Passing film review by UK film critic Hope Madden. Starring Tessa Thompson, Ruth Negga directed by Rebecca Hall. HOME | FILMS | REVIEWS Passing Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 8, 2021 Directed by: Rebecca Hall Written by: Rebecca Hall, Nella Larsen Starring: Tessa Thompson, Ruth Negga Making her feature debut behind the camera, Rebecca Hall adapts Nella Larsen’s 1929 novel about women unable to find a place to truly belong. The film is Passing , and Hall mines Larsen’s insight and longing to produce a visually stunning, melancholy period piece. Filmed appropriately and gorgeously in black and white, Passing transports us to the Harlem Renaissance. Irene (Tessa Thompson), wealthy wife of a doctor, pulls her fashionable hat down a little over her eyes and shops in upscale, very white boutiques looking for the book her son must have for his birthday. She then cautiously risks an afternoon tea in a high-rent bistro, intrigued but terrified of being discovered as she passes for white. A familiar laugh rings through the room and Irene is recognized, not by angry white faces, but by an almost unfamiliar blonde — high school friend Clare (Ruth Negga), whose entire life is built on the falsehood Irene only flirts with for an afternoon. What follows is a relationship fraught with anxiety, envy and yearning as two people consider what might have been and what might still be, depending on how they position themselves in the divided racial culture of 1920s NYC. The languid beauty and comment on class play like a more delicate take on Gatsby , Hall subtly drawing attention not only to the racial divide but to the socioeconomic divide within Irene’s own home and life. Never showy, never heavy-handed, the film’s themes prick at the audience just as they slowly, cumulatively wound Irene. Thompson delivers an introspective performance unlike anything thus far in her impressive career. A great deal of Irene’s arc plays across Thompson’s face, but an early, cynical burst of laughter and other small gestures speak volumes as Irene’s satisfaction with life drains away. Negga is superb, just incandescent and haunting as a damaged, elegant survivor. For all her glitter and glamour, Clare haunts the screen. The tenderness between the two characters haunts, as well, delivering a sorrowful tone at odds and yet in keeping with the glorious, snow-globe-esque set design. Hall might seem an unusual talent to deliver such a richly textured examination of the Black experience in America, but she took inspiration from her own grandfather, a Black man who passed for white. Whatever the background, the result is a meticulously crafted, deeply felt gem of a film. Buy UKFR Banner Space About the Film Critic Hope Madden Netflix, Indie Feature Film < All Reviews Next Film Review >

Method film review by UK film critic Patrick Foley. Starring Rebecca Lachmansingh, Jacquelyn Yushkov, Sharon Juhasz directed by Darya Amirshahi. HOME | FILMS | REVIEWS Method Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 29, 2022 Directed by: Darya Amirshahi Written by: Darya Amirshahi & Matthew Choi Starring: Rebecca Lachmansingh, Jacquelyn Yushkov, Sharon Juhasz With as much quirkiness and meta-humour as an episode of Community, Method is an eccentric comedy-drama mixing a coming-of-age female friendship with a dream-chasing odyssey of a memorable and unique protagonist, that delivers an enjoyable story despite some shortcomings. Psychology student Amy (Rebecca Lachmansingh) decides to forgo her degree in favour of pursuing an acting dream. A fantasist who often finds herself conversing with her own conscience, Amy inserts herself into the circle of Lydia (Jacquelyn Yushkov), an aspiring writer far less convinced of her own chances of stardom and success. Lydia reluctantly agrees to help Amy in her pursuit of acting glory, and finds her own aspirations becoming intertwined with those of her peculiar friend. Produced on a low-budget and with lockdown restrictions in-place (which are cleverly woven into the subtext of the plot), Method is far from a perfect film. There are editing imperfections and occasional continuity issues. The acting at times feels wooden and detached. And the story loses its way narratively at points, bringing into question whether the film’s plot and themes could sustain its feature length (though this is brought firmly back on course as the film reaches its climax). Where these issues do detract from the film’s overall quality, its successes far outweigh its failings. Amy is a fascinating and impactful protagonist, portrayed by the fantastic Rebecca Lachmansingh. Viewers will experience a range of emotions and opinions of her throughout the film – not all positive. But it is a testament to both the storytelling of writers Darya Amirshahi (also the film’s director) and Matthew Choi, as well as Lachmansingh’s acting, that even in her questionable and delusion moments, she remains a charming and empathetic influence on screen. The multifaceted character building sprinkled innocuously through the film (it’s surely no coincidence she is a psychology student…) results in a lot of depth for the director to explore. The method of this exploration, as well as the film’s heart, is the relationship between Amy and Jacquelyn Yushkov’s Lydia. Yushkov’s acting does not have the same consistency as Lachmansingh’s, however she does display some touching moments as Lydia’s frostiness towards Amy begins to thaw. As the pair grow closer, the humorous lines begin to land far more frequently and the complimentary talents of the characters lead to some heart-warming moments. It is refreshing to see female friendships portrayed in such a way, and the film echoes the likes of Booksmart with its unapologetic celebration of young women who are focused on their dreams. Hence, despite its lower-budget, Method manages to engage with its audiences and explore a number of themes within its story – including the likes of mental health and parental independence (that could actually have been touched upon in greater detail). Despite some rough edges on show within its narrative and production, this film’s strong characters and inventive storytelling show that the story of Amy and Lydia’s pursuit of their talents comes from a team with talents of their own. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release < All Reviews Next Film Review >

Living In Fear film review by UK film critic William Hemingway. Starring Nour Jude Assaf, Kathleen Wilhoite, Arash Mokhtar, Alejandro De Anda directed by Kayvon Derak Shanian. HOME | FILMS | REVIEWS Living In Fear Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Aug 28, 2024 Directed by: Kayvon Derak Shanian Written by: Kayvon Derak Shanian Starring: Nour Jude Assaf, Kathleen Wilhoite, Arash Mokhtar, Alejandro De Anda Living In Fear ’s first scene opens three days after the fall of the Twin Towers in the 9/11 attacks. Reza (Mokhtar), an American father of Middle-Eastern descent, is talking to his son, Cameron (Assaf) about the nature of fear and the need to keep his head down for a while as anti-Muslim, anti-Arab, anti-Middle-Eastern, anti-anyone-without-white-skin sentiment is taking hold across the country. Once the title card has been shown we then jump nearly a year into the future and it seems that at this point, Cameron has really taken his dad’s advice to heart. He chickens out of going to the store and has a panic attack when he sees a regular white guy coming out, and pretty soon he’s back home, on his bed, hugging his guitar for comfort. We then find out that Cameron hasn’t been going to school for the past year and that his mum (Wilhoite) has been home-schooling him. It all seems a little bit drastic and even Cameron’s friend, Diego (Da Anda) doesn’t understand why he hides himself away so much, offering advice on how to think about the ignorant people who they’ve both had to deal with for most of their lives. But, when a girl that he's fancied for a number of years finally shows an interest, Cameron then has to come to terms with who he is, as well as learn how to be back outside again in the real world. Living In Fear is obviously a personal story for writer, director, editor and producer Kayvon Derak-Shanian, basing his film, as he says, on a true story. There is a deep understanding of the issues at hand which gets shown through the plot, the structure of the narrative and the characters themselves, and the way that Cameron’s fear manifests itself always feel true to life, with the expression of such most likely driven and directed by personal experience. The cinematography looks great throughout, with DoP Ethan Chu getting the colour and the lighting right in every shot to give this small production a bigger budget feel, and the acting is spot on from everyone, with a special mention for Kathleen Wilhoite who is giving off her best Patricia Arquette in Boyhood (2014) vibes. There’s not so much on offer in terms of music, with there only being a couple of songs being played in the background, but mostly the film feels well put together. There’s a lot to plough through if you want to get down to the message of Living In Fear , which is one of unity and understanding. It’s not always clear that this is the case as Derak-Shanian necessarily gives the story from Cameron’s point of view and therefore visualises the world through his eyes. It can be an uncomfortable watch, especially when the ‘white fear’ is manifesting on-screen, but it is important to note that Cameron is on a journey to cross over his fear and bridge the gap, and we should all be willing to go on that journey with him, to empathise and understand the world he has to live in, and to see how we could all do with loving our neighbour a little better. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

The Sun Never Sets film review by UK film critic George Wolf. Starring Dakota Fanning, Jack Johnson, Cory Michael Smith directed by Joe Swanberg. HOME | FILMS | REVIEWS The Sun Never Sets Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Sep 2, 2026 Directed by: Joe Swanberg Written by: Joe Swanberg Starring: Dakota Fanning, Jack Johnson, Cory Michael Smith Buried deep in the guts of The Sun Never Sets is a movie we’ve seen plenty of times. It’s that amusing, sometimes zany rom-com where two impossibly attractive people slowly find their way to each to other. We know they’ll be together, it’s just a question of how enjoyable the journey will be. And that can be a perfectly fine, easily forgettable time at the movies. Joe Swanberg doesn’t make those movies. His stories are lived-in slices of humanity, often filled with easygoing humor, stellar performances and easily relatable characters who must navigate compelling pushes and pulls. The Sun Never Sets has all of that, and it may be his finest film to date. Dakota Fanning is simply fantastic as Wendy, a construction worker in Alaska whose two-year relationship with Jack (Jake Johnson, terrific) is suddenly at a serious crossroads. Jack is an older, divorced dad with two kids, and isn’t really interested in adding more wives or children. He’s worried that Wendy will resent these choices as the years go by, so he insists she take a few months away from him, to “see what’s out there” and decide if she really wants Jack for the long haul. Reluctantly, she takes that break, and ends up meeting her bad boy ex, Chuck (Cory Michael Smith, Saturday Night ‘s Chevy Chase) who’s back in town as a charter pilot for tourists. Sparks are reignited. And suddenly, Jack wants the break to be over. Imagine that. Swanberg, doing triple duty as writer/director/editor, again sets a casual pace filled with authentic dialog that’s always propelled by a lovely, improvisational feel. The entire ensemble (also featuring Debby Ryan and Karley Sciortino) shines, each actor carving distinctly human characters amid oversized, Alaska-worthy fashions, a robust adult dating climate and the smell of salmon. The Sun Never Sets is just a warm, funny, frisky delight. It’s a film that makes you feel you just hit town and are instantly accepted into a circle of friends involved in a juicy love triangle. You’ll get a kick out of where they take you, and where Swanberg leaves you. Because the finale is something you won’t be expecting, even though you’ll leave the theater thinking you should have seen it coming early on. Either way, you’ll probably be smiling. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Black Rock film review by UK film critic Jason Knight. Starring Kyle Brookes, Charles Riley, Martin Riley, Mike Sweeney-Collier directed by Andrew Games. HOME | FILMS | REVIEWS The Black Rock Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Sep 14, 2025 Directed by: Andrew Games Written by: Kyle Brookes Starring: Kyle Brookes, Charles Riley, Martin Riley, Mike Sweeney-Collier A World War II drama directed by Andrew Games, written by Kyle Brookes and starring himself, Charles Riley, Martin Riley and Mike Sweeney-Collier. The plot revolves around an encounter that occurs during the summer of 1940, while Operation Sea Lion is in progress. In 1983 Britain, an elderly WWII veteran named Charlie (Martin Riley) goes to a church where he makes a confession to a priest. His confession involves events that occurred when he fought during Operation Sea Lion. Charlie (the younger version of the character played by Charlie Riley), then a member of the British Armed Forces, enters a bunker that is occupied by the Nazis. He is soon confronted by a German soldier named Heinrich (Brookes) and the bunker is suddenly bombed, leaving both of them injured and trapped. Almost the entirety of the narrative takes place inside the bunker, where the two men sit in relative darkness and the main focus is the unexpected, unstable, yet, ultimately life-changing rapport that develops between them. Initially, they are hostile towards each other and as time goes by and they become respectful and understanding because they learn about each other's lives and sorrow. The budget was £2,000 and it is hard to believe that the funds were so limited, taking under consideration that the filmmakers' creativity convincingly brings the action to the time of the Second World War. Filming took place in an authentic WWII fortress that was used for home fefence during The Blitz and the decision to do so certainly makes the whole setting look more realistic and creates a dark and claustrophobic atmosphere. Additionally, the sound effects of battle further suggest that armed conflict is taking place over the bunker, with distant sounds of gunfire and bombing heard throughout. Furthermore, the clothing and weapons also add to the environment and the handheld camera techniques, along with the close-ups and long takes establish an unsettling space, revealing how being trapped underground affects one's state of mind. Due to unforceen circumstances, two men from opposite sides of a global conflict are forced to remain together, inside an enclosed space. Played brilliantly by Brookes and Charles Riley, both of them have been physically and emotionally damaged by the war and they feel the need to express their thoughts and emotions. The elderly version of Charlie (also a superb performance by Martin Riley) is a person who has been deeply affected by his encounter with Heinrich and seems to be looking for redemption. As this is a war story, it deals with themes that war films tend to explore and in this case, these are the mental scars of warfare, the fear of losing one's life and the pain of loss. Furthermore, the screenplay places significant emphasis on self-reflection and on issues involving confession, redemption and humanity. A poignant WWII story about two men re-evaluating their lives. It is a powerful viewing that pays homage to the people who lost their lives during this global conflict and the presence of WWII veteran John Bennett adds massive value. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Guide to Country Roads film review by UK film critic Chris Buick. Starring Dion Kelly, Aaron Medd, Oscar Cheung, James Corden directed by Adam Boland. HOME | FILMS | REVIEWS Guide to Country Roads Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Dec 1, 2023 Directed by: Adam Boland Written by: Adam Boland Starring: Dion Kelly, Aaron Medd, Oscar Cheung, James Corden Guide to Country Roads is the first in what has since become a string of absurd comedies from the team at Sixbananasinaknot Productions (great name by the way). Here with the first offering, in the style of those ridiculous old war-time public information videos, Guide to Country Roads , with the help of the lovely Timothy (Dion Kelly), finally highlights the dangers of the notorious Irish country roads and the perils and pitfalls those who dare to traverse them must be wary of. What’s evident right away with Guide to Country Roads (and as is also very much true with the subsequent projects as well) is the natural edge writer/director Adam Boland has in their biting and witty tongue-in-cheek humour that they are then able to inject into this film and give it what it needs to not only allow the concept to work but most importantly be enjoyable, which it definitely is. Whether it's a jibe at James Corden, poking fun at Facebook or even some more left-field jokes about looking out for dangerous video-game pushers, it’s not a side-splittingly, laugh-out-loud raucous affair, but it is a film filled with unexpected comedic turns that will keep you on your toes and a smile on your face. What does really help sell that comedy factor is the films black-and-white presentation style paired with some perfectly chosen music cues that fully realise its faithful style reminiscent of the type of videos the film is emulating with love. But while the overall look of the film is there, what gets in the way is the sound quality. The narration needed to be much clearer in its recording and is also often overpowered by the music, resulting in a sound quality that is a bit lacking and at times makes the narration hard to fully hear or comprehend, an issue that unfortunately finds its way into a few of Sixbananasinaknot’s other films as well. That said, the delivery of that narration by Aaron Medd in terms of its character and comic timing is spot on, which when coupled together with Dion Kelly’s dead-on performance as the unassuming mock subject of this really authentic feeling PSA, makes it all fit together to create a great homage to all those ridiculous public information videos we've all seen before. A little rough around the edges in terms of its production, but with everyone on board clearly pulling in the same direction and very much getting the brief, Guide to Country Roads shows that Sixbananasinaknot Productions have what it takes with their funny stuff. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

New Lives film review by UK film critic Finn O'Toole. Starring Weronika Wozniak, Antoni Danieluk, Bart Blachino, Rachel James directed by Joey Schweitzer. HOME | FILMS | REVIEWS New Lives Film Review average rating is 5 out of 5 Critic: Finn O'Toole | Posted on: May 8, 2026 Directed by: Joey Schweitzer Written by: Joey Schweitzer Starring: Weronika Wozniak, Antoni Danieluk, Bart Blachino, Rachel James This subdued and subtle film (written and directed by Joey Schweitzer) is masterfully concocted with a powerful chemical mixture of delicate performances, precise storytelling and restrained cinematography – all to tell the story of a holocaust survivor who must navigate the pressures of assimilation whilst contemplating the inescapable trauma of her past. From its opening moments, New Lives establishes an atmosphere of quiet observation, allowing its characters to breathe within carefully composed spaces rather than forcing drama. The result is a piece that feels deeply intimate with the camera almost acting as a fly-on-the-wall watching a vignette of these people’s lives. At the centre of the film are the wonderful performances of Weronika Wozniak and Antoni Danieluk, both of which carry the narrative with a remarkable subtlety that speaks their character’s emotions at high volume. Wozniak’s performance is especially striking in her restraint – she conveys inner conflict not through overt emotions, but through the smallest shifts in posture and micro-expressions. Danieluk on the other hand offers a performance that at first glance seems cold and sinister, but quickly gives way to the kind and tender man with a deep sadness behind his eyes. Together, the two share a dynamic that feels lived in rather than created. What makes their connection so compelling is the story’s refusal to push it into conventional romantic territory. There is a quiet connection between them that never crosses into anything romantic, instead choosing to remain platonic. This choice gives their relationship a stark authenticity. It is most evident in the gorgeous scene where Leo watches Manusha sing to his son in a moment of quiet beauty. Their bond feels rooted in shared understanding rather than desire, a portrayal that audiences may find refreshingly understated. Although I would describe the cinematography as understated, cinematographer Kevin Yu’s work should not go unrecognised as it plays a key role in shaping the atmosphere of the film. His use of naturalistic light and carefully framed lingering shots reinforce the thematic focus on natural connection by allowing the performances to do most of the talking. The camera often remains still, allowing the performances to take precedence, and when it does move; it does so with deliberate purpose. Schweitzer’s storytelling is equally subtle, electing for implication over overt exposition. Small moments carry significant weight, such as Leo and Manusha’s conversation in the alley. When Leo admits to dreaming about his son, Manusha clarifies “Jakub?”, to which Leo remains stoic and, without saying anything, retrieves a photograph of his other son. Conveyed without fanfare, this moment opens up an entire history that the film never fully explains – in some ways making the new information even more visceral as it allows the audience to fill in the gaps themselves. New Lives is a film that understands the power of restraint and resists the urge to add unnecessary drama. Instead, it offers a nuanced portrayal of human connection that lingers long after the credits role, and perfectly achieves the story it sets out to tell. Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

Homeless Tobez film review by UK film critic Chris Buick. Starring Thomas Loone, Jason Adam, Sebastian Storey, Hayley Mitchell directed by Thomas Loone. HOME | FILMS | REVIEWS Homeless Tobez Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Oct 8, 2024 Directed by: Thomas Loone Written by: Thomas Loone Starring: Thomas Loone, Jason Adam, Sebastian Storey, Hayley Mitchell Homeless Tobez , written and directed by but also starring bona-fide triple-threat Thomas Loone, tells the ultimately uplifting yet at times desolate tale of its titular character Homeless Tobez (Loone), a vagrant with not much to his name except a dream and a desperation to lift himself out of squalor and into something much more meaningful. When we first meet Tobez sleeping rough on the ground outside a storage unit, things are looking pretty bleak; diving through bins for food, scavenging not-quite-finished cigarettes and counting meager pennies earned from passers-by which he pools together with his fellow rough-sleeper Dandy (Adam) (with Tobez clearly doing most of the heavy lifting). But despite all that, his chin is up and there’s a smile on his face because Tobez knows that soon he’ll have enough money to get that guitar he needs to make his fantasies of becoming a singer/songwriter a reality. Homeless Tobez hits a lot of the right notes from the beginning of its thirty-six-minute runtime to the end, and that’s all down to Loone. Juggling such consuming roles as directing, writing and starring simultaneously can often be folly for some filmmakers, but not Loone, who injects each aspect with deft skill and a hundred percent care and consideration regardless of which hat they are wearing. “You can take your croissant and shove it up your derrière” With the script, Loone manages to weave a story full of heart, sadness, humour and earnest emotion around a believable and, despite their circumstances, a somehow relatable central figure that one can’t help but root for. At its core, Homeless Tobez is a similar tale about chasing one’s dreams against all odds and perceptions but also manages to ask some real societal questions as to the gulf between the haves and have-nots. This is personified in the other characters he encounters along the way, which work to hold up that mirror to us all, but meanders slightly and is the only real area where the film perhaps starts to lose its focus and wobbles ever so slightly. “Dreams, they’re just not meant for everyone. Especially not losers like me” Aesthetically, Homeless Tobez ticks all the boxes yet again, looking and sounding crisp with due care and attention taken to ensure the locations, costumes and scenarios make the film look and feel as authentic as possible. But what might be the most impressive part of Loone’s filmmaking tripartite is their own performance, which is the glue that holds everything together here. Tobez's optimistic nature is projected in full by Loone’s energised performance, but always with clear desperation hiding just behind his eyes, knowing that for him making this dream a reality really is life or death, and it’s genuinely saddening to watch the disillusionment and helplessness in Tobez grow. It truly is a nuanced performance from Loone who also happens to be a pretty good songwriter to boot, providing all of the film's music including the heart-warming closing musical number, proving there’s indeed another string to his already impressive bow, with that ending finishing it all off nicely by taking all that built-up emotion letting it swell to breaking point before its release. Full of heart and impressive filmmaking prowess, Homeless Tobez shows Loone’s growing strength as a filmmaker and we should all be excited for what they do next. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Who Done It: The Clue Documentary film review by UK film critic William Hemingway. Starring Jeff Smith, Jonathan Lynn, Colleen Camp, Michael McKean, Lesley Ann Warren directed by Jeff C. Smith. HOME | FILMS | REVIEWS Who Done It: The Clue Documentary Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Sep 26, 2022 Directed by: Jeff C. Smith Written by: Jeff C. Smith Starring: Jeff Smith, Jonathan Lynn, Colleen Camp, Michael McKean, Lesley Ann Warren So, in 1985 there was Clue , a farcical comedy film based on the popular detective board game of the same name (or Cluedo as it is originally called here in the UK) – except that it wasn't really all that popular. Sure, everybody probably had a copy of the game in the bottom of their sideboard somewhere, but it was never anybody's first choice to play and was always an also ran to Monopoly, Mouse Trap, Battleships or Operation. Play was always slow and muted, people were never really sure of all the rules, there was always one cheater who took sly looks at the cards and someone always guessed far too early how the murder happened, getting it wrong but ending the game in the only way it could be done in any sensible length of time. So obviously they made a film of it. Clue , the film, tried to riff off the vibe of the game with its campy, Agatha Christie murder mystery shenanigans and a bunch of strangers with strange names meeting in an old mansion where someone gets bumped off and they try to find out whodunnit. Throw in a bunch of slapstick comedy, manic dialogue, over-zealous performances and an inordinate amount of running from one room to another and apparently you have the basis of a cult classic – depending on who you ask. Jeff Smith is one such person who views the film with dewy-eyed nostalgia and he tells the story of how he was one day sick with Covid and bored with nothing to do, so he decided to create a fan-made documentary about his favourite movie and now, five years later, we have Who Done It: The Clue Documentary . Jeff tells the story from his car for some reason, violating multiple traffic laws as he does so, and he fills in the gaps between his interview segments with his own personal take on how the film – his film took shape. He narrates the story of Clue as he narrates his own story, too and we begin to see how personal this journey has become for him over the five years he has put into it. Jeff does a good job of pulling together most of the surviving cast to talk to, as well as writer/director Jonathan Lynn, and there are plenty of nice anecdotes about pre-production and filming to keep even the most ardent fan amused. Unfortunately the interviews are a fairly amateur affair with not much attention given to lighting or sound and everything has a sort of home-movie feel to its quality. Half of the whole documentary is given over to cast profiling and it's about an hour before we get into looking at Clue proper. Even then the questioning seems fairly surface level and no real secrets are revealed, bringing into question the validity and need for such an investigation. What becomes clear as Who Done It: The Clue Documentary progresses is just how much of this piece has been Jeff's own journey – and when at one point he asks himself who this film is really for – it's easy to see what the answer actually is. Still, there are plenty of other people out there who love Clue just as much as Jeff does and they will most likely be delighted at this retrospective look, as well as getting to revisit with their favourite cast members, even if it is only in the form of convention footage in the case of Tim Curry. For a fan-made documentary, Jeff Smith has done very well to bring so many of the notable people together to revisit this cult classic. However, in the days of The Movies That Made Us and Voir, high production retrospectives with access all areas are becoming increasingly easy to get your hands on, and in that sea of one-hour TV docs this low budget production just doesn't cut the mustard. Buy UKFR Banner Space About the Film Critic William Hemingway Documentary < All Reviews Next Film Review >

Hoppers film review by UK film critic Hope Madden. Starring Piper Curda, John Hamm, Bobby Moynihan directed by Daniel Chong. HOME | FILMS | REVIEWS Hoppers Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 3, 2026 Directed by: Daniel Chong Written by: Daniel Chong, Jesse Andrews Starring: Piper Curda, John Hamm, Bobby Moynihan Funny, relevant, overstuffed and a little too busy, Pixar’s latest, Hoppers , throws a lot at you. Mabel (Piper Curda) has always been a handful. In the film’s opening act, after she gets caught trying to break every elementary school classroom animal out of captivity, her frustrated mother drops her off with her grandmother. Grandma Tanaka (Karen Huie) introduces Mabel to the calming effect of nature. As they age together, the two sit on a rock by the glade behind Granny’s, learning to be silent and feel a part of something bigger. Then the mayor, Jerry (Jon Hamm), decides to bulldoze the glade to extend the city’s beltway, shortening commutes by 4 minutes! Through a series of events both clever and complicated, Mabel hijacks a research experiment, avatars her way into the robotic body of a beaver, infiltrates the local wildlife community, learns more than any human has ever learned about their hierarchy, and just about gets Jerry squished. Hamm is perfect as Mabel’s foil, but the entire cast is excellent. From smaller supporting turns (Meryl Streep, Vanessa Bayer, and Isiah Whitlock, Jr. in one of his final roles) to larger roles (Bobby Moynihan, Dave Franco, Kathy Najimy), each voice brings life and wit to Pixar’s characteristically enthralling animation. Co-writer/director Daniel Chong’s script, co-written with Jesse Andrews (Elio , Luca , Me and Earl and the Dying Girl ), is warm, forgiving and quite funny. Pixar has a knack with movies about a world unknown, even forbidden, to humans. Hoppers plays with that idea, and the thrill of being part of the animal world offers contagious joy. It’s also an honestly emotional film, and Curda makes an excellent anchor for that emotion. The film’s one big drawback is that it simply tries to do too much. At an hour and 45 minutes, it feels slightly longer than necessary, but more than anything, it is very complicated. Had Chong pruned some of the human world complexities, favoring instead the merry time spent in the surprising world of the animals, his film might find broader appeal. As is, it will delight older children and adults, although the littlest viewers may struggle to keep up. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

A Letter From Home film review by UK film critic Patrick Foley. Starring Jason Graven, Dave Sims, Adam Konrad directed by Spencer Legros & Alex Hinsch. HOME | FILMS | REVIEWS A Letter From Home Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Sep 23, 2022 Directed by: Spencer Legros & Alex Hinsch Written by: Spencer Legros & Alex Hinsch Starring: Jason Graven, Dave Sims, Adam Konrad Inspirational and heart-breaking in equal measure, A Letter From Home is an astonishing documentary short from Spencer Legros and Alex Hinsch that combines the importance of family and the strength to recover from unimaginable pain – both mental and physical – in its chronicling of Task Force 20 – a fitness group for ex-military members. The film tells the stories of a number of veterans. Primary focus is given to Jason Graven, the group’s founder – who escaped his troubled trailer-park upbringing by joining the military, only to find his life turned upside down when his child was given up for adoption against his will. With nowhere left to turn upon the end of his service, and facing the darkest times in his life, Jason, along with other ex-serviceman Dave Sims, Adam Konrad and Dave Gedman, turned to fitness to find structure and solace in life. As it cracks open the very souls of its subjects, A Letter From Home is one of the most personal, intense and affecting documentaries of the year. Each of the servicemen featured has a remarkable story, and each’s journey would be film-worthy of themselves. With Jason Graven at its heart, the film acts as both the story of Task Force 20, and a recorded legacy made by a father for a daughter he has never met. Jason’s unflinching and honest testimony of his life captures the importance of the Task Force programme, and how he has managed to use his own tragedies to change the world for the better. There are few documentaries or films that manage to combine the stories of individuals and ideas better than Legros and Hirsch manage here – and the finale in which that of Jason’s life, and the significance of Task Force 20 are tied together, is bound to bring tears to viewer’s eyes. To match its incredible storytelling, the film is crafted with imaginative and engaging imagery and production. There is a sense of momentum to the film, as it weaves through Jason’s troubled life to the present day. Photos from Jason’s youth merge into the man he has become in the present, edited in impressive and seamless fashion. The addition of inventive animations and recreations add life to the story, echoing dramatic portrayals – particularly in scenes such as Jason’s courtroom adoption hearing. The most striking scene in the film is that in which Dave Sims – a Vietnam veteran crippled by agent orange – musters all his strength just to take a few steps without his walker. The decision to drop the steady and ever-present beat of the film’s score makes the moment transcendent, and captures one of the film’s messages perfectly: that you never really know what battles someone else may be going through. For a film that covers as much tragedy and melancholy as A Letter From Home does, it is remarkable that it manages to be one of the most uplifting films of the year. The story of Task Force 20 is story of redemption, reconciliation and recovery – which runs alongside those of the men who founded it. The emotional punch that Legros and Hinsch’s film packs is a force of its own. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Documentary < All Reviews Next Film Review >

Me, Not You film review by UK film critic William Hemingway. Starring Charles Maddison, Regan Tibbenham, Princess Abiye directed by Ademola Elegbede. HOME | FILMS | REVIEWS Me, Not You Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Feb 23, 2023 Directed by: Ademola Elegbede Written by: Ademola Elegbede Starring: Charles Maddison, Regan Tibbenham, Princess Abiye As we fly over an urban neighbourhood with a really nice drone shot we hear straight away the fallout from a domestic argument within one of the houses. It seems that Jay (Maddison) and Shay (Tibbenham) are having troubles in their relationship. The morning after the night before and everything is still cold between the two of them. Shay dusts some make-up onto the inside of her wrist as she gets herself ready for work and spurns any moves of affection from Jay as he mopes about the kitchen in his dressing gown. It seems obvious what's happening between them at this point in their story. Mrs Pogba (Abiye) is also keeping an eye on things from next door and she, too, believes she has a good idea of what's happening with her neighbours. As the plot thickens we listen to Shay express the difficulties within her relationship while also covering up the ugly parts as she has lunch and an otherwise banal sandwich conversation with her pal. Back at home the arguments continue and Mrs Pogba can't stay silent any longer despite her husband's reservations. Soon the cops are at the door trying to get to the bottom of the situation but unfortunately their questioning and their acting are so awfully ineffectual that at this point Shay and Jay are putting up a united front. As you may expect there's more going on beneath the surface in writer/director/producer, Ademola Elegbede's short film Me, Not You . While obviously a film focused on the horrors of domestic violence and abuse, it turns out that it may not be telling the story that you thought it was. Unfortunately that's one of the very few surprising things about this production and even then it's not handled very well. Along with the acting and the scripting being pretty diabolically bad there are also issues with the lighting in some scenes and it's actually quite difficult to pinpoint just what it is the film-maker is trying to say with this piece. While the first two acts are pretty straightforward and easy to follow the ending comes across as feeling rather confused and rushed. There's never any explanation as to what Mrs Pogba's involvement was all for and the stats that are rolled up at the end don't seem to match with what we've just seen on screen. There are some nice elements to the film, such as the aerial photography, a decent brooding soundtrack and a few nice shot selections, but none of these can lift the film from being sub-par in other areas. Me, Not You ends up being a bit odd and not very good which is a shame as it deals with such an important and emotive issue. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >