Fearless film review by UK film critic Jason Knight. Starring Sheila Daniel, Maggie Kelly, Nashattar Kang, Nages Amirthananthar, Aileen Edwards, Anne Gache directed by Noella Mingo. HOME | FILMS | REVIEWS Fearless Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 30, 2025 Directed by: Noella Mingo Written by: Noella Mingo Starring: Sheila Daniel, Maggie Kelly, Nashattar Kang, Nages Amirthananthar, Aileen Edwards, Anne Gache A feature-length documentary about six women who moved to Britain following the Second World War. This film was written and directed by Noella Mingo. After World War II, Britains was in great need of people to fill in positions in areas such as transport, manufacturing and healthcare. In response, citizens from Commonwealth countries were requested to come to Britain and contribute to the demanding situation. Among them were these six women: Sheila Daniel, Maggie Kelly and Aileen Edwards from the Caribbean, Nashattar Kang and Nages Amirthananthar from India and Anne Gache from Ireland. These six individuals give interviews in this informative documentary, telling their story, starting from their childhood, how and why they ended up making the move to the United Kingdom, the challenges they faced after arriving and how they have lived since then. Through the interviews, a rich collection of photographs revealing various stages throughout their lives and archival footage (all methodically edited by Ken Mizutani), viewers will become familiar with these wonderful individuals and their inspiring stories and how they built their lives in Britain. All this is supported by a good selection of songs, including Cooking Up A Rhythm by Jonathan Boyle, Shakin' All Over by Johnny Kid & The Pirates and A Mother's Love by Lord Tanamo. Additionally, this feature also provides an account of what life was like in Britain decades ago, with racism and injustice making life difficult. There are several historical facts that are referenced, including the Partition of India, the 1958 Notting Hill Race Riots, the Race Relations Act 1968 and the creation of the NHS, making the viewing dramatic and educational. Dy documenting the lives of several women who moved to Britain not long after WWII and pointing out significant political issues, this feature provides a commentary about reminiscing the past, childhood memories, appreciating achievements, making life-changing decisions, building a life, immigration, racism and inequality. People who view this documentary will become get to know six likeable individuals who moved to Britain for work following WWII and will also get an idea of how things were there during those times. This is an informative film and one that acknowledges the joys of living life. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Society of the Snow film review by UK film critic George Wolf. Starring Enzo Vogrincic, Augustin Pardella, Matias Recalt directed by J.A. Bayona. HOME | FILMS | REVIEWS Society of the Snow Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 4, 2024 Directed by: J.A. Bayona Written by: J.A. Bayona Starring: Enzo Vogrincic, Augustin Pardella, Matias Recalt 2012’s The Impossible proved director J.A. Bayona could recreate a real life disaster with heart-racing precision, and then mine the intimate aftermath to find a touching depth. Since then, he’s had his big screen mind on monsters, with results both miraculous (A Monster Calls ) and mixed (Jurassic World: Fallen Kingdom ). Now, Netflix’s Society of the Snow finds Bayona back in the true adventure business. And his business in Society of the Snow is heartbreakingly, thrillingly, unbelievably good. It’s the latest account of the 1972 Andes flight disaster, a legendary ordeal that has been detailed in several books and films over the last five decades plus. Bayona read Pablo Vierci’s “La Sociedad de la Nieve” while researching The Impossible , bought the rights soon after, and now teams with co-writers Bernat Vilaplana and Jaime Marques for a harrowing and fittingly reverent treatment. Following Vierci’s lead, Bayona makes sure we get to know many of the members of the ill-fated Uruguayan rugby team, who were on their way to a long weekend in Chili when their plane – carrying 40 passengers and 5 crew members – went down among the snowy peaks. After an introduction that endears the young men to us via enthusiastic friendship and youthful naïveté, Bayona pulls us into the crash experience with a spectacular, terrifying set piece almost guaranteed to whiten your knuckles quicken your pulse. It’s a stunner, as it should be, because it anchors the film in a survival mode that will be tested beyond what most people could ever imagine. The ensemble cast, filled mainly with newcomers, is deeply affecting. The survivors will be pushed to their physical, moral and spiritual breaking points, and these young actors make sure not one exhausting second of it feels false. Bayona and cinematographer Pedro Lugue present the Andes as a beautiful monster in its own right, capable of majesty and menace in equal measure. The smaller you feel, the better, so experience this one on the biggest screen you can find. Forget what you know. Even if you’re aware of what these people went through, Society of the Snow will reframe the tale with a deeper level of humanity and courage. And should this legend be new to you, resist the urge to research until after you’ve seen Bayona’s take. It’s one unforgettable journey. Buy UKFR Banner Space About the Film Critic George Wolf Netflix, World Cinema < All Reviews Next Film Review >

The Stones and Brian Jones film review by UK film critic George Wolf. Starring Nick Broomfield, Eric Burdon, Marianne Faithfull directed by Nick Broomfield. HOME | FILMS | REVIEWS The Stones and Brian Jones Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Nov 17, 2023 Directed by: Nick Broomfield Written by: Nick Broomfield, Marc Hoeferlin Starring: Nick Broomfield, Eric Burdon, Marianne Faithfull At this point, it’s a good bet that any Rolling Stones fan who is familiar with the name Brian Jones is 1) dedicated 2) old or 3) both. With The Stones and Brian Jones , documentarian Nick Broomfield aims to add some numbers to that list, reminding all who will listen about Jones’s place in the Stones enduring legacy. It was, after all, guitarist and blues devotee Brian who is credited with forming the band at the age of 19. He recruited Mick, Keith, Charlie and Bill via other groups or local advertisements, and was the Stones figurehead until the Jagger/Richards cocktail of rock charisma and songwriting prowess began to take over. As he did with 2019’s Words of Love: Marianne and Leonard , Broomfield leans on archival footage and interview audio to effectively stamp the time and place. He surrounds us with England in the 1960s, pulling us into the story of a young man whose troubled relationship with his parents drove both his ambition and his self-destructive nature. We hear from other musicians (retired Stone and devoted archivist Bill Wyman serves as a consultant on the film), friends, family and the various girlfriends who bore his 5 children. And while we certainly get a peek behind the rock star curtain (“He just uses people”), Jones’s eventual fade into the background comes off as inevitable. His haircut was mod, his aim to keep the band bluesy was pure and his attention to fan mail was sweet, but he didn’t sing and didn’t write songs. Again, do the math. For music fans, Broomfield has assembled a wealth of audio and video that feels like a must-see scrapbook on the birth of a legend. Ironically, it all casts a spell that’s only broken by the more recent Zoom-like interviews that are included (including Wyman, which only draws more attention to the absence of Mick and Keith). It’s hard not to smile as a young Brian tells a reporter that he’d do it all again “a hundred times,” and wonder if he ever could have imagined that even today, the history of the band he started would somehow still be adding chapters. But Brian’s personal history was cut short, and much like in Words of Love , a parting note from long ago becomes a bittersweet ode to the real lives that got away from the people living them. Mr. Jones may not have been a survivor, but as Broomfield makes clear, he should be remembered as more than a footnote. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release, Documentary < All Reviews Next Film Review >

Watch the Luca trailer, the newest Disney Pixar film to be released in 2021 (hopefully). If you enjoyed the Luca trailer, be sure to let us know on social @UKFilmReview as well as check out our website for more film trailers like this.. Brand new film trailers. Luca Trailer Watch the Luca trailer, the newest Disney Pixar film to be released in 2021 (hopefully). If you enjoyed the Luca trailer, be sure to let us know on social @UKFilmReview as well as check out our website for more film trailers like this. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Zero Percent film review by UK film critic William Hemingway. Starring Brandi Botkin, Chris Dettone, Kennedy Hancock directed by J.W. Cox. HOME | FILMS | REVIEWS Zero Percent Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jan 25, 2024 Directed by: J.W. Cox Written by: J.W. Cox Starring: Brandi Botkin, Chris Dettone, Kennedy Hancock Trapped in a dingy basement is Eden (Botkin). She has a thin mattress down on the floor, placed against the back wall, to serve as a makeshift bed and she has nothing save for her underwear and a very thin blanket to preserve her modesty. She has her friend Bacon, a stuffed toy pig, to help keep her company although he can’t, of course, provide her with any advice or physical assistance. The Zero Percent of the title refers to the amount of chance Eden has, as related to her by her captor, a man referred to only as the Pastor (Dettone), of her getting out of the chain around her leg which keeps her prisoner. And so we are thrust into the middle of a dark and dangerous situation, albeit one which has been told many, many times in mostly the same sort of way, as we enter into the story of Zero Percent . So, with strong reminiscences of The Disappearance Of Alice Creed (2009) and Room (2015), along with a slew of other films of a similar ilk, we’re asked yet again to sit through the imprisonment of a young female captive who must do her very best to survive, endure and ultimately escape her desperately dire situation. What writer/director J.W. Cox then does, to inject a smattering of intrigue into the rather well-worn scenario, is to suggest that something else may be going on outside the confines of the four walls of that small prison of a basement. The way that the Pastor talks, introducing ideas of needing to scavenge for supplies, mentioning the ‘end of the world’, and invoking Revelations, is supposed to suggest to Eden, and of course to us, that some catastrophic calamity has befallen society. This ambiguity is then left hanging in the air, with no way of proving or disproving its reality, to Eden or to us, and shifts the narrative slightly, more towards that of another captive/survival/horror movie, 10 Cloverfield Lane (2016). This, however, does nothing to shift the feeling that we’ve seen this sort of thing before. Thankfully, the basement isn’t quite as dingy as it may first appear, with plenty of light streaming in through the windows from up at street level. This allows cinematographer, Matthew Kennedy to capture that light, and the colour that it provides, to create some genuinely good looking shots. Cox’s direction is also steady and sure, being as he is a veteran of more than fifteen shorts over the course of his career, and none of the small details are missed when cutting to characters’ faces or the hidden machinations of Eden. The sound design is effective, except for maybe one short scene, and the score from Jack McCarthy provides a decent brooding atmosphere to keep the viewer firmly grounded in the scenario. The main performance from Brandi Botkin as Eden is also very strong. There may very well be some sort of commentary going on here from Cox about the nature of the church, or religion, or God – what with the captor being a pastor, that Eden is a pretty obvious epithet, and that nobody can legitimately verify if what the pastor is saying is the truth – but unfortunately nothing along these lines really gets explored during the short ten-minute runtime. It would have been nice if there really was something else going on behind the scenes as it would have offered another dimension to what is otherwise a pretty average captive movie with nothing else to add to an already over-saturated genre. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Mom I Am Alone film review by UK film critic Patrick Foley. Starring Erin Dickson, Morgan Black directed by Naveen Sunag. HOME | FILMS | REVIEWS Mom I Am Alone Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jun 21, 2022 Directed by: Naveen Sunag Written by: Naveen Sunag Starring: Erin Dickson, Morgan Black I wish there was a little more to say about Mom I Am Alone. A minimalist short focusing on loss, an overall lack of anything original or substantive undermines stronger performances and scene construction. The evening before an important presentation, a woman (Erin Dickson) is disturbed by the presence of a visitor at her window (Morgan Black). The young girl pleads with the woman, her mother, to let her into the house. But knowing this is impossible, the woman can only draw the curtains – as the truth of their relationship is revealed. Mom I Am Alone is a short conceptual film about loss, and how those we lose stay with us. But its overall message is confusing and lacking in both originality and gravity. The film carries many traits of a horror – with an eery and discomforting visitor in the night haunting the protagonist, resurrecting her feelings of grief. Yet the film builds to a much more positive message that acceptance of grief and loss is a part of life – and how those we lose stay with us as we move forward. The problem with this is that the main character is not shown receiving this message herself by the film’s story. Her journey from shutting out the visitor, to making her own visit to a resting place, involves too few story beats to drive home the film’s theme or demonstrate any kind of reasoning behind her character development. It feels like an entire middle section is missing from the film – which would have included critical elements of the story. Little else is raised by the plot for viewers to really relate to. There are hints that the mother may be behind the reason why she cannot allow her daughter into the house, but this is not developed or woven into the story beyond a single line of dialogue. Her lack of surprise at the visitor’s appearance conversely is a good example of storytelling – hinting towards this being a regular occurrence that she has yet to learn how to deal with. Erin Dickson gives a strong performance as the mother, torn between embracing the visitor and allowing her into the home, but grounded by the cruel reality she knows she must learn to accept. Morgan Black’s ambiguous and fractured visitor carries an ethereal air – hints to her true nature of being formed of memory and pain. Both performers are well-cast and play their roles well – it’s a shame the story does not give either a little more to portray. So where short films do have to omit depth and lengthy plots, Mom I Am Alone brings too little to the table when exploring its themes. What is left is a concept that allows for some good performances, but not a whole lot else that has not been accomplished better elsewhere. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Indie Feature Film, Digital / DVD Release < All Reviews Next Film Review >

The Pod Generation film review by UK film critic George Wolf. Starring Emilia Clarke, Chiwetel Ejiofor, Vinette Robinson directed by Sophie Barthes. HOME | FILMS | REVIEWS The Pod Generation Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 9, 2023 Directed by: Sophie Barthes Written by: Sophie Barthes Starring: Emilia Clarke, Chiwetel Ejiofor, Vinette Robinson There are some scary implications to be found, but The Pod Generation is no horror show. In this near future world, couples – and women, specifically – willingly line up for the chance to get pregnant outside the womb. Writer/director Sophie Barthes (Cold Souls , Madame Bovary ) cooks up a smart, darkly funny and satirical look at the many faces of “progress” that still gets stuck on repeat in the third act. Rachel (Emilia Clarke) has a well-paid gig monitoring influencers (that’s a full-time job!) at a tech firm. Her husband Alvy (Chiwetel Ejiofor) is a botanist and teacher. And from cognitive assistants to breathing bars and nature “sessions,” Rachel’s fine with all the comforts provided by technology, while Alvy is much more comfortable keeping things actually natural. So there’s a conflict when Rachel gets an unexpected message from tech giant Pegazus. After years on the waitlist – there’s an opening at The Womb Center! Do Rachel and Alvy want to be next to grow their baby in a pod? Alvy is plenty wary, but Linda, the Womb Center director (Rosalie Craig, terrific) is mighty persuasive. In a speech that feels like the cynical sister to America Ferrera’s truth bomb from Barbie , she wins the couple over with the reasons why women are no longer “victims of biology.” We’ve seen films about the hidden dangers of technology for years now, but Barthes brings a slyly vital approach to the discussion, and gets a big assist from production designer Clement Price-Thomas. Everything in this world is sleek, futuristic and creepily intrusive, but just close enough to our own surroundings that we have no problem accepting it as possible (even probable). Pair that with the excellent work from Clarke and Ejiofor, and Barthes has fertile ground to dig in. She peppers the outside with some dry, funny barbs about relationships and work life, while the meat in the middle takes on gaslighting and the slippery slope of trading control for convenience. And yet, as big and worthy as these ideas are, you expect the pregnancy arc to end with a little more bite. There’s more than enough to keep us engaged while a desperate couple is weighing their options, but once it’s decision time, The Pod Generation doesn’t offer much beyond what we’ve known since we were amazed by the click wheel. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Do It For Her film review by UK film critic Joe Beck. Starring Fady Elsayed, Jonathan Hansler, Patsy Prince, Malikai Nwaka directed by Shehroze Khan. HOME | FILMS | REVIEWS Do It For Her Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Jul 7, 2022 Directed by: Shehroze Khan Written by: Mohammedally Shushtari Starring: Fady Elsayed, Jonathan Hansler, Patsy Prince, Malikai Nwaka A title like ‘Do It For Her’ immediately makes you think it’ll be the latest Jennifer Anniston rom-com, but in fact, this neat little short is anything but. Rather, it’s a tale of a young man with a crippling gambling addiction - not quite to the anxiety-inducing level of ‘Uncut Gems’, and with a lot less Adam Sandler - ‘Do It For Her’ is nonetheless an effective introspective thrill-ride into the pitfalls of making a bet. Bilal (Fady Elsayed) is a young man, stumbling through his university coursework whilst living at home with his mother (Patsy Prince) and her partner Steve (Jonathan Hansler). He works, trains and spends time with friend Ryan (Malikai Nwaka), who just so happens to work with his dad at the family jewel shop. The problem with university coursework, and that tricky stage in adult life in general, is the finances. Money is hard to come by when you're a student - having to divide time between work and studies is far from ideal, and this leads Bilal down a dark path. Bilal’s plight is perhaps amplified by the fact that he is a man of faith - of Islam. The Quran forbids Muslims from gambling, however, the reckless young man that he is, Bilal puts faith on one side in order to aid his financial state. Things begin well, money is earned through the tap of a button and Bilal splurges - spending money on Ryan (who enables the addiction to begin with) and on his mother’s bake sale at the Mosque. A fresh fifty-pound note deposited in the donations box - the cupcakes must be nice. However, all is not rosy and the spiral of decline begins - Bilal’s losing streak begins and has no end in sight - it’s not long before he’s in a deeper hole than the one before he started. ‘Do It For Her’ is at its best when demonstrating the damaging effects of gambling - both on Bilal and those around him. Bilal distances himself from others, shutting himself off from friends and family and becomes aggressive and impulsive. As he begins to feel as though the noose is tightening with regards to the debt, he is prepared to risk it all in order to escape. All this is impeccably acted by Fady Elsayed, who transitions from a friendly student to a vulnerable, violent addict with ease. Elsayed captures the viewer’s attention, and ensures that however he feels, we feel to - it is a carefully measured performance, one that could, with the wrong actor, veer into overacting, however, Elsayed is phenomenal throughout. Whilst the effect of Bilal’s addiction on Ryan and Steve are both hard-hitting, the effect on his mother is rather more ambiguous. As you may have guessed by this stage - ‘Do It For Her’ refers to Bilal’s mother, a problem given that she remains an unknown entity throughout - seemingly empathetic towards Bilal but equally unjustly angry at Steve. Other characters around her - in particular Steve - are far more intriguing than the ‘Her’ the title refers to - a significant setback when believing or sympathising with Bilal’s ultimate motivation. Still, ‘Do It For Her’ is a fine example of what can be done with a good script and talented actors. Shehroze Khan is an effective director, perfectly outlining Bilal’s isolation even when surrounded by those he loves. Take a gamble on ‘Do It For Her’, it’s not the lovey-dovey mush the name suggests. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

"Theoretically a much more paranoid conspiratorial phone-call" film review by UK film critic John McKeown. Starring Jorge Villacorta, Michael Lake directed by Jorge Villacorta, Michael Lake. HOME | FILMS | REVIEWS "Theoretically a much more paranoid conspiratorial phone-call" Film Review average rating is 1 out of 5 Critic: John McKeown | Posted on: Jul 4, 2022 Directed by: Jorge Villacorta, Michael Lake Written by: Michael Lake, Jorge Villacorta Starring: Jorge Villacorta, Michael Lake There’s nothing that isn’t theoretical in this self-described ‘Comedy, Crime, Drama, Horror, Thriller’ from actor-directors Michael Lake and Jorge Villacorta. Though ‘theoretical’, with its intellectual associations, is a far too flattering adjective. What I mean is that this 110-minute piece of filmed activity is devoid of anything resembling serious humour, crime, drama, horror, or thrills. The closest it comes to any of these genres is horror. As it left me completely aghast, not with fear, dread, or shock, but teeth-grinding irritation. Not least because they hide the incoherence of this ill-conceived product behind a mask of irony, which compounds the clumsiness of the whole thing. “This exciting feature film has been inspired by the INTERNATIONAL ORGANIZATIONS DIVISION, created in 1950 to fight and promote anti-Communism through cultural warfare” the blurb to the film tells us. It begins with Michael Lake as ‘Intelligence Officer One’, speaking to camera, addressing an intelligence committee to explain that he wants the investigation into the assassination of John F. Kennedy reopened, and that he intends to pursue the investigation whether they approve or not. This opening ten minute segment is as clear as the film gets. The ensuing 100 minutes is exclusively concerned with Villacorta on a mobile phone outside some kind of mural monument, possibly in Mexico City. Who is this man? Our only guide is the blurb: “the Boss (of the CIA committee addressed by Intelligence Officer One? ) must talk to the Pro Bono Spy Hunter (a ‘Pro Bono Spy Hunter’? Don’t they usually set spies to hunt other spies? And don’t they get paid an impressive salary? ), his Valet, and face what seems ‘forceful replacement’.” The awkward syntax suggests that the Valet is the ‘Spy Hunter’, in which case the man on the mobile is the Boss. But, why is a CIA boss doing active field work? And very onerous field work at that, as he’s on his mobile phone for at least twenty four hours pacing up and down outside the monument-mural. Crucially, what on earth has this to do with the JFK investigation? The blurb also recommends that we watch the first episode of a documentary called ‘Hidden Hands, a different history of Modernism’ which, apparently, relates how the International Organizations Division sought to promote Abstract Art to counter the preferred Soviet Socialist Realism School of Art, because Abstract Art wasn’t (still isn’t) a good vehicle for promoting social ideals. I think I detected the mysterious man on the phone referring to something like this idea in the last few minutes of the film, but it’s very difficult, and very tiring, to try and follow what is actually being said, to whoever he’s speaking to (his Boss?). One problem is Villacorta’s Hispanic accent which makes no concession to clarity of sound recording as he sashays up and down outside the mural, with the camera stuck right under his chubby chin. In a later section, when day has dawned, and the traffic flows, the camera pulls away and we see Villacorta in all his glory. Yes, Villacorta, as the film seems to be as much about a hilarious Him as any jubilant but nefarious spy. During this section of the film, Villacorta becomes slightly blurred (intentionally, perhaps to suggest the idea of a passers-by view) and his voice is drowned out for several minutes by traffic and the sound of a low-flying jet. Later we see, and hear him, snacking in his kitchen at home, and - still chattering on the mobile - looking anxiously through the window, trying to detect signs of THEM, who are coming to ‘forcefully replace him’. There is one interesting line in this almost two hour sputtering body- and hand-held-camera jog through crypto-filmic narcissism: “power is just a tool to make a more comfortable life, especially if you’re a bit of a sadist.” That ‘bit’ surely must be Villacorta and Lake. Buy UKFR Banner Space About the Film Critic John McKeown Indie Feature Film < All Reviews Next Film Review >

Albert Sowerby-Davies writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Albert Sowerby-Davies I am a third-year student of History and French at the University of Oxford, currently living and working abroad in France. At university I spend most of my time reading, discussing and writing about French literature, particularly my favourite authors: Montaigne, Diderot and Flaubert. Beside my academic interests, I love to create stories, plays and short films (the latter mostly with a collage/pop-art feel to them). I enjoy drawing upon the techniques used by some of my favourite film directors such as Jean-Luc Godard, Wes Anderson and Takeshi Kitano. When it comes to cinema, I like films of all genres. I’ve always loved discussing movies, and – thanks to UK Film Review – I have now been handed the golden opportunity to put my opinions into words. Although my list is always changing, my five favourite films at the moment are Before Sunrise (1995), Rashomon (1950), Somersault (2004), Kikujiro (1999) and Beau Travail (1999). Read Latest Film Reviews

Strange Acts of Love film review by UK film critic Patrick Foley. Starring Masashi Yamamoto directed by Masashi Yamamoto. HOME | FILMS | REVIEWS Strange Acts of Love Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 28, 2023 Directed by: Masashi Yamamoto Written by: Masashi Yamamoto Starring: Masashi Yamamoto Masashi Yamamoto’s signature experimental stylings are committed towards the concept of finding ‘the one’ in Strange Acts of Love, an irreverent animated short made up of quick segments populated by a colourful cast of characters. The film showcases Yamamoto’s typically honest and eccentric humour and imaginings of life, love, heartbreak and happiness. Amongst the segments are two morph-like figures examining a microwaved heart, a couple’s relationship literally making them float, a particularly happy pair of giraffes and more. Each segment lasts seconds at most, but features a unique take on the dynamics of relationships. The art and animation is vibrant, unconventional and immediately engaging. With no dialogue and minimal sound effects, the visuals are the primary method of storytelling, and the level of detail and imagination packed into the short runtime means that each mini-story will leave an impression with the viewer. Despite the childlike art-style, the animation itself is certainly not for the kids and Yamamoto is not above getting vulgar at times to explore realistic, uncomfortable and ugly truths about love. Not every viewer will relate or appreciate every section, but the creator’s daring approach to his work is admirable regardless. The film does seem to lack an overall theme or message, and prefers instead to allow each of its smaller parts to exist on their own – linked instead by their style and larger overall focus. Audience members will be forgiven if they question just what the film’s real point is, but the point might be more that there is no point to begin with. Yamamoto’s work is more dreamlike, drifting in and out of various interpretations and ruminations without the constriction of a defined plot. It’s certainly not going to be to everyone’s taste, and the film does feel more made for committed fans of the filmmaker’s work or for specific presentation settings than for the general viewing experience. Whilst bold and boundless, the ultimate point of much of the short segments are also left to the viewer’s own receipt. Again, some are likely to question the point, but one’s own response to what they are presented with is perhaps the most interesting element of the film – and no viewer’s experience is likely to be the exact same. Strange Acts of Love requires an open mind to get the most out of. Visually striking and impressive is standard for Masashi Yamamoto – it is the emotional and intellectual response that the director is looking to stimulate that is the film’s real aim. It’s not the most effective short to engage these such questions with such a minimal plot, but more of its shorts than not will illicit a reaction. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Animation < All Reviews Next Film Review >

Big Smooth film review by UK film critic Patrick Foley. Starring Neil Fingleton, Ian Whyte, Jenny Platt directed by Paul Stainthorpe. HOME | FILMS | REVIEWS Big Smooth Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 18, 2023 Directed by: Paul Stainthorpe Written by: Paul Stainthorpe Starring: Neil Fingleton, Ian Whyte, Jenny Platt The life and story of high school basketball sensation, Game of Thrones actor and Britain’s tallest man Neil Fingleton is lovingly told in Big Smooth, a documentary feature from director Paul Stainthorpe that, like its giant subject, really stands out in a crowd whilst maintaining a down to earth and humble connection to the things in life that really matter. At 7-foot, 7-inches tall, Neil Fingleton’s life was one unlike almost anyone else’s on the planet. The documentary follows his unassuming beginnings in Durham, to attending high school and college in America on a basketball scholarship, to starring in Hollywood films and esteemed TV series upon retirement. His friends and family paint an endearing and moving picture of a man who maintained an impossible normality in extraordinary circumstances. There is a genuine warmth and care that exudes from Big Smooth. Considering Neil Fingleton’s height gave him a unique life filled with both challenges and advantages, it is to director Paul Stainthorpe’s immense credit that the personality, character and dreams of the man are as engaging as the exceptional conditions he is faced with due to his physical attributes. The story of a young boy from Durham finding his way in the alien world of US high school basketball is a fascinating story regardless of height, and the love and admiration with which the documentary’s interviewees - including Neil’s family in the UK, his guardians and friends in the USA, and his teammates and colleagues in the basketball and acting world – are similarly testament to a remarkable story of a man many viewers will be unfamiliar with. The film is considerate and contemplative when it considers Fingleton’s size – painting a picture of a boy and a man with an attribute most would consider to be a huge advantage in life, and deconstructing beliefs many may take about living life as a ‘giant’. The film does not shy away from evidencing Neil’s advantages on the court, but also details the challenges of his size – including those that meant his career may have been cut shorter sooner than players much smaller than him would have to contend with. Considering both the filmmakers’ and the interviewees’ clear admiration for Fingleton, the balance and honesty with which these are addressed makes for an authentic and convincing account of his story. The film isn’t perfect and can occasionally drop its narrative and focus in favour of the anecdotes – which whilst consistently funny and interesting can cause the viewer to lose sense of the linear story approach the director takes. It can appear that certain footage of Fingleton’s basketball career is recycled a number of times as well which has the unintended effect of undermining his accomplishments and ability raised by contemporaries by suggesting there was little else that can be evidenced beyond the shown clips. But these rough edges never take away from the film’s ultimate themes, message or intent – which is to do justice to Neil Fingleton’s remarkable story with honesty and integrity, and show that a person’s character leaves more a lasting impression on those they love than any physical quality. There’s an obvious temptation to end this review with a terrible pun about ‘reaching new heights’ or ‘towering over competition’ – but for a film that is about Neil Fingleton’s height as equally as it is NOT about it, the dad jokes have to take a back seat. Let’s just say that Big Smooth is a brilliant documentary and fine example of how to capture the essence of a life – whether it is a remarkable one or not. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Documentary < All Reviews Next Film Review >