Dream Big film review by UK film critic William Hemingway. Starring Rhoda Ofori-Attah, Steen Raskopoulos, Clive Anderson directed by Pip Swallow. HOME | FILMS | REVIEWS Dream Big Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Apr 9, 2023 Directed by: Pip Swallow Written by: Pip Swallow Starring: Rhoda Ofori-Attah, Steen Raskopoulos, Clive Anderson Miranda (Ofori-Attah) is facing all of the usual issues that come with a regular job in the insurance sector. The infernal glass ceiling seems to hover just above her, covering over her skills, work ethic, experience and positive steps which she has taken in her work life. Once again it has stopped her from achieving advancement within the company and has limited her big dreams for herself. Instead, Mr Swift (Anderson) the bigwig head honcho at Swift Insurance has opted to bring in Tim to fill the position, proving once again that it's not what you know it's who you know that matters, and embedding the outdated hierarchical system of management in industry as an old boys' club. Thankfully Miranda has an outlet for her frustrations in the form of the model railway and village which she plays with in the shed at the bottom of her garden. After the day's particularly frustrating events at work, Miranda huffs and puffs out all of her bluster onto a tiny little model which she has painted to represent the unworthy, job-stealing imbecile named Tim. With glee and abandon she lays him down onto the tracks, runs him over with an Intercity 125 (apologies to all the model buffs and trainspotters who know it was probably a different model of engine), and covers him in blood spatter – just enough to know that he was maimed and not killed. In the morning, back at work, Miranda is surprised to learn that she'll be taking on the promoted post after all as it seems that Tim was indeed involved in a tragic train accident and will need rehabilitative therapy for months to come. After a quick double-check involving a delivery guy and a Katsu curry, Miranda then begins to wonder what else she could do with her new found power and eventually hits on the idea to Dream Big . Writer/director Pip Swallow's twelve minute short film is as endearing as it is funny and introduces us to a wonderful new character in Miranda who is played sublimely by Rhoda Ofori-Attah. The style and direction keep things light and cheery, even when things are going dreadfully wrong, and the optimistically upbeat score from Dilettante (aka Francesca Pidgeon) fits in nicely to complement the visuals. There is a definite feel of Amelie (2001) to this short film, in the way that Swallow and her team collaborate to bring Miranda's story to life, but there are stronger elements from other big/small movies such as Welcome To Marwen (2018), Colossal (2016) and Synechdoche, New York (2008) which also play their part. The fact that Miranda's last name is Lilliput is also a nice touch. There is a lot of care and attention which has gone into Dream Big and it shows in every scene. A kitsch kookiness is woven throughout the production which endears Miranda to the audience immediately and allows her story to breathe in all of the brilliant and unique directions that it needs to. Much like a model village each part of Dream Big is expertly crafted and painstakingly put together and in the end what Swallow and her team have managed is to create something that is more than the sum of its parts. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Living As Leo film review by UK film critic William Hemingway. Starring Joe Snape, Margaret Bunting, Jessica Hawkes, Helen Austin directed by Cameron Lee Horace. HOME | FILMS | REVIEWS Living As Leo Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Feb 6, 2024 Directed by: Cameron Lee Horace Written by: Cameron Lee Horace Starring: Joe Snape, Margaret Bunting, Jessica Hawkes, Helen Austin Leo (Snape) is an awkward teenager who finds it difficult to socialise and make friends. He lives at home with his Gran (Bunting) for reasons which remain unexplained, so we’ve got no idea what happened to his parents. We can probably assume that it was bad, though. Worried about Leo’s happiness and mental health, his gran gets him a new dog, and even though he can’t manage to think of a name to give it, Leo loves his new pal along with the company and friendship it provides. However, being the lonely, awkward teenager that he is, Leo also has other things on his mind and he has taken to watching his neighbour, Skylar (Hawkes) from out of his window with some binoculars. It is for reasons known only to himself as to why Leo would actually want anything to do with Skylar, as she is a completely toxic airhead whose main talent seems to be for bitching and putting people down. Still, Leo wants to put himself through the humiliation of actually asking Skylar out, so he goes for it the next day at the bus stop with excruciatingly foreseeable results. The fact that fellow toxic hosebeast, Lucy Loose Lips (Austin) is there to witness the whole fiasco only serves to make things worse. Just when things look about as bad as they’re going to get for Leo, something else happens which turns his whole world upside-down and he suddenly has a big decision to make which will affect his entire future. This all may sound like quite a lot to fit into a short film with a runtime of under five-minutes but really everything is introduced with a large set of kid gloves and gets passed over quite quickly, leaving writer/director Cameron Lee Horace with enough time to throw in a couple of stylish narrative segues along the way. Sadly these little diversions, such as when Leo breaks the fourth wall and starts talking to the camera for no reason at all, add nothing to the story or the overall feel of the film. Horace has also previously said that he was put off submitting Living As Leo to film festivals because of audio issues which weren’t up to the quality he expected, and this does come across during the film, although not enough to make that much of a difference to the viewing experience. There’s also the fact that Leo’s new dog pal is actually animated rather than real, and even though the cartoonishness isn’t badly done or jarring in any way, it is quite distracting when trying to get into the real life issues which Leo is facing. Whilst there may be something to be said for the highlighting of the trials and tribulations of adolescence there’s nothing here that hasn’t been said before and better elsewhere. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Ice Cream Man film review by UK film critic Hope Madden. Starring Charlie Zeltzer, Ari Millen, Sarah Abbott directed by Eli Roth. HOME | FILMS | REVIEWS Ice Cream Man Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Aug 4, 2026 Directed by: Eli Roth Written by: Noah Belson, Eli Roth Starring: Charlie Zeltzer, Ari Millen, Sarah Abbott With Ice Cream Man , filmmaker Eli Roth visits the underappreciated horror subgenre focused on hordes of deadly children. Wolf Rilla may have done it first with 1960’s Village of the Damned, but Roth is following more closely in the footsteps of Narciso Ibañez Serrador and his 1976 film Who Can Kill a Child? Since the Seventies, there’ve been plenty of killer-children flicks, most famously Children of the Corn from Stephen King’s novel. But Roth finds humor in the mayhem, channeling 2015’s Cooties in particular, but with a noticeable difference. Generally, these films represent an adult nightmare. Our victim-heroes are grown-ups faced with the impossible task of defending themselves, and occasionally a handful of untainted children, from ravenous, murdering swarms of youngsters. It’s a tough spot to be in, hence Serrador’s title. Roth changes that up. It’s little leaguer Jared (Charlie Zeltzer) and a couple of other kids who managed who find themselves face-to-face with the Ice Cream Man’s minions. His wares change children into frenzied killing machines. Only those lactose intolerant enough not to digest the tainted snack treats remain healthy. Roth delights in the childish carnage. Early kills are especially nasty, all of it laced with a macabre humor and ghoulish playfulness. A similar tone is one of the reasons his 2023 film Thanksgiving was such an enjoyable return to genre work. But Ice Cream Man never hits the spot quite as well as Thanksgiving . By removing the adult victim-hero, Roth creates a children-in-peril horror that doesn’t pull on the emotions of similar fare, like It or Devil’s Backbone , because children are also the villains. The switch also eliminates the vicarious fear and revulsion adults often harbor, sometimes deep down, for children. Cooties read like every middle school teacher’s secret fantasy. It’s also funnier and better paced without foregoing any of the blood or nastiness. Roth can’t manage to keep the pace moving, often pausing the action when it makes the least sense. The plot, what little there is, feels like a convenient, even cliché afterthought. Which is not to say that Ice Cream Man is all bad. For bloodthirsty horror fans, it gets nasty. There are also a handful of randomly funny moments, and others that are just offensive. The film’s less irreverent than it thinks it is, though, and that’s its biggest weakness. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Sopann - The Sequel film review by UK film critic Patrick Foley. Starring Duane Thomas Dsouza directed by Duane Thomas Dsouza. HOME | FILMS | REVIEWS Sopann - The Sequel Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jun 6, 2024 Directed by: Duane Thomas Dsouza Written by: Duane Thomas Dsouza Starring: Duane Thomas Dsouza Duane Thomas Dsouza’s Sopann – The Sequel feels more like a visual tech demo as opposed to a traditional narrative. The blending of fantastical, nightmarish dreamscape backgrounds with the performances of its cast means that this Hindi-language short is visually impressive given its lower budget, but relatively devoid of depth beyond this. The plot follows a man navigating a terrifying world inhabited by skeletons and otherworldly apparitions, relayed the tortuous experience to a friend in an undetermined time after the ordeal. As he relived his experience, it is revealed that their world may not be quite as it seems either, calling their own reality into question. Duane Thomas Dsouza demonstrates genuinely interesting video editing and VFX in Sopann – The Sequel which viewers can ascertain is the ultimate purpose of the film. Coming in at barely longer than 2 minutes, there is little time to develop any meaningful story or characters. Instead, the film’s focus is fixated on the visual experience. As this is a personal project of Dsouza, the result is actually something that is reasonably impressive – with the characters implanted into a complex and energetic world in relatively convincing fashion. There are some noticeable rougher edges but on the whole audiences can easily slip into the belief that the characters inhabit the world that they are navigating. Monochromatic visual overlays similarly add to the film’s artistry, as skeletal figures impressively burst from the screen with added shine that mixes around the physical performance of the cast. The imagery is clean and crisp, and creates both an engaging and unnerving sensation for the film which adds to the overall mysticism that the director seeks to create. However, it should be said that outside of the visual, the film is significantly lacking in depth. The plot is threadbare and confusing, briefly covering concepts around reality and perception but with nowhere near sufficient time to really make any transient points. Fans looking for technically impressive visual effects without any real story to drive the events they surround will be happy, but more plot would be required for the majority of viewers. Sopann – The Sequel is a niche film that impressively outperforms its budgetary circumstances to deliver visuals that demonstrate its creator’s abilities in the editing suite. But this is unlikely to sustain a wider audience interest without a coherent story or engaging characters. The rapid runtime is helpful in this regard, but the film is more likely to leave a longer impression on its audience because of this. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Impossible to Imagine film review by UK film critic Patrick Foley. Starring Yukiko Ito, William Yagi, Kazuya Moriyama directed by Felicity Tillack. HOME | FILMS | REVIEWS Impossible to Imagine Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jun 10, 2022 Directed by: Felicity Tillack Written by: Felicity Tillack Starring: Yukiko Ito, William Yagi, Kazuya Moriyama In what is a distinctly modern piece of Japanese indie cinema, Impossible to Imagine explores gender roles, class divide and romance with a traditional tint – resulting in an emotionally moving yet at times stunted drama feature. A young woman living in Kyoto, Yuki (Yukiko Ito) is desperately trying to save her business – her family’s kimono shop that is running into financial troubles. An entrepreneur Hayato (William Yagi) comes across the shop and offers his help. The pair develop a romance, and fall in love. But Hayato’s desire to find his place in the world begins to grind against Yuki’s wish to carry on her family legacy. The pair begin to wonder if the happiness they have found originates from the right place. Impossible to Imagine is something of a modern Japanese fairy tale – presenting the story of a romance, and its two participants representing two sides of contemporary Japanese culture: one which values tradition, family and status quo, the other which seeks modernisation, internationalism and ambition. These themes are presented alternatively throughout the film as competing and co-operating through the lens of Yuki and Hayato’s relationship – a clever method of presenting the difficult balance required to celebrate heritage whilst building a better world. Hayato’s biracial background is similarly a key element to his character. His inner divide stemming from Japanese and Australian heritage results in his desire to reach out to a wider world, and explore new horizons – in contrast to Yuki’s deep-set roots in her hometown. The story also presents Hayato’s difficulties in fitting in with Japanese society due to his heritage. Whilst this is not the primary theme of the film, and is handled with a soft touch, it shows an impressive awareness and ability on behalf of director Felicity Tillack to address serious and significant political and societal issues with sensitivity and respect. Yukiko Ito and William Yagi share a meaningful chemistry that grows alongside their budding romance. The pair’s differences intermingle and spiral as they become more immersed in each other’s lives, with anticipation built in audiences as to whether opposites will attract or implode. The performances are understated and contemplative – particularly Ito’s – allowing viewers to submerge gently into the events unfolding. Whilst lacking the burning passion many Western viewers will be used to from romance/drama films, it fits the Japanese stylings perfectly. The film’s lower budget means there are some rough edges production-wise. Image quality is not as immersive as it could be and is somewhat unimaginative with angles and shots. Long conversational scenes sometimes drag even allowing for the film’s slower pace. And repetitive music cues become grating after a while – despite the sound of the Shakuhachi being one of life’s most soothing. These are largely minor issues but they become more noticeable as the film continues. Impossible to Imagine ’s slower pace won’t be for every viewer, and it’s focus on contemporary Japanese issues will be lost for some. But as a classic love story that slowly and naturally unfurls, it never goes far astray. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

Boorman and the Devil film review by UK film critic George Wolf. Starring John Boorman, Linda Blair, Louise Fletcher directed by David Kittredge. HOME | FILMS | REVIEWS Boorman and the Devil Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Aug 27, 2026 Directed by: David Kittredge Written by: David Kittredge Starring: John Boorman, Linda Blair, Louise Fletcher There was a new list floating around social media this week, and it ranked the 25 all-time worst movie sequels. 1977’s Exorcist II: The Heretic was nowhere to be found. That will probably surprise a bunch of people, including some that are part of Boorman and the Devil , a fascinating look behind one of the most infamous productions in film history. John Boorman was fresh off of an Oscar nomination for Deliverance when he accepted the gig to follow up the phenomenon that was The Exorcist. Looking back, the now 92 year-old Boorman realizes Stanley Kubrick was correct when he warned the only way to follow Friedkin’s classic was to bring even more shock value. Boorman chose an approach that focused on light over dark. Plus “the Synchronizer,” a tap-dancing Linda Blair and James Earl Jones in a locust getup. It was a complete disaster. But director David Kittredge’s look back is so captivating, the urge to give The Heretic another look will be strong. Boorman’s candor about the pain of failure is refreshingly honest, and the way that Kittredge surrounds it with insightful commentary from filmmakers such as Karyn Kusama, Mike Flanagan and Joe Dante creates an engaging filmmaking conversation. Kittredge also shows some sharp editing skills, weaving in specific moments from the film to create wry commentary on the battles going on behind the scenes. Linda Blair would show up late, Richard Burton would leave early and Oscar-winner Louise Fletcher wound up exasperated. Plus, there was the battle over the script re-writes, some ballooning budget and production schedules and Boorman’s case of Valley Fever that shut the whole thing down for five weeks. Was there a Devilish curse at work? Kittredge makes sure you appreciate all the things Boorman did right, and hear from a few critics who insist The Heretic is more triumph than tragedy. Either way, Boorman and The Devil is an essential and entertaining breakdown of one infamous film, and the devil-in-the-details of the filmmaking process itself. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

Banger film review by UK film critic Chris Buick. Starring Dimitri Max directed by Dimitri Max. HOME | FILMS | REVIEWS Banger Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Nov 7, 2023 Directed by: Dimitri Max Written by: Dimitri Max Starring: Dimitri Max Struggling to follow up his previous hit with another one, once-successful musician Roman (portrayed by Dimitri Max, himself a one-man show who also writes, directs, produces and edits, let’s assume he made the tea as well) finds himself caught between realising his artistic vision and meeting his deadline. Under constant pressure from external voices to just get it done, Roman finally gets his head down and turns to some more unorthodox methods to finally get the track just right. Narratively, there isn’t a lot in Banger to really digest, in fact it’s quite the light snack in that regard. Contained for the most part as a one-character piece and to just one setting over its four-and-a-half-minute runtime, there isn’t much room for many deeper plot points or a lot of character development here. But actually, that isn’t really what Dimitri Max and Banger are looking to do at all. What Banger does have to offer is a film compiled of a number of interesting and, for the creatives, entirely relatable themes. The pursuit of perfection in art, how those who create often punish themselves as part of that relentless pursuit as well as the compromises artists sadly are frequently forced to make when dealing with outside influences upon their visions are all realised here. Anyone of the creative persuasion will be able to relate to this, and Max manages to showcase all these with a great deal of aplomb and a bit of tongue in cheek humour as well. But what is most impressive and worth a special commendation is how Max manages to juggle so many facets of the filmmaking on his own while still managing to deliver quality work in practically all areas. Often wearing too many hats in the filmmaking process can mean divided attentions, some aspects can get more care than others. But not with Max. Judging by the clean, precise nature of the film, Max isn’t one to settle for anything less than good quality product, everything looking immensely professional and considered throughout but it’s the editing along with some more creative camera-work that is probably the stand-out here, with Max managing to make the most of that singular space and keep things fresh through some well-timed and well-placed cuts. And as if showing that writing, directing and editing were all clearly discernible talents they possess wasn’t enough, Max manages to round it all off with a great performance full of exasperated exhaustion that fully embodies the pains that only the create process can impose on us. It might not have something to offer all, but Banger is a fitting homage to the pains of the creative process and will strike true to the heart of creators everywhere. Maybe not quite an absolute banger, but a solid hit for sure. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Tape film review by UK film critic James Learoyd. Starring Kenny Kwan, Adam Pak Tin-Nam, Selena Lee directed by Bizhan M. Tong. HOME | FILMS | REVIEWS Tape Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 9, 2025 Directed by: Bizhan M. Tong Written by: Bizhan M. Tong, Stephen Belber Starring: Kenny Kwan, Adam Pak Tin-Nam, Selena Lee Tape , by Bizhan M. Tong, is a fascinating new Hong Kong drama; a remake of Richard Linklater’s 2001 film of the same name. With the exception of its beach-set, flashback bookendings, the scenario takes place entirely in one apartment. The first half of the film is based around a conversation between two old school friends, now in their early thirties. One is a filmmaker and seemingly has his life all figured out; the other is a drug-dealer who loves a drink and also enjoys setting up video cameras around the place – their purpose unbeknownst to the audience until act two. The narrative leads to a brutally uncomfortable confrontation with a third character – another school friend. A woman with a deeply complex and upsetting relationship with these two men. This is a movie about past sins, the everlasting impact of abuse, and the psychology of a guilty individual running from their past, and another who uses information to exploit. The screenplay is engaging, and the film is elegant enough in its overall construction and performances, and yet there remains a slightly televisual quality that never really goes away – not to mention complex issues which are approached with a disconcertingly heavy hand in moments – hindering the overall viewing experience. This critic should confess that, whilst I am an admirer of Linklater, I have not seen the original Tape . I wonder, since Linklater is a strong stylist, whether he manages to make the environment slightly more cinematic than holds true here. Because while I enjoy the set-design, clean lighting, and blocking of the piece, one can’t help but feel that the filmmakers miss a trick by limiting themselves to a single location. But then again, that’s part of what makes the beach scenes feel so refreshing visually. It may be an integral aspect of the story, but to really pull it off, the cinematography should either hold more of a presence – or, on the other hand, you completely strip it down and go completely theatrical (see Alfred Hitchcock’s Rope ). The in-between space this film’s aesthetic occupies is only ever as fascinating as what’s taking place on screen (as opposed to the form and method enhancing what is seen). Thank goodness then that what takes place gets very interesting very quickly – a credit to original writer Stephen Belber and its director/writer Bizhan M. Tong. This is a deeply disturbing film that actively encourages a divisive response from its audience. You could also argue that it’s a shame on the writers' part that the only female character is – at least for a good portion of the film – presented simply as a victim, a subject of argumentative discussion. The third act changes this, and she gets to hold some satisfying authority, but at that point it feels slightly too convenient. The scenario on its own is certainly entertaining, shocking and button-pushy, but would lack any real power if not for three excellent and devoted performances by Kenny Kwan, Adam Pak Tin-Nam and Selena Lee. Praise should also go to the director Tong for helping to maintain such believable performances in such a restrictive setting wherein character is not always so easily conveyed. Tape will be in UK Cinemas from 19th September Buy UKFR Banner Space About the Film Critic James Learoyd Theatrical Release, World Cinema < All Reviews Next Film Review >

Semolina Pilchard film review by UK film critic Jason Knight. Starring Sarah-Louise Chadwick, Sophia Leanne Kelly, Alina Allison, Macaulay Cooper, Joe McGann directed by Mike Clarke. HOME | FILMS | REVIEWS Semolina Pilchard Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 15, 2026 Directed by: Mike Clarke Written by: Mike Clarke, Daina Ann Smith Starring: Sarah-Louise Chadwick, Sophia Leanne Kelly, Alina Allison, Macaulay Cooper, Joe McGann A crime comedy feature directed by Mike Clarke, written by Clarke and Daina Ann Smith and starring Sarah-Louise Chadwick, Sophia Leanne Kelly, Alina Allison, Macaulay Cooper and Joe McGann. Tension is rising in the Liverpool underworld. Having spend years living a confidential life, Clara (Chadwick) is summoned back to Liverpool by her gangster father, Gerry (McGann), for unclear reasons. Clara is not happy about this as she wants nothing to do with crime and her sister, Danika (Kelly) is not content either, as she believes that her dad intends to leave all his fortune to her estranged sibling. So what is Danika's solution? She hires an assassin named Rosie (Allison) to kill Clara, leading to a series of shenanigans. A plot to kill someone. A woman reconnecting with people from her past. Intimidating men. A bizarre hitwoman. Armed robbers. Threats. Murders. Beatings. All these and more are what takes place in this story. The best comedic moments come in the form of a group of criminals who commit armed robberies while wearing animal masks, who get themselves in awkward situations while doing crimes, whether that involves robbing a post office or breaking into a house. There is also plenty of serious drama, particularly when Clara visits Des (Jack Ryder), an old acquaintance. The swipe technique is often utilised and the cool soundtrack adds to the viewing experience. The screenplay moves from one character to the other and character exploration is done effectively. Clara is a woman who refuses to be part of her father's criminal empire and she unwillingly becomes a target for murder. Collaborating again with Clarke after Make Believe , Kelly makes good impression as a no-nonsense daughter of a notorious criminal, who helps run his business with determination and turns out to be rather ruthless. Rosie is perhaps the one who stands out the most: a professional contract killer with a playful attitude and singing aspirations. Cooper plays the leader of a gang of naive armed robbers and this would be an opportunity to acknowledge Tim Lucas's role as Al, who stands out as the most childish of the bunch. Although he appears late in the film, Louis Emerick makes a significant impression as a dangerous crime boss, appearing more ruthless than Gerry, who (although a dangerous man himself) reveals his sensitive side. And one must not forget Davey (Joe Egan), one of Gerry's henchmen, a big guy with a childish personality. Much of this story is about living a life of crime. Furthermore, it is also a family drama and a feature about morality, having ambitions, reminiscing the past and leaving the past behind and starting over. The lengthy duration is no disadvantage as the intriguing plot, the humour and the interesting characters are enough to create two enjoyable hours. Nevertheless, once they view the film, viewers will comprehend why it was given this title, however, it is a title that does not really indicate what this feature is about, what the narrative involves. Hopefully, this will not prevent people from deciding to view this film as it is well worth it. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Party film review by UK film critic Rob Jones. Starring Jennifer Bulcock directed by Imran Mohammed Noor, Haley Muraleedharan. HOME | FILMS | REVIEWS The Party Film Review average rating is 4 out of 5 Critic: Rob Jones | Posted on: Mar 13, 2023 Directed by: Imran Mohammed Noor, Haley Muraleedharan Written by: Joe Willis Starring: Jennifer Bulcock The struggles of early parenthood are well-documented, and to a degree, sympathised with. The sleepless nights, held to ransom by what amounts to an emotional alarm clock at that point, are an aspect of it all that seems difficult no matter how it’s presented. But if people have had to deal with that for thousands of years, then maybe there’s something in all of us that means we could probably have a go at it too, right? The Party is more interested in the stage of parenting that comes after all of that, something that’s a bit less well covered. The dreaded forced social life that comes with it all. Something that’s only made harder when your child is neurodivergent. We start with our protagonist loading the car up in an idealistic urban neighbourhood to a simple, cheerful score. Everything seems like it’s going great until she receives a phone call from another mum. The party has been cancelled because of your usual toddler stuff, nothing too dramatic. In most circumstances, the thought of having a day back that was previously written off might be nice, but this mother needs a space to vent, and that’s exactly what the film provides her as she looks straight at us. We learn about why this isn’t a cause for celebration, how difficult the conversation with her child is going to be, and the general hardships of what it’s like to be a parent to an autistic child. Being that the story is told to us in quite a literal sense, it might be open to the criticism that it’s a bit on the nose, or that it lacks nuance, but there’s more to it than that. The frustration at the lack of understanding that this mother feels from her peers is such that we’re not allowed anything other than the cold, hard front of it. The nuances in her story have been completely ignored up until this point, so by the time we join it, it’s already too late to trust us with them. This is a thoughtful, intelligent piece of film that, under the right circumstances, should be capable of forcing a lot of meaningful reflection from those who are open to it. Even just the subversion in the contrast between the bright, chirpy aesthetics and the tender words that we hear to accompany them gives an impression of just how overwhelming this experience must be. By focusing on something that’s so routine for other parents as a catalyst for so much, The Party achieves a lot with very little. It’s hard to believe just how short this short film is given how rich it is, but perhaps the luxury of anything longer is something else that we just can’t be trusted with. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Never Leave the Basement film review by UK film critic Isabelle Ryan. Starring Nadia Vaeh directed by Evan Blum. HOME | FILMS | REVIEWS Never Leave the Basement Film Review average rating is 4 out of 5 Critic: Isabelle Ryan | Posted on: Dec 7, 2021 Directed by: Evan Blum Written by: Nadia Vaeh, Dion Shaw Starring: Nadia Vaeh The music video for Nadia Vaeh’s pop-rock breakdown of social media dependency Never Leave the Basement follows an influencer as she connects with her audience and, in general, tries to get through the day. The upbeat hook and instrumentation jars with the reality of the message and slower bridge section, while the contemporary visuals go hand-in-hand with scenes of Vaeh dressed up like a 1950s pin-up, a 1970s free spirit, a 1990s alt-rocker, and so on. Essentially, the music video makes a case for our current obsession with online stars – their worshipful fans and derisive detractors – having much more in common with previous generations’ icons than many would care admit. To make the connection even more obvious, in one scene, Vaeh’s ’80s teenager sprawls on a bed overlooked by a poster of Marilyn Monroe (who, of course, is still misunderstood and misrepresented to this day). Makeup and hair by Laura Bueno and Rachel Anderson, respectively, bring each era to life in a vivid, if deliberately stereotypical way: the 1950s beauty with her hair in curlers and bright red lipstick, the culturally appropriative hippie in the 1970s (she wears a white woman’s approximation of Native American dress), and so on. Additionally, Evan Blum’s editing (he also directed the video) combined with Marlo Madlangbayanz’s lighting and Lani Rose Ault’s work on the set design come together to create an almost overwhelming experience. One assumes this is the point: to hammer home just how much work social media influencers put in (even if people assume the job is easy), and how many parallels can be drawn between this new breed of star and the previous generations’. A great touch is the visual distinction between periods, from the black and white TV flickering to colour for the 1950s, grainy film stock in the ’70s, the 1990s video camera, etc. These effects appear to have been added in post – rather than filming the respective eras with different stock or cameras – but the visuals work, and one could argue that deliberately duplicating these aesthetics strengthens the overall message; these are more filters on the influencer’s phone. Speaking of the protagonist, a short, memorable scene stops the song dead: Vaeh attempts to set up her phone and ring light to stream to her followers. She is alone in an otherwise dark room, quietly struggling with and cursing at her technology. Then, she fixes her hair, puts a smile on her face, and begins to sing and play guitar for an invisible audience. This moment hammers the point home strongest, and one could make a connection here between Never Leave the Basement and Bo Burnham’s Inside (Vaeh’s music video released just 25 days before Burnham’s special). Both explore this idea of art as performance – of self as performance – and the frustration faced by creatives who kill themselves to please their audiences, even when that audience is invisible. Such is the case with Burnham’s film and Vaeh’s fictional influencer. She is not glamorous like Marilyn Monroe or free-spirited like her 1970s proxy, but of course, Monroe was much more than her image, and hippies were more than their aesthetic. The influencer at the heart of Vaeh’s music video cultivates an image of cosy intimacy: wearing soft clothes, perched on a soft bed, lit by soft lighting, and strumming her acoustic guitar. Everything is a performance; every move is calculated for her online audience. And, as Vaeh sings, “I love myself online.” Buy UKFR Banner Space About the Film Critic Isabelle Ryan Short Film < All Reviews Next Film Review >

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