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It's Not All Rock & Roll film review by UK film critic Patrick Foley. Starring Dave Doughman, Ludwig Jackson Hummer, Martin Boeters directed by Jim Burns. HOME | FILMS | REVIEWS It's Not All Rock & Roll Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 23, 2022 Directed by: Jim Burns Written by: Angela Slaven & Jim Burns Starring: Dave Doughman, Ludwig Jackson Hummer, Martin Boeters There are layers that exist below all art and all artists. Different faces of the same people that come together to create works that speak to fans and admirers who the creator may never meet. It’s Not All Rock & Roll is a classic rockumentary examining niche, Hamburg-residing indie ban Swearing At Motorists’ frontman Dave Doughman – and whilst its subject might not be throwing any TVs out of windows or engaging in all-night cocaine binges, this deconstruction of the man behind the music is an endearing examination of an artist and life on the road. The film intimately follows Doughman through his life – on stage, on the road, at home and at work. Far from the luxury rockstar lifestyle, Doughman plays most gigs at small clubs and bars, works at a dockyard to support his music, and raises his son lovingly at home. But his undeniable stage charisma is clear when performing for the band’s die-hard fans. As he performs in both Germany and his native America, the documentary is a consideration of Doughman’s dissonance – as both a rock maverick and an everyday working man. It's Not All Rock & Roll is really (ironically) for people who love rock and roll – and Swearing At Motorists especially. As Doughman himself states in the film – it’s about his lack of fame. It’s about the co-existence of a relatively normal everyday lifestyle with the pursuit of passion. However this is no sob-story about some loser who laments never hitting the big-time or being dragged kicking and screaming into obscurity – but instead about a man who on the surface at least has balanced his art and his family. That’s not to say that the film doesn’t focus on a complex individual. Doughman talks at length about his upbringing and his battles with depression, as well as his struggles in raising his own son. His affable demeanour clearly hides personal battles that he details through his music. And one scene in which he argues with a pool-player making too much noise at one of his gigs makes for an electrifying exchange in which a confrontational nature reveals itself and causes high tension on stage (although any self-respecting rockstar really ought to be drowning out the sound of a game of pool – sorry Dave). There is some sense of ‘why’ lacking from the film for those who do not follow the band or care much about the lives of musicians. There is no real dramatic thread-line to hook viewers as they watch the band’s tour get underway, and where the film clearly tries to uncover what drives Doughman to continue his unique dual-life for as long as he has, there is also the lack of a ‘Eureka’ moment to capture the heart of the man at the heart of the film. Audiences would be forgiven for feeling they still have things to uncover about the true Dave Doughman despite the length of time spent with him – though this may be down as much to Doughman’s inherent enigma rather than any fault of the filmmakers. It’s Not All Rock & Roll shows the reality of most artists and musicians who spend their lives balancing their creativity and the demands of the modern world. Whilst it is a little overlong, and a little lacking in drama, even non-music lovers should appreciate the lengths artists like Dave Doughman go to brighten up the world – even when it feels like no-one is watching. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

Everyone Will Burn film review by UK film critic Brandon Thomas. Starring Macarena Gomez, Sofia Garcoa directed by David Hebrero. HOME | FILMS | REVIEWS Everyone Will Burn Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Dec 4, 2023 Directed by: David Hebrero Written by: David Hebrero, Javier Kiran Starring: Macarena Gomez, Sofia Garcoa Ten years after her bullied son died by suicide, Maria (Macarena Gomez) looks to end her own life on a lonely bridge in the Spanish countryside. Before she can make the decision, Maria is approached by a small girl covered in soot and dirt. The girl, Lucia (Sofia Garcia) has achondroplasia, which is a form of dwarfism and also the same condition Maria’s son had. As Maria and Lucia’s bond intensifies, so does Lucia’s desire to rid the small town of the people who tormented Maria’s son and have continued to antagonize his suffering mother. Director David Hebrero throws a lot at the wall with Everyone Will Burn and amazingly, most of it sticks. Most prominently is the exploration of how people with certain mysterious health conditions are treated as “other” or even “evil”. It’s an ugly part of humanity we all believe to be in the past, but Hebrero puts the spotlight on how fear and misunderstanding can bring out the worst in even the most well-intentioned people. Hebrero’s visual language is hypnotic and often dream-like throughout. As Lucia dispatches members of the community (the highlight being the opening few minutes that leaves a policeman engulfed in flames), the nightmarish events taking place are fully realized through the expert camerawork. Similar to American filmmaker Ari Aster, Hebrero wrings a copious amount of tension out of seemingly mundane scenes around a dinner table or after a funeral. These are the scenes that left me squirming in my seat – not the ones involving carnage. Gomez is mesmerizing as the haunted Maria. There’s a lot of emotional weight to this performance and Gomez seamlessly transfers Maria’s grief and guilt from earlier in the movie, to wrath and righteous anger in the back half. It’s a performance so captivating that, despite Maria’s spiral into bloody vengeance, you can’t help but cheer her on. Everyone Will Burn starts strong and never lets its foot off of the gas pedal for the entire 2 hour running time. Visually, emotionally, and viscerally, this is a film that will stand tall and proud alongside the other excellent horror films of 2023. About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

I Killed Molly Monroe film review by UK film critic Jason Knight. Starring Sacha Firmager, Jamie Langlands, Stephanie Hazel, Antonia Whillans, Sarah Maddocks directed by Richard Anthony Dunford. HOME | FILMS | REVIEWS I Killed Molly Monroe Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 5, 2022 Directed by: Richard Anthony Dunford Written by: Richard Anthony Dunford Starring: Sacha Firmager, Jamie Langlands, Stephanie Hazel, Antonia Whillans, Sarah Maddocks A docudrama about the life and subsequent disappearance of model and social media influencer Molly Monroe. In the middle of the night, on the 4th of November 2013, Molly Monroe (Firmager) went out by herself and has never been seen since. Relatives, friends and acquaintances are being interviewed, speaking about their experiences with her and what kind of a person she is. These people include her mother Mary (Maddocks), her fiance Jonathan (Bellfield), her sister Amelia (Whillans) and her friend Rosie (Hazel). Other individuals include a journalist, a family doctor and a Detective Chief Inspector. This intriguing web series consists of five episodes, each of which have a duration of approximately twenty minutes. Each episode begins with one of the interviewees inside a police station, being fingerprinted and having their mug shot taken, after which they each confess that they are the one who killed the model. The episode then goes on to explore why that particular individual might had been involved in Molly's disappearance. Every episode contains more or less the same interviewees, although there are a few that appear in just a couple. The end of each episode reveals what the next one will be focusing on and the beginning of an episode revisits what has been covered so far. Watching this series is kind of like experiencing a mystery crime thriller. With every episode, more and more information is brought to light regarding Molly's character, her relationship with the people around her and the events that took place on the night she vanished. It seems to be up to the viewer to pick up the clues and figure out what took place. Regarding Molly herself, the kind of person that she is, that is revealed mostly by the interviewees, each of which provide their own account of her, based on experiences. On the surface, she is a decent person, who was successful at her work and had a bright future ahead of her. However, people claim that she has a dark side and is possessive, jealous, unfaithful, vengeful and will not hesitate to get into confrontations, ending up making enemies. There are plenty of photographs of Molly posing while modelling and there is footage of her relaxing and enjoying herself. There is also CCTV surveillance footage from the night in question and reconstructions od dramatic events. The cinematography by Morgan Andrews looks great and Gavin Manuel provides a score that is sentimental and sinister, creating the appropriate atmosphere. The montage during the credits is rather creative and the addition of the dramatic music helps set the tone for what follows. This web series will most likely get the audience's attention, keeping them in suspense regarding Molly's fate. Viewers will be piecing the facts together while they attempt to get to the truth and will be eager for the next episode. With great performances and an effective score, this is an experience that should not be missed. About the Film Critic Jason Knight Web Series < All Reviews Next Film Review >

Memories of a Murderer: The Nilsen Tapes launches globally on Netflix on 18th August 2021.. Brand new film trailers. Memories of a Murderer The Nilsen Tapes Trailer Memories of a Murderer: The Nilsen Tapes launches globally on Netflix on 18th August 2021. Britain’s most notorious serial killer, Dennis Nilsen, confessed to killing 15 people in 1983. Over a five-year period, he picked up vulnerable young men, lured them back to his home and strangled them, before disposing of their bodies under the floorboards. The truth about how and why he killed has been the subject of much speculation in books and documentaries over the decades since. Now, with unique access to a wealth of personal archive left in his cell after his death, including over 250 hours of never-before-published cassette tapes of his private recordings, this film will take us into Nilsen’s world. From a young boy growing up in a quiet Scottish fishing village to a cold-blooded murderer prowling the streets of London. Set against the backdrop of 1980s Britain, when mass unemployment drew young men to London in search of their fortunes, only to find themselves destitute and easy prey, and weaving together interviews from police, journalists, survivors, bereaved families, and - for the first time - the killer’s own voice, this feature-length documentary explores how Nilsen was able to get away with multiple murders and attacks, unchallenged, for five years. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September. Wicked: For Good The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz. Time Travel Is Dangerous The moment we clapped eyes on the first trailer for Time Travel Is Dangerous, we knew we were in for something special. Blending the charming, grounded sensibility of a classic British comedy with the mind-bending chaos of a high-concept sci-fi flick, this film promises a riotous journey through time and space. Game The trailer for the film GAME, set for release in November 2025, falls squarely into that last category. It's a two-minute masterclass in tension, leaving you with more questions than answers and a palpable sense of unease. The Super Mario Galaxy Movie Don Q Don Q will be available on digital platforms in the UK on 15 September, thanks to Reel2Reel Films. John Candy: I Like Me The new documentary, John Candy: I Like Me, directed by Colin Hanks and produced by Ryan Reynolds, offers a poignant and intimate look at the man behind the memorable characters. Eschewing the typical celebratory retrospective, the film embarks on a journey to humanise an icon, exploring his personal struggles, deep-seated anxieties, and the profound impact he had on those who knew him best. Spinal Tap II: The End Continues Spinal Tap II: The End Continues. Set for a glorious return to UK cinemas this September, this film promises to be a welcome, if profoundly daft, comeback for the geriatric rockers.

Canary film review by UK film critic Chris Buick. Starring Barron Leung, Andrew Hayden Kang, Kiyoshi Shishido, Thaddeus Newman, Matthew Mitchell Espinosa directed by Taka Tsubota. HOME | FILMS | REVIEWS Canary Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Feb 4, 2024 Directed by: Taka Tsubota Written by: Jasper Chen Starring: Barron Leung, Andrew Hayden Kang, Kiyoshi Shishido, Thaddeus Newman, Matthew Mitchell Espinosa Imagining one's self trying to survive in an apocalyptic world isn’t as hard as it used to be, there are more than enough films, shows, books and everything in between that can and have painted very horrific pictures of what form the end of the world might take. Short-film Canary , directed by Taka Tsubota and written by Jasper Chen, has now added itself to that canon but succeeds in making itself stand out with its tense, discomforting and above all else smart offering. Alan (Leung) is joining his cousin George (Shishido) and George’s friends for a vacation getaway to a cabin in the woods. George’s friends are, to use the most fitting description, despicable people. High schoolers with the mentality of much younger, they goad, humiliate and laugh at poor Alan all the way to the cabin. But it doesn’t stop there. When doomsday comes and they find themselves trapped and surrounded by terrifying creatures mentioned only briefly as “spiders”, Alan finds himself trapped with these cruel imbeciles, his only ally George having left for help long ago leaving Alan to the continued torment of the only other people he knows are alive and faced with having to decide which horror he would rather face. Canary really is a very enjoyable piece of work to watch, which is saying something when a film makes you feel as uncomfortable, tense and claustrophobic as this does. The idea and the setting for it are perfect, the really closed-in nature of that grim and disgusting cabin setting coupled with its dark and moody atmosphere really evokes that real sense of inescapability. There is no place for Alan to retreat to, no safe haven from monsters either outside or indeed inside the cabin and it all works to create this ever-closer-to-the edge-of-your-seat build-up to the finale where you feel trapped right there with him. And Canary also knows when it's better to leave a few things to the imagination. We all know the shark is scarier when we can’t see it and while again there are small hints of what the actual apocalyptic threat is here, the truly smart decision was to leave the what, the how and the why alone. Because the monsters roaming the woods outside were never likely to be as interesting, grotesque or scary as the three bullies Alan finds himself essentially captive to. Newman and Espinosa show off their deplorablility in their own right, throwing the barbs and verbal punches at Alan a fair amount themselves, but it’s Kang’s Nev that is the real monster here, a unique manifestation of the high-school bully you can’t ever run from, bored, angry and cruel and with Alan as the outlet, whom Leung makes so connecting and sympathetic that we’re practically screaming for him to take action. It’s great writing not just of plot but of well thought out characters that could easily have been caricaturistic, buoyed even more by equally applaudable performances. The ending might leave you hanging on a hook, but they do say always leave them wanting more and with the performances, writing, camerawork and pretty much everything else as good as it is, Canary is a commendable seventeen-minute accomplishment. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Disco 80s Soul film review by UK film critic Swati Verma. Starring NA directed by Duane Thomas Dsouza. HOME | FILMS | REVIEWS Disco 80s Soul Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Dec 16, 2022 Directed by: Duane Thomas Dsouza Written by: Duane Thomas Dsouza Starring: NA The writer-director Duane Thomas Dsouza combines various tropes of traditional and modern cinema to bring to his audience a musical piece that pays tribute to the disco era of the 80’s. He strongly believes in sharing his knowledge with the students regarding new things in field of mass media, filmmaking, and editing so that the entertainment industry gets people who have both skills and passion to produce good content and keep the audience hooked to it. The plot of the music video revolves around a rare dance performance that reminiscences the disco genre of dance, music and a subculture that emerged in the 1970s United States. The music video opens with a long shot of a step followed by upbeat funky background music that assists the viewers to gel with the vibe of the creative piece. The combination of white, black, and grey for the colour palette of the dramatic piece is utilized to showcase the various changes in seasons, situations, and time all through its duration. The clock has been smartly incorporated into the script to portray the time-lapse during the energetic fun moves. The set design, lighting, dialogues, costume, hair, and makeup complements the topic as well as the contemporary style of the art of movie-making. Duane Thomas Dsouza understands the nuances and sensibilities of people from the times of extravagant rhythms and therefore designs the male protagonist utilising animation, special effects, and other editing technics to give life to his thought process concerning the subject matter the musical piece deals with. A well-structured and conceptualized animated character gives the audience a sense of realism and nostalgia with it and therefore relates to the same. Disco 80s Soul talks to its audience about the importance of the roles of dance and music to maintain a positive frame of mind to deal with every scenario in life. The music video reiterates the fact that one should always cherish and celebrate the rich heritage the past has given us in terms of music, historical events, etc while we march ahead to achieve much more so that we pass it on to the next generation. The upbeat music and rhythm of the creative piece tells the viewers to be happy and add an unconventional approach to life to make it more enjoyable in the long term. Disco 80s Soul depicts and discusses how crucial it has become for humans to be adaptive and survive through tough days. The cinematic pieces states that the right mix of traditional values and a modern touch assists to enhance the quality of life in the long term similar to the Disco 80s Soul. The creative piece shows that there can be varied ways of handling any situation and all of this depends on the perspective of each individual. About the Film Critic Swati Verma Animation, Music Video < All Reviews Next Film Review >

Endangered film review by UK film critic Brandon Thomas. Starring Michael Olavson, Lizzzie Zerebko directed by Drew Walkup. HOME | FILMS | REVIEWS Endangered Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Jul 26, 2022 Directed by: Drew Walkup Written by: Adam Armstrong and Marcus DeVivo Starring: Michael Olavson, Lizzzie Zerebko Expectations are a hard thing to contend with when watching movies. Whether it’s the actors present or the filmmaker’s previous work, one can’t help but think something along the lines of, “Oh, well I know where this is going.” Many movies don’t subvert those expectations, but thankfully there are enough of them out there that do throw exciting curveballs at the audience. While not a new cinematic classic, Endangered offers up a compelling twist on the hostage thriller. Alison (Natalie Zerebko) is making ends meet as a rideshare driver on the roads of Orlando, Florida. Most of her passengers are the standard fare of obnoxious young people, talkative oversharers, and silent couples. Alison’s monotony is doused one evening after picking up a secretive passenger (Michael Olavson). The passenger looks nothing like his account picture, and his stand-offish demeanor instantly puts Alison on the defensive. As the night wears on, these early red flags will only mark the beginning of a chaotic night. From the start, it was hard not to think of Michael Mann’s Collateral while watching the first half of Endangered . There aren’t very many thrillers that predominantly take place in a car, but out of those that do, Collateral stands heads and shoulders above the rest. Thankfully, the setting is where the similarities cease and Endangered is able to carve out an identity all its own. Circling back to expectations, director Drew Walkup wisely shakes things up early. We’ve all seen hostage thrillers like this before, and some well-placed surprises rocked me back on my heels just a little bit. These twists – if you will – never cheapen the narrative momentum and feel lock-step with where Walkup was driving the story from the beginning. The chemistry between Zerebko and Olavson is the glue that holds the film together. Without their tandem captivating performances, the film simply wouldn’t work. Both are able to draw empathy and fear at different times. To say more would potentially spoil the back half of the film. While maybe not the most technically polished thriller of the year, Endangered makes an impression through clever plotting and two strong leads. About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

She Started It film review by UK film critic Jason Knight. Starring Stacey Ferreira, Thuy Truong, Agathe Molinar, Sheena Allen, Brienne Ghafourifar directed by Nora Poggi, Insiyah Saeed. HOME | FILMS | REVIEWS She Started It Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 5, 2021 Directed by: Nora Poggi, Insiyah Saeed Written by: Nora Poggi, Insiyah Saeed, Fernanda Rossi, Jennifer Steinman Starring: Stacey Ferreira, Thuy Truong, Agathe Molinar, Sheena Allen, Brienne Ghafourifar A fascinating insight into the world of young women entrepreneurs. This award-winning documentary focuses on the lives of five young women as they actively pursue their dreams of starting their own business. These individuals consist of three Americans (Ferreira, Allen and Ghafourifar), one Vietnamese (Truong) and one French (Molinar). Their business ideas consist of online companies. The audience follows them as they attempt to make their ambitious plans a reality and learns about their past, what motivates them and what their thought are ragarding the world of entrepreneurialism. This feature reveals the challenges in starting a business, particularly finding the finance. The experience of watching this film is rather educational, as the entrepreneurs explain the great deal of work it requires to start a company and keep it successful. The five businesswomen are examples of what women can achieve in business. They come across as intelligent, friendly people, who are determined to succeed and it is rather inspiring watching them overcoming obstacles in order to achieve their goals. There is plenty of footage that shows the five women as they give interviews, deal with the managing of their company and give presentations to audiences at events, hoping to secure investments in order to grow their business. Their relatives and friends are also shown. A variety of women who have reached significant accomplishments in business contribute to this feature by giving interviews, expressing their opinions about women as entrepreneurs. There are also many photos of various business individuals. The directing is rather good and includes wonderful establishing shots of cities and landscapes. The editing by Jennifer Steinman is quite creative and the interesting music is a great plus and effectively accompanies the images. She Started It is a must-see for anyone who is planning to start their own business becasue it inspires people to follow their dreams and turn them into reality. It introduces the viewer to five outstanding individuals, who set goals for themselves and are willing to work very hard for them. About the Film Critic Jason Knight Documentary, Indie Feature Film < All Reviews Next Film Review >

The Last Word film review by UK film critic Joe Beck. Starring John Kapelos, Barbara Niven, Tom Katsis, Carole White directed by Kate Johnston. HOME | FILMS | REVIEWS The Last Word Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Sep 4, 2023 Directed by: Kate Johnston Written by: Jan Miller Corran Starring: John Kapelos, Barbara Niven, Tom Katsis, Carole White In recent years we have seen a stage play filmed and put to film to exhilarating effect. That play, or rather broadway musical is, of course, ‘Hamilton’, which brought thrills and electrified a whole new audience when it landed on Disney Plus at the peak of the Covid pandemic in 2020. ‘The Last Word’ is another stage play put to film, however, this time, perhaps because it is not a broadway musical, it feels a far more stagnant concept, one which inspires boredom instead of invention. ‘The Last Word’ begun life as a stage production in Los Angeles in 2019, with the film the recorded closing night performance of the play. And the film is just that, a precise recording of the closing night performance, filmed from a stagnant camera above the audience. This nullifies any real direction from Kate Johnston, and limits any filmmaking prowess that could be displayed. This staleness makes the film, or rather the play, far less exciting, as, though they may want us to feel as though we are, we are not part of the audience, and so cannot feel that live theatre experience. This is a particular shame because what is actually shown on stage is bold and interesting, feeling like a bizarre mix of Henrik Ibsen and Woody Allen, two of the finest writers to grace stage and screen respectively, despite questionable personalities and beliefs. The Ibsen comparison, though perhaps tenuous, comes from the plays depiction of a troubled marriage, and the effect which death and such can have on this relationship, though ‘The Last Word’ has a male protagonist, rather than the usual Ibsen heroine. The link to Woody Allen is again tenuous, though perhaps less so, with the film focusing on a writer, a struggling writer, and how his work is intertwined with his love, all in a setting which could easily be the interior of a glossy Manhattan apartment. The play, which is written by Jan Miller Corran, tells the story of Brett Harper (John Kapelos), a previously successful award winning novelist, and his struggle to complete the final chapter of his book, a role which has always been anonymously undertaken by his late wife Jillian (Barbara Niven). Struggling, Brett begins seeing his dead wife, who chastises him for his infidelity and failures throughout their marriage, as well as how Brett handled her death. All the while his intrusive neighbours Fred (Tom Katsis) and Madge (Carole White) attempt in vain to help Brett move on from his wife’s passing and get back on with his life. Corran’s script is strong, with fast zippy dialogue that brings the best out of the impressive cast of actors, whilst also broaching topics of what love and marriage mean, and crucially how to move on from the death of a loved one. ‘The Last Word’ is a good play with a good film adaptation just waiting to happen. However, this attempt to bring the play to screen via a direct recording falls flat as a result of the uninspired direction and uninventive camerawork. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Tiny Little Voices film review by UK film critic James Learoyd. Starring Samantha Thornton-Rice, Jay Rincon, Matt Vickery, Lana Eade directed by Chris Rogers. HOME | FILMS | REVIEWS Tiny Little Voices Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jun 25, 2025 Directed by: Chris Rogers Written by: Chris Rogers Starring: Samantha Thornton-Rice, Jay Rincon, Matt Vickery, Lana Eade The debut feature by writer-director Chris Rogers, Tiny Little Voices feels like the great British fever-dream. On its surface, a feel-good romcom about a woman who can’t seem to get out of her own head; a person who hears voices uttered by comically inclined inanimate objects. And... *said in Gary Marshall movie trailer voice* she may find her perfect man where she least expects him . But here’s the flip side to that coin: it’s a movie about Covid. Specifically, a comedy about Covid... and boy does it have some odd things to say about Covid! Right off the bat, here’s what’s uniquely great about Tiny Little Voices : it accurately, if not with piercing astuteness, captures the feeling of that mid-lockdown psychological break. I’m sure many will feel represented by the mental coping mechanism of speaking your heart out to an audience of an empty room. And it’s super funny and well-done! We have hundreds of voices coming in and out, anthropomorphising her household in some incredibly amusing ways. It’s emblematic of the kind of beautiful chaos this movie offers to its unsuspecting audience. The viewer’s feelings for these playful characteristics may though conflict with the slightly troublesome Covid-humour. Much of this story centers around characters trying to convince other characters to, to put it bluntly, stop being... germophobic? This is simply not humorous or relatable to most, and I must say that it stings a little to see ‘comedy’ sequences involving one person laughing at another’s cartoonishly exaggerated germ awareness. Whatcha trying to say, movie? Viewers can come to their own conclusions. A few technical highs include the audio which is clean and consistent throughout. This is quite the achievement when you consider the sheer variety of location-types featured throughout, yet the level of smoothness behind the soundtrack gives the impression that the sound department know how to do their jobs. And on a visual level, whilst it’s not the most stunning film, it is, importantly, pretty damn consistent. There’s care behind this production, and it’s nice to see London shot so lovingly in these authentic locations. But ultimately, the reason we’re engaged throughout the piece’s two-hour runtime is due to the performances which feel genuinely tone-appropriate, unembarrassed, and unapologetically entertaining across the board. A lot of praise should be attributed to the main four cast members and their devotion to sincere, cartoonish fun – whom, it should be noted, also have the range for some convincing romantic scenes (ooh la la). But the supporting players are terrific as well. A delightful bunch! Audiences may very well enjoy most every scene of this movie, and still leave their viewing thinking to themselves, “what a strange thing for a person to make!” I say this with no judgement as someone who has made a great many films which elicit such a reaction. What makes it particularly strange, however, is the fact that it’s not a surreal film (though it has surreal elements); it’s not meant for a provocative arthouse screening – in fact, you could say with how much of a kooky romp this is, it couldn’t feel further from those territories. And yet, there’s no getting around the fact that this picture holds some deeply bizarre messaging and is socially at odds with its own aesthetic motivations. Many will inevitably find great joy in many a moment, as did this critic. But nevertheless, what a strange thing for a person to make! About the Film Critic James Learoyd Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

The Dragonborn Comes-Main Theme film review by UK film critic Jason Knight. Starring Holly Thody directed by Mohammed Beqqal, Holly Thody. HOME | FILMS | REVIEWS The Dragonborn Comes-Main Theme Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Sep 7, 2024 Directed by: Mohammed Beqqal, Holly Thody Written by: Holly Thody Starring: Holly Thody A woman sings and rides a horse in this beautiful music video. Inspired by a dream that involved herself filming stunts while riding a horse, Holly Thody decided to make her dream a reality and create this short project that brings the viewer back to the medieval era. The film is a pleasure to watch (and listen to) and the reasons are analysed below. First of all, the title might make some people think of the 2011 role-playing video game The Elder Scrolls V: Skyrim and that would be because the song that is sung by Thody is the game's theme song Dragonborn , by Jeremy Soule. This is an unforgettable, fantastic piece, being peaceful and gentle and dynamic at times. Then, there is the mise-en-scene. Thody is the only person seen in the film and she is dressed in a Nordic-looking costume, which she was inspired to wear by the song's Scandinavian lyrics and apart from singing, she spends the majority of the film riding a white horse. Filming was done in Essaouira, Morocco and the terrific directing that includes aerial shots certainly reveals the beauty of the place, that being the landscapes, forest and beaches. The filmmakers utilise the presence of sunrises and sunsets to create mesmerising shots and although the majority of the film takes place during the day, while the night-time scenes have qualities of their own. All these elements are supported by fantastic cinematography. Now to Thody, the protagonist and singer. With the period clothing that she wears, she gives the impression that the video's universe is set in the medieval times, or perhaps to be more specific, in the world of Skyrim, with wizards and dragons being not far. She sings while she rides the horse on the beach, in the forest and in ancient ruins (sometimes in beautiful slow motion) and at other times she sings while she is on her feet, next to the horse. Her singing deserves recognition, as her voice certainly does great justice to the epic song. Taking under consideration that this project started off as a dream, it is rather inspirational to know that it was a dream that set off the series of events that brought people together to collaborate and bring this wonderful music video to life. The final result is an enchanting journey and it will appeal not just to fans of the video game, but to anyone who appreciates creative fimmaking and splendid singing. About the Film Critic Jason Knight Short Film, Music Video < All Reviews Next Film Review >

7 Kills, 3 Songs & a Banana film review by UK film critic Amber Jackson. Starring Alexandria Romanov, Mark Bogumil, Charleston Harvey directed by Richard Fysh. HOME | FILMS | REVIEWS 7 Kills, 3 Songs & a Banana Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Mar 19, 2024 Directed by: Richard Fysh Written by: Richard Fysh Starring: Alexandria Romanov, Mark Bogumil, Charleston Harvey “A casually coherent concoction of chaos. And fruit.” Would you like to watch a thrilling murder-mystery film that is equally comedic and horrific? Then you’ve come to the right place, as Richard Fysh’s American feature film fits the bill. This is a movie certainly unlike any other. Merging horror, satire and even the essence of a musical, 7 Kills, 3 Songs & a Banana ticks all the boxes for being absurd in a fun way. Containing all the hallmarks of a horrifying thriller, including sex and death, the film is a slightly funky take with music - and bananas. 7 Kills follows Amber (Alexandria Romanov), a vibrantly cynical young woman who identifies as a lesbian. At the start of the film, she is struggling to deal with the sudden death of her ex-girlfriend, Rachel (Charleston Harvey), which forms the crux of the story. With a killer on the loose, as well as Rachel’s boyfriend Steve (Mark Bogumil), sparks fly and venomous words are exchanged in this bitter satirical feature. An engaging interpretation of a modern-day slasher film, 7 Kills clearly takes inspiration from those before it in the genre. Slowly building suspense and integrating various moments of gory horror, the film successfully charts Amber’s journey as she tries to come to terms with her emotions. However, there are elements of the film that unfortunately fall flat. With some moments feeling awkward and some of the actors struggling to convey the essence of the dialogue, the feature struggles to keep pace - giving the viewer permission to lose interest. Likewise, parts of the narrative feel inconsistent and cut around a bit too much, again losing some of the meaning. As the story goes through the motions, we lose sight of Amber’s motivations which confuses some of the scenes. Whilst 7 Kills is not perfect, there is something captivating about it. The viewer finds themselves invested in Amber’s story, whether we like it or not, in addition to the lives of the supporting cast that all become intertwined in a cocktail of drama. Whilst it is not perfect, making a film with a very minimal budget is no small feat and should be commended. Parts of the satire are glorious, but some lands a bit dry - although that may just be the English filmmaking influence! Dealing with challenging subjects including homophobia, mental health, grief and murder, 7 Kills deserves some merit for handling these subjects in a comedic way without being offensive. Being originally from Doncaster in the UK, writer and director Richard Fysh’s American-based film cuts through the noise and posits his ironic perception of US culture, alongside some of the trials and tribulations of the modern world. 7 Kills holds great potential as a feature and Fysh is certainly one to watch as his unique style develops. About the Film Critic Amber Jackson Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >