Ocean Brew film review by UK film critic James Learoyd. Starring Kellie Shirley, Albey Brookes, Michael Seaman directed by Harry Guest. HOME | FILMS | REVIEWS Ocean Brew Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 16, 2024 Directed by: Harry Guest Written by: Harry Guest Starring: Kellie Shirley, Albey Brookes, Michael Seaman It’s not often that a short film is made with enough technical skill to rival the highest-level productions, but Ocean Brew manages to do just that. Centering around Joe (a pub-owner who used to be a diver), this comedy tells an episodic, if slightly muddled, tale of an inn’s progressing complications and humorous misfortunes. What’s slightly disappointing is that the story is not as polished as the technique implemented to tell it. Formally, the piece is as slick and professional as can be. It’s clear that a large group of professionals came together to carefully construct this film’s look and sound, all operating at the top of their game – from lighting and sound to the editing and musical cues, its aesthetic feels clean. Crisply shot on a series of stunning anamorphic prime lenses, there’s not much to complain about when it comes to the camera department; you can see every penny in every frame. The sound is equally sweet, as clear as any Hollywood feature with design that’s wonderfully nuanced. Specific and considered through other influences, present on screen is also the impact of other filmmakers... It quickly becomes apparent that Ocean Brew was inspired by the work of Edgar Wright, particularly editorially. This mode of montage, comedic cutting, and expressive audio transitions is a style frequently imitated and often tiresome; however, director Harry Guest is successful at utilising the approach to accentuate production value. Interestingly, it illuminates different parts that inform the greater whole – one notices, for instance, how the cutting correlates to the music; and then, in turn, how great the score is! As if to guide the viewer’s eyes and ears to the work of a talented crew, the film makes its strengths clear as day. Unfortunately, the narrative lacks thematic and structural cohesion. Whilst one can tell that the script was carefully arranged and scrutinised to be as succinct as possible, there is something disjointed in its messaging. The opening moments effectively establish a motif of diving, but it’s not clear what kind of relationship the character now has with this past activity; so, the fact that the ending is tied so tightly to, at most, a suggestion creates an issue: any intended catharsis is absent from the moment and may leave the audience confused, appearing more as a kind of subtextual bookending. Meanwhile, Guest’s nicely orchestrated symphony of pub-related antics is amusing, yet there’s an inelegance in how disconnected it feels from the emotional core. Despite story-related complaints, style and form make up for most shortcomings. As stated, it’s one of the more technically impressive shorts in recent memory, worth supporting because of just that. It’s always wonderful when work such as this demonstrates that a sizeable budget is not essential. Feeling like the most expensive production requires craft, skill, and a group of excited creatives coming together with the same goal: to use their area of expertise to contribute to the best of their ability. Ocean Brew is a more than admirable achievement in the world of short filmmaking. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Game Just Got Real film review by UK film critic Amber Jackson. Starring Bellopropello directed by Bellopropello. HOME | FILMS | REVIEWS The Game Just Got Real Film Review average rating is 2 out of 5 Critic: Amber Jackson | Posted on: Jan 21, 2022 Directed by: Bellopropello Written by: Bellopropello Starring: Bellopropello The Game Just Got Real is a very brief short film with no plot, no characters and no motivation. Yet, there is something that is strangely haunting about watching it. A lack of substance to the film not only infuriating, but challenges the viewer to think outside of the box and figure out what exactly is happening here. A summary of the film can be found on IMDB with the description: “Dogs and humans want to play. Or Not?”, which is definitely in-keeping with the film’s delightfully vague motif. What happens in the sixty seconds that it takes to watch this film is a series of paw prints, dog noises and human footprints around an abstract neighbourhood. Various other noises and objects also interrupt the scene, with sound effects layered over the top of each other, to create an overwhelming atmosphere of confusion. These elements feel incredibly constructed and mechanical which match the look of the piece. As there is only implied scene direction as to what the supposed characters of the film are doing, film creator Bellopropello showcases a really unique and unsettling way of animating a short film. Viewers are given no information concerning where the film is heading in terms of story direction and yet at the same time we feel like we know everything that there is to see. This creates a somewhat eerie realisation, as there is a simultaneous recognition that the viewer is watching everything and nothing all at once. Through a lack of clarity, the viewer is able to construct their own visual representation of what they think they could be seeing – which is a clever trick. The Game Just Got Real could simply be described as a brief moment of confusion, mostly in part due to the piece having no real beginning, end, or sense of purpose. Whilst typically these qualities would be used to describe a critically ‘bad’ film, it can be debated that having unclear motivation could be an interesting way to explore the short film genre. The title of the film itself maybe suggests a turning point, or a climactic moment, which briefly plays out for the viewer to try and engage with. Bellopropello as a filmmaker is known for including symbolism and hidden messages within his film work and this latest work is arguably no exception to this rule. Despite its lack of quantity and uncertain motivation, perhaps The Game Just Got Real does contain a hidden message – and it could be the audience member’s job to attempt deciphering it. As far as sixty second films go, this is an intriguing one. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Bad Hombres film review by UK film critic Brandon Thomas. Starring Diego Tinoco, Hemky Madera, Luke Hemsworth directed by John Stalberg Jr.. HOME | FILMS | REVIEWS Bad Hombres Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jan 26, 2024 Directed by: John Stalberg Jr. Written by: Rex New, John Stalberg Jr., Nick Turner Starring: Diego Tinoco, Hemky Madera, Luke Hemsworth Darkly funny neo-noirs hit my cinematic sweet spot more often than not. The satisfaction of laughing at outrageous bursts of violence or complex plans that go awry is second to none. And throughout these entertaining narratives are classic aesthetic tropes that give filmmakers the opportunity to lean into equally satisfying visuals. While the plot of Bad Hombres never enters complex territory, the characters and genre beats are more than enough to make up for it. Felix (Diego Tinoco) has just arrived in the U.S. from Ecuador. Looking to send money home to his impoverished family, Felix and his cousin go to the local hardware store in the hopes that they can pick up work as day laborers. After his cousin is picked for a job but he isn’t, Felix is approached by a twitchy Australian (Luke Hemsworth, TV’s Westworld , Next Goal Wins ) with an offer for an easy day’s work. Also on the job is gruff handyman Alfonso (Hemky Madera, Satanic Hispanics , Spider-Man: Homecoming ). Felix and Alfonso quickly realize the gig is more than basic labor after arriving to the job site to find several bodies and the Australian’s wounded partner (Paul Johansson, TV’s One Tree Hill ). Early on, Bad Hombres feels like it’s going to be your standard direct-to-streaming action thriller. The title alone doesn’t do much to dispel that initial gut reaction, either. However, once Hemsworth’s borderline lunatic character appears on screen, the dynamic shifts ever so slightly in favor of something a bit more interesting – and dare I say, chaotic. Director John Stahlberg Jr. wisely paces himself and lets the crazy of Bad Hombres blossom naturally. While it’s fair to say that Bad Hombres is a lower budget film, that never really comes across on screen. Stahlberg’s direction is methodical and focused with a strong emphasis on visual storytelling. Despite having moments of explosive action, the film mostly consists of scenes of people having conversations. Even in these more “mundane” moments, the film’s energy never drops. Along with Stahlberg’s direction, the other secret ingredient in Bad Hombres is the cast. Madera is especially notable as the unapproachable Alfonso. As the film progresses and the layers of Alfonso’s backstory is revealed, Madera’s performance becomes so much more nuanced and exciting. Hemsworth is having a blast playing a murderous madman who likes to portray himself as more politically progressive than he probably is. Even the always reliable Thomas Jane (The Punisher , The Mist ), Tyrese Gibson (Fast & the Furious series), and Nick Cassavettes (best known for directing The Notebook ) pop up in supporting roles. Bad Hombres is a lean and mean bit of modern day neo-noir that manages to deliver well past its budget and defy expectations all at the same time. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Headspace film review by UK film critic Joe Beck. Starring Mark Smith, Lauren Larkin, Daniel Ryan directed by Aisling Byrne. HOME | FILMS | REVIEWS Headspace Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Sep 28, 2023 Directed by: Aisling Byrne Written by: Aisling Byrne Starring: Mark Smith, Lauren Larkin, Daniel Ryan We all need our own headspace. A little bubble of peace and solitude in which we can retreat to when the chips are down and we need a break from the hustle and bustle of the noisy world around us. For many that involves taking a walk amongst nature, maybe even a run through the park, giving our mind the opportunity to relax amidst some fresh air. Another way people can get inside their headspace is through music, taking us away from the noise, and allowing us to focus on the rhythm and beats. Aisling Byrne’s short film ‘Headspace’ focuses on the importance of headspace and music in finding that headspace, yet whilst it is a well intentioned and all round good film, it lacks the spark that would really separate it from a teatime drama. Byrne’s directing doesn’t feel inspired or creative enough to get past the relative tameness of the story. It’s a slice of life film, yet it doesn’t contain either the euphoric highs or the despondent lows necessary to sustain drama and which are truly reflective of life itself. There are no moments of real jeopardy for Tony (Mark Smith), nor are their moments of sheer elation, instead the film feels half baked and underwhelming. Intriguing characters are presented, and the potential for a great story is there, but it never feels as though enough emotion has been invested in the story. Instead Tony merely meanders along with his life, beginning with a meeting with his manager - he works at a local convenience store - that could have been worse but also could have been far better. His reliance on his headphones is evident, yet they are run down and breaking, interrupting his headspace as he commutes back from work and has to put up with his housemates in his community housing. Living with down syndrome, as Tony does is tough, yet Tony clearly gets about his life well, with his disability seemingly hardly fazing him. It is for this reason that we are perturbed by the idea that he relies on a monthly allowance of petty cash, which he doesn’t even hold himself, and a savings account which he cannot access without speaking to his mother, which he does not want to do. The man only wants to buy new headphones - a necessity when sharing a house with the loud, excitable Michael (Daniel Ryan) who is constantly blaring his music - and yet he is prevented from doing so by the constraints placed upon him by carer Siobhan (Lauren Larkin), who, though a kind figure, is also evidently weary and tired of her job. Byrne’s script is competent, with dialogue sounding natural and flowing well, even if, similar to her direction, it fails to truly zing off the screen. Nevertheless, her actors, and particularly Mark Smith in the lead role as Tony, give excellent performances, with Smith’s face telling plainly his frustration at the disruption of his headspace without him needing to even open his mouth. Therefore, whilst ‘Headspace’ does frustrate, as you sense that it lacks a dramatic spark, it is nonetheless a solid, and largely enjoyable sixteen minutes, with an engaging lead performance from Mark Smith. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Fear and Love: The Story of The Exorcist film review by UK film critic James Learoyd. Starring Ellen Burstyn, Rick Baker, William O'Malley directed by John Larkin. HOME | FILMS | REVIEWS Fear and Love: The Story of The Exorcist Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Oct 13, 2024 Directed by: John Larkin Written by: *N/A Starring: Ellen Burstyn, Rick Baker, William O'Malley Fear and Love: The Story of The Exorcist is a surprisingly detailed and personal look at the game-changing 1973 horror. For devoted fans of the movie like myself, we’ve heard the classic on-set stories many times before. However, one could not have predicted the level of honesty and insight featured in this picture, for the subjects of this documentary have provided director/editor John Larkin with an unbelievable amount of material. This lends the film a more introspective - even emotional - edge, which differentiates it from other making-of docs. You could easily knock the film for having the standard structure and form of your average informative doc, but as an Exorcist fan, the piece offers us fantastic interview footage with the performers and artists that we know and care about. The testimony of legendary sound designer Chris Newman, for instance, is of an incredibly high quality. He speaks of his odd interactions with the amazing William Peter Blatty; his tortured relationship with Friedkin; and his personal scars and feelings regarding the experience. But it’s also exciting to be getting more stories from the wonderful Ellen Burstyn (one of my favourite performers). She discusses her spiritual beliefs, how the anguish of the shoot affected her life, and her relationship with the other actors. It’s really very candid, and perfect content for an Exorcist obsessive. Our director manages to capture some deeply heartfelt and vulnerable speaking from these fascinating individuals – which, for an independent documentary, is not always a guarantee. Perhaps most interesting is how every subject describes the famously cruel working behaviour of the recently departed William Friedkin. We all know the facts of the refrigerated set, the slapping, and the general air of intensity. But it really is upsetting to hear first-hand about the man’s treatment of his actors (a lot of which is already well-documented); but even more fascinating is how these people – now looking back after decades – contend with how their physical and psychological torment conflicted or contributed to the effectiveness of the film. The most striking of these moments is when Burstyn recalls the stuntman pulling her back onto the floor after she told him not to, causing her great physical trauma. And thus, the viewer feels conflicted at the amazing viscera of that very shot which appears in the film. How they speak of a driven artist who reveals himself to be completely unfeeling in many ways, is one of the ideas audiences will be most stimulated by. I was completely engaged, and occasionally quite moved, by this comprehensive documentary. It’s a fabulously well-edited and arranged project, particularly when you consider the sheer quantity of stories and perspectives Larkin had to deal with. And it manages to pretty consistently maintain a flow and a sense of order which is needed for feature-length, information-heavy releases. I’d also like to point out the fact that 61 minutes is the perfect length for this film. Not too short as to feel rushed or unsubstantial, and not too long as to test your average audience-member's attention. From beginning to end, it’s a very admirable effort, and unique as a fabulously rich record of actors’ testimony. Buy UKFR Banner Space About the Film Critic James Learoyd Documentary, Indie Feature Film < All Reviews Next Film Review >

Finding 'Appiness film review by UK film critic Jason Knight. Starring Allan Bradbury directed by Natasha Hawthornthwaite. HOME | FILMS | REVIEWS Finding 'Appiness Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 10, 2022 Directed by: Natasha Hawthornthwaite Written by: N/A Starring: Allan Bradbury A short documentary about the life of an elderly man with a troubled past. Allan Bradbury is an outgoing, energetic individual in his seventies, who is a counsellor, wears interesting clothing, socialises a great deal and enjoys music. The film explores how he managed to overcome his inner struggles and become a happy person and enjoy life. Bradbury acts as narrator and talks about himself and reveals dramatic information about his past, including being born in Sussex during the Second World War, growing up with an alcoholic stepfather, being the victim of abuse as a child and going on to develop an addiction to alcohol himself. He would then go on to become a difficult father to his two children and continue to struggle with himself until he finally reached out for help. Bradbury comes across as a friendly and cheerful person and listening to him talk about his life story is an interesting and emotional experience. It is sad as he talks about the tragic events of his past and the viewer will most likely feel for him. However, there are also uplifting moments of joy, that show that he has managed to overcome his troubles and become a decent person and these include moments of him socialising and laughing with people, attending a photo shoot, playing music and enjoying a birthday party in his honour. In addition to Bradbury, the audience are also introduced to his daughter, who also provides voice-over as she talks about her father's tough journey. Both are filmed either as they talk into the camera or go about their business. There are also old family photographs of Bradbury and his children that help provide an insight into their past. There is dramatic music that helps create the right atmosphere and there are also amusing songs that provide uplifting feelings. This is an inspiring story about a person who went through very traumatic and challenging times and managed to overcome his inner obstacles and find happiness. By viewing this documentary, other people will hopefully be encouraged to come to terms with their own issues and become better people. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

Joe Finds Grace film review by UK film critic Jason Knight. Starring Anthony Harrison, C. Ernst Harth, Ellie Harvie, Dmitry Chepovetsky, Chilton Crane directed by Anthony Harrison. HOME | FILMS | REVIEWS Joe Finds Grace Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 27, 2022 Directed by: Anthony Harrison Written by: Anthony Harrison Starring: Anthony Harrison, C. Ernst Harth, Ellie Harvie, Dmitry Chepovetsky, Chilton Crane A man with a disfigurement and intellectual disabilities decides to search for his long lost sister. Joseph (Harrison) is a patient in an institution, who also works at a dock. He has a facial disfigurement and general learning disabilities and he is a quiet person. One day, after reading a leaflet, he suddenly embarks on a journey, with the intention of finding his sister Grace, who disappeared many years ago, when he was a child. The harbour's boss Horst (Harth) goes looking for Joseph (or Joe), along with the help of his girlfriend Eva (Harvie). What follows is a journey that gets the three of them into awkward and dangerous situations. This interesting feature could be described as a comedy drama road movie. The narrative basically consists of two storylines, which are the adventures of Joe and those of Horst and Eva, that alternate between them. The movie can be funny, dramatic or surreal. Just like that, Joe abandons everything and sets off to locate his sister, an objective that seems absurd and rather unlikely to be achieved. He hitchhikes a great deal and encounters an aggressive homeless man, unwillingly has an audition and stumbles upon a dangerous criminal.Meanwile, Horst and Eva end up spending more time enjoying themselves, instead of looking for Joe and find themselves on the wrong side of the law. In comparison to Joe's, their experiences during their journey are more light-hearted. The majority of the film is in black-and-white, with brief sequences of colour and animation. There are moments where colour briefly takes over, then leaving the image in black-and-white again. The animated scenes serve mostly as flashbacks, providing an insight into Joe's past and his motivation for beginning his search. There are also parts that mix animation with live action. The animation looks great thanks to the efforts of Harrison and the cinamatography by James Wallace. Harrison also worked on the editing and makes effective use of split screen and dissolve techniques. The filmmakers also make frequent use of fast motion, which provides a comedic feeling. There are quite a few interesting people in this movie and as the main character, Joe comes across as a good person, yet he is reserved and does not talk much. He is haunted by the memories from the day his sister went missing and believes that he is partly responsible for her disappearance. The majority of the story is seen through Joe's eyes and Harrison does a good job in presenting him as a tragic character. Harth and Harvie's performaces are quite comical, making their characters amusing but hard to be taken seriously, which is not a bad thing. This is a film that is sometimes very emotional and sometimes funny. It mainly revolves around an individual who is isolated from the world, who is struggling to come to terms with his past and who seems to be looking for redemption. It is a story about self-discovery, about making amends and it deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life.. Brand new film trailers. Power Ballad Audiences love a well-crafted musical comedy-drama, especially one that takes a biting, satirical look at the inner workings of the music industry. When Lionsgate released the latest official trailer for Power Ballad , it instantly struck a chord with us. Bringing together the unmatched, self-deprecating charm of Paul Rudd and the polished pop sensibility of Nick Jonas, the film positions itself as a sharp, hilarious, and surprisingly poignant exploration of artistic ownership, jealousy, and the transcendent power of a truly great melody. The premise is instantly relatable and wonderfully chaotic. Paul Rudd plays Rick Power, a down-on-his-luck wedding band musician who has spent years toying with a deeply personal chorus and verse about an old flame. Enter Nick Jonas’s character, Danny Wilson, a massively successful pop star who clearly wants to be taken seriously as a "real" artist, rather than just "some boy band guy." After crossing paths, Rick shares his long-gestating track with Danny, only to later hear that very same song blasted over a supermarket loudspeaker as Wilson's massive new hit single. What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. On the flip side, Nick Jonas looks brilliant as the slightly detached, image-conscious pop star who defends the theft by intellectualising it, arguing that a good song has the unique ability to mean different things to different people. It sets up a classic David versus Goliath narrative, wrapped in showbiz satire. The tone struck by director John Carney looks spectacularly balanced. The trailer seamlessly shifts from genuine, goosebump-inducing musical moments—where we hear the soulful, acoustic birth of the titular ballad—to laugh-out-loud comedy. The escalating feud quickly moves from the recording studio to the legal room. When Rick’s lawyer delivers the crushing news that, legally speaking, he doesn’t have any options left to reclaim his credit, the trailer takes a hilariously dark turn as Rick's companion immediately asks, "What about illegally speaking?" Ultimately, Power Ballad looks to be a vibrant, energetic piece of filmmaking that explores a very real, messy industry dilemma: who truly owns art once it leaves the bedroom? It is a story about the desperate desire for recognition and the bittersweet reality of watching your soul-baring creation become a global commodity. While UK Film Review hasn't yet seen the final cut, the undeniable chemistry between Rudd and Jonas, combined with what promises to be a genuinely fantastic soundtrack, makes this an absolute must-see. We can't wait to see how this melodic battle unfolds on the big screen. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Splitsville film review by UK film critic Jack Salvadori. Starring Michael Angelo Covino, Kyle Marvin, Dakota Johnson directed by Michael Angelo Covino. HOME | FILMS | REVIEWS Splitsville Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: May 20, 2025 Directed by: Michael Angelo Covino Written by: Michael Angelo Covino, Kyle Marvin Starring: Michael Angelo Covino, Kyle Marvin, Dakota Johnson “It’s better than The Climb . 100%, no doubt,” declares Michael Angelo Covino, the Mediterranean glittering behind him as he munches McDonald’s fries the night before Splitsville ’s premiere. Then, just a beat later, he turns to his crew—“It’s better, right?”—his voice suddenly less certain. Could it really be better than The Climb , his breakout debut that made waves in Un Certain Regard back in 2019? Now he was back in Cannes, facing the dreaded Second Feature Test: was he a one-hit wonder? Enter Kyle Marvin - best friend, co-writer, co-star, looking equally excited and happy. Together, they huddle over to check the screener one last time, just hours before it would light up the Debussy Theatre, like students cramming for finals. I don’t think they slept much that night. And yet, hours later, the answer rang clear: Splitsville had the entire Cannes audience in stitches. This is a triumph of modest ambition: a romantic comedy about open marriages, modern masculinity, guilt, jealousy, and the tangled mess of human connection. It doesn’t try to reinvent the wheel, it just makes it spin faster and funnier. Covino and Marvin have eloped with their own style and now, at last, they’ve settled down with it. Gone are the one-shot flexes of The Climb ; instead, we get crisp, confident storytelling, with a rhythm and comedic timing so sharp it could cut glass. Once again, they play their signature roles: Kyle, the earnest, overly generous man you’d trust to water your plants while you’re away; Mike, the selfish, obnoxious hurricane who would absolutely forget them. It’s familiar territory, but they’ve grown, both as characters and filmmakers. The chaos is still there, but now it’s delivered with more confidence, through a carousel of inventive set-pieces that never stop to surprise and amuse. And yet, what makes Splitsville truly sing isn’t just the laughs—it’s the emotional sophistication humming beneath it all. It’s a film about how people flail and fumble toward connection, how we rationalise—and sometimes sabotage—our own happiness. That Splitsville manages to explore all this while being constantly, properly funny is a small miracle. Dakota Johnson and Adria Arjona bring sharpness and sparkle to the ensemble, but make no mistake: this is Covino and Marvin’s show. They’ve carved out a comedic tone that’s all their own: warm, self-aware, messy, emotionally grounded. It’s commercial enough to to make your grandad laugh and sly enough to make a critic nod in grudging approval. It’s not just funnier than The Climb , it’s deeper, more emotionally agile, and more confident in its comedic muscle. The jokes aren’t just in the dialogue—they’re baked into the rhythm of the edit, the sound design, the awkward silences and off-screen glances. You’re glued to the screen not because the stakes are high, but because it feels so good to be in the company of these characters, even when they’re at their worst. Especially when they’re at their worst. Splitsville doesn’t ask for much—it just wants to make you laugh. But by the time the credits roll, it’s done far more than that. It’s tender without being saccharine, sophisticated without being smug, and funny without ever feeling effortful. It deserved a slot in Official Competition, honestly. But that night on the Croisette, Covino and Marvin were just two best friends, pacing the beach, nerves jangling, screeners glitching, fries going cold. A few hours later, their film would light up the Debussy and leave the room roaring. If a movie can make you feel that happy in the least glamorous moment of the most glamorous festival in the world, it’s already a classic. And I have the feeling they’re only just getting started. Buy UKFR Banner Space About the Film Critic Jack Salvadori Theatrical Release, Film Festival < All Reviews Next Film Review >

Misunderstood film review by UK film critic Chris Buick. Starring Arlo Carter, Lucy Colcombe, Sarah Lott, Lucy Blanc, Conor Southwick, Dougie Boyall directed by James Brierley. HOME | FILMS | REVIEWS Misunderstood Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Dec 20, 2023 Directed by: James Brierley Written by: James Brierley, Natasha Brierley Starring: Arlo Carter, Lucy Colcombe, Sarah Lott, Lucy Blanc, Conor Southwick, Dougie Boyall Misunderstood tells the story of Lukas (Carter), a young man with autism who spends his days quite happily listening to music and reading his collection of magazines, until an encounter with some bullies causes him to shut out the world around him. A film with an important message and one that does ultimately succeed in delivering that message, Misunderstood shows how people like Lukas can indeed be misinterpreted and misunderstood by others ignorant of the situation, even if it is a bit rough and heavy-handed in going about it. But it’s clearly a very personal and important topic for those involved here, and the subject is handled with a great deal of grace and care. It’s actually a disturbing and painful watch at times seeing how the majority of the film’s supporting characters interact with Lukas, constantly perceiving his behaviour as weird, freakish or incomprehensible. This makes for quite an upsetting imbalance for the film’s tone, with all bar one of the supporting characters either coming across as just awful people or completely inept and ill-equipped to empathise or communicate with Lukas. It’s not a criticism of the film as it’s evidently a creative choice to emphasise a point, but it does mean that it feels heavy on the soul from the start, with little respite from there on as the weight seems to get heavier and heavier. What does work in the film, and needed to given the importance of the role, is Carter’s very affecting performance as Lukas, very disciplined in its delivery and understanding of the character resulting in an applaudable piece of acting. Unfortunately, Carter’s good acting turn only highlights the fact that the supporting cast aren’t really on the same level performance-wise. Some of it comes down to some choice moments in the dialogue which can at times fall under either poorly written or under-delivered. But it’s also partly down to the fact that all of these supporting characters feel a bit flat and one-dimensional, with little insight into who they are or what they’re about, leaving these actors with very few opportunities to show any range and again seemingly only in place to appear either vile or ignorant. The score does overpower the dialogue at times, never to the point where anything said becomes completely inaudible but is definitely muted. The inclusion of the film's big dramatic set piece around the halfway mark seems a bit half-baked, it’s hard to understand the motivations of that certain character in what seems an attempt to try and suddenly inject a sense of drama towards the end, which could have been executed better. But it’s aesthetically on point, with some clever framing choices helping to add punch to some of the more dramatic or emotional beats which are the moments that do make the film work. Misunderstood lacks a bit of direction and quality in some areas but shows some deft technical execution and manages to make its point clearly while giving voice to an important subject. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Dead River film review by UK film critic William Hemingway. Starring Christin Meinecke-Mareka, David Ndjavera, Jens Schneider directed by Tim Huebschle. HOME | FILMS | REVIEWS Dead River Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 28, 2026 Directed by: Tim Huebschle Written by: Tim Huebschle Starring: Christin Meinecke-Mareka, David Ndjavera, Jens Schneider A young girl growing up in apartheid riven Namibia in the 1980’s befriends a local boy while visiting her mother’s grave; a relationship which will highlight the deep divisions in the society around them and which will shape their lives forever. Lisa (Meinecke-Mareka) lives alone with her father on their farm in Namibia. They are German and have settled there to ‘turn the desert into a paradise’, something which Lisa’s father Adolf (Schneider) believes that the native people have failed to do. Much like the Boer and other white colonialists, Adolf believes himself to be better than the locals and understands apartheid to be the best way to represent that view and keep the peace – his peace. With a hateful, racist view of the native people of the land, Adolf forbids Lisa from leaving the relative safety of the confines of the farmhouse, which includes going down to her mother’s grave. She goes there anyway, and while playing her recorder over the grave, a young native boy joins in and whistles along with her soft, lamentful tune. When her father eventually finds her there, and in turn the young boy with her, he turns aggressive and violent towards them both, beating and abusing the boy as Lisa runs home as fast as she can. That night Lisa is told to pack her things as she will be sent to a hostel to live in the morning. Dead River picks up Lisa’s story more than twenty years later, from her life as a professional and a mother in Germany, when she receives a letter from a solicitor telling her the news she needs to hear in order to be able to go back and visit her old home. As Lisa tracks back on her old life and opens old wounds, we get to witness events in-between then and now which fill in the parts of the story we are missing, allowing Lisa’s story to develop and the friendship with the young boy, David (Ndjavera), who is now a man, to take centre stage. Writer and director, Tim Huebschle has said that Dead River was a film he’d wanted to make for ‘the longest time’, as someone who grew up in the apartheid system in Namibia in the 1980’s and who was exposed to the politicism and the fractures in society that it created, even for those who were very young at the time. Dead River then becomes a very personal film for him and emerges as a dedication to the generation of children who grew up learning how to live within the apartheid system, before watching it crumble in front of them as the 1990’s dawned. Focusing on just one family, and one friendship of a young girl, allows Huebschle to build a microcosm of the society he is trying to portray, without the need to bring in a whole nation, or nations, worth of history and trauma which might dilute the message. The personal story keeps things tight and focused, giving the uninitiated audience a way into the big themes that surround the film, while still allowing the difficult and problematic events and beliefs to be showcased. Cinematographer, Frederik Füssel, captures the magnificent beauty of the Namibian countryside perfectly, allowing enough space and time for the landscape to tell its own story as the lives of those who live upon it play out before us. Composer, Alessandro Alessandroni, delicately matches the soft, mournfulness of Lisa’s situation with the hope and vitality of the surrounding land and its people, as the story becomes ever more fraught and the scenario more dire. While writer/director, Huebschle brings all of the elements of his story together into an intricate pattern of risk and redemption, as we witness the changes to the land and the characters over a space of decades. The playing of the scenario, too, is very well handled by Christin Meinecke-Mareka and David Ndjavera, even if they are not so well supported by the amateur actors around them, or who play their characters in different timeframes. Despite the wide background to the story, and the decades spanning timeframe, Dead River does show its limitations at points, even in the intimate and personal moments. Some scenes just don’t fly very well, with poor delivery or not enough context, and the chopping up of the timeframes within the film doesn’t do it any favours, bringing up questions of continuity of character, or confusing the viewer without offering enough detail as to what’s being witnessed. Still, with enough heart and integrity behind the making of the film, and the personal, lived experience of its writer and director, Dead River emerges as a beautiful tale of a tragically difficult time, while treading respectfully over the past in order to present the future that a whole nation would like to see. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Nutcrackers film review by UK film critic Hope Madden. Starring Ben Stiller, Linda Cardellini directed by David Gordon Green. HOME | FILMS | REVIEWS Nutcrackers Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 27, 2024 Directed by: David Gordon Green Written by: David Gordon Green Starring: Ben Stiller, Linda Cardellini If you know David Gordon Green from the recent Halloween trilogy or The Exorcist: Believer , you don’t really know David Gordon Green. Who could blame you? He’s a hard guy to know. He followed up the four magnificent character driven indies that began his career with a trio of raucous comedies before mixing TV directing with low budget dramas. Then he did a couple of high-profile Hollywood dramas before venturing into franchise horror. The guy’s tastes are less eclectic than whiplash. Well, with Nutcrackers , he’s back in the independent realm, but his dabblings in every format, budget and genre inform the piece. Ben Stiller plays Michael, a Chicago real estate developer in the final throes of a project he’s been working for six years. He’s called to BFE Ohio (actually, Blanchester, Ohio) to care for his four recently orphaned nephews while the social worker (Linda Cardellini, classing up the joint) looks for a foster family. He can only stay for the weekend, though. Sure, sure. It’s a classic set up—ambitious city slicker loses everything and finds out who he really is in the chaos of family and smalltown life. And at Christmas, no less! Michael is also the type of character Stiller’s played many times. But Green’s approach is strictly indie—no swelling score, no spit takes, no mugging, no reaction shots. Green also recognizes his real stars: Homer, Arlo, Atlas and Ulysses Janson. The four newcomers deliver sweetly feral performances with an authenticity you don’t find in films like these. Leland Douglas’s script hits familiar beats that could easily have become cookie-cutter family film fare, but Green’s execution is untidy enough—snot-faced, uncombed and realistic—to breathe new life into a familiar idea. Stiller’s delightfully understated performance cements the genuine feel of the film. He has an easy chemistry with Cardellini as well as the Janson kids, and he mines the script’s humor for something that seems like real people being funny, rather than movie comedy. There’s a feeling of improvisation within scenes that allows Nutcrackers plenty of surprises. On the other hand, Green’s indie approach is often a mismatch with the broad comedy hijinks in the story. Certain scripted moments—those that smack of “zany comedy adventure”—are wildly out of place, and the film never fully shakes the obviousness of its premise. Nutcrackers mainly feels like an experiment. David Gordon Green takes a familiar Christmas family film script and sees if he can make something real out of it. He doesn’t always succeed, but he does deliver a charming mixed bag of nuts. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >