Timestalker film review by UK film critic Hope Madden. Starring Alice Lowe, Nick Frost, Jacob Anderson directed by Alice Lowe. HOME | FILMS | REVIEWS Timestalker Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 13, 2025 Directed by: Alice Lowe Written by: Alice Lowe Starring: Alice Lowe, Nick Frost, Jacob Anderson Back in 2016, Alice Lowe wrote, directed and starred in the charmingly dark horror comedy, Prevenge . It’s been a long wait, but her absurd wit, impeccable timing and delightful attention to sight gag detail return with the dark reincarnation rom-com, Timestalker. Lowe is Agnes. No matter when you catch her—mid-1600s, Napoleonic era, 1980s New York—Agnes is feeling lost. Unmoored. As if something in her very soul is lacking. And then suddenly, over and over and over again throughout the ages, Agnes realizes what she’s missing is Alex (Aneurin Barnard). Alex never seems to agree. A handful of souls orbit the star crossed never actually lovers (Nick Frost, Tanya Reynolds, Kate Dickie, Jacob Anderson), but that never really registers with Agnes. She’s too attuned to her longing, and then eventually, her need to change her fate because, in each life, Agnes dies (pretty horribly) so that Alex can live. What Lowe has penned is a clever subversion of romance tropes—“I have crossed oceans of time to find you”—without entirely mocking that aching sense of longing that fuels an obsession. Lowe’s most clever device is positioning a man as the object of infatuation. Playing that idea off a later introduction of Agnes’s own stalker further pokes holes in a century’s worth of romance cliche. Timestalker is funny, sometimes brutally so. Anderson shines as a mischief-maker and instigator popping in from age to age with very dark suggestions, and an underused Dickie’s priceless deadpan delivery adds value to each of her scenes. The look of the film offers endless enjoyment, and Lowe is a hoot in every situation. Don’t look for much in the way of a plot, though. Where Prevenge unveiled a bit more of its backstory and detail with each new scene, Timestalker feels like a really fun Groundhog Day with no underpinning story. The film is disappointingly slight given the clever points it makes. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Riddle of Fire film review by UK film critic Matt Weiner. Starring Phoebe Ferro, Charlie stover, Skyler Peters, Lio Tipton directed by Weston Razooli. HOME | FILMS | REVIEWS Riddle of Fire Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Mar 21, 2024 Directed by: Weston Razooli Written by: Weston Razooli Starring: Phoebe Ferro, Charlie stover, Skyler Peters, Lio Tipton An inseparable band of foul-mouthed children drawn into a fairytale-like quest might sound very of the moment, but Riddle of Fire shows how much richness there is to explore in the hands of a unique voice that doesn’t settle for pastiche. It’s hard to pin down any single genre that gets loving attention from writer-director Weston Razooli, but imagine the Goonies adventuring through the world of Mandy … and it only gets dreamier from there. Children Alice (Phoebe Ferro), Hazel (Charlie Stover) and Jodie (Skyler Peters) liven up their summer vacation by stealing a video game console, only to be thwarted by a lock on the family television. In exchange for game time, the kids must bake a blueberry pie to cheer up Hazel and Jodie’s sick mother (Danielle Hoetmer). When a key ingredient gets snatched up by John Redrye (Charles Halford), the trio—who call themselves the Immortal Reptiles—follow him back to his house, where he lives with the cult-like Enchanted Blade. When they accidentally stow away in the cult’s truck on a trip into the woods to hunt a prized stag, the group hardly notices that their afternoon has gone from whimsical fetch quest to life-or-death survival. As the kids play a game of cat and mouse with the cultists, Razooli heightens the fairytale elements. The cult leader, a witch named Anna-Freya (played with beguiling menace by Crazy, Stupid, Love .’s Lio Tipton ), figures out they are not alone. It is only with the help of her daughter Petal (Lorelei Mote), a princess with powers of her own, that the children manage to outsmart the gang and escape back into town—but not away from danger. Razooli’s mix of humor and danger ratchets up the suspense for any adult watching the movie even as the young heroes remain defiantly unbothered. It’s a proper fairytale, and also a stylish throwback to an era of movies that delight in the mischief of featuring young kids getting into real trouble. But Riddle of Fire rises above other nostalgic retreads in the way it commits to the mystery and unease of the world Razooli creates for a remarkably assured feature debut. The film captures the spirit of adventure for weird kids in a grown-up world. And how sometimes it’s worth risking everything to play a cool video game. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Pledge film review by UK film critic Christopher Olson. Starring Zachary Byrd, Phillip Andre Botello, Zach Weiner, Aaron Dalla Villa, Cameron Cowperthwaite, Erica Boozer, Joe Gallagher, Jean-Louis Droulers, Jesse Pimentel directed by Daniel Robbins. HOME | FILMS | REVIEWS Pledge Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Apr 25, 2022 Directed by: Daniel Robbins Written by: Zach Weiner Starring: Zachary Byrd, Phillip Andre Botello, Zach Weiner, Aaron Dalla Villa, Cameron Cowperthwaite, Erica Boozer, Joe Gallagher, Jean-Louis Droulers, Jesse Pimentel Animal House gets sadistic in this 2018 horror Pledge , written by and starring Zach Weiner and directed by Daniel Robbins. Featuring at this year's Grimmfest Film Festival, this is arguably the best indie horror of the year. Weiner stars alongside Zachary Byrd and Phillip Andre Botello as three freshman buddies looking to join any frat house that will take them. Having received the brush off from most of the traditional houses on campus, a seductive invite comes in the form of Rachel (Erica Boozer) who invites our heroes to a remote mansion where the good times flow. Coming back the next day to pledge, the group are perturbed to discover the cruel initiation which awaits them. Phenomenally well-balanced and containing outstanding performances across the board, this is incredible horror/thriller filmmaking. The narrative is tightly constructed with compelling themes of identity and loyalty, the movie is well paced and gripping throughout, and the chemistry between the three central characters is engaging and vital to the success of the story. The trio reminded me of the Superbad kids, if they had been dropped on to the set of Saw! Weiner’s nerdy but eager David works well with the more cynical Ethan (Botello) and Justin (Byrd). The villainy comes in the form of three preppy seniors with a penchant for violence. Whilst their clothes and demeanor scream white privilege, their brutality is terrifying. Cameron Cowperthwaite is particularly engaging as the frat's envoy, straddling the friend/foe fence brilliantly out of focus. As the plot deepens and the scary reality of this fraternity's mission statement is revealed, audiences will relish the intelligent storytelling alongside the compelling horror cinema. University movies typically strike a chord with viewers as they are perfect settings for coming-of-age stories, as are horror films, where the fears of our youth and/or future can often be our monster. By combining these two genres, Weiner has created a fascinating study of the vulnerability of those on the cusp of manhood. Assimilation (in cinema land) can often lead to a bad place and in Pledge it most certainly does. So many of the characters become victims of their own need to fit in, or belong to a society that they understand so little of. A cautionary tale that has so many relevant topics of discussion for a 2018 audience. Buy UKFR Banner Space About the Film Critic Chris Olson Digital / DVD Release < All Reviews Next Film Review >

What You Can't Promise film review by UK film critic Patrick Foley. Starring Richard Fysh, Maria Tauber directed by Richard Fysh. HOME | FILMS | REVIEWS What You Can't Promise Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 11, 2021 Directed by: Richard Fysh Written by: Richard Fysh Starring: Richard Fysh, Maria Tauber Anyone with reservations about listing their property on Airbnb will want to see What You Can’t Promise, an introspective and elusive drama featuring a mysterious houseguest. When a stranger (Maria Tauber) turns up at his deceased father’s country home claiming to have reserved the place for a stay-cation, Gareth (Richard Fysh) reluctantly permits the woman to stay – despite never having heard of the house being listed anywhere for rentals. The woman identifies herself as Ursula, and engages the pensive Gareth in long, late-night discussions about his life, his wants and his desires. But when Ursula’s stories of her own life don’t add up, Gareth becomes suspicious about her true nature. Character and dialogue-driven, What You Can’t Promise is an intriguing and almost uncharacterizable film which will engage audiences with a central mystery and a perplexing female lead. Director (and star) Richard Fysh smartly allows his own performance, as well as Maria Tauber’s, to take centre stage throughout the film’s run, opting to shoot most of the film with a static camera in order not to distract from the carefully crafted and natural dialogue, or from the telling physical language from the pair. It’s a brave move, and one that could have backfired if not for the strength of the highlighted elements. But the inherent quality allows for this smaller scale production to click. The film handles its central mystery well, and viewers will be drawn into the question of just who Ursula is, and what she is doing at the house. Clues and hints dotted throughout her interactions with Gareth are well-hidden and reveal enough to create a discomfort around her presence without giving the game away too early. Maria Tauber’s enigmatic performance is perfectly attuned for the role as well – and viewers will relate to Gareth’s inability to dismiss her through sheer magnetism. The film does suffer somewhat upon a second-watch however once viewers are aware of the reveal, as much of the film’s emotional draw relies on the audience’s own uncertainty. The lower production standards come to bite the film in regards to sound editing, with some scenes overly difficult to hear and dialogue at an inconsistent volume throughout. This gets to be frustrating, especially for a film that relies so much on conversations. Other production limitations are largely dealt with well, with the film demonstrating supernatural elements using intelligent and improvisational methods. There are however still some awkward edits and cuts which could have been ironed out. The film also feels a little overlong in some areas, largely resulting from the level of focus required from the viewer to the exchanges between the lead pair that are central to storytelling. The absence of a score, and single-location setting, can also becoming fatiguing. However, the film does remedy these as it draws towards its conclusion, when the story begins to ramp up. What You Can’t Promise succeeds in both entertaining audiences, and exploring its own concept thanks to engaging dialogue and two strong performances. Once its central question is revealed to the viewer, technical issues and an un-invigorating setting chip away at its enjoyability. However, this smaller scale production deserves real praise for trusting in its bread-and-butter elements of plot, script and performances – without which no film can succeed. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Blue Plastic Bag film review by UK film critic Swati Verma . Starring Bijan Karim, Alden Doyle, Nilufar Moayeri directed by Bijan Karim. HOME | FILMS | REVIEWS Blue Plastic Bag Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 16, 2023 Directed by: Bijan Karim Written by: Bijan Karim, Alden Doyle, Nilufar Moayeri Starring: Bijan Karim, Alden Doyle, Nilufar Moayeri The writer-director Bijan Karim strongly believes in continuously looking within and rediscovering self to improvise on both the personal as well as professional levels in life. The short film-Blue Plastic Bag highlights the same through all three protagonists Armin (Bijan Karim), Lance (Alden Doyle), and Yasmin (Nilufar Moayeri). The plot of the movie revolves around Armin a loner who decides to divide his time between his mother Yasmin a painter and his friend Lance also a painter while his girlfriend is away. In the opening scene, the camera captures various slice-of-life moments from the life of Armin as the tracking shot is effectively utilised to showcase the mundane lifestyle of the central character. A series of mid-shots and close-up shots are used to portray the contrasting perspective of Yasmin and Lance on life, therefore, allowing the audience to better understand the nuances of the subject matter of the film. The set design, colour palette, and lighting. background music dialogues, costume, hair, and makeup have been kept natural to provide the viewers a sense of realism and relatability with the content hence increasing the degree of audience engagement with the content. The editing of the film gives a smooth movement of the narrative hence not breaking the element of continuity and the emotional connection of the viewers with the dramatic piece. In terms of performance, Bijan Karim plays Armin who goes through a tough time while making various decisions that make a lot of changes in his life so he wants to seek help from his loved ones. Karim utilises body language, voice modulation, and facial expressions to effectively communicate the range of emotions the character is experiencing. The actor knows how to balance emotions and logic and this is the very aspect that makes the audience hold on to Armin up until the climax of the film. Nilufar Moayeri plays the role of the mother of Armin who wants to safeguard her child from getting hurt and encourages him to find happiness for himself as it becomes the most important thing to survive the testing times. Moayeri with her portrayal brings the much-required experience to shape up Yasmin and put across her thoughts to uplift the storyline. The bond between Nilufar Moayeri and Bijan Karim assists in providing depth to the onscreen mother- and son relationship helping the filmmakers to deliver the key message of the creative piece. Alden Doyle as Lance with his excellent comic timing gives a refreshing take on the expectation of the younger generation from life as he lends his ears to the problems of his friend. Lance emotionally appeals to the viewers and they learn a lot of life lessons from him during the running time of the cinematic piece. Blue Plastic Bag talks about the importance of family and friends at all stages of life and one shouldn’t hesitate to ask for help in fear that he/she has grown up and should be dealing with the issues themselves. The short film tells us it becomes crucial to stay true to self and take care of the decisions made regarding the choices as one cannot make the mistake of losing his/her identity while complying with the rules and regulations of any relationship. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Creatures of Habit film review by UK film critic Nina Rawlingson. Starring Theo White, Timothy J. Cox directed by Bryon Jones. HOME | FILMS | REVIEWS Creatures of Habit Film Review average rating is 4 out of 5 Critic: Nina Rawlingson | Posted on: Aug 26, 2026 Directed by: Bryon Jones Written by: Bryon Jones Starring: Theo White, Timothy J. Cox Set in a dimly lit bar, we are introduced to a journalist named Meekah (Theo White) hard at work. He is approached by a mysterious and rather sinister character (Timothy J. Cox) who pursues him for a conversation. We see Meekah take his drinks from the bar and get stuck into his work. A top-down shot shows Meekah in the process of what appears to be an investigation into a cold case. Sifting through various crime scene photos, a stranger approaches. At first, Meekah is distracted but begins to pay attention to how the stranger perceives the world. The mood lighting already sets up this idea of good and evil. Both sitting across from each other at the booth, one side warm-toned and vibrant and the other cold and casting shadows. At first, we don’t see the stranger’s face, keeping us suspicious about the motive of the conversation. When Meekah does start to become intrigued, we cut to the face of the stranger taking up the whole screen, covered by a hat, never seeing his eyes. Only his mouth is illuminated as he speaks in this unsettling tone; this creates a silhouette that is completely menacing. The camera work in this short delivers this film so effortlessly. We go from top-down, to over-the-shoulder and up-close intimate shots of both characters during the interaction. The acting between the two is impressive, delivering convincing character arcs and the sound is of great quality. At the beginning, only background noise is heard and as the conversation progresses, we hear a rich string score representing the ever-growing tension. A short-form thriller like this leaves the audience wanting more. The title ‘Creatures of Habit’ is cleverly worded for both the two characters. Meekah is so caught up in his own work that he neglects relationships in his personal life and is somewhat a loner. The stranger stalks people, observes them, and lives by this pattern. Ultimately, the two worlds collide in this good vs evil play-through. We are left with more questions than answers, and it’s perfectly set up for a bigger project. Overall, the short feels inspired by films like ‘Seven’ and ‘Zodiac’. It uses the darkly dressed stranger as a trope for a greater lurking evil. This is enhanced with aspects like the lighting, shots, and dialogue. The environment feels like we’ve stepped straight into a dive bar, and all of this is credit to the quality of the film. This could have potentially been a longer run time, exploring both characters more. However, it adds to the mystery of the film, which is what is clearly intended. Both actors perform convincing roles and capture the essence of the film in such a short amount of time. They nailed the aesthetics with the cinematography and kept us wanting more from this cat and mouse portrayal. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Short Film < All Reviews Next Film Review >

Memoir of a Snail film review by UK film critic Hope Madden. Starring Sarah Snook, Kodi Smit-McPhee, Jacki Weaver directed by Adam Elliot. HOME | FILMS | REVIEWS Memoir of a Snail Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 6, 2024 Directed by: Adam Elliot Written by: Adam Elliot Starring: Sarah Snook, Kodi Smit-McPhee, Jacki Weaver Adam Elliot is an artist of singular vision. His stop-motion plasticine adventures discard whimsy in favor of almost Dickensian storylines told with eccentricity, dark humor, heartbreak and grit. Memoir of a Snail trails Grace Pudel (voiced by Succession ’s Sarah Snook). Grace is a twin, an orphan, an introvert, and a lover of snails. And as she ages, each one of these labels takes up a deeper, more complicated, more pathological space in her life. The one reliable bright spot is her best friend Pinky (Jacki Weaver), the town oddball (and that’s saying something). The film begins near its end, as Grace shares her life story with Sylvia, her favorite snail. It’s not a particularly happy tale—in fact, it’s marked by genuine tragedy and haunted with loneliness—but there are moments of joy, and Snook delivers every clever, bittersweet line perfectly. The voice cast shines, top to bottom. Kodi Smit-McPhee, Nick Cave and Eric Bana deliver the perfect vocal personalities to do justice to the endearingly odd inhabitants of Elliot’s charmingly homely little world. Elliot’s writing is as impressive as his stop-action artistry. Memoir of a Snail delivers poignant insights and clever gags, astonishing depth of character and well-observed idiosyncrasies. There’s a real sweetness to the film, and the grimmest possible story turns are delivered with a unique blend of tenderness and bleak humor that’s tough to describe. It’s a tone Elliot’s mastered as evidenced by his Oscar winning 2004 short Harvie Krumpet and brilliant 2009 feature Mary and Max . Elliot treasures time spent with characters ignored and disregarded in their own worlds. His narratives don’t condescend or judge, and the characters are so wonderfully warts-and-all compelling that you hate to see your time with them come to an end. Adam Elliot’s world is a darker, drearier spot than the neighborhoods populated by Aardman’s characters. (Sidenote: There’s a new Wallace & Gromit movie this year! Woo hoo!!!) His films are not as silly, their homes not as brightly lit, their cheese selections more limited. But the world Elliot creates—this ranch home on a small street in Canberra, Australia, crammed to bursting with ceramic snails, randy novels, Guinea pigs, and longing—is the flip side of the same plasticine coin. It’s ingenious, moving, hilarious and required viewing. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Train Ride film review by UK film critic Jason Knight. Starring N/A directed by James Bowman. HOME | FILMS | REVIEWS Train Ride Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 30, 2026 Directed by: James Bowman Written by: James Bowman Starring: N/A A short animated music video by American animator and music producer James Bowman, also known professionally as AnimHeru. Dancing and romance is occurring inside an underground train. In order to avoid any confusion, it would be best to concentrate on the physical appearance of the characters first. Generally, they resemble human figures as they have arms, legs, a torso and a head. Another thing that indicates that they are actually people is the environment, which looks...well, human. What makes them look...unnatural is the fact that they are very slender with extremely thin limbs and a long neck, resembling aliens from another planet. So, there is a narrative here and the video begins at an underground train station, where a figure described above, whose body is all blue, enters a train and takes a seat. Nearby, in the same coach, is another character, this one all purple. The purple one notices the blue one and approaches. The purple one encourages the blue one to stand up and the two of them embrace and proceed to dance. That is when their surroundings transform from the interior of a train to the interior of a nightclub dance floor. There is no speech at all in this four-minute-long video, with music and visuals doing all the talking and they have a lot to say. Looking at the visual elements, the computer animation looks super, making effective use of colours, particularly during the dance sequence, which takes up approximately 90% of the video's duration. While the two characters are dancing, their surroundings consists of nothing but one colour that keeps changing, like the lights on a dancefloor. The dance itself is romantic, with slow motion. Focusing on the score now, it could be described as house music, generating feelings of romance, while also being relaxing at the same time. Another thing about the characters. Apart from their colour, they look exactly the same, with no facial features or any kind of details to differentiate them from each other. Is the blue one the male and the purple one the female? Or it is vice versa? Are they both the same sex? Does it matter? Ostensibly, the two characters meet by chance and it is therefore suggested that this is a love-at-first-sight story where the most amazing things can happen in the most unexpected places. Taking the ending under consideration, this video seems to be promoting the message that people should make the most of everything that comes their way and enjoy it while it lasts. Beautiful colours and good music. A chance encounter in an underground train that leads to dancing and romance. A story that moves from reality to fantasy, resulting in a viewing that is a joy to experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Animation, Music Video < All Reviews Next Film Review >

Agent Jayne: A Woman With A Mission film review by UK film critic Holly Baker. Starring Shalini Sood, Uriel Massey, Julius John directed by Waqar Peter Gill. HOME | FILMS | REVIEWS Agent Jayne: A Woman With A Mission Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Oct 17, 2025 Directed by: Waqar Peter Gill Written by: Waqar Peter Gill Starring: Shalini Sood, Uriel Massey, Julius John Agent Jayne: A Woman With A Mission (2024) is an hour-long action-thriller. The film has a Bollywood feel throughout, evident in its excessive repetition, over-the-top editing, and constant tonal shifts. The editing choices in Agent Jayne are often cheesy; for instance, when the phrase ‘money laundering’ is spoken, a cartoon explosion of money fills the screen. However, considering the dark themes of the film, the excessive, juvenile look of sequences like this one aptly balances out the heaviness of the film's tragedies, maintaining its fun feel. The film’s main focus is an in-depth look at the devastating impacts of drug addiction on young people. The story closely follows private detective Agent Jayne as she investigates those responsible for the dealing of harmful substances. Over the course of the film, she risks her life with the mission of preventing further deaths and punishing the criminals responsible for the teenagers’ deaths. A major point of discussion is the dark topic of children suffering from drug addiction. The film navigates these themes lightly, focusing more on maintaining a fast pace and an exciting narrative through the actions of the film’s protagonist, Jayne. The film utilises its low budget of $50,000 through incorporating cheap editing tactics, such as tacky transitions, resulting in some sequences appearing like an advert aimed at children. Whilst viewers may find this to be corny, this absurd look adds to the enjoyment of the film and, in a way, aligns with the film’s clear purpose as a staunch anti-drug campaign. The film contains several sequences with sleek cinematography, where high-quality camera equipment has been used and shots have clearly been carefully positioned. Several of these shots are well-lit and demonstrate a keenness for and strong ability in masterful filmmaking. Although these moments are infrequent, they certainly propose potential for further instalments of the Agent Jayne franchise to have a more defined, cinematic look after the filmmakers acquire a larger budget to work with. As the film studies the tragedies at play in a world corrupted by crime and where the vulnerable are dominated by evil, power-hungry individuals, its use of music and erratic editing can often feel off-putting. The score consists of loudly using fragmented melodies to build up tension; however, due to its excessive use and blaring volume, the music often overpowers what is occurring on screen. When paired with the film’s cartoonish editing, there are particularly jarring moments. For instance, a tragic depiction of an adolescent dying suddenly from a drug overdose is accompanied by an action-esque rhythm to build tension. This suddenly transitions to a clearly computerised image of a newspaper article, bluntly reporting on the death. Moments like this feel slightly tone-deaf, and this quick, blasé structure of presenting deaths is reused several times, taking away from the morbidness of the film’s overall message. As well as the film’s plot, the film’s performances do not always fit well with the erratic feel of the film. Dialogue is delivered in an unnatural, deadpan tone, feeling, unfortunately, blatantly artificial. This clunky acting style is consistent throughout the film and occasionally works for comedic value; however, when blended with fantastical action sequences as well as social realism, it feels slightly out of place and brings the film’s enjoyment down slightly. The subpar acting is particularly disappointing as the story builds to its climax, and its wild and whimsical style encourages viewers to get lost in the action. Despite its flaws, the film as a whole is, without a doubt, an exhilarating ride. Its continuous fast pace through sudden location shifts and time changes, as well as its supervillain-esque characterisations and fanciful lighting and editing choices, mean there is never a dull moment in Agent Jayne. The film’s message, whilst starkly important, does not always feel close to the filmmaker’s heart, as the action-packed plot and overall feel of the film encourage a more thrilling, immersive viewing experience than one that leaves viewers pondering the tragedies of drug use. It is only a shame that the passion and excitement of the film’s style and set design do not resonate within its performances. Buy UKFR Banner Space About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

The Thread (2026) film review by UK film critic Holly Baker. Starring Tyrelle Boyce, Thea Butler, Davi Gyasi directed by Fenn O’Meally. HOME | FILMS | REVIEWS The Thread (2026) Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Jun 22, 2026 Directed by: Fenn O’Meally Written by: Fenn O’Meally Starring: Tyrelle Boyce, Thea Butler, Davi Gyasi The Thread (2026) is a short family drama that conveys the dichotomy between privilege and oppression, centred on a mixed-race household raising their teenage children. The family is made up of a Black father, played by David Gyasi, a white mother played by Lucy Phelps, and two mixed-race children. The older of the two is a teenage boy played by Tyrelle Boyce, alongside his younger sister, who is portrayed by Anaya Thorley. The film follows their everyday activities, such as school runs and trips to the shop, highlighting the differences between the family members' experiences of their races through several clever nods, overall drawing attention to the beautiful way that unity can be achieved through difference. The film subtly nods towards Thorley’s character’s paler complexion. Whilst she is born of the same parents as her brothers, her lighter skin tone requires more sun protection than his. Despite this, their sibling bond is clearly a very strong one, displayed through their proximity and affection. Their relationship is very well directed and acted, portraying a genuine closeness which is wholesome to see. There is a poignant moment where the mother takes her two children into a shop after school, and receives a microaggression from the shopkeeper. Here, there is an interesting interplay in which white privilege and racism are both conflicting forces, as the mother can be protective but is also a victim of the comment as it involves her family. Through this, viewers’ minds are opened to the nuances involved in the daily lives of victims of racism, as well as the different ways that people comment and judge people's lives, sometimes not even realising that they are being racist. The film’s strong dedication to realism is captivating. A teenage boy’s bedroom is portrayed entirely convincingly, the inside of a family car is wholly familiar, and the environment of 2010s Britain is accurately captured, down to the greyish colour grading capturing the windy dreariness of English fields. Through such a commitment to recreating the familiar environment that many British viewers will remember growing up with, or are in fact experiencing as teens or parents, the ideas and experiences of racial identity are starkly visceral, feeling as though they are derived from the filmmakers’ own lives. By including nods towards cultural phenomena such as rap music and poetry, The Thread importantly incites thought on the way that identity and culture go hand in hand, both often influencing one another. The significance of diversity in art forms, particularly intersectionality, is rarely tackled in the medium of film, particularly in the short form. It is refreshing and inspiring to see The Thread carry this through, appearing effortless as a simple story involving a careful message is conveyed in such a provoking way. With cleverly crafted symbolism and attention to detail, this narrative piece effectively brings to light a reality of racial injustice. Through subtle moments, and the use of handheld cameras and close ups which gives viewers a sense of inclusion within the character’s, the film’s ideas surrounding embracing racial identity are smoothly brought to attention. The Thread will be showing at the 2026 Raindance Film Festival. Buy UKFR Banner Space About the Film Critic Holly Baker Short Film, Film Festival < All Reviews Next Film Review >

Baby Brother film review by UK film critic Jason Knight. Starring Paddy Rowan, Brian Comer, Julia Ross, Billy Moore directed by Michael J. Long. HOME | FILMS | REVIEWS Baby Brother Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 13, 2023 Directed by: Michael J. Long Written by: Michael J. Long, Tom Sidney Starring: Paddy Rowan, Brian Comer, Julia Ross, Billy Moore Following a long period of absence, a troubled man heads back to his family home, leading to terrible consequences. Liam (Comer ) is a jobless youth who lives with his mother (Ross) in Liverpool. Suddenly and unexpectedly, Liam's older brother Adam (Rowan) arrives at the doorstep and they have not seen each other for five years. Not particularly thrilled by his arrival, Liam reluctantly slends time with him inside the house. Things get further complicated and dramatic when Adam's reasons for being away are revealed and his actions will change the lives of those around him. This hard-hitting drama has an interesting story structure. The story is told over the course of two days, one taking place in the present and the other taking place five years previously. The narrative keeps alternating between these two days, both of which contain fateful events and the scenes from the past were filmed in black-and-white, like American History X . The past events concentrate mainly on the strong former relationship between the two brothers, with the siblings hanging out together and causing some trouble that includes stealing and breaking into buildings. More seriously though, they have to deal with their mother's abusive partner Robby (Moore). The present events focus on how Adam's presence affects the people he encounters, which is far from good, as Adam is an emotionally unstable individual and potentially violent and dangerous. Partially, this feature is an emotional drama that deals with a dysfunctional family and explores themes about brotherhood, parenthood, domestic violence, regrets and consequences. Things move towards thriller territory when Adam loses control, leading to brutality and devastation. Adam is the character who steals the show (in the present part at least), an aggressive young man who has been through (and is still going through) very hard times and appears to be looking for some sort of redemption. Liam is rather different from his brother, a vulnerable and awkward youngster who has become attached to a toy dog and has big dreams. Their mother, although she cares for both of them, she has made mistakes that have affected her sons' upbringing. Robby is a negative presence in the family, as he mistreats them and is involved with bad people. Director Long creates some well-executed long takes with a static camera and the dramatic music by Bobby Locke is a great plus and includes melancholic piano melodies. Interestingly, there are various black-and-white sequences throughout the film where one of the protagonists is shown in a medium closeup, in a darkened environment, with the light gradually coming and going. Although the purpose of this might not be clear, these sequences are well filmed and look quite dramatic. Basically, the colour scenes contain the most drama and tension and it is the black-and-white ones that offer some happiness and solace. Overall though, this is a tragic story about the before-and-after of a terrible event and it has distressing scenes and a great deal of profanity. It is an unpleasant viewing, which shows how effective its dramatic screenplay is, along with the outstanding performances. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

In Passing film review by UK film critic Patrick Foley. Starring Fedra Ramirez Olivares, Kaileela Hobby directed by Hillia Aho. HOME | FILMS | REVIEWS In Passing Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: May 16, 2023 Directed by: Hillia Aho Written by: Hillia Aho Starring: Fedra Ramirez Olivares, Kaileela Hobby The unsustainability of everyday life and its crippling impact on mental health and relationships featured in Hillia Aho’s In Passing will be sadly familiar to many viewers – though its uplifting and hopeful message is a welcome and moving tonic. Rey (Fedra Ramirez Olivares) and Elle (Kaileela Hobby) are a young couple struggling to make ends meet. Elle is an artist following her passion and living a more carefree existence taking painting commissions, whilst Rey is an overworked and underpaid chef whose intense schedule pays the bills. Rey’s growing resentment to her partner for what she sees as a failure to contribute is approaching a breaking point, when she begins to consider what makes the difficult times brighter. Sensuality, warmth and reconciliation are at the heart of In Passing. This mature and contemplative short is a brilliant and layered film which captures the complex dynamics within relationships and applies a crippling pressure perfectly in tune with the anxieties of modern audiences. Stress is woven into Rey’s presence, and Hillia Aho carefully lays groundwork for the lopsided nature of the relationship in which she feels like an unmatched provider – with scenes portraying her hectic schedule, uncaring boss and even an aside to the risks service workers face as a result of the pandemic. Meanwhile the film tonally shifts to a softer, lighter nature as it follows home-based freelancer Elle, who is passionate and caring but aloof to Rey’s financially-driven stress. The film portrays the growing divide realistically and in a manner that makes both parties’ positions understandable – with the external pressures both experience the film’s true antagonist. Hillia Aho’s direction and Kaitlyn Busbee’s photography results in a radiance that exudes from the screen. Viewers will be able to sense the crispness of Elle’s canvas and the smell of the paint in the art studio thanks to the intimate camerawork. Meanwhile the shivers that Rey experiences as she stands outside her restaurant being lambasted by her boss transmit to the audience – which echo through the cold palette that follows her as her depression worsens. Fedra Ramirez Olivares and Kaileela Hobby totally convince as Rey and Elle, with a chemistry that nails both the love they share and the tension they are troubled by. Kaileela Hobby carries a charm and genuineness that ensures that Elle’s failure to recognise her girlfriend’s anxiety is never ignorant or malicious. Meanwhile Olivares portrays a initially understated weariness that begins to crack into frustration as the film progresses – though still nails the crucial perspective-driven realisation in the film’s closing stages. Managing to close on a heartening and enriching note is what ascends In Passing into brilliance, and is a testament to how much emotion, connection and character can be built in just ten minutes. Rey and Elle’s relatively simple story is one that moves throughout and will leave an impression – especially on the many viewers who will relate to one of the two protagonists. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, LGBTQ+ < All Reviews Next Film Review >