The Dink film review by UK film critic Hope Madden. Starring Jake Johnson, Mary Steenburgen, Ed Harris directed by Josh Grenbaum. HOME | FILMS | REVIEWS The Dink Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 23, 2026 Directed by: Josh Grenbaum Written by: Sean Clements Starring: Jake Johnson, Mary Steenburgen, Ed Harris I was cautiously optimistic about The Dink , Josh Greenbaum’s feature that pits the elegant sport of tennis against goofy good time of pickle ball. It seemed like a funny concept. Jake Johnson plays one-time tennis phenom Dustin Boyd, also known as the Hammer because that was the name his dad (Ed Harris) gave him as a kid due to his incredible serve. But now, rolling through his 40s in his 1998 Dodge LeSabre and working at his dad’s country club as the junior tennis instructor, the Hammer’s hitting some hard times. As luck would have it, Dad has hatched a plan to rid the club of the goofy menace that is pickle ball. Does it involve a tournament, one pickle baller vs one tennis player? Will the Hammer somehow screw up his opportunity to be that tournament tennis pro? Will he somehow find himself falling for pickle ball? I’m not saying, but if you’ve ever seen either a sports film or a comedy, you may be able to guess. No, Sean Clements’s script doesn’t feel terribly fresh, but the sort of Dodgeball meets Caddyshack concept is immediately appealing. Lower your expectations and you might enjoy the movie. Johnson’s built a career on the likeable goof character, and he’s as endearingly off-putting here as anywhere. Greenbaum surrounds him with solid support. Harris, obviously, but the ensemble teems with comic talent: Mary Steenburgen, Patton Oswalt, Ben Stiller, Chris Parnell, and even more veterans in cameos. The Dink opens on its funniest scene, of the Hammer and his sidekick bestie (Aaron Chen) regaling two unimpressed kids with tales of their instructor’s youthful glory. Both kids (Indiana Elle and Cayden Romero) are dry, droll comic gold. Everything after that is formula broken occasionally by random comedy bits. Stiller’s doctor is preoccupied with the “stickyhoney” dating app. Oswalt’s pickle ball advocate wastes a lot of tiny paper cups. John McEnroe brings his own concessions. Nothing is laugh-out-loud funny, but all the silliness is delivered by such pros that you chuckle regardless. The Dink doesn’t rank among the great sports comedies, surely, but you’ll crack a smile. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The Dreadful film review by UK film critic Hope Madden. Starring SophieTurner, Marcia Gay Harden, Kit Harington directed by Natasha Kermani. HOME | FILMS | REVIEWS The Dreadful Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 19, 2026 Directed by: Natasha Kermani Written by: Natasha Kermani Starring: SophieTurner, Marcia Gay Harden, Kit Harington Have you ever seen Kaneto Shindô’s1964 masterpiece Onibaba ? Dude, you should! Writer/director Natasha Kermani’s latest film, The Dreadful , reteams Game of Thrones stars Sophie Turner and Kit Harington, alongside the flawless as ever Marcia Gay Harden, in a medieval retelling of the same Buddhist parable that inspired Shindô’s tale. Turner is Anne, a pious young woman whose husband Seamus (Laurence O’Fuarain) has been called up to fight in 15th Century England. She lives on the outskirts of a tiny hamlet near the sea, in a hovel with her mother-in-law, Morwen (Harden). Times are tough for the two women, and before too long, Morwen’s exploiting Anne’s naivete with ever darker schemes to earn money. But when Seamus’s friend returns home without him, Morwen sees a future without a son, without Anne, and with very little hope for survival. Morwen tries to convince Anne that leaving her would be an unforgivable sin, damning Anne to hell. Out of the other side of her mouth, Morwen contends that the increasingly bloody criminal activity the women are involved in is, in fact, entirely forgivable. Seamus’s friend Jago (Harington), the bearer of bad news, has other plans for Anne and they definitely do not include her mother-in-law. Because Kermani’s take on the parable sees Anne as the protagonist, the battle then is her own fight between piety, devotion and pity, and a second chance at love. Unfortunately, Anne is an impossible character. There is no conceivable logic to a choice to stay with Morwen, so no real conflict of any kind. While she seems to feel pity and some fear for her mother-in-law, she doesn’t seem to harbor any guilt for her own complicity in the crimes, or worry over punishment of any sort, criminal or spiritual. If Turner never manages to convey a clear character, Kermani seems equally mystified. The final act of the film is unearned and unsatisfying. It might be too much to hope for some of the visual majesty and honest to God horror of Shindô’s film, but Kermani can’t find her own way through the parable well enough to leave an impression. You should definitely watch Onibaba , though. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

The 21 film review by UK film critic James Learoyd. Starring Shafik Bastawrous directed by Tod Polson. HOME | FILMS | REVIEWS The 21 Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Dec 10, 2024 Directed by: Tod Polson Written by: Tod Polson Starring: Shafik Bastawrous *A warning to readers that the following review contains discussion of serious subject-matter. The 21 is a new animated short which depicts some viscerally disturbing real-world events. It’s an artistic retelling (and recontextualization) of the execution of 21 men committed by ISIS in a 2015 video. It goes without saying that it’s the most horrific event for a piece of art or media to be based around. On the film’s website, they intelligently talk about how they wished to “highlight[...] the courage and unshakeable faith of the martyred men, proving that gentle faith is stronger than religious fear-mongering.” So, what we get is a piece made to pay tribute to the brave men who were murdered out of hate as a result of their faith. The topics in discussion, whilst unbearably upsetting, are displayed with enough of a cinematic sense of drama, and guidance through the use of narration, that we’re able to stomach the viewing experience. And yet, most importantly, the film still doesn’t shy away from showing genuine human evil in all its ugliness. It’s very powerful work. Starting with the unique look, the film’s animation style is simply spectacular. This piece has been described by its makers as being comprised of “Neo-Coptic Iconography” as a way of paying respect to the Coptic faith, which is a fascinating school of aesthetics to adhere to – particularly in relation to animation. This would suggest that the artists – of which there were many (almost a hundred) involved in this production across multiple countries – wished to adopt a vibrant, expressionistic approach to presenting real-life events; guided, stylistically and dramatically, by the spiritual. To tell this deeply serious narrative, a two-dimensional form of animation is implemented, characterised by block colours, intense imagery, and often abstract storytelling. Audiences will find themselves in awe of the technical prowess on display. Through its textures and crafting of light, one cannot ignore the level of passion and detail being showcased on-screen. In addition to the stunning visuals, other filmic techniques are also used to further immerse viewers in the absolute terror of what’s being depicted in the film. Specifically, sound, colour, and editing were by no means overlooked during the piece’s construction. The manner in which the movie cuts imagery together – considering clearly each shot’s impact, shape, composition and feeling – to then complement or juxtapose one another, is precisely what editing is all about. Many working in the animation industry have stated how one has to effectively edit the picture simultaneously to “shooting” the picture, meaning that no excess of animated imagery would be produced due to rigorous storyboarding. You could view this as a limitation, but in the case of The 21 , it only seems to have enhanced its creative capabilities. To surmise, this is incredibly brave and phenomenally inventive filmmaking. The extensive team of animators, filmmakers and researchers who worked on this piece should be proud of their work. It is to get recognition both as a collaborative piece of visual art and as a social document of sorts. As informative as it is tragic, The 21 is a phenomenal piece of design, and an undeniably admirable tribute. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, Documentary, Animation < All Reviews Next Film Review >

The Last Deal film review by UK film critic Jason Knight. Starring Anthony Molinari, Jeffri Lauren, Mister Fitzgerald, Sala Baker directed by Jonathan Salemi. HOME | FILMS | REVIEWS The Last Deal Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 28, 2023 Directed by: Jonathan Salemi Written by: Jonathan Salemi Starring: Anthony Molinari, Jeffri Lauren, Mister Fitzgerald, Sala Baker A marijuana dealer finds himself in deep trouble after a deal with criminals goes wrong. Vince (Molinari) was enjoying a happy life selling illegal cannabis in Los Angeles. However, after the drug became legal for recreational use in California, things became tough for him and he is refused a dispensary licence. Desperate, he enlists the help of his associate Bobby (Fitzgerald) and the two of them decide to buy a large amount of marijuana from a group of Armenians. Still though, in order to pay for it, they borrow a large sum of money from dangerous people and after they are double-crossed by the Armenians, the two unfortunate dudes must repay the borrowed money within a week or else. This feature is a race-against-the clock thriller that is set against the backdrop of the legalisation of cannabis in California. The screenplay does a good job in exploring the characters and their situations and in telling an intriguing story filled with suspense, gansters, tense situations and...marijuana. The general concept is heroes-owe-money-to-bad-people-and-must-pay-them-quickly and most of the narrative involves Vince trying to figure a way to get himself out of this mess with the help of several connections, including a pilot and a cannabis grower. Tension gradually picks up as the story progesses and the final act is quite exciting, with shootings and characters getting killed. The script also concentrates on Vince's private life, including his relationship with Tabitha (Lauren). Vince makes an interesting protagonist. He is a well-meaning guy who knows the cannabis business inside out and wants to live a decent life with his kind-hearted partner. Bobby is pretty much his sidekick, a heavy who also has a good nature. The gangsters' boss (Baker) serves as the antagonist, along with his gang of ruthless and deadly thugs. Salemi delivers some great aerial shots of Los Angeles and director of photography Dominic Lopez provides beautiful cinematography. Praise also goes to composer Tony Fiala for the atmospheric music. Basically, this is a crime thriller and a love story about characters having their lives threatened and having to get themselves out of harm's way and it is an interesting and enjoyable viewing. However, the film is also a commentary about the legalisation of marijuana and explores friendship, desperation and the idea of moving on to better things. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Teenage Mutant Ninja Turtles: Mutant Mayhem film review by UK film critic Hope Madden. Starring Micah Abbey, Shamon Brown Jr. , Ayo Edebiri directed by Jeff Rowe, Kyler Spears. HOME | FILMS | REVIEWS Teenage Mutant Ninja Turtles: Mutant Mayhem Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Aug 1, 2023 Directed by: Jeff Rowe, Kyler Spears Written by: Seth Rogan, Evan Goldberg, Jeff Rowe Starring: Micah Abbey, Shamon Brown Jr. , Ayo Edebiri The Teenage Mutant Ninja Turtles have been done. A lot. There have been comics, the cartoon series, video games, movies, another animated series, two more movies, another animated series, that Michael Bay movie and its sequel, a fourth cartoon series, another movie and countless toys, plastic digital watches (the coolest!), lunchboxes, tee shirts and assorted whatnot. So, why bother with Teenage Mutant Ninja Turtles: Mutant Mayhem ? Dude, it’s good. Seth Rogan and Even Goldberg (together responsible for Superbad, Pineapple Express, This Is the End and Sausage Party ) co-write with Jeff Rowe (The Mitchells vs. the Machines – a great movie, and also the only one of these appropriate for children). Their script delights in the silly, childish charm of the 80s series, updated to reflect a modern teenage mutant’s reality. It’s a fun vibe that’s pulled through the animation and performances, thanks in part to Rowe, who co-directed Mitchells v Machines, again co-directing, this time with Kyler Spears. A messy, anarchic animation style delivers on the promise of the outsider theme and especially impresses in 3D. Somehow simultaneously creepy, jubilant and cool, the look is like no other piece of animation to be seen on the big screen. The voice talent delivers as well. Veterans include Jackie Chan as lonesome, overprotective Splinter and Ice Cube, pitch perfect as badass super villain Superfly. His posse boasts a star-studded voice cast: Rose Byrne, John Cena, Rogan, Paul Rudd, Maya Rudolph. All bring the goods, but Rudd and Byrne are the most fun. The core four – Nicolas Cantu as Leonardo, Micah Abbey as Donatello, Shamon Brown Jr. as Michelangelo and Brady Noon as Raphael – provide infectious charm and mayhem. Ayo Edebiri, so funny in this summer’s Theater Camp , gives April a natural humor and awkward grace. The best way to reinvent a beloved, nostalgic brand is to hire people who loved it in the first place. If they know comedy and animation, all the better. Rogan and Goldberg bring the sophomoric but undeniable wit they always do, and Lowe channels that into something inventive, giddy and family-friendly. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Suseteer: The Movie film review by UK film critic Matt Trapp. Starring Kristopher Wright, Jillian Mazius directed by Kristopher Wright. HOME | FILMS | REVIEWS Suseteer: The Movie Film Review average rating is 1 out of 5 Critic: Matt Trapp | Posted on: Aug 11, 2025 Directed by: Kristopher Wright Written by: Kristopher Wright Starring: Kristopher Wright, Jillian Mazius Watching Suseteer: The Movie is a bizarre experience. Like a relic from the depths of early YouTube, the film is 100 bewildering minutes of characters discussing witchcraft, super-heroics, and magic. Context is entirely lacking from the film, lending to the feeling of being dropped into the middle of a particularly lore heavy fever dream. Suseteer opens with an introduction to the titular protagonist, a fashion model-cum-super heroine who is promised a great misfortune. Various magical characters are soon introduced, and Suseteer finds herself in conversation with a vampire who doesn’t like the taste of blood, and a less than amicable shape-shifting witch. Needless to say, the plot of the film was difficult to keep track of, partially because most of the voice cast is limited to one or two performers who sound very similar, and who do not speak entirely clearly. It’s as if every character is voiced by Eric Cartman from South Park. The script meanders unpredictably, giving the film a nonsensical and improvisational quality. If it were played for comedy then I’m sure this loose structure could have been quite effective. Unfortunately, the absurdity just becomes exhausting, and it was a particular challenge to give the film more than five minutes of attention at a time. Lending to the early YouTube quality of the film is the presentation, a blend of crude animation and live-action sequences filmed vertically on a front facing phone camera. The animation takes centre stage in the runtime of Suseteer , although calling it animation is generous. Characters on screen appear to have been drawn in MS Paint, bouncing around erratically and shifting scale intermittently. It’s undeniably amateurish, and honestly charming. The novelty soon wears off, and as the realisation sets in that this is what the film will look like for the next hour and a half, the true fear begins. There are no backgrounds in Suseteer . Characters float in front of an endless black void. Nor is there any music or sound design to speak of, no reprieve from the endless incomprehensible dialogue that drones on and on. It’s like watching a feature length sequence of the Worker and Parasite gag from The Simpsons . Stock music is free and easily available online these days, and it’s beyond me why the filmmakers did not choose to break up the unending monotony of their voices with an ambient track. Clearly the filmmaker has a rich, vivid imagination, and Suseteer is admirable in its unique vision. One can only wonder how much fun was had in creating this film, and the pride that comes from releasing a personal project like this is unique, and it should be celebrated. However, this reviewer was not personally involved in this project, and the unfortunate burden reviewers have is a requirement to be honest. And speaking honestly, Suseteer was a chore to sit through. Buy UKFR Banner Space About the Film Critic Matt Trapp Digital / DVD Release < All Reviews Next Film Review >

Heart Failure film review by UK film critic Jason Knight. Starring Leon Newman, Harry Hancock, Izzie Frymann directed by Will Wightman. HOME | FILMS | REVIEWS Heart Failure Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 15, 2022 Directed by: Will Wightman Written by: Will Wightman Starring: Leon Newman, Harry Hancock, Izzie Frymann A music video about the romantic life of a young man. This short focuses on the relationship between Frank (Newman) and Izzie (Frymann). There is a story throughout and it reveals the beginning of their romance, how it blossomed and how it eventually came to an end. With a duration of ten minutes, the narrative is told fast, with many brief scenes taking place. There is signing throughout, which is primarily done by Newman. The lyrics tell the story and explore the characters and also work as voice-over. Additional signing is done by Hancock and both performers do a great job. At one point, the singing turns into rapping and it is done so with effective results. There are also brief scenes that contain normal dialogue. Wightman also worked on the music, along with Will Marchant. Together, they created an electronic score that is dynamic and a joy to listen to and combining with the singing is makes it even better. Regarding the narrative, it explores the couple's relationship rapidly and in detail. Frank and Lizzie are seen having a good time together, having intercourse and generally enjoying being with each other. After things between them end, Frank becomes miserable. Overall, the mood is comical and has moments of drama. It should be mentioned that there is profanity and adult humour. The video provides an insight into how people communicate in today's world, which is through the use of technology. Frank spends a great deal of time on his mobile phone, texting, looking at photos and utilising social media. Newman does a good job as a young man who experiences romance and goes through a break-up and he comes across as a likeable person. Generally, the cast deliver amusing performances. Wightman does a great job with the editing and through the use of fast cutting creates interesting montages. As the director of photography, Marchant develops wonderful cinematography. This short could be described as a romantic comedy musical for grown-ups. It seems to carry the message that people should accept that a relationship has ended and that they need to move on. The story is simple: boy-meets-girl and a relationship begins, which is fine because the strongest aspects here are the singing and the music and along with the performances by the cast, this viewing is an enjoyable experience. Buy UKFR Banner Space About the Film Critic Jason Knight Music Video < All Reviews Next Film Review >

Triangle of Sadness film review by UK film critic Alasdair MacRae. Starring Harris Dickinson, Charlbi Dean, Woody Harrelson directed by Ruben Östlund. HOME | FILMS | REVIEWS Triangle of Sadness Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Oct 19, 2022 Directed by: Ruben Östlund Written by: Ruben Östlund Starring: Harris Dickinson, Charlbi Dean, Woody Harrelson The fashion industry is a tree in which almost all of the branches have bowed to provide low-hanging satirical fruit. Embarrassingly so Triangle of Sadness opens with a joke elaborating that high-end fashion designers have marketing campaigns in which their models appear to look down on their consumer. Oh the irony, that in fact like the internet catchphrase-ification of ‘eat the rich’, Triangle of Sadness feels like it wears class war as fashion, ready to be thrown into the scrap heap as soon as it is no longer hot. It is the £1200 shoe collaboration between someone born with a famous last name and a once affordable streetwear brand, its value denoted not by craft but by a shoddy little ‘x’ between the two brand names. At two-and-a-half-hours long this glitzy gross-out amounts to shockingly little. The first of three acts introduces the core couple of Carl (Harris Dickinson), a model, and Yaya (Charlbi Dean), his influencer girlfriend. At a restaurant they squabble over who pays the bill, Yaya pretends not to see it arrive at the table which leaves Carl questioning his place in the relationship. The argument overflows into the taxi and back to their hotel, threatening to boil over into something more sinister, Carl’s disbelief leading him into a rant that is as maniacal as it is farcical. This sets the tone of the film - frustrating levels of awkwardness stemming from stubborn adherence to traditional hierarchical social norms. Act II begins as the couple board a luxury cruise, gifted to them of course, Yaya is an influencer after all. They rub shoulders with the other guests, amongst them an elderly arms-dealing British couple (Amanda Walker & Oliver Ford Davies), a Russian manure salesman (Zlatko Buric) and his wife (Sunnyi Melles), and a lonely code-writer (Henrik Dorsin), generational evolutions of wealth and excess flaunted at any given opportunity. At their beck and call is a crew of willing servants, led by Paula (Vicki Berlin), and motivated by the dangling carrot of a gargantuan tip at the cruise’s conclusion, all committed to their role in the class divide, save perhaps the alcoholic, lapsed-socialist captain (Woody Harrelson). After a series of encounters in which the rich flex their power, testing and humiliating the staff, a storm closes in on the ship. Thus begins, at the Captain’s Dinner, the seasickness and much-advertised vomiting. An elongated joke expanding as far as one guest fighting to project her champagne-infused stomach lining into the toilet bowl as the waves hurl her from one side of the bathroom to the other. As the ship tosses, the tables turn, setting up a third act drowning in schadenfreude as Filipina toilet attendant, Abigail (Dolly De Leon), takes charge. Triangle of Sadness is ultimately a toothless send-up of the mega-rich that amounts to little more than, ‘wouldn’t it be funny if they had a taste of their own medicine?’. A hollow and cynical portrait of late-stage capitalism that is so removed from reality I’m almost certain that the people it directly targets would in fact enjoy it. Buy UKFR Banner Space About the Film Critic Alasdair MacRae World Cinema, Film Festival < All Reviews Next Film Review >

Monkey Man film review by UK film critic George Wolf. Starring Dev Patel, Sikander Kher, Ashwini Kalsekar directed by Dev Patel. HOME | FILMS | REVIEWS Monkey Man Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Apr 5, 2024 Directed by: Dev Patel Written by: Dev Patel Starring: Dev Patel, Sikander Kher, Ashwini Kalsekar A new hero has arrived. And with him, an exciting new filmmaker. After directing just two short films, Dev Patel moves to features with Monkey Man , an assured and thrillingly violent story of heritage and revenge. Patel (who also gets a story credit) is charismatic and commanding as “Bobby,” an underground fighter in India who takes dives for “Tiger” (Sharlto Copley) and cons his way into a job washing dishes at an exclusive club run by Queenie Kapoor (Ashwini Kalsekar). But Bobby has a plan to get promoted to serving in the VIP room. Once in, he’ll get close enough to police chief Rana Singh (Sikandar Kher) to make him pay for crimes committed against Bobby’s mother (Adithi Kalkunte) years before. Complications arise, leaving Bobby a very wounded and hunted man, until some mystical assistance from Alpha (Vipin Sharma) turns Bobby into a lethal leader for the common people. Patel doesn’t run from his inspirations, even name-dropping John Wick early in the film. You’ll also see shades of martial arts masters, Winding Refn, Tarantino and more, but Patel is always ready to put his own stamp on a familiar march to a showdown. He favors quick cuts and close ups with scattershot POV shots to enhance the impressive fight choreography and striking color palettes at work. Similarly, Patel teams with screenwriters John Colle and Paul Angunawela—plus producer Jordan Peele—to take some well known themes and move them progressively forward. Rebelling against the totalitarian tactics of Baba Shakti (Makrand Deshpandi) and the Sovereign Party, a forgotten and oppressed population turns to the Monkey Man for deliverance. And as much as this feels like an origin story, it is a dark one. Patel has indeed delivered a statement, as much about his filmmaking prowess as it is about his worldview. But the statement is grim and bloody, so leave the little ones at home and strap in for the thrilling, visceral rise of Patel and the Monkey Man . Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Drawn Out film review by UK film critic Patrick Foley. Starring Jon Jon, Percelle Ascot, Ashley Walters directed by Teddy Nygh. HOME | FILMS | REVIEWS Drawn Out Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 18, 2024 Directed by: Teddy Nygh Written by: Shazia Rashid Starring: Jon Jon, Percelle Ascot, Ashley Walters 2018’s Drawn Out remains a powerful and moving drama about the cycle of gang violence that claims young lives across London – with its story of one fateful punch – and the vengeance, violence and fear it unleashes constructed from the real experiences and tragic incidents of the North London estate upon which it was filmed. When Aaron (Jon Jon) and Jacob (Joshua Blissett) are chased by rival gang members through their North London estate, a punch thrown by Aaron in an attempt to get away leads to tragedy. He unintentionally kills Sean (Jordan Aloye), who is brother to the feared and psychotic Strapz (Percelle Ascot). As Strapz sets out for revenge, Aaron and Jacob hide out with Big Mo (Ashley Walters), but they know their actions will catch up with them eventually. Drawn Out is a community-led film tinged with bittersweet authenticity. Watching the film knowing that it is inspired by an amalgamation of real experiences and events makes the consequences and collapse of multiple young lives in the film all the more heartbreaking. Aaron is a portrayed as a caring and thoughtful young man who makes a terrible choice that has shocking, uncontrolled consequences. His life quickly transforms from taking care of his brother and striking up romance with his girlfriend, to a desperate fight for survival. His association with gangs is his own costly decision, but his actions can also be construed as being forced by an undercurrent of violence within the community. No greater example of this violence can be found than the terrifying Strapz – played by Percelle Ascot with exceptional menace. Strapz is driven by rightful anger at his brother’s death – yet his hypocrisy is clear to see as he takes sick pleasure wielding a gun, and striking down an underling in much the same fashion that costs his own brother his life. Strapz can be seen to be irredeemable by his later actions – but a poignant, wonderfully-staged scene in which he breaks down in his car shows he is a victim of the cycle too. The depth of the characters is a clear result of an innate understanding of the complexity around gang-life and inner-city crime on behalf of the filmmakers, who correctly identify that the system and the cycle are much more prominent problems than any individual. Tension and fear are sewn throughout the storytelling. Director Teddy Nygh’s long, lingering and torturous patience during the opening chase sequence as Aaron and Jacob hide from their pursuers gives just a tease that things might end up ok – before life changes for everyone. Aaron’s desperation to evade Strapz as the walls close in become increasingly risky and frantic – and lead to further tragedy that Shazia Rashid’s script builds with devastating effectiveness. The violent, patriarchal culture comes to draw in everyone close to Aaron, and threatens to echo down generations. It’s only a brave decision to face the consequences that may help close the gap, and even then the film is careful to show that one action alone cannot fix everything – it takes a community effort. Films like Drawn Out which are birthed from real community experiences are an invaluable artistic endeavour that capture the essence and realities of social issues like no other. Only by identifying the truth behind stories can tragedies be learned from – and this truth radiates throughout the narrative of this short. It’s a fantastic film, and one that is unfortunately still relevant today as it was in 2018. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Capitalist Decency stood the pro-Communist Party sympathizer up twice film review by UK film critic Finn O'Toole. Starring Jorge Villacorta directed by Jorge Villacorta. HOME | FILMS | REVIEWS Capitalist Decency stood the pro-Communist Party sympathizer up twice Film Review average rating is 2 out of 5 Critic: Finn O'Toole | Posted on: Jul 9, 2026 Directed by: Jorge Villacorta Written by: Jorge Villacorta Starring: Jorge Villacorta Written, directed, produced, scored, edited, costumed, lit, supervised and solely starring Jorge Villacorta, Capitalist Decency stood the pro-Communist Party sympathizer up twice (a name which functions as both a title and a complete synopsis) is unquestionably an oddity, which seems to have been the intention… This surreal feature film follows Villacorta, playing a pro-communist party sympathiser, who is phoning and trying to meet up with what is inferred to be a personification of ‘capitalist decency’ in the form of a woman. This tale can be broken down into three very simple and distinct acts despite its hour and ten-minute runtime: ACT ONE: A twenty-minute introduction in which our protagonist talks to capitalist decency in a one-sided conversation over the phone. We never hear her voice, only his responses. ACT TWO: He heads out into capitalist society and explores the city, shops, and pleasures of modern life, getting stood up by capitalist decency. This takes up another twenty minutes of runtime. ACT THREE: This act uses the remaining length of the film to show him crawling around inside a huge liminal space within a tumble dryer looking for her. As the title would suggest, he is stood up yet again. And that’s the entire plot in a nutshell. This drawn-out and meandering tale serves to put the viewer in the shoes of the protagonist. The repeated rejection from his arranged date will likely leave the audience feeling a similar frustration as the central character. While the sheer length of the film could be seen as unnecessary, I would invite any fellow-watchers to consider if this slow pace is meant to provide a potential arthouse feel, evoking emotions over conveying plot. To further justify the presence of this experimental intention, one could point to the uncanny music. With no soothing melody or pleasing chord progression, the score adds a profoundly uncanny atmosphere that can be felt throughout. However, that is as much praise as can be given for the audio, with most of the dialogue rendered unintelligible due to the low quality of the sound recording. Unfortunately, the obscuration of most dialogue proves critical in a piece such as this that features long stretches of one man talking to himself. As a result, it may be challenging for viewers to understand the filmmakers' stance on the presented political themes, if indeed they have one. Nevertheless, the absolute joy that Jorge Villacorta exudes while making this is hard to ignore. Rambling seemingly unscripted dialogue, jaunting through the city streets, and crawling around under furniture – Villacorta’s playfulness is infectious, and clearly he was having a blast in making this. This bizarre, eccentric, curious, undefinable film will leave viewers scratching their heads in a dazed and delighted confusion. What is this film trying to say? Maybe it isn’t for us to know. Buy UKFR Banner Space About the Film Critic Finn O'Toole Indie Feature Film < All Reviews Next Film Review >

Brick Wall film review by UK film critic Swati Verma. Starring Ian Montgomery, James Anite, Shazea Rahman directed by Chrstian Haywood. HOME | FILMS | REVIEWS Brick Wall Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 21, 2023 Directed by: Chrstian Haywood Written by: Christian Haywood Starring: Ian Montgomery, James Anite, Shazea Rahman The writer-director Christian Haywood along with the charity called Mind in West Essex work together on the short film-Brick Wall to remind its audience of the value of continuously improving the quality of life which would be beneficial in the long term through the story of male protagonist Ian Montgomery and his mates at the construction site. The plot of the movie revolves around the workers battling mental health issues and what steps should be taken toward suicide prevention in the construction industry. The film opens with a voiceover with the noise of a work in progress providing even the minute details so that the content can increase audience engagement with it to keep the viewers hooked from the very beginning. The cinematographer Samuel Perry Falvey effectively utilises the camera angles, white, red, black, and grey colour tones, set design, lighting, sound, dialogues, costume, hair, makeup, and props to complement the essence as well as the key messages and elevate the impact of the same making it a learning experience for everyone. A very well-written series of conversations between the various characters and the protagonist assists the filmmakers to add the elements of intensity and depth so that the audience can understand the nuances and Brick Wall stays with them even after finishing the film. Brick Wall talks about the need to prevent suicide by spreading awareness and telling people the importance of asking for help and giving them a platform to share their problems so that the maximum number of lives are saved. The cinematic piece highlights that People dealing with mental issues should understand that they require assistance instead of building a wall around them, this can increase the suffering therefore can be detrimental to loved ones living with them. The short film reiterates that quashing the taboos and fears regarding to every concern related to the mind is crucial. The cinematic piece also tells us that everyone can take appropriate steps to make their lives better with the necessary love, emotional support, and respect. Brick Wall restates the significance of the role of friends, family, and colleagues, or any person one trusts with sensitive topics mentioned in the movie should allow them to be present in times of need for the wellbeing of all the parties affected. Struggling with the problems within seems that the difficulty is even bigger but sharing with someone can calm the person down and also give the confidence to deal with the issue. I want to appreciate the efforts of Christian Haywood and the team for collaborating with Mind West Essex to highlight the cause of mental health at the construction sites that need to be spoken about more and more. I hope many directors take inspiration and make movies on such topics giving a chance to the audience to learn from projects like these. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >