I Miei Occhi (My Eyes) film review by UK film critic Amber Jackson. Starring João Farina, Kseniya Rappoport directed by Tommaso Acquarone. HOME | FILMS | REVIEWS I Miei Occhi (My Eyes) Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Nov 14, 2022 Directed by: Tommaso Acquarone Written by: Tommaso Acquarone Starring: João Farina, Kseniya Rappoport I Miei Occhi (My Eyes) is an Italian-language film where a woman offers a street performer home and the journey proves to be a life-changing experience. Situated in the single scene in the woman’s car, director Tommaso Acquarone ensures that this is a short film jam-packed full of surprises. Deeply intriguing and emotionally raw, their motivations cannot be placed, but it is clear that they connect over their conversation as they drift through life. Their curiously friendly dynamic certainly creates the backbone of the film and it may be simple in terms of plot, but it is definitely very complicated in terms of execution. Driving around as if she is searching for something, the woman is emotionally vulnerable through her silence and her facial expressions. Nothing is revealed about her except that she seems stressed and is avoiding phone calls. It begs the question what is she escaping from? Throughout the short, it slowly becomes clearer and elements of her life are slowly revealed – but only subtly, so they have the potential to be missed if the audience is not concentrating. Acquarone’s considerations of the scene are brilliantly authentic and do not miss a trick. The woman tries to interact multiple times with the street performer, at first appearing to just be nice to him. However, when she deliberately seeks him out and offers him a lift in her car, her motivations to helping him are curious. Do they know each other, or have they just met? Her lack of consideration for herself is alarming at times, but even more interesting as the film progresses. As day fades into night, the woman becomes more vulnerable as there is a lot unspoken between her and the street performer. It is clear that they are very different and suddenly, the wind changes and creates a very unexpected result. It is shocking and saddening of equal measure and a powerfully real film is created as a result. Action takes place mostly in the woman’s car with a beautiful coastal landscape on a rainy, breezy day. However, their surroundings are just out of reach as the camera does not give them any attention, making the dialogue between both characters more consuming. Camera shots are up-close and personal and feel all-consuming as the woman drives around. It is as though we exist purely in her world inside the car as we purely focus on her actions. Filmmaking is aesthetic and beautiful and very considerate of the two characters, as they are filmed from behind so as to not have us look at their faces head-on. It feels as though the viewer is sat in the back of the car watching as a silent witness to the conversation, making it feel more over-powering. Sounds of the car propel the viewer into the car to experience every deliberate moment of this short film. Mobile phone aside, it has a timeless feel as though it could be set in any time period. With the score being the car radio in the background, it feels very simple and realistic. As darker thematic elements emerge towards the end, there are many confusing and heart-breaking moments and emotions to consider that are heart-breaking for the lone woman in the car. Suddenly, it is as though you could watch the entire twenty minutes again in a completely different way. I Miei Occhi is surprisingly engaging and keeps viewers hooked the entire way through, as they seek to understand who they are riding in the car with. It is a deeply emotive and mysterious watch and Acquarone does well to keep the frustrations and fears of both characters at the forefront. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film, World Cinema < All Reviews Next Film Review >

Sorry We're Closed film review by UK film critic William Hemingway. Starring Michael Muyunda, Jemma Bentley, Mark Aldrich directed by Jonathan Hawes. HOME | FILMS | REVIEWS Sorry We're Closed Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 9, 2026 Directed by: Jonathan Hawes Written by: Jonathan Hawes Starring: Michael Muyunda, Jemma Bentley, Mark Aldrich A long-term couple struggling to keep the spark alive in their relationship decide to embark upon a night of ill-advised spontaneity, breaking into their local fish and chip shop to have themselves a late-night supper. Jacob (Muyunda) and Olivia (Bentley) have settled into coupled-up life. They understand each other really well and know each other inside out, meaning that there’s not an awful lot of surprises going on in their lives anymore. On a typical night in, Jacob has fallen asleep on the couch and Olivia is trying her best to cajole him into some sort of action by making pinpointed jokes about his energy levels and the lack of any sort of ambition in his life. She seems to think that he’s the problem without ever actually realising that she’s a miserable, hen-pecking, shrew. Trying his best to keep the peace in the face of insistent emotional abuse, Jacob listens to Olivia’s entreaties and agrees to accompany her to the local chip shop for the chance of some late-night fried food, all the while knowing it to be already shut. Lo-and-behold, as they rock up to the chippy, the door’s shut and the lights are off, meaning that fish is back off the menu. This, of course, causes another argument, where Olivia has another go at Jacob and as soon as he defends himself, gets all upset and huffy and goes off to pout by herself at the side of the road. All seems to be lost, until Jacob manages to bust the door open, and they decide to make themselves a slap-up meal without anyone else knowing. Despite the illegality of what they’re doing, Olivia brightens up when she gets what she wants, and they set about frying themselves some nice fish for their supper. Set in the town of Beeston in Nottinghamshire, in the real-world location of Gill’s Fish and Chip Shop, and presented as a comedy/drama, Sorry We’re Closed is a quintessential British story of getting yourself into difficult situations. At the constant beratement of his partner, Jacob knows that what he’s doing is wrong, but still goes through with it to make her happy, inviting us to share in their low-key crime as they try to fix the issues in their relationship. It is this excruciating extra-mile, into uncharted waters, that allows Sorry We’re Closed to aim for British classics like Only Fools and Horses , or Fawlty Towers , as we watch with one eye closed, knowing that things will never end well for our plucky, unhappy couple. Writer/director, Jonathan Hawes, keeps us up-close and personal with the couple in their more intimate moments, most of which are when they are aggravating one another, and uses hand-held motion to retain the feeling that we are walking with them along their path, as they search out their future together. We are invited into their space and their lives, with snippets of dialogue reaching into their past to furnish us with some idea of where their shared animosity might come from. This works pretty well in keeping everything grounded and low-key but also stops there from being any sort of cinematic vision that could be attributed to the scenario. The acting from both leads is fairly decent, selling enough of their character to be believable, but when Olivia is situated as such a horrible human being it’s hard to become invested in anything that she wants in the story. When the chip shop owner turns up, too, his delivery is not so great and the short scene becomes very am-dram in its aspect until the shock twist. Thankfully, the production value comes through, especially in David Rubenstein’s accompanying score, and the whole film knits together as a viable relationship drama. Unfortunately, the comedy aspect never really gets off the ground, and any jokes made by the couple are just thinly-veiled digs at one another and so don’t raise a smile from the audience, with no out-and-out humour appearing anywhere along the way. There is plenty to be said in Hawes’ scenario, about life, love, and the fragility of long-term relationships, and while we as the audience are party to the mistakes and lessons learned along the way from the bad decisions that are made, this never translates to the characters, who are oblivious to any harm done. This makes it difficult to support the couple on their journey, and in the end we’d probably rather see them get their just desserts instead of a fresh fish supper. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Ghoul film review by UK film critic Jason Knight. Starring Ewan McLatchie, Anna Wilson-Jones, Philip Bulcock directed by Magnus Lyche. HOME | FILMS | REVIEWS Ghoul Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 5, 2023 Directed by: Magnus Lyche Written by: Magnus Lyche, Sydonie Calvert Starring: Ewan McLatchie, Anna Wilson-Jones, Philip Bulcock A schoolboy imagines that there is a monster nearby. This short drama mixes fantasy with reality in order to tell a dark story. There is a family consisting of the parents and their young son Louie (McLatchie). His mother (Jones) tells him fairy tales about a king bringing a woman and her child in his castle and later turning into a ghoul. It quickly becomes apparent that something is seriously wrong in this household: Louie and his mum are living in fear due to his father (Bulcock), who is aggressive and violent. This film is a tense story about a dysfunctional family and domestic abuse and it is told through the perspective of little boy Louie. He imagines his father as a sinister creature whenever he approaches and when he is seen as human, he is not particularly less scarier. Both the child and his mother are victims to his terrible behaviour and they find solace in each other's company. The whole narrative takes place inside the house and it is interesting how the fairy stories she tells her son actually reflect their current unfortunate situation: trapped in a castle with a and as a result, the boy sees his father as a monster. As the main character, Louie is a child whose behaviour and imagination are influenced by the awful events in his home and he draws pictures of ghouls and tells fellow classmates about the existence of such entities. Being attached to his toy rabbit called 'Duncan', he is afraid, however, he is determined to protect his mother, as she is to defend him and Jones delivers a terrific performance. The father is the antagonist, the titular character, a person who appears to have a Jekyll and Hyde personality, being friendly outdoors and abusive behind closed doors and Bulcock effectively makes his character menacing and vicious. The parts where Louie imagines the ghoul stand out quite a lot. Although the creature itself is not actually seen, instead its shadow is visible or its body is shown through translucent glass, it is still a terrifying sight and the sound effects and tense score that accompany it make the scenes even more impactful. Commendations go to Janos Kiss who worked on the creature design and to Robert Lowe who played the imaginary being. The montage sequence which shows the loving relationship between Louie and his mother is rather tender, with use of slow motion and the song Friend Till The End by Gabe Price was an excellent choice. This short tells a story about domestic violence through the eyes of a little boy, whose imagination almost makes it look like a fairy tale and a rather dark one that is due to the subject matter and the atmosphere which is dark throughout and certain scenes that are very distressing. It is an unpleasant viewing but one that deserves recognition because of the themes that it explores and the creativity that was put into it. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Les Autarciques film review by UK film critic Jason Knight. Starring Sylvie Tonarelli, Adrien Malvoisin, Thomas Lesserteur, Emmanuelle Escourrou directed by Julien Botzanowski. HOME | FILMS | REVIEWS Les Autarciques Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 3, 2023 Directed by: Julien Botzanowski Written by: Julien Botzanowski Starring: Sylvie Tonarelli, Adrien Malvoisin, Thomas Lesserteur, Emmanuelle Escourrou A couple go to a remote home, where they are attacked by a small group of deranged people. Astrid (Tonarelli) and her partner Tristan (Malvoisin) drive to an isolated house in the countryside, which belonged to Tristan's uncle, who passed away recently, with the intention of selling it. Shortly after they arrive things begin to get sinister. Creepy people appear to be spying on them and eventually, three dangerous individuals consisting of Charlot (Hintenoch), a large man and two women, Jeanne, a young one (Lamarque) and an older one (Escourrou) invade their residence, assault them and hold them captive. This feature from France is a dark, home invasion thriller with interesting characters and plenty of tension, nail-biting moments and gore. The story is nothing new and contains cliches: people going to a remote location (usually a holiday home), where bad people appear and things get nasty. In this case, an unfortunate couple are menaced by three lowlifes who are staying at a hidden underground location nearby. Astrid and Tristan are bound and beaten and with the help of a local awkward loner named Loup (Lesserteur), they are able to fight back, resulting in stabbings, bloodshed and murder. The culprits' motive for the attack is not clearly explained, however it appears that they just hate those who have more than them. Tonarelli and Malvoisin play a troubled couple who have common and personal problems. They have financial difficulties and due to a recent accident, Astrid is using a crutch to walk and she has a history of alcoholism, while Tristan suffers from agoraphobia. Their relationship has its ups and downs, however, they care deeply for each other. Between them, the three invaders are pretty much the same, which are three vicious and murderous individuals who enjoy violence and hide themselves from the world, emerging only to kill. And then there is Loup, an odd but good-hearted stranger whose character seems to be an example that people who appear to be rather different can still have similarities with others as like the killers, he is an outsider, yet, he proves to have things in common with Tristan. This film contains what one would expect to find in a home invasion thriller: dangerous people, good-natured victims forced to defend themselves and a desperate fight for survival. Ultimately, there is nothing here that has not been seen before, nevertheless, this feature is tense, the plot and characters are intriguing and the atmospheric and sinister music by Scott Von Teufel is a big plus. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Phantom of the Open is due out in cinemas October 2021. For now, enjoy this special film trailer.. Brand new film trailers. Phantom of the Open Trailer eOne Releases Phantom of the Open Trailer Starring Mark Rylance. Directed by Craig Roberts, this is the story of golfer Maurice Flitcroft (Rylance) whose performance at the 1976 British Open Golf Championship made him a legend. The film is based on a book by the same name by author Scott Murray, and adapted here by Simon Farnaby. Phantom of the Open is due out in cinemas October 2021. For now, enjoy this special film trailer . Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Blackout film review by UK film critic Jason Knight. Starring Leeanne Bauer, Mike Ferguson, Twana Barnett, Tyler James, Vu Mai directed by David M. Parks, Leeanne Bauer. HOME | FILMS | REVIEWS Blackout Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 15, 2026 Directed by: David M. Parks, Leeanne Bauer Written by: David M. Parks, Leeanne Bauer Starring: Leeanne Bauer, Mike Ferguson, Twana Barnett, Tyler James, Vu Mai David M. Parks and Leeanne Bauer team-up as directors and scriptwriters of this crime action thriller which stars Bauer, Mike Ferguson, Twana Barnett, Tyler James and Vu Mai. Very bad news: the relations between the United States and China are reaching boiling point and war appears to be imminent. People in the U.S. are been instructed to remain in their homes are prepeare for a nuclear attack and in Vista, California, storehouse owners Ella (Bauer) and Noah (James) are getting ready for this. However, if this is not bad enough, a small gang of crooks led by Atticus (Ferguson) and Aisha (Barnett) plan to break into the building in order to acquire a USB stick that contains valuable data. Furthermore, Dog (Mario Daggett), Wolf (Chetavious Davis) and Wrench (Trent James), another group of outlaws, intends to enter the storehouse for their own reasons. Heavily-tattooed criminals vs. former military people. Scenes of hand-to-hand fighting, shootings, people getting killed and plenty of guns. Bad guys invading a building during global post-apocalypse. An intriguing plot certainly and the world-changing events are seen through the eyes of the characters mentioned above, with the exception of news reports comminicated by a visibly distressed reporter. However, this is not an action-packed film with extended fighting. Rather, the main focus is on tension, drama and character exploration, the suspense regarding how the people who work in the invaded building are going to pull through, all of which is supported by Frederick Shands's dramatic music. One particular part deserves special mention. Considering that the budget was tight, the filmmakers do impressive work during the scenes where the bombs hit, creating an atmosphere of devastation. Generally, the acting is not too good but that does not ruin the viewing as the performances are decent enough to add depth to the characters. Some who stand out are Bauer as a tough woman with a military background and flashbacks reveal that she has experience in combat (along with her partner, Noah) and knows how to handle herself. Ferguson is cool as a tough outlaw who also has moral standards (along with his partner, Aisha) and Trent James is probably the one who stands out the most, as a psychopathic fiend. The plot involves global tensions that unfortunately reflect the crisis that the real world is currently going through. Nuclear missile attacks, martial law, fallout, radiation, a lot of people getting killed, all these are present and feared in the film. Global conflict aside, the narrative also deals with crime, survival, loss, morality and self-reflection. This is a low-budget feature that aims to entertain with the action scenes, to be a moving viewing with the drama and to provide a commentary about the unstable times that the world is going through. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Dungeons & Dragons: Honor Among Thieves film review by UK film critic George Wolf. Starring Chris Pine, Michelle Rodriguez, Hugh Grant directed by John Francis Daley, Jonathan Goldstein. HOME | FILMS | REVIEWS Dungeons & Dragons: Honor Among Thieves Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Mar 29, 2023 Directed by: John Francis Daley, Jonathan Goldstein Written by: Jonathan Goldstein, John Francis Daley, Michael Gilio Starring: Chris Pine, Michelle Rodriguez, Hugh Grant There is a new Dungeons and Dragons movie, Dungeons and Dragons: Honor Among Thieves . Unfortunately, there is not a topic on this planet about which Madd and/or Wolf know less than Dungeons and Dragons. It honestly took us decades to undersand that “zero charisma!” reference in E.T. Well, good news, then, that MaddWolf pack writer Cat McAlpine is a D&D expert! Bad news! Cat McAlpine was unavailable for the screening because she was – we swear to God this is true – playing Dungeons and Dragons. So, you’ll have to settle for us. And here’s the crazy thing: we liked it. We did not expect to. You should have seen the fit we threw when we realized Cat couldn’t review it and we would have to. Hissy levels. Obviously, we can’t speak to how closely the film sticks to whatever it is Dungeons and Dragons is/does/conjures. But as a comedic adventure film with a quest narrative and a game-like aesthetic, it succeeds. Co-directors John Francis Daly and Jonathan Goldstein (Game Night ), both writing with Michael Gilio (Kwik Stop ), find an easy humor that feeds off the charm and charisma of their cast. They inject a Guardians of the Galaxy tone into a narrative that mirrors role-playing level changes, and let a talented ensemble keep you entertained. Chris Pine is the lute-playing, wise-cracking Edgin, who teams with the badass Holga (Michelle Rodriguez) to bust out of prison and go on the run from that cad Forge (Who else but that cad Hugh Grant). They pick up young sorcerer Simon (Justice Smith) and the shape-shifting druid Doric (Sophia Lillis) along the way, and the foursome embarks on an adventure to retrieve a powerful relic that could help reunite Edgin and his daughter Kira (Chloe Coleman). Does any of this follow a D&D storyline? We don’t know. But even before Bridgerton ‘s Regé-Jean Page shows up to lampoon his own image as the dashing Xenk, the contagious, wink-wink swashbuckling had won us over. The fantastical creatures are plentiful (an “owl bear,” presumably cocaine free!) and gameboard-worthy, while Daly and Goldstein keep upping the ante with fast-paced plot turns that recall those “extra life” badge things that gamers rely on to keep the action pumping. And the adventure does run a tad long, sometimes feeling simultaneously overstuffed and superficial. But the tone it embraces feels just right, and Honor Among Thieves fulfills its quest to deliver likable characters, infectious humor, and escapist fun. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Hamdardi film review by UK film critic Chris Buick. Starring Ashley Tabatabai, Mitchell Mullen, Arian Nik directed by Ashley Tabatabai, Stefan Fairlamb. HOME | FILMS | REVIEWS Hamdardi Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jul 4, 2024 Directed by: Ashley Tabatabai, Stefan Fairlamb Written by: Ashley Tabatabai Starring: Ashley Tabatabai, Mitchell Mullen, Arian Nik Hamdardi from filmmaker Ashley Tabatabai is a short film set against the backdrop of the 2017 travel ban, a series of executive actions that was brought into law by that President, which discriminately denied entry to foreign visitors from Iraq, Syria, Libya, Iran, Somalia, Sudan and Yemen. But while there are of course a plethora of political discussions and specifics regarding that situation that could be dissected here, what Hamdardi chooses to focus on instead is the vastly more important human element behind seismic political moves such as these. Directing, writing and starring, Tabatabai, who plays the lead of immigration officer Ethan, proves they are a triple threat to be reckoned with. Drawing on his own personal experiences surrounding his extended family, Hamdardi is a clearly personal piece that looks to highlight how the systems that are supposedly put in place to help and protect us are so often inherently broken and can become an ever-deepening mess for those who get caught up in them, while also showing how easily a lack of understanding and communication can lead to increasing mistrust and tension. When Reza (Nik) and his younger sister (Rose) are refused entry to the US in order to visit their sick father and are in turn detained, Ethan (himself currently battling with child services to regain custody of his daughter) finds himself conflicted between his responsibility to his job and unrelenting by-the-rules boss (Henson) versus his unshakeable sense of morality. It’s a truly magnetic performance that Tabatabai turns out, managing to inject so much empathy and conflict into the at times maddening and almost always saddening story which they have created, which itself is as full and complete as you could possibly hope for in just twenty-five minutes. On top of all that, Hamdardi somehow just looks really damn good, managing to present itself as something much grander than its kind of budget would often allow it to be, it’s hard to believe that Tabatabai’s US immigration building is actually the First Direct Arena in Leeds, such is the level of attention, thought and care that has been applied in its production every step of the way that that sense of authenticity is unquestioned. But first and foremost, Hamdardi has an important message it wants you to take away from it all, and for the very large majority it manages to toe the line pretty well when making its crucial points, never really trying to hammer you over the head with them and rather opting for it all to be discovered and felt organically. Henson’s unbending and unfeeling supervisor does seem to caricature the stereotypical small-mindedness and ignorance some US positions of authority have when it comes to other cultures, a tactic to perhaps augment that aforementioned effect but ultimately Henson works wonders as the face of the system audiences can unite against. Highly infuriating to watch, but honoured to have been given the opportunity to do so. Hamdardi is a touching human connection story driven by real empathy, passion and talent. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

In Absence film review by UK film critic James Learoyd. Starring Christopher James Baker, Jack LaTorre, Ron Kelly directed by Paul Nevison. HOME | FILMS | REVIEWS In Absence Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Oct 20, 2025 Directed by: Paul Nevison Written by: Paul Nevison Starring: Christopher James Baker, Jack LaTorre, Ron Kelly It would honestly be quite difficult to fault Paul Nevison’s In Absence for really any aspect relating to the technical department. One might even be tempted to say that every frame of this 24-minute drama is perfect – at least from an audio-visual standpoint. We follow a young boy who has recently lost his mother. His family is Christian, and thus, this untimely death results in the father questioning his very faith in the good. Yet it’s the young boy whose perspective the audience experiences this story. His confusion and sorrow as he navigates his place within the familial-religious chaos of mourning. Conceivably, it would more be the screenplay – its plotting and its characters – which could receive any kind of scrutiny from a less favourable critic. But even that would be a case of personal preference; not as a result of any thematic or structural inconsistencies. In Absence is a masterpiece. A cinematic marvel and deeply moving. I’d like to first draw your attention to Bjorn Amundsen – the director of photography for this picture – for this is a flawlessly lit movie. Characters bathed in gold light, blue light; everything stylistically impressionistic yet somehow natural and motivated. Not only is every shot perfectly balanced in terms of light and shadow, but entire rooms are also lit up from multiple artificial sources – a mix of daylight and domestic impressions – giving the film a lived-in, exploratory aesthetic wherein the viewer can feast their eyes all about the frame. Flawless lens-work. And in collaboration, of course, with director Nevison, I – as a filmmaker myself – was quite inspired by how the film oscillates between these extremely wide-angled lenses (often placed at high angles in the corner of a room – perhaps formally symbolic of God’s omniscience) and these sharp, clean medium lenses which provide the frame so much depth and the subject’s face so much detail. This is award-worthy work from Amundsen as their work seemingly redefines just how good a short film drama can look in this age. I’m talking superior to the majority of feature-length studio products you see in your local multiplex. I’d also be remiss not to mention the effective on-location sound recording and resonant sound design, in addition to the striking set design and the fact that every performer is more than pulling their weight. To surmise, what we have here is a truly refined work of visual storytelling; one told with passion and awesome technical and aesthetic prowess. I’ll conclude by mentioning a director whose works have a lot in common with this short alone... Since the passing of one of our greatest filmmakers, Terence Davies, I’ve written many pieces about his films (particularly his early shorts) and their significance to independent film. It is a stupendous compliment, therefore, that I thought of his films constantly while watching In Absence , since it is that they share many concerns relating to broken faith, feelings of desperation and disillusionment in trying times, and how these manifest within the family setting. Not only this, but Nevison’s dedication to craft and evoking mood through imagery, evoked much of Davies’ groundbreaking style. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Fair Play film review by UK film critic Brandon Thomas. Starring Phoebe Dynevor, Alden Ehrenreich directed by Chloe Domont. HOME | FILMS | REVIEWS Fair Play Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Sep 27, 2023 Directed by: Chloe Domont Written by: Chloe Domont Starring: Phoebe Dynevor, Alden Ehrenreich Emily (Phoebe Dynever of Bridgerton ) and Luke (Alden Ehrenreich of Solo: A Star Wars Story ) are several years into a whirlwind romance. Despite being madly in love – and newly engaged to boot – they have to be careful about how public they are with their relationship. See, Emily and Luke work for a cutthroat hedgefund firm where relationships among staff are frowned upon. After Emily earns a valued promotion in the firm – and also finds herself Luke’s boss – things between the young couple take a dramatic turn for the worse. Workplace gender politics have been explored on film for decades and through many different lenses and genres. Films like His Girl Friday , 9 to 5 , and Norma Rae all used the interplay between the sexes to craft timeless stories. Some films showed more interest than others in actually commenting on the complexities of these relationships in a place of work. Most, however, just mined it for obvious dramatic or comedic content. In more modern times, movies like Fair Play attempt to make a more complex statement on the mixing of personal life and work life and often from the perspective of female filmmakers. So much of Fair Play ’s success or failure rides on the relationship between Dynever and Ehrenreich. Thankfully, both bring their A game and end up absolutely sizzling on the screen. There’s a lived-in element to their relationship that feels genuine and passionate. Equal attention must be given to writer/director Chloe Domont’s intense screenplay. Her patience as both a writer and director pays dividends in many of the film’s longer scenes – allowing the actors and the writing to shine concurrently. For most of Fair Play ’s running time, the story never outpaces the characters and that’s a testament to Domont’s handling of the narrative. While not at all flashy, Domont’s direction is specific and has an intriguing point of view. Set amongst the hustle-and-bustle of New York City, there’s never a lingering shot of Manhattan’s gorgeous skyline. The direction is often kept tight and claustrophobic – keeping scenes focused on the characters and the chaos bubbling up around them. It’s all the more disappointing when Fair Play stumbles late. The complex drama is jettisoned in favor of a more standard thriller that might’ve starred Michael Douglas sometime in the 1990s. The need to make one of the characters a cliched villain feels tacked on and not spiritually in line with the thoughtful nature of the film’s first two acts. Despite a less than thrilling conclusion, the majority of Fair Play is a taut drama that puts character before plot. Buy UKFR Banner Space About the Film Critic Brandon Thomas Netflix < All Reviews Next Film Review >

Poly Styrene: I Am a Cliche film review by UK film critic Rachel Willis. Starring Celeste Bell, Ruth Negga directed by Celeste Bell, Paul Sng. HOME | FILMS | REVIEWS Poly Styrene: I Am a Cliche Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Feb 1, 2022 Directed by: Celeste Bell, Paul Sng Written by: Celeste Bell, Zoe Howe, PaulSng Starring: Celeste Bell, Ruth Negga Director Celeste Bell helps uncover her mother, X-Ray Spex singer and punk legend Poly Styrene, in the documentary, Poly Styrene: I Am a Cliché . Co-directed with Paul Sng, Bell dives deep into the circumstances that steered her mother from “an ordinary kid from an ordinary street” to punk rock icon. Born Marianne Elliott, the alter-ego Poly Styrene came from Elliott’s desire to connect the superfluity of pop stars with the culture’s increasing obsession with disposable commodities. Ruth Negga (Passing ) lends her voice to read Poly’s diary entries and poems, which helps convey the emotions in the icon’s words. Bell’s own narration, memories of her mother, and a collection of memorabilia help us discover the woman behind the image. Numerous interviews with rock icons such as Thurston Moore, X-Ray Spex members Lora Logic and Paul Dean, writer Vivien Goldman and others, dig deeper into what Poly stood for as a commentator on the culture. The documentary maintains a strong emphasis on Poly herself. Interviews happen as voiceovers while images onscreen portray the world in which Poly offered her strongest analysis and criticisms. Footage from concerts and interviews with Poly herself dictate the film’s focus. However, this is more than a simple rock doc, as the film finds numerous ways to cement Poly’s story as larger commentary on contemporary society. Bruno Wizard lays it out best when he says: “She was a woman of color working with an industry full of middle class men that had it all their own way.” The pressure on Poly, as it is on women (especially women of color), was enormous. Like many of Poly’s songs, the film illuminates the culture’s uglier realities, including the ways it tries to exclude people like Poly. In many ways, the punk scene was a natural fit, “full of people nobody else wanted.” As the film dives deeper into Poly’s life story, her struggles with mental health are partially documented. While not the first woman to be misdiagnosed, it’s further critique on the systems in place that frequently fail to help women. The third act falters as it shifts away from its strongest themes and relies on a more formulaic approach. The overarching criticism is neglected for a timeline of events in Poly’s life. Despite the disappointing turn, the documentary is a lot like Poly herself: vulnerable, observant, and resilient. Like mother, like daughter one might say. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Documentary < All Reviews Next Film Review >

Not Okay film review by UK film critic George Wolf. Starring Zoey Deutch, Dylan O'Brien, Mia Isaac directed by Quinn Shephard. HOME | FILMS | REVIEWS Not Okay Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 28, 2022 Directed by: Quinn Shephard Written by: Quinn Shephard Starring: Zoey Deutch, Dylan O'Brien, Mia Isaac Wait, did that viewer discretion advisory before the opening credits just warn of “an unlikable female protagonist?” Oh, Quinn Shephard, I wanna sit next to you. Shephard, who at age 20 wrote, produced, directed, edited and starred in her 2017 feature debut Blame , returns with another sharply insightful look at young adults navigating expectations and judgment. And this time, she brings along a wicked sense of humor tipped off by that early caveat. Zoey Deutch stars as Danni, a self-involved New York twentysomething who lets us know right away that she’s longing to be noticed – for any reason. If she’s not getting the likes and follows, I mean what is she even doing? What she’s doing is using photoshop to fake a trip to a writer’s retreat in Paris. And it’s all berets and baguettes on the ‘gram until Paris falls prey to terrorist bombings. That’s bad for the world but pretty great for Danni’s social profile! So she runs with it, playing the traumatized victim, launching #iamnotokay and managing to become besties with Rowan (Mia Isaac, also currently in Hulu’s Don’t Make Me Go ), a school shooting survivor who’s a leader in the movement to combat gun violence. We know from the start that Danni’s facade blows up in her face, and Shephard makes sure the rise and fall is deliciously fun. Don’t expect any sacred cows, as Shephard skewers nearly every player in our social media culture, even casting herself in a priceless cameo that ups the volume on exasperation. She has the perfect vessel in Deutch, who proves again she is an absolutely natural comedic talent. From the way Danni answers “I will!” when her boss suggests taking a mental health day, to her chipper attitude at a support group, Deutch embodies the oblivious self-absorption needed for all these daggers to land. Dylan O’Brien gives standout support as a white bread boy from Maine wearing a hardcore rap persona, but it’s Isaac who nearly steals the movie as a scarred young girl struggling with actual trauma. When Danni’s lie is revealed, Rowan’s hurt is palpable and heartfelt, with Isaac delivering a blistering spoken-word declaration that’s reminiscent of Daveed Digg’s powerful performance in the finale of Blindspotting . And while Shephard’s defiant attitude toward her protagonist’s unlikability is refreshing, it only increases the curiosity over whether Danni will be learning something today. Not Okay doesn’t toe this narrative line as expertly as, say, Young Adult , but it doesn’t fold all its cards, either. Shephard is a filmmaker with vision and voice, and she’s able to address the social media revolution with a better handle than most on juggling the serious and the satirical. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >