Whisper Of The Ink film review by UK film critic Charlotte spark. Starring Avik Talukdar, Sanzida Sorna directed by Ishtiyak Ahmad Ziad. HOME | FILMS | REVIEWS Whisper Of The Ink Film Review average rating is 4 out of 5 Critic: Charlotte Spark | Posted on: Aug 19, 2026 Directed by: Ishtiyak Ahmad Ziad Written by: Ishtiyak Ahmad Ziad Starring: Avik Talukdar, Sanzida Sorna Directed by Ishtiyak Ahmad Ziad, Whisper Of The Ink deals with the consequences of what happens when you risk everything just to ask for help. In Bangladesh where from June 6th to August 5th 2024 they experienced state brutality when protests formed demanding reforms to the discriminatory job quota system. with 300 deaths including children and more than 20 '000 injuries and the arrests of 11'000. From July 16th till the 28th they imposed complete Internet shutdown isolating the people preventing them from spreading the word as they tried to eliminate the movement. When the couple Rashed (Avik Talukdar), who is an artist, creates protest paintings, posting them online, alongside his pregnant wife Runa (Sanzida Sorna) discuss what good just drawing cartoons and posting them on Facebook does for the campaign. Cut between real news footage it's stark,the realism that hits the viewer that this is going on around them at this very moment. You the viewer get a sense of longing from Runa who wishes to be more active on the protest front but due to being pregnant. A scary time to live in hoping for your unborn child that things will get better and that their loved ones will be safe. When an emergency happens when Runa's water breaks, the curfew set by the government has a great knock on effect. They cannot leave, they cannot get help, they are truly stranded having to deal with this stressful situation or face the possibility of arrest or death. When the husband desperately decides to try to leave to get someone to help,he suffers great consequences from the government. Filmed in black and white which is a perfect choice for setting the tone. It's dark, depressing which is what the subject matter that's being discussed is dealing with. It would be too stark of a shift if it was filmed with bright colours and whimsy. It's such a powerful cinematic experience, to show that humans are strong and resilient when faced with trying times. The performances by both leads were so strong and believable. You really felt you were in those claustrophobic restraints of their apartment with a war on the doorstep. The wife's performance when going into labour is so realistic and raw you feel the need to survive from her. With a cliffhanger ending leaving the viewer to run with their imagination of what would happen next. Quite a tragic bleak ending. Whisper Of The Ink moves the audience in a deep profound way, leaving the viewer with a lot to sink in. It's important that it is heard and that events like these are projected and don't get forgotten. Buy UKFR Banner Space About the Film Critic Charlotte Spark Short Film < All Reviews Next Film Review >

The Unlikely Pilgrimage of Harold Fry film review by UK film critic Brian Penn. Starring Jim Broadbent, Penelope Wilton directed by Hettie Macdonald. HOME | FILMS | REVIEWS The Unlikely Pilgrimage of Harold Fry Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Apr 29, 2023 Directed by: Hettie Macdonald Written by: Rachel Joyce Starring: Jim Broadbent, Penelope Wilton The British film industry first grew by connecting with our national characteristics; a celebration of the eccentricity and decency that make us who we are. However, the path trodden with such distinction by Ealing Films (among others) seemed temporarily lost. Now the genre has been revived with some wonderfully ‘British’ movies. The latest is this charming new film directed by Hettie Macdonald and based on the novel by Rachel Joyce. The story begins with a retired couple living quietly in Devon. Harold Fry (Jim Broadbent) receives a letter from former work colleague Queenie Hennessey (Linda Bassett). Queenie is now resident in a hospice and is writing to say goodbye. Reply duly drafted he heads for the post office but is struck by an epiphany en route; he should say goodbye to her in person. So decides to walk to the hospice in Berwick-on-Tweed, 471 miles away. He informs wife Maureen (Penelope Wilton) via a call box of his intention. Harold’s logic is simple; he must keep on walking so Queenie keeps on living. An incredulous Maureen implores him to return home but Harold is determined. Along the way he meets a variety of characters and becomes an unwitting media sensation. To truly appreciate the value of this story, any sense of logic must be pushed firmly to one side (like why not jump on a train and see her?). His existence has been ordinary and achieved nothing of real value. The walk becomes an atonement for the things Harold has got wrong in his life. Glimpses of the back story are revealed in tantalising flashbacks; his marriage to Maureen, the significance of Queenie in their lives and fractious relationship with son David. The solution is held back until the final frames and not quite as obvious as one might think. It’s easy to scoff at the silliness of Harold’s actions, but also difficult not to be charmed by the sincerity and underlying message; that it’s never too late to right a wrong and the kindness of strangers will never cease to surprise us. Harold Fry is bloody-minded and cantankerous but with his heart in the right place. The acting is superlative with a thoughtful and perceptive script. Overall, a welcome change of pace compared to many films on general release. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Two for the Road film review by UK film critic Jason Knight. Starring Ewan Morris, Steve Wall directed by Lochlainn McKenna. HOME | FILMS | REVIEWS Two for the Road Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 24, 2023 Directed by: Lochlainn McKenna Written by: Lochlainn McKenna Starring: Ewan Morris, Steve Wall A boy and his father spend a weekend together, travelling around Ireland. Oscar (Morria) is a schoolboy in Ireland during the 1990s and his parents are separated. He maintains bonds with his father (Wall) by spending time with him during weekends. This time, the two of them travel by car, exploring Ireland, relaxing and having fun. They go camping, go on a boat ride, do a bit of food shopping and play some football. All seems well and it is when they arrive at a pub that things turn negative. Based on Lochlainn McKenna's original short story Guinness & Coke , this short drama tells an emotional story about the relationship between a man and his son. Initially, the atmosphere is joyful with the two of them happily spending quality time together and not long after their arrival at the pub, the father shows his bad side by getting drunk, being aggressive and inconsiderate about his child's well-being. Their time at the pub covers a large portion of the narrative, examining the man's flaws as a parent, the suffering they cause to his boy, the damage they do to their realtionship and finally revealing why they do not live together. The story is told predominantly through Oscar's perspective and Morris delivers a heartbreaking performance as a child who clearly loves his dad but also falls victim to his irresponsibility. Wall's character is a man who shows signs that he wants to be a decent parent, however, simultaneously he is unable to control his drinking problem and Wall plays the part exceptionally. McKenna deserves big commendations for the directing, with effectively captures the beauty of the landscapes. Director of photography Eoin McLoughlin also receives praise for the grainy cinematography that supports the dramatic scenes. Regarding the audio, composer Joe Robbins also makes a significant contribution with the music that includes piano melodies and the song Fisherman's Blues by The Waterboys was a splendid choice. This short is partially a road movie, partially a father-and-son story and partially a commentary about alcoholism. The film shows the joys of parenthood and the emotional pain of neglect and tells a story about an unstable family relationship that may or may not have a future. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Kaepernick & America film review by UK film critic George Wolf. Starring Colin Kaeprnick, Nate Boyer, Don Lemon directed by Ross Hockrow, Tommy Walker. HOME | FILMS | REVIEWS Kaepernick & America Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Aug 31, 2022 Directed by: Ross Hockrow, Tommy Walker Written by: Ross Hockrow, Tommy Walker Starring: Colin Kaeprnick, Nate Boyer, Don Lemon I’ve been a fan of the San Francisco 49ers for about fifty years, so I had a Colin Kaepernick jersey long before he started taking a knee during the national anthem. And when I continued to proudly wear that jersey, I quickly learned how effectively Kaepernick’s peaceful protest had been twisted into hateful knots of white grievance. In Kaepernick & America , directors Ross Hockrow and Tommy Walker revisit the protest’s timeline with insight and proficiency. But the subtle power of their documentary comes from its patience in deconstructing how Kaepernick’s true motives were distorted to fuel a racist narrative and a divisive election year. And for those who don’t know Kaepernick’s personal history, Hockrow and Walker wisely begin with his upbringing as a trans-racial adoptee, and then follow his journey to NFL stardom, to falling one play short of winning Super Bowl forty-seven, to essentially being kicked out of the league. It’s then that the film gives Kaepernick’s worldview a more distinct social and political context through archival footage and interview commentary (including CNN’s Don Lemon, an executive producer on the film). With the birth of the Black Lives Matter movement after the 2014 death of Michael Brown, Kaepernick sought to speak out against police brutality in America. His silent act of social disobedience eventually made news, and activist DeRay McKesson becomes instrumental to the film’s success at revealing the historical nature of the resulting uproar. Opposing views are supplied by anti-Kaepernick protesters and political candidates of the time, effectively rebutted by former U.S. Green Beret and NFL player Nate Boyer. Though Kaepernick’s protest began as a sit-down, he switched to kneeling after Boyer’s advice on a more respectful action. As we revisit the accusations and troop-shaming that were aimed at Kaepernick, Boyer’s recollections are a vivid reminder about just who was interested in thoughtful dialog amid conflict. More concerned with correcting the record than breaking new ground, Kaepernick & America seems graceful and unassuming when placed against the vitriol spurred by the taking of a knee. But the film reminds us that protest is “the work of hope,” and ultimately looks toward a future of redemption for Kaepernick, and healing for a nation. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

I Slay On Christmas film review by UK film critic William Curzon. Starring Deborah Dutch, Sean Donohue, Debbie D directed by Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Joel D. Wynkoop. HOME | FILMS | REVIEWS I Slay On Christmas Film Review average rating is 1 out of 5 Critic: William Curzon | Posted on: Oct 20, 2025 Directed by: Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Joel D. Wynkoop Written by: Derek Braasch, Debbie D, Marcelo Fabani, Phil Herman, Nina Trader, Joel D. Wynkoop Starring: Deborah Dutch, Sean Donohue, Debbie D I Slay On Christmas is a holiday horror anthology shot on video that delves into a troubled man on Christmas Eve who escapes from his stress into a nearby forest. He then comes across four pine cones. Each cone presents a Christmas terror which eventually escalates into a real-life horror. Every tale is directed by a plethora of different filmmakers, including Phil Herman, Joel D. Wynkoop, Derek Braasch, Marcelo Fabani and finally James Panetta. The opening of the piece employs indistinct imagery that pervades the visual aesthetic as it tracks the central character through the forest, feeling heavily inspired by Sam Raimi’s signature style. It feels like a homemade piece of filmmaking with its micro-budget and inaudible dialogue that is utilised inconsistently throughout, alongside a frustrating use of ADR. The shot on video (SOV) approach successfully accompanies the creepy and atmospheric tone of the piece incredibly well. One of the major highlights of the film is the pulse-pounding musical score, which creates a significant amount of tension that the rest of the feature lacks. For example, there is a sequence involving a chase directed from the point of view of the killer's weapon and the synth-heavy score is utilised astoundingly well here. Sadly, one of the substantial faults of the technical aspects of the piece is the camerawork, which feels heavily uninspired outside of minimal displays of prowess in sequences of tension. The narrative structure and premise on paper sound intriguing and ambitious in its efforts; however, it's merely reduced to days of the week, which feel like a PowerPoint presentation rather than a Christmas terror with disturbing displays of violence and sexual desire. The narrative is unfortunately overly convoluted and confused tonally, with a plethora of clashing creative ideas which just don't stick. While the atmosphere is unsettling, the sequences of violence are ultimately ineffective thanks to how spurious they feel. Although, the practical effects are fun and utilised well with the minimal budget it has to play with. All the characters are demanding to engage with, thanks to dire performances across the board, not helped by the lacklustre screenplay and how unlikable they are. There's an absurd level of sexual desire and misogyny expressed in the central characters, which just comes off as forced into the narrative for the sake of shock value. However, the supporting characters, such as Jimmy the elf, who provide some comedic relief with their silly nature, are a joy to watch at times. There is a severe lack of tension throughout, and pacing is totally uneven outside of flashes of brilliance. The narrative, unfortunately, drags to a grinding halt in its final moments. The tonal shifts present when switching from different Christmas terrors feel jarring and ultimately like a different film entirely. While the change in tone is refreshing with how repetitive the narrative starts to become, this is almost certainly thanks to having multiple filmmakers tackle the horror anthology aspect, which is a breath of fresh air but a detriment to the experience overall. The use of dream sequences is impacted by the poor use of a green screen background, and the use of live news being integrated is entirely pointless and offers nothing to the central narrative outside of the context of the relentless virus, which has spread. Finally, there is a podcast present where the screenplay attempts to employ political discourse around the current state of the United States, which feels entirely shoehorned in for depth that the piece entirely lacks. I Slay On Christmas is a profoundly underwhelming attempt at the horror anthology sub-genre, with moments of excellence sprinkled in its formal choices; however, this sadly fizzles out quickly thanks to an unengaging narrative, unlikable characters and obnoxious levels of performative shock value. While the atmospheric aesthetic the filmmakers create is commendable, showcasing their unique voices in indie filmmaking, the result is a mixed bag of clashing creative decisions. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

The Blood of the Dinosaurs film review by UK film critic Alasdair MacRae. Starring Vincent Stalba, Miles Daniel Handler, Kali Russell directed by Joe Badon. HOME | FILMS | REVIEWS The Blood of the Dinosaurs Film Review average rating is 4 out of 5 Critic: Alasdair MacRae | Posted on: Feb 4, 2023 Directed by: Joe Badon Written by: Joe Badon & Jason Kruppa Starring: Vincent Stalba, Miles Daniel Handler, Kali Russell Parodying the format of an educational children’s TV show The Blood of the Dinosaurs is a sharp criticism of modern society’s complicity in the mass environmental destruction caused by the oil industry. Following an abstract prelude chronicling the extinction of the dinosaurs in a chaotic, explosive fashion, director Joe Badon’s surrealist short film (un)settles into its core delivery, a mock children’s TV show, “You boys and buddies are in for a real treat today, that’s right it is Uncle Bobbo’s Christmas Kwanza Happy Hanukah Winter Solstice Annual Sacrifice Holiday Special! ”. Talking direct-to-camera Mr. Rogers-like from a brightly coloured kitchen set is the discomforting and deranged Uncle Bobbo (Vincent Stalba). For today’s show, he asks the audience, “Do you know where tyres come from?”. He then goes on to explore the topic via a series of stylised surrealistic segments, firstly a capitalistic religious analogue delivered by a cupboard-dwelling child named Purity (Stella Creel), an in-show clip drawing parallels between pumping oil and sex acts, and finally we take a dive off the deep end in a full-on trope-laden horror climax set during childbirth. Throughout these fragmented visions, Badon draws tethers between birth and extinction, capturing an at-once hilarious but simultaneously deadly serious snapshot of our oil-drenched reality in the early 21st century. One particularly powerful statement underlined the absent-minded cruelty of birthing children into an existence contaminated by oil and then continually showering their youth with plastic toys, a truism that scythes through irony and tragicomedy. The Blood of the Dinosaurs is a wacky comedy-horror that encapsulates the sick joke that is raising children in a world that will be vastly different from the ones their parents grew up in due to irreparable environmental damage. If you don’t laugh you’ll cry… Well, you might do both. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Elvis film review by UK film critic George Wolf. Starring Austin Butler, Tom Hanks directed by Baz Luhrmann. HOME | FILMS | REVIEWS Elvis Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jun 23, 2022 Directed by: Baz Luhrmann Written by: Baz Luhrmann, Sam Bromell, Craig Pearce Starring: Austin Butler, Tom Hanks If you’re looking for someone to bring a fresh perspective to the Elvis Presley story, Baz Luhrmann would seem like a no brainer. Though he can certainly lean too hard toward style and away from substance (Australia ), he can also fill a screen with tremendous energy, visual pizazz and musical exuberance (Moulin Rouge! ). And by now, any by-the-numbers take on Elvis would just be silly. Think more Rocketman, less Bohemian Rhapsody. Luhrmann’s Elvis succeeds – to a point, as inspired choices often push the film forward while others seem to hold it back. At the top of the win column is Austin Butler’s mesmerizing performance as The King. Beyond capturing the smoldering good looks and iconic speech pattern, Butler finds power in the raw physicality of role, an essential part of believing how this one man’s sexuality shook the world. No doubt Butler will be remembered comes awards season. And yet, this film is only partially about Elvis. GD national treasure Tom Hanks – an awards contender himself under layers of impressive makeup and prosthetics – narrates the film as Elvis’s longtime manager, Col. Tom Parker. Ill and seemingly nearing his end, Parker wants to tell us his side of story, and why he’s maybe not as bad as we’ve been told. And while focusing on the perspective of the “Snowman” (Parker’s term for a master of the snow job) without legitimizing it is an interesting approach, it also keeps us detached from the Showman. Even when depicting Elvis’s childhood, Luhrmann (co-writing as well as directing) frames him as akin to a comic book hero. So as we follow the meteoric rise, the Hollywood floundering, the comeback and the Vegas rot, the film is more interested in holding Presley up as a mythical figure than holding him accountable as a mere mortal. There are moments with show-stopping visuals and stand-up-and-cheer performances (especially the “If I Can Dream” sequence from Elvis’s TV special in 1968), but they never feel like enough. Luhrmann drops in occasional clips of the real King, and peppers the impressive cast with Kelvin Harrison, Jr. (as B.B. King), Gary Clark, Jr. (Big Boy Crudup) Yola (Sister Rosetta Tharpe) Kodi Smit-McPhee (Jimmie Rodgers Snow) and more, gearing you up for a gloriously indulgent showcase that never comes. Elvis is stylistic, well-performed and often highly entertaining. But with an overlong running time of 2 1/2 hours plus, you’d think there would be at least a little room left to go full Luhrmann. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

CLOAcKED PENs film review by UK film critic William Baines. Starring Hashim Abubacker directed by Ananthu Ramesh. HOME | FILMS | REVIEWS CLOAcKED PENs Film Review average rating is 4 out of 5 Critic: William Baines | Posted on: Aug 10, 2021 Directed by: Ananthu Ramesh Written by: Ananthu Ramesh Starring: Hashim Abubacker A film about pens. Straight away, writer and director Ananthu Ramesh has given himself a tough task in creating an engaging and insightful short film. However, the simple storyline, and an excellent performance by Hashim Abubacker, crafts a film that viewers are unlikely to forget. The only character in the film (played by Hashim Abubacker) has a simple goal: to write. This menial and seemingly insignificant task becomes relentlessly infuriating and insurmountable for our unfortunate hero of the story. The film disregards any need for context or character development. After all, this is a situation we have all found ourselves in; the desire for simple objects to work. In the beginning, he remains calm and composed as he reaches for his pens. He tries one. Two. Three. Four. The emergence of fury begins as a fly enters the room, another universal annoyance that humans must face. Interesting cinematic choices by director Ananthu Ramesh keep the viewer totally focused, demonstrated in some excellent shots from the flies perspective as it seems to mock him for his struggles. The rage builds and we see a fascinating transformation of the once calm character; a transformation that much of us see far too often in ourselves. Cinematography plays an essential role in showing this transformation. As mentioned before, a fly point-of-view sequence leads to a fresh perspective. Excellent cinematography such as this prevents a simplistic storyline from becoming slightly dull for certain viewers. Shots of the pens throughout also portrays them as almost characters themselves; characters that transform from a friend to an enemy as they one-by-one refuse to work. Ananthu Ramesh is able to build clear tension between the pens and the lead actor, an idea that could seem absurd outside the transformative world of film. The sound-design is also an essential element throughout the film, crafted by Poisoned Toffee and Shyam Sundar. A continuous backdrop of music that complements the excellent portrayal of growing frustration that turns to all-out rage. CLOAcKED PENs is an excellent look into simple, everyday annoyances that can impact us so powerfully. For myself (and many others I am sure), it acts as an introspective view into the unjustifiable effects on ourselves that stem from these insignificant irritants. This film acts as a fascinating and unique portrayal of this. Brought together with excellent cinematography, sound-design and an outstanding lead performance, this short film was a wonderful insight into the absurdity of some human behaviour. Buy UKFR Banner Space About the Film Critic William Baines Short Film < All Reviews Next Film Review >

Darkness Hunting film review by UK film critic Patrick Foley. Starring David Rice, Damita Harris, Jordan Bryant directed by Adam Sergent. HOME | FILMS | REVIEWS Darkness Hunting Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 14, 2023 Directed by: Adam Sergent Written by: Adam Sergent Starring: David Rice, Damita Harris, Jordan Bryant Extravagant characters and classic staples make up the highlights of Adam Sergent’s Darkness Hunting, a lower budget comedy horror that charms through its exploration and subversions of its unusual genre. A group of five ghosthunters head out to a secluded woods to explore a haunted house. Led by the fame-hungry Derek (David Rice), the gang stage a series of clips to demonstrate ‘strange’ phenomena they uncover – but brainiac researcher Eli (Wheeler Green) is sceptical the house holds what they seek. To the surprise of absolutely no-one, it turns out that a presence even more horrifying than the gang imagined is ready to emerge… Baffling yet intriguing, muddled yet endearing, there’s something about Darkness Hunting that just clicks despite some bizarre and inadvisable creative directions. The film is overlong, the plot is largely copy/paste material, the script is packed with exposition and clunky, stilted dialogue, and technological problems beleaguer throughout. And yet there is a notable sense of passion in the film emanating from the filmmakers and cast that has a marked effect of edging down these flaws and playing into the black comedy of a film that follows a long line of over-the-top, low-budget horrors. The film pays homage to countless predecessors and lovingly deconstructs the ridiculousness of its genre. Filled with many more laughs than scares, the story focuses on the demonic and satanic without ever really stepping up the terror. Instead, elements of a horror movie are utilised to explore the relationships and dynamics between the characters, and satirise the bizarre circumstances of its influences. Tonally, it fits the film perfectly, but horror enthusiasts should not go in expecting to hide behind the couch. The ensemble cast make the film work. Each of the primary five characters brings enough energy, colour and continuing development to grab the viewer’s interest and reshape themselves regularly enough to keep it fixated. Initially appearing as bored caricatures, Sergent slowly unravels his casts’ layers to reveal fascinating and unexpected dynamics. David Rice is suitably sleazy as ghosthunter host Derek, whose fine performance is almost upstaged by an early-2000s goatee that says more than any acting could. Wheeler Green’s unnerving turn as Eli is lovingly camp, and works well in establishing standings between the gang. But Jordan Bryant as Boyd stands out as the film’s heart. His moving explanation of how he got involved in ghost hunting is a rare moment of levity that results in audience connection with the character beyond surface-level enjoyment of their extravagant personalities. A word should be reserved for rather poor sound design and mixing throughout. Imperfections are to be expected with lower-budget features, however the quality of the vocal recording makes almost every character’s lines muffled and distant. Furthermore, a whimsical, happy-go-lucky score seems to accompany 80% of the runtime. Seemingly used to play up the farcical comedy at the outset, it becomes increasingly distracting as the film goes on and quickly wears out its welcome. Under no circumstances is Darkness Hunting a great movie, and one suspects the filmmakers never truly aimed to make one. What it is at its best is a fun movie, with characters that are enjoyable to watch and comedy that plays entertainingly with its genre. It does begin to drag even at 70 minutes, but a sense of charm, passion and ambition means viewers have enough to enjoy for the most part. Watch the Darkness Hunting official trailer here . Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release < All Reviews Next Film Review >

Beguiled Company film review by UK film critic Joe Beck. Starring Chance Gilliam, Jess Tomasko, Devyn Williams, Gabriel Hawk, Megan Thompson directed by Tristan James Jensen. HOME | FILMS | REVIEWS Beguiled Company Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Sep 25, 2022 Directed by: Tristan James Jensen Written by: Tristan James Jensen Starring: Chance Gilliam, Jess Tomasko, Devyn Williams, Gabriel Hawk, Megan Thompson Given the current state of the world, it should come as a surprise to nobody that films like ‘Beguiled Company’ are growing in popularity. In fact, over the next few years, as the global economic crisis deepens, films like this will likely only be made more and more. The merits of that for filmmaking could be debated endlessly - on the one hand, you have directors exploring new ideas with the camera, filming in innovative and creative ways. However, the flip side of that is the growth of nihilistic filmmaking, which is so centred on confronting ‘society’ that it never considers one of the fundamentals of storytelling - good characters. That’s exactly the kind of film ‘Beguiled Company’ is - one in which ‘the message’, and its undoubted good points are outweighed by the lack of care handed to its characters and the undirected anger aimed at the system. It’s a film which thinks itself clever in its rebellion but is nothing more than a pot shot, filled with buzzwords and vague messages - the kind of thing ripped off a young, disillusioned teenager's Twitter page. The film follows a group of young twenty-somethings, all looking for a way to beat the system. There’s Brenden (Chance Gilliam), the leader of the group, and the main instigator behind all the group’s mayhem - he’s rude, brash and thoroughly unlikeable - the kind of main character you just want to punch. He lives with Mason (Devyn Williams) and Tino (Gabriel Hawk) - Mason the cautious member of the pack, and the one most concerned with their crimes - he’s by far the most likeable, though Tino also possesses a certain charm. The remaining members of their group are Ilisha (Jess Tomasko), a homeless girl they discover and become friends with, and Sydney (Megan Thompson), who is kind of just there. The film aims to show their heady descent into their ways, as they are chucked about by society, but it’s just an exercise in what happens when the system is upturned. It’s not particularly fun - the group as a collective are obnoxious whenever they leave their house - taking their form of justice on Walmart, the cops, and on an alleged paedophile. They wear masks of Trump, Shrek, and Al Jolson in blackface as they exact revenge on those who get in their way. Its dialogue is so ridden with cliches, you could attach any number of lines to one of those images of the Joker - ‘we’re all slaves to society’; ‘that’s the trap’ and ‘oh sweet I love 9/11’. The film doesn’t know when it’s stepped over the line, and when one character says ‘you’re racist’ to a cop pulling them over for legitimate reasons, then it’s about a mile over it. It’s as though the director Tristan James Jensen exists in his own world, where he’s morally righteous and everyone who dares to disagree is completely wrong and totally out of line. For all Jensen’s flaws on the writing and story side of ‘Beguiled Company’, he at least offsets that through some impressive direction. Jensen’s vision of the fallen world is framed through a creative lens, and it isn’t merely some bleak depiction, filled with turgid blacks and greys. No, he allows colour and light into his vision of a flawed society - in particular, there’s an extended psychedelic sequence which mesmerises and allows Jensen to let his obvious talent sparkle. He’s a director I’d like to see more from, though with a different kind of film and a script not written by himself. If it’s films like ‘Beguiled Company’ which give us some of the next generation of filmmakers then we’re in for a rough few years for debut films. It’s a film made for the Twitter generation, for edge lords high on reading ‘A Clockwork Orange’, who are pretentious in their own way and have disturbed, nihilistically bleak visions of a gritty world in which they are the morally virtuous and those who don’t conform to their rules deserve nothing. Films like this have a place, but only when they are intelligent enough to admit the flaws in their philosophy, 'Beguiled Company' fails to do that. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Lonesome film review by UK film critic William Hemingway. Starring Anonymous contributors directed by Justice Khor. HOME | FILMS | REVIEWS Lonesome Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 6, 2022 Directed by: Justice Khor Written by: Various Starring: Anonymous contributors Born from the Covid-19 pandemic, Lonesome takes the isolation felt by tens of millions of people around the globe, something that had not been there previously, and transposes it to the LGBTQ+ community, particularly that of Malaysia. Film-maker Justice Khor believes that this new feeling experienced by large sections of the population is representative of the 'queer existential invisibility' that those in the LGBTQ+ community have already suffered for decades, if not centuries. With this in mind, Khor asked people to contribute their own stories and experiences of living with this isolation, segregation and oppression by calling up a phone number and leaving their own (very) personal messages. As you might imagine, a lot of the details related within these messages are disturbing, unsettling and at times harrowing, and so the film opens with trigger warning that it contains descriptions of 'homophobia and heterosexism, transphobia and trans-misogyny, mental illness and self-harm, cyberharrassment and school bullying'. The messages are indeed not easy listening, but equally are extremely important in allowing people to share their thoughts and experiences to build a true picture of their treatment by the rest of society. Khor's unique approach permits an expression through anonymity which might otherwise never have been allowed to come to the fore, and for this opportunity and gift of (relative) freedom, he should be highly commended. Through seventeen minutes several speakers tell their stories with a degree of resignation and matter-of-factness. Their words are transposed onto the screen using subtitles and are overlaid on top of differing lonely scenes caught by director of photography, Chew Boon Wai. Actual human beings figure very sparsely within the visuals, with Khor instead opting for wide establishing shots of city-scapes and other images of isolation such as empty corridors and untouched personal belongings. There is a question though, which hangs over the production of this documentary, as to whether film was in fact the correct medium for telling these stories. We know that all of the contributors called up and left their messages anonymously, which means we also know that any images on screen do not relate directly to any of the speakers that we hear. Despite Khor's best efforts some of the images don't match up to the words on screen and in essence all the audience is doing is reading anonymous testimony while non-specific visuals are relayed underneath. In a world where media is saturated by variety and choice might it have been better to use these testimonies as a launch pad for interview and discussion on a podcast? Would it have been more useful, and fair, to collect as many of these stories as possible and portray them at length through written publication? When the viewer is basically reading these accounts for themselves on screen anyway and the contributors' experiences are being truncated to fit a short film format; when the visuals don't necessarily relate to the individuals involved; are their stories really being delivered the justice they deserve? Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Documentary, LGBTQ+, World Cinema < All Reviews Next Film Review >

Decrypted film review by UK film critic Jason Knight. Starring Sophia Myles, David Hoflin, Don Gilet, Akie Kotabe, Talisa Garcia, Clive Francis, Amanda Abbington, Kevin McNally directed by Tom Sands. HOME | FILMS | REVIEWS Decrypted Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 4, 2021 Directed by: Tom Sands Written by: Mick Sands Starring: Sophia Myles, David Hoflin, Don Gilet, Akie Kotabe, Talisa Garcia, Clive Francis, Amanda Abbington, Kevin McNally Members of the National Security Agency kidnap the creator of Bitcoin and bring him to an apartment for interrogation. However, things do not go according to plan, leading to outrageous consequences. Due to the issues it might cause in the financial world, the Trump administration categorizes its developer as a terrorist and the NSA takes action. Special officer Beth Barnes (Myles) and captain Buck Johnson (Hoflin) have been assigned to capture Satoshi Nakamoto (Kotabe), the man who created Bitcoin and extract valuable information from him that will eliminate cryptocurrencies. In London, Nakamoto and his associate Sofia (Garcia) are taken by Barnes and Johnson and brought to an apartment, where they plan to make them cooperate. Unbeknown to them, they are being spied on by two members of the MI5, who are staying in the building opposite them. The two NSA members report their progress to Colonel Pike (McNally), who is in the United States. The mission swiftly goes downhill as Johnson finds himself unable to resist Sofia and loses his patience with Nakamoto. Eventually, the people in the apartment are injected with a substance that makes them tell the truth, leading to all sorts of shenanigans. Most of the story in this adult dark comedy takes place inside the London apartment, following the situation as it spirals out of control. The operation begins OK, then Johnson's behaviour turns things around, as he becomes sexually involved with Sofia and viciously beats Nakamoto and repeatedly waterboards him. The administration of the truth serum drugs is what leads the story to its catastrophic conclusion. It should be mentioned that this movie is not for sensitive viewers. There is often very strong language, a very strong sex scene and a great deal of sex talk. The part where Nakamoto is assaulted and tortured might be quite upsetting to some. The protagonists deliver entertaining performances as mostly awkward individuals. Hoflin's character is the one who steals the show with his over-the-top performance as a person who ignores his mission and is more interested in pursuing his sexual desires and goes berserk as he attempts to make Nakamoto talk. Myles is the one who is focused on her duty and tries to keep it together. McNally also has an interesting role as a nervous military man who is constantly sitting at his desk, trying to put together a miniature battleship. Recognition also goes to Francis who plays a resident of the building where the interrogation is taking place and finds himself getting caught in the middle of it. Haydn West develops wonderful cinematography that works particularly well during the flashbacks. Richard Morson makes a great contribution with the music that is dramatic, atmospheric, tense, mesmerising and entertaining. Decrypted is not for everyone. It contains a lot of profanity and a great deal of dialogue about sex. One could also argue that the film is a bit overlong. Nevertheless, those who enjoy dark and adult humour will probably not be disappointed. Buy UKFR Banner Space About the Film Critic Jason Knight Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >