Knight of Fortune film review by UK film critic Jason Knight. Starring Leif Andree, Jens Jorn Spottag, Jesper Lohmann directed by Lasse Lyskjaer Noer. HOME | FILMS | REVIEWS Knight of Fortune Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 12, 2023 Directed by: Lasse Lyskjaer Noer Written by: Lasse Lyskjaer Noer Starring: Leif Andree, Jens Jorn Spottag, Jesper Lohmann Two strangers meet in a morgue, leading to drama and awkward situations. Karl (Andree), an elderly man, has just lost hi wife and he is now at the morgue, trying to build up the courage to see her in her coffin. After a morgue worker accompanies him to the room she is in, once the worker leaves, Karl finds himself unable to witness her lifeless body and resorts to attempting to fix a malfunctioning light instead. He then goes to the men's room, where he ends up meeting Torben (Spottag), another man his age, who says that he has also lost his wife and asks Karl to go with him to see his wife, for emotional support. Karl agrees and together the two of them will go through some unique and challenging experiences. The story of this short film from Denmark is a chance encounter that turns into something significant, as Karl and Torben develop a rapport between them and support each other as each attempts to pay their final respects to their spouse. Death is the center of this moving drama and the fact that it is set in a building that deals with the bodies of the deceased certainly creates a grim atmosphere. However, humour is present at times, such as the uncomfortable way that the two protagonists meet for the first time and they even share a laugh in front of a body and There are awkward scenes that involve the loved ones of a deceased woman. Loss and grief are two main themes here, with the two main characters experiencing them and trying to handle them and honesty is another subject too, as the two men keep information from each other. In some rather emotional scenes, the film shows the significance of support, that one requires other people next to them, especially when they have lost someone. Karl and Torben are two widowers who are grieving and end up creating a strong relationship between them as they need each other in order to have some sort of closure. They are two individuals who are in similar mental situations and both Andree and Spottag deliver superb performances. Big commendations go to Lasse Ulvedal Tolboll for the beautiful cinematography and also to Mathias Gaarde Mikkelsen for the gentle and sentimental score. This short explores heavy subjects such as death and grief and it is quite harsh when it comes to investigating the pain of loss. However, it also reveals the power of support, how it gives people strength and self-esteem during hard times. It is a rather emotional viewing experience and one that is likely to stay with the viewer for a long time. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

In Need Of Seawater film review by UK film critic William Hemingway. Starring Mark Anthony Thomas, Ziaire Mann directed by Richard Yeagley. HOME | FILMS | REVIEWS In Need Of Seawater Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 25, 2025 Directed by: Richard Yeagley Written by: Mark Anthony Thomas Starring: Mark Anthony Thomas, Ziaire Mann A poet invites a small group of his mates round to read to them a retrospective of his most formative work. In 2004, Mark Anthony Thomas released his second major work of poetry, The Poetic Repercussion , containing a series of poems he wrote between the ages of twenty-one and twenty-four. The poems described his journey to manhood, and self-discovery, as a gay black man growing up in Atlanta, Georgia, and tried to relate the experiences, feelings, and desires he encountered along the way; those which shaped him into the man he would eventually become. Now, more than twenty-years later, and living in Baltimore, Maryland, Thomas has decided to revisit his earlier work and plans to release a trilogy of films about his poetry. This first film, In Need Of Seawater , intends to look back at ‘the past’, while it is assumed that the next instalments will focus on ‘the present’ and ‘future’ respectively. In Need Of Seawater , then, takes us back to 2004, when Thomas’ feelings were so strong that he just had to get them out onto the page. The poems are full of growth, and becoming, and clear sight, and quiet understanding, whilst distilling the energy of turmoil and inequality into reasoned words and rhythms. Thomas gathers a few of the faithful, people who know him from his work in publishing, civic leadership, or from his poetry, and gives a private reading for them in an uptown, modern, Baltimore apartment. The film records this event intimately, moving between the guests and the performer, watching the emotions spread across the faces of the gathered, as well as the nodding heads and the knowing glances, as Thomas reads his poetry aloud. Slotted into the narrative of the readings, between the lines and verses, are some staged scenes, historical footage, and home movies, which represent the themes, events, and emotions that Thomas is trying to convey. These interludes take us away from the enclosed space of the well-lit apartment, and whisk us away to the sea, to the park, to the homes and neighbourhoods of others, and to the past, giving us a visual insight into the words that we hear; those that flowed from Thomas’ pen. We are both at once, listeners and viewers, as we are also invited into this small space to experience the creative expression Thomas gives to his feelings, and we go on the journey with his audience, partaking in the literary emergence of a man who feels he must share with us all of who he is in order to survive. For twenty-six minutes we sit with Thomas as he moves around the room and reads his poetry from loose-leafed pages. This starkness of intimacy somehow leans us away from the semblance of art, however, and fully puts us in the frame of a personal documentary. It is clear that Thomas’ poetry is mostly about his singular experience of growing into who he is, wedged into a particular time and place, reacting to the social issues and politics of the day whilst trying to take account of all that has come before, and so we sit as an audience member, listening but not necessarily engaging, feeling truly that we are at a poetry event rather than watching a film. This is great for those who want to spend half-an-hour in the presence of a poet, and who want to be at such an event, but for those looking to watch a film or gain insight into the author beyond his published words, there is nothing else on offer. If you are not a person who would come to Thomas’ poetry on your own, you are not likely to get anything much out of the experience of watching In Need Of Seawater . It is a feeling of nostalgia which seems to have motivated Thomas into these new films, or at least this one, as he reminisces over the man he used to be at a private event for the chosen few. The choice to create films around the work seems oddly extraneous and unnecessary, when all that we get is a reading that we could have got from an audiobook, along with a few nice visuals thrown in. There is no exploration or analysis of the work, how it was created or what methods were used, and there’s no delving into the background and history of the young Thomas, either. While the focus of the film may well be artistic, creative, and true, the end result feels rather more like a clutching at the past, a determination to stay the inevitable passing of youth, whilst allowing the poet an opportunity to reconnect with his work through veiled self-promotion. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, LGBTQ+, Documentary < All Reviews Next Film Review >

Chekhov's: A Work Of Art film review by UK film critic Jason Knight. Starring Henning Mayer, Thomas Georgi, Naomi O'Taylor, Jonathan Faila directed by Nick Burton. HOME | FILMS | REVIEWS Chekhov's: A Work Of Art Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 28, 2022 Directed by: Nick Burton Written by: Tom Edgerton Starring: Henning Mayer, Thomas Georgi, Naomi O'Taylor, Jonathan Faila A small piece of art is passed on from one person to the next. Sasha (Mayer) pays a visit to his doctor, Koshlekov (Georgi). However, Sasha's visit is not health-related. He was recently treated by Koshlekov for an illness and as a form of gratitude, he wants to give his doctor a sculpture. The gift has an erotic appearance and initially Koshlekov refuses to accept it as he believes that it would be inappropriate to display such an object in his office. After much persuasion, the doctor takes the present and then brings it to his lawyer (Faila), for him to have instead. He does not want it either. Based on the short story by Russian playwright Anton Chekhov, this short comedy explores how people view art and it points out that everyone has their own perception regarding art. Sasha seems to be the only one who views the sculpture as a work of art to be admired and appreciated, while his doctor, the lawyer and a theatre performer believe that it is not something that should be kept in public due to its carnal appearance. The narrative moves from one character to the next and the audience follows the sculpture as it moves from person to person and in a way, it becomes the protagonist of the story. The action takes place in a variety of places, including a physician's office, a lawyer's office and a theatre. The comical parts occur when the potential recipients of the sculpture react when they see it for the first time, being shocked by the way it looks, admiring it a bit but ultimately deciding that it is not to their liking. The performances are quite enjoyable and one of the highlights of the film. Another highlight is the wonderful classical music that is heard throughout, which makes the viewing even better. The decision to film in Kodak 16mm provides a sort of gloomy look. To summarise, this is an interesting and comical story that revolves around the idea that art is in the eye of the beholder. It is an amusing and thoughtful viewing that deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Asteroid City film review by UK film critic Brian Penn. Starring Jason Schwartzman, Tom Hanks, Scarlett Johansson, Bryan Cranston, Edward Norton directed by Wes Anderson. HOME | FILMS | REVIEWS Asteroid City Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jun 24, 2023 Directed by: Wes Anderson Written by: Wes Anderson, Roman Coppla Starring: Jason Schwartzman, Tom Hanks, Scarlett Johansson, Bryan Cranston, Edward Norton Wes Anderson is without doubt one of the most distinctive filmmakers of his generation. A slavish devotion to light, sound and colour is a marque of the man and his approach. Throw in some whimsical storytelling and a subtle hint of comedy then the appropriate boxes are duly ticked. Asteroid City easily satisfies this benchmark and is one of his best films. Asteroid City lies on the dust tracks of the Nevada Desert and owes its existence to the aforementioned rock that once fell in the area. With a population of 87 the expected tourist expansion hasn’t quite materialised; roads have been left half built and real estate is sold from a vending machine. One of the few attractions is a stargazing event and the occasional atom bomb test. A gloriously mixed bag of characters pass through, more by accident than design and are caught in a strange turn of events. Everything is seen through the prism of a 1955 TV show broadcasting a play entitled Asteroid City. The film switches between monochrome and colour to distinguish between narration and action. The host (Bryan Cranston) pops up in the style of Ed Morrow with calm and assured guidance; he introduces writer Conrad Earp (Edward Norton) and they explain the play for the benefit of an expectant audience. In colour the characters of the piece emerge in all their dysfunctional glory. Augie Steenbeck (Jason Schwartzman) is travelling with his four children following the death of his wife. The car breaks down and Augie has to ask his father-in-law Stanley (Tom Hanks) to come and meet them. They rest up in a local motel and have a cabin next door to Midge Campbell (Scarlett Johansson), an actor whose mood swings comply with standard Hollywood rules of behaviour. The stargazing event is subject to an alien visitation and everything goes into lockdown. It’s a beautifully constructed film with a ridiculously talented cast that create an ensemble most directors can only dream about. It plugs into a stream of paranoia that was so prevalent in America during the 1950s. Roswell gave birth to a raft of conspiracy theories at the time. This story alights on the government’s desire to control any alien related incident. It’s a delightful film that begs to be seen on the big screen. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

The 355 film review by UK film critic George Wolf. Starring Jessica Chastain, Lupita Nyong'o, Diane Kruger, Penelope Cruz, Bingbing Fan directed by Simon Kinberg. HOME | FILMS | REVIEWS The 355 Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jan 7, 2022 Directed by: Simon Kinberg Written by: Theresa Rebeck, Simon Kinberg, Bek Smith Starring: Jessica Chastain, Lupita Nyong'o, Diane Kruger, Penelope Cruz, Bingbing Fan Apparently, Jessica Chastain pitched the idea of an all-female Bond/Bourne hybrid to director Simon Kinberg while they were making Dark Phoenix together. Now three years later The 355 is here, and while it’s more memorable than their X-Men installment, the project can never give the duo’s ambitious vision its own identity. Chastain is “Mace,” a CIA agent sent to Paris with her partner (and maybe more?) Nick (Sebastian Stan). The job is to get their hands on a new cyber weapon that serves as an untraceable master key – and instant entry into any closed system on the planet. But surprise, Mace and Nick aren’t the only agents hot for that drive, so after 45 minutes of chases and exposition, Germany’s Maria (Diane Kruger), MI6’s Khadijah (Lupita Nyong’o) and Columbia’s Graciela (Penelope Cruz) agree to team up and fight for the future. Then after another 15 minutes or so, China’s Lin Mi Sheng (Bingbing Fan) joins the world party. Actually, Gracie’s a reluctant guest, as she’s really a psychologist and not trained for combat. So while her secret agent sisters do get to be the impressive badasses, it’s Cruz who brings the film some welcome fish-out-of-water levity. Kinberg, who also co-wrote the script, pushes all the buttons you’d expect from a mixtape full of Bond’s high-style sexy, Bourne’s lethal brooding, and some Danny Ocean misdirection. And most of it – from Chastain in this role to the cybercrime stakes to the moments of telegraphed action and even the girl power makeover – feels pretty familiar, and that familiarity breeds discontent with the two-hour run time. Events finally escalate in the third act, and as the globe-trotting and the double-crosses mount, Kinberg delivers one nicely orchestrated set-piece that truly grabs your attention with tension and bloodshed. Is it enough to merit that next adventure the finale hints at? Not really, but it’s just enough to make one three-year-old conversation worthwhile. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Knife film review by UK film critic George Wolf. Starring Nnamdi Asomugha, Aja Naomi King, Melissa Leo directed by Nnamdi Asomugha. HOME | FILMS | REVIEWS The Knife Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Aug 14, 2025 Directed by: Nnamdi Asomugha Written by: Nnamdi Asomugha, Mark Duplass Starring: Nnamdi Asomugha, Aja Naomi King, Melissa Leo Suspicion, fear, perception and manipulation all converge in The Knife , a briskly-paced thriller that examines action and consequence as it picks at the scabs of modern anxieties. This is the feature debut as a director and co-writer (with Mark Duplass) for Nnamdi Asomugha, a former NFL star who began a second career in film shortly before his playing career ended in 2013. Asomugha also stars as Chris, a construction worker whose night – and maybe life – is quickly unraveling. After some very late night flirting that gives us a warm and effective introduction to the characters, Chris and his wife Alex (Aja Naomi King) decide they’re just too damn tired for any sexy time. They’ve got three young kids in the house, and that morning alarm is coming way too soon. But sleep has to wait thanks to some bumps in the night. Chris gets up to investigate, and finds a strange, haggard woman in his kitchen. By the time Alex arrives for backup, the old woman is unconscious on the floor with a knife nearby, and Chris doesn’t remember what happened. Alex is plenty wary of inviting cops into the situation, but things could get worse if they don’t. So their “bad” neighborhood gets lit up with cruisers, and Detective Carlsen (Oscar winner Melissa Leo) arrives to ask some increasingly difficult questions. There are issues raised about memory, medications in the house and whether or not that knife may have been tampered with. Asomugha and Duplass make sure these can seem justified, just as much as the interrogations feel escalated by assumption and profiling. With a run time of barely 80 minutes, the most glaring weakness in The Knife is its lack of investment in a more satisfying payoff. The tension is relatable and relevant, with complexities of truth-gathering added organically until a nice little pot of motivational stew is boiling. It’s enough to make you eager for a memorable, world weary punch that never gets thrown. Though it feels unfinished, Asomugha’s step up the film ladder is taut, self-contained and promising. The Knife may ultimately offer more questions than answers, but the conversations it could start are well worth having. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Babygirl film review by UK film critic Hope Madden. Starring Nicole Kidman, Harris Dickinson, Antonio Banderas directed by Halina Reijn. HOME | FILMS | REVIEWS Babygirl Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Dec 23, 2024 Directed by: Halina Reijn Written by: Halina Reijn Starring: Nicole Kidman, Harris Dickinson, Antonio Banderas It seems impossible not to compare writer/director Halina Reijn’s Babygirl with Steven Shainberg’s 2002 indie treasure Secretary (based on Mary Gaitskill’s brilliant short story). Reijn’s tale is almost a perfect inversion. Secretary saw a relative newcomer (Maggie Gyllenhaal) deliver a revelatory turn as an absolute nobody actively seeking domination, finding it in a chilly CEO (James Spader), and slowly, wickedly, hilariously discovering ways to take control of the situation so she could pressure him to control her. Fast forward more than two decades and Babygirl completely reframes the same tale of one woman who really wants somebody else to be in charge for a change. Nicole Kidman—a veteran whose craft is beyond reproach—plays Romy, a tech company’s CEO. Romy has a perfect life that includes a saucy relationship with her hot husband (Antonio Banderas), little notes left in the lunches she packs her two kids each morning, and an incredibly successful company. And all seems almost well until an absolute nobody—an intern (Harris Dickinson)—senses something in Romy and acts on it. Soon this woman who is in control of everything she surveys risks all for a little humiliation and discipline. Though Reijn’s film benefits from sly humor, it’s far from the dark comedy of Secretary . Babygirl hones closer to thriller, building tension, keeping the pace charged, and breathlessly suggesting our protagonist’s ruin behind every unlocked door. Kidman is characteristically amazing. She is a risk taker as an actor, and what she does with this character is fascinating. The outer shell is different, person to person, interaction to interaction, but the humanity lurking beneath is never far from the surface. Her chemistry with Dickinson is electric but not exactly sexual. Babygirl complicates gender politics and sexuality and shame, specifically as each is loosely defined across generations. It’s an observant script and a film a bit less interested in titillation than in human drama. Reijn’s entire ensemble is unafraid to be unlikeable, which is necessary when ambition, jealousy, insecurity, sex and shame commingle. This is a tight script, perhaps too tidy and structurally familiar because its most satisfying moments are its messiest. But it is a fascinating and fresh look at something we’ve been conditioned to turn away from. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Solers United film review by UK film critic William Curzon. Starring Leah Harvey, Hannah Onslow, Anna Demetriou directed by Sara Harrak. HOME | FILMS | REVIEWS Solers United Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Oct 8, 2025 Directed by: Sara Harrak Written by: Jadey Duffield, Sara Harrak, Meg Salter Starring: Leah Harvey, Hannah Onslow, Anna Demetriou Solers United follows a women’s football team that faces financial uncertainty, while tensions arise between longtime friends Bills and Nelly. Newcomer to the team, Sals further complicates their issues, as Bills can not help but feel an instant connection to Nelly. During halftime of a substantial match, conflict reaches a turning point, and Nelly and Bills must confront their feelings and mend their relationship. Loosely inspired by director Sara Harrak’s local football team, the film is a celebration of women’s sport and queer identity, wearing its influences on its sleeve from titles such as Bend It Like Beckham (2002) and Bottoms (2023). The film played at the BFI Flare Film Festival earlier in the year and will later be shown on Channel 4 for a broader audience to experience. One of the most groundbreaking achievements of the piece is its ability to immediately create warmth and connection to the central characters, thanks to the script and the chemistry-laden cast. The entire ensemble is terrific, led by Leah Harvey, who is the standout of the piece due to their charming and endearing character traits. The chemistry between Anna Demetriou and Leah Harvey, in particular, is comforting, and it is a joy to watch their relationship unfold. While its focus on the romance aspects, such as the cliché of who is going to confess their feelings to one another first, can feel overdone by this point, it still manages to feel refreshing due to the setting and character dynamics. The script is hyper-focused on the comedic elements of the team and their relationship, and many of the gags work thanks to how well-balanced tonally this feels in contrast to the more serious moments of dialogue. While the screenplay sadly fails to fully flesh out the characterisation and relationships between the central characters, it is due to a lack of runtime and an open-ended conclusion that leaves the viewer wanting more. Perhaps the feature film that is currently in development can flesh out these ideas more eloquently. The themes present throughout the piece are timely thanks to the current landscape of women's football and the popularity that has grown for the sport over the years. Tackling themes such as queer identity in football is incredibly important, and the filmmakers conveying this could potentially reach out to a wider queer audience with future exposure. The coming-of-age aspect thematically is another draw to the target demographic for younger audiences, potentially seeking representation in a crowd-pleasing narrative. Even with its brisk pacing, you really get a sense of community and love for women within the sport, which is astoundingly heartwarming as a viewer. The sequences of football are kinetic in their energy from the editing and make the experience visceral and engaging. However, the piece would have benefited from more actual football woven into the narrative. Sara Harrak’s direction is splendid; it is evident she is clearly in love with the material and the characters, thanks to the naturalistic and warm tone she creates. Chaimaa Ormazábal’s cinematography is another highlight, with a blend of aerial shots and tracking the actors across the pitch and through the changing rooms for more intimate scenes. The musical score implemented into the football sequences is dynamic and pulse-pounding, alongside suitably placed needle drops. Solers United is a refreshing tale of the insecurities of daring to reach out to another before it is too late. Infused with a kinetic energy on and off the pitch, the film delightfully charms you with its electric ensemble led by two terrific central performances from Leah Harvey and Anna Demetriou. While it may tread familiar ground in its narrative and leave the viewer wanting more, this is a great start that will undoubtedly improve as a feature-length film. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

SPARTAN film review by UK film critic Swati Verma. Starring Alex Bernadotte, Shylah Soares, Demetrius D. Denis directed by Pierre "PJ" St Jean Jr. HOME | FILMS | REVIEWS SPARTAN Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 27, 2025 Directed by: Pierre "PJ" St Jean Jr Written by: Pierre "PJ" St Jean Jr Starring: Alex Bernadotte, Shylah Soares, Demetrius D. Denis The writer-director Pierre "PJ" St Jean Jr believes in the style of filmmaking where the cast and crew associated with the film completely trust the vision, he has. Pierre "PJ" St Jean Jr adopts the one-shot technique to allow the audience to get involved and engage with the content. Alex Bernadotte, Shylah Soares, and Demetrius D. Denis understand the nuances of the storyline and amplify the emotional impact with their respective portrayals. The plot of SPARTAN revolves around an embattled street brawler’s brief moment of victory is quickly overshadowed by an unravelling of his chaotic personal life. SPARTAN opens up with a combination of a close-up and mid- shot of an ongoing fight between the male protagonist and his opponent followed by various snippets of his life to showcase the challenges he faces in an attempt to sail through all the responsibilities Mack has been entrusted upon. The set design, lighting, camera angles, colour pallet, sound, music, dialogues, costume, hair, makeup, and props have been kept natural to complement the subject matter and add realism and relatability to the narrative so that the viewers can learn from the movie and apply the lessons to their real lives. In terms of performance, Alex Bernadotte plays Mack who loves and cares about his loved ones dearly and is ready to do anything to provide for them due to an unforeseen situation in the family but forgets a few essential things while becoming very busy with his duties towards the mother as well as the sister. Bernadotte effectively switches between aggression as well as emotions to balance his character arc in SPARTAN. The outfit change is a clear demarcation between the different mindset of the character with each fight utilised by the actor/ makers to communicate the intrinsic details of the storyline to the viewers. Shylah Soares who plays Nasira Mac’s girlfriend is lovely inside out loving and supporting him with every decision he makes, and also takes care of his mother and sister. She is a strong girl ready to fight to protect him in every situation. Soares exudes qualities, the nuances in Nasira that define what a relationship between a couple should look like. Shylah Soares with her portrayal brought the soft side as well as the strong side of Nasira so effectively that it gives strength to their bond and bring about the best in Mac. Demetrius D Denis plays the role of Tremaine who is the Villain in the story. He vents out his anger and aggression on others to deal with all problems life has thrown at him. Mac is the only person who can counter his anger. The chemistry between Tremaine and Mac makes the conflict intriguing therefore keeping the hooked to the content. SPARTAN talks about the need to be fearless for the family in every given situation because life doesn’t give one the freedom of choice. The short film reiterates that people require to always remember their human side even though they are under immense pressure of responsibilities as well as duties. The cinematic piece briefly touches upon the gender roles engraved by the society and how they prove to be detrimental to the people living in it. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Big George Foreman film review by UK film critic George Wolf. Starring Khris Davis, Forest Whitaker directed by George TillmanJr. . HOME | FILMS | REVIEWS Big George Foreman Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Apr 27, 2023 Directed by: George TillmanJr. Written by: Frank Baldwin, George Tillman J r. Dan Gordon Starring: Khris Davis, Forest Whitaker Sixteen words in that title, leaving little room for nuance or any shred of mystery about the tale being told. And it’s a perfect fit for a film that is content to just summarize a life like a Wikipedia timeline, choosing the safest, most easily digestible path. After a brief flashback segment, director and co-writer George Tillman Jr. (Soul Food, Men Of Honor, Notorious , The Hate U Give ) just ticks off the events of George Foreman’s life in simple, linear fashion. He grew up poor in Houston, started boxing during his time in the Jobs Corps, won an Olympic Gold in 1968, won the heavyweight belt from Frazier in ’73, lost to Ali’s “rope a dope” strategy in ’74’s Rumble in the Jungle, quit to be full-time preacher in ’78, came back to the ring 10 years later and won the heavyweight championship again in 1994 at the age of 45. All of that info is always a search engine away, but Tillman Jr. just regurgitates it onscreen, never embracing the chance to dig deeper or deliver any new insight. And there are two great opportunities here. The first is George’s relationship with longtime mentor “Doc” Broadus, portrayed with heart and sensitivity by Oscar-winner Forest Whitaker. The second is Foreman’s conversion to a Man of God. Either one of these could have given the film a strong foundation to build around, and an easier route to getting audiences closer to the real Big George. Khris Davis (Judas and the Black Messiah ) beefed up considerably to play Foreman, and while he looks the part, fight sequences range from lackluster recreations to the WTF choice of a deep-faked Davis being inserted into real footage from Foreman’s 1991 bout with Evander Holyfield. Comical portrayals of both Muhammad Ali and Howard Cosell only feed a longing for the historical relevance of the 1996 doc When We Were Kings. George’s rise to gold medals, heavyweight belts and best-selling grills has indeed been extraordinary. It deserves better than the ordinary treatment that comes from Big George Foreman . Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Measure of Revenge film review by UK film critic Christie Robb. Starring Melissa Leo, Bella Thorne directed by Peyfa. HOME | FILMS | REVIEWS Measure of Revenge Film Review average rating is 3 out of 5 Critic: Christie Robb | Posted on: Mar 15, 2022 Directed by: Peyfa Written by: Kenny Walakandou Starring: Melissa Leo, Bella Thorne Life imitates art when famous Broadway tragedian, Lillian Cooper’s rock star son and his pregnant girlfriend die of an apparent drug overdose. Or is it murder? Inspired by intrusive thoughts of revenge that manifest as visions of famous characters Lillian has portrayed on stage, the heartbroken mother stalks the streets of New York searching for those responsible and hatching a plot to make them pay for their misdeeds. Along the way, Lillian (Melissa Leo) joins forces with young photographer/drug dealer, Taz (Bella Thorne) whose motivations may not be entirely transparent. Like a stage performance, first-time director Peyfa’s Measure of Revenge can lean a bit toward the histrionic—sudden, jarring discordant tones of the score; dialogue that runs backward when Lillian is having a tough time emotionally; characters literally rending their clothes in grief. But it’s a clever film, a mystery that isn’t entirely linear with an ending that doesn’t tie itself up in a neat little bow. You gotta work for the resolution and there’s room for debate (and some discussion about how forensic evidence could probably play a greater role in the fate of at least one character). However, the film may spend too much time on its theatrical gimmick to the detriment of character development. This is especially true of the dead son and those who may have been motivated to do him wrong. Academy Award-winner Leo (The Fighter ) is magnetic, showing an incredible range—from bubbly anticipatory delight at seeing her son return from a successful rehab stint through to wrathful avenging angel. And along the way, we are treated to snippets of some of the greatest tragic characters of all time—Hester Prynne, Hedda Gabler, Lady Macbeth, and Hamlet’s Ghost among them. Buy UKFR Banner Space About the Film Critic Christie Robb Digital / DVD Release < All Reviews Next Film Review >

Hit Man film review by UK film critic George Wof. Starring Glen Powell, Adria Arjona directed by Richard Linklater. HOME | FILMS | REVIEWS Hit Man Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jun 6, 2024 Directed by: Richard Linklater Written by: Richard Linklater, Glen Powell, Skip Hollandsworth Starring: Glen Powell, Adria Arjona What better way to have some breezy fun with our identity-challenged times than by embellishing the true-life story of one Gary Johnson? Johnson was a phony hitman in Texas who would don different disguises working undercover work for the police. After a 2001 article in Texas Monthly profiled his adventures, various screenwriters toyed with the project. And though Johnson died in 2022, he can sleep well knowing Richard Linklater and Glen Powell’s Hitman finally does him proud. In the Linklater/Powell take, Johnson (Powell) is a mild-mannered psych professor at a New Orleans college who likes birding and jean shorts. A proficiency for tech gadgets lands him a moonlighting gig doing surveillance with the cops. But when their undercover man gets suspended for shady activities, Gary emerges from the van as “Ron,” fake hitman for hire. Turns out, Gary has a knack for this new identity, and impresses his team with some suave method acting. “Okay, Daniel Day!” He also impresses Maddy (Adria Arjona from Morbius ) who wants her abusive husband dead. “Ron” talks her out of the hit, they begin a steamy affair, then the husband turns up dead anyway. And so the heat (the Body Heat ?) is on. Powell is all charm and charisma as he bounces from one persona to the next (the Patrick Bateman impression is particularly hilarious), Arjona is a captivating possible femme fatale, and the chemistry between them is undeniable. Linklater’s direction is slick and well-paced, with a vibe that recalls a winning mix of Fletch whodunnit, Spy humor and Ocean’s 11 sex appeal. But Hitman still feels very much in-the-moment, with a repeated focus on how our point of view can shape our reality, and how our path to change starts by being honest with ourselves. That’s right, Powell and Linklater find room for a serious message in Hitman . But don’t worry, you’ll be having so much fun it won’t hurt a bit. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >