Close of Play film review by UK film critic Jason Knight. Starring Corey Wade, John Lee Taggart, Viv Wiggins directed by George Nelson. HOME | FILMS | REVIEWS Close of Play Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 26, 2025 Directed by: George Nelson Written by: George Nelson Starring: Corey Wade, John Lee Taggart, Viv Wiggins A short drama written and directed by George Nelson and starring Corey Wade, John Lee Taggart, Viv Wiggins. Poor Kyle (Wade) is not doing well. Having been the victim of bullying during his school years, now, as a young man, he is suffering from the after-effects of his ordeals that include depression and not being able to stand up for himself. The financial company he works for is in the process of hiring for certain positions and Kyle is shocked to discover that his boss, Liz (Wiggins) has assigned him to interview Josh (Taggart), a youngster who used to bully Kyle when they were at school. How will Kyle handle this? This dramatic and tense short places the viewer in the shoes of an individual who has been severely damaged by long-term bullying. The screenplay effectively explores the unfortunate emotional state he is in, how he feels, how he struggles daily due to the memories of his torments, which are revealed through black-and-white flashbacks. Zach North-Moore contributes to the atmosphere with the dramatic music and things get quite suspenseful and tense when Kyle interviews Josh and their conversation eventually turns into something other than a job interview. The main subject of this film are the long-lasting effects of bullying and Wade is very convincing in portraying a person who is dealing with those effects: not standing up against two muggers, not reporting them to the police, clenching his fists when he gets angry, attending therapy sessions (as indicated by a calendar) and being in a bad mental state in general. Taggart's character is Kyle's former tormentor, who now appears to be a changed person, polite and respectful. As mentioned, bullying is the principal theme in this story, which pays particular attention to the traumatic effects it has on victims a long time after their experiences, leaving them traumatised and with low self-esteem. Holding a grudge also plays a big part. This film is about bullying. About mental suffering and revenge. It is a hard-hitting commentary about psychological wounds. It can also be viewed as a drama and a thriller that centres on an unexpected and ultimately fateful encounter. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

From Above film review by UK film critic Chris Olson. Starring Nicolaj Kopernikus, Emilie Kroyer Koppel, Lene Maria Christensen directed by Nicolaj Kopernikus. HOME | FILMS | REVIEWS From Above Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 17, 2024 Directed by: Nicolaj Kopernikus Written by: Nicolaj Kopernikus Starring: Nicolaj Kopernikus, Emilie Kroyer Koppel, Lene Maria Christensen Filmmaker Nicolaj Kopernikus delivers a tender yet righteous tale of perspective in his short film From Above , in which he stars as Morten - a downtrodden father and artist whose estrangement with his daughter has left him bereft of dignity and hope. At the onset of the short film From Above , we meet Morten and his daughter Viola creating a fantastic image of a tiger using an array of clothes on the floor. The image only makes sense once Viola stands on the kitchen table, at which point she can see the “tiger” they have made as well as her dad smiling and waving proudly next to the artwork. We flash-forward some years and find that Morten is no longer the together man we met earlier, his appearance is shockingly rough, he lurks outside Viola’s home peering in (no longer welcome inside), and he has become the town’s drunken homeless person, facing all manner of shame and judgement from those he meets. The way a child can look down on their parent from a height and feel such burning pride gets beautifully juxtaposed with a similar vantage point later in the film, one in which Morten is looking nowhere near as inspiring. That’s largely the point of Kopernikus’ film, how easy it is to fall down and what that might look like to the rest of us “from above”. Morten’s immense struggle to find a grip on his life is obvious to all he encounters and yet we don’t see any lifeline thrown to him, not a shred of charitable behaviour. Indeed, his plight is met more often with anger or indifference. The sublime performance of Nicolaj Kopernikus provides a sense of relief (always a worry when the star is also the writer and director) and it is a powerhouse display of highs and extreme lows from the central character’s life. A lot of the performance is brilliantly non-verbal, as there is not a huge amount of dialogue in the film and Morten himself is a character of few words. Instead, the filmmaking relies on an emotive score that manages to bombard the viewer spectacularly to build the tension on screen, as well as excellent settings for simple scenes to play out without the need to splat the audience with bulky exposition. A simple flashback is used to ensure the viewer gets the clarity they need to fully appreciate Morten’s downfall. It is Morten’s artistic nature which in the end saves him, being able to convey something everyone thought was lost in a beautiful way, a moment in time where the angle with which you view it is crucial in your understanding of the subject. If you come away from this beautifully crafted film feeling unmoved, perhaps you need a new vantage point in life. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

With Joyful Ring film review by UK film critic Jason Knight. Starring Matthew Rhodes, Elena Hollander directed by Gary Karapetyan. HOME | FILMS | REVIEWS With Joyful Ring Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 29, 2022 Directed by: Gary Karapetyan Written by: Gary Karapetyan Starring: Matthew Rhodes, Elena Hollander A middle-aged man spends Christmas by himself and reminisces about the past. It is Christmas and Thomas (Rhodes) wakes up in his home and begins his day of festivity. He cooks a Chrsitmas lunch, turkey and everything, puts on formal clothing and sits by himself at the dining room table, enjoying the food and wine. He appears to be living alone and keeps on thinking of his wife (Hollander). This short is a Christmas film, however it is not one that is filled with happiness. This is a moving drama about a lonely man spending this day of festivity by himself as it is quite apparent that his wife has passed away. The film opens with a wonderful establishing shot of a neighbourhood that is covered with snow and Christmas decorations, accompanied by a festive score, while the camera moves slowly towards Thomas's house. This opening gives the impression that this is going to be a light-hearted story, however clues appear later on that indicate that the protagonist is sad, lonely and grieving. He takes antidepressants, tenderly touches a robe that probably belonged to his wife and through flashbacks, he remembers joyful times with his wife. His living room is filled with Christmas decorations, including a tree and a large collection of miniature houses and figurines, which he inspects and some of them bring back memories of his wife, as they remind him of activities they did together. For instance, tiny statues of a man and a woman sitting by a fire reminds him that he did the same thing with his wife. Thomas looking at the meaningful objects with emotion and the addition of the flashbacks make it clear that he misses his wife deeply. A great deal of praise goes to the beautiful cinematography that George Pilafdzhyan creates, who also utilises black-and-white cinematography during the brief flashbacks. Pilafdzhyan also worked on the editing and does a great job with the dissolve technique and also develops a terrific dance montage. There are no spoken words and the audience observes Thomas as he spends the day alone, having his memories to keep him company. Rhodes's performance is vital for the film to work and he succeeds at that tremendously, portraying a lonely and grieving individual. Recognition also goes to Hollander's emotional performance. Regarding the music, it is mostly festive and it captures the beauty of the moment in a melancholic way. The mise-en-scene deserves special mention, as it contains a rich collection of Christmas decorations that create a strong festive atmosphere. This is a drama about a man remembering his wife. It is a story about loss, grief, loneliness and nostalgia and it points out how empty a person's life has become after losing a loved one. At the same time, it also shows the beauty of memories and how remembering joyful times can bring happiness. It is an emotional viewing experience that is filled my tender moments and it will most likely touch the viewer's heart. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Ensouled film review by UK film critic Patrick Foley. Starring Joanna Saul, Christian Miller, Linda McLachlan directed by Moe Najati. HOME | FILMS | REVIEWS Ensouled Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Aug 27, 2024 Directed by: Moe Najati Written by: Moe Najati, Fabrizio Faillace Starring: Joanna Saul, Christian Miller, Linda McLachlan Future technology’s capacity to challenge grief, suffering and mourning are put under a microscope in Moe Najati’s thought-provoking, slick sci-fi Ensouled, a genuinely memorable, dynamic and realised short that keeps viewers on the edge. Clara (Joanna Saul) carries with her a devastating burden that has come to define her life. To seek a path to redemption and a return to someone lost to her, she contacts the mysterious Eternia facility – who promise to reunite her with loved ones in an afterlife. There she meets Vince (Christian Miller), who claims to be there for similar reasons. But something about the procedure she is due to undergo feels off, and a shocking revelation turns her entire perception on life on its head. Moe Najati has previously spoken of how discomfort around technology he has experienced in his own life inspired some of the themes in Ensouled, and despite the film’s plot not following his own experience – it is clear that this work is the manifestation of a director with a clear vision. The shadowy Eternia facility which houses most of the film’s action is a genuinely unnerving place, the type of organisation with little eye on presenting itself as welcoming. Where the outcome of the procedure is presented to Clara as something to be cherished, the process itself – and particularly the processing of Clara as an individual – is quietly horrifying. Perhaps the film’s most telling exchange is where Clara asks “Will I feel anything?”, only to be met with the effusive response from Rachelle Lauzon’s employee Millie of “It’ll only take a minute”… The disconnect between tech companies obsessed with outcomes and efficiency, and the human and ethical costs and questions around whether their aims should be pursued at all, therefore flows through the film’s circuits. Nowhere is this made clearer than in the character of Vince, whose motivation for attending the facility are (unsurprisingly) not quite what they appear. The knitting of his own story and choices with those of Clara makes for a fantastic twist which remains well in line with the primary themes of the film. Perhaps most hauntingly is the ultimate meaninglessness with which Vince’s fateful decisions appear to be in the face of the power of mega corps – the credits sequence emphasises this in genuinely haunting fashion. The texture of the film is cold to the touch – with the scenes set in Eternia exuding lifeless, robotic and manufactured energy that tell the truth about the ‘service’ they offer. Najati’s visual creation feels inspired by Niander Wallace’s headquarters in Blade Runner 2049 – the refuge of those who understand what life is but not what it means. The blaring of alarms and flashing red lights raises the stakes to horror-levels as the film comes to its shocking conclusion, comfortably in line with the disturbing tensions Najati has cultivated through first acts. Ensouled is an impressive addition to the modern sci-fi landscape. Its scepticism of the ethos behind technology firms and the questionable services they offer is earned through the storytelling that Moe Najati puts into motion. Audiences will be left engaged with the questions it raises, and pondering the ethics within. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Clara Sola film review by UK film critic Hope Madden. Starring Wendy Chinchilla Araya, Daniel Castaneda Rincon directed by Nathalie Alvarez Mesen. HOME | FILMS | REVIEWS Clara Sola Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jul 15, 2022 Directed by: Nathalie Alvarez Mesen Written by: Maria Camila Arias, Nathalie Alvarez Mesen Starring: Wendy Chinchilla Araya, Daniel Castaneda Rincon It’s rare for a film to tackle the difference between spirituality and religion with as much beauty and empathy as Nathalie Álvarez Mesén’s Costa Rican treasure, Clara Sola . Clara (a remarkable Wendy Chinchilla Araya) is a middle-aged woman living with her mother and niece in a remote area of the country. Her closest friend is a white horse, Yuca, that the family lets to a neighbor each morning to use with tourists. When the neighbor hires a summer replacement named Santiago (Daniel Castañeda Rincón), something in Clara awakens. Making her feature debut, Álvarez Mesén is already a master of showing without telling. Her film unveils Clara’s story moment by moment, but never feels deliberate. Using mainly nonactors gives Clara Sola a lived-in, authentic feel, while Sophie Windqvist’s camera and Ruben De Gheselle’s score immerse Clara and her family in something both natural and enchanting. Chinchilla Araya, a dancer by trade, delivers an unaffected, unselfconscious performance you can’t look away from. Simultaneously delicate and fierce, it’s a turn perfectly suited to the magical realism the filmmaker develops. Castañeda Rincón’s tenderness is forever surprising, and the two develop an easy but heartbreaking chemistry. Álvarez Mesén, who writes along with Maria Camila Arias, isn’t afraid to complicate characters—the kind of complexity rarely given to those in such a rural setting. No one in Clara’s world is one-dimensional, nor is the filmmaker’s take on family. The love inside Clara’s house may be what feels most believable and sincere—and damaging. But what emerges is a clear look at the way spirituality is reined in and controlled by religion. Even clearer are the marks left by the women who enforce patriarchal order. Clara Sola is an utterly gorgeous film unlike any other. It moves at its own pace, unnerves as it goes, and leaves you shaken but hopeful. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

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 >