Lovin' You film review by UK film critic James Learoyd. Starring Carolina Medina directed by Leah Nicole. HOME | FILMS | REVIEWS Lovin' You Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 29, 2025 Directed by: Leah Nicole Written by: Minnie Riperton (original lyrics) Starring: Carolina Medina Lovin’ You is a high-energy music video. A brand-new cover of the classic romantic ballad by Minnie Riperton, now performed by singer Carolina Medina – the video is directed by Leah Nicole. Within the video, we see star Medina placed in various superficial locations and scenarios. These include the following: sat outside some European café; in a blank space with rhythmic flashing lights; and most prominently, and most authentic, a bar or club. We also get to see Medina experiment with her outfits and wear a range of costumes. According to the filmmakers, it was captured for the most part in the star’s living room, with the exception being these sequences in the club. It’s a successful enough showcase of confidence, charisma, and overall stage-presence. But unfortunately, there’s something inherently lacking in the overall production and delivery. This is not a polished piece; however, it is consistent, and it is enjoyable viewing for three minutes. Carolina Medina exudes a positive feeling and is incredibly likeable. Updating the song electronically makes the overall tone feel slightly repetitive as opposed to the soul characteristic of the original. But, then again, it certainly suits the club scene of the modern age; it’s catchy, fun and indicates a party attitude. To pinpoint perhaps the most damning issue with the video, it would have to be the inaccurate lip-syncing. It’s difficult to know exactly how this would have happened, and while it only takes place a couple times, it does significantly disrupt the musical illusion. But as stated, the arrangement of the piece feels consistent overall. The editing is most competent and definitely lends the video much of its energy and tone – despite a few of the anachronistic digital transitions. From an objective standpoint, here would be my main piece of advice when it comes to next making a music video: go outside! Whilst the fake background stuff is actually pretty amusing and successful in a cheesy sort of way, what this work severely lacks is engagement with any sort of dynamic, colourful environment. I can imagine this star’s style of performance really working surrounded by nature or even a cityscape – just something that holds cinematic depth and movement. It would also make the director’s job a lot easier when it came to making shots appear engaging to an audience. It’s entertaining to see her in a bar, flirting with a guy and bouncing off her very supportive and winning friends. But we need more of her interacting with her environment, otherwise it only solidifies the feeling that this was shot in some strange – albeit charming and welcoming – bubble. In three minutes, singer Medina and director Nicole craft a fun time for their viewers. For a lower-budget production of a music video, it’s great to see what they managed to achieve since it does feel like a music video. It’s poppy, it’s romantic, and it evokes a lovely sense of celebration. It’s almost a shame that one needs to formally deconstruct it as a piece of filmmaking, since it can simply stand alone as cool, fun thing that some creatively inspired people felt they wanted to make – and this critic is glad they did. Buy UKFR Banner Space About the Film Critic James Learoyd Music Video < All Reviews Next Film Review >

Folktales film review by UK film critic Brandon Thomas. Starring n/a directed by Heidi Ewing, Rachel Grady. HOME | FILMS | REVIEWS Folktales Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Aug 1, 2025 Directed by: Heidi Ewing, Rachel Grady Written by: Heidi Ewing, Rachel Grady Starring: n/a Roger Ebert was once quoted as saying, “No movie featuring either Harry Dean Stanton or M. Emmett Walsh in a supporting role can be altogether bad.” I don’t have a particular actor or two for whom this rule applies, but I am a tad biased when a film features a slew of good boi doggos and Folktales has them in spades. Folktales tells the story of Norway’s Pasvik Folk High School. This school caters to young adults in a “gap year,” teaching them survival skills in the rugged Arctic region of Northern Norway while also relying on them to help train sled dogs. The film focuses on three specific students: Hege, Romain, and Bjorn. Each of them has their emotional reason for coming to Pasvik for the year, yet despite their desire to experience something truly new, each one struggles with the baggage they carry into the wilderness. Filmmakers Heidi Ewing and Rachel Grady have already shown their prowess in documenting young people’s journeys away from home with The Boys of Baraka and Jesus Camp . While not quite dealing with the same heavy topics as those two films, Folktales still delves into the lives of young people at a crossroads. The obvious stakes may not seem high, but to them, this year in rural Norway is a last-ditch effort to regain – or find for the first time – some sort of normalcy. Rarely relying on typical talking heads, Ewing and Grady instead allow the camera’s observations to do most of the talking. There’s a calm and stillness to Folktales that echoes the quiet winter air. The beauty of the film’s cinematography is matched only by the beauty of the changes the audience gets to witness in the three students. None of them leave Pasvik with their trauma and struggles behind them, but what they do gain is the notion that things can get better and that they can be the catalyst for said change. Did I mention the dogs? The way the film – and the school – use the dogs to unlock something within students is a thing of beauty. These gorgeous animals are there to work, and they often sense the unease and insecurity of the students. The steely blue gaze of a Siberian Husky is ominous and beautiful all at the same time – something Ewing and Grady’s camera never forgets. That mix of visual metaphor and real-life struggle of young people pays off as we see the students earn the trust of these animals and find comfort in their presence. Folktales doesn’t strive to stir up unnecessary drama or strife in its subjects. Instead, the film revels in the beauty found all around us as we try to recapture happiness, catharsis, and confidence. Buy UKFR Banner Space About the Film Critic Brandon Thomas Theatrical Release, World Cinema, Documentary < All Reviews Next Film Review >

Dumb Money film review by UK film critic Hope Madden. Starring Paul Dano, Shailene Woodley, America Ferrera, Seth Rogen directed by Craig Gillespie. HOME | FILMS | REVIEWS Dumb Money Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 20, 2023 Directed by: Craig Gillespie Written by: Lauren Schunker Blum, Rebecca Angelo, Ben Mezrich Starring: Paul Dano, Shailene Woodley, America Ferrera, Seth Rogen Do you remember when GameStop stock became newsworthy? I, Tonya director Craig Gillespie does, and he thinks you will enjoy learning a bit more about that slice of American economic history. Channeling Adam McKay’s rage with none of his snark, Gillespie spins Dumb Money into a laid-back tale of sticking it to the rich guy. Which are always the best stories. Paul Dano plays Keith Gill, an underemployed new dad who took a shine to GameStop and shared his lowkey enthusiasm via videos on Reddit. His earnest goofiness, absolute transparency and love of cats drew an audience. That audience grew into a revolution. Gillespie cuts nimbly from storyline to storyline, introducing us to many of the Average Joes who took Gill’s advice. Anthony Ramos is the most fun, playing Marcus Barcia, a GameStop employee who liked Megan Thee Stallion and did not like Brad (Dane DeHaan), his manager. America Ferrera gets another righteously indignant character to bring to vivid life, while Seth Rogen, Nick Offerman, Vincent D’Onofrio and Gillespie favorite Sebastian Stan relish the rich dick roles. The film never talks down to its audience, doesn’t over-explain or under-explain its financial underpinnings. We understand about as much as our main characters. Writers Lauren Schunker Blum, Rebecca Angelo and Ben Mezrich may be a bit precious about the long-term impact of the revolution, but they stay focused on character without losing the financial specifics that make the justice that much sweeter. Dumb Money is a crowd pleaser, partly because the writing team keeps the script simple, and partly because Gillespie keeps the energy high. But mostly because it’s never not fun to see somebody stick it to the man. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Thor: Love and Thunder film review by UK film critic Hope Madden. Starring Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson directed by Taika Waititi, Jennifer Kaytin Robinson, Stan Lee. HOME | FILMS | REVIEWS Thor: Love and Thunder Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 6, 2022 Directed by: Taika Waititi, Jennifer Kaytin Robinson, Stan Lee Written by: Taika Waititi Starring: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson Filmmaker Taika Waititi hit a gleefully discordant note with his first venture into the Marvel Cinematic Universe. His Thor: Ragnarok was silly. It held no particular reverence for superheroes, even its own. Who knew it would be such a welcome change of pace, and so very suited to Chris Hemsworth’s comic talent? Of course, Thor still had Loki (Tom Hiddleston) to play with, plus the great Cate Blanchette as a goth goddess Hela. Hell yes. Thor: Love and Thunder does not benefit from the previous installment’s villainous one-two punch. But Christian Bale is no slouch. Bale plays Gorr the God Butcher. The name alone gives you a sense of why Thor is in trouble. The weird thing is, though Bale’s performance intrigues, it’s as if he’s in an entirely different movie. In Thor’s corner of this fight is the formidable Valkyrie (Tessa Thompson), as well as another familiar face. Natalie Portman returns as Thor’s ex, Dr. Jane Foster, who now commands the Hammer of the Gods herself. But after fighting his own flesh and blood to save his entire people and culture in the last episode, crushing on his ex while protecting his own skin feels pretty superficial. It’s a slight premise with weak stakes. Even Waititi seems to think so. Thor and company visit the secret assembly of the gods to ask for help in defeating this new menace. The way Waititi (who co-writes Jennifer Kaytin Robinson) stages the whole bacchanal makes it hard to argue Gorr the God Butcher’s logic. An interesting act of subversion or wishy-washy storytelling? Hard to say. Waititi’s focus on the film’s aesthetic is clearer, though. Thor: Love and Thunder evokes a Saturday morning kids’ show, complete with hokey costumes and props. Here Waititi revels in the superficial, the kitschy and commercial. He’s a filmmaker who balances cynicism and goofiness as few can. He hits a couple of clever gags with a jealous Stormbreaker, too. So, it’s fun. But it’s by no means the inspired fun of Ragnarok. None of the jokes land as well, and the action never approaches the same level of swagger and panache. And it just keeps getting harder to root against Marvel’s villains. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Trigger Happy film review by UK film critic Rachel Willis. Starring Tyler Poelle, Elsha Kim directed by Tiffany Kim Stevens. HOME | FILMS | REVIEWS Trigger Happy Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Feb 27, 2025 Directed by: Tiffany Kim Stevens Written by: Daniel Moya, Tiffany Kim Stevens Starring: Tyler Poelle, Elsha Kim Unhappy George (Tyler Poelle) has a plan. Miserable at work, miserable at home, George needs a change. His chosen method for changing his life becomes a madcap adventure of sorts in director Tiffany Kim Stevens’s film, Trigger Happy . Since misery loves company, George isn’t alone in his dissatisfaction. George’s wife, aspiring actor Annie (Elsha Kim), is as annoyed with George as he is with her. Several others express their frustrations and despairs in various ways as well. Thankfully, Stevens isn’t interested in making us miserable. Rather than wallow with unhappy characters, we watch as George, Annie, and their friends find ways to improve their circumstances through torrid affairs, spouse murder fantasies, and hilarious professional accomplishments. Of course, because none of the characters are honest with each other, or even themselves, misunderstandings abound. What could almost be described as comedic hijinks occur, except they’re a little too bloody to be truly called hijinks. Stevens, co-writing with Daniel Moya, pens dialog with a strange, melodic poetry that gives it a musical quality, adding a level of surrealism to the film. George’s increasing frustrations play well with this quality. Adding to Trigger Happy ‘s uncanniness is the slyly revealed reality of George’s world, which isn’t quite the same as ours. It’s not obvious at first, but as the film progresses, more hints are dropped. And as the title of the movie suggests, guns abound (not so different from our world in that way). Each person in George’s world is compelling in their own unique way. Though some play a bigger part in George’s misery than others, none of the ancillary characters feel unnecessary. From his coworkers to his boss, to the friendly shop owner, each person has a place in George’s orbit. Still, it’s Annie, as both his antagonist and his wife, who has the most commanding presence in George’s life. It’s easy to love and loathe both characters. Trigger Happy is, overall, a winning parody about the miseries of everyday living. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release < All Reviews Next Film Review >

Lair film review by UK film critic Rachel Willis. Starring Aislinn De'Ath, Alana Wallace, Corey Johnson directed by Adam Ethan Crow. HOME | FILMS | REVIEWS Lair Film Review average rating is 2 out of 5 Critic: Rachel Willis | Posted on: Nov 9, 2021 Directed by: Adam Ethan Crow Written by: Adam Ethan Crow, Stuart Wright Starring: Aislinn De'Ath, Alana Wallace, Corey Johnson Opening with a very tense scene of a young boy hiding under the stairs, writer/director Adam Ethan Crow sets us up for a suspenseful horror tale. It’s unfortunate he can’t keep the momentum going. Following this immensely creepy start, Lair falls back on a mundane expository scene where we’re introduced to our main character, Dr. Steven Caramore (Corey Johnson). Disbelieving the existence of demons and the supernatural, he nonetheless decides to test out several supposedly haunted items on a group of unsuspecting renters in his building. The clueless renters are Maria (Aislinn De’ath), her girlfriend Carly (Alana Wallace), and her own two daughters. The apartment is wired to watch for any sinister activity, so the film sinks into voyeur territory. Caramore watches these women in intimate situations, but Crow treats this as an unfortunate part of spying on your neighbors for demonic activity. It would have made more sense to mine this behavior to sinister effect, and combine it with Caramore’s habit of sneaking into the women’s apartment to place new, haunted items. His tenants, unaware of this invasion into their lives, have their own drama to deal with. Head of a newly constructed family, Maria is trying to integrate Carly into her daughters’ lives. Carly attempts to figure out where she fits—is she the girls’ friend (particularly the teenage daughter) or an authority figure? This, along with the haunted apartment, is reason enough for interest. Dr. Caramore’s place in the mix begins to seem unnecessary. Why is his story patched into the family’s horror? And yet, you can appreciate what Crow is trying to accomplish. The bones of a great tale are here, but the narrative falls apart as it’s fleshed out. Poor dialogue and an excess of exposition hurt the overall story. The actors embrace their roles and bring a level of realism to the movie, even as you try to wrap your head around some of the things they do or say. Lair’s best aspects are the visual effects. There are some terrifying scenes, a couple of impressive jump scares, and some well-imagined demonic activity. Crow delivers enough horrific moments to satisfy even as his movie leaves something to be desired. It’s also refreshing to see a demon movie that doesn’t revolve around possession—a genre explored almost as much as the zombie oeuvre. Though Lair is not without its flaws, it’s nonetheless an intriguing idea. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

The Pro Bono Watchman film review by UK film critic William Hemingway. Starring Mike Gassaway, Kariana Karhu, George Welder, Kelli Ball Grant directed by Ray Spivey. HOME | FILMS | REVIEWS The Pro Bono Watchman Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 20, 2022 Directed by: Ray Spivey Written by: Ralph Cinque Starring: Mike Gassaway, Kariana Karhu, George Welder, Kelli Ball Grant Hank Cassidy (Gassaway) is a good ole boy. He used to be a hotshot lawyer and in his heyday they used to call him 'Cut-throat Cassidy'. Nowadays he spends his time looking after his sick wife, Lilian (Grant) who is bedridden with ovarian cancer. Hank likes fixing every single problem that he comes across, and being a good ole boy he always carries a gun on him, whichever situation he is in. He promptly uses his gun to break up a rowdy pool party going on next door and readily earns the respect and gratitude of his neighbour, Clay for it. Good ole Hank. Clay has also come over looking for a favour. His granddaughter is about to start receiving visits from her errant father who has been granted rights to see her. There needs to be a monitor present while these visits take place and Clay thought Hank would be the perfect man for the job. So did Hank. So, with everything set up, Hank meets Lemarcus Gentry (Welder), a silver locked felon and wife-beater, and begins his job as 'Watchman' for the six year old Bonnie (Karhu). As the film progresses the bonds develop between the three main leads and Hank finds himself drawn into a tangle of conflicting emotions as he constantly strives to do the right thing. Thankfully Hank, being who he is, has absolutely zero self-doubt and sees clearly how to help everybody for the best in every situation ever. Sometimes with his gun. The Pro Bono Watchman takes a very strange turn in the second act when a new character is introduced and the plot exponentially thickens. Talk of hypnosis and mescaline dosing signals a serious left-turn for the rest of the film and ultimately makes a mockery of what was already a pretty subpar movie. The production and direction from Ray Spivey never suggest anything other than a low-budget TV movie, while the script from Ralph Cinque keeps everyone spouting expository statements to each other, even in what are supposedly intimate moments. The actors never seem real in any of their interactions, especially with the way the adults talk and play with Bonnie, and Gassaway's ham acting in particular comes across as way over the top. Throughout the film the dialogue tends to feel empty and prescriptive with no room for the actors to imbue it with any real feeling, and the end result is a boring slog for the audience, listening to staccato conversations which don't play well on screen. If you stick long enough with The Pro Bono Watchman you eventually get a rounding out of the story and a definite, if rather traumatising, resolution. But in amongst the rest of it, as well as the strange musical interludes that have the feel of a Garth Algar dream sequence, there's not enough to keep the film from straying into 'oddity' territory. It's only really worth watching if you want to see Hank go at every problem in his good ole way. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

Becoming Sidney film review by UK film critic Patrick Foley. Starring Jadon Shamir, Tyrone Stewart, Regina Williams directed by Ken Gregory. HOME | FILMS | REVIEWS Becoming Sidney Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 17, 2026 Directed by: Ken Gregory Written by: Ken Gregory Starring: Jadon Shamir, Tyrone Stewart, Regina Williams Becoming Sidney is Ken Gregory’s docudrama that imagines a formative audition from a young man who would go on to become the legendary Sidney Poitier, and the historical impact the Bahamian would have on the acting world. Told using archival footage and performance, the stage is set of a world where black actors suffer discrimination and pigeon-holing in roles that deny them the opportunity to flourish as storytellers. After an establishing montage of historic clips, the young Poitier (Jadon Shamir) is shown being barely given the chance to show what he can do onstage due to his accent, before finding the voice within himself that would go on to break down barriers in the acting world and beyond. Based on the true story of Sidney Poitier, Becoming Sidney is something of a fairy-tale representation of the beginning of the great man’s journey. Ken Gregory interestingly splits his film into halves – the first documentary and the second drama, which contextualises the fictional retelling effectively (using Poitier's own recorded words as part of the dialogue) and adds layers to the significance of the young dishwashers’ dream at greatness – and the unlikeliness of such a pursuit. The background stretching back to the 20s, 30s and 40s where even Oscar-winning black actors were forbidden from attending the same ceremony as whites is a powerful reminder of the world Poitier grew up in. And even given the infuriating barriers he faced, Gregory makes sure to maintain the glamorousness of old Hollywood in such moments to make clear why Poitier so desired a career in performing arts. The jazz soundtrack in these sections, as well as clips of some of the eras finest actors is a quietly powerful addition that formed key parts of the story. In the short’s second half it switches to a dramatic rendition of Sidney Poitier’s life – led by Jadon Shamir who portrays the future great as a shy dreamer. The sensitivity in Shamir’s performance is key in emphasising his naivety and inexperience, yet we also see signs of the inner strength and belief Poitier possessed to stand up to those who were hesitant to accept him. Clifton J Williams’ Johnny Brooks and Regina Williams’ Ruby Dee are key players in the episode of Poitier’s life, and intricacies in their smaller roles shine through to show that race looms large in their assessment of his skill despite experiencing discrimination themselves. Truthfully there are some flaws in the dramatic section of the film – primarily the speed at which Poitier goes from receiving pariah treatment from the acting world to being lauded by the same individuals based on a single audition. Viewers will get whiplash from this transformation, which comes about not as a result of the short running time but due to underdevelopments in the script. However, for what is essentially a fantasy telling of this part of Poitier’s story, it is a forgivable hole in a short that otherwise accomplishes its primary goal – that being the importance of his impact. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Documentary < All Reviews Next Film Review >

Jarrod film review by UK film critic William Hemingway. Starring Anthony Hayes, Roslyn Oades directed by Justin Rosniak. HOME | FILMS | REVIEWS Jarrod Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Jun 5, 2022 Directed by: Justin Rosniak Written by: James Treloar, Justin Rosniak, Anthony Hayes Starring: Anthony Hayes, Roslyn Oades Jarrod (Hayes) is a man on the edge. He's got a lot on his mind, there's things he's got to do and he's in a rush. The last thing he needs right now is for the Sat Nav (voiced by Roslyn Oades) to start playing up and sending him in the wrong direction. If only he can make it to Outlook Road he knows that everything will be alright, but darn, blast and fudge if that Sat Nav seems to be deliberately not playing ball. Jarrod plays as a short, eight minute chamber piece with the protagonist being shut up in his car for the entirety of the movie. Comparisons to Locke (2013) are inevitable and Jarrod tries to ramp up the tension as quickly as possible through difficult conversations and constant outside interruptions. Director and co-writer Justin Rosniak wants you to think of Jarrod as its own thing though, which is easy enough, as the comparisons don't last long beyond a tense man in a car scenario. What happens in Jarrod , rather than a steady, tight ratcheting up of the drama, is that Hayes (who is credited as a co-writer) shows you how tense he is by shouting a lot and dropping a ridiculous amount of F-bombs. There can't have been a lot gong on in the writer's room that day, as when we watch Jarrod driving around, getting sent this way and that, ending up in the dead end of nowhere, we also have to listen to him littering the air with no less than fifty-seven F-words and a few other four letter friends, so much so that there's not a lot of room for him to say much else. By this token, plot appears to get blown out of the exhaust in a haze of expletives and it can be hard for the viewer to see anything else going on under the bonnet of the film. Rosniak has again said that there's something different happening with Jarrod and has alluded to a play on the theme of 'Guidance' which informs on what is actually going on with him on this fateful night. Repeat viewings do bear this out somewhat, but in order to find the slivers of story which make Jarrod's journey meaningful you have to again be willing to take his tirade of abuse for another fabulously fun, fudge filled eight minutes. For what is essentially a well made film in its technical aspects, Jarrod 's non-existent scripting and half-hidden plot stop it from becoming a good idea well realised. There should be more to this that brings you in and sells Jarrod's character to you, but in the end all you get is a guy spinning his steering wheel around and saying 'F***' a lot. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

The Railway Children Return film review by UK film critic Brian Penn. Starring Jenny Agutter, Sheridan Smith, Beau Gadsdon, Austin Hayes, Kenneth Aikens directed by Morgan Matthews. HOME | FILMS | REVIEWS The Railway Children Return Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 17, 2022 Directed by: Morgan Matthews Written by: Daniel Brocklehurst, Jemma Rodgers Starring: Jenny Agutter, Sheridan Smith, Beau Gadsdon, Austin Hayes, Kenneth Aikens When the Railway Children was released in 1970 the adjectives poured like water from a tap. Charming, evocative and heart-warming could have been invented for this classic directed by Lionel Jeffries and starring Jenny Agutter. A touch over half a century later the sequel finally arrives on the big screen. Like the original it's a love letter to a bygone age and radiates with goodness. The key elements have been retained as the story picks up during the Second World War. The logical reference point alights on evacuees arriving in the village of Oakworth from a bomb damaged Manchester. Bobbie (Jenny Agutter) is now in middle age and a grandmother. Her daughter Annie (Sheridan Smith) is the school headmistress and together they form a welcoming party at the picturesque station. However, the excitement of city kids seeing the countryside is tempered by a harsh new reality. As local residents are prompted to make a choice three siblings are left behind because people cannot feed three mouths. Led by eldest sibling Lily (Beau Gadsdon) they vow to stay together. Predictably Bobbie convinces Annie to take them in. Grandson Thomas (Austin Hayes) welcomes the company of new playmates as they quickly adapt to country life. The children begin to explore local railway tracks and find US serviceman Abe (Kenneth Aikens) hiding in a disused railway carriage. Abe has deserted amidst racial tensions and harsh treatment from the Military Police. But how will the children react to this new discovery? With the basic ingredients it's difficult to get this film wrong. Director Morgan Matthews uses the spectacular West Yorkshire landscape and hopelessly romantic aura of steam trains to great effect. Added to a wholesome story of children finding friendship and teaching the adults a thing or two along the way, it feels like a comfortable armchair. The army-treating-black-recruits-like-the-enemy storyline has appeared many times before, so doesn't break any new ground. But then again it doesn't need to as there are recurring themes in all period dramas. As a coherent piece it finds its range very quickly and draws strong performances from a highly talented cast. Jenny Agutter provides continuity while Sheridan Smith ensures familiarity; but it's the kids that really stand out in this film, particularly Beau Gadsdon, who delivers a strong performance as the vulnerable and stubborn Lily. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Kruste film review by UK film critic Chris Olson. Starring Philip Kapell, Luise Landau, Sven Hönig, Heinz Wanitschek directed by Jens Kevin Georg. HOME | FILMS | REVIEWS Kruste Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Nov 20, 2024 Directed by: Jens Kevin Georg Written by: Jens Kevin Georg Starring: Philip Kapell, Luise Landau, Sven Hönig, Heinz Wanitschek Generational trauma is given a familial quirkiness in the short film Kruste (Crust) from new writer and director Jens Kevin Georg. Philip Kapell stars as Fabi, a 12-year-old boy who, with his sister Bea (Luise Landau) and father Otis (Heinz Wanitschek), are on vacation at their grandfather Winnie’s (Sven Hönig). This family has an unorthodox tradition of passionately celebrating scars (yes, literal cuts to their body), there is even a family tree upon a wall which has all of the members painted with a scene where they got their first scar - such as Otis who cut his hand chopping onions and has since been known cruelly as “Onion-boy”, a nickname which haunts him. The family set to work building a rollercoaster in the woods, which Winnie bought for Fabi when he was born. This makeshift theme park attraction could be just the opportunity Fabi needs to enter the wall of the scars. Fabulously zany and full of thematic depth, Kruste “cuts deep” into the scars we bear from the generations that came before us. Fabi is torn between wanting to belong and making his family proud (all of whom have no reservations about the glorification of serious injury to each other) with wanting to stay safe. In a beautifully telling scene with his father, Fabi is lectured on how everyone “has” to go through this and there is no other way. This utter abandonment of parental responsibility in favour of keeping with tradition and not upsetting his own parent shows how Otis too is a victim of this archaic belief system. The filmmaking feels fresh and has plenty of variety to keep viewers on their toes. A brilliant and anarchic slow-mo scene in the latter sections of the movie is particularly engaging, as is the wonderful sound design which elevates the film to feel akin to a Wes Anderson flick. The atmosphere created in Kruste has a marvellous dark comedy that allows the heavier emotional undercurrents to flow unseen but very much felt. Audiences will honestly love spending time with this family - it’s much more light-hearted than it may appear in a synopsis or indeed this short film review - and this is largely down to the four fantastic performances elicited from the masterful direction of Jens Kevin George. Kapell provides an impressive turn as the coming-of-age protagonist and has some brilliant scenes with other characters and by himself (that poor car’s steering wheel). Luise Landau shines in every scene she’s in as the reckless younger sister who wants Fabi to be happy and also wants to get her own scars quickly. The two more senior actors play their roles brilliantly, with Hönig excellent as the brutish authority and Wanitschek sublime as the wimp desperate to escape his mousy reputation. As the directorial debut from this filmmaker, Jens Kevin George makes his own mark as a storyteller to watch out for, just maybe bring some plasters. Watch our Video Film Review of Kruste . Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

Black Jade film review by UK film critic Patrick Foley. Starring Gareth Koorzen, Sasha Grant, Odell Mack directed by Guy Longstreet. HOME | FILMS | REVIEWS Black Jade Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jul 27, 2022 Directed by: Guy Longstreet Written by: Guy Longstreet Starring: Gareth Koorzen, Sasha Grant, Odell Mack Layering reality and delusion, and imbuing indecipherable metaphors about the creative process into a narrative do not a great film make, as Black Jade is testament to. This beautifully shot, but pretentious feature is all style over substance – masking its lack of interesting characters, themes and purpose with avant-garde imagery. Raymond (Gareth Koorzen) is a frustrated writer living with his wife Dorothy (Sasha Grant) in Los Angeles. Raymond is tormented by writer’s block and an inability to live up to his dreams of greatness. When his wife’s twin sister Adel (Grant) comes to stay, Raymond’s inner turmoil leads to temptation – and his behaviour becomes increasingly erratic as his grip on reality begins to slip. Black Jade is an art film thriller that is stunningly shot and filled with imaginative cinematography, but lacks anything of a profound nature underneath, and is populated by worn-out character tropes. The story of a writer going slowly crazy thanks to mental block is practically begging for Stanley Kubrick’s lawyers to pick up the phone, and the ‘sister-as-temptress’ development is a predictable fork in the story. Thrillers always lose some of their intrigue when their stories feel reductive, and Black Jade is no exception. The plot structure somehow manages to be confusing and indecipherable, yet utterly predictable at the same time. Even worse is the lack of any coherent theme to the film. The temptations of darkness when abandoned by direction can be combed from Raymond’s apparent delusions, as well as tenuous ideas around masculinity and how overly proud and egotistical men view women. But in all honesty, these are lost in the overall muddle of a story, which seems more focused on confusing its audience than making it relate to anything. The characters themselves are unengaging caricatures – the struggling writer and the neglected wife/temptress twin – with the film seemingly relying on Gareth Koorzen’s ability to grimace and strain to communicate Raymond’s torment, as well as Sasha Grant’s chameleon-like dual performances to portray two very contradictory sisters. The actors themselves are fine, but the lack of impression left by the story leaves their efforts in a void. Audiences will appreciate what they accomplish, but with boring characters, comes little in the way of connection. Where the film does excel is in its imagery – with some outstandingly-framed shots and strikingly dynamic scenes which snatch the audience’s attention in a way that the writing completely fails. Shot largely in monochrome, director Guy Longstreet uses black-and-white as a genuinely impactful effect rather than a crutch. The director and cinematographer isolate their characters with blinding, ethereal white backgrounds, whilst drenching them in overbearing shadows to represent foreboding malice. And the deliberate use of traumatising, blood-red hue raises stress-levels to boiling point – making for a memorable conclusion. Black Jade is a disappointingly shallow thriller that aspires to a level of intrigue and prestige that it’s story and characters just cannot match. As slick and striking as its visuals may be, there’s no depth to its darkness. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >