What You Can't Promise film review by UK film critic Patrick Foley. Starring Richard Fysh, Maria Tauber directed by Richard Fysh. HOME | FILMS | REVIEWS What You Can't Promise Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 11, 2021 Directed by: Richard Fysh Written by: Richard Fysh Starring: Richard Fysh, Maria Tauber Anyone with reservations about listing their property on Airbnb will want to see What You Can’t Promise, an introspective and elusive drama featuring a mysterious houseguest. When a stranger (Maria Tauber) turns up at his deceased father’s country home claiming to have reserved the place for a stay-cation, Gareth (Richard Fysh) reluctantly permits the woman to stay – despite never having heard of the house being listed anywhere for rentals. The woman identifies herself as Ursula, and engages the pensive Gareth in long, late-night discussions about his life, his wants and his desires. But when Ursula’s stories of her own life don’t add up, Gareth becomes suspicious about her true nature. Character and dialogue-driven, What You Can’t Promise is an intriguing and almost uncharacterizable film which will engage audiences with a central mystery and a perplexing female lead. Director (and star) Richard Fysh smartly allows his own performance, as well as Maria Tauber’s, to take centre stage throughout the film’s run, opting to shoot most of the film with a static camera in order not to distract from the carefully crafted and natural dialogue, or from the telling physical language from the pair. It’s a brave move, and one that could have backfired if not for the strength of the highlighted elements. But the inherent quality allows for this smaller scale production to click. The film handles its central mystery well, and viewers will be drawn into the question of just who Ursula is, and what she is doing at the house. Clues and hints dotted throughout her interactions with Gareth are well-hidden and reveal enough to create a discomfort around her presence without giving the game away too early. Maria Tauber’s enigmatic performance is perfectly attuned for the role as well – and viewers will relate to Gareth’s inability to dismiss her through sheer magnetism. The film does suffer somewhat upon a second-watch however once viewers are aware of the reveal, as much of the film’s emotional draw relies on the audience’s own uncertainty. The lower production standards come to bite the film in regards to sound editing, with some scenes overly difficult to hear and dialogue at an inconsistent volume throughout. This gets to be frustrating, especially for a film that relies so much on conversations. Other production limitations are largely dealt with well, with the film demonstrating supernatural elements using intelligent and improvisational methods. There are however still some awkward edits and cuts which could have been ironed out. The film also feels a little overlong in some areas, largely resulting from the level of focus required from the viewer to the exchanges between the lead pair that are central to storytelling. The absence of a score, and single-location setting, can also becoming fatiguing. However, the film does remedy these as it draws towards its conclusion, when the story begins to ramp up. What You Can’t Promise succeeds in both entertaining audiences, and exploring its own concept thanks to engaging dialogue and two strong performances. Once its central question is revealed to the viewer, technical issues and an un-invigorating setting chip away at its enjoyability. However, this smaller scale production deserves real praise for trusting in its bread-and-butter elements of plot, script and performances – without which no film can succeed. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Blue Plastic Bag film review by UK film critic Swati Verma . Starring Bijan Karim, Alden Doyle, Nilufar Moayeri directed by Bijan Karim. HOME | FILMS | REVIEWS Blue Plastic Bag Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 16, 2023 Directed by: Bijan Karim Written by: Bijan Karim, Alden Doyle, Nilufar Moayeri Starring: Bijan Karim, Alden Doyle, Nilufar Moayeri The writer-director Bijan Karim strongly believes in continuously looking within and rediscovering self to improvise on both the personal as well as professional levels in life. The short film-Blue Plastic Bag highlights the same through all three protagonists Armin (Bijan Karim), Lance (Alden Doyle), and Yasmin (Nilufar Moayeri). The plot of the movie revolves around Armin a loner who decides to divide his time between his mother Yasmin a painter and his friend Lance also a painter while his girlfriend is away. In the opening scene, the camera captures various slice-of-life moments from the life of Armin as the tracking shot is effectively utilised to showcase the mundane lifestyle of the central character. A series of mid-shots and close-up shots are used to portray the contrasting perspective of Yasmin and Lance on life, therefore, allowing the audience to better understand the nuances of the subject matter of the film. The set design, colour palette, and lighting. background music dialogues, costume, hair, and makeup have been kept natural to provide the viewers a sense of realism and relatability with the content hence increasing the degree of audience engagement with the content. The editing of the film gives a smooth movement of the narrative hence not breaking the element of continuity and the emotional connection of the viewers with the dramatic piece. In terms of performance, Bijan Karim plays Armin who goes through a tough time while making various decisions that make a lot of changes in his life so he wants to seek help from his loved ones. Karim utilises body language, voice modulation, and facial expressions to effectively communicate the range of emotions the character is experiencing. The actor knows how to balance emotions and logic and this is the very aspect that makes the audience hold on to Armin up until the climax of the film. Nilufar Moayeri plays the role of the mother of Armin who wants to safeguard her child from getting hurt and encourages him to find happiness for himself as it becomes the most important thing to survive the testing times. Moayeri with her portrayal brings the much-required experience to shape up Yasmin and put across her thoughts to uplift the storyline. The bond between Nilufar Moayeri and Bijan Karim assists in providing depth to the onscreen mother- and son relationship helping the filmmakers to deliver the key message of the creative piece. Alden Doyle as Lance with his excellent comic timing gives a refreshing take on the expectation of the younger generation from life as he lends his ears to the problems of his friend. Lance emotionally appeals to the viewers and they learn a lot of life lessons from him during the running time of the cinematic piece. Blue Plastic Bag talks about the importance of family and friends at all stages of life and one shouldn’t hesitate to ask for help in fear that he/she has grown up and should be dealing with the issues themselves. The short film tells us it becomes crucial to stay true to self and take care of the decisions made regarding the choices as one cannot make the mistake of losing his/her identity while complying with the rules and regulations of any relationship. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Creatures of Habit film review by UK film critic Nina Rawlingson. Starring Theo White, Timothy J. Cox directed by Bryon Jones. HOME | FILMS | REVIEWS Creatures of Habit Film Review average rating is 4 out of 5 Critic: Nina Rawlingson | Posted on: Aug 26, 2026 Directed by: Bryon Jones Written by: Bryon Jones Starring: Theo White, Timothy J. Cox Set in a dimly lit bar, we are introduced to a journalist named Meekah (Theo White) hard at work. He is approached by a mysterious and rather sinister character (Timothy J. Cox) who pursues him for a conversation. We see Meekah take his drinks from the bar and get stuck into his work. A top-down shot shows Meekah in the process of what appears to be an investigation into a cold case. Sifting through various crime scene photos, a stranger approaches. At first, Meekah is distracted but begins to pay attention to how the stranger perceives the world. The mood lighting already sets up this idea of good and evil. Both sitting across from each other at the booth, one side warm-toned and vibrant and the other cold and casting shadows. At first, we don’t see the stranger’s face, keeping us suspicious about the motive of the conversation. When Meekah does start to become intrigued, we cut to the face of the stranger taking up the whole screen, covered by a hat, never seeing his eyes. Only his mouth is illuminated as he speaks in this unsettling tone; this creates a silhouette that is completely menacing. The camera work in this short delivers this film so effortlessly. We go from top-down, to over-the-shoulder and up-close intimate shots of both characters during the interaction. The acting between the two is impressive, delivering convincing character arcs and the sound is of great quality. At the beginning, only background noise is heard and as the conversation progresses, we hear a rich string score representing the ever-growing tension. A short-form thriller like this leaves the audience wanting more. The title ‘Creatures of Habit’ is cleverly worded for both the two characters. Meekah is so caught up in his own work that he neglects relationships in his personal life and is somewhat a loner. The stranger stalks people, observes them, and lives by this pattern. Ultimately, the two worlds collide in this good vs evil play-through. We are left with more questions than answers, and it’s perfectly set up for a bigger project. Overall, the short feels inspired by films like ‘Seven’ and ‘Zodiac’. It uses the darkly dressed stranger as a trope for a greater lurking evil. This is enhanced with aspects like the lighting, shots, and dialogue. The environment feels like we’ve stepped straight into a dive bar, and all of this is credit to the quality of the film. This could have potentially been a longer run time, exploring both characters more. However, it adds to the mystery of the film, which is what is clearly intended. Both actors perform convincing roles and capture the essence of the film in such a short amount of time. They nailed the aesthetics with the cinematography and kept us wanting more from this cat and mouse portrayal. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Short Film < All Reviews Next Film Review >

Memoir of a Snail film review by UK film critic Hope Madden. Starring Sarah Snook, Kodi Smit-McPhee, Jacki Weaver directed by Adam Elliot. HOME | FILMS | REVIEWS Memoir of a Snail Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 6, 2024 Directed by: Adam Elliot Written by: Adam Elliot Starring: Sarah Snook, Kodi Smit-McPhee, Jacki Weaver Adam Elliot is an artist of singular vision. His stop-motion plasticine adventures discard whimsy in favor of almost Dickensian storylines told with eccentricity, dark humor, heartbreak and grit. Memoir of a Snail trails Grace Pudel (voiced by Succession ’s Sarah Snook). Grace is a twin, an orphan, an introvert, and a lover of snails. And as she ages, each one of these labels takes up a deeper, more complicated, more pathological space in her life. The one reliable bright spot is her best friend Pinky (Jacki Weaver), the town oddball (and that’s saying something). The film begins near its end, as Grace shares her life story with Sylvia, her favorite snail. It’s not a particularly happy tale—in fact, it’s marked by genuine tragedy and haunted with loneliness—but there are moments of joy, and Snook delivers every clever, bittersweet line perfectly. The voice cast shines, top to bottom. Kodi Smit-McPhee, Nick Cave and Eric Bana deliver the perfect vocal personalities to do justice to the endearingly odd inhabitants of Elliot’s charmingly homely little world. Elliot’s writing is as impressive as his stop-action artistry. Memoir of a Snail delivers poignant insights and clever gags, astonishing depth of character and well-observed idiosyncrasies. There’s a real sweetness to the film, and the grimmest possible story turns are delivered with a unique blend of tenderness and bleak humor that’s tough to describe. It’s a tone Elliot’s mastered as evidenced by his Oscar winning 2004 short Harvie Krumpet and brilliant 2009 feature Mary and Max . Elliot treasures time spent with characters ignored and disregarded in their own worlds. His narratives don’t condescend or judge, and the characters are so wonderfully warts-and-all compelling that you hate to see your time with them come to an end. Adam Elliot’s world is a darker, drearier spot than the neighborhoods populated by Aardman’s characters. (Sidenote: There’s a new Wallace & Gromit movie this year! Woo hoo!!!) His films are not as silly, their homes not as brightly lit, their cheese selections more limited. But the world Elliot creates—this ranch home on a small street in Canberra, Australia, crammed to bursting with ceramic snails, randy novels, Guinea pigs, and longing—is the flip side of the same plasticine coin. It’s ingenious, moving, hilarious and required viewing. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Train Ride film review by UK film critic Jason Knight. Starring N/A directed by James Bowman. HOME | FILMS | REVIEWS Train Ride Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 30, 2026 Directed by: James Bowman Written by: James Bowman Starring: N/A A short animated music video by American animator and music producer James Bowman, also known professionally as AnimHeru. Dancing and romance is occurring inside an underground train. In order to avoid any confusion, it would be best to concentrate on the physical appearance of the characters first. Generally, they resemble human figures as they have arms, legs, a torso and a head. Another thing that indicates that they are actually people is the environment, which looks...well, human. What makes them look...unnatural is the fact that they are very slender with extremely thin limbs and a long neck, resembling aliens from another planet. So, there is a narrative here and the video begins at an underground train station, where a figure described above, whose body is all blue, enters a train and takes a seat. Nearby, in the same coach, is another character, this one all purple. The purple one notices the blue one and approaches. The purple one encourages the blue one to stand up and the two of them embrace and proceed to dance. That is when their surroundings transform from the interior of a train to the interior of a nightclub dance floor. There is no speech at all in this four-minute-long video, with music and visuals doing all the talking and they have a lot to say. Looking at the visual elements, the computer animation looks super, making effective use of colours, particularly during the dance sequence, which takes up approximately 90% of the video's duration. While the two characters are dancing, their surroundings consists of nothing but one colour that keeps changing, like the lights on a dancefloor. The dance itself is romantic, with slow motion. Focusing on the score now, it could be described as house music, generating feelings of romance, while also being relaxing at the same time. Another thing about the characters. Apart from their colour, they look exactly the same, with no facial features or any kind of details to differentiate them from each other. Is the blue one the male and the purple one the female? Or it is vice versa? Are they both the same sex? Does it matter? Ostensibly, the two characters meet by chance and it is therefore suggested that this is a love-at-first-sight story where the most amazing things can happen in the most unexpected places. Taking the ending under consideration, this video seems to be promoting the message that people should make the most of everything that comes their way and enjoy it while it lasts. Beautiful colours and good music. A chance encounter in an underground train that leads to dancing and romance. A story that moves from reality to fantasy, resulting in a viewing that is a joy to experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Animation, Music Video < All Reviews Next Film Review >

Agent Jayne: A Woman With A Mission film review by UK film critic Holly Baker. Starring Shalini Sood, Uriel Massey, Julius John directed by Waqar Peter Gill. HOME | FILMS | REVIEWS Agent Jayne: A Woman With A Mission Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Oct 17, 2025 Directed by: Waqar Peter Gill Written by: Waqar Peter Gill Starring: Shalini Sood, Uriel Massey, Julius John Agent Jayne: A Woman With A Mission (2024) is an hour-long action-thriller. The film has a Bollywood feel throughout, evident in its excessive repetition, over-the-top editing, and constant tonal shifts. The editing choices in Agent Jayne are often cheesy; for instance, when the phrase ‘money laundering’ is spoken, a cartoon explosion of money fills the screen. However, considering the dark themes of the film, the excessive, juvenile look of sequences like this one aptly balances out the heaviness of the film's tragedies, maintaining its fun feel. The film’s main focus is an in-depth look at the devastating impacts of drug addiction on young people. The story closely follows private detective Agent Jayne as she investigates those responsible for the dealing of harmful substances. Over the course of the film, she risks her life with the mission of preventing further deaths and punishing the criminals responsible for the teenagers’ deaths. A major point of discussion is the dark topic of children suffering from drug addiction. The film navigates these themes lightly, focusing more on maintaining a fast pace and an exciting narrative through the actions of the film’s protagonist, Jayne. The film utilises its low budget of $50,000 through incorporating cheap editing tactics, such as tacky transitions, resulting in some sequences appearing like an advert aimed at children. Whilst viewers may find this to be corny, this absurd look adds to the enjoyment of the film and, in a way, aligns with the film’s clear purpose as a staunch anti-drug campaign. The film contains several sequences with sleek cinematography, where high-quality camera equipment has been used and shots have clearly been carefully positioned. Several of these shots are well-lit and demonstrate a keenness for and strong ability in masterful filmmaking. Although these moments are infrequent, they certainly propose potential for further instalments of the Agent Jayne franchise to have a more defined, cinematic look after the filmmakers acquire a larger budget to work with. As the film studies the tragedies at play in a world corrupted by crime and where the vulnerable are dominated by evil, power-hungry individuals, its use of music and erratic editing can often feel off-putting. The score consists of loudly using fragmented melodies to build up tension; however, due to its excessive use and blaring volume, the music often overpowers what is occurring on screen. When paired with the film’s cartoonish editing, there are particularly jarring moments. For instance, a tragic depiction of an adolescent dying suddenly from a drug overdose is accompanied by an action-esque rhythm to build tension. This suddenly transitions to a clearly computerised image of a newspaper article, bluntly reporting on the death. Moments like this feel slightly tone-deaf, and this quick, blasé structure of presenting deaths is reused several times, taking away from the morbidness of the film’s overall message. As well as the film’s plot, the film’s performances do not always fit well with the erratic feel of the film. Dialogue is delivered in an unnatural, deadpan tone, feeling, unfortunately, blatantly artificial. This clunky acting style is consistent throughout the film and occasionally works for comedic value; however, when blended with fantastical action sequences as well as social realism, it feels slightly out of place and brings the film’s enjoyment down slightly. The subpar acting is particularly disappointing as the story builds to its climax, and its wild and whimsical style encourages viewers to get lost in the action. Despite its flaws, the film as a whole is, without a doubt, an exhilarating ride. Its continuous fast pace through sudden location shifts and time changes, as well as its supervillain-esque characterisations and fanciful lighting and editing choices, mean there is never a dull moment in Agent Jayne. The film’s message, whilst starkly important, does not always feel close to the filmmaker’s heart, as the action-packed plot and overall feel of the film encourage a more thrilling, immersive viewing experience than one that leaves viewers pondering the tragedies of drug use. It is only a shame that the passion and excitement of the film’s style and set design do not resonate within its performances. Buy UKFR Banner Space About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

The Thread (2026) film review by UK film critic Holly Baker. Starring Tyrelle Boyce, Thea Butler, Davi Gyasi directed by Fenn O’Meally. HOME | FILMS | REVIEWS The Thread (2026) Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Jun 22, 2026 Directed by: Fenn O’Meally Written by: Fenn O’Meally Starring: Tyrelle Boyce, Thea Butler, Davi Gyasi The Thread (2026) is a short family drama that conveys the dichotomy between privilege and oppression, centred on a mixed-race household raising their teenage children. The family is made up of a Black father, played by David Gyasi, a white mother played by Lucy Phelps, and two mixed-race children. The older of the two is a teenage boy played by Tyrelle Boyce, alongside his younger sister, who is portrayed by Anaya Thorley. The film follows their everyday activities, such as school runs and trips to the shop, highlighting the differences between the family members' experiences of their races through several clever nods, overall drawing attention to the beautiful way that unity can be achieved through difference. The film subtly nods towards Thorley’s character’s paler complexion. Whilst she is born of the same parents as her brothers, her lighter skin tone requires more sun protection than his. Despite this, their sibling bond is clearly a very strong one, displayed through their proximity and affection. Their relationship is very well directed and acted, portraying a genuine closeness which is wholesome to see. There is a poignant moment where the mother takes her two children into a shop after school, and receives a microaggression from the shopkeeper. Here, there is an interesting interplay in which white privilege and racism are both conflicting forces, as the mother can be protective but is also a victim of the comment as it involves her family. Through this, viewers’ minds are opened to the nuances involved in the daily lives of victims of racism, as well as the different ways that people comment and judge people's lives, sometimes not even realising that they are being racist. The film’s strong dedication to realism is captivating. A teenage boy’s bedroom is portrayed entirely convincingly, the inside of a family car is wholly familiar, and the environment of 2010s Britain is accurately captured, down to the greyish colour grading capturing the windy dreariness of English fields. Through such a commitment to recreating the familiar environment that many British viewers will remember growing up with, or are in fact experiencing as teens or parents, the ideas and experiences of racial identity are starkly visceral, feeling as though they are derived from the filmmakers’ own lives. By including nods towards cultural phenomena such as rap music and poetry, The Thread importantly incites thought on the way that identity and culture go hand in hand, both often influencing one another. The significance of diversity in art forms, particularly intersectionality, is rarely tackled in the medium of film, particularly in the short form. It is refreshing and inspiring to see The Thread carry this through, appearing effortless as a simple story involving a careful message is conveyed in such a provoking way. With cleverly crafted symbolism and attention to detail, this narrative piece effectively brings to light a reality of racial injustice. Through subtle moments, and the use of handheld cameras and close ups which gives viewers a sense of inclusion within the character’s, the film’s ideas surrounding embracing racial identity are smoothly brought to attention. The Thread will be showing at the 2026 Raindance Film Festival. Buy UKFR Banner Space About the Film Critic Holly Baker Short Film, Film Festival < All Reviews Next Film Review >

Baby Brother film review by UK film critic Jason Knight. Starring Paddy Rowan, Brian Comer, Julia Ross, Billy Moore directed by Michael J. Long. HOME | FILMS | REVIEWS Baby Brother Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 13, 2023 Directed by: Michael J. Long Written by: Michael J. Long, Tom Sidney Starring: Paddy Rowan, Brian Comer, Julia Ross, Billy Moore Following a long period of absence, a troubled man heads back to his family home, leading to terrible consequences. Liam (Comer ) is a jobless youth who lives with his mother (Ross) in Liverpool. Suddenly and unexpectedly, Liam's older brother Adam (Rowan) arrives at the doorstep and they have not seen each other for five years. Not particularly thrilled by his arrival, Liam reluctantly slends time with him inside the house. Things get further complicated and dramatic when Adam's reasons for being away are revealed and his actions will change the lives of those around him. This hard-hitting drama has an interesting story structure. The story is told over the course of two days, one taking place in the present and the other taking place five years previously. The narrative keeps alternating between these two days, both of which contain fateful events and the scenes from the past were filmed in black-and-white, like American History X . The past events concentrate mainly on the strong former relationship between the two brothers, with the siblings hanging out together and causing some trouble that includes stealing and breaking into buildings. More seriously though, they have to deal with their mother's abusive partner Robby (Moore). The present events focus on how Adam's presence affects the people he encounters, which is far from good, as Adam is an emotionally unstable individual and potentially violent and dangerous. Partially, this feature is an emotional drama that deals with a dysfunctional family and explores themes about brotherhood, parenthood, domestic violence, regrets and consequences. Things move towards thriller territory when Adam loses control, leading to brutality and devastation. Adam is the character who steals the show (in the present part at least), an aggressive young man who has been through (and is still going through) very hard times and appears to be looking for some sort of redemption. Liam is rather different from his brother, a vulnerable and awkward youngster who has become attached to a toy dog and has big dreams. Their mother, although she cares for both of them, she has made mistakes that have affected her sons' upbringing. Robby is a negative presence in the family, as he mistreats them and is involved with bad people. Director Long creates some well-executed long takes with a static camera and the dramatic music by Bobby Locke is a great plus and includes melancholic piano melodies. Interestingly, there are various black-and-white sequences throughout the film where one of the protagonists is shown in a medium closeup, in a darkened environment, with the light gradually coming and going. Although the purpose of this might not be clear, these sequences are well filmed and look quite dramatic. Basically, the colour scenes contain the most drama and tension and it is the black-and-white ones that offer some happiness and solace. Overall though, this is a tragic story about the before-and-after of a terrible event and it has distressing scenes and a great deal of profanity. It is an unpleasant viewing, which shows how effective its dramatic screenplay is, along with the outstanding performances. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

In Passing film review by UK film critic Patrick Foley. Starring Fedra Ramirez Olivares, Kaileela Hobby directed by Hillia Aho. HOME | FILMS | REVIEWS In Passing Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: May 16, 2023 Directed by: Hillia Aho Written by: Hillia Aho Starring: Fedra Ramirez Olivares, Kaileela Hobby The unsustainability of everyday life and its crippling impact on mental health and relationships featured in Hillia Aho’s In Passing will be sadly familiar to many viewers – though its uplifting and hopeful message is a welcome and moving tonic. Rey (Fedra Ramirez Olivares) and Elle (Kaileela Hobby) are a young couple struggling to make ends meet. Elle is an artist following her passion and living a more carefree existence taking painting commissions, whilst Rey is an overworked and underpaid chef whose intense schedule pays the bills. Rey’s growing resentment to her partner for what she sees as a failure to contribute is approaching a breaking point, when she begins to consider what makes the difficult times brighter. Sensuality, warmth and reconciliation are at the heart of In Passing. This mature and contemplative short is a brilliant and layered film which captures the complex dynamics within relationships and applies a crippling pressure perfectly in tune with the anxieties of modern audiences. Stress is woven into Rey’s presence, and Hillia Aho carefully lays groundwork for the lopsided nature of the relationship in which she feels like an unmatched provider – with scenes portraying her hectic schedule, uncaring boss and even an aside to the risks service workers face as a result of the pandemic. Meanwhile the film tonally shifts to a softer, lighter nature as it follows home-based freelancer Elle, who is passionate and caring but aloof to Rey’s financially-driven stress. The film portrays the growing divide realistically and in a manner that makes both parties’ positions understandable – with the external pressures both experience the film’s true antagonist. Hillia Aho’s direction and Kaitlyn Busbee’s photography results in a radiance that exudes from the screen. Viewers will be able to sense the crispness of Elle’s canvas and the smell of the paint in the art studio thanks to the intimate camerawork. Meanwhile the shivers that Rey experiences as she stands outside her restaurant being lambasted by her boss transmit to the audience – which echo through the cold palette that follows her as her depression worsens. Fedra Ramirez Olivares and Kaileela Hobby totally convince as Rey and Elle, with a chemistry that nails both the love they share and the tension they are troubled by. Kaileela Hobby carries a charm and genuineness that ensures that Elle’s failure to recognise her girlfriend’s anxiety is never ignorant or malicious. Meanwhile Olivares portrays a initially understated weariness that begins to crack into frustration as the film progresses – though still nails the crucial perspective-driven realisation in the film’s closing stages. Managing to close on a heartening and enriching note is what ascends In Passing into brilliance, and is a testament to how much emotion, connection and character can be built in just ten minutes. Rey and Elle’s relatively simple story is one that moves throughout and will leave an impression – especially on the many viewers who will relate to one of the two protagonists. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, LGBTQ+ < All Reviews Next Film Review >

Hold Up film review by UK film critic Jason Knight. Starring Philip Ettinger, Renrick Palmer directed by Alex Rollins Berg. HOME | FILMS | REVIEWS Hold Up Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 25, 2023 Directed by: Alex Rollins Berg Written by: Alex Rollins Berg Starring: Philip Ettinger, Renrick Palmer A guy has a meaningful interaction with an underprivileged man that he encounters on an underground train station. This short drama is based on an actual experience the director had with an Eritrean on a Harlem subway station. It is the summer of 2020 and Graham (Ettinger), a young man, is in a hurry to get home, as his girlfriend is trying to deal with bungled delivery involving a couch. Shortly after he arrives at an underground railway station, Hashim (Palmer) a young African American approaches him and attempts to sell him a bottle of lotion. Graham has no cash on him and Hashim proceeds to beg him to help him, as he is desperate. Graham agrees to buy food for him with a bank card and they end up in a pizzeria. As time goes by, Graham is eager to catch the next train, while Hashim seems to want to spend more time together. Social class differences is arguably the most obvious theme in this story. Graham is priviledged, having a good job, a partner etc. and carries a laptop, while Hashim is struggling through life, being poor, hungry and homeless. Racism is also present, as Graham is Caucasian and Hashim is black and as mentioned, the narrative takes place during the summer of 2020, shortly after the murder of African American George Floyd at the hands of police and this is hinted by a brief news photo on a laptop screen. With these in mind, the film takes a hard-hitting look into the lives of African Americans in the United States, depicting them as poor, living harsh lives and being victims of brutality. This short could be categorised as a buddy film, with two individuals who meet by accident and come from very different walks of life. Hashim is a person who is living an unfortunate life, however he is self-aware and mentally strong. He clearly wants to move on to better things and be acknowledged and he is played brilliantly by Palmer. Ettinger's character comes across as decent, although he refuses to really connect with Hashim. The film gains significantly by Sean Patrick Kirby's stunning cinematography and the sounds of underground trains moving are quite effective. This is a moving story about a chance meeting between two strangers that develops into a sort of rapport. The film explores issues regarding the hardships of life, particularly the challenges that black people face in the United States. However, not all themes are negative as the importance of helping those in need is pointed out, as well as the idea of being grateful for what one has. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

A Dunder Plunder film review by UK film critic Jason Knight. Starring Melanie Ash, Corin Silva directed by Grace Alwyn Ashworth. HOME | FILMS | REVIEWS A Dunder Plunder Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 1, 2021 Directed by: Grace Alwyn Ashworth Written by: Grace Alwyn Ashworth Starring: Melanie Ash, Corin Silva A house burglary turns into a conversation about relationships and romance between the burglar and the owner. A middle-aged woman (Ash) is at home at night by herself, sitting on her bed. She appears to be upset and she is viewing a film on her laptop and having a drink. Suddenly, the sound of glass breaking is heard and a man wearing a mask enters the bedroom. The woman is shocked, however, he assures her that he just wants to steal some valuables. She then receives a message on her phone, sent by the man who stood her up earlier that evening. From then on, the two of them talk about her life and try to determine whether her boyfriend truly fancies her or not. This is an entertaining dark comedy that also contains drama and adult humour. The entire narrative takes place inside the bedroom and in real time. The plot evolves around the surprising rapport that is build between the two protagonists during a rather awkward situation. The dialogue is clever and it is rather moving watching the 'nice' burglar acting like a gentleman and attempting to comfort the poor woman who is having a difficult time finding the right man. Ash is terrific as a recently-divorced, lonely individual who is trying to move on with her life. Her character is vulnerable and emotional and needs romance in her life. Silva is entertaining as a crook who actually has a good heart and feels for the woman and tries to give her advice when she opens up to him about her troubles. Director of photography James Swift does a great job and creates wonderful cinematography. Ben Eyes composes electronic music that adds good quality. This award-winning short film received Official Selections at numerous festivals and it is a significant achievement. In eight minutes it tells a story that is intriguing, awkward, funny and emotional and the addition of the strong performances make this film a memorable experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Fingernails film review by UK film critic Hope Madden. Starring Jessie Buckley, Riz Ahmed, Jeremy Allen White directed by Christos Nikou. HOME | FILMS | REVIEWS Fingernails Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 2, 2023 Directed by: Christos Nikou Written by: Christos Nikou, Sam Steiner, Stavros Raptis Starring: Jessie Buckley, Riz Ahmed, Jeremy Allen White Nearly a decade ago, Yorgos Lanthimos delivered the most scathingly, cynically hilarious look at the human desire to quantify love, test it, find safety in it. And if not, be turned into a delicious crustacean. Cristos Nikou’s delivery is more romantic, but his central theme is similar. Love is unquantifiable. In a non-specifically retro time period with wall phones and a lot of 80s and some 90s jams but computers that look to be from the time of the dinosaur, one company has perfected a test to determine whether two people are in love. This test, it was hoped, would end divorce, end loneliness, end unhappiness. But most couples test negative, so it’s actually only created a loneliness crisis. Anna (Jessie Buckley) and Ryan (Jeremy Allen White) are among the lucky ones. They tested positive some time back, and have fallen into a safe and predictable routine. And yet… Anna takes a job at the very institute where the test is conducted, working alongside Amir (Riz Ahmed). That right there is the reason to see Fingernails . Buckley’s a tremendous talent. Few actors so accurately, achingly portray yearning quite as she does. That conflict plays across Anna’s face in a raw performance matched by Ahmed’s. The Oscar winner shares electric chemistry with Buckley, which compels interest in a story that, while delightfully told, lacks a bit of depth. White, in a smaller role, delivers as well. You can’t root for him, but neither can you root against him. He feels human, and complicating the emotion within a romantic film is never a bad idea. Nikou’s elegant direction slides and dances from scene to scene, evoking melancholy one moment then swooning the next. It’s so beautifully shot that the occasional obvious moment – lingering on one toothbrush, holding on a reaction shot – stands out. The trajectory is rarely in doubt and the film leaves much to mine when it comes to its premise. But whatever the weaknesses of Fingernails , Ahmed and Buckley and their thrilling rapport more than overcome. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >