Horror Noire film review by UK film critic Hope Madden. Starring Tony Todd, Erica Ash, Rachel True, Peter Stormare directed by Rob Greenlea, Kimani Ray Smith, Julian Christian Lutz, Robin Givens, Zandashé Brown. HOME | FILMS | REVIEWS Horror Noire Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 27, 2021 Directed by: Rob Greenlea, Kimani Ray Smith, Julian Christian Lutz, Robin Givens, Zandashé Brown Written by: Tananarive Due, Steven Barnes, Ezra Claytan Daniels Starring: Tony Todd, Erica Ash, Rachel True, Peter Stormare Remember Shudder’s 2019 documentary Horror Noire: A History of Black Horror from director Xavier Burgin? It was great, wasn’t it? And if you thought to yourself that you’d love a sequel, you should know that this week’s Shudder premiere Horror Noire is not that. Not exactly. Instead, it is an anthology of six horror shorts made by Black filmmakers. Writers, directors, performers, ideas, perspectives, points of view — everything the documentary made us realize we were not getting – are delivered by the anthology. Production values and performances in every film are solid. Familiar faces of veteran talent elevate the individual pieces. Tony Todd, Malcolm Barrett, Rachel True, Peter Stormare, Lenora Crichlow and others turn in memorable performances in creature features, Gothic horrors, psychological horrors and comedies. Todd, True and Barrett star as a married couple pulled apart by a cult in one of the strongest entries, Rob Greenlea’s Fugue State , a sly comment on a common problem. Kimani Ray Smith’s Sundown is a fun reimagining of horror tropes led by Stormare’s characteristic weirdness and the action hero stylings of Erica Ash. Julian Christian Lutz’s Brand of Evil reworks familiar ideas, turning them into an unexpected creature feature that’s both savvy and strangely touching. Other shorts are a little less successful. Robin Givens’s Daddy digs into parental horror but can’t balance build-up with payoff. Zandashé Brown’s The Bride Before You brims with insight and style, but an overreliance on voiceover narration keeps the film from developing the kind of atmosphere it hopes for. Joe West’s The Lake also falls just short of keeping you interested and guessing, although a fuzzy backstory allows for a more thought-provoking lead character than you might expect. The full stash runs two and a half hours and might have played better as a short series. It’s a long commitment, and every film has weak spots, which makes the time really feel like a commitment. But there’s much to enjoy with each episode. Taken as a whole, there’s variety enough in style and substance to promise something for everyone. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Stitch Head film review by UK film critic Hope Madden. Starring Asa Butterfield, Joel Fry directed by Steve Hudson. HOME | FILMS | REVIEWS Stitch Head Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 28, 2025 Directed by: Steve Hudson Written by: Guy Bass, Steve Hudson Starring: Asa Butterfield, Joel Fry Is there anything more delightful than an animated tale suitable for Halloween? A Nightmare Before Christmas, ParaNorman, Frankenweenie, The Corpse Bride, Wendell & Wild, Coraline, Mad Monster Party —each one is a fun way to get spooky, with the kids or without. Steve Hudson extends that list with Stitch Head , a delightful, animated story about embracing your inner and outer monster. Stitch Head (Asa Butterfield) was the first of the Mad Scientist’s creations. But the creator’s ADHD gets the better of him pretty quickly, and Castle Grotteskew is soon full to brimming with monsters. These include today’s beast, Creature (Joel Fry). Stitch Head’s taken on the eldest child duties around the castle, which includes helping each new beastie adjust their monstrous natures to avoid upsetting the townsfolk below. Don’t draw attention to yourself and you can avoid the angry mob. “Welcome to almost life,” Stitch Head tells each new monster. “Patent pending.” The film, especially Nick Urata’s music, certainly conjures Tim Burton. The songs Are You Ready for Monsters and Make ‘em Scream are both dancy fun, but neither are Elfman level memorable. Stitch Head lacks that macabre flavor of a Burton. Castle Grotteskew’s residents feel more akin to the working stiffs of Monsters, Inc. They’re nothing to be afraid of, they’re just different. Which is the point. There’s also a bit of Pinocchio as Stitch Head, seeking the love he’s not receiving from his negligent parent, leaves the castle in favor of the circus, and finds—as we all must—that capitalism blows. Butterfield’s delivery and Hudson’s animation create a tender central figure you root for. Fry’s big-hearted performance—plus Creature’s zany design—balance the delicate, tightly wound Stitch Head to create a sweetly peculiar odd couple. Based on Pete Williamson and Guy Bass’s series of kids’ books, written for the screen by Hudson, Stitch Head delivers fun, eccentric characters, a warm adventure, and genuine lessons about the joys—even the necessity—of nonconformity. “Just be whoever you’d be if you weren’t afraid.” Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Pick Me Up film review by UK film critic Chris Buick. Starring Luke Hunter, Annie Knox, Ben Delaney directed by Jack Archer. HOME | FILMS | REVIEWS Pick Me Up Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: May 31, 2023 Directed by: Jack Archer Written by: Jack Archer Starring: Luke Hunter, Annie Knox, Ben Delaney For Mark (Hunter), his crippling anxiety and complete lack of confidence is hampering his ability to function in every-day social situations, particularly when it comes to interactions with the opposite sex and even when paying the likes of Lexi (Knox) for her services. In a desperate attempt to finally learn some self-belief and find some nerve to even look a woman in the eye, he turns to a self-professed 'pick up artist' (Delaney) who tells Mark he can give him all the answers, for a small fee of course. Pick Me Up sees award-winning and very talented filmmakers Jack Archer and his brother Joseph collaborating once more, this time Joseph taking up a producing role and Jack not only on writing duties as with their previous works but also taking to the director's chair solo this time round. And although the roles might have changed slightly this time round, it's clear that both are comfortable enough wearing any hat required to consistently produce good examples of efficient and effective filmmaking. What the film, and in particular the script does well is find a good balance between the lighter and darker shades of its topic, Jack Archer once again shows an innate talent behind the proverbial pen, allowing the viewer the chance to both laugh at the ridiculousness of the male psyche through its distinctive characters but also managing to find the profound of the moment as well, most importantly never making light of its overall subject matter for the sake of a joke. And while that central theme might be one we’ve seen numerous variations of in the wake of the #MeToo movement, its skewering of both the unfortunately still relevant misogynistic male attitude towards women and the masculine pre-conception that being an arse is the only way to succeed is well addressed and well executed, although perhaps slightly lacking in something that could have pushed that particular envelope a bit more and maybe given the film that bit more bite to stand out. Speaking of standing out, Hunter’s is no doubt the best performance here, his sincerity in portraying bag of nerves Mark really is the key to selling the premise in the end, with the right amount of endearing to counter the chauvinist persona of Delaney’s Julius, who although seems to be working with some broad strokes at times communicates the right essence of the character. Annie Knox’s Lexi also hits all the right marks at all the right times, but it’s Hunter that finds all the gears here, especially in his spot-on delivery of the films important closing monologue, allowing us the biggest connection to any of the characters throughout and spoken with such genuine emotion and poignancy that it is entirely captivating, elevates and nicely rounds off the entire piece. It might not hit all the same highs as previous offerings such as On In 15 or The Mean Spirited , but Pick Me Up is a film that does what it sets out to do and does it well, getting its point across as it should while ticking a lot of other important boxes along the way. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Into the Unknown film review by UK film critic James Learoyd. Starring Matthew Thomas Ross directed by Matthew Thomas Ross. HOME | FILMS | REVIEWS Into the Unknown Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Nov 8, 2024 Directed by: Matthew Thomas Ross Written by: *N/A Starring: Matthew Thomas Ross When filmmaker Matthew Thomas Ross was diagnosed with cancer, he decided to use his art to chronicle the battle. What results is an overwhelmingly beautiful documentary about life, memory, and perseverance. The pain which Matthew has been forced to reckon with is truly heartbreaking, and the film’s deeply personal tone and approach means that the viewer gets a deep insight into the fears and processes those battling cancer face. However, what makes this doc so moving is how this individual is able to use his optimism, love for life, and passion for cinema to create such a profound and poetic expression of time – “past, present and future”. There’s no other movie quite like it. In the film, it’s discussed how Into the Unknown was originally meant to be a short, but because of the extended period of chemotherapy, it eventually turned into this all-encompassing, almost impressionistic feature piece. One can really tell that this is made by someone who’s not only a talented storyteller on the technical level, but who also understands art as an outlet for complicated and turbulent periods of living – a kind of personal craft which many have turned to as a way of making sense of the chaos. It’s wonderful to witness such a handmade sentiment, and its overall tactility can also be attributed to the picture’s exciting format... Matthew Thomas Ross is clearly in love with film stock, and he even talks about its metaphorical implications as a physical mode a capturing the world. It’s an incredibly hypnotic-looking work. Its fluctuating mediums range from 8mm to 16mm and then splicing in some old home videos, and all of it feels overwhelmingly vibrant and nostalgic. It simply wouldn’t be as unique and immersive without this additional layer. Film’s historic aesthetics are operating in tandem with the themes and ideas at the core of Matthew’s inspiring journey; his personality as a film enthusiast shining through in every moment. In addition to the shooting, it’s the construction through the editing which transforms the visuals into something with transcendent, sensory meaning. Some of the film reminds me of Agnès Varda’s best work in how techniques are openly discussed verbally and through the form itself – we even see the timeline of the edit. He says how, as a filmmaker, he tends to focus on the story and its plot mechanics; but here, he bravely allows the work to take on a more fluid temperament. It’s a very honest way of making a documentary. In summation, this is outstanding work. A vulnerable doc which toes the line between being unwatchably sad and stunningly hopeful. When considering the fact that this was made by someone having to face things that nobody ever should, it’s amazing that he’s managed to use his struggle, courage and artistry to produce such a perfect expression. I would absolutely recommend everyone seek this movie out when it gets its release, and I sincerely hope that it finds its audience. Experimental and touching from beginning to end, this is essential viewing. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film, Documentary < All Reviews Next Film Review >

Dangerous Animals film review by UK film critic George Wolf. Starring Jai Courtney, Hassie Harrison, Josh Heuston directed by Sean Byrne. HOME | FILMS | REVIEWS Dangerous Animals Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jun 4, 2025 Directed by: Sean Byrne Written by: Sean Byrne Starring: Jai Courtney, Hassie Harrison, Josh Heuston When are they going to run out of ideas for new shark movies? Well, not today. Dangerous Animals – director Sean Byrne’s first film in a decade – rises above the glut of silly sharksploitation yarns by aggressively hunting an adventure thriller of abduction and survival. Jai Courtney stuffs his own jaws full of scenery as Tucker, a bawdy and boisterous boat captain in Australia who takes tourists out for shark encounters. But Tucker is always on the lookout for those visitors who may be alone and not easily tracked. And when Tucker identifies his prey, he pounces, hooking them up to a harness and slowly feeding them to the sharks while he records it all on VHS. Free vegemite with any blank VHS tape purchase! But when Tucker abducts American surfer Zephyr (Hassie Harrison) on the beach one very early morning, he quickly realizes he’s hooked “a Marlin,” a real fighter. Tucker loves a fight, and Zephyr is going to give it to him. Byrne (The Loved One s, The Devil’s Candy ) shows a pretty firm hand juggling the sharky business with other genres and influences. You’ll see clear nods to The Silence of the Lambs and Hounds of Love , and Byrne is able to draw some tense, terrifying moments out of fairly standard tropes and the obligatory nonsensical choices made by potential victims. Nick Lepard’s script falters most by wedging in a potential love story between Zephyr and local dude Moses (Josh Heuston). The narrative need to have someone miss Zephyr when she’s gone is understandable, but the thread lands as forced, contrived, and a heavy weight that drags the film down. Courtney has never been better. His Tucker is a hammy hoot, and Courtney leans into a Mad Aussie physicality that makes the heavy handed predator metaphors more entertaining. Harrison sells the defiant grit that makes Zephyr a worthy adversary, and the two trade blows in a power struggle that keeps you engaged on the way to a finale that you’ve already guessed. Byrne makes sure the shark footage is occasionally thrilling and always competent. But he also finds plenty of ways to make this more than just another preposterous fin story, and Dangerous Animals is better for it. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Pure Gold film review by UK film critic Swati Verma. Starring Edwin Mullane, Aoife Honohan, Kieran Cotter directed by Rik Gordon. HOME | FILMS | REVIEWS Pure Gold Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 10, 2023 Directed by: Rik Gordon Written by: Rik Gordon Starring: Edwin Mullane, Aoife Honohan, Kieran Cotter The writer-director Rik Gordon sheds light on the extreme lows in the farming industry of Ireland in 1864. Edwin Mullane, Aoife Honohan, and Kieran Cotter represent all hardships they are facing because of the given situation beautifully and all of them have managed to emotionally grip the audience from the very start of the narrative. The plot of Pure Gold revolves around a farmer who is hit by Famine and must provide for his starving family; however, his desperation is exploited by a mischievous being that tempts him with something special. The film opens with a black screen with the facts about the potato blight in the white font to establish the subject matter demanding an instant emotional connection with the content. The DOP Thomas McKeown utilises the long shot to capture the beautiful landscape of Ireland just a perfect setting for introducing the male protagonist. The camera quickly switches to a close-up shot of his face of John to showcase his utter disappointment with the potato crop and sadness for breaking the hopes of the family every time. The set design, lighting, music, dialogues, costume, hair, makeup, and props complement the elements of drama and fantasy while dealing with a serious issue to maintain the interest of the viewers. In terms of performance, Edwin Mullane plays John who wants to earn money from what he gets out of his farming skills to pay rent and also get food for his starving family. Mullane aptly depicts the helplessness and disappointment and emotional trauma with body language, voice modulation, facial expressions and eyes. The actor’s portrayal of his character is full of realism making it relatable allowing the audience to learn from John. Aoife Honohan plays the role of Marry who knows her duties both as a wife and a mother and wants to give the much-required emotional support to John as well as Patrick to combat the difficulties thrown at them. Honohan effectively strikes a balance between being strong and being emotional as per the demand of the script. The young actress understands the nuances and multiple layers of Marry and assists the viewers in not losing interest in the storyline. Kieran Cotter as Patrick is a treat to watch as he gives us some light moments as the film continues with a serious note picking up the pace to quickly reach the climax. The child artist is very talented to portray the loving relationship of the father and son duo and what changes this equation go through as the story moves forward. Pure Gold warns the audience regarding the cons of choosing the path of greed and also talks about the shortcuts never working out to achieve a certain goal in life so hard work is the only way. The short film reiterates that trusting the right person is very crucial in life or it can prove to be detrimental to the well-being of self and people around. The cinematic piece also highlights the importance of taking care of loved ones individually by understanding one’s duties and responsibilities rather than depending on strangers to help them out. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

La Danza film review by UK film critic Jason Knight. Starring Valentina Sarracini, Margie Newton directed by Philip Brocklehurst, Valentina Sarracini. HOME | FILMS | REVIEWS La Danza Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 21, 2023 Directed by: Philip Brocklehurst, Valentina Sarracini Written by: N/A Starring: Valentina Sarracini, Margie Newton An entertaining short video with music and dancing. The title refers to a Puerto Rican music genre that is associated with ballroom dancing and it is quite an appropriate title. Two women (Sarracini and Newton) film themselves dancing, using a smartphone camera or a webcam. The camera is constantly static and the location appears to be a large living room. The two dancers are always looking at the camera and smiling and never speak. Both are rather close to the camera, although one is further back and to the front dancer's left. The video begins with both of them waving at the viewer, while part of the song Good Morning Tokyo by Tokyo's Revenge plays. Then, the dancing begins. Brocklehurst's creative editing is one of the key elements that make this short a rather amusing experience. Once the women begin to dance, the repeat cut technique is put into use over and over again, beginning with a shot that shows the women dancing for about a second, then the same shot is repeatedly shown, countless of times, with the editing becoming faster and faster, giving the impression that they are dancing impossibly rapidly and also makes the music sound like an intensely repetitive beat. This technique is utilised for quite a large part of the film and the result is entertainingly awkward and funny. Other techniues include a sequence where the normal image repeatedly alternates with an upside-down image of the same shot, hence showing the dancers dancing upside-down, adding to the fun. There is also brief black-and-white cinematography and the use of slow motion makes the dancing look different. At the bottom right corner of the screen, the name of the video-sharing social media platform 'TikTok' is visible, promoting the company and making this short a positive statement on social media by revealing how sharing videos online can help spread joy. The obvious purpose of this one-and-a-half-minute long music video is to provide amusement and it succeeds. The atmosphere that is developed thanks to the editing, along with the dance moves and smiles, will most likely put a smile on the viewer's face. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Music Video < All Reviews Next Film Review >

The Hollow Men film review by UK film critic Joe Beck. Starring Rhys Anderson, Ryan Stoddart, Mackenzie Paterson directed by Daniel Bingham. HOME | FILMS | REVIEWS The Hollow Men Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Feb 18, 2023 Directed by: Daniel Bingham Written by: Daniel Bingham Starring: Rhys Anderson, Ryan Stoddart, Mackenzie Paterson Daniel Bingham’s ‘The Hollow Men’ is a taut Scottish thriller, one which juxtaposes humanity against pure evil to pose sincere moral questions around an exhilaratingly tense depiction of violence. There’s almost an air of Michael Mann’s excellent ‘Collateral’ in its juxtaposition of two sides of man and its probing of the human condition, replacing the shining lights of Los Angeles for the solitude of the Scottish landscape. Bingham’s impressive direction immediately creates a heightened sense of tension, as we are introduced to Ellis (Rhys Anderson), eyes focused on the road and sat in silence as he listens to Kane’s (Ryan Stoddart) story of a memorably gruesome murder which he carried out. At first we assume that Ellis is but a harmless driver, his meek eyes and nervous face certainly suggest that, and compared to Kane he certainly appears innocent. Kane’s story is chilling and perfect in establishing the coldness of his character, as he describes killing a family as though it were merely an everyday chore. Nevertheless, as the two reach their destination we discover that Ellis is also a paid killer himself, and it is he who is approaching a reckoning with his target, Sonny (Mackenzie Paterson). Ellis’ doubts get the better of him as he approaches Sonny, giving Sonny the opportunity to dash away as Ellis slips on the rocks. When he wakes he finds himself captive and with Sonny pointing a gun at his head. However, Sonny shows humanity to Ellis’ troubled soul, offering food - a guttered fish in an obvious comparison to Kane’s description of ruthlessly guttering a woman like a fish. Where Kane is pure evil, a merciless killer intent solely on causing the death of others, Sonny is compassionate, despite a troubled past, and demonstrates to Ellis the errors of his ways, providing a path for redemption. Bingham’s directing is wonderful in filling each scene with tension, and each shot is framed pitch-perfectly. He understands the troubled mind of Ellis and though the characterisation of Kane and Sonny may be broad, it is nonetheless effective in reflecting the warring thoughts in Ellis’ mind. Each line of dialogue is laced with subtext effectively and aids the performances of the entire cast, who all impress with the subtleties in their performances. Anderson in particular is excellent, conveying Ellis’ confusion through just the slight changes in his face and the movement of his eyes. Similarly, Mackenzie Paterson is endearingly warm as the softly spoken Sonny, given some of the film’s finest lines of dialogue in his conversation with Ellis. Ryan Stoddart has a very different task as the overconfident murderer Kane, yet is a formidable and chilling cold presence throughout who takes over the screen whenever he’s on camera. The icing on the cake of ‘The Hollow Men’ is its conclusion, which is decidedly excellent in its coldness. It is a fine finish to a wonderfully refreshing thriller. High on tension and posing a searching philosophical question, the film acts as a showcase for Daniel Bingham’s immense talent both directing and screenwriting. Though its title may proclaim to be hollow, ‘The Hollow Man’ is anything but. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Chevalier film review by UK film critic Brian Penn. Starring Kelvin Harrison Jr, Lucy Boynton, Samara Weaving directed by Stephen Williams. HOME | FILMS | REVIEWS Chevalier Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jun 19, 2023 Directed by: Stephen Williams Written by: Stefani Robinson Starring: Kelvin Harrison Jr, Lucy Boynton, Samara Weaving Aside from making the cash registers ring, filmmakers have a responsibility to uncover new or forgotten stories. Great deeds are out there waiting to be discovered and introduced to an appreciative audience. Chevalier is a luxurious period drama that tells the true story of Joseph Bologne, the illegitimate son of an African slave and a plantation owner. He gradually rose through the ranks of French society and became a brilliant violinist, composer and champion fencer. If that wasn’t sufficient to fill a crowded CV Bologne was also dubbed Chevalier de Saint-Georges (the French equivalent to a knighthood) by Marie Antoinette. This gripping tale begins with an exciting face-off between Bologne and Wolfgang Amadeus Mozart; two brilliant musicians locked in combat before an enraptured audience. It’s a stunning sequence that’s beautifully crafted with a perfect blend of sound and visuals. Although they were contemporaries, there is no documentary evidence they actually performed together. Nevertheless, it’s a cleverly imagined meeting of the minds and sets the scene for a remarkable life in pre-revolutionary France. Bologne begins as a child prodigy who rapidly excels in a number of disciplines. By adulthood he is an expert swordsman and clearly has a gift for music. Bologne (Kelvin Harrison Jr) charms the court of Marie Antoinette (Lucy Boynton), but catches the eye of aspiring singer Marie-Josephine (Samara Weaving). Bologne has aspirations to lead the Paris Opera House and must produce an opera to secure the position. He wants Marie-Josephine to play a leading role in the opera. However, their ambitions and desire are thwarted by her cold and controlling husband Marquis De Montalembert (Marton Csokas). The sense of political intrigue on the eve of revolution is depicted with vibrant cinematography. The attention to detail, from the costumes to the fencing sequences are impeccable. The close and clammy atmosphere is almost palpable and indicative of a nation on the cusp of change. Kelvin Harrison Jr is superb in the title role and benefits from a wonderfully spikey turn from Lucy Boynton as Marie Antoinette. Bologne’s achievements as a man of colour in the 18th Century is nothing short of astonishing. It’s shameful that it’s taken this long for his endeavours to be properly recognised. There is even potential for a sequel as Bologne’s exploits after the revolution are just as enthralling. No one could have lived a life less ordinary. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Cassandro film review by UK film critic Hope Madden. Starring Gael García Bernal, Roberta Colindrez, Perla De La Rosa directed by Roger Ross Williams. HOME | FILMS | REVIEWS Cassandro Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 14, 2023 Directed by: Roger Ross Williams Written by: Davie Teague, Roger Ross Williams Starring: Gael García Bernal, Roberta Colindrez, Perla De La Rosa There’s rarely a good reason to miss a performance from Gael García Bernal. Even when the material around him doesn’t exactly work, he always does. His performances tend to be marked with a quietly observant, charming resilience. In Cassandro , the narrative feature debut from documentarian Roger Ross Williams, Bernal amplifies that charm and resilience with an energy and magnetism that dares you to look away. Bernal plays Saúl Armendáriz, a real life El Paso amateur lucha librador. Saúl loves wrestling, loves his mother, quietly loves another closeted librador, but wants more. Because of his size, he’s been pegged a “runt” which means, in the pre-determined and choreographed matches, he must always lose. He doesn’t want to lose. What Williams and Bernal channel is lucha libre – this unusual and rarely represented world – as a microcosm for society. The odds are stacked against Saúl. He cannot win. It’s not allowed. It’s not the role he gets to play. So, he decides 1) to find a really good trainer (Roberta Colindrez, understated and excellent), and 2) play the “exotico” – that is, a wrestler who performs in drag. Exoticos never, ever get to win. And yet, the persona allows Saúl to be a little bolder, a little louder, a more vivid version of himself. It’s empowering. Cassandro still has to lose to the likes of El Gigántico because “lucha libre is a fairy tale and good must always triumph over evil.” But as his skill and charisma earn him fans, suddenly that old fairy tale feels less important to the promoters who decide match outcomes. Ross’s documentarian instincts serve the film beautifully, as the world of lucha libre is never treated as a sideshow. There’s humor here, but we laugh with characters rather than at them. And though Cassandro hits the beats you’d expect from a dramatic biopic journey, moments feel authentic rather than manipulated for dramatic effect. The entire ensemble shines, but Bernal owns the screen, his ever present smile a heartbreaking and beautiful image of the resilience and determination that fueled an icon of wrestling and LGBTQ culture. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, LGBTQ+, World Cinema < All Reviews Next Film Review >

Whisper Breach film review by UK film critic Chris Olson. Starring Mike Markoff, Chelsea Gilson, Garon Grigsby directed by Craig Cockerill. HOME | FILMS | REVIEWS Whisper Breach Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: May 2, 2025 Directed by: Craig Cockerill Written by: Craig Cockerill Starring: Mike Markoff, Chelsea Gilson, Garon Grigsby As the debate rages on about the impact of AI on our society, particularly within the film industry, filmmaker Craig Cockerill delivers a cool action-thriller that combines a human hero and an AI buddy with Whisper Reach . And, with the tagline “AI Has a Dark Side”, we kinda know where this one is going, but it’s a fun ride to be on. Mike Markoff (excellent in When Jack Came Back ) plays Kent Collins, an ex-Navy SEAL whose peaceful retirement is disturbed when his partner, Sandy (Chelsea Gilson) commits suicide after a terminal diagnosis. When offered the exciting opportunity of testing a sophisticated AI software developed by his old friend Winston (Garon Grigsby), this could be just the operation to pull our protagonist from the depths of his grief. However, the military implications of Winston’s AI, known as WP, make it a hot property with plenty of baddies lining up to take control of it. As a debut feature, Cockerill shows himself to be a capable pair of hands when it comes to delivering the goods that audiences will expect from a movie in this genre. It has the emotional grounding of Kent and Sandy’s relationship, it has the intrigue of WP and all of his capabilities (e.g. hacking local cameras, getting a congressman fired within 12 hours, or paying the delivery woman a massive tip), and it has cajones when things get physical. The “black ops” type storyline he shoots for is impressively delivered for the most part. The performances are solid, with Markoff giving a Tom Cruise-type energy that aligned perfectly with the Mission: Impossible -esque movie being presented. His character has to deal with a number of twists and turns as the manipulative and powerful AI takes control of his life and Markoff stands up to this challenge brilliantly. Chelsea Gilson, for the limited number of scenes she is in, is excellent. From the opening sequence of her blasting a gun at a shooting range with mascara running down her face, to her loving jibes at Kent on their small fishing boat, she is a terrific on-screen presence. Garon Grigsby sweeps in as an uncertain yet intriguing presence, only really going off the rails in the final ten minutes as the storyline unravelled slightly. For a low-budget action thriller, Whisper Breach makes a lot of smart choices. The locations are great, the interaction between Kent and WP felt engaging, where it could so easily have been clinical and uncinematic. The score was a little on the nose at times, but it did well to heighten the tension when needed and keep up with the frenetic pace of the plot. A stronger and more satisfying ending was needed, however, audiences will likely be far too invested in the outcome and their own deep-seated fears about AI by that point to care too much. It’s a timely and well-crafted indie film that delivers explosive action and thrills. Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Spears film review by UK film critic William Hemingway. Starring Aidan O' Sullivan, Bobby Calloway, Nigel Brennan directed by Gerard Lough. HOME | FILMS | REVIEWS Spears Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 2, 2022 Directed by: Gerard Lough Written by: Gerard Lough Starring: Aidan O' Sullivan, Bobby Calloway, Nigel Brennan Kian (Brennan) is on a job. He is following a woman through the back roads of Donegal to a remote meeting point by some picturesque waterfalls. He uses a drone to capture footage of her as she meets her lover and then calls his employer to relay the details. This shady figure stays hidden in the shadows of a plush boardroom and we never get to see his face, but we know that he is not a nice man. Surprisingly, Kian lies about what he has found out and lets the woman slip away scot-free – he may be operating on the wrong side of the law but it seems he does still have a conscience. Fast forward to Kian's next job briefing and there are two new shady characters trying to employ his services. Mr Hidell (Parle) and Mr Vadik (Sharkey) yet again want a young woman found and are willing to pay handsomely for it. So Kian is off to Florence to track this woman down and we in turn get to enjoy some HD tourist footage of this historic city. It's easy enough for Kian to locate this woman, Camelia (Shahidi) as she's staying in the same hotel he was pointed to by his employers. After a quick game of cat and mouse and some nice base espionage tactics, the two meet and discuss how to work over and escape Hidell and Vadik. Now, Kian has form. Yet again things don't pan out as expected and Camelia ends up screwing Kian over and absconding with his money. It seems she was a plant all along and now the conman has been conned. Such is the game. Up to this point Gerard Lough's film, Spears has been an enjoyable ride. It has been well shot and well put together with some nice editing building the scenes and moving the story along. The acting has been basic but natural and nothing seems out of place; all in all Spears lookslike it's going to be a decent espionage thriller. Then suddenly it changes tack. Now we're following Cormac (O' Sullivan) who is in London to buy some guns. He is given the runaround before getting to meet his contact, who turns out to be none other than Mr Vadik. There's some nonsense with a tete-a-tete and pointless obfuscation before, you guessed it, the good old double-cross. This section of the film is nowhere near as accomplished as the first and is just confusing really, with no real explanation as to what's going on and a much poorer attention to craft. Then suddenly we're in Berlin. So now there's a writer by the name of Jeff (Calloway) and he's in Berlin to meet a woman who's cheating on her husband. Jeff has a sideline in conning women out of their money through catfishing e-mails and it seems he's quite proficient at it. For some bizarre reason he decides to open up to his new lover about this and trusts her to hold the money he's emptied from these poor, lonely marks' bank accounts. It kind of defies belief that this is now where we're at and I'm sure you've already figured out what happens next. Not that it's easy to follow this storyline at all, with the focus jumping about and and certain background characterisation not being revealed until the viewer is already exasperated by what they're trying to follow on screen. The thing is, that by now we are still less than half way through, there's still over an hour of storyline left to fill, and it's all along the same lines as what's come before. The production value never regains the positive look and feel at the start of the film and things start to feel perfunctory after a while. The acting, too, never seems to lift from being serviceable and strangely every performance seems to be devoid of any emotion. For the second half of the film it feels like everyone is just going through the motions, as is the viewer, just trying to get to the end. From what started off as a decent idea, handled with some care and attention, Spears loses its way somewhat. It ends up feeling overlong and over-complicated with nothing standing out to lift it from being a subpar thriller, apart from maybe the excellent electrobeat score from Sigrid Anita Haugen. There are, however, better ways to spend a couple of hours of your time. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >