Hostile Architecture film review by UK film critic Patrick Foley. Starring Lisa Eaglesham, Rebecca Tierney, Stuart Edgar directed by Robb Jayne. HOME | FILMS | REVIEWS Hostile Architecture Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Jan 26, 2022 Directed by: Robb Jayne Written by: Robb Jayne Starring: Lisa Eaglesham, Rebecca Tierney, Stuart Edgar For the seemingly never-ending tsunami of scandals that crash upon this country’s shores (courtesy of a government that embarrass themselves with a Grampa Simpson-level regularity) it’s easy to forget that quiet disgraces - like the ongoing growth in homelessness - go unaddressed and barely mentioned. It is a grim necessity that filmmakers like Robb Jayne continue to use their work to make powerful statements that highlight this – and Hostile Architecture does this superbly. Kirsty (Lisa Eaglesham) is newly homeless and is awaiting a call from support worker Sara (Rebecca Tierney) for a room for the night. As she wanders the city streets, she experiences casual hostility from people who have little care for her circumstances. And just as the world seems to figuratively turn her away, horrifying, bizarre and very literal occurrences begin to stalk her – emanating from the very streets she walks on… A politically-charged horror/drama, Hostile Architecture is a fantastic short which brilliantly portrays how the world treats the homeless with unnecessary cruelty. Director Robb Jayne, who has experienced homelessness himself, skewers the prevailing attitude of some in this country who view those struggling as lesser, and demonstrates that the concept of ‘hostile architecture’ (such as anti-homeless spikes or benches) is as monstrous as the supernatural creations he unleashes in the film. Lisa Eaglesham gives a heart-wrenching performance as Kirsty – showing both an understated resilience and vulnerability as she strives to simply survive on the streets, and convincing terror as the streets themselves come after her. It is never revealed how she ended up homeless – a clear statement that it should not matter how someone comes to struggle. It is the world that chooses hostility towards her and not the other way around, as the likes of Stuart Edgar’s uncaring barista demonstrate. For a small-budget film, production values are extremely impressive. Scenes following Kirsty are well structured – closing the audience in tight to give the impression that the world is an intimidating place. Scenes are placed from the perspective of security cameras to impressive effect – adding a documentary-style realism to proceedings. The filmmakers also use stop-motion-style visual effects to bring the horror aspects of the world to life. The surreal and otherworldly appearance of these props – particularly the thorny branches which sprout from a bench – are a fine example of the filmmakers working within their means to creatively portray their intentions, and in fact results in a more disturbing and terrifying outcome than a photorealistic equivalent could accomplish. The film ticks the box of every great horror in that its scariness represents more than what is shown on screen. Politics are at the film’s heart, and yet the director is confident enough to trust the audience’s insight in decoding the meaning behind the story. In showing-not-telling, the film maintains an artistic integrity whilst also communicating its message in a more insightful manner. In profoundly demonstrating the brutality of turning the world itself against people, Hostile Architecture makes a powerful political statement whilst also entertaining viewers with its engaging and emotional story and performances. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Nobody Is Crazy film review by UK film critic William Hemingway. Starring Jose Manuel Gutierrez, Federico J. Arioni, Lara Ammi Wheeler directed by Federico J. Arioni. HOME | FILMS | REVIEWS Nobody Is Crazy Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Apr 8, 2022 Directed by: Federico J. Arioni Written by: Federico J. Arioni Starring: Jose Manuel Gutierrez, Federico J. Arioni, Lara Ammi Wheeler Time travel is tricky stuff. It twists your melon – man; especially when you're trying to deal with actual quantum physics and not just that cutesy Grandfather paradox/alternate timeline junk that they sell you in films and on TV. As Nobody (Arioni) in Federico J Arioni's film Nobody Is Crazy/Nadie Esta Loco is fond of quoting from Ecclesiastes: “What has been is what will be, and what has been done is what will be done; there is nothing new under the sun.” And this, believe it or not, actually helps make things a lot easier to understand. Nobody's (and Ecclesiastes') point is that nothing can be changed. Through past, present and future, all that has been, is, or will ever be is already set, with no heroic time-traveller or fancy chronometric shenanigans being able to alter that. It's probably best to keep that in mind as you delve into the plot of Nobody Is Crazy and the life of its main character Rafael. Rafael (Gutierrez) is a lonely 16 year old boy living in Neuquen, Argentina. He has OCD which keeps his systems rigid and his social circle non-existent. His mother is at her wit's end trying to get him to go to school and engage with other children his age, which has led her to threaten him with being sent to military school. Rafael's psychologist, the latest in a long line, can't seem to get through to him either, and as a last ditch attempt suggests a therapy group that meets three times a week where he can listen and not engage if he doesn't want to. Naturally, this is where things start to go awry. Outside of the group one day, Rafael meets an enigmatic stranger in a black eye-mask and gloves. This oddball calls himself Nobody and professes to be a time-traveller; a skill which he says ultimately he can't control. For the first time in a long time Rafael's curiosity is piqued and the two form a friendship of sorts, based mostly on Rafael's need to uncover this other so-called crazy person's lies. What follows is an exploration of the theory and plausibility of time travel through intense dialectics. Nobody acts as the perfect foil to Rafael with his upbeat attitude and alternative viewpoints on the world. His mask keeps him mysterious and strangely believable as a time-traveller whilst at the same time marking him out as a kook and a fantasist. This split dynamic keeps Rafael interested long enough to lose some of his inhibitions about being around people and places while he investigates who on Earth Nobody is. Then when a girl, Daria (Wheeler) is introduced into the mix, things get taken up a notch and Rafael finally gets serious about what kind of a person he wants to be in future. Arioni's film is throughout a clever mix of coming of age story and time-travelling mind f***. The characters are extremely well drawn and just off-kilter enough to keep the audience guessing as to who they are behind their ego, or their psychoses, or their mask (literal or metaphorical). The direction and cinematography play their part nicely, shifting between close-ups and wide shots as the dialogue takes the characters into newer and more varied spaces. The dialogue itself can run at breakneck speed, with the first twenty minutes in particular being difficult to follow as there's so much to read in the subtitles that it can be hard to find time to see what's happening on screen. After that though, things settle down and then all you have to deal with is the science and philosophy of quantum mechanics. Simples. The actors are natural and engaging in their roles with Arioli in particular pulling off a fine job behind the mask as the enigmatic Nobody. Adding to the feel of all of this are the nice 80's references which Nobody brings along with him and the excellent placement of the music, both songs and score. There are some really nice nods to other time travel movies all the way through the film and spacetime geeks will have a field day finding all the references littered around. There is also a fun Ferris Bueller scene in an art gallery but overall Nobody Is Crazy feels most akin to Vanilla Sky (2001) or more accurately its Spanish predecessor Abre Los Ojos (1997), with its mind bending dialogue and references and its solipsism (I had to look it up). Overall Nobody Is Crazy/Nadie Esta Loco is a fun ride with some truly unique characters who are ready to walk and talk and time travel all at the same time. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, World Cinema < All Reviews Next Film Review >

Memoria film review by UK film critic Amber Jackson. Starring Tilda Swinton, Juan Pablo Urrego, Elkin Diaz directed by Apichatpong Weerasethakul. HOME | FILMS | REVIEWS Memoria Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Nov 16, 2021 Directed by: Apichatpong Weerasethakul Written by: Apichatpong Weerasethakul Starring: Tilda Swinton, Juan Pablo Urrego, Elkin Diaz Slow and unnerving, yet deeply and mysteriously beautiful seems to be the general perception of Apichatpong Weerasethakul’s latest film, Memoria. Jessica (Tilda Swinton), an English woman residing in Colombia, is awoken by a loud bang one morning and continues to be tormented by the overwhelming sound that only she can hear. Hoping to discover its source, she embarks upon a journey of discovery to locate answers. A two-hour event that refuses to feel monotonous for a second, this is cinema that makes time stand still and forces the spectator to view more than a typical camera shot would permit. With its world premiere taking place at Cannes Film Festival in July 2021, Memoria has so far garnered positive critical reception. Infamous independent Thai film director, Apichatpong Weerasethakul, who also directed landmark films like Tropical Malady (2004) and Uncle Boonmee Who Can Recall His Past Lives (2010), proves yet again that he is one of the great auteurs of slow cinema. Being his first film filmed and set outside of Thailand, with a non-Thai cast, Weerasethakul’s new approach and stylistic risk pays off. The use of one-shot-takes by cinematographer Sayombhu Mukdeeprom were thoughtful and unnerving in equal measure, whilst both Jessica and the viewer are attempting to make sense of the situation. Scenes take place in the hustle and bustle of public Colombian life with the copious background noise of life that provides a ‘fly-on-the-wall’ effect. Characteristically attune to slow cinema as a genre, Memoria’s long scenes allow for the viewer to be constantly anticipating the next moment, as if we are waiting for something that never arrives. To beautifully contrast these urban moments, the Colombian landscape emphasises natural beauty that is atmospheric and all-consuming with its endless noise. Yet, amongst all of this, Weerasethakul is able to create a picture in which Jessica as a character feels completely isolated. Particularly because she is experiencing something that no one else can hear, she does not fit into place in any location. True to her talents, Swinton’s acting was calculated and deliberate and provides a clear external sense of Jessica’s inner turmoil as she struggles for answers as to where this noise may be coming from. Jessica embodies the role of both the observer and the observed, which is shown through tracking shots. There is something voyeuristic and aesthetically pleasing about watching her watch her surroundings. As Jessica falls deeper into her search, she encounters Hernan (Elkin Diaz) on her travels – a man of the land who assists in the exploration of her surroundings, as well as her inner self. As they share memories and experiences, Jessica comes to certain realisations that end up defining her solo journey. Memoria questions reality and the unique concept of reality to the individual. Although not much is given away throughout, character experience and reaction are consistently prevalent. Director of infamous film Platform (2000), Jia Zhangke, co-produced this film, and consequently emulates his archetypal style that is in-keeping with the genre of slow cinema. The creative minds that came together to make Memoria allow for watching on the big screen to be a whole new kind of immersive experience that is very sensory. This slow burn is like time halts for both Jessica and the viewer which, combined with the continuous noises throughout each scene, make the process overwhelmingly beautiful. Sound itself is an integral part of Memoria, as the soundscape is almost its own character. It is the main focus of the film, as engineered by sound designer Akritchalerm Kalayanamitr and sound editor Sebastian Perez Aguayo. The soundscape should not be undersold in any way, particularly because the contrast between silent and loud moments was very artistically done. Its sensational sound design is not only inventive, but contributes to a consistent on-edge feel. Slow cinema can be an acquired taste, but Memoria’s sound makes it near-impossible to deny the beauty and absolute artistic talent that oozes from this film. Apichatpong Weerasethakul reminds us that it is okay not to have all of the facts and plot knowledge when watching as film structure itself, combined with artistic talent, can be appreciated on its own. Memoria is a beautiful and thought-provoking watch and not one to miss. Memoria will be released in UK cinemas in January 2022 and has been selected as the Colombian entry for Best International Feature Film at the 94th Academy Awards. Buy UKFR Banner Space About the Film Critic Amber Jackson Indie Feature Film, Theatrical Release < All Reviews Next Film Review >

Monolith film review by UK film critic Brandon Thomas. Starring Lily Sullivan directed by Matt Vesely. HOME | FILMS | REVIEWS Monolith Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Feb 16, 2024 Directed by: Matt Vesely Written by: Lucy Campbell Starring: Lily Sullivan Having already made a strong impression in last year’s Evil Dead Rise , Lily Sullivan delivers an even more impressive performance – and one where she’s the only actor on screen – in Monolith . Sullivan’s command of the screen for the entire 94 minute running time is a testament to her understanding of the material, and how that allows us, the audience, to recognize her character’s (known only as The Interviewer) complex motivations. Monolith begins with Sullivan’s former journalist holed up in her parents’ luxury vacation home. Nursing an enormously bruised ego after having been fired from her previous job for not fully vetting a source, the Interviewer is desperately hoping for that next big thing that will find her career redemption. The answer is an anonymous email that leads the Interviewer to a woman who once had in her possession a mysterious black brick. As the Interviewer digs deeper, she finds that multiple people in various parts of the world also have these bricks. The more the Interviewer reveals about the bricks and their owners, the more she also starts to succumb to a mysterious force. Is it the influence of the bricks or is the Interviewer’s own hubris and vanity causing her to spiral? Director Matt Vesley and writer Lucy Campbell are able to wring so much tension out of a single location and a lot of phone interviews. As already noted, much of Monolith’s success rests in Sullivan’s hands. Her isolation as an actress informs the same isolation that the Interviewer is feeling. The audience begins to slowly match the Interviewer’s paranoia and discomfort with the bricks and the strange influence that they seem to have over people. Vesley’s command of tone and mood syncs up perfectly with Sullivan’s captivating performance. Monolith is the kind of film that teases that it might show its cards but never actually does. For movies that are high on plot this might be a problem, but Monolith is character-centric through and through and the ambiguity only serves the Interviewer as she sinks further and further into obsession with the bricks. In fact, while the finale itself retains that overall ambiguity, it also reveals just how deeply personal the Interviewer’s journey ends up being. It’s a satisfying reveal that isn’t treated as some sort of Shyamalan “surprise,” but instead acts as the final piece to understanding Sullivan’s character and her true motivations. Monolith is the best kind of slow burn: one that trusts the audience to come along for a satisfying ride, but also delivers enough twists and unsettling scares that even the tiniest amount of boredom never sets in. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Pulse film review by UK film critic Jason Knight. Starring Rajat Arora, Shikha Jain, Viivek Raaj directed by Saurabh Arora. HOME | FILMS | REVIEWS Pulse Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 5, 2022 Directed by: Saurabh Arora Written by: Saurabh Arora Starring: Rajat Arora, Shikha Jain, Viivek Raaj Following the passing of his wife, a man faces isolation and despair during COVID-19 lockdown. Rajat was living a happy life with his wife Pritha until she passed away from an illness. Now he is going through lockdown in India and is struggling hard to deal with longterm isolation while at the same time mourning the loss of his beloved spouse. He spends a great deal of time looking at a picture of his wife and becomes very attached to the fingertip pulse oximeter that was applied to her finger during her final days, often using it on his own finger. The only person he seems to be communicating with appears to be his brother. As time goes by, Rajat finds it increasingly hard to cope and becomes more and more desperate. This short emotional drama raises awareness of the negative effects lockdown has on people, especially if they are experiencing the consequences of loss. The audience observes how an individual goes from happiness to depression and unwillingness to carry on. Although the subject matter is distressing, there is joy in this film, as there are scenes that reveal the happiness that Rajat had with Pritha and a dream scene where she tries to encourage him to move on with his life. It is clear that he misses her deeply and the viewer feels for him. The three protagonists deliver strong performances. Arora is dramatic as a troubled individual who is grieving a devastating loss and is prevented from getting support due to lockdown. Raaj and Jain play their roles very well. When Rajat is talking to his brother by phone, the image is shown through the camera of their smartphones, which is a creative filming technique. Abhijit Roy develops beautiful cinematography and the music by Harsh Dave is dramatic and tense. This short is a character study and follows the struggles of a tormented individual. It explores themes of loss, mental health, loneliness and grief and how issues such as these are made worse because of lockdown. It also carries the message that one must deal with their problems and move on with their life. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Heel film review by UK film critic Hope Madden. Starring Stephen Graham, Anson Boon, Andrea Riseborough directed by Jan Komasa. HOME | FILMS | REVIEWS Heel Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 5, 2026 Directed by: Jan Komasa Written by: Bartek Bartosik, Naqqash Khalid Starring: Stephen Graham, Anson Boon, Andrea Riseborough Few people who watched the Netflix series Adolescence would describe it as darkly comical. And yet, Adolescence co-creator and co-star Stephen Graham lends his considerable talent to another look at the troubling behavior of young white men in Jan Komasa’s Heel. Graham plays Chris, a well-intentioned family man. Anson Boon is Tommy. One morning, after a night of hard debauchery, Tommy wakes up in chains in Chris’s basement. From there, Komasa’s film, written by Bartek Bartosik and Naqqash Khalid, could become something truly horrifying. Instead, it reimagines The Clockwork Orange by way of My Fair Lady . There’s obviously something terribly wrong with Chris, his wife Kathryn (Andrea Riseborough), and probably their young son Jonathan (Kit Rakusen). But they don’t think so. Indeed, they’re so convinced of their benign purposes that the family hires a part time maid (Monika Frajczyk), even though there’s a human being chained up just off the laundry room. Of course, during the interview, Chris does ask if Katrina has any distinguishing marks. That could be a red flag. The performances across the board are marvelous. Certainly, we’ve come to expect nuanced, even surprising turns from both Grahan and Riseborough. But it’s Boon who really impresses. His Eliza Doolittle arc is fantastic and frustratingly believable. Komasa plays with your expectations and manipulates your emotions. It’s really hard to root for the kid in the cellar, and it’s often a little tough to dislike this broken family, although there is clearly something very cracked and likely dangerous about them. The sharp script never overplays its themes. Heel keeps you guessing, keeps you fascinated, and sometimes has you almost breathless. It’s also quite funny and touching. The longer you watch, the more provocative Heel becomes. Even if you’re furious by film’s end, it’s hard to deny its power. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Mission: Impossible - The Final Reckoning film review by UK film critic George Wolf. Starring Tom Cruise, Hayley Atwell, Ving Rhames directed by Christopher McQuarrie. HOME | FILMS | REVIEWS Mission: Impossible - The Final Reckoning Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 23, 2025 Directed by: Christopher McQuarrie Written by: Bruce Geller, Erik Jendresen, Christopher McQuarrie Starring: Tom Cruise, Hayley Atwell, Ving Rhames Remember that eye-popping train stunt in Dead Reckoning ? How is this latest Mission: Impossible chapter possibly going to up that ante? Well, it takes two of the film’s nearly three hours to get there, but once Tom Cruise and director/co-writer Christopher McQuarrie break out the dual bi-planes, hang on for some serious thrills. And The Final Reckoning delivers plenty of them, more than enough to cruise past (pun intended) some clunky moments for a crowd-pleasing, satisfying capper to an epic franchise. We pick up where they left us two years ago, with Ethan Hunt (Cruise) and his team of Luther (Ving Rhames), Benji (Simon Pegg), and Grace (Hayley Atwell) on the trail of villain Gabriel (Esai Morales) and the secrets of disarming the doomsday AI program known as “The Entity.” In just 72 hours, The Entity’s efforts to frighten and divide the population will enable it to gain control over every nuclear arsenal in the world, and deploy each one. Hunt’s mission? Find The Entity’s original source code, and pair it with Luther’s poison pill algorithm that will distort the AI’s reality enough to bring it down. That’s a mighty big ask in three days, one takes the MI team across the globe, under the sea and in the air for more IMAX-worthy stunts and camerawork. And Cruise – one of cinema’s great movie stars – sells every minute of it with his ageless physicality and effortless charisma. And though the the film’s themes are mighty relevant, McQuarrie can lean too much on exposition dialog and some forced visual reminders. But he also knows the last three decades have earned some capital that the film spends quite well, bringing in plot points and characters from previous installments to play important parts of the plan. Sure, The Final Reckoning gets a bit sentimental toward the final shot, but after all this time that feels right. It also feels like a fitting start to summer movie season, a fitting end to a solid franchise, and a fine mission accomplished. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Don't Look film review by UK film critic James Learoyd. Starring Olly Rhodes, Danny Murphy, Valor Grey, Morgan Colquhoun directed by Danny Murphy. HOME | FILMS | REVIEWS Don't Look Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Sep 7, 2025 Directed by: Danny Murphy Written by: Jovita Bodamer-MacGregor Starring: Olly Rhodes, Danny Murphy, Valor Grey, Morgan Colquhoun Danny Murphy’s Don’t Look is a new horror short which is both intelligently constructed and intensely involving. It revolves around a group of young people, many of whom have hearing impairments. They approach what they presume to be an abandoned house wherein they can drink, have fun and get up to mischief. What they don’t realise is that the house is occupied by an unusual individual – who is blind – as well as a mostly unseen figure which will end up picking off the teens one by one. This is quite the slick piece of filmmaking; one with an original idea and a lot to say about the nature of its characters. Let’s start with the visual design and presentation: this is a great looking picture from multiple technical standpoints. But first and foremost, it is the lighting that provides this film that air of refinement and aesthetic polish – it's absolutely outstanding. From the beginning, the artificial yet utterly convincing moonlight announces this flourish, but by the indoor scenes situated around the table, it is the striking central white light casting shadows across the contours of faces and bouncing back from the surface which elevates the shots to a whole other level of cinematic. The camerawork then complements this cold, vivid lighting sensibility by using shallow focus – as well as a specificity of closeups within a widescreen format – to accentuate the harsh, clinical tone of the mise-en-scène. Faces are composed in some really impactful ways in this movie, particularly the closed eyes of the characters’ during the central suspense sequence. On a level of believability, one could argue that one issue with the film is the character of the main villain. It’s not a bad performance, since in terms of physical presence and look he is incredibly striking and intimidating. Though his vocal expression does not always match with his visual persona, and slightly lacks that needed gravitas that a bad guy needs. Even still, there’s so much to enjoy in every performance, and the chemistry between all the kids is authentic. I’d also like to touch on the filmmakers’ use of blood and gruesome chaos towards the narrative climax. For horror fans, there is so much to love here in terms of the effects. Eye stuff is already unpleasant enough to think about, so the makeup work is truly sickening in the best way. A fabulous achievement for a low-budget short. Some viewers may be reminded of the horror film Don’t Breathe in relation to this movie – both for its title and its focus on a disability as a gateway into a fear-based dramatic conceit. But this critic argues that Don’t Look is the superior work, even at a lower budget bracket. It’s more enjoyable, more cinematically subjective and packs an additional punch with the wonderful use of practical gore – also lending the piece that perfect handmade gooey feel which is perfect for short-form horror. Additional plaudits to screenwriter Jovita Bodamer-MacGregor: the fact that we’re immediately introduced to these individuals’ disabilities – and how it effectively plays into their dynamics as supportive friends – makes their later problem-solving all the more relevant and its dark ending all the more powerful. To surmise, this is a superbly made genre film that manages to hold the audience’s attention from minute-one. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Becoming The Queen Of The North film review by UK film critic Swati Verma. Starring Gia Adams, Gabrielle Brown, Tom Campbell directed by Aziz Altamimi. HOME | FILMS | REVIEWS Becoming The Queen Of The North Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 6, 2023 Directed by: Aziz Altamimi Written by: Aziz Altamimi Starring: Gia Adams, Gabrielle Brown, Tom Campbell The writer-director Aziz Altamimi builds up an intricate script paying tribute to the big names in the world of wrestling and what impact they have on the lives of both Gabrielle Brown and Gia Adams. The plot follows a professional wrestler Gia Adams and a Teacher Gabrielle Brown as they slowly unite and face their biggest challenge to date. The short film Becoming The Queen Of The North begins with a mid-closeup shot of Gia Adams along with a voice-over and upbeat music providing the details of her life increasing the degree of audience engagement with the content of the movie. The long shot of Gia Adam’s wrestling sessions and preparation at the gym lifting weights has been captured by the cinematographer to showcase her passion and dedication towards the sports to ultimately choose the same as her profession. The interview format utilised by the creative team helps them differentiate between the description of the parallel journey allowing the viewers to interpret it as per their understanding. The set design, the black, white, pink, and blue colour palette, dim lighting, sound, dialogues, costume, hair, and makeup have been kept natural to complement and elevate the realism and relatability factor also ensuring that continuity is not compromised to maintain the interest of the audience. The makers of Becoming The Queen Of The North add some animated sketches as the credits roll in demonstrating various behind-the-scene moments allowing the movie to stay with the audience even after they have finished watching it. In terms of performance, Gia Adams plays herself in the movie and narrates her quest towards a fulfilling as well as successful career learning a lot from her idols and also inspiring many youngsters along the way. Adams with voice modulation and body language has the power to extract the desired emotion from the audience side with every changing situation in the script. Gabrielle Brown is a teacher with numerous dreams in her eyes. Brown brings out a very different tangent to the story than Adams introducing the personal space of the wrestler in front of the audience. Tom Campbell plays the role of commentator and lends his voice to add more glory to an illustrious personality. The slight changes in the upbeat tone help the audience to become very excited and interested in knowing all the aspects of the sports person’s life. Becoming The Queen Of The North talks about celebrating women and their achievements. The short film reiterates the importance of believing in one’s dream and continuously striving to work for the dream to come true without losing hope. The dramatic piece highlights the significance of a strong support system from family and loved ones to boost their confidence to perform well each day and stay grounded at the same time. The cinematic piece tells the audience to enjoy the work one does as it gives them strength to deal with the problems/issues and emerge to eventually become a better human being. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

One Day as a Lion film review by UK film critic George Wolf. Starring Scott Caan, J.K. Simmons, FrankGrillo, Virginia Madsen directed by John Swab. HOME | FILMS | REVIEWS One Day as a Lion Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 6, 2023 Directed by: John Swab Written by: Scott Caan Starring: Scott Caan, J.K. Simmons, FrankGrillo, Virginia Madsen A few films in now, director John Swab’s favorite playbook seems to be upending familiar narratives with unexpected left turns. But unlike previous projects such as Candy Land , Little Dixie and Ida Red , his latest is built on a script Swab didn’t pen himself. One Day as a Lion comes from screenwriter Scott Caan, who also stars as Jackie Powers, consistently recalling his father James as an Oklahoma man driven to desperate measures by the arrest of his son, Billy (Dash Melrose). With Billy’s hearing just days away, Jackie needs money to hire TV lawyer Kenny Walsh (Billy Blair), who refers to himself in the third person and promises results. To get the money that talks to Kenny Walsh, Jackie agrees to whack powerful local rancher Walter Boggs (J.K. Simmons), who hasn’t paid his gambling debts to crime boss Pauly Russo (Frank Grillo). But the diner hit goes south, leaving Jackie to kidnap waitress Lola Brisky (Marianne Rendón) and head out on the run, while Walter and Pauly threaten Jackie and each other. Sound like your standard thriller, right? Caan has something a little more zany in mind. As Jackie and Lola hit up her mother (Virginia Madsen )- a rich woman known as “Black Widow” after her trail of dead husbands – for the needed funds, a whiff of romantic comedy is in the air. And with Okie hillbillies arguing about gymnastics and Pauly yelling about belt buckles, the whole adventure starts to feel like the remote intersection of Taylor Sheridan and a Jimmy Johns commercial. But Swab frames the dusty landscapes and empty streets with an appropriately desperate grit, the ensemble digs into the character eccentricities, and One Day as a Lion pulls you along a light but oddly compelling tale of kooky crime and possible punishment. I’m still trying to figure out just what is up with the post-credits stinger, but even it lands with a “what just happened?” vibe that seems right at home here. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

To Be Frank film review by UK film critic Chris Olson. Starring Frank Benbini directed by Steve Baker. HOME | FILMS | REVIEWS To Be Frank Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Aug 14, 2025 Directed by: Steve Baker Written by: Steve Baker, Frank Benbini Starring: Frank Benbini In 2019, I reviewed the excellent rockumentary Rise: The Story of Augustines . What made that piece of filmmaking so impressive was the authenticity, which was due, in large part, to the fact it was made by a fellow musician - Todd Howe of The Boxer Rebellion. As a genre, rockumentaries vary in quality and purpose. From the clout-driven features of young stars barely into their careers (Lewis Capaldi, Yungblud, etc.) to the talking-head-laden movies about bygone stars, there’s always an audience, but the execution can often feel egotistic, like a tacked-on extra to sell more records. To Be Frank , a rockumentary 10 years in the making, comes from a far more wholesome and, indeed, authentic place. Best known as the drummer from the band Fun Lovin’ Criminals, Frank Benbini has a far-reaching place in musical history. Whether in his other bands like Uncle Frank or Radio Riddler, or working with artist legends like UB40, Frank is always on top form as a charismatic, charming, and effin’ talented musician. We get his first-hand guidance through his journey, from humble beginnings in working-class Leicester to the dizzying heights of festival headlining and beyond. Made in strong collaboration with the movie’s director, Steve Baker, it becomes clear this has been a passion project and labour of love through tumultuous times, such as COVID, Huey leaving the band, and Frank’s musical idols passing away. Whilst the film brilliantly captures Frank’s career in a mostly chronological way, its power comes from deftly exposing the hardships of life on the road and living a life dedicated to music. We see the impact this has on Frank’s mental health, his family, and his struggle with anxiety. The edit for this film looked to be a gigantic task, given the long-spanning curation and the unprecedented interruptions it endured but the result is still sharp, poignant and affecting. To Be Frank balances the audience’s appetite for insight brilliantly, offering them a non-stop cocktail of in-person footage, sofa interviews, live performances, music videos, and a banging soundtrack that just won’t quit. The appearances of numerous musical legends help elevate the piece beyond just an ego-trip, instead revealing the robust community of artists who often suffer in silence for their art and creativity. Pathos is dropped in brilliantly to balance the odyssey, eschewing a frenetic exposé of rock and roll antics for something far more human and revealing. A warts-and-all road trip through the highs and lows of the music industry, To Be Frank stands as a powerful example of the dire need for real people in the creative world. Buy UKFR Banner Space About the Film Critic Chris Olson Documentary, Music Video, Theatrical Release < All Reviews Next Film Review >

Sahurda film review by UK film critic William Curzon. Starring Pasan Ranaweera, Sasindu Randi directed by Janith Imaduwage . HOME | FILMS | REVIEWS Sahurda Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 10, 2025 Directed by: Janith Imaduwage Written by: Janith Imaduwage Starring: Pasan Ranaweera, Sasindu Randi Sahurda follows Adeesha (Sasindu Randi), a postman, who dedicates his life to his work. Due to being incredibly busy with his job, he barely has time to spend with his loving wife. One day, while delivering letters to a house, he discovers a letter without an address and notices many other letters that are similar. Adeesha then goes on a journey of discovery, attempting to decipher the meaning behind the letters. The narrative was inspired by Nobel Laureate Richard Feynman, whose letters to his wife influenced the creation of the piece. The film opens with a washed-out and indistinct look, as it tracks the protagonist wandering the neighbourhood delivering letters to houses. Formally, the piece is mostly impressive with its evasive and moody atmospheric score, which pervades sequences of exploration throughout Adeesha’s routine. At the same time, the narrative feels rather aimless; however, a plethora of technical elements soar, in particular Eshan Manusanka’s camerawork, which utilises a mix of close-ups and fixed shots following Adeesha and the environments around him. On the other hand, some of the editing is jarring as it rapidly cuts from one sequence to another while bizarrely shifting aspect ratios. Audio can also be cut out at times, almost taking you out of the experience entirely, which could have potentially been thanks to its budget restraints. The central performance from Sasindu Randi is genuinely compelling as he radiates a profound level of nuance and restraint, hiding his deep melancholy behind his work. One of the most compelling aspects of the film is the relationship that is briefly depicted through scenes of flashbacks, giving the viewer a minor glimpse of the warmth that blossomed between Professor Philips Fernando (Pasan Ranaweera) and his wife and the sheer regret that looms over him by the time lost. Even with its shortcomings along the way and the minor runtime, the piece still manages to emotionally resonate as a viewer, especially given that it's based on a real letter. A deeper characterisation and exploration into their relationship with a prolonged runtime, however, could’ve potentially fleshed out the ideas the filmmakers wanted to delve into and made the finished cut more impactful. The climax is also abrupt, and tonally it feels confused and misguided at times, particularly in how sentimental it presents itself, as well as in the devastating nature of the central revelation. A bizarre use of visuals is apparent throughout the credits, which bears no resemblance to the narrative, accompanied by an oddly inserted post-credit scene, which adds nothing to the conclusion. Miyuranga Wickramasinghe’s musical score is profound and understated, effectively anchoring moments of stillness while Professor Philips reflects on the past and present. Thematically, the screenplay draws comparisons to quantum computing when discussing the unpredictability of uncontrollable impulses within complex problems, particularly in younger individuals. The supporting cast is terrific, especially Pasan Ranaweera, who, in his portrayal of Professor Philips, displays an incredible degree of confidence and nuance, balancing the more dialogue-heavy sequences when discussing the intricacies of quantum computing and the more intimate moments of reflection. Sahurda is a profoundly moving depiction of regret and grief over the time lost between two individuals, with its heart in the right place. It may suffer from minor technical issues and baffling tonal redirects visually, and it does not have much to chew on thematically either. However, the two lead performances from Pasan Ranaweera and Sasindu Randi are astounding in their dual characterisation, both in search of closure in their respective arcs. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >