Doll film review by UK film critic Jason Knight. Starring Louis Taylor directed by Louis Taylor. HOME | FILMS | REVIEWS Doll Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 16, 2022 Directed by: Louis Taylor Written by: Louis Taylor Starring: Louis Taylor Alone in his home, a man is tormented by a mysterious and sinister entity. A man (Taylor) is lying on a couch in his living room, taking a nap when he starts hearing bizarre noises that include thumps and laughter that sounds like that of a little girl. Disturbed by this, he searches his property, trying to locate the source. This short is a spooky horror story that is based on the 'haunted house' concept. The plot is rather simple: an individual is home alone and something bad proceeds to take place. The majority of the narrative follows the protagonist as he looks around the house, looking for whatever is causing the sounds. He often hears the laughter, which sounds menacing and there is a constant feeling that something terrible is about to happen. There is a brief nightmare scene that is quite frightening due to the camerawork and sound effects. The laughter that is heard throughout the film sends shivers down the spine and the sinister music by James Horton adds to the scary atmosphere. Credit also goes to the creative work by makeup artist Sheila Cursley. There are no spoken words and the man is the only person in the film, making Taylor's performance vital in order for the viewing to have an effect and he plays his part convincingly. This film has a duration of approximately ten minutes and during that time, it succeeds in being a spine-chiller. It is a good example that creepy sounds can create dread, fear and suspense. It may not be very original, with a plot that has been seen many times before: a home in which there is an evil entity looking to harm someone. Nevertheless, it is still a decent horror film. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Escape Velocity film review by UK film critic Jason Knight. Starring N/A directed by Tamas Rebak. HOME | FILMS | REVIEWS Escape Velocity Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 27, 2023 Directed by: Tamas Rebak Written by: Tamas Rebak Starring: N/A A space adventure. An astronaut finds himself on an alien planet and must find a way to escape. A spaceman awakens after having crash-landed on a foreign planet. He is by himself and must rely on his technological equipment in order to locate his spaceship and return to space. As he navigates the strange landscapes, he encounters aliens, one of which is very hostile and dangerous and it is not long before it goes after the hero. Made at Budapest National University, this short animated film is a science fiction story that has a narrative that is quite common and straightforward: a human being (or many of them) arriving at an uncharted place, where they encounter danger and must find a way to escape. In this case, there are two protagonists: one is the space traveller and the other is the peculiar creature that is after him and the script alternates between them until their paths finally cross. Although initially, things appear clear: that the plot is about the protagonist trying to reach his spacecraft and avoid a monster, there is a surprising and emotional twist at the end about a broken friendship. Many commendations go to all the individuals who worked on the animation. The cel animation looks wonderful, with beautiful colours and the characters and environments look great. The mise-en-scene contains many elements that are often seen in sci-fi films. The hero wears a space suit and a helmet and utilises futuristic gadgets that include a gun-shaped device that he uses as a climbing tool and as a torch and a device on his wrist that operates kind of like a map. Then there is of course the spaceship and also the aliens, which have a variety of forms, some resembling eels and others looking like crabs. The alien that stands out the most is the one that pursues the astronaut, as it is the only one that proves to be menacing, having a cat-dog-like appearance, sharp teeth, moving like a panther and possessing a long tongue that it uses as a weapon. It also has a symbol on its forehead that turns out to be significant. Regarding the planet, it is filled with bizarrely-shaped rocks, strange liquid running through waterfalls and gases being released into the atmosphere. The filmmakers make effective use of split screen techniques and praise goes to Gabor Erdelyi Jr. for the work on the music which is atmospheric, tense and melancholic and for the sound effects. This is an animated sci-fi adventure that has no spoken words and contains exploration, imagination, danger, a tense chase and a moving ending. Thanks to the animation, the music and the intriguing plot, this short offers an interesting, thrilling and emotional experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Animation < All Reviews Next Film Review >

The Face In The Wall film review by UK film critic Jason Knight. Starring Frantz Lecoeur, Jonah Ehrenreich, Victoria Guthrie, Samantina Zenon directed by Dwayne Buckle. HOME | FILMS | REVIEWS The Face In The Wall Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: May 1, 2022 Directed by: Dwayne Buckle Written by: Dwayne Buckle, Semyon White Starring: Frantz Lecoeur, Jonah Ehrenreich, Victoria Guthrie, Samantina Zenon While working on a film, two friends discover a mysterious face on the wall of an apartment. Calvin (Lecoeur) is a freelance cameraman, who is assigned to do a job in one of the floors of a New York building. One of his co-workers is his friend Jimmy (Ehrenreich), a soundman. While using Calvin's old camera, the two of them accidentally come across a large, ghostly-looking, human face in a wall, in the room where the film shooting took place. The face can only be seen through that specific camera. Puzzled and intrigued by their finding, they decide to find out what it is. This low-budget movie operates kind of like a spooky horror film. An extraordinary (and apparently supernatural) discovery is made and from there the protagonists try to unravel its origins. They research the history of the building, spend a great deal of time studying the face and enlist the help of a paranormal expert, Dr. Polinova (Guthrie). Polinova attempts to provide the most rational explanation, suggesting that it could be a being from another dimension. The script is not very exciting and consistis mainly of discussions and theories regarding the existence of the face and the feeling of threat, that something bad is going to happen is vaguely present. The thing that will most likely keep the viewer watching will be to know the aswers regarding what the face actually is and that might not be enough. Unfortunately, it shows that this was filmed on a very small budget. The quality of the image looks poor and the audio does not sound good. Although these faults affect the viewing experience, they do not prevent the movie from being watchable. Moving on to better elements, the face is arguably the highlight here. The face is roughly the size of an adult's torso and it comes across as more fascinating than sinister. The film contains interesting use of electronic music, however at certain scenes the choice of score might not had been the most appropriate and ends up creating an awkward atmosphere. The acting is OK and Lecoeur and Ehrenreich have good chemistry between them. Guthrie plays the most interesting character, that of an knowledgeable psychic. This is a movie that has an interesting plot and manages to be spooky and mysterious at times. Nevertheless, the screenplay fails to bring much excitement and the ending is not a big pay-off. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Humanist Vampire Seeking Consenting Suicidal Person film review by UK film critic Hope Madden. Starring Sara Montpetit, Félix-Antoine Bénard directed by Ariane Louis-seize. HOME | FILMS | REVIEWS Humanist Vampire Seeking Consenting Suicidal Person Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jul 4, 2024 Directed by: Ariane Louis-seize Written by: Christine Doyon, Ariane Louis-Seize Starring: Sara Montpetit, Félix-Antoine Bénard Late bloomers, right? Every family has one. One parent thinks they’re going too easy on their child, the other says they’re being too hard. Is the kid spoiled? Soft? Sensitive? Ariane Luis-Seize’s Humanist Vampire Seeking Consenting Suicidal Person understands this feeling and empathizes with both perspectives, parent and child. It’s just that, in tender young Sasha’s case, it’s a family of vampires and the trauma of the whole “clown situation” at her 10th birthday might have something to do with her delayed adulthood. This darkly comedic take – almost sitcomesque – on vampire family matters rings of Vincent Lannoo’s 2010 Belgian mockumentary, Vampires. But here, the cynicism is offset by genuine tenderness. I mean, there’s meanness and bloodshed. But there’s also a lot of sweetness afoot. Sasha (Sara Montpetit, Falcon Lake ) can’t bring herself to kill. Can she drink a Capri Sun style blood bag left in the fridge for her? She can. But cause the actual suffering? Nope. And then she spies Paul (Félix-Antoine Bénard) on the roof of a bowling alley, contemplating a jump. Sasha is intrigued, though she may not be entirely clear as to why. But Paul might be the solution to her problem. The pathos in Luis-Seize’s film benefits from both a widespread undercurrent of suicidal thought—both as a parent’s nightmare and a child’s misguided salvation—and an understated theme of neurodivergent love. Montpetit and Bénard share a charming chemistry, their pairing buoyed by the harsher comedic stylings of Sasha’s cousin Denise (Noémie O’Farrell), and her douchebro sidekick (Gabriel-Antoine Roy). Sasha’s parents (Sophie Cadieux and Steve Lapiante) and her saucy aunt (Marie Brassard) help the angsty romance maintain a healthy comedic balance. The resolution may be too tidy, but Louis-Seize draws real anxiety from the empathy her leads create. She also injects admirably dark (dare I say biting?) humor throughout, guaranteeing that good hearted sentiment never undoes the brilliant nastiness we witness in those early moments with Rico the Clown. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Force to Fear film review by UK film critic Michael Brennan. Starring Sable Griedel, Chad Bruns, April Yanko, Chad Bruns directed by Chad Bruns and Zane Hershberger. HOME | FILMS | REVIEWS Force to Fear Film Review average rating is 2 out of 5 Critic: Michael Brennan | Posted on: Mar 10, 2022 Directed by: Chad Bruns and Zane Hershberger Written by: Chad Bruns and Zane Hershberger Starring: Sable Griedel, Chad Bruns, April Yanko, Chad Bruns Force to Fear is an 80's inspired action-horror hybrid where two groups of delinquents find themselves having to fight to survive the night. The film takes place at an abandoned school where we find two dirty cops, Clint and Nick, torturing a kidnapped drug dealer. As the opening scene unfolds, we learn that the drug dealer was having an affair with Clint's wife and got her hooked on drugs, which ultimately led to her death. This plot point establishes Clint and Nick's questionable motives for the remainder of the film, as they are clearly outraged and up to no good. So, when a group of high schoolers looking to party and a masked killer on the hunt arrive at the school, both Clint and Nick try to navigate the situation to cover their backs. However, their scare tactics and aggression causes more issues, leading to dramatic fight scenes and bloody kills. For an indie film made with a low budget, I have to applaud the practical effects, the score, and the action sequences. Force to Fear delivers a shocking amount of blood that is emphasised by excellent practical effects. I also have to applaud the synthwave score by Matt Cannon. The music was reminiscent of 80's cinema, and thanks to Cannon's talent, the score managed to elevate every scene–adding a level of excitement and thrill. However, while I enjoyed the practical effects and score, the acting, plot, and dialogue didn't connect. The acting throughout Force to Fear is both cliche and cheesy, but to their credit, the cast gives it 110%. Unfortunately, there is a severe lack of character development, depth or nuance, making it difficult to sympathise and connect with the characters. For instance, as the film progresses, Nova, played by Sable Griedel, has an obvious agenda against the masked assailant known as The Target. Nova declares to the group that "he must pay for what he has done ", implying a dark and mysterious background between the two and, hopefully, an epic showdown. However, as the end credits began to roll, the anticipated showdown didn't come to fruition. Instead, we are left with more questions than answers, such as: who was The Target, what did he do, and why was Nova hunting him? On that note, unfortunately, Force to Fear is plagued by confusing story developments that lead nowhere. For instance, within the first act, we believe that the group are innocent high schoolers looking to party, but as the film advances, we learn that they are a group of mercenaries hunting a target. I was fully expecting the kids to get caught in the crosshairs of Clint and Nick's kidnapping high jinx, so this hitman/hitwoman b-plot didn't make sense and felt very forced. So, is Force to Fear worth watching? At times, I found myself making comparisons to the 90's Mortal Kombat films–which I think is an excellent reference. Just like the Mortal Kombat films, Force to Fear is plagued by a lacklustre plot, cheesy dialogue, crazy fight scenes and cliches, but while Force to Fear isn't my cup of tea, I know fine-well there are people out there who will enjoy this film. So, if you are a fan of cheesy 80's action movies or the Mortal Kombat films, I think Force to Fear is a film you'll appreciate. Buy UKFR Banner Space About the Film Critic Michael Brennan Indie Feature Film < All Reviews Next Film Review >

The Death of The House Party film review by UK film critic Jason Knight. Starring Daniel Owen, Paddy Rowan, Joe Cowin, Dominic Murphy, Millicent McKenzie, Anna Miller directed by Jack McLoughlin. HOME | FILMS | REVIEWS The Death of The House Party Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 4, 2024 Directed by: Jack McLoughlin Written by: Jack McLoughlin Starring: Daniel Owen, Paddy Rowan, Joe Cowin, Dominic Murphy, Millicent McKenzie, Anna Miller The night before they set off for university, a group of youths contemplate their lives and the future. This short drama is a story that takes place at a time when a bunch of youngsters are facing the fact that their lives are about to change significantly, primarily because it is the last day before they (most of them) go to university. The narrative pretty much revolves a round a house party that is taking place in order to mark the fact that the attendees are going to university and moving on. The house is Tommy's (Owen) and among the guests are his friends Colin (Rowan), Mikey (Cowin), Kacy (McKenzie) and Frankie (Murphy). Tommy's parents are away and he decided to throw the party even though he is forbidden. As the night goes on, he and his friends struggle to come to terms with the complications that are entering their lives. Through the characters, particularly Tommy, Colin and Mikey, the film explores the emotions that youths tend to deal with when they become aware their lives are about to go through significant turning points. Tommy is rather anxious that his girlfriend Anna (Miller) is in the process of breaking up with him as she did not attend the party and is not responsing to his messages. Mikey is worried that he will not fin in at university and he has a secret crush on Kacy. Would now be the time to tell her? And Colin, as he is not going to uni, feels that he is being left behind. Apparently, unmotivated, he uses drugs and lives with his brother. Through these characters and their issues, the film looks into a variety of themes that include self-reflection, the anxiety of facing life-changing events like university, moving away from loved ones, worrying about the future, romance and alienation. Frankie stands out as a different kind of individual, a sort of wise dude that others go to for advice and indeed, he does come across as quite mature. People who are about to go to university or the ones who are there now or have been in the past are probably the ones who will indentify with this short the most. More that anything, this film is a story about facing big changes in life and about friendship and support. It is a thoughtful viewing and it is supported by the strong acting, the beautiful cinematography by Cameron Brown and a good selection of songs by The Kowloons and Reignmaker. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Legs film review by UK film critic Joe Beck. Starring Laura Carmichael, Amit Shah, Sarah Kameela Impey, Karl Theobald directed by Celine Cotran. HOME | FILMS | REVIEWS Legs Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Dec 20, 2022 Directed by: Celine Cotran Written by: Alannah Lewis Starring: Laura Carmichael, Amit Shah, Sarah Kameela Impey, Karl Theobald The dangers of leaving your mouth open while sleeping are numerous and well-documented. Those with siblings will likely know the great danger of waking up to the disgusting taste of a wet sock in the mouth, those without can at the very least relate to waking up in a pile of drool having spent the night blissfully snoring to the annoyance of all those within earshot. One of the most well-known, though also one of the most uncommon, dangers of sleeping with your mouth open is insects, especially arachnids, accidentally finding their way into your mouth. Joy (Laura Carmichael of ‘Downton Abbey’ fame) is unlucky enough to suffer this fate in ‘Legs’, a short film which doesn’t lack confidence in the slightest. Joy is a young woman in her late 20s/early 30s, surrounded by friends and coworkers - specifically Amanda (Sarah Kameela Impey) - who are maturing into the next stage of their lives - motherhood. Joy, meanwhile, is sexually frustrated by her manga-reading partner Harry (Amit Shah), and although they clearly love each other, they’ve lost the spark in their relationship. Late one night, after Harry declined Joy’s advances, a spider has the misfortune of falling into Joy’s agape mouth as she dreamed her troubles away. Joy wakes feeling a little bit off, and is whisked away to the doctors by Amanda later in the day. The doctor (Karl Theobald) reassures her that the spider will pass out of her system quickly, though Joy seems determined to keep hold of it, and leaves the doctor’s office telling Amanda and Harry that she’s pregnant. This is where our sympathies for Joy start to waver - as she gaslights those around her into believing this lie, only to surely break their hearts when after nine months no baby will materialise. This is the film's only significant flaw, which it even recognises as ‘I’ve got you under my skin’ slyly plays in the background as Joy and Harry, beside himself with excitement, make early preparations for the fantasised new arrival. Though our sympathies may start to waver for Joy, we can at least understand why she began the lie, as the problems of her and Harry’s relationship are swept under the rug and they rediscover their spark. It’s a pretty clever conceit concocted by writer Alannah Lewis, whose script is light enough to realise the humour of the situation whilst never afraid to recognise the reality of Joy’s life, as she feels left behind by her friends and unloved by her partner, leaving her with no choice in her mind other than to take on the lie. Though the lie may not be as serious as the much-fabled death of Mr Pamuk in ‘Downton Abbey’, it nonetheless affects those who are unaware - most significantly Harry. ‘Legs’ kind of sweeps the lie under the rug, much like Lady Mary in ‘Downton’, and as we never get to see the negative repercussions of her actions, we aren’t blessed with sympathies to go alongside our understanding. Although competent throughout both director Celine Cotran and cinematographer Mark Kuczewski are at their best towards the conclusion of the film as they capture the abstract scene of Joy having spewed webs everywhere. Quite literally caught in a web of her own lies, Cotran and Kuczewski depict this metaphor with poise, allowing it to take a backseat as Harry enters the frame. Cotran in particular excels at demonstrating Joy’s isolation throughout the film, sticking to the tried and trusted method of zooming in on the pained expression of Laura Carmichael’s face, which, in such a subtlety excellent performance, never feels like beating a dead horse. ‘Legs’ shows the negative outcome of accidentally swallowing a spider - the positive involves becoming some version of ‘Spider-Man’ - and its wonderful conceit is gleefully used to mirror the state of mind many feel as those around them begin the next stage of maturity. As far as web-spewing characters in films which deftly manage to toe the line between humour and drama go, Joy may not be the number one, or even number two, but she most certainly deserves a place amongst such illustrious company in that niche collection. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Bermuda Island film review by UK film critic Joe Beck. Starring Tom Sizemore, Noel Gugliemi, Sarah French, Victor V Gelsomino directed by Adam Werth. HOME | FILMS | REVIEWS Bermuda Island Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jan 12, 2023 Directed by: Adam Werth Written by: Michael Mahal, Sonny Mahal, Robert Thompson Starring: Tom Sizemore, Noel Gugliemi, Sarah French, Victor V Gelsomino The year is still young and yet with ‘Bermuda Island’ we already have a frontrunner for the worst film of 2023. Derivative in story, haphazard in direction, and abysmally written, Adam Werth’s film is a painful reminder that the straight-to-video market is a graveyard of faded talents in sorry excuses for films. The faded talent in question is Tom Sizemore, once promising supporting talent in films like ‘Saving Private Ryan’, ‘Heat’, and ‘Point Break’; it’s safe to say that with a film like ‘Bermuda Island’ his career has taken a turn for the worse. By and large, however, Sizemore is just another bland face in a film which tries to be so much more than it is. The characters are one-note, given a singular characteristic to define their actions. This is lazy writing, and as a consequence, every character lacks nuance or depth. Not a surprise in a film of this nature, sure, but rather more significantly no character does anything in the slightest to endear themselves to the audience. It’s a real problem in a film like this when you’re rooting for the monsters to kill everyone. Oh yeah, there are monsters in ‘Bermuda Island’, a film which begins with the FBI busting a crime boss and also features monsters, which don’t even try to appear remotely as though they aren’t wearing Halloween costumes, running amok on a deserted island. The opening scenes involving the FBI contribute nothing to do with the actual plot - though fortunately we only have to stand the poor choreography and editing for a little over three minutes. We then, through a series of news reports about an upcoming hurricane, move to the airport, where we’re given a run through of a number of characters that are all supposed to be significant. Of course, we know that the only reason why we spend five minutes frantically cutting and panning across the waiting area is that the flight will inevitably crash. The issue is, that most of the characters we’re introduced to play a minimal role in the events on the titular ‘Bermuda Island’ following the plane crash. Indeed, for so much spotlight on the criminal (played by Noel Gugliemi), he conspicuously disappears never to be mentioned again following the plane crash. Oh, and where did Tom Sizemore sneak off to. The issue is that we spend twenty minutes in the company of these characters when in reality we could have spent five and learned the exact same. The opening twenty minutes serve purely as an excuse to feature two former Hollywood almost-men in Tom Sizemore and Noel Gugliemi in a pathetic bid to draw in more viewers. 
The real stars of the show are Sarah French and Victor V Gelsomino as Carolyn and Damon, two passengers who find a romantic connection following the crash, John Wells, as Bruce, who mysteriously inhabits the island, and Wesley Cannon, as FBI agent Victor Sweden, the central antagonist of the group. The acting from the quartet is competent if uninspired. In truth, they aren’t given much of anything to work with due to a woefully bad screenplay Robert Thompson. Each line of dialogue is robotic, with excessive exposition and plainly inhuman interactions. Coupled with a directing style which fails to realise that the island needs to be its own character, the film feels amateur at best, and at worst as though it were made by thirteen-year-olds. There is not a beat of ‘Bermuda Island’ which hasn’t been adopted from some other, greater, piece of media. The mystery surrounding Bruce points to Kong: Skull Island, while the monsters (oh yeah, there are monsters) boast a strange resemblance to the monster(s) in ‘Predator’. Perhaps most obviously the film is derivative of ‘Lost’, one of the most influential TV shows of all time. For example, in ‘Bermuda Island’ there’s the Asian man with a faint grasp of English (Jin), the crooked guy (Sawyer), only this time he doesn’t make it to the island, the large man for comedic effect (Hurley), and Carolyn and Damon reflect the love story of Jack and Kate. The problem here is that ‘Bermuda Island’ lacks any of the world or character building from the TV show which made JJ Abrams a big deal. Instead, it’s like a knock-down version, as though story ‘creators’ Michael and Sonny Mahal saw the first episode of ‘Lost’ thought it was a cool idea, and decided to make a similar film with no concept of character development. ‘Bermuda Island’ is, if you’d pardon the expression, a real plane crash of a film, one in which nobody comes away unscathed, not even the audience. Buy UKFR Banner Space About the Film Critic Joe Beck Digital / DVD Release < All Reviews Next Film Review >

The Starling film review by UK film critic Hope Madden. Starring Melissa McCarthy, Chris O'Dowd, Kevin Kline directed by Theodore Melfi. HOME | FILMS | REVIEWS The Starling Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Sep 22, 2021 Directed by: Theodore Melfi Written by: Matt Harris Starring: Melissa McCarthy, Chris O'Dowd, Kevin Kline A quick synopsis of The Starling , the new drama from Hidden Figures director Theodore Melfi, brims with potential, offers an appealingly messy notion. Lilly (Melissa McCarthy) and Jack (Chris O’Dowd) are suffering, silently and separately, about a year after the death of their baby girl. Jack waits out his grief in an institution while Lilly tries to tough it out on her own. Eventually she decides to plant a garden, but a territorial, dive-bombing starling makes that difficult. She turns to psychologist/veterinarian Larry (Kevin Kline) for help. That’s a lot to unpack, but when the core theme is grief, complications are welcome. Hollywood tales of grief and relief tend to be too tidy, the metaphors too clean, while the unruly emotion being presented is rarely tidy or clean in real life. A good mess is called for. Unfortunately, The Starling is not a good mess. Just a regular old mess. Matt Harris’s script never digs below the surface — not even when Lilly is gardening. Melfi relies on the score to represent emotional weight rather than leaning on his more-than-capable cast to depict that grief. An anemic comic-relief subplot at Lilly’s gig managing a grocery store feels wildly out of place and wastes real talent. (Timothy Olyphant has four lines – funny lines delivered via a character that should be on a TV sitcom, not in this movie.) O’Dowd — who was the absolute picture of grief in John Michael McDonagh’s masterful 2014 film Calvary – fares the best with the material. Even though his character’s resolution feels unearned, there is heft in the performance that allows human emotion to overcome a weakly written character. McCarthy suffers most, though. Unable to ad lib her way toward elevating a drama, she sinks beneath the unrealistic banter between Lilly and Kline’s Dr. Larry. Kline is solid, strangely aided by Harris’s weak characterization, which allows the actor to find a groove that conveys more than what’s on the page. Moments of genuine emotion punctuate the film and, while welcome, they mainly serve as a reminder of what The Starling had the potential to become. Buy UKFR Banner Space About the Film Critic Hope Madden Netflix < All Reviews Next Film Review >

Blurred Lines (2024) film review by UK film critic Patrick Foley. Starring Mark Agar, Siobhan Aislinn, Robert Anthony Flynn directed by Mark Agar. HOME | FILMS | REVIEWS Blurred Lines (2024) Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Dec 5, 2024 Directed by: Mark Agar Written by: Mark Agar & Siobhan Aislinn Starring: Mark Agar, Siobhan Aislinn, Robert Anthony Flynn Blurred Lines is a film of contradictions. One that asks uncomfortable questions and addresses difficult and painful issues surrounding sexual assault in a manner that acknowledges complexity. But it is also one that feels tonally off and mishandles the approach to the story it really wants to tell. 6 friends gather for a house party on New Year’s Eve. Now older and in committed relationships, the gang look to let their hair down – but when someone’s drink is suspected of being spiked, suspicions arise about lurid pasts. With the night irrecoverable, hidden secrets begin to spill out until a much darker revelation emerges – the untrustworthy Lucas (Mark Agar) is accused of assaulting Chris (Siobhan Aislinn). Blurred Lines recounts a life-altering night for its ensemble cast – with the survivor story of Siobhan Aislinn’s Chris at its heart. Opening with her recounting of a traumatic event, the film goes on to explore how sexual assault and rape can be distorted amongst people who do not wish to believe. Every incident in a night, every drink, every accusation can lead to doubt being planted – even when the alleged attacker is known to be deceitful. Mark Agar’s performance as Lucas is dark and menacing – perhaps most disturbing in his protests against a label he is fully deserving of. The film’s ultimate problem however is in its journey to the central issue. The development of the party features the gang reminiscing and socialising until a suspected spiking incident which leads to Lucas and Brian (Robert Anthony Flynn) being locked away in a room upstairs – in what is a full-on unnecessary comedic detour from the main story and themes. There’s something to be said for refraining from black-and-white characterisation, but this section feels redundant and totally out of place. The spiking itself turns out to be something of a red herring in the plot – one that dilutes the spotlight on Lucas’ actions. The film is at its best when it is not erring towards ‘whodunit’ territory and tackles the issue of sexual assault head-on. The group dynamics begin to ruminate once Chris bravely accuses Lucas – and Agar and Aislinn’s script brilliantly and subtly shows how even friends can turn on each other in the most devastating way. The ‘blurred lines’ of the film are most prominent here, and it is clear that the filmmakers are capable of making powerful statements through the drama of the events that unfold. This is further emphasised with the closing sequence of the film – a nearly dialogue free moment between 2 central female characters that says more than almost any other scene. When Blurred Lines really locks in on what kind of film it wants to be and what kind of message it wants to say, it is moving and powerful. It is bogged down by too much filler and build-up, much of which bloats it far beyond what is necessary to communicate its point and upsets its tone – unfortunate considering its topic is one of incredible sensitivity. A much more focused approach would have served the script well, and allowed the performance of the cast and the powerful concluding scenes – the film’s undoubted highlights – to leave a much bigger impact on the viewer. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Old Windows film review by UK film critic Brian Penn. Starring Larry Lamb, Laura Bayston directed by Paul Holbrook . HOME | FILMS | REVIEWS Old Windows Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Feb 13, 2022 Directed by: Paul Holbrook Written by: Laura Bayston Starring: Larry Lamb, Laura Bayston We’re often told to be wary of strangers who ask too many questions. But what do you do when that stranger looks familiar and arouses our curiosity to the extent we ask questions of them? Kerrie (Laura Bayston) runs a homely East End café that has seen better days. Football memorabilia adorns the walls; a number 6 replica shirt occupies pride of place, West Ham and England skipper Bobby Moore is similarly honoured in every pub, café and newsagent around these parts. Harry (Larry Lamb) enters and orders a cup of tea and Eccles Cake. Elderly, well dressed but ageing well he seems unusually talkative. In an otherwise empty café Kerrie is guarded but immediately intrigued by the stranger. Open questions flow freely between the pair with crisp and measured dialogue opening up all kinds of possibilities. The audience are soon made aware of thoughts passing through her mind. Who is he, does he know me, do I know him, does he know my family and is he from around here? The reveal provides a satisfying conclusion. Over the course of 18 minutes we get to find out what the connection is between Kerrie, Harry and the café. Although off screen other characters are mentioned it’s essentially a two hander that works brilliantly well. Larry Lamb reprises many previous roles especially Archie Mitchell from Eastenders. But he packs tremendous charisma into every word, breath and expression; a curious mix of danger and rough diamond charm. Laura Bayston flits around nervously trying to please her customer, carefully treading line between polite and nosy. Interplay between the characters is never rushed but gradually builds a picture that allows the audience to draw reasonable conclusions. The film very quickly finds its level and relies on characters that are instantly familiar; we all know someone like them. Kerrie could be our wife, girlfriend, mother or sister. Harry feels more like a next door neighbour, the guy down the pub who we vaguely know; perhaps on no more than nodding terms but they have a comforting presence. An excellent effort and proof that even old windows can let a little light in. Buy UKFR Banner Space About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

The Xenophobes film review by UK film critic Chris Olson. Starring Svetlana Tulasi, Andrew Smith, Helena Sullivan directed by Penny Cullers, Hal Dace. HOME | FILMS | REVIEWS The Xenophobes Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Aug 6, 2024 Directed by: Penny Cullers, Hal Dace Written by: Hal Dace, Lancer Kind Starring: Svetlana Tulasi, Andrew Smith, Helena Sullivan An interstellar mission has serious implications for a captain and her crew. Not only are they heading towards a potentially hostile planet, their return home may find them facing a new world order. Directed by Penny Cullers and Hal Dace, The Xenophones is a sci-fi indie feature film that is full of ambition and plays with some compelling themes about humanity. Svetlana Tulasi plays Captain Shriya, a fearless leader for her crew which also include her husband Thelonius (Andrew Smith) and kids. The first half of the story sees them making their way on a six-year voyage to the planet Gliese, where signs of intelligent life have been picked up. A rocky first meeting involving missiles aside, the Captain manages to land her ship on the planet and have a meeting with a native, via a robot proxy. The mission is far from a success but things go from bad to worse when Shriya takes her crew home to find their 12 years away have been the equivalent of 60 years on Earth, and a lot has changed. Now they must navigate being strangers in another world, one where they seem like violent intruders all over again. Ambitious to a fault, The Xenophobes plays its heart out trying to create a very big film, well, two films actually, and the result is enjoyable but stretched and, too often, amateur. From the shaky graphics of missiles launching from their ship, to fake guns and space backgrounds, viewers will be forgiven for being put off by the overall aesthetic of the film. But the real misjudgement comes in the editing of this movie. It is way too baggy, with so many unnecessary scenes, technical dialogue, and tedious build-up, that audiences are likely to fail to even get to the second half of the film, which is actually the one which deserved to be made, and given more resources. Shriya getting to the alien planet is a long, drawn-out affair which actually could have just been explained in a five-minute section of the movie, then just showing them coming back to earth and having them play out the story of them trying to readjust in the new Earth. Some scenes hit harder than others and there is a great chemistry between the crew. Sequences of the family and the ship’s men and women struggling to find a place in their home are powerful and they endure a lot of hardship as the supposed invaders of a peaceful land. The core of the film is Shriya and Thelonius, it grounds the film and makes all of the chaos around them more palatable. Clunky dialogue and wooden delivery, however, hold back a lot of the scenes, and the melodrama is often enhanced by the score which becomes too noticeable too often. There is a stronger film in there but it would need a space mission of its own to find. Watch our Indie Film Review of The Xenophobes on our YouTube Channel: https://youtu.be/tpZHQRnBRZI Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >