In Waves and War film review by UK film critic Holly Baker. Starring Marcus Capone, Matty Roberts, DJ Shipley directed by Bonni Cohen, Jon Shenk. HOME | FILMS | REVIEWS In Waves and War Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Oct 29, 2025 Directed by: Bonni Cohen, Jon Shenk Written by: NA Starring: Marcus Capone, Matty Roberts, DJ Shipley In Waves and War (2024) is an in-depth documentary on the catastrophic impact on mental health caused by PTSD in US Navy SEALs and the ways that psychedelic treatments can help them recover. Made up of a series of interviews combined with footage of the Iraq war, as well as stylised animations, this documentary provides an optimistic outlook on the medical possibilities for revolutionary drugs, which may be the answer to the disastrous PTSD which many ex-SEALs suffer from. The film introduces its ‘brain study’, and interviewers investigate the experiences of former SEAL members and how these have shaped them. They are asked graphic, detailed questions about their experiences out in the field. The interviewees’ tone is deadpan, which viewers may find disturbing. The ex-SEALs open up explicitly about what has happened to them and how they are feeling in a detached manner, highlighting their desensitisation from the horrible things they have experienced. The men’s confessions are not dramatised; they are brief and raw, serving their purpose of providing an honest depiction of what these men have been through. The interviews appear on smeared CCTV-like footage, enhancing the authenticity of the men’s voices. They confess their suicidal urges and disengagement from their identity, which is difficult to view due to the absolute raw honesty that comes through in their words. The ex-SEALs’ PTSD seems to have swallowed up many of their lives, so much so that they lack any sense of purpose. As the documentary goes on to explain, their trauma has not only affected them but has also strained their personal relationships almost beyond repair. With its 1 hour and 47 minute runtime, each moment is handled carefully, providing ample context for how these men came to join the Navy SEALs, as well as the escalation of the US-Afghanistan conflict in the early 2000s. Viewers are given an insight into the way young men were disillusioned by the feeling of belonging as part of a brotherhood, unaware of the devastating impact of what they were soon to face. Many of the ex-SEALs confess that being part of the Navy was a childhood dream for them, some of them following in their father’s footsteps. They even describe their time in the army as ‘heaven’ and admit that they felt as though they were ‘where they were supposed to be’ and were ‘hungry’ to go to Afghanistan and fight for their country following the 9/11 attacks. Providing this context is incredibly important, as it is no understatement to emphasise the role that pro-military propaganda played in the 80s and 90s. Many young men felt as though they needed to find a purpose, and they believed the army provided the most honourable one. In many cases, men did find a purpose in the military and found belonging in the meaningful friendships they made during intense training camps. Netflix recently came out with the TV series Boots. This dramedy tells the true story of a young homosexual man who followed his best friend into joining the Marines when seeking a change in his life. The show demonstrates the way he was influenced by advertisements that mythologised the glory that the Marines would provide. Boots is set in the 1990s, around the same time many of the men shown in In Waves and War would have joined the SEALs. The way the men speak about their love for one another in In Waves and War aligns with the story told in Boots of young men finding belonging in one another. Boots also displays the terrible realities and prejudices individuals would face due to the nature of the strict regime, which In Waves and War , unfortunately, never addressed. The Netflix drama also touches on the shocking turn of events, as what was once boot camp is soon to become a harsh, brutal war as the Iraq conflict escalates, and the boys must accept what being a Marine actually encompasses. This depicts a scenario very similar to the reality which the ex-SEALs had to deal with and, due to PTSD, always will. The animation sequences in In Waves and War are done through an abstract style, showing the way trauma impacts the men. The PTSD the soldiers suffer with is difficult for them to describe and is also very hard to imagine for viewers who haven’t been through anything similar, so the animations help provide a pictorial expression of what they experience, whilst being vague and surrealist in style. As the documentary comes to an end, the ex-SEALs open up about the fact that Navy trauma isn’t all they suffer from, and they describe the way their fathers were abusive towards them at a young age, leading them to see violence as a solution and their self-worth to dwindle. One interviewee states, ‘If we didn't abuse children, would we have a military?’ An insightful commentary on the way that cycles of violence reproduce in unhealthy ways, and that the system of the military relies on disturbed individuals. The documentary describes the methods of psychedelic treatments used and presents a before-and-after, as if it were a case study. Though this may be a controversial approach, the SEALs themselves see a major improvement in their sense of self, and this drastic improvement is hopeful to see. Viewers can’t help but wonder, however, whether psychedelics are the solution or if the real solution relies on the questioning of why such violence and trauma are occurring in the first place. On Netflix Monday, 3rd November 2025. Buy UKFR Banner Space About the Film Critic Holly Baker Netflix, Documentary < All Reviews Next Film Review >

The Healer film review by UK film critic James Learoyd. Starring Jason Buda, Christine Bottomley, Ariyon Bakare directed by William Jewell. HOME | FILMS | REVIEWS The Healer Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Aug 23, 2025 Directed by: William Jewell Written by: Trudy Williams Starring: Jason Buda, Christine Bottomley, Ariyon Bakare The Healer deals with some incredibly heavy topics. From discussion of attempted suicide to misplaced guilt and depression, it’s safe to say that our tragic but deeply sympathetic (at least by the halfway point) protagonist goes through a lot over the course of this almost half-an-hour short. The audience, too, experiences a great deal through the tortured young character – a credit to both the strength of the performance by Jason Buda, and of the exemplary technical craft surrounding our central figure. This is a truly wonderful script from writer Trudy Williams that understands the complexities of the healing progress, and feelings of disillusionment in young people. We follow a tormented teenager who recently got into an ugly fight. His mother, worried sick, therefore takes him to a therapeutic farm of sorts; an area in which he’ll be expected to hopefully connect with and take care of a white horse. The audience is quickly let in on the fact that it’s because of his father’s sudden death that these self-destructive behaviours have manifested. He must be taught to conquer his anxiety, let go of everything weighing him down, and engage with a practice seemingly simple, natural, noiseless – and in that way, incredibly challenging. This is a superbly edited film from a dramatic point of view. Every interaction is expressed beautifully through the pace of the cutting and clarity of the sequencing. But one element that maybe feels inconsistent with the specific look of the movie is the use of fades as they slightly bring you out of the movie. Now, if the film had adopted a more vintage, static look, these fades might work perfectly – but right now it doesn’t completely gel with this modern, handheld grit feel. Otherwise, a perfectly cut and arranged movie. Aesthetically, the light and camerawork manages to hit the perfect balance of gritty and poetic. The handheld, subjective cinematography reminds one of the works of Andrea Arnold, and yet – like Arnold – the filmmakers often chose to move away from that domestic mode and draw our attention to the natural world, the colour of the sunset, and the beauty of a quiet moment... much like the journey Buda’s character ultimately takes. The horse is very much the most significant, and most evocative image in the movie. A semiotic device implemented ingeniously as metaphor to reflect on the mental progress and stumbling blocks of the protagonist. The hostility shown at the beginning is reflected in equal measure by this handsome yet slightly intimidating animal; but we witness the healing process of him becoming more gentle and more open, so the horse embraces these behaviours. Any moment in The Healer which involves comparative editing between boy and horse is so inherently emotional, and cinematically dynamic, that it elevates what could be a relatively conventional story of trauma to an expertly crafted tale of what it means to relate to the things around you. It’s a true testament to director William Jewell, producer Lee Mancini, and the rest of the crew that these images of an animal can end up signifying so much so clearly. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Spar film review by UK film critic James Learoyd. Starring Nicola Roffe, Jordan Pitt, Edwin De La Renta directed by Anthony Vander. HOME | FILMS | REVIEWS Spar Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: May 3, 2025 Directed by: Anthony Vander Written by: Anthony Vander, Kate Napoli Starring: Nicola Roffe, Jordan Pitt, Edwin De La Renta Spar is a short and effective pilot episode for a TV series based around boxing. Written by Anthony Vander and Kate Napoli, and directed by Vander, in the space of its 25-minute runtime we follow a series of either struggling or fully dysfunctional individuals; for each of these individuals, their passion – or obsession – they find day after day in the ring, and as different as they may be, their kindred connection is this love of fitness, training and sparring. Nicola Roffe plays our protagonist: a strong but traumatised woman who has to demonstrate her skills and devotion to boxing when she joins our new crew... Let’s run down some of the coinciding plot elements at play. Placed rather at the forefront of the show is a psychological element: our protagonist’s vague flashbacks to the domestic abuse she suffered. It’s then suggested that her monstrous ex-boyfriend is not only still messaging her – of course causing great distress – but actively stalking her too. This is an unavoidably intense aspect of the show, and right now I can’t say I know where it’s heading or what its long-term purpose in a serialised format would be. Having said that, one does find the idea of intrusive, uncontrollable flashbacks impactful. Perhaps it’s within the ring that she may find control over this trauma and serenity over her physical being. This particular aspect is most interesting. In terms of the primary side-characters, we have three men training together, under the guidance of the coach, and quite frankly making our protagonist’s life more difficult than it need be. I’m referring specifically to one character who immediately views our protagonist as an object. It takes no time at all for him to come on to her, and he shows no signs of tempering his ego by the end of the episode. One predicts that through the series we will see a different, more sympathetic or vulnerable side to this character, but right now he’s a one-trick-pony (being a borderline misogynist). We have another character whose minimal plotline might be one of the most engaging, well-acted and well-written in the episode. This is a man who neglects aspects of his personal life – namely his partner and the visitation of a new living space they hope to get – and, as a consequence of prioritising boxing over these practical issues, he completely alienates his girlfriend. This is grounded, dramatically rich territory to explore; boxing presented as an escape from reality, as an active addiction. It’s a phenomenal concept explored with a steady hand. The last character not mentioned is a personage whose emotional struggles affect his performance in the ring. On a narrative level, this is a well-considered figure whose demons reflect that of our protagonist in terms of how he must overcome them physically. This is where we get an exciting, flawlessly edited training montage which showcases some of the technical – as well as narrative – flourishes of the piece. The cinematography is strong and very psychologically oriented; the use of music is apt; but it’s the cutting which completely fits with the tone of the story. The episode culminates with a final sparring session between our protagonist and this parallel persona, and it’s absolutely riveting to watch. Spar is a conclusively engaging and well-structured pilot, providing audiences with a gritty, unique examination of the boxing world. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, Web Series < All Reviews Next Film Review >

The Laws of the Universe: The Age of Elohim film review by UK film critic Patrick Foley. Starring Brittany Cox, Aleks Le, John Snyder directed by Isamu Imakake . HOME | FILMS | REVIEWS The Laws of the Universe: The Age of Elohim Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 19, 2022 Directed by: Isamu Imakake Written by: Ryuho Okawa, Sayaka Okawa Starring: Brittany Cox, Aleks Le, John Snyder Where to start with The Laws of the Universe: The Age of Elohim ? No really, where to start? This theological, ambitious anime is likely to be overwhelming for even veterans of a genre that is often incomprehensible to the uninitiated. A baffling hodgepodge of religious fables, varying quality of animation and disappointing voiceover and translation work (in this English language version) make this evangelical epic an overall let-down. 150 million years ago, a peaceful society of alien lifeforms is thrown into chaos as Earth, under the watch of the God Elohim, is attacked by dark messenger Dahar (Aleks Le). The warrior Yaizael (Brittany Cox) is sent to protect the planet, and is joined by a collective of Earthlings and alien races who look to fight back against the darkness. But Dahar’s plan involves corrupting those within Elohim’s army, including the powerful archangel warriors who fight alongside Amor (John Snyder), a powerful, peace-preaching ally. Age of Elohim’s scale and size are its ultimate downfall. A truly epic, universe-spanning conflict, involving battles between gigantic armies of endless alien races and moral conflict between literal gods of creation, it fails to ever instil genuine interest or personality into its vast collection of characters. From seemingly original creations such as Yaizael (the closest thing the film has to a true protagonist) to characterisations of Jesus and Satan themselves, beyond vanilla beliefs in love or hate, or good and evil, no-one seems to have anything beyond the most basic of motivations. For all the world-ending consequences that arise, without the audience’s connections to the characters in danger, there’s only so much one can care as a viewer. The plot itself is also difficult to connect with. You would need a wall-chart to keep up with the overwhelming list of characters, their relations and alliances with each other. Viewers are thrust headfirst into an ongoing conflict which receives little explanation, and the various religious allegories are thrown together awkwardly and unnaturally. It leads to a flat and empty story that even a seemingly never-ending council scene cannot satisfactorily explain. The animation is varied throughout. The grand and ethereal palaces, battlefields, vistas and space bodies and stunningly designed and epically realised to create for an effective, otherworldly atmosphere to the film. Other designs such as the hellscape lair of the villain, or the numerous transfigurations for increasingly over-the-top battles are anime 101, but will satisfy fans of the genre. However basic conversations are held statically – appearing cheap and lazy. It’s a bad habit that animated films have displayed, but particularly notable here. The voiceovers are also somewhat uninspired, and dialogue in many scenes appears to be poorly translated and almost nonsensical. The cast make an effort to ham up the lines they are given (particularly Aleks Le), but this only works to a degree. The script itself is lazy, including eye-rolling diatribes on defeating darkness and how girls cannot fight, which feel reductive and stereotypical. The evangelical messaging is loud and proud throughout the film – to the point of an off-putting preachiness. And whilst musical asides are a staple of plenty of Anime films, they are far too numerous here given their confusing and uninspired nature, and result in the film’s momentum grinding to a halt. Beyond some spectacular visuals, The Laws of the Universe: The Age of Elohim offers little that has not been accomplished far more effectively in other anime films – beyond committed religious interpretation that is likely to confuse anyone outside of theological scholars. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, World Cinema, Animation < All Reviews Next Film Review >

Good Old Friends film review by UK film critic Jason Knight. Starring Andrej Vickers, Peter Kondra, Mikael Schallock directed by Peter Kondra, Mikael Schallock. HOME | FILMS | REVIEWS Good Old Friends Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 4, 2022 Directed by: Peter Kondra, Mikael Schallock Written by: Peter Kondra Starring: Andrej Vickers, Peter Kondra, Mikael Schallock Three friends get together in Berlin to have some fun and catch up on things. However, a terrible event changes everything. Mike (Schallock) is a film actor who has just arrived in Berlin in order to meet up and spend time with two friends who he has not seen in a while. These friends are Marc (Vickers) and Pete (Kondra), who is a drug dealer. They have a good time together and talk about their lives. Then something happens that abruptly ends their fun. This amusing feature has a narrative that changes half-way through. The first half is a dark comedy that takes place primarily inside Marc's apartment and focuses on the three friends as they enjoy themselves by drinking, taking drugs and discussing the ups and downs of their lives. Things take a sharp left turn after the tragedy, turning the movie into a road movie thriller, as two characters drive around the city, trying to figure out how to dispose of a dead body. Still, the film maintains its dark humour throughout. Although, the free buddies are living different lives, Mike and Pete have quite a few things in common when it comes to enjoying life and forgetting about their worries. On the other hand, Marc stands out because he works a lot and has trouble getting away from his laptop even when he is at home. The acting is not very good, nevertheless, this does not prevent the performances from being entertaining. The directing is creative and includes wonderful aerial shots that capture the beauty of Berlin and the filmmakers make effective use of slow motion and lighting techniques. The movie also gains from an enjoyable soundtrack. This is a crime dark comedy that offers a good time during its one-and-a-half-hour duration. It has plenty of dark humour, interesting protagonists, well-written dialogue and creates good suspense too. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Sin-Eater film review by UK film critic Jason Knight. Starring Carly-Sophia Davies, Jack Parry-Jones, Sharon Morgan, Gareth Jewell, Lewis Mackinnon directed by Kelly Holmes. HOME | FILMS | REVIEWS The Sin-Eater Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 19, 2025 Directed by: Kelly Holmes Written by: Matthew White Starring: Carly-Sophia Davies, Jack Parry-Jones, Sharon Morgan, Gareth Jewell, Lewis Mackinnon A short gothic psychological supernatural horror film directed by Kelly Holmes, written by Matthew White and starring Carly-Sophia Davies, Jack Parry-Jones, Sharon Morgan, Gareth Jewell and Lewis Mackinnon. The story takes place in Wales, during the mid-19th century. A male infant has just passed away due to an illness and it had not been baptised. His grieving young mother, Jemima (Davies) is desperate for her son's soul to be saved as he passed away without been baptised, so she secretly enlists tha aid of a young man named Thomas (Parry-Jones) to perform a forbidden ritual that will save the boy's soul. A dark period horror film that focuses on the aftermath of the passing of a child. Although the plot is distressing, it certainly is intriguing. Initially, the atmosphere is melancholic and is supported by Alan C. McLaughlin's gloomy cinematography and Die Hexen's dramatic music that includes striking cords. As things move towards the sinister and supernatural, creative sound effects take place such as constant whispering and the appearance of a demonic entity that involves impressive special effects. Then, there is the mise-en-scene, which convincingly places the viewer in the 19th century thanks to the work by costume designer Anastasia Crossley. The dramatic screenplay includes regular use of the Welsh language, making the film's time setting more believable. Taking under consideration that the story revolves around the death of an infant, it would be fair to consider that some viewers might find that upsetting, particularly when the baby's lifeless body is shown lying inside a small coffin. All five protagonists deliver strong performances. Davies is outstanding and very dramatic as a grieving woman who wants her child's soul to be safe and is determined to go to great lengths in order to achieve that. Parry-Jones' character could be described as a sinister one. A person who performs forbidden religious rituals and whose behaviour makes it questionable whether he can be trusted. Morgan is the deceased child's grandmother and she (along with Jewell who plays Jemima's partner) are unwilling to brake any procedures involving the child's passing and neither is the priest who is portrayed by Mackinnon. This film explores heavy themes. The main one is death, the death of a baby and the loss and grief that follow such a devastating event. Then, there is religion, deception and the search and hope for redemption. From a different perspective, subjects involving life in 19th century Wales are brought to light, including the religious procedures following a person's passing, the family values of those times and the Welsh language, a language that is acknowledged considerably in this short. A dark gothic horror film with superb acting and a downbeat and sinister atmopshere. Although a horror story, the atmopshere feels primarily sad as the narrative is the aftermath of an infant's passing. The film is probably best categorised as a period supernatural horror film about a ritual and it is highly recommended for horror fans and those who appreciate a good story. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Little to Lose film review by UK film critic Julian Gaskell. Starring Gary Wales, Jay Dee, David Lee Anderson directed by Attila Gyula Balázs. HOME | FILMS | REVIEWS Little to Lose Film Review average rating is 3 out of 5 Critic: Julian Gaskell | Posted on: Jun 16, 2022 Directed by: Attila Gyula Balázs Written by: Attila Gyula Balázs Starring: Gary Wales, Jay Dee, David Lee Anderson In this short film a guy visits his friend where they exchange conversations about life and as one conversation leads to the next it all ends in a mysterious search online and an even more mysterious cliff-hanger ending. At the home of a friend this brief meeting between two friends (2:00 minutes to be exact) packs in a few different things that need to be deciphered as the guys talk quite randomly together without pulling many punches. From the opening sequence the 1st friend is greeted at the door (by his friend wearing a panda’s head costume) and says, “I have 5 months to live and my wife is cheating on me – can I come in?” Presumably he's joking or is he? The delivery is totally deadpan blasé and the follow up conversations aren’t much cheerier or clearer as they discuss other family matters related to death. The visiting friend manages to change the topic to film although this too has death in the title. Once attuned to this rapid, blunt correspondence we can see these somewhat macabre conversations are probably to do with health. Added to these conversations is a final search online by the visiting friend, which introduces some other elements to an already haphazerd plot making things even more baffling but on closer observations adds some further leading insights to...something else . The shots are uncomplicated but well executed with some good reverse POV shots and some effective shots sat around the home computer screen. The acting between the two guys is quite friendly but irreverent with some good facial expressions between them, captured well in some close ups as they interact with one another. The graphics on the computer look good with the 'Ooogle’ logo design and advertisement banner on the screen, although they really need pausing to be taken in properly. The sound effects on the whole are minimal but the one or two effects used for the background noise and computer activity blend in well showing a good level of technical skill, and in addition the props subtly laden the points about health without a word being said. The conversations don’t necessarily flow or connect that well so the clues all need to be pieced together to get the jist of what’s mostly at stake here. Initially it comes across as a bit mad and flippant but, not unlike a ultra compressed mini soap, it has some curious social points to unpick in this (subtle or unsubtle - I’m not quite sure which) comedy sketch. Buy UKFR Banner Space About the Film Critic Julian Gaskell Short Film < All Reviews Next Film Review >

Between the Lines film review by UK film critic Swati Verma. Starring Alex Stewart, Naomi Richards, Tim McGill, Adam Kurton directed by Dom Lee. HOME | FILMS | REVIEWS Between the Lines Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Aug 31, 2022 Directed by: Dom Lee Written by: Dom Lee Starring: Alex Stewart, Naomi Richards, Tim McGill, Adam Kurton The golden font used for the title of the short film has connotations of success, achievement, triumph, and power all the elements required by the lead character Jane (Alex Stewart) to accomplish the task at hand. The writer-director Dom Lee along with composer Grace Hancock presents a well-knitted musical with comedy to provide the audience with both entertainment and lessons that is essential for growth in life. The plot of the movie revolves around a shy book lover Jane who is unexpectedly tasked with having to pitch to save her beloved local library from closure but help arrives in a surprising form. The short film opens with a black screen with Jane reading a book aloud in the background. The cinematographers Adam Sweetman, Michael Gimenez, and Timmy Hodgson capture Jane by utilizing the close-up shot giving the message to the viewers to look for the meaning that is implied rather than explicitly stated. They also use echoing voices and thunderstorms to specify some unexpected news and also underline a few fears of the female protagonist so that the audience understands and relates to her journey of overcoming the same. The set design, white and grey colour pallet, lighting, dialogues, costume, makeup, music, and dance complement the genre of comedy and also uplift the upbeat and fun musical. The filmmaker showcases a sense of urgency by focusing the camera on the clock's ticking sound and using the self talk aspect effectively. In terms of performance, Alex Stewart plays Jane who loves books and goes out of her comfort zone to safeguard her favourite library. Stewart portrays various emotions with her expressions, body language, and voice modulation to communicate what Jane is feeling in every situation. Naomi Richards as Alice is a treat to watch. Alice is the owner of the library and is also friends with Jane who support each other in times of need. Richards through her acting skills tends to grab all the attention of the audience in all the scenes the actress features in. Tim McGill plays the role of councillor/Dracula. He is the antagonist of the film trying to be in the good books of the management. McGill through his high base voice, laughter, and sarcasm communicates that the councillor would do anything that benefits him and not care about anyone else. Between the Lines talks about the importance of books and also how the library can help imbibe knowledge for a better future. The short film educates its audience about the necessity of two key tools knowledge and self-belief to beat the demons of fear and anxiety. The musical also tells the viewers that life is very unpredictable so one should always be ready to face what it throws at them. The comedy piece reiterates the fact that music and imagination can become a source of courage and motivation to emerge victorious through difficulties. Between the Lines educates the audience regarding the use of the right words to express as it can be more effective in turning a particular situation in one's favour. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Remembering film review by UK film critic Amber Jackson. Starring Brie Larson, Dusty Peak directed by Elijah Allan-Blitz. HOME | FILMS | REVIEWS Remembering Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Nov 1, 2022 Directed by: Elijah Allan-Blitz Written by: Elijah Allan-Blitz Starring: Brie Larson, Dusty Peak Remembering is a short film that situates a woman and the power of the imagination at its centre. Written and directed by Elijah Allan-Blitz and produced by Academy Award winner Brie Larson, this delightful short film situates a woman with an idea amongst a vast and unprecedented land of ideas. An exciting twist with this short film is that it is accompanied by a companion augmented reality (AR) app that allows users to scan their TV with a handheld device to watch an extension of the film. Innovative and imaginative of equal measure, this enchanted land uses technology to advance its story and leads to a cleverly fun experience. Larson stars as a woman within a fairytale-esque cottage writing down her ideas as if she is creating a story. It is peaceful and tranquil as she sits pondering what to write next – and then she forgets. Suddenly, the story begins to follow the forgotten idea who is found by the writer’s inner child and the two embark upon a journey through The World of Imagination. The young child, performed by the brilliant Dusty Peak, seeks to help ‘the lost idea’ be recovered by its creator. As the two embark upon their journey, they encounter visions and a world that dreams are made of. Viewers can envisage to their hearts content how to involve themselves within this plot which will definitely make the AR app compelling. The beautiful CGI effects within each scene used to create a fantastical landscape make this a very sweet and heartfelt short film. Not typical for a CGI film, the actors were able to see this image projected around them as they performed the scene, thereby creating a deeper performance – as though they too exist within the world. As the protagonist is shown an unbelievable natural world, only accessible through human thought, questions of time, reality and imagination are confronted and left to the viewer to interpret themselves. Allan-Blitz successfully conceptualises the intense forces of individual imagination and how ideas are unique to an individual. In observing the wonders in front of her, the ‘idea’ character learns more about the imaginative world where every idea and imagined thought comes when it has been forgotten. Despite being short, story is open to vast interpretations. Brie Larson commands the screen even in her ‘idea’ character form. It is obvious that this is a short film concept that both she and Allan-Blitz feel passionately about. The process of remembering and the protagonist getting back in touch with her younger self demonstrates how much the short has been considered from the perspective of a child. It feels real – totally immersive, allowing viewers and consumers to positively consider interacting more with this type of film. The watch-along feature that accompanies Remembering is relatively new for Disney+ customers who can simultaneously watch the film and interact with it on their smart phone. Whilst it is an intriguing development to ‘second-screen’ culture, it does not take away from the impact of short film itself. Standalone, this short film is still a positive and warming watch that families and dreamers alike can enjoy. With the added bonus of AR, Allan-Blitz and Larson have contributed to finding new ways to experience film, watching it evolve, and allowing for immersive viewing to become more of a family friendly viewing experience. Remembering is available to stream on Disney+ now. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Knots & Crosses: A Life in Lockdown film review by UK film critic Patrick Foley. Starring Lee D. Barnes, Nikki Hellens, Nick Payne directed by Lee D. Barnes. HOME | FILMS | REVIEWS Knots & Crosses: A Life in Lockdown Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Nov 14, 2023 Directed by: Lee D. Barnes Written by: Lee. D Barnes Starring: Lee D. Barnes, Nikki Hellens, Nick Payne Knots & Crosses: A Life in Lockdown ’s original release in August 2020, during the height of the Covid pandemic is demonstration of director and star Lee D. Barnes’ accomplishment in creating a what is a very personal project. However despite the remarkable circumstances of its creation, the short lacks cohesion or refinement which mean it cannot live up to the emotionally charged subject matter. Jack (Lee D. Barnes) is recording a video addressed to his father at the height of the covid lockdown. Recounting their troubled relationship, he details how he moved closer to his father’s care home in order to rebuild their bond. But lockdown happened. And Jack’s life crumbled with isolation and anxiety as the world ground to a halt. Jack searches for meaning in life and looks out for sign that his life will repair itself – but shocking news forces him to reconsider everything. Viewed retrospectively in the context of pandemic’s significance makes Knots & Crosses a fascinating look back at a time of existential dread, anxiety and uncertainty. Lee Barnes’ emotional and raw short captures the difficulty and loneliness many felt during lockdown, and that many felt may never end. Jack’s unfiltered angst must be viewed in the context of a character unsure of how the world may end up. There is a tendency to look back now at the experiences he undergoes in the film and refer them against the viewer’s own. The film does state that is made ‘by the people of lockdown for the people of lockdown’ (so, everyone…), and in many cases the experiences audiences will have had may not be as dramatic as Jack’s are in the film. But placing oneself in the headspace of 2020 is a fairer and more affecting insight into Barnes’ aim. The psychological difficulties Jack experiences are more understandable given this context, as are some of his actions. The film’s dialogue is unrefined and unpolished, with Jack’s message full of exposition, soundbites and repetition. Given the video is meant to be raw and told in a ‘stream of consciousness’ state, this is somewhat allowable, but upon delivery in the film itself it lacks a sense of authenticity and feels overly stagey and scripted. Furthermore, the story itself features actions that are driven primarily by dramatic purpose rather than relatable action. Jack’s decision to switch his phone off for an extended time, resulting in him becoming more and more isolated and missing an important update on his father is rather inexplicable, and feels like it only happens in order to permit story development. Rather than a smooth and coherent plot, Jack appears to be on a misery cruise that takes inexplicable twists and turns that can’t really be justified or understood – even allowing for unusual lockdown-driven behaviour. Barnes’ performance in the leading role is overacted and fails to really convince that the viewers are watching a realistic depiction of someone struggling with the issues many felt over lockdown. Portraying Jack in a constant state of high emotion robs the performance of subtlety and depth, and makes empathy and care harder to attain. The character never feels authentic, and his trauma and mental health issues therefore are harder to understand or extract meaning from. Whilst Knots & Crosses does serve as an interesting insight into the impact lockdown had on mental health, the fundamentals of the story are not strong enough to cover up some of its flaws that are production inherent. Better films more accurately capture life in lockdown, and the story of the film’s protagonist fails to really convince enough to make this one outlive its circumstances. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Searching for Satyrus film review by UK film critic William Curzon. Starring Rena Effendi, Elmira Abbasova, Ali Naseh Effendiyev directed by Rena Effendi. HOME | FILMS | REVIEWS Searching for Satyrus Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Feb 16, 2026 Directed by: Rena Effendi Written by: Rena Effendi, Lana Slezic, Mahi Rahgozar Starring: Rena Effendi, Elmira Abbasova, Ali Naseh Effendiyev Searching for Satyrus explores the work of acclaimed photographer Rena Effendi as she embarks on a journey to find an estranged butterfly named after her late father. Her journey leads her to a cross between borders, as the two nations of Azerbaijan and Armenia are at war in a militarised no man’s land. Bound by grief and memory, Rena attempts to find closure and understanding of her late father’s past life. The piece is a documentary that delves into profound themes of grief and the beauty of memory, two pivotal feelings that the central figure is bound by in her journey. She uses photography as a coping mechanism for her inner turmoil and attempts to understand her father through historical research. Through Rena Effendi’s eyes, the viewer is presented with a wealth of history that unfolds against the backdrop of the Azerbaijan-Armenian border. It's a quietly beautiful and incredibly nuanced depiction of an individual coming to terms with their grief and taking life one step at a time to find closure in their family’s past. Rena Effendi is empathetic by seeking beauty in the landscapes which have been impacted by war. While it may take its time to convey its themes, the experience never feels dull or stagnant thanks to the film's propulsive nature. Lev Zhurbin, serving as the film's composer, delivers a mesmerising musical score that has a lightness and warmth to it, which elevates the moments of stillness and reflection. The cinematography is another astounding technical feat, in particular the use of drone photography to present the area of Azerbaijan incredibly. While the material is already powerful and affecting, the technical elements soar, making the experience even more rewarding. It's an incredibly impressive feat, particularly as a debut feature film, with an educational and thematically enriching narrative at its heart. The scenes of dialogue at times feel evasive and akin to a fly-on-the-wall experience, as it delves into raw material regarding revelations kept from Rena. She never shies away from the more bleak aspects of the subject matter. The documentary also explores interesting topics regarding the cross-border conflict as the two nations are locked in war, which is a pivotal aspect of the entire narrative in its backdrop. While Rena covers a lot of ground within a 101-minute runtime, the piece begins to lose some steam towards the conclusion due to the material beginning to wear thin. It also slightly overstays its welcome; however, the experience is still consistently appealing throughout. The narrative concludes in an emotionally satisfying manner, granting closure for Rena, and the documentary may leave the viewer with a sense of awe and wonder due to her commitment to the project. Searching for Satyrus is a wonderful piece of documentary filmmaking that conveys beauty, memory and conflict between nations. Rena Effendi, serving as the writer/director and the central figure of the project, does an incredible job of conveying profound themes that never shy away from the conflict between the two nations of Azerbaijan and Armenia at war. A beautifully shot and scored experience that may linger on the viewer’s mind long after the credits roll. Buy UKFR Banner Space About the Film Critic William Curzon Documentary < All Reviews Next Film Review >

Argylle film review by UK film critic Brian Penn. Starring Bryce Dallas Howard, Sam Rockwell, Henry Cavill, Catherine O' Hara, Bryan Cranston directed by Matthew Vaughn. HOME | FILMS | REVIEWS Argylle Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Feb 23, 2024 Directed by: Matthew Vaughn Written by: Jason Fuchs Starring: Bryce Dallas Howard, Sam Rockwell, Henry Cavill, Catherine O' Hara, Bryan Cranston For those who currently have a 'James Bond' shaped hole in their lives help is close at hand. Mission Impossible can offer the jaw dropping stunts that made 007 famous; whilst the Kingsman will provide a dash of elegance amidst the chaos of fighting the bad guys. Now we have Argylle who can shake and stir things up in good style. It bears all the hallmarks of director Matthew Vaughan who coincidentally directed the Kingsman movies. Elly Conway (Bryce Dallas Howard) is a successful novelist who specialises in espionage tales. Her latest book features Argylle (Henry Cavill) a recurring all action spy master. Elly lives quietly but is constantly berated by her mother Ruth (Catherine O' Hara) who thinks she should get out more often. As fate takes a hand Elly finds herself on a train sitting opposite the mysterious Aidan Wilde (Sam Rockwell). He urges Elly to trust him as all is not what it seems. Surrounded by aggressors she is quickly convinced her life is in danger. They flee with her cat Alfie strapped to her back in a see through glass case. It seems her stories are getting too close to the truth and threaten a sinister organisation led by Ritter (Bryan Cranston). Argylle is brash, colourful and packed with crowd pleasing antics that visually stimulate without going near the brain. The narrative is structured to overlap with scenes from Elly's books and real life. The lines are momentarily blurred but its soon clear where this flimsy plot is heading. Bryce Dallas Howard and Sam Rockwell carry off the leading roles with joyful exuberance. They are well supported by some nicely placed cameos along the way. Due Lipa as La Grange struggles in a limited role that demands too little; her brief appearance is reminiscent of the classic bond girl cameo; show some flesh and then exit as quickly as possible. For a Bond pastiche it hits the mark and is a pleasant diversion from actioners that take themselves too seriously. Matthew Vaughan is buried deep within his comfort zone but executes a genre he understands well. The film does lose some credibility for its downright silliness particularly during the action sequences. Great fun but be ready to suspend your disbelief for prolonged periods. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >