Read the film podcast transcript from the episode titled Top Tips for Film Critics on UK Film Review Podcast part of the UK Film Review Podcast. < Back Top Tips for Film Critics Listen to This Episode UK Film Review Podcast 00:00.24 Chris Olson Hello and welcome to this special one off episode of the ukfilm review podcast today I am talking directly to those of you who want to be a film critic now. How do you be a film critic. You just be one. That's the way it is um, there's no reason not to be a film critic if you want to be 1 and this can start very humbly and simply by writing a review or or speaking a review depending on which kind of medium you want to go for um, don't get too tied up. In the labor of am I a film critic because do I meet these criteria x y ed um, we are all lovers of film and if you're listening to this. You are a film critic There's probably no no doubt about it. Um, what I would say is when it comes to. Journey that I've been on so I'm the editor of Uk film review and I've been a film critic now for 14 years The main objective really is to always be honing your craft um I look up to some of the top. Of critics in the world and I see that they're always trying to hone their craft. They're always trying to improve and why want this episode to do is to give you a few um signposts really I call them shortcuts really? but. 01:31.94 Chris Olson Mainly tips just to give you an idea of what's going to be the best way to always be developing yourself and also are the fundamentals of what you're doing so that you always have that to rely on because often when you're looking up. A piece you know film a piece of art that you've you've watched your review may vary because of that film. Maybe the film is made in a certain way that makes you want to review it in a certain way whereas. Actually your job is to be consistent as well. That you review one film is should be the way that you review really all films. Um, so without much further ado and it's going to get into my kind of first basic top tips for film critics. Firstly, if you're writing a review. Don't just summarize the plot. It seems very very basic but often I see reviews and even from critics that do have a lot of experience that they're maybe so overwhelmed by a film's plot that they just want to retell it. They just want to go in and tell everyone what happened and go through all the different story plots. The fact is that's not your job. As a film critic that the the viewer doesn't want that the viewer what I or the reader wants to go and experience the film for themselves your review if you're doing a structured review. The plot should only be really one paragraph of that review and fairly succinct and getting. 03:04.65 Chris Olson Good at writing um plot synopsis is in 1 paragraph that is where I see the best film critics people that are able to just really rattle it down to basic a tagline and still make you feel that it's a film that you want to see. Um. Because actually when you start reviewing other aspects of the film then the plot can sometimes be explored there. But what you don't want to do is just spoil the film for everyone and that's my my second tip spoilers I wouldn't bother with them. Some people will they'll write a review and I will spoiler alert. And what you'll do is you'll turn off at least half the people that were going to read your review and when it comes to becoming a film critic numbers matter. You want to get as many people reading your reviews and enjoying your reviews as possible so giving them a reason to to leave is not good. So I wouldn't put um spoilers into reviews unless. Absolutely necessary. Sometimes what can work if you do really want to go into lots of detail about that stuff is you do a you know double review I've I've seen this before but they do a review of the film and then they do a a spoilerific kind of review as well. But you're then yeah working in tandem then that can work quite well because. Your readers will review your first review. They'll go watch the film and then they'll read your other review and probably engage with it quite well so yeah, try and avoid spoilers where possible especially in written reviews. Um my next top tip is again fundamentals spelling. Um. 04:35.76 Chris Olson And I know that that seems like okay I'm going to skip past this point please don't skip past this point because we all do it. We all misspell things and when it comes to film reviews the most common one I see is the misspelling of actors names or crew names and that shouldn't happen. Those you should be getting from official sources either in the film in the credits or on their official pages like Imdb or if they have a website. Um, and even then sometimes those can be wrong. So yeah, it it never um, fails to impress me when I see someone. Takes that attention to detail and really says you know Joe I've I've really researched that and I've made sure that I've got all of those details correct because if you don't if you misspell, especially a yeah famous a is named readers are going to then start questioning. Okay, well if they can't get that right? What else can't they get right? You know should I trust this reviewer so really really pay attention to detail. Look at your grammar. Um, if you are you know, not sure. There's so many tools now to use. Yeah, obviously most document builders online have a spell checking built if you don't I'd recommend something like grammarly grammarly is an extension that you can put into. Google Chrome and that is really really valuable I use it all the time. Um, and yeah, especially I know what can happen I used to do this a lot so I used to go up to screenings in London be on my way home on the train and I'm sort of maybe putting together a first draft on my phone. 06:10.93 Chris Olson And you're quite yeah, used to doing like text speak and text spellings then those end up somehow in the review because you've used that text somewhere else when you've then put together the review. So the next kind of tip would be to do several. Drafts and revisions of that review don't just write your review and post it even if it is just your blog or on a social media post again. It matters if you don't put the the correct spellings if you're making typos then people are going to be turned off. They're going to think well, you're not an authority on this. You know if you can't even spell that right. Um, also one thing I see a lot of is lower case eyes. So like I've done as I've done this which is I'll go into this point in a minute a bit more but just generally make sure it's a capital letter where it should be a ga letter make sure the name of the film has capital letters where it should have them. Um, that is crucial. So a appearing professional you you want to appear a professional as a film critic. Um, so just also on the point of eye now when you're reviewing a film and I used to when my first reviews I've still got them on a blog and I go back to them sometime and just think oh my god what was I doing um you want to appear. Ah. As I said an authority you don't want to write it as if you're just a friend down the pub which is like oh yeah I thought this I thought that and there's a very easy way to change this which is so where you say I thought this you can say viewers may think this. 07:41.17 Chris Olson So what that does is immediately. Third parties is it and it puts it in the the idea of ah of an audience and that's where your role is you're thinking this is what audiences might think and this is what viewers might find and rather than saying I avoid at all saying I thought the score was really good. Yeah. It just makes it sound really amateur very childish. Yeah elevate it up to saying viewers will think this yeah and and feel confident to say that because you thought that you that's that was your thought but then the chances are that a lot of audiences will find that. Um, and don't be afraid to do that. Yeah, make sure you've come across as confident and authoritative. Um some other top tips in terms of writing film reviews would be ah, look at other films to reference that shows that you have and like a broad extensive knowledge. Rather than just talking about the one film you talk about the other films that the filmmaker has made before this because often that's a really good journey to explore anyway. And if people are reading your review. The chances are that they have an interest in the film and the filmmaker. So yeah, you talking about their other films is going to connect. But those readers um, you can obviously talk about the films that the actors have made as well or the cast or the crew. Everyone really? um or if it's got a thematic connection to another film. You know if it's something talking about the apocalypse. Then yeah, there's loads of films about the apocalypse. Um, so just Google that and yeah, you can. 09:11.95 Chris Olson Find ones that you've seen or if you haven't and do some more watching. Um, and yeah, go into detail about that and also if you can about your technological development not too much. You know? don't go into like how they do all the ai and how they do all the Cgi and all that stuff. Maybe more about yeah okay, well, there's this acting technique that they're using or or something that's going to yeah, be at least relatable to the audience and why they might care. That's really really important. Um, it's very important to be unique as well with your reviews. Um, you want to when i. Ah, tend to review a film I'll write my review I'll try not to read other reviews before I write it because I find that can skew what I'm writing because I'll kind of go. Oh they thought this and maybe that's really what I should have thought write your review kind of from your perspective your have your voice. But before you publish it I would recommend going and reading some other reviews because what can happen is sometimes another critic has been able to communicate something that you did feel but they've just mentioned it in a way that you go. Oh yeah, yeah, that was how and then you go off on your own tangent then you go off and and talk about that aspect in your way. But I would recommend reading other reviews or watching other reviews of those films. Um, another thing I would also really like to point out I'm yeah I'm very adamant about this is be be kind and be respectful. 10:38.90 Chris Olson These reviews I see pop up, especially from newer film critictix that just absolutely slate a film and they slate a person and they just really tear everything Apart. It? No one really cares about that and you know it it often undermines yourself and just makes you look silly. But also it is really cruel. Yeah, even a film you absolutely loathed. You absolutely hated. It find a way to explore that in a way that is constructive and that is useful for people to Read. Um and don't just attack people I think it's just pointless. Um and especially. Never talk about someone's looks I don't see why anyone needs to talk about someone's looks. There's There's no place for that at all. Um I think it's important as well to write reviews from a place of you loving film and people will fill that passion because if someone's reading reviews. They probably also love films. Unlikely that they're going to be into film reviews unless they really do so just going to town. Yeah, annihilating the the latest blockbuster film is Fine. You know I'm sure there be people there that will do it as well and there will be people that read that. But if you want longevity as a film critic. You need to love film and you need to find a way to. Even enjoy reviewing films that you didn't like because you're exploring why you didn't like them and it can be that they were badly made. It's absolutely fine, but find a way to review that and right in a way that puts you as the authority as to why? it's a bad film. Not oh it just was rubbish no waste of money. Arise It's not not helpful. 12:13.50 Chris Olson Um, I think that's a lot of top tips obviously to be going with um ah so outside of that you know once you're you're happy with your reviews and things like that in terms of exploring your career as a film critic I'll give you some sort of ways in which you you can look at that. So if you're ever. Um, applying to write for a publisher such as yeah Uk home review or anyone else. Yeah,, there's other other publications out there. But I don't like to talk about them. Um, you can always do well by exploring their reviews read their reviews find their. Tone. Um, they call it the house style you know, look at that. What is their house style like why have they set up their yeah perspective. What's that about it can be sometimes harder to to work that out. But just by reading enough of their reviews. You'll find a way that okay well this is how they structure their reviews. This is the tone This is do they swear? do they not swear. Do they you? How much do they go into the plot. How much do they spend talking about the themes. How do they lay them out. That is really important if you want to be a film critic. You need to learn that, especially if you are pitching pieces to publications if they see them in a style.. That's not their own. They're just immediately move On. Um I'd Also recommend going to events So Whether that's screenings or film festivals. The networking side of film is huge. Um. 13:42.82 Chris Olson It's something that is so paramount to the success of film and that yeah also goes towards film critics as well. So yeah, find your tribes find people that you yeah you can connect with and then obviously be introduced to other people and also show that you're willing to. Um, go the extra mile for films that you're reviewing but also for publications that you want to be part of share their post comment on their posts. You listen to their you listen to my podcast like you're doing right now but obviously not just us your other other publications that you're interested in because all that can do. First of it just broadens your experience anyway. Secondly it just shows you that you're you're passionate. You're interested. It's not just about a self-serving thing. Okay oh I want to be paid to do this. It's more okay Joe ashha I just loved this I love doing this? Um so many of the critics that started at Uk from review. They just did it because they loved it and they helped grow it and helped make it. Become successful and we're still doing that we're still relying on the Goodwill of everyone and making sure that we grow together. Um, so if you can be that person be positive proactive. Um, yeah, that makes a huge huge difference. Um, and yeah, hopefully this has been useful. So there's my top tips for film critics and yeah, there's a section on our website currently when I'm airing this yeah where you can apply to be a film cro for our site. We do get a lot of applications. Don't take it personally if we don't get back to you. There's a lot of people out there that want to be film critics. 15:16.58 Chris Olson Ah, but if you can bear in mind the the tips I've given especially the latter ones then you puts you in a good place. Um, and yeah, good luck. It's a fabulous journey and yeah, do it for the love of film. Previous Next

Red Lantern film review by UK film critic Chris Buick. Starring Marshall-Weishuai Yuan, Sangeetha Gowda, Almitra Mavalvala, Malek Domköc directed by Sangeetha Gowda. HOME | FILMS | REVIEWS Red Lantern Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: May 12, 2024 Directed by: Sangeetha Gowda Written by: Sangeetha Gowda, Marshall-Weishuai Yuan Starring: Marshall-Weishuai Yuan, Sangeetha Gowda, Almitra Mavalvala, Malek Domköc Red Lantern , written by and starring Sangeetha Gowda and Marshall-Weishuai Yuan and directed by the former, tells the story of Alex (Yuan), a young Asian actor-playwright battling nerves and self-doubt on the night of his big performance, contemplating whether the ongoing strained relationship with his increasingly absent father is worth following his ambitions. Sacrifice is indeed the core idea of this film, and all creatives will know that to follow your passion, sometimes to the end of the earth it might seem, takes everything you have, seemingly more than you could possibly give at times. But the specific focus here is the extra struggle that those dreamers born of immigrant parents face in doing so, carrying the full weight of expectation from a family unit that has given up so much to allow their children's pursuit of those dreams. Red Lantern is a film that focuses very much on evoking a real sense of feeling rather than laying out your typical story, and for the most part it works. That emotion that Gowda and Yuan look to make us feel is undoubtedly felt, Alex’s turmoil practically tangible in a measured but efficacious performance by Yuan that makes doubly sure of that. Cinematographer Ben Lawford ‘s astute framing choices play a key part too, leaving the camera to almost always sit in that up close and personal intimate space helps to really draw in its audience, which does mean the cast have nowhere to hide in their task to deliver the rest but thankfully, they do. That sense of feeling only takes the film so far however, and when all is said and done, you can’t help but feel that we're still missing half the story, or that it's being told elsewhere. It is a testament to the film that it makes you feel that way, that there is a desire there in the aftermath to know more about Alex and his intriguing story, but while it’s all well and good to leave some things to the imagination, a bit too much is left to ponder here. Still, its themes and purpose with them do come front and centre, and will no doubt serve as inspiration to all those setting out to chase and keep chasing their own dreams. Director Sangeetha Gowda hopes that “Red Lantern can re-inspire those creatives out there on the verge of giving up, remind them of that youthful fire for their dreams they may have lost over time, and motivate them to keep going because their dreams are worth something. We also never know who we might be encouraging ”. For me, Red Lantern should be able to do just that. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

The Soldier's Post film review by UK film critic Jason Knight. Starring Christopher Mulvin, Charlie Heptinstall, Luke Hunter directed by Joseph Archer, Jack Archer. HOME | FILMS | REVIEWS The Soldier's Post Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 28, 2022 Directed by: Joseph Archer, Jack Archer Written by: Jack Archer Starring: Christopher Mulvin, Charlie Heptinstall, Luke Hunter As the time to attack draws near, three soldiers have a dispute regarding their lives. With their third short fillm, the Archer brothers bring to life a dramatic story about war, love, homesickness, self-discovery, courage, homosexuality, cruelty and selfishness. It is World War I and three British soldiers are at the trenches during night-time, waiting for the next day, when they will engage the enemy. These soldiers are Thomas (Mulvin), Henry (Heptinstall) and Edward (Hunter). Thomas is upset because he has not been receiving letters from his wife. Henry is cold and ignorant towards Thomas's troubles and accuses Edward of being a homosexual. What follows is heavy drama, confrontations and revelations that will lead to a tense conclusion. This short is a war drama that utilises emotions instead of guns and bombs for its battle scenes. It is a character study with a plot that focuses on three servicemen, who are in a position where they might die soon. Thomas longs to be with his beloved wife and Edward is the most vulnerable one and has strong feelings for Thomas. The two of them support each other and Henry is by himself. Henry is a despicable person, with total disregard for human life, who shows no respect towards either of his two comrades. He could be viewed as the antagonist of the story and both Thomas and Edward side against him. The mise-en-scene is quite atmospheric. Thanks to effective lighting and great cinematography by Robert Loud, the film recreates a darkened environment in the trenches, with soldiers awaiting combat and the uniforms look superb. Composer Michael Boga develops a dramatic and powerful score that is added during the third act, significantly assisting to the build-up to the culmination. All three protagonists are very convincing in their role as soldiers who are in the same situation and yet have many differences between them. This is a powerful story that explores the effects of war on people, how cruel some individuals can be and how understanding and supporting each other can bring hope and strength. With strong acting, an intriguing plot and well-written dialogue, this short is an admirable achievement. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Nautilus Mutiny film review by UK film critic William Hemingway. Starring Nicholas Pople, Anna Arthur, Alan Kenny, Hinako Matsumoto directed by Daniel Shehata. HOME | FILMS | REVIEWS The Nautilus Mutiny Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Aug 8, 2022 Directed by: Daniel Shehata Written by: Daniel Shehata Starring: Nicholas Pople, Anna Arthur, Alan Kenny, Hinako Matsumoto A London gangster (of sorts) wants out of the rough and tumble life to start anew but he's got one last job that needs doing before he can go anywhere. So, The Nautilus Mutiny is nothing new. It's the age old story of the loveable rogue who's been caught in the racket for far too long and wants out but has to go through the motions of the famous last job in order to get there. In fact there's nothing new in the entirety of Daniel Shehata's proof of concept film, being as it is a knock-off and cheap rerun of the London gangster movies that were so prevalent 15-20 years ago, especially those of Guy Ritchie and Matthew Vaughn. Lester Landon (Pople) works as a rough houser for local watch emporium, Nautilus, whose business model runs much like Simeon Yetarian's car dealership in GTA V. The select, expensive watches are sold at a premium, usually on credit to those who can only afford to pay in instalments – then when the clients inevitably fall behind on their payments, Lester is sent in to repossess the merchandise while the company keeps all the previous deposits. Lester is also dyslexic and has been receiving lessons from Gloria (Arthur) to improve his reading, a plot point which is used in the latter stages, but which otherwise plays out as an eccentricity that adds nothing to the character or the film. Gloria is never defined as a teacher/girlfriend/sponsor/social worker or anything else and it is never clear how or why her and Lester spend time together in the first place, leaving the relationship empty and somewhat unnecessary. Lester's boss, Captain Chamberlain (Kenny) works out of a dimly lit back room and defers matters of authenticity to his specialist, Moto (Matsumoto), who only speaks in Japanese and is there to offer light relief through a few backbiting statements. All of this feels very familiar and old ground to walk on with each new eccentric character being ripped off from other, previous incarnations in other films. This is all extremely disappointing because otherwise The Nautilus Mutiny is a really well made film. The direction is sure, the acting is committed, the cinematography from Oliver Cox really makes the city come alive and the score by Lonely Gimmick ties everything together in a mid-2000's London gangster kind of way – it's just that the story is tired and the characterisation is hackneyed. There are some nice touches in the film, such as the scenes involving a Rolls Royce convertible drifting around the city and the Day-Date Club populated by notorious Rolex wearing leaders from throughout history, but when mixed in with fast cut read-throughs of runners and riders and background exposition, as well as hipster bearded Lester breaking the fourth wall every so often, the whole thing becomes a melting pot of gangster tropes which we've all seen before. I guess when you hold up Layer Cake (2004) as your benchmark then really this is all you're gonna get. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

The Worth of Life film review by UK film critic William Curzon. Starring Rico Bowlin, Micah Tsekiri, Callum Chiplin directed by Daniel Glenn-Barbour. HOME | FILMS | REVIEWS The Worth of Life Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Aug 14, 2026 Directed by: Daniel Glenn-Barbour Written by: Daniel Glenn-Barbour Starring: Rico Bowlin, Micah Tsekiri, Callum Chiplin The Worth of Life follows Tyler (Micah Tsekiri), a young filmmaker struggling with his mental health after the death of his mother. Consumed by grief and anger, he hires Jordan (Rico Bowlin), a struggling cameraman, to help him make a documentary on men’s mental health and capture a single day of raw, unfiltered footage of his family. As the camera continues rolling, Tyler’s personal wounds bleed into the film, and the narrative explores the implications of his actions. The Worth of Life presents a raw, uncompromising tale of grief and betrayal, with incredibly grim subject matter that may be hard for some viewers to stomach. That said, its focus on men’s mental health and its shining a light on that subject matter are commendable and make the experience worth seeking out. Its presentation, in particular, feels raw due to the handheld camerawork and suburban setting. The camerawork helps ground the narrative and feels evasive in dialogue-heavy sequences that reveal aspects of grief and anger. Despite how grim the narrative can feel at times, the filmmakers really capture the importance of family and community while spreading a hopeful message through discussions of men’s mental health. The narrative takes its time to delve into themes of gender roles, support for family and the idea of what it means to be a man. Each dialogue exchange feels raw and like a fly-on-the-wall experience due to its hyper-realism. While the choppy editing choices at times may take viewers out of the experience, the dialogue and performances make up for it. The central character, Tyler, has an enthusiasm which shines through each frame, and the narrative takes its time to flesh out his personality and commitment to championing men’s mental health, as it is sometimes treated as taboo. It also pulls the rug from under the viewer and makes you question Tyler’s moral choices and perception of women. One of the most visceral aspects of the experience is the mix of handheld and fixed photography throughout. Its gritty aesthetic is raw, and it never loses focus on the two central characters as they roam around the streets of London. The handheld cinematography is incredibly pulse-pounding during an intense sequence and helps ground Tyler and Jordan’s perspectives. Another commendable technical aspect is the use of music throughout, with haunting motifs that perfectly accompany the subject matter. The central performance from Micah Tsekiri in his portrayal of Tyler is incredibly nuanced, and he balances the comedic and dramatic tension exceptionally well. Rico Bowlin’s portrayal of Jordan is also incredibly raw, and his chemistry with Micah Tsekiri is endearing, keeping the narrative engaging. The supporting players are also unforgettable and add to the complexity of Tyler’s struggles while further fleshing out his issues with mental health. While the narrative does lose some steam towards its conclusion as it loses sight of the central subject matter, the final third recontextualises certain aspects of the narrative. It does so by reflecting on the actions of both Tyler and Jordan in making the documentary. It's a bold and evocative conclusion that brings closure to certain narrative beats and makes the journey rewarding despite some of its pitfalls. The Worth of Life is a tough watch; however, it unapologetically feels raw in its subject matter and presentation while capturing the everyday life of a struggling individual grappling with his grief. Anchored by two phenomenal lead performances and exceptional formalism, The Worth of Life is a gritty drama that offers introspection and closure to its characters and themes. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

When You Are Gone film review by UK film critic Chris Buick. Starring Andrew Forner, Kelsie McDonald, Sarah Nichols, Thomas I. Hall, Thomas Blackburne directed by Rafael Altamira. HOME | FILMS | REVIEWS When You Are Gone Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Nov 3, 2022 Directed by: Rafael Altamira Written by: Rafael Altamira Starring: Andrew Forner, Kelsie McDonald, Sarah Nichols, Thomas I. Hall, Thomas Blackburne Promising architect James (Andrew Forner) opens the door to an empty house and a mysterious phone call telling him to check his emails. There, he finds a link to a livestream showing his wife Sylvia (Kelsie McDonald) tied to a chair being held captive by a mysterious stranger. Despite his pleading, bargaining and ultimately empty threats, his wife is killed right in front of him, sending James into a spiral of guilt and depression. Years later, after time and therapy has done what it can, life seems to be getting back on track for James. Work is good, he’s the boss’ go-to guy, he starts dating his assistant, finally James might actually be ready to put the past behind him. However, our protagonist soon begins to become haunted by his wife’s memory once more and begins receiving various demands by an anonymous blackmailer suggesting there may be more to Sylvia’s death than previously thought. Rafael Altamira’s tense and entertaining feature film When You Are Gone is a slow starter that plants its feet well and after a cagey opening ten minutes or so, begins to really find its rhythm and then doesn’t look back, taking its audience down a winding path of mystery and intrigue where all isn’t what it seems. The film has great levels of tension, not to mention a few jump scares to keep audiences on their toes as well, Altamira could be a decent horror director if that is the path he might be so inclined to choose. Most of these intense moments are played out with a very adept and subtle hand and the complimenting score really helps elevate them too to maximum effect. However, it must be said that the horror makeup and prosthetics on display here really aren’t up-to-scratch with the rest of the film and while not always on full show, when they are it’s simply way too much and really puts a dent in the rest of the hard-work going on here, meaning some of that well-earned audience good faith is slightly lost and needs to be regained. But for the most part the film is able to maintain its desired atmosphere right the way through. In fact, it’s impressive how the film really paces itself very well despite being over two hours in length, somehow managing to sustain that well-crafted momentum right to the very end. Part of the reason for that could be that it’s a strongly written film. There aren’t heaps of useless exposition or pointless filler bloating proceedings, each scene or moment offers something to the whole and Altamira is conscious to take those moments that allow the film breath before ramping up again which helps attention spans from wavering. The film’s finale while not necessarily failing in terms of its idea, does stumble somewhat in terms of its execution and believability, but not enough to really tarnish all the good that comes before it. The performances are generally strong throughout the cast, characters and performances while not necessarily extraordinary feel authentic and deliver what and when they need to, and special mention must go to Eduardo Aznar as Detective George Darrius who seems to be having the most fun and quite frankly, needs his own movie. Was it worth it? Oh, for sure. Overall, When You Are Gone is a good an outing as any writer/director could hope for as their first feature film. Sure, it’s not perfect, but it’s a damn good effort. Check out the official trailer for When You Are Gone here https://www.youtube.com/watch?v=QRuiIKbdTZE Buy UKFR Banner Space About the Film Critic Chris Buick Theatrical Release, Amazon Prime, Indie Feature Film < All Reviews Next Film Review >

Doctor Strange in the Multiverse of Madness film review by UK film critic Alasdair MacRae. Starring Benedict Cumberbatch, Xochitl Gomez, Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Rachel McAdams directed by Sam Raimi. HOME | FILMS | REVIEWS Doctor Strange in the Multiverse of Madness Film Review average rating is 3 out of 5 Critic: Alasdair MacRae | Posted on: May 5, 2022 Directed by: Sam Raimi Written by: Michael Waldron Starring: Benedict Cumberbatch, Xochitl Gomez, Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Rachel McAdams Doctor Strange (Benedict Cumberbatch) is tasked with stopping the mysterious entity hunting the newly minted multiverse travelling hero America Chavez (Xochitl Gomez). To do so he consults friend and foe alike as the fate of the multiverse hangs in the balance. Everything, everywhere… Opening up the MCU to the multiverse allows for all sorts of hijinks, in-jokes and new possibilities. But that means homework. And the onus isn’t just on the audience this time. In order to expand it means that the filmmakers feel obliged to include reminders that characters have baggage because they vanished for five years thanks to Thanos, and the easiest way to do that is to say it explicitly. Catch-up moments like this are incredibly tedious to sit through. Once the paperwork is filed away though, the reins are taken off and director Sam Raimi is turned loose to create his own new visionary work. Well, not quite. The script feels hampered so that it can fit into the overarching multi-film and series spanning narrative, and there is still a tendency to conform to the MCU’s desired aesthetic of the grey-brown sludge palette with noticeable compositing issues. But when Raimi wrestles control his presence is clearly felt. This fulfils the promise of an MCU spin-on a horror film. For one he injects a huge amount of red into proceedings. Then there is the familiar imagery of contorting bodies, hands and eyes, lots of eyes. Strange and co. travel through haunted houses filled with moving portraits, mirrors and mist. Whispering voices encircle and snarl. Violence and death are more graphically shown onscreen in a way unlike any of the previous twenty-odd films in the series. The camera twists, rolls and lurches in typical Raimi fashion. And there is a sense of playfulness that the director brings with him. Strange’s powers for instance feel more creative. In one standout sequence he duels with notes lifted off of sheet music, offering composer Danny Elfman something interesting to play with. And of course there is a nice Bruce Campbell cameo. Doctor Strange in the Multiverse of Madness is easily one of the better films in the MCU. Unquestionably, Raimi raises the profile of Feige’s cinematic universe. He may just be a contractor doing a job but his presence is felt in the creepy twists and turns of this outlandish adventure. As the MCU desperately tries to legitimise itself, this proves that simply bringing in an auteur director and putting them on the assembly line isn’t the magic fix it thinks it is. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Theatrical Release < All Reviews Next Film Review >

Read the film podcast transcript from the episode titled UK Film Club #005 - The Flash, Asteroid City, Extraction 2 And Big on UK Film Club part of the UK Film Review Podcast. < Back UK Film Club #005 - The Flash, Asteroid City, Extraction 2 And Big Listen to This Episode UK Film Club TRANSCRIPT MISSING Film club is back with Brian and Chris reviewing some of the hottest films on release in June 2023. Brian, from the UK Film Review team of critics, gives his film reviews of Asteroid City (the new Wes Anderson film), The Flash, Chevalier, Greatest Days (the Take That musical) and Hypnotic (in a rare example of Brian really not liking a film). UK Film Club then sees the critics review Extraction 2, the latest release starring Chris Hemsworth on Netflix. Two short films are reviewed: A Father's Day and Beware! Both of which are zombie-based. The Nostalgia Pick for episode 5 is Big starring Tom Hanks, which the guys review. If you are new to UK Film Club, welcome, if you are already a regular attendee, welcome back. We love to have you here, please drop us a review or comment on social media so we know you are out there.For more from our film podcast visit -https://www.ukfilmreview.co.uk/podcast Previous Next

Dead Cat Film film review by UK film critic Swati Verma . Starring Josie Charles, Will Gao, Huge Bonneville, Julie Lamberton directed by Nathan Miller, Josie Charles. HOME | FILMS | REVIEWS Dead Cat Film Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Jan 11, 2025 Directed by: Nathan Miller, Josie Charles Written by: Nathan Miller, Josie Charles Starring: Josie Charles, Will Gao, Huge Bonneville, Julie Lamberton The name of movie-Dead Cat Film would initially establish the short film to possess a serious tone to the narrative. The writer-director Nathan Miller and Josie Charles turn to the comedy genre to make it interesting for the audience with an unexpected twist. Talented actors like Josie Charles, Will Gao, Huge Bonneville, and Julie Lamberton play their parts so efficiently and effectively that they all complement the comedy genre as well as the idea of the writer-directors. The plot of Dead Cat Film revolves around a young woman who accidentally kills her flatmate’s cat. To add to her troubles, she becomes increasingly attached to its taxidermied corpse. Dead Cat Film begins with a black screen along with upbeat music followed by a mid-shot of Florence driving a car in the night while talking on the phone and ends up killing an animal. This sequence forms the gist of the subject matter of the movie. The set design, the combination of black, white, dark green colours, and a slight yellow-bluish undertone provide the dark comedy element to the storyline, sound, natural lighting, camera angles, dialogues, costumes, hair, makeup, and props are kept simple so that the narrative shines therefore increasing the degree of audience engagement with the content. In terms of performance, Josie Charles plays Florence a beautiful independent young woman who is very passionate about welfare for animals but has certain nuances in her character arc that help make the screenplay intense. Charles beautifully understands all the layers and performs according to the demand of the narrative. Will Gao plays the role of Alex Clio the cat’s owner. Alex is a sweet simple person a good friend to Florence. Alex becomes sad hearing his cat being killed by his friend and also gets shocked after discovering a strange unexpected twist in the tale. Gao with his acting skills builds a pretty good chemistry with Josie Charles which brings out the essence of crucial subplots. Huge Bonneville is a senior actor who gives his voice to Clio Alex’s cat. Bonneville provides life to a cat’s emotions, needs, and wants which are similar to humans. Bonneville as Clio and Florence’s conversation is written very effectively with the element of realism and relatable. The chemistry between Clio and Florence is very unique and special. Dead Cat Film teaches us the value of relationships like friendships and the bond between the owner and their pets. The short film talks about the importance of expressing emotions and needs openly or else people would have a tough time dealing with difficult situations in their lives. The cinematic piece reiterates how crucial it is to take care of and love the voiceless animals especially those who are disowned or suffering in any way possible. To conclude, I liked how the makers have given the short film open-ended so that the audience gets a chance to interpret it differently. It is a smart way to get the viewers to think about it even after they have watched it. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Curiosity film review by UK film critic Jason Knight. Starring Hunter Bishop, John Cooke, Michael Cooke directed by Michael Cooke. HOME | FILMS | REVIEWS Curiosity Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 13, 2024 Directed by: Michael Cooke Written by: Michael Cooke Starring: Hunter Bishop, John Cooke, Michael Cooke A man discovers a morbid world when he decides to investigate the dark web. A young guy named Kevin (Bishop) is in his bedroom, relaxing, messing about with his phone. He comes across a video that instructs how to access the dark web. Curiosity gets the best of Kevin and he goes to his computer and follows the instructions. To his delight, he finds himself accessing that part of the Internet and proceeds to take advantage of what it offers. However, he soon finds a video where a live inhuman and grotesque auction is taking place. What he sees through the webcam is man (Michael Cooke) tied to a chair inside a room, his head covered by a bag. On the walls are deadly tools of all sorts and he is not alone. A large man (John Cooke) wearing a sort of home-made, sinister-looking mask is announcing the beginning of the event, which involves viewers bidding for the poor man's body parts and choosing which tool the masked man will use. This short film can be appreciated as a tense horror film and for the messages that it carries. As a horror film, it is quite a nail-biting experience that could be described as a cross between Hostel and Untraceable . As a horrified Kevin watches helplessly as the victim is being tormented and hurt, the dread is at an extremely high level. His decision to send text messages to the masked man, demanding that he stops only makes things worse as the masked man acknowledges Kevin and it becomes clear that he is now in danger. The masked man is arguably the one who steals the show. A deranged individual that keeps his identity concealed and clearly takes pride and joy in committing unspeakable acts. He looks into the webcam and speaks enthusiastically with a menacing voice as he presents the macabre event like a game show. In other words, he is the stuff of nightmares and when he takes notice of Kevin, the viewer can feel how terrified he must be. And Emily Frances Ippolito's ominous score makes the whole experience even more petrifying. Regarding the messages, most evidently, this short points towards cybercrime, how people can utilise the Internet for a variety of illegal activities, particularly the illegal organ trade. On top of that, it also acts a warning, communicating to people that when they are online, they must be cautious, because their personal details can still be hacked and avoiding this can be accomplished by staying away from sinister parts of the Internet such as the dark web. Overall, this short is certainly one that grabs the viewer's attention, be it as a nail-biting experience about murder or as a warning about cybercrime. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Tiou Dou Goun (Tomorrow's Village) film review by UK film critic James Learoyd. Starring Souleymane Gaye, Caroline Bassono, Adeline Dorothee Kando directed by Gail Malbete. HOME | FILMS | REVIEWS Tiou Dou Goun (Tomorrow's Village) Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: May 29, 2024 Directed by: Gail Malbete Written by: N/A Starring: Souleymane Gaye, Caroline Bassono, Adeline Dorothee Kando Tiou Dou Goun (Tomorrow’s Village) is a simple yet well-measured piece of documentary filmmaking. This informative film is about an ecological campaign taking place in Burkina Faso, Africa – a country which the filmmakers describe as having been “plagued by political instability and security threats”. The individuals featured in the picture are on a mission both social and environmental: to create a resurgence of grown commodities and the market, making the surrounding community financially reliable. The film, in great detail, documents the project’s evolution and this particular type of eco-political campaign is important to draw attention to. A mission such as this demonstrates the need for nature preservation; it also demonstrates how much an actively engaged, collaborative group can achieve – and how important that is, specifically in such a rural environment wherein families need more unique resources to thrive. Thus, to showcase such a venture in the form of a documentary feature is a greatly admirable, positive thing. A lot of the documentary looks quite beautiful. There’s a consistent aesthetic at play based around the consistent use of a medium-to-long range prime lens (probably 85mm), with a fully open aperture. What this produces is a soft, compressed, cinematic look; although it occasionally results in an over-abundance of intense closeups which, in terms of docu-informative content, makes for the occasional distraction. - But I don’t wish to complain as it has a lovely, vibrant look; one which an audience will enjoy looking at. The use of widescreen is also a pleasant thing to see – particularly if you’re watching this film as a critic on something other than a cinema screen; you still get to sense that scope and grandeur. The only explicit formal problem --not to sound like a broken record-- is the use of auto-focus... it is so so strange how many independent films are burdened with this problem. There’s a counterintuitive nature to it in that the cinematographer uses it because they do not have the crew or faculties to pay constant attention to manual focus apparatus, but in doing so accentuates this kind of studenty characteristic. As a documentarian, you should encourage oneself to learn focusing manually – to gain that invaluable muscle-memory. It differentiates a documentary that is great (which this one certainly is) to one that is masterful. It’s a supremely educational watch. Not so much emotional or poetic in its structure or form, but fully given to the subject-matter and its practical complexities. A reservation some may have is that we don’t fully get a sense of the subjects’ emotional state, and this may prevent the spectator from entering into the piece on a deeper, internal level. We witness the nuances of the campaign and its interesting ups and downs; however, the greater universal/experiential message must be extrapolated by the audience for the film itself doesn’t present a thematic thread as such. It can be slightly didactic, at times overwhelming in terms of the density of spoken information. But it is wonderfully rich with the culture of its focus and leaves you wanting to learn even more about the country’s hardships and solutions. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

Watch A Moral Man at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. A Moral Man Listen to our review on the film podcast What our film review said: READ FULL REVIEW Another exemplary Toby Jones performance enhances this moving and controversial short film. A Moral Man is an accomplished feat from writer-directors Paul and Simon Wade as they attempt to sincerely raise a difficult ethical question. Proudly supporting MediCinema for our 2022 film festival.