Who Done It: The Clue Documentary film review by UK film critic William Hemingway. Starring Jeff Smith, Jonathan Lynn, Colleen Camp, Michael McKean, Lesley Ann Warren directed by Jeff C. Smith. HOME | FILMS | REVIEWS Who Done It: The Clue Documentary Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Sep 26, 2022 Directed by: Jeff C. Smith Written by: Jeff C. Smith Starring: Jeff Smith, Jonathan Lynn, Colleen Camp, Michael McKean, Lesley Ann Warren So, in 1985 there was Clue , a farcical comedy film based on the popular detective board game of the same name (or Cluedo as it is originally called here in the UK) – except that it wasn't really all that popular. Sure, everybody probably had a copy of the game in the bottom of their sideboard somewhere, but it was never anybody's first choice to play and was always an also ran to Monopoly, Mouse Trap, Battleships or Operation. Play was always slow and muted, people were never really sure of all the rules, there was always one cheater who took sly looks at the cards and someone always guessed far too early how the murder happened, getting it wrong but ending the game in the only way it could be done in any sensible length of time. So obviously they made a film of it. Clue , the film, tried to riff off the vibe of the game with its campy, Agatha Christie murder mystery shenanigans and a bunch of strangers with strange names meeting in an old mansion where someone gets bumped off and they try to find out whodunnit. Throw in a bunch of slapstick comedy, manic dialogue, over-zealous performances and an inordinate amount of running from one room to another and apparently you have the basis of a cult classic – depending on who you ask. Jeff Smith is one such person who views the film with dewy-eyed nostalgia and he tells the story of how he was one day sick with Covid and bored with nothing to do, so he decided to create a fan-made documentary about his favourite movie and now, five years later, we have Who Done It: The Clue Documentary . Jeff tells the story from his car for some reason, violating multiple traffic laws as he does so, and he fills in the gaps between his interview segments with his own personal take on how the film – his film took shape. He narrates the story of Clue as he narrates his own story, too and we begin to see how personal this journey has become for him over the five years he has put into it. Jeff does a good job of pulling together most of the surviving cast to talk to, as well as writer/director Jonathan Lynn, and there are plenty of nice anecdotes about pre-production and filming to keep even the most ardent fan amused. Unfortunately the interviews are a fairly amateur affair with not much attention given to lighting or sound and everything has a sort of home-movie feel to its quality. Half of the whole documentary is given over to cast profiling and it's about an hour before we get into looking at Clue proper. Even then the questioning seems fairly surface level and no real secrets are revealed, bringing into question the validity and need for such an investigation. What becomes clear as Who Done It: The Clue Documentary progresses is just how much of this piece has been Jeff's own journey – and when at one point he asks himself who this film is really for – it's easy to see what the answer actually is. Still, there are plenty of other people out there who love Clue just as much as Jeff does and they will most likely be delighted at this retrospective look, as well as getting to revisit with their favourite cast members, even if it is only in the form of convention footage in the case of Tim Curry. For a fan-made documentary, Jeff Smith has done very well to bring so many of the notable people together to revisit this cult classic. However, in the days of The Movies That Made Us and Voir, high production retrospectives with access all areas are becoming increasingly easy to get your hands on, and in that sea of one-hour TV docs this low budget production just doesn't cut the mustard. Buy UKFR Banner Space About the Film Critic William Hemingway Documentary < All Reviews Next Film Review >

Hoppers film review by UK film critic Hope Madden. Starring Piper Curda, John Hamm, Bobby Moynihan directed by Daniel Chong. HOME | FILMS | REVIEWS Hoppers Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 3, 2026 Directed by: Daniel Chong Written by: Daniel Chong, Jesse Andrews Starring: Piper Curda, John Hamm, Bobby Moynihan Funny, relevant, overstuffed and a little too busy, Pixar’s latest, Hoppers , throws a lot at you. Mabel (Piper Curda) has always been a handful. In the film’s opening act, after she gets caught trying to break every elementary school classroom animal out of captivity, her frustrated mother drops her off with her grandmother. Grandma Tanaka (Karen Huie) introduces Mabel to the calming effect of nature. As they age together, the two sit on a rock by the glade behind Granny’s, learning to be silent and feel a part of something bigger. Then the mayor, Jerry (Jon Hamm), decides to bulldoze the glade to extend the city’s beltway, shortening commutes by 4 minutes! Through a series of events both clever and complicated, Mabel hijacks a research experiment, avatars her way into the robotic body of a beaver, infiltrates the local wildlife community, learns more than any human has ever learned about their hierarchy, and just about gets Jerry squished. Hamm is perfect as Mabel’s foil, but the entire cast is excellent. From smaller supporting turns (Meryl Streep, Vanessa Bayer, and Isiah Whitlock, Jr. in one of his final roles) to larger roles (Bobby Moynihan, Dave Franco, Kathy Najimy), each voice brings life and wit to Pixar’s characteristically enthralling animation. Co-writer/director Daniel Chong’s script, co-written with Jesse Andrews (Elio , Luca , Me and Earl and the Dying Girl ), is warm, forgiving and quite funny. Pixar has a knack with movies about a world unknown, even forbidden, to humans. Hoppers plays with that idea, and the thrill of being part of the animal world offers contagious joy. It’s also an honestly emotional film, and Curda makes an excellent anchor for that emotion. The film’s one big drawback is that it simply tries to do too much. At an hour and 45 minutes, it feels slightly longer than necessary, but more than anything, it is very complicated. Had Chong pruned some of the human world complexities, favoring instead the merry time spent in the surprising world of the animals, his film might find broader appeal. As is, it will delight older children and adults, although the littlest viewers may struggle to keep up. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

A Letter From Home film review by UK film critic Patrick Foley. Starring Jason Graven, Dave Sims, Adam Konrad directed by Spencer Legros & Alex Hinsch. HOME | FILMS | REVIEWS A Letter From Home Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Sep 23, 2022 Directed by: Spencer Legros & Alex Hinsch Written by: Spencer Legros & Alex Hinsch Starring: Jason Graven, Dave Sims, Adam Konrad Inspirational and heart-breaking in equal measure, A Letter From Home is an astonishing documentary short from Spencer Legros and Alex Hinsch that combines the importance of family and the strength to recover from unimaginable pain – both mental and physical – in its chronicling of Task Force 20 – a fitness group for ex-military members. The film tells the stories of a number of veterans. Primary focus is given to Jason Graven, the group’s founder – who escaped his troubled trailer-park upbringing by joining the military, only to find his life turned upside down when his child was given up for adoption against his will. With nowhere left to turn upon the end of his service, and facing the darkest times in his life, Jason, along with other ex-serviceman Dave Sims, Adam Konrad and Dave Gedman, turned to fitness to find structure and solace in life. As it cracks open the very souls of its subjects, A Letter From Home is one of the most personal, intense and affecting documentaries of the year. Each of the servicemen featured has a remarkable story, and each’s journey would be film-worthy of themselves. With Jason Graven at its heart, the film acts as both the story of Task Force 20, and a recorded legacy made by a father for a daughter he has never met. Jason’s unflinching and honest testimony of his life captures the importance of the Task Force programme, and how he has managed to use his own tragedies to change the world for the better. There are few documentaries or films that manage to combine the stories of individuals and ideas better than Legros and Hirsch manage here – and the finale in which that of Jason’s life, and the significance of Task Force 20 are tied together, is bound to bring tears to viewer’s eyes. To match its incredible storytelling, the film is crafted with imaginative and engaging imagery and production. There is a sense of momentum to the film, as it weaves through Jason’s troubled life to the present day. Photos from Jason’s youth merge into the man he has become in the present, edited in impressive and seamless fashion. The addition of inventive animations and recreations add life to the story, echoing dramatic portrayals – particularly in scenes such as Jason’s courtroom adoption hearing. The most striking scene in the film is that in which Dave Sims – a Vietnam veteran crippled by agent orange – musters all his strength just to take a few steps without his walker. The decision to drop the steady and ever-present beat of the film’s score makes the moment transcendent, and captures one of the film’s messages perfectly: that you never really know what battles someone else may be going through. For a film that covers as much tragedy and melancholy as A Letter From Home does, it is remarkable that it manages to be one of the most uplifting films of the year. The story of Task Force 20 is story of redemption, reconciliation and recovery – which runs alongside those of the men who founded it. The emotional punch that Legros and Hinsch’s film packs is a force of its own. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Documentary < All Reviews Next Film Review >

Me, Not You film review by UK film critic William Hemingway. Starring Charles Maddison, Regan Tibbenham, Princess Abiye directed by Ademola Elegbede. HOME | FILMS | REVIEWS Me, Not You Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Feb 23, 2023 Directed by: Ademola Elegbede Written by: Ademola Elegbede Starring: Charles Maddison, Regan Tibbenham, Princess Abiye As we fly over an urban neighbourhood with a really nice drone shot we hear straight away the fallout from a domestic argument within one of the houses. It seems that Jay (Maddison) and Shay (Tibbenham) are having troubles in their relationship. The morning after the night before and everything is still cold between the two of them. Shay dusts some make-up onto the inside of her wrist as she gets herself ready for work and spurns any moves of affection from Jay as he mopes about the kitchen in his dressing gown. It seems obvious what's happening between them at this point in their story. Mrs Pogba (Abiye) is also keeping an eye on things from next door and she, too, believes she has a good idea of what's happening with her neighbours. As the plot thickens we listen to Shay express the difficulties within her relationship while also covering up the ugly parts as she has lunch and an otherwise banal sandwich conversation with her pal. Back at home the arguments continue and Mrs Pogba can't stay silent any longer despite her husband's reservations. Soon the cops are at the door trying to get to the bottom of the situation but unfortunately their questioning and their acting are so awfully ineffectual that at this point Shay and Jay are putting up a united front. As you may expect there's more going on beneath the surface in writer/director/producer, Ademola Elegbede's short film Me, Not You . While obviously a film focused on the horrors of domestic violence and abuse, it turns out that it may not be telling the story that you thought it was. Unfortunately that's one of the very few surprising things about this production and even then it's not handled very well. Along with the acting and the scripting being pretty diabolically bad there are also issues with the lighting in some scenes and it's actually quite difficult to pinpoint just what it is the film-maker is trying to say with this piece. While the first two acts are pretty straightforward and easy to follow the ending comes across as feeling rather confused and rushed. There's never any explanation as to what Mrs Pogba's involvement was all for and the stats that are rolled up at the end don't seem to match with what we've just seen on screen. There are some nice elements to the film, such as the aerial photography, a decent brooding soundtrack and a few nice shot selections, but none of these can lift the film from being sub-par in other areas. Me, Not You ends up being a bit odd and not very good which is a shame as it deals with such an important and emotive issue. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

Voiceless film review by UK film critic Patrick Foley. Starring Matt Hansen, Martina Zucconelli, Cari Griffiths directed by Thomas Schubert. HOME | FILMS | REVIEWS Voiceless Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 29, 2025 Directed by: Thomas Schubert Written by: Matt Hansen Starring: Matt Hansen, Martina Zucconelli, Cari Griffiths Stammering hasn’t received an awful lot of serious attention from filmmakers – apart from when it is happening to monarchs. Voiceless is a much more grounded and relatable short film about a sufferer who experiences discrimination and irritation from others thanks to his condition, and carries an important message about community and support. Joe (Matt Hansen) is an aspiring performer who suffers from a serious stammer. Friends Catie (Martina Zucconelli) and Eloise (Cari Griffiths) encourage him to face his condition head on and provide him with a trusty Walkman to practice his public speaking, but he still faces discrimination from the likes of fellow performer Ben (Laurence Hezili Perry). Joe suffers a crisis of confidence when one of Catie and Eloise’s ideas goes wrong, but their own personal story helps him find his own strength when he decides to stand up on his own. Voiceless is a really powerful, moving short film about differences that are (quite literally in Joe’s case) difficult to communicate. Joe’s struggles with his stammer are not always met with kindness, even when he takes precautions through the form of cards that explain his condition. His encounter with Ben is a powerful reminder that people are so often caught up in their own lives that they refuse to take account of what those around them are experiencing. The character of Ben is presented as a heartless antagonist at first, but the film reveals his thoughtlessness isn’t exactly as it seems. The film argues that awareness, and a little more consideration go a long way, and that most people will act supportive when they understand differences. Matt Hansen excels as Joe, the anxiety-ridden protagonist whose confidence is at an all-time low. His dreams of performing in front of a crowd take a serious knock after his encounter with Ben, and Hansen’s exasperation suggests this is not a new experience for the character. He finds a solace in friends Catie and Eloise, a couple who attend his classes who have their own experience with explaining differences to people. Catie’s coming-out story helps her relate to Joe, and provides powerful motivation for him to put his true self out into the world. The dynamic between Matt Hansen and Martina Zucconelli is a beautiful portrayal of friendship and support – both triumphantly empathetic. Director Thomas Schubert brings us closely into Joe’s world and captures his experience of living with a stammer brilliantly. Viewers experience the same anxiety as Joe does thanks to the use of overwhelming lighting and intense sound design that adds intense pressure onto scenes where his inability to verbalise puts him in difficult positions. We are closed in tight to his face whilst his jaw quivers, internally cheering him on as he tries to spit out the words we already know from his recorder. A lot of films are described as moving, but Voiceless truly takes hold of its audiences’ emotions and directs them to places where its protagonist lives. Voiceless has a voice, and uses it to preach tolerance and respect for those different to us. A great leading performance, impressive production and a simple, moving script (written by lead Matt Hansen) mean this message is delivered loud and clear. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, LGBTQ+ < All Reviews Next Film Review >

Rebel Dykes film review by UK film critic Amber Jackson. Starring Indigo Azidahaka, Karen Fisch, et al. directed by Harri Shanahan, Siân A. Williams. HOME | FILMS | REVIEWS Rebel Dykes Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Sep 20, 2022 Directed by: Harri Shanahan, Siân A. Williams Written by: Harri Shanahan, Siân A. Williams Starring: Indigo Azidahaka, Karen Fisch, et al. A thoughtful and well-constructed documentary weaving together archive footage, animation and personal testimony to capture a moment in time that shaped a radical subculture. Directed by Harri Shanahan, Rebel Dykes is the feature length version of the 2016 short film of the same name and seeks to amplify marginalised voices and perceptions of queer women in the UK. “It was a great time and a terrible time to be young and queer in London” What is striking about this feature film is the unseen archive footage providing insight into a radical subculture in 1980s London and how politically charged these movements were. We get to see BDSM nightclubs, examples of sex-positive feminism, post-punk female musicians and artists, squatters, activists and sex workers all seeking to shape and change a society that claims to not have space for them. The film recognises the reality of how sexual identity and expression were always politicised and the need to create community space was the start of the battle to make their voices heard. This film is also a reminder of what queer culture was like forty years ago, particularly for young women, during a time of mass social uncertainty. These queer marginalised communities faced mass unrest and experienced events that history books and the media never told us about. ‘Rebel dykes’ themselves were so-described as ‘outlaws’, as they invented Riot Grrrls and in the process reclaimed spaces and languages not typically reserved for them. Shanahan has shined a spotlight on these stories of courage and honesty and nostalgia coming from those who paved the way for queer women today. Beautifully balanced on screen is the isolating reality of being a small-town queer girl moving to the big city to find belonging in a country that continually rejected them. A hunger to find community is still very relatable for young LGBTQ+ individuals and so to hear these women talking about how these spaces were created was very uplifting and hopeful. Gateways and other important LGBTQ+ social landmark locations are used to highlight a growing music culture, protest through art and to encourage openness. Alongside this, testimony from the people interviewed discuss the homophobic reality of existing openly in London in the 1980s, and the documentary animation accompanies these experiences very effectively. What is most powerful is how inclusive and warm all of the stories are. Whilst the key focus is on the poor punk working-class girls that inspired a sub-culture, Shanahan shares a wide variety of stories from women and transgender people from all walks of life from that time in an effort to tell everyone’s stories. In highlighting transgender stories from the time, and how rebel dykes accepted their transgender friends, this film shows how incredibly important it is to be an ally. Equally insightful and sensitive, people are interviewed with all sexualities and genders to comment on issues of the time: AIDS education, Section 28, transgender inclusiveness, lack of governmental and media support, and communities protesting. This is a history and a side to queer culture that we haven’t necessarily seen in the mainstream before – a reality that seems far removed but actually doesn’t feel too distant from present day, perhaps because London is the constant. Rebel Dykes is an incredibly moving and uplifting documentary that provides personal testimony from those who expanded the definition of what it means to be a queer woman, or queer more broadly. In going against the grain, these individuals wanted to make their own spaces and definitions in a society that sought to dictate to them. Whilst it is moving to see this history, it is powerful in that it shows how far queerness has come into the mainstream, but also that there is still always work to be done. Entirely honest, Harri Shanahan’s film is a beautiful legacy for those who paved the way for LGBTQ+ communities and legal rights in the UK. Watch Rebel Dykes Online . Buy UKFR Banner Space About the Film Critic Amber Jackson Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

Awesome movie trailers for films coming to UK cinemas in September 2019. The latest theatrical trailers from the biggest films. September Movie Trailers As we enter into the latter part of the year in the movie calendar, we have collected some of the most exciting movie trailers that will be in UK cinemas September 2019. Here you will see UK Film Review have included many genres of film. Such as the crime, drama, romance, superheroes and more. Potential audiences should be aware, these movie trailers will occasionally have plot spoilers which can ruin your viewing experience of the full film, if you go and watch it in a cinema. They may also give you unreasonably high expectations about the movie, filmmakers, or acting talent. We are able to take no responsibility at all regarding whether these trailers are suitable for you and your personal sensibilities. Any of the clips may contain content which offends your political, social, religious, or ethical views, of which we know nothing of. In the event that you do not enjoy these trailers, but you would like to view some from indie cinema and short films, head over to our other movie trailers pages. These can be found by looking under the Movie Trailers drop down menu in our main navigation. There you will be able to see our Support Indie Film ethos in action, giving our film-loving audience access to trailers from indie filmmakers from around the world. The same rules apply there, so please do not contact us with gripes about any content there. If you hang about on social media, and we know you do, make sure you FOLLOW us on Facebook and Twitter, where we promote the latest movie trailers and film reviews. And please do us a solid and share these trailers (and our website) with everyone you know. From your mum to your milkman, your doctor to your dentist. Because they deserve to know about the wonderland that you have discovered, and who knows they may give you some free stuff in exchange for your kindness. It Chapter Two Downton Abbey The Goldfinch The Kitchen Back to MOVIE TRAILERS

What We Wished We Could Be film review by UK film critic William Curzon. Starring Jamie Muscato, Anoushka Lucas directed by Luke Shelley . HOME | FILMS | REVIEWS What We Wished We Could Be Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Sep 10, 2025 Directed by: Luke Shelley Written by: Jenna-Louise Hawkins, Luke Shelley Starring: Jamie Muscato, Anoushka Lucas What We Wished We Could Be is set around the deadly effects of the contaminated blood scandal that plagued the UK during the 1970s to the early 1990s, and the fatal impact this has on a couple. The two are faced with a difficult situation when an offer of life-saving treatment may potentially impact their dreams for the future. While the contaminated blood scandal had a significant impact on the UK, it isn’t something that many people are aware of. The piece isn’t just informative about it; it forces the viewer to experience the harshness of the bleak subject matter. The tone of the film can almost feel too devastating at times due to the severity of the situation the couple faces; however, there is also much beauty to be found in the two outstanding central performances from Jamie Muscato and Anoushka Lucas. Even with its minimal runtime, you almost grasp the pain they're going through and the love they have for one another. Even with their world falling apart, it's incredibly tragic and emotionally overwhelming at times. The visual storytelling is another factor that plays into the way the narrative unfolds and also does a lot of heavy lifting in the emotional resonance within sequences with no dialogue. The piece is beautifully shot on 16mm, which adds to the grittiness of the narrative with the film grain dancing across each frame. It makes the experience feel timeless and pristine in its presentation while also fitting the time period and tone of the film incredibly well. The black and white photography in portions of the musical sequences is also fantastic. Another major standout of the piece is the musical score. While it is understated and low-key, it still manages to aid the moments of melancholy and loneliness the characters endure, and really adds to the emotional engagement as a viewer and is another example of the film's technical standouts. While the narrative is fairly straightforward and simple, at times it can feel confused and harder to follow due to the protagonist's states of mind changing when it places you in their point of view; some viewers may find this disorienting. The piece does flow at a steady pace, although the entirety of the narrative is profoundly engaging due to the performances and chemistry of the two leads. One of the main things that is surprising about the film is when it cuts to dream-like musical sequences, which is a bold creative risk within a fairly grounded narrative. However, it works astoundingly well due to Jamie Muscato’s amazing vocal range, which may bring viewers to a deeply heartwarming experience in these moments. Anoushka Lucas is really where the heart and soul of the film lies, as she portrays the heartache and desperation both characters follow and attempts to bring light to the dreams they both wish to fulfil. The piece truly presents the consequences both characters unfortunately face due to horrific circumstances through no fault of their own. Thematically, the film portrays the strength of love and sacrifice, and the depths of these feelings within a time of uncertainty. The resilience that both characters require to continue living whilst in this state is incredibly tough to experience as a viewer, but immensely important to witness, so the people responsible are held accountable for the lives that were affected by this horrific scandal. What We Wished We Could Be is a powerful story that is both thematically rich in its messaging and incredibly well shot and scored. An uncompromising tale of the power of love between two individuals in the most uncertain time of their lives. Hopefully, the piece can reach a broader audience. This is such an important topic that is sadly not discussed enough in the mainstream media. Director Luke Shelley really brought an eye-opening light to the history of the contaminated blood scandal and the lives that were sadly lost due to the careless behaviour of politicians and medical professionals. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

A Party for Karl Marx film review by UK film critic James Learoyd. Starring Jorge Villacorta directed by Jorge Villacorta. HOME | FILMS | REVIEWS A Party for Karl Marx Film Review average rating is 2 out of 5 Critic: James Learoyd | Posted on: Feb 1, 2025 Directed by: Jorge Villacorta Written by: Jorge Villacorta Starring: Jorge Villacorta A Party for Karl Marx is the latest experimental feature film from filmmaker Jorge Villacorta. Having reviewed two of this individual’s works before, I can say that I’ve started to get used to the man’s bizarre and occasionally disturbing idiosyncrasies – that doesn’t mean, however, that the work is more conventional. This bizarre piece – which is the most enjoyable and somehow cohesive of the three reviewed – tells the story of a man in a suit who keeps leaving nearly incoherent voicemails for somebody called “Friedrich”. Like the entries in his Disrupted Expectations series, the film is based around a series of grainy static shots which show our protagonist wandering around his now iconic warehouse, talking to himself. Viewers will be shocked to see that Villacorta takes some rather big swings in this particular picture, and tries to incorporate some visual ideas previously unseen within his films. We open on a frame which states that this is a “social science fiction film”. It’s certainly social (every piece of dialogue is about politics, even when it’s completely superficial); but it is in no way science-fiction. Then again, maybe this is akin to the way John Cassavetes labels his drama Husbands as a “comedy” in its opening moments. Maybe not. Quite early in this most recent effort, our main character says, “To others, I may look like a mad man.” This is one of the most explicit and honest bits of speech we’ve ever seen by this man, and you can’t help but consider how he really thinks he’s reading on camera. The most amazing development, in comparison to the previous two features, is the fact that this movie genuinely has a narrative arc of sorts. The first act (if you can call it that) involves the character talking about his “modest intellectual prowess”; the fact that he just wants to read books, and find other like-minded people to join him in a political revolution. The irony is that instead of receiving the “communist party” he wished for, what appears to be taking place is a birthday party. These shots of the party are very unsettling – clearly the filmmaker did not have permission to record all of these people, and he gets caught on multiple occasions. By the end of the movie, he starts to say things like, “The people don’t know what’s good for them”, and, “We will rule over them”. Is this an origin story for a Stalin-esque figure? It’s quite funny when viewed as a satire. This film is not well-made and it’s also not watchable – witnessing the man down five glasses of wine while eating slice after slice of pork from a plastic bag is a deeply unpleasant viewing experience to say the least. That does not mean, though, that it is without merit. There’s honestly a great deal to enjoy in the ironic nature of this movie. And there are also plenty of ideas that you can interpret in a whole range of ways. How ‘in on the joke’ our main character is would be difficult to say. When I reviewed his fist film, I was quick to dismiss him completely – and, even if he’s not the god-like “intellectual” the character keeps saying he is, the man is certainly more attuned and self-aware than I ever gave him or his fictional personas credit for. The film is still poor, but you’ve got to admire the continuing effort to be a truly independent filmmaker, visual artist and/or provocateur. It’s also hilarious to consider some guy called Friedrich receiving 73 minutes' worth of voicemails. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film, World Cinema < All Reviews Next Film Review >

Wheels Of Fortune film review by UK film critic William Hemingway. Starring Darren Hill, James Graeme, Georgy Pleece directed by George Pack. HOME | FILMS | REVIEWS Wheels Of Fortune Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Sep 4, 2023 Directed by: George Pack Written by: Milo Hickey Starring: Darren Hill, James Graeme, Georgy Pleece Wheels Of Fortune is actually a pretty decent name for a mobility scooter shop and in George Pack’s ten-minute debut short he uses one such establishment to tell the story of his main character, Eddie (Hill). Having taken over after his father’s (semi-)retirement, Eddie now finds himself in charge of the shop and all the burdens and responsibilities which that entails. He’s not finding it easy to keep things afloat, what with a couple of his hair-brained schemes coming to nothing and the shop-guy, Fred (Pleece) being as much use as a chocolate fireguard when it comes to dealing with customers. So, Eddie has hit on the idea of advertising – TV advertising specifically – and if he can just squeeze the money from his father (Graeme) to pay for a film crew he knows that he can get the business off the ground and make a success of the whole thing. So, through the course of Wheels Of Fortune we watch as Eddie makes phone calls, picks up his dry-cleaning, visits his father in the nursing home and gets himself ready for his big close-up, as all the while he becomes increasingly frantic and begins to fall apart due to the pressure. Darren Hill does a very solid job of expressing Eddie’s ineptitude and nervousness, managing to come across as a self-centred, egotistical prick of a manager whilst also conveying the deep seated worry and weight that he carries around with him. Unfortunately Hill tends to stand out as a bit of a one-man show as he is not so ably supported by those around him. James Graeme tends to miss a few beats as the disgruntled, disappointed patriarch, never really finding the tone of his character, while Georgy Pleece stumbles around in the background never really catching the audience’s eye as Fred. Any extra characters don’t have much about them at all and the scene in the launderette comes across as especially cringeworthy as the acting drops off a cliff during its runtime. Partly to blame may well be the script from Milo Hickey which uses one-sided conversations to tell a lot of its story. While a major theme of the film may well be miscommunication, especially between generations, there is a genuine feeling of disconnect not just between the characters of the story, but also between the scenes of the film and this serves to bring a level of miscommunication between the film-makers and the audience, as it’s not always clear what the actual point to the story is. Thankfully the work behind the camera is better handled and all technical aspects hold the production together well. Pack selects his shots with a good eye and thinks clearly about how each one will be achieved, with DoP Evan Bridges providing a good mix of static and dynamic placements which capture Eddie’s state of mind. The editing and sound design both fit seamlessly into Wheels Of Fortune , keeping the frantic, erratic nature of Eddie foremost in the viewer’s thoughts while also keeping the story moving at a good pace, enough to keep the runtime down to around ten minutes. There is a definite feel of the gameshow around Wheels Of Fortune as the pressure, tempo and craziness all get ramped up towards the climax. The ‘here’s what you could’ve won’ final scene smacks of early evening Saturday entertainment, especially that which was interspersed with local, low-budget advertising, and there are shades (very, very light shades) of Rupert Pupkin as The King Of Comedy (1982) which come through. For a debut short at such a young age, Pack has created something which isn’t quite right and a bit rough around the edges but definitely something which benefits from repeat viewing and which is a very solid jumping off point for whatever he and his team decide to do next. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Bonding film review by UK film critic Jason Knight. Starring Luke Rex, Jannica Olin, Ryan Stroud, Darren Lipari directed by Luke Rex. HOME | FILMS | REVIEWS Bonding Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 26, 2023 Directed by: Luke Rex Written by: Luke Rex Starring: Luke Rex, Jannica Olin, Ryan Stroud, Darren Lipari A quiet evening at a bar is disrupted by the arrival of two people. It is night-time and John (Rex) is sitting at a bar, chatting to his partner over the phone, who he is hoping to see shortly when he flies to Mexico. Then, a woman and a man walk in and it soon becomes clear that they are not there just for a drink. The woman (Olin) proceeds to talk to John, apparently knowing who he is and explains to him that he is required to come with them for an emergency assignment. Filmed on location at The Edmon cocktail bar in Los Angeles, this short begins with normality, before moving towards thriller and espionage territory. The appearance of the two strangers is what changes the atmosphere. Both are wearing black, looking mysterious and a bit menacing and their behaviour makes it clear that they are not your average people. As the woman speaks with John and the man (Stroud) briefly interacts with the bartender (Lipari), clues pop up that are either verbal or physical such as a tattoo or a scar and they provide information regarding the characters. The dialogue is well-written and sharp and there are references to the James Bond universe, such as the famous fictional spy's favourite choice of drink and recognisable names. And also, the title itself obviously (and rather cleverly) turns the spy's surname into a verb. It is a story where nothing is what it seems and the clever screenplay effectively creates suspense. By providing limited information regarding the plot and characters, the script still manages to make the story quite intriguing and the characters interesting. The film ends in a way that makes the viewer wish they knew what happens next and that they knew more about the characters and this is not pointed out in a negative way but a positive one, because of the methodical way the events come together to show that John is about to embark on a new adventure and due to the characters who become engaging with little but valuable information and thanks to the performances, particularly by Olin and Stroud. Special mention goes to the impressive final shot, where the camera gradually elevates, creating quite a view, which looks even better thanks to Laura Jansen's choice of cinematography, which generally creates a sort of film noir feeling throughout the film. The animation involving text messages as bubbles is pretty cool and Daniel Teo's ominous score is a plus and so is the inclusion of the song Ascension . This is a film that fills the audience with suspense and keeps them guessing how things are going to turn out. The splendid cinematography, intriguing story and mysterious characters make this a highly recommended viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Sisyphus Unbound film review by UK film critic Swati Verma . Starring Timothy J Cox, Frederick J Todd, Emerson Adamsss directed by Ryan Fleming. HOME | FILMS | REVIEWS Sisyphus Unbound Film Review average rating is 5 out of 5 Critic: Swati Verma | Posted on: Dec 22, 2023 Directed by: Ryan Fleming Written by: Ryan Fleming Starring: Timothy J Cox, Frederick J Todd, Emerson Adamsss The writer-director Ryan Fleming showcases the nuances of the dynamics between students and professors and how many people do get effected because of the same. Fleming brings Frederick J Todd and Timothy J Cox the right mix of talent that can pull off what he has visualised at the writing stage. The plot of Sisyphus Unbound revolves around Virgil (Frederick J Todd), a college writing student who hopes to have his latest story published he must first get over one major hurdle before his work gets out to the world his mercurial writing professor Richard Laymen (Timothy J Cox). The short film begins with a combination of extreme close shots and camera panning up to capture the nervousness in an attempt to quickly establish the subject matter of the film. The upbeat background music and the ticking of the clock are brilliantly utilised to give the audience an idea of the thought process of Virgil during his one-to-one meeting with professor Laymen adding the elements of realism and making it relatable for the viewers. The set design, the white, blue, and brown colour palette, transition between natural as well as dim lighting, sound, dialogues, costume, hair, makeup, and props help elevate the narrative therefore increasing the degree of audience engagement with content all through its running time. In terms of performance, Timothy J Cox plays mercurial writing professor Richard Laymen who portrays two very different personalities when he deals with his students and as a father. The dialogue delivery, body language, and facial expressions of Timothy J Cox are on point providing a sense of involvement to the audience when the senior actor enters the frame. Frederick J Todd plays the role of Virgil who wants to publish his latest story and become famous as a writer. He is smart enough to grab his opportunities but also respects people too. Todd depicts a range of emotions Virgil is experiencing and maintains a calm demeanour in terms of body language and dialogue so that Virgil’s character arc shapes up to give a sweet surprise to the audience when the movie reaches the climax. Emerson Adams as Gwen is a treat to watch. Gwen provides some moments of comic relief and also inspires the viewers and incorporate the learnings into their lives. The chemistry between Professor Laymen, Virgil, and Gwen adds depth to the storyline which allows the film to stay with the audience even after they have finished watching it. Sisyphus Unbound talks about creating opportunities to succeed and work hard in life because there are a lot of people who are always ready to pull one down. The short film reiterates the importance of firmly believing in one’s dreams and persisting the same even when there are too many hurdles to cross. The cinematic piece highlights how crucial it is to pay attention to work life balance to deal with stress and also be ready to spread awareness about mental health. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >