Roller Squad film review by UK film critic Joe Beck. Starring Alice Sanders, Benjamin McMahon, Amy Newton, David Wayman directed by Berty Cadilhac. HOME | FILMS | REVIEWS Roller Squad Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Jun 13, 2022 Directed by: Berty Cadilhac Written by: Berty Cadilhac Starring: Alice Sanders, Benjamin McMahon, Amy Newton, David Wayman Remember when roller skates were the big thing. Nowadays the chances of you seeing somebody rollerskating whilst out and about is very unlikely, but not so long ago you wouldn’t have been able to walk ten feet before running into someone skating. Whilst shows like ‘Stranger Things’ have shed a little nostalgic light on the lost art, for the most part, the mode of transport remains a relic of a bygone era. It’s amusing therefore that ‘Roller Squad’ seems to embrace a different age of nostalgia, instead of feeling like something out of the early 2000s. With several montages of people skating, to the tune of a retro, high-tech soundtrack, it both looks and sounds like 2002 - just with the advantages of modern-day technology. 

‘Roller Squad’ tells the story of a group of friends - Kat (Alice Sanders), Hugh (Benjamin McMahon), Sophie (Amy Newton), and Arthur (David Wayman) - who join forces in order to catch a serial killer, who is targeting skaters. It begins with an awesome chase and the serial killer’s first kill. Obviously, the group are concerned, but continue with their lives unabashed, cracking some, fairly funny, jokes and hacking their neighbours’ security camera. When a friend becomes the next victim, with the unsuspecting Hugh just around the corner, they decide to take matters into their own hands and head off in pursuit of the killer. The film keeps its jovial, breezy mood throughout - not afraid to break out into gags, one in particular about Hugh’s technologically invested brain. This makes for a fun, engaging flick, nothing particularly memorable, but an enjoyable ride. The main joys come from watching a dynamic cast bounce off each other, with vibrant chemistry between the central quartet, who bounce off one another with relative ease. The skating sequences are another highlight, excellently directed by Berty Cadilhac, who makes the chases feel brisk and intense, gliding effortlessly behind the skaters. However, the film’s environment - predominantly the streets of Central London - doesn’t feel lived in, and appears to be almost a cardboard cutout, whereby each character feels one-dimensional. Despite the best efforts of the actors, who inject their characters with energy and enthusiasm, they are let down by a disappointing script, which relies more upon its actors’ chemistry, than any sharp dialogue. This is best evidenced by the monotonic nature of its raft of side characters, who lack personality and their dialogue all feels extremely strained. This is then exacerbated by the incessant score, which becomes tiring after the first needle drop, and comes across as cheap and befitting of a lesser film. Additionally, there’s a high degree of implausibility surrounding the whole affair - largely with the cringe-worthy attitude of the police. The idea that the police fail to act on the clear evidence presented to them, and are so condescending towards those appealing for help is not too dissimilar to the attitude of a pantomime villain. Roller skating is a dying sport, and although ‘Roller Squad’ is unlikely to inject it with any new life, it is nonetheless an effective comedy-thriller, introducing us to a promising group of young actors. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Uroboros film review by UK film critic Jason Knight. Starring Emma Dargan-Reid, Lacy Moore, Brian Fortune, Liam Bixby directed by Diarmuid Donohoe. HOME | FILMS | REVIEWS Uroboros Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 28, 2023 Directed by: Diarmuid Donohoe Written by: Diarmuid Donohoe Starring: Emma Dargan-Reid, Lacy Moore, Brian Fortune, Liam Bixby In 1950's Ireland, a young woman is committed to a mental health hospital by her cruel father. This short begins with a quote by Dominican-American writer Junot Diaz, that describes trauma as a time treveller, which is rather appropriate considering the themes and the way the non-linear narrative is structured. Beginning with main character Moira (Dargan-Reid) enjoying peace and quiet by a lake with her partner (Bixby), she suddenly remembers that she should be attending church and dashes of, leaving her shoes behind. She arrives at church, endures her parents' harsh chastising due to her tardiness and lack of shoes and from there, the screenplay turns into a nightmarish labyrinth that moves through time, with Moira frantically running through corridors of the hospital that she was in (and perhaps still is in) and every now and then encountering scenes (quite upsetting ones too) of events that led to her unwilling arrival at the psychiatric hospital. The film's story is structured in a way that places the viewers into her distressed and confused mind, making them experience her emotions of despair and torment through a harrowing journey that keeps moving back and forth in time. What is discovered is that Moira suffered a great deal. She was raised in a strictly religious family and was send to a behavioral health hospital by her father (Fortune), where she deteriorated. However, her mother (Moore) was against that idea. Her father is portrayed as the antagonist, an aggressive, cold and stubborn man. Moira may not appear to have a purpose as she navigates a maze of memories, however one could argue that her goal is to escape, to flee her terrible past and find solace. The film's dark atmosphere is supported by DIE HEXEN'S tense and haunting score and by Narayan Van Maele's cinematography. John Walters also deserves commendations for the creative editing. Through a mid-twentieth-century Ireland setting, this short heavy drama tells a story about a young woman's terrible and unjust suffering. It is an unpleasant viewing, but also a memorable one, one that explores mental health, trauma, religion, cruelty and bad parenting and Dargan-Reid's powerful performance adds massive value. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Marching On Together film review by UK film critic James Learoyd. Starring Pete Foster, Joe Facer directed by Dan Lovatt, Adam Sandy. HOME | FILMS | REVIEWS Marching On Together Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jun 12, 2024 Directed by: Dan Lovatt, Adam Sandy Written by: Dan Lovatt, Joe Facer Starring: Pete Foster, Joe Facer 'You can't choose your family' seems to be the main sentiment in this well-observed if slightly undynamic domestic drama Marching On Together (2023). It focuses on the fraught relationship between a young man and his judgmental, seemingly conservative grandfather as they get into a contentious conversation while watching football. Concluding with a twist ending (of sorts), the piece offers up a naturalistic character-study with deeper connotations unsaid. With some intelligent writing and strong intentions, it's slightly unfortunate that the filmmaking fails to be as engaging as the central premise, but it's absolutely worth a watch nevertheless. There are two strong performances featured in the picture, and this isn’t a film that’s afraid of depicting unlikable, complicated characters. The performers are playing with a lot of upsetting subtextual ideas, and they handle it well. The screenplay is undeniably effective; rich with many upsetting themes, all explored with maturity. This all makes for a most watchable piece of work which holds the viewer’s interest through intelligent writing and its discussion of common social issues. But regrettably, the film’s stylistic elements leave a bit to be desired. Critics will often say that a film suffers from a kind of theatricality. They may state something to the effect of "this would work much better as a play" - and I find this quite condescending. What they mean to question is whether cinema, as an artistic medium, is being utilised to its fullest potential - with a focus, of course, on visual over thematic or narrative traits. While this is valid, some may fail to consider that the filmmaker in fact wished to use the form for that very reason. Marching On Together is not an inherently cinematic piece, and it does arguably suffer because of that; however, I'd suggest that this isn't because of the scenario but instead the storytelling. There's a slight lack of confidence in the direction. For example, the sequence of dialogue that works the least is when we're cutting between two angles, both of which are wide two-shots from a similar distance from the subjects. With both shots holding the exact same visual information without guiding our eye to any specific point in frame, the cuts don't just become superfluous but also distracting. Wide shots are great, but if one character is really emoting then a closeup wouldn't go amiss. There are some absolutely wonderful shots in this short, and the use of widescreen is impactful when it comes to framing the two characters in the same moment whilst emphasising emotional distance. What is needed, however, is a willingness to go slightly bigger, closer and deeper - something the talented filmmakers are clearly capable of. To surmise, Marching On Together is undoubtedly an original short film which admirably sheds a light on a complicated family dynamic. I’m also certain that a great many viewers will be able to relate either personally or simply emotionally to its content and message. Even though the blocking isn’t always up to scratch, it’s a strong effort and I implore the filmmakers to keep producing dramatic work like this. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Romans 13:8 film review by UK film critic Swati Verma . Starring Victor Mellors, Francesco Roberts directed by Victor De Almeida. HOME | FILMS | REVIEWS Romans 13:8 Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 30, 2023 Directed by: Victor De Almeida Written by: Victor De Almeida Starring: Victor Mellors, Francesco Roberts The writer-director Victor De Almeida attempts to raise several perspectives in the minds of the audience with the intricate script and through the two male protagonists Priest (Victor Mellors) and Lover (Francesco Roberts). The plot of Romans 13:8 revolves around a Priest who struggles to choose between the love of his life and his faith. The film opens with a blurred long shot of a man walking into the camera followed by the opening credits coming on the screen building up a sense of mystery for the audience to maintain interest in the content. The white font utilised for the name of the short film has a connotation of purity, innocence, and simplicity that elevate the essence and mood of the film followed by making the life lessons integrated into the narrative more meaningful. The set design, the black-white colour pallet with a hint of natural lighting, sound, dialogues, costume, hair, makeup, and props mimics the culture as well as the rituals of Christians transporting the audience into the era where the short film is set. In terms of performance, Victor Mellors plays the Priest who wants to strike a balance between his professional duties and personal commitments and the emotional combat is pretty evident. Mellors with his acting skills depicts the dilemma of always choosing the right choice effectively by adopting a certain body language, voice modulation, facial expressions, and eyes that communicate what the Priest is going through making it real and relatable for the audience to watch. Francesco Roberts plays the role of the lover. The casting for the part is perfect as Roberts can portray the sensuous and emotional chemistry allowing the audience to develop an interest in the film. The screen time for the actor is less but he assists the viewers to conclude and interpret the movie in the way they want to. Romans 13:8 poses more questions related to perceptions regarding love and sins and the importance of God in every human who believes in his power and mercy. The short film talks about not having any set definition of love or sin and depends entirely on thinking of people. The dramatic piece discusses the significance of staying true to one’s feelings because if one is not happy and honest to self then one cannot be truthful to God in life. The cinematic piece also reiterates the fact to the audience that in any relationship commitment is crucial one has to fulfil all the duties and responsibilities towards it for all their lives. I want to appreciate the writer-director Victor De Almeida for delivering such a significant message and handling an important yet sensitive topic so subtly even in a very short running time of the creative piece. Buy UKFR Banner Space About the Film Critic Swati Verma LGBTQ+, Short Film < All Reviews Next Film Review >

Don't Look Up film review by UK film critic George Wolf. Starring Leonardo DiCaprio, Jennifer Lawrence, Jonah Hill, Meryl Streep directed by Adam McKay. HOME | FILMS | REVIEWS Don't Look Up Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Dec 8, 2021 Directed by: Adam McKay Written by: Adam McKay, David Sirota Starring: Leonardo DiCaprio, Jennifer Lawrence, Jonah Hill, Meryl Streep Since Adam McKay shifted into “political” comedy with The Big Short and Vice , it’s become most convenient to label him a satirist. But Don’t Look Up , his latest as writer/director, is more proof that pure satire isn’t quite McKay’s forte. Not that his work isn’t funny, or astute, or politically charged – it’s all of that. But what McKay does best is his own special blend of outrage, farce, skit-based comedy and yes, moments of satire. The best of the modern satirists – Armando Iannucci, for example – are almost always commenting on one thing by talking about something else. McKay, though, fires slings and arrows that are so often on-the-nose they toe the line between shedding light and making it. Climate change and disinformation are in McKay’s sights this time, and it isn’t hard to imagine Don’t Look Up being inspired by some exasperated bit of conversation. “What if some giant, cataclysmic comet were heading straight for Earth? Would that get somebody’s attention?” Astronomy PhD candidate Kate Dibiasky (Jennifer Lawrence) discovers just such a comet, and along with her anxiety-prone professor Randall Mindy (Leonardo DiCaprio), calculates it will destroy the Earth in precisely 6 months and 14 days. Sounding the alarm proves harder than they realize. President Orlean (Meryl Streep, a bit too SNL) and her Chief-of-Staff son (Jonah Hill, in pitch perfect Don, Jr. mode) want to “sit tight and assess,” so Kate and Randall take their message to the people. But after an appearance on vapidly positive morning cable news chat, Kate is vilified for her severe bangs and shrill warnings while Randall gets tagged as a PILF and starts getting cozy with TV host Brie Evantee (Cate Blanchett, glorious). Meanwhile, weird tech CEO Peter Isherwell (Mark Rylance) determines the comet could really be a good thing! It’s composition could be worth billions, so he pushes the administration toward a Star Wars -worthy plan to break it up in pieces small enough to harvest, as uber-angry broadcaster Dan Pawketty (Michael Chiklis) instead wants to focus on the real problem of topless senior caregivers. What’s left for the little people to do except take sides? With the clock ticking and the comet now visible overhead, the anti-science crowd preaches “don’t look up” while pop diva Riley Bina (Ariana Grande) belts out a soaring (and surprisingly tuneful) plea to “get your head out of year ass, just look up, turn off that shit FOX News.” The fertile ground of current pandemic disinformation makes McKay’s mash of Dr. Strangelove and Mars Attacks! seem a little extra urgent. And while Don’t Look Up never matches the satirical majesty of Kubrick, McKay is able to nicely cop the disinformation industry’s circular strategy of reframing evidence against it as evidence supporting it. He knows how his film’s worldview will be attacked, but also how some calculated ridiculousness can be a pre-emptive strike. But is McKay’s film going to change anyone’s mind? Seriously? No, no it’s not, but he knows that, too. Hey, if you think our current situation is too dire to have fun with, that’s understandable. But if you can relate to Grande singing, “Celebrate or cry or pray, whatever it takes,” then this is funny stuff. Just don’t mistake the laughs in Don’t Look Up – and there are plenty of them, including a priceless running gag about expensive snacks – for a lack of outrage or conviction. McKay and one of the year’s best ensembles find space for all three. Sit tight for a mid-credits stinger, too. And trust me on the snacks thing. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Cutaways film review by UK film critic James Learoyd. Starring Silas Kade, Fernando, Diogo Hausen directed by Mark Schwab. HOME | FILMS | REVIEWS Cutaways Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Feb 9, 2026 Directed by: Mark Schwab Written by: Mark Schwab Starring: Silas Kade, Fernando, Diogo Hausen Cutaways is a lot of things, but one thing it is not is conventional. Were you to go into this viewing experience knowing nothing about the movie, you may very well push back against the audacious conceit, outlandish tone and maximalist moments. Yet that is also what makes this chamber-piece about one idiosyncratic director producing a porn film quite admirable; it hits the audience over the head with its extreme nature, whilst not delving headfirst into pornographic territory itself. Written, directed, produced and edited by filmmaker Mark Schwab, and starring Silas Kade, Fernando and Diogo Hausen, Cutaways is technically refined, though slightly inconsistent narratively and thematically. There is a technical production value on display in this piece, particularly from a cinematography perspective. This film has been captured using some pretty wondrous lenses – put to excellent use and opened to as wide an aperture as possible. In terms of blocking, scene coverage and general direction, the visual style here is very standard – almost televisual. However, the cinematographer makes clear that there is a specificity of craft; of light and of focus; going on behind that aesthetic consistency. The themes being explored here are intense and prescient with ideas relating to boundaries of creative intimacy and dynamics of artist-to-subject power positioning themselves at the forefront. You have got to admire any movie which attempts to tackle such subjects, but the question remains: does it go far enough? Unfortunately, the film’s interests are depicted heavy-handedly, because that is just the nature of the story. What it lacks, however, is a really tangible, unsettling undertone; a sense of questioning, of simultaneous excitement and dread. This it lacks not for any particular reason, but more due to the extreme tone of the picture as a whole. There are plenty of engaging performances throughout – characters that pop and can hold the camera. And yet, a jarring mixture of performance styles means that interactions occasionally come across as unnatural. This is by no means a prominent issue, but even still, an error in tone management. It was a massively beneficial storytelling decision to have the film take place in one day, with the chronology effectively uninterrupted throughout that runtime (much like a stage play). The main reason being is that it allows the moments to breathe, and the evolution of the scenario to feel more grounded and immersive. But then, at the halfway point there’s a huge dramatic shift as the film enters territory which is never fully resolved at all. Thankfully the natural pacing and structural fluidity means that this open-ended aspect is not too noticeable, but one does wonder if more interesting tensions could have been explored yet again. One element I have neglected to mention is the number of movie references in the movie; Paul Thomas Anderson, Sidney Lumet, Peter Bogdanovich and especially Gregg Araki (who also has some plot relevance) are just some of the filmmakers name-dropped. This could certainly appeal to cinephiles in the same way that – whist it is pornography – this is a film about filmmaking and artistic pursuits, as damaging as those pursuits sometimes prove to be. To surmise, Cutaways is admirably transgressive and technically refined. Cutaways releases this week on Amazon Prime, Fandango at Home and Vimeo OnDemand. Buy UKFR Banner Space About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film, LGBTQ+, Amazon Prime < All Reviews Next Film Review >

T2:NY1 film review by UK film critic Joe Beck. Starring Sean Khwajen directed by Alexander Ratter. HOME | FILMS | REVIEWS T2:NY1 Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Dec 3, 2023 Directed by: Alexander Ratter Written by: Alexander Ratter Starring: Sean Khwajen It is almost inevitable when discussing America, and American issues, to discuss guns. Particularly amongst non-Americans, and those in the United Kingdom, where firearms are banned, it is something widely condemned and seen as a great blight against America and the American image. Yet, the right to bear arms is something ingrained within the American constitution, and something supported by millions of citizens despite innumerable mass shootings - already over 600 this year alone in the United States. ‘T2: NY1’ explores this issue in an incredibly intriguing manner, one which, though perhaps leaves a little too much open for interpretation, is nevertheless incredibly thought-provoking. Written and directed by Alexander Ratter, this short film depicts a fish out of his water, as a Texas cowboy - complete with boots, hat and the whole works - strolls down the streets of New York City. As he walks down the streets of the Big Apple he is confronted by visceral abuse from passers-by, who shout in his face, gesticulate wildly at him, and one of whom even spits at him. He continues his path forwards down the street, with the only sound being a sharp ringing in his ears - he is deaf, and unaware of the substance of the words and abuse being hurled his way. The message and meaning of ‘T2: NY1’ could be explored endlessly, with numerous possible ways in which its story could be interpreted - all of which point towards a fierce anti-gun stance. The idea of a cowboy - a man from another time and place in which the second amendment was more widely believed in, even if cowboys were seen as lawless individuals - in the pits of a big city - a staple of modernity - could reflect the idea that the right to bear arms is an archaic policy, ill fitting with the modern world and values, and as such when gun violence occurs in these metropolises such as New York City, it is an instrument of primitivity and violence from a less developed time. Alternatively, the Texas cowboy’s deafness could be interpreted as his inability to see the reasoning behind calls for greater gun control in America, and as such he is deaf to the suffering which gun violence causes people across the country, with the abuse he faces instead families of victims expressing their anger at his failure to see the pain that they are going through. Perhaps also, the film could be suggesting at people’s perception of Texas cowboy’s - particularly in cities such as New York - as gun totting self-proclaimed vigilantes whose idea of their rights involves being able to use a firearm as self-defence to a far more minor threat. These are all possible interpretations of ‘T2: NY1’, and there are undoubtedly many more, which makes the film all the more fascinating. Alexander Ratter directs the film expertly, and one swing of the camera is done with incredible finesse and talent, whilst his screenplay expertly gets the point of the story across, so that, whilst he maybe leaves a little bit too much unsaid, it is nonetheless sure to start conversations as people bring their different views on the films meaning to the table. ‘T2: NY1’ is an expertly crafted short film, one full of intrigue surrounding a pressing issue. Watch the film here on demand: https://picco-studio.vhx.tv/products/t2-ny1 And can you after that show this link: See more about Picco-Studio: www.picco-studio.com Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Back to 20-21 film review by UK film critic Jason Knight. Starring Ashish Bisht, Kanchan Rawat, Anjali Bisht, Shoban Singh Rawat directed by Ashish Bisht. HOME | FILMS | REVIEWS Back to 20-21 Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 17, 2026 Directed by: Ashish Bisht Written by: Ashish Bisht Starring: Ashish Bisht, Kanchan Rawat, Anjali Bisht, Shoban Singh Rawat A short low-budget drama from India, written and directed by Ashish Bisht and starring himself, Kanchan Rawat, Anjali Bisht and Shoban Singh Rawat. The setting is India and the coronavirus pandemic has caused global lockdowns. One man (Ashish Bisht) lives in an apartment with his sister (Anjali Bisht) and his wife, Sapna (Rawat). The three of them are currently in quarantine, waiting. The man spends his time watching the news and being influenced by all the bad news, be it warfare between countries or the pandemic. Being less keen on a narrative, this film concentrates on the anxiety that the man is going through because of the outbreak, being constantly worried about what might happen. Forced to be in his household, he contemplates the world's current unfortunate situation and when he goes out for some shopping, he is faced with the harshness of sanitising, being cautious not to touch anything. Numerous films (both short and feature) have been made that deal with the COVID-19 pandemic. This one focuses on how the media affect people, utilising words that cause them to live in fear. Ashish Bisht's character represents the everyday person who becomes more and more anxious due to the virus and generally because of the negative messages that are communicated to him via news media or other individuals such as the shopkeeper who condemns his apparent irresponsibility when it comes to preventing the disease from spreading. He is a victim of fear generated by the media. His sibling and primarily his partner are more confident and do not let themselves be victims to the effects of news reports and social media. This short explores how the media can affect people in negative ways, causing them to feel fear, frustration and anxiety and of course, this film is also a commentary about the coronavirus lockdown and what it involves, such as isolation, sanitising and mental health issues. Another film about the COVId-19 pandemic. This project acknowledges the pcychological effects that outbreaks and the media have on people and this makes it a viewing worthy of attention. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Unknown Caller film review by UK film critic Swati Verma. Starring Emmanuel Trier, Funmi Adetola, Rick Caines directed by Funmi Adetola. HOME | FILMS | REVIEWS Unknown Caller Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 21, 2023 Directed by: Funmi Adetola Written by: Funmi Adetola Starring: Emmanuel Trier, Funmi Adetola, Rick Caines The writer-director Funmi Adetola loves to address everyday problems in the professional as well as personal spaces people go through. He focuses on developing a character driven narrative to increase audience engagement with the content through the male protagonist Keon (Emmanuel Trier). The plot of the short film revolves around Keon a bright young black man whose anger has slowly grown due to microaggressions from seemingly everyone and is given a dangerous offer from an unknown caller. In the opening sequence of Unknown Caller, Camera tracks the day-to-day routine of Keon to establish his relationship with his co-workers during the Internship and also helps to provide depth into the subject matter of the film. A series of long shots, mid-shots, and closeup shots are utilised to showcase some gestures of Keon that evoke a sense of mystery in minds of the viewers so that they want to know more about the same. The font size of Graphix the company Keon works for can represent the dominance, and arrogance visible in their behaviour with him. The colour pallet, set design, lighting, dialogues, costume, hair, and makeup has been kept simple as well as subtle to complement the key messages Unknown Caller attempts to communicate to make it relatable allowing the audience to learn lessons essential to overall growth in life. In terms of performance, Emmanuel Trier plays the role of Keon who knows his work perfectly but still gets discriminated against and verbally abused by his colleagues. Emmanuel understands the nuances of his character and depicts it through body language, voice modulation, facial expressions, and eyes all through the changing scenarios in the script. The chemistry between him and his co-stars works perfectly to uplift the mood building up the suspense as the short film reaches the climax of the dramatic piece. Funmi Adetola plays the unknown caller who wants to set things right for Keon by adopting the wrong method to end the intern’s problem. Adetola utilises his voice to bring in a sense of fear when he starts killing people. Adetola portrays it so well that the character stays with the audience even after finishing the film. Unknown Caller talks about racism that still exists and the act of discrimination should be completely eradicated from the society or workplace if one does not want to suffer from mental health issues. The short film reiterates that having conversations or letting any stranger into someone’s life through any medium like social media etc can be detrimental to the well-being of self, loved ones, and people around. The thriller movie highlights that though the right to expression is given to everyone, we should be extra careful when it comes to using the same. The cinematic piece restates that respect is something that every employee in the company deserves irrespective of the type of work or the hours he has been putting in contributing to the success of the office. The creative piece tells us that problems in life always exist and we need to deal with them but compromising with the conscience and peace of mind to do so shouldn’t be an option. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Power of the Dog will be in select cinemas in November and on Netflix from 1 December.. Brand new film trailers. The Power of the Dog Teaser Trailer THE POWER OF THE DOG TEASER TRAILER RELEASED Severe, pale-eyed, handsome, Phil Burbank is brutally beguiling. All of Phil’s romance, power and fragility is trapped in the past and in the land: He can castrate a bull calf with two swift slashes of his knife; he swims naked in the river, smearing his body with mud. He is a cowboy as raw as his hides. The year is 1925. The Burbank brothers are wealthy ranchers in Montana. At the Red Mill restaurant on their way to market, the brothers meet Rose, the widowed proprietress, and her impressionable son Peter. Phil behaves so cruelly he drives them both to tears, revelling in their hurt and rousing his fellow cowhands to laughter – all except his brother George, who comforts Rose then returns to marry her. As Phil swings between fury and cunning, his taunting of Rose takes an eerie form – he hovers at the edges of her vision, whistling a tune she can no longer play. His mockery of her son is more overt, amplified by the cheering of Phil’s cowhand disciples. Then Phil appears to take the boy under his wing. Is this latest gesture a softening that leaves Phil exposed, or a plot twisting further into menace? A See-Saw Films, Bad Girl Creekand Max Films production in association with Brightstar, The New Zealand Film Commission, Cross City Films and BBC Film. Directed and adapted for the screen by: Jane Campion Based on the novel by: Thomas Savage Producers: Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier Cast: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, Kodi Smit-McPhee Director of Photography: Ari Wegner Production Designer: Grant Major Costume Designer: Kirsty Cameron Editor: Peter Scibberas Composer: Jonny Greenwood The Power of the Dog will be in select cinemas in November and on Netflix from 1 December. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Will & Harper film review by UK film critic Hope Madden. Starring Harper Steele, Will Ferrell directed by Josh Greenbaum. HOME | FILMS | REVIEWS Will & Harper Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 25, 2024 Directed by: Josh Greenbaum Written by: Will Ferrell, Harper Steele Starring: Harper Steele, Will Ferrell Harper Steele loved traveling America and spent years upon years hitchhiking and driving from town to town, dive bar to dive bar, stock car race to pool hall to backwater, savoring every minute of it. But since she transitioned a couple of years ago, she’s afraid to do it anymore. She’s afraid to travel these roads in the same way any woman would be, and she’s afraid to travel them in the way that only a trans woman would be. Her friend thinks maybe she can reexplore the country she loves as her true self if she has a man with her. Preferably a big, lumbering, lovable, friendly, famous friend willing to shift attention away from her whenever she might want him to. All she has to do is agree to go to stop at least once so Will Ferrell can get a traditional glazed at Dunkin Donuts. There are so many reasons to watch Will & Harper , not the least of which is to see two of the smartest comedic minds (the two met on SNL when Steele was head writer for the show) riff. And it’s not just the two of them. Their trip leads to run ins with some great SNL alum and a reminder that Kristin Wiig is insanely talented. Another great reason to watch Will & Harper is that this film fits so beautifully into that American cinematic tradition of emotional, thrilling, deeply human road picture: one relationship changes and deepens with the landscape as America itself is more clearly revealed. Because Steele’s America is not what anyone would consider a safe space for trans people—but where, really, is that space? The friends begin in NYC with an SNL reunion and an awkward-at-best hug from Lorne Michaels. At a Pacers game, Indiana governor Eric Holcomb is eager to meet Ferrell, and it isn’t until a little googling after the photo op that he and Harper learn about the Republican politician’s aggressively anti-trans and anti-LGBTQ2+ policies. The scene leads to the first of many brazenly honest and emotional moments between the friends. Ferrell’s tenderness and endearingly bumbling protectiveness is deeply lovely, even when—maybe especially when—it’s almost desperate. The deeper into red state territory the two travel, the more attention seeking Ferrell seems, almost certainly to try to create a protective shield around his friend. It doesn’t always work, and his own grief at his shortcomings as her friend are heartbreakingly lovely. But it’s Steele whose openness and forthrightness breaks any but the coldest and most ignorant heart. And what she does—she and her buddy—that’s so important is to show how utterly and undeniably normal it all is: hating the way you look in a bathing suit, wanting and failing to love the sound of your own voice, wondering what it’s like to have boobs for the first time. Will & Harper just makes you wonder how it can be possible for anyone to be upset by another person’s transition. It also makes you hope those who feel too stigmatized to do it realize that there is a better life. “From the moment I transitioned, all I wanted to do was live.” God I hope people see this movie. Buy UKFR Banner Space About the Film Critic Hope Madden Netflix, Theatrical Release < All Reviews Next Film Review >

The Settlers film review by UK film critic Hope Madden. Starring Camilo Arancibia, Mark Stanley, Mishell Guaña directed by Felipe Gálvez Haberle. HOME | FILMS | REVIEWS The Settlers Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 24, 2024 Directed by: Felipe Gálvez Haberle Written by: Felipe Gálvez Haberle, Antonia Girardi, Mariano Llinas Starring: Camilo Arancibia, Mark Stanley, Mishell Guaña It’s amazing how often the beauty of unconquered land is met with the ugliness of conquest in film, as deceptively tranquil images of vast, open space underscore the heinous brutality of colonialism. Co-writer/director Felipe Gálvez Haberle (with a massive assist from cinematographer Simone D’Arcangelo) draws you in with the same aesthetic for his gripping and ruggedly gorgeous indictment of Chile’s history in The Settlers . An artful and unflinching portrait of atrocities inflicted on South America’s Ona people, The Settlers is a historical indictment not unlike Jennifer Kent’s 2018 study in tension and colonial horror, The Nightingale . Three men set off across a wealthy landowner’s vast property in 1901: one Scottish soldier (Mark Stanley), one Texan gun-for-hire (Benjamin Westfall), and one native tracker (Camilo Arancibia). Their stated mission is to clear a path for the landowner’s sheep to the ocean. Their actual goal, as tracker Segundo would soon realize, is the sweeping slaughter of all indigenous people on the land. Act one keeps its distance. There’s little dialog and scenes are mostly shot from afar, Chile’s inhospitable vastness on display. Act two brings the camera and us a little closer to the action, and the cinematic vision morphs from art-Western to something closer to horror. The third act pivot feels more jarring. The austerity of a chamber piece sets the film on its side, but Gálvez Haberle never loses control. Indeed, it is control itself he is depicting, and the effect is chilling. These bold shifts in structure and tone do less to undermine the tension than to alter it, set it in another direction. The safer Haberle makes the situation feel, the more institutional the horror becomes. When capitalism, politics and religion work together to redirect and rewrite history, the ugliest things are possible. Arancibia’s performance is mainly silent, the horror of the unprovoked slaughter registering little by little across his guarded expression. Even more stunning is Mishell Guaña as a indigenous woman who becomes part of the expedition. Guaña wears a lifetime of distrust and injustice so wearily, so angrily on her face. The true story of one nation’s history of genocide, The Settlers is unsettling universal. What Gálvez Haberle does so effectively is take it to the next step, where a nation’s brutally criminal past becomes its sanctified, sanitized history. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >