See How They Run film review by UK film critic Brian Penn. Starring Sam Rockwell, Saoirse Ronan, Adrien Brody, David Oyelowo, Reece Shearsmith, Ruth Wilson directed by Tom George. HOME | FILMS | REVIEWS See How They Run Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Sep 10, 2022 Directed by: Tom George Written by: Mark Chappell Starring: Sam Rockwell, Saoirse Ronan, Adrien Brody, David Oyelowo, Reece Shearsmith, Ruth Wilson Just occasionally a film reminds us what Saturday night at the movies used to be about; pure entertainment that sends the punters home with a smile on their faces. This new film by Tom George comfortably moves into 'popcorn movie' territory and we should all be grateful for it. The action lands gently in London during the early 1950s. Agatha Christie's Mousetrap has just completed its 100th show in the West End. It looks set for a healthy run and a film version is in preparation when disaster strikes. Leo Kopernick (Adrien Brody) narrates his own demise as the cocksure American director who upsets too many people. His untimely death occurs during a party to mark the show's century. Like all good whodunits there are ample suspects with no end of means, motive and opportunity to do the evil deed. There is camp scriptwriter Mervyn Cocker-Norris (David Oyelowo) who quarrels incessantly with Kopernick about the film's direction; and producer John Woolf (Reece Shearsmith) who is desperate to get the film made, but is hamstrung by contracts tied to the stage show. Meanwhile, slippery theatre producer Petula Spencer (Ruth Wilson) wants everything quickly cleared up so the West End run can continue. Scotland Yard's finest are soon on the case. The world weary Inspector Stoppard (Sam Rockwell) is ably assisted by rookie WPC Stalker (Saoirse Ronan). They make an odd but strangely appealing couple. Stoppard wants a quiet life and a murder is the last thing he needs. In contrast Stalker is an eager puppy snapping around his heels. But will they get to the bottom of this particular mystery? It's a cracking good yarn that stays faithful to the genre pioneered by Agatha Christie, but smartly includes elements of farce made famous by Ray Cooney. The essence of slapstick is never far away as novel use is made stage props. Writer Mark Chappell peppers the script with funny lines and appreciates the gentle humour that underpins Christie's work. Tom George captures London with a rich and evocative glow that rests easy on the eye. Elements of 'faction' come to the fore as Richard Attenborough and Sheila Sim also feature as characters. They were in the original cast of the Mousetrap and give the film an essential reference point. A superlative cast have a great time and work perfectly as an ensemble; they make the most of brilliantly executed set pieces that punctuate the script. See How They Run helps us escape to a different time and place; when the harsh realities of life could be parked outside the cinema and temporarily forgotten. I think we could use a film like this right now? Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Mother Bhumi film review by UK film critic William Curzon. Starring Bingbing Fan, Run-yin Bai, Pearlly Chua directed by Keat Aun Chong . HOME | FILMS | REVIEWS Mother Bhumi Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Nov 3, 2025 Directed by: Keat Aun Chong Written by: Keat Aun Chong Starring: Bingbing Fan, Run-yin Bai, Pearlly Chua Mother Bhumi follows a community of farmers living on the Malaysia-Thailand border and primarily focuses on the central character Hong Im (Bingbing Fan), who is a grief-stricken individual suffering from the recent loss of her husband under unknown circumstances. Hong Im uses black magic to address villagers’ everyday issues until she encounters a ghost that reveals secret revelations about her husband’s demise. The piece takes a rather unconventional approach in its ideas regarding the social commentary that it employs surrounding the socio-political strain following the Reformasi movement in Malaysia in the 90s. Three plot lines pervade the narrative involving a witch, a possessed buffalo and the changing political landscape of Malaysia during this time period. While the narrative is conceptually intriguing given the premise, the film sadly never pulls you in, thanks to an intentionally slow-burning approach that rarely feels earned and tackles themes that the filmmakers seem to be at odds with. The piece is thematically hollow and unsure of what it is even about, thanks to its muddled ideas and lethargic pacing that unfortunately meanders to a tonal redirect. There is also a severe lack of conflict brewing; however, specific sequences are unsettling, and the bleak tone makes the entire experience feel exhausting to endure by the end credits. Unfortunately, many aspects of the film leave you questioning the filmmakers’ intent of what they wanted to convey to the audience regarding the plot lines prevalent throughout. On the other hand, the film is beautifully photographed by Ming-Kai Leung, and this creates a disturbing amount of intensity during sequences of distress or visual storytelling. A mix of wides and fixed shots during the night sequences is genuinely breathtaking and a sight to behold in the stunning historical setting. Keat Aun Chong and Kah Hoe Yii’s original musical score is another major standout formally, as it accompanies more intimate scenes wonderfully and anchors prolonged sequences with an uneasy atmosphere. The central performance from Bingbing Fan is solid as she inhabits a profound level of grief coming to terms with her disparity as she questions and mourns the sudden death of her husband. The production value is staggering and makes the piece feel lived in with a timeless presentation of the Malaysian landscapes. Grasping themes such as grief and historical trauma while blending fantasy in with these ideas is an ambitious approach to take, but unfortunately, it makes the thematic aspects feel bloated and uneven. The narrative is convoluted and never truly explores the three central plot lines thoroughly, outside of representing Hong Im’s grief, perhaps reincarnating through metaphorical symbolism. The tonal redirect that takes place throughout the third act feels jarring as the film suddenly changes from a historical drama to a horror piece with a depiction of haunting and disturbing imagery. The inconsistent tone, unfortunately, leads to a conclusion that feels ultimately baffling to comprehend as a viewer. It does, however, still maintain a profound level of empathy for Hong Im thanks to Bingbing Fan’s striking performance and an emotionally draining display of a grief-stricken individual finally coming to terms with her trauma. Mother Bhumi is an unfortunate dilution of the broad array of ideas present, and sadly, fails to interrogate them thoroughly with its mix of sorcery and culturally historical aspects. Aided by a solid central performance from Bingbing Fan and sublime formal choices on display, the screenplay and atmospheric nature can never quite keep up with its technical merits, as the prolonged pacing and bloated runtime deeply affect the emotional resonance and lasting impact after the credits roll. MOTHER BHUMI screened at the Tokyo International Film Festival on October 27th at 6.30pm. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film, Film Festival, World Cinema < All Reviews Next Film Review >

Mondo Hollywoodland film review by UK film critic Jason Knight. Starring Chris Blim, Aaron Golden, Miranda Rae Hart, Alex Loynaz, Jessica Jade Andres directed by Janek Ambros. HOME | FILMS | REVIEWS Mondo Hollywoodland Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 19, 2021 Directed by: Janek Ambros Written by: Janek Ambros, Chris Blim, Marcus Hart Starring: Chris Blim, Aaron Golden, Miranda Rae Hart, Alex Loynaz, Jessica Jade Andres An unknown person attempts to find out what today's Hollywood is by discovering what 'mondo' means. Inspired by the cult classic documentary Mondo Hollywood , this feature looks into the modern film industry and follows the lives of several individuals residing in Los Angeles. The film begins with someone who is fascinated by Hollywood and claims to be from the fifth dimension. That person is never seen and speaks with a male voice. When he is present, the action is seen through his point of view. He approaches a stranger in the street and asks him about Hollywood. The stranger explains that to know that, one needs to know what 'mondo' is and that the person who knows that is a man by the name of Normand Boyle. Once located, Boyle states that in order to find out what mondo means, one must seek out the Titans, Weirdos and Dreamers. So the man sets of to do just that. From then on, the movie separates to three chapters: one titled 'Titans', another named 'Weirdos' and finally one called 'Dreamers'. Each chapter introduces new characters, but they all include Boyle. Every chapter contains characters that seem to represent the chapter's title. For instance, the Titans section focuses on the lives and struggles of a young actress and a man who works as a chief operating officer for a film company. It is suggested that the actress and the officer are titans, significant people in Hollywood. Other characters include an astrological priestess, a struggling actress, a personal trainer and a group of protesters. The narrative follows their goals, while also looking into Boyle's activities, whose main concern is to deal with the rats in his home. The screenplay basically consists of multiple storylines that intertwine with each other. This feature could be described as a dark comedy satire on Hollywood. Many protagonists are involved in the film industry and some are eccentric. There are awkward situations, protests, drug use and hallucinations that involve people wearing masks. The camera is often handheld and there are creative lighting effects. The editing often includes montages that utilize fast cutting techniques. There is occasional narration and at certain points characters break the fourth wall, look into the camera and address the audience. The soundtrack is rather entertaining. This feature has its ways when it comes to getting the viewer's attention. The characters are interesting and it does have its funny parts. It may not be very engrossing, however it is worth seeking it out for some amusement. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Crimes of the Future film review by UK film critic Hope Madden. Starring Viggo Mortensen, Lea Seydoux, Kristen Stewart directed by David Cronenberg. HOME | FILMS | REVIEWS Crimes of the Future Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 1, 2022 Directed by: David Cronenberg Written by: David Cronenberg Starring: Viggo Mortensen, Lea Seydoux, Kristen Stewart Not everyone is going to enjoy Crimes of the Future , David Cronenberg’s latest and perhaps most Cronenberg film. But Cronenberg fans will find plenty to enjoy. Well, enjoy might not be the right word. In a dreary world where “surgery is the new sex,” two performance artists (Viggo Mortensen, Léa Seydoux) turn one’s mutant organs into art. If that doesn’t sound like a Cronenberg movie, nothing does. Saul Tenser (Mortensen) has evolutionary derangement, a common problem these days. The human body has started simply sprouting new organs, Tenser more than most. But he and his partner Caprice (Seydoux) expel them from his body, which is okey dokey with the New Vice squad and the New Organ Register’s office, run by a couple of people passionate about new organs: Timlin (Kristen Stewart) and Wippet (Don McKellar). From there, Crimes of the Future turns into a kind of science fiction detective thriller. In the cons column, it moves at times too slowly and there is one uncharacteristically weak kill sequence. In the pros, it’s unusually funny for the filmmaker. Also, there is still no one who delivers visceral, physical horror quite like David Cronenberg. The king of corporeal horror hasn’t really made a horror film since 1988. He’s made moody, disturbing indies (Naked Lunch, Crash, eXistenZ, Spider ) before producing two massively successful mainstream(ish) films: 2005’s A History of Violence and 2007’s Eastern Promises. Both earned Oscar nominations. Both were brilliant. Cronenberg had a little more trouble finding his footing after that, never reaching the same degree of commercial or critical success and essentially retiring in 2014. But more than 30 years after his last horror flick, Dead Ringers —one preoccupied with organ mutations, sex and surgery—Cronenberg returns to the ground that was most fertile in his early career. Literally, his latest effort concerns organ mutations, sex and surgery. Crimes of the Future —like Crash and Videodrome —is specifically, grotesquely sexual. It plays like an ecological fable, though the theme, as stated by Lang Daughtery (Scott Speedman) remains the same: “It’s time for human evolution to synch up with modern technology.” Turns out, it’s a theme that hasn’t outstayed its welcome. But it often feels like the movie is more about the filmmaker himself than it is about his thematic preoccupations. Indeed, Crimes of the Future is so Cronenberg it’s almost meta. The film references, directly or indirectly, The Brood, Dead Ringers, The Fly, Naked Lunch, Crash, and most frequently and obviously, Videodrome. Like his main character, Cronenberg has long been an “artist of the inner landscape.” And after several decades of excising that tendency from his work, Cronenberg has come full circle to accept what was inside him all along. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Ruby film review by UK film critic William Hemingway. Starring Holly Higbee, Dorentina Bajrami, Beatrice Bowden, Cormac McAlinden directed by Islah Abdur-Rahman. HOME | FILMS | REVIEWS Ruby Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jun 21, 2026 Directed by: Islah Abdur-Rahman Written by: Holly Higbee Starring: Holly Higbee, Dorentina Bajrami, Beatrice Bowden, Cormac McAlinden A teenage girl tries to navigate her way through college life, whilst also trying to deal with the responsibilities that come from being a young carer. Ruby (Higbee) is one of 800,000 young carers under the age of eighteen in the UK right now. This is not something she shares lightly, and her college friends are unaware of the pressures that sit on Ruby’s mind on a daily basis. As Ruby tries to focus on her exams and her relationships with the girls and boys around her, she also has to deal with jibes about the noise coming from her house in the middle of the night, and emergency phone calls that pull her away from important situations to run home. Ruby’s life is almost completely tied to her mother (Bowden), who she cares for, and who has depressive and manic episodes which need to be managed. Her brother, Jay (McAlinden), is of no use and has his own problems to deal with, as he’s getting himself wrapped up in the local gang culture, and the NHS care sector isn’t much use either, so Ruby is left to look after her mum on her own. Life still goes on outside of the house though, and Ruby is determined to push herself through college to find a future that is hers alone, that is if her mother will let her. Played with a lot of heart and integrity by writer, producer, and star, Holly Higbee, Ruby’s story is one which resonates around the country in a million different homes, in a million different ways. The dialogue is natural and authentic and down to its roots, while the lines are delivered by a diverse young cast who understand their roles completely. Director, Islah Abdur-Rahman brings together the audio and visual aspects of his film seamlessly, drawing us into the story as he shows us in raw detail just how the weight on Ruby’s shoulders is pulling her down. The ensemble scenes are pacy and real, while the close-ups of Ruby, either at home, or alone in a crowd, really bring home how she is feeling. Both Higbee and Abdur-Rahman are aiming for as realistic a view as they can get in telling Ruby’s tale, commissioning the film to raise awareness of the challenges facing young carers every day in the UK. Partnering up with Newham Sixth Form College, offering mentoring and on-the-job training to a cohort of creative media students, while allowing them to become cast and crew for the film, also lends Ruby a measure of authenticity that would be hard to replicate in other circumstances. A definite feeling of docudrama or kitchen sink comes out from the watching of Ruby, and while the heady heights of Ken Loach or Mike Leigh are out of the reaches of most directors, they are at least aimed for here with Abdur-Rahman showing glimpses of a true filmmaker at work. With an important message to tell and a powerful central performance, Ruby captures the spirit of its characters and pulls no punches in delivering a lasting impression on its audience, as the raw truth of one story in amongst hundreds of thousands of others, is shared with us. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Film news - Noel Clarke promotes EE Rising Star Award. Find out more at UK Film Review. Noel Clarke promotes EE Rising Star Award Chris Olson Wednesday, March 31, 2021 at 9:30:41 AM GMT+1 AWARD-WINNING ACTOR NOEL CLARKE STARS IN LATEST ‘EE FILM STORY’ AHEAD OF THE 2021 EE BAFTA FILM AWARDS The only category at the EE BAFTAs voted for by the British public 2009 EE BAFTA Rising Star Award winner, Noel Clarke stars in the latest short film in the EE Film Stories series, released today. Reflecting on his life since taking home the “special” accolade twelve years ago, the film sees Clarke credit technology for helping him to build and stay connected to his network, with a cameo from former co-star Arnold Oceng. The EE Rising Star Award is now in its 16th year and is the only category at the EE BAFTA Film Awards to be voted for by the public. The public can vote for the 2021 nominees until midday on 9th April: Bukky Bakray, Conrad Khan, Kingsley Ben-Adir, Morfydd Clark and Ṣọpẹ́ Dìrísù at ee.co.uk/BAFTA The winner will be announced at the EE BAFTA Film Awards on Sunday 11th April 2021 on BBC One. Ahead of the 2021 EE British Academy Film Awards weekend across Saturday 10th and Sunday 11th April, title sponsor EE has debuted its latest EE Film Story, which stars 2009 EE Rising Star Award winner, actor, director, writer and producer, Noel Clarke. The short film is screened online just days before voting for the much-anticipated EE Rising Star Award closes at midday on 9th April 2021. As the only award voted for by the public, and widely recognised by the film industry for championing up-and-coming film actors, Clarke captured both the public’s interest and their vote 12 years ago for his starring role in Kidulthood. Following the win in 2009, Clarke joked that the Award was “Better than any other BAFTA”, crediting the “double whammy” of gaining support from both industry peers and the public. The short film begins with Clarke alone in the ODEON Luxe Leicester Square Cinema. As he reminisces on the moment, the viewer watches on as Clarke relives the moment where he took to the podium to accept the iconic BAFTA EE Rising Star Award in 2009. Clarke’s narration continues “I’ve dedicated my life to film making. I just knew that I wanted to be one of the people that I saw on the screen”. Upon leaving the cinema and exploring the London Southbank, Clarke recognises the support he has had throughout his career and praises his film-making network of friends and colleagues for helping him achieve his dreams. With many strings to his bow, Noel understands the importance of staying connected. Clarke credits technology, such as EE’s award-winning 5G network, for enhancing performances and productions in the film industry, noting that “being able to stay in touch and connect easily is essential”. As the viewer is welcomed into a luxurious café setting, we see Clarke on the latest Samsung Galaxy Z Fold2 5G making a video call and discussing a piece of work with fellow actor Arnold Oceng. We hear Clarke say: “I think it’s really important to give up-and-coming actors a platform and some recognition to set them on their way”. As the film comes to a close, viewers are left with a message from the award-winning actor: “To any young aspiring filmmakers or actors out there, my advice would be to work hard and have belief in yourself. Because if you don’t, who will?”. Since winning the EE Rising Star Award in 2009, Clarke has made over 20 feature films and has gone on to win two National Film Awards and a Screen Nation Award for Brotherhood, which saw Clarke write, direct and star in. Clarke will also be honoured at the 2021 EE BAFTA Film Awards Opening Night ceremony for the Outstanding British Contribution to Cinema Award on Saturday 10th April. Noel Clarke, actor, director, writer, producer and winner of 2009 EE Rising Star Award comments: “Winning the EE Rising Star Award was a catalyst moment in my career. It was an amazing honour, knowing that the award held such weight – the recognition of the industry, my peers and, of course, ultimately the public who showed up for me. Looking back at that moment on the big screen for the first time in a long time, I had to take a minute. I have so much respect for the 2021 nominees and can say with authority that good things are coming, as long as they continue to work hard”. Pete Jeavons, Marketing Communications Director at BT and EE, comments: “As our daily lives get busier and working-on-the-go becomes more normalised, it’s never been more important to have the tools to collaborate and connect, wherever you are. Technology continues to play a huge role in many of our lives and professions, and as Noel shares, the film industry is no different. It’s great to know that our network continues to keep the film industry connected through change, so that they can keep doing what they love – and in that, we continue to enjoy their talents”. Louise Robertson, Executive Director of Partnerships at BAFTA, comments: “As we enter our 24th year of partnership with EE, it is wonderful to see their continued support of the industry brought to life through the EE Film Stories series. Actor, director, writer and producer Noel Clarke is a huge talent and to see this snapshot of his journey to success, starting with his Rising Star win back in 2009, is both powerful and inspiring. In light of his amazing journey, it is no surprise that we will also be awarding Noel the Outstanding British Contribution to Cinema Award this year. I can’t wait to see what lies ahead for the brilliantly talented 2021 nominees.” The public-voted EE Rising Star Award honours up-and-coming performers who have demonstrated exceptional talent and ambition. The 2021 nominees are Bukky Bakray, Conrad Khan, Kingsley Ben-Adir, Morfydd Clark and Ṣọpẹ́ Dìrísù. Voting for the EE Rising Star Award 2021 is now open at ee.co.uk/BAFTA until 12PM, April 9th 2021, and the winner will be announced at the EE BAFTA Film Awards on Sunday 11th April 2021 on BBC One. EE has been a long-standing partner of BAFTA’s Film Awards, working with BAFTA to bring film fans closer to the awards through the magic of technology. Since the partnership began, EE has not only worked with BAFTA to introduce the EE Rising Star Award but also used its award-winning network to create new and exciting opportunities for film fans to be part of the action. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Stella film review by UK film critic Patrick Foley. Starring Oli Fyne, Louis Hall, Gary Lewis directed by Jessica Fox. HOME | FILMS | REVIEWS Stella Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 22, 2023 Directed by: Jessica Fox Written by: Jessica Fox Starring: Oli Fyne, Louis Hall, Gary Lewis Pre-war tensions, scenic Scottish vistas and costume romance – it’s like Stella was made for Sunday afternoon viewing. Jessica Fox’s drama feature about a German-Jewish refugee is a serviceable and safe drama, even if it is a little too no-frill. In 1937, Stella (Oli Fyne), a Jewish refugee from Germany, seeks work in a Scottish county estate as she seeks word of family she was forced to leave behind. Unbeknownst to Stella, the estate is owned by the fascist Earl of Rig (Gary Lewis). Her English roots allow her to hide her true identity, and she sparks a growing relationship with local boy Will (Louis Hall). But as the Earl’s nazi sympathies become more pronounced, and as Stella is drawn into his plans to host Oswald Mosley (Rufus Wright) at the manor, she faces growing dangers and an urge to resist her new household. Stella is a step back in time to a sinister period of British history when sympathies with the now-reviled Nazi regime and fascist tide were shamefully prominent amongst some of the upper-class. Framed around a rather typical period-drama love story, it is at its most interesting when exploring why the aristocracy of the time felt a kinship with the Nazis – and how this impacted on the society they sought to shape. Many other contemporary dramas such as The Crown and Peaky Blinders (which also features Mosley as an antagonist) have explored similar territory, and Stella doesn’t really break new ground in terms of insights or commentary on what such attitudes say about Britain (either then or now). But it is entertaining and engaging to see Stella navigate the danger she finds herself surrounded by. The kindness offered by Lady Rig (Susan Vidler) despite the horrifying views of her husband, or the disturbing indoctrination of the village’s children that Stella feels a party to, are particularly memorable and affecting scenes. The film’s plot feels like more of a vehicle to explore the setting, than an engaging or necessary story in of itself. Stella’s story is set up to be one of an unavoidable and approaching conflict. Trapped in a job and home that could spell danger if her identity were to be uncovered, her desire to find her family feels like an inevitable crisis that follows the character throughout the film. Yet much of the threads that are raised surrounding this never come to fruition within the movie. The presence of an agent for the government in the house, and the seeming threat Mosley poses, are similarly left frustratingly unresolved. This may be to add intrigue to the film’s exploration of the fascist cause in Britain, or to add drama to the central relationship between Stella and Will. Oli Fyne and Louis Hall have a good level of chemistry together and make for a believable enough pairing. The relationship drama itself is filled with cliches – from naked swimming, a chase through the woods, a revelation about one of the pair’s identities that changes their perspective of each other – classic tropes that fans of this particular flavour of drama will be well acquainted with. Whether these present as a tired and derivative formula or a familiar and comforting blanket of blossoming romance really is down to the individual. Stella therefore really is tailor-made for cosy afternoon viewing – impressively accomplishing the job of transporting its audience back to a different time without overdoing the intensity of the period. Outside of some interesting framing of British fascism, it is largely forgettable – but undoubtably has an audience who will embrace its presentation of the pre-war era. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

In A Boy Called Christmas, an ordinary young boy called Nikolas sets out on an extraordinary adventure into the snowy north in search of his father who is on a quest to discover the fabled village of the elves, Elfhelm.. Brand new film trailers. A Boy Called Christmas Trailer On Sky Cinema and in cinemas across the UK & Ireland from 26 November Christmas comes early with the launch of the main trailer for Gil Kenan ’s (Monster House, Ghostbusters: Afterlife ) live-action magical adventure A Boy Called Christmas , a Sky Original . The film boasts an incredible ensemble cast including newcomer Henry Lawfull as protagonist, Nikolas, Toby Jones (Infamous , Tinker Tailor Soldier Spy ), Sally Hawkins (The Shape of Water , Paddington 1 & 2 ), Kristen Wiig (Bridesmaids, Wonder Woman 1984 ), Michiel Huisman (The Haunting of Hill House, The Guernsey Literary and Potato Peel Pie Society ), Zoe Colletti (Scary Stories to Tell in the Dark), Stephen Merchant (Jojo Rabbit, Fighting With My Family, Logan ) Jim Broadbent (Paddington 1 & 2, The Iron Lady ) and Maggie Smith (Downton Abbey, Harry Potter ) and Indica Watson (Gold Digger, Radioactive). In A Boy Called Christmas , an ordinary young boy called Nikolas sets out on an extraordinary adventure into the snowy north in search of his father who is on a quest to discover the fabled village of the elves, Elfhelm. Taking with him a headstrong reindeer called Blitzen and a loyal pet mouse, Nikolas soon meets his destiny in this magical, comic and endearing story that proves nothing is impossible… Ol Parker (Mamma Mia! Here We Go Again, The Best Exotic Marigold Hotel ) and Gil Kenan adapted the screenplay from the bestselling book by Matt Haig , the first of 5 books in the acclaimed series, all of which are published by Canongate Books. The film is produced by STUDIOCANAL with Graham Broadbent and Pete Czernin of BAFTA and Academy Award® winning Blueprint Pictures. The film will be released on Sky Cinema, on streaming service NOW and in cinemas on 26 November. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Gaza: A Story of Love and War film review by UK film critic Matt Trapp. Starring Mike Joseph, Sami Abu Salem directed by Mike Joseph. HOME | FILMS | REVIEWS Gaza: A Story of Love and War Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Oct 7, 2025 Directed by: Mike Joseph Written by: Mike Joseph Starring: Mike Joseph, Sami Abu Salem The unfolding genocide in Gaza has been a challenging narrative to unpick since October 7 2023. In the two years since then, the UK government has proscribed Palestine Action, a direct action group with the stated goal of ending Israel's apartheid regime, a terrorist group. Over 1500 people are reported as having been arrested by the Metropolitan Police for peacefully protesting an end to the genocide. For those living in the United Kingdom, the media and government have continued to obscure the true scale of the destruction Israel has levelled against thousands of innocent Palestinians in their campaign of cruelty. Welsh reporter Mike Joseph cuts through the noise in his documentary ‘Gaza: A Story of Love and War’ , a deeply empathetic portrayal of human connection in a time of hopelessness, providing some dignity for a people systematically stripped of it. Mike Joseph opens the film with images of the Gaza–Israel barrier while narrating an adaptation of Niemöller’s poem ‘First They Came’. Immediately, Joseph is linking the Holocaust with the Gaza genocide, a striking and assertive statement to begin with. The documentary serves as an excellent introduction to the history of the region, as Joseph explains how the state of Israel came to be following the Second World War, and how it has expanded outward in the years since. He’s a trustworthy narrator and a confident authority on the subject; the reveal that Joseph’s grandfather was a victim of the Holocaust in 1941 gives the film a personal quality that will carry throughout. The majority of the documentary’s runtime is an online conversation between Joseph and Sami Abu Salem, a Palestinian journalist, via Zoom. The two men share a tender connection, both united in the terrible suffering that their families were historically subjected to. In a poignant segment of the film, Salem speaks of his mother’s village Burayr which her family was driven out of in 1948 when she was only 10 years old, and was subsequently destroyed by Israeli forces. Joseph listens with understanding, the two sharing in the experience of their parents fleeing their respective homelands. Although the film features the two men connecting with each other, it must be noted that it feels like one arm reaching into the darkness to grasp at fingers. That is to say, there is a sense of distance in Joseph’s reporting of Gaza. Unfortunately for the filmmakers, the footage shot in Salem’s home in Jabaliya has been lost in the conflict, meaning that the camera in the interview segments of the film is purely from Joseph’s point of view. Furthermore, there is a lack of video material from Gaza for most of the film. Over the past year, there have been at least two documentaries lauded for their blistering documentation of the genocide from within Gaza itself: Oscar winner ‘No Other Land’ and Louis Theroux’s ‘The Settlers’ . While ‘Gaza: A Story of Love and War’ does succeed in centering Palestinian voices, one wonders if the film could have featured other first hand reports throughout. Significantly, the final minutes of the film are perhaps the most emotionally affecting, as Joseph makes space for Salem’s own video reporting. In his footage, a young Palestinian girl amidst the chaos dreams of a future studying business, a future that has been snatched away from her. It’s a deeply moving section of the film, and it would have been powerful to see more footage of a similar nature integrated into the rest of the documentary. Joseph lands on a crucial thesis of the film: is coexistence possible? Salem’s response is that yes, it is possible, but only if Palestinians are afforded dignity by fair media representation. This is perhaps the greatest endorsement of ‘Gaza: A Story of Love and War’. The film may lack the punch of some more recent documentaries that turn the camera lens directly towards the brutality of Israel’s imperialist goals, but it succeeds in giving Palestinians a voice in the form of Sami Abu Salem, a dignified and responsible representative of his people. Buy UKFR Banner Space About the Film Critic Matt Trapp Documentary < All Reviews Next Film Review >

2015: Future Uncertain film review by UK film critic Jason Knight. Starring Matthew Schmid, Alyssa Truszkowski, Zachary Uzupis, Samantha Russell directed by Justin Miller. HOME | FILMS | REVIEWS 2015: Future Uncertain Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 16, 2025 Directed by: Justin Miller Written by: Justin Miller Starring: Matthew Schmid, Alyssa Truszkowski, Zachary Uzupis, Samantha Russell A sci-fi comedy feature written and directed by Justin Miller and starring Matthew Schmid, Alyssa Truszkowski, Zachary Uzupis and Samantha Russell. In 1968, a supernova created heatwaves so powerful that they stopped the planet's gravitated rotation. Now the year is 2015 and humanity is living with the consequences of this incident: there is never any night-time anymore and the atmosphere has become so heated that, in order to prevent their bodies from being overheated, people must frequently change their skin with what is referred to as a ''skin sack''. This process can also result in changing their sex. The protagonist is Leonard, a former space commander who is now living by himself in a cabin in the woods, where he works as an oral navigator, directing drivers to their destination via the equipment he has in his home. One day, a distressed stranger arrives at his place and passes away as he did not change his skin when required. Leonard discovers a bizarre note that the man had on him about a project named ''Future Uncertain''. Believing that a serious catastrophe is going to take place, he becomes determined to find out what it will be and prevent it. This black-and-white feature effectively presents a post-apocalyptic world: in order to avoid death, people must constantly wear a helmet and some sort of special clothing that prevents their bodies from overheating. Their behaviour has also changed, with them interacting with each other in ways that would make one think of some of David Lynch's films. And their current food consists solely of kiwifruit as it is the only edible substance that was not affected by the supernova. Regarding the plot, it is in the likes of a-person-discovers-that-a-terrible-incident-is-going-to-take-place-and-tries-to-stop-it, and as he attempts to do so, Leonard interacts with other characters that include Commissioner Ralph (played by Alejandro Morales and Melanie Rosedale) and Detective Condor (Darryl Charles) and also a device called ''Human Computer'' that operates like a Virtual Reality interface, requiring a headset. There is mystery, there is humour, there are interesting sound effects and music and things turn sinister with the appearance of robots. As the story takes place in a world where humans need to regularly change their skin and therefore their physical appearance, the character of Leonard is played by a number of actors (three actually), and they are Schmid, Truszkowski and Uzupis. This is an interesting concept that adds a sort body swap element to the story and (in some ways) makes Leonard into numerous characters. Although Truszkowski does a decent job, it is Schmid and Uzupi that stand out with their over-the-top performances, creating a surreal character who speaks awkwardly and has a unique way of walking. Russell also stands out as Leonard's former secretary, a friendly woman who behaves like him. Generally, the acting combined with the awkward dialogue creates a surreal atmosphere. The story is a commentary about mental health and isolation. It also explores themes involving courage, space exploration and contemplating the future. A post-apocalyptic sci-fi feature that seems to pay homage to Science Fiction films of the 1950s. It deserves attention as it provides an interesting way to experience sci-fi cinema. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Perpetua film review by UK film critic Patrick Foley. Starring Sangeetha Gowda, Vicki Gard, Jasmine Cavanough directed by Marshall Weishuai Yuan. HOME | FILMS | REVIEWS Perpetua Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Aug 26, 2021 Directed by: Marshall Weishuai Yuan Written by: Marshall Weishuai Yuan Starring: Sangeetha Gowda, Vicki Gard, Jasmine Cavanough The perils of social media obsession are explored in Marshall Weishuai Yuan’s Perpetua, a short film which explores the cyclical nature of online validation through the experience of an aspiring young model. Arya (Sangeetha Gowda) spends her evenings perfecting her online profile in an attempt to further ambitions of fame and fortune. Her small following gets her noticed by prestigious photographer Rich (Firdaws Adelpour), but her mother Sandra (Vicki Gard) is concerned why she has seemingly been selected at random. Arya excitedly ignores her warnings, but discovers that the online fashion world has a dark side. Perpetua is an intriguing short film which addresses contemporary challenges young women face in the modern modelling industry, and the deceptive ways in which filters, lighting and camera angles distort reality and trigger feelings of inadequacy. The film aims at the dual targets of predatory power brokers, as well as society’s inability to combat our tendency to judge ourselves against a perfect, unrealistic ideal. In only 14 minutes, the film effectively demonstrates the dangers of both, with a straightforward yet foreboding and authentic story. The film has some rough edges which drag the overall quality down, such as unimaginative camerawork and clunky, awkward dialogue at times. Scenes between Arya and her mother grind the pace of the film to a halt and the relationship between the two is not established satisfactorily. The film does pick up in the modelling studio, where subtle clues to Rich’s nature are sprinkled throughout until his disturbing behaviour is revealed to the viewer. It is an excellent demonstration of how predatory figures are able to evade the consequences of their actions, and a necessary warning in a post-‘Me Too’ world. Arya’s antagonistic interactions with experienced model Nancy (Jasmine Cavanough) are another excellent demonstration of the toxicity of the industry. Sangeetha Gowda’s performance as Arya is strong throughout – with her building sense of discomfort in the studio and crushing sorrow once she realises the consequences of the deception both heart-breaking and disturbing. Her initial naivety and determination to follow through on her dream set up her tragic exploitation – and allow viewers to understand that even outwardly confident people can have their insecurities taken advantage of. Firdaws Adelpour similarly shines as the slimy Rich – an initially warm and inviting figure who takes advantage of industrial power and natural charisma to blur the lines of abuse with girls he works with. Adelpour’s layered display prevents the character becoming a caricature, and demonstrates the complexities which allow such figures to avoid punishment so often. The film’s ambiguous ending will leave some viewer’s downbeat; however, the cyclical nature of the film is crucial for the key theme – that being the need to break the never-ending feedback loop which coerces young girls to aspire for a perfection which they are constantly bombarded with, but is totally illusionary. There is a hint that Arya’s method of regaining some of her independence could be the key for this, and this interpretation of the film’s finale does offer some semblance of a happy ending. But beyond this, the film is a scathing criticism, and important warning, of the dangers of an industry - and a society - that has failed to challenge serious problems. With this short, Yuan highlights this in an engaging and informative fashion. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Indie Feature Film < All Reviews Next Film Review >

Who's There? film review by UK film critic Sophie Price. Starring Tazmin Burgess directed by Noah Griffiths. HOME | FILMS | REVIEWS Who's There? Film Review average rating is 3 out of 5 Critic: Sophie Price | Posted on: Jan 22, 2022 Directed by: Noah Griffiths Written by: Noah Griffiths Starring: Tazmin Burgess Noah Griffiths' ‘Who’s There?’ is a highly unique and intriguing experimental short film that combines the creative worlds of poetry with filmmaking, resulting in a film that is up to interpretations of the audience but is objectively an original and interesting film that deviates from the norms and offers a display of creativity and imagination. The film is extremely subjective, but offers a two minute snapshot into the mind of a character who appears to have a world of disarray behind calm eyes. The film starts with an up close shot of actress Tazmin Burgess offering a classic fourth wall break as she stares plainly into the camera. As the film progresses, a host of poetic supporting text and a myriad of black and white flashes become the attention-grabbing aspects of the film until Tazmin’s face is no longer her own but is instead overcome by the same flashes that have been following her and almost speaking to her throughout the film. Griffiths makes the interesting choice of using poetry in between shots as supporting text rather than having the main character use a monologue, with poetry taken from a collection by Sua Yoo called ‘House Guest’. Poetry in film has been seen before, such as the 2018 dramedy ‘Blindspotting’, to heighten emotions of the film and express inner thoughts in ways that the actors can’t do naturally in the scene. In ‘Who’s There?’ The poetry serves just this purpose, giving audiences clues into the purpose of the film embedded in Burgess’ performance. Actress Tazmin Burgess gives audiences a Portrayal of the girl next door with a jungle behind her eyes. She has a simple yet relatable look that takes us through her two minute development from the innocent girl with soft eyes and a grey hoodie through to the girl who is surrounded by turmoil as the imaginary figure asking ‘Who’s There?’ creeps up on her. Griffiths uses very unique cinematography, as the shots of Burgess go from regular images to the outline of her face encapsulated in what gives the appearance of TV static on her face, as well as shots with a bright white effect which gives the actress a vivid yet ghostly appearance. This shows audiences how the tensions of the film grow and it allows a type of plot to develop through the cinematography and the way the film looks on screen rather than just using words from supporting text. Cinematography is more or less at the heart of “Who’s There” as it shows audiences how the character changes throughout the film. Complementary to the cinematography, the soundtrack isn’t a typical piece of music in the same way “Who’s there” is more than a typical short. Constant vibrations and a cluster of noises orchestrated by Noah Griffiths and mastered by Arron Griffiths provides the auditory backdrop of the film. The beautiful peculiarity of the soundtrack perfectly fits and enhances the emotions provoked by the cinematography, text and acting with a continuous siren sound that draws audiences in and keeps their attention on the film. The main themes of ‘Who’s There?’ are hard to pin down to a definitive list, as the subjectivity of the film doesn’t stop at it’s themes. However, in the arts world there is a certain beauty in film’s having an infinite number of meanings and themes in the mind of the audience. That being said, the film appears to centre around broad ideas of the self and the chaos that goes on in one’s mind. The title of the film and the poetic text throughout all indicate an inevitable force catching up on the main character, ready to knock at her door. What is that force? Herself, or someone else? However, the themes and plot of the film may be it’s central drawback. As tends to be the case with experimental films, they can occasionally verge on overly experimental to the point where it’s difficult for audiences to obtain an understanding of the film’s meaning or what the director is trying to put across. This being said, a unique approach to filmmaking is always a breath of fresh air for film fanatics everywhere providing opportunities for sparks of creativity to be inspired from new ideas in films. Unlike some special effects Griffiths uses, “Who’s there” is clearly not a black and white film. It’s a starting point for audiences to jump on a train of thought about what the film means and what the character is going through as audiences will be drawn in by the meanings behind the poetry and just who the young girl is. As an independent filmmaker, Griffiths has certainly mastered the art of standing out and being a memorable director with an ease of imagination and stellar creativity he shows off to audiences in a two minute short. Buy UKFR Banner Space About the Film Critic Sophie Price Short Film < All Reviews Next Film Review >