Q=mcΔT film review by UK film critic Patrick Foley. Starring Arianna Richieri, Manuel Di Pierro directed by Lorenzo Bussone. HOME | FILMS | REVIEWS Q=mcΔT Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jan 24, 2024 Directed by: Lorenzo Bussone Written by: Lorenzo Bussone Starring: Arianna Richieri, Manuel Di Pierro No, Q=mcΔT is not the name of Elon Musk’s newest offspring (or doomed Twitter re-naming), but in fact the name of a short film release to promote new and disruptive Italian fashion brand ANΣ. Directed and shot by Lorenzo Bussone, the film uses an unsettling and vigorous storyline to showcase the brand’s fashion releases. A woman (Arianna Richieri) is divided literally and figuratively in an abandoned gothic hall. A doppelganger figure tries to reach out to her to make a connection, but barriers keep the two apart. Narcissism, insecurity and instability wreck pain on the woman, but as walls start to break down, intimacy and security take over as the pair embrace. Q=mcΔT’ s goal is to showcase the designs, vibes and mission of fashion house ANΣ, and in this it is unquestionably successful. The contemporary fashion stands out amongst the gothic and historic surrounding setting of the film – boldly and clearly setting the brand’s stall as both disruptive and modern whilst respecting classic values. The film creates a mood similar to the John Wick franchise’s unforgettable sequences in Italy, where timeless architecture meets extravagant midnight exuberance. The haunting quality creates prestige, and compliments the lucid story of the film. Lorenzo Bussone’s directing style similarly allows the clothing to standout without overtaking the performance of Arianna Richieri, or turning the film purely into a commercial. Whilst the purpose of promotion does naturally limit the artistic potential, there is unquestionably a cinematic quality that stands out, largely thanks to the director’s innovation and ability to engage the viewer. Audiences are kept constantly on their toes thanks to shifting perspectives, angles, lighting and experimentation. Amongst the best shots are of the woman and her doppelganger coming close across a split-screen to a connection before being divided once more. Richieri’s multilayered gaze also receives regular focus – demonstrating that great imagery is not sacrificed purely for emphasis on clothing. The film is short and sweet and is ultimately limited by its purpose and running time. Anyone looking for something with real depth will be left feeling a little underwhelmed, as even with a dark plot which touches on genuine issues and a moody, well-established atmosphere, there really is only so much story a promotional video can tell. But Q=mcΔT does ultimately do what it is designed to do – that is show off ANΣ’s collection in a dynamic and original way. It is an enjoyable enough watch, and fashion fanatics will no doubt be impressed by what they see. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Chuck Steel: Night of the Trampires film review by UK film critic Alasdair MacRae. Starring Mike Mort, Jennifer Saunders, Paul Whitehouse directed by Mike Mort. HOME | FILMS | REVIEWS Chuck Steel: Night of the Trampires Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Sep 25, 2022 Directed by: Mike Mort Written by: Mike Mort Starring: Mike Mort, Jennifer Saunders, Paul Whitehouse Night of the Trampires is the feature-length follow-up to the initial public Chuck Steel outing, the 2013 short film Raging Balls of Justice (creator Mike Mort had made a few unseen films with the character prior). It follows the 80s parody alpha cop as he faces a burgeoning city-wide crisis of tramp-vampires, or trampires, who come at night to drink the blood of unsuspecting sozzled prey. The titular potty-mouthed Johnny Bravo look-a-like is introduced as he jumps a motorcycle from a helicopter, spraying bullets at black-clad ninjas, explosions and Wilhelm screams aplenty, a textbook action sequence. And though that may sound great, adherence to the formula is actually the film’s biggest flaw. There is an abundance of 80s cop film clichés to make fun of, and vampire ones too, but Chuck Steel only harvests the low-hanging fruit. With familiar jokes about his hard-ass chief, a string of disposable partners, and copious amounts of collateral damage, it makes a person begin to wonder if they have seen more films that parody these tropes than actually use them unironically. Aside from exploiting over-used genre clichés most of the gags amount to little more than an interjection of a four-letter word or maybe a rude hand gesture into a scene. Infantile humour is incredibly hard to pull off as it requires a significant amount of charisma, and Chuck Steel and co. are ultimately too wooden for it to work. Which is a shame as the fluid 24-frames-per-second claymation is undeniably a remarkable technical feat. Animortal Studios’ style will appeal to fans of British animation, comparable to the likes of Aardman’s designs. This is not wholly surprising as writer-creator-director-animator-etc. Mike Mort, a man who wears innumerable hats on this production, is credited with working on the first series of Aardman’s Shaun the Sheep , as well as other familiar British animated shows, Fireman Sam and Gogs . But fans of those shows, who likely will have grown up since, will be blown away by some of the goretastic horror sequences, as puppets’ skin and flesh melt away into gloopy sinewy grotesquery. Night of the Trampires features some impressive animation but the consistently unfunny comedy makes it a slog. Fans of the prior short, Raging Balls of Justice , will surely be glad to see Chuck Steel ’s return, as it is largely more of the same. For those who are unfamiliar, it is probably best to check out that 15-minute production as a taster before diving into the feature. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Digital / DVD Release, Animation < All Reviews Next Film Review >

Puss In Boots: The Last Wish film review by UK film critic Hope Madden. Starring Antonio Banderas, SalmaHayak, Harvey Guillen directed by Joel Crawford, Januel Mercado. HOME | FILMS | REVIEWS Puss In Boots: The Last Wish Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Dec 21, 2022 Directed by: Joel Crawford, Januel Mercado Written by: Tommy Swerdlow, Tom Wheeler, PaulFisher Starring: Antonio Banderas, SalmaHayak, Harvey Guillen Live like there’s no tomorrow. For some, that idea may be freeing. Not for Puss in Boots (Antonio Banderas). Down to the last of his nine lives thanks to his devil-may-care, adventuring lifestyle, the legendary tabby knows fear for the first time. Indeed, it seems to him that death itself stalks his every move. But just as he’s resigned himself to the life of a housecat, he learns of a wishing star and decides that this one wish is his key to becoming his fearless, legendary self again. Too bad his ex, Kitty Softpaws (Salma Hayek), is also after it. So is narcissistic psychopath and piemaker Jack Horner (John Mulaney), as well as Goldilocks (Florence Pugh) and the three bears (Olivia Colman, Ray Winstone and Samson Kayo). That’s a killer cast right there. That’s five Academy Award nominations and one Oscar. Sure, most of that is Colman, but still, Puss in Boots: The Last Wish is loaded with talent. That’s no real surprise from the Shrek franchise or the gang at Dreamworks. What is a surprise is the material these pros have to tear into. Directors Joel Crawford and Januel Mercado capitalize on the talent with a heartfelt, surprisingly mature script from Tommy Swerdlow, Tom Wheeler and Paul Fisher as well as animation that looks better than anything the studio’s put out to date. Banderas has a blast, as he has since his first appearance as the booted feline in 2004. Not every actor is cut out for voice work, but Banderas excels. Pugh’s scrappy Goldilocks is a stitch, as is Winstone’s Papa Bear. Colman characteristically delivers a performance that’s equal parts tender, hilarious and heartbreaking. And with just her voice! The entire cast, including Harvey Guillén as the most resilient chihuahua ever animated, populates this imaginary world with decidedly memorable characters – characters with dimension, 2D be damned. Puss’s existential crisis drives this imaginative, often hilarious adventure, but it does more than that. It anchors all the derring-do with earnest emotion and recognizable struggle. The film never feels as if it’s winking at its adult audience while dishing out frivolity to youngsters. Instead, somehow the filmmakers bridge that, engaging all ages with an emotionally complex but digestible tale, gorgeously rendered, beautifully acted and shockingly fun. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Left Behind film review by UK film critic Jason Knight. Starring Savannah Gallo, Grace Farrell directed by Matthew R. Ford. HOME | FILMS | REVIEWS Left Behind Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 24, 2022 Directed by: Matthew R. Ford Written by: Matthew R. Ford Starring: Savannah Gallo, Grace Farrell Two young women discuss the abuse they both suffered at the hands of the same man. Kat (Gallo) is being visited by her friend Melissa (Farrell) at her home. Both have gone through terrible times after having a relationship with a violent and controlling man. Initially, that man was Cat's partner and he then moved on to Melissa. Kat openly talks about the torturous moments she went through while being with that vile individual and Melissa accuses her of allowing him to do the same to her by not warning her about the kind of person that he was. This short is quite an emotional roller-coaster. The dramatic screenplay strikingly explores the nightmare both women went through and reveals that they are deeply traumatised by their experiences. The plot also focuses on themes regarding domestic abuse, guilt and forgiveness. The atmosphere is rather sad and distressing throughout and listening to the inhuman things that man did to the two of them is heartbreaking. Things become a bit brighter when one describes happy memories involving a cabin in the countryside, although that does not last long. Generally, this story explores the aftermath of an evil man's actions, which includes emotional wounds that will never heal. And the plot twist makes things even more devastating. Both Gallo and Farrell deliver very powerful and emotional performances. They are quite convincing as victims of domestic abuse who have been scarred by their ordeals and they vividly express their emotions. The entire story takes place inside Kat's living room, and it is a rather unappealing site. The window blinds are down, there is an empty alcohol bottle, picture frames are overturned and one frame is on the floor, smashed into pieces. The state of this room reflects the kind of negative emotions that she is going through. The music includes beautiful piano and the score also becomes tense and sinister. The film opens with the song Behind the Wall by Tracy Chapman, sung wonderfully by Farrell, which is about police not doing enough to prevent domestic violence and it was a great choice as it refers to the film's subjects and helps set up an appropriate atmosphere. As the director of photography, Daniel Alexander develops outstanding cinematography and Ford does a great job with the editing, making effective use of fast cutting techniques. There are some scenes that utilise very creative filmmaking methods, which involve a shot of a window with the blinds closed. During these shots, another shot of a flashback is superimposed over the window, in a way giving the viewers the impression that they are actually looking outside, through the window. This short is not a pleasant viewing, however it is a powerful one and raises awareness of domestic violence. It focuses on the physical and mental scars that this kind of action causes and how it ruins people's lives. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Pencil film review by UK film critic Joe Beck. Starring Simon Manley, Janna Ramos-Violante directed by Simon Manley. HOME | FILMS | REVIEWS Pencil Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Oct 12, 2022 Directed by: Simon Manley Written by: Simon Manley Starring: Simon Manley, Janna Ramos-Violante Simon Manley’s ‘Pencil’ wants you to know that a pencil is more than just the tool of the writer, but ultimately makes its point too vaguely to have any real bearing. The other meaning of ‘pencil’, which is kindly given at the beginning of the films is - ‘when a brief comes in, suitable artists will be sent enquiries to see if they are available for work. As soon as you respond to an enquiry to say that you are available for the given shoot day/s, you are on a pencil. Just to emphasise the point, ‘Pencil’ is awkwardly lowered a couple of lines in a visually jarring manner. The film follows Simon (played by Simon Manley) as he goes about his life with partner Janna (Janna Ramos-Violante) debating whether he should settle down and start a family given his unpredictable work life. It appears, from my eyes because the film does not make it clear, that Simon is worried about being on pencil too often, and not being able to devote the time needed to his potential child. Simon’s debates are so murky to understand because, for the most part, they are fragmented voiceovers, where you can hear background noise and both Manley and Ramos-Violante are mumbling. Another reason it is all so difficult to ascertain is that this a problem which very few people will understand, and five minutes is not nearly enough time to immerse yourself in the life of a barely troubled artist. 
To an outsider, Simon’s initial problem - of wanting to try for a baby but not knowing whether he can devote the necessary time and love - seems reasonable and is an issue many people from all walks of life will confront at some stage. However, the addition of being on ‘pencil’ complicates matters to the point where the viewer is alienated by the situation, left wondering why Simon’s situation is so different, and if it isn’t then why is the film so focused on the term. The film’s lack of focus is amplified by its grainy lens and an overall sense that it was shot on an iPad, also not helped by the consistently unstable camera. Manley’s direction is solid if unremarkable, never reaching any highs but also never sinking to any disastrous lows. His performance is similarly devoid of highlights, though his abject script doesn’t help too much to do in that area. What ‘Pencil’ really needs is a good sharpening - the kind which would make its message a lot clearer, its shots a lot less grainy, and its story a lot less bland. Whilst never becoming offensively bad, it never threatens to be anything other than mediocre - in effect a weightless film. Here’s hoping the inevitable sequel ‘Pen’ will be better. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Gone in the Night film review by UK film critic Brandon Thomas. Starring Winona Ryder, John Gallagher Jr., Dermot Mulroney directed by Eli Horowitz. HOME | FILMS | REVIEWS Gone in the Night Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Jul 13, 2022 Directed by: Eli Horowitz Written by: Matthew Derby, Eli Horowitz Starring: Winona Ryder, John Gallagher Jr., Dermot Mulroney Winona Ryder was arguably the queen of the late 80s/early 90s when it came to counter-culture or oddball movies. Beetlejuice , Heathers , Edward Scissorhands , and Bram Stoker’s Dracula are all either bonafide classics or have become cult favorites in their own right. While the 2000s weren’t as kind to Ryder, her career came roaring back with the massive success of Stranger Things . With Gone in the Night , Ryder makes her way back to the big screen in a film that might not make the same lasting impression as her earlier movies. Kath (Ryder) and her boyfriend, Max (John Gallagher Jr. of 10 Cloverfield Lane and Hush ) drive deep into the woods for a relaxing cabin getaway. Upon arrival, the two find that another couple, Greta (Brianne Tiu of Amazon’s I Know What You Did Last Summer ) and Al (Owen Teague of It: Chapter One and It: Chapter Two ) have already moved in for the weekend. After some tense back and forth, it’s decided that Kath and Max will stay for the night before heading home. After a night of board games, and light flirting, Kath turns in first. In the morning, Kath finds that both Max and Greta have disappeared. A seemingly distraught Al claims to have caught them hooking up during the night. As Kath tries to figure out why Max abruptly left, flashbacks begin to piece this muddled tale together. Director Eli Horowitz weaves a clever mystery that patiently moves through the past and present. The film’s climax isn’t dependent on opening a satisfying mystery box. No, it’s more about how the film tries to subvert expectations along the way – and not always to a rewarding conclusion. There’s an attempt to comment on mismatched partners in relationships with Kath and Max. These two couldn’t be further from the same page when it comes to what they want out of a relationship or what they want out of life. Even holding a conversation feels like a chore for them. The link between this theme and where the film eventually ends up is murky and never really comes together succinctly. The mix in tone is where Gone in the Night stumbles most explicitly. The film’s original title The Cow , telegraphs a much more subversive film than the neo-noirish thriller the new title hints at. The third act twist would be much more satisfying had the lead-up not been as sardonic. Even the character motivations feel tacked on and convoluted. The cast handles the material much better than expected – although most of them feel adrift due to the tonal inconsistencies. Ryder delivers a solid bedrock performance as the in-the-dark (pun fully intended) partner. It’s nice to see her as the lead in features again, and the actor continues to show that she never lost the capability to command the screen. Gallagher Jr. offers another variation of the “bearded slacker” he’s been doing for the last five years. Despite the repetition, Gallagher is good at what he does. The standout is the always dependable Dermot Mulroney (My Best Friend’s Wedding, Copycat). Mulroney brings his on-point, affable charm, but also infuses the performance with a hint of darkness to keep the audience on its toes. Gone in the Night is a thriller that tries to offer up something new in a tried and true genre. Unfortunately, new doesn’t always mean good. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Reclaiming the Night film review by UK film critic Joyce Cowan. Starring NA directed by Daniel Benjamin Wheeler. HOME | FILMS | REVIEWS Reclaiming the Night Film Review average rating is 5 out of 5 Critic: Joyce Cowan | Posted on: Jan 9, 2024 Directed by: Daniel Benjamin Wheeler Written by: Daniel Benjamin Wheeler Starring: NA A disarmingly genuine and knowledgeable case for humanitarianism. In these days of global war and escalating violence and hate, the feeling that arguing for peace is a modern definition of madness rather than a simple human attitude comes often. It is usually culture, including but not limited to film, that reminds me that this is not always true. There is still humanity out there if we care to look. ‘Reclaiming the Night’ is a case in point. This documentary is a brilliant mix of academic exposition and humanitarian witness statement. Technically, it is of an understatedly high quality. Beginning by setting its academic tone with beautiful stills of the University building, from which we get views of the Artic landscape, and footage of an educational psychology class in Norway, then setting the humanitarian theme, and ending with the most powerful statement one could make: ‘I am not afraid’. In times when we are wrongly told that people ‘have had enough of experts’ (credit a certain shameless UK government minister a few years ago), I say thank the Universe for studious people. And where they use that knowledge to help others, times that by a million. Reclaiming the Night engages deeply with the essence of its subject matter, referencing the seminal work on childhood trauma on which the documentary’s lead, Professor Schultz, has largely based his work, ‘Too Scared to Cry’, by American psychiatrist Lenor Terr. Much like the title of the book references the physicality of trauma, the extreme cases in which the body is not even able to relieve itself through the process of weeping, the documentary’s brilliant title points to one of the essentials of psychiatric health and, ultimately, survival: sleep. And the documentary illuminates what the Professor’s work is truly about: to help the victims of extreme trauma to dream again. He means, and does this, both literally- helping victims reduce or stop their nightmares and bringing back their ability to sleep well- and figuratively, in the sense of regaining the ability to dream of the future again, to reclaim their faith in being alive. No easy task. The Professor’s brilliant work is done with the support of the Norwegian Refugee Council. I am a historian by training, so allow me, dear reader, to point to the origins of this organisation. Founded in 1946, the Council is a staple of the post- Second World War human rights consensus. A consensus that is currently being ripped to pieces by the global far-right. This makes works of film like Reclaiming the Night all the more necessary, urgent and essential to who we are as humans and our ability to face destruction with creation. Buy UKFR Banner Space About the Film Critic Joyce Cowan Documentary, Short Film < All Reviews Next Film Review >

Fjord film review by UK film critic Jack Salvadori. Starring Sebastian Stan, Renate Reinsve directed by Cristian Mungiu. HOME | FILMS | REVIEWS Fjord Film Review average rating is 3 out of 5 Critic: Jack Salvadori | Posted on: May 24, 2026 Directed by: Cristian Mungiu Written by: Cristian Mungiu Starring: Sebastian Stan, Renate Reinsve The 79th Cannes Film Festival is over, and, strangely enough, it already feels forgettable. An underwhelming and disappointing edition defined less by discovery or cinematic revelation than by absence: absent auteurs, absent risks, absent cinematic epiphanies. Whether it was the diminished American presence, major filmmakers increasingly gravitating toward streaming platforms, or simply a weak year from the very directors Cannes has spent decades cultivating, the result was a Competition lineup that rarely felt worthy of the festival’s mythic stature. And that sense of creative exhaustion culminated in the Palme d’Or awarded to Cristian Mungiu’s Fjord: a respectable film elevated to a level of prestige it never remotely earns. Not an embarrassment, perhaps, but certainly a monument to mediocrity. Instead, it leaves Cannes crowned as the supposed pinnacle of world cinema. Which is especially frustrating because the few films that truly felt alive, especially Rodrigo Sorogoyen’s El Ser Querido, were left overshadowed by a jury seemingly rewarding familiarity over ambition. Set in a remote Norwegian town surrounded by imposing fjords, Fjord follows a deeply religious Romanian family, father, mother, five children, including a baby, attempting to build a new life abroad. But after local authorities grow concerned about the children’s different upbringing, allegations of physical abuse emerge, and Norway’s child welfare services intervene and suddenly separate the children from their parents. The premise immediately taps into combustible contemporary anxieties: migration, cultural relativism, institutional overreach, and the clash between conservative family values and progressive Scandinavian social systems. Yet Fjord quickly reveals itself to be surprisingly one-dimensional. Mungiu never seriously interrogates the parents’ innocence. From the outset, the family is framed almost exclusively as victims of a cold, bureaucratic machine incapable of nuance or empathy. The Norwegian child welfare agents rapidly become senseless antagonists, embodiment of institutional cruelty rather than believable individuals operating within a flawed but complex system. Their actions feel exaggerated to the point of caricature, stripping the film of any ambiguity. And the choice of Norway as setting is hardly accidental. Mungiu deliberately situates the story in a society where questions surrounding child protection and social intervention are especially sensitive and aggressively enforced. What may be culturally tolerated in rural Romania becomes unacceptable within the Scandinavian welfare state. Yet instead of exploring that moral grey zone with genuine complexity, Fjord ultimately reinforces the very stereotypes it initially appears interested in dissecting. What’s most striking is how absent the children themselves are from the emotional core of the narrative, despite being the very reason the story exists. Instead, Mungiu focuses almost entirely on the anguish of the parents and the growing despair of a neighbour who reluctantly becomes their legal advocate against an increasingly hostile local community. The film wants to function as both intimate family tragedy and broader social critique, but the themes pile up awkwardly: childcare abuse, migration, xenophobia, religious conservatism, integration, even suicide. Rather than deepening the story, they often feel forcefully inserted, as though Mungiu no longer trusts the central conflict to carry enough weight on its own. Sebastian Stan’s casting only adds another layer of oddity. To his credit, he delivers an impressively restrained and believable performance as the family’s exhausted patriarch, avoiding melodrama entirely. But the decision to cast a globally recognisable Hollywood actor as an otherwise ordinary Romanian IT supervisor remains baffling. There is no transformative showcase here, no towering dramatic centerpiece requiring star power. One cannot help but wonder why Mungiu didn’t simply cast a Romanian actor instead? And now Cristian Mungiu joins the increasingly crowded double Palme d’Or club, a distinction that once felt nearly sacred. Year by year, that exclusivity erodes, reflecting a potentially troubling tendency within Cannes itself: rewarding established auteurs not necessarily for making the best films, but simply for continuing to exist within the institution’s canon. Buy UKFR Banner Space About the Film Critic Jack Salvadori World Cinema, Film Festival < All Reviews Next Film Review >

Film news - The Truffle Hunters At Cinemas July 9th. Find out more at UK Film Review. The Truffle Hunters At Cinemas July 9th Chris Olson Monday, July 5, 2021 at 4:04:14 PM GMT+1 THE TRUFFLE HUNTERS Only At Cinemas This Friday, July 9 Deep in the forests of Piedmont, Italy, a handful of men, seventy or eighty years young, hunt for the rare and expensive white Alba truffle—which to date has resisted all of modern science’s efforts at cultivation. They’re guided by a secret culture and training passed down through generations, as well as by the noses of their cherished and expertly trained dogs. They live a simpler, slower way of life, in harmony with their loyal animals and their picture-perfect land, seemingly straight out of a fairy tale. They’re untethered to cell phone screens or the Internet, opting instead to make their food and drink by hand and prioritizing in-person connections and community. The demand for white truffles increases year after year, even as the supply decreases. As a result of climate change, deforestation, and the lack of young people taking up the mantle, the truffle hunters’ secrets are more coveted than ever. However, as it soon becomes clear, these aging men may just hold something much more valuable than even this prized delicacy: the secret to a rich and meaningful life. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Suburban Pimp film review by UK film critic Joe Beck. Starring Gee Frey, Andrew Steiner, Alexander Kollar directed by Vilan Trub. HOME | FILMS | REVIEWS Suburban Pimp Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Feb 4, 2024 Directed by: Vilan Trub Written by: Vilan Trub Starring: Gee Frey, Andrew Steiner, Alexander Kollar Good comedies are those that make you frequently throughout, great comedies are those that have you, and those around you, dying of raucous laughter constantly throughout the entire film. ‘Suburban Pimp’ is neither of those, instead a comedy with zero laughs, that tries too hard to match the pulpy style of Quentin Tarantino or Guy Ritchie, instead coming across as a cheap knock off of those directors esteemed works. Indeed, the story of a pimp who conducts his shady and illegal business predominantly in the suburbs is exactly the kind of tale you could imagine being made into a masterpiece by the likes of Tarantino, matching the style that has made him into one of the most successful modern day auteurs. However, writer-director of ‘Suburban Pimp’ Vilan Trub is no Tarantino, far from it, and he lacks any of the visual style, or sharp witty dialogue that is necessary to elevate such a pulpy story reminiscent of the B-movies of the 1970s. ‘Suburban Pimp’ follows the titular pimp, who, in one of the most uninspired and utterly cringeworthy gags in the entire film, has adopted the moniker Dolce Gabbana as his pimp name, as he seeks to get back into the pimp business following his recent release from prison. Dolce Gabbana (it’s painful even writing the name out) is played by Gee Frey, who fails to appear even remotely pimp-like throughout the film. Frey is neither intimidating enough nor has a rough-edged charm needed to make himself a believable pimp, and though not helped by the script, his bland uninterested line delivery only exemplifies the lack of wit in this so-called comedy. The pimp’s plan to get back into the business is scuppered by his first prostitute, a dimwitted homeless man who he names Curious George. Curious George’s lack of brains, combined with the fact he’s a middle-aged man with a far-receded hairline, make the pimp’s business extremely difficult to conduct, finding trouble immediately when dealing with their first client, played by Alexander Kollar. A series of misdemeanours and misunderstandings follow, each one less funny than the already unfunny previous one. George is played by Andrew Steiner, who, although he delivers his lines better that Frey, is also underserved by the script and the fact that he has next to no chemistry with Frey. Writer-director Vilan Trub imbues the film with a distinct lack of wit through his screenplay, with not a single line rolling naturally out of the actors mouths or making you think. Instead it is filled with misjudged gags that only make your eyes roll and meandering fluff. Trub’s directing is no better, from the attempt to create a pulpy style with the intermittent drums over the opening credits, which then fades completely as the film lacks any sort of visual invention or style throughout, with a total lack of flair behind the camera. ‘Suburban Pimp’ is a story which, in better hands, could easily form the basis of a fun, engaging crime comedy, however, with a script as flat as it is, it falls well short of that mark. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Si film review by UK film critic Jason Knight. Starring Luz Rodriguez-Basavilbaso, Carlo Sardon directed by Martin Ponferrada. HOME | FILMS | REVIEWS Si Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 15, 2022 Directed by: Martin Ponferrada Written by: Martin Ponferrada, Carlo Sardon, Luz Rodriguez-Basavilbaso Starring: Luz Rodriguez-Basavilbaso, Carlo Sardon Shortly after meeting a nice young woman, a young man is unsure how to react after making a dramatic discovery about her. Anita (Basavilbaso) and Carlo (Sardon) are strangers who meet for the first time at a bar. After closing time, they go to Anita's home. Things go well for the two of them, they chat talk about where they are from, what kind of books they like to read, they have a few drinks and the atmosphere is pleasant. However, things change between them when she reveals that a couple of years ago she was drugged and possibly raped. This interesting short film begins with romance, with two people meeting, having lighthearted conversations, getting to know each other and then things become dramatic following Anita's revelation. With the knowledge that she went through this terrible ordeal, Carlo does not know whether it would be right for him to sleep with her, as he believes that her experience might have changed her as a person and made her vulnerable and if they proceed, he is concerned that he could be disrespecting her and taking advantage of her. She disagrees, arguing that when she was drugged, she had no choice, while now she does. They end up having a long conversation about this, sharing their point of view. Generally, Anita believes that there would be nothing morally wrong if they slept together, while Carlo is not sure about either. Basically, the film appears to be raising a question: if a person has been through an experience similar to Anita's, would it be right for another individual to sleep with them if they themselves are aware of that event? The filmmakers seem to be leaving the answer to be decided by the viewers. Both protagonists do a great job and deliver convincing performances. Basavilbaso plays an optimistic individual who believes she sees the right side of things regarding Carlo's dilemma. Sardon's character is a sensitive person who is cautious about what is morally correct. The two of them speak in Spanish and occasionally in English. Rory Laws provides a score that is amusing and accompanies the scenes effectively. Ponferrada directs well and creates a well-executed long take. This is a short comedy drama with strong acting and well-written dialogue. The conversation between the two leads regarding Anita's ordeal is intriguing and will most likely leave the audience with a thoughtful experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

The Three Little (Proletariat) Pigs film review by UK film critic Patrick Foley. Starring Liv Ello, Reed Stokes, Rebeka Dio directed by Daniel Oluwasayo Olabode, Atticus Orsborn. HOME | FILMS | REVIEWS The Three Little (Proletariat) Pigs Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Dec 8, 2023 Directed by: Daniel Oluwasayo Olabode, Atticus Orsborn Written by: Atticus Orsborn Starring: Liv Ello, Reed Stokes, Rebeka Dio I haven’t laughed at a film as much as I did during The Three Little (Proletariat) Pigs in a long, long time. Atticus Orsborn and Daniel Olabode’s skewering of avant-garde theatre and performative leftism is a genuinely hilarious mockumentary that allows a brilliant cast of characters to shine. Emerging theatre director Clement Clemence (Liv Ello) has received funding to create a communist version of ‘The Three Little Pigs’ from visionary artist Jean-Raphael Boutonne (Douglas Clarke-Wood). Roles of the three pigs go to Jade (Rebeka Dio), Amy (Lee Tatlock) and Clive (Joel Gottfried), and American star Vesper (Reed Stokes) – fresh from a recent social media scandal - is cast as the big bad wolf. Clement’s distaste of Jade, the cast’s dreadful accents and Vesper’s inability to memorise even basic details of the script are just the start of the problems that befall the doomed production… The Three Little (Proletariat) Pigs biggest strength is its characters. Delusional theatre director Clement Clemence is excellently brought to life by Liv Ello, obnoxiously and ignorantly crowing about safe spaces whilst bullying and dominating their cast with a faux-iron fist. The sincerity Ello imbues into Clement’s belief that their play will bring about the downfall of capitalism makes their protracted breakdown that much funnier. They're met head-on in the aloof department by Reed Stokes’ Vesper, an equally brilliant creation that mixes the unearned arrogance of Veep’s Jonah Ryan with the real-life extravagances (ahem…) of the Shia Labeouf/James Franco brand of art-school actor. His misplaced cockney accent draws laughs every time it is inflicted on the viewer. Contrasting with the extravagant two is Rebeka Dio’s Jade, a grounded young actress foreign to the artistic flourishes of her new master. Jade is the audience’s life raft to the insanity of the cast – and her victimisation at the hands of Clement is an integral channelling of how the desire for success, power acclaim and money can turn even those who proclaim kindness and equality into despots. Liv Ello’s ability to leave a sinister bite at the end of Clement’s snipes meshes with Dio’s empathetic tendencies. In a powerful moment, Jade’s refusal to walk out of the group due to the carrot of meeting Jean-Raphael Boutonne demonstrates that even the stable amongst us can lose sight of what is normal, right and justified. The deification of Boutonne – wielded yet not created by Clement – is central to the film’s critique of pseudo-geniuses whose unusual methods can act as a smokescreen for brilliance, when in fact they instead result in harm – physical and psychological. The docudrama/mockumentary format situates the viewer as an observer within the group during rehearsal. As with most great films or shows of this nature, it allows an immersive experience whereby the characters engage around the camera – leaving the interactions feeling natural and authentically awkward. TV-show cutting at convenient moments would result in scenes such as Vesper’s debut of his chimney sweep-esque accent feeling staged or scripted, as opposed to the toe-curlingly brilliant hilarity that results instead. The director’s commitment to the format is to be applauded. There really is so much to like about The Three Little (Proletariat) Pigs , from genuinely funny and searing comedic performances to its altogether more serious and considered message. Anyone experienced with either the ridiculousness or the toxicity that often comes with creative industries will find this all too relevant, but the eclectic performances of Liv Ello and Reed Stokes will be a highlight for anyone. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >