803 film review by UK film critic Jason Knight. Starring Chris Carter, Robin Fletcher, Kenyawn Whosain Grant, Kim Williams directed by Chris Carter. HOME | FILMS | REVIEWS 803 Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 12, 2021 Directed by: Chris Carter Written by: Chris Carter Starring: Chris Carter, Robin Fletcher, Kenyawn Whosain Grant, Kim Williams A police officer is determined to seek justice for the murder of his colleague. A cop named Blue is tormented by the death of his friend and fellow officer, who was killed by criminals. Devastated by his loss and feeling partly responsible, he sets out to find the perpetrators by any means necessary. He gives money to outlaws for information and pays people who work in law enforcement in order to help him track down the ones responsible. By doing so, he puts himself in danger and his superiors disapprove of his behaviour. This short is the first episode from the second season of the 803 TV series. The story deals with personal trauma, loss, the desire to get even, the way police officers collaborate with each other, the importance of upholding the law and provides an insight into the underworld, with one nasty scene showing the consequences of failing to do a good job. The narrative also suggests the necessity of coming to terms with the past and moving forward. Officer Blue comes across as an intelligent, well-meaning person, whose obsession with bringing his partner's killers to justice seems to have taken over his life. Regardless of the warnings and threats, he is stubborn in his goal. The acting is generally OK, with convincing performances of individuals working in law enforcement and criminals. The soundtrack consists of Rap and R'n'B tracks and music that is dramatic and tense, indicating danger and threat. Basically this is a murder-revenge crime story. After an exciting start involving shooting and hand-to-hand combat, things calm down, resulting in conversations that are primarily about Blue's actions. Although the plot is generally interesting, it moves away from the more promising beginning. Nevertheless, it will likely make the viewer watch the next episode to find out how things unfold. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Dope Queens film review by UK film critic James Learoyd. Starring Alexandra Grey, Trace Lysette, Pierson Fodé directed by Grafton Doyle. HOME | FILMS | REVIEWS Dope Queens Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 22, 2026 Directed by: Grafton Doyle Written by: Grafton Doyle Starring: Alexandra Grey, Trace Lysette, Pierson Fodé Grafton Doyle’s Dope Queens is a beautifully shot piece of drama. This new feature film depicts three characters who come back together after a period spent in prison. A lot of the plot is based around the dynamic between Goldie (Alexandra Grey) and Angel (Trace Lysette), sex-workers who feel short-changed by the new life they’re leading. Blake (Pierson Fodé) completes the trio as a paranoid loose-cannon. All three are possessed by a kind of numbness. They long to escape this emptiness, which they only manage to do through drugs, dance and connection with others. The narrative thrives on its lack of judgement; but in its final moments, a slightly moralistic attitude and over-the-top event unbalances the coda’s tone. Many will point towards Sean Baker’s work as inspiring this piece – not only thematically but also aesthetically. But in one description, the picture is described as “a fluorescent, action-packed romantic thriller”. I must take some issue with this. There is such little action, and the ‘romantic’ elements are more related to a feeling of longing for freedom as opposed to any one person. Truthfully, this is a slow, insular film – it holds an almost arthouse, mumblecore sensibility, and features only a handful of locations. In some ways, this summary is more of an indictment on the state of advertising in independent cinema: it’s so challenging to get your film out there in a big way; and thus, focusing in on superficial genre-elements is one technique used to reach a wider audience. Let’s discuss the gorgeous cinematography, which helps to elevate Dope Queens to a high level of expression. The visual approach can be characterised by a consistent use of steadicam and shooting in an anamorphic format. This is all incredibly cinematic. Yet arguably the strongest aspect of the filmmaking is the editing, combined with the director’s restrained sense of blocking. There are some wonderful examples of multiple camera setups within the space of an unbroken take; and dialogues that go on without the interruption of a cut. Techniques such as these suit the scenario effectively. These are aimless characters, waiting characters – but also characters who must frantically look over their shoulders in case of a looming threat. Angel is the saddest and most intriguing character of the story, and is the main focal point of the film’s finest shot: her solemn, docile face – off-centre – positioned behind a group of young party-going girls who are ignoring her in an elevator... this is really the deepest, most poignant characterisation we get. A sobering moment such as this is frequently followed or juxtaposed with a fluid transition or surreal implementation of style – in that way, it’s a film containing many aesthetic layers. What separates this movie from something like Anora are a series of lovely moments in which the characters transcend the confines of their social and temporal existence: for instance, a slow-motion walk through an overhead aquarium. Not every moment has to be defined by a relentless realism, and this critic admires that. Dope Queens screened at the 2026 Palm Springs Film Festival. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Destroyer film review by UK film critic Jason Knight. Starring Sin Heng Chan, Sasha Jagsi, Jorge Fernandes directed by Albert Bullock. HOME | FILMS | REVIEWS Destroyer Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 27, 2023 Directed by: Albert Bullock Written by: Albert Bullock Starring: Sin Heng Chan, Sasha Jagsi, Jorge Fernandes A photographer tells her disturbing life story. Two young women arrive at a photography studio for a photoshoot. One is the photographer (Chan) and the other is the model (Jagsi). While the session goes on, the artist proceeds to tell her customer about her past and the revelations are rather sinister. This short thriller is quite a dark story that explores very dark subjects. The narrative alternates between the studio, with the photographer telling her story to the model (who becomes more and more upset by what she hears) and sequences from her past, including flashbacks, photographs and family footage of her dog Paul and her cousin Micah (Fernandes). While taking pictures, the photographer explains how she ended up with her current profession, which results in her mentioning unsettling facts about her childhood, beginning with the harsh upbringing she had with her parents who were strictly religious, before moving on to distressing events involving her dog and her cousin. As sinister as the photographer's story is, there are also images that add to the dark atmosphere such as footage of people wearing white masks, who are inside a church (presumably the troubled heroine's parents) and a montage of historical and real-life photos that have sinister connections, including one of musician and singer John Lennon with the man who would eventually murder him and one of former U.S. President George W. Bush being informed of the 9/11 terrorist attacks. The sinister music certainly helps in creating a distressing mood and the filmmakers make effective use of slow motion, out of focus and fast cutting techniques. The photographer is the main center of the film and Chan convincingly portrays her as a disturbed individual with a troubled childhood. This psychological thriller places the viewer into the mind of a person who has serious mental issues. It explores very dark issues that include childhood trauma, animal cruelty, online pornography, mental health and revenge. It is an uncomfortable viewing, however it deserves praise for the dark and powerful atmosphere that it creates, which makes it a memorable experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

It's Never Too Late (To Say You're Sorry) film review by UK film critic Joe Beck. Starring Liam Pennington directed by Craig Hamilton. HOME | FILMS | REVIEWS It's Never Too Late (To Say You're Sorry) Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Aug 21, 2022 Directed by: Craig Hamilton Written by: Liam Pennington Starring: Liam Pennington ‘It’s Never Too Late (To Say You’re Sorry)’, has that distinct feel of an indie, debut short film, which all great short films possess. It demonstrates the talents of the writer, director, and actors, potentially providing them with a footing to further their careers in the world of film, whilst also telling an interesting, coherent story. Of course, the downside, though in the long run it often turns out to be the upside, of such films, is that they are inherently flawed, with the unpolished edges of a fledgling filmmaker such as Craig Hamilton. This is one of the finest recent examples of such a film - a handheld, nine-minute short, shot as though the filmmaker has something to prove, but also something to say. ‘It’s Never Too Late (To Say You’re Sorry)’ follows Ste (Liam Pennington), as he seeks to find peace with a childhood friend with whom he has long since grown distant towards. Now middle-aged, Ste hasn’t spoken to his friend in 22 years, when they had one of those familiar fallouts over a girl. The film is filled with wonderfully nostalgic anecdotes about the things the two got up to in their childhood - the fun, the games, the bending of the rules. There’s talk of pubs and plimsolls and terrifying next-door neighbours - the sorts of things which all seemed like major events when we were young, but now we’ve all grown and experienced the world they seem rather inconsequential, and a safe space to cast our minds too. Ste’s Gran once said to him “don’t hold grudges because you only end up hurting yourself”. It’s a lesson we could all do with learning, or else we are left with a void of despair and hatred. That void is only explored when emotions are unlocked, as ‘It’s Never Too Late (To Say You’re Sorry) shows with a truly emotional gut punch. Though that would have been an apt place to conclude, the film then runs a little past its stay, as a song kicks in which doesn’t quite match the sombre tone of the rest of the film - it’s one of those slight missteps. 
 Whilst, the film is tender in its portrayal of this broken friendship, you do wish that it would dwell a little longer on the event in question which split the friends up, though you wonder whether this was intentional - the past is merely a memory, after all, and we shouldn’t let it affect our future too such a great degree. That is, however, a relatively minor quibble with ‘It’s Never Too Late (To Say You’re Sorry), which is, for the most part, a caring story of how important it is for us to treasure our friendships, and cling onto them should they bring us joy. This is a short film with so much heart, that it’s impossible not to feel emotional at times, as it strikes a chord with every human being on the planet. We all know that feeling of losing a friend, whether it be abruptly disagreeing, or a slow drift apart, it is a familiar course for all of us. The film tells us not to let go, and right now, as we live in dark times, that’s a message more important than ever. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Ramgog! film review by UK film critic Joe Beck. Starring Kris Salvi, Emma Geller directed by James Ristas. HOME | FILMS | REVIEWS Ramgog! Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: May 18, 2024 Directed by: James Ristas Written by: James Ristas Starring: Kris Salvi, Emma Geller The story of the genesis of man, as told in the Bible, has been reiterated and mirrored countless times over the years, in films from ‘Pinocchio’ to ‘2001: A Space Odyssey’ to the various forms of ‘Planet of the Apes’, but perhaps none have more so taken inspiration from the storied tale in such a strange and peculiar way as ‘Ramgog!’. “Ramgog!’ is a remarkably strange film, one of a kind in every sense of the word, yet whilst it is no doubt curious, it is perhaps not the most engaging of films. Written and directed by James Ristas, we are immediately thrust into a surreal landscape of total darkness as a man, played by Kris Salvi, and a woman, played by Emma Geller, step into the void. We are told that they are the last two remaining people on earth, a clever inversion of the story of Adam and Eve. Earth has turned completely into darkness, and our two protagonists are wailing over their abandonment by God. Then ramgog, the creature that gives the film its title, appears, and things go from slightly strange to utterly off the walls crazy. The easiest way to describe Ramgog is as a philosophical, and apparently all-knowing, space monkey. In this story of genesis he is the Mephistopheles, offering information to the Adam and Eve of the film as to why this has happened. He is armed with a book on the teachings of sixteenth century German philosopher Jakob Boehme, which are second only to God’s own words in terms of importance. I guess they couldn’t find any holy scriptures in the dark. From utterly off the walls crazy, things only become weirder and completely batshit insane, with further biblical inspirations, including a nod to the birth of Jesus, as well as ideas credited to Boehme himself. This is a religious film like never before, in that it’s both all about religion at all, should you choose to exercise your brain and make those connotations, but equally has nothing to do with anything at all should you choose instead to watch it without thinking. The latter is probably preferable, as the more you think about ‘Ramgog!’, the less you can enjoy it. It is fun surrealism, but unlike films by the likes of famed surrealist Luis Buñuel, the more one spends dwelling on and trying to decipher the hidden meanings behind ‘Ramgog!’, the more it becomes frustrating and ultimately less engaging. This isn’t helped by the flat performances, as each line is delivered in a robotic, forced manner, and the two leads display a desperate lack of chemistry with one another. Screenplays in surrealist films generally allow for award reading of lines, but in ‘Ramgog!’ It’s past awkward, it’s straight bad. Furthermore, though James Ristas’ directing is magnificently bold and visually striking both in terms of the range of shots on display and what those shots are depicting, there is one moment - where the fourth wall is shattered - that completely takes the viewer out of the picture, and that silkiness that is present behind the camera throughout, disappears briefly. ‘Ramgog!’ is a strange film. It’s one that wants you to think, but is best enjoyed if you don’t. It’s surrealism is both it’s strength and it’s weakness, as you sense that perhaps Ristas is shooting too far with his attempt. Then again, such audacity should never be discouraged, and it is ultimately this boldness which makes ‘Ramgog!’ such a creative and, perhaps, an essential film. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Another Day film review by UK film critic Alasdair MacRae. Starring Gráinne Good, Alan Hall directed by Daniel Topic. HOME | FILMS | REVIEWS Another Day Film Review average rating is 4 out of 5 Critic: Alasdair MacRae | Posted on: Jan 13, 2022 Directed by: Daniel Topic Written by: Alan Hall & Gráinne Good Starring: Gráinne Good, Alan Hall After a spontaneous hook up, Sam (Alan Hall) and Sinéad (Gráinne Good) rekindle the lost romance of their youth. Is this a chance for them to start anew or are their other commitments too big a hurdle to overcome? Guitar strings reverberate. A bittersweet melody forms over a sequence of shots of the couple looking at one another. Their eyes meet, their hands’ press against each other. As they touch, the memory of their love surfaces. The tempo of the music picks up, it verges on excitement. Their hands move together, dancing. They push through the centre of the screen into focus as everything around them fades into a soft blur. A beautiful cinematic opening. Then comes the rude awakening. The couple are forced to confront reality and the serious discussions of ‘what next?’ begin. Even though much of the dialogue is hard to swallow, Good and Hall truly sell the feeling of the narrative with their performances. The tenderness in their longing glances. The gentleness of their voices. The intimacy of their relationship feels believable. They make the everyday tragedy of an opportunity for a new beginning feel like the only thing that matters in the world. Together they give nuanced, filmic performances that justify the minimalistic style. The sparse bedroom set works mostly as a blank canvas allowing some variety in movement, but the visuals are largely structured around punctuating close-ups. The sound design works to distil the actors’ voices and is manipulated at times to isolate the couple’s memories to great dramatic effect. The film is bookended by a second montage. During the finale, there is a heart-fluttering visual expression that is a little clunky in execution but expresses the sentiment of the short as succinctly as the opening. This kind of experimentation is what makes watching short films exciting. The kind of risks that pay off. Ultimately, Another Day is a very accomplished short in which every member of the crew seems to contribute to more than one core aspect of the film. It is visually and audibly emotive thanks to DoP-editor Alba Skottowe and sound designer-musician Michael Smith. Producer-writer-performers Alan Hall and Gráinne Good are compelling and engaging on-screen. Altogether this comprises an impressive fully-formed directorial debut for director-editor Daniel Topic. It is a joy to see the convergence of such talent to craft what is undeniably a moving experience. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Bandit film review by UK film critic Brandon Thomas. Starring Josh Duhamel, Elisha Cuthbert, Mel Gibson directed by Allan Ungar. HOME | FILMS | REVIEWS Bandit Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Sep 21, 2022 Directed by: Allan Ungar Written by: Robert Knuckle, Kraig Wenman Starring: Josh Duhamel, Elisha Cuthbert, Mel Gibson Career criminal Gilbert Galvan, Jr. (Josh Duhamel of Transformers ) escapes from a Michigan prison and makes his way across the border onto the friendlier ground of Canada. Although momentarily free from American authorities, Gilbert’s legitimate job prospects are not looking great as the recession of the 1980s comes into full swing. After falling for a local woman (Elisha Cuthbert of House of Wax , and TV’s 24 ), Gilbert panics about his lack of career opportunity and turns to robbing the inadequately guarded banks around Canada. Bandit director Allan Ungar is best known for a 2018 Uncharted fan film starring Nathan Fillion. The film itself was small in scale and certainly catered to no one but video game fans, but it did showcase what Ungar can pull off with a charming and talented lead actor. That same fun, playful tone runs through the entirety of Bandit , a film that owes much more to Soderbergh’s light-hearted Ocean movies than say the ultra-violent Bonnie & Clyde . Ungar doesn’t get too caught up in moral finger-wagging. We all know robbing banks is bad, but the audience sympathizes with the thief’s panicked plight. Like Galvan himself, the film isn’t overly concerned with the eventual conclusion. Galvan is only interested in providing for his family and having fun in the moment. So is Bandit . Duhamel isn’t an actor I’m normally excited to see. In Bandit , however, he steps up to the plate and delivers a confident and charming performance. There is a series of bank robbery montages that let the actor cut loose while wearing some purposefully bad disguises. This lighter side of Duhamel wasn’t something I was familiar with before, but will certainly welcome in the future. The supporting cast does well enough, with Cuthbert unfortunately relegated to the “wife” character who spends much of the movie asking questions of the evasive Duhamel. The always dependable Nestor Carbonell (TV’s Lost , The Dark Knight ) pops up as a Canadian cop trying to bust the costumed robber. One of the bigger surprises is the addition of Mel Gibson, who has spent roughly the last decade playing minor roles in cheapie action movies. While Bandit might be on the cheaper side, the light tone allows Gibson to dig into his comedic past. Gibson’s performance is a welcome breath of fresh air for the controversial actor. While not reinventing the bank robber subgenre, Bandit is a light-hearted heist flick that doesn’t get bogged down in bloody violence or moral grandstanding. You know, the kind you can show mom. Buy UKFR Banner Space About the Film Critic Brandon Thomas Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Under Offer film review by UK film critic Patrick Foley. Starring Sumah Ebele, Archie Fisher, Kurtis Thompson directed by Vincenzo Pellegrino. HOME | FILMS | REVIEWS Under Offer Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Feb 22, 2024 Directed by: Vincenzo Pellegrino Written by: Ben Clough, Vincenzo Pellegrino Starring: Sumah Ebele, Archie Fisher, Kurtis Thompson Under Offer is an all-too-relatable short comedy that dissects the difficulties young people face getting on the property ladder or even finding a roof to put over their heads in a market where development firms have squeezed all but the richest off of the ladder. It’s an imperfect but enjoyable film, with a likeable and impressively developed ensemble cast. When squatters Dev (Sumah Ebele) and Billy (Archie Fisher) find that their latest residence is being auctioned, they decide to take matters into their own hands. They set out to convince pregnant couple Ali (Akim Bangura) and Ash (Louise O’Dowd), and young professionals Nick (Christopher Williams) and Jess (Georgia Cudby) that the place has a dark past. Estate agent Izzy (Kurtis Thompson) does his best to make a sale in spite of their efforts, but Nick and Jess’ own secret poses more of a threat than anything Dev and Billy can come up with. The highlight of Under Offer is the intelligent character construction undertaken by writer and director Vincenzo Pellegrino. Viewers get a sense of the lives of each member of the main cast, much beyond their role in the events of the film. It builds authenticity and relatability, and develops each of their motivations, ideals and histories. It makes for an almighty emotional clash over the property at the plot’s heart – where audience sympathies will be split between Dev and Billy, and Ali and Ash – with even some left over for hapless agent Izzy, who we see having a nightmare first day on the job. The plot itself is a relatively straightforward one that allows the comedy to flourish. The film elicits genuine laughs, as Dev and Billy spice up the already-gross apartment with satanic decorations to really put off the potential buyers (to no avail), and Christopher Williams’ Nick comes up with a dreadful cover story of being Jason Statham’s stunt double to hide his true identity. The film critiques development companies’ habit of circumventing rules to buy up properties in order to shoot up mortgage and rental prices that make owning a home a pipe dream to many young people. Where the squatters may wish to prevent anyone moving in to their specific place, it is these corporations that lock people out of the market entirely, and this theme is well-communicated throughout the story through conversations between all parties. There are a few misfires – such as the raising of relationship issues between Dev and Billy which ultimately lead to nothing, and lack of chemistry between a few of the cast members which stilts the dialogue at times. There is also not much of a resolution to Izzy’s character, whose circumstances end up lacking much overall relevance despite focus being given to his desperation to make a sale. But these strands and rough edges leave no mark on the film’s charm or comedic value. For a lower-budget short to tell an engaging story with seven well-developed, multi-dimensional characters is more than enough value for money – meaning Under Offer actually offers well above its market value. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

La Mort Pourpre film review by UK film critic Jason Knight. Starring Kevin Sakac, Erwan Ott, Guilhem Thiel directed by Erwan Ott. HOME | FILMS | REVIEWS La Mort Pourpre Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 31, 2025 Directed by: Erwan Ott Written by: Erwan Ott, Salah Maalem Starring: Kevin Sakac, Erwan Ott, Guilhem Thiel First of all, just explaining that the title translates into English as The Crimson Death . This is a short fantasy adventure horror film directed by Erwan Ott, written by Ott and Salah Maalem and starring Ott, Kevin Sakac and Guilhem Thiel. The story takes place in France, during the Middle Ages and vampires are everywhere. Thankfully, there are people whose job is to kill these entities and they are known as monster hunters and Seth Gecko (Sakac) is one of them. Seth arrives at an isolated village during a period of heavy snow as there have been a string of murders in that location that are believed to be the acts of vampires. While investigating, Seth encounters an old acquaintance, Alucard Topes (Ott), a vampire who is an Ekon, a superior vampire who has more traits than the average ones, like having the ability to be in the presence of sunlight. The two will collaborate and track down the one responsible for the deaths. This short begins with a bang, with an animated montage consisting of terrific images that depict the history between humans and vampires throughout the centuries, accompanied by voice-over and great music by Morgan De Carvalho. Once that is over, the story begins and what a story it is, set in a medieval Europe where humans and vampires coexist, with vampires utilising their fangs to deadly effect and (unsurprisingly since the plot takes place in the Middle Ages) there is plenty of sword fighting. The screenplay plays out as a sort of murder/mystery type and a manhunt and it is quite intriguing and entertaining. The mise-en-scene is another big plus, with the weaponry, costumes and settings all looking authentic. And, of course, Sakac's contribution to the fight choreography also deserves praise. This is pretty much a buddy film, with Seth and Alucard both serving as main protagonists. Sakac's character is a seasoned vampire killer, like Van Helsing, dedicated to his profession and duties. Ott plays a vampire who has principles, who acts as what is known as a Domovoy, an entity that acts as a guardian and lives off the blood of scoundrels. Thiel portrays Orlock, the bad guy, a vampire who has gone rogue, not being able to control his thirst for blood and takes pleasure in killing. This is a Good vs. Evil tale. A story about courage, friendship, morality and striving to eliminate a deadly threat. Another addition to the vampire genre. This exciting production is an achievement that is worth seeking out. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Scratched Nail film review by UK film critic William Hemingway. Starring James Learoyd directed by James Learoyd. HOME | FILMS | REVIEWS Scratched Nail Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Mar 9, 2025 Directed by: James Learoyd Written by: James Learoyd Starring: James Learoyd A man tries to deal with the mess he has created for himself in his life but only ends up making things worse. In writer/director, James Learoyd’s new short film, Scratched Nail , we follow the goings on of a lonely, paranoid man as he busies himself about the house. Something has happened not so long before we get there, but we are never party to what that is. Instead we watch the aftermath, as the man (Learoyd himself) peeks out from behind the blinds to see if anyone is onto him. As he’s fingering the metal blinds, he catches a nail on the sharp edge of one of the slats and it begins to bleed, offering us our thematic linchpin of the blood that stains, as well as the basis for the title of the movie. Learoyd’s film is told to us in black-and-white, alongside some prominent and essential sound design, but with no dialogue, which gives the seven-and-a-half minutes of Scratched Nail the definite feel of an arthouse movie. As the man goes about his business, cleaning his hands, cleaning the glass on the windows, and cleaning the floor of a lot more blood than could possibly have come from one finger, we get introduced to some imagery which supports the backstory of what might have happened before we got there. This is interspersed with some outdoor shots of local flora, but even that takes on a slightly sinister nature, especially as the black-and-white camerawork encourages us to look deep into the shadows between the leaves and the stalks of grass. Everything is up-close and in your face in Scratched Nail , with the sound of everything echoing in the foreground as the narrative takes shape. The washing machine ramps up the tension, the running tap never seems to stop, and the rustling of the paper towels being used to mop up the blood constantly rankles in your ear. All this, along with the sparse but well-placed score, serves to unnerve the viewer and put us on edge as we continue to watch and try to understand just what has happened to this person. Eventually, we get to a scene down by the beach which seems to solidify what the imagery has been suggesting to us up until now. The paranoia this man feels may well be thoroughly justifiable, but from this point on it looks as if it’s going to be something that he will never escape from. The feelings engendered by Learoyd’s camerawork, imagery, and soundscape, are palpable and the paranoia leaks out from the screen and the speakers in every frame. For what is a short film with no colour, no dialogue, and no real story, Learoyd has managed to tie everything together through his imagery and sound design. The themes are extremely clear and everything fits into place as it should to create the atmosphere desired by the filmmaker. There are shades of Persona (1966) and Eraserhead (1977) in Scratched Nail and Learoyd has shown that he understands the language of film well enough to tell his story without the need to rely on the spoken word. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Guava Express film review by UK film critic James Learoyd. Starring Abhinav Mondal directed by Ankit Singha. HOME | FILMS | REVIEWS Guava Express Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jul 20, 2025 Directed by: Ankit Singha Written by: Ankit Singha Starring: Abhinav Mondal Guava Express , by Ankit Singha, is one fascinating short film. A psychedelic, meandering detective comedy – not unlike works such as Inherent Vice or The Long Goodbye (two of this critic’s all-time favourites) – this fever dream follows a character simply referred to as “hero” by the unusual narration. Nothing specific takes place within the story; a man simply goes about the day, occasionally inspecting things, and then eventually he eats a slice of guava laced with drugs. This is around the halfway point of the film, at a moment wherein the audience is already confuddled and disorientated. But what follows is even more experimental and hallucinogenic. This is an incredibly amusing piece; always entertaining without having any particular drive or aim. It’s original yet inspired; bizarre and self-deprecating. Let’s begin by discussing the camera techniques at play. Stylistically, you can divide this movie into two halves when it comes to what the audience is being shown. 50% is shot in widescreen, in conventional colour, mostly handheld. This is competently done, but it does lack flare in many ways. The use of slow shutter-speeds may be appropriate for such a hazy, flowing picture such as this, but after a while it becomes slightly unpleasant to look at. That is until the psychedelic act of the film begins, and the whole aesthetic feels as if it’s been leading to something more pointedly hazy and digitally influenced. This portion of the film is presented in a 4 by 3 aspect ratio – the boxiness announcing a kind of detachment from our conventional scope of vision – while the colours are shown as a phosphorescent negative with bleached-out block-colours. It’s a very simple trick, digitally speaking; however, it inherently works here due to the tonal build-up of what is almost a stoner-comedy. This is accomplished, in part, by the whacky-as-hell narration. I was reminded a great deal of how writer-director Paul Schrader uses narration in his movies; specifically, his great Affliction in which (like Guava Express ) the voiceover effectively conveys what the viewer can already see clearly on screen. Your average audience might be left confused by this, wondering – since we already know exactly what is happening – why exactly the words are even there. Often, it’s about building a mood. Schrader uses it as a novelistic device, but here you could argue that it’s used as a comedic one. There’s a humour present in how the narrator overblows the importance of the mundanities being witnessed, and it’s most successful at placing us in the presumably warped fantasy of our “hero”. Like in Inherent Vice , we emerge from the viewing experience as if from a cloud of smoke – trying desperately to get our bearings, knowing that the power of the work we’ve just engaged in was partly a result of our willingness to go along with its chaos. It’s an impressive piece of comedy, in as much as it never explicitly lets on that it’s a comedy. Unusual from beginning to end, and ironic without feeling malicious, this is a strong piece of independent filmmaking. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, World Cinema < All Reviews Next Film Review >

Two's A Crowd film review by UK film critic Amber Jackson. Starring Hugo Speer, Angus Castle-Doughty, Shaparak Khorsandi directed by Andy Burse, Angus Castle-Doughty. HOME | FILMS | REVIEWS Two's A Crowd Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Mar 6, 2023 Directed by: Andy Burse, Angus Castle-Doughty Written by: Angus Castle-Doughty Starring: Hugo Speer, Angus Castle-Doughty, Shaparak Khorsandi Two’s A Crowd is a comedic short film that explores a day in the life of two struggling actors whose paths unexpectedly cross one day in London. They are the polar opposite of each other in terms of personality, and yet when their days collide at a terrible audition, their skills are tested like never before. With the action of the short taking place in London, these two characters portray the bleak and bitter reality of struggling actors tackling the audition process, but with plenty of hilarious twists. This is a really well constructed and filmed short created and acted by Andy Burse and Angus Castle-Doughty that captures the hard-hitting, yet often hilarious, realities of actors hoping for their next job opportunity. The camera follows the action very well throughout the film and conveys a very real sense of the streets of London. Already praised online for its accuracy, it is not hard to see why with plenty of laugh out loud moments filling the screen. Although some scenes feel as though they have been created for comedic effect, they also seem very true to life at the same time, which make for fun viewing. Andy Burse and Angus Castle-Doughty ultimately have fantastic and compelling chemistry as they work exceptionally well together to portray two actors who are characteristically polar opposites. Their ability to show a real life situation for actors auditioning for jobs is brilliant, as they portray how gruelling the process can be. These actors are tired and tortured, but their experience of this unexpected union leads to interesting - if not strange - consequences for the both of them. Uncomfortable moments that feel as though they are drawn from real life extend onto the screen and capture the true idiocy that actors could hypothetically experience during this process. As both men struggle to contend with the expectations of producers and directors they meet, they also convey relationships between other actors and the challenges that this presents, as both characters display how both their personal and industry judgements inform their relationships. These moments transcend across this twenty-minute short film and do very well to convey how difficult it can be to feel motivated and work in a job that handles plenty of rejection. Every actor in this film gives an excellently eccentric performance, with plenty of excellent timing and quick-witted dialogue moments filling the script. Additionally, there is a fun voice over from a phone call from an agent which sounds awfully like a Pam Ferris cameo and she is in fact in the credits as casting agent ‘Sherry’. That is just one of many bizarre and wonderful ongoing things that viewers can expect to enjoy during this short film. With lines such as “you must be the only actor in the world to get sacked from the panto!” feeling incredibly off-the-cuff and based in truth, this is a film that is worth watching for a hearty laugh. Two’s A Crowd is fed up and bitter about a challenging industry, but in a way it is also a love letter to it. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >