Continuance film review by UK film critic Jason Knight. Starring Tony Gorodeckas, Noor Razooky, Teresa Suarez directed by Tony Olmos. HOME | FILMS | REVIEWS Continuance Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 30, 2024 Directed by: Tony Olmos Written by: Tony Olmos Starring: Tony Gorodeckas, Noor Razooky, Teresa Suarez A dark comedy psychological horror thriller feature film written and directed by Tony Olmos and starring Tony Gorodeckas, Noor Razooky and Teresa Suarez. Jordan (Gorodeckas) is a lawyer who lives in California with his partner Lynn (Suarez) and their housekeeper, a young woman who they call Lupe (Razooky). They try to make their lives appear normal, however, they have sinister secrets: they kill people. They kidnap strangers, bring them home and keep them locked up until they eventually murder them and it is even implied that they eat them. As time goes by, tensions arise in the household and things gradually get out of control. The characters stand out. A trio of murderers live in an isolated house, with cameras and motion sensors, because they view people as hostile. There isn't really much of a plot, instead the script focuses primarily on Jordan as he expresses his twisted perspective regarding the world, kills people and tries to balance work, home and his ideals and routines. He, along with Lynn and Lupe are anti-heroes, murderous and vile individuals with a complete disregard for human lives. They are characters that are not to be rooted for, however viewers who enjoy stories with these kind of characters will most likely approve of this film. The music and the editing deserve to be acknowledged, as Olmos' work on these aspects created a sinister score and editing that makes frequent and effective use of wipe techniques. Although the screenplay explores the protagonists' current situation well, the film might had benefited if there was some backstory, for instance how the couple and Lupe ended up living together, how Lupe became involved in the murders and what caused Jordan to view humanity in such a negative way. It should be mentioned that there are some rather disturbing scenes involving dead bodies and dismemberment that some viewers might find upsetting. As the main character, Jordan makes quite an unlikeable person. Played dramatically by Gorodeckas (who also provides voice-over), Jordan is a perfectionist, a routineer, a psychopathic misanthrope who kills, is addicted to a variety of pills and is having an affair with Lupe. Suarez does a great job in portraying Lynn, who is a stay-at-home individual, probably an agoraphobic who shares Jordan's views about people and she is a painter and a spiritual healer who drinks a particular type of slushy at certain times throughout the day. Lupe is the one who causes the the situation in the house to become unstable, as she is unhappy with having to put up with Lynn, who she sees as an obstacle between her and Jordan. Misanthropy is a theme that is quite evident throughout, especially with Jordan's voice-over expressing how much he detests people. His inner thoughts also reveal the paranoia, obsession and anxiety that he feels. The story is also a commentary about mental health, a subject that is addressed primarily through the characters of Jordan and Lynn. This feature is a dark and disturbing story that explores the lives of three very wicked and deranged individuals. It is a viewing that is not for everyone, however those who appreciate dark humour, intriguing characters and gore should give this one a go. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

118 Fest film review by UK film critic Alasdair MacRae. Starring Sam Critchley, Alisha Palmer, Peter Field, Janine Read directed by N/A. HOME | FILMS | REVIEWS 118 Fest Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Apr 27, 2022 Directed by: N/A Written by: N/A Starring: Sam Critchley, Alisha Palmer, Peter Field, Janine Read A 2018 promo piece that acts as an introduction to the Christian punk rock band Peter 118 and their then-upcoming festival, 118 Fest, a Christian pop-punk festival in Stoke-on-Trent. The short four-minute promo unfortunately doesn’t give much insight into the band past the first minute as the core members of the band introduce themselves. The group was originally founded in 2012, and at the time of filming consisted of drummer Sam Critchley, vocalist Alisha Palmer, guitarist Peter Field, and bassist Janine Read. The only attempt made beyond the formality is an on the fly interview with an anonymous friend/fan who gets side-tracked during his description of band founder Pete and careers into ‘well you know him, you know what I mean’, cast out towards an unknown offscreen presence. There is an uncomfortable moment when frontman Pete proclaims to ‘Make Pop-Punk Great Again’. Hopefully, he is blissfully unaware of the unfortunate connotations of that phrase from someone preaching Christianity and adorned in the stars and stripes during the middle years of Donald Trump’s term in office. That aside there are a few rounds of the lyrics ‘Start thinking, stop drinking, stop fighting… listening to the world cause it’s got no truth’, a small glimpse into a quiet pub and quite an amusing shot of someone who has stepped in gum. This short promo is really just preaching to the converted (Peter 118 fans). Buy UKFR Banner Space About the Film Critic Alasdair MacRae Music Video, Short Film < All Reviews Next Film Review >

Grand Tour film review by UK film critic Jack Salvadori. Starring Gonçalo Waddington, Crista Alfaiate directed by Miguel Gomes. HOME | FILMS | REVIEWS Grand Tour Film Review average rating is 5 out of 5 Critic: Jack Salvadori | Posted on: May 25, 2024 Directed by: Miguel Gomes Written by: Miguel Gomes Starring: Gonçalo Waddington, Crista Alfaiate It’s the journey, not the destination Few films aim to lift the audience to a different dimension. Even fewer actually succeed in such a daring quest; Miguel Gomes’ extraordinary new film, Grand Tour , manifests this transcendental power that could only be described as pure cinema, questioning the very essence of reality and fiction and eventually finding the answer to organically embrace both. Framed by the crumbling colonial empire at its sunset, the film opens in 1918 with British civil servant Edward awaiting his fiancée Molly at Mandalay station, in Burma, joining him in the Far East after many years apart. But just before she is about to disembark from her transatlantic, he gets cold feet and runs away. And so the titular "Grand Tour" begins, with Edward hopping on an odyssey across many iconic cities all over South East Asia- and Molly relentlessly nipping at his heels in each stop. The chase, marked by minimal telegrams and narrated in the native languages of the characters’ ever-changing locations, soon becomes playfully complicit, as Molly refuses to give up her lover despite Edward’s punctual desertions. An odd screwball comedy, to an extent, in which the protagonists never share a scene together. But after all, “this is a Portuguese film”, reminds us Gomes, sardonically. Yet, the greatness of this film relies in its form. The story experimentally unfolds switching classically staged scenes with documentary inserts from modern times, shot by Gomes as he was writing the screenplay while retracing the "Grand Tour" himself. The period, fictional scenes are old-fashionably black&white and take place inside handcrafted studio sets, while the contemporary footage is voyeuristically captured in the streets, observing the unexpected grace in the real world, mostly showing faraway and forgotten storytelling ways, precursors of cinema, such as folkloristic dances, shadows and puppets shows. These inserts serve as a brilliant device to merge fiction with reality, the spectacle of the world and the intimacy of vision, proving that the world of cinema and the real world are complimentary of each other, and allowing Edward to fade away in the environment, as he longs to hide and disappear. The contemporary cuts are drastically reduced as we follow Molly’s travels, since, opposite to her lover, she has a more proactive and vital approach, she wants to live and therefore is more physically present. If you don’t sigh at the sound of Singapore slings, Tibetan temples and Saigon’s monkeys, you might be immune to this film’s charm. The fascination relies in its exhilarating depiction of exotic fetishism, the romantic, illusory westernised gaze upon South-Asian iconography. Casablanca was shot in a backlot in Los Angeles, and you wouldn’t find anything like "Rick’s Café Americain" in its real namesake. And yet, there’s something that lures any cinephile to that dreamy fictitious place instead, a place that can only exist in light form, on a silver screen. The legendary East in Grand Tour belongs to the same cinematic map, cruising on a fabricated nostalgia whose roots are part of our collective imagery but that never actually belonged to us. According to the Portuguese filmmaker, the ticket to embark on this journey across space and time is belief. A faith that relies in the images, and that the viewers must have in order to appreciate the magic on screen. There is too much effort to show reality on film, and it’s good to believe in the unbelievable again. Buy UKFR Banner Space About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >

A stop at Alden's film review by UK film critic Swati Verma. Starring Kellen Jackson, Alden Doyle, Bijan Karim directed by Wolfgang Gmoser. HOME | FILMS | REVIEWS A stop at Alden's Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 20, 2021 Directed by: Wolfgang Gmoser Written by: Bijan Karim Starring: Kellen Jackson, Alden Doyle, Bijan Karim The short film opens with the icy path and the reflection of two people in it. It signifies that these two people are trying to fix their relationship. Wolfgang Gmoser (the director) has brilliantly used the railway tracks full of snow to showcase the differences between Bijan and Kellen. The story revolves around the complex relationships of Bijan, Kellen, and Alden. It is about what transpires between them when all the three are in the same house. Bijan is desperately trying to solve the differences between Kellen and him. He wants their relationship to graduate to the next level. On the other hand, Alden has another perspective to share with Bijan about the same. The plot picks up momentum when the script starts to deal with the conflicts and conversations happening in the house. It would be interesting to watch whether the issues between three characters get resolved or get even more complicated. The setup of the movie is designed to suit the vibe of the screenplay. The body language of the three actors fits perfectly into the mood of the narrative. The short film has some hidden lessons in the story. It is crucial to love yourself and, love is an organic process. It cannot be forced on the other person. Honesty is a necessary element for any relationship to work. It also teaches that man can find a best friend in their pets and stay happy forever. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Underpass film review by UK film critic William Curzon. Starring Alice Sykes, Simeon Weedall directed by Stefan Georgiou. HOME | FILMS | REVIEWS Underpass Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 14, 2026 Directed by: Stefan Georgiou Written by: Stefan Georgiou Starring: Alice Sykes, Simeon Weedall Underpass follows a couple, Leo (Simeon Weedall) and Julianne (Alice Sykes), who meet at underpasses to dance as part of an affair and realise it has to stop. Underpass is a short, dialogue-free film that relies entirely on visual storytelling through physicality and body language within the two central performances. The film was shot entirely in London in underpasses and cuts between a neon-drenched environment and a bare-bones setting to convey the characters' realities converging. While some viewers may find the complete lack of dialogue discouraging, the film's unique visual style and performances drive the narrative’s themes and tone forward. Although the film sometimes feels overly reliant on style over substance, its striking visuals do much of the heavy lifting, providing enough thematic depth to keep the experience from feeling excessively stylised. While the film adopts an incredibly brisk runtime, it's suitably paced without feeling rushed or overstaying its welcome. That said, the lack of characterisation and context surrounding the two central characters, Leo and Julianne, detracts from the experience, making it difficult to connect with the narrative on an emotionally resonant level. The filmmakers clearly intended the experience to be singular in both style and aesthetic; however, its reliance on elaborate dance choreography and neon-drenched lighting can ultimately make the narrative structure feel disjointed. Despite these issues, Ella Rose Howlett’s editing is remarkably effective, with rhythmic transitions between scenes that make the experience flow seamlessly. One of the film's greatest aspects is its camerawork. Jem Karto serves as the film's cinematographer and does a mesmerising job of framing each dance sequence and intimate scene between Leo and Julianne. It's a wonderfully blocked and staged film that relies heavily on wide framing and close-ups to emphasise the intimacy that grows between the two central characters in the underpasses. The film also possesses some incredible dance choreography that keeps the narrative engaging. These sequences are assisted by Harry Brokensha’s musical score. The score is incredibly understated during the more intimate moments, with profoundly moving motifs that complement the tone and chemistry between the two leads. Harry Brokensha's score becomes more operatic during the dance sequences and as the characters move around the environments in a surreal fashion. Perhaps most impressive in Underpass are the two central performances by Simeon Weedall and Alice Sykes, who portray Leo and Julianne, respectively. Their performances are incredibly magnetic, driven by their impressive chemistry and physicality in their dance choreography and body language. Despite the dialogue-free nature, they both convey a profound sense of empathy and kinetic energy through dance and love for one another. While the film takes a drastic tonal shift in its final moments and concludes on a somewhat sombre note, the technical elements are profoundly uplifting and may leave viewers wanting more after the credits roll. Underpass is a kinetic and moving portrayal of two individuals coming together through dance and desire. While it may suffer from a disjointed narrative structure and lack of characterisation, it's a worthwhile sensory experience that boasts two wonderful central performances and excellent dance choreography. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

When Timothy Met Rooster film review by UK film critic Jason Knight. Starring Dion Kelly, Darragh Boland, Shaun Chambers directed by Adam Boland. HOME | FILMS | REVIEWS When Timothy Met Rooster Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 28, 2024 Directed by: Adam Boland Written by: Adam Boland Starring: Dion Kelly, Darragh Boland, Shaun Chambers A short dark comedy written, directed and edited by Adam Boland and starring Dion Kelly, Darragh Boland and Shaun Chambers. It has been a year since Timothy (Kelly), a young man, left his home and has been wondering around looking for some direction in his life. Then, after narrowly avoiding a car accident, he meets Rooster (Boland), an unusual guy who befriends him and the two of them go on a journey filled with awkward situations. The plot of this short is an accidental encounter that turns into a friendship and the enjoyment is attributed to the amusing performances by Kelly and Boland and to the humorous screenplay. Throughout the film, the two new friends go for a car ride, have conversations about their lives and a sort-of armed robbery also takes place. While these take place, the characters tell jokes and maintain an easy-going attitude. From a technical point of view, the filmmakers make good use of the handheld camera, with well-executed movements and the light-hearted music adds to the fun. Generally, the scenes and dialogue do not seem coherent, with conversations changing subject unexpectedly, moods altering quickly and people not particularly bothered that a gun is being pointed at them. Considering that this is a comedy, these features are not to be viewed as faults, but rather as elements that create an odd and comedic story. There are issues regarding the audio however, with certain parts where the sound is distorted. This does not significantly affect the overall viewing experience, however it does indicate lack of skills during those sequences. Kelly stars again in a another short directed by Boland and this time he plays two characters. His major role is that of a drifter, a guy struggling to find out the meaning of his life. The other is a chilled out guy. Kelly delivers another sympathetic performance, just as he did in Boland's Dion & Anto Go To A Gender Reveal Party . Equally entertaining, Boland portrays a youngster who is a criminal, yet he is friendly. As the plot revolves around the rapport that grows between Timothy and Rooster, friendship is a main theme here, along with self-reflection and the idea of finding direction in life. This short is a strange journey that involves a life-changing encounter and some criminal activities. It would probably be best enjoyed if it is not taken seriously and viewed as approximately five minutes of entertainment. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Laika & Nemo film review by UK film critic Patrick Foley. Starring Jan Gadermann directed by Jan Gadermann & Sebastian Gadow. HOME | FILMS | REVIEWS Laika & Nemo Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Oct 31, 2022 Directed by: Jan Gadermann & Sebastian Gadow Written by: Jan Gadermann Starring: Jan Gadermann Perhaps it’s the painstaking length that filmmakers are required to go to in their production that naturally leads to brilliance. Perhaps Aardman made a blood pact with the devil. Or perhaps critics are all secretly softies who can’t bring themselves to tear apart movies with a production length longer than the Avatar sequel. Whatever it is, stop-motion animation has a cinematic success rate that is second to none; and German production Laika & Nemo is the genre’s latest stunning success. Nemo is a young man living in a lighthouse who spends his life enclosed in a bolt-iron deep-sea diving suit. Mocked and laughed at in his local town for his unusual ways despite looking out for everyone and keeping the lighthouse running, Nemo’s life is a lonely and difficult one. But one night, after mistakenly shining the lighthouse’s beam high into the night sky, Nemo comes across Laika – an astronaut who has spent his life enclosed in a spacesuit. Their similarities lead to the beginning of a bond, when each recognise that they’re not as alone as they think. Forgoing dialogue to instead speak straight to its’ audience’s emotional core, Laika & Nemo manages to tell a beautiful short story about isolation, loneliness, friendship and judgement. Nemo’s literal isolation inside his diving suit is mirrored in the isolation he experiences from his nautical town. Upon meeting Laika, both realise that their lives mirror each other’s, despite living literally worlds apart. Their bond, and their selfless attitudes to communities that do not appear to value them, speak to one of the film’s key messages – that differences are there to be celebrated, and allow communities, and friendships, to thrive. Jan Gadermann and Sebastian Gadow’s storytelling is equal to the masters of the stop-motion craft. Layers upon layers of detail populate each scene, fantastically colouring Nemo and Laika’s lives without requiring a single word. In what is a fifteen-minute short, the film tells a story that extends from the bottom of the ocean to outer space, and yet still manages to include small, touching moments that make its plasticine cast human without ever feeling rushed. The filmmakers brilliantly portray Nemo’s isolation in both claustrophobic, intimate scenes as well as in shots that minimize him into visual insignificance. The duality of the spacesuit and diving suit mirroring Nemo and Laika’s becomes central to the film’s imagery, and leads to some fantastic visuals. Years’ worth of work building the small ocean town, lighthouse, space-station and deep-sea depths thankfully result in wonderous designs, and the animations of the film are equal to the very best stop-motion work. The weathered, powerful iron suit and lighthouse structure give an authentic sense of lasting. The rain and underwater scenes never appear stilted and interact with the rolling hills and ocean-floor seamlessly. And most importantly, the characters themselves are expressive, alive and empathetic. Laika & Nemo is an unbridled triumph, and one of the best short films you will see this year. Whilst the tortuous production process of stop-motion to result in only fifteen minutes of film may sound like madness, the film’s audience will carry to memories and emotional connection to the film’s lead characters with them for longer than most feature length films could dream of. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Short Film, Animation, World Cinema < All Reviews Next Film Review >

Tripping Beneath The Spring Clouds film review by UK film critic Jason Knight. Starring Jacob Harvey directed by Jacob Harvey. HOME | FILMS | REVIEWS Tripping Beneath The Spring Clouds Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 5, 2025 Directed by: Jacob Harvey Written by: Jacob Harvey Starring: Jacob Harvey A college student films himself going on a holiday with his parents. This feature was written and directed by Jacob Harvey and stars himself and his parents. Just to be clear: the student is Harvey. Over the course of a week, he uses his mobile phone to document his actions before, during and after the journey. With texts announcing what day of the week it is, his filming begins on Saturday and ends seven days later and what is seen are various stages of his experiences from each day and they include preparations for the trip, arriving at the rented property, going at a shopping centre, experiencing a holiday park, hiking and generally having a good time with his parents. By the way, he lives in Northern England and goes to Wales for the holiday. Jacob is pretty much the heart of this film, it is the way he behaves that makes this viewing amusing. He either films himself or utilises the phone's camera in a point of view manner, enthusiastically describes what he is up to and turns even the most simple action (like having a snack) into a fun experience. And sometimes he does a few stunts, adding more amusement. Jacob comes across as a happy, easy-going and friendly guy and he succeeds in making the viewer want to follow him through his journey. The atmosphere is pleasant and the electronic music contributes in making the whole viewing interesting. As cheerful as Jacob is, occasionally, he overdoes it when he presents some of his activities, an example being spending too much time on game machines inside an amusement arcade. This feature is about good experiences, about going on a holiday, spending time with loved ones and appreciating even the simple things in life. Generally, it is about enjoying life and making great memories. A youth shares his holiday experiences. With an entertaining approach, Harvey promotes the idea of constantly having fun and his film will probably encourage people to cherish the good things. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

The Moon Followed Me to Falmouth film review by UK film critic Jason Knight. Starring Will Keating directed by Joel Gibbs. HOME | FILMS | REVIEWS The Moon Followed Me to Falmouth Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Mar 26, 2023 Directed by: Joel Gibbs Written by: Kurt Rosenberg Starring: Will Keating A short animated film about a man who remembers the time when he traveled to a far away land where he found and lost love. The story of this beautiful and moving tale begins at a coastal village, a long time ago, where a young man decides to embark on a long journey, sailing through the oceans in a large ship. The ship eventually reaches a tropical place, where the hero meets a young woman and the two of them fall in love. Sadly, their romance does not last. With a duration of approximately four minutes, this short tells a period story about adventure, romance and nostalgia. The narrative is structured in a way that the past alternates with the present, switching between scenes of the hero in his current age walking the seaside village, talking to people inside a tavern, with scenes of his younger self embarking on his big venture. The film is an absolute delight to watch, thanks to the wonderful animation that includes cel animation and watercolor animation. The mise-en-scene effectively brings the viewer back to another time, with friendly-looking characters, ships and fabulous landscapes that include the hero's village and a tropical place with homes made out of natural materials. All these, along with the sky and ocean were created with terrific colouring and lighting effects. The audio is also an absolute delight to listen to, with the title song playing from the beginning until the end, narrating the story. The song is magnificent due to Will Keating's vocals and sublime violin, flute and drum melodies. Apart from Keating's voice, there are no spoken words or even sound effects, with the exception of the sounds of waves. Based on the original song of the same name by Kurt Rosenberg, this short is a highly-recommended viewing. Marvellous animation is combined with delightful music and an intriguing and emotional story and the result is a rather memorable experience and huge commendations go to everyone who worked on it. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Animation, Music Video < All Reviews Next Film Review >

Endangered film review by UK film critic Brandon Thomas. Starring Michael Olavson, Lizzzie Zerebko directed by Drew Walkup. HOME | FILMS | REVIEWS Endangered Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Jul 26, 2022 Directed by: Drew Walkup Written by: Adam Armstrong and Marcus DeVivo Starring: Michael Olavson, Lizzzie Zerebko Expectations are a hard thing to contend with when watching movies. Whether it’s the actors present or the filmmaker’s previous work, one can’t help but think something along the lines of, “Oh, well I know where this is going.” Many movies don’t subvert those expectations, but thankfully there are enough of them out there that do throw exciting curveballs at the audience. While not a new cinematic classic, Endangered offers up a compelling twist on the hostage thriller. Alison (Natalie Zerebko) is making ends meet as a rideshare driver on the roads of Orlando, Florida. Most of her passengers are the standard fare of obnoxious young people, talkative oversharers, and silent couples. Alison’s monotony is doused one evening after picking up a secretive passenger (Michael Olavson). The passenger looks nothing like his account picture, and his stand-offish demeanor instantly puts Alison on the defensive. As the night wears on, these early red flags will only mark the beginning of a chaotic night. From the start, it was hard not to think of Michael Mann’s Collateral while watching the first half of Endangered . There aren’t very many thrillers that predominantly take place in a car, but out of those that do, Collateral stands heads and shoulders above the rest. Thankfully, the setting is where the similarities cease and Endangered is able to carve out an identity all its own. Circling back to expectations, director Drew Walkup wisely shakes things up early. We’ve all seen hostage thrillers like this before, and some well-placed surprises rocked me back on my heels just a little bit. These twists – if you will – never cheapen the narrative momentum and feel lock-step with where Walkup was driving the story from the beginning. The chemistry between Zerebko and Olavson is the glue that holds the film together. Without their tandem captivating performances, the film simply wouldn’t work. Both are able to draw empathy and fear at different times. To say more would potentially spoil the back half of the film. While maybe not the most technically polished thriller of the year, Endangered makes an impression through clever plotting and two strong leads. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Hannah More film review by UK film critic Jason Knight. Starring Lily Maryon, Kathleen Fitzpatrick Milton, Joanna Smith, Magda Pakula, Katy More directed by Diana Taylor. HOME | FILMS | REVIEWS Hannah More Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 8, 2022 Directed by: Diana Taylor Written by: N/A Starring: Lily Maryon, Kathleen Fitzpatrick Milton, Joanna Smith, Magda Pakula, Katy More A biopic about the life and remarkable achievements of English writer, playwright, poet and philanthropist Hannah More, who was born in 1745, in Bristol. This period drama follows her life's journey, beginning from childhood, all the way to old age. The script contains many significant accomplishments and personal tragedies, including her education at a school that was run by her older sisters, where she also taught later, her engagement to a wealthy man, which was subsequently ended, the start of her career as a playwright and her involvement in educating the poor and assisting in bringing an end to slavery in the British Empire. Several historical events are also referenced, including the American Revolutionary War and the French Revolution. Her collaboration with significant figures of English Literature and Arts are also shown, including Samuel Johnson and David Garrick. The strong screenplay effectively portrays More's struggles to achieve her goals and reveals the strong bond she had with her sisters. The audience follows her as she gains knowledge, meets people and moves up into the world. The mise-en-scene contains furniture from the 18th and 19th century and the costumes are one of the best aspects of the feature as they look fantastic and give the impression that they belong in that era. Liz Muir and Rebecca Moroz develop wonderful music that adds significant value to the viewing experience. There are texts that announce important dates and events that took place during that time and the entire background is filled with a lovely hand-drawn image that depicts events that are related to what is taking place at that part of the story. This biographical movie acknowledges and praises the life of an outstanding individual and the contributions that they made to the world. At certain points, the acting is not too great, nevertheless, for those who are interested in Hannah More and enjoy historical dramas, this is a film that is worth checking out. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The League film review by UK film critic George Wolf. Starring Maya Angelou, Jakkar Thompson, Berry WilliamsJr. directed by Sam Pollard. HOME | FILMS | REVIEWS The League Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 12, 2023 Directed by: Sam Pollard Written by: Sam Pollard Starring: Maya Angelou, Jakkar Thompson, Berry WilliamsJr. As James Earl Jones so eloquently told us in Field of Dreams ., you can’t tell the story of America without baseball. And in The League , acclaimed documentarian Sam Pollard builds a gracefully powerful reminder about how important the Negro Leagues were to both game and country. Pollard (Mr. Soul! , MLK/FBI , Oscar nominee for 4 Little Girls) weaves together the interviews, archival footage and re-enactments with the care of a master craftsman. He builds a timeline that informs and inspires, introducing us to professional players – such as Moses Fleetwood Walker – who came before Jackie Robinson but were left behind once the Supreme Court endorsed “separate but equal” in 1896. And when the Black community “only had themselves to rely on,” we see how a new path to success was forged, thanks to the visionaries such as Rube Foster and a litany of players who got the attention of white sports writers with their athletic, fast-paced style of play. Of course, all of this is a baseball fan’s dream, but Pollard (with Executive Producer Ahmir “Questlove” Thompson) also achieves compelling resonance through socioeconomic lessons. The film illustrates how symbiotic relationships developed between the Negro Leagues and the social, political and geographical movements of the day, creating a fascinating push and pull that continued through the integration of Major League Baseball. And speaking of integration, the story doesn’t end once Robinson and Larry Doby debuted in the National and American Leagues, respectively. In fact, the film is ready with some lesser known receipts from a less-than-admirable side of Branch Rickey’s decision to add Robinson to the Brooklyn Dodgers. Certainly, the story of the Negro Leagues is worthy of a multi-part mini series, but The League lands as both a satisfying overview and an enticing invitation to dig deeper. There is a wonderful sense of joy here. It’s a feeling born from a community that loved the game, players that lived to make it their own, and a movement that never backed down from the challenge of “finding other ways to succeed.” Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >