The Little Things film review by UK film critic Patrick Foley. Starring Kiki Deville, Karen Edwards, Nicholas Molloy directed by Thomas Griffiths. HOME | FILMS | REVIEWS The Little Things Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Aug 15, 2024 Directed by: Thomas Griffiths Written by: Thomas Griffiths Starring: Kiki Deville, Karen Edwards, Nicholas Molloy The Little Things is the most moving documentary I have seen in years. Thomas Griffiths’ film telling the story of Derian House children’s hospice in Chorley and the families it has helped is incredibly emotional, giving audiences a truthful look at heartbreaking family stories that may be difficult for some viewers – but also managing to beautifully capture the pure good of hospice care and those who commit themselves to it, and how they make places like Derian House a haven for those who need them. The film features interviews from staff, parents and children at the hospice, who explain their backgrounds and what role Derian has played in their lives. Whilst heartbreaking, particularly when discussing loss of a child’s life, so much of the film is instead focused on happier times – spent making friends or playing in the site’s many welcoming facilities. There is not a traditional narrative structure of sorts, although some of the most difficult realities are weighted towards the film’s conclusion. The film is visually fantastic and features an impressive score from Lucas Pemberton. A key theme of the documentary is that hospices are not places to fear and that stigmas around them should be removed, and the vibrancy with which Griffiths presents the site helps support such a notion. For many viewers who may never have seen the inside of one, it might be surprising to experience how friendly of an environment it seems. Other scenes set in locations such as Formby Beach furthers this theme, demonstrating that hospice care includes excitement and entertainment as well. Tears are as good as guaranteed through interviews with the parents whose children have been cared for by Derian. Griffiths allows them to tell their and their children’s stories truthfully, honestly and with raw emotion – clearly placing them in a safe environment to talk without feeling the need to filter or rush. The interviews range from devastating accounts of child loss, to beautiful stories of happier times – with others that are genuinely insightful, such as patron of the charity Kiki Deville’s or volunteer and parent Ben’s, who both discuss how emotional reactions to death can present in unexpected ways like dark humour. Whilst the tragedy of many of the stories is never lost sight of, being able to find a way back to a happier place is a recurrent theme throughout, and the importance of Derian House in allowing this to happen is never lost either. The love and care with which The Little Things was made mean this film is a powerful success when it comes to raising awareness and respect for Derian House, other hospices and the critical role they play. Whilst there will be some who may be hesitant due to some of the more upsetting scenes, I felt like a better person for having watched the film. The stories it includes are inspiring, raw, honest and insightful – and presented logically and purposefully, not just to make viewers well up. Technically accomplished and emotionally masterful, it deserves enormous credit. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Documentary < All Reviews Next Film Review >

Harold & Mary film review by UK film critic Jason Knight. Starring Dermot Crowley, Phyllis Logan, Maddie Rice, Simon Manyonda, Jordan Dawes directed by Stephen Gallacher. HOME | FILMS | REVIEWS Harold & Mary Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 21, 2022 Directed by: Stephen Gallacher Written by: Stephen Gallacher Starring: Dermot Crowley, Phyllis Logan, Maddie Rice, Simon Manyonda, Jordan Dawes A heartbreaking story about an elderly man suffering from a mental disorder. Based on true events, this short drama focuses on an elderly couple, Harold (Crowley) and Mary (Logan), who have lived through a long, happy marriage together and are celebrating their fiftieth wedding anniversary. Tragically, things have now changed due to Harold's mental illness and it is having devastating effects on those who love him. Finally, his family decides that the best solution would be to place him in a care home. The narrative offers a dramatic insight into the effects that dementia has on people and what it is like living with a person who suffers from that kind of illness. The disease has significantly damaged Harold, making him antisocial and isolated. Although he still gets to enjoy life, he has trouble remembering, falsely recognises people and events and tends to get angry. Meanwhile, Mary finds it harder and harder to cope with her husband's mental decline and their children Liz (Rice) and Marcus (Dawes) are also very concerned about him. The main focus is the relationship between Harold and Mary and the screenplay reveals that they have lived a happy life together and it is gradually coming to an end due to Harold's terrible misfortune. This film gains a lot from the acting. Crowley delivers a brilliant and emotional performance as a person who is suffering from dementia. Logan is equally great in her role as his wife who cares deeply for him and is devastatingly saddened seeing him disintegrate. As the director of photography, Gareth Munden develops wonderful cinematography and the music by Blair Mowat is melancholic and beautiful. This film is a hard-hitting look into how mental disorders such as dementia affect a person and those around them. It is a tragic story, however it is one that also reveals the joy of having happy memories and the importance of having supportive loved ones. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

From the World of John Wick: Ballerina film review by UK film critic Hope Madden. Starring Ana de Armas, Keanu Reeves, Gabriel Byrne directed by Len Wiseman. HOME | FILMS | REVIEWS From the World of John Wick: Ballerina Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 5, 2025 Directed by: Len Wiseman Written by: Shay Hatten, Derek Kolstad Starring: Ana de Armas, Keanu Reeves, Gabriel Byrne Who are the greatest female action heroes? Ellen Ripley, obviously. Beatrix Kiddo makes a good case for herself. Viola Davis cut one badass figure in G20 last year. Let’s not forget Atomic Blonde . Ana de Armas is the latest to throw her hat in the ring — her tutu on the stage? — as Eve, orphan turned assassin in From the World of John Wick: Ballerina. Why is she a ballerina? No idea. Zero actual narrative reason for it. But how much of Ballerina are we going to hold to that high a standard of logic? Ironically, director Len Wiseman’s action choreography is less balletic than what we’ve come to expect from the franchise. It certainly lacks the elegant choreography that delivered the bloodshed in John Wick 4 . But what Ballerina lacks in grace it makes up for with brute force. Most of the action sequences (most—not all) are on a smaller but more brutal scale than the norm for the series. This has much to do with Eve’s fondness for hand grenades. The result is a colorful, messy but impressive bit of action. The spectacle is still there, as is the fun mythology where essentially every third person on the planet is secretly a highly trained assassin bound to rules and consequences set by the High Table. Ballerina remains true to that mythology. Keanu Reeves makes an appearance, as do Anjelica Huston, Ian McShane, and the much missed Lance Reddick. We visit the Continental, and the film even expands the legend to include a snow globe like little town of killers. The spinoff film fits into that legacy, of course, because it’s the spawn of the same writing team. Derek Kolstad, who penned even the 2014 original , and Shay Hatten, who joined the project for its 2019 third installment , stay within the confines they set for the universe, just changing perspective by delivering a different killer’s POV. So, they’re true to the idea, if not the timeline. Funny how we’re willing to suspend disbelief when giant flamethrowers are involved, but some fuzzy math with dates on the calendar is troubling. The plot is irrelevant, which is lucky because it’s pretty trite and overused. Vengeance over a puppy? That was new. You killed my father, prepare to die? I feel like I’ve heard that one. So, the colorful shell feels pretty empty, but sometimes pretty colors are enough. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Much Ado film review by UK film critic Swati Verma. Starring Emma Beth Jones, Johnny Lucas, Jody Larcombe directed by Anna Elizabeth, Hillary Shakespeare. HOME | FILMS | REVIEWS Much Ado Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jun 16, 2022 Directed by: Anna Elizabeth, Hillary Shakespeare Written by: Anna Elizabeth, Hillary Shakespeare Starring: Emma Beth Jones, Johnny Lucas, Jody Larcombe The writer-director Anna Elizabeth and Hillary Shakespeare pay homage to the legacy of Shakespeare through this adaption of one of his plays. This film tells the tale of romance full of surprises that involves the protagonist (Emma Beth Jones). Hero and Beatrice, cousins and best friends have very different approaches to love. Beatrice has had bad experiences when it comes to affectionate relationships. On the other hand, Hero is a true romantic who is deeply in love but is too shy to admit the same. When these ladies get trapped in a house with the entire rugby team, they will be forced to face the questions both of them have been avoiding. The cinematographer Tom Van Den Braek uses a series of mid-shots with a peppy song to establish the film and also add the modern flavour to it so that the movie appeals to the audience thus increasing the degree of engagement with the content. The set design, lighting, costume, colour palette, makeup, hair, and dialogues all the elements complement the Shakespearean style while the short film wants to make its own identity away from the original material it takes the inspiration from. In the performance department, Emma Beth Jones plays Beatrice a woman of the modern times who likes to live her life on her terms. Beatrice is a strong woman and knows how to rebel against the wrong happenings around her. Jones picks up the nuances of her character and takes the audience on the journey which is a roller coaster of emotions. The young actress can change the mood of a particular scene with her body language effortlessly. Jody Larcombe is Hero the parallel lead in the short film. She is a simple innocent girl full of love, care, and concern. Larcombe portrays the female protagonist as a calm composed person dealing with the sudden hardship thrown by life without letting go of her lady-like behavior. Jody Larcombe effectively maintains the grace and the charming personality of Hero. Larcombe manages to both impress and inspire the viewers by adhering to what the script demand of her. Johnny Lucas plays the role of Benedict. He is a multi-faceted person making it difficult for the audience to understand him but the character keeps the viewers hooked on the storyline. Lucas emotes very well to distinctly showcase the multiple layers of Benedict's personality which in turn helps the actor to mould Benedict in such a way that he (Benedict) proves beneficial in shaping up the climax of the cinematic piece. Luke Hunter as Claudio is a treat to watch. Claudio fits right into the image of Prince charming. Hunter uses his good looks along with his acting skills to transport the audience to the world Shakespeare had created. Hunter has the power to make the audience both like and dislike Claudio according to various situations as the narrative moves forward. Jack Boal plays John the antagonist of the film. Boal gives John a mysterious vibe with the minimum use of facial expression and utilizing eyes to communicate to the fellow characters as well as to the audience. Much Ado celebrates friendship, love, togetherness, family, and marriage. It also warns the audience against betrayal, deceit and infidelity. There are a few minor issues with the film that hinders its popularity among the contemporary audience. Firstly the cinematic piece is lengthy and its pace is a little slow. Next the movie tries to incorporate the Shakespearean style of writing in the dialogues so the viewers feel the need for subtitles. In a few scenes, the short film takes the format of a play rather than a movie so the makers should have taken care of this crucial aspect. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Extricate film review by UK film critic Patrick Foley. Starring Bennette Ngoma, Tafara Mbangani, Jayden Ndombasi directed by Sterling Nlongo. HOME | FILMS | REVIEWS Extricate Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 20, 2025 Directed by: Sterling Nlongo Written by: Sterling Nlongo Starring: Bennette Ngoma, Tafara Mbangani, Jayden Ndombasi Filmed over the course of a single day and with minimal budget, short thriller Extricate is a flawed but impressively-realised vision of a post-apocalyptic London that has fallen foul of lawlessness, militarism and plague. Survivors Hazel (Bennette Ngoma) and Joshua (Tafara Mbangani) face a desperate struggle in a world that has fallen apart, when they come across a mysterious mute child, Cairo (Jayden Ndombasi). Cairo possesses mysterious power that may hold a key to rebuilding society, but the threat of scavengers, fascist militias and a fatal disease that has crippled the world mean they have to use all of their meagre resource and strength to bring the child to a sanctuary where such an outcome may be possible. The sacrifices make their pair wonder if their choices are worth the risk. Extricate ’s budget and smaller-scale production mean that the lofty ambition of director Sterling Nlongo at creating a fully-formed sci-fi thriller aren’t fully met – but this entertaining short is one hell of a go at it. Some of the more complex and action-packed developments of Hazel and Joshua’s quest are relegated to voiceover – a presumed necessity due to the scale such scenes would demand. What is left are the quieter character moments between the pair, Jayden Ndombasi’s Cairo and later Alisha Henry’s malicious dictator Mabel – and these deep moments of introspective exchanges stand up as emotional and thought-provoking examples of why post-apocalyptic movies have great potential to speak to the human experience. The themes of sacrifice, loyalty and commitment to a greater purpose are all explored through considered moments that develop the story more than any large-scale gun battle ever could. Bennette Ngoma’s Hazel and Tafara Mbangani’s Joshua share the majority of the screen time, and their chemistry echoes the likes of Joel and Tess in The Last of Us as an imperfect and desperate couple who are faced with a difficult choice that places their existence in great danger, but requires selflessness for the benefit of all. Their differing perspectives on what to do with Cairo are the film’s most intriguing aspect, as is the choices both face when danger inevitably tracks them down. Ngoma and Nbangani convince as hardened, embittered and embattled survivors, whose humanity is frayed but not fractured. There are times where the film creaks under the pressures of its small-scale production. Much of the film is limited to the interiors of warehouses – the sparse outdoor sequences convince but there is a lack of scale that mean the scale of societal downfall or the reach of the militarised organisation hunting Hazel and Joshua down is hard to envision. There are occasional hiccups with the dialogue where vocal matching feels off, and clunky dialogue is another symptom of too much story, too little time. An unsatisfactory and open-ended conclusion also falls flat – one that aims for a complex deliberation on sacrifice but leaves audiences feeling short-changed. Despite some clear shortcomings, Extricate is an impressive success for director Sterling Nlongo. It outperforms a small budget to imagine a devastated world and explores it with strong characters who act convincingly for the world they live in. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Digital / DVD Release < All Reviews Next Film Review >

On My Level film review by UK film critic William Hemingway. Starring Amy Lang, Haleem Clift, Edie Lambden directed by Grace Morgan. HOME | FILMS | REVIEWS On My Level Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 30, 2024 Directed by: Grace Morgan Written by: Grace Morgan and Jasmine Otley Starring: Amy Lang, Haleem Clift, Edie Lambden The age-old problem of bullying has long been the bane of schoolchildren the world over and is something we have all experienced, in one form or another, from one side or the other, at some point in our lives. Even though bullying in schools has been around since the dawn of formal education, each successive generation seems to think that they have a monopoly on the angst and distress caused by this seeming rite of passage, with today’s generation being no different. However, what the schoolchildren of today may be able to lay claim to as a bigger danger being faced, which perhaps no other cohort has had to deal with, is the introduction of lethal weapons into the mix. Sadly, as was only very recently evidenced in a high school in Wales, knife crimes, stabbings and even murders amongst teenagers are on the rise, with 16-24 year olds now being the most likely demographic to be a victim of such a crime. And this is to say nothing of what’s happening across the pond in America. As such, what director Grace Morgan, along with her producing and writing partner Jasmine Otley, are trying to offer us in On My Level , is a window into just what’s going on in the classrooms, changing rooms and sports fields of the school system in this country. Sophie (Lang) is having to deal with her own set of ‘mean girls’, whose bullying is by all accounts at a really low level, but constant. She is excluded from groups and teams, has to endure endless sniggering and giggling from behind her and is the recipient of some hurtful remarks. Her adoptive brother, Dan (Clift) on the other hand is having to face a similar barrage of meanness and hatred but with the usual amount of male brutishness and physical domination also added in for good measure. Together they try to find a way out of their victimhood; one which will silence the bullies forever. As the story progresses, we watch as a lot of Sophie’s problems can be solved by a simple standing up for herself, something which is encouraged by her brother, Dan. However, the further into things we go, the more we find that Dan’s supportive suggestions stray into bad idea territory and that he may be doing Sophie more harm than good. This could all be down to the fact that Dan is dealing with his own problems, which are more physical in nature, but it could also point to something more destructive, something hidden and more nefarious in its aspect. As you might expect, On My Level is told from a teenager’s standpoint, with teenage actors, in a teenage setting. Each short scene is directly to the point in what it shows and says, and has the feeling of being complete and discrete within itself. As each scene adds to the narrative from the one before, with its own lead in, conflict or exposition, then lead out, it becomes easy to see where the joins are, therefore creating a disconnect with the audience. The children do well enough at playing children but in terms of emotion, subtlety, expression or performance, it all comes across with usual amount of these you would expect from a regular teenager. With Grace Morgan barely out of her teens herself, what she has created here is representative of her experience and outlook. The story is presented in staccato like scenes, with only functional dialogue and poor movement of character and scenario, giving everything the feel of a high school project. The suggestion also, that the victims of bullying are the dangerous ones to watch out for, does not sit well and seems to misrepresent the realities behind the statistics of youth knife crime, completely sidestepping the whole influence of gang culture and imported violence into our schools. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

With Arms Raised film review by UK film critic Patrick Foley. Starring Andrew Garrett, Jonathan Wallace directed by Jon Cvack. HOME | FILMS | REVIEWS With Arms Raised Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Dec 21, 2025 Directed by: Jon Cvack Written by: Jon Cvack Starring: Andrew Garrett, Jonathan Wallace Jon Cvack’s With Arms Raised is a thrilling short film set around a fateful car ride. A taxi driver navigates a man in the midst of a breakdown, in a gripping tale powered by the twin crises of mental health and gun violence in America. Jonathan Wallace’s driver picks up his passenger (Andrew Garrett) for a journey that quickly becomes uncomfortable. Spotting that the passenger’s demeanour is off, the driver tries to keep things casual. They find some common ground over their shared Chicago heritage, but as the passenger begins to focus on his disdain for the homeless, the driver senses his motivations may be sinister. A viewer’s first watch of With Arms Raised is one that will mesmerise, as the unpredictable and erratic musings of the passenger weave both the driver and the audience on a string. Director and writer Cvack manages to brilliantly recreate dialogue of a disturbed person. Garrett’s passenger is a man whose intentions are unclear until the very final moments, and through his interactions with the driver audiences will be left with conflicting feelings around the character. His demeanour is one that presents as threatening and vengeful, yet Garrett allows just enough sensitivity through to suggest that he yearns for some sort of connection to grasp to. Mental health rarely presents in simple ways, and both the character’s construction and Garrett’s performance are an excellent representation of this. Praise is also deserved of Jonathan Wallace, a cab driver just trying to get through his shift who suddenly finds himself in an uncomfortable situation. His instincts immediately tell him that something is wrong in his backseat, but efforts to maintain cordiality leads to him agreeing with some of the passenger’s simmering attacks. As these grow more vicious, he is torn between resistance and tolerance, unsure as to whether it is worth pushing back against someone who is clearly not all there. Similar to Garrett, he captures the essence and purpose of the character, who represents societal uncertainty of how to deal with mentally ill people. Cvack’s direction also shines – confining the viewer in the cab close to the characters to create a claustrophobic effect. Much of the film is spent in unbalanced close ups of the passenger, as he rants and seethes over his perceived injustices. This becomes contrasted by calmer portrayals of the driver, who stays level despite the growing threat behind him. The contrasts here are obvious, but an interesting directorial choice is that the passenger is visible (if restricted) in many of the shots with the driver. It seems to say that those who are unafflicted can still see those struggling, even if we try to look away. Treating these people like they don’t exist will only lead to tragedy, especially ones who cannot see outside their own fractured minds. With Arms Raised is a fantastic and memorable short, and whilst its ending may seem a little predictable, its snapshot of the mental health crisis in the US is one that is authentic and considered. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Alfie Kaye writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Alfie Kaye I currently study Sports Journalism at the University of East London, but film has always been an equal passion. It was a coin toss between the two fields when it came to deciding what I wanted my undergraduate to be. However, if my undergraduate degree allows it, I will study film as my postgraduate. My favourite films are variable, but always in the conversation are: Mulholland Drive, The King of Comedy (really, anything Scorsese made in the period from Mean Streets to Goodfellas), Shaun of the Dead, There Will be Blood, Get Carter (original version, obviously) and The Long Good Friday. Film is very much subjective, and there is absolutely no right answer to the question of ‘best film ever made’. Read Latest Film Reviews

The Inaudible Speech film review by UK film critic Joe Beck. Starring Achyut Prashast Singh directed by Achyut Prashast Singh. HOME | FILMS | REVIEWS The Inaudible Speech Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jul 24, 2023 Directed by: Achyut Prashast Singh Written by: Achyut Prashast Singh Starring: Achyut Prashast Singh ‘The Inaudible Speech’ is a strange film in that whether it should be classified as such is a question unto itself. The two minute runtime - less than two minutes when you minus the opening, which asks ‘can you hear his voice amidst the noise?’ - is not the issue in this debate. If it can be described as a film then it is most definitely a short film. Moreover, the reason this critic finds it difficult to distinguish ‘The Inaudible Speech’ as a film is that it appears as more of an acting audition tape than a film itself. It’s a short that clearly intends to spotlight the acting ability of Achyut Prashast Singh - who stars, directs and writes - yet it inexplicably fails to do that through some serious limitations in the screenplay. Instead, it comes across as simply an audition tape, with the actor merely proving that they can read lines, or perhaps a simple table read of a script. Indeed at times so much is this the case that it feels as though somebody’s speaking language exam has been recorded in an attempt to be stylistic. Singh reads, direct from the script, how he has lost his interest in studying. He hasn’t lost interest for any particular reason, simply where he used to love studying it now only brings boredom and feels like a chore. He details how this caused failures in class and backlash from his parents, before deciding to grow a pair and become proactive in his studying again, though now instead of studying out of enjoyment, he only studies for the prospect of a profitable career. This sounds like he’s going through some stuff - though such a flux is something everybody experiences on numerous occasions throughout their lives - but why should we care. Singh’s script doesn’t give us any reason to care about his turgid state of studying, and his sudden change of mindset. It’s essentially a monologue that allows no room for emotion, with its monotonous delivery reflected by the lack of drama in the speech which he is saying. Directing is little better, with only a few cuts - which are jarring - to suggest even the remotest sign of technical flair. Hence the film feels like an audition tape, with little technical skill involved, only it isn’t a script that enhances Singh’s performance, and instead only flattens it. 

 The title suggests perhaps a hidden meaning within his speech. Perhaps some repressed emotion. Yet there is no subtext to suggest that ‘The Inaudible Speech’ has anything to say beyond its surface level frustrations over studying and a lack of motivation. Sure, occasionally the background noise threatens to render the speech inaudible, but you cannot stage your entire film around this one possibility and expect to engage people effectively. ‘The Inaudible Speech’ is a film, or audition tape, or English language speaking exam, that is devoid of passion, creativity, and filmmaking skill. The flatness of the film extends to acting, writing and directing, with an incredibly dull conceit that somehow was never questioned by the filmmaker during the process of making ‘The Inaudible Speech’. It defies logic, in the worst possible ways. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Ant-Man and the Wasp: Quantumania film review by UK film critic George Wolf. Starring Paul Rudd, Michelle Pfeifffer, Jonathan Majors, Evangeline Lilly directed by Peyton Reed. HOME | FILMS | REVIEWS Ant-Man and the Wasp: Quantumania Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Feb 14, 2023 Directed by: Peyton Reed Written by: Jack Kirby, Jeff Loveness Starring: Paul Rudd, Michelle Pfeifffer, Jonathan Majors, Evangeline Lilly Time to set your phasers to “5” Marvel Fans, and hope for better days ahead. Because Ant-Man & The Wasp: Quantumania is a messy, lackluster kick-off to the new stage. After the prologue and before the two end stingers, Quantumania is bookended by two winning sequences, both set to the theme from “Welcome Back, Kotter.” They’re self-effacing and full of the unique charm that has defined Paul Rudd’s Ant-Man/Scott Lang character since the first installment. And the rest of the film can never quite measure up. While Scott has been off Avenging, his daughter Cassie (Kathryn Newton) has grown into an impressive young scientist herself. In fact, the new sub-atomic telescope she invented seems pretty nifty, until a family pizza party ends with Scott, Cassie, Hope/Wasp (Evangeline Lilly), Hank (Michael Douglas) and Janet (Michelle Pfeiffer) all sucked back into the Quantum Realm. And it turns out, there’s plenty Janet didn’t let on about the 30 years she spent down there. Some of it involves Krylar (Bill Murray, channeling Criswell). But the life-threatening details revolve around how Kang the Conqueror (Jonathan Majors) wound up there, and why he must never make his way out. Director Peyton Reed returns from parts 1 and 2, but his powers are more limited in the quantum realm than Kang’s. Without city landmarks and average Joes to ground the comedy, the Ant-Man dorkishness falls flat. The writing doesn’t help, although it’s tough to blame series newcomer Jeff Loveness in his feature debut. The first film was written by Edgar Wright, Joe Cornish and Adam McKay, for Pete’s sake. But Loveness cannot find a groove, throwing comedy bits that suit Aqua Teen Hunger Force into hyper-serious melodrama with a Barbarella backdrop. Much of the film is blatantly Star Wars , with attempts at Ragnorak humor that run headlong into extended exposition and Kang’s quest for dominating multiple plexes. None of it works. Rudd’s a doll, per usual, and Newton’s a charmer. Pfeiffer continues to have charisma to burn, which is a good thing because Lilly’s as engaging as a paper sack and Douglas is mainly wasted. But the real pity is Majors, another profound talent floundering in an underwritten villain role that relies on speechifying rather than acting. There are some big ideas here, and the attempts at world-building are ambitiously borrowed, but much the same as its unlikely Avenger, Quantumania comes up small. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Trust Me film review by UK film critic Jason Knight. Starring Lydia Hopgood, Fraser Adams, Maeve O'Haire directed by Marc-Antoine Turcotte. HOME | FILMS | REVIEWS Trust Me Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 10, 2025 Directed by: Marc-Antoine Turcotte Written by: Lydia Hopgood Starring: Lydia Hopgood, Fraser Adams, Maeve O'Haire A short psychological drama directed by Marc-Antoine Turcotte, written by Lydia Hopgood and starring Hopgood, Fraser Adams and Maeve O'Haire. Emma (Hopgood) and Matty (Adams) are a young couple living together in a smart house by themselves. For a while they have been trying for a baby, however, so far, they have been unsuccessful. As Emma becomes distraught by her apparent inability to conceive, she discovers that her partner might be up to something sinister. This story begins as a drama about having a baby and later turns into a thriller about betrayal. The primary focus is Emma, how the struggle that she is facing in her efforts to become pregnant is affecting her psychology and creating waves in her relationship with Matty. The screenplay is heavy regarding drama and the life-changing discovery brings the atmosphere to a whole other level. Talking about the discovery, without any spoilers, although it appears that it will lead to a major confrontation, the ending is not very conclusive, leaving question marks and some might find that disappointing. Emma is a sort of tragic figure. Even though she lives in a nice, big house, with a partner who ostensibly cares deeply for her and they plan to have children, due to not being able to conceive, her life has taken a wrong turn, leading her to a situation where she feels miserable and alienated as she is keen on becoming a mother. The presence of the song Captive emphasises the isolation that Emma is feeling and the fact that it is sung by Hopgood provides more depth to her character. Matty is physician and seems to be a supportive partner but also gives the impression that he is man who might not understand when he is wrong. Chris (O'Haire) has the role of Emma's bestie, a person who is there for her and willing to listen to her problems. Self-reflection, anxiety, self-esteem, control and betrayal all play a key role in this story. Perhaps more heavily though, this film explores the subject of having a desire to become a parent, how it could affect people's mental health. Moreover, it is indicated that individuals who work in the medical sector could take advantage of their knowledge in order to manipulate others. This is a dramatic film, one that relies on the perspective of a young woman in order to tell a story and explore its themes and it does so effectively. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Exitus (2022) film review by UK film critic William Hemingway. Starring Sarah Hirsch, Colby Cyrus, Andrew Medeiros, Taylor Carter directed by Andrew Medeiros and Colby Cyrus. HOME | FILMS | REVIEWS Exitus (2022) Film Review average rating is 1 out of 5 Critic: William Hemingway | Posted on: Nov 20, 2022 Directed by: Andrew Medeiros and Colby Cyrus Written by: Andrew Medeiros and Colby Cyrus Starring: Sarah Hirsch, Colby Cyrus, Andrew Medeiros, Taylor Carter You may well ask yourself, does the world need another dumb slasher flick? And you would be right to do so. Even Mark Kermode – the Doctor of Horror – has said recently that he sincerely hopes the most recent iteration of the classic John Carpenter Halloween franchise, Halloween Ends (2022) really will be the end of it, with the film being a super dumb, shock free, scare free, horror lite version of the original with nothing new or good happening in it at all. And so now we come to Exitus , named alongside another fifteen or so pieces of nonsense which have used this title to invoke some sort of fear or horror. Buddied up writers and directors, Andrew Medeiros and Colby Cyrus seem to believe, much like many other juvenile film-makers, that if you are just starting out making films and have a seriously low budget, then you have to go out and make a dumb slasher flick – to them it just makes sense. It means that you get to have blood and gore, you can promote sexual promiscuity, you can have your characters spout any old tripe that is just a thinly veiled excuse for you to air your own deep seated thoughts and beliefs, and you don't have to worry too much about plot because who really cares anyway? So this is what we've got. After a couple of quick scenes and even quicker murders to provide some sort of context, we catch up with Don (Medeiros) and his pals as they rock up to his parents' winter house during a short break from university life. Along with him are his girlfriend Mary (Carter), his sister Lizzie (Hirsch) and her new boyfriend River (Cyrus), and a couple of other friends who are bisexual and who are therefore labelled for some reason as the most sexually promiscuous of the bunch in some truly diabolical scripting. Don quickly makes himself out to be a total asshole, although everyone seems fine with that because he has money, and he and Lizzie air each other's most personal family secrets in what is their first exchange of the film. The cliches are moving thick and fast. It doesn't stop there though, as the rest of the thirty minute short film is just a series of slasher tropes which don't even have the courtesy of any preamble or lead in to build up tension, along with a bunch of Scream (1996) rip-offs and an angling at Bodies, Bodies, Bodies (2022). Medeiros and Cyrus even have Don give River the nickname of Dawson's Creek, presumably feeling the need to give some sort of nod to Kevin Williamson after stealing so much of his stuff. Almost across the entire board the acting is awful with most of the main group just being bad but a few of the bit part actors, most notably Mayor Gibson and his wife, being truly terrible in their performance. The only person acting in there is Sarah Hirsch as Lizzie, who actually manages to deliver her lines as well as put across some sense of true emotion. The sound recording, too, seems to whimper out for large chunks of the movie, first at the beach, then at the table, where dialogue is barely audible and the ripped-off again Halloweenesque score is given preference. There is some saving grace in the cinematography and direction, which do produce a few nice shots, but these are mainly in the non-acted scenes and are therefore only background to the gory mess up front. Exitus is a bad attempt at a bad movie – and no, that doesn't make it any good. Things start to make a lot more sense at the end when the credits roll and we see that Medeiros and Cyrus themselves have been playing the two main male parts all along, the two biggest roles in the film, and that they've written themselves into something they wanted to see. Judging by what they've produced though, they're likely to be the only ones. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >