The Demon Detective film review by UK film critic James Learoyd. Starring Dustyn Gulledge, Dani Scott, Eugene Young, Doug Jones directed by T.C. De Witt. HOME | FILMS | REVIEWS The Demon Detective Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 24, 2026 Directed by: T.C. De Witt Written by: T.C. De Witt Starring: Dustyn Gulledge, Dani Scott, Eugene Young, Doug Jones The Demon Detective , the new supernatural horror written and directed by T.C. De Witt, is an entertaining, though ultimately inconsistent thriller. It tells an almost episodic story of a Demon Detective’s latest encounters with the undead as he battles monsters and tries to understand the unrest currently taking place in the afterlife. The film’s most significant influence, in all the best ways, is of course Ghostbusters . Whilst this adopts a more explicit horror aesthetic, many of the plot-points and images affectionately mirror the 1984 comedy classic. This is an enjoyable, satisfyingly silly picture. But unfortunately, The Demon Detective is also stilted, convoluted and overlong; problems that will certainly detract from an otherwise satisfying viewing experience. The biggest issue with the film is its main character Miles (the titular detective). Not because of the performance by Dustyn Gulledge – which certainly holds the camera – but due to the nature of the writing. For a character introduced as a ‘demon detective’, his motives and behaviours are, at first, bland and predictable. Eventually, the plot becomes about the fact that his latest demon encounter has taken a more personal toll on our protagonist; an encounter that brings up pains of the past and renders Miles doubtful of his ethics and his abilities. This development is a lot more effective than his characterisation in the script’s first hour, but you could argue that it takes far too long to acquire this kind of depth. On the flip side of this, however, is the character of Clara played by Dani Scott. The movie benefits greatly from this character as she makes for an effective audience surrogate, and surprisingly complex persona. Visually, the cinematography is easily passable and accomplished on a professional level. Though it does leave something to be desired when we’re discussing how the creative style either does or doesn’t lend itself to the story being told. The visual effects are sometimes impressive, but sometimes unpleasant to look at. The images in The Demon Detective are well-constructed, and the lighting is especially impactful for its often-phosphorescent form. So, there’s a lot to love in the technical department – even when it feels as if a horror movie would operate best with a grimier, less clean sensibility. What this critic enjoyed most about this movie was how it didn’t feel like an origin story. We’re introduced to characters who are already halfway through their journeys – maybe even becoming complacent about their place in the supernatural world. I like that what we’re getting is effectively a Day in the Life of a Demon Detective, instead of a ‘this is how he got his powers’. And the other highlight is that in the film’s final act, we are blessed with a ridiculously enjoyable performance by the legendary Doug Jones. He’s truly wonderful in the movie – tonally heightened and over the top in all the ways you would want from a dénouement villain reveal. Despite the fact that this picture feels directionless for much of its runtime, it’s also a fairly fun time for horror fans. Buy UKFR Banner Space About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

My Baby Cries film review by UK film critic Jason Knight. Starring Faith Elizabeth, Oliver Asante directed by Faith Elizabeth. HOME | FILMS | REVIEWS My Baby Cries Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 30, 2022 Directed by: Faith Elizabeth Written by: Faith Elizabeth Starring: Faith Elizabeth, Oliver Asante A woman's struggle to deal with her issues damages the relationship between her and her partner. Sara (Elizabeth) and Abe (Asante) are a couple who seem to be going through tough times due to Sara's state. She appears quiet, isolated and sad and barely communicates with Abe, giving him short answers and being uninterested in what he says. She is more pleasant when she takes care of her baby, however it becomes apparent that she is dealing with very serious problems. With her directorial debut, Elizabeth creates a heartbreaking story that deals with issues she herself has experienced and they are vividly portrayed in this short film. The audience are introduced to a situation that involves an unhappy couple, although it is not clear what is wrong. As the story progresses, more and more clues come to light, indicating that some things are not what they seem to be, and the devastating plot twist at the end finally explains everything. The narrative begins intensely, then goes quiet, then heavy drama follows. Both protagonists deliver emotional performances. Elizabeth is a person who has gone through a terrible event that has made her socially distant and melancholic, with little interest in anything, apart from being a mother. Asante is her supportive partner who is deeply concerned about her well-being, however, he does not know how to help her. Director of photography Benjamin Thompson develops wonderful cinematography and Gaby Ambler creates music that is tender and dramatic and includes a beautiful piano score. This is an unpleasant viewing, however it is a powerful piece of work that raises awareness of safe pregnancy and explores issues regarding mental health, loss, grief and trauma and the effects these can have on a person. It is a distressing and moving film that 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 >

Isla Soledad film review by UK film critic Jason Knight. Starring Leidi Gutierrez, Gadiel Brambila, Maria del Refugio Gutierrez directed by Omar Deneb Juarez. HOME | FILMS | REVIEWS Isla Soledad Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 12, 2023 Directed by: Omar Deneb Juarez Written by: Omar Deneb Juarez Starring: Leidi Gutierrez, Gadiel Brambila, Maria del Refugio Gutierrez A young woman struggles to get her life back on track. Sonia (Gutierrez) is a single mother, whose past mistakes have resulted in her son Angelito (Brambila) been taken into custody. Now working as a cleaner, she is determined to get him back, however she is facing further challenges that include taking care of her ill grandmother (Refugio Gutierrez), attempting to fix the electicity in her home and dealing with financial difficulties. This short from Mexico is an emotional and hard-hitting drama about a woman who is forced to overcome very hard times if she is to move on to better things. The screenplay looks into the aftermath of Sonia's irresponsible past actions, examining her current situation, which is far from good. She does her best to stay on top of things and the hardships that she is going through are vividly present, however so is the joy that she feels when she is with her child. Gutierrez delivers an outstanding performance as a person who is dealing with multiple issues simultaneously and yet she remains strong internally. It is hinted that she is recovering from substance abuse and her ultimate goal is to get her son back and take him to Isla Soledad. The wonderful cinematography by Olivia Luengas is a great plus and so is the creative editing by Tom Turner. The dramatic and atmospheric music by Carlos Virgilio Mendoza is another valuable feature. Through the eyes of a struggling but determined woman, this film explores the hardships of life, the joys of being a parent and the power inner strength. It is a painful story but also a beautiful and moving one. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Inheritors film review by UK film critic Chris Buick. Starring Angie Lin, Cici Lau, Marina Savoy directed by Justine Ellen Chen. HOME | FILMS | REVIEWS Inheritors Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Aug 19, 2025 Directed by: Justine Ellen Chen Written by: Justine Ellen Chen, Morgan Chen Starring: Angie Lin, Cici Lau, Marina Savoy Inheritors , directed by Justine Ellen Chen and co-written by Morgan Chen, is a powerful examination of how ideals, opinions, and attitudes towards subjects such as mental health and responsibility can be so disparately informed not just by culture, but also by generational divide. When the youngest sister, Jordan, is hospitalised after a suicide attempt, three generations of a Chinese American immigrant family are forced to confront this traumatic event, and each other, when visiting Jordan’s home. First to enter is Alex (Angie Lin), Jordan’s older sister, followed shortly thereafter by her mother May (Savoy) and grandmother (Lau) and from here we begin to see how each of their distinct coping mechanisms will clash with the others, as well as the profound disconnects that exist between them emotionally. Inheritors does everything possible to strike just the right mood required to respect the seriousness of its topic and depict that proverbial distance between each of its characters, each element put in place to try and evoke a great sense of melancholy that seeps throughout the film from beginning to end. The chaos that is Jordan’s apartment, for example, the multiple overflowing trash bags, dirty dishes and minimal lighting, is quite the manifestation of her apparent depression, making that desolate feeling land like an anvil from the very first scene, the film’s contained, almost claustrophobic setting also making the viewer extremely sensitive to that. While the films’ dialogue may be sparse and rather unextraordinary, in some ways that is to the benefit of not just the film and the story it’s telling, but to its cast as well. What is being said is often not as important as what isn’t. More is conveyed simply through awkward body language and long silences than any words might say, and each of the cast fit their respective moulds admirably. Savoy’s stoicism as the mother, May, embodies the generation who, while unable to dismiss the situation entirely as they might prefer, is keen and quick to play it all down as less serious than it is, ridiculous even, even highlighting that Jordan “always makes a big deal out of nothing”. Lau’s grandmother then epitomises the generation that would rather plead ignorance completely, instead preferring to busy her thoughts with other things. But Lin’s is perhaps the defining performance, because Alex seems to be the only one outwardly struggling, and Lin can convey confusion, fear, anger and distress all in equal measure, portraying perhaps a more Westernised mindset around such matters that we then see wrestle with the more traditional attitudes of her elders, all the while still proffering respect to them her heritage would expect. Inheritors , while brief and minimal in its approach, is a compelling family drama that manages to find the right mood, showcases some solid performances and succeeds by showing, not telling. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Whispers of Redemption film review by UK film critic James Learoyd. Starring Ansu Njai, Jenny Rowe directed by Ranw Aso-Rashid. HOME | FILMS | REVIEWS Whispers of Redemption Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 7, 2025 Directed by: Ranw Aso-Rashid Written by: Ranw Aso-Rashid Starring: Ansu Njai, Jenny Rowe Ranw Aso-Rashid's Whispers of Redemption is a sharply crafted little film with a lovely sentiment. Eric (Ansu Njai) is a young man who’s just lost his mother. With her ashes, he goes to the sea to find solace and meets Grace (Jenny Rowe) and her dog. She too has lost someone in her life, so she shares some important advice about how to keep living. There are many short films about loss, but audiences will appreciate the fact that – by the story’s end – this is far more a piece about moving on than it is about being stuck inside the pain; and the vast ocean before them serves as a lovely visual metaphor for the flowing, uncontrollable feelings our protagonist must come to accept. What we as the audience witness is simply a ten-minute, extended conversation about how we deal with mourning. It’s a deeply heartfelt piece of writing, yet it’s the filmmaking that really elevates the content... The cinematography is incredibly strong, as is the sound design. For the more technically minded viewer, the first thing you notice is how well-lit and professionally colour-graded these shots appear. All the colours complement the seascape wonderfully, with slight greens in the highlights providing a real cinematic look. The soft lens-work and impeccable composition then go a long way to draw the eye to the actors’ faces, which then too is nicely balanced in terms of light distribution. This is all high-end work, demonstrating an awareness of industry-standard aesthetics. What heightens the craft even further is the audio of the sea, birds, and even on-location sound. It’s crisp, but not too crisp. There’s an authentic, on-location feel about the sound which adds to the sense of realism and layering. When it comes to the performances, there are some interesting contrasts taking place. For instance – and it may not at all be the fault of the actors – but our two performers seem to be operating on slightly respective wavelengths. Both are, without a doubt, likeable and engaging screen-presences; however, while Njai opts for a toned-down, naturalistic mode of performance, Rowe is far more expressive and theatrical. Each performance works really well in isolation, but they don’t always gel together. I want to clarify that these are two obviously talented screen-actors who can convey genuine emotion confidently. What Whispers of Redemption offers is a peaceful, reflective viewing experience which allows one to take in the space and consider the messages being conveyed. While you could argue that the script is pretty explicit when it comes to its themes and morals – far more explicit than most screenwriters might allow – the dialogue is successful in conveying complicated emotions relating to mourning and changing in such a short space of time. In this way, the interaction is reminiscent of a short story more so than a work of film; yet the location, soundscape and colour really help to build a real sense of immersion. You’re there with the characters, observing what they’re observing, placing the emotion in a physical, textural context. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The First Fallen film review by UK film critic Rachel Willis. Starring Johnny Massaro, Renata Carvalho, Victor Camilo directed by Rodrigo de Oliveira. HOME | FILMS | REVIEWS The First Fallen Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Feb 22, 2023 Directed by: Rodrigo de Oliveira Written by: Rodrigo de Oliveira Starring: Johnny Massaro, Renata Carvalho, Victor Camilo Writer/director Rodrigo de Oliveira shapes a not-so-subtle soldier metaphor for the first victims of the AIDS crisis in his film, The First Fallen. The film follows biologist Suzano (Johnny Massaro), and his band of friends and family as he navigates the frontlines of a war waged within his body. The first half of the film is less engaging than the more personal second half. Though we meet several characters over the course of the first hour or so, no one really has much depth – that comes later. Suzano has been away in Paris but has returned to his sister Muriel (Clara Choveaux) and her son Muriel (Alex Bonin) to reconnect. His friend Rose (a transcendent Renata Carvalho) has not only been turned away from the hospital where she seeks care, but they have misgendered her – the indignities of which lend the film its most powerful scene. Most of the first act is concentrated around boisterous NYE celebrations, ringing in the year 1983. Rose performs for the celebrants at a gay club; Maura and Muriel attend a party. Suzano spends his evening alone. There is a downheartedness that follows both Suzano and Rose, but it isn’t until the end of the first half that we get confirmation of what causes their sorrow. A sarcoma on Suzano’s neck is our first hint that several of these characters have fallen victim to the devastating AIDS epidemic. De Oliveira doesn’t spend time catching up those who might not know the history of AIDS and its startling explosion onto the scene in the early 80s, particularly in the gay community. At the time of the film’s events, the medical world didn’t even know the cause of AIDS (HIV would be identified in May of 1983), let alone how to treat it. Seeking to document how the disease ravages his body, Suzano isolates himself, along with Rose and another afflicted man, Humberto (Victor Camilo). This is where the film excels. We’re privy to an experience not many have witnessed, particularly at a time when fear of the unknown isolated those who suffered most. How Rose, Humberto, and Suzano deal with their illness is at times touching and other times heartbreaking. The film’s home video approach lends authenticity to the experience. The soldier metaphor is apt. For the first victims of the AIDS epidemic, many became numbers, dehumanized to understand what plagued them. De Oliveria wants us to remember those who fell. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, LGBTQ+, World Cinema < All Reviews Next Film Review >

Out Come the Wolves film review by UK film critic Hope Madden. Starring Missy Peregrym, Damon Runyan, Joris Jarsky directed by Adam MacDonald. HOME | FILMS | REVIEWS Out Come the Wolves Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 29, 2024 Directed by: Adam MacDonald Written by: Joris Jarsky, Adam MacDonald, Enuka Okuma Starring: Missy Peregrym, Damon Runyan, Joris Jarsky Predator and prey. Alpha and beta. Necessary and expendable. Writer/director Adam MacDonald puts these ideas into perspective with his latest thriller, Out Come the Wolves . MacDonald returns to the woods, where he’s long wrought havoc (Pyewacket, Backcountry ). In this forest, Sophie (MacDonald’s regular collaborator Missy Peregrym) is hoping her childhood best friend Kyle (Joris Jarsky) can teach her big city boyfriend Nolan (Damon Runyan) how to hunt. Nolan’s a writer planning an article on the experience, but he’s also eager to meet Sophie’s dear friend to get acquainted and maybe gauge the competition. MacDonald’s cinematic bread and butter has been the small cast, big woods, test of the survival instinct. In Backcountry it was a bear; in Pyewacket , a demon. The title here probably gives away the antagonist this go-round, but MacDonald has more in store for us than just a couple of hungry wolves. Though small cast plus limited location generally equals low budget, Out Come the Wolves boasts impressive production values. Interiors, though slightly hokey and sometimes obvious, develop tension with claustrophobic close ups. MacDonald also takes this first (mainly interior) act to set up the gender politics at work, something he plays off of well in the coming outdoor adventure. Jarsky delivers the most believable performance, one fraught with roiling emotions and conflicting goals. Runyan is slightly hamstrung by the underwritten “big city guy” role, but he finds a nice balance between smug and vulnerable, insecure and earnest. Peregrym’s third act makes her first act easier to stomach. She’s saddled early on with a bad dance scene and unrealistic levels of emotional ignorance. It’s not Peregrym’s fault—the writing team (MacDonal and Jarsky along with Enuka Okuma) unable to craft a realistic character is to blame. And Peregrym does what she can, but it’s not until the final third of the film that she gets any opportunity to shine. It’s still not a very convincing character, but the performance elevates the script. Out Come the Wolves has some obvious ideas on its mind. It takes those ideas in tense, often interesting directions buoyed by Jarsky’s performance, in particular. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

I Miei Occhi (My Eyes) film review by UK film critic Amber Jackson. Starring João Farina, Kseniya Rappoport directed by Tommaso Acquarone. HOME | FILMS | REVIEWS I Miei Occhi (My Eyes) Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Nov 14, 2022 Directed by: Tommaso Acquarone Written by: Tommaso Acquarone Starring: João Farina, Kseniya Rappoport I Miei Occhi (My Eyes) is an Italian-language film where a woman offers a street performer home and the journey proves to be a life-changing experience. Situated in the single scene in the woman’s car, director Tommaso Acquarone ensures that this is a short film jam-packed full of surprises. Deeply intriguing and emotionally raw, their motivations cannot be placed, but it is clear that they connect over their conversation as they drift through life. Their curiously friendly dynamic certainly creates the backbone of the film and it may be simple in terms of plot, but it is definitely very complicated in terms of execution. Driving around as if she is searching for something, the woman is emotionally vulnerable through her silence and her facial expressions. Nothing is revealed about her except that she seems stressed and is avoiding phone calls. It begs the question what is she escaping from? Throughout the short, it slowly becomes clearer and elements of her life are slowly revealed – but only subtly, so they have the potential to be missed if the audience is not concentrating. Acquarone’s considerations of the scene are brilliantly authentic and do not miss a trick. The woman tries to interact multiple times with the street performer, at first appearing to just be nice to him. However, when she deliberately seeks him out and offers him a lift in her car, her motivations to helping him are curious. Do they know each other, or have they just met? Her lack of consideration for herself is alarming at times, but even more interesting as the film progresses. As day fades into night, the woman becomes more vulnerable as there is a lot unspoken between her and the street performer. It is clear that they are very different and suddenly, the wind changes and creates a very unexpected result. It is shocking and saddening of equal measure and a powerfully real film is created as a result. Action takes place mostly in the woman’s car with a beautiful coastal landscape on a rainy, breezy day. However, their surroundings are just out of reach as the camera does not give them any attention, making the dialogue between both characters more consuming. Camera shots are up-close and personal and feel all-consuming as the woman drives around. It is as though we exist purely in her world inside the car as we purely focus on her actions. Filmmaking is aesthetic and beautiful and very considerate of the two characters, as they are filmed from behind so as to not have us look at their faces head-on. It feels as though the viewer is sat in the back of the car watching as a silent witness to the conversation, making it feel more over-powering. Sounds of the car propel the viewer into the car to experience every deliberate moment of this short film. Mobile phone aside, it has a timeless feel as though it could be set in any time period. With the score being the car radio in the background, it feels very simple and realistic. As darker thematic elements emerge towards the end, there are many confusing and heart-breaking moments and emotions to consider that are heart-breaking for the lone woman in the car. Suddenly, it is as though you could watch the entire twenty minutes again in a completely different way. I Miei Occhi is surprisingly engaging and keeps viewers hooked the entire way through, as they seek to understand who they are riding in the car with. It is a deeply emotive and mysterious watch and Acquarone does well to keep the frustrations and fears of both characters at the forefront. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film, World Cinema < All Reviews Next Film Review >

Sorry We're Closed film review by UK film critic William Hemingway. Starring Michael Muyunda, Jemma Bentley, Mark Aldrich directed by Jonathan Hawes. HOME | FILMS | REVIEWS Sorry We're Closed Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 9, 2026 Directed by: Jonathan Hawes Written by: Jonathan Hawes Starring: Michael Muyunda, Jemma Bentley, Mark Aldrich A long-term couple struggling to keep the spark alive in their relationship decide to embark upon a night of ill-advised spontaneity, breaking into their local fish and chip shop to have themselves a late-night supper. Jacob (Muyunda) and Olivia (Bentley) have settled into coupled-up life. They understand each other really well and know each other inside out, meaning that there’s not an awful lot of surprises going on in their lives anymore. On a typical night in, Jacob has fallen asleep on the couch and Olivia is trying her best to cajole him into some sort of action by making pinpointed jokes about his energy levels and the lack of any sort of ambition in his life. She seems to think that he’s the problem without ever actually realising that she’s a miserable, hen-pecking, shrew. Trying his best to keep the peace in the face of insistent emotional abuse, Jacob listens to Olivia’s entreaties and agrees to accompany her to the local chip shop for the chance of some late-night fried food, all the while knowing it to be already shut. Lo-and-behold, as they rock up to the chippy, the door’s shut and the lights are off, meaning that fish is back off the menu. This, of course, causes another argument, where Olivia has another go at Jacob and as soon as he defends himself, gets all upset and huffy and goes off to pout by herself at the side of the road. All seems to be lost, until Jacob manages to bust the door open, and they decide to make themselves a slap-up meal without anyone else knowing. Despite the illegality of what they’re doing, Olivia brightens up when she gets what she wants, and they set about frying themselves some nice fish for their supper. Set in the town of Beeston in Nottinghamshire, in the real-world location of Gill’s Fish and Chip Shop, and presented as a comedy/drama, Sorry We’re Closed is a quintessential British story of getting yourself into difficult situations. At the constant beratement of his partner, Jacob knows that what he’s doing is wrong, but still goes through with it to make her happy, inviting us to share in their low-key crime as they try to fix the issues in their relationship. It is this excruciating extra-mile, into uncharted waters, that allows Sorry We’re Closed to aim for British classics like Only Fools and Horses , or Fawlty Towers , as we watch with one eye closed, knowing that things will never end well for our plucky, unhappy couple. Writer/director, Jonathan Hawes, keeps us up-close and personal with the couple in their more intimate moments, most of which are when they are aggravating one another, and uses hand-held motion to retain the feeling that we are walking with them along their path, as they search out their future together. We are invited into their space and their lives, with snippets of dialogue reaching into their past to furnish us with some idea of where their shared animosity might come from. This works pretty well in keeping everything grounded and low-key but also stops there from being any sort of cinematic vision that could be attributed to the scenario. The acting from both leads is fairly decent, selling enough of their character to be believable, but when Olivia is situated as such a horrible human being it’s hard to become invested in anything that she wants in the story. When the chip shop owner turns up, too, his delivery is not so great and the short scene becomes very am-dram in its aspect until the shock twist. Thankfully, the production value comes through, especially in David Rubenstein’s accompanying score, and the whole film knits together as a viable relationship drama. Unfortunately, the comedy aspect never really gets off the ground, and any jokes made by the couple are just thinly-veiled digs at one another and so don’t raise a smile from the audience, with no out-and-out humour appearing anywhere along the way. There is plenty to be said in Hawes’ scenario, about life, love, and the fragility of long-term relationships, and while we as the audience are party to the mistakes and lessons learned along the way from the bad decisions that are made, this never translates to the characters, who are oblivious to any harm done. This makes it difficult to support the couple on their journey, and in the end we’d probably rather see them get their just desserts instead of a fresh fish supper. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Ghoul film review by UK film critic Jason Knight. Starring Ewan McLatchie, Anna Wilson-Jones, Philip Bulcock directed by Magnus Lyche. HOME | FILMS | REVIEWS Ghoul Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 5, 2023 Directed by: Magnus Lyche Written by: Magnus Lyche, Sydonie Calvert Starring: Ewan McLatchie, Anna Wilson-Jones, Philip Bulcock A schoolboy imagines that there is a monster nearby. This short drama mixes fantasy with reality in order to tell a dark story. There is a family consisting of the parents and their young son Louie (McLatchie). His mother (Jones) tells him fairy tales about a king bringing a woman and her child in his castle and later turning into a ghoul. It quickly becomes apparent that something is seriously wrong in this household: Louie and his mum are living in fear due to his father (Bulcock), who is aggressive and violent. This film is a tense story about a dysfunctional family and domestic abuse and it is told through the perspective of little boy Louie. He imagines his father as a sinister creature whenever he approaches and when he is seen as human, he is not particularly less scarier. Both the child and his mother are victims to his terrible behaviour and they find solace in each other's company. The whole narrative takes place inside the house and it is interesting how the fairy stories she tells her son actually reflect their current unfortunate situation: trapped in a castle with a and as a result, the boy sees his father as a monster. As the main character, Louie is a child whose behaviour and imagination are influenced by the awful events in his home and he draws pictures of ghouls and tells fellow classmates about the existence of such entities. Being attached to his toy rabbit called 'Duncan', he is afraid, however, he is determined to protect his mother, as she is to defend him and Jones delivers a terrific performance. The father is the antagonist, the titular character, a person who appears to have a Jekyll and Hyde personality, being friendly outdoors and abusive behind closed doors and Bulcock effectively makes his character menacing and vicious. The parts where Louie imagines the ghoul stand out quite a lot. Although the creature itself is not actually seen, instead its shadow is visible or its body is shown through translucent glass, it is still a terrifying sight and the sound effects and tense score that accompany it make the scenes even more impactful. Commendations go to Janos Kiss who worked on the creature design and to Robert Lowe who played the imaginary being. The montage sequence which shows the loving relationship between Louie and his mother is rather tender, with use of slow motion and the song Friend Till The End by Gabe Price was an excellent choice. This short tells a story about domestic violence through the eyes of a little boy, whose imagination almost makes it look like a fairy tale and a rather dark one that is due to the subject matter and the atmosphere which is dark throughout and certain scenes that are very distressing. It is an unpleasant viewing but one that deserves recognition because of the themes that it explores and the creativity that was put into it. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Les Autarciques film review by UK film critic Jason Knight. Starring Sylvie Tonarelli, Adrien Malvoisin, Thomas Lesserteur, Emmanuelle Escourrou directed by Julien Botzanowski. HOME | FILMS | REVIEWS Les Autarciques Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 3, 2023 Directed by: Julien Botzanowski Written by: Julien Botzanowski Starring: Sylvie Tonarelli, Adrien Malvoisin, Thomas Lesserteur, Emmanuelle Escourrou A couple go to a remote home, where they are attacked by a small group of deranged people. Astrid (Tonarelli) and her partner Tristan (Malvoisin) drive to an isolated house in the countryside, which belonged to Tristan's uncle, who passed away recently, with the intention of selling it. Shortly after they arrive things begin to get sinister. Creepy people appear to be spying on them and eventually, three dangerous individuals consisting of Charlot (Hintenoch), a large man and two women, Jeanne, a young one (Lamarque) and an older one (Escourrou) invade their residence, assault them and hold them captive. This feature from France is a dark, home invasion thriller with interesting characters and plenty of tension, nail-biting moments and gore. The story is nothing new and contains cliches: people going to a remote location (usually a holiday home), where bad people appear and things get nasty. In this case, an unfortunate couple are menaced by three lowlifes who are staying at a hidden underground location nearby. Astrid and Tristan are bound and beaten and with the help of a local awkward loner named Loup (Lesserteur), they are able to fight back, resulting in stabbings, bloodshed and murder. The culprits' motive for the attack is not clearly explained, however it appears that they just hate those who have more than them. Tonarelli and Malvoisin play a troubled couple who have common and personal problems. They have financial difficulties and due to a recent accident, Astrid is using a crutch to walk and she has a history of alcoholism, while Tristan suffers from agoraphobia. Their relationship has its ups and downs, however, they care deeply for each other. Between them, the three invaders are pretty much the same, which are three vicious and murderous individuals who enjoy violence and hide themselves from the world, emerging only to kill. And then there is Loup, an odd but good-hearted stranger whose character seems to be an example that people who appear to be rather different can still have similarities with others as like the killers, he is an outsider, yet, he proves to have things in common with Tristan. This film contains what one would expect to find in a home invasion thriller: dangerous people, good-natured victims forced to defend themselves and a desperate fight for survival. Ultimately, there is nothing here that has not been seen before, nevertheless, this feature is tense, the plot and characters are intriguing and the atmospheric and sinister music by Scott Von Teufel is a big plus. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Phantom of the Open is due out in cinemas October 2021. For now, enjoy this special film trailer.. Brand new film trailers. Phantom of the Open Trailer eOne Releases Phantom of the Open Trailer Starring Mark Rylance. Directed by Craig Roberts, this is the story of golfer Maurice Flitcroft (Rylance) whose performance at the 1976 British Open Golf Championship made him a legend. The film is based on a book by the same name by author Scott Murray, and adapted here by Simon Farnaby. Phantom of the Open is due out in cinemas October 2021. For now, enjoy this special film trailer . Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.