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 >

The Laws of the Universe: The Age of Elohim film review by UK film critic Patrick Foley. Starring Brittany Cox, Aleks Le, John Snyder directed by Isamu Imakake . HOME | FILMS | REVIEWS The Laws of the Universe: The Age of Elohim Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 19, 2022 Directed by: Isamu Imakake Written by: Ryuho Okawa, Sayaka Okawa Starring: Brittany Cox, Aleks Le, John Snyder Where to start with The Laws of the Universe: The Age of Elohim ? No really, where to start? This theological, ambitious anime is likely to be overwhelming for even veterans of a genre that is often incomprehensible to the uninitiated. A baffling hodgepodge of religious fables, varying quality of animation and disappointing voiceover and translation work (in this English language version) make this evangelical epic an overall let-down. 150 million years ago, a peaceful society of alien lifeforms is thrown into chaos as Earth, under the watch of the God Elohim, is attacked by dark messenger Dahar (Aleks Le). The warrior Yaizael (Brittany Cox) is sent to protect the planet, and is joined by a collective of Earthlings and alien races who look to fight back against the darkness. But Dahar’s plan involves corrupting those within Elohim’s army, including the powerful archangel warriors who fight alongside Amor (John Snyder), a powerful, peace-preaching ally. Age of Elohim’s scale and size are its ultimate downfall. A truly epic, universe-spanning conflict, involving battles between gigantic armies of endless alien races and moral conflict between literal gods of creation, it fails to ever instil genuine interest or personality into its vast collection of characters. From seemingly original creations such as Yaizael (the closest thing the film has to a true protagonist) to characterisations of Jesus and Satan themselves, beyond vanilla beliefs in love or hate, or good and evil, no-one seems to have anything beyond the most basic of motivations. For all the world-ending consequences that arise, without the audience’s connections to the characters in danger, there’s only so much one can care as a viewer. The plot itself is also difficult to connect with. You would need a wall-chart to keep up with the overwhelming list of characters, their relations and alliances with each other. Viewers are thrust headfirst into an ongoing conflict which receives little explanation, and the various religious allegories are thrown together awkwardly and unnaturally. It leads to a flat and empty story that even a seemingly never-ending council scene cannot satisfactorily explain. The animation is varied throughout. The grand and ethereal palaces, battlefields, vistas and space bodies and stunningly designed and epically realised to create for an effective, otherworldly atmosphere to the film. Other designs such as the hellscape lair of the villain, or the numerous transfigurations for increasingly over-the-top battles are anime 101, but will satisfy fans of the genre. However basic conversations are held statically – appearing cheap and lazy. It’s a bad habit that animated films have displayed, but particularly notable here. The voiceovers are also somewhat uninspired, and dialogue in many scenes appears to be poorly translated and almost nonsensical. The cast make an effort to ham up the lines they are given (particularly Aleks Le), but this only works to a degree. The script itself is lazy, including eye-rolling diatribes on defeating darkness and how girls cannot fight, which feel reductive and stereotypical. The evangelical messaging is loud and proud throughout the film – to the point of an off-putting preachiness. And whilst musical asides are a staple of plenty of Anime films, they are far too numerous here given their confusing and uninspired nature, and result in the film’s momentum grinding to a halt. Beyond some spectacular visuals, The Laws of the Universe: The Age of Elohim offers little that has not been accomplished far more effectively in other anime films – beyond committed religious interpretation that is likely to confuse anyone outside of theological scholars. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, World Cinema, Animation < All Reviews Next Film Review >

Good Old Friends film review by UK film critic Jason Knight. Starring Andrej Vickers, Peter Kondra, Mikael Schallock directed by Peter Kondra, Mikael Schallock. HOME | FILMS | REVIEWS Good Old Friends Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 4, 2022 Directed by: Peter Kondra, Mikael Schallock Written by: Peter Kondra Starring: Andrej Vickers, Peter Kondra, Mikael Schallock Three friends get together in Berlin to have some fun and catch up on things. However, a terrible event changes everything. Mike (Schallock) is a film actor who has just arrived in Berlin in order to meet up and spend time with two friends who he has not seen in a while. These friends are Marc (Vickers) and Pete (Kondra), who is a drug dealer. They have a good time together and talk about their lives. Then something happens that abruptly ends their fun. This amusing feature has a narrative that changes half-way through. The first half is a dark comedy that takes place primarily inside Marc's apartment and focuses on the three friends as they enjoy themselves by drinking, taking drugs and discussing the ups and downs of their lives. Things take a sharp left turn after the tragedy, turning the movie into a road movie thriller, as two characters drive around the city, trying to figure out how to dispose of a dead body. Still, the film maintains its dark humour throughout. Although, the free buddies are living different lives, Mike and Pete have quite a few things in common when it comes to enjoying life and forgetting about their worries. On the other hand, Marc stands out because he works a lot and has trouble getting away from his laptop even when he is at home. The acting is not very good, nevertheless, this does not prevent the performances from being entertaining. The directing is creative and includes wonderful aerial shots that capture the beauty of Berlin and the filmmakers make effective use of slow motion and lighting techniques. The movie also gains from an enjoyable soundtrack. This is a crime dark comedy that offers a good time during its one-and-a-half-hour duration. It has plenty of dark humour, interesting protagonists, well-written dialogue and creates good suspense too. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Sin-Eater film review by UK film critic Jason Knight. Starring Carly-Sophia Davies, Jack Parry-Jones, Sharon Morgan, Gareth Jewell, Lewis Mackinnon directed by Kelly Holmes. HOME | FILMS | REVIEWS The Sin-Eater Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 19, 2025 Directed by: Kelly Holmes Written by: Matthew White Starring: Carly-Sophia Davies, Jack Parry-Jones, Sharon Morgan, Gareth Jewell, Lewis Mackinnon A short gothic psychological supernatural horror film directed by Kelly Holmes, written by Matthew White and starring Carly-Sophia Davies, Jack Parry-Jones, Sharon Morgan, Gareth Jewell and Lewis Mackinnon. The story takes place in Wales, during the mid-19th century. A male infant has just passed away due to an illness and it had not been baptised. His grieving young mother, Jemima (Davies) is desperate for her son's soul to be saved as he passed away without been baptised, so she secretly enlists tha aid of a young man named Thomas (Parry-Jones) to perform a forbidden ritual that will save the boy's soul. A dark period horror film that focuses on the aftermath of the passing of a child. Although the plot is distressing, it certainly is intriguing. Initially, the atmosphere is melancholic and is supported by Alan C. McLaughlin's gloomy cinematography and Die Hexen's dramatic music that includes striking cords. As things move towards the sinister and supernatural, creative sound effects take place such as constant whispering and the appearance of a demonic entity that involves impressive special effects. Then, there is the mise-en-scene, which convincingly places the viewer in the 19th century thanks to the work by costume designer Anastasia Crossley. The dramatic screenplay includes regular use of the Welsh language, making the film's time setting more believable. Taking under consideration that the story revolves around the death of an infant, it would be fair to consider that some viewers might find that upsetting, particularly when the baby's lifeless body is shown lying inside a small coffin. All five protagonists deliver strong performances. Davies is outstanding and very dramatic as a grieving woman who wants her child's soul to be safe and is determined to go to great lengths in order to achieve that. Parry-Jones' character could be described as a sinister one. A person who performs forbidden religious rituals and whose behaviour makes it questionable whether he can be trusted. Morgan is the deceased child's grandmother and she (along with Jewell who plays Jemima's partner) are unwilling to brake any procedures involving the child's passing and neither is the priest who is portrayed by Mackinnon. This film explores heavy themes. The main one is death, the death of a baby and the loss and grief that follow such a devastating event. Then, there is religion, deception and the search and hope for redemption. From a different perspective, subjects involving life in 19th century Wales are brought to light, including the religious procedures following a person's passing, the family values of those times and the Welsh language, a language that is acknowledged considerably in this short. A dark gothic horror film with superb acting and a downbeat and sinister atmopshere. Although a horror story, the atmopshere feels primarily sad as the narrative is the aftermath of an infant's passing. The film is probably best categorised as a period supernatural horror film about a ritual and it is highly recommended for horror fans and those who appreciate a good story. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Little to Lose film review by UK film critic Julian Gaskell. Starring Gary Wales, Jay Dee, David Lee Anderson directed by Attila Gyula Balázs. HOME | FILMS | REVIEWS Little to Lose Film Review average rating is 3 out of 5 Critic: Julian Gaskell | Posted on: Jun 16, 2022 Directed by: Attila Gyula Balázs Written by: Attila Gyula Balázs Starring: Gary Wales, Jay Dee, David Lee Anderson In this short film a guy visits his friend where they exchange conversations about life and as one conversation leads to the next it all ends in a mysterious search online and an even more mysterious cliff-hanger ending. At the home of a friend this brief meeting between two friends (2:00 minutes to be exact) packs in a few different things that need to be deciphered as the guys talk quite randomly together without pulling many punches. From the opening sequence the 1st friend is greeted at the door (by his friend wearing a panda’s head costume) and says, “I have 5 months to live and my wife is cheating on me – can I come in?” Presumably he's joking or is he? The delivery is totally deadpan blasé and the follow up conversations aren’t much cheerier or clearer as they discuss other family matters related to death. The visiting friend manages to change the topic to film although this too has death in the title. Once attuned to this rapid, blunt correspondence we can see these somewhat macabre conversations are probably to do with health. Added to these conversations is a final search online by the visiting friend, which introduces some other elements to an already haphazerd plot making things even more baffling but on closer observations adds some further leading insights to...something else . The shots are uncomplicated but well executed with some good reverse POV shots and some effective shots sat around the home computer screen. The acting between the two guys is quite friendly but irreverent with some good facial expressions between them, captured well in some close ups as they interact with one another. The graphics on the computer look good with the 'Ooogle’ logo design and advertisement banner on the screen, although they really need pausing to be taken in properly. The sound effects on the whole are minimal but the one or two effects used for the background noise and computer activity blend in well showing a good level of technical skill, and in addition the props subtly laden the points about health without a word being said. The conversations don’t necessarily flow or connect that well so the clues all need to be pieced together to get the jist of what’s mostly at stake here. Initially it comes across as a bit mad and flippant but, not unlike a ultra compressed mini soap, it has some curious social points to unpick in this (subtle or unsubtle - I’m not quite sure which) comedy sketch. Buy UKFR Banner Space About the Film Critic Julian Gaskell Short Film < All Reviews Next Film Review >

Between the Lines film review by UK film critic Swati Verma. Starring Alex Stewart, Naomi Richards, Tim McGill, Adam Kurton directed by Dom Lee. HOME | FILMS | REVIEWS Between the Lines Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Aug 31, 2022 Directed by: Dom Lee Written by: Dom Lee Starring: Alex Stewart, Naomi Richards, Tim McGill, Adam Kurton The golden font used for the title of the short film has connotations of success, achievement, triumph, and power all the elements required by the lead character Jane (Alex Stewart) to accomplish the task at hand. The writer-director Dom Lee along with composer Grace Hancock presents a well-knitted musical with comedy to provide the audience with both entertainment and lessons that is essential for growth in life. The plot of the movie revolves around a shy book lover Jane who is unexpectedly tasked with having to pitch to save her beloved local library from closure but help arrives in a surprising form. The short film opens with a black screen with Jane reading a book aloud in the background. The cinematographers Adam Sweetman, Michael Gimenez, and Timmy Hodgson capture Jane by utilizing the close-up shot giving the message to the viewers to look for the meaning that is implied rather than explicitly stated. They also use echoing voices and thunderstorms to specify some unexpected news and also underline a few fears of the female protagonist so that the audience understands and relates to her journey of overcoming the same. The set design, white and grey colour pallet, lighting, dialogues, costume, makeup, music, and dance complement the genre of comedy and also uplift the upbeat and fun musical. The filmmaker showcases a sense of urgency by focusing the camera on the clock's ticking sound and using the self talk aspect effectively. In terms of performance, Alex Stewart plays Jane who loves books and goes out of her comfort zone to safeguard her favourite library. Stewart portrays various emotions with her expressions, body language, and voice modulation to communicate what Jane is feeling in every situation. Naomi Richards as Alice is a treat to watch. Alice is the owner of the library and is also friends with Jane who support each other in times of need. Richards through her acting skills tends to grab all the attention of the audience in all the scenes the actress features in. Tim McGill plays the role of councillor/Dracula. He is the antagonist of the film trying to be in the good books of the management. McGill through his high base voice, laughter, and sarcasm communicates that the councillor would do anything that benefits him and not care about anyone else. Between the Lines talks about the importance of books and also how the library can help imbibe knowledge for a better future. The short film educates its audience about the necessity of two key tools knowledge and self-belief to beat the demons of fear and anxiety. The musical also tells the viewers that life is very unpredictable so one should always be ready to face what it throws at them. The comedy piece reiterates the fact that music and imagination can become a source of courage and motivation to emerge victorious through difficulties. Between the Lines educates the audience regarding the use of the right words to express as it can be more effective in turning a particular situation in one's favour. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >