Canary film review by UK film critic Chris Buick. Starring Barron Leung, Andrew Hayden Kang, Kiyoshi Shishido, Thaddeus Newman, Matthew Mitchell Espinosa directed by Taka Tsubota. HOME | FILMS | REVIEWS Canary Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Feb 4, 2024 Directed by: Taka Tsubota Written by: Jasper Chen Starring: Barron Leung, Andrew Hayden Kang, Kiyoshi Shishido, Thaddeus Newman, Matthew Mitchell Espinosa Imagining one's self trying to survive in an apocalyptic world isn’t as hard as it used to be, there are more than enough films, shows, books and everything in between that can and have painted very horrific pictures of what form the end of the world might take. Short-film Canary , directed by Taka Tsubota and written by Jasper Chen, has now added itself to that canon but succeeds in making itself stand out with its tense, discomforting and above all else smart offering. Alan (Leung) is joining his cousin George (Shishido) and George’s friends for a vacation getaway to a cabin in the woods. George’s friends are, to use the most fitting description, despicable people. High schoolers with the mentality of much younger, they goad, humiliate and laugh at poor Alan all the way to the cabin. But it doesn’t stop there. When doomsday comes and they find themselves trapped and surrounded by terrifying creatures mentioned only briefly as “spiders”, Alan finds himself trapped with these cruel imbeciles, his only ally George having left for help long ago leaving Alan to the continued torment of the only other people he knows are alive and faced with having to decide which horror he would rather face. Canary really is a very enjoyable piece of work to watch, which is saying something when a film makes you feel as uncomfortable, tense and claustrophobic as this does. The idea and the setting for it are perfect, the really closed-in nature of that grim and disgusting cabin setting coupled with its dark and moody atmosphere really evokes that real sense of inescapability. There is no place for Alan to retreat to, no safe haven from monsters either outside or indeed inside the cabin and it all works to create this ever-closer-to-the edge-of-your-seat build-up to the finale where you feel trapped right there with him. And Canary also knows when it's better to leave a few things to the imagination. We all know the shark is scarier when we can’t see it and while again there are small hints of what the actual apocalyptic threat is here, the truly smart decision was to leave the what, the how and the why alone. Because the monsters roaming the woods outside were never likely to be as interesting, grotesque or scary as the three bullies Alan finds himself essentially captive to. Newman and Espinosa show off their deplorablility in their own right, throwing the barbs and verbal punches at Alan a fair amount themselves, but it’s Kang’s Nev that is the real monster here, a unique manifestation of the high-school bully you can’t ever run from, bored, angry and cruel and with Alan as the outlet, whom Leung makes so connecting and sympathetic that we’re practically screaming for him to take action. It’s great writing not just of plot but of well thought out characters that could easily have been caricaturistic, buoyed even more by equally applaudable performances. The ending might leave you hanging on a hook, but they do say always leave them wanting more and with the performances, writing, camerawork and pretty much everything else as good as it is, Canary is a commendable seventeen-minute accomplishment. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

The Last Of The Pretty Boys film review by UK film critic William Hemingway. Starring Alex Jackson, Jay Bloodsworth, Aidan Jackson directed by Dustin Schmidt. HOME | FILMS | REVIEWS The Last Of The Pretty Boys Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Aug 4, 2025 Directed by: Dustin Schmidt Written by: Dustin Schmidt Starring: Alex Jackson, Jay Bloodsworth, Aidan Jackson A rock star at the top of his game returns to Brisbane for a homecoming concert whilst exploring his past through a relationship with a journalist. Shock rocker, Lazarus Graves (Alex Jackson), is about to release his fourth album, ‘Lazarus Rising’ , and compound his fame as the dirtiest rock star on the scene. He’s the kind of rocker who likes to shave his eyebrows off so that he can paint on some thin news ones of his own, and his hair looks like several birds, squirrels, or any number of insects could comfortably make their homes there. His music is somewhere between Nick Cave and Trent Reznor and his drug taking/alcohol abuse matches anything they could do in their heyday, too. Lazarus is back in his hometown of Brisbane for a while, putting on a homecoming concert and doing all the usual press and media that comes with it. He has his team around him, somewhere, but mostly he dodges away from them to get high in the bathrooms of public buildings, and slips booze into his coffee as often as possible to waste away the in-between times. With him on his journey this time, however, is Laura Jonze (Bloodsworthy), a crack journalist from Rolling Stone who’s intent on getting the real scoop behind the jaded mask of The Last Of The Pretty Boys . Over the next two hours, Lazarus and Laura get to know each other better and delve into the murky music scene of downtown Brisbane. They spend some time in a few of the local night-spots, getting drunk, getting high, getting jiggy, that sort of thing, all the while exploring Lazarus’ past as Martin Lieberwitz (Aidan Jackson), the angry skinned teenager who created a sound and a look that would go on to propel him to the forefront of the stage and onto international stardom. As he spends more time back in the scene that gave birth to him, Lazarus faces more and more of the demons he has been running away from for all of his adult life. Shot in Brisbane, inside some of the actual clubs and bars of the city, and featuring many of the local bands who have graced the stages of these underground music factories, writer/director Dustin Schmidt uses his local knowledge to try and show off his hometown to best effect. A lot of the secondary photography and establishing shots are of recognisable Brisbane landmarks, and the audience gets a tour of it all from Lazarus’ point of view as he revisits the places of his youth. These then become the settings for a music video or two, as Lazarus and his band rock out all over the town to the sounds of real homegrown bands. It’s no surprise then that the music in this film f***ing rocks the whole way through. There’s barely a moment where we don’t have some song playing in the background, or in the foreground, or on stage, or in a music video, and even in the flashbacks we’re there to listen to a song that helped make Lazarus big. The music helps carry the story and slots right into the visuals that we see on screen, creating a synergy and an impact that intensifies the feeling of what’s being expressed. Sadly, this doesn’t extend to the rest of the audio, and a lot of the dialogue is patchy and faint, or distant and tinny, or it gets lost in the mix between audio and music. There are times where the audio cuts out completely, and times where we know the audio and the visual are not matched, and it hurts what is otherwise a great sounding film. The photography could similarly use a boost in production, relying on natural light in most scenes and not always finding the right balance between on-screen realism and artful direction. Let’s be clear, The Last Of The Pretty Boys is real jumpers-for-goalposts filmmaking. This is an independent filmmaker making independent film for independent film money, and it shows. There’s a great, dedicated, central performance from Alex Jackson, but he’s not an actor, and neither is anybody else mixed up with this film. Everyone is there doing this for the love of film, or the love of metal, or the love of Brisbane, or the love of the camera, but everyone is there giving it their all and having a great time while they do it. There’s real heart to The Last Of The Pretty Boys , despite the cheerful nihilism of its main character, and that comes through in spades from the community behind the film, who you can see are backing it to the hilt. It’s great that a lot of media and merchandise got made especially for the film and that Lazarus Graves t-shirts and album covers exist in the real world, because who doesn’t need a dishevelled anti-hero on their wall these days – someone who can still preach the age-old mantra of Sex, Drugs, and Rock and Roll. The Last Of The Pretty Boys may come with a Parental Advisory for explicit content, but peer behind the matted hair and dusky eyeshadow, and you’ll find a film with a lot of positivity in its veins. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Boy and the Heron film review by UK film critic Hope Madden. Starring Soma Santoki,MasakiSuda,Takuya Kimura directed by Hayao Miyazaki. HOME | FILMS | REVIEWS The Boy and the Heron Film Review average rating is 5 out of 5 Critic: Hope Madden | Posted on: Dec 7, 2023 Directed by: Hayao Miyazaki Written by: Hayao Miyazaki Starring: Soma Santoki,MasakiSuda,Takuya Kimura Remember when Hayao Miyazaki said he was retiring from filmmaking? And we thought the sublime The Wind Rises was his last feature? Well, the animation master delivers the best Christmas gift this year with the lovely, likely swan song, The Boy and the Heron. More meditative than his early work, but more whimsical than The Wind Rises , Miyazaki’s latest follows Mahito through a turbulent time in his life. WWII rages, and Mahito recently lost his mother. His father, who runs a factory aiding in the war effort, relocates to the countryside where he’s married his late wife’s younger sister, Natsuko. This new house brings with it something of the supernatural. Miyazaki taps some of the same wonderous ideas that fed Spirited Away and My Neighbor Totoro – two of his most beloved films – but The Boy and the Heron feels more like a farewell than an invitation. Mahito is lured into an upside-down world in search of his stepmother. No one, absolutely no one, does an upside-down world as well as Hayao Miyazaki. Floating happy faced blobs, an army of hungry parakeets, even a pirate! Characteristically gorgeous, the film combines the spectacle of Spirited Away with the solemnity of The Wind Rises . Joe Hisaishi’s plaintive score never overwhelms but quietly emphasizes the sense of loss that permeates the movie. And though the painterly magic we’ve come to expect from the unparalleled filmmaker is on display in every frame, the storytelling this time is openly wistful. The Boy and the Heron may represent Mahito’s coming of age, but as he turns his back on the imaginative world he leaves behind, it’s hard not to feel as if Miyazaki is likewise waving goodbye. Like Johnny Cash’s “American IV: The Man Comes Around”, Leonard Cohen’s “You Want It Darker” and David Bowie’s “Blackstar”, The Boy and the Heron represents an artist without peer delivering, lyric by lyric, an outright goodbye to all he’s built in his lifetime of artistry. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation, World Cinema < All Reviews Next Film Review >

Weightless Words film review by UK film critic Jason Knight. Starring Rachael Holbrook, Chris Braden, Missi Chappell directed by Amy Munt. HOME | FILMS | REVIEWS Weightless Words Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 6, 2024 Directed by: Amy Munt Written by: Amy Munt Starring: Rachael Holbrook, Chris Braden, Missi Chappell A short drama written and directed by Amy Munt and starring Rachael Holbrook, Chris Braden and Missi Chappell. Terri (Holbrook) is in a bad position. She works in the creative media industry and lives with her long-time partner, Lance (Braden). Unfortunately, during the last few months, Lance has been unemployed and just stays at home, slacking while Terri travels to London for her job. Now, this situation has begun to take its toll on her and Lance refuses to admit that he is doing anything wrong. For support, she turns to her friend, Perry (Chappell), who she hasn't seen for years because she was constantly spending time with her boyfriend. Eventually, Terri must decide whether there is hope in her current relationship or whether the time has come to end it. The screenplay does a great job in developing drama and character development. Focusing on a romantic relationship that is on the edge, the nonlinear narrative consists of scenes that involve the couple's troubled situation, flashbacks revealing their former happiness together and scenes where Terri discusses her issues with Perry. The result is many scenes of confrontation, emotional moments and some amount of joy that can be found in the flashbacks and the dramatic music by Ethan O'Mahony adds more quality to the viewing experience. Although the film effectively explores themes involving relationships, support and friendship, it could be argued that it could had been more effective if the duration was feature-length, significantly more than forty-five minutes. That way, perhaps the story could had also gradually revealed how the couple's relationship deteriorated over time and how Terri was separated from Perry, making things even more dramatic and having more depth. The film benefits significantly from the strong performances from the three leads. Terri is a hard-working and good-natured person who cares deeply for Lance, however she has had enough of him not doing his part for their relationship. Following failed attempts to become a writer, Lance seems to have given up on everything and believes that he is doing nothing wrong. The trouble that his stubborness and selfishness creates in the household is the main conflict of the story, in some ways making him the antagonist. As Terri's best friend, Perry sees things clearly, understanding that Lance is no good and that Terri should end things with him. Focusing now on the themes, the majority involves themes that tend to deal with troubled relationships, those being emotional deterioration, lack of communication, refusal to acknowledge responsibilities and errors and lack of honesty. On a more positive note, the film also looks into the significance of friendship and support. This is a poignant story about a relationship that appears to be coming to an end. The strong acting and well-written screenplay create a great deal of drama. The main message seems to be that sometimes toxic relationships reach a point where they need to end. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Odyssey film review by UK film critic William Curzon. Starring Polly Maberly, Kellie Shirley, Mikael Persbrandt directed by Gerard Johnson. HOME | FILMS | REVIEWS Odyssey Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Nov 6, 2025 Directed by: Gerard Johnson Written by: Austin Collings, Gerard Johnson Starring: Polly Maberly, Kellie Shirley, Mikael Persbrandt Odyssey, not to be mistaken with the upcoming Christopher Nolan adaptation of Homer’s The Odyssey, follows Natasha Flynn (Polly Maberly), a drug-fueled London estate agent, who hides her self-inflicted problems behind her work. When loan sharks offer cash to hide a kidnapped agent, she is dragged into the grimy underworld of London, leading to a bloody showdown. Following a riveting central performance from Natasha Flynn, the narrative is divided into days of the week as it follows a 9-to-5 in real estate, reminiscent of Uncut Gems (2019), as it tracks a deeply flawed protagonist scheming their way through an anxiety-inducing game of settling debts. You are immediately thrust into a character-driven exploration of greed, as the darkly comedic undertone and gritty backdrop of London suitably accompany the tone throughout the first act. While real estate isn't the most compelling premise, the piece does a solid job of genuinely investing the viewer, even when it's challenging to sympathise with Natasha’s insufferable behaviour towards others. Matt Johnson’s synth musical score works incredibly well with the sleek and stylish look of the film; however, the washed-out colour grading is a distracting choice that becomes a detriment to the solid framing and blocking. There are interesting and stylish ideas at play as it makes fantastic use of its limited budget with neon-drenched nightclub sequences edited erratically from the point of view of Natasha in a drug-induced state. An incredibly visceral formal decision, as Gerard Johnson’s direction is urgent and engaging, exploring the streets of London with its primary theme of excess. The inclusion of a split diopter shot is another incredible choice that makes the piece stand out in its technical prowess. After an appealing first act, the narrative aimlessly meanders into a tonal redirect with the filmmakers seemingly unsure of where to take the story from there. Is it a real estate drama or a crime thriller? A tighter and focused plot primarily set around Natasha and the real estate agency would’ve kept the piece far more compelling, as the stakes feel less significant when it jarringly switches to an action-oriented experience. The use of gore feels entirely forced for the sake of shock value, and the narrative loses its edge thanks to a plethora of bland supporting players, turning into an action film in vain of the John Wick series. While the action sequences are indeed well-choreographed and framed, it is a baffling choice and comes out of nowhere. The conclusion also feels rushed and monotonous, almost ruining the entire experience and making the prolonged set-up feel ultimately unearned and pointless. A further exploration into Natasha’s past life would have made her characterisation more profound and given the piece the thematic flair to deepen the viewers’ emotional resonance towards her. It is simply challenging to truly stay on board with her horrid personality as the narrative gets deeper into the third act. A prolonged runtime really doesn't help the pacing issues within the second half, and trimming the piece down to a tighter runtime could have made the final cut much more engaging. Odyssey is a mixed bag of some astounding ideas on paper; however, the execution is uneven and leads to a jarring tonal shift and identity crisis in its genre sensibilities. It's competently shot and edited, and led by a terrific performance from Polly Maberly. Sadly, the final film is a waste of the incredible talent involved and an unfortunate misstep in Gerard Johnson’s filmography thus far. Icon Film Distribution presents Odyssey in UK cinemas from 7 November 2025. Buy UKFR Banner Space About the Film Critic William Curzon Theatrical Release < All Reviews Next Film Review >

Back of the Net film review by UK film critic Jason Knight. Starring Ella Dorman-Gajic, Maureen Casey, Lucy Jane Rae, Muki Zubis, Tom Goodman-Hill directed by Klara Kaliger. HOME | FILMS | REVIEWS Back of the Net Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 3, 2026 Directed by: Klara Kaliger Written by: Ella Dorman-Gajic Starring: Ella Dorman-Gajic, Maureen Casey, Lucy Jane Rae, Muki Zubis, Tom Goodman-Hill Executive produced by award-winning football journalist and historian, Jean Williams, this short sports drama was directed by Klara Kaliger, written by Ella Dorman-Gajic and starring herself, Maureen Casey, Lucy Jane Rae, Muki Zubis and Emmy-nominated Tom Goodman-Hill. The story follows Maya (Dorman-Gajic), a youngster who is a dedicated footballer and lives with her grandmother, Maggie (Casey). One day, she and her teammates are informed by their coach, Sam (Zubis) that a scout will be attending their next game and some of them might get picked for trials. Excited by the news, Maya works hard in order to get ready for the big day, while simultaneously trying to take good care of granny. In certain ways, this film has two storylines: as Maya struggles to balance her athletic aspirations with her home life, the narrative develops two plots, each with its own conflicts. On the football field, Maya's trainer is frustrated by her constant lateness at training sessions, while at home, Maya maintains a loving relationship with her grandmother, who appears to be suffering from dementia, and tries hard to look after her, yet, even there she is unable to be punctual, much to the dissatisfaction of her sister, Connie (Rae), who works as a carer. On top of all this, poor Maya also has an unreliable father (Goodman-Hill). Plenty of drama and conflict take place, along with a tense climax. As expected, since this is a story that involves football, there are plenty of scenes of characters engaging in this sport and they are well-filmed, especially during the montage sequences. The music stands out, with composer Dominic Roocroft creating interesting melodies that include sounds resembling clapping. Dorman-Gajic leads the film well and her role goes through significant character development. Maya is a well-meaning person dreams of becoming a professional footballer and she finds herself torn between achieving that and being loyal to supporting her family. Both Sam and Connie have roles that are quite similar, as each of them plays a character that tries to encourage Maya to be more responsible, whether as a strict instructor or as an overworked sibling. Casey is quite dramatic as an elderly woman and former footballer who is probably suffering from dementia and has a mental health that is gradually deteriorating. Having a passion plays a key part in this story, having a passion for football and a passion for sports in general. The screenplay also acknowldges the significance of support and understanding priorities and responsibilities. Maya's dad represents negligence, a self-centered and irresposible man who refuses to acknowledge other people's needs. The film ends with an inspirational quote by English professional footballer, Leah Williamson and with this in mind and the fact that the main character is a young woman attempting to make it big in football, a sport populated primarily by men, it could be argued that this film promotes feminism. Furthermore, it could be said that this story is anti-male to a degree, as Maya's father is the sole male character and the only one who is presented as having only negative features, most notably irresponsibility. A sports drama and a family drama. A moving film that encourages people to pursue aspirations and be reliable and supportive. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Chicken Coop: A Baby Chick Bawkumentary film review by UK film critic Jason Knight. Starring Sawyer Ique directed by Sawyer Ique. HOME | FILMS | REVIEWS The Chicken Coop: A Baby Chick Bawkumentary Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 13, 2022 Directed by: Sawyer Ique Written by: Sawyer Ique Starring: Sawyer Ique A short animated film about chickens. Although it operates like a documentary (or maybe mockumentary would be more appropriate), this one-minute-long cartoon also has a bit of a narrative as well. Basically, it focuses on baby chickens misbehaving while the adult chickens are away. Texts appear that explain how things are normally done regarding baby chickens being fed by their parents and how sometimes, the little ones can be mischievous when they look for food. The texts are accompanied by animation that is related to the words. The animation is rather cartoonish, with the chicken characters and environments looking rather simple, without much detail, which is not a bad thing as it is still pleasing to the eye and the bright colours are a plus. The texts consist of black letters that appear and disappear with style. Regarding the audio, there are cool sound effects throughout that add to the fun. The music consists primarily of an enjoyable piano melody. During its one minute duration, the film contains many scenes and texts and everything moves quite quickly, for instance, a scene can last for a couple of seconds and so does the appearance of the texts. Taking everything on board might be a challenge during the first viewing and a couple additional viewings could be required if one is to understand the show from start to finish. Things may have been better if the pace was slower. Although it runs fast, this cartoon does not fail to please with the animation, sound effects and score. Viewers might think that it could have been better if it was longer, nevertheless, this animated short delivers an amusing experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Animation < All Reviews Next Film Review >

Dinner Party N1 film review by UK film critic James Learoyd. Starring Pierro Niel-Mee, Rhea Norwood, Freddie Thorp directed by Tom Duthie. HOME | FILMS | REVIEWS Dinner Party N1 Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Sep 20, 2024 Directed by: Tom Duthie Written by: Tom Duthie Starring: Pierro Niel-Mee, Rhea Norwood, Freddie Thorp The first thing you’ll notice about Tom Duthie’s terrific new science-fiction drama Dinner Party N1 is its engrossing, subjective direction. There’s an immediacy to the storytelling which skilfully hooks in the viewer from the outset, and guides us through its distressing twists and turns. As we follow our awkward protagonist through his irksome dinner party interactions, one gets the sense that something isn’t right. Yet the way in which the true nature of the film’s world is revealed to us is so subtle, behavioural, and intelligently-paced that we wholeheartedly believe in the reality we’re witnessing. Because the emotions present are so easy to empathise with – that of social anxiety and alienation – it means that as we delve into big genre concepts, the audience is completely invested. There are many technical reasons why the piece is successful; - but it’s quite astounding that the movie works so well on a visceral level of engagement and suspense. And you could even argue that this all starts with the performances... A masterstroke of this movie is the casting of performers who are able to treat high-concept or expositional dialogue the same way as they treat grounded, conversational dialogue. All the acting is truly great; it allows the spectator to believe in the scenario, as well as fully comprehend the amusing (and often disturbing) dynamics at play. Each character is written with a clear purpose in mind, which is to operate on two different levels simultaneously. We need to find the cringeworthy chat real and relatable, whilst also buying into the later sci-fi reveal, which should recontextualise the hostile sensibilities seen previously. The film not only pulls this off, but does so smoothly and pleasingly. Similar to a Who's Afraid of Virginia Woolf type narrative, the tension builds and builds until all the emotions come flying out. But what makes this picture different is how it uses its sci-fi concepts to layer the story with deeper and more politically provocative meaning. The manner in which music, sound, and aesthetics in general are implemented is practically perfect. It’s just a fabulously well-made movie, whose cinematography and design have clearly been constructed with great thought and care. These formal strengths complement the content of the piece, which is even more interesting. For instance, the story’s climax is gruesome and shocking in all the best ways, and is so clearly an example of technique and story working perfectly in tandem. Arguably, very few low-budget shorts hold the power to viscerally stun its audience with this kind of crescendo of suspense, yet Dinner Party N1 makes it look easy. This short film holds your attention from start to end due to its story, its construction, and its outstanding performances. The best science-fiction reflects fully the state of the world today, and this ambitious project accomplishes saying a hell of a lot without being too obvious. The piece is destined to reach a wide audience since it works both as a work of realism and as a work of genre; and that’s a sign of expert movie-making. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Sophie Price writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Sophie Price Sophie is a writer for UK Film Review. Providing film reviews on a range of movies. Read Latest Film Reviews Who's There? Read Film Reviews Sophie Price

The Smashing Machine film review by UK film critic Jack Salvadori. Starring Dwayne Johnson, Emily Blunt directed by Benny Safdie. HOME | FILMS | REVIEWS The Smashing Machine Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Sep 3, 2025 Directed by: Benny Safdie Written by: Benny Safdie Starring: Dwayne Johnson, Emily Blunt Benny Safdie flies solo in his first feature without his brother, Josh, and I’ll admit I braced myself for the post-Coen effect: the couple splits, the magic fizzles, and suddenly you’re watching Drive Away Dolls . But fear not: Safdie proves himself here, holding onto the raw, electric vision that made Good Time and Uncut Gems so propulsive, while giving it a new muscular tenderness. On paper, it’s a sports biopic about professional wrestler Mark Kerr. In practice, it’s something richer: an honest character study, always observational rather than exploitational, and mercifully free of the genre’s usual sentimental sludge. And that’s a deliberate choice since Kerr, still alive and relatively in shape, doesn’t even carry a particularly distinguished, nor dramatic story. Safdie resists the urge to chart the wrestler’s entire life or moralise about his demons. Instead, he just lets us watch: this muscle mountain making a perfectly calibrated milkshake, or stumbling under Tokyo’s neon glow, looking like a lost Godzilla. Kerr is a paradox, a gentle giant who likes to win, but fights with animal instinct in the ring. The mundane becomes cinematic, and the spectacle of violence is countered by the quiet grace of a man who treats fighting like a vocational art form, as disciplined as ballet. Yet the film never glamorises the sport itself, wisely treating Kerr’s love of the craft as just another bruise in his battered identity. And then there’s Dwayne Johnson. Safdie’s casting choice feels cosmically inevitable, as if fate had been crouched in the corner, waiting for the bell to ring on this matchup. Because Johnson was born to play Kerr, finally stepping into a film with a script that doesn’t just use his bulk, but his humanity. He moves through the part with an unforced vulnerability, as if he’s been waiting years to shed the superhero armour and just… feel things. Flashback to 2001: you’re watching The Mummy Returns and The Rock emerges as the glitchy Scorpion King, in full CGI galore. The idea that 25 years later he’d be chasing an Oscar would’ve sounded like fantasy, even for Hollywood. The writing is equally sharp, calibrating action and stillness with precision, knowing when to explode and when to let silences do the heavy lifting. There’s something almost thrilling in watching a character do something trivial and still feel the tension coil around the room. With The Smashing Machine , Benny Safdie shows he can step into the ring alone and come out with his hands raised. And Dwayne Johnson finally gets to prove that even (The) Rock can cry. Buy UKFR Banner Space About the Film Critic Jack Salvadori Theatrical Release < All Reviews Next Film Review >

Existere film review by UK film critic Swati Verma. Starring Alexandre David Lejuez directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Existere Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 29, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Alexandre David Lejuez The title of the short film-"Existere "has connotations of existence, life. It gives the audience an idea about the subject matter of the short film. The writer-director Alexandre David Lejuez opens the cinematic piece with a quote about life by Abraham Lincoln to get the viewers to think about the creative piece from the very beginning of the movie. The genre of the film is Fantasy where Alexandre builds the script to explore the concept of a few sections of life flashing before our eyes at the time of death. The white font of the title is used to indicate the peaceful state of mind and the red hue around suggests that the brain is preoccupied with the thought of the theory the makers want us to consider. The combination of yellow and red colour palette, lighting, set design, costume design along with background music complements the topic of the film. The camera tracks the protagonist followed by a mix of mid and close-up shots to capture every reaction of the main lead in the movie. The narrative of the film is from the point of view of Angelo who becomes a medium through which the director gets a chance to express his attraction towards the afterlife, souls, and the hidden memories related to it. The storyline of the movie is about a man Angelo in his thirties who sees a few fragments of his life flashing before his eyes in a strange dream. It would be interesting to find out whether he can find answers to the question this weird dream has compelled him to ask? Alexandre David Lejuez steps into the actors shoes himself for this movie. He makes the one-room drama more intriguing for the audience by using the flashes and editing skills to showcase the dreams Angelo is experiencing. He wants the audience to relate to the central character. The director wants the viewers to be convinced about his experiment. The audience feels that they are an active part of Angelo's journey through the abstract dream but whether the director is successful with influencing the viewers would be known later. There are no dialogues in the film to intensify the impression of traveling into the parallel world created by the director along with the creative team. The director Lejuez has given the film an open- ended closure so that it can be interpreted according to the understanding of the crucial aspect of life at an individual level. The theme the film is highlighting cannot mean the same for everyone and can vary depending on their experiences. This short film is a sense of involvement that consumes the audience fully. It talks about the importance of gaining knowledge about what happens after death? By achieving this insight struggles of losing a loved one at hands of death can be a little less painful. Existere attempts to tell us that the assumptions made in the film can be the harsh reality of life that no human can deny. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Nothing To It film review by UK film critic Jason Knight. Starring Paul Anthony Cassidy, Jack McCallum, Barbara Spevack, Gerard Rogan directed by Barbara Spevack. HOME | FILMS | REVIEWS Nothing To It Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 5, 2024 Directed by: Barbara Spevack Written by: Barbara Spevack, William Shakespeare Starring: Paul Anthony Cassidy, Jack McCallum, Barbara Spevack, Gerard Rogan A couple of people are trying to convince an actor to kiss another man for a Shakespearean play. Two actors are on a theatre stage, doing rehearsals for Romeo and Juliet by acclaimed English playwright and poet William Shakespeare. However, there is a catch: Juliet is played by a man. The actor playing Juliet is Dane (Cassidy) and Romeo is Rio (McCallum) and the rehearsal is being supervised by the director Taz (Spevack). Things are going well, that is until they get to the part where the two leads kiss. Dane is not comfortable with that action and repeatedly refuses to perform it. Can he be persuaded? A short Shakespeare-themed comedy that centers on the idea that heterosexual men believe that kissing another man (on the lips) is embarrassing and Dane certainly shows that as he behaves like a stubborn little boy, refusing to perform the ''daring'' act. Rio and Taz try to make him understand that kissing for a role does not mean anything because it is just acting. And that seems to be a point that the film is trying to make: that acting is just acting and the actions done by a person while they are acting do not have any significance because they are ''not real'', they are just pretending. This light-hearted film benefits greatly by the amusing performances, especially by Cassidy. Watching him on stage, dressed in period female clothing (wig included) and reciting words from Shakespeare's play with a quirky and childish voice (ostensibly attempting to sound like a woman) will most likely make the viewer grin. McCallum and Spevack add significantly to the amusement, with the former being a cheeky actor and the latter being a sweet and kind theatre director. Acknowledgement goes to the period costumes, a fine work by Bev Sweeney and the make-up by Nike Johnston also looks great. The very first shot is to be recognised. The film begins with a wonderful poster image of Romeo and Juliet by English Victorian painter and illustrator Frank Dicksee and it was an excellent choice. The choice of music during the beginning and the closing credits was wise as it creates a kind of feeling that makes the viewer think of the time of Shakespeare. Generally, this short is three-and-a-half minutes of entertainment. From another perspective, it explores the theory that sometimes people think too much of things and when they actually do them, it tends to be less significant than they thought. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >