When Jack Came Back film review by UK film critic Chris Olson. Starring Mike Markoff, Lindsay Wagner, Lance Henriksen directed by Thor Moreno. HOME | FILMS | REVIEWS When Jack Came Back Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Sep 30, 2022 Directed by: Thor Moreno Written by: Thor Moreno Starring: Mike Markoff, Lindsay Wagner, Lance Henriksen A story of estrangement and familial tragedy in Thor Moreno’s heartfelt drama When Jack Came Back, the film stars Mike Markoff and Lindsay Wagner as a son and mother brought together after years of resentment by the death of their father/husband respectively. Markoff plays the titular Jack, a professional actor who is on the cusp of a comeback after a suspiciously juicy firing from a popular TV show that is never fully revealed. An upcoming acting job must wait, however, when he receives a phone call from his mother Nancy (Wagner) telling him his father’s funeral is on the same day Jack is due to start his new role. Jack comes back to Iowa, much to the chagrin of his agent and girlfriend, for what he hopes is a quick visit to pay his respects to his father and get back to L.A. asap so he can continue to live his dream. His stay in his small hometown is elongated, however, when it is revealed that the mother whom he hates is suffering from dementia and that he is the only person who can help. Moreno has secured himself a very solid film with When Jack Came Back simply because the story is excellent. It tells a simple yet heartfelt tale that will resonate with a mainstream audience, creating a clear path for the actors to run at. Solidified by a great performance by Markoff and an even greater one by Wagner, it’s a drama that plays all the sombre notes in the right order to sweep you up. We care about Jack and his dilemma but we also see the point-of-view of his mother, who resents her son for moving away. Their chemistry on screen is the best part of the film. There are moments when supporting characters threaten to derail the piece with less than impressive acting, as well as a few comedic misfires that should never have made the final cut, however, the bulk of the film is moving and profound. As with any film dealing with the impact of dementia, there is an inherent pathos built into the movie. What’s impressive about When Jack Came Back is that it manages to hit on multiple issues that the disease can cause across all family members without feeling so heavy the viewer cannot move afterwards. Instead, the film combines this with a classic trope of reconnecting family members that allow there to be plenty of angst and fire alongside the misery and pain (all of which is a lot more entertaining than it sounds!). There were many poignant moments in the film, not least of which is the one delivered by Nancy’s nurse who talks about how rarely we consider having to look after our parents, who will all need it. Aside from the failed comedy moments (such as an early one involving an adoring fan in the supermarket), and the thinly sketched characters (such as the uncaring agent or girlfriend), When Jack Came Back is well worth your time if you enjoyed films like Still Alice, or The Father. Embracing the darkness that comes with this type of story will allow you to fully immerse yourself into a bleakly familiar chapter that comes in most people’s lives, and one that can still be full of hope, love, and redemption. Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

The Craftsman film review by UK film critic Jason Knight. Starring Devin Scott directed by Devin Scott. HOME | FILMS | REVIEWS The Craftsman Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Oct 7, 2025 Directed by: Devin Scott Written by: Devin Scott Starring: Devin Scott A beautiful short animated film written and directed by Devin Scott about his great-grandfather, Felix Landis. Based on a true story, through animation, music and voice-over, this short provides a remarkable and inspiring account of the creative achievements of Felix Landis, a farmer in the United States with highly artistic qualities, with a particular passion for woodworking. The project revolves around Landis' decision to craft four violins out of different kinds of wood and make them stand out in the music world. The determined artist had this idea during the Second World War, when he was in his sixties and as wood was in high demand due to battle requirements, Landis decided to acquire four abandoned doors and make his violins out of each of them. Following an introduction to Felix as a person and artist, the film then explores the story behind each door that was used to the creation of each violin, where the doors used to be. For instance, one door used to be the front door to a prison and voice-over reveals some dramatic events that took place there. Also, Landis named each of his violins. Landis' story is very inspirational and the viewing experience is greatly supported by the animation, the music and the voice-over, all of which will be analysed below. If one word could describe the level of AI animation that was utilised in this film, it would be 'outstanding'. From start to finish, the viewer is presented with visuals of exceptional quality, with excellent colours and lighting. The animation shows a vast variety of people and environments, some examples would be a Wild West setting with gunslingers and a luxurious hotel during the late 19th century, filled with guests. To give an idea of what the characters look like, one should probably think of the ones in films such as Frozen . And of course, Landis is present as an animated character, shown primarily as an elderly man, working on his violins and playing them and becoming familiar with the impressive achievements of this person is very inspirational. The wonderful music perfectly accompanies the images, creating emotions that can either be heart-warming or downbeat. The score contains sentimental piano melodies and (unsurprisingly) there is plenty of violin music. Scott provides the voice-over, narrating his great-grandfather's story. It is stated that Felix recorded the backstory of each violin on a reel-to-reel recorder and his recorded voice is used to tell the four separate stories, accompanied by the visuals. So many themes are explored in this short. Having a passion, the significance of doors, how wood produces music, romance, war, capital punishment, Wild West, life during the 19th century, memories, craftsmanship, violins. Stories of joy, sadness, crime and love. So many things are acknowledged in this story that looks back at an individual's life and achievements. Fourteen unforgettable minutes that take the viewer on a magical journey. This film deserves massive praise and recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Animation < All Reviews Next Film Review >

Repeat film review by UK film critic Jason Knight. Starring Tom England, Charlotte Ritchie, Ellila-Jean Wood, Joshua Ford directed by Richard Miller. HOME | FILMS | REVIEWS Repeat Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 10, 2021 Directed by: Richard Miller Written by: Richard Miller Starring: Tom England, Charlotte Ritchie, Ellila-Jean Wood, Joshua Ford A Professor claims to have found a way to communicate with the deceased. Ryan Moore (England) is a Science Professor who has constructed a device that can apparently operate like a speaker and enable people who have passed away to speak through it. Part of the device resembles a large circle, which glows like a halo when the device is operating. They answer questions that are typed into the device's system and in order for the right 'spirit' to interact, a relative's DNA is required. Ryan demonstrates his discovery to audiences and amazes and shocks those around him and influences the unstable relationship he has with his wife Emily (Ritchie). Ryan and Emily's daughter Samantha (Wood) went missing a while ago and Ryan decides to utilize his invention in the hope of finding out what happened to her. This science fiction mystery thriller deals with the afterlife and explores themes of loss, grief and love. The narrative focuses on the relationship between Ryan and Emily and on Ryan's obsession with dicovering his daughter's fate. Things get more tense as he realises that his device may be capable of more than what he thought, causing great drama for him and his wife. There are surprising plot twists and moving moments and flashbacks about Samantha. England is convincing as an expert and inventor who is well-meaning, but unwillingly ends up creating trouble with his efforts to interact with the deceased. Ritchie is emotional as the wife who has been pushed away by her husband. The couple have their problems, however they care deeply for each other and both are devastated by their daughter's disappearance. There lighting effects are interesting, particularly when the extraordinary device is put to use. The device itself looks rather sci-fi. Thomas George makes a great contribution by providing the score. The music is beautiful, mesmerizing, atmospheric and dramatic and assists in creating the right emotions. On the surface this is a science fiction film, although it deals mostly with obsession. It follows a man's determination to know what became of his child, ignoring other matters. From the very first scene, the movie captures the viewers attention and manages to keep the suspense going throughout, even though the ending may not be a very satisfying pay-off to some. Repeat is now available digital platforms, from Trinity Creative Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Denmark Doesn't Exist film review by UK film critic Patrick Foley. Starring Sky Cheema, Cathy Wippell directed by Joseph Archer. HOME | FILMS | REVIEWS Denmark Doesn't Exist Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 10, 2024 Directed by: Joseph Archer Written by: Joseph Archer Starring: Sky Cheema, Cathy Wippell An obscure Scandi-coded comedy mixed with erratic Peep Show -stylings results in Joseph Archer’s Denmark Doesn’t Exist – a jovial exploration of the world’s strangest conspiracy theory that doubles as a chance to show off very real Danish culture. Norman (Sky Cheema) has made a startling discovery – the country of Denmark (apparently) does not exist. He relays this fact to best friend Bell (Cathy Wippell) at a busy house party, and is met with incredulity. In order to disprove Norman’s newfound belief, she takes him across the North Sea to see the country for himself. But despite immersing themselves in the culture and travelling to natural sites of beauty, Norman is steadfast in his scepticism. Denmark Doesn’t Exist is a bizarre and charming look at conspiracy mindset, with a healthy dose of amusement to make an enjoyable ten minute short. The character of Norman simply refuses to engage with the blatant evidence of Denmark’s existence (including standing in the country itself) as he cannot equate the suggestion that the once-land of Vikings has now evolved into a progressive, compassionate society that famously ranks amongst the best in the world to live. His borderline arrogant repose of a simple ‘nope’ to Bell’s attempts of changing his mind amusingly captures the fixed mentality that causes individuals to fall down rabbit holes. It is presented comedically, but there is something slightly unsettling imbued into Norman’s character at the same time. It is an interesting dynamic for the film in a post-Covid, post-(and possibly, pre-) Trump era where the popular image of conspiracy theorists has evolved from slightly delusional oddballs prone to drinking their own urine, to violent anarchists intent on overthrowing elected governments. Norman’s belief is largely a charming eccentricity that is hurting no-one, but audiences can’t help but believe that there might be a secret Q-anon soldier right around the corner. The film is more of a meditation on conspiracy theories rather than outright commentary on them, and there is a lightness as a result of this that gives a sense that depth is lacking. Sky Cheema and Cathy Wippell have an enjoyable chemistry as an inseparable pair who quite clearly drive each other slightly mad. Norman appears to be totally at ease with his own perception of the world, whereas Bell gently challenges him in a way only a best friend can. Norman’s unshakeable zen is the source of much of the film’s humour, including a highlight where the pair encounter some actual Vikings. It is essential for the film to work that viewers buy into the pair, and here both succeed. Denmark Doesn’t Exist succeeds thanks to its vibrancy and unconventional storytelling. It’s a little lightweight in its consideration of conspiracy theories which sits at the film’s heart, but enjoyably odd nonetheless. Add in some stunning shots of its namesake country and well-thought and well-shot scenes, and it is definitely one to check out. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < 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. Buy UKFR Banner Space About the Film Critic Jason Knight Documentary, Indie Feature Film < All Reviews Next Film Review >

Dimanche film review by UK film critic Jason Knight. Starring Marie Luciani, Aidan Grossman, Geoff Mays, Mercedesz Mesza directed by Fatty Soprano, Shawn Vasquez. HOME | FILMS | REVIEWS Dimanche Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 8, 2021 Directed by: Fatty Soprano, Shawn Vasquez Written by: Fatty Soprano, Aidan Grossman, Marie Luciani Starring: Marie Luciani, Aidan Grossman, Geoff Mays, Mercedesz Mesza A teenage girl realizes that she is growing up and decides to make significant changes in her life. A young girl (Luciani) is at home, inside a large bedroom, where she is applying makeup on the face of a young man (Grossman), who is approximately the same age as her. That man is her brother and he is dressed in women's clothing. As she works on the makeup, she tells her brother soon she will be turning eighteen and that she has decided to use money she has saved to pay for breast implants. She explains that she is going to do this because a girl named Charlotte (Meszaros), who is a former friend of hers, did the same and her life changed. She became popular and began receiving offers to appear in photoshoots and rap videos. She seems to envy Charlotte's success and wishes to accomplish the same. And she believes that getting breast implants will get her there. This interesting short drama explores themes of coming-of-age, self-discovery, depression, jealousy, being different and how social media affect young people. During her long monologue, the girl mentions that Charlotte has many followers on Instagram, in comparison to her and she is annoyed by that as she seems to believe that being popular online is a big deal. The film seems to suggest that social networking services can have negative consequences on a person't psychology. The long monologue that the heroine delivers goes on almost throughout the whole film. Her desire to move on to better things is clearly expressed and so are her feelings. Apart from doing the makeup, she is occasionally seen standing in the room or lying on the bed while talking. Luciani plays her part well. Her brother remains silent, sitting still while the makeup is applied. With the exception of a few outdoor shots at the beginning, the entire narrative takes place inside the bedroom. The mise-en-scene is intriguing. The room's walls are covered with Christmas lights, CDs and posters of entertainers or television shows. There are various books scattered here and there and there is guitar. All these provide information about the characters' interests and hobbies. The cinematography is wonderful and according to the filmmakers, they aimed to give this project a 90s look. There is also brief black-and-white cinematography and a short montage of black-and-white stills. The beautiful piano music provides a melancholic feeling. During the final moments, the atmosphere changes dramatically, becoming rather sinister. A man enters the room, who appears to be their father. He seems angry with them and shows signs that he is about to use violence. Here, the film seems to be raising awareness for domestic violence. Dimanche provides an insight into the kind of influences that social media have on the lives of young people and will most likely offer the viewer a thoughtful experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Daily Bread film review by UK film critic Jason Knight. Starring Darian Aikens, Stuart Forbes, Shawn Harsh, Alden McDonald, Edward Padron, Marcel L Reyes directed by John Doherty. HOME | FILMS | REVIEWS Daily Bread Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 5, 2023 Directed by: John Doherty Written by: John Doherty Starring: Darian Aikens, Stuart Forbes, Shawn Harsh, Alden McDonald, Edward Padron, Marcel L Reyes Two men invade a television studio broadcast and demand that the information regarding the manufacture of a new drug becomes public. IMC, an American pharmaceutical company, has created a revolutionary drug that succeeds dramatically in defeating diseases and it is being marketed as 'Daily Bread', as it is to be taken daily. Now, because of this, three individuals are at a the studio for Prime Report, a broadcast television channel, to share their opinions about the drug. These three people are Evelyn (McDonald), the Vice President of IMC, Dr. Hanning (Aikens), a Professor of Psychology and Benjamin (Harsh), an author and journalist. Simon (Forbes) is the host. However, Terry (Padron) and Jose (Reyes) have other plans: armed with guns, they disrupt the proceedings, take everyone hostage (including the staff in the control room) and demand that ICM reveals the components that lead to the creation of Daily Bread. This short is quite a ride, a hostage situation filled with tension and satire about politics and healthcare. After a brief introduction to the two soon-to-be hostage takers, the studio interview begins, with the three guests having contradicting opinions. Naturally, Evelyn supports the drug, while Hanning questions whether it is affordable for everyone and Benjamin is just utterly against it. Things change when Terry and Jose make their unexpected appearance, with the interview turning into a life-and-death situation, yet the humour remains, with the focus now being mainly on Jose as he tries to be strong and convincing about his demands. The screenplay comically explores issues such as the American healthcare system, government flaws, capitalism, rebellion and social inequalities and also self-esteem. The characters are rather interesting and the actors do a great job with their comedic performances. Reyes is the one who steals the show as a Hispanic, religious member of an organisation called PEF (People's Equality Front) and he shouts and gets more and more desperate as things unfold. Interestingly, he wears a mask that resembles the Guy Fawkes mask in V for Vendetta , which could be a reference to the 2005 film and therefore indicates that he and Terry are rebelling against an unjust system (like in the movie). Terry takes over the people in the control room and watches with pride as Jose takes control. Simon is an obnoxious TV presenter and from the three interviewees, it is Benjamin who stands out the most with his eccentric and childish behaviour, as he swears, smokes and drinks. Composers Ethan Mack and Kathal Larkin make a great contribution with an interesting score that contains violin melodies and credit also goes to Vic Chan for the beautiful cinematography. This short is certainly worth one's time, whether they view it for the themes that it explores or just as hostage-taking dark comedy drama. The cliffhanger ending may end up being unsatisfying to some, however the film is an entertaining and thoughtful experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Look film review by UK film critic Joe Beck. Starring N/A directed by Shayan Naghibi. HOME | FILMS | REVIEWS The Look Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Sep 9, 2024 Directed by: Shayan Naghibi Written by: Shayan Naghibi Starring: N/A There’s something beautiful in the art of claymation, that technique of animation that uses clay characters and sets with stop motion recording. It’s a style that is criminally underused, despite almost always winning universal praise for its craftsmanship and creativity. In recent years, however, there had been a steady flow of stop motion, claymation films, building on from staples such as ‘Wallace & Gromit’ and ‘Coraline’ with fresh stories, including ‘The House’, ‘Kubo and the Two Strings’, ‘Isle of Dogs’, and Guillermo Del Toro’s ‘Pinocchio’. ‘The Look' is a similarly stunning film in this art style, though perhaps it lacks the same punch as the aforementioned features. The film begins with the slow movement of rain trickling down the window. The movement is even slower because this is claymation, but this does not make it any less an impressive image. There is an elderly man in bed and a woman, whom we presume to be his wife, sat in a chair looking out at the rain. The attention to detail to crave out the wrinkles in each of their faces is very striking, and an early indication of the strength of craftsmanship that went into making the film. It is with a tenderness that the rest of the events unfold. As the man rises from bed with vigour and enthusiasm that defies his age, he goes to check on his wife, who sits, eyes unblinking wide open facing the window. When the man realises what has happened he drops things, and knocks into them in shock and anger, distraught over what has happened. We believe these emotions because we recognise ourselves in the man, and reflect that we would act the same in that situation. The story is human and moving, a portrait of age and love and death, three things naturally ingrained in the human condition. The director captures them all in this eloquent portrait of humanity and all our emotions, and indeed, at times it does feel almost as though you are watching the figures in a painting move, such is the artistry involved. The bedroom is just as detailed as the characters, full of little objects and marks that have ben so artfully created that you can only wonder how much time and effort was put into making something so spectacularly real. At times there is a certain lag in the animation, yet this is a trivial issue that can easily be glossed past when considering the sheer level of talent and skill that went into making the picture. You only wish that perhaps we could have known the characters more, in particular the wife, yet, because this film deals with such human themes part of its beauty is in the simplicity. ‘The Look’ is both intricate and simple, melding the two into a phenomenal piece of art, that makes an excellent case for further use of claymation as an animated style. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film, Animation < All Reviews Next Film Review >

The Magician's Elephant film review by UK film critic George Wolf. Starring Noah Jupe, Mandy P atinkin, Aasif Mandvi directed by Wendy Rogers. HOME | FILMS | REVIEWS The Magician's Elephant Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Mar 15, 2023 Directed by: Wendy Rogers Written by: Martin Hynes, Kate DiCamillo Starring: Noah Jupe, Mandy P atinkin, Aasif Mandvi Anything is possible, just believe in your dreams. That’s a fine moral for The Magician’s Elephant . But much like the film itself, it’s a bit generic and less than memorable. Based on the children’s book by Kate DiCamillo, this Netflix animated adventure takes us to the land of Baltese, where strange clouds have rolled in and “people stopped believing.” Young orphan Peter (voiced by Noah Jupe) is being raised by an old soldier (Mandy Patinkin) to live a soldier’s life, which will be hard because “the world is hard.” It gets harder when Peter uses meal money for a fortune teller (Natasia Demetriou) to tell him how his long lost sister can be found. The soldier told Peter the girl died at birth, but that’s not what he remembers, and a palm reading confirms that she is indeed alive. To find her, Peter must “follow the elephant.” But there are no elephants in Baltese, at least until a desperate magician (Benedict Wong) makes one fall from the sky. And after the magician and the elephant are both locked up for causing trouble, Peter begs the King (Aasif Mandvi) to let him care for the beast, as it is “only guilty of being an elephant.” The King agrees, providing Peter can complete three tasks. Three impossible tasks. Ah, but remember, nothing is impossible! Director Wendy Rogers (a visual effects vet helming her first feature) and screenwriter Martin Hynes have plenty of threads to juggle, from animal cruelty to the costs of war to a Dickensian twist of fate. The resulting narrative ends up feeling overstuffed and convoluted. The muted coloring no doubt reflects the village’s cloudy atmosphere, and the stiff animation may be intended to recall a children’s popup, but there is little in the film’s aesthetic that is visually inspiring. Mandvi and Patinkin are the most successful at crafting indelible characterizations, while the rest of the voice cast (also including Brian Tyree Henry and Miranda Richardson) manages workmanlike readings that neither disappoint or standout. Same for the film. The Magician’s Elephant pulls plenty from its crowded hat, but has trouble conjuring anything that is truly magical. Buy UKFR Banner Space About the Film Critic George Wolf Netflix < All Reviews Next Film Review >

Circus film review by UK film critic Swati Verma. Starring Syed Saad Farrukh, Mustafa Zeeshan directed by Mohsin Tariq. HOME | FILMS | REVIEWS Circus Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 20, 2024 Directed by: Mohsin Tariq Written by: Mohsin Tariq Starring: Syed Saad Farrukh, Mustafa Zeeshan The writer director Mohsin Tariq presents a conversation between two male protagonists Syed Saad Farrukh and Mustafa Zeeshan giving us a different perspective on life and happiness therefore increasing audience engagement with the content. The plot of the short film revolves around the coming back of the circus in the city, and so does a roadside mascot costume artist who hopes for a change in his otherwise monotonous and tedious life. Circus begins with a series of long shots of a busy street cut to the mascot costume artist busy with his day-to-day schedule of going to work and entertaining the children. The set design, location, colour pallet, lighting, sound, dialogues, costume, hair, makeup, and props are kept natural to provide depth to the topics being discussed in the film and also give the viewers a sense of being involved with it. The makers utilise the visual imagery and symbolism to convey the challenges and inner turmoil of keeping up with his monotonous routine adding a sense of realism and relatability in the minds of the viewers making the story inspiring for them even when the running time of the film is short. In terms of performance, Syed Saad Farrukh plays the roadside mascot costume artist who is extremely busy with daily life and he grapples with the need to maintain his image as a happy go lucky performer while struggling with his inner turmoil. Farrukh utilises voice modulation, body language, facial expression, and eyes to portray the calm demeanour the costume artist maintains to depict and complement the theme/situations in the script. Mustafa Zeeshan plays the small child who meets the roadside mascot costume artist and discusses happiness and life in general. Zeeshan beautifully provides an innocent viewpoint into this discussion making it interesting for the audience even if the topic was a serious one. Circus compares life to be similar to a play where people tend to come finish their act and leave and God is the supreme director who is responsible for the smooth functioning of life. The short film talks about the importance of being honest and loyal to one’s work commitment because people have certain expectations from the person both in short/long term. The cinematic piece explores the corelation between being happy and also being rich. The creative piece highlights that everyone tends to choose their definitions of happiness as per the changing situation in their respective lives and it tends to be dissimilar for different people. Circus also sheds light upon the fact of the survival of the fittest one should always try to overcome all the apprehensions and be ready to fight as well as survive every day to combat new challenges life puts us through. Circus talks about how crucial it is to spend time with oneself alone to understand what one wants to do because everyone is unique. To conclude, I would like to appreciate the writer/director and the creative team for giving us the opportunity to think about happiness and life and many other things related to the same because we tend to be so busy in life that we don’t find time to discuss it and be thankful for what we have received from the Almighty. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Motel Room film review by UK film critic Joe Beck. Starring Sebastian Rosero, Tammy Kaitz, David Gianopoulos directed by Bradford Lipson. HOME | FILMS | REVIEWS Motel Room Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Dec 8, 2024 Directed by: Bradford Lipson Written by: Sahag Gureghian Starring: Sebastian Rosero, Tammy Kaitz, David Gianopoulos In the movies, it is very rare that anything good happens in a motel room. Barring the conception of John Connor in ‘The Terminator’, you’ve got criminals - ‘From Dusk Till Dawn’, weirdness - William Friedkin’s ‘Bug’, and of course, most famously psychopaths - The Bates Motel in ‘Psycho’. Therefore, you’d be forgiven for walking into ‘Motel Room’ with trepidation, fearing an onslaught of horror or debauchery, but what you actually get is something extremely earnest and heartwarming. The film follows the friendship that develops between a young Armenian teenage boy, Sevag (played by Sebastian Rosero) and the prostitute, Megan (played by Tammy Kaitz) that the boy’s father hires to take his virginity. His father, Massis (played by David Gianopoulos) is a hyper-masculine figure, one whom has plenty of experience with Megan - even requesting the Massis special for his son as he kisses her and hands him over. He doesn’t understand his son, nor does his son understand him. To his father, a boy losing virginity at the age of fifteen is normal, however, for Sevag it is the last thing he wants to indulge in, not least because of his repressed homosexuality. It’s established smartly in the film’s opening that the film takes place in the midst of the AIDs crisis, on the night of Freddie Mercury’s death no less. For a while these fears are left to simmer in the background, but they never go away, and has its undertones in every line, for which credit must be given to writer Sahag Gureghian. When it does come back to the fore it potent and sensitively handled, serving only to amplify Sevag’s fears of both sex and coming out to his father - who thinks AIDs only affects gay people, whom he says have to die. All this is revealed tenderly to Megan, herself a fully fleshed out character. There’s regret in what she does, but you sense that in talking to Sevag - rather than forcing the poor boy into something he doesn’t want to do - there’s some redemption or relief that she has taken that path in life. She helps him, of course, that is what the film is ostensibly about, but under the surface, he helps her too. Such tenderness is reflected in the directing by Bradford Lipson, whose use of soft lighting only adds to the warmth and genuine care with which Megan handles Sevag. Each shot is well directed and at no point does the pace lag, it is an altogether well made film from a filmmaker with a bright future. Furthermore, Lipson brings the most out of Sebastian Rosero and Tammy Kaitz, who each give dynamic, vulnerable performances, and bounce off each other well. ‘Motel Room’ is a beautifully, tragic film in many ways. It is one that remains important even though we’ve moved on from the times that it depicts, and that in itself is tragic, but it is beautiful because it contains such warmth and ultimately hope for a better, more understanding world. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Caretaker film review by UK film critic William Hemingway. Starring Ben Probert, Mackenzie Larsen, Scott Hume, Lauren Shotton, P G Pearson directed by Luke Tedder. HOME | FILMS | REVIEWS The Caretaker Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 8, 2025 Directed by: Luke Tedder Written by: Luke Tedder Starring: Ben Probert, Mackenzie Larsen, Scott Hume, Lauren Shotton, P G Pearson A mute man with a troubled past takes a job as a caretaker at an out of the way private school, where ghosts roam the halls and the history of the family owners haunts the school grounds. Eddie (Probert) has just lost his mum to cancer. He was devoted to her all the way through to the end, despite her being the most horrifically evil witch, but now he’s lost everything including the family home, and he has nowhere to live. Luckily, he gets offered some work at a coastal private school, where he will be The Caretaker , a job that comes with room and board, and therefore seems like the perfect answer to all of his problems. It doesn’t take too long, however, for the skeletons to start emerging from the closets of the Aberdeen family, the generational dynasty who own and run the school. Charles Aberdeen II (Pearson) is the elder statesman Principal who rules with an iron fist, but it is his son and presumed heir, Charles Aberdeen III (Hume), who really runs the show from the Deputy Head position, imposing his smarmy, class-entitled, condescending manner on those whom he oversees. Together they lord it over Lockbridge Academy, sitting in suitably mahoganied offices with pictures and family trees of their ancestors adorning the walls. Along with these two paragons of pedagogy, there is also the half-crazed black-sheep daughter, Lisa (Shotton), knocking around posing as an art teacher, as well as American incomer, Marie (Larsen), who has been hired as a cleaner and who also lives on-site. Mute Eddie and Marie strike up an unlikely friendship in the empty hallways and classrooms of the Academy, as school is out for the summer. Mostly working in separate parts of the grounds, they come together out of hours, at lunchbreaks and later on at night, as they both search for solace amongst their privileged surroundings. As their relationship develops, strange events keep happening around them, with the Aberdeens haunting their every move alongside other, more supernatural residents. The case of missing pupil, Holly Mansford, keeps rearing its ugly head, as does the mysterious end of Eddie’s predecessor, who was found drowned in the pool after a particularly frightening night. All of these events keep circling around the already traumatised Eddie, as he carries out his duties as The Caretaker of Lockbridge Academy, and despite his quiet, timid demeanour he settles his resolve on getting to the bottom of some of the things he’s been seeing in the darkened corners of the building and its grounds. This obviously affords writer/director/cinematographer Luke Tedder with plenty of opportunity for flickering lights, enigmatic figures at the end of long hallways, and jump scares from emerging ghosts, but mostly he eschews the regular hum-drum of horror for a long slow burn that gradually builds towards its raging climax. The obvious horror tropes are there to lay the groundwork, but there’s a much deeper, personal characterisation of fear at work underneath, which helps Tedder to build a far more nuanced and affecting level to his story. This is all helped, too, by an outstanding performance from lead, Ben Probert as Eddie. He is supported greatly by all those whom he shares the screen with, as they inhabit and breathe life into their characters in a believable way, but it is Probert’s quiet strength and subtlety in his performance that really imbues The Caretaker with the heart and humanity it needs to carry its deep and affecting themes. With a raise of an eyebrow, or a scared, searching look, Probert communicates more than any words could have allowed, as he invites us to search his face for meaning and past trauma while Eddie traverses his troubles. His heartfelt scribblings, emotional signings, and charged statement cards, are all used sparingly enough to imbue them with real significance, and when paired with Probert’s understated characterisation, everything takes on a deep level of engagement which encourages the audience to pay even more close attention. The narrative is carefully constructed by Tedder, from start to finish, to take the time to unravel all of the threads of the story that surround Eddie and the school. Each piece is given its time to emerge, be followed, and come to fruition, whilst the other narrative strands work their way around each other. In this way Tedder creates the long, slow, build of tension needed to keep the audience engaged all the way through the one-hundred and ten minutes, and allows the slower parts of the movie to exist without throwing off the pace of the entire production. The fact that Tedder has written, filmed, and edited this film mostly off his own back is a testament to the vision he has had for The Caretaker and the care he wished to instil in its creation. His commitment to that vision is one that has paid off immensely, as each little detail, and perfectly fit piece of the puzzle, adds to the overall completeness of the film. While there are obvious comparisons to be made between The Caretaker and The Shining (1980), Tedder is careful not to make that all there is to the film. In fact, there are far more references to many other films in there, such as Hereditary (2018), Inland Empire (2006), Spider (2002), and even Denethor’s relationship to Faramir in The Return Of The King (2003), that impact the story to a greater degree, that it would be churlish to use The Shining as the main marker. What Tedder has created is one-hundred percent its own film and should be approached with fresh eyes as well as an open mind in order to appreciate it fully. The Caretaker is that rare thing: an independent movie which never feels limited by its budget or its production, as it transcends all considerations to become something true and original in its own right. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >