Create or Die film review by UK film critic Patrick Foley. Starring David Axe, Mike Amason, Aaron Blomberg directed by Sarah Massey. HOME | FILMS | REVIEWS Create or Die Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Feb 26, 2024 Directed by: Sarah Massey Written by: Sarah Massey Starring: David Axe, Mike Amason, Aaron Blomberg A low-budget indie documentary about low-budget indie filmmaking – it’s indie-ception with Sarah Massey’s Create or Die, a heartfelt and heart-filled documentary featuring filmmaker David Axe – a cinema romantic who believes in the importance of creativity in the face of adversity as he strives to realise his visions despite the limits put upon him. Across its 68 minutes, the film features contributions from Axe himself as well his cast and crew as they bring to life his passion project ‘Acorn’ in the Georgia backwoods. They discuss the process of low-budget filmmaking as well as their motivations for pursuing what feels like a thankless endeavour – knowing the hours and money they commit may lead to little recognition. But through these testimonies, the brilliance and necessity of the indie space is evident. Create or Die is both a character study of its subject David Axe and a look behind the scenes at the world of independent filmmaking. Axe is positioned as the indie world’s equivalent of Uwe Boll or Ed Wood – albeit with considerably more self-awareness. He knows his films are no good and accepts it. But his drive and love for the art of filmmaking pushes him during the production of Acorn, a film about a director desperate to make a great movie before their death (psychiatrists must have cartoon dollar signs in their eyes). Despite his avowed lack of ability behind the camera, in front of it Axe makes for a genuinely motivational and inspirational figure, with unrepentant and insightful commentary on the indie scene and process. His cast and crew similarly exude passion for their work, with commitment evident through their own interviews. The multi-faceted angles the audience receives from the crew is where the film begins to engage on the actual process of low-budget filmmaking. Combined with Axe’s experience as director, his technical crew and acting talent give their own stories and detail how they came to work on their films. Particularly moving is actress Morgan Shaley Renew’s experiences that echo those of her character’s, as strong evidence as any that there is as much passion in tiny projects as there is in larger ones. There is ultimately a limit to the analysis, and the film’s purpose is to celebrate passion and commitment as opposed to a close examination of filmmaking. Massey’s close ties to Axe from previous projects mean this was never going to be an interrogation, but the film’s sympathy to Axe, his crew and their combined dreams never feel unearned or unwarranted. Yet even despite his self-deprecative nature, there is some genuinely good advice on display – such as not straining your resources to outperform a budget. Axe may not be a critical darling, but his experience is still valuable. To realise a film in spite of scant budgets, critical revulsion and pandemics requires uncanny perseverance and heart – regardless of the quality of the final product. Create or Die captures this sense impressively – and is a worthy acknowledgment of the passion of David Axe and his team, even if it is in itself better than anything they have ever produced. Hopefully director Sarah Massey is not quite so modest about her own work – because it is a genuinely excellent example of what one can do with a vision and a camera. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Documentary < All Reviews Next Film Review >

Orchid Moon film review by UK film critic Jason Knight. Starring Jake Waring, Nicole Evans, Ruchika Jain, Grahame Edwards directed by Lewis William Robinson. HOME | FILMS | REVIEWS Orchid Moon Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 29, 2023 Directed by: Lewis William Robinson Written by: Lewis William Robinson Starring: Jake Waring, Nicole Evans, Ruchika Jain, Grahame Edwards Following a terrible event, a man struggles to move on with his life. By utilising a nonlinear narrative, this one-hour-long film the effects that a devastating incident has had on a young man named Harry (Waring). Clearly a troubled guy, Harry attempts to find solace by drinking at a pub (until he is banned) and spends a great deal of time by himself, contemplating the past, particularly his former relationship with Clementine (Evans) and he is frequently visited by Mrs Chandra (Jain), who is supporting him through hard times. As he battles his inner demons, he must find a way to resolve the issues and find closure. Shot in black-and-white, this feature is a mix between psychological thriller, neo-noir and surrealism. Harry is an emotionally unstable and lonely man, who is damaged by Clementine's demise and might even be contemplating suicide. Things get more sinister as he gets his hands on a gun and is pursued by men in black suits and white masks and reality blends with fantasy during scenes that might be real or a dream, reflecting Harry's confusing state of mind. The screenplay cuts back and forth in time and explores the protagonist's life which is going downhill and reveals the reasons that led to his current state. There is plenty of drama, tension and also heart-warming scenes that show the bright side of life. Waring's dramatic performance creates an individual who is broken and dealing with loss. Although currently a loner, he receives comfort from Chandra and Geoff (Edwards), the owner of the pub that Harry frequents. Clementine has more or less become a ghost in Harry's life, whose passing has become the source of his misery. Director Robinson is quite creative, utilising mirrors in order to develop some interesting shots that might symbolise Harry's need for self-reflection. There is also use of slow motion during a lengthy scene. The music by Tom Althorpe is sometimes sentimental and sometimes sinister and includes wonderful piano melodies. Interestingly, there are sequences where diegetic sounds disappear and only non-diegetic music is heard, making the scenes quite beautiful. This film explores a variety of themes, including mental health, loss, loneliness, alcoholism and self-reflection and points out the idea that one should overcome their troubles and move on. It is a psychological drama and a crime thriller but more than anything, it is a character study that enters the mind of a damaged person. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Cheers film review by UK film critic India Gwyn-Williams. Starring Vinod Madhavan, Anoop Manghat, Jain Andrews, Rijimohanan directed by Sandeep V. HOME | FILMS | REVIEWS Cheers Film Review average rating is 2 out of 5 Critic: India Gwyn-Williams | Posted on: Apr 5, 2026 Directed by: Sandeep V Written by: Sandeep V Starring: Vinod Madhavan, Anoop Manghat, Jain Andrews, Rijimohanan Cheers, a short film written and directed by Sandeep V, presents a meet up between four friends. The setting is expected to provide a casual and light-hearted atmosphere, but this social situation is in fact charged with an undercurrent of anger and controversy. As the dialogue develops it becomes clear that one of the friends, Annesh, has been somewhat isolated due to his differing opinion on a mutual friend of the group. The character Bobby, who often stands up for him, comes to represent a moral middle ground. Through the subject of a mutual friend’s actions towards his wife, the conversation reveals the character’s ideological stances. There is a contrasting dynamic between the two who are more conservative, versus the two who express a far more liberal and understanding mindset. The film becomes an exploration into differing beliefs within the confines of a friendship. Not only are there clashing ideals of marriage and gender roles, but the loyalty and emotions within the friendship they share draws in further strain. As a result the interaction and in fact the whole film carries a very charged atmosphere. The cinematography performs well in establishing the group dynamic. The opening shot of the friends presents three of them standing in an enclosed triangle, while Aneesh is left to occupy his own frame. When they are shown to make a toast with their drinks the camera reveals only three glasses meeting in the air before revealing that one of them never joined in, to communicate the grudge against him. It has a certain cyclical element also, as the first and last shot is of a buddha painting on the wall, though its colouring changes. This cinematic choice is potent in communicating the lack of resolution, despite the weighted interaction. This could perhaps be a message of the film, that one's personal ideologies or beliefs are rooted in identity - not immune to change but certainly unfamiliar with it. This is an easily identifiable observation of the piece, but overall it lacks contextual foregrounding. The exploration into contrasting ideologies through the circumstance of their mutual friend is a context very personal to the characters but one the audience cannot relate to, meaning the strong intention of the film is somewhat lost. However this may be a conscious choice from the director. By keeping the audience at a contextual distance, the storytelling is complicated. It means that any observations made are prone to change as the dialogue continues to reveal external factors charging the conversation. The characters remain set in their ways despite the friendship they share, unlike the audience who have an advantage of being emotionally detached. Viewers are thus able to build their own opinion on the situation and ultimately reach their own ideological conclusion. Buy UKFR Banner Space About the Film Critic India Gwyn-Williams Short Film < All Reviews Next Film Review >

Runt film review by UK film critic Christie Robb. Starring Cameron Boyce, Brianna Hildebrand, Jason Patric directed by William Coakley. HOME | FILMS | REVIEWS Runt Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Oct 19, 2021 Directed by: William Coakley Written by: Christian Van Gregg, William Coakley, Armand Constantine Starring: Cameron Boyce, Brianna Hildebrand, Jason Patric It’s a truth universally acknowledged that high school students are dumb. It’s not their fault. The part of the brain that supports decision-making isn’t fully developed until the mid-twenties. And that’s ideally why society surrounds the impulsive little beasties with grownups who can model positive behavior and counsel them about their choices. Director William Coakley’s Runt shows a good kid, Cal, trying to navigate the tightrope of high school and arrive safely at art school. But he’s working entirely without a safety net. His single-parent mom is either at work or asleep. His teachers are the kind of folks who will yell at him for being obvious when he breaks and lets the jocks cheat off him. His best friend is an increasingly self-destructive embarrassment. His manager at the supermarket is always on his butt. The only living being that has his back at all is his dog, Runt. Right from the jump, you know this isn’t going to end well. Over the course of the film, Cal’s relationship with the jock bullies becomes increasingly violent. The tea of toxic masculinity that they are all steeping in leaves no room for apologies. The cycle of violence feeds on the overall negative energy until, toward the end, it feels like you are watching the birth of a supervillain. Cameron Boyce as Cal is fantastic. You can see all the nuances of the different emotions that play over his features. The mixture of pride, shock, and guilt that flash across his face after he impulsively does something that Cal never thought he would do is awe-inspiring. The entertainment industry truly lost a promising talent when Boyce died in 2019. The film’s ending somewhat undercuts what seems to be the intended message. There’s a tinge of romanticism in the very final moments that gives Cal’s violence a more heroic feel than what the rest of the movie seems to be going for. But as a portrait of what’ll make an art kid snap, it’s pretty good. Buy UKFR Banner Space About the Film Critic Christie Robb Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Another World film review by UK film critic Chris Buick. Starring Giles Whorton, Isaac Moore, Joe Davison, directed by Sean Sadler. HOME | FILMS | REVIEWS Another World Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Nov 1, 2024 Directed by: Sean Sadler Written by: Sean Sadler Starring: Giles Whorton, Isaac Moore, Joe Davison, Written and directed by Sean Sadler, Another World explores the struggle to not simply become a fatalistic product of one’s environment, but also how daunting it can be to take that first step towards something better in what is a wholly relatable story of love, self-acceptance, self-destruction and prejudice. Neighbourhood hard-man and vandal Mac (Whorton) seems to get a kick out of terrorising the other local youths, often directing his aggression particularly towards Jack (Moore), a young bisexual often derided by the rest of the area for being “weird” and a “freak”. However, it seems that as well as growing tired of his reputation as the local bully, Mac has his own struggles with his sexuality, leading to a change in relationship between himself and Jack that could finally mean happiness for both, but could also mean risking their social status, friends and even their lives. While it generally succeeds in terms of direction, editing etc. there are unfortunately some technical issues that can’t be ignored, mainly in the film’s sound production. While it does seem to iron itself out somewhat towards the end, much of the film’s beginning and middle suffers from differing levels of volume, especially when cutting between characters in dialogue-heavy scenes. In places, characters are almost inaudible and also at times out of sync. Others who shout can often go too far the other way, with other music and sounds at times quite deafening. But thankfully, Sadler and co. get the important things right, which are strong leads, strong storytelling and strong themes to go with it, a great mix that will give audiences more than enough reason to stick with it, sit back and enjoy watching this story unfold. The big hitter in terms of all these positives is the anchoring performances from the two leads, who are (and this cannot be understated) critically essential to this making this story believable, relatable and worth-watching. While, finale aside, most of the supporting characters seem to float around on the periphery and not offer much depth to either themselves or the world they inhabit, we are here for Jack and Mac’s story, and both Moore and Whorton embody two fully realised characters you can’t help but root for. Tough guy acts are tough to sell, and while the others in Mac’s violent and despicable group of “friends” have their moments, overall, they aren’t that convincing, but Whorton’s performance, one much more nuanced and subtle, is. And balanced against that brilliantly is Moore’s conversely much more empathetic and sensitive Jack, who’s desperation to see Mac lift himself out of the turbulent life seemingly laid out before him into something finally happy can be heart-breaking. When two characters such as these are then mixed into a story that is both well-structured, well-written and well-paced, what you end up with is a tragic love story choc-full of drama, emotion and heart. Technically it’s a bit bumpy however as has already been made clear, Another World gets right what matters and ultimately delivers. Buy UKFR Banner Space About the Film Critic Chris Buick LGBTQ+, Indie Feature Film < All Reviews Next Film Review >

Metaverse film review by UK film critic Joe Beck. Starring Gabriel Esparza, Lilia Gab directed by Sofia Ogneva. HOME | FILMS | REVIEWS Metaverse Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jun 10, 2024 Directed by: Sofia Ogneva Written by: Sofia Ogneva, Rich Monetti Starring: Gabriel Esparza, Lilia Gab The Metaverse is something we’ve all become rapidly aware of over the past few years, as technology continues to advance at an increasingly rapid rate. It refers loosely to the creation of virtual worlds in which people can interact in a hyperrealistic manner, and which has its own social terms and customs, in addition to economic, monetary values. It’s widely associated with the use of virtual reality, and has become increasingly popular in recent times. ‘Metaverse’ as a deeply bland and unoriginal short film is deeply akin to something that may be created by Artificial Intelligence, another major development in technology that is closely linked to the metaverse. ‘Metaverse’ is a cold, robotic film, and not just in the performances of its actors. It all feels rather detached from the story its telling, steering painfully clear of either endorsing or condemning its key plot points in order to remain apolitical, however, this leaves it without nuance. It’s altogether rather passive, moving along at a rather serene pace with only the most minor events or hiccups along the way, and taking the most natural and expected decisions regarding story beats. The film stars Gabriel Esparza as Daniel, a man so bored with his own life that he decides to create another life in the metaverse. His creation is a woman named Vera, played by Lilia Gab, who lives a fairly normal life in the metaverse, doing completely ordinary things like going outside that Daniel could very feasibly do in his own real life, but has, for whatever reason, decided not too. Eventually Daniel becomes so engrossed in his creation that Vera becomes a real, physical presence in the world. This has minimal effect on either of their lives, and is a completely wasted story beat, which sums up the lack of impetus that this film has in terms of developing the narrative. It is terribly written by Rich Monetti and Sofia Ogneva, who fail to give their characters any personality, any drive, or anything to make the audience actually give a damn about them. The narrative lacks any spark, and seemingly just drifts between events in a lackadaisical manner with no connective tissue between them. It’s a collection of scenes cobbled together to form an incoherent and utterly boring plot which has nothing interesting to comment about its subject. The writing doesn’t aid the two actors either, who each give performances that are only slightly less robotic than the lines of dialogue in the script. Ogneva is also the film’s director, which, whilst not to the same low standard as the writing, is uninspired and doesn’t help the monotonous tone of the film and poor pacing. ‘Metaverse’ is a bad film, lacking ideas, and, crucially, lacking the fundamentals necessary to create a good story. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Cookie Queens film review by UK film critic George Wolf. Starring Ara, Nikki, Shannon Elizabeth, Olive directed by Alysa Nahmias. HOME | FILMS | REVIEWS Cookie Queens Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Aug 5, 2026 Directed by: Alysa Nahmias Written by: Alysa Nahmias Starring: Ara, Nikki, Shannon Elizabeth, Olive Did you ever look at the girl selling you Thin Mints and think, “she’s going to be a Supreme Court justice some day?” You might start, once you meet the youngsters of Cookie Queens , a triumphant look at goal setting, upselling and the fleeting years of girlhood. Writer/director Alysha Nahmias travels to North Carolina, Texas and California to immerse us in the frenzied weeks of cookie season with four budding entrepreneurs. There’s Ara in San Diego, an impossibly cute and precocious 5-year-old who hopes to be strong enough to pull her own wagon of treats. 8-year-old Shannon Elizabeth is in El Paso, practicing karate and trying to make sure her parents don’t have to skip a mortgage payment to pay for unsold cookies. Nikki is a 9-year-old in Chino, who has a family tradition to uphold while she’s chasing enough sales to earn a trip to Europe. And then there’s 12-year-old Olive, the future Supreme who sets sales records, schools her troop on upselling, and already frets about disparities in the relationship between management and labor. With a week-by-week countdown and some helpful onscreen stats, Nahmias builds a subtle layer of sales tension while letting us glimpse how these girls, their families and friends are navigating life. It’s all endlessly engaging, full of inspiration, frustration and some way-too-early hints about the ways of the world. We see older teenage sisters pine wistfully for the carefree days of youth, while those younger ones are already wondering about their purpose in life and learning that success can hinge on their appearance. Yes, some parents can Cookie vicariously, but Cookie Queens never lets the focus stray from these wonderful young ladies. Even with all they are juggling during the height of selling season, their sparks of joy and enthusiasm can’t be denied. And for us grown-ups, the film might make you sorry about the world we’re leaving these kids. But would I bet against them growing up and changing it? Not a chance. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

Gus Should Get The Girl film review by UK film critic Jason Knight. Starring Marcel Raiche, Kayla Kelly, Joey Lundholm directed by Jozef Raiche. HOME | FILMS | REVIEWS Gus Should Get The Girl Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 29, 2023 Directed by: Jozef Raiche Written by: Jozef Raiche Starring: Marcel Raiche, Kayla Kelly, Joey Lundholm A teenage boy tries to prepare himself for an upcoming date with a girl. Gus (Raiche) is nervous. He is by himself, sitting at a table in a restaurant, waiting for his friend Tim (Lundholm) to arrive and help him rehearse for a special meeting with a girl. Tim is running late and instead, his mother (Kelly) shows up, explaining that her car broke down nearby and she knew that her son and Gus had arranged to meet here. She sits down with Gus and they chat. However, Gus is really keen to make a good impression on his forthcoming romantic encounter and decides to test his interact-with-a-girl skills on his buddy's mum. Filmed at B's Country Cafe & Catering, Iron Mountain, Michigan, this light-hearted short comedy focuses on a preparation for a date that turns into an awkward situation. Gus has clue cards with him that contain brief instuctions on how to behave with a girl (such as to be funny and talkative) and a chemistry book (probably a metaphor for creating romantic chemistry). As he spends time with Tim's mother, he lights a candle, follows the cards and attempts to be sociable and humorous, to practice a bit before the big show later on. The result is an awkward interaction, with Gus being ridiculous and his mate's mother feeling uncomfortable. As he plays the titular character, Raiche delivers an amusing performance as a teenager who means well, but clearly does not have much experience when it comes to dating and his attempts to improve by practising with an adult woman end up making him look like a fool. Kelly also deserves credit for her equally entertaining work. Special acknowledgement goes to the light-hearted music that plays a key role in establishing a comical atmosphere. This is a funny story about an awkward situation that is developed due to an insecure youth's stress. It is partially a teen comedy and partially a coming-of-age film that explores themes that teenagers tend to go through, such as preparing for a first date, finding romance and finding themselves and ultimately, it explains that the best way to go through life is for one to be themselves. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Triggered film review by UK film critic Jason Knight. Starring Caitlin Mehner, Isiah Whitlock Jr., Tara Westwood, Robert John Burke directed by Tara Westwood. HOME | FILMS | REVIEWS Triggered Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Sep 29, 2022 Directed by: Tara Westwood Written by: Thomas C. Dunn Starring: Caitlin Mehner, Isiah Whitlock Jr., Tara Westwood, Robert John Burke A tense and dramatic thriller that addresses very serious issues. It is night-time and Virginia (Mehner) and Ohio (Whitlock) break into the home of Heidi (Westwood), a senator, and her husband David (Burke). The intruders bring the couple downstairs and hold them at gunpoint, leaving their children asleep upstairs. It soon becomes clear that this is not a burglary. Virginia and Ohio have lost loved ones due to gun violence and they are accusing the senator of making irresponsible decisions regarding gun laws. The plot of this powerful short film deals with problems that are of great magnitude in the United States, that being fatal gun shootings, and it points out two major events that this causes: gun murders at schools and mass shootings and it identifies them through the two intruders who lost their loved ones under circumstances that define these two occurrences (Virginia's son was shot by another boy while at school and Ohio's wife and daughter were gunned down in a mass shooting). The story also indicates that the cause of gun violence lies upon individuals who have the power to change laws as they can be inconsiderate and that can lead to gun laws being relaxed, resulting in more fatalities. The narrative begins as a mystery, leaving the viewer to figure out what is going on. More and more clues are brought to light, eventually leading to the whole picture. As the plot revolves around a life-threatening situation, the atmosphere is distressing throughout and there is a constant feeling that things are not going to end well. There is a lot of threatening, a lot of fear, sadness, grief and anger. The feeling of loss is what motivated the break-in and it is arguably the strongest feeling here. The acting is superb, with Mehner and Whitlock delivering fantastic performances as two broken individuals, who are torn apart by their devastating losses and are furious at the person whose actions they believe resulted in the death of their loved ones. Westwood and Burke are equally outstanding as a terrified couple, who desperately try to get themselves out of their situation by attempting to make amends. This short is a memorable achievement because it deals with gun violence, vividly shows the pain that it causes and points out how it could be prevented. With the subjects that it explores, terrific acting and wonderful cinematography by Edd Lukas, this film deserves a great deal of praise and recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Les Bêtes film review by UK film critic William Hemingway. Starring N/A directed by Michael Granberry. HOME | FILMS | REVIEWS Les Bêtes Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Aug 18, 2024 Directed by: Michael Granberry Written by: Michael Granberry Starring: N/A In the 1910’s, Polish-Russian filmmaker Ladislas Starevich pioneered the use of stop-motion animation in his films. While working for the Museum of Natural History in Kaunas, Lithuania, Starevich wanted to make a film about the battle of two stag beetles, but he found that they would pass out or die from the heat of the lights as he filmed. His solution was to use their corpses instead, replacing the legs with wire and attaching them with sealing wax so that they could be articulated, and so the first animated puppet film was born – Lucanus Cervus (1910). In the years that followed, Starevich made a couple of dozen more films using dead animals, including The Beautiful Leukanida (1912) which even featured a plot inspired by the story of Agamemnon and Menelaus. Today, Starevich is regarded as the grandfather of stop-motion animation, with both Terry Gilliam and Wes Anderson citing him as an influence, and a host of films from James and the Giant Peach (1996), to Kubo and the Two Strings (2016) and Tim Burton’s entire animated oeuvre showing that they obviously owe a lot to Starevich’s visual style. Now, with Les Bêtes , writer, director, producer and animator, Michael Granberry openly affirms that his new short film is inspired by the works of Starevich and as such features a host of animals and insects and melded grotesqueries as its main characters. The creatures have come together for their carnival at the behest of a magical rabbit who holds the keys to open doors to other realms, and he takes them on an adventure to entertain a wicked king and his court. Everything’s going fine until the court, and in particular the jester, realises that the king is not so entertained, and so give themselves free reign to trash the festivities and even destroy some of the players. All Hell breaks loose, carnage ensues and the rabbit opens one last door, with catastrophic results. Considering that Granberry’s film consists entirely of repurposed models from dead projects which have been recycled into what was intended to be a ‘zero-budget’ movie, everything holds together really well in terms of structure, style and story. Some of the models had been in storage for nearly twenty years and were starting to decay, so Granberry knew it was time to use them or lose them, no matter that the projects they were originally created for were so disparate and unconnected. The idea of a ‘carnival of the grotesque’ works really well, with all the different monsters and creations able to be integrated into the storyline without much difficulty, and the fact that Granberry knew this was the last gasp for some of the models seems to have freed him up to take the story to some pretty dark places. The score from Lito Velasco is full of carnival rhythms and off-beat percussion which deliver a real sense of unease as the horror of the drama unfolds, and the decision to film in black-and-white, although a practical one, really adds to the idea of keeping-in with Starevich’s visual style while adding an extra level of darkness to the narrative – something that is contrasted in the last shots of the film. To say that Les Bêtes is an incredible technical achievement would be a gross understatement. The number of moving parts in just one frame of this eleven-minute film is absolutely mind-boggling, and for Granberry to have come-up with and created Les Bêtes on his own, over four years, for almost no money, is simply staggering. There is a macabre delight in watching the creatures get one final flight of fancy, and knowing that this was also the ‘last Hurrah’ for a lot of the models just adds to the poignancy of a lot of the visuals. Les Bêtes will be able to dance its way into even the blackest of hearts, offering shock and delight in equal measure as the gruesome carnival plays out. The film is a testament to the animation and filmmaking skills which have stood the test of time and which need the human touch to be delivered, with these immediately imbuing Les Bêtes with a heart and humanity which is so sadly missing from the intense CGI affairs of today. For those looking for imagination, originality and a damn good time from their films, Les Bêtes opens the door, and your mind, and takes you to places you’ve never seen before. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Animation < All Reviews Next Film Review >

The One Note Man film review by UK film critic Chris Olson. Starring Jason Watkins, Ian McKellan (narrator), Louisa Klein, Crystal Yu, Paul Barber directed by George Siougas. HOME | FILMS | REVIEWS The One Note Man Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Sep 30, 2023 Directed by: George Siougas Written by: George Siougas Starring: Jason Watkins, Ian McKellan (narrator), Louisa Klein, Crystal Yu, Paul Barber Irresistibly charming and poignant, short film The One Note Man delivers a rousing tale of one man's stagnant existence being galvanized by a disruption to his own clockwork routine by a loose thread on his jacket. Jason Watkins plays the titular One Note Man, a musician who lives alone and lives a "Groundhog Day" lifestyle that is filled with the trappings of a man going through the motions. His part in an orchestra is brief, yet essential, but he leaves right after his one note is done and carries on with all the same meticulous duties he structures his day around. One day, however, a clothing malfunction sees him jolted out of his routine only to discover the beauty and talent of a fellow musician (Louisa Klein) in his orchestra. Much to the chagrin of his serious conductor (Crystal Yu), our man starts to hang around and mix things up, noticing the beauty of life all around him. With no words but a phenomenal score, writer and director George Siougas keeps The One Note Man moving at a jaunty pace throughout. The editing is sharp, creating a comedic sense of timing in our protagonist’s life which unfolds like a montage of monotony. Watkins is a worthy wordless performer, keeping you enriched throughout with a heightened physical performance that balances the cheeky story with the pathos. The scowling from the conductor (Crystal Yu) is perhaps the funniest thing in the film, again, making the most of a physical performance - mostly her piercing eyes. Louisa Klein delivers a fierce meet cute and her violin chops are outstanding. Siougas isn’t done there, though, with the admirable casting. Paul Barber rocks up as a florist and Ian McKellan turns up for some narration! As with any film eschewing dialogue for tone, The One Note Man takes its audience seriously - even with the numerous moments of comedy. This is a film about a man living in sadness, his days slipping away with an increasing sense of pace. Its relevance to a modern audience is nothing short of a slap in the face and yet, with the addition of classical music we get to remove ourselves (just a little bit) and rejoice in the silliness and almost farcical nature that masks the depressing first half of the short film. As an entire piece, it’s pitch-perfect (no, not that film) and manages to earn a sense of timeless charm. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Somnium film review by UK film critic William Curzon. Starring Chloë Levine, Grace Van Dien, Johnathon Schaech, Will Peltz directed by Racheal Cain. HOME | FILMS | REVIEWS Somnium Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 8, 2025 Directed by: Racheal Cain Written by: Racheal Cain Starring: Chloë Levine, Grace Van Dien, Johnathon Schaech, Will Peltz Somnium follows Gemma, an aspiring actress who moves to LA. She gets a job working a night shift at an experimental sleep clinic that promises to make its clients’ dreams come true. The longer Gemma spends there, she realises it is not all what it seems as mysterious events begin to unravel around her. While the premise of the piece feels somewhat formulaic at first, with the Hollywood cautionary tale approach, although, in terms of tone, it feels much more like a psychological science fiction drama than a horror. While its moments of horror are visceral and grotesque, akin to David Cronenberg’s signature style, the focus seems to be primarily on the inner turmoil the protagonist faces throughout. The characterisation can feel sadly restrained at times and reduced to brief flashbacks with a coming-of-age tonal shift, although the ambiguity almost makes it more intriguing to uncover more around Gemma’s past and present ambition. The main standout of the piece is Chloë Levine’s performance as Gemma; she is utterly terrific and elevates a lot of the screenplay due to her commanding screen presence and nuance as the protagonist. The supporting cast, including Grace Van Dien, Johnathon Schaech, and Will Peltz, was also solid; their characters portray helping parts of Gemma’s journey positively and negatively as she navigates fame; however, most of the narrative primarily focuses on Gemma throughout the majority of the runtime. Another major standout of the piece is Racheal Cain’s direction. As a debut feature, the production design and camera work were incredibly impressive, deftly directed by Cain with a keen eye for suspense and horror. Even with the film's budget constraints, the VFX are astounding for a smaller feature with a mix of practical and visual effects; some viewers may find certain imagery thoroughly unsettling due to this. The visual style of the film at times felt neon-drenched with its use of intense saturated colours in the interior scenes within the sleep clinic, with a synth-heavy musical score to accompany the tone stylistically. Scenes set around the sleep clinic tend to be presented within minimal space, almost claustrophobic with its use of tight corners and low-key neon lighting to create greater tension within sequences of terror. While these scenes are remarkable due to their formal prowess, they're sadly underutilised, and some viewers may find this disappointing due to the marketing and premise heavily suggesting scares being the main focus. The tonal balance between psychological drama and horror can feel jarring at times; however, the piece does tend to focus more heavily on the slower characterisation than spectacle. Cain was potentially more interested in utilising horror as a backdrop for a deeper character study. Thematically, the focus is set around the misfortunes of the Hollywood dream as an aspiring actress. There are perhaps allegories to escapism, such as the dream state within the sleep clinic being a coping mechanism for Gemma, to make her dreams real, even with all the pain she’s suffered from within the nightmare and reality. Similar to the way in which Hollywood is presented, where your dreams come true initially, but in reality, that's not always the case. While the pacing may meander at times with a lack of threat consistently looming over Gemma, the final moments of the piece do wrap up her journey in a satisfying manner that makes the slower moments feel earned in the end. Somnium is an impressive debut feature from Racheal Cain with an incredible central performance from Chloë Levine at the centre of it all, that prioritises character focus over spectacle-heavy horror set pieces with a unique plethora of technical standouts. While it may suffer from a couple of pacing issues and perhaps a lack of consistent engagement, Cain takes creative risks in making a slow-burning approach to the narrative structure. The piece undeniably wears its influences on its sleeve while being an original force of nature in genre filmmaking. Somnium will be available on Digital Download from 8th September. Buy UKFR Banner Space About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >