The Sweater film review by UK film critic William Curzon . Starring Maziyar Khatam, Anya Chirkova directed by Maziyar Khatam. HOME | FILMS | REVIEWS The Sweater Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Oct 9, 2025 Directed by: Maziyar Khatam Written by: Maziyar Khatam Starring: Maziyar Khatam, Anya Chirkova The Sweater follows a young man named Maz and his girlfriend Anya, who pressures him into giving away all of his clothes. He is intent on reclaiming his beloved sweater before it vanishes into the local donation. The protagonist goes through a journey of self-discovery and reflects on his nostalgic past to achieve his goal of reclaiming what he has lost. Shot entirely on handheld, the piece has a vintage feel throughout with its fly-on-the-wall experience as it ushers the viewer into the daily routine of the protagonist. Written, directed by and starring Maziyar Khatam, the piece, within its minimal runtime, explores the relationship of the central character with his girlfriend and other individuals around the neighbourhood, accompanied by an anxiety-inducing score that pervades the sequences of distress. The absurdist nature of the narrative is incredibly endearing thanks to the committed central performance from Maziyar Khatam. The story takes a far more character-focused approach, which feels refreshing thanks to its simplicity. Tonally, the premise is highly light-hearted, and the interactions the central character encounters are engaging and awkward as he goes through an existential crisis. Its comedic tone is highly delightful thanks to the chemistry between all the actors and how well they play off each other. While the narrative feels aimless as it tracks the unpredictable lifestyle of Maz, the pacing exudes a profound level of patience as it allows the events to flow naturally without feeling convoluted or rushed. The documentary-esque approach makes the experience feel grounded and naturalistic within its dialogue and the way in which specific events unfold throughout the film. Utilising a mix of musical score and needle drops, music plays a significant part in the tonal shifts present throughout the piece. It creates a level of anxiety throughout scenes of desperate panic and plays a more understated role in scenes of recollection. The film is a terrific example of the power music can have to elevate the overall experience of a piece of filmmaking. One of the standout sequences is amplified by a needle drop, which anchors the emotional resonance the narrative is desperately grasping for. Sadly, due to its short runtime, the piece concludes abruptly, lacking character growth, and could have benefited from an extended runtime to flesh out the character motivations and relationships more deeply. The piece has a compelling premise, and the ideas are there; it just lacks the thematic flair due to its restrained runtime and lack of closure for its characters. However, even with its minimal runtime, it still manages to flesh out supporting characters such as Anya. The script does a commendable job in this, as this is something that is unfortunately lacking in many pieces of media, as love interests are frequently pushed to the side as plot devices to anchor the protagonist's ambitions. Thankfully, this excels in delivering a compelling love interest to further engage the audience in the profound charm of the piece. The Sweater is a simple yet engrossing piece of guerrilla filmmaking impressively helmed by Maziyar Khatam, showcasing his talents behind and in front of the camera. While the piece may suffer from a restricted runtime that is a detriment to the thematic culmination, it makes terrific use of its limited budget and displays a plethora of astounding formal choices, making Khatam an exciting new voice in indie cinema. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Stolen Dough film review by UK film critic Patrick Foley. Starring Cody Pomposello, Sal Rendino, Bobby Kruger directed by Stefano Da Fre. HOME | FILMS | REVIEWS Stolen Dough Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jan 28, 2024 Directed by: Stefano Da Fre Written by: Stefano Da Fre Starring: Cody Pomposello, Sal Rendino, Bobby Kruger I had to stop several times whilst watching Stolen Dough to check if the extraordinary story it unfurls was actually true. An upstart young Italian American taking on Pizza Hut for stealing his idea of stuffed crust verges on parody, but this remarkable documentary turns what could be a tiresome recounting of a legal case into a real-life David and Goliath story combined with the crusade of an innovator denied his moment in the sun. The film covers the case of Anthony Mongiello, an Italian chef who patented an idea for stuffed pizza shells in the 90s who believes his idea was stolen by Pizza Hut after he presented it to them, to make their signature stuffed crust. In suing the restaurant chain for millions, Mongiello finds a system that seems stacked against him from the beginning, and details the struggles he has faced throughout, and following the court case. In recent years there have been an influx of documentaries focusing on corporate legal cases – McMillions, Pepsi Where’s My Jet? and Pez Outlaw just to name a few. These usually involve scrappy, innovative up-and-comers fighting a giant adversary, and make for quirky, quick (and likely, cheap) ways for studios to pump out content. Stolen Dough certainly fits this mould, though a more intimate and hands-on production style injects it with heart. The inherent problem these films have is usually with the stakes. Ultimately, the outcome the viewer is waiting for depends on which of two parties ends up rich. We naturally want the underdog to be the one who does of course, but what are the wider implications or consequences of these events? Stolen Dough does try and convince us that the case could have been life or death for Anthony Mongiello, but not entirely successfully. Its opening sequence featuring a young Mongiello (Cody Pomposello) in his car with a gun promises a much more intense and momentous story than we as the audience ultimately receive. It betrays a lack of full confidence that the events of the story itself warrant a documentary 30 years later. However the film itself is genuinely entertaining throughout – told with a combination of interviews with some of the key participants (primarily on Mongiello’s side) and recreations of key events in the 90s that took place in the lead up to the case. The talking heads, including Mongiello himself, make for engaging and enjoyable narrators – though it should be said that one side of the story is heavily represented over another. The film also presents Mongiello’s case as self-evident without truly detailing how the ultimate judgement was flawed, instead pointing to separate charges of corruption found against the judge who made the ruling. Stolen Dough therefore is entertaining enough and worth investment given its shorter runtime and colourful, vibrant production. But it does fall a little short in convincing its viewers quite why its story truly stands out given the litany of corporate abuses that have been detailed in similar features. It’s a little bit like Pizza Hut itself – quick and easy, but ultimately forgettable. Watch the official Stolen Dough trailer here . Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Documentary < All Reviews Next Film Review >

Same Old film review by UK film critic Patrick Foley. Starring Limin Wang, Mingjie Li, Lei Han directed by Lloyd Lee Choi. HOME | FILMS | REVIEWS Same Old Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 31, 2022 Directed by: Lloyd Lee Choi Written by: Lloyd Lee Choi Starring: Limin Wang, Mingjie Li, Lei Han In Alan Moore’s The Killing Joke, The Joker famously states that everyone is just ‘one bad day’ away from insanity. If that was true, New York City delivery drivers would have formed the Legion of Doom by now. In Lloyd Lee Choi’s Same Old, we see one driver’s particularly bad day play out in darkly amusing yet dramatic fashion. The short film follows Lu (Limin Wang) who delivers food around Manhattan on his electric bicycle. As night falls, a series of increasingly frustrating setbacks threaten to drive him to the limit – ranging from the death of his goldfish, his bike being stolen, his wedding ring being proven fake, and more. In the face of adversity, Lu is forced to call upon his own resilience and ingenuity to make it through the day. Same Old is a Korean production that pays tribute to the oft-ignored workers who keep the modern, consumerist world running, as well as the fortitude of the everyman who couldn’t be blamed for thinking the world is out to get him. Nothing that occurs to Lu in the story is especially extraordinary, yet the series of misadventures he falls victim too over the course of one night would be enough to push anyone to the brink. The character’s stoicism despite his setbacks, and creativity in finding ways around his problems (including ways which break the law…) are presented neutrally – yet the reasoning behind these upon the film’s conclusion makes its key message clear – that people who take on the thankless, menial and taken-for-granted roles are as deserving of respect and kindness as anyone else. The film presents in subject in an almost documentary-style, making interestingly little effort to guide the audience into feeling one way or another towards Lu. His morally questionable actions on the night in question can easily be seen as a desperate man doing what he must to survive, or those of someone whose ethics are descending in-line with the world around him. Similarly, Lu’s stiff-upper-lip at the film’s conclusion when his wife asks him about his day can be interpreted as an admirable example of endurance, or a sombre case of someone who has accepted their poor hand in life, and refuses to unload their stress. These unspoken-yet-evident details within the film demonstrate an impressive depth, as well as Lloyd Lee Choi’s confidence in his own storytelling and respect for his audience. New York City is presented as a dark, intimidating labyrinth – don’t expect any trademark shots of the Empire State here. Dark lighting and foreboding sound design show that this is an unwelcoming place for Lu, and the constant uncertainty of the streets and ever-present danger of the traffic means viewers will never quite feel settled – mirroring Lu’s own place in the world. The mostly static camera adds to the sense that the world does not change for its inhabitants – it’s they who do the moving. And a grainy filter over the film harkens to classic cinema such as Taxi Driver , and its similarly grim environment that seems to invite darkness and misfortune. Despite all of this, Lu’s strength and indifference in the face of the Kafkaesque misery that falls upon his shoulders has its amusing side – and this pays off in a largely heart-warming, if melancholic final scene. Same Old’s brilliance in taking such a simple story concept and yet embodying it with many, often contrasting themes and interpretations is what makes it a worthy watch – even if you’re having one of those bad days. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Ready or Not film review by UK film critic Chris Olson. Starring Tyler Day, Mathias Seiler, Eleanor Sturt directed by Jessica Marie England. HOME | FILMS | REVIEWS Ready or Not Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Aug 13, 2024 Directed by: Jessica Marie England Written by: Not Available Starring: Tyler Day, Mathias Seiler, Eleanor Sturt A sub-five-minute short film, Ready or Not from director Jessica Marie England is a fascinating, if brief, burst of suspense storytelling. Whilst calmly walking through the streets of London in the daytime, Kevin (Tyler Day) is about to experience a cranking of adrenaline. First, his mother (Eleanor Sturt) messages him to remind him to take his medication (our first signpost as an audience that something is about to go down). Secondly, Kevin is wearing a highly discernible red bandana tucked into his trouser back pocket which catches the attention of the soon-to-be Chaser (Mathias Seiler) who happens to be wearing a blue bandana in his back pocket. What ensues is a thrilling chase through the urban streets as Kevin hopes to elude his mysterious attacker. Ambiguous and cerebral, Ready or Not plays with the viewer’s unknowingness brilliantly, keeping us glued to the action and desperate for more information. The warning signs about Kevin’s health (the medication) give us enough cause for concern almost instantaneously to ensure the very short film is successful in its execution. Without that layer of fragility applied to his character, the chase that forms most of the movie would have felt inconsequential. Instead, we are clinging to Kevin for dear life, hoping he escapes and that we get some glimmer of explanation as to what the hell is going on. More of a physically demanding performance than needing to worry about remembering his lines, Tyler Day puts in a wonderful turn as Kevin. It’s a role steeped in confusion and perturbation, not an easy one to play, but Day showcases a plethora of acting chops in quick succession to ensure the audience connects with Kevin and stays with him for the duration of the piece. The final moments of the short film, which I won’t spoil, are particularly noteworthy. It’s a limited film and viewers will be forgiven for feeling used and abused. We quickly get on board with the action sequence unfolding before our eyes and there is a payoff but it is all too quick. This feels like a small scene in a much bigger movie and whilst the subtle links to substantial themes such as mental health and anxiety make it a worthwhile watch, it feels like only the thinnest skimming of the water compared to what we want as an audience. Jessica Marie England shows herself to be a very capable director of action sequences and delivering a compelling story with rapidity. Given a full running time and the resources to boot, it would be fascinating to see what else could be delivered. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

The Reaper Man film review by UK film critic Chris Olson. Starring Jessica Jai Johnson, Kenon Walker, Ebony Bivens directed by Jaron Lockridge. HOME | FILMS | REVIEWS The Reaper Man Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Jul 19, 2023 Directed by: Jaron Lockridge Written by: Jaron Lockridge Starring: Jessica Jai Johnson, Kenon Walker, Ebony Bivens When a group of thieves end up killing her husband Joseph (Kenon Walker), it leaves Jessica (Jessica Jai Johnson) desperate enough to seek the help of a local mystic who is able to resurrect people. Regrettably, the Joseph that returns is not the same as before and he only has one thing on his mind: revenge. A humble horror, filmmaker Jaron Lockridge wears many hats to get his film up and running (writer, director, editor etc) and the result is an immersive, if clunky, watch. It’s always impressive to see an indie horror that shoots its shot and ends up somewhere near the goal. There are a lot of elements to praise in The Reaper Man , such as the contemplative pacing (although some shots do veer into the awkwardly lingering stage), the passionate performances of the two leads, and the use of flashback scenes to intelligently fill in the viewer’s narrative gaps. It’s a difficult film to know who to root for. Joseph is a kind man pre-death but his zombie version is full of righteous anger and violence. The thieves who terrorised our couple at the beginning become the targets, being stalked by Joseph. It’s only really Jessica who we cling to but it was her decision to summon him back (even after being warned) which causes all of the dark aftermath. The revenge theme is compelling though and scenes where innocents get caught up in the fray make for some of the most exciting. A few of The Reaper Man 's subplots are interesting to follow, such as the detectives who are always one step behind Joseph, or the relationship between Jessica and her sister Candace (Ebony Bivens). The “demon back from the dead” plot feels familiar and ambitious at times for a film with this budget. Horror aficionados will lament the lack of gore and brutality in Joseph’s conveyor belt of killings, and may even laugh at the numerous times he says “Time to atone” whilst, I assume, wearing Hallowe’en contact lenses. There are sound issues aplenty and the film does have a cheap charm that will remove any mainstream appeal but for fans of the genre (we bloody love you) they will certainly get a kick out of Lockridge’s appealing, almost romantic zombie thriller that sways just the right side of schlocky. Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film, Horror < All Reviews Next Film Review >

Family Drama film review by UK film critic Jason Knight. Starring Keon Martial-Phillip, Kayley Rainton, Tiffany Thomas directed by Keon Martial-Phillip. HOME | FILMS | REVIEWS Family Drama Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 12, 2023 Directed by: Keon Martial-Phillip Written by: Daniel Glenn-Barbour Starring: Keon Martial-Phillip, Kayley Rainton, Tiffany Thomas A young couple face the challenges that are caused by the disapproval of their relatives regarding their relationship. The film begins with Emilia (Rainton) storming out of the house where her partner's mother lives. Emilia got into an altercation with her and her partner Amani (Phillip) has followed her, hoping to calm things down. The two of them discuss what happened and how they each have trouble getting along with each other's family. This short drama has a plot that is basically the aftermath of a quarrel and the majority of the narrative explores the problems the couple have due to their interracial relationship. Emilia is caucasian and Amani is black and Amani's mother and sister dislike white-skinned people and Emilia's father does not think much of people of colour. The couple discuss how they feel about how their relationship is viewed by others and there is plenty of arguing and drama, however, the screenplay also explores the couple's tender relationship and makes it clear that they are happy together and are determined to remain so. The film includes a montage that is accompanied by a song and it reveals the history of the couple's joyful relationship. The montage is well-constructed and makes effective use of dissolve techniques and by watching it one understands how happy the two of them are together and that they will not let anything get between them. There are some great aerial shots of buildings and the soundtrack consists of several rap songs. Generally, this short focuses on problems people can have in their relationship, particularly if the relationship is interracial. The story deals with disapproval, racism, romance, family values and reconciliation and with the interesting subjects that it explores and good acting, this film offers a thoughtful viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Mami Wata film review by UK film critic Hope Madden. Starring Evelyn Ily Juhen, Uzoamaka Aniunoh, Emeka Amakeze directed by C.J. Obasi. HOME | FILMS | REVIEWS Mami Wata Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 12, 2023 Directed by: C.J. Obasi Written by: C.J. Obasi Starring: Evelyn Ily Juhen, Uzoamaka Aniunoh, Emeka Amakeze Almost Shakespearean in its scope, with a bold visual style that stands on its own, C.J. Obasi’s Mami Wata delivers a spellbinding folktale of power, of matriarchy versus patriarchy. In the mythical village of Iyi on the West African coast of a time period that could be today, or could be the recent past, Zinwe (Uzoamaka Aniunoh) has lost patience with her mother, Mama Efe (Rita Edochie). Mama Efe is the village intermediary to Mami Wata, the sea goddess who protects and provides for them. Zinwe is eager to become intermediary. Zinwe is not the only villager growing restless with Mama Efe. Wild, angry Jabi (Kelechi Udegbe) is calling for a revolution against the madness of the Mami Wata followers. But Prisca (Evelyn Ily Juhen) believes in her village and her people and hopes to resolve the conflict. As is the case with most fairy tales, Mama Wati is symbolic, the story itself a simplified, magical version of life. In this case, a story of power and powerlessness is reminiscent of communities across West Africa over the decades. When Jasper (Emeka Amakeze) drifts ashore, with his outsider views and experience of war, a spark is ignited that Mama Efe will not be able to drown. Obasi amplifies the tale’s cinematic quality with breathtaking visual instincts. The costuming and makeup – magnificently structured hairstyles, incandescent makeup and boldly patterned fabrics – give the story a hypnotic feel. Cinematographer Lílis Soares – whose work here earned her Sundance’s special jury prize – capitalizes on the film’s gorgeous production design as well as the expressionistic black and white to create a spellbinding vision suited to the tale. Mami Wata is a spectacle of water and light. Raindrops on a forehead, seashells in a braid, sea spray as day turns to night – Obasi builds an otherworldly atmosphere from moments like these. The action sequences feel a little out of place, and performances can sometimes come off as stilted. But the core themes take on heartbreaking relevance, and both Ily and Amakeze offer compelling turns. Plus, you will not see another film quite like Mami Wata . Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

The Last Anomaly film review by UK film critic Chris Buick. Starring Adam J. Yeend, Robyn Loau, Damien Bodie directed by Hamish Downie. HOME | FILMS | REVIEWS The Last Anomaly Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Oct 13, 2024 Directed by: Hamish Downie Written by: Hamish Downie, Adrian Austin, Ross Ozarka Starring: Adam J. Yeend, Robyn Loau, Damien Bodie Heaven or Hell? Given the choice, it’s pretty obvious what most of us would go for. But if your place in a blissful afterlife meant eternal fiery damnation for your soulmate, would you swap places? In writer/director Hamish Downie’s curious animated short The Last Anomaly , this is exactly the conundrum poised to Daniel (Yeend) when he comes face to face with The Entity (Loau). The Entity, it seems, is at a loss because Daniel’s mortal existence has resulted in a rare occurrence where he is “not bad enough for Hell but not good enough for Heaven”. So, lucky Daniel gets to choose for himself, obviously opting for the latter. But things get complicated when he realises that life after life won’t mean a thing without his beloved Joshua (Bodie), who in order to restore the balance would be condemned to the other place . Thus begins a tangle between the two to determine who should go up and who should go...well...the other way. The Last Anomaly is an interesting take on morality, love and the meaning of (after) life, one that’s strengths lie in its unique and distinct presentation which amplifies what is a concise but otherwise simple narrative. Daniel and Joshua’s tale of sacrifice in the name of love itself is fairly cut-and-dry, a straight road of back-and-forthing between the two with no real bumps or turns, thankfully meaning that the film tells its cogent story clearly and soundly from start to finish, but it also means that there isn’t much in the way surprises or intrigues for audiences to enjoy either. In fact, once we’ve arrived at the film’s key plot point, The Last Anomaly doesn’t really take any opportunities to elevate its narrative from there. Again, it doesn’t ever stagnate either, but much like Daniel and Joshua, the film then finds itself in a bit of limbo with no real indication on how to move forward. But a lot of effort and skill has been put into the films imaginative cut-paper, stop-motion delivery which really does work to give this film a boost into something a bit more interesting, animation that is alive enough to bring real life into each scene and fully realise the intention of each design and moment within the film, with the characters equally being full of veritable life and personality that when put together makes it all look really special. Occasional sound sync issues do also pop up once or twice as well, but for the most part, it’s a film that’s delivery is solid and steady from beginning to end. Although its core story might not create any fireworks, The Last Anomaly’s animation is clever enough to add just that little something different to offer up a decent piece of filmmaking. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film, LGBTQ+ < All Reviews Next Film Review >

The Runner film review by UK film critic William Hemingway. Starring Madison Bailey, Colby Cyrus, Andrew Medeiros directed by Andrew Medeiros. HOME | FILMS | REVIEWS The Runner Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 20, 2026 Directed by: Andrew Medeiros Written by: Andrew Medeiros Starring: Madison Bailey, Colby Cyrus, Andrew Medeiros A couple living in a small, quiet, out of the way town, have their peace broken by the arrival of a police detective, who is looking for a fugitive that might have come their way. Samuel (Cyrus) and June (Bailey) are enjoying a restful day on the sofa, quietly reading their books and resting in the silence that surrounds them. It’s snowing outside and there’s a blanket of white lying across the landscape and hanging off the trees, softening the sound further and enhancing the feeling of solitude that their quiet cabin seems to offer. Rolling up to their house, however, is Detective Martin (Medeiros), an out-of-town policeman who is looking for information and wanting to ask questions of the couple. After rapping on the door, Detective Martin is needlessly enigmatic in his introduction, evading basic questions and finding it hard to reveal why he’s at the couple’s home. With a bit of badgering and sustained inquiry, he finally lets out that he’s looking for a fugitive who might be in the area, and we can at last get into the scenario of The Runner properly. Detective Martin is invited inside and eventually gets around to telling the story of The Runner , a woman who embezzled millions of dollars from her clients in California and then killed her husband when he found out about it. Samuel and June listen to the story intently, not recognising the events or story that the detective is telling, until finally he gets around to revealing that this all happened over two years ago. Now there’s new evidence and a new lead to suggest that The Runner might be in the area and so Detective Martin has turned up to see what he can turn up in the small town of Pinewood. At just over seven minutes long, The Runner doesn’t have a lot of time to explain its plot and work through its narrative. It’s a shame then, that time is wasted with bad dialogue and phony characterisation that offers nothing to the story or those telling it. Detective Martin takes an age to get around to the point of his visit and then doesn’t reveal the timeframe of the crime until past the midpoint of the film, stretching an already extremely thin scenario to near breaking point despite the fact that the film is so short. The cinematography, too, is underwhelming and unconsidered, as the snowy background beyond the porch of the house is a blanket whitewash with zero contrast and heightened reflective glare. The focus on Detective Martin is also out as he sits on the chair opposite the couple, who are each in perfect HD focus, and this fuzziness follows him out to the car after he has completed his interview. While writer/director/producer/star, Andrew Medeiros manages to select his shots, fill his frames, and build his narrative fairly well with his direction, he is let down by a nonsense script that brings up more questions than it answers. When the killer is finally revealed, and although I won’t give it away, gee whizz it doesn’t take much to figure out just who The Runner turns out to be, we really have to ask ourselves the question as to why Detective Martin didn’t click right away. Samuel manages to figure it out within the space of a minute, so you would imagine that someone who has been on the case for two years, and has had days to look over the CCTV screenshot of the presumed killer, would be able to make the link, or to know that he might be in danger. There is no tension, no surprise, and no thrill, in this supposed thriller, with the only saving grace being that it is so short that we don’t have to sit through extended scenes of the nothing that is presented to us. The turgid monologue at the end, voiced over a black screen to begin with, is indicative of the horrible scripting throughout the piece, as The Runner tries to philosophise, or soliloquise, or romanticise, or who knows what it is she’s trying to do, as she delivers some sort of killer’s lament to us about her way of life. There is not a lot to recommend The Runner to the audience, and in the end the only running that should really be going on is in the other direction, away from watching another bad short film. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Big Jay's Day Out film review by UK film critic Matt Trapp. Starring Austin Alexander, Angela Lin, Tanner Struyk directed by Mitch Silva . HOME | FILMS | REVIEWS Big Jay's Day Out Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Feb 24, 2026 Directed by: Mitch Silva Written by: Mitch Silva Starring: Austin Alexander, Angela Lin, Tanner Struyk The growing popularity of alternative media in the 21st century has had a fascinating effect. Truly esoteric discussions about anime, videogames, and fairly obscure movies are deftly navigated by the so-called ‘terminally online’, with new subcultures born and aesthetics named daily. The film follows Jay, described as ‘a man led astray’ who is thousands of dollars in debt, depressed, and developing an app which he believes will “change the world”. For the next 20 minutes, viewers are strapped into an outrageous, exhausting, and sometimes incoherent whirlwind of neon lights and violent gangsters. Mitch Silva’s Big Jay’s Day Out will be an enigma to general audiences everywhere, but something tells me that this won’t be a concern for the filmmaker. Big Jay’s Day Out is first and foremost a ‘vibes-based’ film, the first in a genre which the filmmakers have helpfully identified as ‘inhalantcore’. It’s certainly a satire, comparable to American Psycho by way of Harmony Korine, and it’s a relief that the humour is generally excellent, if not irony-poisoned. There’s more drama in the back half of the short than may be expected, and while the performances generally work, a few too many scenes descend into characters yelling melodramatically. It’s less atmospheric than it could be, and more dialogue heavy than it should be. Austin Alexander’s performance is enjoyable to begin with but it was a shame that he wasn’t given much more to do after the first few minutes. Similarly for Angela Lin who performs a dual role as Evelyn Chen and Not Evelyn Chen, while she makes an intriguing and enigmatic first impression as a modern day manic pixie meets 2020s online goth girl pastiche, her character becomes flattened and fairly dull by the end of the film. The filmmakers have added that this film is considered a ‘rebuild’ in the same vein as Evangelion. They state that Big Jay’s Day Out Remastered must be watched after the original Big Jay’s Day Out preAlpha 0.89 , originally released in 2017. Having watched both of these shorts now, there’s definitely some thematic and stylistic connections between the two, but the original film is not an essential watch to understand the ‘remaster’. It does gesture towards a specific artistic intent from Silva however, giving his short films a knowing interconnectivity, as well being a knowledge check for audiences who are familiar with Evangelion and its sequels. Similarly, the aesthetics of various internet subcultures are employed throughout Big Jay’s Day Out . The result is a visual melting pot of ideas and influences, and it’s undoubtedly unique. However, it would be remiss to ignore that the film’s abrasive sound and editing styles can make it a challenging watch. Big Jay’s Day Out may arguably be described as an exercise in style over substance. Whether or not that’s true will depend on who is watching the film. Undeniable however is the fact that there is a distinct quality in Silva’s filmmaking that certain audiences will particularly resonate with, and it would be an immense shame if this style became watered down and bent into something more recognisable. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Flesh Wanting Blood film review by UK film critic William Hemingway. Starring Ioana dArk directed by Diana Galimzyanova. HOME | FILMS | REVIEWS Flesh Wanting Blood Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Sep 1, 2025 Directed by: Diana Galimzyanova Written by: N/A Starring: Ioana dArk Whatever your views on AI and its use in the creative sectors, there’s no arguing with the fact that this is the way things are going from now on. From the very start of the creative process, anyone can now use AI to develop ideas from prompts and begin to create their new dream world, whether that be in prose, or lyrics, or music, or art, or any number of different expressive outlets. Far from it just being used to circumvent copyright law, stealing people’s voices for advertising and things like that, AI can be seen as another tool in the artists toolbox, which needs its own skill and investment to master, but which in the right hands can create new pieces of art or entertainment which could never have been achieved given any real-world deficits in the level of the artist’s budget, skill, environment, or equipment. Entirely new worlds can be conjured up for nearly nothing, without the need for a huge production budget and crew, and narratives can be created from thin air, populated by ghosts of characters, who look and sound like the real thing but who are really empty, hollow masks that don’t quite move right. Anything can now be created for any purpose – and yes, we know that 98% of it will be used for advertising and porn – but there’s also the chance, that like here, in Diana Galimzyanova’s video for the track, Flesh Wanting Blood by Ioana dArk, that we’ll also get some creativity along with it that showcases how AI can help to create art. Using the Luma Dream Machine AI, Galimzyanova creates her world of bloody horror to coincide with the music of Ioana dArk, following blood spattered women around and facing off against scarily masked men. The artist herself is cut into the narrative at times, using, at least to start with, what I can only assume is actual video, while the AI world around her tells its own story of dark machinations and demonic charades. Hooded characters, robed strangers, and bloodied brides walk around together in a dreamlike fashion, partaking in a twisted masquerade, as people switch places, morph into others, and disappear into the scenery as though they weren’t there. There’s not what you would call a conventional plot to the music video, though undoubtedly there is meaning to what’s happening on screen. The themes of the video most likely coincide with the themes of Flesh Wanting Blood , although it’s difficult to tell when you’ve no idea what on earth is being sung. The music itself is hard to characterise, it’s hard to know what to even really call it – post-punk? electro-death? misery? – but whatever it is, Galimzyanova seems to get it and is able to direct her AI in exactly the right area to represent it visually to the audience. The track goes on for about five-and-a-half minutes, so for anyone not interested in this genre of music or film, it might be a bit of a slog to get through the music video to the end. However, for everyone else there’s plenty of good imagery and inferred narrative from the characters on screen to sustain your interest, while the matching of the mood to the music really enhances the enjoyment of both, because it is done so well. There’s always, however, the feeling that any AI production is an empty, soulless vacuum, as there’s no real craft or artistry behind the construction of it. There were no costume designers to make the dresses or create the masks, there were no builders or chippies to make the sets to film on, there were no cinematographers or lighting technicians to get the right look for the camera, there was no real hand in anything that got presented to us, and so it leaves us feeling cold and underwhelmed, and even a little bit patronised. That might change as we get more used to it, but in the meantime it’s good to have positive examples, like Flesh Wanting Blood , of AI being used effectively to complement art, and in so doing, becoming art in its own right. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Music Video < All Reviews Next Film Review >

Living film review by UK film critic George Wolf. Starring Bill Nighy, Aimee Lou Wood, Alex Sharp directed by Oliver Hermanus. HOME | FILMS | REVIEWS Living Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 26, 2023 Directed by: Oliver Hermanus Written by: Kazuo Ishiguro Starring: Bill Nighy, Aimee Lou Wood, Alex Sharp It shouldn’t take a film such as Living to make us realize what a treasure we have in Bill Nighy. But then it shouldn’t take a grim diagnosis for Rodney Williams to seek true meaning in his life, so maybe Nighy’s long wait for a first Academy Award nomination is somehow cosmically right. In this adaptation of Kurosawa’s 1952 classic Ikiru (To Live) , Nighy earns every bit of that Oscar nod as “Mr. Williams,” the humorless manager of a public works office in 1950s London. Various floors full of buttoned-up civil servants pass on projects to other departments until the papers finally come to rest on one desk or another, with piles always kept as high as possible so co-workers won’t “think you have nothing better to do.” Mr. Williams doesn’t, until a fateful trip to the doctor makes him realize how sad this is. A night out with that rascal Sutherland (Tom Burke) offers some cheap thrills, but it’s the persistence of the local ladies petitioning for a new public playground that gives Mr. Williams the chance to leave a legacy. Nobel prize-winning writer Kazuo Ishiguro adapts Kurosawa (and lands his own Oscar nom) with a script that shaves about 45 minutes off the running time while it adds layers of beauty and sentiment. Mr. Williams’ distance from his son becomes more heartbreaking, while the relationships with his two youngest employees (Alex Sharp and Aimee Lou Wood) are given more arc and resonance. Director Oliver Hermanus replaces the original film’s clinical narration and B&W palette with gentle grace and the splendidly picturesque cinematography of Jamie Ramsay. Outside the office confines, this is a gorgeous London of crisp lines among detailed color, light and shadow, all in orbit around a lead performance of endless humanity. Nighy is just the epitome of wonderful, with every sigh, furrowed brow and slight smile conveying so much about Mr. Williams’ journey to contentment. Nighy’s every moment on screen nearly glows with honesty, and provides the film with a unique and dignified identity. Kurosawa’s take still hits hard, but Living would have been foolish to follow a similar fight plan. These blows may indeed be softer, but don’t think for a second they won’t leave a mark. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >