The Last Act film review by UK film critic William Curzon. Starring Lauren Karaman, Al Pagano, Ty Ravenel directed by Zilong Zee. HOME | FILMS | REVIEWS The Last Act Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jan 15, 2026 Directed by: Zilong Zee Written by: Zilong Zee Starring: Lauren Karaman, Al Pagano, Ty Ravenel The Last Act is a psychological thriller that follows Jacqueline (Lauren Karaman), a struggling musical theatre actress living in New York City. After enduring countless rejections from auditions and navigating a side job as a barista, her frustrations reach a breaking point as her casting director mocks her appearance and performance at an audition. In a desperate attempt for a chance in the spotlight, she does what it takes to ensure her casting director, Andrew (Al Pagano), pays for his cruel behaviour. The central performance from Lauren Karaman in her portrayal of Jacqueline is profoundly engaging as she conveys nuance, while balancing her personal struggles with her body image and her dream of becoming a successful theatre actress. On the other side of the coin, you have Al Pagano, who successfully embodies the despicable nature of Andrew and rips apart Jacqueline’s appearance in an attempt to turn her dreams into a mere humiliation. As a viewer, it is genuinely tough to witness Jacqueline receive the amount of verbal abuse she endures, with individuals commenting on her body and disregarding her hopes for the future. The filmmakers do their best to employ a social commentary regarding the current state of expected body standards from women in theatre, which is a commendable choice. Despite the film's tight pace and brisk runtime, the writer/director Zilong Zee does an incredible job establishing Jacqueline’s characterisation and the world around her. Cinematographer Adam Weinberg shoots New York City as if it were almost its own character, utilising stunning wide shots to give the audience a brief glimpse into the chaos of the city’s central area. Another significant positive in the technical department is the make-up, which feels intentional and well-placed in the narrative, complementing the story despite its budget constraints. The piece is also accompanied by a sombre musical score that profoundly matches the tonal shifts and changing mental state of Jacqueline. It's an anxiety-inducing experience throughout, which never lets up until its climax, anchored by some frenetic editing and a psychological narrative. Unfortunately, the conclusion to the narrative suffers from being just minor due to the film wrapping up abruptly and the script trying to juggle a convoluted amount of twists. The lack of closure is also unsatisfying for the conclusion of Jacqueline’s character arc, and the central reveal is too safe, given how darkly absurd the narrative can feel at times. Perhaps the film's tight runtime is a detriment to the experience at times, as a prolonged runtime could have potentially fleshed out the script's ideas on a deeper level to ensure the conclusion is less anticlimactic. While the themes of female body standards are an exceptional aspect of the film, the filmmakers could have utilised these themes more eloquently and made more ballsy choices within its climax. Pushing these issues aside, the experience is still mostly engaging and never loses sight of its character-focused exploration. The Last Act is a thoroughly engaging psychological thriller with a bite of social commentary on body standards and the expectations placed on women’s appearances in the theatre. Despite the flaws in its anticlimactic finale, the experience is enhanced by a phenomenal lead performance from Lauren Karaman and is directed eloquently by Zilong Zee, delivering a nail-biting thrill ride. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

V/H/S/85 film review by UK film critic Hope Madden. Starring Freddy Rodriguez, Anna Sundberg, Chelsey Grant directed by David Bruckner, Scott Derrickson, Natasha Kermani, Mike P.Nelson, Gigi Saul Guerrero. HOME | FILMS | REVIEWS V/H/S/85 Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 4, 2023 Directed by: David Bruckner, Scott Derrickson, Natasha Kermani, Mike P.Nelson, Gigi Saul Guerrero Written by: C. Roberg Cargill, Zoe Cooper, Scott Derrickson, Mike P. Nelson, Gigi SaulGuerrero Starring: Freddy Rodriguez, Anna Sundberg, Chelsey Grant If found footage, horror anthologies and 80s nostalgia are your thing, V/H/S/85 is speaking your language. The sixth episode in the series straps on those heavy camcorders and uploads that security cam footage to remind us of all the horrors of the Reagan era. Highlights include David Bruckner’s wraparound story, “Total Copy.” An alum of the 2012 original V/H/S and successful filmmaker behind The Ritual and the recent Hellraiser, Bruckner has a tricky assignment. The wraparound has to serve as an anchor for the balance of the short films while standing on its own. Bruckner’s tale delivers a VHS tape of security footage that’s been copied over with commercials, exercise videos, and other horrors. But the main story it tells, of an entity in lockdown being studied by researchers, is chilling, sometimes funny, and eventually pretty bloody. Not to be outdone, Mike P. Nelson contributes two short films with one clever twist. The first, “No Wake” follows a group of campers who head out onto a lake despite posted signage forbidding it. And though things go predicably wrong for them, the actual execution (both by the director and of the characters) delivers genuine surprises, as does the twist in Nelson’s second outing, “Ambrosia” about a fundamentally bent family tradition. “TKNOGD” (technogod), from Natasha Kermani (Lucky), is the most daring of the set, although it nearly outstays its welcome before hitting its stride. A performance artist laments the blossoming obsession with tech. The plausibility of the audience reaction is almost as much fun as the gory finale of her show. Gigi Saul Guerrero (Satanic Hispanics, Bingo Hell) contributes a news piece gone wrong during Mexico City’s 1985 earthquake. What’s most effective is her use of the set to increase claustrophobia to high levels before bursting that tension with the bloody finale. Scott Derrikson’s (Sinister, The Black Phone ) “Dreamkill” is the most effective and imaginative of the set, plus there’s a Goth kid! Now that’s a reason to love the 80s! A police detective keeps receiving VHS tapes in the mail of murders that have not yet been committed. From the grim crime scenes to the plot twists to the almost funhouse architecture of the final acts of carnage, “Dreamkill” never lets go. This is the strongest set of shorts in a V/H/S installment in a while. It’s fun, gory, creepy and bite sized – ideal for the season. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Move Like a Boss film review by UK film critic James Learoyd. Starring Yemi Solade, Nancy E. Isime, Temitope Olowoniyan directed by Ekene Som Mekwunye. HOME | FILMS | REVIEWS Move Like a Boss Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 17, 2024 Directed by: Ekene Som Mekwunye Written by: Tim McManus Starring: Yemi Solade, Nancy E. Isime, Temitope Olowoniyan There's a comforting and endearing atmosphere present in the new comedy Move Like a Boss . This Nigerian feature film tells the amusing tale of a woman who pretends to be her father in an attempt to save their family's company. Prominent is the film's entertaining parallel narrative: we're shown snippets of the titular Boss' holiday fun, contrasting with his daughter dealing with the fallout of her father's absence. Hijinks, of course, ensue; and thus, we get an incredibly fun romp, not dissimilar from something like The Birdcage, even if segments prove rather baggy and inconsistent. It risks feeling stilted - and there are specific scenes that are dramatically inert or simply puzzling in terms of its storytelling - but by the end, you've enjoyed spending time with these vibrant characters and admire the idiosyncratic dramedy vibe this movie's going for. But let's dive into the ups and downs of the narrative and style... To get the main complaint out the way, the biggest flaw with the piece is its strange and disjointed pacing. Besides the back-and-forth editing, which is most amusing, scenes in and of themselves often have an odd, meandering feel about them. I don't mean in a contemplative or meditative way - it would be more accurate to describe some extended dialogue sequences as awkward. One gets the sense that - in order to fill 90 minutes - scenes have been drawn out. To avoid this staticness, I would have recommended this film be around the 70-minute mark. Critics often use the term "shoe leather" to describe this phenomenon; - but it's often misplaced, since a work's quiet, slow sensibilities should be interpreted as part of the aesthetic. However, when it comes to a goofy comedy, it's difficult to see the point in us watching someone slowly get into a car, start the engine and drive off while a non-copyrighted beat obtrusively plays in the background... to keep the audience entertained (since this has been made for purposes of fun), a slightly punchier editing style wouldn't go amiss. Although, speaking of which, what this film most definitely has is fun. Audiences will love the ensemble cast. They're big, expressive, and clearly enjoy being on screen. Rarely do you see performers laugh so genuinely on film, yet in Move Like a Boss , we witness the characters emote, dance and mess around wholeheartedly - which is fantastic. Presence is often more important than craft in an actor; meaning, when they have an innate likability or a willingness to be natural and genuine on camera, the audience will embrace that. I commend the director on providing these performers with a lax, creative space in which this style of comedy acting can take place, whilst also guiding the narrative nicely from A to B. A great many of the big laughs come not from the scenario but from the delivery, so - as a piece of entertainment - it succeeds because the viewer actively likes hanging out with these quirky subjects, and is more willing to laugh with those on screen. Viewers will find a lot to love in Move Like a Boss. Whilst its conventional coverage looks slightly flat and digital, the camerawork itself - in terms of motion and focus - is skilfully done. The set and costume design are equally skilful and demonstrate great attention to nuance, making it also feel like a grand, multifaceted production. Due to its warm, positive atmosphere and charismatic central performances, you can't help but have a good time with this new comedy. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film, World Cinema < All Reviews Next Film Review >

Film news - Sheffield Doc/Fest Announce Their Opening and Closing Films. Find out more at UK Film Review. Sheffield Doc/Fest Announce Their Opening and Closing Films Chris Olson Thursday, April 22, 2021 at 12:54:14 PM GMT+1 SHEFFIELD DOC/FEST OPENS ITS 2021 EDITION WITH THE EUROPEAN PREMIERE OF AHMIR “QUESTLOVE” THOMPSON’S SUMMER OF SOUL AND CLOSES WITH THE WORLD PREMIERE OF MARK COUSINS’ THE STORY OF LOOKING The festival will open with the European premiere of Summer of Soul (...Or When The Revolution Could Not Be Televised), by Ahmir “Questlove” Thompson , a Searchlight Pictures release. It is a film that will inspire the next 10 days of programme through its testimony of a unique moment in history, the 1969 Harlem Cultural Festival, and the transformative power of culture and music. The closing film will be the world premiere of The Story of Looking , the latest film by Mark Cousins . In a time when our common experiences are shaped by long confinements and a constant assault from images, this film proposes that we look again into the world’s complexities, contradictions and beauty. Mark Cousins will also be in conversation, live-streamed from Sheffield, about his personal relation to film and images. In a first for Sheffield Doc/Fest, both Summer of Soul on 4 June and The Story of Looking on 12 June will also premiere? simultaneously in cinemas around the UK. Participating cinemas so far include; Arts Picturehouse in Cambridge, BFI Southbank in London, Broadway in Nottingham, Chapter in Cardiff, City Varieties Music Hall (in partnership with Hyde Park Picturehouse) in Leeds, Duke of Yorks Picturehouse in Brighton, Eden Court Highlands in Inverness, FACT in Liverpool, Filmhouse in Edinburgh, Glasgow Film Theatre, HOME in Manchester, National Media Museum in Bradford, Phoenix in Exeter, Quad in Derby and Watershed in Bristol. (Physical screenings are subject to government guidelines) Mark Cousins commented, “We're honoured to premiere our film on the closing night of Sheffield's acclaimed Doc/Fest. We hope it will send audiences and delegates back out into the world with hearts aglow and fresh eyes!” Cíntia Gil added, “We wanted to open and close with films that spoke to our programme and to what Sheffield Doc/Fest stands for, and to inspire our audiences after a very difficult time. These films have helped us imagine our programme along the winter lockdown months, and will hopefully add to the joy of coming together again to share life and film before the Summer blooms.” Also announced today are four films from the Into the World strand. Sheffield Doc/Fest will have the honour of welcoming the UK premiere of The Return: Life After Isis, by Alba Sotorra , a unique portrait of a group of Western women whose teenage years were spent supporting ISIS, but who now want to return to their countries and transform their lives. Among them are Shamima Begum and Hoda Muthana. Into the World will also screen the UK Premiere of MINAMATA Mandala, by the Japanese master Kazuo Hara . An epic, 15-year journey and three-part film, where Hara treats each individual and the local community with tremendous empathy, and raises necessary global questions about public health, corporate accountability, and the environment. Carlos Ghosn - the former CEO of the Renault-Nissan Alliance charged with various financial crimes - has become the protagonist of one of the most dramatic and mysterious plots in the history of international corporations. His rise and fall is portrayed by Nick Green in Carlos Ghosn The Last Flight, a portrait of a fascinating character, shedding light on this complex and multilayered story whilst also divulging new details on his spectacular escape to Lebanon. Sheffield DocFest audiences will be the first to see the World Premiere screening in June. Alvorada Palace, by Anna Muylaert and Lô Politi , is a European Premiere. It is set in Brazil’s Presidential Palace, follows Dilma Rousseff and her closest members of staff over the days that lead up to the impeachment trial that resulted in her downfall, in a poignant reflection on the nature of leadership and power. Sheffield Doc/Fest’s Into the World strand showcases essential films with urgent themes that take varied approaches to exploring our past, present, and collective future. Established filmmakers and young, emerging talents are showcased side by side in this strand to tell us vital stories from across the globe: Argentina, Brazil, Cameroon, China, France, Germany, Italy, Japan, Israel, Lebanon, Syria, Poland, Russia, Spain, the UK, and the USA. Thanks to their films, we are not only able to travel, but to learn and think deeply about the world we are living in. The festival runs from 4 - 13 June 2021, in cinemas in Sheffield and online. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Sileo (2025) film review by UK film critic Jason Knight. Starring Nate Goodwyn directed by Demeter Lorant. HOME | FILMS | REVIEWS Sileo (2025) Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 20, 2025 Directed by: Demeter Lorant Written by: Demeter Lorant Starring: Nate Goodwyn A short animated sci-fi film from Hungary, written and directed by Demeter Lorant and starring Nate Goodwyn. Set in the future, the story takes place in a world inhabited primarily by robots. The main character is Geff-325520BD, a robot whose role is that of a fixer unit, repairing broken core units inside a factory called ''Sileo''. Geff performs his objectives with great efficiency, however, every once in a while he malfunctions and parts of him need to be replaced. Concerned that one day this will cause him to lose his identity, Geff sets out to locate those who created him and hopefully understand what he is. The graphics deserve commendations and are arguably one of the highlights of this seven-and-a-half-minute long film. Lorant worked on the animation and the computer animation looks great, creating a world dominated by technology. Futuristic buildings are to be seen, along with machines and forms of biological such as trees, birds and fish. As for the hero, Geff, his appearance resembles WALL-E, from the 2008 animated sci-fi feature of the same name. The rich sound effects are another element that stands out. Regarding the story, it is intriguing and suspenseful, combining sci-fi with road movie and supported by narration provided by Goodwyn. This short presents a future where humanity and biological life in general has been replaced by Artificial Intelligence. AI is a major theme here, with the screenplay exploring what this kind of technology is capable of, suggesting that it has the ability of self-awareness, curiosity and to learn. This film is quite interesting and thoughtful. However (from the critic's perspective at least), the ending comes across as puzzling, it does not seem to effectively communicate what is taking place. Even if some viewers find the end to be unlcear, that does not overshadow the creativity that was put into making this thought-provoking short, neither does it make one forget about the themes that it explores about AI and self-discovery. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Animation, World Cinema < All Reviews Next Film Review >

Panthera Britannia film review by UK film critic Jason Knight. Starring Darren Naish, Isla Fishburn, Cliff Barackman directed by Matt Everett. HOME | FILMS | REVIEWS Panthera Britannia Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 3, 2023 Directed by: Matt Everett Written by: Matt Everett, Tim Whittard Starring: Darren Naish, Isla Fishburn, Cliff Barackman Are there big cats roaming the British countryside? This fascinating documentary investigates whether large, exotic mammals such as pumas and panthers live inside the woods of Britain. With a rich collection of knowledge by interviewees that include experts on mysterious wildlife and eyewitnesses, this film theorises that it is possible that such animals might actually exist in the british wilderness. The film hypothesises that wild cats were deliberately released into the wild by their owners and that such animals could have been living in Britain's countryside for centuries. The interviewees include Ken Gerhard, a cryptozoologist, Dr. Darren Naish, an author and palaeontologist, Dr. Isla Fishburn, an animal behaviour expert and Cliff Barackman, a wildlife expert and TV presenter. These individuals, along with other experts, enthusiastically share their knowledge regarding how wild felines could had ended up existing in Britain and what types of them could be residing there. Other interviewees consist of numerous eye-witnesses who claim to have seen such animals decades ago or in the past few years and listening to their accounts and the experts is quite intriguing. As well as wonderful shots of British landscapes, this feature also contains plenty of footage showing feline animals such as cheetahs, pumas and panthers and many photographs of felines. There are also reconstructions of the times when people have stated that they have encountered unusual animals and news footage about large felines in Britain. Regarding footage, perhaps the most intriguing part is footage that shows what appears to be a large wild cat in the countryside. Rob Sharp does a great job with the narration and Everett's amazing work on the creative editing stands out. Commendations also go the sequences that involve 3D graphics and to the dynamic and suspenseful music. Thanks to its subject and effective filmmaking, this documentary is a thrilling and informative viewing. It will most likely appeal to those who have a keen interest in the existence of mysterious animals and make them wonder what exists in the British wilderness. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Corpse Fishing film review by UK film critic Joe Beck. Starring Harmonie He, Jizhong Zhang directed by Jean Liu. HOME | FILMS | REVIEWS Corpse Fishing Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Aug 5, 2024 Directed by: Jean Liu Written by: Jean Liu Starring: Harmonie He, Jizhong Zhang There are some very strange jobs out there. From ethical hackers to people that line up in queues for a living, there are even professional sleepers, you wonder how people in those professions ever found out about those jobs and decided it was a career that they wanted to pursue. Perhaps the strangest job of all is featured in ‘Corpse Fishing’, and if not the weirdest then definitely the most morbid. Yet though the film is morbid, it is nonetheless touching and emotional in parts, and ultimately probes deep topics with tenderness and beauty. The film follows Yan (who is played by Harmonie Yen), a young woman who runs a karaoke stand on the beach, and seems fairly miserable with her surroundings. She lives in the Hubei Province in central China, and her existence seems to trundle on monotonously until one dark night a man named Old Bo (who is played by Jizhong Zhang) turns up, disturbing her karaoke stand with his pungent smell. Old Bo owns a boat and seems to live there. He’s no ordinary fisherman however, instead of catching fish he instead catches corpses of those that have found their way into the sea. He sells them back to the families, who are all desperately seeking solace and the return of their missing loved ones. Yan just happens to be missing her father, and, with some desperate haggling and convincing, manages to find her way onto the boat, where she is confronted by the grim reality of Old Bo’s job. Old Bo is almost certainly mad - how could you not be in a job like that - naming all his corpses and seeming to relish their company, yet at the same time he strikes a sympathetic figure. He lives more with the dead than with the living, and the the toll that that has taken on his mental health is plain to see. The film follows Yan (who is played by Harmonie Yen), a young woman who runs a karaoke stand on the beach, and seems fairly miserable with her surroundings. She lives in the Hubei Province in central China, and her existence seems to trundle on monotonously until one dark night a man named Old Bo (who is played by Jizhong Zhang) turns up, disturbing her karaoke stand with his pungent smell. Old Bo owns a boat and seems to live there. He’s no ordinary fisherman however, instead of catching fish he instead catches corpses of those that have found their way into the sea. He sells them back to the families, who are all desperately seeking solace and the return of their missing loved ones. Yan just happens to be missing her father, and, with some desperate haggling and convincing, manages to find her way onto the boat, where she is confronted by the grim reality of Old Bo’s job. Old Bo is almost certainly mad - how could you not be in a job like that - naming all his corpses and seeming to relish their company, yet at the same time he strikes a sympathetic figure. He lives more with the dead than with the living, and the the toll that that has taken on his mental health is plain to see. Writer-director Jean Liu paints both her characters in full colour, giving them the perfect balance of depth and an enigmatic, mysterious background. They feel real and fleshed out, and their conversations are beautifully written to contain meaningful questions about mortality and loss, and yet they never seem to be pontificating. Nevertheless, ‘Corpse Fishing’ is a captivating film by Jean Liu, with an interesting, unique narrative and bond between its two main characters, that leaves you thinking long after it has drawn to a close. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Death of the Centurion film review by UK film critic James Learoyd. Starring Cristian Ciomaga, Tudor Urea, Florin Nicula directed by Octavian Repede. HOME | FILMS | REVIEWS The Death of the Centurion Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Nov 12, 2025 Directed by: Octavian Repede Written by: Octavian Repede Starring: Cristian Ciomaga, Tudor Urea, Florin Nicula The Death of the Centurion is an astoundingly unusual historical drama meets docu-form testimony. Based around figures and events in Roman history, this 26-minute movie – told entirely through voiceover, with visuals simply accompanying – tells the tale of a centurion, Cassius Liberius (played by Cristian Ciomaga), who falls victim to his own sense of will, ego and superstition. The film also stars Tudor Urea and Florin Nicula. This is in no way your conventional docudrama; from its idiosyncratic mix of media in terms of cinematic craft, to the jarring atmosphere formed from the narration, audiences are sure to be left fascinated, certainly, but also slightly confused as a result of this unique tone. I’d briefly like to get the film’s main issue out the way: the narration – whilst flowery in its description and entertaining enough for its vocal performance – hinders the film’s ability to properly tell the story it wishes to tell. To demonstrate this, I’ll provide an example. During perhaps the dramatic turning point of the script, a deeply significant conversation takes place between a few Romans at a tavern of some kind. However, instead of allowing this conversation to take place as you would see in any other media, we’re relayed the conversation in the third person by the narration. We can still see the characters’ lips moving, and the camera draws our attention to the faces of these actors. This creates a slightly unwatchable characteristic of cognitive dissonance and leaves one wondering what the testimony is meant to be adding besides the aesthetic quality of ‘someone writing a letter, recounting a story’. This unfortunate decision is hardly worth dwelling upon, however, as there’s so much else to enjoy about the machinery and intentionality of the craft... The shooting on location, in forests and the general wilderness, provides the mise-en-scene a scintillating sense of authenticity. For instance, if the viewer was not interested in the story or its manner of telling, they would still have these gorgeous yet ruthless landscapes – shot very strikingly – to gaze upon. In terms of the cinematography specifically, this critic was a massive fan of how long focal-lengths and fast shutter-speeds were implemented to emphasise motion and drama – much like in the legendary works of Akira Kurosawa. This picture also provides us a wide range of enjoyable locations and scenarios, with era-appropriate costumes and set-dressing to hammer it home. These filmmakers are clearly talented historians, and you can clearly feel that passion through their artistry as well. Epic in scope and ambitious, yet polarising in its bizarre technical execution, there becomes much to both celebrate and lament regarding The Death of the Centurion . Its form only goes so far as to inform and intellectually stimulate; but not necessarily so far as to immerse or emotionally activate. Nevertheless, this is a piece which admirably attempts to juggle a multitude of ideas and aesthetics – much of which, one must admit, is accomplished with grace and cinematic aptitude. So, even though it might not quite reach the level of execution which writer-director Octavian Repede undoubtedly embarked upon, it remains a thoughtful and epic work of short form filmmaking. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Angle film review by UK film critic Jason Knight. Starring Kurt Angle, Giovanna Angle, David Angle, Johnny Angle directed by Alex Perry. HOME | FILMS | REVIEWS Angle Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 21, 2023 Directed by: Alex Perry Written by: N/A Starring: Kurt Angle, Giovanna Angle, David Angle, Johnny Angle A dramatic documentary about American professional wrestler Kurt Steven Angle. Through a rich collection of family footage, photographs, interviews and television news, this powerful and moving feature documents the personal life and remarkable career of a man who struggled a great deal in order to fulfil his dreams. The documentary covers all sorts of events from his life, beginning with his childhood in Pennsylvania and ending with his current situation. In between these two, the audience becomes familiar with his upbringing with his siblings and difficult father and follows his exciting and challenging wrestling career. In particular, regarding his career, the film looks into his humble start as a beginner, before competing in championships and finally competing in the 1996 Summer Olympics in Atlanta, Georgia. Followings this, things take a different direction when Angle decides to enter the World Wrestling Entertainment and excelling in that promotion, competing against such legends as Brock Lesnar and Dwayne Johnson. However, it is not all about success, as personal tragedies are also part of the story, including the death of his father and sister, the murder of his coach Dave Schultz by John Eleuthere du Pont, his career-threatening neck injury and his addiction to painkillers. Kurt Angle is the main interviewee, and he tells his story with enthusiasm and gets emotional at times. Other interviewees include his brothers Johnny, Eric and Matt, his wife Giovanna, professional wrestlers and coaches and some well-known celebrities such as Hollywood actor and former wrestler Dwayne Johnson and former UFC champions Randy Couture and Ronda Rousey. There is plenty of footage throughout that covers Angle's wrestling career from his time as a child, all the way to WWE, revealing his outstanding abilities and his struggles. There is also news footage, home videos of his relatives and plenty of photographs of family members and of Angle in action. Director Perry creates some impressive aerial shots and Ian Wittenber does a great job with the editing. Matthew David Chavez's cinematography deserves special mention and Kevin Riepl's music is melancholic or dynamic, adding drama to the viewing experience. This documentary tells a moving and inspiring story that could motivate people to follow their dreams. It offers an insight into the world of wrestling and the massive work that is required in order to succeed in that sport. Fans of wrestling will most likely be the film's main audience, however those who appreciate quality filmmaking and an individual's intriguing life story are also likely to appreciate it. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Dinner With Gov film review by UK film critic Jason Knight. Starring Adrian Abel Amador, Alyssa Heinemann, John Ennis, Milena Crowley directed by Josh Yellin-Flaherty. HOME | FILMS | REVIEWS Dinner With Gov Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 3, 2022 Directed by: Josh Yellin-Flaherty Written by: Josh Yellin-Flaherty Starring: Adrian Abel Amador, Alyssa Heinemann, John Ennis, Milena Crowley A young man confesses to his girlfriend that he has an imaginary friend. Rob (Amador) and Rebecca (Heinemann) are a couple and they are having dinner at a fancy restaurant. They plan to move in together in the near future and Rebecca is rather excited about this. Rob is less so as he has something he wants her to know, so that they can move on with their relationship. He has a friend named Gov (Ennis), problem is he claims that he is the only one that can see Gov. This extraordinary news shocks Rebecca and Rob attempts to convince her that Gov actually exists, even after she starts seeing him herself. This is a clever, amusing story with a rather intriguing plot. The narrative starts of with normality and after Rob makes the revelation, things get more and more awkward and appear to move towards the supernatural. The main aspect is Rebecca's reaction to Rob's revelation and it is entertaining watching her trying to find out whether Gov is real or whether she is losing her mind. The plot twist at the end will most likely take the viewer by surprise. Heinemann's performance is vital in making this film work as her character is the one who receives the news. She is very convincing as a joyful and optimistic person whose world is turned upside-down after learning about her boyfriend's 'friend'. Ennis has a rather interesting role as an imaginative individual, who comes across as laid-back and turns out to be demanding as he reveals that when he moves in with the couple, he will be needing his own bedroom and office. Caleb Yellin-Flaherty worked on the editing and cinematography and did a great job in both areas. The viewer will have the pleasure of listening to gentle classical music throughout. This is a ten-minute-long story with great acting, well-written dialogue and a plot that will probably keep the audience guessing until the end. It has humour and drama and the main message seems to be that sometimes people are not ready to move on to the next stage in their relationship. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Maiken film review by UK film critic William Hemingway. Starring Michelle J. Wright, Daniella Michieli, Johanna K. Lumi, Nicholas Pople, Tristan Pretty directed by Howard Perry. HOME | FILMS | REVIEWS Maiken Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: May 10, 2024 Directed by: Howard Perry Written by: Howard Perry Starring: Michelle J. Wright, Daniella Michieli, Johanna K. Lumi, Nicholas Pople, Tristan Pretty In Old Norse mythology the Hulder were a race of seductive forest spirits, usually female, who lured unsuspecting travellers into the trees to have their way with them. Anyone found not living up to the standards expected by a single Huldra were usually killed and never heard from again, and often the Hulder were also blamed for stealing infant children, replacing them with their own ugly little changelings. In the old texts, Huldra tended to be beautiful and naked with long hair, but also with a hollow back like that of an old dead tree, and a tail which could either look like that of a fox’s or a cow’s. In the short film Maiken , from writer and director Howard Perry, the Huldra take on a slightly different aspect, this time being able to take the form of a female human (without tail) and with the abilities of being able to switch bodies and drain a person’s lifeforce to rejuvenate her own. Maiken (Wright) herself is the eldest of three sisters who are the last of their kind and are right now being hunted by none other than the All-Father, Odin. Odin (Pretty) has a seemingly irrational hatred of Huldra and wants them eradicated from the forests. There’s never really any explanation given as to why Odin wants to go to the trouble of hunting down every last one of these forest elves, but to be fair the old texts are apparently a little bit sketchy on the detail of this, too. It does, however, rob the film of a decent amount of motivation for the entire scenario and we’re just left to accept it as one of those things that Odin does. So, as is his wont, Odin directs the champion of his hunt, Elvind (Pople) to take his men and root out the scourge of the three remaining Huldra. Maiken won’t just take this lying down, though. So she rallies her sisters, Thyra (Michieli) and Lisbet (Lumi) to action, asking them to follow a sketch of a plan to make an alliance with some trolls. The fact that Maiken’s new form is that of Astrid, who just so happens to be Elvind’s betrothed, also throws a spanner in the works of just how the sisters are going to escape. For a twenty-four minute short there’s an awful lot of set-up to help get the viewer into the story; so much in fact that the whole of Maiken merely feels like Act I of a much bigger play. For around twenty of those minutes there’s a lot of ‘sistering’ around in the woods, as this is almost exclusively how they refer to one another in nearly every line of dialogue. There’s plenty of ‘sister this’ and ‘sister that’ and a whole bunch of other grammatical turns which are supposed to suggest that we are in ‘Ye Olde’ times, but when it comes down to it, other than an untidy brawl from a bunch of LARPers and a quick kidnapping, there’s not too much going on. It’s not until the final shots of the film that any sort of real progression takes place but by then it’s too late and it’s all over. It’s obvious that Howard Perry is trying to give us an expansive fantasy tale, in a long established fantasy realm, all on a tight budget. His characters are all archetypes who don’t need an awful lot of subtlety, yet somehow they still manage to come across as bargain basement versions, with the simple costuming to match. The special effects are also pretty basic but are at least used sparingly enough for it not to really matter, although the vocoder that is used on Odin’s voice is terribly distracting. In fairness to Perry there are plenty of fantasy realm films out there, whether aping an established canon like Lord Of The Rings or otherwise, that look, feel and run a lot worse than what he has managed to produce in Maiken . There’s a lot to be said for the cinematography from Frank Hammond, who manages to keep everything crisp and clean, especially around so much green, and Perry is no slouch in the director’s chair either. Some of the sets and locations offer up a genuine Old Norse feel to provide some authenticity and while Perry doesn’t quite manage to pull off a cinematic feel to the production he seems to be doing a lot of things right. With a tightening up of the dialogue and scenario, along with a proper soundtrack and a few acting lessons, Maiken could easily entice the casual viewer to enter another land for a short half-hour. However, as it is, it may only be the hardcore fantasy dwellers, along with LARPing enthusiasts, who will get anything meaningful out of it. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Midnight Rot film review by UK film critic William Hemingway. Starring Jacob John Wood, Lewis Thomas, J.T. Miller directed by Seth Fenter. HOME | FILMS | REVIEWS Midnight Rot Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Aug 30, 2026 Directed by: Seth Fenter Written by: Seth Fenter Starring: Jacob John Wood, Lewis Thomas, J.T. Miller A young musician is finding it hard to sell his music or to make anything that matters, until one night he falls into a strange slumber and meets a shadowy figure at a crossroads. At seventeen years old, Seth Fenter has decided he wants to be a filmmaker. As writer, director, cinematographer, editor, and producer on Midnight Rot , he’s taking that decision very seriously indeed. He and his friends over at Small Shot Pictures made a few films about a year or so ago, which were varying degrees of interesting but all very amateur, however, there appears to have been nothing since. Perhaps the quality of Midnight Rot might provide an explanation for that. Unlike most of his buddies, and considering the roster of tasks he already felt compelled to take on during this project, Fenter decided not to star in Midnight Rot , but instead gave that honour to his similarly adolescent friend, Jacob John Wood, who rather optimistically is credited as ‘The Man’. This anonymous guy stands in the dark in his bedroom, in what seems to be his mum’s house, with his curtains open, but with absolutely zero light coming in to illuminate the scene. He’s on the phone mumbling like a teenager about not getting his music sold, or it not being the right fit for the current production. He’s at a bit of a crossroads in terms of what to do about breaking out and making his music sound better to the world. That’s when, like in a lot of gloomy teenage bedrooms these days, the computer screen speaks to him and hypnotises him into a macabre dream. The musician then meets a hooded figure at a crossroads, in the dark, at night, with no light anywhere to illuminate the scene, and they mumble together in some sort of backwards language to strike a deal. Waking to find that he still has no real talent, there is instead a gift of songs for the musician, the first half of a bargain, but of course the price always has to be paid, and the reaper will always come calling. On the whole, what Fenter has managed to do is create a strong visual narrative around a very well tried and tested storyline. His characters are automatically archetypal, and the themes resonate with everyone, so all he’s really got to do is get the storytelling right, and for what he appears to have wanted to achieve, he’s done that. His decision to film in almost total darkness is a strange one, as it doesn’t help the viewer when they can’t see what’s going on, but it does make sense that these themes and these scenarios would most likely take place in the absence of any light. It’s just not very cinematic. There’s obvious issues with the sound and the dialogue, but when you can’t always see what they’re being matched to it doesn’t really matter so much. The music from Cryptic Scenery works well and is a nice accompaniment to the narrative, and Fenter does choose his shots nicely to create a feeling of continuity throughout his film. It’s just never clear if we really get anywhere in the whole twenty-four minutes of Midnight Rot , or that we ever get away even slightly from the central action of the selling of his soul. While Midnight Rot is definitely atmospheric and visual in its narrative, too much of it is hidden away in darkness for too much of the time, and almost no technical skill is attended in the making of the film. Fenter shows real promise as a director, but in taking on every role himself he has let his own production down by not getting the best people for the job. After a year to think about it, maybe it’s time to get out there and make another one, just with a stronger, wider story to it, and maybe some light thrown in there as well. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >