carter). With the help of his new friends he secretly weaves a magical recipe that quickly alerts the local cartel of chocolatiers. The cartel led by Slugworth (Paterson Joseph) is determined to stop him and enlist the help of the local constabulary. If that isn’t enough he is dogged by a troublesome Oompa Loompa (Hugh Grant) regarding the small matter of some stolen cocoa beans. There’s no doubting the brilliance of a film that takes on board everything modern technology can offer. Hugh Grant’s delightful cameo as an Oompa Loompa is a marvel of computer generated imagery. The design is drawn from a vivid colour box that blends perfectly with a luxurious soundtrack. There are new songs written for the film by Neil Hannon from the Divine Comedy. He adds a characteristic dose of whimsy especially on ‘A World of Your Own’. However, it doesn’t quite reach the melodic precision of ‘Pure Imagination’ a song from the 1971 film. As an ensemble piece it works superbly with a bright cast that obviously revelled in the experience. Timothée Chalamet brings a vital charm and sense of mischief to the title role, whilst Olivia Colman is great fun as the evil Mrs Scrubitt. Some may find Wonka overly bland and loaded with sickly sweet sentiment. It is a children’s fantasy but there’s no reason why it shouldn’t appeal across the board. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Hunger film review by UK film critic Swati Verma. Starring Kalyan Goswami, Subinoy Ganguly directed by Junayed Alavi. HOME | FILMS | REVIEWS Hunger Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jun 13, 2023 Directed by: Junayed Alavi Written by: Junayed Alavi Starring: Kalyan Goswami, Subinoy Ganguly The writer-director Junayed Alavi brilliantly combines the horror genre with addressing a crucial social issue while adding a twist in the climax so that he can increase audience engagement with the content even though Hunger has a very short running time. The narrator (Subinoy Ganguly) and the landlord (Kalyan Goswami) along with the rest of the cast have managed to uplift the vision of Alavi allowing the viewers to take away a lot of key messages from the short film. The plot of Hunger revolves around the times of the Bengal Famine, a starving man gets into trouble when he gets a surprise invitation from the landlord. The font style used by the makers fits perfectly to establish the subject matter of the movie thus demanding the viewer’s involvement from the very beginning. The cinematographer Puspen Majumdar captures the long shot of the dried-up farmland along with a series of mid-shots and close-up shots of Raghu a poor farmer to illustrate how bad the effects of famine can get for the villagers under the rule of the East India Company. The black-white colour pallet is chosen by the creative team to depict a particular era to evoke a certain mood or emotion from the audience concerning the situation with respect to the script. The set design, lighting, sound, dialogues, costume, hair, makeup, and props provide a sense of a simple subtle treatment of the topic adding realism and making it relatable for the local set of viewers. Hunger follows a nonlinear form of storytelling giving the screenplay multiple layers allowing the audience the freedom to interpret the film as per their understanding. In terms of performance, Subinoy Ganguly as a Narrator is given the responsibility by Junayed Alavi to be mindful of all the nuances and subplots of the script and also pay attention to dialogue delivery, body language, facial expressions, and eyes to ensure the viewers don’t get bored of the content of the movie. Kalyan Goswami plays the landlord who is the antagonist of Hunger. The landlord is a powerful man who is given the duty to help the poor farmers to help them revive from the basic necessity in life like food but later some negative streaks are visible as the story moves forward. Goswami carries a strong personality effortlessly and the makers have added an apt background music to suit the character arc of the landlord. Hunger talks about the importance of food and other basic requirements when it comes to the question of survival in the case of scenarios like a famine. The short film reiterates the fact that one should be sure about the person he or she seeking help from because the majority of these influential people tend to take advantage of the situation. The Bengali movie restates that one shouldn’t give up on their morals for a powerful position at work because power fades away with time but morals are imbibed in the personality forever. The cinematic piece teaches us that we should be careful about what details we share with people as it can prove harmful for the individual in the long term. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Spoon-Man film review by UK film critic Matt Trapp. Starring Farren Chahal, Aqil Ghani, Daniel Farrier directed by Farren Chahal. HOME | FILMS | REVIEWS Spoon-Man Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Apr 27, 2026 Directed by: Farren Chahal Written by: Farren Chahal Starring: Farren Chahal, Aqil Ghani, Daniel Farrier Superheroes have come to dominate the pop culture of the early 21st century, and it’s no surprise that many filmmakers have attempted to put their own spin on the genre. Farren Chahal’s Spoon-Man is a quirky comedy take on the conventions of typical superheroism, and the short is brimming with quintessentially British personality. It’s fair to say that the short also feels disposable, as it fails to set itself apart from other superhero comedies and pastiches of the last 20 years. Most of Spoon-Man takes place in a single encounter, where a mugger (Aqil Ghani) has a man (Daniel Farrier) at gunpoint. Even before the eponymous hero shows up, the encounter is bizarre; there’s no question that the short will be leaning into absurdist humour. Chahal steps into frame as Spoon-Man (don’t forget the hyphen), dressed in a shoddy homemade costume, a spoon literally taped to his chest in a hilarious detail. Our Spooned hero engages in a back and forth with the mugger, and the comedy here is mostly solid. There’s a looseness in the dialogue that suggests some improvisation, which while charming, can make the scene feel like there’s not necessarily a destination in mind. The performances from Ghani and Chahal are likeable enough that the choppy dialogue can be forgiven, and their chemistry injects a lot of energy into what is a pretty static scene. It’s a shame that the short is so focused around this one scenario, and it would have been interesting to see a few more outings for Spoon-Man which are sadly only hinted at. Still, the short has a surprise in mind towards the end which is reasonably satisfying, and it reinvigorates Spoon-Man for a final extended punchline with an excellent theme song written and produced by Joseph Hooligan. It’s hard to ignore that Spoon-Man is ultimately pretty shallow, and it’s not doing or saying much about superheroes that other parodies haven’t done or said. In Spoon-Man, there’s more than a passing resemblance to The Tick, from them both sharing bright blue costumes, to their shared penchant for spoons. Audiences might also notice similarities to 1999’s Mystery Men , particularly Hank Azaria’s character Blue Raja, who is also themed around throwing cutlery (though he is not limited to spoons). It can be difficult to stand apart in a landscape where superheroes have been parodied so much already, and there’s an argument to be had that a 7 minute long comedy short shouldn’t need to make a grand statement on the genre. However, there could have been some more comedy mined from the short’s already comedic use of violence, perhaps leaning in to particularly British sentiments. While guns are commonplace in superhero fiction, owing to the fact that they are largely based in the United States, there’s no shock or question concerning the gun in Spoon-Man, which visibly takes place in the midlands. Chahal may have wanted to keep larger statements away from his comedy, and that’s entirely reasonable and fair, but the result is a short that lacks some bite, one which fails to really satirize anything that The Boys hasn’t already. It’s hard not to love Spoon-Man thanks in large part to the charming performances and mostly witty dialogue. While it may not aspire for greatness, the short manages to deliver some good laughs, without outstaying its welcome. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Ramgog! film review by UK film critic Joe Beck. Starring Kris Salvi, Emma Geller directed by James Ristas. HOME | FILMS | REVIEWS Ramgog! Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: May 18, 2024 Directed by: James Ristas Written by: James Ristas Starring: Kris Salvi, Emma Geller The story of the genesis of man, as told in the Bible, has been reiterated and mirrored countless times over the years, in films from ‘Pinocchio’ to ‘2001: A Space Odyssey’ to the various forms of ‘Planet of the Apes’, but perhaps none have more so taken inspiration from the storied tale in such a strange and peculiar way as ‘Ramgog!’. “Ramgog!’ is a remarkably strange film, one of a kind in every sense of the word, yet whilst it is no doubt curious, it is perhaps not the most engaging of films. Written and directed by James Ristas, we are immediately thrust into a surreal landscape of total darkness as a man, played by Kris Salvi, and a woman, played by Emma Geller, step into the void. We are told that they are the last two remaining people on earth, a clever inversion of the story of Adam and Eve. Earth has turned completely into darkness, and our two protagonists are wailing over their abandonment by God. Then ramgog, the creature that gives the film its title, appears, and things go from slightly strange to utterly off the walls crazy. The easiest way to describe Ramgog is as a philosophical, and apparently all-knowing, space monkey. In this story of genesis he is the Mephistopheles, offering information to the Adam and Eve of the film as to why this has happened. He is armed with a book on the teachings of sixteenth century German philosopher Jakob Boehme, which are second only to God’s own words in terms of importance. I guess they couldn’t find any holy scriptures in the dark. From utterly off the walls crazy, things only become weirder and completely batshit insane, with further biblical inspirations, including a nod to the birth of Jesus, as well as ideas credited to Boehme himself. This is a religious film like never before, in that it’s both all about religion at all, should you choose to exercise your brain and make those connotations, but equally has nothing to do with anything at all should you choose instead to watch it without thinking. The latter is probably preferable, as the more you think about ‘Ramgog!’, the less you can enjoy it. It is fun surrealism, but unlike films by the likes of famed surrealist Luis Buñuel, the more one spends dwelling on and trying to decipher the hidden meanings behind ‘Ramgog!’, the more it becomes frustrating and ultimately less engaging. This isn’t helped by the flat performances, as each line is delivered in a robotic, forced manner, and the two leads display a desperate lack of chemistry with one another. Screenplays in surrealist films generally allow for award reading of lines, but in ‘Ramgog!’ It’s past awkward, it’s straight bad. Furthermore, though James Ristas’ directing is magnificently bold and visually striking both in terms of the range of shots on display and what those shots are depicting, there is one moment - where the fourth wall is shattered - that completely takes the viewer out of the picture, and that silkiness that is present behind the camera throughout, disappears briefly. ‘Ramgog!’ is a strange film. It’s one that wants you to think, but is best enjoyed if you don’t. It’s surrealism is both it’s strength and it’s weakness, as you sense that perhaps Ristas is shooting too far with his attempt. Then again, such audacity should never be discouraged, and it is ultimately this boldness which makes ‘Ramgog!’ such a creative and, perhaps, an essential film. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

STUDS film review by UK film critic Matt Trapp. Starring Barney Walsh, Carys Eleri, Sarah Seggari directed by Edward Russell. HOME | FILMS | REVIEWS STUDS Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Dec 16, 2025 Directed by: Edward Russell Written by: Jack Carey Starring: Barney Walsh, Carys Eleri, Sarah Seggari STUDS is a distinctly British comedy short that balances sardonic wit with some genuinely sweet drama. Barney Walsh and Sarah Seggari star as Harry and Mia, a young pair who have been chosen for the government’s breeding program (or ‘state sponsored shagging’ as described by Mia) in the midst of a population crisis. The two must spend a weekend getaway together, or else they face execution. Matters are complicated when it’s revealed that Harry and Mia share a history together, potentially jeopardizing the program and their safety. The short is fun, witty, and creative, with Carys Eleri standing out with effortless comedic instincts. STUDS may fall short for audiences expecting a more substantial exploration on the nature of relationships, but as a pure comedy, it’s a worthwhile and likable film. In a great British comedic tradition, STUDS never takes itself and its drama too seriously, and in doing so it maintains a breezy and easy-going tone. Walsh and Seggari make for a compelling couple; it’s not hard to believe that their characters have had an awkward past, and they play off each other confidently. Much of the same can be said about Eleri, who perfectly embodies her character with disarming overconfidence. Julie is important in delivering the short’s premise to the characters and the audience, and thankfully her performance is charming enough that it doesn’t feel like dry exposition. The comedy is varied throughout STUDS, ranging from clever wordplay to clever visual gags that rewards the attention of viewers. From a clinical government issue edition of the Kama Sutra that resembles an NHS pamphlet to alcohol being labelled as ‘PRE-COITAL STIMULANT’, there’s plenty of cheeky humour dotted within the film. While tensions do begin to rise when Harry and Mia discuss their break-up and the frustrations with their lack of shared interests, STUDS never tips into melodrama, and the darkly comedic tone remains intact. It’s an impressive tight-rope to walk, and it’s thanks to the performances from all three members of the cast, as well as the deliberate direction from Edward Russell, that the short can deliver good jokes with fairly well rounded characters. It’s impressive that Harry and Mia feel as defined as they do considering the short’s less than 15 minute run time. Walsh and Seggari’s characters feel lived in and grounded, each with their own distinct body language and attitudes. It’s no wonder the two of them say they have nothing in common when they appear so diametrically opposed to each other. Julie additionally comes across as a fully formed character, despite a much more limited screen time. The attention to detail given to each character in the writing makes the drama feel much more tangible - STUDS must have some stakes for the audience to invest in, even if the short is largely comedic. It’s possible that some viewers will want more out of the drama, to see the relationship between Harry and Mia further developed and given some weight, which is entirely reasonable. More time to iterate on the premise would undoubtedly have been interesting, and it’s noticeable that the film rushes through its ending in a less than satisfying conclusion. Still, the comedy almost entirely lands, and every single performance here is purposeful, believable, and charming. STUDS is a difficult film not to like. While it’s often silly, there’s a certain amount of restraint in the filmmaking - it would have been easy to stretch the premise thin and veer too close to farce. It would be fair to compare STUDS to Lanthimos’ The Lobster , which similarly uses dark comedy in a dating context. In both films, the characters take the situations they’re in seriously, never lampshading or winking to the audience. In doing so, we’re encouraged to take the characters seriously, laugh when we’re clearly invited to, and to possibly think more about the absurd reality of dating and relationships. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Gifted Pain film review by UK film critic Chris Olson. Starring Tobias Jon, Sarah Jane Duncan, Dylan Baldwin, Aaron Bladen directed by Tobias Jon. HOME | FILMS | REVIEWS Gifted Pain Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jan 9, 2026 Directed by: Tobias Jon Written by: Tobias Jon Starring: Tobias Jon, Sarah Jane Duncan, Dylan Baldwin, Aaron Bladen Pretty Woman meets John Wick in this gritty UK crime drama from filmmaker Tobias Jon. Gifted Pain is set in urban England, and the lives of two characters are about to collide with violent and emotionally turbulent repercussions. Beth (Sarah Jane Duncan) was a university student hoping to become a nurse when a job as an exotic dancer (to help pay for her tuition fees) led her into an isolated and cruel existence as an unwilling sex worker. During an altercation with her pimp and his goons, she is saved by Christopher (Tobias Jon), a stoic and brooding do-gooder with a special set of skills he doesn’t know he has, from years of consuming martial arts films. The pair strike up an unlikely friendship as they attempt to elude and defend themselves from the seemingly unending smorgasbord of sketchy bad guys looking to catch them. The film showcases a technical dexterity that is impressive, capable of getting into the ring with the heavy-hitters of Hollywood, and the influence of both 80s archetypes like Stallone and Schwarzenegger, as well as modern action heroes played by the likes of Jason Statham and Vin Diesel, is clear. The fighting choreography, whilst not John Wick or Jason Bourne standards, is pretty decent and lends the film an impressively sharp edge. Audiences are presented with strong music choices, a gritty and urban soundscape that really complements the film’s tone well. This is further enhanced by some fantastic location choices, utilising lots of alleyways, back streets, and sketchy parts of town. Without looking at the credits, one may suspect Christopher is being played by the writer/director, which he is. Sadly, the film’s heavy reliance on Christopher as a central character meant more energy was needed in his dialogue scenes, even though he is a John Wick or Jack Reacher type. The portrayal has a puppy dog charm, whereas a more detached yet determined character was needed, one that could stand up to the emotionally charged, dramatic scenes. That being said, he handles himself brilliantly in the fighting sequences and viewers will be wincing for days after viewing the bare-knuckle brutality. Dylan Baldwin is a formidable baddie, and Sarah Jane Duncan is the beating heart of the movie for this critic, stealing every scene she’s in with a deft portrayal of this victim of prostitution. Whilst the majority of Gifted Pain has a confident pacing, not rushing the scenes and utilising authentic dialogue, with plenty of effin’ and jeffin’, the latter half of the film descends into scores of fighting scenes, with a The Raid-style hallway fighting sequence. Which, whilst admirable, some viewers may find a little tedious. Films like this have the danger of bordering on laddish fantasy, presenting a main character with a hero complex, but we get grounded in an emotional backstory for Christopher and this keeps a good balance throughout the run time. Tobias Jon proves himself to be a very capable filmmaker, with brilliant use of flashbacks to set the scenes, and he creates a memorable and immersive dynamic between the two characters that keeps it thrilling throughout. Watch our Video Film Review of Gifted Pain . Buy UKFR Banner Space About the Film Critic Chris Olson Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Heartland film review by UK film critic William Baines. Starring Maxine Goynes, Haskell Vaughn Anderson III directed by Jahmil Eady. HOME | FILMS | REVIEWS Heartland Film Review average rating is 5 out of 5 Critic: William Baines | Posted on: Aug 18, 2021 Directed by: Jahmil Eady Written by: Jahmil Eady Starring: Maxine Goynes, Haskell Vaughn Anderson III Heartland is an absorbing and thought-provoking short film that follows Jackie (played by Maxine Goyes) attempting to immortalize her dying Grandfather (played by Haskell Vaughn Anderson III) using new technology that records the two together and stores their memories. However, Jackie’s focus soon shifts from enjoying the last moments with her Grandfather to an obsession with the new tech as she begins to miss the last real memories. Jahmil Eady’s storyline is excellent. Powerful, thought-provoking and relentlessly entertaining. In a way, it acts as an examination of the modern world and how our attempts to immortalize our memories and loved ones through technology can harm our connections and enjoyment of everything. For me, I thought about what happens at events such as concerts today. A crowd of people going to see a band live, yet so many view it through the lens of their phone. It is another attempt to immortalize a memory by sacrificing making that memory in the first place. Eady takes this idea that we see so often in the modern world and shows us the risk of emotional damage that misusing technology can do. The cinematography of the film complements the storyline perfectly. Much of it is simplistic, but effective. The film is not necessarily an excessive exercise in the Directors style, (as so often seen by new filmmakers) but driven by a powerful storyline that is complemented by the graceful and subdued cinematography. An outstanding needle drop of Bill Wither’s ‘Lovely Day’ really ties together the sweet, beautiful images that Eady creates and makes us pray that Jackie does not miss the last beautiful memories that are unfolding in front of her. Maxine Goynes’ performance as Jackie is genuine, meaningful and always believable. Sharing the screen with the subdued yet outstanding performance by Haskell Vaughn Anderson III lead to a sweet relationship created. A relationship that a viewer fears could end bitterly and with regret. Overall, I cannot fault Heartland. It is a bold and meaningful storyline that acts as a warning for a trap that we can all fall into. Outstanding performances by Anderson and Goynes form a relationship on-screen that I am sure Eady aimed to create. The Directing style of Eady is faultless, too. Avoiding the over-the-top exercise in style trap that many new filmmakers fall into. Instead, making every shot count to what she really wanted to create. A short film with meaning, beauty and a message that you are unlikely to forget. Buy UKFR Banner Space About the Film Critic William Baines Short Film < All Reviews Next Film Review >

Rub film review by UK film critic Brandon Thomas. Starring Micah Spayer, Jennifer Figuereo directed by Christopher Fox. HOME | FILMS | REVIEWS Rub Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jul 31, 2023 Directed by: Christopher Fox Written by: Christopher Fox Starring: Micah Spayer, Jennifer Figuereo As disheveled loner Neal (Micah Spayer) sits at his work desk scanning through dating site profiles, it’s hard not to immediately think of other cinematic losers. Taxi Drive r’s Travis Bickle, One Hour Photo ’s Seymour Parrish, and Joker ’s titular character spring to mind first. However, as Christopher’s Fox feature debut Rub plays out, our expectations are slowly thrown out the window and the film unfolds into something completely different. Neal leads an isolated life. His coworkers don’t take him seriously, his relationship with his family seems to exist only over the phone, and any attempt at a romantic relationship is dismissed. At the urging of a co-worker, Neal visits a tawdry massage parlor where he meets Perla (Jennifer Figuereo). As Neal’s humiliation at the hands of his co-workers boils over, he makes another visit to the parlor – a visit that will wind up with both Neal and Perla on the run. The way Rub nimbly dances between sub-genres really allows it to surprise. Just when you think it’s going to become Maniac , the film veers off into Taxi Driver territory. However before Rub can fully commit to homaging Scorsese’s anarchic opus, the film takes another hard right into Badlands . Director Fox never lets his film get comfortable in any of these genre-defining areas. Instead, the tone and tenor of the film follows the characters and their journey, not the other way around. Spayer has the flashier role of the two roles, and he handles himself quite well, but the real fireworks happen when both Spayer and Figuereo are sharing the screen. They are an unlikely pair but their vulnerability shines through to something deeper and more meaningful. Both characters have been discarded by those around them – to be used only as things of either enjoyment or ridicule. It’s a pairing that begs for a happy ending, but the mounting suspense and tension only point to one inevitable outcome. Rub is the kind of character-centric genre outing that evokes the electric and gratifying cinema of the 1970s. Sure, it’s a low-budget film that’s rough around the edges, but any shortcomings on a purely production level are soon erased by the commitment to surprising storytelling. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Guava Express film review by UK film critic James Learoyd. Starring Abhinav Mondal directed by Ankit Singha. HOME | FILMS | REVIEWS Guava Express Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jul 20, 2025 Directed by: Ankit Singha Written by: Ankit Singha Starring: Abhinav Mondal Guava Express , by Ankit Singha, is one fascinating short film. A psychedelic, meandering detective comedy – not unlike works such as Inherent Vice or The Long Goodbye (two of this critic’s all-time favourites) – this fever dream follows a character simply referred to as “hero” by the unusual narration. Nothing specific takes place within the story; a man simply goes about the day, occasionally inspecting things, and then eventually he eats a slice of guava laced with drugs. This is around the halfway point of the film, at a moment wherein the audience is already confuddled and disorientated. But what follows is even more experimental and hallucinogenic. This is an incredibly amusing piece; always entertaining without having any particular drive or aim. It’s original yet inspired; bizarre and self-deprecating. Let’s begin by discussing the camera techniques at play. Stylistically, you can divide this movie into two halves when it comes to what the audience is being shown. 50% is shot in widescreen, in conventional colour, mostly handheld. This is competently done, but it does lack flare in many ways. The use of slow shutter-speeds may be appropriate for such a hazy, flowing picture such as this, but after a while it becomes slightly unpleasant to look at. That is until the psychedelic act of the film begins, and the whole aesthetic feels as if it’s been leading to something more pointedly hazy and digitally influenced. This portion of the film is presented in a 4 by 3 aspect ratio – the boxiness announcing a kind of detachment from our conventional scope of vision – while the colours are shown as a phosphorescent negative with bleached-out block-colours. It’s a very simple trick, digitally speaking; however, it inherently works here due to the tonal build-up of what is almost a stoner-comedy. This is accomplished, in part, by the whacky-as-hell narration. I was reminded a great deal of how writer-director Paul Schrader uses narration in his movies; specifically, his great Affliction in which (like Guava Express ) the voiceover effectively conveys what the viewer can already see clearly on screen. Your average audience might be left confused by this, wondering – since we already know exactly what is happening – why exactly the words are even there. Often, it’s about building a mood. Schrader uses it as a novelistic device, but here you could argue that it’s used as a comedic one. There’s a humour present in how the narrator overblows the importance of the mundanities being witnessed, and it’s most successful at placing us in the presumably warped fantasy of our “hero”. Like in Inherent Vice , we emerge from the viewing experience as if from a cloud of smoke – trying desperately to get our bearings, knowing that the power of the work we’ve just engaged in was partly a result of our willingness to go along with its chaos. It’s an impressive piece of comedy, in as much as it never explicitly lets on that it’s a comedy. Unusual from beginning to end, and ironic without feeling malicious, this is a strong piece of independent filmmaking. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, World Cinema < All Reviews Next Film Review >