The Roses film review by UK film critic George Wolf. Starring Olivia Colman, Benedict Cumberbatch directed by Jay Roach. HOME | FILMS | REVIEWS The Roses Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 29, 2025 Directed by: Jay Roach Written by: Warren Adler, Tony McNamara Starring: Olivia Colman, Benedict Cumberbatch If you’re anything like me, you’d pay to see Olivia Colman and Benedict Cumberbatch do anything from cranking up polka music to telling a story about a rucksack full of coke and a sword. Well, good news for both of us. They do all that and plenty more in The Roses , a fun and funny update of The War of the Roses from 36 years ago. Director Jay Roach starts with a flashback (and some nifty de-aging) to give us the impulsive and passionate start to Theo (Cumberbatch) and Ivy’s (Colman) relationship. Ten years later and the married Brits have moved to California where he’s an architect, she’s a part-time culinary artist and they have two pre-teens. Life is good, until the worst night of Theo’s professional life also gives Ivy a springboard to becoming a celebrity chef. Three more years go by, and she’s the jet-setting breadwinner while he’s staying home and raising the kids via a regimented, competitive style that Ivy always resented. Colman and Cumberbatch are perfection, with an instant chemistry that lets the cracks in the marriage seem organic and relatable. Trouble is brewing, and it’s sensed by their group of friends Including Zoe Chao, Andy Samberg and a priceless Kate McKinnon as a woman not shy about awkwardly exploring social boundaries. It’s all very clever and witty in an acerbic and oh-so-British sort of way, until screenwriter Tony McNamara adds some good ol’ American meanness to the mix. From then on, The Roses gets laugh-out-loud funny. McNamara (The Favourite, Poor Things ) serves up a riotous contrast between the American and British ways of arguing, and this cast brilliantly turns his phrases into moments of joyful vitriol. Then, for the push over the cliff, Alison Janney strolls in with a fire-breathing cameo as a brutal divorce lawyer, and the down-and-dirty battle we’ve been waiting for finally begins. Anyone who remembers the original will appreciate the subtle twist of this war’s end. But The Roses has no trouble standing on its own. Sharply written, nicely paced and impeccably performed, it’s a winning adult comedy that finds big laughs inside some all too familiar modern foibles. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Falling Rocks film review by UK film critic Chris Buick. Starring Henry Cross, Skott Beal, Charlie Cross directed by William Sash. HOME | FILMS | REVIEWS Falling Rocks Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Feb 28, 2025 Directed by: William Sash Written by: William Sash Starring: Henry Cross, Skott Beal, Charlie Cross A truly authentic look at “the highs and lows of the modern youth experience in rural Northern England”, Falling Rocks by filmmaker William Sash tells a tale of straining friendships in the claustrophobia of small-town life. When friends Cain (Cross) and Peter (Beal) reunite in their small humble town somewhere in Northern England after Peter’s four-year sojourn to university, a night out sees them picking up right where they left off. It all starts with pre-drinking back in the fields they used to knock about in amongst a graveyard of abandoned washing machines and other appliances, swapping old stories and memories and updates on the locals before heading onto the pubs in town to drink some more. But it’s clear that four years on things have changed. Peter is of course glad to be back home and with his best friend, but is also full of new experiences and stories to tell from his years at university. Cain however, is not interested in any of it, peppering Peter with jibes about “having changed”, and only really concerned with him and Peter keeping the party going. And so, Sash takes us on this night out with them, the film itself becoming hazier and smokier (but always beautiful) the deeper Cain and Peter get into the evening, and subtly the underlying friction between the pair starts to reveal itself. Peter is of course happy for a good time, but also wants to make something of himself and laments the idea of coming back just to do the same old things they used to. Cain on the other hand, wants too much of a good time and sees no problem with that, compensating perhaps for jealousy or insecurity by rubbing everyone else up the wrong way in the process, taking the piss, picking fights and generally unwilling accept others might want to move on. Every one of Sash’s filmmaking choices and their execution are on point; the idyllic but desolate seaside landscape is shown off beautifully and is a perfect location for this tale of drifting souls. The script feels unerringly authentic and infallible throughout as well, but the best choice was to keep almost every frame contained to focusing solely and intimately on the two leads, because it’s the chemistry between the two actors that is the films strongest weapon. Both Cross and Beal’s performances shine relentlessly, and must be said play drunk so convincingly one would not be surprised if there was an element of method in there. But most of all Cross and Beal do feel and act like they have been friends before either could talk, and we feel every bit of that affection Cain and Peter have for each other despite that palpably growing distance between them. It never quite culminates into anything too dramatic, but leaves us with more than enough to fill in the gaps. Performances, writing, cinematography, whatever box you’re thinking of, Falling Rocks will probably tick it. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

My Week with Maisy film review by UK film critic Joe Beck. Starring Joanna Lumley, Ellie-Mae Siame, MyAnna Buring directed by Mika Simmons. HOME | FILMS | REVIEWS My Week with Maisy Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Nov 18, 2024 Directed by: Mika Simmons Written by: Mike Oxtoby Starring: Joanna Lumley, Ellie-Mae Siame, MyAnna Buring There are certain subject matters that when portrayed in film are bound to get the tears rolling. Of course it’s different for different people, some people will remain stone faced by the end of ‘Titanic’, whilst others will be flooded with tears. The same people may be moved by ‘Schindler’s List’ or more recently ‘Aftersun’, whilst others will remain cold. What moves us to tears is affected by our own personal experience and the way in which we interpret the film and connect to it’s characters. ‘My Week with Maisy’ is a film designed to be a tearjerker, and such is the strength of its characters, that for many people it will be. The film depicts the unconventional relationship between the titular Maisy, played by Ellie-Mae Siame, and Mrs. Foster, played by Joanna Lumley. The two are a strange pairing, given the large age divide between them - Maisy being a young girl and Mrs. Foster being an older, uptight woman - yet the bond they form across their week together is beautiful and feels genuine. Mrs. Foster begins the film wrapped up in herself and set in her ways. She disapproves of her son’s secret gay relationship - and refers to him as ‘one of those’, even taking her prejudice to the nurse, played by MyAnna Buring. When Maisy first enters the fray Mrs. Foster maintains her coldness despite Maisy’s bubbly kindness and straightforwardness. However, as the days wear on and the chemotherapy progresses, Mrs. Foster finds herself softening and warming to Maisy. The two speak French, discuss their treatments and their lives, Mrs. Foster’s past and Maisy’s aspirations to become a lesbian. Maisy transforms Mrs. Foster out of her sheer purity and innocence, and in doing so the pair form a friendship more meaningful than any ordinary friendship could be. It goes without saying that Joanna Lumley is absolutely fabulous as Mrs. Foster. She plays the straight role perfectly, and delivers each line with wit, humour and no small amount of heart. She thrives in the emotionally charged scenes, and by the end of the film brings the audience onto her side so that we are feeling every emotion she feels. As great as Lumley is, however, the real standout is Ellie-Mae Siame, who delivers an exceptional performance as the young Maisy, and is a real star in the making. She immediately endearing herself to the audience with her bubbly personality and humour. She matches Lumley perfectly in the lighter, comedic moments, but delivers all her lines with a knowing sense of weariness so that you truly believe that this poor little girl is suffering from cancer. Mark Oxtoby’s script is a perfect exercise in balancing comedy with serious drama, and manages to make the film feel both light and heavy without any tonal inconsistencies at any point. This is further helped by Mika Simmons’ directing, which is competent throughout and truly immerses you in the story. ‘My Week with Maisy’ is a staggeringly beautiful film, with extraordinary performances and a great deal of charm. It’s a film that sticks with you long after the tears have stopped falling. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Venom: Let There Be Carnage film review by UK film critic Hope Madden. Starring Tom Hardy, Woody Harrelson, Michelle Williams, Naomie Harris directed by Andy Serkis. HOME | FILMS | REVIEWS Venom: Let There Be Carnage Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 1, 2021 Directed by: Andy Serkis Written by: Kelly Marcel, Tom Hardy Starring: Tom Hardy, Woody Harrelson, Michelle Williams, Naomie Harris An unusual note about comic book movies is that the sequel is often, perhaps usually, superior to the original. Why is that? Because the original can be so burdened by telling an origin story – usually one we already know. Venom: Let There Be Carnage is one such film, superior to the original not because we already knew the symbiote antihero’s origin tale, though. Rather, director Ruben Fleischer’s much-maligned 2018 blockbuster suffered from a choppy first act and uninspired direction. With director Andy Serkis (this guy knows how to motion capture) at the helm and a streamlined writing team (Kelly Marcel is the only writer from the original film to return, this time sharing the pen with star Tom Hardy), Let There Be Carnage determines its tone and pace from the opening scene and, for better or worse, rides that through to its concluding, post-credit moments. The tone runs far closer to horror-comedy than the original, a theme that suits the story of frenemies, one trying to keep the other from eating human brains. Hardy returns as Eddie Brock, a one-time superstar San Francisco reporter who ran afoul of his fiancé (Michelle Williams), his news outlet and the law last go-round, but found a life partner in the flesh-hungry extra-terrestrial parasite, Venom (also voice by Hardy). They have inadvertently infected cannibal serial killer Cletus Kassidy (Woody Harrelson) with symbiote blood, and now he, too, has a little voice and big alien inside of him. Harrelson and his slightly digitally modified eyeballs offer villainous fun — though, to be honest, Riz Ahmed’s evil genius in the previous film was not only underappreciated but superior to Harrelson’s lunatic menace. Still, Hardy is the reason to see the film. His Eddie is put upon and weary while his Venom is boisterous and often very funny. Through the two performances, Hardy delivers the type of lived-in animosity needed to sell any odd-couple story. Though the CGI was sharper last time, the overall aesthetic Serkis creates is far campier and Goth, which feeds the film’s spooky season vibe. Williams, in a smaller role, finds her stride, though Naomie Harris’s underwritten character is a shame. The result is a mish-mash of messy, frenetic fun with a higher body count than you might expect. Plus a post-credits stinger worth sticking around to see. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Enys Men film review by UK film critic Alasdair MacRae. Starring Mary Woodvine, Edward Rowe, Flo Crowe directed by Mark Jenkin. HOME | FILMS | REVIEWS Enys Men Film Review average rating is 5 out of 5 Critic: Alasdair MacRae | Posted on: Sep 28, 2022 Directed by: Mark Jenkin Written by: Mark Jenkin Starring: Mary Woodvine, Edward Rowe, Flo Crowe Enys Men is an ethereal horror and visual poem about enduring grief. The latest film from Bait director Mark Jenkin may be less concerned with narrative than his previous feature but it is arguably more emotive. This island set chiller is bound to be a new favourite for M.R. James fans whose Christmas Ghost Stories DVDs are nearly worn out. Also worth noting, is that Jenkin has previous experience working with this particular type of British ghost story as witnessed in his memorable short Hard, Cracked the Wind . Set on an uninhabited island off the coast of Cornwall, Jenkin lays the early groundwork by establishing the island’s immediate connection to the passage of time. The endless rolling of the sea crashing against and eroding the rockface, the clouds and gulls high in the sky. Time passes but so slowly that it seems frozen. Everywhere there are indicators that time has passed but unless we feel it, how do we really know? The Volunteer (Mary Woodvine) as she is simply known in the credits, measures her time by routine, every day she takes a temperature reading next to a patch of wildflowers. The unholy red of their stamen is matched by the colour of her anorak, not unlike the one in Nic Roeg’s Don’t Look Now , another film obsessed with loss. Afterwards she climbs up the rockface, selects a palm-filling stone, and drops it down an abandoned mine shaft. She waits, and we wait, until it crashes against the surface at the bottom. On the way back to her island cottage she passes a standing stone, a radio broadcast informs us that it is a site traditionally visited to remember loved ones lost at sea. Who is it that she has lost? We can only assume they are the reason why she has tied herself to this desolate rock. In the evening she makes herself a cup of tea, reads or listens to the radio, and records the day’s findings: “19th April 1973. 14.2 degrees. No change.”. Each day is delineated slightly by her wanderings and discoveries, whether it be a rusted minecart track, or driftwood from an old fishing boat. Relics from professions that will have defined the local people somewhat. Whole communities, lifestyles, and traditions, that have been forgotten and abandoned in a matter of decades. And now these remnants are the only signifiers that remain of their lives. At the end of these days, it altogether culminates in a scribbled, “No change.”. Until, one day, she feels a disturbance in the wildflowers. This marks the beginning of a breakdown. She leans into her routine as a crutch, but it cannot steady her for long. As she stares into the void of loss, time collapses, and the spirits of the island’s previous inhabitants haunt her. Her blue eyes scream down the camera piercing the gorgeous 16mm film and the viewer’s soul. Like the standing stone, the film itself, feels tangible, trapping the alchemical mix of fear and empathy. Grief and film are both processed are they not? Enys Men , in traditional horror fashion, is obsessed with dualities and thresholds. Where the sea and the sky meet, so too do the past and the present. As above, so below. Rituals, chanting, déjà vu, and doppelgangers. The score designed by Jenkin, featuring collaboration from Gwenno (for whom he shot the music video for Den Heb Taves) , contorts every movement. Sonic dislocation factors in greatly to the eerie and otherworldly plane of Enys Men. The soundscape plays in tandem with the image but jolting and juddering fractions of a second ahead or behind to distort the on-screen reality. Just another trick in this director’s overflowing toolbox. Enys Men is without a doubt one of the best British ghost stories. Manufacturing fear is one thing but the way in which Jenkin imbues the film with a deep and personal sense of grief makes it impossible not to feel an empathic and profound sadness for the Volunteer. A figure who seems to burden lifetimes of loss and whose eyes, once witnessed, will forever haunt the viewer. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Film Festival < All Reviews Next Film Review >

Jujuman film review by UK film critic William Curzon. Starring Caleb Obediah, Golda John, Patrice Naiambana directed by Tony Ogunyinka. HOME | FILMS | REVIEWS Jujuman Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Apr 9, 2026 Directed by: Tony Ogunyinka Written by: Lauren Kennedy, Tony Ogunyinka, Adeola Solanke Starring: Caleb Obediah, Golda John, Patrice Naiambana Jujuman follows a South London gang leader, Mani (Caleb Obediah), as he is forced to rethink his attitudes when a mysterious vigilante witch doctor confronts him. The witch doctor has appeared to have placed a curse on him, intended to put his mother’s life in danger. The narrative is based on a true story and is dedicated to the life of Tobi Animashaun. Jujuman possesses an intriguing premise that blends a fairly grounded narrative set around South London with a fantasy archetype. While the piece can feel disjointed at times, with the mix of comedic and dramatic beats not entirely landing, the fantasy elements are astounding, despite the film's budget constraints. The film's ideas are thematically rich, with the discussions of power and religion present throughout much of the runtime. In particular, the dialogue involving the discussions of the power of Juju is effective, giving the narrative a deeper subtext. Despite the film exploring these absorbing ideas of religion and the power of Juju, it never truly reaches its full potential by not analysing them beyond their surface level. The screenplay rarely explores Mani’s inner turmoil, and it's a detrimental aspect to the film's central themes of guilt. The camerawork is mostly engaging, as Mani is framed from an overhead perspective, which is an incredibly unique approach to convey his guilt-ridden personality. The switch to handheld camerawork during sequences of conflict is mostly apt and gritty in its depiction of gang rivalry in South London. During a chase sequence, however, the editing is unfortunately choppy, with a jarring number of cuts, making these moments rather incomprehensible at times. The musical score occasionally feels upbeat, but it doesn't align tonally with the film during moments of conflict. That being said, the film, for the most part, retains its gritty and uncompromising vision of South London. The performances across the board are incredibly raw and nuanced, particularly Caleb Obediah’s portrayal of Mani. He conveys a great level of empathy and care for his mother, and despite his flaws, he tries his best to protect her. Golda John, in her portrayal of Funmi, is also commendable, as she tries to understand Mani’s lifestyle while feeling at odds with the choices he makes despite her love for him. The chemistry between the gang members is also engaging as it perfectly blends the humour and severity of the situation. Unfortunately, the pacing of the piece is fairly stagnant throughout and really takes its time to kick into gear. While the film does pick up dramatically once conflict arises, it never quite finds its stride and flows in a rather meandering fashion. Despite its incredibly brisk runtime, the duration feels prolonged due to these pacing issues. If the narrative had delved more into the crime aspects of Mani’s gang, his characterisation could have been more fleshed out as to why he fell into that lifestyle. Jujuman is a frustrating experience as the ideas presented are incredibly engrossing; however, the piece rarely explores the implications of Mani’s characterisation enough. While it is well-acted and blends a grounded premise with some effective fantasy elements, it never quite explores its themes in depth, given their integral role in the film’s central ideas. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Beau Ideal film review by UK film critic Jason Knight. Starring Patrick D. Green, Michele Tredger, Eric Martin Reid, Kelly Godell directed by Patrick D. Green, Edd Blott. HOME | FILMS | REVIEWS Beau Ideal Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 29, 2026 Directed by: Patrick D. Green, Edd Blott Written by: Patrick D. Green, Starring: Patrick D. Green, Michele Tredger, Eric Martin Reid, Kelly Godell A dramatic psychological thriller feature film written by Patrick D. Green, directed by Green and Edd Blott and starring Green, Michele Tredger, Eric Martin Reid and Kelly Godell. Jake (Green) and Rebecca (Tredger) are a couple in the United States who move to a small countryside town, in search of a better lifestyle. There, they soon meet their new neighbours, including well-meaning Marjorie (Betty Moyer) and Dave (Reid) and his partner, Michelle (Godell). It is not long before Jake notices that something seems to be wrong as he keeps seeing Cole (Rylan Andrews), Dave and Michelle's son, with cuts and bruises on his face. The suspense and mystery work well in making the viewing engaging, with Jake being concerned regarding Cole's safety and trying to find out what is going on with the family living next door. The story is told through Jake's perspective and the screenplay examines how his attempts to resolve the situation is affecting his mental state and his relationship with Rebecca. There is a subplot that concentrates on family drama and it involves Jake's personal life, particularly his relationship with his sister, Lori (Lindsae Klein), his ill mother (Maggie McOmie) and his father (Blaine Palmer), the latter being the one with whom he is not on good terms. The plot is interesting, however, during the last thirty minutes or so, the film loses momentum. Even though the pace is slow from the beginning, during the final half hour it takes too long to get to the conclusion, making the viewing feel overlong, especially since the story's most dramatic event has already taken place. The author of this review would like to focus on title. Just explaining that ''Beau Ideal'' generally refers to something that is perfect. Although, after watching this film, one could comprehend why this title was chosen, however, taking under consideration that the plot involves a man attempting to save a boy he believes is in danger, Beau Ideal does not really prepare the viewer for what they are about to experience. Perhaps another title would had been more intriguing, maybe ''The House Next Door'' or ''The People Next Door''? Several years ago, the writer of this review had the privilege of analysing Green's acting in Escaping Freedom and it is great to see him deliver another strong performance, this time portraying a software developer and aspiring writer who finds himself being torn apart by his efforts to protect Cole and family issues. Reid's character seems to be the antagonist, a guy who drinks a lot, a family man who might have a dark side, that being a violent parent, while Michelle (super to see her doing another fantastic job too after her work in Escaping Freedom ) appears to be a vulnerable woman who is evidently also a victim to her partner's apparent aggressive behaviour. Even though Andrews makes brief appearances throughout the film, he is quite dramatic as a quiet troubled child who is homeschooled and his character is crucial to the story. This feature has a plot that relies heavily on domestic violence, particularly violence against children. In addition to these dark themes, suspicions, loss, family values, guilt, self-reflection and the significance of reaching out to help are also explored. A decent viewing with mystery, heavy drama, pensive and emotive music by Alejandro Villanueva Medina and great acting that unfortunately loses its grip during the final half hour. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Missing (Sagasu) film review by UK film critic Hope Madden. Starring Jiro Sato, Aoi Ito, Hiroya Shimizu directed by Shinzo Katayama. HOME | FILMS | REVIEWS Missing (Sagasu) Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 4, 2022 Directed by: Shinzo Katayama Written by: Shinzo Katayama, Kazuhisa Kotera, Ryo Takada Starring: Jiro Sato, Aoi Ito, Hiroya Shimizu Shinzô Katayama learned from the best, filling the role of Second Unit Director on Bong Joon Ho’s startling Mother . He applies much of that film’s family drama/murder mystery theme for his own thriller, Missing. Kaede (Aoi Itô) is a little fed up looking after her father, Harada (Jirô Satô). His depression and debt have only worsened since her mother’s suicide. She’s tired of being the grown-up. So tired of it that she dismisses his plot to track down the serial killer “No Name” for the reward money. When he disappears, she wishes she’d taken him more seriously. Missing plays in parts, and Part 1 takes on the frustration and fear of Kaede’s story. Itô convinces as the child maneuvering in an adult world, complete with the frustrations, condescension and outbursts that involves. The performance never leans toward sentiment, never asks for our sympathy, and is the more fascinating for it. Veteran Satô has no trouble finding an empathetic approach to a character in over his head. Satô complicates this questionable but lovable father figure. Harada is never an outright simpleton, always a loving family man. But he’s very, very flawed. We get Harada’s side of the story, too, but between the two we see a bit from the perspective of No Name (Hiroya Shimizu). After establishing a layered, tense drama, Katayama, who co-writes with Kazuhisa Kotera and Ryô Takada, pulls the tale back toward horror. Shimizu’s oily performance glides from apathy to curiosity to insincerity to sadism with unsettling ease. You root for the separated daughter and father, clearly out of their depth, but Katayama’s vision is more complicated than that. Katayama allows moral ambiguity to enrich the film, knocking you off balance and unsure of your alliances. Three strong performances keep you intrigued and guessing, but the filmmaker surrounds them with an assortment of oddities. No character in the film is truly flat, everyone is a surprise. Buried in this heady mystery is a thread about justice in the face of self-interest and the surprising joy of ping pong. It’s an engrossing feature debut from a director who knows how to play you. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Blunt Instrument film review by UK film critic Jason Knight. Starring Rose Muirhead, Marcus McSorley directed by Matthew Hill. HOME | FILMS | REVIEWS Blunt Instrument Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 20, 2022 Directed by: Matthew Hill Written by: Matthew Hill Starring: Rose Muirhead, Marcus McSorley A young woman helps a man whose car has broken down. However, something does not seem quite right. A man (McSorley) is driving by himself in the countryside. Suddenly, the car malfunctions and stops. He grabs a guitar case and proceeds to walk away, when another car approaches and a woman named Scarlett (Muirhead) offers to assist him. The man reluctantly agrees and introduces himself as 'Guy'. The two of them end up having a conversation and Guy claims that he is a musician and that he is on his way to a concert although it becomes apparent that he might not be telling the truth. This is a short thriller that mixes suspense with tension and drama, all of which develop due to the conversation between the two protagonists. As Scarlett helps Guy with his car, things get emotional as they get to know each other and share personal painful experiences with each other, such as the loss of a loved one and crying in front of a crowd. As they talk, more and more clues come to light that indicate that Guy may not be who he says he is and there is a constant fear that Scarlett's life might be in danger. McSorley is enigmatic and menacing as a strange individual who appears to be lying about who he is and what he is up to. He comes across as reserved and unsociable and is reluctant to talk about himself. However, he does reveal a tender side when he speaks to Scarlett about a bad experience he had after she talks to him about a devastating loss she suffered recently. Muirhead plays a friendly and helpful person who is kind to Guy, although she supsects that Guy may not be honest with her. Both leads deliver very convincing performances. Another strong aspect is the music by Giuseppe Alfano. The score is rather sinister and gives the impression that something terrible is going to happen. This is a suspenful and dramatic story about an individual who may or may not be up to no good. The script contains well-written dialogue and it will probably be quite intriguing for the audience as they attempt to figure out who Guy is and what he is up to. It is an experience that is worth pursuing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Making Peace film review by UK film critic Joe Beck. Starring Kourtney George, Nathaniel Buzolic, Dante Basco directed by Judah Ray. HOME | FILMS | REVIEWS Making Peace Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Jul 12, 2022 Directed by: Judah Ray Written by: Judah Ray Starring: Kourtney George, Nathaniel Buzolic, Dante Basco The multi-faceted Norwegian polar explorer and diplomat, who was also a Nobel Peace Prize Laureate, once said ‘I demolish my bridges behind me… then there is no choice but to move forward’. That’s the message which opens ‘Making Peace’ - it has very little to do with the actual plot. Set in 1969 - still amid the civil rights movement and when racism in America was an even bigger problem than it is today - a woman, Janis (Kourtney George) is driving down a deserted desert highway when her VW camper van breaks down. Fortunately enough, a car pops up out of nowhere driven by the seemingly amiable Dennis (Nathaniel Buzolic) who pulls over to pick her up. Inexplicably, Janis decides it would be a smart idea to hold the man at gunpoint and force him to drive, rather than, you know, accepting the offer of a free ride. Illogical decisions like this are common throughout ‘Making Peace’, particularly regarding Janis’ character. The two begin their road trip, a long journey, and Janis continues to threaten and act aggressively towards Dennis even though he has only helped her so far. Her only apparent reason for her hostility is the fact that he’s wearing a military uniform, having been off serving his country in Vietnam. Forgive me if my history is a little rusty, but were the soldiers who fought in Nam hated to such an extent. I was under the impression that, especially at the time, they were much revered by their fellow Americans back home. Strange. Naturally, Janis has a deep and disturbing past which explains her aggression - a cop-out decision to attempt to justify her antagonism, made when scriptwriter Judah Ray realised his protagonist was extremely unlikeable. There are also a few fake-out deaths, plenty of plot twists, and some painfully awry lines of dialogue in a script which doesn’t at all match the high standard of Ray’s direction. The difference between the two is night and day, whilst the script is indescribably awful, the direction is surprisingly effective. The use of colour and lighting makes up for the fact that it neither looks nor feels like 1969, whilst some creative shots keep it inventive and help to restore a little bit of sympathy with Janis. The actors, bless them, do their best with the script, and Kourtney George and Nathaniel Buzolic have good chemistry together, however, even they are languishing at times in the depths of bad dialogue. Perhaps the largest issue with ‘Making Peace’ is the aura of white saviour (there’s literally an evangelical glow around Dennis) which surrounds the entire plot. Janis is in a very confused and desperate mental state, it is Dennis, who is only treated by her with unkindness, who selflessly helps her out of that hole. This aura grows in significance when you consider the period of 1969 - as I said earlier, a period of immense racism. The script makes barely a reference to the issues faced by black people in the 1960s, in fact, it is Dennis who preaches that Janis has had it easy and that he’s grown up living a tough life. Now, that may be true, however, to completely discount Janis’ experience by not referring to the period’s racial tension feels disrespectful, to say the least. There’s solace to be taken in the little things that ‘Making Peace’ does well - the acting and direction mainly - however, the botched script and overriding ignorance regarding the period means that this critic cannot make peace with the film. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

R for R film review by UK film critic Sam Quarton. Starring Aashi Shetty and Sanchi directed by Sooraj Prabhaa. HOME | FILMS | REVIEWS R for R Film Review average rating is 1 out of 5 Critic: Sam Quarton | Posted on: Aug 3, 2022 Directed by: Sooraj Prabhaa Written by: Sooraj Prabhaa Starring: Aashi Shetty and Sanchi Zingless and devoid of dimensionality, this listless pean to sisterhood has a strange aversion to sororal kinship. By the end of Sooraj Prabhaa’s R for R, it resembles less a short drama about a destitute pregnant woman and her elderly aunt as they attempt to navigate financial tumult in an Indian suburb, and more a paradox. It’s a film brimming to the seams with nothing: characters act – and overreact – for little reason; the inchoate plot starts a third of the running time in; the setting is 2024 yet bares no socio-cultural difference to present day India. Christ, I need a drink. But perhaps worst of all in this listless paean to sisterhood is its’ illustration of familial abuse as a form of love. Take for example, the opening scene: the nameless pregnant woman, played with lamentable awkwardness by Aashi Shetty, sneaks out to scoff a packet of crisps only to be physically attacked by her baleful – and also nameless – aunt/overseer (Sanchi). It’s an odd, Draconian display of punishment against a relatively innocent vice – we’ve all done it, after all – which conjures up images of a prisoner/prison officer hierarchy, rather than sisterly kinship. Aside from semi-psychotic outbursts of rage, the aunt also suffers from a magical speech impediment – a la Ben Stiller’s Simple Jack from Tropic Thunder – which appears during the first act and disappears into the abyss, never to be heard again. Has it been cured? Did we imagine it? I suppose we will never know. But it’s a wonder if the stammer has been co-opted here as a performative quirk, a substitute for nuanced character design and a mask for poor acting. Shetty and Sanchi are not the sole perpetrators of this crime against logic, however. Writer-director Prabhaa must stand accountable too, who’s slipshod writing has produced two vaguely cartoonish feminine forms devoid of dimensionality and zing. It begs the question: what research has been done to actually understand the travail of women experiencing pregnancy within a maelstrom of poverty? Your guess is as good as mine. Buy UKFR Banner Space About the Film Critic Sam Quarton Short Film, World Cinema < All Reviews Next Film Review >

Our Planet, The People, My Blood film review by UK film critic Jason Knight. Starring Alan Owen, Brian Unthank, Bo Jacobs, Claudia Peterson directed by Daniel Everitt-Lock. HOME | FILMS | REVIEWS Our Planet, The People, My Blood Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 11, 2026 Directed by: Daniel Everitt-Lock Written by: Daniel Everitt-Lock Starring: Alan Owen, Brian Unthank, Bo Jacobs, Claudia Peterson An informative and worrying documentary about global Nuclear Weapons Testing, written and directed by Daniel Everitt-Lock. This feature is currently set for release in selected cinemas in the UK from the 12th of March. This film deals with a very serious subject. Through archival footage, photographs and interviews, this documentary takes the viewer on a dramatic journey, exploring the world of nuclear testing, how it affects the environment and people and the disclosures are shocking. The contents reveal the terrible effects radiation can cause to the human body and how the detonation of such bombs can destroy the environemmt. Also included are the Radiation Exposure Compensation Act, the Nuked Blood Scandal and the atomic bombings of Hiroshima and Nagasaki. Interviewees include Alan Owen, whose father took part in the testing of nuclear explosions, Nuclear Technology Historian Bo Jacobs, several atomic veterans and Alan's wife and sister. The feature looks into the testings of nuclear bombs that occurred in a variety of places, during different times. These include the testings at Christmas Island, at the Marshall Islands and on United States soil, such as Nevada. It is revealed that people who were involved in these operations, were affected by the radiation caused by the explosions and that those who lived at and near the testing areas were forced to leave their homes. Furthermore, the individuals who were infected by radiation ended up passing the effects to other generations and this continues to this day and so does the contamination of the environment. Governments are also taken into account and the theory is that the safety of those involved in the experiments regarding the bomb detonations was not taken under significant consideration and neither was the damage caused to the environment. The film also acknowledges that goverments have also refused to compensate individuals infected by the detonations. The archival footage is quite dramatic, containing plenty of images of atomic and nuclear explosions and the horrific effects it causes to the bodies of those who were unfortunate enough to be affected by it. By viewing all this, viewers learn the horrifying consequences of nuclear testing. This feature is very thorough in pointing out the damages caused by these kind of experiments, with lives being destroyed and lost and the planet being polluted. It condemns nuclear testings and disapproves of governments being inconsiderate about people's safety and protecting the planet and of being unwilling to provide assistance to those affected by detonations. A documentary that raises awareness of the effects the testings of nuclear bombs have on humanity and the planet. It is an intriguing and shocking viewing that deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >