Dinner Party N1 film review by UK film critic James Learoyd. Starring Pierro Niel-Mee, Rhea Norwood, Freddie Thorp directed by Tom Duthie. HOME | FILMS | REVIEWS Dinner Party N1 Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Sep 20, 2024 Directed by: Tom Duthie Written by: Tom Duthie Starring: Pierro Niel-Mee, Rhea Norwood, Freddie Thorp The first thing you’ll notice about Tom Duthie’s terrific new science-fiction drama Dinner Party N1 is its engrossing, subjective direction. There’s an immediacy to the storytelling which skilfully hooks in the viewer from the outset, and guides us through its distressing twists and turns. As we follow our awkward protagonist through his irksome dinner party interactions, one gets the sense that something isn’t right. Yet the way in which the true nature of the film’s world is revealed to us is so subtle, behavioural, and intelligently-paced that we wholeheartedly believe in the reality we’re witnessing. Because the emotions present are so easy to empathise with – that of social anxiety and alienation – it means that as we delve into big genre concepts, the audience is completely invested. There are many technical reasons why the piece is successful; - but it’s quite astounding that the movie works so well on a visceral level of engagement and suspense. And you could even argue that this all starts with the performances... A masterstroke of this movie is the casting of performers who are able to treat high-concept or expositional dialogue the same way as they treat grounded, conversational dialogue. All the acting is truly great; it allows the spectator to believe in the scenario, as well as fully comprehend the amusing (and often disturbing) dynamics at play. Each character is written with a clear purpose in mind, which is to operate on two different levels simultaneously. We need to find the cringeworthy chat real and relatable, whilst also buying into the later sci-fi reveal, which should recontextualise the hostile sensibilities seen previously. The film not only pulls this off, but does so smoothly and pleasingly. Similar to a Who's Afraid of Virginia Woolf type narrative, the tension builds and builds until all the emotions come flying out. But what makes this picture different is how it uses its sci-fi concepts to layer the story with deeper and more politically provocative meaning. The manner in which music, sound, and aesthetics in general are implemented is practically perfect. It’s just a fabulously well-made movie, whose cinematography and design have clearly been constructed with great thought and care. These formal strengths complement the content of the piece, which is even more interesting. For instance, the story’s climax is gruesome and shocking in all the best ways, and is so clearly an example of technique and story working perfectly in tandem. Arguably, very few low-budget shorts hold the power to viscerally stun its audience with this kind of crescendo of suspense, yet Dinner Party N1 makes it look easy. This short film holds your attention from start to end due to its story, its construction, and its outstanding performances. The best science-fiction reflects fully the state of the world today, and this ambitious project accomplishes saying a hell of a lot without being too obvious. The piece is destined to reach a wide audience since it works both as a work of realism and as a work of genre; and that’s a sign of expert movie-making. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Sophie Price writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Sophie Price Sophie is a writer for UK Film Review. Providing film reviews on a range of movies. Read Latest Film Reviews Who's There? Read Film Reviews Sophie Price

The Smashing Machine film review by UK film critic Jack Salvadori. Starring Dwayne Johnson, Emily Blunt directed by Benny Safdie. HOME | FILMS | REVIEWS The Smashing Machine Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Sep 3, 2025 Directed by: Benny Safdie Written by: Benny Safdie Starring: Dwayne Johnson, Emily Blunt Benny Safdie flies solo in his first feature without his brother, Josh, and I’ll admit I braced myself for the post-Coen effect: the couple splits, the magic fizzles, and suddenly you’re watching Drive Away Dolls . But fear not: Safdie proves himself here, holding onto the raw, electric vision that made Good Time and Uncut Gems so propulsive, while giving it a new muscular tenderness. On paper, it’s a sports biopic about professional wrestler Mark Kerr. In practice, it’s something richer: an honest character study, always observational rather than exploitational, and mercifully free of the genre’s usual sentimental sludge. And that’s a deliberate choice since Kerr, still alive and relatively in shape, doesn’t even carry a particularly distinguished, nor dramatic story. Safdie resists the urge to chart the wrestler’s entire life or moralise about his demons. Instead, he just lets us watch: this muscle mountain making a perfectly calibrated milkshake, or stumbling under Tokyo’s neon glow, looking like a lost Godzilla. Kerr is a paradox, a gentle giant who likes to win, but fights with animal instinct in the ring. The mundane becomes cinematic, and the spectacle of violence is countered by the quiet grace of a man who treats fighting like a vocational art form, as disciplined as ballet. Yet the film never glamorises the sport itself, wisely treating Kerr’s love of the craft as just another bruise in his battered identity. And then there’s Dwayne Johnson. Safdie’s casting choice feels cosmically inevitable, as if fate had been crouched in the corner, waiting for the bell to ring on this matchup. Because Johnson was born to play Kerr, finally stepping into a film with a script that doesn’t just use his bulk, but his humanity. He moves through the part with an unforced vulnerability, as if he’s been waiting years to shed the superhero armour and just… feel things. Flashback to 2001: you’re watching The Mummy Returns and The Rock emerges as the glitchy Scorpion King, in full CGI galore. The idea that 25 years later he’d be chasing an Oscar would’ve sounded like fantasy, even for Hollywood. The writing is equally sharp, calibrating action and stillness with precision, knowing when to explode and when to let silences do the heavy lifting. There’s something almost thrilling in watching a character do something trivial and still feel the tension coil around the room. With The Smashing Machine , Benny Safdie shows he can step into the ring alone and come out with his hands raised. And Dwayne Johnson finally gets to prove that even (The) Rock can cry. Buy UKFR Banner Space About the Film Critic Jack Salvadori Theatrical Release < All Reviews Next Film Review >

Existere film review by UK film critic Swati Verma. Starring Alexandre David Lejuez directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Existere Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 29, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Alexandre David Lejuez The title of the short film-"Existere "has connotations of existence, life. It gives the audience an idea about the subject matter of the short film. The writer-director Alexandre David Lejuez opens the cinematic piece with a quote about life by Abraham Lincoln to get the viewers to think about the creative piece from the very beginning of the movie. The genre of the film is Fantasy where Alexandre builds the script to explore the concept of a few sections of life flashing before our eyes at the time of death. The white font of the title is used to indicate the peaceful state of mind and the red hue around suggests that the brain is preoccupied with the thought of the theory the makers want us to consider. The combination of yellow and red colour palette, lighting, set design, costume design along with background music complements the topic of the film. The camera tracks the protagonist followed by a mix of mid and close-up shots to capture every reaction of the main lead in the movie. The narrative of the film is from the point of view of Angelo who becomes a medium through which the director gets a chance to express his attraction towards the afterlife, souls, and the hidden memories related to it. The storyline of the movie is about a man Angelo in his thirties who sees a few fragments of his life flashing before his eyes in a strange dream. It would be interesting to find out whether he can find answers to the question this weird dream has compelled him to ask? Alexandre David Lejuez steps into the actors shoes himself for this movie. He makes the one-room drama more intriguing for the audience by using the flashes and editing skills to showcase the dreams Angelo is experiencing. He wants the audience to relate to the central character. The director wants the viewers to be convinced about his experiment. The audience feels that they are an active part of Angelo's journey through the abstract dream but whether the director is successful with influencing the viewers would be known later. There are no dialogues in the film to intensify the impression of traveling into the parallel world created by the director along with the creative team. The director Lejuez has given the film an open- ended closure so that it can be interpreted according to the understanding of the crucial aspect of life at an individual level. The theme the film is highlighting cannot mean the same for everyone and can vary depending on their experiences. This short film is a sense of involvement that consumes the audience fully. It talks about the importance of gaining knowledge about what happens after death? By achieving this insight struggles of losing a loved one at hands of death can be a little less painful. Existere attempts to tell us that the assumptions made in the film can be the harsh reality of life that no human can deny. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Nothing To It film review by UK film critic Jason Knight. Starring Paul Anthony Cassidy, Jack McCallum, Barbara Spevack, Gerard Rogan directed by Barbara Spevack. HOME | FILMS | REVIEWS Nothing To It Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 5, 2024 Directed by: Barbara Spevack Written by: Barbara Spevack, William Shakespeare Starring: Paul Anthony Cassidy, Jack McCallum, Barbara Spevack, Gerard Rogan A couple of people are trying to convince an actor to kiss another man for a Shakespearean play. Two actors are on a theatre stage, doing rehearsals for Romeo and Juliet by acclaimed English playwright and poet William Shakespeare. However, there is a catch: Juliet is played by a man. The actor playing Juliet is Dane (Cassidy) and Romeo is Rio (McCallum) and the rehearsal is being supervised by the director Taz (Spevack). Things are going well, that is until they get to the part where the two leads kiss. Dane is not comfortable with that action and repeatedly refuses to perform it. Can he be persuaded? A short Shakespeare-themed comedy that centers on the idea that heterosexual men believe that kissing another man (on the lips) is embarrassing and Dane certainly shows that as he behaves like a stubborn little boy, refusing to perform the ''daring'' act. Rio and Taz try to make him understand that kissing for a role does not mean anything because it is just acting. And that seems to be a point that the film is trying to make: that acting is just acting and the actions done by a person while they are acting do not have any significance because they are ''not real'', they are just pretending. This light-hearted film benefits greatly by the amusing performances, especially by Cassidy. Watching him on stage, dressed in period female clothing (wig included) and reciting words from Shakespeare's play with a quirky and childish voice (ostensibly attempting to sound like a woman) will most likely make the viewer grin. McCallum and Spevack add significantly to the amusement, with the former being a cheeky actor and the latter being a sweet and kind theatre director. Acknowledgement goes to the period costumes, a fine work by Bev Sweeney and the make-up by Nike Johnston also looks great. The very first shot is to be recognised. The film begins with a wonderful poster image of Romeo and Juliet by English Victorian painter and illustrator Frank Dicksee and it was an excellent choice. The choice of music during the beginning and the closing credits was wise as it creates a kind of feeling that makes the viewer think of the time of Shakespeare. Generally, this short is three-and-a-half minutes of entertainment. From another perspective, it explores the theory that sometimes people think too much of things and when they actually do them, it tends to be less significant than they thought. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Good Neighbours film review by UK film critic William Curzon. Starring Karl Kennedy-Williams, L. A Rodgers, Chrissie Wunna directed by Richard Anthony Dunford. HOME | FILMS | REVIEWS Good Neighbours Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Jul 15, 2026 Directed by: Richard Anthony Dunford Written by: Richard Anthony Dunford Starring: Karl Kennedy-Williams, L. A Rodgers, Chrissie Wunna Good Neighbours follows a couple, Luke (Karl Kennedy-Williams) and Tamesha (L. A Rodgers), as they invite their peculiar neighbours around for a welcome dinner. As the night progresses, things take a dark turn as the couple find themselves in a fight for survival. The piece is a crowdfunded British sci-fi horror feature heavily inspired by Invasion of the Body Snatchers (1978). Good Neighbours opens with an incredibly well-executed sequence of tension that suggests the film is going to take a sinister turn tonally as it progresses. Sadly, the remainder of the runtime fails to commit to the tightly managed suspense of the opening due to an identity crisis in its mix of dark and comedic elements. While many of the comedic aspects are commendable, it doesn't fully commit to either its more serious or campy tone. This is perhaps because the piece prolongs its narrative into a full-length feature rather than a short, meaning the build-up never feels earned due to these tonal issues. It's truly a shame, as it nails the dramatic tension in the opening, instantly thrusting the viewer into the characters’ points of view. However, many characters are shoehorned into conflict for shock value with no further exploration. Richard Anthony Dunford, serving as the film’s cinematographer, does a commendable job of framing each sequence with a mix of tracking shots following the characters during moments of conflict. While much of the runtime consists of fixed camerawork, the shift to handheld during moments of conflict really ramps up the pacing. The use of low-key lighting, however, detracts from the viewing experience, as it can make it difficult to discern what is happening in certain sequences. Additionally, the film’s editing can be disruptive, particularly during violent sequences, where abrupt cuts and choppy pacing diminish the visceral impact of the tension. Due to the film's budget constraints, the experience can feel less impactful with these questionable editing choices, and the use of makeup feels incredibly lacklustre. While the film takes its time to explore Luke and Tamesha’s family dynamic, with their compelling chemistry serving as one of its strengths, the lack of character development ultimately proves to be a weakness, as little is revealed about their lives beyond their struggle for survival. The screenplay also employs some bizarre sequences of side characters that add nothing to the narrative and ultimately bring the pacing to a grinding halt. Despite being incredibly derivative of Invasion of the Body Snatchers (1978), there are moments of enticing dialogue between the couple and their neighbours that make it worthwhile. The performances across the board are solid, in particular, L. A Rodgers’ portrayal of Tamesha. While her character is incredibly naive, she embodies empathy for each character and balances the dramatic and comedic beats exceptionally well. Similarly, Karl Kennedy-Williams delivers a commendable performance as Tamesha’s partner, Luke, convincingly conveying his love for his family and making their relationship genuinely compelling. Despite its shortcomings, the film clearly has its heart in the right place. However, it never quite lives up to the promise of the opening and ultimately meanders towards its conclusion, lacking enough compelling material to justify its 84-minute runtime. That said, its conclusion is well executed with a memorable revelation that may leave viewers wanting more. Good Neighbours takes a while to find its footing and suffers a litany of issues; however, the chemistry between the two leads is compelling, and it boasts a terrific opening sequence that's profoundly unsettling. While it could have explored its ideas in greater depth, its quirky and satirical edge makes it mildly entertaining. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

F@ck This Job film review by UK film critic Jason Knight. Starring Natasha Sindeeva, Mikhail Zygar, Alexander Vinokurov, Anna Mongayt directed by Vera Krichevskaya. HOME | FILMS | REVIEWS F@ck This Job Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 27, 2022 Directed by: Vera Krichevskaya Written by: Vera Krichevskaya, Paulina Ukrainets Starring: Natasha Sindeeva, Mikhail Zygar, Alexander Vinokurov, Anna Mongayt An informative account of the creation and challenging journey of an independent TV station in Moscow. This intriguing documentary explores how the Dozhd channel was founded back in 2008 by Natalia Sindeeva and Vera Krichevskaya. Dozhd is a Russian independent television channel that concentrates on a variety of topics, including news, politics and documentaries. The film begins with Sindeeva and her team as they search for the right location for the station's studio and offices back in 2008. After a lot of hard work, the channel finally went live on April 2010 and the news they dealt with were ignored by state control media. The staff consist of determined individuals and they work well together as a team. The audience follows their efforts as they do their part to make the station successful and as they try to keep it from falling apart during difficult times. The documentary references numerous significant events that took place in Russia from 2008 onwards, that include the founding of Dozhd, former President of Russia Dmitry Medvedev visiting the station, the 2013 passing of a law that bans gay 'propaganda' and President Vladimir Putin's third inauguration. There is a great deal of news footage that shows people protesting, footage of politicians, including Putin, who is shown often throughout the film. Putin plays a significant part here, as the feature examines how an independent channel struggles to stay afloat in a country where he is the President. Apart from being co-founder of Dozhd, Sindeeva is also the main owner and CEO. From all the station's employees, she is the one who is seen the most and she comes across as friendly and dynamic. A person who has a goal and is determined to pursue it. In a way, she is the protagonist whose mission is to help Dozhd blossom. There are interviews that feature individuals who work for the channel and they include Mikhail ''Misha'' Zygar, the Editor-in-Chief, Anna ''Anya'' Mongayt, a journalist, Sindeeva's husband Alexander ''Sasha'' Vinokurov and Sindeeva herself. Each interviewee speaks in Russian and they are introduced through title cards that include pink, bright letters. The directing is good and there are wonderful establishing shots. Composer Simon Russell does a great job with the music, which effectively accompanies the images. Krichevskaya also provides narration and she does so very well. This is a rather interesting documentary that introduces the viewer to the Dozhd channel and the people who made it become a reality. It offers an insight into politics in Russia and how Putin's actions as President have affected the quality of life there. It is also an emotional journey about pursuing a dream, going through hard times and not giving up. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Bus Stop film review by UK film critic Jason Knight. Starring Joshua Shea, Poppie Boyes directed by Zora Cielle Auri. HOME | FILMS | REVIEWS Bus Stop Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 5, 2023 Directed by: Zora Cielle Auri Written by: Zora Cielle Auri Starring: Joshua Shea, Poppie Boyes A youth waits at a bus stop where strange and sinister things occur. It is night-time and a young man named Holden (Shea) is at a bus stop, listening to music. He then receives a message on his phone informing him that his university application has been unsuccessful and also messages from his mother about that and his general aimlessness. Then, he notices a teenaged girl (Boyes) sitting next to him, holding a doll. The two of them strike up a conversation regarding their lives and Holden begins seeing frightening figures in the darkness, looking at them. This creepy and dramatic short contains many elements that are associated with the horror genre. A character is alone at an isolated and quiet location during the night, darkness all around him, a stranger suddenly appears, whose intentions may or may not be good and ghost-like people show up. It is a horror film, however, it also explores themes that include self-reflection, hopelessness and trauma. Holden is a person who does not know what he wants to do with his life, the people around him do not understand him and he seems to be lost and unmotivated. He clearly means well but he needs to figure out his life. The girl at the bus stop is mysterious and played brilliantly by Boyes. She teases Holden and opens up to him about her troubled past and current life (as does he) and it gradually becomes apparent that there might be more to her than meets the eye. Anri directs in a way that makes the film feel like a stage play and the lighting techniques that include a bus stop light bulb that repeatedly flashes, create a dark and frightening environment, all of which look even better thanks to Rodrigo Pedras' cinematography. The fast cutting editing method works well and the dynamic and creative sounds incorporate the ticking of a clock. Praise also goes to Morgan Shelsher for the make-up on the menacing beings, who stand still, never moving, like living statues. On YouTube, someone described this short as a ''Classic Victorian ghost story modernised to today'', which is a rather appropriate description. This is a horror story with a spooky atmosphere, supernatural entities and feelings of dread. However, it also addresses self-discovery and supports the idea that people should stop avoiding their problems and face them, leading to a better life. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Another Mother's Day film review by UK film critic Patrick Foley. Starring Jennifer Blain directed by TweakUnique. HOME | FILMS | REVIEWS Another Mother's Day Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 16, 2024 Directed by: TweakUnique Written by: TweakUnique Starring: Jennifer Blain In our globalised world, thanks to differing dates in the UK and the US, the second Sunday in May has become a day that everyone on this side of the pond jerks up in a panic upon seeing a stateside celebrity tweet a Mother’s Day message, thinking we have forgotten to send even a box of chocolates to our poor old mum before we remember that the end of March is the day we all fight for a reservation at the Toby Carvery and florists across the nation count their bank notes like Tony Montana. The heart behind Another Mother’s Day applies worldwide, however, with admiration for our mother being one of those universal human connectors that we can all appreciate. The music video features the vocals of Jennifer Blain and features stock footage of mothers and their children from all over the world and of various ages and backgrounds. Created by YouTuber Tweak Unique, and arranged by Ira Sakolsky, the film is an amusing and heartfelt look at motherhood – including the unappreciated trials and tests that mothers have to go through. The vocal performance of Blain is impressive, echoing the vocal stylings of Idina Menzel. Her voice carries a strength that is both endearing and also on the verge of bursting into maniacal outrage to realise the often-contradictory reality of being a mother – that you can have immense love for your child whilst they play the most difficult and frustrating role in your life. The lyrics make reference to common examples of this, such as the singer’s mother feeding the child who has just bit her. Blain’s powerful performance means that strength, femininity and motherhood are woven together unbreakably throughout the video. However aside from a kind heart, there is a lack of real depth to the film that means it never really penetrates emotionally beyond surface level. The film often threatens to veer into interesting spaces, such as exploring the mother’s frustration and resentment in a more complex form than it ends up doing. Yet it pulls back into the sickly sweetness of appreciation – which is admirable, but unengaging. Stock imagery and home videos make up the video itself, generally to provide visual realisation of the lyrical content. The director’s use of their own family is a welcome and wholesome touch, validating the emotional themes of the film. The stock imagery (as it so often does) feels inauthentic, overly vibrant and stylised, and disconnected to the more intricate messaging of the film. As a lower-budget project it is forgivable that it is utilised, but it definitely detracts from the video. Another Mother’s Day is a music video version of a Mother’s Day Hallmark card. It has heart and kind presentation, and I’ve no doubt your mother will appreciate it (not as much as a phone call though guys…). But there’s little else to it beyond sentiment, lacking depth or real personality. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Goodnight Henry film review by UK film critic William Hemingway. Starring Joseph Marcell, Ryan Gage, Sharon Rooney directed by Isher Sahota. HOME | FILMS | REVIEWS Goodnight Henry Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Oct 9, 2022 Directed by: Isher Sahota Written by: Isher Sahota Starring: Joseph Marcell, Ryan Gage, Sharon Rooney In the early hours of 18th October 1865 the then Prime Minister, Henry John Temple, 3rd Viscount Palmerston did indeed shuffle off his mortal coil, so when Goodnight Henry tells us that the events depicted within the short film 'occurred in truthful actuality – sort of', there is at least that. Everything else, however, is up for discussion as writer/director Isher Sahota fills us in on what could have happened that fateful night. Mr Pageant (Marcell) is the mouthpiece of the Prime Minister and when we meet him he is busy hammering out the details of a trade/taxation agreement with the French Ambassador, Godefroi while the errant elder statesman is otherwise engaged. Godefroi (Gage) is not happy about the deal and feels he should be dealing directly with the Premier but Mr Pageant is a steadfast figure who handles the Frenchman with the condescension he thinks he deserves. When a sudden scream is heard echoing through the halls of Brocket Hall, Mr Pageant reluctantly leaves the negotiations and sets off to find out what is the matter. It seems that the elderly Lord Palmerston has been getting his balls polished in the billiard room by Rosalind (Rooney) the maid and the exertion has finally been too much for him, leaving him dead and in a compromising situation. And that damned deal still hasn't been signed. What follows is a web of intrigue and deceit as the three interested parties each try to wrestle what they can from the situation before Lady Palmerston gets home and scuppers the whole affair. The script keeps things tight between the three main characters as they bare their teeth at one another and display their jet black underbellies, each vying for position as they manhandle the Prime Minister back to somewhere more respectable. The whole scenario is obviously played for laughs and the fine elegance of the surroundings contrast beautifully with the filthy underhandedness of the personalities involved. A lot of care and attention has been given to the lighting and the colour in the scenes, with Adam Singodia's cinematography managing to enrich the sumptuousness of the lavish country pile as the foreground blazes forth out of the inky blackness of the shadows beyond. The acting is nothing short of exemplary with each character being played down to a T by the seasoned professionals who inhabit them. This is helped by their precise casting in roles that feel familiar to them and will therefore in turn feel familiar to the viewer. Joseph Marcell will be best known to the world as Geoffrey the butler in The Fresh Prince Of Bel-Air, and again here he plays a forthright, outspoken underling with an air of grace and nobility about him. Ryan Gage offers a wonderful French accent which he most likely perfected in his role as Louis XIII in a recent TV adaptation of The Three Musketeers, while also leaning into his other famous role as Alfrid Lickspittle in Peter Jackson's The Hobbit trilogy (2012-2014). Then there's Sharon Rooney, the breakout star of My Mad Fat Diary who shines as Rosalind, another character who could be looked over and pushed around by others but who is more than capable of standing up for herself. In lesser hands Goodnight Henry could have turned out as a campy, unremarkable affair but with the talent on show, both in front of and behind the camera, it's easy to see that the production team have managed to make nearly all the right choices. While there is still an air of Horrible Histories or Upstart Crow about the film, it provides a rollicking twelve minutes which should keep even the most pedantic historians entertained throughout. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Become a film critic at UK Film Review. Submit one of your movie reviews to apply to be a reviewer for our team of critics. Become a Film Critic Writing film reviews & contributing podcast reviews for UK Film Review It is the age-old question...well one of the age-old questions. Much like “If a tree falls in the wood, and there is no one there to hear it fall, does it make a sound?”, the philosophical ponderings around the black magic that is film criticism has had many a would-be reviewer scratching their heads with pointed quills. Luckily, for those scribes with a penchant for movie reviews, you can stop inflicting yourself with unnecessary head wounds, because (to paraphrase Kermode and Mayo) “How do you become a film critic? You just become a film critic.” Here at UK Film Review, our motto is...not in the groin. But after that, it is we give anyone a try. Whether it be a first-time filmmaker submitting their shoe-string budget short film about killer clowns, or Michael Bay’s latest action film highlighting the plight of slaves in 19th Century New England (coming to a cinema near you in 2029). And with that ethos, we invite anyone wanting to become a film critic to submit their best piece to us. All that we ask is that you are: A decent writer who is passionate about film criticism Willing to review ALL kinds of films - not just those at the cinema Happy to take on constructive criticism and develop Be a film reviewer who writes about all aspects of a film, not just a detailed account of the plot BRAND NEW We are introducing a new Tier System for our writers - so we can start paying our hard-working writers for their awesome work. These are the tiers: Amateur Get started by reviewing one of the films on the next page. Pro - £3 per review* Review shorts & indie feature films submitted by filmmakers from around the world from our queue. We have lots of these! UKFR House Critic - £5-£20 per review** Review films from our Queue Jump or Promotion Packages - shorter deadlines but higher pay available. *payment made by bank transfer for every 5 films **scale of payment depends on review type (e.g. Video Reviews earn more) Please note: paid reviews are available on a limited basis depending on filmmaker submissions. As a UK Film Review Critic you can also enjoy the following: The chance to get their writing on a (very) popular film reviews website Access to some of the latest indie and short films Invitations to press screenings of the biggest theatrical movies Promotion in front of our 1000s of social media followers Support and guidance on improving their writing Being part of an online film-loving community BRAND NEW: Have your review read out/played on the UK Film Review Podcast show "UK Film Club" TOP LISTEN: Film critic & UKFR founder Chris Olson gives his top tips for film critics on the UK Film Review Podcast If you ever wondered what a film critic's journey looks like, the below film podcast episode is essential listening. The UK Film Review Editor-in-Chief gives his FREE top tips for film critics, as well as an insight into pitching to publications and how to network in the film industry. Listen now using the embed below, or find the episode on all good podcast platforms. All sounding good? Remember to follow UK Film Review on social media (links in the footer) so you can stay up to date with our film reviews, movie trailers, and film festival updates. HOW TO SUBMIT A MOVIE REVIEW Click Here to Get Started For anyone looking to take their film reviews to the next level, our Editor-in-Chief and film critic Chris Olson has written a short guide with 9 Top Tips for Aspiring Film Critics . Inside you will find hints and advice from someone who has written/proofed/edited over 2,000 movie reviews. Introductory Price: £1.99 (normally £2.99) £1.99 BUY NOW Submit Your Review

Meet Me in the Bathroom film review by UK film critic Rachel Willis. Starring Julian Casablancas, Albert Hammond Jr., Karen O. directed by Will Lovelace, Dylan Southern, Andrew Cross. HOME | FILMS | REVIEWS Meet Me in the Bathroom Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Nov 9, 2022 Directed by: Will Lovelace, Dylan Southern, Andrew Cross Written by: Lizzie Goodman Starring: Julian Casablancas, Albert Hammond Jr., Karen O. Based on the book by Lizzy Goodman, Meet Me in the Bathroom finds documentarians Dylan Southern and Will Lovelace exploring the New York City rock scene of the early 2000s. Opening in 1999, the film treats us to a little history of the popular music scene of the time. Artists like The Offspring, Blink 182, and Fred Durst of Limp Bizkit dominated the radio and airwaves (mostly courtesy of MTV). Our introduction to a new wave of rock in New York begins with the duo that made up The Moldy Peaches. We’re treated to several home movie moments of the two getting acquainted, not only with their new city (many of these bands are transplants to NYC) but also with the young men who would make up the band The Strokes. The biggest benefit of adapting a book about a music scene is the access to footage from some of the early concerts. Watching bands like The Strokes, Interpol, and the Yeah Yeah Yeahs play to small crowds is one of those things that cannot be replicated in book form. The film also adapts the book’s narrative style – overlaying the footage and images with soundbites from several of the people who were part of the scene. You’ll find no talking heads here – the best part of the documentary is getting to watch the timeline unfold. The trick of adapting such an expansive book is knowing where to concentrate your focus. The majority of the film focuses on three bands – The Strokes, Interpol, and James Murphy (LCD Soundsystem). And though the filmmakers reduce the number of bands covered compared to the book, there are still too many others brought into play. The Moldy Peaches are our introduction, but they drop out as the film passes through 2001. TV on the Radio comes into play briefly, and one of the scene’s most interesting bands, The Liars, gets even less attention. Several other mentions are made, but each is so quick as to be forgettable. Because of this shifting focus as we weave from The Strokes to Interpol to the Yeah Yeah Yeahs and beyond, things get messy. It’s impossible to keep track of every band and person introduced. If the filmmakers had whittled down the book’s focus just a bit more, they could have delivered a more interesting documentary. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, Documentary < All Reviews Next Film Review >