Search Results

ASKING4IT film review by UK film critic Chris Olson. Starring Aaron Blake, Antonia Whilans directed by Emma Jesse. HOME | FILMS | REVIEWS ASKING4IT Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Apr 21, 2026 Directed by: Emma Jesse Written by: Emma Jesse Starring: Aaron Blake, Antonia Whilans A body-swap short film, written and directed by filmmaker Emma Jesse, utilises this powerful storytelling technique to explore concerning themes of consent, sexism, and objectification. Dave (Aaron Blake - brilliant in His Hands ) wakes to a startling discovery. Looking back at him in the mirror is not the man with facial hair he is used to, but instead a “smoking hot” female (Antonia Whilans). After jiggling his chest a little and making a quick exit from the apartment he’s in (to the sounds of the female occupant calling the police, who clearly went to bed with a man the night before and woke with a woman), Dave hits the town to taste life as a woman. Whilst the benefits draw initial appeal - free savaloys and quick entry into a club - the downsides quickly become apparent. From lewd comments and unwanted attention to much worse, Dave’s journey becomes increasingly hostile and dangerous. With a strong production quality and impressive performances, ASKING4IT is a worthy short film to seek out. Blake handles the majority of the screen time, putting in a well-balanced performance that feels bold and refreshing. He handles the film’s lighter moments of comedy brilliantly, such as trying on clothes and flirting with perverts, and is more than capable when things get dark. Deliberately provocative, the idea of blame is highlighted, and the script purposely muddies the water to ensure audience debate will rage. By living out his own male fantasy, should Dave’s attempts to dress sexily and skip queues (and paying) be met with the consequences he faced? Is he indeed asking for it? Or is the culture of unsolicited sexual advances so ingrained in our lives that we have become numb to the abject horror of it? The pacing of the short film is quite frenetic. Dave steams quickly into the experiment of his body swap without questioning the reasoning behind it. The majority of ASKING4IT feels like a night out montage, and the moments of reflection and pathos are perhaps too few and far between. Had Dave as a character been explored more, in terms of his social standing and community, we could have felt a deeper connection to his female journey and how different his experience is as a woman. Overall, though, a powerful and moving short film that feels as tragically relevant as it is potent. Whilst the comment section wars continue, ASKING4IT feels like a creative and fresh perspective to offer audiences, enabling them to get a mirror held up to them, if only for 16 minutes. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

The Last Laugh film review by UK film critic William Curzon. Starring Zachary Coleman, Samuel Lawrence directed by Spencer Anderson. HOME | FILMS | REVIEWS The Last Laugh Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Apr 21, 2026 Directed by: Spencer Anderson Written by: Zachary Coleman Starring: Zachary Coleman, Samuel Lawrence The Last Laugh is a short piece that follows a police officer (Samuel Lawrence) apprehending a clown (Zachary Coleman) with their two opposing ideals at odds. Despite the film's incredibly brisk runtime, it wastes no time building tension and executing its ideas almost immediately. While there isn't much material to sustain a feature-length runtime, the filmmakers clearly intended to execute their distinct vision as depicted on screen. The most impressive aspect of The Last Laugh is its camerawork and fluid editing choices, which are on display. Dan Abrams, serving as both cinematographer and editor for the piece, utilises unique framing choices, including extreme close-ups during moments of severe conflict, and switches to wide framing to give the viewer a sense of the surrounding area. It's an incredibly visceral experience that doesn't let up until its final moments. However, without any prior context to the arising conflict between the two central characters, it's difficult to comprehend what is actually occurring, as the narrative throws the viewer in the deep end, requiring them to decipher what has led to this confrontation. It's a deeply frustrating aspect of the piece due to the lack of character development or thematic purpose, aside from the brief exploration of crime themes. The brief use of music is incredibly impactful and accompanies the severity of the conflict extremely well. Going into the film blind is genuinely a rewarding experience as it's a rather unique piece of indie filmmaking that relies only on a single dispute between two opposing ideologies. While the narrative isn’t fleshed out much, it's extremely refreshing to see an uncompromised vision executed to this level of absurdity. Despite the film having fairly sparse material to work with, the filmmakers do their best to convey their talent with such raw production value. Its absurd nature is commendable, and the narrative does sweep the rug from under the viewer with a shocking twist. Both central performances from Samuel Lawrence in his portrayal of the police officer and Zachary Coleman’s portrayal of the clown are mostly impressive. Samuel Lawrence, in particular, conveys a profound level of restraint when trying to diffuse the situation and decipher the clown’s intention. Zachary Coleman, on the other hand, is deeply haunting and manipulative as he attempts to play mind games with the police officer about his plans as a criminal. Both performances complement one another incredibly well, and it's one of the most impressive aspects of the piece, given the limited material they were given to work with. While the film would’ve benefitted deeply from a prolonged runtime to flesh out the central characters more profoundly, the filmmaker’s intent was clearly in the right place, as the minimal ideas are executed aptly despite its shortcomings. The Last Laugh is a bizarre and questionable experience that throws the audience into a state of conflict between two opposing characters with a severe lack of context. Whilst there is minor material to latch onto outside of the central conflict, the lack of spectacle may have been intentional and instrumental in helping the filmmakers execute the idea they envisioned with this short piece. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Help Me film review by UK film critic Patrick Foley. Starring Victoria Frederika Slusar, Joris Van Daele directed by Joris Van Daele. HOME | FILMS | REVIEWS Help Me Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 21, 2026 Directed by: Joris Van Daele Written by: Victoria Frederika Slusar, Joris Van Daele Starring: Victoria Frederika Slusar, Joris Van Daele Independent rock twosome LOFTPEOPLE’s video for new single ‘Help Me’ is an energetic demonstration of the personalities and talents of singer Victoria Frederika Slusar and multi-instrumentalist Joris Van Daele. The video itself lacks a consistent theme or narrative however, functioning as no more than an accompaniment for the upstart bands’ music rather than a method to develop a deeper story or meaning to the song. The video is set in three locales, wherein Victoria sings powerfully along to the lyrics of the song with the verve and coolness of any great rock frontwoman. We switch from a psychedelic graffiti-covered wall, the inside of a recording studio, and a black and white forest as the video progresses, each allowing spontaneous dance moves and charismatic sing-alongs from Victoria. The video for Help Me succeeds in allowing each member of LOFTPEOPLE to get across their distinct personalities as performers – Victoria Frederika Slusar as a whirlwind leading woman with the heart of a rockstar, Joris Van Daele as the icy-cool lead guitarist who looks like he was born to wear shades. The band’s vibe comes across in the video from their performances, and establishes an engaging and attractive energy for fans who will be able to relate the music to the people performing it. But what is lacking is a more substantive bonding theme or story that acts as a throughline for the 4-minute short film. Whilst ultimately getting the music across is the key goal of any music video, what really makes them succeed is finding a way to compliment and expand on the song’s theme or meaning visually, either through scene-staging, spectacle or by bringing to life the story or message of a song on the screen. Help Me lacks any of these. The settings bare no relation to one another and don’t seem to match up with the song’s content. The monochrome woodland scenes would be much more at home for a band far dourer than LOFTPEOPLE, and feel awkward when switching with the vibrant graffiti wall. There is little sense of momentum or direction in how the band’s performances in the video align in a determinate sense – it is ultimately a collection of moments stitches together to sync with the track. All of which, is absolutely fine – especially considering the band’s independent, do it yourself background which means producing any music video is an accomplishment. The production quality of the video is impressive as well, delivering clear and crisp imagery that platforms the band and allows them to throw themselves fully into the performance. However, it feels like a more developed storyboarding of the ideas underlying the video itself would mean a much more memorable final product. LOFTPEOPLE’s music deserves as such, as it is clear the band is anything but forgettable. About the Film Critic Patrick Foley Music Video < All Reviews Next Film Review >

Horror Stories film review by UK film critic Holly Baker. Starring Lukas DiSparrow, Joseph Simpson-Bushell, Andrea Kularatne directed by Lukas DiSparrow. HOME | FILMS | REVIEWS Horror Stories Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Apr 20, 2026 Directed by: Lukas DiSparrow Written by: Lukas DiSparrow Starring: Lukas DiSparrow, Joseph Simpson-Bushell, Andrea Kularatne Horror Stories (2024) is an anthology horror film that combines six stories into one narrative, centred on a United Kingdom-based book club that has discovered a method to spookily enter the world of storytelling. One by one, each member of the club must touch a magical book which transports them into a unique narrative setting, each designed to scare and thrill the participant experiencing the tale, as well as the viewer. The stories all have their own aesthetic and many of them involve unexpected twists and startling performances. The film was supposedly made with zero budget, and was written, directed and produced by one man- Lukas DiSparrow. His creation of the feature-length film was unplanned and was sparked by his production of 10 short films over several months, which he saw as having the potential to be brought together into one singular, multifaceted narrative. Creating a feature-length film without any budget is a remarkable achievement, and often when restricted by monetary boundaries, filmmakers’ creativity can blossom marvellously, and Horror Stories is a particularly excellent example of how successful a restricted project can be. Despite the limited crew and set, DiSparrow was able to incorporate lighting, music, and various other design strategies to ensure each of the stories has its own unique aesthetic. Each world stands out both visually and narratively, whilst all maintain a lightly comedic but overarching sinister and bizarre tone so the viewer gets a clear feel that they are all from the same universe. The strength of the short horror stories’ substance of course varies throughout. For instance, the opening segment involves an off-beat clown performance followed by an unconvincingly gory massacre, lacking in fear factor partly through the ridiculousness of what takes place, but also lighting is a major factor, as whilst the scenes take place outdoors in daylight, the lighting appears artificial which removes any sentiment of realism and therefore fear. Meanwhile, there are some strongly memorable, original concepts which are executed here. Most notably, She Lives In Me, the film’s closing story involves a shocking revelation and brings to light the horrors that some individuals face who are uncomfortable in their own bodies, haunted by a different kind of past than that expected of a ghost story. The film’s budget of zero inevitably required a limited and unprofessional cast, which required the re-use of actors from the book club in the fantastical horror worlds. Skilfully, the narrative smoothly justifies the presence of faces seen before by viewers, meaning there is no jarring confusion, there is an intriguing sense of blending between reality and fantasy. As well as this, despite the actors all being unprofessional and largely inexperienced, viewers will find themselves startled by some of the genuinely menacing performances here. A notable highlight is during the Devil’s Feast segment involving a satanist older woman played by Jan Olivia Hewitt, who shines in her role. Her menace and insanity as a convincing devil-worshipper is stunningly fearful. Unfortunately, many of the short stories suffer from poor lighting making some of them difficult to engage with. As mentioned, some of the stories are also less narratively compelling, whilst some, particularly She Lives In Me, are cleverly conveyed masterful pieces of storytelling. The varying quality between the different stories is at times insulting to the short form, as many of the segments shine fantastically on their own, meaning viewers can’t help but question if it was necessary to combine them into a feature film. Overall, there is certainly a lot of credit due to DiSparrow’s creativity and the commitment from all the cast to creating a unique, bizarre, zero-budget horror film which will be enjoyable for many viewers. About the Film Critic Holly Baker Indie Feature Film, Horror < All Reviews Next Film Review >

I Like It Rough film review by UK film critic Jason Knight. Starring Natasja Schaafsma, Keith Anthony Murphy directed by Natasja Schaafsma. HOME | FILMS | REVIEWS I Like It Rough Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 19, 2026 Directed by: Natasja Schaafsma Written by: Natasja Schaafsma Starring: Natasja Schaafsma, Keith Anthony Murphy A short adult dark comedy from Ireland written and directed by Natasja Schaafsma and starring herself and Keith Anthony Murphy. A young couple, consisting of Ciara (Schaafsma) and Jordan (Murphy) enter a bedroom, hugging and kissing and it is obvious that things are going to get much more intimate. Things to go further, however not in a way one would expect. Ciara states that she likes it rough and she seems to be literal as she encourages Jordan to physically harm her and she reciprocates. A situation begins with romantic expectations before becoming a wrestling match. Over the course of approximately three minutes, the couple punch, kick and throw each other around, whether on the bed or around the bedroom. And the use of a dildo as a weapon occurs as well and so do attacks to the groin. Just adding that both participants are fully clothed. It is crucial to acknowledge that this activity is consensual and both characters are participating in their own free will. The comedy comes in the form of the performances and the fighting, the choreography of which is credited to the work of James Cosgrave. Ciara is the one who seems to be enjoying this...unusual occurrence and it is evident that it was her idea. She grins as she strikes and seems to enjoy being hurt. The same could not be said about Jordan who is hesitant and does not appear to be taking a liking to physical pain. Nevertheless, the fight goes on, accompanied by amusing music by Nelson M. Olivares Alfaro. The fun is not restricted to the brawling, with the cheeky opening and closing credits adding to the humour and there are plenty of cartoonish sound effects when strikes occur. So what does the content of this film mean? It seems to be exploring unconventional sexual desires, particularly sexual gratification via violence, maybe sadomasochism? As an intended sexual encounter turns into a fight where receiving and inficting pain is being playfully enjoyed, this viewing could be perceived as a comedic commentary about this derivation of pleasure. Two youths beat each other up in a comical fashion. Sex and violence. A fun adult comedy, although some people might find the violence uncomfortable. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Dead Guy film review by UK film critic James Learoyd. Starring King Jeff, Gorio, David E. Chapman Jr. directed by King Jeff. HOME | FILMS | REVIEWS The Dead Guy Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Apr 17, 2026 Directed by: King Jeff Written by: King Jeff Starring: King Jeff, Gorio, David E. Chapman Jr. The Dead Guy is a flawed yet entertaining new investigative supernatural thriller about a psychic – or “Mediumistic Communicator” – called Justice Brown, employed by the FBI to discover dead bodies. Written, directed and starring King Jeff, one can maybe tell that this is a small-scale production. However, within the 80-minute runtime of The Dead Guy , you get to know Jeff’s sensibilities as a storyteller, all culminating in an amusing and unusual picture which has both a sense of drama and a fun sense of humour. This reminded me a lot of Sam Raimi’s movie The Gift, written by Billy Bob Thornton; a film similarly interesting but at odds with itself. Let’s discuss the style of the film, and how the general technical limitations can either detract from or add to the visual world being built. I’ll begin with the most obvious negative. The film’s use of AI in the form of voices and printed images is pretty terrible – not just ethically / artistically speaking, but also in terms of maintaining the reality of what we’re watching. At first, when our protagonist is having phone conversations with what is clearly just an AI voice, you can actually derive some comedy from the staggard nature of the ‘interaction’. But eventually, its use becomes unignorable, especially within an extended and pivotal sequence wherein Brown makes contact with two spirits in a room of his house; a room which is covered in AI-generated photographs of people. It’s just not convincing! Although, you could argue that our main character is the sort of whacky individual to print off a bunch of AI pictures and hang them on his wall, but we’re meant to think they’re the spirits of the deceased! There’s a big reason why the implementation of AI products fails on a stylistic level, and that’s due to the rough, insular, handmade approach the filmmakers opted for in the first place. This is a choppy, grainy work – and in a way that this critic found charming and thematically relevant. The fact that only a couple of locations and setups are featured in this movie definitely reveals its limited budget; yet having said that, I don’t find that fact inherently detrimental to the quality of the piece. It’s makeshift and amusing in a B-movie, Ed Wood kind of a way. The only thing it does affect is the pacing. For instance, we must spend almost twenty minutes in Brown’s spirit room, and this could easily test the patience of the average viewer. Audiences may find a fair amount to enjoy regarding the screenplay. This is a fun story with humorous dialogue as well as a most endearing protagonist. Despite the picture’s failings, there are flickers of genuine invention and creativity. This critic was never having a bad time while watching The Dead Guy . It’s silly and entertaining and holds resonances of the cheap yet heartfelt spirit of B-movies. You can’t help but admire King Jeff as a filmmaker here. This is a personal, homemade production which demonstrates a passion for genre filmmaking. Currently streaming on Tubi! About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Back to 20-21 film review by UK film critic Jason Knight. Starring Ashish Bisht, Kanchan Rawat, Anjali Bisht, Shoban Singh Rawat directed by Ashish Bisht. HOME | FILMS | REVIEWS Back to 20-21 Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 17, 2026 Directed by: Ashish Bisht Written by: Ashish Bisht Starring: Ashish Bisht, Kanchan Rawat, Anjali Bisht, Shoban Singh Rawat A short low-budget drama from India, written and directed by Ashish Bisht and starring himself, Kanchan Rawat, Anjali Bisht and Shoban Singh Rawat. The setting is India and the coronavirus pandemic has caused global lockdowns. One man (Ashish Bisht) lives in an apartment with his sister (Anjali Bisht) and his wife, Sapna (Rawat). The three of them are currently in quarantine, waiting. The man spends his time watching the news and being influenced by all the bad news, be it warfare between countries or the pandemic. Being less keen on a narrative, this film concentrates on the anxiety that the man is going through because of the outbreak, being constantly worried about what might happen. Forced to be in his household, he contemplates the world's current unfortunate situation and when he goes out for some shopping, he is faced with the harshness of sanitising, being cautious not to touch anything. Numerous films (both short and feature) have been made that deal with the COVID-19 pandemic. This one focuses on how the media affect people, utilising words that cause them to live in fear. Ashish Bisht's character represents the everyday person who becomes more and more anxious due to the virus and generally because of the negative messages that are communicated to him via news media or other individuals such as the shopkeeper who condemns his apparent irresponsibility when it comes to preventing the disease from spreading. He is a victim of fear generated by the media. His sibling and primarily his partner are more confident and do not let themselves be victims to the effects of news reports and social media. This short explores how the media can affect people in negative ways, causing them to feel fear, frustration and anxiety and of course, this film is also a commentary about the coronavirus lockdown and what it involves, such as isolation, sanitising and mental health issues. Another film about the COVId-19 pandemic. This project acknowledges the pcychological effects that outbreaks and the media have on people and this makes it a viewing worthy of attention. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Lee Cronin's The Mummy film review by UK film critic Hope Madden. Starring Jack Raynor, Laia Costa, Natalie Grace directed by Lee Cronin. HOME | FILMS | REVIEWS Lee Cronin's The Mummy Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 16, 2026 Directed by: Lee Cronin Written by: Lee Cronin Starring: Jack Raynor, Laia Costa, Natalie Grace So, Lee Cronin’s The Mummy . You may be wondering, who is Lee Cronin? Do I even know that guy? You probably do, if you saw 2023’sEvil Dead Rise , the story of a family trapped in their apartment as their mother turns Deadite and tries to murder them all. You may have missed his 2019 Irish horror, The Hole in the Ground , where a changeling takes the shape of a woman’s young son, traps her in a house and tries to kill her. Now Cronin takes on a mummy’s curse, trapping a family inside a house with their daughter, who is now a monster out to kill every one of them. By the third time, you have to think that the idea of an evil entity taking over the body of a loved one is a real fixation for the filmmaker. Lucky for us! Jack Raynor and Laia Costa are the parents of three: little Maud (Billie Roy), tween Sebastian (Shylo Molina), and their oldest, Katie (Emily Mitchell, then Natalie Grace). Katie went missing in Cairo 8 years ago, but she’s been found and she’s ready to come home. It’ll just take some adjusting. The trailer for the film gave it the look of a PG13 horror—quick cuts, jump scares, and black vomit. I’m pleased to report that this is not the film at all. Cronin mines the situation for grief and sorrow before descending into body horror. It’s a wild line he crosses, manipulating your emotions and then throwing gross-out body fluid horror all over the deviled eggs. It’s nasty. Like almost early Peter Jackson nasty. And Cronin is not afraid to take the film places you may not want to go. The darkest, sloppiest comedy butts up against emotional horror so moving you may want to look away. Or if that doesn’t make you divert your eyes, the pus, eyeballs, tongues, and unspecified body fluids will. It’s a mixed bag, this one, and it gets a little tedious toward the end. Plus, Cronin doesn’t always balance the tone effectively. This is very much an R-rated horror, at times taking itself too seriously and at others, delivering some of the nastiest comic gags you’ve ever seen during a funeral. I was unsettled at times and grossed out at others, but I must say, I was thoroughly entertained. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Mermaid Beach film review by UK film critic William Curzon. Starring Ellie Bindman, Georgia Grace, Marie Wilson directed by Sam P. Green, Becca Hirani. HOME | FILMS | REVIEWS Mermaid Beach Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Apr 16, 2026 Directed by: Sam P. Green, Becca Hirani Written by: Christopher Jolley Starring: Ellie Bindman, Georgia Grace, Marie Wilson Mermaid Beach follows two sisters, Lily (Ellie Bindman) and Sophie (Georgia Grace), as they move with their mother and stepdad to a new town by the sea. As they begin to get accustomed to their new home, they make a startling discovery that changes their lives forever. Going into Mermaid Beach blind is one of the most rewarding aspects of the piece, as it offers a sense of awe and subverts expectations from a regular coming-of-age narrative feature. As the film was made in Carmarthenshire, West Wales, the filmmakers make the most of the environmental aspects, showcasing gorgeous drone photography overlooking the wonderful landscapes of the area. The sound of the ocean and the waves is a primary focus of the sensory aspect and feels thematically present in the film's ideas. Building on this, the musical score is whimsical and upbeat, matching the waves and wholesome tone of the narrative. Raffaele Nocerino, serving as the film's cinematographer, primarily shoots most scenes with a plethora of wides and switches to close-ups during more intimate character moments. The use of underwater photography is astounding and feels incredibly visceral through the use of point-of-view camerawork. Despite the film's budget constraints, the make-up and costuming are commendable and feel effective during the fantasy elements of the narrative. Adrian Abbott, serving as the film's editor, ensures the pace flows incredibly well, considering the substantial amount of material covered throughout the runtime. The pacing is steady as the narrative unfolds slowly, revealing aspects of the protagonist’s identity as they come to fruition, and the film flows remarkably. However, despite the editing flowing well throughout, the film suffers from a prolonged conclusion that feels like it is going to end multiple times before it eventually does. The film also explores themes of grief and self-discovery, two core aspects of the central character’s arc throughout the narrative. While the family dynamic at the core of the story is somewhat derivative of other family films with the daughter attempting to fit into a new life, the performances and fantasy elements elevate the material. The emotional resonance is another effective aspect of the family dynamic that works incredibly well to elevate the piece. The filmmakers also employ a heart-warming environmental message about protecting the ocean, which is highly pivotal given the film's subject matter and emphasis on the ocean. Despite the first two acts of the film being slower and more focused on Lily’s character development, aspects of the third act are incredibly thrilling with a minor jarring tonal shift. All the central performances are wonderful, particularly Ellie Bindman's portrayal of Lily, as her character evokes a great level of warmth and care in the narrative. Georgia Grace's portrayal of Sophie is another standout performance, as her innocence and love for her older sister are poignant and at the heart of the film's central themes. Mermaid Beach is a wholesome family feature that blends a wonderfully grounded coming-of-age narrative with fantasy elements. While the conclusion may drag a little too long with false conclusions, it's a worthwhile effort that boasts some terrific performances and a well-paced narrative structure. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Screams from the Tower film review by UK film critic Brandon Thomas. Starring Richie Fusco, David Bloom directed by Cory Wexler Grant. HOME | FILMS | REVIEWS Screams from the Tower Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Apr 16, 2026 Directed by: Cory Wexler Grant Written by: Cory Wexler Grant Starring: Richie Fusco, David Bloom When was the last time a teen comedy made a sizeable impact? Where’s Gen Z’s The Breakfast Club ? Their American Pie ? Their Superbad ? Is Screams from the Tower the next teen classic? Well, no, but it is a sweet, charming entry into the genre. Best friends Julien (Richie Fusco) and Cary (David Bloom) share a love of radio and a similar dream: to get their own show on the high school radio station. When that dream becomes a reality, the boys bring together friends both new and old and begin to challenge the limits of what two high school seniors can get away with on a high school radio station. As a more character-focused film, Screams from the Tower isn’t interested in gross-out gags to keep the audience invested. There aren’t any larger-than-life set pieces that will have people rolling in the aisles (or on their living room floors). While writer-director Cory Wexler Grant does lean into a few instances of broader comedy, the majority of the laughs come from character interactions and relationships. Despite being sold as a dual lead film, the focus ultimately lands on Fusco’s Julien. At first glance, Julien comes off as a dime-a-dozen smartass slacker. As the film moves along, the layers of Julien’s character are peeled away, we see that this isn’t true at all. Sure, Julien is crass and abrasive, but he’s also sensitive and loyal. Fusco walks a delicate line – never allowing Julien to become the target of the audience’s ire while also not letting him off the hook for his behavior. At the same time, the film really sings when the ensemble – or parts of it anyway – are together, bringing the radio show to life. Grant is clearly inspired by the heyday of radio shockjocks from the ‘80s and ‘90s – most notably Howard Stern and Don Imus. The characters don’t go where Stern and Imus did with their schtick, but they certainly dabble in their own high school-level controversy. It’s also a hoot to see the boys and their show have a foil in the radio station’s overseeing teacher (Sara Sevigny). While a high school teacher might not wield the same power as the FCC, it does give the movie a sizeable jolt of drama Screams from the Tower may not bring the same level of notoriety or impact as a Hughes or Apatow film, but it does operate in its own lane of sweetness and charm. About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Normal film review by UK film critic Hope Madden. Starring Bob Odenkirk, Henry Winkler, Lena Headey directed by Ben Wheatley. HOME | FILMS | REVIEWS Normal Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 16, 2026 Directed by: Ben Wheatley Written by: Derek Kolstad, Bob Odenkirk Starring: Bob Odenkirk, Henry Winkler, Lena Headey Do you know what’s especially fun about watching Normal ? It’s not seeing Bob Odenkirk crack heads and blow stuff up. I mean, that’s always fun, but it’s nothing new. Nor is it new to see what fresh fisticuffs and cutlery mayhem writer Derek Kolstad (John Wick [all four], Nobody [both], Ballerina ) can dream up. We’ve seen his dreams. They’re somewhat similar. What is especially fun about watching the star of Nobody and its writer team up again to drop a middle aged schmo into a sudden and unexpected explosion of violence is that Ben Wheatley is directing. We haven’t seen Ben Wheatley get really nuts in a bit. Odenkirk, who co-writes the script with Kolstad, is Ulysses. He used to be a real sheriff, but now he takes interim sheriff gigs around the country and leaves rambling accounts of his days on his estranged wife Penny’s voicemail. His latest assignment: Normal, Minnesota. The town of about 1500 people and one moose looks…strangely prosperous. Not like the small towns shuttering due to a poor economy. When two good hearted, down-on-their-luck bank robbers roll into town, Ulysses gets a glimpse of the what’s really going on. That leaves us with about 45 minutes of handguns, rifles, Tommy Guns, knives, fists, rocket launchers, chains, dynamite, and knitting needles. Plenty of time for Wheatley to help us remember what a blast he had directing 2016’s Freefire . Odenkirk’s ideal as the begrudgingly heroic schlub, and Normal surrounds him with eclectic characters and solid comic performances. But there’s no question the relish Wheatley takes in wry, witty bursts of extreme violence, each gag its own punchline, is what delivers the film’s fun. There’s a touch of Fargo , a smidge of Hot Fuzz , a bit of the filmmaker’s own Freefire, and maybe a hint of his Sightseers . These borrowed flavors blend favorably with the inescapable familiarity of the concept—Bob Odenkirk, badass—as well as Kolstad’s routine action beats. Normal is a ton of bloody fun that you’ll kind of remember later but you’ll laugh and enjoy yourself now. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Proxy film review by UK film critic William Hemingway. Starring Lia Lockhart, Jean-Marie Neave, Mark Souza directed by Diana Porter and Mikel J. Wisler. HOME | FILMS | REVIEWS Proxy Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 15, 2026 Directed by: Diana Porter and Mikel J. Wisler Written by: Diana Porter and Mikel J. Wisler Starring: Lia Lockhart, Jean-Marie Neave, Mark Souza A single man desperately wants to upgrade his AI girlfriend experience, and hires a body proxy for her to inhabit so that they can both get down to some real-world jiggy-jiggy, without either of them realising the real-world consequences of their actions. Somewhere in the near/alternative future, AI girlfriends are all the rage and can be materialised in real-time, as a sort of hologram, through a cerebral implant. This function still has its limitations though, with touch and sensation still beyond the ken of the programming, leaving only the emotional and communicative aspects of relationships still open to the user, even though they can see their chosen partner right in front of them. Despite the obvious frustration of this set-up, business seems to be booming, however, Clyde (Souza) is still not satisfied. With a little bit of technical wizardry and know-how, Clyde has already upgraded his AI girlfriend, Alora (Neave), in his spare time, giving her extra, illegal code, that makes her more personal, individually tailored, and loving towards him. Together they have concocted a plan to transfer Alora’s memory into a Proxy , a living host who will take on all of the implanted memories and personality that Clyde has built up in Alora, but who will be someone flesh and blood that he can touch and make love to. The fact that the Proxy looks completely different to the girlfriend he has created and loves, somehow doesn’t seem to faze Clyde at all, and so when Renata (Lockhart) is delivered to his door, all steely-eyed, distant, and submissive, there’s only really one thing on his mind. Looking for all intents and purposes like an episode of Black Mirror (2011-2025), Proxy takes the idea of the uses of modern technology and extrapolates a little into the future to present us with a cracked version of what might be. At only fifteen minutes long, it doesn’t have the luxury of explaining everything in detail, or settling us into the scenario completely, before getting on with things, but as a proof of concept for what is intended to be a full feature film, it gets enough of what is needed into the narrative to let us understand the themes and drive of the movie. With that, the techno-babble at the beginning is a little light on specifics, and the double talk of AI girlfriends, holograms, cerebral implants, proxies, and so on, can get a little confusing to the uninitiated. Once our Proxy has been delivered, however, most things slot into place and the themes become the driving factor of the story and character play. These themes, unfortunately, seem to be very one-dimensional, poorly thought out, surface level, and even a little crass, as they set about painting men as sick abusers and heartless animals who only think about their sexual appetite. The entire dynamic of the threesome is one set upon male dominance and exploitation of women, with male users shown to be only too happy to be complicit in institutional rape and control, even when they have no knowledge of the deception behind the scenes of international, global conglomeration. There is never any hint that AI boyfriends might exist in this world, or that proxies might indeed be male instead of female, and that the issues which complicate the matter of proxies would transfer across sexual and gender lines, which is a real blind-spot in terms of the writing. While borrowing a lot of themes from stories such as The Handmaid’s Tale , Blade Runner 2049 (2017), Ex Machina (2014), Her (2013) and A.I. (2001), as well as many episodes of Black Mirror , Proxy doesn’t dig down into them to try to understand the relationship between human and machine, but instead tacks on a forced narrative of male sexual abuse as the inevitable outcome. While sci-fi has long been used as a medium for exploring modern day real-world themes, offering windows into dystopian futures and catastrophic misuses of technology, in Proxy it misses its mark. The theme completely overtakes and drowns out the narrative, forgetting to allow actual characterisation and deeper thought behind their actions, instead focusing on shock value and unfiltered ire to deliver its message. While the threats of AI and especially AI companionship are definitely something to be considered and explored, Proxy , with its singular vision of a wildly specific scenario, and introduction of a problematic concept, struggles to bring anything pertinent to the conversation. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >