An Unnerving Realisation film review by UK film critic Chris Buick. Starring Pierce Joseph, Denis Kiely, Mary T Lynch directed by Seán Leahy. HOME | FILMS | REVIEWS An Unnerving Realisation Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Jan 22, 2025 Directed by: Seán Leahy Written by: Jack Holman Starring: Pierce Joseph, Denis Kiely, Mary T Lynch While looking back at photos of his younger self with his parents before dinner, Nicholas begins to question why these photos only show him from a certain age. Where are all the pictures from before, when he was born or his years as a baby? His parents reassure him as best they can with their explanations, but Nicholas soon discovers a darker and more sinister reason. A film that centers around the idea of a dark and long–kept family secret coming to light should be fertile ground for any compelling short, but An Unnerving Realisation unfortunately misses the mark in telling a meaningful story. Technically, the film has no real issues, and the direction really is the aspect that gives the film and its plot that bit more oomph. There are a couple of moments where the film flips from landscape to portrait and back again, which in context is an understandable creative choice to accentuate a POV perspective and there are some other interesting camera angles and tricks implemented too. But it’s not enough to redeem a lack of polish, depth, and context in the film’s story. While the secret at hand is eventually revealed, the context and burning questions behind it all remain frustratingly unclear, unanswered and the whole thing is left ultimately, unresolved. Who were these people before this shocking event, what drove it all to happen and who are they now? None of this is ever offered up by the film or even the characters themselves, not by their conversations, their actions, or even their expressions, resulting in a trio of one-dimensional characters it’s hard to get invested in and with too many lingering questions left unsettled. The performances themselves are hard to comment on, mostly because as mentioned, the actors themselves have very little to be working with to make any kind of impact. Kiely, who actually had the biggest potential to be the most interesting character of the three given the nature of the reveal, instead contributes the least due to his father character essentially being confined to almost exclusively sitting at the dinner table scrolling through his phone, occasionally glancing upwards to make sure the other two are still there. Lynch has a bit more to do, pulling off the worried yet loving mother look in her interactions with Nicholas, with a knowing exchange between the two at the end. Joseph gets the most to do understandably and performs the part well enough despite this role also being fairly limited, but manages to get the emotion across just right in the film's one key moment. It all ends without any real resolution or consequence meaning that while this realisation might be unnerving for Nicholas, for the viewer it’s more of an underwhelming one. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Shaggy Dog Story film review by UK film critic William Hemingway. Starring Maya Perez, Phil Perez, Sanna Knippelmeyer, Xavi directed by Phil Perez. HOME | FILMS | REVIEWS Shaggy Dog Story Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: May 20, 2022 Directed by: Phil Perez Written by: Phil Perez Starring: Maya Perez, Phil Perez, Sanna Knippelmeyer, Xavi Everybody loves a good Shaggy Dog Story ; a twisting yarn full of ups and downs, laughs and tears, which usually ends up with an anticlimactic ending that no-one was expecting. Thankfully, film-maker Phil Perez decided which of these elements he wanted to use and which he wanted to leave out in telling his own Shaggy Dog Story , keeping his tale to a succinct seven and a half minutes and allowing his ending to still be surprising if not entirely climactic. Phil's daughter Maya is having a tough time dealing with the deteriorating health of their dog, Xavi. He is a bearded collie who during lockdown 2020 developed Degenerative Myelopathy, more commonly knows as MS for dogs. Xavi's back legs have lost most of their motor function and he can't catch balls or fetch sticks like he used to. Maya still loves him as much as ever though, and spends as much time with Xavi as she can, showering him with attention, affection and hugs. Xavi still likes to join in wherever he can and often manages to find himself encapsulated in Maya's world of role-play. Whether as a wigged unicorn or a lifelike stuffed toy (a la E.T.), Xavi is a constant companion to Maya, as she is to him. The two seem inseparable as the days go by and the story plays out, but always in the background is the spectre of Xavi's condition and just how much further he is going to deteriorate. The relationship between Maya and Xavi is obviously at the heart of this Shaggy Dog Story , and because the events and emotions being dealt with on screen are all real, there is a genuine sense of the love and concern which exists between the two. The relationship between Maya and her parents also adds complexity to this as they try to stay pragmatic and realistic in the face of insurmountable odds, whilst at the same time finding a way to deal with their own feelings as Maya shares hers. The film itself tells the story in the form of a video diary, where everything has the feel of a home video, with Dad capturing moments on camera which may not have long left to be experienced in real life. The audience feels brought into the household to witness what may be Maya and Xavi's last days together and to experience the highs and lows along with them. This can mean that there's not much to pick out from the film in terms of direction or acting but Phil Perez still manages to get some nice shots in there, utilising his cinematography skills where he can. Maya and Xavi's story is a very personal one and therefore plays out as such on film. While this particular Shaggy Dog Story certainly has all the feels you could hope for, it ultimately comes across as a story which belongs to someone else. Maya will undoubtedly be very glad in years to come to have this enduring testament to her and Xavi's relationship, and be happy that she was able to share it with others. For the rest of us though it may just feel like one more Shaggy Dog Story in a world where everyone has their own Shaggy Dog Story to tell. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

The Last Laugh film review by UK film critic William Curzon. Starring Zachary Coleman, Samuel Lawrence directed by Spencer Anderson. HOME | FILMS | REVIEWS The Last Laugh Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Apr 21, 2026 Directed by: Spencer Anderson Written by: Zachary Coleman Starring: Zachary Coleman, Samuel Lawrence The Last Laugh is a short piece that follows a police officer (Samuel Lawrence) apprehending a clown (Zachary Coleman) with their two opposing ideals at odds. Despite the film's incredibly brisk runtime, it wastes no time building tension and executing its ideas almost immediately. While there isn't much material to sustain a feature-length runtime, the filmmakers clearly intended to execute their distinct vision as depicted on screen. The most impressive aspect of The Last Laugh is its camerawork and fluid editing choices, which are on display. Dan Abrams, serving as both cinematographer and editor for the piece, utilises unique framing choices, including extreme close-ups during moments of severe conflict, and switches to wide framing to give the viewer a sense of the surrounding area. It's an incredibly visceral experience that doesn't let up until its final moments. However, without any prior context to the arising conflict between the two central characters, it's difficult to comprehend what is actually occurring, as the narrative throws the viewer in the deep end, requiring them to decipher what has led to this confrontation. It's a deeply frustrating aspect of the piece due to the lack of character development or thematic purpose, aside from the brief exploration of crime themes. The brief use of music is incredibly impactful and accompanies the severity of the conflict extremely well. Going into the film blind is genuinely a rewarding experience as it's a rather unique piece of indie filmmaking that relies only on a single dispute between two opposing ideologies. While the narrative isn’t fleshed out much, it's extremely refreshing to see an uncompromised vision executed to this level of absurdity. Despite the film having fairly sparse material to work with, the filmmakers do their best to convey their talent with such raw production value. Its absurd nature is commendable, and the narrative does sweep the rug from under the viewer with a shocking twist. Both central performances from Samuel Lawrence in his portrayal of the police officer and Zachary Coleman’s portrayal of the clown are mostly impressive. Samuel Lawrence, in particular, conveys a profound level of restraint when trying to diffuse the situation and decipher the clown’s intention. Zachary Coleman, on the other hand, is deeply haunting and manipulative as he attempts to play mind games with the police officer about his plans as a criminal. Both performances complement one another incredibly well, and it's one of the most impressive aspects of the piece, given the limited material they were given to work with. While the film would’ve benefitted deeply from a prolonged runtime to flesh out the central characters more profoundly, the filmmaker’s intent was clearly in the right place, as the minimal ideas are executed aptly despite its shortcomings. The Last Laugh is a bizarre and questionable experience that throws the audience into a state of conflict between two opposing characters with a severe lack of context. Whilst there is minor material to latch onto outside of the central conflict, the lack of spectacle may have been intentional and instrumental in helping the filmmakers execute the idea they envisioned with this short piece. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Whispers of Freedom film review by UK film critic Chris Buick. Starring Cameron Ashplant, Wendy Makkena, Darragh Cowley directed by Brandon Ashplant. HOME | FILMS | REVIEWS Whispers of Freedom Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jun 3, 2025 Directed by: Brandon Ashplant Written by: Brandon Ashplant Starring: Cameron Ashplant, Wendy Makkena, Darragh Cowley "The GDR is an outpost of peace and socialism" Whispers of Freedom , written and directed by Brandon Ashplant, delicately dramatises one of the most significant individual stories from one of history’s most important periods. Starting back in July 1985, post-WWII Germany had now been split into two for the best part of forty years, the Federal Republic of Germany (FRG) in the west and the German/Deutsche Democratic Republic (GDR) in the east, where the film’s story based on true events is set. And that story is one of Chris Gueffroy (played here by Cameron Ashplant), who in 1989 was the last person to be shot while attempting an escape over the dividing Berlin Wall. As was the case for many East Germans throughout this time, Gueffroy’s disillusionment towards the occupying regime and its oppression on freedoms grew as he did, but his ongoing resistance to toe the party line and generally do his duty, would lead to a life of great difficulty, prospects of education, employment and general living conditions would be limited, if not completely withheld, and while leaving was not impossible, it was almost always unimaginable. His ideals and his convictions in them would also mean hardships not just for himself but for friends and family, specifically his mother Karin (Makkena), herself wishing to just be content with their lot, knowing it could easily be so much worse. Yet while Whispers of Freedom uses Gueffroy’s fascinating specific narrative as its focus, the film is also painting a bigger and more encompassing picture of what living under this “socialist dream” truly meant for East Germans, many like Chris, desperate for change, but many others also like Karin, desperate just to keep their heads down and be thankful. It moves between a historical drama and a character driven one touching on the major points along the way but ultimately delivers on both, and the films harsh grays, low lighting and overall minimalist mise-en-scène, all combine effectively to instantly transport its audience back in time forty years to evoke a palpable sense of what such a life might have been like in a country divided by Cold War tensions. And to somehow portray every nuance of something so significant through such a contained, particular human story, in under twenty-five minutes no less, speaks volumes to Ashplant’s abilities as a screenwriter, fully demonstrating how important this point in human history truly was, something that perhaps might not have been truly grasped going in but surely will be going out. In the filmmakers words, Whispers of Freedom looks to ultimately “serve as a timely reminder to audiences the world over about those who are fleeing oppression in search of genuine political freedom”, which is something still so incredibly pertinent today, meaning Whispers of Freedom isn’t just a highly accomplished piece of filmmaking, but also a critical piece of work we should all pay attention to, and ideally, learn from. Now watch Chris Buick's Video Film Review on our YouTube channel of Whispers of Freedom . Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Dinner film review by UK film critic Swati Verma. Starring Hoa Thuy, Hoang Duc Anh, Ho Phog directed by Linh Tran. HOME | FILMS | REVIEWS Dinner Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 31, 2022 Directed by: Linh Tran Written by: Linh Tran, Monze Lozano Starring: Hoa Thuy, Hoang Duc Anh, Ho Phog The short film-"Dinner" falls under the genre of Social drama. The cinematic piece communicates the concerns about social evils like infidelity and the harmful effects the secrets and lies can have on the people around. The director Linh Tran and writer Monze Lozano work on the script to showcase the nuances of such situations arising in the life of the protagonist and his family. The set design, lighting, makeup, camera work and costume design want to convey the presence of tension, anger, and pain at home. The director uses elements like Conflict and Drama so beautifully to bring out the essence of the movie to create awareness among the audience regarding the subject matter. Linh chooses Vietnam as the location of his movie along with the local television actors to play the characters written by him. By doing this he wants to go back to his roots through this film and also increase the degree of emotional engagement with the target audience. The plot of this short film revolves around a boy named Quan who is a stubborn yet a mature child. One day while coming back from school he witnesses something that makes him question the sole reason for his existence and the family dynamics. In terms of performance Hoang Duh Aah the child artist outshines in the film. He portrays the struggles of a little boy resorting to anger and fights to combat the emotional turmoil within him so effortlessly. Hoa Thuy plays the role of the mother of Quan in the story. She is completely broken inside because of what life has thrown at her but she wants to be strong and protect her son from unforeseen situations. The contrasting feeling is aptly illustrated by the actress making the character very relatable to the audience. Ho phong plays the father of the central character. He is the bad guy in the eyes of the audience. He continuously tries to amend the circumstances for himself and his family. The ordeal of not being understood by his son and wife is visible through the body language and the facial expressions of the male actor. The theme of the film is a troubled marriage from a child's perspective. This movie talks about the adverse effect the child has to bear because of a hostile set-up at home. The makers of this film want to tell the audience about how sensitive children can be in general. There should be a sense of responsibility in the parents to make sure the children are exposed to all happy and healthy atmosphere for their all-around development. Both the parents should also keep in mind that the child feels comfortable sharing anything with them if the need arises. To make the future bright we should work on making the present happy. No one should have the right to take away the innocence of children from them ever. The director has given the film an open ended closure so that the audience can interpret the film as per their understanding. I am really happy with the subtle treatment of the film considering the seriousness of the topic being discussed. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Fun-Sized Trouble film review by UK film critic Patrick Foley. Starring Jaclyn Bethany, Kelly Hancock, Zita Bai directed by Qiyu Zhou. HOME | FILMS | REVIEWS Fun-Sized Trouble Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 21, 2021 Directed by: Qiyu Zhou Written by: Qiyu Zhou, Zita Bai Starring: Jaclyn Bethany, Kelly Hancock, Zita Bai With bold, shocking portrayals of sexuality, and the trials and tribulations women face in everyday (and not-so-everyday) life, Fun-Sized Trouble is not one for pearl-clutchers. But anyone with a wicked sense of humour will find both hilarity and commentary in its grounded absurdity. The film is a short anthology of snapshots into 3 women’s lives as they are presented with unwanted and unexpected sexual scenarios. Dine-In follows a mother (Kelly Hancock) and daughter (Leslie Bessen) being accosted by a homeless flasher. POV involves a couple (Jaclyn Bethany and Shamin Shukkoor) having their voyeuristic exploits exposed. And Mommy involves a young mother (Zita Bai) being publicly humiliated when an affair is exposed. Fun-Sized Trouble pulls no punches with its stories of how views on female sexuality are imposed in modern society. At times hilarious, at other times disturbing, the three shorts are thematically linked with a biting overtone of frustration from director Qiyu Zhou – and female viewers will surely come away asking a simple question – “Why do we have to put up with this ****?”. The women in each short take very different approaches to their humiliation. Kelly Hancock’s mother is stubborn and stoic when faced with harassment, in contrast to Jaclyn Bethany’s trench coat-wearing daredevil who confronts her abusers directly – before turning her ire on her partner who shamelessly abandons her. The mistress played by Zita Bai is a mixture of the pair – fighting back against her abusers but also able to withhold her subjugation without missing a step, in order not to alarm her daughter. The director demonstrates that in reality, whatever response the three gave would never really have addressed the root cause of the problem – that being societies views and expectations of women where sex is involved. The film also addresses underlying factors in order engage with deeper commentary. An upper-class LA glamour mom’s inability to drop her demeanour of superiority – even when presented with a dangerous predator – comes across as tragic as it does respectable. Manipulative behaviour of a partner is covered in POV , which makes the boyfriend’s abandonment even crueller. And cultural differences are at the heart of Mommy – particularly East-Asian views on honour and shame. These intertwining themes (along with an overall disdain for social media/sharing culture) elevate the film and give it a machine gun-like approach to its commentary – with fantastic results. The ensemble cast give suited performances, though no one really stands out as especially memorable. Kelly Hancock’s visible yet restrained disgust is a highlight, and will leave audiences conflicted on her prior cold nature. Jaclyn Bethany also brings a vulnerability to her character that infers added tragedy to the short in which she stars. Beyond this there is not a great deal of opportunity for a single cast member to really stand out. The message is the clear star of the show. The film is also imaginatively directed – with Qiyu Zhou showing her ability to innovate with storytelling. A shot focusing solely on the mother in Dine-In really emphasises the woman’s horrific ordeal without trivialising or scandalising matters. The first-person, phone camera filming in POV is another daring choice – though the abandonment of this feels like something of a cop-out. Only Mommy really lacks in this department – and is the least memorable of the shorts because of it. You sense that Fun-Sized Trouble is a film that could care less of any opinions. Its fiery views are restrained enough to entertain, but at its heart lies a strong political energy that imbues it with heart and drive – to go with its farcical dark humour. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film, World Cinema < All Reviews Next Film Review >

$13 film review by UK film critic Patrick Foley. Starring Melissa Skirboll, Meghan Martin directed by Melissa Skirboll. HOME | FILMS | REVIEWS $13 Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 18, 2026 Directed by: Melissa Skirboll Written by: Penny B. Jackson, Melissa Skirboll Starring: Melissa Skirboll, Meghan Martin Melissa Skirboll’s short $13 is a bite-sized emotional gut punch – a seemingly innocuous character piece at first that takes a shocking turn, taking viewers on an unexpected journey within its short narrative. 2 women take a stroll alongside the Hudson River in New York City. The older of the pair (Skirboll) reminisces about frustrations with her former boss Bernie. The younger of the pair (Meghan Martin) can relate – having her own frustrations with her lot. But as the story develops, we realise that the location is of utmost relevance – the presence of One World Trade Centre suddenly looming large. The younger woman realises that the story she is being told is not a typical one, and the trauma of 9/11 is felt by both parties. The twist at the heart of $13 will be most people’s lasting memory. And while the sudden revelation of the story’s true nature will shock, it is impressive that Melissa Skirboll makes it work. Delivered with a less capable hand, it may have come across as trite or inauthentic. However, Skriboll is careful not to over-egg the introduction of a historic tragedy in her short film’s narrative. Landing with an initial, earth-quaking shock, the moment is given chance to breath and dissolve into the film in a manner that feels genuine. This is accomplished through the musical cues, the use of silence and the impressive performances of Skirbol herself and Meghan Martin. The film is shot beautifully, making full use of the New York skyline at sunset. The setting is obviously plot-relevant, but the ambience created is also critical for the story’s success. Taking place at sunset feels like no coincidence, as Skirboll’s character yearns to come to terms with a pivotal moment in her life even 25 years on. The contrast with the unforgettable images of 9/11, which took place in the daytime, to the film’s evening glow gives a quiet appreciation of time passed. There are some moments where the dialogue becomes a little clunky. It feels a little forced at first for the character of Bernie to be introduced, and there are a few other instances of exposition that grate. But once the film finds its momentum, the writing is impeccable. Once Skirboll’s character recounts the people she knew who worked in the towers, audiences will be silently gripped and moved. The women’s bond also convinces, and the chemistry between Skirboll and Martin flourishes with defined dialogue that successfully creates the idea of an age-gap friendship. $13 accomplishes so much with just a conversation. It is destined to move audiences, not just thanks to its shocking twist, but because of fantastic dialogue and performances that make for an engrossing rollercoaster of a film. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

They Shot the Piano Player film review by UK film critic Hope Madden. Starring Jeff Goldblum directed by Javier Mariscal, Fernando Trueba. HOME | FILMS | REVIEWS They Shot the Piano Player Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 28, 2024 Directed by: Javier Mariscal, Fernando Trueba Written by: Fernando Trueda Starring: Jeff Goldblum An unusual hybrid of documentary and narrative, music and animation, They Shot the Piano Player pulls you into a political mystery. Jeff Goldblum voices the character of a New Yorker journalist writing a book about bossa nova, or so he thinks. He travels to Brazil to dig into the history of this groundbreaking musical movement and finds himself drawn to the story of one particular pianist. Inside the chaos of color, vibrant animation and remarkable soundtrack, directors Javier Mariscal and Fernando Trueba unveil a particularly turbulent moment in history. The discovery and quick popularity of Brazilian bossa nova—literally the “new wave” of samba and jazz fusion—ran headlong into a continent-wide collapse into violent, oppressive military regimes. Goldblum is one of a handful of actors whose fictional storyline collides with archival interviews with some of the musical movement’s greats. Little by little, the investigation sidesteps music to focus on the 1976 disappearance of Francisco Tenório Júnior. The filmmakers bridge audio commentary concerning the disappearance, the desperate search, and the inevitable truth with Goldblum’s fictionalized storyline. The result, much elevated by Goldblum’s characteristically offbeat performance, generally works. The filmmakers attempt to do more than uncover one of hundreds of thousands of stories of innocent lives lost to Central and South American despots beginning in the 1960s. Mariscal and Trueba want you to know Tenório, to see all that was lost when he was disappeared: father, friend, artist. And with him, the entire beautiful new wave of music and art that had been blooming across the continent. Unruly and fresh as the music it dances to, They Shot the Piano Player sometimes loses its train of thought. The outright documentary content is probably compelling enough—even if told via animation—to omit the fictionalized sleuthing. But the way Mariscal and Trueba couch the heartbreaking loss of one life within the larger artistic loss of an entire art form is melancholy magic. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema, Animation < All Reviews Next Film Review >

In The Defence Against Tyranny film review by UK film critic Patrick Foley. Starring Randy Vasquez, Rick Ravanello, Fernanda Moya directed by Felix Igori Ramos. HOME | FILMS | REVIEWS In The Defence Against Tyranny Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 21, 2022 Directed by: Felix Igori Ramos Written by: Felix Igori Ramos Starring: Randy Vasquez, Rick Ravanello, Fernanda Moya It was Garth Marenghi who said “I know writers who use subtext, and they’re all cowards”. Well Felix Igori Ramos, director and writer of In the Defence Against Tyranny sure isn’t a coward by those terms. His contemporary political thriller is bold and irrepressible, but lacks the cohesion to impact upon viewers who have been bombarded with films and TV shows covering similar ground. News anchor Francisco Suarez (Randy Vasquez) is presented with the chance to interview controversial presidential candidate Edward Ashe (Rick Ravanello) ahead of the 2016 election. Ashe wants only softball questions, and knows the interview is a chance for Suarez to put a controversial past behind him. But a failure to challenge the candidate on his racist and xenophobic policies would break Suarez’s fractured relationship with his liberal daughter Elise (Fernanda Moya) beyond repair. In the Defence Against Tyranny wears its heart firmly on its sleeve. In an emotive time in US history, it’s one of the most emotive films that have been released directly dealing with an unprecedented democratic crisis mirroring the Trump presidency. This is both its strength and its downfall. The director’s ability to tie the political climate to the Suarez family’s own troubles effectively humanises a problem that can be too overwhelming to effectively portray cinematically. However, the film’s writing and story suffer badly from plot holes which feel farfetched even in these unpredictable times, and dialogue that is so over the top it stretches credibility to its very limits. The cast largely perform their roles well, with Randy Vasquez a strong lead as the troubled Suarez. There is a chemistry with Fernanda Moya as father and daughter, and their strained relationship following the death of mother Cassandra (Marilyn Sanabria) feels genuine. However, the script is overly stagy, with an abundance of cliched dialogue that is difficult to perceive as realistic. The cast do an admirable job, but the conversations and interactions they are asked to perform are far too rehearsed and robotic. The film desperately wants to work as political commentary, however despite its glaringly obvious allusions, it offers very little to say about our real world. Its Trump stand-in is reprehensible, but we never really see examples of why he connects with people so much, beyond all-out racism. The film also seems to have some nihilistic tendencies – suggesting at times that the political left also need to be confronted before the nation can heal. That’s all too well - but we don’t get any sense as to why both sides are as bad as each other. We never see the Democratic candidate, and largely only hear of her in glowing terms from Fernanda, or in condescending ones by Ashe – two clearly biased sources. The audience is left with little to form any opinion on, and the film’s thematic conclusion suffers because of this - especially as Suarez seems to embody left-wing opposition by the film’s end despite never professing any views in conjunction with this. A plotline involving a sinister agency (presumably the CIA) working against Ashe also feels like it has been lifted from a completely different movie, and distracts from the real heart of the film – that being the family at its centre. The moral quandary this plotline presents is an intriguing one, but it is poorly presented – with the line “this is the only way” an utterly lazy justification for its inclusion, and one that is undermined by the film’s ending anyway. In the Defence Against Tyranny has the makings of an interesting film, but both its story and politics are all over the place, and poor dialogue make this cheesy rather than chilling. Stick to Succession or Don’t Look Up if you want a blatantly obvious Trump expy. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Amazon Prime < All Reviews Next Film Review >

A Fighting Legacy film review by UK film critic Patrick Foley. Starring Angela Bahr, Jody Brincks, Julie Cohen directed by Adam Wagner. HOME | FILMS | REVIEWS A Fighting Legacy Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 9, 2025 Directed by: Adam Wagner Written by: Adam Wagner Starring: Angela Bahr, Jody Brincks, Julie Cohen The long-stretching heritage of Muay Thai is explored in great detail in Adam Wagner’s documentary A Fighting Legacy . Focused on the sport’s presence in the heartlands of America, fighters, trainers and fans all describe how ‘the art of eight limbs’ has come to shape combat sports all over the world. The documentary centres around the TBA tournament – an annual Thai Boxing event that attracts worldwide competitors. Amidst live footage of fights, the history of how Muay Thai made its way to the US is storied, whilst its influence in shaping the all-conquering MMA craze that exploded in the 1990s is laid bare. A Fighting Legacy is defined by both detail and decoration. Whilst it is structured around a wide-ranging history of Muay Thai, the film really isn’t one that is suited to newcomers. This is not for a lack of explanation. The interviewees – many of them fighters themselves – provide excellent analysis of what fights consist of as well as where the sport originates from. Their testimonies are inviting and viewers will be confident of their expertise. However the documentary itself meanders too often, featuring long stretches of uninterrupted interview footage overlayed with a forgettable generic backing track. After a while, the words themselves begin to lose meaning as audiences yearn for more visual stimulation. This isn’t the pace of the entire film, but the incidences where it is notable suggests that a harsher edit is needed. Director Adam Wagner does an impressive job of establishing the context of Muay Thai in America, telling a coherent and relevant story of where it came from and how it has shaped sport – most notably MMA and its largest promotion, the UFC. However, Wagner goes to lengths to demonstrate that Muay Thai is its own art – and an independent sport from its superstar borrower. The TBA competition and its competitors are at pains to show the practices and traditions that surround Muay Thai that stretch back to its Thai origins – such as the presence of music during fights. It is a film that shows respect to its subject and the community immersed in it, and Wagner’s framing allows the viewer to understand why the largest Muay Thai competition in the western hemisphere is of both huge significance and the result of a decades long effort to spread the sport’s reach. It is fair to say that those familiar with the feel of a stiff gym mat, bruised shins and a tight headband will get more from A Fighting Legacy than the average viewer. It is strong on the technical detail, and filled with informed analysis from fighters whose footage will engage those with an appreciation for combat. Others may find themselves zoning out amidst the intense focus, and might face a fight of their own to keep on track. But for a grassroots project set in an underreported sporting world that has influence stretching all the way to a million-dollar MMA industry, this is an admirable first foray into the ring. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

It's Ok to be Different film review by UK film critic Swati Verma. Starring Morwenna Banks directed by Robin Toyne. HOME | FILMS | REVIEWS It's Ok to be Different Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Aug 17, 2022 Directed by: Robin Toyne Written by: NA Starring: Morwenna Banks The director Robin Toyne along with the team strongly believes in combining Drama, Cinema and Creativity together to provide these youngsters with additional needs the medium of expression so that the audience also gets an opportunity to understand and connect to their life stories on an emotional level with the wonderful narration by Morwenna Banks. The plot of the film revolves around Cornwall's unique theatre group for children with special needs drawing on their experiences of living through Covid to devise a new play. With humour, heart, and honesty they tell it as they see it. There are a lot of challenging perceptions of disability from the first rehearsal to the premier at Cornwall's iconic Minack theatre, inviting us into their colourful world. The cinematic piece follows a nonlinear storyline taking the form of a narration. The DOP Mat Lingard captures a close-up shot of a man rolling out the red carpet followed by a series of mid-shots and long shots to give an insight into an award ceremony establishing the subject matter of the movie and making it engaging for the viewers. The colour platelet, set design, lighting, dialogues, costume, and makeup has been kept natural by the filmmaker so that the viewers get to experience a sense of realism while watching the documentary and also salute these extraordinary people to fight through all the hardships to emerge stronger each time. The members of the Drama Express led by Simon Allison (Creative director, Drama Express) and his wife Emma Allison support the youth to realize and achieve their dreams of performing on stage just like their peers in the regular world with the help of volunteers and specialists. Drama Express ensures that it works with utmost commitment, sincerity, and care toward the individual needs of everyone. Richard Spain (Amelia's Dad), Carolyn Schuoler (Jimmy's Mum), Bonita Wallis (Ruby's Mum) and others feel immensely happy that their children are in the safe hands where they will get the wings to fly towards their goal and aspirations and not live with the fear of the need to fit in the society. It's Ok to be Different talks to its audience about accepting self as they are and appreciating the feeling of being valued by family and friends and not trying to fit into someone else's criteria. This documentary deals with the challenges of parenting during the pandemic especially in the case of differently-abled children. The cinematic piece educates the viewers regarding being open and willing to stay true to showcasing the real personality and avoid wearing a mask to cover up as fakeness does not work on a long-term basis. The creative piece reiterates the importance of songs that help to express all kinds of emotions. The film aims at normalising the notions relating to disability and appeals to the masses to become empathetic towards it but still respect the person for whom they are. The Drama Express gives these young people an opportunity to explore social skills like friendship and beat the feeling of sadness, anxiety, and loneliness which were the byproduct of the pandemic. Robin Toyne (Director) and Mat Lingard (Cinematographer) have jointly co-produced this project and I want to appreciate all their efforts to make such a beautiful and impactful movie accessible to a wider audience. Buy UKFR Banner Space About the Film Critic Swati Verma Documentary < All Reviews Next Film Review >

Nightbitch film review by UK film critic Hope Madden. Starring Amy Adams, Scoot McNairy directed by Marielle Heller. HOME | FILMS | REVIEWS Nightbitch Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Dec 5, 2024 Directed by: Marielle Heller Written by: Marielle Heller, Rachel Yoder Starring: Amy Adams, Scoot McNairy There’s something wrong with Mother. That’s the only name we have for Amy Adams’s character in Marielle Heller’s darkly surreal comedy Nightbitch , because it’s all we really need to know about her. Whatever she was before Baby (Arleigh and Emmet Snowden, adorable)—a successful artist, as it turns out—hardly matters now. Some time before the opening credits rolled, she gave that up to be a stay-at-home mother. And like most humans on the planet, she had no real idea what parenthood would mean. Adams is wonderful at articulating with a gesture or a glance the loneliness and isolation, the weariness and guilt and self-loathing that can seep into days spent truly loving the tiny, filthy, needy little monster eating up every waking second of your life. But in case you miss it, Heller’s script, penned with Rachel Yoder, allows her a number of alternative ways to beat you about the head and neck with it. These include voiceover narration as well as fantasy sequences where she screams at and slaps those who insult or underestimate her. Plus, of course, there’s the larger metaphor at work in which Mother embraces her inner bitch goddess and indeed turns into a feral dog at night. Parenting is exhausting, especially if it’s not a truly shared responsibility. Society is set up to judge women whether they work or stay home, and no matter how their kids behave. Adams delivers a delightfully subversive take on motherhood and navigates tough material to carve out a sympathetic and funny character. But the metaphor itself—Heller’s touch with magical realism—weaken rather than strengthen the effort. The real problems with Nightbitch , though, are all first world. These parents can afford to live in a big, spacious suburban neighborhood on one income. Mother’s artist friends can afford nannies, and her “Book Baby” mommies also all seem to flourish financially without a second income. Which is to say that Mother’s choice to give up her career and stay home with her son, while fraught with self-sacrifice, feels more like privilege than burden since most parents have no such choice in front of them. And if the problems are only for the wealthy, the solutions are equally out of reach for most audiences. Which makes it hard to root for Mother, no matter how truly (and characteristically) excellent Adams is. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >