Into the Mine film review by UK film critic Chris Buick. Starring Jordan Scrase, Isaac Thompson, Bridie Simons directed by Sam Beamish. HOME | FILMS | REVIEWS Into the Mine Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Oct 28, 2023 Directed by: Sam Beamish Written by: Sam Beamish Starring: Jordan Scrase, Isaac Thompson, Bridie Simons On the run after making off with twenty-five thousand pounds in an armed robbery, two criminals decide to hole themselves up in an abandoned mine and wait out the police, but soon discover that the mine has dark secrets of its own. Lo-fi but high-octane, Into the Mine is very much a film of two halves. It all starts promisingly enough, straight in we meet Jack (Scrase) and Ed (Thompson) as they are forced to abandon their car and high foot it into the hills as they make their escape, a simple but effective enough introduction aptly executed to get one invested and raring to see where this all goes. And where Into the Mine goes is to a place full of interesting ideas but suffers from trying to make too many ideas work at once, and in the end none of them are executed fully to the potential they promise. Once in the mine, the interactions between Jack and Ed allude to a potential dramatic thriller as the two tenuous partners beginning to turn on one another, a tried and true concept that always whets the appetite. It’s also here that the performances are at their strongest between the pair, Scrase perhaps giving a bit more than Thompson but still an interesting dynamic starts to appear as the film begins to lead us down an interesting path. However, it’s at this point that the film then also tries to add in its supernatural horror element, and from that point on the film is somewhat torn apart by itself a little by trying to give both of those two potential narratives enough runway to really take off, but without the necessary focus, time or space for either to do so. There is gold to be struck with both of these ideas for sure, and over a longer runtime both could have even come together to create something really special. But with only fourteen minutes to play with, the film might have benefited from planting both feet firmly in one idea or the other. Very lo-fi in terms of its presentation, relying a lot on grainy, dark shots and low lighting to create its unsettling vibe but is actually quite enjoyable, giving the film this brilliant aesthetic that amplifies the claustrophobic and ominous nature of the mine setting, not to mention being a lovely homage to the low budget horror/thrillers of before. Sound issues are distracting however, often at different levels and often also out of sync. It’s not quite as slick as it wants to be but generally, the filmmaking choices here are mostly pointing in the same direction to give the film the look and feel it needs to work. It’s rough with a bit too much going on, but Into the Mine has promise and some great ideas and moments that showcase Beamish as a promising filmmaker with time. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

An Avocado Pit film review by UK film critic Jason Knight. Starring Gaya de Medeiros, Ivo Canelas directed by Ary Zara. HOME | FILMS | REVIEWS An Avocado Pit Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 28, 2023 Directed by: Ary Zara Written by: Ary Zara Starring: Gaya de Medeiros, Ivo Canelas A transgender woman meets a cisgender man and develops a rapport with him. Larissa (Medeiros) works as a trans sex worker on the streets of Lisbon, Portugal. One night, she is told by other transgender prostitutes that they noticed a parked car nearby, where the driver has been observing them, without approaching. Curious, she decides to find out what he is up to. She enters his car without his permission and manages to persuade him to give her a lift. The man's name is Claudio (Canelas) and as the two of them spend time together, what started out as an awkward encounter develops into something meaningful. This short drama from Portugal tells a thoughtful story about a chance meeting between two seemingly different individuals that turns into a sort of bond with friendship and understanding. Initially, Claudio is hesitant about having anything to do with Larissa, however she flirts with him and he warms up towards her (as does she) and together, they wonder around the city, get something to eat, have a few laughs and talk about things related to transgender people. The two of them get quite comfortable and honest with each other and their encounter might be the beginning of an unexpected romance...or not. Larissa is a person who knows who she is and is content with life and has an optimistic attitude. Claudio, on the other hand, appears to be unsure about himself, particularly his sexuality, as he states that he finds transgender people interesting, yet he is not a homosexual. Meeting Larissa seems to have helped him learn more about himself. It is his journey of self-reflection that moves the narrative forward. The film looks beautiful and that is predominantly thanks to the cinematography by Leandro Ferrao. Regarding the audio, there is atmospheric music and good selection of songs. This short has great acting, two interesting main characters and a script that follows two individuals who meet for the first time and develop something special between them. In offers an insight into the world of transgender people and serves as a commentary about sexual identity, self-discovery and companionship. It is a thought-provoking story about an accidental encounter that becomes much more than that. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema, LGBTQ+ < All Reviews Next Film Review >

The Shrouds film review by UK film critic Jack Salvadori. Starring Vincent Cassel, Diane Kruger, Guy Pearce directed by David Caronenbeeg. HOME | FILMS | REVIEWS The Shrouds Film Review average rating is 2 out of 5 Critic: Jack Salvadori | Posted on: May 22, 2024 Directed by: David Caronenbeeg Written by: David Cronenberg Starring: Vincent Cassel, Diane Kruger, Guy Pearce What is Vincent Cassel doing in a David Cronenberg costume? Perhaps The Shrouds is so personal to the cult director that its protagonist, Karsh, funeral impresario and founder of GraveTech, is meant to be Cronenberg’s doppelgänger. Karsh not only shares Cronenberg’s look, but also his macabre, dark obsessions. Admittedly, his religion is Technology, and his high-tech cemetery offers the feature to install screens on the gravestones to witness the live decay of the decomposing bodies. But at GraveTech, “everything is encrypted, pun intended”, and the ultramodern system is hacked by mysterious opponents, breaking the last physical connection between Karsh and his deceased wife, played by Diane Kruger. The director’s interest in extravagantly grim sexual deviances is well known, spanning from car crashes to cancer surgery, and thus it was only a matter or time before he would cast his horny eye upon necrophilia. But the sexual pleasure that Karsh seeks from the dead is much rather voyeuristic, as he finds excitement only by examining the rotting corpses without the need to have intercourse with them. The cadavers are wrapped into the titular shrouds, fashionably designed by Saint Laurent, who serve as 3D scanners and allowing the users to zoom in and out the grotesque details as they please, penetrating the deceaseds’ intimacy only through their gaze. This urge to spectate the horror, the visceral curiosity to stare at something traumatising when on display, is a perversion that mirrors us, the cinema goers, attracted by a cinema that confronts us with our inner fears, in the hope to overcome them. Yet, this system is also a way to cheat the perpetuity of death, finding a way to keep track on the departed and refusing to let them go. If you know what’s in the darkness, it’s not that scary anymore. Unfortunately this concept only serves as a starting point for the convoluted plot, rich in exposition in an attempt to explain the dynamics of GraveTech and eventually lost in wacky conspiracy theories and a lame critic of AI. Now 81, Cronenberg seems to have lost his touch, and the body horror that made him a contradistinguished name in the 80s is not enough to impress today’s audiences. Buy UKFR Banner Space About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >

Happy Hour film review by UK film critic Jason Knight. Starring J. Kristopher, June Mandeville, Michael Maino directed by Matt Nye. HOME | FILMS | REVIEWS Happy Hour Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 19, 2022 Directed by: Matt Nye Written by: Matt Nye Starring: J. Kristopher, June Mandeville, Michael Maino Three people at a bar have awkward conversations about their lives. A bartender (Kristopher) and a middle-aged gentleman (Maino) are at the bar of a hotel, chatting. Soon, a woman (Mandeville) arrives and starts interacting with them, leading to uncomfortable discussions. This short is an intriguing piece of work that is filled with sharp dialogue. The three characters discuss a variety of things, including fruit in alcoholic drinks, the banning of smoking in public places and infidelity. At first, the barman and the male sustomer have a rather innocent conversation and it is the arrival of the woman that changes the atmosphere. She asks both men inappropriate questions, making them uncomfortable and angry and ends up setting off disputes. The mood feels strange and humorous throughout. The acting is great by all three protagonists and the screenplay explores their principles well. Kristopher plays a professional bartender, with a no-nonsense attitude. Maino's role is that of a friendly, likeable, easy-going person, who is also a bit sensitive. Mandeville's character is an individual who does not easily accept 'no' for an answer and uses her charm to influence others. The mise-en-scene is rather appealing, with the story taking place at the fancy bar of a hotel and the clothing of the barman and guests is quite smart. Nye directs very well, creating effective long takes and Jay Lifton and Cait Rappel make a great contribution with the music that includes wonderful jazz. This film is a story that relies primarily on well-written dialogue in order to have an impact and it succeeds. The conversations are interesting, the acting is strong and the cinematography by Jack Nitz is beautiful, making this short an achievement worthy of commendations. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Lova's Game film review by UK film critic Swati Verma. Starring Ronan Colfer , Edwina Rai directed by Mohammed Elmzaghi. HOME | FILMS | REVIEWS Lova's Game Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Feb 13, 2023 Directed by: Mohammed Elmzaghi Written by: Mohammed Elmzaghi Starring: Ronan Colfer , Edwina Rai The writer-director Mohammed Elmzaghi takes its audience on a journey of the onscreen couple Isaac (Ronan Colfer) and Francesca (Edwina Rai) to showcase the complexities of their relationship, therefore, hooking the viewers with his intricate writing. The plot of the short film revolves around Dr. Isaac Keiser an English linguistic professor while on a trip to France must decide fate with his younger wild girlfriend Francesca after he learns about the disturbing details of her erotic love affair. Lova’s Game follows a nonlinear narrative with a few flashbacks intelligently incorporated to switch between the past and present timelines to establish the subject matter of the movie. The combination of white, brown, and black colours utilised in the tone of the film from a brighter outlook with red and yellow gives a sense of dullness, loss of spark, and lack of effort to the audience who wants everything to be back to normal in their lives. The set design, lighting, dialogue, costume, hair, and makeup complement as well as fit the storyline of the dramatic piece as per the demand of changing scenarios in the screenplay. The cinematographer Gabriel Ovelar along with the filmmaker brilliantly portrays the contrast between the two protagonists which assists the viewers in better understanding them and interpreting the movie. In terms of performance, Ronan Colfer plays Dr. Isaac Keiser who believes in the importance of being well-educated and is a little weak in dealing with emotional issues, Colfer effortlessly manages to bring out the stern personality and minimise the emotions in his demeanour, voice modulation used by the actor complements the need to be less expressive as Keiser. Edwina Rai plays the role of Francesca who is a hopeless romantic and just wants to be loved and cared for. Rai portrays the multi-layered character with ease. The actress understands the nuances and depicts it in a manner that the audience can easily differentiate between the various shades of her character. Lova’s Game talks about the need to remember and protect the good and romantic moments which would help in reviving the relationship one does not want to lose out on. The short film tells us that efforts, communication, love, honesty, and trust are five major elements that make up the fuel for any sort of alliance. The cinematic piece reiterates the need for expression and transparency as people cannot continue to stay in a romantic relationship for the sake of it and end up hurting loved ones in the long term. Lova’s Game highlights the significance of the work-life balance and working towards what people value or the only option left would be to regret it in the future. The creative piece also talks about adopting bad habits like smoking and drinking alcohol to combat the problems in life and relationships isn’t an apt solution. The film also educates its audience that togetherness should also result in individual development as well as growth leading to a better future for both of them. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Nitram film review by UK film critic Hope Madden. Starring Caleb Landry Jones, Judy Davis, Essie Davis, Anthony LaPaglia directed by Justin Kurzel. HOME | FILMS | REVIEWS Nitram Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 1, 2022 Directed by: Justin Kurzel Written by: Shaun Grant Starring: Caleb Landry Jones, Judy Davis, Essie Davis, Anthony LaPaglia About a decade ago, director Justin Kurzel made one amazing true crime film. Working from a script by Shaun Grant, Kurzel took a notorious crime spree and created the most realistic and unnerving film of 2011 in Snowtown . The pair reteamed for 2019’s underseen treasure based on true Australian events, True History of the Kelly Gang . They are back, once again digging into the seedier side of Aussie history with another true crime in Nitram. In 1996, Martin Bryant murdered 35 people, injuring another 23 in Port Arthur, Tasmania. The horror led to immediate gun reform in the nation, but Kurtzel and Grant are more interested in what came before than after. Playing the unnamed central figure (Nitram is Martin spelled backward), Caleb Landry Jones has never been better, and that’s saying something. He is one of the most versatile actors working today, effortlessly moving from comedy to drama, from terrifying to charming to awkward to ethereal. There is an aching tenderness central to every performance. (OK, maybe not Get Out , but that would have been weird.) Kurzel surrounds him with veteran talent at the top of their games. Essie Davis matches Landry Jones’s with a fragile, winsome turn as the older misfit who becomes his friend. Anthony LaPaglia creates a believable, gentle presence as Martin’s father, while the formidable Judy Davis nails every nuance as his complicated, hard mother. She’s mesmerizing and award-worthy. Looking at the making of the monster is no new concept in film, and it’s often a misfire, either romanticizing or relishing in the lurid. Nitram does neither. Grant’s greatest gift as a writer may be his ability to mine difficult terrain without sentiment. (His script for Cate Shortland’s crushing 2017 thriller Berlin Syndrome is his greatest triumph in this area.) Nitram looks at how nature and nurture are to blame. Socialization plus parenting plus bad wiring is exacerbated by the isolation and loneliness they demand. Everyone is to blame. It’s a conundrum the film nails. But it’s Landry Jones you’ll remember. He’s terrifying but endlessly sympathetic in a bleak film that’s a tough but rewarding watch. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Reunion film review by UK film critic Patrick Foley. Starring Patrick Thomas Kovacs, Brett Bickley. Erika Herbert directed by Mark G. Lakatos. HOME | FILMS | REVIEWS Reunion Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 27, 2025 Directed by: Mark G. Lakatos Written by: Mark Lakatos Starring: Patrick Thomas Kovacs, Brett Bickley. Erika Herbert Atmospheric horror short Reunion is a twisted take on the fractured family dynamic, one in which a son out for inheritance ahead of reconciliation gets more than he bargains for. Sean (Patrick Thomas Kovacs) arranges a reunion with his father Robert (Brett Bickley). Already feeling the strain of a tumultuous relationship with his wife Lydia (Erika Herbert), Sean hopes to acquire his father’s inheritance money to enhance his own wealth. But his selfish nature blinds him to the consequences of his own actions. The transformation of their relationship becomes evident to Sean, but a literal transformation shocks him even more… Reunion is at its core an intense family drama, with a solid coat of werewolf paint to dial up the horror. Gothic and moody in its setting, Sean’s harsh and uncaring nature is matched by that of the world he inhabits. It is classic horror with a capital ‘c’, echoing the typical stylings of the genre. Director Mark Lakatos ability to implant the modern with gothic elements is impressive, and whilst the locations are not the most thrilling, a bubbling sinister undercurrent is what provides the horror with momentum. The visual effects that realise the wolf itself are a triumph considering the film’s smaller budget. Audiences will feel the rotten breath and saliva-spittle from the gruesome jaws as they approach Sean. Whilst the transformation itself is largely omitted, the filmmakers make full use of less being more, and the pre-built tension emerging in the pivotal scene means one’s imagination paints a vivid picture – as does Kovacs’ terrified response. A dynamic opening animated sequence further illuminates the short, linking the film into the occult and historical portrayals of wolves throughout history and the terror they pose for all humankind. Patrick Thomas Kovacs is a ruthless and uncaring Sean – a man with little in the way of redeeming qualities who finds himself at the mercy of the otherworldly transformation of his father. Kovacs brilliantly captures the nature of the manipulator, with viewers invited to ponder on the nature of his relationships with those around him. Brett Bickley as father Robert delivers some ominous soliloquies and aplomb, though the film does feel a little unimaginative at moments that linger with his character. The dialogue in some of these sequences leaves a little to be desired – and whilst scary-sounding doesn’t always progress the narrative in a way that feels necessary. Reunion is a film unafraid to hold the old faithful techniques of horror close to its heart. It as accomplishment to feel modern and classic simultaneously, and whilst there are occasional cracks in its dialogue or narrative that leads to confusion these are few and far between. This short is a frightful, intense and considered chiller, one that will leave a bite-sized mark. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

This Conversation Has Been Removed film review by UK film critic William Curzon. Starring Simon Ashe Browne, Stevie Martin directed by Andrew Nolan. HOME | FILMS | REVIEWS This Conversation Has Been Removed Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: May 26, 2026 Directed by: Andrew Nolan Written by: Mark Hennigan Starring: Simon Ashe Browne, Stevie Martin This Conversation Has Been Removed is a contemporary silent comedy centring on themes of a lack of communication in modern society. The short piece follows Jill (Stevie Martin) and Peter (Simon Ashe Browne) in a heated dispute online as they learn just how wrong “making it personal” can go. The experience entirely depends on the online conversation between the two central characters and utilises unique framing devices such as visual storytelling to convey its themes and message. One of the most impressive aspects of the short piece is its wholly unique concept, which explores the ways we communicate daily and the ways we don't. In particular, the use of visual storytelling works well with the lack of dialogue and the need for technology that individuals frequently crave. It's an incredibly bold and riveting creative decision to have the piece entirely rest on a lack of dialogue and a singular online dispute between two individuals to anchor the narrative’s driving force. The pacing is electrifying thanks to the incredibly brisk runtime that gets straight to the central idea of the narrative, and doesn’t let up until the credits roll. While the pacing and tight runtime are commendable, they also serve as a detriment to the piece, as the themes and ideas are only explored at a surface level. The ideas of how we communicate are incredibly apt in this modern era of technology; however, the piece isn't given enough time to explore in depth how they've impacted many individuals. This is potentially due to the filmmakers wanting to focus entirely on the heated online discussion between Jill and Peter; however, a more in-depth approach to these topics could’ve been far more memorable. That being said, the social satire aspect of the piece is incredibly well executed, and viewers may instantly connect with these elements. The comedic and dramatic elements are balanced aptly without the tonal shifts ever feeling jarring. Another apt formal decision is the complete lack of exposition, with the audience instantly thrust into the dispute between Jill and Peter with no context. Patrick Jordan, serving as the film's cinematographer, primarily frames both central characters with close-ups of their facial expressions or phones to give the viewer a sense of the characters' dispute and online political discourse emerging around them. The plethora of composers, including David Anthony Curley, Dylan Lynch and James Tebbitt, deliver an anxiety-inducing musical score with engaging motifs that effectively build tension during moments of conflict. Each technical element soars, and it's a testament to the talent in front of and behind the camera. Both central performances from Stevie Martin and Simon Ashe Browne, in their portrayals of Jill and Peter, respectively, are incredibly nuanced and impressive. They convey so much with their facial expressions alone, and it's undoubtedly riveting due to the lack of dialogue, as their performances entirely rest on their reactions to the text. While the conclusion to the narrative wraps up abruptly, the execution of the ending is profoundly clever and ties in with the central themes of the piece. Despite only exploring the concept at a surface level, the piece is almost always engaging thanks to its terrific technical elements. This Conversation Has Been Removed is an engaging attempt at a modern silent comedy that explores topical ideas in this current era of technology and online discourse. While it may suffer from not exploring its ideas in-depth, the two central performances and formal elements work profoundly in its favour. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Derelict film review by UK film critic James Learoyd. Starring Suzanne Fulton, Mikey JL Coombes, Pete Bird directed by Jonathan Zaurin. HOME | FILMS | REVIEWS Derelict Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Sep 10, 2025 Directed by: Jonathan Zaurin Written by: Jonathan Zaurin, Sarah Zaurin, Kat Ellinger, Michael Bonner-MacKenzie, Todd Rodgers Starring: Suzanne Fulton, Mikey JL Coombes, Pete Bird Based on a grizzly true story, Jonathan Zaurin’s new, multi-faceted crime-drama Derelict will inevitably leave audiences intrigued and a little traumatised. It packs one hell of a punch, not only due to its shocking content but because of the power of its storytelling. The piece is centred around two characters on opposite sides of the same coin: the mourning and vengeful Abigail who searches for the person responsible for her father’s violent death; and Matt – a young man with a connection to his demise. The film is very willing to depict some pretty horrific things – almost up to a point that may turn off some audiences. It deals with murder, suicide and torture; in addition to sequences which are excruciating to watch in our current climate. I’m thinking specifically of the abuse and assault suffered by our protagonist at the hands of a gang-member. If there’s a problem with the film in terms of a mainstream audience response, it is that scenes such as these may prove to be too much for your average viewer. But on the other hand, there’s a lot to admire in the fact that Zaurin is okay with depicting darkness and its complexities. Perhaps the most unique aspect of Derelict ’s construction is its non-linear narrative arrangement. By dividing this non-chronological story into chapter headings – and by oscillating back and forth between two important perspectives – the viewing experience becomes a more active and thoughtful one. Zaurin also explains how this engaging formal technique also acts as a way of creating empathy. The script explores Matt’s journey just as much as it does Abigail’s – and in doing so, we’re allowed to further understand how circumstances and an individual’s damaging surroundings can result in a disregard for human life. On a technical or aesthetic level, the filmmakers intelligently use fluctuating monochrome and colour photography so as to situate the viewer in the specific moment in a character’s journey. Depending on which way their life is heading, or their general circumstances and motivations at any particular moment, it’s as if they see the world in stark black and white – similar to how Abigail's quest for vengeance paints evil with a broad brush – while naturalistic colour tones express a more balanced world. To accomplish this, varying lighting methods had to be utilised, demonstrating the ceaseless creative effort and attention to detail present in this production. While not told with a conventional beginning and ending, everything we need in terms of catharsis and understanding comes through the filmmaker’s expert control of tone and emotion. This is also helped along by some truly outstanding performances; performances which are allowed room to breathe, and for the actors to intuitively express what’s within. To surmise, this is a tightly constructed yet sprawling feature film. And yet it also manages to be a deeply personal picture – a tale of brutality, injustice, and eventually letting go. (Derelict is on digital now from Miracle Media and it will have its Blu-ray release from 101 Films on September 22nd) Buy UKFR Banner Space About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Signal film review by UK film critic Jason Knight. Starring Jack Rowan, Christopher Eccleston directed by Zak Jarvis. HOME | FILMS | REVIEWS Signal Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Jun 14, 2026 Directed by: Zak Jarvis Written by: Zak Jarvis Starring: Jack Rowan, Christopher Eccleston Set to start its festival run in July, this powerful short drama was written and directed by Zak Jarvis and it stars acclaimed actors Jack Rowan and Chrsitopher Eccleston. Quite a dramatic plot: A young man (Rowan) is not doing well. He is at a train station and his intention it to lie down on the tracks and wait for the train to arrive and put him out of his misery. After phoning support services and failing to pick up the courage to talk to them about his issues, he proceeds to carry on with his plan to end it all. Ray (Eccleston) a railway signalman spots the youngster via the CCTV monitors and rushes to save him, thankfully succeeding at the very last second. Ray then brings the unfortunate man inside the office and does not contact the police but tries instead to comfort him. The main concept is a meaningful and life-changing encounter under drastic circumstances and the screenplay focuces significantly on the rapport that develops between these two strangers. Although initially the distressed man is unresponsive, says nothing, Ray constantly attempts to get through to him, to comprehend the situation that led him to believe that his life has no meaning. Eventually, the poor young man breaks down and lets it all out. Twelve minutes filled with very heavy drama. This short would not have this level of impact without the work of composer Michael Llewelyn Barker, who proves his creative skills with dramatic music that creates strong emotions. Two stangers end up in each other's life. One is broken and the other believes in hope and overcoming bad times. Rowan portrays a person who has reached the conclusion that his life has led to a dead end and there is nothing he can do about it. Eccleston plays his savior, a middle-aged supportive and understanding man who is determined that suicide is never the answer. In this story, the suicidal man represents desperation and Ray respresents support. Crucially, the reasons why the youth has resorted to ending his life are not revealed and that is probably because the factors are not the focus here. What this short concentrates on is to communicate the message that people must find the courage to seek help when they are going through tough times. Heavy drama, strong performances and very serious themes. A short film that has quite an impact. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Holy Days film review by UK film critic Chris Olson. Starring Elijah Tamatic, Judy Davis, Miriam Margolyes directed by Nat Boltt. HOME | FILMS | REVIEWS Holy Days Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Aug 4, 2026 Directed by: Nat Boltt Written by: Nat Boltt, Joy Cowley Starring: Elijah Tamatic, Judy Davis, Miriam Margolyes New Zealand adventure comedy Holy Days , from filmmaker Nat Boltt, plays out like most road trip movies. There’s the unlikely fellowship (in this case three nuns and a boy grieving his dead mother), the looming deadline (the nuns are about to lose their convent to a property developer), and the chaotic pitstops along the way (fish guts on the ferry, a betting shop, and the classic “running out of petrol”). What makes Holy Days a journey worth being on is its dedication to representing tender and poignant moments of motherly care, rather than an overreliance on gross-out gags. Elijah Tamati plays the aforementioned lost boy Brian, a young man struggling to cope with the loss of his mother and taking it out on his new step-mum-to-be Liz (Nat Boltt herself). Finding shelter and companionship amongst the nuns, Brian constantly gets into trouble in order to face penance and be “punished” with tasks at the convent. After hiding out from his latest act of rebellion, Brian overhears a plan to sell off the nuns’ home to a property developer. Leading him to join them across the country to locate the deeds and potentially visit a sacred mountaintop his mother had told him about. Whilst many road trip films like Dumb and Dumber, Planes, Trains & Automobiles, and Road Trip relied on outlandish comedic set pieces to make their movies memorable, Holy Days is a lot more toned down. The jokes are subtle, like Sister Luke (Miriam Margolyes) pinging her dentures out of her mouth or flashing her bum, or Sister Agnes (Judy Davis) lighting up a smoke any chance she gets. This eschewing of gut-busting humour does result in a dithering pace to the film that will certainly challenge the more impatient of viewers. It’s the motherly surrogacy of the Sisters that really breaks through for the viewers willing to stay in the car, though. Brian is a boy in distress, and these women, previously pillars of the community, are able to reach him in a way that no one else can. They become the faithful Sam to his Frodo, as he intends to reach the mountaintop and finally say goodbye to his mother (rather than a ring, probably going to stop with the LOTR references now). Cinematically, Holy Days is radiant to look at, with incredible, untouched landscapes to gorge on, and the period seventies setting does a lot to avoid the distractions that would have come with a modern telling of this story. The music, in particular the use of ukulele, adds a pretty charm to the atmosphere and makes this perfect cosy viewing. Buy UKFR Banner Space About the Film Critic Chris Olson Theatrical Release < All Reviews Next Film Review >

We Stay Here film review by UK film critic Patrick Foley. Starring Kristin Frohnapfel, Vinit Parmar directed by Vinit Parmar. HOME | FILMS | REVIEWS We Stay Here Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Dec 12, 2022 Directed by: Vinit Parmar Written by: Vinit Parmar Starring: Kristin Frohnapfel, Vinit Parmar Documentarian Vinit Parmar immerses himself in the lives of refugee children living in Berlin in We Stay Here, an intimate examination of how a struggling immigration system fails those it is meant to protect, and how even in the most difficult circumstances, children deserve a place to grow up in peace. The film takes place largely in a refugee home run by Kristin Frohnapfel, a centre manager doing all she can to keep the shelter habitable whilst acting as childminder for over a hundred families. Children of different ages, backgrounds and origins, who are at differing stages of their asylum hearing receive individual focus. As they navigate the simple trials of childhood, the growing right-wing movement against refugees is featured – which along with the squalid site in which they currently live, demonstrates the dangers of the world they may one day face. We Stay Here is a formless documentary – existing as a pure account of a snapshot into the lives of Berlin’s refugee children. For the majority of the film, the director neglects to frame the footage he has captured with any agenda or story. As the children’s families circumnavigate legal appeals that could literally mean life or death, the film instead documents the children as they play, laugh, cry, fight and undergo the same trials of any child born in the borders of the country they reside in. Whilst the message is not made explicit, it is clear. And in how the director steps back, it is even more powerful. This is the film’s ultimate strength – so much so that the later inclusion of news footage of far-right, neo-Nazi demonstrations actually manage to feel forced. It may be that most audiences who watch the film will be well aware of the concerning rise of hate-groups across Europe, but the film feels more powerful with this as a silent, tragic undercurrent than as something that is explicitly shown. A scene from which the film takes its title – in which a clear parallel is drawn between a gang of skinheads and a group of the refugee girls – just about avoids triteness due to this, and either a stronger focus on the right-wing elements of modern Germany, or leaving this as a totally silent or hinted-at menace may have served the documentary better than what feels like an unresolved, half-hearted coverage. Kristin Frohnapfel is the only adult perspective the audience truly receive, and her complex, difficult role is handled with sensitivity and respect by the director. She does communicate with the camera outside of the children’s view, but matches their ignorance of its presence when performing her role. Audiences will sympathise with her for what is a challenging task, and gain an appreciation for those who work tirelessly in service of those in need. The documentary’s conclusion does initially appear to misrepresent her departure from the centre for dramatic effect – omitting a key piece of information to create a sense of further abandonment on which the film initially ends – prior to a coda. It seems somewhat of an unfair framing of how Kristin’s time with the children ends, and leads to a strange emotional beat. We Stay Here is a brave and admirable film, though one that is not without its flaws. However, the key to its success is the emotional bond viewers will form with its subjects. The director deserves major credit for his wisdom in recognising this – and allowing the film to float on an emotional and authentic wave. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Documentary, Indie Feature Film, World Cinema < All Reviews Next Film Review >