Tangled Up in Christmas film review by UK film critic Wiliam Curzon. Starring Molly Flanagan, Tess Rianne Sullivan, Jonathan Cahill directed by Michael Joseph Nelson. HOME | FILMS | REVIEWS Tangled Up in Christmas Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Dec 1, 2025 Directed by: Michael Joseph Nelson Written by: Molly Flanagan, Michael Joseph Nelson Starring: Molly Flanagan, Tess Rianne Sullivan, Jonathan Cahill Tangled Up in Christmas follows Elizabeth (Molly Flanagan) when she returns home for the annual Christmas charity event at her parents’ home, with her sister Sam (Tess Rianne Sullivan). Elizabeth is reeling from a complicated relationship with her husband, Frank (Jonathan Cahill). Both sisters must learn to work together to ensure the event goes as planned, or Christmas will be ruined. Adopting a wholesome narrative from its holiday setting and the theme of sisterhood, writer/director Michael Joseph Nelson suitably sets the tone for what one would generally come to expect from a piece of filmmaking such as this. The film includes incredibly well-implemented Christmas needle drops with a cosy vibe, creating a heartwarming atmosphere reminiscent of a family Christmas. The musical score is whimsical and consistently fits the tone throughout the entire runtime. While the camerawork isn't anything that groundbreaking, it is competently shot for this specific genre of film and the themes it tackles. Michael Joseph Nelson and Marcelo Sansevieri’s edit is seamless throughout, with suitably placed transitions into different sequences. Some scenes may overstay their welcome; however, this is more a result of thinly stretched dialogue rather than formal decisions. The momentary use of black and white photography is also an effective decision within a sequence of surrealism. The film takes a rather steady pace to flesh out the character dynamics between Elizabeth and Sam, which brings strengths and detriments during the prolonged second act. While there's not much to chew on thematically, the narrative is entirely anchored by their relationship and the chemistry-laden cast of characters. The supporting characters, at times, can unfortunately feel one-dimensional in their characterisation, and some of the line deliveries can feel robotic and clumsy in their execution. It can also be challenging to engage with the supporting characters due to their limited depth, but their chemistry with the leading players always keeps the narrative grounded and natural. The central performances from Molly Flanagan and Tess Rianne Sullivan are incredibly endearing, and they display a profound level of nuance and love for one another. Flanagan, in particular, has incredible comedic timing, and the film rests entirely on their sisterhood dynamic. While Elizabeth does possess a rather manipulative personality to get Sam to come with her to their parents’ home, it's hard not to care about the character, thanks to Molly Flanagan’s performance. Unfortunately, the narrative can become deeply unengaging throughout the second act, primarily due to the stagnant planning of the charity event and a forced central romance that doesn't fully resonate, despite Molly Flanagan and Michael Joseph Nelson’s heartwarming chemistry. The prolonged buildup, however, thankfully feels earned as the conclusive moments of the story wrap up the central driving point of the narrative in an emotionally satisfying manner, leaving the viewer with a profound message of acceptance of where you are in life currently, even with its pitfalls. It’s a family-friendly piece of entertainment that may appeal to a broader target audience for annual viewing around the holiday season. Tangled Up in Christmas is a cosy and wholesome piece of filmmaking with a lovely Christmas setting built on a compelling set of performances from Molly Flanagan and Tess Rianne Sullivan. While it may suffer from some pacing issues in the second act and a central romance that doesn't fully land, it's competently directed by Michael Joseph Nelson and leaves the viewer with a loving sense of fulfilment in the acceptance of the complicated nature of their dysfunctional family. Buy UKFR Banner Space About the Film Critic William Curzon Christmas, Digital / DVD Release < All Reviews Next Film Review >

Who Are You, Nanu? film review by UK film critic Jason Knight. Starring Jyothi Janath, Kabir Pahwa, Suchitra Pillai, Shaurya Tyagi, Avinash Razdan directed by Anjini Taneja Azhar. HOME | FILMS | REVIEWS Who Are You, Nanu? Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 8, 2026 Directed by: Anjini Taneja Azhar Written by: Anjini Taneja Azhar Starring: Jyothi Janath, Kabir Pahwa, Suchitra Pillai, Shaurya Tyagi, Avinash Razdan A moving short film written and directed by Anjini Taneja Azhar and starring Jyothi Janath, Kabir Pahwa, Suchitra Pillai, Shaurya Tyagi and Avinash Razdan. Shot along the banks of the Ganges River in Varanasi, India and under challenging circumstances, this short was created thanks to the collaboration between British Airways, Indian businessman Ness Wadia, former Ferrari Formula 1 Racer Jacques Lafitte, Trifilm Studios and Shore Scripts. Just explaining that ''Nanu'' means Grandfather in Hindi. The film begins with young girl, Isha (Janath) attending her late grandfather's ceremonial cremation at the Ganges River. A short while later, she encounters a little boy her age (Pahwa) who claims to be a much younger version of her grandpa. The two of them end up going on a journey together, contemplating the past and strengthening their bond. This project was inspired by the life of the director's grandfather and the result is a film that starts off as a story about loss, before turning into an otherwordly journey about connection. The main emphasis is the rapport that develops between Isha and her grandfather (his spirit apparently) that ends up being a chance for both of them to get to know each other and form a connection that can never be broken. The mise-en-scene is impressive and interesting, particularly during a sort of dream sequence that involves Isha finding herself on the moon (she is told that when people pass away, they go to the moon), in the middle of ruins and on a large tree, threatened by a snake. Azhar does a great job with the directing, bringing the screenplay to life with well-executed shots and Alex Winkler provides significant contribution with the beautiful music. As the main protagonist, Isha is a simple girl who wishes she had known her grandfather better and she gets the opportunity to make her wish come true, learning more about him, herself and life in general. Pillai and Tyagi are sympathetic as Isha's loving parents. Pahwa plays the most intriguing character, a child version of a recently deceased elderly man, a boy with the maturity of an adult. Interestingly, Pahwa's character is the only one who speaks in Hindi. With a story that explores the afterlife, this short is a commentary about grief, self-reflection, reminiscing the past and the significance of connection. The main message appears to be that people who pass away will always be with the ones they love. This film is about loss, about losing someone and finding them again and being with them forever. It is a journey and a family drama and a very personal project that tells a story that is sad but also uplifting as it indicates that death does not separate people. And it pays tribute to the extraordinary life of the director's grandfather. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Mouse! film review by UK film critic Jason Knight. Starring Vikash Bhai, Rakhee Thakrar, Sanish Shah, Deepak Anand directed by Max Fisher. HOME | FILMS | REVIEWS Mouse! Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 13, 2026 Directed by: Max Fisher Written by: Max Fisher Starring: Vikash Bhai, Rakhee Thakrar, Sanish Shah, Deepak Anand A short drama written and directed by Max Fisher and starring Vikash Bhai, Rakhee Thakrar, Sanish Shah and Deepak Anand. COVID-19 lockdown is taking place and a family in England is suffering the effects of the global pandemic. Taxi driver Rajiv (Bhai), his wife, Priya (Thakrar) and their young son, Moni (Shah) live together in a flat. After Rajiv's father (Anand) passes away due to the virus, the family is left grieving. Things take an unexpected turn when Moni finds a mouse wondering inside the apartment and decides to keep it as a pet. However, when his father discovers the little rodent, he is determined to destroy it. A family drama. A story about the COVID-19 pandemic. A story about a mouse. The screenplay is moving and, at times, contains some humour too. A significant part of the narrative focuses on Moni spending time with his new mammal friend, playing with it and making miniature structures for it to climb on and Rajiv looking to get rid of the rodent by purchasing mouse traps while planning his father's funeral. The miscommunication between Rajiv and Moni is the source of the plot and the mouse ends up becoming a way that reconnects them and brings the family together. This is simultaneously a father-and-son, mother-and-son and grandfather-and-grandchild story and Carson Aune's bittersweet music greatly influences the experience. The script focuses significantly on character development and the performances are strong. Rajiv is a man who, having had an estranged relationship with his father, seems to have created a similar situation between him and Moni. Although a well-meaning person, he appears to be dealing with distractions that are preventing him from bonding with his boy. Moni is a simple child, keen on having fun and not fully comprehending the severity of unfortunate events. Priya is a loving mother and wife, who is aware of the gap that is growing between Rajiv and Moni and is very concerned. To a degree, this short serves as a commentary about the pandemic and its effects on people, such as lockdown, isolation and fatality. The main centre appears to be loss and grief and lack of communication. More positively, childhood innocence, having a pet, family values and the importance of connecting with loved ones are also acknowledged. A moving and hard-hitting story about loss and the significance of family bonding. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Tar film review by UK film critic George Wolf. Starring Cate Blanchett, Nina H oss directed by Tpdd Field. HOME | FILMS | REVIEWS Tar Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Oct 19, 2022 Directed by: Tpdd Field Written by: Todd Field Starring: Cate Blanchett, Nina H oss During production of writer/director Todd Field’s terrific 2001 feature debut In the Bedroom , Harvey Weinstein reportedly made life so miserable, Field considered leaving the movie business altogether. He did return in 2006 with the equally impressive Little Children , but Field has been quiet since then. All these years later, it’s not hard to imagine the Weinstein experience as an inspiration for Tár , a searing character study of art, arrogance, obsession and power that’s propelled by the towering presence of (surprised face) Cate Blanchett. She is Lydia Tár, the first female music director of the Berlin orchestra. A nicely organic interview introduction runs down Lydia’s impressive resume, immediately cementing the character as one of the greatest living composer-conductors in the world. And, as is her way, Blanchett (who prepped by learning several instruments and studying conducting) needs mere moments to define Lydia with sharp, unforgettable edges. Tár is a control master who will converse and condescend with excess pleasantries, all the while keeping antenna up for anyone in her orbit who might contradict her careful plotting. And Field’s use of precise sound design and only diagetic music is a brilliant way to reinforce the maestro’s level of influence on everything around her. Lydia is in rehearsals for a triumphant performance of Mahler’s 5th symphony, and also has a new book prepping for release. So while there’s much going on professionally, it’s the detailed, yet unassuming way Field narrows his focus to Lydia’s personal cruelty that brings the film to such a resonant point. She humiliates a young student for daring to question a status quo power structure, takes advantage of her dutiful assistant’s (Noémie Merlant from the exquisite Portrait of a Lady on Fire ) ambitions, works to remove an Assistant Conductor (Julian Glover) who dares to criticize, and is routinely dismissive of her wife (Nina Hoss). The way Lydia handles a child bullying her young daughter is our first glimpse at true sociopathic tendencies, but Field – with moments of both sly humor and biting sarcasm – gradually unveils a familiar culture of predatory behavior. To say the portrayal is perfection feels almost dismissive or perfunctory considering Blanchett’s mastery of her own art, but maybe that’s why this role stands apart. Maybe it’s her own experience, so unlike nearly anyone else’s, that shapes the organic and human performance. You want to feel for Lydia, or at least recognize how a genius with power begins to believe they are entitled to something. Or someone. It’s in moments when Lydia dismisses ideas of gender inequality or coyly celebrates the history of patriarchy in her own profession that Field and Blanchett best expose the insidious nature of power. The storytelling is striking in its intimacy, gripping in its universal scope. Tár is a showcase for two maestros working at the top of their game. Bravo. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Mani Mani Baby film review by UK film critic James Learoyd. Starring Irene Fitzpatrick, Mary Zunick, Tiffany Nguyen directed by Stacy Pendergrast. HOME | FILMS | REVIEWS Mani Mani Baby Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 28, 2024 Directed by: Stacy Pendergrast Written by: Stacy Pendergrast Starring: Irene Fitzpatrick, Mary Zunick, Tiffany Nguyen Mani Mani Baby is a strangely amusing, but noticeably inconsistent, short film by writer-director Stacy Pendergrast. We are introduced to a chaotic and slightly distressed writer. On her way to a reading, she’s desperately in need of a manicure. This leads to the central scenario of the film, which is our flustered yet overconfident protagonist interacting with the employees and customers in the salon. The first thing to say about the piece is that it both looks and sounds very professional. The cinematography is really well-considered; and whilst some could claim that there is an excess of handheld camera, one does not find it distracting. There’s a finished look about it consisting of a strong grade. And pretty much every dialogue setup – despite issues I have with the story – is logically coordinated in terms of camera placement. This is a sign that, no matter what its flaws, the work is strong on a visual level. There’s an incredibly odd theme present in the movie, but unfortunately you struggle to interpret it as a viewer. I don’t mean to say that the film becomes difficult to understand, because everything is quite functional; but you do question what the overall intentionality of the script is. For instance, should we find the film’s protagonist annoying? If we do, then we feel conflicted when the character makes good or admirable arguments. On the other hand, there’s a possibility that the audience will view the movie as trying to represent people who care about political issues – for instance the ‘exploitation’ of the employees – as overbearing or oblivious; and then the irony that arises when not all the facts are known (the reveal of the employee ordering take-out). It’s all very complicated, and I’m compelled to view the movie as being a comedic portrayal of all these different personas and ideas. Yet when it comes to comedy, or even satire, the scenario may require slightly more clarity in the writing stages to make the end product translate fully. This may be counter-intuitive, but in fact this is actually the kind of narrative which could benefit from the use of caricatures: by implementing slightly clichéd character traits into a comedic short, it may allow you to more quickly and efficiently establish people’s dynamics and personas – it's at that point that you can play with these expectations to make something even more clever and funny than Mani Mani Baby already is. I must clarify that individual moments and interactions in the movie work really well. Some of the set-ups and payoffs are genuinely thought-provoking and funny. A lot of this is thanks to the confident direction which really demonstrates innate ability when it comes to the rhythms of a scene and how to construct it in staging terms. But it's also a result of the appropriately big acting on display – all the performances are thoroughly entertaining. There’s a great deal to enjoy about Mani Mani Baby , for its central premise is certainly an original one. What we can see are some skilled artists and filmmakers in the making as the film is a commendable effort. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

See How They Run film review by UK film critic Brian Penn. Starring Sam Rockwell, Saoirse Ronan, Adrien Brody, David Oyelowo, Reece Shearsmith, Ruth Wilson directed by Tom George. HOME | FILMS | REVIEWS See How They Run Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Sep 10, 2022 Directed by: Tom George Written by: Mark Chappell Starring: Sam Rockwell, Saoirse Ronan, Adrien Brody, David Oyelowo, Reece Shearsmith, Ruth Wilson Just occasionally a film reminds us what Saturday night at the movies used to be about; pure entertainment that sends the punters home with a smile on their faces. This new film by Tom George comfortably moves into 'popcorn movie' territory and we should all be grateful for it. The action lands gently in London during the early 1950s. Agatha Christie's Mousetrap has just completed its 100th show in the West End. It looks set for a healthy run and a film version is in preparation when disaster strikes. Leo Kopernick (Adrien Brody) narrates his own demise as the cocksure American director who upsets too many people. His untimely death occurs during a party to mark the show's century. Like all good whodunits there are ample suspects with no end of means, motive and opportunity to do the evil deed. There is camp scriptwriter Mervyn Cocker-Norris (David Oyelowo) who quarrels incessantly with Kopernick about the film's direction; and producer John Woolf (Reece Shearsmith) who is desperate to get the film made, but is hamstrung by contracts tied to the stage show. Meanwhile, slippery theatre producer Petula Spencer (Ruth Wilson) wants everything quickly cleared up so the West End run can continue. Scotland Yard's finest are soon on the case. The world weary Inspector Stoppard (Sam Rockwell) is ably assisted by rookie WPC Stalker (Saoirse Ronan). They make an odd but strangely appealing couple. Stoppard wants a quiet life and a murder is the last thing he needs. In contrast Stalker is an eager puppy snapping around his heels. But will they get to the bottom of this particular mystery? It's a cracking good yarn that stays faithful to the genre pioneered by Agatha Christie, but smartly includes elements of farce made famous by Ray Cooney. The essence of slapstick is never far away as novel use is made stage props. Writer Mark Chappell peppers the script with funny lines and appreciates the gentle humour that underpins Christie's work. Tom George captures London with a rich and evocative glow that rests easy on the eye. Elements of 'faction' come to the fore as Richard Attenborough and Sheila Sim also feature as characters. They were in the original cast of the Mousetrap and give the film an essential reference point. A superlative cast have a great time and work perfectly as an ensemble; they make the most of brilliantly executed set pieces that punctuate the script. See How They Run helps us escape to a different time and place; when the harsh realities of life could be parked outside the cinema and temporarily forgotten. I think we could use a film like this right now? Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Mother Bhumi film review by UK film critic William Curzon. Starring Bingbing Fan, Run-yin Bai, Pearlly Chua directed by Keat Aun Chong . HOME | FILMS | REVIEWS Mother Bhumi Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Nov 3, 2025 Directed by: Keat Aun Chong Written by: Keat Aun Chong Starring: Bingbing Fan, Run-yin Bai, Pearlly Chua Mother Bhumi follows a community of farmers living on the Malaysia-Thailand border and primarily focuses on the central character Hong Im (Bingbing Fan), who is a grief-stricken individual suffering from the recent loss of her husband under unknown circumstances. Hong Im uses black magic to address villagers’ everyday issues until she encounters a ghost that reveals secret revelations about her husband’s demise. The piece takes a rather unconventional approach in its ideas regarding the social commentary that it employs surrounding the socio-political strain following the Reformasi movement in Malaysia in the 90s. Three plot lines pervade the narrative involving a witch, a possessed buffalo and the changing political landscape of Malaysia during this time period. While the narrative is conceptually intriguing given the premise, the film sadly never pulls you in, thanks to an intentionally slow-burning approach that rarely feels earned and tackles themes that the filmmakers seem to be at odds with. The piece is thematically hollow and unsure of what it is even about, thanks to its muddled ideas and lethargic pacing that unfortunately meanders to a tonal redirect. There is also a severe lack of conflict brewing; however, specific sequences are unsettling, and the bleak tone makes the entire experience feel exhausting to endure by the end credits. Unfortunately, many aspects of the film leave you questioning the filmmakers’ intent of what they wanted to convey to the audience regarding the plot lines prevalent throughout. On the other hand, the film is beautifully photographed by Ming-Kai Leung, and this creates a disturbing amount of intensity during sequences of distress or visual storytelling. A mix of wides and fixed shots during the night sequences is genuinely breathtaking and a sight to behold in the stunning historical setting. Keat Aun Chong and Kah Hoe Yii’s original musical score is another major standout formally, as it accompanies more intimate scenes wonderfully and anchors prolonged sequences with an uneasy atmosphere. The central performance from Bingbing Fan is solid as she inhabits a profound level of grief coming to terms with her disparity as she questions and mourns the sudden death of her husband. The production value is staggering and makes the piece feel lived in with a timeless presentation of the Malaysian landscapes. Grasping themes such as grief and historical trauma while blending fantasy in with these ideas is an ambitious approach to take, but unfortunately, it makes the thematic aspects feel bloated and uneven. The narrative is convoluted and never truly explores the three central plot lines thoroughly, outside of representing Hong Im’s grief, perhaps reincarnating through metaphorical symbolism. The tonal redirect that takes place throughout the third act feels jarring as the film suddenly changes from a historical drama to a horror piece with a depiction of haunting and disturbing imagery. The inconsistent tone, unfortunately, leads to a conclusion that feels ultimately baffling to comprehend as a viewer. It does, however, still maintain a profound level of empathy for Hong Im thanks to Bingbing Fan’s striking performance and an emotionally draining display of a grief-stricken individual finally coming to terms with her trauma. Mother Bhumi is an unfortunate dilution of the broad array of ideas present, and sadly, fails to interrogate them thoroughly with its mix of sorcery and culturally historical aspects. Aided by a solid central performance from Bingbing Fan and sublime formal choices on display, the screenplay and atmospheric nature can never quite keep up with its technical merits, as the prolonged pacing and bloated runtime deeply affect the emotional resonance and lasting impact after the credits roll. MOTHER BHUMI screened at the Tokyo International Film Festival on October 27th at 6.30pm. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film, Film Festival, World Cinema < All Reviews Next Film Review >

Mondo Hollywoodland film review by UK film critic Jason Knight. Starring Chris Blim, Aaron Golden, Miranda Rae Hart, Alex Loynaz, Jessica Jade Andres directed by Janek Ambros. HOME | FILMS | REVIEWS Mondo Hollywoodland Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 19, 2021 Directed by: Janek Ambros Written by: Janek Ambros, Chris Blim, Marcus Hart Starring: Chris Blim, Aaron Golden, Miranda Rae Hart, Alex Loynaz, Jessica Jade Andres An unknown person attempts to find out what today's Hollywood is by discovering what 'mondo' means. Inspired by the cult classic documentary Mondo Hollywood , this feature looks into the modern film industry and follows the lives of several individuals residing in Los Angeles. The film begins with someone who is fascinated by Hollywood and claims to be from the fifth dimension. That person is never seen and speaks with a male voice. When he is present, the action is seen through his point of view. He approaches a stranger in the street and asks him about Hollywood. The stranger explains that to know that, one needs to know what 'mondo' is and that the person who knows that is a man by the name of Normand Boyle. Once located, Boyle states that in order to find out what mondo means, one must seek out the Titans, Weirdos and Dreamers. So the man sets of to do just that. From then on, the movie separates to three chapters: one titled 'Titans', another named 'Weirdos' and finally one called 'Dreamers'. Each chapter introduces new characters, but they all include Boyle. Every chapter contains characters that seem to represent the chapter's title. For instance, the Titans section focuses on the lives and struggles of a young actress and a man who works as a chief operating officer for a film company. It is suggested that the actress and the officer are titans, significant people in Hollywood. Other characters include an astrological priestess, a struggling actress, a personal trainer and a group of protesters. The narrative follows their goals, while also looking into Boyle's activities, whose main concern is to deal with the rats in his home. The screenplay basically consists of multiple storylines that intertwine with each other. This feature could be described as a dark comedy satire on Hollywood. Many protagonists are involved in the film industry and some are eccentric. There are awkward situations, protests, drug use and hallucinations that involve people wearing masks. The camera is often handheld and there are creative lighting effects. The editing often includes montages that utilize fast cutting techniques. There is occasional narration and at certain points characters break the fourth wall, look into the camera and address the audience. The soundtrack is rather entertaining. This feature has its ways when it comes to getting the viewer's attention. The characters are interesting and it does have its funny parts. It may not be very engrossing, however it is worth seeking it out for some amusement. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Crimes of the Future film review by UK film critic Hope Madden. Starring Viggo Mortensen, Lea Seydoux, Kristen Stewart directed by David Cronenberg. HOME | FILMS | REVIEWS Crimes of the Future Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 1, 2022 Directed by: David Cronenberg Written by: David Cronenberg Starring: Viggo Mortensen, Lea Seydoux, Kristen Stewart Not everyone is going to enjoy Crimes of the Future , David Cronenberg’s latest and perhaps most Cronenberg film. But Cronenberg fans will find plenty to enjoy. Well, enjoy might not be the right word. In a dreary world where “surgery is the new sex,” two performance artists (Viggo Mortensen, Léa Seydoux) turn one’s mutant organs into art. If that doesn’t sound like a Cronenberg movie, nothing does. Saul Tenser (Mortensen) has evolutionary derangement, a common problem these days. The human body has started simply sprouting new organs, Tenser more than most. But he and his partner Caprice (Seydoux) expel them from his body, which is okey dokey with the New Vice squad and the New Organ Register’s office, run by a couple of people passionate about new organs: Timlin (Kristen Stewart) and Wippet (Don McKellar). From there, Crimes of the Future turns into a kind of science fiction detective thriller. In the cons column, it moves at times too slowly and there is one uncharacteristically weak kill sequence. In the pros, it’s unusually funny for the filmmaker. Also, there is still no one who delivers visceral, physical horror quite like David Cronenberg. The king of corporeal horror hasn’t really made a horror film since 1988. He’s made moody, disturbing indies (Naked Lunch, Crash, eXistenZ, Spider ) before producing two massively successful mainstream(ish) films: 2005’s A History of Violence and 2007’s Eastern Promises. Both earned Oscar nominations. Both were brilliant. Cronenberg had a little more trouble finding his footing after that, never reaching the same degree of commercial or critical success and essentially retiring in 2014. But more than 30 years after his last horror flick, Dead Ringers —one preoccupied with organ mutations, sex and surgery—Cronenberg returns to the ground that was most fertile in his early career. Literally, his latest effort concerns organ mutations, sex and surgery. Crimes of the Future —like Crash and Videodrome —is specifically, grotesquely sexual. It plays like an ecological fable, though the theme, as stated by Lang Daughtery (Scott Speedman) remains the same: “It’s time for human evolution to synch up with modern technology.” Turns out, it’s a theme that hasn’t outstayed its welcome. But it often feels like the movie is more about the filmmaker himself than it is about his thematic preoccupations. Indeed, Crimes of the Future is so Cronenberg it’s almost meta. The film references, directly or indirectly, The Brood, Dead Ringers, The Fly, Naked Lunch, Crash, and most frequently and obviously, Videodrome. Like his main character, Cronenberg has long been an “artist of the inner landscape.” And after several decades of excising that tendency from his work, Cronenberg has come full circle to accept what was inside him all along. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Ruby film review by UK film critic William Hemingway. Starring Holly Higbee, Dorentina Bajrami, Beatrice Bowden, Cormac McAlinden directed by Islah Abdur-Rahman. HOME | FILMS | REVIEWS Ruby Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jun 21, 2026 Directed by: Islah Abdur-Rahman Written by: Holly Higbee Starring: Holly Higbee, Dorentina Bajrami, Beatrice Bowden, Cormac McAlinden A teenage girl tries to navigate her way through college life, whilst also trying to deal with the responsibilities that come from being a young carer. Ruby (Higbee) is one of 800,000 young carers under the age of eighteen in the UK right now. This is not something she shares lightly, and her college friends are unaware of the pressures that sit on Ruby’s mind on a daily basis. As Ruby tries to focus on her exams and her relationships with the girls and boys around her, she also has to deal with jibes about the noise coming from her house in the middle of the night, and emergency phone calls that pull her away from important situations to run home. Ruby’s life is almost completely tied to her mother (Bowden), who she cares for, and who has depressive and manic episodes which need to be managed. Her brother, Jay (McAlinden), is of no use and has his own problems to deal with, as he’s getting himself wrapped up in the local gang culture, and the NHS care sector isn’t much use either, so Ruby is left to look after her mum on her own. Life still goes on outside of the house though, and Ruby is determined to push herself through college to find a future that is hers alone, that is if her mother will let her. Played with a lot of heart and integrity by writer, producer, and star, Holly Higbee, Ruby’s story is one which resonates around the country in a million different homes, in a million different ways. The dialogue is natural and authentic and down to its roots, while the lines are delivered by a diverse young cast who understand their roles completely. Director, Islah Abdur-Rahman brings together the audio and visual aspects of his film seamlessly, drawing us into the story as he shows us in raw detail just how the weight on Ruby’s shoulders is pulling her down. The ensemble scenes are pacy and real, while the close-ups of Ruby, either at home, or alone in a crowd, really bring home how she is feeling. Both Higbee and Abdur-Rahman are aiming for as realistic a view as they can get in telling Ruby’s tale, commissioning the film to raise awareness of the challenges facing young carers every day in the UK. Partnering up with Newham Sixth Form College, offering mentoring and on-the-job training to a cohort of creative media students, while allowing them to become cast and crew for the film, also lends Ruby a measure of authenticity that would be hard to replicate in other circumstances. A definite feeling of docudrama or kitchen sink comes out from the watching of Ruby, and while the heady heights of Ken Loach or Mike Leigh are out of the reaches of most directors, they are at least aimed for here with Abdur-Rahman showing glimpses of a true filmmaker at work. With an important message to tell and a powerful central performance, Ruby captures the spirit of its characters and pulls no punches in delivering a lasting impression on its audience, as the raw truth of one story in amongst hundreds of thousands of others, is shared with us. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Film news - Noel Clarke promotes EE Rising Star Award. Find out more at UK Film Review. Noel Clarke promotes EE Rising Star Award Chris Olson Wednesday, March 31, 2021 at 9:30:41 AM GMT+1 AWARD-WINNING ACTOR NOEL CLARKE STARS IN LATEST ‘EE FILM STORY’ AHEAD OF THE 2021 EE BAFTA FILM AWARDS The only category at the EE BAFTAs voted for by the British public 2009 EE BAFTA Rising Star Award winner, Noel Clarke stars in the latest short film in the EE Film Stories series, released today. Reflecting on his life since taking home the “special” accolade twelve years ago, the film sees Clarke credit technology for helping him to build and stay connected to his network, with a cameo from former co-star Arnold Oceng. The EE Rising Star Award is now in its 16th year and is the only category at the EE BAFTA Film Awards to be voted for by the public. The public can vote for the 2021 nominees until midday on 9th April: Bukky Bakray, Conrad Khan, Kingsley Ben-Adir, Morfydd Clark and Ṣọpẹ́ Dìrísù at ee.co.uk/BAFTA The winner will be announced at the EE BAFTA Film Awards on Sunday 11th April 2021 on BBC One. Ahead of the 2021 EE British Academy Film Awards weekend across Saturday 10th and Sunday 11th April, title sponsor EE has debuted its latest EE Film Story, which stars 2009 EE Rising Star Award winner, actor, director, writer and producer, Noel Clarke. The short film is screened online just days before voting for the much-anticipated EE Rising Star Award closes at midday on 9th April 2021. As the only award voted for by the public, and widely recognised by the film industry for championing up-and-coming film actors, Clarke captured both the public’s interest and their vote 12 years ago for his starring role in Kidulthood. Following the win in 2009, Clarke joked that the Award was “Better than any other BAFTA”, crediting the “double whammy” of gaining support from both industry peers and the public. The short film begins with Clarke alone in the ODEON Luxe Leicester Square Cinema. As he reminisces on the moment, the viewer watches on as Clarke relives the moment where he took to the podium to accept the iconic BAFTA EE Rising Star Award in 2009. Clarke’s narration continues “I’ve dedicated my life to film making. I just knew that I wanted to be one of the people that I saw on the screen”. Upon leaving the cinema and exploring the London Southbank, Clarke recognises the support he has had throughout his career and praises his film-making network of friends and colleagues for helping him achieve his dreams. With many strings to his bow, Noel understands the importance of staying connected. Clarke credits technology, such as EE’s award-winning 5G network, for enhancing performances and productions in the film industry, noting that “being able to stay in touch and connect easily is essential”. As the viewer is welcomed into a luxurious café setting, we see Clarke on the latest Samsung Galaxy Z Fold2 5G making a video call and discussing a piece of work with fellow actor Arnold Oceng. We hear Clarke say: “I think it’s really important to give up-and-coming actors a platform and some recognition to set them on their way”. As the film comes to a close, viewers are left with a message from the award-winning actor: “To any young aspiring filmmakers or actors out there, my advice would be to work hard and have belief in yourself. Because if you don’t, who will?”. Since winning the EE Rising Star Award in 2009, Clarke has made over 20 feature films and has gone on to win two National Film Awards and a Screen Nation Award for Brotherhood, which saw Clarke write, direct and star in. Clarke will also be honoured at the 2021 EE BAFTA Film Awards Opening Night ceremony for the Outstanding British Contribution to Cinema Award on Saturday 10th April. Noel Clarke, actor, director, writer, producer and winner of 2009 EE Rising Star Award comments: “Winning the EE Rising Star Award was a catalyst moment in my career. It was an amazing honour, knowing that the award held such weight – the recognition of the industry, my peers and, of course, ultimately the public who showed up for me. Looking back at that moment on the big screen for the first time in a long time, I had to take a minute. I have so much respect for the 2021 nominees and can say with authority that good things are coming, as long as they continue to work hard”. Pete Jeavons, Marketing Communications Director at BT and EE, comments: “As our daily lives get busier and working-on-the-go becomes more normalised, it’s never been more important to have the tools to collaborate and connect, wherever you are. Technology continues to play a huge role in many of our lives and professions, and as Noel shares, the film industry is no different. It’s great to know that our network continues to keep the film industry connected through change, so that they can keep doing what they love – and in that, we continue to enjoy their talents”. Louise Robertson, Executive Director of Partnerships at BAFTA, comments: “As we enter our 24th year of partnership with EE, it is wonderful to see their continued support of the industry brought to life through the EE Film Stories series. Actor, director, writer and producer Noel Clarke is a huge talent and to see this snapshot of his journey to success, starting with his Rising Star win back in 2009, is both powerful and inspiring. In light of his amazing journey, it is no surprise that we will also be awarding Noel the Outstanding British Contribution to Cinema Award this year. I can’t wait to see what lies ahead for the brilliantly talented 2021 nominees.” The public-voted EE Rising Star Award honours up-and-coming performers who have demonstrated exceptional talent and ambition. The 2021 nominees are Bukky Bakray, Conrad Khan, Kingsley Ben-Adir, Morfydd Clark and Ṣọpẹ́ Dìrísù. Voting for the EE Rising Star Award 2021 is now open at ee.co.uk/BAFTA until 12PM, April 9th 2021, and the winner will be announced at the EE BAFTA Film Awards on Sunday 11th April 2021 on BBC One. 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Stella film review by UK film critic Patrick Foley. Starring Oli Fyne, Louis Hall, Gary Lewis directed by Jessica Fox. HOME | FILMS | REVIEWS Stella Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 22, 2023 Directed by: Jessica Fox Written by: Jessica Fox Starring: Oli Fyne, Louis Hall, Gary Lewis Pre-war tensions, scenic Scottish vistas and costume romance – it’s like Stella was made for Sunday afternoon viewing. Jessica Fox’s drama feature about a German-Jewish refugee is a serviceable and safe drama, even if it is a little too no-frill. In 1937, Stella (Oli Fyne), a Jewish refugee from Germany, seeks work in a Scottish county estate as she seeks word of family she was forced to leave behind. Unbeknownst to Stella, the estate is owned by the fascist Earl of Rig (Gary Lewis). Her English roots allow her to hide her true identity, and she sparks a growing relationship with local boy Will (Louis Hall). But as the Earl’s nazi sympathies become more pronounced, and as Stella is drawn into his plans to host Oswald Mosley (Rufus Wright) at the manor, she faces growing dangers and an urge to resist her new household. Stella is a step back in time to a sinister period of British history when sympathies with the now-reviled Nazi regime and fascist tide were shamefully prominent amongst some of the upper-class. Framed around a rather typical period-drama love story, it is at its most interesting when exploring why the aristocracy of the time felt a kinship with the Nazis – and how this impacted on the society they sought to shape. Many other contemporary dramas such as The Crown and Peaky Blinders (which also features Mosley as an antagonist) have explored similar territory, and Stella doesn’t really break new ground in terms of insights or commentary on what such attitudes say about Britain (either then or now). But it is entertaining and engaging to see Stella navigate the danger she finds herself surrounded by. The kindness offered by Lady Rig (Susan Vidler) despite the horrifying views of her husband, or the disturbing indoctrination of the village’s children that Stella feels a party to, are particularly memorable and affecting scenes. The film’s plot feels like more of a vehicle to explore the setting, than an engaging or necessary story in of itself. Stella’s story is set up to be one of an unavoidable and approaching conflict. Trapped in a job and home that could spell danger if her identity were to be uncovered, her desire to find her family feels like an inevitable crisis that follows the character throughout the film. Yet much of the threads that are raised surrounding this never come to fruition within the movie. The presence of an agent for the government in the house, and the seeming threat Mosley poses, are similarly left frustratingly unresolved. This may be to add intrigue to the film’s exploration of the fascist cause in Britain, or to add drama to the central relationship between Stella and Will. Oli Fyne and Louis Hall have a good level of chemistry together and make for a believable enough pairing. The relationship drama itself is filled with cliches – from naked swimming, a chase through the woods, a revelation about one of the pair’s identities that changes their perspective of each other – classic tropes that fans of this particular flavour of drama will be well acquainted with. Whether these present as a tired and derivative formula or a familiar and comforting blanket of blossoming romance really is down to the individual. Stella therefore really is tailor-made for cosy afternoon viewing – impressively accomplishing the job of transporting its audience back to a different time without overdoing the intensity of the period. Outside of some interesting framing of British fascism, it is largely forgettable – but undoubtably has an audience who will embrace its presentation of the pre-war era. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >