★★★★ Directed by #HirokazuKoreeda Written by #HirokazuKoreeda Starring #CatherineDeneuve #JulietteBinoch #EthanHawke Film Review by Matt Weiner Actors getting lost in a role can become the stuff of legends, or the butt of jokes—as Olivier’s advice allegedly went to Dustin Hoffman, “Why don’t you just try acting?” In The Truth, director Hirokazu Kore-eda takes one of film’s most iconic actresses and sets to demolishing the notion that an artist could ever separate who they are from what they have to say. The film is Kore-eda’s first foray outside of Japan, and a worthy follow-up to his masterful 2018 drama Shoplifters. The drama, also written by Kore-eda, has a lighter touch in The Truth, but it’s no less arresting thanks to a brilliant self-referential performance from Catherine Deneuve. Deneuve plays Fabienne, an idol of French cinema now at a point in her life when she’s ready to look back on her storied career. Fabienne’s daughter Lumir (Juliette Binoche) has brought along her family from America to pay Fabienne a visit. When Lumir gets an early look at Fabienne’s memoir, she lashes out at the wide gulf between Fabienne the myth and Fabienne the mother, the one who pursued her art to the detriment of everything else in her life. One family’s drama becomes a delightful interrogation of memory and art. And as if the unreliable memoir weren’t enough to drive the point home, Fabienne is also currently filming a new movie against an up-and-coming actress playing her younger version. The film’s quirky sci-fi twist forces Fabienne to face her younger self, and the grande dame of French cinema isn’t quite ready to relinquish her fading star power to what she sees as a poor imitation of her own youthful rise to celebrity. Kore-eda blurs the lines even further by referencing Deneuve’s breakout years, specifically Belle de Jour, with posters and costumes dotting Fabienne’s house and still exerting a powerful hold on her sense of self-worth. (Ethan Hawke’s understated turn as Lumir’s bohemian husband Hank also feels like an alternate universe version of Jesse from the Before trilogy… but that might also just be Hawke’s natural “these are my ‘just chilling in France’ vibes.” Either way, the man is living his best life.) The result is a family drama that manages to humanize the dysfunction without fully absolving anyone. Fabienne might be a legend, but she’s still only human. Living an entire life unmoored, unable to process anything in the moment without layers of artifice to mediate any real emotion, seems like it should be punishment enough. #MattWeiner

★ Directed by: #VijaySridharan Written by: #VijaySridhran Starring: #VijaySridharan #ScottFree Short film review by: Alfie Kaye Peacock is a mockumentary that follows the titular character Peacock (Sridharan) in his quest to become a feared and respected gangster in California, because, according to the titular character, there are ‘no gangs in India’, which may be the most factually-incorrect line of dialogue ever produced in film, and I had to watch Gerard Buttler insist we should blow up the weather to prevent climate change in Geostorm. Peacock is also directed by Sridharan and starts by paraphrasing Goodfellas’ iconic opening line, ‘as far back as I can remember’ – and with a harmless homage to one of Scorsese’s best works, the audience will discover everything wrong with the film. What we’re seeing here is not a satire on Italian mob bosses on the East Coast. Peacock doesn’t wear Italian pinstripe suits and jewellery with religious iconography; he wears du-rags and chains on the West Coast. It’s possible after turning on the news in the past few weeks and seeing the unjust murder of George Floyd, and the subsequent millions of Black Lives Matter protesters protesting throughout the world, that I have become hyper-sensitive to race issues; but, Peacock, felt like an unnecessary culmination of all the worst stereotypes associated with black people, so much so, that in the end, it didn’t feel like satire, rather, a very uneducated observation of not contemporary society. It should be noted this film was released before the murder of Floyd, but that doesn’t excuse its naivety. Perhaps this wouldn’t have been as evident and frustrating if it weren’t for the fact that every actual black character in the film plays a genuine villainous gangster to which Peacock aspires to be like. Of course, when you’re watching such a misjudged film, you will also notice that the only on-screen white character plays the voice of reason throughout, which is equally infuriating. Significantly, these decisions were not a quality in an incredibly layered satire: we’re not seeing a critique on the prejudice and ignorance of a deluded, un-educated aspirant gangster, it’s, the director’s idea of reality. It may not come as a surprise that when watching the film, I didn’t laugh once. I didn’t smirk once. I think resting contempt face would be a more accurate description of my facial expressions. My moral objections to the film aside, the jokes weren’t funny. All of the jokes are childish and ubiquitous: the gangster is a bit silly and doesn’t exactly beam masculinity; mobile phones ring in unfortunate times causing awkward moments; binoculars used to spy on gag rivals are made for children. Good satire is rare for a reason: it’s hard, and where creators often fall short, it’s because they can’t differentiate the subtleties between standard comedy and satire. Or, in Peacock’s case, the difference between satire and juvenility (in every sense of the word).

● Join us LIVE for a night of extraordinary short films by emerging filmmakers from the UK and around the world who have responded brilliantly to our themed call out “Bottled up!”. ● Enjoy the work of 7 talented directors followed by video-call interviews, real-time audience questions and feedback from our panel of experts who will be giving out the Critics’ Choice Award to the short film that wows them most. ● Audience participation with LIVE voting for their favourite film! ● With our presenter Mike Sheer and curator Erifili Missiou, expect a relaxed, fun, and inclusive atmosphere and a night full of cinematic gems. 29th June 20:00-22:30BST LIVE! TO RESERVE YOUR SPOT REGISTER FOR FREE HERE! https://www.eventbrite.co.uk/e/emerging-filmmakers-bottled-up-online-event-tickets-109606716640 “These evenings are absolutely wonderful! It’s always a fantastic quality night!” Angela Peters - Actor OFFICIAL LINE UP: 1. Turning Ten - Jaylan Auf (2019) 12’38 Laima, Magdi and Nour their (nearly) ten-year-old daughter anxiously await a doctor’s appointment that is destined to change their lives forever. 2. Crashing Waves - Emma Gilbertson (2018) 3’39 In the middle of a towering estate, Liam spots Jamie. The two are reminded of a previous time where they shared an intimate moment. Jamie resists and the two engage in a combative dance which explores their intimacy and vulnerability. 3. Sunday 11.00-12.00 - Stelios Koukouvitakis (2018) 10’27 A young couple comes back from a night out. Suddenly they are attacked on the street. Their reaction will mark their lives. 4. Lid Mountain - Rhys Lewis (2020) 1’43 A film about finding escape in music. 5. The Notification - Eric Geynes (2020) 5’15\ During lockdown, Camille and Ben enjoy a drink via video-chat when a mysterious presence invites itself to the party. 6. Stationary - Louis Chan (2019) 12’38 Taking place in a parked car over the course of an afternoon, former drug dealer Jimmy confronts his childhood best friend Che about the example she's setting to her impressionable younger brother. 7. Deloz Express - Omar Perineau (2020) 1’45 The daily sum-up of a locked-down filmmaker in Los Angeles. We are excited to be joined by our panel of experts: Leeds International Film Festival Programmer Molly Cowederoy, UK partner of the Clermont-Ferrand Film Festival Abla Kandalaft and Christina Papasotiriou from Genesis Cinema’s Alternative Programming team. “Emerging Filmmakers Night you are absolutely invaluable to the up-and-coming filmmaking community!” Aioffe O Kelly - Writer/Director

★★★★ Directed by #JonStewart Written by #JonStewart Starring #SteveCarell #RoseByrne Film Review by George Wolf Some of the best moments during Jon Stewart’s years on The Daily Show happened when his guest was some smug politician who had not done their homework. Because Jon always did his, and the squirming politico would realize pretty quickly that Jon could throw some heaters. This funnyman was whip smart, too, and pretty handy with the b.s. detector. It should come as little surprise, then, that Irresistible, Stewart’s second feature as writer/director, employs some purposeful, intelligent comedy as it sets about skewering today’s ridiculous political climate. Daily Show vet Steve Carell is Democratic strategist Gary Zimmer. Stinging badly from the 2016 election, he’s inspired by a YouTube video of a former Marine hero dressing down the city council in tiny Deerlacken, WI. Zimmer decides right then that Col. Jack Hastings (Chris Cooper) and his “redder kind of blue” appeal could be the centerpiece of a new nationwide project to expand the Democratic base. And it all begins with getting Hastings elected Mayor of Deerlacken. This does not go unnoticed on the other side. Once GOP strategist Faith Brewster (Rose Byrne) and her crew come to town, the Mayor’s race in Deerlacken starts carrying some pretty high stakes – including one hilarious sexual side bet between the two opposing operatives. After an impressively dramatic filmmaking debut with 2014’s Rosewater, Stewart returns to the satirical stomping grounds where he became a respected (and, to some, reviled ) voice that drove many worthwhile conversations. Though the bite of this screenplay may be a bit softer, his narrative approach betrays a long game that trades the sharper knives for the chance at a wider reach. Because the cure for what’s infecting American politics is not going to spread through niche marketing. Sure, you could call that a sellout, and for the first two acts of this movie you might be right. The “all politics is local” premise is certainly not new, nor are many of the talking points. But thanks to the two veteran leads, those points are just funnier. Carell’s default manner is perfect for the quietly condescending Zimmer, an elitist who confuses nobility with blind ambition, and somehow thinks he has a shot with the Col’s much younger daughter (Mackenzie Davis). The real treat, though, is seeing Byrne finally dig into another role worthy of her comedy pedigree. With the right material, Byrne is a comedic MVP, as she reminds anyone who’s forgotten that fact by making Brewster one hilarious, shameless, priceless piece of work. Stewart may be known for his progressive leanings, but both the left and the right are in his sights here, along with unchecked political cash and obsessive pundits complicit in fostering the fear and shame game. Easy targets? Sure. But if you don’t think Stewart’s smart enough to know that, than you never saw him blindside a back-slapping incumbent on late night TV. Irresistible caters to your expectations just long enough to make you think you knew where it was going all along. The unassuming way the film upends those expectations might seem overly convenient, but it feels right, as if Stewart is practicing what he is taking care not to preach. And that’s just what might make it hard for mainstream America to resist. #GeorgeWolf

★★★ Directed by #PeterSegal Written by #ErichHoeber #JonHoeber Starring #DaveBautista #ChloeColeman Film Review by George Wolf I may not be ready for my close up, but I’m finally ready for my movie poster quote. Check it out: My Spy is the best huge-former-wrestler-stars-with-little-kid movie I have ever seen. Or, if it helps: “My Spy is the best…movie I have ever seen.” I’m flexible, just remember it’s Wolf, no “e” at the end. There must be a page somewhere in the wrestler handbook that says the transition from mat to marquee must include some generic whale out of water antics with a precocious wee one. The Hulkster, Rock and Cena all paid their dues with insufferable projects, now it’s your turn Dave Bautista. What the? This is pretty entertaining. Bautista is JJ, a former special forces hero trying to make the transition to CIA operative. His ride is not smooth, so he and a wannabe partner (Kristen Schaal) are assigned to boring surveillance duty. They set up in a Chicago apartment down the hall from Kate (Parisa Fitz-Henley) and her lonely 9 year-old daughter Sophie (Chloe Coleman). The ladies have some bad-niks in the family who the Feds are hoping will make contact, because arms trading, plutonium, stolen flash drive, the usual. The point is, Sophie sniffs out the neighboring spys in a matter of minutes, gets them on video, and uses the footage to blackmail JJ into being her friend. Do you think Sophie’s hot mom will warm up to him, too? Yes, it is predictable, drags in spots and is assembled from parts of plenty of other films. But director Peter Segal (Tommy Boy, Get Smart) and screenwriters Erich and Jon Hoeber (RED, The Meg) find some solid self-aware laughs poking holes in plenty of film tropes, from action scenes and tough guy catch phrases to over-the-top gay neighbors (Devere Rogers and Noah Danby, classic) and the very idea of little kid sidekicks. Guardians of the Galaxy proved Bautista has charisma and comic timing. My Spy lets him flash a little self-deprecating charm, and a sweet chemistry with his pint-sized partner. Coleman (Big Little Lies) brings plenty of cuteness, but also a vulnerable layer that goes a long way toward keeping the eye-rolling at bay. And anyone who saw Mr. Nanny, Tooth Fairy or Playing with Fire will appreciate that. I know I did. And you can quote me on that. #GeorgeWolf

★★ Written & Directed by: #MattiSoikkeli Starring: #JaniLaasko #VilleRajakangas #MattiSoikkeli #JemimaMäenpää Short Film Review by #ChrisBuick Sick and tired of taking all the risk for little reward, two neo-nazi gangsters (Laasko and Rajakangas) decide to hijack the deal of another drug dealer (Soikkeli) in order to make a quick and easy cash grab. After making off with the merchandise, they hide out back at base to enjoy some of the spoils before selling it on, unaware however that their victim is hot on their heels for revenge. The well of films in the gangster genre isn’t exactly running dry. Thirty seconds on any of the streaming platforms trawling through some of the egregiously violent titles on offer will confirm that. But with some fresh ideas, captivating characters, eye-catching action and a great deal of passion, it is still a genre capable of producing some true gems in a sea of mediocrity. Blood for Blood unfortunately, is not quite one such gem. Running at just over ten minutes, Blood for Blood admittedly has a lot to try and do in such a short space of time, never mind also dealing with obvious budget restrictions on top of that. Unlike some of the aforementioned and inexcusable catalogue fillers blessed with more time and deeper pockets, this #shortfilm could have arguably been granted some leniency when highlighting its shortcomings if it weren’t so frustrating in how much it blatantly and unapologetically wastes what little time it does have. The film seems to have completely misjudged where its point of focus should be. Granted the attempt at creating a decent sense of backstory for him is feeble at best, but Soikkeli’s dealer, a man apparently running drugs in order to support his wife and baby and very close to walking away from that life for good, makes for a far more intriguing story than what we actually get, which is far too much time suffering in the company of our two neo-nazi delinquents whose inane dialogue is not in the least bit interesting. There is also the matter of the one big elephant in the room, which is why these two are established as supremacists in the first place? The film never actually establishes any context or justification for this and if the thinking was simply to make sure we know these are bad guys, you don’t need to throw around swastikas and racial slurs to do it. One might have hoped the film could somewhat redeem itself with a good old-fashioned bloodbath right at the end but sadly it's just a set up for further disappointment. Flipping from black and white to full colour for the final showdown is clearly a Kill Bill-esque attempt at making the bloody violence all the more spectacular and gruesome, but it’s so many, many miles from that. All it does instead is create a showcase of horrendously awkward fight choreography and the performances which were already choppy seem to go into another realm of hammy ridiculousness, breezing past laughable and so bad they’re good, straight on to just what the f***? A poor story culminating in a very underwhelming finale, Blood for Blood should be just another film you scroll past on your way to something better. #ChrisBuick

★★★★★ Directed by: Edd Blott Written by: Edd Blott Starring: Patrick D. Green, Kelly Godell, Jonathan Daniel Miles, Brian Adrian Koch, Laura Welsh Film Review by: Jason Knight Escaping Freedom is an indie film written and directed by Edd Blott and starring Patrick D. Green, Kelly Godell, Jonathan Daniel Miles, Brian Adrian Koch and Laura Welsh. The plot focuses on a pastor named Vincent (Green) and his foster sister Krystal (Godell), who meet again after being apart for a long period of time and attempt to reunite, while at the same time they deal with their own personel issues. The script is a roller coaster of emotions. Blott does a remarkable job in creating dramatic scenes of confrontations, anger, sadness, tenderness and happiness. The script includes well written characters and effectively structured dialogue that greatly contributes to the narrative and character development. The performances are truly outstanding. Green is excellent in portraying a homosexual man who is struggling with his sexuality and his faith in God. His conflict with his homosexuality is suggested when he asks a girl named Katie (Welsh) out, even though he is attracted to the same sex. His lack of faith is indicated when he is asked what his thoughts are regarding God and life, to which he responds that it feels like being underwater, where one is alone and there is no sound. He also states that when one achieves, they should not just give credit to God but to themselves as well. Godell is also terrific in her performance as a troubled individual, who is a struggling actress, an alcoholic, bad tempered and uses a lot of profanity. Both Green and Godell bring to life the emotions that their characters are going through with such passion that it would be hard not to be moved by their performances. The acting of the supporting cast is also great and they bring superd qualities to the film. The score that Alejandro Villanueva Medina composed for the film is astonishing. The music is beautiful, powerful and haunting and it adds great atmosphere to the scenes and gives them serious depth and effectively represents the character's emotions. Medina's work gives the impression that it could not had been better. The film is superbly edited, with beautiful cinematography and slow motion sequences. Blott does an effective job by using hand-held cameras, as he creates fantastic shots. The hard work that the cast and crew put in this feature is clearly visible from start to finish. Escaping Freedom is very heavy on emotions. The characters's struggles create tense drama and thanks to the performances and score, the audience will definitely appreciate this truly beautiful film. A film worthy of great praise and acknowledgement. #JasonKnight

★★★★ Directed by: #BrianRyu Starring: #KarlosEdmonds, #EllisifWasmuth, #GregSchwedock Film Review by: Lisa Ogunmayin This short docufilm centres on the mindsets and approaches of 2 climate activists in gaining government attention and bringing change to human contribution to climate change. While their rebellion is persistent, our activists are also frustrated and resort to more unruly and disruptive ways to appeal to the government about this global issue. It’s a tricky one. What’s the best way to protest? Peacefully, artfully, violently, controversially etc. How do we agree? On one hand, you need to use methods that will get attention and have you heard, on the other hand, you don’t want to be shut down before anyone even knows about your cause and can support it. We’re first introduced to Karlos Edmonds, a member of the XR (Extinction Rebellion) climate change movement that uses non-violent civil disobedience to protest. Despite having been arrested numerous times for his disruptive protests, Karlos plans to conduct a mass planting of trees in New York’s central park to commemorate the 50th Earth Day. As we get to know Karlos, we learn that standing up for what you believe in can sometimes be a lonely fight, especially if what you believe in isn’t always trending or a popular cause. Director Brian Ryu treads carefully with his editing and only merely touches on Karlos’ mental health as a topic, possibly to avoid intentionally portraying Karlos in a negative light and to keep the spotlight on the message of the film. Karlos, as an activist, can appear somewhat disorganised in his approach to campaigning and, sometimes, seems to have his own views on what is classed as ‘non-violent’. The only thing keeping Karlos from using more controversial means of protest is his desire to stay out of prison for his son. Ellisif Wasmuth, another climate activist for the XR movement, takes a more amiable approach to protesting and is even against the use of ‘violent’ words. This, however, should not be mistaken for weakness as she clearly, and rightfully (some might feel), taps into her assertive side when challenged, and readily yet peacefully defends their need to cause disruption. Ellisif protests as part of a group, which on some level may mean that she doesn’t need to be as controversial as Karlos wants to be to gain attention; Karlos seems ready to do what ‘needs to be done’ whether he’s alone or not. In an interview, Brian Ryu commented that “...most of the climate movement is decentralised.”, adding that while participants agree that change needs to happen, they don’t agree on how this should happen, leading to a lack of progress. The inserted clips of news reports and conferences on climate change, protests and even a short snippet of Greta Thunberg’s “How dare you…” speech, all serve their purpose in reminding the audience that climate change is very real, regardless of how we may feel about those who are protesting and their methods. Filming was unfortunately disrupted by the COVID-19 lockdown measures and so director Brian Ryu had to quickly and abruptly round up his docufilm. Effective methods of protest are always debatable, but ‘non-violent’ methods, many may feel, are less likely to result in crackdowns which would ultimately subdue the voices that are striving hard to be heard. #LisaOgunmayin

★★★ Directed by #ElissaDown Written by #MichaelArmbruster, #ShawnKu Starring #SofiaCarson, #WolfgangNovogratz, #DonnaLynneChamplin Film Review by Lawrence Bennie For fans of School of Rock and the Nativity series comes Netflix's Feel the Beat. Australian filmmaker Elissa Down’s family comedy is another entry in a familiar cycle, where a down-and-outer becomes teacher to a hopeless bunch of misfits, finding redemption and fresh purpose along the way. Yes, it's certainly nothing new, yet always a story ripe for retelling. When April Dibrina (Sofia Carson) is axed from Broadway by a resentful producer, she returns home beleaguered to the town of New Hope. A chance meeting with her one-time dance teacher (Donna Lynne Champlin) leads to April reluctantly coaching the latest group of young dancers at her old school, in a bid to catch of the eye of a big-name judge (Rex Lee) who is appearing at a forthcoming dance competition. The gorgeous Carson is perfect in her role; her journey from icy impatience to selfless star is predictable but effective. Michael Armbruster and Shawn Ku’s script, characters and scenarios are clichéd but Carson lends a touch of quality to proceedings, both on and off the dance-floor. The girls themselves are likeable and believable and, whilst the characters in the film may lack memorability, Down’s ensemble cast (adult and child) are game and bring a healthy dose of charm and heart to the production. The script is glitchy in places. April’s Broadway humiliation goes viral yet none of her New Hope neighbours know about it. Her impromptu dance-off on the streets outside Lee’s office fails to ring true. Young Sarah (Eva Hauge) dropping a fake breast, slipped in to impress her crush, just feels weird. Other moments in the story are more amusing; a rudely indifferent April chastises the Broadway dreams of her new class, who (in a later scene) find themselves hilariously out-of-place against a bunch of considerably more suggestive young dancers. The device of April having to perform with her pupils in the “Teacher Feature” is clearly contrived, yet it works well within the narrative of April’s journey. First, when she performs, she pushes her pupils aside, grabbing the spotlight as a selfish dominatrix; later, she becomes angelic, harmonising with the kids in a heavenly symphonic performance. Like the film overall, it’s a predictable but pleasing progression through familiar terrain. Feel The Beat pretty much follows the beats of School of Rock. Down’s film treads close enough on the toes of the much-loved Jack Black comedy that it could almost pass as a remake (just think School of Dance!). Yet, for all the clichés, Feel The Beat is hard to dislike; it’s charmingly cute, feel-good, family fun. Netflix Movie Review by: #LawrenceBennie

★★★ Directed by #LarsDamoiseaux Written by #LarsDamoiseaux #EvelineHaganbeek Starring #MaaikeNeuville #BartHollanders Film Review by Hope Madden Hey, are you squeamish? Does Shudder have the movie for you! It’s hard to do zombies well anymore. Mainly, you have to either come up with an entirely novel concept or hope that the bloody mayhem works in your favor. In Yummy, the concept is only marginally original, but the bloody mayhem is more than on target. Co-writer/director Lars Damoiseaux assaults your gag reflex with a viscous mess of a horror flick. Blood and entrails, of course, but expect a pretty inspired use of pus, liquid body fat, tendons and other tissues and goos. It makes for some slick surfaces, I tell you what! Plus some unexpected little monsters keep things interesting and fun. Set inside a cut-rate Eastern European cosmetic surgery clinic, the film follows a mother, daughter and her boyfriend into a very bad decision. Mom (Annick Christiaens) is after a series of nips and tucks; daughter Alison (Maaike Neuville) wants breast reduction; boyfriend Michael (Bart Hollanders) is just a good dude willing to drive everyone even though he’s afraid of blood. Here is a ripe premise for horror. Mom is a Cronenberg-esque vehicle for body horror as well as vanity shaming. Alison provides comedic possibilities (no one in the clinic can begin to understand her point of view). Hemophobic Michael offers the clear hero’s arc. (Or he’ll simply die of shock by the gooey second reel.) And no, it’s not incredibly novel—zombie movies so rarely are. But it’s smart, witty and fun. Damoiseaux accomplishes much with his budget. Practical effects are great, performances are delightful, and nothing beats a little well placed Stooges. (The band, not the knuckleheads.) Yummy represents Damoiseaux’s feature debut as director and writer, but he’s garnered attention and awards for years with his work in shorts. Award winning co-writer Eveline Hagenbeek (Rokjesdag) channels her affinity for conversational comedy into a script that may follow a familiar structure but delivers a believable, funny edge that the game ensemble takes advantage of. Their collaboration is no masterpiece, but it is a lot of sloppy fun. #HopeMadden

In 2019 I released my short eBook - 9 Top Tips for Aspiring Film Critics, in which I detailed the essential steps for anyone looking to improve their film criticism. The feedback has been great and I still see the odd copy being bought from the UK Film Review website (thank you all!). What I realised was that perhaps I had missed a stage. My eBook was aimed at writers who already knew how to write a film review but wanted to take their writing to another level. What about those people who have no clue where to start? Here I hope to help those earlier on in their journey. How to Write a Film Review Writing a film review should be an exploration of a movie’s plot, themes, performances, music and more. It should encompass as many aspects of the film as you can and be written from a place of authority and personal passion. If you are new to reviewing films, I recommend you start your journey by seeking out publications that you may already enjoy. Many newspapers include a film reviews section and there are plenty of websites and movie magazines out there to choose from (including UK Film Review but others are also available...for now!). If you can find a film critic you particularly enjoy it can open up a world of education. Trawl through their back catalogue of movie reviews, pick up the nuances of their writing and try to ascertain what it is about their film reviews that you particularly enjoy. Once you have immersed yourself into a plethora of movie reviews and you feel confident about starting one for yourself, follow these hand steps. 7 Handy Steps On How to Write a Film Review Step 1: Choose Your Film. I would choose something you absolutely love, this will make the process infinitely more enjoyable and you get to use the thesaurus on lots of positive words (rather than negative ones). Step 2: Set Your Word Count: If you just start writing and never stop, your criticism will likely end up feeling quite rambling and incoherent. By setting a word count limit you can keep your piece tight. Not sure what’s a good word count? Check out one of your favourite movie reviews and see how many the writer uses - as this will often be specific to the publication. Step 3: Choose Your Medium: Do you prefer to write using a pen and paper? Go for it. Typewriter? Why not?! Would you actually prefer to improv it on camera? Hats off to you. It is important to communicate your reviews using your preferred method. These can always be transferred later. Step 4: Research the film: You may feel confident about the film enough to launch into a full review, however, doing a bit of research may help. Check out IMDb for a few facts and figures, or look for the film’s official website. Step 5: Write your review. This is your process and I can’t comment on how it works best for everyone. For me, I aim to write a full draft in one sitting, then I come back several times to make edits and improve. Step 6: Proof, Proof, Proof. There is plenty of software out there to avoid silly grammar and spelling errors but you should also look to improve your own writing because it will enhance your ability to avoid less-easy-to-spot errors - those which software doesn’t pick up. I would recommend going through your review from top to toe and starting again every time you spot an error. You could also read it aloud as this will help you check the flow. Step 7: Publish it. You can either submit your film review to publications/platforms who will accept it or on your own website/blog. It is important to see writing film reviews as a sport. You need to keep training, keep practising and always look for improvement. Once you know how to write a film review that you are happy with, it will become second nature for you to review everything you see. PLEASE NOTE: Once you start reviewing films it is very difficult to go back and I do not say this in jest. Scrutinising a movie at a higher level means you see more of the good stuff but also find it harder to forgive the bad. Ignorance can be bliss if you simply want to enjoy movies without thinking too much about them. I hope this has been helpful and feel free to follow me on Twitter for movie bants @UKFilmReview. If you know how to write a film review and would like to check out my eBook to take it to another level, click the image below. #ChrisOlson

★★★ Directed by #LauraHolliday Written by #JohnCox #AmyDatnow Starring #KimberleyDatnow Film Review by Cat McAlpine Henrietta (Kimberley Datnow) is fumbling through life as an almost stand-up comedian in her mid-20s. She’s not very tactful, she’s definitely a mess, and she can’t address a group of people without holding a prop microphone (or pencil). Also, her dad just died. Skyping into her father’s funeral with her one-night stand in tow seems like the tip of Henrietta’s daddy issues iceberg. But we never learn about Henrietta’s father or her relationship with him. He leaves her his LA home, trusts her with a board position at his company, and writes her an ominous letter threatening that if she can’t turn things around, his whole life will have been wasted. Henri proceeds to drink and smoke her way through the rest of the film, bumbling about without making too many revelations or relationships. Penned by John Cox and Amy Datnow, the story follows three different college friends as they try to figure out what they want. Henrietta is taking another stab at comedy. Alice (Alice Carroll Johnson) waffles in her relationship and tries to find a new career in the gig economy. Nolan (Tanner Rittenhouse) has taken 5 years to finish a deck project and can’t get his girlfriend to take him seriously. While all three characters build relationships with one another, they rarely connect to discuss or help with each other’s struggles. This general lack of connection and fluidity plagues the whole of Daddy Issues. The story lacks momentum. Moments meant to be absurd or wacky stay dry, shot and edited with the same pace as the lonely and sad portions of the film. The funniest moments are often small asides that feel like improv from secondary characters. Director Laura Holliday’s experience is mainly in shorts, as you might guess. She focuses well on small moments, like a brewing cup of tea, but loses pace in bigger scenes. Daddy Issues spends too much time being lost in itself, and we miss most of the resolutions. Other important moments come too late in the story and feel rushed. While it skillfully captures the essence of being at a loss with what comes next, the film suffers from the same nervous halting as its protagonists. #CatMcAlpine