Toxic Sh!t film review by UK film critic Patrick Foley. Starring Diane Mellen, Ed Asner, Dan Hirsch directed by Stacy Stone. HOME | FILMS | REVIEWS Toxic Sh!t Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jan 10, 2022 Directed by: Stacy Stone Written by: Stacy Stone Starring: Diane Mellen, Ed Asner, Dan Hirsch A shocking, multi-level cover-up is at the centre of Toxic Sh!t , director Stacy Stone’s documentary which investigates a historic nuclear accident at the Santa Susana field lab in Simi Valley, California – and subsequent efforts from businesses, government and even local residents to brush the consequences under the rug. The documentary uses a mixture of interviews, archival footage, hidden camera work and investigation to tell the story of a community that has been misled about the dangers of their homes, and the anger built from the devastating harms resulting from accidents at a nearby nuclear plant. From the origins of the nuclear plant, through to the ongoing court cases that continue to this day, the documentary is an in-depth account of the story, as much as it as a passionate and fiery statement. The film is unapologetic in its condemnation of the corporations and regulatory bodies that it accuses of lying to the public over years. Producer Diane Mellen, who also stars in the film, drives much of the investigation and utilising covert methods to expose untruths fed to the public who live or are interested in living in the valley. These undercover operations do not expose any smoking guns themselves, but coupled with the meticulous extracting of jargon and clauses hidden in legal documents – they effectively paint a picture of a cover-up driven by greed and negligence. Expert testimony from activist Dan Hirsch, as well as whistle-blower revelations from former plant worker ‘Barry’ only add to the intrigue. The documentary does stumble at points with its presentation. There are some rather jarring cutaways to metaphorical cartoons which feel out of step with the rest of the film. Repetitive music loops end up grating as well, and coupled with the cartoons and cutaways feel like an attempt to give the piece an edge which it really doesn’t require. Some prominent interviews in the film are also held over Zoom or Facetime – an unfortunately and inevitable necessity but for some, the quality of the interview is impacted by the remote hosting. One interview is held with the interviewee mid-drive, which ends up presenting as distracted and low-quality – despite interesting and important topics being discussed. The dulcet tones of guest narrator Ed Asner are also heard far too sparingly – the man could narrate paint drying and it would be entertaining. The hour-long runtime is a strong design choice which allows the film to be concise and insightful without running into bloat or dragging. What can be achieved in 60-minutes does not need to be stretched over 90 or 120, and viewers who watch Toxic Sh!t will not come away feeling short-changed. Beyond the aforementioned inclusions that clash tonally, the film manages to communicate complex and sometimes scientific information about an issue many of its audience will not be familiar with in an effective fashion. The overall coherence is sometimes lost when the film diverges from its core topic, but it always comes back around to the Valley before long. And when the harrowing stories of residents – including children – who have become sick from exposure are raised, viewers will be engrossed regardless. The mark of a good documentary is how well it communicates its topic to those who know nothing about the subject. The damage caused in Simi Valley is unknown to most by design. But Toxic Sh!t’s efforts to get the word out are important and effective – and it will certainly leave anyone who views it aware of the scandalous activities that threaten the residents. Aware, and angry. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

Largo film review by UK film critic Patrick Foley. Starring Zack Elsokari, Tamsin Greig, Kevin McNally directed by Max Burgoyne-Moore & Salvatore Scarpa. HOME | FILMS | REVIEWS Largo Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Dec 11, 2024 Directed by: Max Burgoyne-Moore & Salvatore Scarpa Written by: Max Burgoyne-Moore & Salvatore Scarpa Starring: Zack Elsokari, Tamsin Greig, Kevin McNally It’s an astonishing turn of events that Largo, a story supported by the refugee council about a Syrian child’s mission to set sail to find his parents, would be screened for cast and crew in the weeks following the stunning collapse of the monstrous Assad regime that was cause of so many risking their lives to flee. The hostility many have faced in safe nations is a source of shame – and Max Burgoyne-Moore and Salvatore Scarpa’s short is required watching for those in need of an empathy transplant. Musa (Zack Elsokari) lives on the coast with sponsor guardian Grace (Tamsin Greig). Having fled the civil war in his native Syria, he awaits the arrival of his parents who have promised to join him – despite the dangerous naval journey they must take. Facing discrimination from locals, Grace does what she can to comfort Musa. But a betrayal triggers the young boy into taking a fateful decision, and using an old boat he has rigged up, he sets sail to find his family. Largo is a film that leaves a lasting, moving impression. Beautiful and heartbreaking, it asks real questions of its audience – asking how we would react in unfathomable circumstances. The British coastal town that acts as its setting is a purgatory for Musa – a holding cell for him to await a family that viewers sense will never come. It’s a hard enough circumstance – but as it slowly emerges that trust is hard to come by, Musa feels left with no choice but to take his life back into his hands. It turns a mirror on us as a community and a society, and asks whether we are willing to allow the real Musas across the world to come to the same conclusions. Youngster Zack Elsokari is remarkable in the lead role. A portrayal of childhood trauma has rarely felt so authentic – particularly in his anger in place of expressiveness. Musa displays great innovation, investigation and intelligence, but still struggles to truly understand the world or come to terms with the most likely outcome of his search. His innocence has persevered despite everything that has happened to him, a secret message of hope buried deep in a desperately sad narrative. Tamsin Greig is on typically strong form as Grace, Musa’s guardian who struggles to find the right spot between disciplinarian and caregiver. The film’s moving finale is set in motion by the actions of children – a group of youngsters whose curiosity around Musa’s life has not yet been set to hatred by their surroundings. It is they who raise the alarm, that triggers the best kind of community response. A town that figuratively pushes Musa away now rallies to pull him back – with the message that isolation and discrimination have tragic ends. Few films capture the complexity of the child refugee experience better than Largo. At a moment in history when the springs of hope are emerging in Syria, we as individuals are still ultimately powerless to shape the events that lead to crisis. Largo inspires one to change what they can control – their behaviour and empathy towards those in our own communities. It is a riveting and moving short, that will never not be timely. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Digital / DVD Release < All Reviews Next Film Review >

A forum and online community for filmmakers and film critics alike to enjoy. Promote your film or reviewing capabilities here. ! Film Reviews UK

Summer of '94 film review by UK film critic William Hemingway. Starring Alexi Lalas, Bora Milutinović, Cobi Jones, Tony Meola, Marcelo Balboa directed by Dave LaMattina and Chad Walker. HOME | FILMS | REVIEWS Summer of '94 Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Mar 15, 2026 Directed by: Dave LaMattina and Chad Walker Written by: N/A Starring: Alexi Lalas, Bora Milutinović, Cobi Jones, Tony Meola, Marcelo Balboa In the Summer of ‘94 , the USA was hosting the World Cup for the first time. They had been hammered in Italia ‘90, after not even qualifying for the competition since 1950, and needed to make sure that they got good enough within the next four years to avoid an unmitigated disaster on the world’s stage, while on their home soil. Even then, the World Cup was subject to global politics, and early on we see Ronald Reagan standing with Pelé, trying to convince the world to bring the game they called Soccer to the USA. In 1994 it happened, and judging by the state of FIFA today, you can bet that was no accident. So with four years to go, a squad had to be built, a team had to be forged, and the USA had to learn what football was. We pick up from after the Italia ‘90 loss and follow some of the squad members as they recall their time in the training camp at Mission Viejo, California, along with their coach Bora Milutinović. What we know already, is that we are not talking to a team of winners here. They didn’t lift the World Cup and triumph over everyone in a Hollywood kind of way. However, what they did do is leave a legacy, one that still resonates to this day, and which still has echoes and input into the game even now. The reason we are telling the story of the Summer of ’94 is because it changed the trajectory of football in the USA, and probably the entire world, forever. The American team only made it out of the group stages, and then got beat by eventual winners Brazil, but that was a great result for them. It didn’t matter that they didn’t lift the trophy; the games they’d played already in front of a home crowd, beamed out and showcased around the world, with their stand-out moments of heroism and brilliance, meant that football was there to stay in the USA, as well as all the money and merchandising that went with it. For a full ninety minutes, and five more for injury time, we relive this journey with some of the team, and Bora, as we get thrown back to the ‘90’s with video footage from tv broadcasts and news stations, as well as some pretty candid, never before seen, behind-the-scenes filming from the team. The players we meet are certainly on a journey, and so are we as we join them to hear their story, but it is definitely clear that Bora Milutinović is the captain of the ship, even if it seems like he doesn’t know where he’s going. At the heart of the team, and this film, Bora carries us through why everything worked and magic was made that summer with those men. His unorthodox approach to football management is a joy to behold, as it filters out into the men around him, and they bond, building a team for themselves that they can believe in. As Bora goes around playing some sort of free-jazz with his coaching style, the players strengthen their ties at camp, travel the world playing anyone and everyone, and lose their fear of being in front of the world’s gaze. As they talk to us and tell us their stories, we feel the emotion that is tied between them and just what it meant to them to be pioneers of their sport on a frontier that had long rejected it as girly or silly. So why does this all matter? They didn’t win. It’s not like we’re talking about the Wildcats (1986) here, or anything. Should we really be interested in some athletes we’ve never heard of just because they had a good day, once? And do we really need another plucky American tale, about how they got through by their grit and steely determination, to show that actually, they’re pretty darn great? But the proof is in the seeing. Once you are back in the Summer of ’94 , you remember (or see) what it was like to be alive in those days, pre-internet, pre-mobile phones, pre-personalised advertising, and you get to see how football was built in America. In just one team of young men, most of whom had been criticised or ridiculed for their choice to play, and who were not celebrities or made rich or included in college sports, America had to build an entire industry and a sustained cultural interest off their backs. Their story is one of quiet resilience and bravery in the face of all odds, it exists outwith and in a time before media and merchandising rights got to them, it’s a personal story of knowing who you are and succeeding by your own merits. And that’s why it matters. To see how football is now, with the World Cup once again coming to America to be the biggest show on Earth, under the auspices of the Orange Emperor, it is easy to see why this story matters today. With FIFA following the money in recent World Cups, showing a corrupt nature in their dealings, a disregard for human rights issues, and a willingness to fawn over dangerous oligarchs in order to further their own agenda, the story of America doing something right is extremely important. What these men did was stand up for their country, they lost all ego and selfishness, stopped their complaining and noise, sucked it up when it hurt, and got to the business of showing themselves and their country off to its very best. They weren’t ever in it for fame, fortune, and legacy, even if they got that in the end, but only to not embarrass their nation in front of the world, and this is perhaps something a certain few other Americans could do with thinking about. Summer of ’94 is a story of good, old-fashioned, American triumph from the before times, that reminds us of just how we looked up to them in those days. It may be difficult for another story of American triumph, especially one which looks like a cash-in on the upcoming World Cup, to find an audience elsewhere around the world, but that would be to the detriment of all those who dismiss it. Hopefully though, it will be Americans who come out to see it, to remember (or find out) what it was like in the 90’s, when the level of the USA’s embarrassment on the world’s stage only extended to the performance of its newly anointed soccer team, and that the fear of not being very good at something was enough to bring the nation together in a positive, constructive way. If you’re looking forward to this year’s World Cup, or even if you’re not, and if you’re American, or even if you’re not, a trip back to the Summer of ’94 is a good way to build yourself up for what’s to come this summer at USA ’26. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film, Documentary, Film Festival < All Reviews Next Film Review >

No Hard Feelings film review by UK film critic Brian Penn. Starring Jennifer Lawrence, Andrew Barth Feldman, Matthew Broderick directed by Gene Stupnitsky. HOME | FILMS | REVIEWS No Hard Feelings Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Jul 19, 2023 Directed by: Gene Stupnitsky Written by: Gene Stupnitsky, John Phillips Starring: Jennifer Lawrence, Andrew Barth Feldman, Matthew Broderick A film like ‘No Hard Feelings’ is easy to miss when Joe Public have such a wide choice on the big screen. You would barely glance up from your mobile when the trailer appears. There are elements of screwball comedy; a vague reference to the coming of age drama. A mature woman and a young boy on the cusp of manhood all sounds very familiar. It’s the story where they both learn something about life with a tinge of rom-com thrown in. But this is much better than it sounds and a refreshingly pleasant surprise. Maddie Barker (Jennifer Lawrence) is a bed hopping singleton with a string of one night stands behind her. She owes property tax on her home and is struggling to pay what’s owed. Maddie makes a living as an Uber driver but has her car repossessed. Desparate measures are required so Maddie replies to an advert placed by the Beckers (Matthew Broderick and Laura Benanti). The micro-management of their son Percy (Andrew Barth Feldman) knows no bounds and have a special assignment for her: should she choose to accept. The Beckers are seeking a summer companion for Percy before he heads off to college. It soon becomes obvious that Maddie has to ‘date’ Percy in every sense of the word. However she gets the use of the family Buick for her services. It all seems like a no-brainer for Maddie; she gets to drive a great car and solve her money worries all in one go. And how could he possibly resist her undoubted charms? Crucially, she hasn’t bargained for Percy’s sheltered upbringing and the fact he barely leaves his bedroom. Within ten minutes of the film starting you can write the ending with relative ease. But the innate predictability is half the fun with engaging characters delivering some funny lines. Maddie comes across as a calculating woman of the world who hides a heart of gold. Percy is the goofy kid who fails to recognise a gift horse but is more perceptive than everyone realises. There are good visual gags and Percy nails a brilliant version of ‘Maneater’ on the piano. Jennifer Lawrence and Andrew Barth Feldman are charming leads who work the age gap scenario with aplomb. There is surprising depth in a plot that initially seems flimsy but is ultimately revealing. Life experience comes in many guises and proves that age doesn’t always make us wiser. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Lost Soulz film review by UK film critic Christie Robb. Starring Suave Sidle, Giovahnna Gabriel directed by Katherine Propper. HOME | FILMS | REVIEWS Lost Soulz Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: May 28, 2024 Directed by: Katherine Propper Written by: Katherine Propper Starring: Suave Sidle, Giovahnna Gabriel When aspiring rapper Sol (Suave Sidle) is discovered by a touring band at a house party in Austin, Texas, he drops everything and takes off with them that same night to pursue his dreams. But what has he left behind? Written and directed by first-time feature director Katherine Propper, Lost Soulz is a slow, dreamy road trip where Donald R. Monroe’s camera lingers over the exquisite and the weird. It invites us to explore creativity and connection. And how the wounds from our past create reverberating ripples in our lives, even as we strive toward beauty and hope. In the hands of another director, this movie could easily have become melodrama, even trauma porn. But Propper is restrained, elegant in her approach. The performances of her cast (mostly with few IMDB credits behind them) are natural, subtle, and effective. Sol is by far the most complex and nuanced. His relationship with the younger sister of his best friend (Giovahnna Gabriel) is endearing and a shrewd move on Propper’s part. What a great way to soften an ambitious young man’s character than to give him a spunky girl to care for. Or an animal. And there are animals, too. The music is pretty alright. Kinda lo-fi. Mostly chill. It’s original and performed by the cast. But what’s even better than the results is seeing the band members improv together, adding different vocal elements over beats, changing the words, mixing it up, adding layers, bouncing ideas off each other. Making something and having a good time while doing it. It’s a joy to watch. Buy UKFR Banner Space About the Film Critic Christie Robb Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Exorcist: Believer film review by UK film critic George Wolf. Starring Leslie Odom Jr., Ellen Burstyn directed by David Gordon Green. HOME | FILMS | REVIEWS The Exorcist: Believer Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Oct 4, 2023 Directed by: David Gordon Green Written by: Peter Sattler, David Gordon Green, Scott Teems Starring: Leslie Odom Jr., Ellen Burstyn There have been more Exorcist movies than you might realize and almost all of them are good. One is great. One is a masterpiece. Is it really fair to hold any of them up against the mastery of William Friedkin’s 1973 original? Well, The Exorcist: Believer flies the titular flag, and brings back Ellen Burstyn to reprise her role as Chris MacNeil, so the film isn’t exactly staying away from it. And with two more Exorcist films on the way, director and co-writer David Gordon Green is nothing if not ambitious. Green has been here before, recently bringing Michael Myers roaring back to life with his Halloween trilogy. That project came out of the gate with strength and promise, which only made the final two installments that much more disappointing. This opening statement brings cause for both optimism and worry. Green’s multiple nods to Friedkin’s original start from Believer ‘s opening frame, as Victor Fleming (Leslie Odom, Jr.) and his pregnant wife are traveling in Haiti. Tragedy strikes, and we move ahead thirteen years, with Victor raising Angela (Lidya Jewett from Hidden Figures and TV’s Good Girls ) as a single father in Georgia. Angela and her friend Katherine (Olivia O’Neill, in her debut) go missing after a walk in the woods, showing up three days later as very different people. Katherine’s parents (Jennifer Nettles and Norbert Leo Butz) are true Bible thumpers, and their contrast with Victor’s skepticism becomes an important thread that Green will pull to the end. The girls’ shocking and blasphemous behavior leads Victor’s neighbor (Ann Dowd) to suggest contacting MacNeil, now a best-selling author who has devoted the last 50 years to understanding what happened to her daughter, Regan. Odom, Jr. delivers a complex but never showy performance that anchors all the fantastical that orbits him. And it’s great to see the Oscar-winning Burstyn back in this role, but her rushed introduction here reminds you of what an effectively slow burn the original employed. Maybe today that’s a harder sell. But as good as all these performances are, you are just not as deeply invested once the fight for two souls begins. Green does show a good feel for the callbacks, never going overboard and holding your attention with a consistently creepy mood. The girls’ makeup, demonic voices and atrocities combine for a series of solidly unnerving sequences. Nothing may come close to the shocks from the original, but really, what could? You’re not going to put another child actor through what Linda Blair endured. Still, 1990’s Exorcist III managed two original moments that bring chills to this day, and nothing about Believer feels destined for iconic status. The storytelling scores by mercifully limiting the Catholicism, as Green embraces the idea that every culture has a ritual for expelling evil. It’s nice to point out that the Catholics don’t hold a monopoly on exorcisms and that maybe horror fans have grown weary of priests and nuns at this point. Green removes the power from an individual faith and empowers the idea of community, where “the common thread is people.” But while Believer brings in some welcome new ideas, it lacks the confidence to let a path reveal itself without guideposts of undue exposition. Too much of what happens in the third act is telegraphed early or explained late, even saddling the always-great Dowd with a needless, bow-tying monologue. What made the original great? Friedkin and writer William Peter Blatty tied us all up in one man’s shame, his inability to do the right thing, and his crisis of faith just to see him sacrifice himself for an innocent. Friedkin terrified us with the most unholy image one could imagine at that time, closed us in a tiny space with this foul idea, and then released us only when one good man died for us. The demon is again playing on shame and exploiting grief, ultimately revealing a long held secret that becomes key to the fate of both girls. And while the issue this film raises is worthy and mildly provocative, the question of where the franchise goes next is equally intriguing. Believer spends two full hours telling the story, and it needs those 121 minutes. But Green doesn’t spend them where he should. He tells us too much, shows us too little, and doesn’t invest our time with characters so we feel for the families. There are scary moments, for sure, but this episode does not feel like a kick start to a beloved franchise or a new vision of evil. It feels like an entertaining sixth movie in a decent series. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Eostre film review by UK film critic James Learoyd. Starring Liam Woodlands-Mooney, Alex Hall, Stella Casson-du Mont directed by Samuel Saxby. HOME | FILMS | REVIEWS Eostre Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 10, 2024 Directed by: Samuel Saxby Written by: Rowan Casson-du Mont Starring: Liam Woodlands-Mooney, Alex Hall, Stella Casson-du Mont Eostre (2021) is a truly involving exercise in atmosphere, and it’s worth your time. This period short film tells the story of a monk who attempts to ingratiate himself amongst the community of a mysterious village, but not all is what it seems. With the tagline ‘An Anglo-Saxon Horror Story’, the piece slowly transitions from dramatic mystery to supernatural body-horror – leading the audience through an episodic progression of disturbia; a crescendo with a gut-punch of a climax which elevates the short to another level. It could be argued that it owes a debt to Robin Hardy’s The Wicker Man (1973), wherein an unaware protagonist wanders into a terrifying world of ritual and collective paranoia, only to have his own fate inevitably sealed. There’s a lot to enjoy in this film, from its mood building to its exciting directorial choices; however, the star of the show is without question the impeccable production design which showcases an attention to detail that’s unusual in a production of this kind. Production design is a frequently overlooked element of filmmaking in general, but you only have to watch work such as this to understand how essential it is in building a sense of place and time. Every building, costume and tool seen in camera feels grounded and fully realised. Additionally in terms of makeup, the most memorable moment in the piece comes in the practical effects present in the denouement: reminiscent of a certain iconic sequence in An American Werewolf in London (1981), viewers are treated to a ferociously enjoyable display of gruesome character design -- not to mention, the wonderful sound design goes a long way in selling the ickiness of the moment. This is quality low-budget filmmaking. Despite the praise, the film could have gone further with a more gothic aesthetic. The slightly muted visuals don’t quite match the extreme nature of this supernatural folktale; there was an opportunity to take an expressionistic approach (darker shadows, more expressive lighting, etc.) to further add to its potent atmosphere, and it feels as if the filmmakers missed a trick in visual terms. Nevertheless, this is but a minor stylistic complaint – in fact, there is some fantastic technical cinematography on display: namely, some incredibly virtuosic moments of camera motion. Multiple shots, using a dolly, are of a high professional quality and are selected sparingly but therefore effectively to implement a sense of scale and depth to our progressing story. One should not neglect to consider the level of ambition that is present in this film. There is something to admire in the fact that the locations we are shown feel genuine and of their time – this is an achievement in producing terms. Moreover, the large cast of appropriately costumed characters (down to the impressive beards) provide this project with a unique kind of production value not often present within student cinema. But production value aside, this film is simply an entertaining watch. While not without flaw, Eostre offers up a fun and surprising viewing experience designed to please fans of innovative independent cinema and horror enthusiasts alike. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Truckman film review by UK film critic Patrick Foley. Starring Benjamin Peter Jones, Joseph Emms, Yasmine Alice directed by Andrea M. Catinella. HOME | FILMS | REVIEWS The Truckman Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 30, 2023 Directed by: Andrea M. Catinella Written by: Andrea M. Catinella Starring: Benjamin Peter Jones, Joseph Emms, Yasmine Alice Whether you saw Christian Bale’s character’s ‘where are they now’ segment in The Big Short and reinvested your life savings, or whether you were just really mad last summer that you couldn’t use your hosepipe to scare aware local youths, water scarcity is becoming a phenomenon with increased recognition. The Truckman imagines a world where H2O has almost completely run out, with disastrous consequences. In a collapsed society where millions across the world live without water security, a group called ‘The Outsiders’ make their home in a remote forest scavenging water where they can. John (Benjamin Peter Jones) and Deacon (Joseph Emms) are father and son, with a strained relationship that is placed aside whilst doing all they can to help Deacon’s heavily pregnant wife Rebecca (Yasmine Alice). But unbeknownst to them, a group of religious zealots led by a dangerous Prophet (Kent Goldfinch) are following their trial… A post-apocalypse action/drama with strong Walking Dead influences, The Truckman seeks to carve its niche in the survivalist spectrum with a focus on water scarcity – a disturbingly real concern for the near-future of the planet. However, beyond some contextualising news reports and objectives for the plot-driving scavenging expedition, the film fails to really make use of the potential offered by the integral element of its world. Choosing to focus instead on its characters, relationships and action, the film could comfortably swap out drought for a zombie-invasion or a nuclear bomb as its end-of-days scenario, and very little would ultimately change. For a film that’s purpose director Andrea Catinella describes as “raising awareness around climate change and drought”, it’s disappointing that little originality or utilisation of this issue is present. The characters’ lives do not seem adversely impacted by a lack of water (which includes driving cars that presumably run on magic fuel) or understand exactly why the Archetype cult have formed a new religion. It all just feels like an imitation of its Georgia-based inspiration. Of course, this wouldn’t be as glaring of an issue if the characters and relationships that are the film’s true focus were not let down by a poor plot. John and Deacon’s relationship is practically bipolar – ricocheting from awkward tolerance from Deacon towards John, to utter hatred, to ultimate reconciliation within minutes – with little to justify or validate such dramatic shifts in the son’s personality. For a character that is the source of such pain, John himself is presented as far too competent and calm to actually be interesting – with the only character development the viewer is parlay too being the result of tragedies that happen to him rather than his own personal growth. The script itself is poor as well, packed with exposition which comes across as terribly inauthentic and at times unintentionally hilarious. The worst moment comes from Rebecca, finding time during the agony of childbirth to proclaim “He or she will be born into this world full of violence! How are we going to protect her?” Aside from her surprisingly lucid care not to assume her child’s gender (at least at first), you’d have hoped they’d have considered the ‘how’ a lot earlier… The action is at least well-accomplished with convincing fight sequences packed with tension, and the effects, locations, props and wardrobe feel convincing enough considering the film’s production. However, for what is a concept short for an ambitious expansion upon the film’s concept, a much more interesting and engaging plot, characters and story world is absent. The central tenet of The Truckman is ripe for exploration, but there is a dearth of it here. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Gabriela film review by UK film critic Lawrence Bennie. Starring Evelyn Lorena, Maria Telon, Viktor White, Miguel Girona directed by Evelyn Lorena. HOME | FILMS | REVIEWS Gabriela Film Review average rating is 5 out of 5 Critic: Lawrence Bennie | Posted on: Aug 14, 2024 Directed by: Evelyn Lorena Written by: Evelyn Lorena Starring: Evelyn Lorena, Maria Telon, Viktor White, Miguel Girona "Why did God make me like this? If I'm meant to be free?". Writer, director and star Evelyn Lorena's award-winning Gabriela offers thoughtful meditations on identity, heritage and God in a striking directorial debut. Yet, the story masterfully told here is not so much one of breaking boundaries, becoming accepted or becoming a champion in the face of adversity. Rather, this is very much an exploration of a character's inner-life and about them coming to terms with their identity and even, more broadly, their own existence. Gabriela (Lorena) is a young Guatemalan woman who dreams of being a competitive swimmer. However, her free-willed spirit and independence is repeatedly repressed by her stern mother (Maria Telon), ostracising from her local community and her own conflict with her heritage. Only her boyfriend, Stefan (Viktor White), truly accepts her and for who she is underneath. Nevertheless, the troubled Gabriela - encouraged by memories of her late, beloved father (Miguel Girona) - endures to overcome her demons and find lasting peace. This is an absorbing film from start to finish, largely helped by the fact that Lorena's script steers away from the melodramatic and sentimental. God and Spirituality are a central theme but Gabriela is never preachy; instead Lorena invests her piece with a moving quiet wisdom and simple yet powerful symbolism. Lorena herself is very effective in a role which is essentially almost a non-speaking part whilst Telon is equally good as her pragmatic mother. "Why swim if you have strength?", Gabriela is told by her at one point. “Did you know that one minute of swimming gives you enough power to start a microwave?”, she replies. Lorena's dialogue is always realistic and believable but even seemingly trivial exchanges like this convey the subtle profundity that seeps throughout the film. From start to finish, Lorena uses the motif of water to express the inner-balance which Gabriela seeks. Previously, she has been sick and, physically, has made a recovery. Yet, something within has gone. Her father - her mentor and link to God - has departed and she feels detached from her mother, uncomfortable with her skin tone and, other than her relationship with Stefan, she appears friendless. "Sometimes, I just want my voice gone. Just float away" she tells him. Throughout the film, water represents the spiritual side to Gabriela that she yearns to reconnect to. Never does she dream of making it as a prize-winning swimmer; her inherent goal is simply to be in the water and, when there, to finally find the peace and tranquility which has long been alluding her. Gabriela is simpy short film-making at its best; economical in its dialogue and imagery, gently heartfelt in its performances and carrying with it the warm wisdom of a great script and a moving story. At the film's closure, Gabriela may not be swimming, or even in the water, but inside she is and that's what matters After much strain, she is truly with her mother again and, also, with herself. Buy UKFR Banner Space About the Film Critic Lawrence Bennie Short Film < All Reviews Next Film Review >

Vole film review by UK film critic Jason Knight. Starring Paul Dewdney, Gabriel Okafor directed by Ewan Thomas. HOME | FILMS | REVIEWS Vole Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 12, 2024 Directed by: Ewan Thomas Written by: Ewan Thomas, Harrison Tate Starring: Paul Dewdney, Gabriel Okafor An elderly man and a youngster are in the middle of a forest. Alone and trapped. An old man (Dewdney) is in the isolated countryside. There is no building of any sort to be seen and he appears to be by himself. As he walks around collecting wood, he spots an unconscious young man (Okafor) lying on the ground. He is wearing a business suit and has a wound on his head. Eventually, he regains consciousness and demands to know what is going on. The aged man claims that he does not know what is happening and while the two of them spend time in the wilderness together, dramatic conversations regarding the values of life and humanity occur. An obvious element that makes this short intriguing is the mystery. What is going on? Why are two people trapped in the woods, unable to leave? How did they end up there? As the youth makes a run for it, he discovers that no matter how far he travels, there is no sign of civilisation. The wildnerness seems to be endless. So where are they then? Are they in a supernatural world? And what about the elderly man? How long has he been in the woods, all by himself? At the beginning he is seen doing a hitchhike hand sign by a road and keeping some sort of record. Why is he doing these? Certainly, these are questions that the viewer would like to know the answers for. In some ways, the film feels like a psychological survival horror story. Two people trapped in an isolated place where escape seems impossible. However, the deepest core is reveiled when the old man expresses his opinion regarding people. He believes that humans rely on objects in order to feel complete and that they are slaves to those who have authority. Generally, he suggests that without possessions, people are no different than animals. The youngster is a character that represents the contradiction to that belief: a businessman, a person who firmly believes in society, who owns a lot of things and wants more. The fact that these two men are now in nature seems to signify that they now have nothing apart from themselves and in certain ways have become animals, forced to live out of whatever nature has to offer and at the same time, they are free, away from society's complications. The atmospheric and sinister score by Magnus Fielding is a big plus and Kimia Modaressi Chahrdehi and Thomas Wright do a good job with the editing, especially when utilising fast cutting. The lighting techniques also stand out, particularly during night-time, when the two protagonists are sitting next to a campfire and sound designer Ava Doyle also deserves commendations for the effective sound effects. This is a tale of survival and isolation and it offers a rather negative point of view regarding humanity. The performances are strong and the old man makes an interesting character. Although the plot is successful in drawing attention, the viewer might be disappointed by the questions that remain unanswered. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Not a Funny Thing 2 film review by UK film critic Swati Verma. Starring Jorge Luis Villacorta Santamato directed by Jorge Luis Villacorta Santamato. HOME | FILMS | REVIEWS Not a Funny Thing 2 Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Aug 10, 2022 Directed by: Jorge Luis Villacorta Santamato Written by: Jorge Luis Villacorta Santamato Starring: Jorge Luis Villacorta Santamato The red colour used for the title of the film- Not a funny thing 2 symbolises vigor which means strength or energy. The writer-director Jorge Luis Villacorta Santamato utilizes the comedy genre to highlight the mundane routine of the protagonist (Jorge Villacorta Santamato) effectively to engage its audience with the content of the film. The plot of the cinematic piece revolves around a man that grades papers. Doing a lame chore is too much for him as the luck factor isn’t favouring him too. The distractions threaten the result so a wise effort is needed to get the desired goal. The method he has chosen to take seems to be the best one for completing the job at hand. The feature film opens up with a long shot of an office set-up with a light yet peppy background music to establish the subject matter of the movie to the viewers. The slightly tilted camera angle followed by refocusing it on the central character indicates the change in the scene. The editing of the crime drama ensures that the narrative flows smoothly without breaking the continuity of the storyline. The colour palette, set design, lighting, costume, and makeup assists the filmmaker along with the creative team to give the movie a dull vibe so that the comedy and drama elements can uplift the entertainment part of the deal for the audience. The one-room drama does not have any dialogues in it but the movie demands the full attention of the audience from the very start as the cinematic piece beautifully portrays the minor detailing of the film which is very crucial for understanding the same at the core level. In terms of performance, Jorge Luis Villacorta Santamato plays the role of the intellectual who wants to look for ways to tackle the monotonous nature of his professional life. Jorge Luis Villacorta Santamato switches his comic gear as he uses the body language, facial expressions, and eyes to pick up the nuances of the character as per the requirement of the script. Not a funny thing 2 advises its audience regarding dealing with life situations in ways that are best suited for their well-being as well as their loved ones. The cinematic piece also talks about people being capable enough to take responsibility for their happiness and a peaceful mind which is of utmost importance in times of the pandemic. The fantasy film tells us that life should have the right balance of every emotion and an excess amount of any sentiment can prove detrimental to a healthy lifestyle. To conclude, I would like to say that the writer-director Jorge Luis Villacorta Santamato of the film-Not a funny thing 2 has successfully clubbed multiple genres like comedy, crime, and drama to showcase how one can multitask and bring out the piece of cinema that is full of inspiration and full of key messages that are super retable and helps the masses to enhance the very essential life skills crucial for survival. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >