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Lampros film review by UK film critic Holly Baker. Starring Aristotelis Nikou, Eren Stauraki, Giorgos Dedes directed by Giorgos Vasilakopoulos. HOME | FILMS | REVIEWS Lampros Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Dec 8, 2025 Directed by: Giorgos Vasilakopoulos Written by: Aristotelis Kostopoulos, Giorgos Vasilakopoulos Starring: Aristotelis Nikou, Eren Stauraki, Giorgos Dedes The short film Lampros (2024), directed by Giorgos Vasilakopoulos, is a disturbing exploration of grief. The film goes straight to the point, sharply narrating the story of Lampros and Lena, siblings whose relationship has become estranged following the death of both of their parents. Through washed-out colour grading reminiscent of Twilight , with a bluish tone overwhelmingly toning the majority of the piece, viewers are taken on an uncomfortable journey of loss and family turmoil as secrets threaten to surface. Lampros is a young boy played by Aristotelis Nikau, and whilst struggling with grief, he becomes eager, alongside his like-minded friends, to embark on sexual conquests through unconventional means. Meanwhile, he and his sister Lena, played by Eren Stauraki, suffer from a communication breakdown. Hiding her true profession, she vaguely describes to Lampros the horrors she faces whilst working at a hospital. Frustration builds between them as Lampros can sense that Lena is keeping information from him, and Lena is unable to express what she is having to go through in order to support them both financially now that their parents are gone. Both Nikau’s and Stauraki’s performances are outstanding. The film deals with very complicated issues, and both actors evoke a heavy disturbance that encapsulates what they are going through brilliantly. Through facial expression, body language, and tone of voice, which are often delivered in blunt dialogue, viewers feel their sense of detachment from reality and confusion around their identity. Visually, the film contains many effective, moody shots with varying stylistic choices, painting an erratic picture of both the emotional and physical endeavours both characters are facing. Accompanied by a heartwrenching, sombre soundtrack, the film grips viewers with its darker moments and doesn’t shy away from creating an atmosphere of hopelessness as it tells its story. The film is permeated by catastrophe and deprivation, yet, through its artful shots, it captures a beauty hard to define in its ability to depict such a tender struggle. The despairing mood the film captures is comparable, perhaps, to the feeling evoked by I Saw The TV Glo w, both dealing with slightly similar themes of loss and isolation. As the story unfolds, each setting is necessary in providing another piece of the puzzle. Side characters drift in and out, every one adding layers to Lampros and Lena’s situation in disturbing detail. Viewers may find some aspects difficult to watch, especially as the cast members are clearly very young and play their roles convincingly, making the film's tragic events truly sorrowful to watch. Overall, Lampros is an expertly crafted exploration of highly difficult situations through the naive lens of adolescence. Each and every aspect of the film, from its artistic choices to its blunt dialogue, brings together a unique telling of the two siblings' story. As they grow and navigate the world without any role model figures to help guide them, viewers understand their journey as one which has been derailed and left them feeling lost and helpless. They must deal with the hardships of being financially struggling young adults in a world where they feel abandoned and unable to find their way, and in a way, they do. Viewers may find it difficult to accept the choices that Lampros and Lena make; however, it is impossible to blame them, as their scenario is so specific and complex that the only possible response is one of empathy and compassion. About the Film Critic Holly Baker Short Film < All Reviews Next Film Review >

Roadman: The Pilot film review by UK film critic William Curzon. Starring Michael Momodu, Beatrice Fletcher, Lanre Danmola, Fabian Spencer directed by Damien Brewer. HOME | FILMS | REVIEWS Roadman: The Pilot Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Dec 7, 2025 Directed by: Damien Brewer Written by: Damien Brewer Starring: Michael Momodu, Beatrice Fletcher, Lanre Danmola, Fabian Spencer Roadman: The Pilot is an episodic TV Movie with the first episode titled “Go Be A Roadman Fam”, following Big M (Michael Momodu) on his journey from becoming a Roadman from the small town of Basingstoke to the streets of London. The piece is evidently inspired by the hit series Top Boy (2011-2023) and the feature film Blue Story (2019), with its suburban setting and musical elements incorporated into the narrative. One of the most endearing qualities of the pilot episode is how rapidly Michael Momodu introduces you to the world of Roadman with his deeply charismatic voiceover, which pokes fun at the audience by breaking the fourth wall. Clearly wearing its influences on its sleeve with the use of grime needle drops and a suburban backdrop, it provides the viewer with enough exposition about the area and community, as well as suitable characterisation to care about Big M’s journey. It also makes incredible use of its limited budget restraints, keeping the story grounded by utilising creative formal decisions in its editing. Stylistically, the unique narrative device of music also helps to ground the piece. An impressive feat within the direction and screenplay by Damien Brewer is how incredibly well-paced the episode feels, with frenetic energy as Big M traverses around the area to tie up all his loose ends. Damien Brewer and Bogdan Sandu’s edit feels seamless as it perfectly transitions from high octane tension to more calm and collective pieces of dialogue between characters from the town of Basingstoke. Bogdan Sandu’s camerawork is slick and engaging, consisting primarily of wides, closeups and even handheld tracking of the actors during brief sequences of tension. Big M even makes light of the way Michael Bay shot Bad Boys 2 (2003) as it utilises a 360° arc shot around him and a brief inclusion of a drone shot, which may also be an ode to Bay’s style. This particular episode is profoundly comedic with its slapstick nature, and many of the gags thankfully land. Another major standout is that the tonal shifts are incorporated well, and it never takes itself too seriously, given its silly nature. It also makes suitable use of its runtime with its quick-paced structure and never overstaying its welcome, while leaving the viewer wanting more. This is helped by the pulse-pounding musical score. Many of the performances are fantastic, in particular Michael Momodu, who carries the material on his back with his incredible screen presence and comedic timing. The supporting cast has astounding chemistry and gives the piece a sense of community; Damien Brewer (who portrays Chunks) in particular is a standout. Sadly, the conclusion to this episode loses some momentum in the back half due to retreading similar themes and narrative beats. The pacing also becomes stagnant and loses the urgency that was prevalent in the first half. While it switches up its style with the use of music within its exposition and regains some of its needed energy back, the conclusion lacks the emotional resonance it's clearly grasping for. However, the ending sets up more material while suitably concluding the pilot section with a cliffhanger ending. Roadman: The Pilot “Go Be A Roadman Fam” is a fantastic introduction to the journey of Big M, brilliantly setting up his character arc and the surrounding community that has had a profound impact on his life. While it may lose its edge towards its conclusive moments, due to a rushed execution, this thankfully still works with its episodic nature. The pilot is ultimately a great start, which’ll undoubtedly improve with its future material. About the Film Critic William Curzon Web Series < All Reviews Next Film Review >

Lunavom film review by UK film critic Patrick Foley. Starring Muthu Karthikeyan directed by Muthu Karthikeyan. HOME | FILMS | REVIEWS Lunavom Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Dec 7, 2025 Directed by: Muthu Karthikeyan Written by: Muthu Karthikeyan Starring: Muthu Karthikeyan An argument in favour of AI generation is that it could allow smaller or lone filmmakers to explore worlds and concepts that have been locked away behind million-dollar budgets since the invention of VFX. But on the basis of Lunavom, technology has a long, long way to go to bridging that gap – and a true understanding of character and human emotion will always outweigh visual spectacle: something able filmmakers ought to understand. Created by Tamil filmmaker Muthu Karthikeyan entirely with AI, the film is a sci-fi tale of a human colony based on the moon in the not-so-distant future after the collapse of humanity. A mysterious signal from Mount Kailash triggers an investigation, and a glimmer of hope emerges of a brighter future from the lessons of the past. There are important ethical questions about the use of AI in film that are far too extensive for a single review. Needless to say, many in the industry will find films like Lunavom controversial; my intent is to review this film independent of these. However, it really is impossible to separate it from the technology behind its creation. Most prominently is that for all the sci-fi spectacle, epic space sequences and photorealistic ‘actors’, the uncanny valley effect is completely overwhelming. Even 68-year-old Facebook users will be able to spot that the scenes are off, with the characters almost unanimously robotic and artificial. This is purportedly intentional, but it’s impossible to connect to their stories or invest emotionally when such a clear lack of humanity emanates from the screen. It is unlikely that Karthikeyan could have done much more to resolve this due to the technological limitations of the day, but whether the endeavour was worth proceeding with is another question due to this. The plot is based around Tamil mythologies implanted into a futuristic imagined world where humanity has nearly perished. It is an admirable idea to proceed with – one that will be unfamiliar to many Western audiences and one that may not otherwise be supported by large studios. It is these types of stories where an argument for AI use exists – that filmmakers who otherwise would be ignored can punch through the ceiling of financial restriction. But Lumavom does a poor job of explaining its quite complicated story aspects and concepts. Perhaps to those with prior familiarity with the culture, this will have more of an impact, but otherwise comes across as difficult to interact with. It also seems particularly galling to mention humanity forgoing real human experiences in place of the artificial as one of the film’s themes. If an appetite for fully AI films even exists, it is unlikely to be satisfied by Lunavom. The film is the definition of artificial and is utterly shallow despite occasional photorealism. There are far more interesting and fulfilling ways in which such a story could have been told, and whilst the questions around the benefits that the technology can have for small-scale films ought to still be pondered, AI superiority is still, thankfully, a long way off. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Animation < All Reviews Next Film Review >

Star rating: 5/5 Writer: Sophie- Dominique Parea Director: Sophie- Dominique Parea Starring: Ana Parvu, Damian Reyes- Fox This beautiful romantic drama written by Sophie- Dominique Parea asks the audience, softly: what do they think love is? Play Pretend is an incisive, wonderfully simple portrait of true emotional intimacy. This is done with a cast of two. Charlie and an unnamed female character (this is a problem) are our characters: two twenty-somethings who have been friends for some time and share their thoughts about navigating today’s dating world in a city, possibly London. They are the only characters in this sparse, thoughtful and precise script, in which we see the characters go through a huge, puzzling change in their bond. When an energy shifts in a deep relationship, it is hard to grasp and inhabit. Play Pretend portrays this fact of love and life really powerfully. ‘Relationships are trial and error’, says Charlie. The point is whether those errors can be surmounted. Our female character, on the other hand, does not believe in 'happily ever after' and is more about bottling perfect but ephemeral moments if she could. What will they conclude as they chat for a long time over wine, before she goes on a date? Ana Parvu and Damian Reyes-Fox give us brilliant, paced, get-under-your-skin performances to take us on this journey. In a humorous, original scene, the characters start mixing English with the languages of their heritage- in which they say things that are not contrary to but go even deeper than what they are saying to each other in this dialogue. Brilliant, original writing that makes sense as Charlie and his friend know each other since young and are therefore familiar with but cannot fully understand or speak each other’s ancestral languages. Technically, Play Pretend showcases brilliant simplicity- this is a less is more approach. It features an eye-catching full length shot of Charlie smoking outside his front door, and this is brought full circle in the final scene. The locations are homely, fully in tune with the script’s intimacy: Charlie’s front door, his kitchen and his living room, and the cinematography is warm. The film also features inspired use of sound at the very end, almost as the credits roll, to suggest the real conclusion to the conversation we have been witnessing between our characters. A word also on the choice of title- which creatively poses the question, what are our characters pretending? To love, or not to love? In any case, that is always the question.

Star rating: 5/5 Writer: Sam Winterton Director: Sam Winterton Starring: Sam Winterton, Helen Regan and Anthony Wright Duskman is a superhero film with a difference. Jim, an ordinary lad with a job he doesn’t very much enjoy and doesn’t pay well, and a music side-hustle, finds relief within his imagination- what his counsellor would describe as ‘a coping mechanism’ in the face of trauma. From the opening scene, which features a cartoon- style animation of a city sweetly reminiscent of Townsville from Powerpuff Girls, the viewer is gripped and entertained. ‘Sometimes I need the city more than it needs me’, says Duskman- Jim’s superhero alter-ego. The superhero’s love for his town and its people is a principle in every story of the genre, but in Jim’s case it is different, because he seems to need to re-assess his relationship with the place he lives, a place where, according to one of the villains, ‘bad things happen all the time’. Duskman features a brilliant cast playing really memorable characters. It’s delightful to see two really well defined and strong female characters, Jim’s friend Ellen, and his counsellor. They are the ones he seems to trust the most, who are truly present. There is a lovely scene between Jim and Ellen portraying a spontaneity that is unusual between friends in 2025. These female characters are also really well brought out by a wonderfully dynamic, rhythmical script. Duskman is written in such a way that the characters’ struggles and imagination are consistently interwoven, bringing their stories to life with a huge level of creativity. Technically this is a brilliant film, seamlessly switching between cinematic, drama genre style and the superhero genre style of shots and lighting, giving it a genuinely original voice. Added to this technical attention is the inspired choice of locations: alleyways, Jim’s unloved work office, time-worn redbrick buildings, railway bridges, walls covered in colourful, meaningful graffiti art. The contrast between this unmistakably British town setting- Leicester to be precise- and the Townsville of Jim’s imagination is attention- grabbing in a brilliant, almost comic-like way and makes this a really atmospheric film. The costume and make up departments deserve a huge shout out, especially for the superhero scenes- they are imaginative and bold and blend consistently in with the locations. A word also about the great original score. Both musically and lyrically they make real justice to the film. In today’s world, we really need humorurs, sincere and genuinely entertaining films like Duskman.

Star rating: 5/5 Writer: Marshall Malone Director: Marshall Malone Starring: Jaron Wallace, Aimee Ortiz and Jas Abramowitz ‘That’s what family does’ is the resounding phrase of this warm, giggly short comedy narrated in the ‘mockumentary’ format. Mockumentary is a brave choice of genre, having such a rich comedic heritage including The Office and This Country, but this film is beautifully done. Starring Jaron Wallace as the weighed-down protagonist, and Aimee Ortiz and Jas Abramowitz as his burdened family, The Weight is a comedy for our times exploring mental health and emotional responsibility. Family is a lot of things, above all the group of people who knows us inside out, the light and the shade, and this is brilliantly showcased in this piece which features funny, sincere performances by its whole cast. Aimee’s performance expressing uncertainty and affection in equal measure is particularly brilliant, accessible work. Internal turmoil, fear, mental health challenges, experienced by so many people but understood seemingly by very few, is explored here not in a dramatic way, but from a more ordinary, even mundane point of view: the way it erupts on the everyday, on routines, on ways of living, and the way it disrupts assumptions about the home, and shared spaced more generally, and ultimately makes us see the world differently than we otherwise might. ‘Normally I would just let it go to voicemail’ is a usual response from people to those suffering with a mental health crisis when they call. But in The Weight, a change occurs. The audience gets taken through The Problem, the Reaction, and the Solution. We see clear cinematic influence here in the use of a narrative structure reminiscent of the documentary. Technically the film is very dynamic, with great close-up and birds-eye-view shots we might see in documentaries, making it a coherent piece. The family home, including the garden, is the only location of the film, as this is a great set up in which to tell this story- we are being ‘let in’, the way documentaries let us into knowledge and experience. ‘Knowledge is your ally’, the protagonist is told by his brother. In the real world, which art and film aim to reflect, it is increasingly more evident that connection with our physical surroundings, being present in each moment, and belonging to a community are key tools to surmounting crises, of almost any kind- including emotional and psychological. Because certain situations in life turn out like a film, but some turn out like the bloopers at the end of this particular one which are a delightful addition. Hooray for heartwarming, tender films like The Weight.