Babes film review by UK film critic Hope Madden. Starring Ilana Glazer, Michelle Buteau, John Carroll Lynch directed by Pamela Adlon. HOME | FILMS | REVIEWS Babes Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 22, 2024 Directed by: Pamela Adlon Written by: Ilana Glazer, Josh Rabinowitz Starring: Ilana Glazer, Michelle Buteau, John Carroll Lynch Bobby Hill makes a movie. I think we always knew he was a feminist. Director Pamela Adlon, longtime actor and brilliant voice actor (winning an Emmy for her work on King of the Hill ), helms her first feature with Babes , the tale of two of lifelong best friends grappling with the sloppy tensions motherhood can put on a friendship. Adlon works with a script by co-star Ilana Glazer and Josh Rabinowitz, who wrote together on Glazer’s breakout sitcom Broad City , so you can guess what to expect: raunchy hilarity based in shameless womanhood. Yes, please. This is Glazer’s sweet spot. She’s plays Eden, whose free spirit is met with increasingly harried laughs by Michelle Buteau (Survival of the Thickest ). Buteau’s Dawn has just given birth to her second child and realizes that it only gets harder. Everything. All things. Harder. Just when Dawn could use her delightfully odd bestie’s help, Eden finds herself pregnant, quickly becoming just another bottomless source of need. Applause to Babes for doing more than checking off boxes: premise, catalyst, etc. Dawn’s pregnancy mishap is actually among the most endearing plot points in a surprisingly lovely, if deeply gross, film. The raucous irresponsibility that fueled Broad City enlivens Babes as well, but there’s more to this story than body fluids and lady parts. Glazer and Buteau share a charming, lived-in chemistry that enriches their sharp comic timing and riotous delivery. They’re not alone. Delightful supporting turns from Hasan Minaj, Stephen James and John Carroll Lynch add depth to situations, developing dimensional characters we become invested in. Childhood best friendship rarely really survives adulthood. Babes wonders whether it can, with the right mix of forgiveness and need, distance and support, breast milk and feces. Glazer’s irreverent humor loses none of its edge, but there’s now more depth and humanity. The laughs come early and often, but Babes delives a lot of heart as well. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Chain Reactions film review by UK film critic Hope Madden. Starring Patton Oswalt, Stepehen King, Takashi Miike, Karyn Kusama directed by Alexandre O. Philippe. HOME | FILMS | REVIEWS Chain Reactions Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 7, 2025 Directed by: Alexandre O. Philippe Written by: Alexandre O. Philipps Starring: Patton Oswalt, Stepehen King, Takashi Miike, Karyn Kusama Not everyone believes Tobe Hooper’s The Texas Chain Saw Massacre is a masterpiece of American filmmaking. I find those people suspicious. Luckily, those are not the people filmmaker Alexandre O. Philippe (Memory: The Origins of Alien , 78/52) talks to for his latest documentary, Chain Reactions. The film is a celebration of 50 years of TCM. The celebrants are five of the film’s biggest fans: Patton Oswalt, Takashi Miike , Alexandra Heller-Nicholas, Stephen King, and Karyn Kusama. It’s a good group. Each share intimate and individual reminiscences and theories about the film, its impact on them as artists, and its relevance as a piece of American cinema. What their ruminations have in common is just as fascinating as the ways in which their thoughts differ. Heller-Nicholas, an Australian film critic and writer, creates a fascinating connection between Hooper’s sunbaked tale of a cannibal family with desert-set Aussie horrors like Wake in Fright and Wolf Creek. Meanwhile, Kusama sees the story as profoundly, almost poignantly American. And Miike, genre master responsible for some of the most magnificent and difficult films horror has to offer, including Ichi the Killer and Audition , credits The Texas Chain Saw Massacre with inspiring him to become a filmmaker. And all because a Charlie Chaplin retrospective was sold out! Philippe’s approach is that of a fan and an investigator. When Oswalt compares Hooper scenes to those from silent horror classics, Philippe split screens the images for our consideration. When Kusama digs into the importance of the color red, Chain Reactions shows us. We feel the macabre comedy, the verité horror, the beauty and the grotesque. It’s fascinating what the different speakers have in common. So many talk about Leatherface, worry about him, pointing out that from Leatherface’s perspective, TCM is a home invasion movie. What you can’t escape is the film’s influence and its craft. The set design should be studied. Hooper’s use of color, his preoccupation with the sun and the moon, the way he juxtaposes images of genuine beauty with the grimmest sights imaginable. Each of these artists came to the film from a different perspective—some having seen it early enough in their youth to have been left scarred, others having taken it in as adults and still being left scarred. But each one sees layers and importance—poetry, even—in Hooper’s slice of savage cinema. Chain Reactions is an absolute treasure of a film for fans of The Texas Chain Saw Massacre . Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Documentary < All Reviews Next Film Review >

Hugo film review by UK film critic William Hemingway. Starring Rianne Cloudie directed by Rianne Cloudie. HOME | FILMS | REVIEWS Hugo Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Sep 10, 2025 Directed by: Rianne Cloudie Written by: Rianne Cloudie Starring: Rianne Cloudie A young woman deals with her substance abuse and past trauma in a variety of ways, symbolically representing them and turning them into repeating motifs as she works through it all in front of the camera. In writer, director, and star, Rianne Cloudie’s new short film, Hugo , we find her stuck inside her own lush apartment with her cat. Whatever has happened to Cloudie before we get there is not shared with us, but instead we see her dealing with the fallout of her emotions and her past as she goes through the motions of ritualising her trauma. At points we see her wrapping her head in cling film, taking a bath in an inky black liquid that could very well pass for blood, sleeping with a giant stuffed snake, crushing up and stabbing at roses – making them into broken flowers that she tries to stuff back in the vase, and then, of course, there’s the eating of the lemons. It seems as though life has gone out of its way to give Cloudie lemons, lots of them. Her fridge is full to the gunnels with them, packed tightly into bowls, jars, and caddies, and they’re on top of her counters and on her coffee table, too. The problem is that Cloudie seems to be resolutely not making any lemonade out of the lemons she appears to have been given, and it may well be this symbolic representation that gets to the heart of where her problems lie. Instead she’s just going around, moping in her lavishly furnished apartment, wandering about in her jim-jams, repeating the same four or five rituals again and again in an attempt to purge herself of whatever she’s feeling inside, ultimately resolving nothing and getting nowhere. Unfortunately, there’s not a lot of time for Cloudie to explain her situation to the viewer, as the entire film barely lasts two-minutes. There are some clues in the symbols, including a jar of what’s labelled, ‘Hugo Tears’, but mostly everything is expressed in a code that only Cloudie is likely to understand. Everything is given to us in short, fast cuts, which flit around the apartment and repeat the various symbols and machinations that Cloudie is trying to share with us, but we barely spend any time on one idea before moving onto the next. There’s no dialogue to go along with the visuals, so there’s no hope for any explanation there, and the sound recording only gives us the incidental sounds of the apartment, as well as maybe a couple of other sounds which never get alluded to, making it difficult to pick up on any narrative or motivation which may be there in the scenario. After around the sixth or seventh time of viewing, a couple of other symbols flashed up in front of my eyes which hadn’t registered before, due to the extremely quick nature of the editing, and which might have had some bearing on Cloudie’s story. Sadly, anyone watching Hugo for the first (and probably only) time is likely to miss these, and it’s unclear just how important they were anyway, being flashed up and then moved past as the other symbols took precedence in get repeated. While there may be a lot going on in Cloudie’s mind during Hugo , and a lot of it getting represented on the screen in some way, there’s a disconnect between the filmmaker and the viewer in terms of how much of it actually gets relayed. While the technical aspects of Hugo are all well-handled, the arthouse nature of the film stops the message and the themes from coming through entirely. The symbolism of the narrative is all very well, and Cloudie expresses this in a visual language that works well on screen, but rather than just looking good, it’s important that the audience is taken on the journey along with the main character, and that is something that isn’t entirely achieved in Hugo . Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Dipsomaniac film review by UK film critic Jason Knight. Starring Danny Zuhlke, Ben Rosenthal, Sue Shaheen, Luisa Lee, Yurel Echezaretta directed by Jeremy Stewart. HOME | FILMS | REVIEWS Dipsomaniac Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 18, 2023 Directed by: Jeremy Stewart Written by: Danny Zuhlke Starring: Danny Zuhlke, Ben Rosenthal, Sue Shaheen, Luisa Lee, Yurel Echezaretta A birthday celebration inside a party bus turns dramatic for two friends. It is Hal's (Zuhlke) 27th birthday and to mark the occassion, he has hired a party bus and has invited his friend Tim (Rosenthal) along. So it is a nice, sunny day and Tim arrives at the parked bus, where Hal is waiting for him inside the bus. It is just the two of them for now and they have a drink and catch up. Then things get busier and more complicated with the arrival of two strippers and go even further when suddenly a large number of guests fills the bus. Although the narrative of this short comedy drama film revolves around a birthday party, it is not all happy jolly and not without dramatic moments. Initially, things go OK with the two friends chatting by themselves, although Tim appears uncomfortable due to Hal's erratic behaviour and he gets even less relaxed when the strippers join them, one of which is male. The encounter does not evolve in a fun way, with Hal unwillingly offending the exotic dancers and when the party crowd arrives later, Tim is outraged by Hal's hard partying and willingness to be surrounded by strangers who do not care about him. The plot is basically a celebration going downhill, paying particular attention to Hal's awkward and inconsiderate actions. What themes are explored here? Friendship is a main subject and so is self-reflection. The film is meant to raise awareness of mental health and substance addiction, the latter being evident in the character of Hal, who drinks a lot and takes drugs. The dramatic plot twist at the end further supports the idea that the story is about mental health. The story is told primarily through Tim's perspective and he appears to be in control of himself, quite the opposite to Hal, who is outspoken with an unpredictable behaviour. The screenplay also explores the life of Raine (Shaheen), the bus driver. The film is separated into chapters and the image trembles at certain parts throughout, a technique that was probably utilised to signify the characters' troubled state of mind. The filmmakers are quite creative with the lighting techniques, which are accompanied by Alyssa Brocato's beautiful cinematography. The soundtrack has a good selection of songs of which Boys Don't Cry by SEB plays during the opening and closing credits and it is rather effective. This short contains awkward moments, humour, drama, references to famous musicians and it is a commentary about mental health and substance addiction. Zuhlke's performance stands out and so does the plot twist. Overall, it is an intriguing viewing that points out significant issues to be taken under consideration. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Bonnie and Orville film review by UK film critic James Learoyd. Starring Alanna Schneider, Jacob Rose directed by Alanna Schneider. HOME | FILMS | REVIEWS Bonnie and Orville Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: May 15, 2025 Directed by: Alanna Schneider Written by: Alanna Schneider Starring: Alanna Schneider, Jacob Rose Bonnie and Orville , a short British horror from writer-director Alanna Schneider, is tense, shocking, and above all else, entertaining from beginning to end. We open on our two titular characters, Bonnie (played by Schneider) and Orville (Jacob Rose), locked away in a barn. Immediately, the film plays with perspective in a most amusing and impactful way – perspective is something which the film manipulates to its own advantage at the turning point of the narrative as well. At first, we’re to presume that there’s also a baby in the barn, crying through the night, but we quickly realise that this is Bonnie’s warped perspective. Clearly, there was once a baby in the barn, but something has happened. These are characters attempting to survive despite being trapped by, at first, unseen monstrous forces; and Bonnie’s mental state is also paying the price for the distress they’ve had to face. One intriguing aspect of the movie’s design and aesthetic is the odd mixture of time-periods indicated through the costumes and props. For instance, were you to take the opening few minutes of Bonnie and Orville in isolation, it would absolutely appear to be a period piece; we’re in medieval times, you may very well presume. But modern elements begin to bleed into the scenery – telephone wires, for instance – and it’s quite disconcerting. This comes into full effect when the plot switches gears around half-way through. In what I would argue is the piece’s most incredible, impactful sequence, a large individual with a plastic pig face comes crashing into the barn holding a taser – yet another modern implement. What follows is a discombobulating evolution of terror and absurdity. One’s reminded of some other great works while watching, which is a good sign. The Texas Chain Saw Massacre , for one; and there’s an image towards the climax of the film – involving a cannibalistic feast – which very much evokes a scene from Peter Greenaway’s masterpiece The Cook, the Thief, His Wife & Her Lover . Whether that movie has served as an inspiration or not, the gruesome display makes for a fabulously disturbing image. This horror set piece, consisting of icky, effective sound-design and gory effects aplenty, takes place within the context of our main perspective-shift: revealing the monsters of the story, and then following said monsters into their home. It’s such an unnerving way to reorient your story, and in less than ten minutes, you can appreciate the intelligent, Psycho- esque structure. It’s a decidedly rare thing when a film like this gets my heart properly racing, but Bonnie and Orville somehow manages that during the pig-head entrance previously discussed. Because there’s a patient, quiet buildup during the first half, the second hits with awesome force. It’s not a technically flawless film (not that anything should be) and you could point your finger towards a couple of fuzzy, phone-filmed exteriors, or maybe one iffy line delivery. Yet overall, we’re blessed with fascinating writing, immersive design, clean audio, strong performances and stylish cinematography. This critic strongly recommends this new independent short for any horror film fans. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

I Don't Like Shitting In Public film review by UK film critic William Hemingway. Starring Nathan Jonathan, Dave Mygind directed by Ken Abalos. HOME | FILMS | REVIEWS I Don't Like Shitting In Public Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 15, 2024 Directed by: Ken Abalos Written by: Ken Abalos Starring: Nathan Jonathan, Dave Mygind Let’s be honest – nobody likes having to use public toilets. It’s not like it was in the olden days, when everything was made of tile and marble and brass, and there was a gentleman in suit and tie ready with a flannel and a spritz of eau de cologne to buoy you back up before you re-entered whichever public space you had graciously exited from. Nowadays it’s all plastic-coated cubicles which are invariably filthy and smelly and which harbour an unknown amount of seriously gnarly germs. You’re lucky if there’s any toilet paper in the holder, without it being unravelled all over the floor or stuffed down the pan, and even luckier if the paper itself is useable and holds together enough for your fingers not to punch holes through it. You also have to deal with the fact that some people don’t seem to know how to work a flush, and if you’re a guy, that everything, and I mean everything whether it’s wet or not, is covered in piss. It’s no wonder then, that some people develop an aversion to doing their business in public restrooms. For some it’s not even about all of that other stuff above, but more about their own noises and smells and shame which means that they develop ‘shy bowel syndrome’ or ‘psychogenic faecal retention’ or ‘parcopresis’ if we are to give it its proper name. Obviously though, this is an area of the human condition which is ripe for the picking when it comes to a little bit of comedy, and as such writer/director Ken Abalos has decided to go there for his new short, I Don’t Like Shitting In Public . With it being just over four minutes long, you can get most of what you need to know about Abalos’ short film from its title. As such, we follow an unnamed protagonist as he goes about his day at work, having his lunch at his desk, getting weirded out by the slippery slurpings and cacophony of crunching which surrounds him like a bad ASMR recording. Pretty soon our guy feels the familiar rumblings in his tummy and realises that he might not get a chance to finish his lunch as something more pressing this way comes. Cue, a quick dash to the loos, some cowering in the cubicles, some peeking out from behind the door and a very unsatisfying result which offers no relief. So, there’s nothing else for it, our guy then decides he’s got to go home and crimp one off there, so he makes his excuses, lies to his work colleagues and heads off to find the only porcelain throne which meets his standards – until…. And so, there’s a nice little twist towards the end of I Don’t Like Shitting In Public which, in truth, rounds off and saves the story from being rather banal and empty of character. The minimal dialogue offers rather few chances for laughs and while Nathan Jonathan does well at portraying the very real fear of pooping your own pants, he is in no way a Mr Bean or Lee Evans in terms of his silent, physical comedy. There’s not enough in the four minutes of I Don’t Like Shitting In Public to really grab the viewer and certainly nothing new, as it’s an old joke we’ve seen plenty of times on TV. The ending does bolster things slightly though, and the rest of the production is put together nicely, so if like Leslie Nielsen at eighty-four, you’re still childish enough to laugh at a good bit of toilet humour, this may well be the short film for you. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Victim No. 6 film review by UK film critic Patrick Foley. Starring Heather Brittain O'Scanlon, Russ Russo. Rachel Farrar directed by Nancy Menagh. HOME | FILMS | REVIEWS Victim No. 6 Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 30, 2022 Directed by: Nancy Menagh Written by: Nancy Menagh Starring: Heather Brittain O'Scanlon, Russ Russo. Rachel Farrar Director Nancy Menagh drags viewers into the seedy seventies in Victim No.6, a thriller mystery set in a New York City terrorised by a serial killer. Friends Donna (Heather Brittain O’Scanlon) and Judy (Rachel Farrar) debate whether to head to a local bar. Reports of a brutal serial killer fill the front pages, but Donna convinces Judy to have a drink after a rough week. As Judy flirts with a friend, Donna is left alone. She soon attracts the attention of creepy Bruce (Craig Mungavin), but is rescued by handsome and charming Mark (Russo Russo). But as the pair bond, is there a dark side to the men she has met? Victim No. 6 is an engaging and illusive thriller that audiences will be enthralled by. Central to its story is the overarching threat that the infamous killer could be anyone we are introduced to, and director Nancy Menagh does a wonderful job building tension throughout the piece – reminding viewers of the danger that could be lurking behind every corner. Characters who initially appear to be predictable stereotypes gradually reveal unexpected depth – and experiencing this creates and effective unease whilst watching. The film is brilliantly designed and expertly plants audiences firmly in 1970s New York – a dangerous place at the best of times. The bar itself has a threatening aura, and despite a friendly welcome from the owner, danger itself seems to embody the location. The characters themselves are also of their time. Sleaze practically radiates from Bruce’s garish suit, and Mark’s powerful moustache would give Tom Selleck a run for his money. The barman’s Pink Floyd t-shirt however? A little too on the nose. A critical view of sexism and misogyny is encoded as the key theme of the film. The unquestioned notion that women ought to be scared and staying at home for their own safety is deconstructed – as is the press’ inclination to spread scare stories and sensationalise murders when it is perceived that women, and certain types of women, are the only victims. The director turns viewer’s assumptions on their heads more than once, and forces audience members to question their own assumptions about both the men and the women portrayed. The film does somewhat lose track of its themes towards its conclusion, introducing motives for the killer which do not quite align with everything viewers have seen. It’s not a plot hole, but it would have been interesting to see some of the mentioned drivers of the character in question explored more. Said character also sets off on a long monologue which feels stereotypical, and covers ground Dexter did ten years ago. It’s a great ending plot-wise, but execution could have been better. Even with its retro-setting, Victim No. 6 is a considered and entertaining thriller with a message that has a lot to say about today’s attitudes to sexism and gender roles. NEW: Watch Patrick Foley's Video Film Review for Victim No. 6 on our YouTube channel. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Big Stack film review by UK film critic Matt Trapp. Starring Courtney Gabbidon, Becky Kershaw, Velton Lishke directed by Lewis William Robinson. HOME | FILMS | REVIEWS Big Stack Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: May 25, 2026 Directed by: Lewis William Robinson Written by: Lewis William Robinson Starring: Courtney Gabbidon, Becky Kershaw, Velton Lishke Written and directed by Lewis William Robinson, Big Stack is a short film that explores our relationships between food, consumption, and obsession. Thanks to some confident editing and sound design, Big Stack effectively explores its main themes, maintaining a high level of energy across its 15 minute runtime. While there’s definitely room left to explore the film’s most interesting ideas further and to push the concept to its bursting point, Big Stack makes for an exciting watch that will surprise and possibly shock viewers. Courtney Gabbidon stars as Andre, a young man desperate to defeat his local American themed restaurant’s eating challenge, and to earn a coveted place on the wall of fame. He is waited on by Maeve, played with warmth by Becky Kershaw. Having failed his first attempt to beat the Big Stack challenge, Andre’s resolve leads him to Sid (Velton Lishke), who has previously won the challenge. With new resolve, Andre returns to tackle the burger, and to earn his reward: his face on the wall of Uncle Sams’. Tonally, Big Stack plays it very light, using quick edits and a breezy soundtrack to maintain a fun and low stakes tone. However, once the food comes out and Andre is face to face with his eponymous burger, the mood shifts. Audiences with sensory sensitivities may find these sections of the film more challenging than most the moment that Gabbidon begins to literally chew the scenery. The camera is unsteadily pushed up right against the tower of food, making the plate look enormous and unending. The sound design is similarly used to create a grotesque sensation, playing up the noises of chewing and breathing. Beads of sweat cling to Andre’s face, and the scene begins to resemble something quite violent. It calls to mind the repulsive scene in The Substance where Dennis Quaid’s character chows down on prawn in an absolutely vile display. Andre’s obsession is played well, especially considering how meaningless the reward really is. Robinson inserts a few quick cuts to black and white footage of cows in an abattoir and hooked slabs of meat a couple of times in the film, which is one of the more stylistically interesting choices. These images contrast jarringly with the rest of the film’s bright high contrast photography, possibly questioning what Andre’s quest for local fame is really worth. The film’s ending further reinforces this idea of cost, and how warped our relationship with the overconsumption of food for the sake of overconsumption is, and it delivers the most surprising moment of the short’s runtime. Big Stack delivers mostly everything it promises, but it could have pushed its ideas further. While the scenes of Andre eating are effectively uncomfortable for me, it would have been interesting to double down on the gross out images. More shots of Andre’s mouth, louder sounds of chewing, quicker cuts, and even a more sinister soundtrack could have made the experience of watching the eating challenge more visceral and upsetting if that is what the filmmaker was intending. It would have been interesting to hear Andre’s heartbeat in the background, or to show Maeve reacting to his efforts with either delight or disgust. The performances are all serviceable, but again they could have been really pushed into camp and melodrama if Robinson wanted. The premise is so bizarre and uncomfortable that Big Stack could have gotten away with playing it much bigger, capitalizing on the themes of excess through over the top performances. Big Stack is a worthwhile watch which could easily be expanded into a longer story. Obsession is a compelling idea, and there’s no doubt that most viewers have their own personal complicated relationships with food. Robinson’s ideas are intriguing, and while there may have been space to explore them in a more compelling or memorable way, he succeeds in delivering a short, punchy statement on our relationship with food. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

The Edge of Existence film review by UK film critic William Curzon. Starring Cam Cameron, Nobby Styles, Emil Bergmann directed by Aaron Wheeler. HOME | FILMS | REVIEWS The Edge of Existence Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Nov 17, 2025 Directed by: Aaron Wheeler Written by: N/A Starring: Cam Cameron, Nobby Styles, Emil Bergmann The Edge of Existence follows an electronics lecturer, Cam Cameron, as he attempts to survive on the UK’s most remote island, Rockall, for a record of 50 days to prove his resilience and strength to himself and to inspire his family. This documentary explores why Cameron wants to undertake this expedition to such an outstanding depth and sheds light on an individual's courage and bravery in committing to something they're profoundly passionate about pursuing. The film opens with an incredible sweeping shot of the ocean and Rockall, which immediately gives the viewer a sense of how remote the location actually is. While the premise may not appeal to a wider demographic, the filmmakers take a steady pace and take time to dive into why Cam Cameron wants to undertake this expedition. The slow pacing complements the prolonged build-up smoothly and explores Cameron’s past and family with an emotionally resonant turn by stripping back his grief and inner turmoil. It can be particularly tough to watch Cameron deal with his own issues at times, and the filmmakers showcase a helping hand of compassion to make sure the viewer has a deeper understanding of what he is going through and what primarily drives his ambition ahead. Cameron is simply comfortable to engage with, thanks to his down-to-earth personality and his drive to be close with his family, even with the expedition he's committed to undertaking. The filmmakers also provide insight into how Cameron’s venturing on this expedition affects his family, which is deeply touching as a viewer. It's an incredibly ambitious piece of documentary filmmaking that puts you in Cameron’s point of view, with camerawork that feels visceral and claustrophobic as it tracks him venturing across the island of Rockall. The plethora of camera operators make incredible use of space with a stunning mix of drone shots overlooking the beautiful landscapes of Scotland and the oceans. Archival footage is suitably implemented to further enrich the expository dialogue and educational aspects for further discussions. Animated visualisation sequences are also immersive and give the viewer a more profound understanding of Rockall and the dangerous nature of survival there. The entire documentary makes astounding use of its budget, with every frame feeling expansive and intimate. However, the pacing can meander at times and feel stagnant in the back half of the runtime, which is a given from the objective of the expedition alone. Sam Clunie’s musical score is low-key and melancholic, anchoring scenes of recollection and visual storytelling which feel profoundly moving and unforgettable. The conclusion to the documentary is astoundingly inspiring and hopeful as it shines a heavy light on human nature. It explores what it means to leave a legacy on the world by inspiring your family and aiding your well-being. While it may slightly overstay its welcome with far too much exposition and some pacing issues, it's an exceptionally inspiring and touching story of resilience and hope and the struggles of overcoming mental health. The Edge of Existence is a tremendously moving piece of documentary filmmaking, tackling themes such as survival, family and determination. It takes its time to tell Cam Cameron's story and provides compassion towards the courage it took to complete this expedition. An educational and unforgettable build-up that feels earned in its inspiring, conclusive moments while supporting military charities and further reaching out Cameron’s ambitious courage to a broader audience. World Premiere at Kendall Mountain Film Festival on Friday 21st Nov. Buy UKFR Banner Space About the Film Critic William Curzon Documentary < All Reviews Next Film Review >

In Waves and War film review by UK film critic Holly Baker. Starring Marcus Capone, Matty Roberts, DJ Shipley directed by Bonni Cohen, Jon Shenk. HOME | FILMS | REVIEWS In Waves and War Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Oct 29, 2025 Directed by: Bonni Cohen, Jon Shenk Written by: NA Starring: Marcus Capone, Matty Roberts, DJ Shipley In Waves and War (2024) is an in-depth documentary on the catastrophic impact on mental health caused by PTSD in US Navy SEALs and the ways that psychedelic treatments can help them recover. Made up of a series of interviews combined with footage of the Iraq war, as well as stylised animations, this documentary provides an optimistic outlook on the medical possibilities for revolutionary drugs, which may be the answer to the disastrous PTSD which many ex-SEALs suffer from. The film introduces its ‘brain study’, and interviewers investigate the experiences of former SEAL members and how these have shaped them. They are asked graphic, detailed questions about their experiences out in the field. The interviewees’ tone is deadpan, which viewers may find disturbing. The ex-SEALs open up explicitly about what has happened to them and how they are feeling in a detached manner, highlighting their desensitisation from the horrible things they have experienced. The men’s confessions are not dramatised; they are brief and raw, serving their purpose of providing an honest depiction of what these men have been through. The interviews appear on smeared CCTV-like footage, enhancing the authenticity of the men’s voices. They confess their suicidal urges and disengagement from their identity, which is difficult to view due to the absolute raw honesty that comes through in their words. The ex-SEALs’ PTSD seems to have swallowed up many of their lives, so much so that they lack any sense of purpose. As the documentary goes on to explain, their trauma has not only affected them but has also strained their personal relationships almost beyond repair. With its 1 hour and 47 minute runtime, each moment is handled carefully, providing ample context for how these men came to join the Navy SEALs, as well as the escalation of the US-Afghanistan conflict in the early 2000s. Viewers are given an insight into the way young men were disillusioned by the feeling of belonging as part of a brotherhood, unaware of the devastating impact of what they were soon to face. Many of the ex-SEALs confess that being part of the Navy was a childhood dream for them, some of them following in their father’s footsteps. They even describe their time in the army as ‘heaven’ and admit that they felt as though they were ‘where they were supposed to be’ and were ‘hungry’ to go to Afghanistan and fight for their country following the 9/11 attacks. Providing this context is incredibly important, as it is no understatement to emphasise the role that pro-military propaganda played in the 80s and 90s. Many young men felt as though they needed to find a purpose, and they believed the army provided the most honourable one. In many cases, men did find a purpose in the military and found belonging in the meaningful friendships they made during intense training camps. Netflix recently came out with the TV series Boots. This dramedy tells the true story of a young homosexual man who followed his best friend into joining the Marines when seeking a change in his life. The show demonstrates the way he was influenced by advertisements that mythologised the glory that the Marines would provide. Boots is set in the 1990s, around the same time many of the men shown in In Waves and War would have joined the SEALs. The way the men speak about their love for one another in In Waves and War aligns with the story told in Boots of young men finding belonging in one another. Boots also displays the terrible realities and prejudices individuals would face due to the nature of the strict regime, which In Waves and War , unfortunately, never addressed. The Netflix drama also touches on the shocking turn of events, as what was once boot camp is soon to become a harsh, brutal war as the Iraq conflict escalates, and the boys must accept what being a Marine actually encompasses. This depicts a scenario very similar to the reality which the ex-SEALs had to deal with and, due to PTSD, always will. The animation sequences in In Waves and War are done through an abstract style, showing the way trauma impacts the men. The PTSD the soldiers suffer with is difficult for them to describe and is also very hard to imagine for viewers who haven’t been through anything similar, so the animations help provide a pictorial expression of what they experience, whilst being vague and surrealist in style. As the documentary comes to an end, the ex-SEALs open up about the fact that Navy trauma isn’t all they suffer from, and they describe the way their fathers were abusive towards them at a young age, leading them to see violence as a solution and their self-worth to dwindle. One interviewee states, ‘If we didn't abuse children, would we have a military?’ An insightful commentary on the way that cycles of violence reproduce in unhealthy ways, and that the system of the military relies on disturbed individuals. The documentary describes the methods of psychedelic treatments used and presents a before-and-after, as if it were a case study. Though this may be a controversial approach, the SEALs themselves see a major improvement in their sense of self, and this drastic improvement is hopeful to see. Viewers can’t help but wonder, however, whether psychedelics are the solution or if the real solution relies on the questioning of why such violence and trauma are occurring in the first place. On Netflix Monday, 3rd November 2025. Buy UKFR Banner Space About the Film Critic Holly Baker Netflix, Documentary < All Reviews Next Film Review >

The Healer film review by UK film critic James Learoyd. Starring Jason Buda, Christine Bottomley, Ariyon Bakare directed by William Jewell. HOME | FILMS | REVIEWS The Healer Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Aug 23, 2025 Directed by: William Jewell Written by: Trudy Williams Starring: Jason Buda, Christine Bottomley, Ariyon Bakare The Healer deals with some incredibly heavy topics. From discussion of attempted suicide to misplaced guilt and depression, it’s safe to say that our tragic but deeply sympathetic (at least by the halfway point) protagonist goes through a lot over the course of this almost half-an-hour short. The audience, too, experiences a great deal through the tortured young character – a credit to both the strength of the performance by Jason Buda, and of the exemplary technical craft surrounding our central figure. This is a truly wonderful script from writer Trudy Williams that understands the complexities of the healing progress, and feelings of disillusionment in young people. We follow a tormented teenager who recently got into an ugly fight. His mother, worried sick, therefore takes him to a therapeutic farm of sorts; an area in which he’ll be expected to hopefully connect with and take care of a white horse. The audience is quickly let in on the fact that it’s because of his father’s sudden death that these self-destructive behaviours have manifested. He must be taught to conquer his anxiety, let go of everything weighing him down, and engage with a practice seemingly simple, natural, noiseless – and in that way, incredibly challenging. This is a superbly edited film from a dramatic point of view. Every interaction is expressed beautifully through the pace of the cutting and clarity of the sequencing. But one element that maybe feels inconsistent with the specific look of the movie is the use of fades as they slightly bring you out of the movie. Now, if the film had adopted a more vintage, static look, these fades might work perfectly – but right now it doesn’t completely gel with this modern, handheld grit feel. Otherwise, a perfectly cut and arranged movie. Aesthetically, the light and camerawork manages to hit the perfect balance of gritty and poetic. The handheld, subjective cinematography reminds one of the works of Andrea Arnold, and yet – like Arnold – the filmmakers often chose to move away from that domestic mode and draw our attention to the natural world, the colour of the sunset, and the beauty of a quiet moment... much like the journey Buda’s character ultimately takes. The horse is very much the most significant, and most evocative image in the movie. A semiotic device implemented ingeniously as metaphor to reflect on the mental progress and stumbling blocks of the protagonist. The hostility shown at the beginning is reflected in equal measure by this handsome yet slightly intimidating animal; but we witness the healing process of him becoming more gentle and more open, so the horse embraces these behaviours. Any moment in The Healer which involves comparative editing between boy and horse is so inherently emotional, and cinematically dynamic, that it elevates what could be a relatively conventional story of trauma to an expertly crafted tale of what it means to relate to the things around you. It’s a true testament to director William Jewell, producer Lee Mancini, and the rest of the crew that these images of an animal can end up signifying so much so clearly. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Spar film review by UK film critic James Learoyd. Starring Nicola Roffe, Jordan Pitt, Edwin De La Renta directed by Anthony Vander. HOME | FILMS | REVIEWS Spar Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: May 3, 2025 Directed by: Anthony Vander Written by: Anthony Vander, Kate Napoli Starring: Nicola Roffe, Jordan Pitt, Edwin De La Renta Spar is a short and effective pilot episode for a TV series based around boxing. Written by Anthony Vander and Kate Napoli, and directed by Vander, in the space of its 25-minute runtime we follow a series of either struggling or fully dysfunctional individuals; for each of these individuals, their passion – or obsession – they find day after day in the ring, and as different as they may be, their kindred connection is this love of fitness, training and sparring. Nicola Roffe plays our protagonist: a strong but traumatised woman who has to demonstrate her skills and devotion to boxing when she joins our new crew... Let’s run down some of the coinciding plot elements at play. Placed rather at the forefront of the show is a psychological element: our protagonist’s vague flashbacks to the domestic abuse she suffered. It’s then suggested that her monstrous ex-boyfriend is not only still messaging her – of course causing great distress – but actively stalking her too. This is an unavoidably intense aspect of the show, and right now I can’t say I know where it’s heading or what its long-term purpose in a serialised format would be. Having said that, one does find the idea of intrusive, uncontrollable flashbacks impactful. Perhaps it’s within the ring that she may find control over this trauma and serenity over her physical being. This particular aspect is most interesting. In terms of the primary side-characters, we have three men training together, under the guidance of the coach, and quite frankly making our protagonist’s life more difficult than it need be. I’m referring specifically to one character who immediately views our protagonist as an object. It takes no time at all for him to come on to her, and he shows no signs of tempering his ego by the end of the episode. One predicts that through the series we will see a different, more sympathetic or vulnerable side to this character, but right now he’s a one-trick-pony (being a borderline misogynist). We have another character whose minimal plotline might be one of the most engaging, well-acted and well-written in the episode. This is a man who neglects aspects of his personal life – namely his partner and the visitation of a new living space they hope to get – and, as a consequence of prioritising boxing over these practical issues, he completely alienates his girlfriend. This is grounded, dramatically rich territory to explore; boxing presented as an escape from reality, as an active addiction. It’s a phenomenal concept explored with a steady hand. The last character not mentioned is a personage whose emotional struggles affect his performance in the ring. On a narrative level, this is a well-considered figure whose demons reflect that of our protagonist in terms of how he must overcome them physically. This is where we get an exciting, flawlessly edited training montage which showcases some of the technical – as well as narrative – flourishes of the piece. The cinematography is strong and very psychologically oriented; the use of music is apt; but it’s the cutting which completely fits with the tone of the story. The episode culminates with a final sparring session between our protagonist and this parallel persona, and it’s absolutely riveting to watch. Spar is a conclusively engaging and well-structured pilot, providing audiences with a gritty, unique examination of the boxing world. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, Web Series < All Reviews Next Film Review >