The Rise of Elsie Mathews film review by UK film critic Swati Verma. Starring Rhyan Elizabeth Hanavan, Kira L. Wilson directed by J. W. Cox. HOME | FILMS | REVIEWS The Rise of Elsie Mathews Film Review average rating is 5 out of 5 Critic: Swati Verma | Posted on: May 11, 2023 Directed by: J. W. Cox Written by: J. W. Cox Starring: Rhyan Elizabeth Hanavan, Kira L. Wilson The writer-director J.W. Cox gives the audience an insight into the world of the Hollywood stars and their entourage through the female protagonist Elsie Mathews (Rhyan Elizabeth Hanavan). The plot of The Rise of Elsie Mathews revolves around an overbearing-Stage mom who pushes her 13-year-old daughter Elsie forward into a film career. However, her relationship with crew members is tense, as they love what Elsie brings to the table, but question if working with her is worth dealing with her mother. Elsie must find a way to move forward to achieve her goals and also move past her mother. The film opens with the camera panning into an ongoing scene from the sets of Elsie’s forthcoming movie quickly runs through her busy schedule establishing the subject matter gripping the attention and forming an emotional connection with the content diving into it to explore further, especially those section of the audience who have a keen interest in filmmaking and wants to try their luck in the field by choosing it as a profession. The black, white, and grey colour palette provides a sense of serenity but it is left to the viewers to find out more about the other shades in the movie by watching the same. The set design, lighting, music, dialogues, costume, hair, makeup, and props have been kept natural and uplift the topic of The Rise Of Elsie Mathews. In terms of performance, Rhyan Elizabeth Hanavan plays Elsie Mathews a child artist who loves her work and enjoys the same but starts to feel the pressure as her mother wants to burden the little girl with the financial responsibilities of the household. Hanavan depicts the physical and emotional roller coaster Elsie feels from the very beginning with the help of body language, voice modulation, facial expressions, and eyes. Hanavan’s portrayal adds the element of realism to her performance and makes it relatable therefore allowing the viewers to learn from the character arc of Elsie. Kira L. Wilson plays the role of Helen Mathews the mother of Elsie who wants to manage the career plans of her daughter as Helen wants to take care of expenses concerning their home and also spare some money for her alcohol and cigarettes. Wilson brings out the villain shade of her character and so the audience dislikes Helen Mathews from the very first scene. I liked how Kira L. Wilson managed to evoke the exact reaction to Helen the filmmakers wanted as per the script. The Rise Of Elsie Mathews talks about the amount of hard work required to maintain the name and fame a film career brings with it. The short film reiterates that people should learn to deal with loneliness at the peak of being popular as they continuously search for some sort of normalcy. The dramatic piece highlights the culture of overbearing parenting in the entertainment industry resulting in an abusive relationship in the long run. The cinematic piece also tells us that it is important to support one’s costars and crews in every possible way to taste real success and be happy to improve their performance in turn. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Lost Phoenix film review by UK film critic William Curzon. Starring Lesa Cole, James Couche, Sean Doyle directed by James Couche. HOME | FILMS | REVIEWS Lost Phoenix Film Review average rating is 1 out of 5 Critic: William Curzon | Posted on: Sep 25, 2025 Directed by: James Couche Written by: James Couche Starring: Lesa Cole, James Couche, Sean Doyle Lost Phoenix is a fish-out-of-water scenario for its protagonist, who awakens from a coma amidst a world of chaos in 2020, during the COVID-19 pandemic era. With no memory and a lack of information regarding his identity provided to him, he is suddenly on the run from the authorities, desperately trying to prove who he is. As he begins to uncover the truth about his past, he’s drawn further into one man's plot to incite the next U.S. Civil War. The piece has an effective opening credits crawl which fits the espionage narrative backdrop tonally. The viewer is then immediately thrust into the havoc the central protagonist faces, surrounded by a conflict that unfolds with urgency. While discord frequently looms over the protagonist, the piece then slowly meanders to a grinding halt with poorly integrated uses of ADR within scenes of dialogue, which feel stilted and awkward to witness as a viewer. The performances themselves feel robotic, which is the point for the protagonist; however, the lack of chemistry between characters doesn't help, as it feels forced and unnatural. The narrative also conveys a politically charged message through its inclusion of a Black Lives Matter protest sequence, which was a pivotal event during the COVID-19 pandemic; however, the piece does not further explore these themes. Action sequences are frequently peppered throughout the narrative; while the fight choreography is impressive and fun to experience as a viewer, the use of slow motion and quick cuts in the editing makes it jarring and incomprehensible at times. Its use of VFX feels incredibly cartoony, perhaps due to budget constraints, and an odd use of indistinct imagery is present during set pieces. The direction sadly feels flat and uninspired, further hindering these sequences with a poor use of shot composition that fails to make the scenes feel more visceral. Also, the musical score is oddly utilised and feels out of touch with the material entirely, with its more upbeat theme during scenes of distress for the protagonist. There is a severe lack of tension, despite the consistent conflict that the characters must endure. The plotting becomes overly convoluted with a plethora of supporting characters interjecting their involvement with the primary narrative focus. While the performances are serviceable, the supporting cast is generally fun to watch, with some amusing gags and comedic one-liners that make the experience more enjoyable and less self-serious. However, the characters are tough to connect with due to their selfish and violent tendencies within the narrative. The central antagonist is oddly motivated by greed and lacks any other notable character traits that would make him a memorable individual among the supporting cast. Another aspect of the piece that falters is its pacing; it's upsettingly slow and uneven, with either scenes going on too long or scenes quickly erupting into an action set piece. The editing can also be incredibly jarring due to its rapid cuts, which can become confusing for the viewer to comprehend what's occurring. A unique formal choice, however, is the use of a colour grade change within the opening and flashback sequences. Lost Phoenix is a meandering experience, lacking cohesion and featuring baffling creative decisions in the editing. While the action is solid, and the supporting cast helps alleviate the pacing, the narrative's conclusion is unfortunately underwhelming. This is due to its overly perplexing nature and the minimal character growth for the central character. On the other hand, there is some resolution within the characterisation which is satisfying. It's just a shame that the buildup to the climax may leave a sour taste in audiences’ mouths. Buy UKFR Banner Space About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

Peacock film review by UK film critic Jack Salvadori. Starring Albrecht Schuch directed by Bernhard Wenger. HOME | FILMS | REVIEWS Peacock Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Sep 8, 2024 Directed by: Bernhard Wenger Written by: Bernhard Wenger Starring: Albrecht Schuch The Critic's Week, or Settimana della Critica as the natives say, has always been quite a gamble at the Venice Film Festival. The autonomous parallel section showcases works from generally young filmmakers at the dawn of their careers, which somehow are considered of lesser regard than the movies in the main, official selections. Yet sometimes it may happen that a film excels the expectations, becoming one of the hidden treasures in the whole festival. It is the case with Peacock , the debut feature of Austrian director Bernhard Wenger, which delighted the audiences on the Lido. The titular "peacock" is Matthias, who spreads his feathers by renting himself as a cultured boyfriend, a perfect son, an exemplary father: anything people may need. By assuming as many identities as engagements he gets, he loses focus on his own character, spiralling into a deep personal crisis after his wife leaves him. It may sound dystopian, but this concept is very much real, with rent-a-friend agencies opening all around the world. The result is a captivating tragicomedy, reminiscent of Ulrich Seidl’s style and perhaps borrowing a bit too much from Ruben Ostlund, both in terms of dry aesthetics and dark comedic timing, exploiting awkward situations on while satirising contemporary societal values. Yet, Wenger manages to develop his own voice throughout the picture, and if Ostlund has a more cynical approach, the Austrian director eventually aims at a redemption for his character, and society. But the road to salvation is a trenchant and surreal path, and hopefully Wenger will stay on it after Peacock ’s success, crafting many more surprises in the future of European cinema. Buy UKFR Banner Space About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >

The Harbinger film review by UK film critic Hope Madden. Starring Gabby Beans, Emily Davis directed by Andy Mitton. HOME | FILMS | REVIEWS The Harbinger Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Dec 1, 2022 Directed by: Andy Mitton Written by: Andy Mitton Starring: Gabby Beans, Emily Davis What Andy Mitton’s The Harbinger does well is remind you how desperate the early days of lockdown were. How scary. How lonely. This was especially true for anyone quarantining alone. It must have felt like the world would just go on without you. You’d be forgotten entirely. Mavis (Emily Davis) is alone, and she is not taking to lockdown well. Her dreams are terrifying and almost unending. When Mavis falls asleep, she doesn’t wake up, sometimes for days, trapped the entire time in a horrifying nightmare. Her friend Mo (Gabby Beans) leaves the comfort and relative safety of the home she shares with her father and brother because Mavis has no one else to call. Mitton’s film combines collective trauma with existential dread, mirroring the kind of terror that caves in on you when you don’t work, don’t leave home, and fear everything: surfaces, people, the air in your building. It’s a true nightmare, and one you can’t wake up from. The isolation, the stench of death, it all inspired any number of horror films. Mitton animates that collective ordeal as effectively as anyone working in the genre. He marries the graphic reality of the pandemic with an internal descent, reflecting more than a society’s fear of death. What he sees is the way lockdown, hivemind, misinformation and isolation made people forget who they were. Davis delivers a solid turn as one wearied to the point of death by quarantine, but it’s Beans’s resilient, naturalistic performance that grounds the unreality in uneasy truth. Mitton’s script sometimes relies on tropes that feel too obvious for his unusual story, and in the end, it’s an overreliance on genre mechanisms that keeps the film from really cutting free from expectations and saying something truly fresh. But there’s no question he hits a nerve because very few changes need to be made to the reality of 2020 for it to be a nerve-wracking horror show. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

My Open Heart film review by UK film critic Julian Gaskell. Starring Cedar Rose Johnson, Carmelo Viviani directed by Steven A. Johnson. HOME | FILMS | REVIEWS My Open Heart Film Review average rating is 3 out of 5 Critic: Julian Gaskell | Posted on: Jun 14, 2022 Directed by: Steven A. Johnson Written by: Cedar Rose Johnson, Steven A. Johnson, Julian Marc Stringle, Starring: Cedar Rose Johnson, Carmelo Viviani As a folk pop singer, Cedar Rose Johnson has recently written some songs for a BFI accredited feature film. Developing her style with a range of material, she is not totally unlike K T Tunstall in both sound and appearance, someone she has actually met on a zoom call – although she doesn’t like to mention it. Collaborators on this song My Open Heart are composer Rob Clydesdale and fellow song writers Steven A. Johnson and musician Julian Marc Stringle. The video to this summer love song shows a young couple’s summer affair frolicking in the countryside with happy home movie memories of them having fun in the sunshine. We see them walking, picnicking and punting along the river to the nostalgic melody of My Open Heart . The sweet images of a couple's young love eventually turn to sadness at the end of their love affair as the loving gazes turn to blank stares across the table. As the happy faces change to tears there are some alarming signs of domestic violence making for a complete turnaround in mood as the sweet melancholic lyrics chime away in the foreground. Directed by Steven A. Johnson the music video was shot in a day in a friend's backyard mostly using a POV style camcorder / home video effect (or whatever today’s mobile phone equivalent would be), with a slightly over exposed summer sunshine retro look. These amateurish looking home video shots of the couple having fun in the countryside are mixed with some more cinematic ones, which differentiate between the contrasting moments from the carefree summer joy to the more sombre expressions in the end. The music video is a good example of what can be done in a short time and on a low budget. The one location is able to provide multiple shots on a grand scale, combined with a few props like a picnic basket, a small lake boat and a few wardrobe changes; it all makes for a romantic love affair. Cedar Rose Johnson herself plays the girl wearing the summer dresses playing to the camera with a natural charm and she also manages a dramatic transformation in emotions as the tears flow in the shower. The handheld POV shots are by far and away the best part of the video put together by cinematographer Joe Acraman, whilst the switch in the story’s narration comes quite unexpectedly without skipping a beat. It's a sweet summer love song even if the video's turn of events do come as a bit of a shocker adding great drama to the song which continues to play on in the same vein regardless. It’s a self-titled ‘low budget, no budget’ production, which could easily make a summer hit given a little more time. Buy UKFR Banner Space About the Film Critic Julian Gaskell Music Video < All Reviews Next Film Review >

Predator: Badlands film review by UK film critic Hope Madden. Starring Elle Fanning, Dimitrius Schuster-Koloamatangi directed by Dan Trachtenberg. HOME | FILMS | REVIEWS Predator: Badlands Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 6, 2025 Directed by: Dan Trachtenberg Written by: Patrick Aison, Dan Trachtenberg, Jim Thomas Starring: Elle Fanning, Dimitrius Schuster-Koloamatangi Whenever anybody ranks the Predator films—or the Alien films, for that matter—most episodes hold up moderately to well, except for those crossovers. Well, it appears filmmaker Dan Trachtenberg, who’s asked us to rethink so much about the Predator franchise, wants us to revisit that as well. And why not? In 2022, the co-writer/director of Prey brought new life to a fun action thriller series that seemed to have worn itself out. And then, as we all waited patiently for his next sequel, he dazzled us with the bloody fun animated anthology, Predator: Killer of Killers . Now Trachtenberg betrays a love of this franchise and a seemingly endless inspiration for its universe as he takes us on a trajectory begun when Paul W. S. Anderson first pitted the two most badass alien lifeforms against each other in 2004’s AVP: Alien vs. Predator. Because it was in this installment, weak as it was, that the rogue hunter learned the value of teamwork. Predator: Badlands introduces Dek (Dimitrius Schuster-Koloamatangi), runt of his Yautja clan, banished unless he can return with his trophy: the Kalisk of Genna. But do you remember when Tom Hiddleston and his band of misfits landed on Skull Island in search of Kong, only to find out that everything on the island wanted to eat them? Genna is like that, and Dek is so full of rage, daddy issues, and insecurity that all he can think to do is beat his chest and lash out. Luckily, what’s left of a synthetic being named Thia (Elle Fanning) knows the lay of the land and can help Dek survive the planet and find his trophy, so long as he carries her back to her legs. Thia’s a bit of a Chatty Cathy, a personality tic that allows Trachtenberg and his co-writers, Patrick Aison and Jim Thomas, to clue viewers in on the planet, its creatures, and her own backstory as the budding frenemy relationship develops the film’s themes. It’s fun. Fanning’s charmingly garrulous sidekick brings more lightheartedness to this installment than we’ve seen in previous episodes, but the action is fun and frequent. Expect plenty of bloodshed regardless of the PG-13 rating (it’s mostly beasties, some of them green blooded). The film is often frustratingly dark, limiting the enjoyment of many set pieces, but the score is amazing and the depth of character is an unexpected pleasure. Predator: Badlands is not the best of the franchise, nor is it as ground breaking as Prey , but it’s a ton of fun. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Freeland film review by UK film critic Matt Weiner. Starring Krisha Fairchild, Lily Gladstone, John Craven directed by Mario Furloni, Kate McLean. HOME | FILMS | REVIEWS Freeland Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Oct 14, 2021 Directed by: Mario Furloni, Kate McLean Written by: Alvaro Furloni, Mario Furloni, Kate McLean Starring: Krisha Fairchild, Lily Gladstone, John Craven While the trendy seasonal debate is about what makes for a Christmas movie, Freeland —a taut, character-driven thriller written and directed by Mario Furloni and Kate McLean—offers a fresh spin on neo-westerns. (Pacific Northwesterns, in this case.) Humboldt County pot farmer Devi “Dev” Adler (Krisha Fairchild) finds her longstanding operation (and serene way of life) thrown into an existential crisis, not by any shock-and-awe DEA raid but rather the slow bureaucratic death of refusing to comply with the new proper legal channels. With the state cracking down on illicit growing operations, Dev is increasingly cut off from potential buyers both in and out of state. The changing business landscape also lays bare how emotionally removed she has become. Both her seasonal staff and her ex-lover Ray (John Craven) see the inevitable, even if Dev cannot: a way of life in the Northwest is coming to an end and a new one has already started to replace it. Dev’s desperate slow burn fuels much of the tension, with Fairchild turning in yet another career-defining performance half a decade after 2015’s Krisha . Whether it’s reflecting with Ray on what they’ve lost since their commune days in the 1970s or shooting withering stares at the new generation of harvesters and corporate players, Fairchild brings an aching vulnerability to the no-nonsense Dev. While much of the action is from Dev’s emotional breakdown, the directors also slow down long enough to take in the northwest vistas. It’s easy to see why Dev refuses to change her way of life, even as every piece of what that used to be gets stripped from her one by one. It would be monstrous to argue that legalization isn’t a net good for incarceration and the drug war (and congrats to drugs on the recent wins). But Freeland throws into intimate focus another side of the legalization vs. decriminalization debate, in which the biggest winners look suspiciously like the same forces that are always ahead in every aspect of American life. Freeland swaps 19th-century railroads for 21st-century agribusiness, but you don’t need a player piano to hear the familiar requiem. Buy UKFR Banner Space About the Film Critic Matt Weiner Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Boy Kills World film review by UK film critic George Wolf. Starring Bill Skarsgård, Quinn Copeland, H. Jon Benjamin, Famke Janssen directed by Moritz Mohr. HOME | FILMS | REVIEWS Boy Kills World Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 25, 2024 Directed by: Moritz Mohr Written by: Moritz Mohr, Arend Remmers, Tyler Burton Smith Starring: Bill Skarsgård, Quinn Copeland, H. Jon Benjamin, Famke Janssen Boy Kills World feels like a film the gamers are going to love. For the rest of us, it offers a hyper stylized, uber-violent riff on The Hunger Games by way of Kill Bill while it harbors Deadpool aspirations and a coy surprise waiting in act three. But while the style is never in doubt, real substance is lacking. Bill Skarsgård supplies plenty of physical charisma as “Boy,” whose family was murdered years earlier during a lethal event known as “The Culling.” Once a year in this post apocalyptic landscape, enemies of ruling matriarch Hilda Van Der Koy (Famke Janssen) are rounded up and executed for sport and entertainment. Though Boy survived the assault, he was left deaf and mute, and has spent several years training with a mysterious shaman (Yayan Ruhian) until the time was right to take his revenge. Against the shaman’s advice, Boy feels the time is now. And though he’s evolved into a singular killing machine, Boy is not alone. He has an inner voice adopted from a favorite video game (veteran voice actor H. Jon Benjamin), and a fever dream imagination that often bickers with the ghost of his rebellious little sister (Quinn Copeland). On the eve of another Culling, Boy’s martial arts rampage of blood begins, and one of his early weapons of choice is a cheese grater. Go on. In his debut feature, director and co-writer Moritz Mohr skillfully captures the frenzied, level-up mayhem of video games. Cinematographer Peter Matjasko, composer Ludvig Forssell and editor Lucian Barnard help complete the gaming pastiche, while the screenplay keeps Benjamin supplied with commentary that’s consistently fueled by meta-sarcasm that never hits the master level of self-awareness. As Boy starts up the ladder of the Van Der Koy family (Michelle Dockery, Brett Gelman, Sharlto Copley) and their Head of Security (Jessica Rothe), he falls in with a group known as the Resistance before the narrative takes its unexpected pivot. Boy’s states of delirium have already opened the door for an unreliable narrator, so Mohr commits considerable effort (and exposition) in making sure we understand the twist. But what we need even more is a reason to care. Much like Hardcore Henry almost ten years ago, the film’s gaming mindset results in action that is visually exciting, but as emotionally empty as a “Play again?” reset. There’s never any motivation to get invested in the stakes, or in the attitude that often reeks of desperation hipness. So while Boy Kills World ‘s target audience may be blown away, those outside the center will find some tedium inside this finely orchestrated mayhem. There’s no doubt you’ll find a few new uses for your cheese grater. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Pocket Change film review by UK film critic Patrick Foley. Starring Milena Crowley, Kyle Eastman, Vincent Eclavea Jr. directed by Johnny Rome. HOME | FILMS | REVIEWS Pocket Change Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Feb 13, 2024 Directed by: Johnny Rome Written by: Mark Labella Starring: Milena Crowley, Kyle Eastman, Vincent Eclavea Jr. Short action thriller Pocket Change is an appropriately frantic, twisting ride that is high on intensity and upending expectations. It creaks under the weight of its own chaos and loses sight of its story, but makes up for this with committed performances and satisfyingly violent action. Following a bloody and brutal heist of a biotech company, Irina (Milena Crowley) is interrogated due to suspicions of her involvement. She recounts her contact with former confidants such as Barry (Koji Niiya), Shooter (Amery Ken Tao) and Ana (Shandra Fuerte) – reliving an unpredictable break-in that did not go to plan, as revelations about the true dynamics between the group members come to light. There is no hesitation in embracing classic heist staples in Pocket Change. The old gang getting back together for one last job, jumping back and forth between pre- and post-raid, double agents – you name it and its probably somewhere in this tight 15-minute run. But that is not to say that there is not intrigue. Protagonist Irina’s role in the film tantalises throughout and provides a reliable throughline, and the conflicting relations that are built up between the group members are also explored authentically. A classically-macho film’s embrace of LGBT themes without feeling an obligation to place them at the forefront of the film’s purpose is also refreshing, using these constructively rather than symbolically. The film’s story loses coherence as events progress – and viewers will be forgiven for losing track of key plot points even in the short running time. Branching storylines being spread amongst the cast of characters is initially a strength, though does lead to something of a pile-up that means the conclusion is a bit of a mess. The ending in general feels like a damp squib, lacking a final beat that brings the film’s point across succinctly enough given the different themes raised throughout. The cast are fantastic and their performances are an enormous asset in the filmmaker’s desire to take the story (extravagant as it is) seriously. Amery Ken Tao and Koji Niiya are both highlights, taking complex and layered characters and adding their own intensity to the construction. Milena Crowley juggles Irina’s varying states of mind in both past and present impressively, as a reluctant and contemplative participant in the raid. The cast seem to genuinely enjoy being part of a classic action film – revelling in dialogue that could have otherwise landed flat. Instead, the result is a committed, throwback of a heist film that takes enjoyment in what it is. Pocket Change is hardly high art, and has a pretty standard heist plot that explores twists and turns in a way that respects its audience. It’s in the flourishes, the chances that it takes, where it truly excels and becomes memorable. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Roses film review by UK film critic George Wolf. Starring Olivia Colman, Benedict Cumberbatch directed by Jay Roach. HOME | FILMS | REVIEWS The Roses Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 29, 2025 Directed by: Jay Roach Written by: Warren Adler, Tony McNamara Starring: Olivia Colman, Benedict Cumberbatch If you’re anything like me, you’d pay to see Olivia Colman and Benedict Cumberbatch do anything from cranking up polka music to telling a story about a rucksack full of coke and a sword. Well, good news for both of us. They do all that and plenty more in The Roses , a fun and funny update of The War of the Roses from 36 years ago. Director Jay Roach starts with a flashback (and some nifty de-aging) to give us the impulsive and passionate start to Theo (Cumberbatch) and Ivy’s (Colman) relationship. Ten years later and the married Brits have moved to California where he’s an architect, she’s a part-time culinary artist and they have two pre-teens. Life is good, until the worst night of Theo’s professional life also gives Ivy a springboard to becoming a celebrity chef. Three more years go by, and she’s the jet-setting breadwinner while he’s staying home and raising the kids via a regimented, competitive style that Ivy always resented. Colman and Cumberbatch are perfection, with an instant chemistry that lets the cracks in the marriage seem organic and relatable. Trouble is brewing, and it’s sensed by their group of friends Including Zoe Chao, Andy Samberg and a priceless Kate McKinnon as a woman not shy about awkwardly exploring social boundaries. It’s all very clever and witty in an acerbic and oh-so-British sort of way, until screenwriter Tony McNamara adds some good ol’ American meanness to the mix. From then on, The Roses gets laugh-out-loud funny. McNamara (The Favourite, Poor Things ) serves up a riotous contrast between the American and British ways of arguing, and this cast brilliantly turns his phrases into moments of joyful vitriol. Then, for the push over the cliff, Alison Janney strolls in with a fire-breathing cameo as a brutal divorce lawyer, and the down-and-dirty battle we’ve been waiting for finally begins. Anyone who remembers the original will appreciate the subtle twist of this war’s end. But The Roses has no trouble standing on its own. Sharply written, nicely paced and impeccably performed, it’s a winning adult comedy that finds big laughs inside some all too familiar modern foibles. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Falling Rocks film review by UK film critic Chris Buick. Starring Henry Cross, Skott Beal, Charlie Cross directed by William Sash. HOME | FILMS | REVIEWS Falling Rocks Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Feb 28, 2025 Directed by: William Sash Written by: William Sash Starring: Henry Cross, Skott Beal, Charlie Cross A truly authentic look at “the highs and lows of the modern youth experience in rural Northern England”, Falling Rocks by filmmaker William Sash tells a tale of straining friendships in the claustrophobia of small-town life. When friends Cain (Cross) and Peter (Beal) reunite in their small humble town somewhere in Northern England after Peter’s four-year sojourn to university, a night out sees them picking up right where they left off. It all starts with pre-drinking back in the fields they used to knock about in amongst a graveyard of abandoned washing machines and other appliances, swapping old stories and memories and updates on the locals before heading onto the pubs in town to drink some more. But it’s clear that four years on things have changed. Peter is of course glad to be back home and with his best friend, but is also full of new experiences and stories to tell from his years at university. Cain however, is not interested in any of it, peppering Peter with jibes about “having changed”, and only really concerned with him and Peter keeping the party going. And so, Sash takes us on this night out with them, the film itself becoming hazier and smokier (but always beautiful) the deeper Cain and Peter get into the evening, and subtly the underlying friction between the pair starts to reveal itself. Peter is of course happy for a good time, but also wants to make something of himself and laments the idea of coming back just to do the same old things they used to. Cain on the other hand, wants too much of a good time and sees no problem with that, compensating perhaps for jealousy or insecurity by rubbing everyone else up the wrong way in the process, taking the piss, picking fights and generally unwilling accept others might want to move on. Every one of Sash’s filmmaking choices and their execution are on point; the idyllic but desolate seaside landscape is shown off beautifully and is a perfect location for this tale of drifting souls. The script feels unerringly authentic and infallible throughout as well, but the best choice was to keep almost every frame contained to focusing solely and intimately on the two leads, because it’s the chemistry between the two actors that is the films strongest weapon. Both Cross and Beal’s performances shine relentlessly, and must be said play drunk so convincingly one would not be surprised if there was an element of method in there. But most of all Cross and Beal do feel and act like they have been friends before either could talk, and we feel every bit of that affection Cain and Peter have for each other despite that palpably growing distance between them. It never quite culminates into anything too dramatic, but leaves us with more than enough to fill in the gaps. Performances, writing, cinematography, whatever box you’re thinking of, Falling Rocks will probably tick it. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

My Week with Maisy film review by UK film critic Joe Beck. Starring Joanna Lumley, Ellie-Mae Siame, MyAnna Buring directed by Mika Simmons. HOME | FILMS | REVIEWS My Week with Maisy Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Nov 18, 2024 Directed by: Mika Simmons Written by: Mike Oxtoby Starring: Joanna Lumley, Ellie-Mae Siame, MyAnna Buring There are certain subject matters that when portrayed in film are bound to get the tears rolling. Of course it’s different for different people, some people will remain stone faced by the end of ‘Titanic’, whilst others will be flooded with tears. The same people may be moved by ‘Schindler’s List’ or more recently ‘Aftersun’, whilst others will remain cold. What moves us to tears is affected by our own personal experience and the way in which we interpret the film and connect to it’s characters. ‘My Week with Maisy’ is a film designed to be a tearjerker, and such is the strength of its characters, that for many people it will be. The film depicts the unconventional relationship between the titular Maisy, played by Ellie-Mae Siame, and Mrs. Foster, played by Joanna Lumley. The two are a strange pairing, given the large age divide between them - Maisy being a young girl and Mrs. Foster being an older, uptight woman - yet the bond they form across their week together is beautiful and feels genuine. Mrs. Foster begins the film wrapped up in herself and set in her ways. She disapproves of her son’s secret gay relationship - and refers to him as ‘one of those’, even taking her prejudice to the nurse, played by MyAnna Buring. When Maisy first enters the fray Mrs. Foster maintains her coldness despite Maisy’s bubbly kindness and straightforwardness. However, as the days wear on and the chemotherapy progresses, Mrs. Foster finds herself softening and warming to Maisy. The two speak French, discuss their treatments and their lives, Mrs. Foster’s past and Maisy’s aspirations to become a lesbian. Maisy transforms Mrs. Foster out of her sheer purity and innocence, and in doing so the pair form a friendship more meaningful than any ordinary friendship could be. It goes without saying that Joanna Lumley is absolutely fabulous as Mrs. Foster. She plays the straight role perfectly, and delivers each line with wit, humour and no small amount of heart. She thrives in the emotionally charged scenes, and by the end of the film brings the audience onto her side so that we are feeling every emotion she feels. As great as Lumley is, however, the real standout is Ellie-Mae Siame, who delivers an exceptional performance as the young Maisy, and is a real star in the making. She immediately endearing herself to the audience with her bubbly personality and humour. She matches Lumley perfectly in the lighter, comedic moments, but delivers all her lines with a knowing sense of weariness so that you truly believe that this poor little girl is suffering from cancer. Mark Oxtoby’s script is a perfect exercise in balancing comedy with serious drama, and manages to make the film feel both light and heavy without any tonal inconsistencies at any point. This is further helped by Mika Simmons’ directing, which is competent throughout and truly immerses you in the story. ‘My Week with Maisy’ is a staggeringly beautiful film, with extraordinary performances and a great deal of charm. It’s a film that sticks with you long after the tears have stopped falling. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >