VIKRUT film review by UK film critic James Learoyd. Starring Het Panchal, Pritesh Acharya directed by Sandip Sharma. HOME | FILMS | REVIEWS VIKRUT Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 7, 2024 Directed by: Sandip Sharma Written by: Sandip Sharma, Krishn Acharya Starring: Het Panchal, Pritesh Acharya VIKRUT is the new thriller piece from director Sandip Sharma and tells the twisty story of a serial killer. The exciting setup is the following: a man is riding in a taxi in the middle of the night, but as the radio begins to describe details of an elusive serial killer, we begin to suspect the passenger is the criminal... but we can’t be sure. It’s a dark movie with some really grizzly moments. It’s as engaging as it is shocking; although, it has a meandering feel about it, and some moments lack that technical smoothness. It’s a movie which begins as a Hitchcockian mystery and transitions to a full-on gore-fest, yet it does this rather smoothly. VIKRUT is a strong work consisting of intelligent direction and skilled performances – only ever let down during the most lax or static moments. From its opening moments, there’s a striking – and rather wonderful – use of location, atmosphere, and setting. This film is entirely set at night, and not only does this heighten tension and mood, but it also challenges our rather talented cinematographer to craft the light through things like streetlamps and car lights. The first half of the piece looks terrific because of this; and since the motorway location in question is completely empty, there’s an eeriness to what we’re witnessing; a desolate, lonely use of mise en scéne which serves to build a sense of danger. This thriller only contains two actors - and, thankfully, they’re both pretty great. Audiences will buy into the reality of the film because of the performers’ use of facial expression, which allows us as viewers into the emotion of the story. What this means is that, when a certain plot-twist occurs halfway through the runtime, it lands with impact. Some may try to argue that there’s ‘overacting’ in this movie; but when I’m watching a short, twisty, genre-film, I like my acting big and broad – which this delivers during its denouement. A big issue with this movie is its questionable use of music. During the most dramatic and gruesome moments of the picture, a distracting beat will be playing in the background. Since the drama is already heightened enough, it would benefit the piece if certain scenes were left without music. Instead, focus can be paid on the audio design and soundscape. When a film is working within territory such as this - as opposed to drama or comedy for instance - sound can play an active role in the terror and atmosphere of the narrative. But leaning on generic music can often be the wrong way to go; we’d rather hear more detail in the squelching, or even in the background sound of a particular location... the little things. But all in all, there’s some great ambition on display in VIKRUT . The fundamental decisions made during pre-production – that concerning location, time of day, and even casting – ensure that the film is more than watchable. Despite its inherent clunky moments, there’s a great deal to enjoy in this new and unnerving thriller. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, World Cinema < All Reviews Next Film Review >

Man on the Hill film review by UK film critic Patrick Foley. Starring Michael Tait, Alexander Clark, Sue Osborn directed by Jacob Stockton. HOME | FILMS | REVIEWS Man on the Hill Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Oct 13, 2025 Directed by: Jacob Stockton Written by: Jacob Stockton Starring: Michael Tait, Alexander Clark, Sue Osborn The sacrifice of young men thrown into the meat grinder of World War One and the hollow differences between soldiers of both has been pondered endlessly through cinema history. World War Two is more commonly seen through an unequivocal lens – obviously due to the genocidal intent of the Nazi regime. Man on the Hill examines two soldiers from opposite sides of the conflict who end up bonded by their experience. During Operation Overlord, a British platoon stranded behind enemy lines is picked off one by one. Jim (Michael Tait) is the last man standing and is confronted by lone German soldier Oskar (Alexander Clark). After a fight breaks out, Jim takes Oskar hostage and marches him back towards British encampments. But on their journey, Jim discovers that there is more to Oskar’s story than he could have predicted, and his commitment to the German cause is not one formed by ideology alone. Perhaps contemporary international politics have conspired against Man on the Hill . ‘Just following orders’ has long been a lamentable excuse for Nazi atrocities during World War Two, but one would have thought the passage of time would allow for more nuanced approaches to the moral centre of those who served under Hitler, not less. As it is, watching masked stormtroopers on American streets, Russian troops in Ukraine and a genocide unfold in Gaza mean that understanding and sympathising with the other side feels a long way down the list of priorities for those who care about democracy and liberty – the bedrock of the ethos of the Allies in World War Two. Oskar may not care for Hitler’s racial theories, but his commitment to nationalism and willingness to look the other way permit them. And asking an audience to have empathy or consideration for him may be tough for some to swallow – even if he does invite his enemy round for dinner. The plot itself is straightforward, focusing on the unexpected bond between two men who find themselves in grave danger. Each man discovers the other’s nobility in a well-paced manner triggered by gripping enticing events that are dripping in tension. It gets a little far-fetched at times, and some of their decisions stretch credibility in what is meant to be a combat setting, but the emotional drive comes through. The ending is pure Sunday afternoon schmaltz, tear-shedding for the John Lewis crowd but vomit-inducing for others. There are other highlights, such as Michael Tait’s performance as Jim as well as impressively strong design across the film that largely convincingly recreates the Second World War despite a lower budget. Writer/director Jacob Stockton has clearly given some thought to plot holes and logical inconsistencies that, whilst still present in some areas, are addressed in others – such as why Oskar doesn’t run when German troops are present. But it is that central conundrum around the film’s moral core that prevents it from fully working. Oskar’s love of his country may be his motivator, but for most, a Nazi is a Nazi. And where reconciliation and forgiveness are essential for healing the wounds of the past, moments in which the two men feel like they are being placed on equivalent moral footing are a misfire. The holocaust, inextricably linked to the German war machine, is barely given a passing mention in the film. And where Jim may be willing to offer Oskar an olive branch, it does not feel like it is his to offer on behalf of the viewer. Those looking for a quick shot of sentimentality will leave Man on the Hill satisfied, but anyone with more than a passing interest in the war will find its narrative difficult. It is a shame, because the direction, performances and story structure are largely fine. Ultimately, it’s about the wrong war. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

A Fistful of Water film review by UK film critic Daniel Baldwin. Starring Jurgen Prochnow, Milena Pribak directed by Jakob Zapf. HOME | FILMS | REVIEWS A Fistful of Water Film Review average rating is 4 out of 5 Critic: Daniel Baldwin | Posted on: Apr 6, 2023 Directed by: Jakob Zapf Written by: Ashu B. A., Marcus Siebert, Jakob Zapf Starring: Jurgen Prochnow, Milena Pribak Jakob Zapf’s quiet drama A Handful of Water revolves around grieving widower Konrad Hausnick (Jurgen Prochnow) living out his days going through his usual routine in a very cold and robotic manner, with the only light in his life coming not from his adult daughter and her new family, but instead from his fish-filled basement aquarium. He is a man who has found himself unable to move beyond his sorrow, nor to find room in his heart for the joy of others. Enter Thurba Al-Sherbini (Milena Pribak). Thurba is a 12-year-old Yemeni refugee who is on the run . She set off into the world on her own when German police come knocking at her home, forcing her to leave her mother and two siblings behind. Per German law, the family cannot be deported back to Bulgaria unless all members are accounted for. If you’re guessing that Thurba manages to take up residence in Konrad’s home, you’re right on the Deutsche Mark! A young person managing to bring a bereaved aging man out of his shell is a tale as old as time. Sometimes it comes in the form of fantastical animation like Up! , a violent comic book blockbuster like Logan , or a soaring sports drama like Creed . And sometimes it arrives in a much smaller package, as it does here. This is a tried and true formula because it’s one that often sings and that holds true for this film as well. Those of you who are primarily used to seeing Prochnow vamp it up in a villainous manner across decades of genre cinema are in for a treat here, as this is a very different side of the man. Jurgen has rarely been better than he is as Konrad, and his performance is matched pound for pound by newcomer Pribak. They are the heart and soul of the film. It doesn’t matter if you can guess where things will go at almost every turn, as the flavors they add to the journey make it worthwhile. A Handful of Water might not contain very many surprises, but it also avoids the pitfalls of many dramas of this type. It’s never too on the nose with its message and it’s never too saccharine for its own good either. Zapf, Prochnow, and Pribak get the recipe right from moment one and the end result is a fine little drama. Buy UKFR Banner Space About the Film Critic Daniel Baldwin Digital / DVD Release, World Cinema < All Reviews Next Film Review >

The Miner's Son film review by UK film critic William Hemingway. Starring Huw Ab Jones, Cal Chapman, David James Easter, Jerry Anderson directed by Juliette Short. HOME | FILMS | REVIEWS The Miner's Son Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 20, 2024 Directed by: Juliette Short Written by: Kevin Short and Juliette Short Starring: Huw Ab Jones, Cal Chapman, David James Easter, Jerry Anderson In 1984’s Britain, the country was ready to tear itself apart. The Thatcher government was cracking down on everything in sight and turning the screws on the ordinary man to the point where people couldn’t live or breathe anymore. Riots were brewing on the streets, racism was rife and the imminent closures of many of the heavy industries which had been the backbone of Britain for over a hundred years meant that the unions were revolting against the established order. So you might say, what’s changed? But things were worse then – they really were. In writer/producers Juliette and Kevin Short’s new feature, The Miner’s Son , we are whisked right back to this combative era to follow the story of some of those who lived through it. The titular miner’s son, Clay (Ab Jones), is part of a four-piece band along with his mates, Davey (Chapman), Ravvi (Roy), and Vim (Nettleton). Clay gets it in both earholes from his father (Easter) who has worked down the mines all of his days, and who wants Clay to follow in his footsteps despite the looming closures promised by the government. Clay, however, would rather spend his time being creative on the guitar and understands that there’s no future in coal for him or for anyone else of his generation. This causes friction at home, which to be honest is fairly easy to come by, and this tension is spreading throughout the community, in the pubs and working men’s clubs, as everyone wrestles with the same situation. Into the fray, posing as a record producer and Arthur Daley styled entrepreneur, comes the exuberant spiv, Derry Knight (Anderson). Knight offers his services to the band, to set them up in a studio and record a demo tape to send to the big labels, for a not-so-modest fee. He also has some alternative sidelines on the go, such as the scam he is running on the local vicar, which includes a load of old cobblers about doing the dirty on a local cult which he has inadvertently found himself a part of. And yes, this is really sold as a salient plot point. So, with all of the groundwork done, the plot moves on to pushing each of these threads forwards until they reach their natural conclusion. There is no inclination to throw sensationalist events into the story or to jazz up the narrative a little with salacious tabloid juice, with a tame, inconsequential, small age-gap affair being the only extra storyline that the Shorts have chosen to include. Instead, the background issues of the day become the meat and potatoes of the Shorts’ narrative, and we are left to bear witness to the strife of a few miners to help fill out the entire two hours runtime of the film. What is noticeable about all of this is just how long it takes to get through the story. With the band only performing a couple of gigs throughout, and the miners talking amongst themselves until they form a picket line, it takes a literal age to get there. Then when we do actually arrive at the denouement of these threads it all feels a little bit anticlimactic, with nothing really wrapped up in the end. There’s an awful lot of the film spent on showcasing period cars and playing garage band music of the day, and in truth the whole film could have been told in half the time if these elements were pared down a little. There’s a few of these elements which feel somewhat anachronistic as well, with the miners sporting some pretty fancy wheels (not to mention Clay’s family home) which would be out of the pay bracket of many a miner of the day. The clothes, too, while not out of place in and of themselves, are worn and styled in such a way that they feel far too modern for the time and place in which they are shown, which takes the viewer out of the scenario to some extent. What does come through though, is the acting from everyone involved, as well as the solid direction from Juliette Short. It obvious that the Shorts have got exactly what they wanted from their production budget and it’s easy to see that everyone involved with the project is giving their everything to it. David James Easter as Clay’s dad stands out in terms of acting talent, even if his character grates a little, and the locations used, in terms of the local businesses and the working men’s clubs, serve the story well. The Kent countryside also makes a welcome appearance, with DoP Joe Potts capturing the background scenery in beautiful detail. In the end, The Miner’s Son shows itself to be a very personal film for the Shorts. The story and the characters appear to be based on themselves and real people who were around them during the time period explored in the film. The events were obviously lived through by the writer/producers and that lends The Miner’s Son a degree of authenticity, however, it also limits the scope of the story to only what these people knew. There’s very little drama that breaks through to the audience and the minor machinations that we are party to just take too long to express. The Miner’s Son is a fine film that could have benefited from being half the length that it is. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

Misha and the Wolves film review by UK film critic William Baines. Starring Emilia Hobkinson, Laura Liberatore directed by Sam Hobkinson. HOME | FILMS | REVIEWS Misha and the Wolves Film Review average rating is 3 out of 5 Critic: William Baines | Posted on: Aug 24, 2021 Directed by: Sam Hobkinson Written by: Sam Hobkinson Starring: Emilia Hobkinson, Laura Liberatore An extraordinary story told in an ordinary way. Misha and the Wolves tells the story of an incredible journey made by Misha Defonesca during World War II and the troubled creation of the subsequent book. During the Holocaust, Misha had been separated from her parents and moved to a rural house with new, failing carers. In an attempt to reconnect with her lost family, Misha, at only 7 years old, began a journey from her home in Belgium to find her parents in Germany. She sets off with basic supplies and, after finding Germany on a map (‘it didn’t seem too far away’ Misha recalled), she begins a journey that would create headlines globally many years later. Along the way, Misha encounters the inevitable struggles and dangers found in nature. One of which was a pack of wolves that seemed like large dogs to the young Misha. Perhaps due to her fearlessness and confidence, the wolves did not attack. Instead, she found comfort in being with them. She becomes one of the pack as they protect her from threats across the long journey. Of course, when the small-town Misha lived in heard of this story, there was amazement, disbelief and a desire to get this story heard globally. They wondered how this person could have such an incredible yet unheard past. This leads to a group effort from many people in the town to get Misha’s tale of survival heard. A highly successful book is created and sudden fame for Misha follows. Misha and the Wolves is a well-crafted documentary. It tells an incredible story and tells it reasonably well. There are some interesting stylistic techniques utilised and often beautiful imagery. Furthermore, the confusion that is carefully crafted by Director Sam Hobkinson begins as an excellent way to keep an audience that is now acclimatised to seeing endless explosions on the big-screen completely focused on the true-story. It remains informative and absorbing throughout, steering clear from dullness and striking a balance between information and entertainment. However, Director Sam Hobkinson seems focused on making something closer to a drama than a thought-provoking documentary. An unimaginative, ordinary drama that is arguably forced from an incredible story. Each individual is treated more like a character in a documentary less about Misha’s complicated tale and more about the tension of a small-town in Massachusetts. The shock turn of events that is eventually unveiled acts more as a plotline to this drama instead of an event that the audience is learning about. Overall, Misha and the Wolves is a decent, well-made documentary that tells an outstanding story. It can be frustrating when the opportunity for more insightful ideas is ignored and instead more drama is forced out of the storyline. However, this unbelievable story of Misha and the Wolves had to be told. And this documentary is not a bad way to tell it. MISHA AND THE WOLVES will be released in cinemas nationwide from Friday 3rd September. Buy UKFR Banner Space About the Film Critic William Baines Documentary < All Reviews Next Film Review >

On The Nose film review by UK film critic Patrick Foley. Starring Alexis Presley, Mustapha Slack directed by Thomas Davisson. HOME | FILMS | REVIEWS On The Nose Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Sep 16, 2025 Directed by: Thomas Davisson Written by: Thomas Davisson Starring: Alexis Presley, Mustapha Slack Thomas Davisson’s comedic short On The Nose is an amusing, bite-sized story of a couple’s tiff gone spectacularly wrong on the surface. Underneath, it actually manages to function as a surprising commentary on relationships and communication in its 5-minute runtime. Whilst preparing for a night out, a girl (Alexis Presley) asks her boyfriend (Mustapha Slack) for his thoughts on her outfit. Engrossed in his video game, she senses his attention is elsewhere and his answers are auto-piloted – so she intentionally tries to slip him up by wearing pieces of the same look. What starts as a domestic dispute leads to a chase around town, until the boyfriend gets the chance to reveal what really prompted his reaction. On The Nose mines a lot of fun in a tight running time out of stereotypical interactions between men and women in relationships. Mustapha Slack’s character appears to be an archetypal dudebro – long having abandoned that extra layer of attentiveness since living with his partner. His seeming refusal to even raise his gaze to his girlfriend is noticeable, and her passive-aggressive responses and testing of his courtesy feels natural. This of course ends up subverted as the film progresses, and whilst the boyfriend may not be perfect, it turns out there are layers to his character, to their relationship, and to the meaning behind the awkward dismissal. It makes all the events of the film, including the extreme lengths the girlfriend’s frustration leads her to all the funnier. And is crowned by the closing credits during which the couple keep up appearances and act entirely normal at the event they are heading to – that post-argument feeling we all know all too well. The opening ‘classic Hollywood’ title card sends a message from the get go that this couple is synonymous with tradition. It seems a strange takeaway given the row that takes up much of the narrative and each of the pair’s actions, but the importance of the message is how normal disagreements and frustrations are in perfectly functional relationships. Steering into our worst impulses is sometimes an understandable misstep, and forgiveness is sufficient to bridge the gap. Or in this case, canny styling advice… On top of this the film is shot beautifully. Alexis Presley is bathed in vibrancy and light to match her extravagant outfit, whilst the cool tones that accompany Mustapha Slack extenuate his laisse-faire attitude to his relationship. Fast-paced editing is a necessity for the running time, and creates a sense of pace and franticness that add to the believability of a situation quickly spiralling out of control. Unlike so many shorts of this length, the film is perfectly timed – completing a natural arc for its two leads and telling it short story concisely and completely. It is a testament to director Thomas Davisson’s restraint and control that such a film feels so accomplished. On The Nose really is anything but. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Happily Ever Afterlife film review by UK film critic Chris Buick. Starring India Barnett, Geoff Baron, Anne Baron directed by Susan Moffat. HOME | FILMS | REVIEWS Happily Ever Afterlife Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Aug 22, 2024 Directed by: Susan Moffat Written by: Susan Moffat Starring: India Barnett, Geoff Baron, Anne Baron As Alice (Barnett) is rushing out the door in full princess getup to make her first children’s party appearance in too long, she accidentally backs her car straight into the passing and unsuspecting Thomas (Baron) killing him instantly, leaving herself with not just a moral quandary to deal with, but also with the now ever-present ghost of the very recently deceased elderly man by her side. “S***ing hell, I've killed the John Lewis grandad” Despite this exclamation, Alice’s immediate concern is less with poor unfortunate gentleman now lying in her driveway but rather her dashed career prospects and possible imminent and ghastly prison attire. But Thomas, sensing a quid pro quo situation here, offers to help her get away with it all, as long as Alice makes sure he isn’t buried in the pre-planned plot next to his overbearing former wife. “Where would you get enough acid to dissolve a body, Ms Dahmer?” “Uh, Amazon” Labelling Happily Ever Afterlife as a dark comedy is certainly apt, however one must not take away from how much more of the comedy spectrum writer/director Susan Moffat manages to traverse. From slapstick to surreal, full of jokes both black and blue and with a fair share of deadpan one-liners tossed into the mix as well, Moffat certainly throws a lot at the wall here in search of laughs and there are a great deal of genuine laughs to be enjoyed. The film is best when it leans right into its darker side, and the brilliant use of cut shots as well as some of the edgier or more subtle gags really help to make all the ongoing ridiculousness enjoyable. Of course, there are jokes that work for all tastes outside of the macabre, but it’s also not without some that simply don’t; at times its down to the delivery which isn't always quite there, but other times its simply that the joke falls flat altogether. However, the scales definitely tip more in favour of the ones that do work against the ones that don’t and thankfully as well, Happily Ever After has much more to offer than just plenty of gags. Barnett’s Alice and Baron’s Thomas increasingly warming back-and-forth help elevate everything even further into a somewhat heartwarming story of the fulfilment of one man’s last requests, leading you too root for their success right to the end and beyond. Happily Ever After might not always tickle the funny bone when it tries, but its unique tale about respecting dying wishes still delivers a good amount of laughs and a hefty amount heart making it well worth a watch. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Aurora film review by UK film critic William Hemingway. Starring Guy Kent, Jennalyn Ponraj, Robert Diago DoQui directed by Angad Aulakh. HOME | FILMS | REVIEWS Aurora Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Aug 21, 2026 Directed by: Angad Aulakh Written by: Angad Aulakh Starring: Guy Kent, Jennalyn Ponraj, Robert Diago DoQui An astronaut is the sole survivor of a catastrophic mission into the depths of space, where an unknown entity reaches out to grasp at the humanity within his soul. Commander Freddie Ballard (Kent) is in a bit of a pickle. He can’t quite figure out just where he is, or whether he has actually already been on the mission that has been assigned to him by his superior officer (DoQui). Rather anachronistically he is called back to himself through the time-tested cinematic device of a telephone ringing. At first it’s his girlfriend (Ponraj) who picks up the phone, even though he tells her not to, but time and again we are brought back to that same room, and that same ringing of the telephone, so that Freddie can receive his limited narrative motivation and move onto the next sequence of his story. Interspersed with Freddie’s home life and military debriefing is the time he spends in space, or has spent, or will spend, or will spend again. You see, Freddie appears to be caught in some sort of time loop, or space loop, and it is unclear whether he is remembering his story, looking to the future, or is caught in some sort of simulation. In reality there are no answers for Freddie, because there are no answers for us as the audience, but that is only a secondary concern when it seems that what we are all here for, especially the filmmakers, is the stylised visuals. Writer/director, Angad Aulakh takes great pains to set his scenes exactly the way he wants them, with production designer, Leah Berman helping create a classic neo-noir feel to every industrialised walkway, cargo bay, and corridor within the spaceship. Things are far more Nostromo here than they are Enterprise-D . The black-and-white presentation also heightens this stylisation, grounding the mystery elements of Freddie’s investigations into the unknown, while also giving the visual effects room to breathe without revealing any of their secrets. In fact, the visual effects are so well polished around the edges, in 4K, that it’s a wonder that visual effects artists, Stuart Lippincott and Ian Mills Miller, were able to get it all done with just the two of them working on it. Aurora succeeds or fails on the scale, grandeur, and believability, of these visual effects shots, and each of them is pulled off incredibly, with remarkable detail, clean finish, and perfect lighting the whole way through. Around half of the film exists in these shots alone, and when they are also doing the job of holding up the narrative, their gravitas and intention needs to shine through just from their composition and movement, which they manage to do seamlessly. While borrowing elements from such space opera classics as Solaris (1972), 2001: A Space Odyssey (1968), and Star Trek V: The Final Frontier (1989), Aurora instead only uses the symbology, aesthetic, and overall intention of these pieces, rather than digging down into the issues, characters, and themes which underpinned them and made them great. Plot is unceremoniously jettisoned only to be supplanted by cinematic devices and garbled storytelling, while the space scenery does all of the heavy lifting. The thing is that you can see in the fifteen minutes of Aurora that there’s a full feature aching to emerge from it. There’s enough of other films, and of a narrative that does make sense in the round if you like things a little Lynchian – all jumbled and mysterious – but it’s also easy to see that without a stable story or compelling characterisation, fifteen minutes is probably about all that most people could take. Aurora needs to be seen to be believed, and is a tour-de-force in visual effects and design. Its scant narrative is subsumed into the wider visual spectacle with no real loss of engagement, and is carried by strong performances into a realm of wonder and awe. If visual language is what you’re after, Aurora shines bright through the darkness. Aurora will premiere at the 2026 HollyShorts Film Festival Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, Film Festival < All Reviews Next Film Review >

Samvarana (Closure) film review by UK film critic James Learoyd. Starring Mehul Bhatt directed by Monil Kumar. HOME | FILMS | REVIEWS Samvarana (Closure) Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 12, 2024 Directed by: Monil Kumar Written by: Monil Kumar Starring: Mehul Bhatt Samvarana (Closure) is an interesting and honest portrayal of family estrangement, written and directed by Monil Kumar. It tells the story of a father (played by Mehul Bhatt) whose wife is seriously ill, so, he attempts to make contact with his son who has his own family and whom he hasn’t been able to see for many years. It’s a film about isolation, loneliness and the pain of wanting to fix something in one’s life which may very well be unfixable. We follow the protagonist as he recalls memories, leaves voicemails, and goes to his son’s house – but to no success. Much of the short effectively captures these difficult feelings; however, its plot-light approach, in addition to a couple technical mishaps, means that we don’t quite engage in the emotions being conveyed as much as the filmmakers may want us to. But nevertheless, the script is subtle, poignant and feels as if it comes from a deeply personal place, therefore it is absolutely worth your attention. There are some lovely visual concepts on display in this picture. For instance, there’s a wonderful moment in which the protagonist recalls him and his wife sitting on a bench peacefully; then, the filmmakers cleverly use the sunset to transition to a different time wherein the two characters are replaced with children playing in the park -- the colours are different, but the composition of the shot remains the same. This is some intelligent filmmaking, and utilises film as a form of expression to the best of its ability (i.e. no dialogue needed). Unfortunately, a few shots in the movie appear slightly flat looking. Shot digitally, most exterior sequences are filmed using tight apertures – exposing dust on the lens or sensor. It would also appear that, despite everything being in focus in this manner, the camera has been set to auto-focus which means that there’s the occasional jitter. What the camerawork displays, however, is that the cinematographer and director clearly comprehend the language of shot sequencing; how to implement closeups and wide shots and when, so I really admire the film’s coverage even if (from a cold, technical standpoint) there’s a hiccup here and there. The narrative of Samvarana, as sparse as it is, holds a kind of authenticity. To be estranged from a family member is such a common but crushing part of everyday life, and what this short film aims to capture is less the event itself, and more the quiet, reflective darkness which comes with time flying by. It’s quite profound, although offers no resolution - suggesting, one supposes, that there is no resolution to be found within such a situation. And yet the titular “closure” arguably comes at the very beginning, in the form of an onscreen quote which argues that one must “let go” so as to enjoy living in the moment. To conclude, the film is a terrific effort and it’s available to watch for free right now on YouTube. It also feels like an early work from artists who will grow creatively and go on to create even more amazing works. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Lantern's Lane film review by UK film critic Rachel Willis. Starring Brooke Butler, Sydney Carvill, Ashley Doris directed by Justin LaReau. HOME | FILMS | REVIEWS Lantern's Lane Film Review average rating is 2 out of 5 Critic: Rachel Willis | Posted on: Nov 3, 2021 Directed by: Justin LaReau Written by: Justin LaReau Starring: Brooke Butler, Sydney Carvill, Ashley Doris Urban legends are everywhere. But some are real. So begins writer/director, Justin LaReau’s attempt to combine urban legend, local myth and slasher horror in Lantern’s Lane. When Layla (Brooke Butler) returns home from the city at the invitation of old friend Missy (Ashley Doris), the two (and two others along for the ride) end up at one of their high school haunts – Lantern’s Lane. The legend is that a ghost woman wanders the road with a lantern. However, the referenced urban legend doesn’t quite make the woods around the lane sinister. Neither does the cast of characters, despite what noises they hear or antics they get up to. The most interesting part of the first act is the clear tension between Layla and Missy. The enmity between the former friends is uncomfortable. Layla’s disdain for their old high school hijinks — ever-present for the ones left behind in their hometown — grates on those who feel judged for their choices. This tension represents the one successful tactic in the movie because it feels like the others are trying to punish Layla for moving on. Looks exchanged between characters suggest something going on behind the action on screen. But for a horror film, that’s just not enough. A boarded-up house offers some promise, but little of what’s found in the house frightens. There’s nothing you wouldn’t expect in an empty home vandalized by local teens. (But thank goodness for those maxi pads someone left behind.) The action is very slow to get started, so much so that we’re still waiting for scares at more than halfway through the running time. The few attempted jump scares are ineffective. Once the horror does starts, the previous half’s attempted misdirection leaves us feeling flat. And the villain that comes to call doesn’t inspire much terror. There are little bits thrown in here and there, but they never connect into something satisfying. Worse, first half padding mainly reiterates what we already know. And yet, despite the time we spend with these characters, none of them really come to life. LaReau never manages to make you care what happens to Layla, Missy or any of the others. Without characters – or a villain – to root for, this horror mashup becomes a floundering mess. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Christmas Time film review by UK film critic Joe Beck. Starring Neil James, Shelly Bentley, Roxy Cornish-Sewell, Henri Charles, Brian Shaw directed by Daniel Colyer. HOME | FILMS | REVIEWS Christmas Time Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Oct 16, 2023 Directed by: Daniel Colyer Written by: Daniel Colyer, Laurie Ashbourne Starring: Neil James, Shelly Bentley, Roxy Cornish-Sewell, Henri Charles, Brian Shaw It’s beginning to look a lot like Christmas, at least that’s what the supermarkets would have you believe. We’re not even out of October, with Halloween still to come, and yet the shops are beginning to stock up the cards, advent calendars and Christmas lights. It won’t be long until the trees go up and all you’ll be able to hear is Mariah Carey and Michael Buble. Whilst for so many others this is a time to rejoice, even if it’s far too early to be getting in the spirit, there are many figures - especially middle aged men in films - who despise the season, including the protagonist of ‘Christmas Time’, an insipid festive film that sticks to all Christmas film conventions, and with as little creativity technically as those Hallmark movies. The veritable scrooge at the centre of ‘Christmas Time’ is physics teacher Kevin Snowdon (Neil James), who at first appears to be fun - bringing the plausibility of Santa’s existence into his physics class - but then emerges as your stereotypical scrooge. He detests Christmas and the very idea of celebrating the festive season disgusts him. Naturally over the course of the film, this scrooge - like Dickens’ Ebenezer and the endless line of Scrooge’s that have followed, from Michael Caine to Bill Murray - goes through a reckoning which finally leaves him in the Christmas spirit. By now it’s a story so overdone that it almost needs its very own Christmas miracle to feel engaging, fresh, or even remotely worth watching. ‘Christmas Time’ is no different from all the rest, and honestly a little worse. The lack of invention in such a story is expected - although some effort to add an extra, unique element to the story would have perhaps made it just a little more interesting - but the script, written by Laurie Ashbourne and Daniel Colyer, disappoints further in its dialogue, which is robotic and cringe-inducing. At one point a character even says ‘happy wife, happy life’, truly demonstrating both the ill-thought-out nature of the writing, and the general themes that accompany this woeful spin on ‘A Christmas Carol’. The film is far too caught up in stereotypes - and not just that involving the basic threads of Dickens’ immortal piece of literature - but rather more societal problems. The idea that a mans life is good simply because his wife is happy is dismissive of other issues that may trouble a man and his mental health, in addition to being incredibly dismissive of a woman’s role in such a marriage. Further stereotypes include that of the teenager being obsessed with social media and focused on not eating meat and making the seemingly impromptu decision to become a vegan. The film is directed by Daniel Colyer with an incredible lack of real technical skill, to the point that each shot is jarringly composed, lacking depth to the stage that each shot looks as though it were practically flat. Furthermore, ‘Christmas Time’ lacks any semblance of visual flair, concerning itself mainly with shades and colours that fail to bring any of the life and magic of Christmas to screen. ‘Christmas Time’ is a dull film, one only worth watching to marvel at the innumerable tropes portrayed and the damaging, almost unbearable ways in which such tropes are presented. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

We Go Again film review by UK film critic William Curzon. Starring Zuza Tehanu, Charlotte Chiew, Tom Jolliffe directed by Oliver Jolliffe. HOME | FILMS | REVIEWS We Go Again Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 1, 2026 Directed by: Oliver Jolliffe Written by: Tom Jolliffe Starring: Zuza Tehanu, Charlotte Chiew, Tom Jolliffe We Go Again follows Marie (Zuza Tehanu) and Amy (Charlotte Chiew), a couple in a long-term relationship living in an isolated cottage. Both are struggling to deal with the realities of being neurodivergent, with Marie chasing her dreams and Amy close to giving up on hers. The film is a psychological drama that explores identity and how to navigate life in isolation. We Go Again opens without an obvious direction, relying instead on visual storytelling to establish its tone and characters. The film works best in its moments of stillness, as each performance shines through body language and physicality. The pacing is incredibly methodical, and this works in the film’s favour as it establishes the relationship between Marie and Amy to a suitable degree. Despite its minimal budget, the filmmakers make profound use of the single-location setting throughout much of the runtime, utilising its isolated backdrop to reinforce and deepen the film’s central narrative themes. Alongside this, the lack of dialogue is also an apt choice in the opening as the filmmakers establish how isolated the characters and cottage are. The most impressive technical aspects of the piece shine through in scenes of surrealism; these sequences are incredibly hypnotic thanks to the low-key lighting and focus on colour, giving the film a distinctive aesthetic. It's visually stunning, to say the least, and it's jaw-dropping what was accomplished with a smaller budget. These sequences are also heavily enhanced by the eerie musical score. Tom Jolliffe serves as the film's composer and does a commendable job of heightening the atmosphere with some unsettling motifs that may linger in viewers’ minds. The piece noticeably suffers from an unfinished sound mix, which can undermine certain scenes. Another technical aspect that shouldn't go unnoticed is the camerawork. Oliver Jolliffe’s framing choices are incredibly well executed, mixing wides with handheld shots during moments of conflict. The shift to fixed framing works well in dialogue-heavy scenes as the audience never loses sight of each character's vulnerability. Also serving as the film's editor, Oliver Jolliffe makes each scene feel seamless, with fluid transitions that never overstay their welcome. That said, some editing choices are bizarre, with the film frantically cutting between Marie and Amy during their conversations, creating an incredibly jarring experience. The performances are mostly solid throughout; both Zuza Tehanu and Charlotte Chiew’s portrayals of Marie and Amy, respectively, are incredibly nuanced and effective. Their performances resonate the most through their body language and physicality. By fleshing out their long-term relationship, the filmmakers create a believable dynamic, brought to life by their magnetic chemistry and nuanced portrayal of isolation. That said, the supporting players feel largely shoehorned in for comedic relief and offer fairly little to the narrative. Some of the material during the final third takes a rather sinister turn, which can feel jarring and difficult to experience as a viewer given the dark subject matter it explores. However, it pulls the rug from under the audience by recontextualising key narrative threads through its exploration of forgiveness and closure. Sadly, the conclusion can feel prolonged and never quite knows when to wrap up, despite the dramatic beats landing. We Go Again is a melancholic, surreal exploration of identity, love and passion told through isolation and psychological drama. While it may suffer from a noticeably unfinished sound mix and a prolonged conclusion, it boasts excellent camerawork and a memorable musical score. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >