Lady Governess film review by UK film critic Joe Beck. Starring Lucia Goya Betts directed by Tito Wiley . HOME | FILMS | REVIEWS Lady Governess Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Nov 17, 2023 Directed by: Tito Wiley Written by: Tito Wiley Starring: Lucia Goya Betts You hear a lot of people talking about a crisis in the film industry. That is something which is, to an extent true, with the recent strikes, plummeting box office numbers and the struggle for refreshing auteurs to emerge and be given the funding to create successful original films. Yet, ‘Lady Governess’ points to another consensus, that the film industry and creativity is alive and well, or at the very least it should be, with potential for a wonderful, exciting future, however, it is consistently undermined by studio heads and execs, who, in the process of prioritising money over creativity, instead stifle their own profits and the industry as a whole. ‘Lady Governess’ points to a brighter future for the very point that it is a fresh film, showing an abundance of creativity made by someone of just sixteen years of age, writer and director Tito Wiley. For someone so young to show both such a keen interest in filmmaking, and such skill in the craft at such an early stage adds to the excitement of ‘Lady Governess’, it’s watching someone with the potential to be an extremely successful auteur finding his feet in the craft with nothing but his passion and talent to work with. The film itself tells the story of a mysterious young widow, played by Wiley’s sister Lucia Goya Betts, whose miserable, isolated existence is changed when she hires a housekeeper, named Karen, and also played by Lucia Goya Betts, to keep her company. The widow has lived largely in isolation - leaving her house only for the most necessary tasks - for the past seven years, and believes that living with someone else will help bring her back into the world again at last. Unfortunately for her, the housekeeper whom she has hired is mentally psychotic, as should perhaps have been obvious by her speaking with the most outdated idioms. Her incursions into the widow’s life grow as they live together, becoming obsessive and haunting both her every living, and every sleeping moment. As a director Tito Wiley excels, especially on such a shoestring budget, and being limited to filming inside his home (though admittedly it is a home perfect for filmmaking) and whilst on holiday in Spain. He shows a creativity, and awareness of filmmaking techniques beyond his years, from the classic dutch angle, to the inventivity used to film the number of scenes featuring both characters played his sister. Even if the writing is at times a little stilted and the ideas are never truly cohesive, the freshness of the story should still be applauded, as should the very fact that a sixteen year old has the courage to both write a script and then follow through with it. Other technical aspects, are remarkably well done given the limited budget, and another sign of early filmmaking prowess. ‘Lady Governess’ is a remarkable film, and for more than purely the age of its creator. It’s remarkable in the invention and creativity which it demonstrates on a shoestring budget and for the approach it takes with the story. It’s remarkable for the talent demonstrated by Lucia Goya Betts in her dual role, and for the talent of Tito Wiley in his directing, but moreover, it's remarkable how fresh the story feels, and how impressive that is from a developing auteur. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

To The Moon film review by UK film critic Jason Knight. Starring Gaith Saleh, Ali Saleh, Duggal Ram, Leah Baskaran directed by Adil Ladha. HOME | FILMS | REVIEWS To The Moon Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 24, 2021 Directed by: Adil Ladha Written by: Adil Ladha Starring: Gaith Saleh, Ali Saleh, Duggal Ram, Leah Baskaran A young boy who dreams of going to the moon uses his imagination in order to escape from his unstable household. The story of this short film takes place on the 20th of July 1969, which was the day American astronauts Neil Armstrong and Buzz Aldrin became the first people ever to land on the Moon. Nish is a little boy sitting outside his home, wearing a handmade astronaut helmet and listening to the mission taking place through a radio. He then goes home, where his father ignores him and his brother. The boy then proceeds to watch the spectacular events on television and when an argument begins between his parents, he enters his fantasy world, where he imagines that he is an astronaut who is landing on the Moon. The film was made in a way that sees the world through the eyes of the child and the narrative contains drama and things get quite upsetting when the couple argue. The atmosphere suddenly changes when the boy abandons the real world and switches to his fantasy. The fantasy section is arguably the best part of the film thanks to all the elements present. The child imagines that he is inside a spaceship, travelling through space and the mise-en-scene consists of a spaceship and controls that are made out of cardboard and a miniature Earth. All these look like they were made by children. The use of lighting is rather creative during this scene and the shaky camera gives the impression that the cardboard spaceship is actually moving. The imagination scene is quite a mesmerising and enjoyable ride. The radio and television in the film give the impression that they were made during the sixties. The performances are good. Gaith is convincing as a boy filled with enthusiasm and imagination about the wonders of travelling through space. Ram is the strict and serious father and Baskaran is the mother who is kind and gentle to her two sons. The voice of the radio presenter covering the space event is heard almost throughout the entire film and the music by Jodie Grayer is beautiful, emotional and dramatic and during the dream part it sounds rather adventurous. To The Moon is an interesting and admirable achievement that looks into the life of a young boy and explores his dreams. It also pays homage to the 1969 Moon Landing and encourages people to follow their goals. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Arborist film review by UK film critic Patrick Foley. Starring Catrin Stewart, Rhodri Meilir, Nicholas McGaughey directed by Clare Sturges. HOME | FILMS | REVIEWS The Arborist Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 18, 2021 Directed by: Clare Sturges Written by: Clare Sturges Starring: Catrin Stewart, Rhodri Meilir, Nicholas McGaughey The torment, anguish and lingering pain of grief, as well as the elusive relief of acceptance are at the heart of The Arborist, a short, personal story from director Clare Sturges that mixes gorgeous cinematography with raw emotion. When tree surgeon Laura (Catrin Stewart) discovers that her sister Eloise’s memorial tree is dying, she heads to her childhood home to try and make sense of the overwhelming sense of loss she once again feels. There, she is reunited with estranged older brother Joe (Rhodri Meilir), who faces his own struggles relating to their shared pain. In the aftermath of their family tragedy, Laura looks for solace and reconciliation. The Arborist is a short film which beautifully portrays sorrow, and the complex and difficult emotions people face in the aftermath of unimaginable loss. As a semi-autobiographical piece, the story is imbued with the personal experiences of director Clare Sturges, who masterfully translates her own grief on-screen in a manner which absorbs viewers into protagonist Laura’s story. The show-don’t-tell approach of the majority of the film says as much as words ever could, and clear care is taken to ensure these scenes never become hokey or cliched. The personal, intimate scenes of Laura piecing together her old life at home contrast with the atmospheric, eery outdoor scenes in the forests. Both are equally impressive and stand out as highlights of the film – to the great credit of Sturges and director of photography Christopher Jacobi. Laura piecing together letter block toys she and her twin would play with is a simple, yet devastating bit of visual storytelling. Whilst the way in which the trees themselves, particularly the memorial tree for Eloise, feel like characters in their own right is another impressive demonstration of the film’s direction – increasing the sense of solitude and isolation. The film’s takes a thematic journey which follows the natural development of its characters. From portraying the complex and counter-productive actions we take when we suffer, the film proceeds to highlight the necessary, relieving and sometimes illogical route we all must take to accept life’s harshest developments, and come to terms with even the worst events in our lives if we are to move past them. Laura and Joe’s reunion progresses from almost antagonistic, to a place audiences will sense they can begin to rebuild their lives, and their family from. It is a truly human journey, and one the film earns by having raw emotion at its forefront. The performances of Catrin Stewart and Rhodri Meilir anchor the film, both displaying shared devastation yet resulting in very different methods of coping. Stewart’s Laura almost inquisitively pursues her own grief when the loss of her sister’s tree brings her pain to the boil. Meanwhile Meilir’s Joe is mercurial, and presents a challenge for viewers as to how to react to him. This is a brilliantly engaging characterisation that shows everyone handles grief in their own way – as his seeming passiveness is clearly shown to be a coping mechanism. The Arborist is a worthy and artistic portrayal of grief that is elevated by the vision of its director, and the solemn yet visceral performances of its two stars. It is a film packed with heavy emotion, yet strangely therapeutic despite a tragic overtone. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Talk to Me film review by UK film critic George Wolf. Starring Sophie Wilde, Alexandre Jensen directed by Danny Philippou, Michael Philippou. HOME | FILMS | REVIEWS Talk to Me Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 27, 2023 Directed by: Danny Philippou, Michael Philippou Written by: Danny Philippou, BillHinzman, Daley Pearson Starring: Sophie Wilde, Alexandre Jensen Talk to Me doesn’t waste much time before escalating the conversation. And while the shocking prologue isn’t the only reminder you’ll get of similarly structured films such as The Ring or It Follows , Australian brothers Danny and Michael Philippou carve out a timely teen horror update that is often chilling and consistently engaging. BFFs Mia (Sophie Wilde from The Portable Door ) and Jade (Alexandra Jensen) are eager to hang out with the edgy kids at the local parties. And lately, that means getting in the room with Joss (Chris Alosio) and Hayley (Zoe Terakes), because they let you talk to the hand. Where did Joss get it? Was it the hand of a satanist, or maybe a long dead medium? Details are sketchy. But if you’re game, you grip it, say “talk to me” and take the ride. And everyone else, of course, films the experience. The Philippou brothers (both direct, Danny also co-writes) worked in TV, YouTube videos and on the camera department for The Babadook before this first feature, and it’s a debut that shines with a confident vision. We’ve seen some of these threads before, but this fresh take is able to capture the current zeitgeist without any desperation for hipness. Viral fame isn’t the lure here, it’s the high of glimpsing the other side and the enlightened feeling it gives you. But for Mia, it’s also the gateway to a very personal journey that could answer questions from her past while saving the life of Jade’s little brother Riley (Joe Bird). The script smartly stays a step or two ahead of contrivance, and is able to find some impressive psychological depth as it touches on grief, trauma, and the anxieties of leaving childhood behind. Plus, come on, the creepy “embalmed hand” gimmick is effective from the start. It gives the Philippou brothers a great anchor for building an aesthetic of ethereal dread while they score time and again with wonderful practical effects. This is R-rated horror, refreshingly light on the jump scares and false alarms, leaning instead on a parade of visual images that can truly terrify. And even when we don’t see what the game players are seeing, the fact that we’ve already had a hellish glimpse feeds a devilishly fun game within our own imaginations. Talk to Me somehow feels familiar, but uncomfortably so. It’s a horror show always eager to deface the rulebook, and leave you with a wonderfully organic sign that this game is not over. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Space Rodent film review by UK film critic Patrick Foley. Starring David Minard, Robert Carrera, Leah Bernard directed by Jason Morris. HOME | FILMS | REVIEWS The Space Rodent Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 7, 2025 Directed by: Jason Morris Written by: Jason Morris, Robert Carrera Starring: David Minard, Robert Carrera, Leah Bernard Irreverant sci-fi comedy The Space Rodent has a can-do charm to it that will win over even sceptical viewers – which admittedly included myself at first. This story of four friends who encounter giant rats from another galaxy never takes itself too seriously, and generates some overcomes some early hiccups and a slower start to bring the laughs. Best friends and fellow layabouts Mac (Robert Carrera) and Dean (David Minard) hang out at home whilst their partners Amanda (Leah Barnard) and Skylar (Shelby Broadnax) head out on a drive. But trick or treaters are the least of their worries when giant monstrous rats from out of space travel through a wormhole in search of a new home. After a gruesome home invasion, the gang must gather together and use whatever weapons they can find to fight off the invasion. The Space Rodent is a jambalaya of sci-fi and buddy comedies galore. There are hints of Always Sunny in Philadelphia, Shaun of the Dead, and Red Dwarf in its humour and the application of this in a sci-fi setting, with some solid observational comedy to boot. Mac and Dean are unlikely action stars (which of course, makes them the more likely stars of a comedy…) whose lives are aimless before they have to fight for them. Much like the aforementioned Always Sunny, they are hardly there to be admired or even sympathised with – but so that their ‘unique’ view of the world can be put up against an extraterrestrial threat. Themselves inspired by classic sci-fi and action films, it is fun watching their super-team form, which of course includes their grounded and capable girlfriends who play the straight guy. The film feels aimed at stoners or man-children (in the least offensive use of the term…) similar to the protagonists, who will find amusement and recognition in the references, absurdist comedy and genre-experimentation. The playing around and gentle mocking of tired tropes is fun, and the efforts of the team to prepare for the final battle leads to some fun set-pieces, such as Mac’s pride over the creation of a butter-knife rake. It’s all jovial stuff, though nothing ground-breaking or entirely original. The space rodents themselves are glorious creations – clearly puppets but carrying with them a menace and substance that puts some million-dollar CGI monstrosities to shame. The piercing red eyes and erratic flailing are genuinely quite unnerving, even though the film never really posits to be a full horror. It adds a weight to the fight scenes and will undoubtedly be appreciated by sci-fi fanatics. Elsewhere production is strong, with some appropriate punky backing tracks that match the underdog nature of the heroes and inventive scene staging, particularly when the rats are on-screen. Some of the car scenes with Amanda and Skylar are coloured by a blue tint that is a little overwhelming, but outside of this the film outperforms its production limitations impressively. When The Space Rodent finds its feet around a third of the way in, it becomes a really enjoyable and fun sci-fi/horror/comedy ride. Prior to this it fails to really capture its audience and create a bond with its heroes – which is a shame if viewers tap-out early-on. It doesn’t really come close to living up to its influences, but one gets the sense this wasn’t the aim. The aim is to give the audience a fun ride – and this mission is accomplished. Watch our video film review of The Space Rodent . Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Ladybug film review by UK film critic William Hemingway. Starring Corinne Irving, Dani May Cook directed by Jason Galea. HOME | FILMS | REVIEWS Ladybug Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Oct 7, 2024 Directed by: Jason Galea Written by: Jason Galea Starring: Corinne Irving, Dani May Cook Ladybug is a nine-minute arthouse film from writer/director Jason Galea depicting, according to the tagline, ‘a haunted woman’. With this being an arthouse film, the subject matter is somewhat hidden in amongst the imagery on display and in truth it’s pretty difficult to identify just what on Earth is actually going on at all. For fans of Galea’s earlier work this should, however, not come as much of a surprise. His time with the band King Gizzard & The Lizard Wizard , animating a lot of their music videos, especially highlights a tendency towards the absurd and the sublimely ridiculous which Galea injects into his visual style. (Particularly impressive examples of this would be for the songs ‘Robot Stop ’ and ‘The River ’ which I would encourage everyone to have a look at.) Here in Ladybug though, there is no preconceived lyrical storyline to follow and so no basis for Galea to match his visuals to. Instead he’s doing it all himself, creating his own narrative, building a structure for a visual story, and then using all of his creative knowhow to express that to the viewer through his own visual techniques. The result, as you would expect, is really quite visually impressive, with a lot of striking shots of things coming together and breaking apart, exploding like stars and coalescing into eye like substances, or something like that, because it’s still not entirely clear what’s going on. The parts of the film which move away from the visual techniques and which include the characters are by far the poorest. It’s unclear what the two women are doing or what they represent, just that one comes into a dark apartment and switches on a few dimly lit lightbulbs then walks through the dark woods, while the other stares out at the camera from behind a warped glass window. There’s no dialogue to help the viewer understand what’s going on, so we’re just left to our own devices to try and unlock the mysteries behind what Galea is trying to say. The title, Ladybug , may well represent a lot to do with the dots flying about on the screen, as well as the colour scheme, but otherwise again we’re left at a loss as to just what is being represented throughout the film. As an arthouse piece, Ladybug works well enough, with it being enigmatic and metaphorical in its expression, and visually stunning in parts to boot. Unfortunately, it doesn’t offer enough for the audience to hold onto to get very much from the narrative or characterisation. In fairness, it’s obvious that something’s going on, that one woman is haunted by something, which is likely represented by the other woman in the frame, but in terms of finding out what that actually is, we’re all pretty much left in the dark. Jason Galea’s talent as an animator and visual expressive is undeniable, but a story writer he is not, and that lets him down when creating his own vision for his own narrative. My only hope is that this will get better with time and practise. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Back to the Wharf film review by UK film critic Brandon Thomas. Starring Yu Zhang, Jia Song directed by Xiaofeng Li. HOME | FILMS | REVIEWS Back to the Wharf Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jan 19, 2023 Directed by: Xiaofeng Li Written by: Xin Yu Starring: Yu Zhang, Jia Song Many of your favorite neo-noirs play with the idea of past transgressions coming back to haunt our hero(s). Whether it’s murder born of passionate jealousy or a botched robbery that places the lead on the run, the past hangs on this genre like a cheap suit. In director Xiaofeng Li’s Back to the Wharf , one tragic mistake has a ripple effect across an entire family and community. Song Hao (Yu Zhang) has returned to his hometown after 15 years following the death of his mother. Once a promising student with university in his future, Song fled after mistakenly entering a neighbor’s home and stabbing him. What Song didn’t know at the time is that his father finished off the mortally wounded man to save his son – and that one of Song’s classmates, Li Tang (Hong-chi Lee) witnessed the crime and has been using it to blackmail his father ever since. Back to the Wharf – unlike many modern neo-noirs – isn’t concerned with the tropes of the genre. The cool factor is toned down in favor of a more quiet character study. The bursts of violence that do happen are born out of believable character development, not a need to clumsily move the plot along. Zhang as Song Hao delivers a quiet, but enthralling performance. It’s easy to see Song is a powder keg, but the delicateness of Zhang’s performance has us as viewers begging for that eventual explosion not to happen. This is especially true once Pan (Song Jia), a former classmate of Song’s, enters his life again. Their meet-cute is made all the more adorable because of Pan’s quirky demeanor – one that has made her an isolated outsider in the community, just like Song. Jia’s jovial outward performance is a fantastic juxtaposition to Zhang’s stoic and guilt-ridden Song. The film’s eventual conclusion is an unsubtle comment on how violence festers into more violence. There’s no crescendo of righteous vengeance from Song or his father against Li Tang as he squeezes the two for political favors. The cycle of greed and emotional reckoning remains unbroken even as Song tries to build a life of stability with Pan. While straddling the line between typical neo-noir and quiet character drama, Back to the Wharf manages to satisfy fans of both genres. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, World Cinema < All Reviews Next Film Review >

The Night House film review by UK film critic George Wolf. Starring Rebecca Hall, Sarah Goldberg, Vondie Curtis-Hall directed by David Bruckner. HOME | FILMS | REVIEWS The Night House Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 19, 2021 Directed by: David Bruckner Written by: Ben Collins, Luke Piotrowski Starring: Rebecca Hall, Sarah Goldberg, Vondie Curtis-Hall The Night House rests on a trusted horror foundation that’s adorned with several stylishly creepy fixtures. But it’s a terrific lead performance from Rebecca Hall that becomes the support beam preventing total collapse. Hall plays Beth, a New York teacher still reeling from the recent death of her husband Owen (Evan Jonigkeit). As Beth drifts through her impressive lakefront house trying to adjust, new discoveries bring unexpected questions about her late husband’s outside interests. Though Beth’s neighbor (Vondie Curtis-Hall, always a pleasure) and best friend (Sarah Goldberg) both warn her not to fill the void in her life with “something dark,” the dark keeps calling. The more Beth digs into things Owen left behind, the more signs point to an unsettling secret life, and to the possibility that Owen may not have entirely moved on. Director David Bruckner (The Ritual, The Signal ) and screenwriters Ben Collins and Luke Piotrowski (Super Dark Times ) each have resumes showing impressive results within limited budgets. Stepping up a bit in class, their metaphor for the fog of grief and depression is familiar but well-crafted, with soft-pedaled jump scares and effectively spooky visuals. Bruckner fuels the standard what’s real/what’s-in-her-head questions with some nifty camera tricks that make the house come eerily alive with forced perspectives and Dali-esque illusions. As solid as the film’s construction may be, it falls on Hall to make sure the reveals waiting in the third act land with more emotion than silliness. She’s more than up to the task. Early on, Beth’s sustained grief, and her indignation toward everyone who’s not Owen, carries an authenticity that gets us squarely behind Beth’s personal journey. And that pays dividends once the film relies on our belief in what Beth believes. Thanks to Hall, we end up buying in. Looking ahead to 2022, Bruckner, Collins and Piotkowski will team up again for the Hellraiser reboot. That means that while there’s enough in The Night House to satisfy horror fans today, there’s also plenty here to get us hopeful about the future. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Gifted Pain film review by UK film critic Chris Olson. Starring Tobias Jon, Sarah Jane Duncan, Dylan Baldwin, Aaron Bladen directed by Tobias Jon. HOME | FILMS | REVIEWS Gifted Pain Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jan 9, 2026 Directed by: Tobias Jon Written by: Tobias Jon Starring: Tobias Jon, Sarah Jane Duncan, Dylan Baldwin, Aaron Bladen Pretty Woman meets John Wick in this gritty UK crime drama from filmmaker Tobias Jon. Gifted Pain is set in urban England, and the lives of two characters are about to collide with violent and emotionally turbulent repercussions. Beth (Sarah Jane Duncan) was a university student hoping to become a nurse when a job as an exotic dancer (to help pay for her tuition fees) led her into an isolated and cruel existence as an unwilling sex worker. During an altercation with her pimp and his goons, she is saved by Christopher (Tobias Jon), a stoic and brooding do-gooder with a special set of skills he doesn’t know he has, from years of consuming martial arts films. The pair strike up an unlikely friendship as they attempt to elude and defend themselves from the seemingly unending smorgasbord of sketchy bad guys looking to catch them. The film showcases a technical dexterity that is impressive, capable of getting into the ring with the heavy-hitters of Hollywood, and the influence of both 80s archetypes like Stallone and Schwarzenegger, as well as modern action heroes played by the likes of Jason Statham and Vin Diesel, is clear. The fighting choreography, whilst not John Wick or Jason Bourne standards, is pretty decent and lends the film an impressively sharp edge. Audiences are presented with strong music choices, a gritty and urban soundscape that really complements the film’s tone well. This is further enhanced by some fantastic location choices, utilising lots of alleyways, back streets, and sketchy parts of town. Without looking at the credits, one may suspect Christopher is being played by the writer/director, which he is. Sadly, the film’s heavy reliance on Christopher as a central character meant more energy was needed in his dialogue scenes, even though he is a John Wick or Jack Reacher type. The portrayal has a puppy dog charm, whereas a more detached yet determined character was needed, one that could stand up to the emotionally charged, dramatic scenes. That being said, he handles himself brilliantly in the fighting sequences and viewers will be wincing for days after viewing the bare-knuckle brutality. Dylan Baldwin is a formidable baddie, and Sarah Jane Duncan is the beating heart of the movie for this critic, stealing every scene she’s in with a deft portrayal of this victim of prostitution. Whilst the majority of Gifted Pain has a confident pacing, not rushing the scenes and utilising authentic dialogue, with plenty of effin’ and jeffin’, the latter half of the film descends into scores of fighting scenes, with a The Raid-style hallway fighting sequence. Which, whilst admirable, some viewers may find a little tedious. Films like this have the danger of bordering on laddish fantasy, presenting a main character with a hero complex, but we get grounded in an emotional backstory for Christopher and this keeps a good balance throughout the run time. Tobias Jon proves himself to be a very capable filmmaker, with brilliant use of flashbacks to set the scenes, and he creates a memorable and immersive dynamic between the two characters that keeps it thrilling throughout. Watch our Video Film Review of Gifted Pain . Buy UKFR Banner Space About the Film Critic Chris Olson Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

The War Below film review by UK film critic Chris Olson. Starring Sam Hazeldine, Tom Goodman-Hill, Kris Hitchen directed by J.P. Watts. HOME | FILMS | REVIEWS The War Below Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Aug 27, 2021 Directed by: J.P. Watts Written by: J.P. Watts, Thomas Woods Starring: Sam Hazeldine, Tom Goodman-Hill, Kris Hitchen Director J. P. Watts leans heavily on the working class hero in this WW1 tale of mining heroes at the Battle of Messines. With a crew of lovable rogues as his emotional fodder, he makes sure his audience also feels the reverberations of classism and social plight in The War Below. Tom Goodman-Hill (best-known for playing Joe in the TV series Humans) plays a Commanding Officer with arguably the greatest name ever produced - Hellfire Jack. He is charged with finding a solution to the stalemate currently unfolding in Messines, Belgium, whereby the Allies and the Germans are haemorrhaging troops and bullets. He quickly acquires the expertise of a group of skilled miners from home in order to successfully burrow their way across No Man’s Land and blow the enemy to smithereens. This plucky rag-tag group, headed by Peaky Blinders’ Sam Hazeldine, were deemed unfit to serve as soldiers - due to an array of health reasons - but now find themselves on the frontlines, and playing a vital role in the outcome of The Great War. They experience a plethora of abuse from the higher-ups, not to mention the soldiers who were deemed fit to fight, and must endure the horrid conditions of life in the trenches (steer clear of the crapper, there’s a Gerry taking potshots at anyone trying to evacuate their bowels). The War Below successfully and efficiently explores the disconnect between soldiers and officers, and makes it clear that this broken relationship has instant modern parallels. Whereas officers in WW1 were decorated for heroic bravery without ever firing a gun (they left that to the expendable soldiers) our battles today see economic titans winning a capitalist war won off the backs of the same underclass workforce. The difference now being there is very little mention of doing it for “King and Country” these days. But let’s stay with the real strengths of Watts’ film (co-written with Thomas Woods) which are the notions of noble sacrifice and brotherhood. Our heroes are underground, out of sight, unrecognised and yet they boldly march into the face of almost certain death with each other out of loyalty and honour. Their commitment to “do their bit” whilst being spat on from every which direction make them enduringly endearing, and when personal tragedies start to occur it makes the film ultimately more heartbreaking. It’s a poignant and remarkable story of bravery told with class acting all round. Goodman-Hill delivers a powerful performance as the only officer with a heart, with plenty of stiff-upper-lip stuff for fans of the era. It’s not in the same league as 1917 or Saving Private Ryan but is most definitely a worthy entry into the War genre, if only for the self-contained narrative which is bolstered by great performances and a strong emotional connection to their social and physical plight. Buy UKFR Banner Space About the Film Critic Chris Olson Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Bridge of the Doomed film review by UK film critic Jason Knight. Starring Kate Watson, Robert LaSardo, Michael Pare, Sarah French, William 'Bill' Connor directed by Michael Su. HOME | FILMS | REVIEWS Bridge of the Doomed Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 27, 2022 Directed by: Michael Su Written by: Adrian Milnes Starring: Kate Watson, Robert LaSardo, Michael Pare, Sarah French, William 'Bill' Connor A zombie outbreak is taking place and the United States Armed Forces are fighting back. In this horror film, a virus is infecting people and turning them into flesh-eating zombies. The story takes place in the U.S., where a team of soldiers are sent to defend an isolated bridge that goes over a river, as it is the only way the undead can reach the other side. The platoon must fight off the hostiles and at the same time try to deal with a group of survivors that they encounter in the countryside. This is a low-budget zombie movie that tells a story about an outbreak through the eyes of the military. The screenplay does not waste any time bringing the audience into the mayhem, by beginning with an army base being attacked. There are plenty of elements that are almost always present in zombie films, such as a lot of zombies, a lot of killings, a lot of gore and a lot of shooting. The plot is basically a fight for survival, with the soldiers defending the bridge, while having other problems that include running out of food and getting into confrontations with the band of civilians, who are led by the stubborn Big Jim Bill (Connor). The main character is Hernandez (Watson), a tough, no-nonsense sergeant who turns out to be a great fighter and makes a good heroine. Other notable characters include General Vasquez (LaSardo), who sends the soldiers to the bridge, Big Jim Bill and Susan (French). The zombies look the way they often do: rotting, covered in blood and moving awkwardly. There are plenty of scenes where the undead do what they do best: devouring people. A lot of praise goes to the zombie makeup and the makeup for the injuries, which are usually accompanied by gruesome sounds when they are inflicted. Clint Carney and Ted Phelps worked on the music and do an interesting job, creating a score that is tense and also sounds electonic at times. It is worth mentioning that the song What Doesn't Kill Me (Had Better Start Running) by Psycho Synner was a great choice. This soldiers-versus-zombies horror feature is not memorable, yet the action and slayings are worth the viewing. The acting is poor and so is the script and there is an attempted rape scene that is quite unsettling. Nevertheless, fans of the zombie genre should give this one a go. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

#Models Wanted film review by UK film critic Chris Olson. Starring Prital Patel, Suma Akter directed by Milly Ali, John Soho. HOME | FILMS | REVIEWS #Models Wanted Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Jan 14, 2026 Directed by: Milly Ali, John Soho Written by: Milly Ali Starring: Prital Patel, Suma Akter A cautionary tale for the modern age, Milly Ali’s feature film #Models Wanted (2024), co-directed with John Soho, plays out as a horror-thriller rooted in the extreme danger girls and women can find themselves in when they eschew vigilance for success and fame. Prital Patel plays Yasmin, a passionate and unruly FBI agent who is investigating a string of kidnappings that all seem to have started with a website advertising lucrative jobs for modelling. In order to expose the deep-rooted evil of this criminal underworld, she decides to go undercover and gets herself kidnapped. However, the scale of this operation is overwhelming, and she requires help from her sister Sonia (Suma Akter), who is part of a secret group of female saviours. Ambitious to a fault, #Models Wanted offers a smorgasbord of characters, locations, gunfights, combat sequences, and subplots, so it’s not really possible to get bored. The gruesome and harrowing nature of the crimes certainly gives the film a gritty depth, and it’s emotionally impactful to witness the widespread misery caused to so many victims. Rarely, if ever, do audiences get to see such a plethora of badass women kicking ass and taking names, either, with so many of the story’s heroes being female. Many of the sequences are slick, offering a true-crime-doc atmosphere alongside a police thriller momentum which seems to work. The performances are uneven, with a lot of the actors sticking too rigidly to the script and coming across as quite wooden, or going overdramatic and theatrical unnecessarily. That being said, Prital Patel is a very strong lead and carries the movie for the majority of the running time (which is a tad too long). At times, the musical score works brilliantly to create tension and ramp up the horror of the visuals, yet there are a lot of scenes where it feels overbearing and doesn’t quite know when to back off and let the story make the noise. The film’s strengths lie in the captivating and emotional themes, such as the deplorable deeds of sex traffickers or the topic of institutionalised racism; the agent is from Bangladesh and feels that victims who are people of colour don’t get the same focus as white victims. She vows to help POC. And, whilst the second half of the film feels convoluted with so many moving parts, it does create a sense of chaos and devastation that completely aligns with the film’s mission statement. Sex trafficking movies have been done better, but this feels like a worthy effort. Buy UKFR Banner Space About the Film Critic Chris Olson Amazon Prime, Horror < All Reviews Next Film Review >