Postcards film review by UK film critic Jason Knight. Starring N/A directed by Freyja Kristinsdottir. HOME | FILMS | REVIEWS Postcards Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Nov 6, 2026 Directed by: Freyja Kristinsdottir Written by: N/A Starring: N/A A short Icelandic documentary directed by Freyja Kristinsdottir. This twenty-minute-long film won the Grand Jury Award for Best Documentary Short Film at the Edmonton International Film Festival. The subject is Kristinn, an ageing Icelander who decided to travel solo and on foot through the Santiago de Compostela in March 2016 and, while doing so, to write a postcard to his wife, Stella everyday, for each year that they shared together, totalling forty-six postcards. Via family footage, photographs, animation, gentle music and Kristinn's voice-over, this documentary covers his loving relationship with his partner, beginning with how they first met in the early nineteen-seventies, married, travelled and raised a family, Stella's time living in a care home with Alzheimer's and Kristinn meeting someone special. The main focus is the life that Kristinn and Stella created together, all the wonderful memories that they developed and it is quite heart-warming. The creativity is high standards, with particular attention towards the editing and the constant appearance of years in numbers made out of postcards. Kristinn himself comes across as a likeable person and his words make it very clear how much he cherishes his happy experiences with his loved ones and the content also presents Stella as a wonderful person. During its short duration, this documentary manages to cover very deep subjects. To a degree, it explores some of the hardships of life, including grief and Alzheimer's, however, it mainly concentraters on good things, such as being in love, having children, cherishing loved ones and meeting someone special late in life. And it places a great deal of significance on reminiscing the past and making good memories. A moving story about a man's wonderful relationship with his wife. A beautiful viewing that encourages people to appreciate life and those around them. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary, World Cinema < All Reviews Next Film Review >

Monster film review by UK film critic Chris Buick. Starring Talitha Christina directed by Finn O'Toole. HOME | FILMS | REVIEWS Monster Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Nov 5, 2026 Directed by: Finn O'Toole Written by: Finn O'Toole Starring: Talitha Christina “The enemy of art is the absence of limitations.” (Orson Welles) Any creative endeavour, whether art, music, writing or dance, is no mean feat. Filmmaking is especially demanding, a medium that throws up obstacles without needing an invitation. Yet as Welles understood, art sometimes needs boundaries. Limitations can be exactly what makes something unique, and what allows it to thrive. Writer/director Finn O’Toole and his team have embraced that idea with their short film Monster . Conceived as “an exercise in creative restraint”, Monster shows that even when you box yourself in, getting the fundamentals right will often produce the most effective results. In the film itself, our unnamed protagonist arrives home clearly perturbed, with something evidently not as it should be. As they try to sleep and escape their worries, a haunting figure looms nearby. But what appears to be yet another ghost story soon reveals itself as a poignant study of mental health struggles and self-acceptance. O’Toole and his team set themselves a challenge: five minutes, a three-page script, one actor, one location and absolutely no dialogue whatsoever. No problem. There are a few elements worth shouting out. Firstly, three pages isn’t a lot to work with, but O’Toole achieves exactly what he sets out to do on every one. If there’s one criticism, it’s that those self-imposed limits inevitably leave you wondering what more could have been done. But as already mentioned, that isn’t the exercise here, and it’s powerful while it lasts. At no point are you left alone to figure out what’s happening or what the film is trying to say, which is damned impressive without the running time or set-up other films get the luxury of. The film initially plays out as a tense horror, and the way it builds that tension, and honestly a bit of fear, is so, so clever. The effects team deserve some of the biggest kudos here, backed by some masterful cinematography. Even more impressive is how effortlessly it then switches tone, never jarringly, turning into something else entirely but no less effective, and landing a hefty emotional punch at the end. Final plaudits go to Christina’s solid solo performance. She captures the essence of every moment, making sure that, in the absence of dialogue, everything is said through her actions. It’s show, don’t tell at its finest. Self-restrained it may have been, but Monster is a noteworthy example of how getting the basics right can take you a long way. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Dead On The Vine film review by UK film critic William Hemingway. Starring David Whitney, Tom Sawyer, Shereener Browne, Victoria Johnston directed by Mark A.C. Brown. HOME | FILMS | REVIEWS Dead On The Vine Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 5, 2026 Directed by: Mark A.C. Brown Written by: Mark A.C. Brown Starring: David Whitney, Tom Sawyer, Shereener Browne, Victoria Johnston A couple of bumbling gangsters on the lam head into the grounds of a winery after they bungle a snatch-and-grab operation in a small East Sussex village. Ellis (Whitney) and Drayton (Sawyer) are on their way home from a job. The atmosphere is tense and no-one is saying anything in the car. As Ellis tries to keep his mind on the road, Drayton starts having a seizure next to him on the front seat. With nowhere else to go, and an unfamiliarity with his surroundings, Ellis takes the nearest turn-off into the Goldspur Winery, where he hopes he can find rest and a helping hand. At the winery are Cora (Browne) and Joni (Johnston), the owners, who are getting ready for an evening of wine-tasting with a dozen would-be investors. Having Ellis and Drayton there – or was it Joe and Chris, or Scott? – is a definite hindrance to the girls, but their ingrained hospitality as career hostesses gets the better of them and they offer a little bit of lunch to get the boys back on their feet. Once the local copper turns up though, it’s lights out for her and the boys are back on the crazy train with their bad-boy antics. Cora and Joni are now terrified, and there’s now a dead body to deal with, along with the kidnapped guy in the boot of the car, to make up the roster of elements needed for a standard mob caper. Cora and Joni have a twist of their own to offer the two unhinged gangsters, and once everything’s wound tight into a neat little ball, everyone’s set to run around doing their thing to see out the rest of the runtime. Oh, and the great Kate Robbins also turns up to teach everybody how to do things properly. Dead On The Vine , from writer/director, Mark A.C. Brown, and DP, Kieran Coyle, follows some pretty standard tropes as it sets up its home invasion/ job gone wrong storyline. We’ve got the two desperate men at a crossroads, one out-of-control brother with a penchant for violence, an isolated rural location with minimal interference from the outside world, and some seemingly helpless hostages who turn out to be anything but victims. There are plenty more besides, but these main ones carry us through most of the film as everyone plays their parts. With the first act of Dead On The Vine we have to go through a lot of to-ing and fro-ing as Brown tries to sell the plausibility of the setup. The should we, shouldn’t we, from the women, along with the nice guy, not nice guy, from the men, means that the characters struggle to settle into themselves for a long time. It’s not until around half-way through that we finally see some development that matters, and we see some originality other than the oddly grand setting of an empty winery. Once the other shoe drops though, we’re into a fine little romp around the grounds and the factory, with good wine, good food, and a little bit of ultra-violence. When Kate Robbins arrives to turn things up to eleven, the strands are already beginning to unravel, and we can sit back and enjoy everything unfolding in front of us. The score from Ian Arber, helps things along immensely, with his Western inspired strings and the intense brooding that he provides, and of course, Kieran Coyle’s experienced hand behind the camera means that every shot gets the showing that it deserves, with there being some truly stunning pieces of photography along the way. With Brown trying to keep his dialogue as everyday as possible, for believability, he sometimes strays into mundanity instead. The ‘getting to know you’ of the characters can feel expository at times, and at others people seem to be talking just to be talking. The actors do a great job of delivering their roles though, and there are committed performances from the four main cast members, with Shereener Browne standing out from the small crowd. Kate Robbins just eats up the scenery when she arrives, however, and reminds everyone of why she’s the class act that she is. After eighty-minutes, Dead On The Vine has done what it set out to do and delivered a fine gangster romp. The scripting and the acting are mostly palatable, while the direction, photography, and sound design, leave a pleasant taste in the mouth. Although it takes a little while to settle, once it allows itself to breathe, Dead On The Vine offers itself as an enjoyable accompaniment to a pleasant evening in. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Magan's Fare film review by UK film critic Madeleine Lavers. Starring Barkhad Adbi, Alexis Rhee, Derdriu Ring directed by Christopher Knoblock, Dana White. HOME | FILMS | REVIEWS Magan's Fare Film Review average rating is 3 out of 5 Critic: Madeleine Lavers | Posted on: Nov 5, 2026 Directed by: Christopher Knoblock, Dana White Written by: Dana White Starring: Barkhad Adbi, Alexis Rhee, Derdriu Ring Magan’s Fare (2025) is a drama short film with the majority of it being set in the protagonist Magan’s car. The narrative, as you may expect, follows taxi driver Magan (played by Barkhad Adbi) and a journey he has with a lonely elderly woman named Jorani (played by Alexis Rhee). Jorani has lost her place at her nursing home; she mourns the house she nurtured and the people she used to live there with who have passed. After refusing to leave Magan’s car, he takes her under his wing and together they continue his day of work and learn more about each other. She supports him when he has a health issue and he gives an open ear to her trauma. Towards the end, after suggesting a hospital visit, Magan takes her to his home, the ultimate heartwarming and satisfying ending. This film was a beautiful embodiment of human connection and the gratitude we should all feel for our loved ones. The popular cast helped to bring the characters to life and their interactions throughout were exceptionally delightful to watch. I originally thought the constant phone calls protagonist Magan received from his Mum and wife were unnecessary and I failed to see their significance. This was until it dawned on me that here is someone frustrated by their nagging family, versus a woman who has no one to annoy them because she has no one at all. I hope audiences can have the same revelation and ponder what they may take for granted in their own lives. Despite this film being of a high production value, following a well-rounded story with strong performances, some more character background would have heightened the emotional elements. We do not truly see the pain of Jorani, nor do we see her family through photographs or memories. When she enters her old home and discusses the garden she grew, we do not see this garden. I think some flashbacks or even sound effects may help viewers reminisce about the character’s past alongside her. Then we will empathise more after we understand what she is missing. Magan’s character contains small details that do not come to fruition. He mentions studying for an exam and we also learn he is diabetic, but these traits do not seem to have any relevance. When his blood sugar is low, Jorani helps him and this illustrates their increased connection. This could have been represented in other ways, however. As a protagonist, Magan is a kind character who can hopefully inspire audiences to be as giving. He is constantly pondering how far he should go to help someone before deciding that Jorani deserves a warm place to sleep tonight. He also represents a valuable lesson that he (and hopefully the audience) learns: the treatment of older people is sometimes flawed and needs to be reviewed. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Short Film < All Reviews Next Film Review >

Pleased to Kill You film review by UK film critic Charlie Robinson. Starring Dominic Quinn, Tino Orsini, Ashlin Green directed by Adolfo Vico. HOME | FILMS | REVIEWS Pleased to Kill You Film Review average rating is 3 out of 5 Critic: Charlie Robinson | Posted on: Nov 5, 2026 Directed by: Adolfo Vico Written by: Shaun Grimsley, Adolfo Vico Starring: Dominic Quinn, Tino Orsini, Ashlin Green Door-to-door knockers can be annoying at the best of times. Nobody likes their peace to be unsolicitedly interrupted. But I suppose they (usually) aren’t serial killers, unlike the unwelcome visitor at the centre of Adolfo Vico’s exciting yet frustrating short film Pleased to Kill You. Described as a psychological horror film, Pleased to Kill You is perhaps better defined as a compact chamber thriller. When we are introduced to Dominic Quinn's character, he is fluidly maneuvering through an array of aliases — answering to Darren, Robert, Charlie, etc. — swapping out work uniforms to smoothly gain entry into unsuspecting residential homes. What happens once inside is left largely to the imagination, although we later learn that he ominously 'likes to take his time '. He is on top of the world, seemingly getting away with his murder spree, and nobody can stand in his way. Except, perhaps, Bill (Tino Orsini). We quickly learn that Bill is not like the rest of those gullible homeowners because Bill has a moniker: ‘The Skinner’, an infamous serial killer who hasn’t been seen in years. When the two men collide, a tense exchange begins, of which only one can make it out alive. The film has little meat on its bones, which is not necessarily a bad thing. The psychology of serial killers, both real and fictional, has been analysed to death. So it shows admirable restraint that such analysis is not on screenwriters Vico and Shaun Grimsley’s minds; they are more interested in artful conversation. The problem is that the central dialogue is not quite deft enough to justify this stripped-back approach. Without meaningful psychological exploration, the script has little to sustain the tension, and it fails to replace it with an equally compelling alternative. This isn’t to suggest such a conversation can’t be compelling on its own terms. To make an unfair comparison, the horror of “Silence of the Lambs” is built largely around dialogue; the description of acts done plays in your head in grizzlier detail than the camera could ever convey. Here, however, the exchange remains frustratingly superficial, amounting to little more than two men sharing a cup of tea and discussing their mutual adoration for murder. At least the tone is light, with humour as much a part of the movie’s DNA as its suspense. The film never takes itself too seriously, and its audience would be wise to do the same. The performances help in delivering this tonal tightrope. Quinn is ceaselessly charismatic as a slimy but charming killer, delivering every line with a twinkle in his eye. Orsini is more grounded, adding gravitas and calculated menace to Bill that lends the danger both men face the necessary credibility. Where Quinn is an excitable puppy, Orsini is the weathered wolf, patiently waiting for prey to mistakenly fall into his open jaws. Both performances are excellent, and much of the film's success is owed to them. But Pleased to Kill You is not without its stylistic charms. Vico demonstrates a confident command of visual composition, using static blocking and atmospheric lighting effectively, such as when Bill answers the door and a shard of light splits his face, revealing a keen eye before his true identity is revealed. It is unfortunate, then, that the script can not live up to such on- and off-screen talent. So while Pleased to Kill You will surely entertain, it never quite delivers the savage blow it so clearly intends. Buy UKFR Banner Space About the Film Critic Charlie Robinson Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Hook film review by UK film critic Jason Knight. Starring Mei Bignall, Elijah Rowen, Jack McEvoy, Charlie Freeman directed by Thomas Beatty. HOME | FILMS | REVIEWS The Hook Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 1, 2026 Directed by: Thomas Beatty Written by: Thomas Beatty Starring: Mei Bignall, Elijah Rowen, Jack McEvoy, Charlie Freeman A feature dark comedy written and directed by Thomas Beatty and starring Mei Bignall, Elijah Rowen, Jack McEvoy and Charlie Freeman. Siblings Creamore (Freeman), Spice (Bignall), Sexton (Rowen), and The Wig (McEvoy) are a rock band, and they have a problem: studio executive Mel (Kele Leroc) is unhappy with their latest album and gives them 24 hours to come up with a good song, or they can kiss their music career goodbye. So, the four of them gather at the JBJ Recording Studio in Notting Hill and proceed to try to accomplish their goal, while simultaneously contemplating their lives. A sort of race-against-the-clock story that takes place almost entirely inside one large room. As the siblings discuss and argue regarding a new track, they are visited by a succession of awkward characters, including a spiritual guru, two American police officers, and another band. Are all these visitors real, or are some (or all of them) figments of the siblings' imagination due to the drugs they take? Whatever the case, the appearance of each visitor adds its own humour and qualities. Interestingly, the film is separated into chapters (called verses in the texts), each with its own title. Creative animation dominates the opening title sequence and the letters that introduce several characters. The entertaining soundtrack consists of works by a variety of artists, including Charlie Freeman, Jamie Brown, and Ollie De Wailly. Generally, the four siblings are a bunch of young musicians who have a habit of smoking and doing drugs. Creamore is the main character, a guitarist with an attitude and a foul mouth, who provides narration. Sexton is a sort of hippie guitarist; The Wig is a drummer who imagines that a famous American singer frequently visits him, while singer Spice is down-to-earth. This feature is a commentary about the music industry, drug use, self-expression, self-reflection, and working towards a goal, and it also acknowledges the significance of appreciating loved ones. A story about a band. Or perhaps...a story about four siblings trying to comprehend themselves. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

New Group film review by UK film critic Hope Madden. Starring Anna Yamada, Yuzu Aoki, Pierre Taki directed by Yûta Shimotsu. HOME | FILMS | REVIEWS New Group Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 4, 2026 Directed by: Yûta Shimotsu Written by: Yûta Shimotsu Starring: Anna Yamada, Yuzu Aoki, Pierre Taki In 2023, Yûta Shimotsu took a queasying look into obedience with Best Wishes to All . As the smalltown folk horror morphed from one subgenre to the next, the audience felt the same bewilderment facing the beleaguered heroine. Disobey, that’s the theme of Best Wishes to All , as well as Shimotsu’s second feature, New Group . Quiet high school student Ai (Anna Yamada) doesn’t rock the boat. She wants to go unnoticed, not get left behind. But conformity in Ai’s high school amplifies. Soon, bullies and cliques make way for absurd compliance with authority manifesting as giant gymnastic formations including a human pyramid 20 people high. Though the symbolism in New Group is far tidier and more heavy handed than in Shimotsu’s previous effort, the film offers an alarming take on the loss of individuality. It begins with Ai’s nightmares of mindlessly violent behavior in an attempt for a viral video. Though the group think and desensitization of the digital age has its place in New Group , Shimotsu’s aim seems more trained on larger ideas concerning Japanese culture. Fitting, then, that it’s Yu (Aoki Yuzu), a new student who’s been studying in America before being dumped back home by inattentive parents, whose introduction sparks Ai’s burgeoning courage. His entrance also corresponds with news of a sound being emitted from deep space. Shimotsu’s imagery is arresting. The human pyramid composed of identically dressed students is alarmingly precise and almost beautiful. The other gymnastic formations tend to be wilder and darkly comical. Comedic, too, is the figure of the school principal (Pierre Taki). Though the veteran has few scenes, he relishes the authority figure’s power trip. There are additional layers and wild turns, but New Group ‘s theme is clear and the climax inevitable. Best Wishes for All delivered a creepier and certainly less predictable outcome, but Shimotsu’s second feature is a reminder that Japanese horror has never stopped being vital. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Zaire film review by UK film critic Thomas Manning. Starring Carmen Banks, Benji, Venus Kii Thomas, Aaron Davis directed by Iman DuPree. HOME | FILMS | REVIEWS Zaire Film Review average rating is 3 out of 5 Critic: Thomas Manning | Posted on: Nov 4, 2026 Directed by: Iman DuPree Written by: Iman DuPree, Essex Hemphill, Britteney Black Rose Kapri Starring: Carmen Banks, Benji, Venus Kii Thomas, Aaron Davis Zaire is the debut feature length film from writer and director Iman DuPree taking on influences of the L.A. Rebellion film movement and the New Wave scene to create an affectionate tale of love in the immediate days after Covid-19 restrictions are lifted. The film follows Zaire (Carmen Banks), a black trans woman, as she begins to form a connection with Marcus (Benji), a black cisgender man. At times, the romance between them can be a little cliché with the ‘will they, won’t they’ narrative but it’s DuPree’s creative and inspired directorial choices, as well as the chemistry between both lead performances, that shine throughout. Throughout Zaire , DuPree adopts the Kishotenketsu narrative structure over four acts that allows the audience to sit with both characters for longer and not be defined by the conflict of the film. There is also an opening scene that comes full circle with one of the final scenes that, aside from some overuse of slow motion, works very well. Before fully introducing Zaire and Marcus to the audience, DuPree cleverly highlights the history of black trans lives while showing the brutal violence of transphobia. They make it clear the stark reality of life for trans people and it emphasises how important a film like Zaire is in times like this. Before they meet each other, Zaire and Marcus’ lives are mirrored. Both have just lost their corporate jobs (Zaire to transphobia and Marcus to Covid restrictions lifting) and both are lonely. During this opening act, these separate storylines do feel a little static although it does reflect the loneliness of the post lockdown world. It’s when Zaire and Marcus both share the screen that the film truly comes alive. Banks and Benji bounce off of each other so well and both of their performances are captivating. They find shared connection through poetry, film and Mario Kart and it allows the audience to connect to both of these characters. The question that remains throughout the film is whether this romance can flourish or whether self-doubt and a lack of communication will ruin it. Love, in DuPree’s eyes, appears to be an optimistic form of resistance to hatred which is an important and clear message. One of DuPree’s most interesting and thought provoking directorial choices here is their choice of colour palate. Throughout most of the film, there is a black and white colour palate which works to show the isolation and loneliness of these two characters but it is interspersed with scenes in colour. At first, this seemed to be when Zaire and Benji share the screen together but this isn’t consistent enough to be the only reason. DuPree’s intentions behind it are still uncertain but perhaps it is a reflection of both character’s shared emotion. There are also times where the film can seem a little messy and Benji’s self-doubt/hesitance could be expanded upon. Altogether, Zaire is a story that is essential, especially when transphobia is as prevalent as it is today. It centres black LGBTQ voices and tells a story of love in an incredibly creative and fresh way. Although it may be a little messy in points, it’s a very strong debut and DuPree is certainly a filmmaker to be on the lookout for. Buy UKFR Banner Space About the Film Critic Thomas Manning LGBTQ+, Indie Feature Film, Film Festival < All Reviews Next Film Review >

The Last Temptation of Becky film review by UK film critic Hope Madden. Starring Lulu WIlson, Neil Patrick Harris, Kate Siegel directed by Jenn Wexler. HOME | FILMS | REVIEWS The Last Temptation of Becky Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 4, 2026 Directed by: Jenn Wexler Written by: Jenn Wexler, Matt Angel, Suzanne Coote Starring: Lulu WIlson, Neil Patrick Harris, Kate Siegel One of the best things about The Last Temptation of Becky is that it will introduce a lot of people to a very fun action/horror/comedy series. Since 2020, Lulu Wilson has portrayed the angry—really, really angry—Becky. In the first episode , an unhinged 13-year-old lays waste to the skinheads who break into her family’s vacation rental. Three years later , a local group of white supremacists runs afoul of the violent teen. Indeed, so effective was Becky with the carnage that the CIA decided they had a spot for her. Which brings us to Episode 3. Becky, still weak at reining in her temper, is sent undercover into Poland to check out what’s going on at the Wolf’s Lair, an inn and museum that was once Hitler’s base of operations. Jenn Wexler co-writes and directs the third installment with the same punk rock energy that made her 2018 feature The Ranger such fun. Wexler amplifies the chaotic violence and campy humor of the franchise with a throwback B-movie vibe that suits it. Neil Patrick Harris is General Wilhelm Reuss, and he’s been waiting a long time for the key Kevin James tried to steal from Becky’s family back in 2020. What does it do? I’m not spilling the kraut, but it’s an over-the-top riot that leads to several triumphs of horror comedy. Harris delivers the contemptible arrogance you’ve come to expect, and Catherine Walker is an icy delight as his wife, Helga. The Reuss children (Noah Leggott and Aoife Hughes) give our young heroine more age-appropriate foes, and Wexler takes advantage with some of the film’s funniest and bloodiest fight choreography. The Last Temptation of Becky delivers laughs aplenty but the film is unapologetically violent as well. It doesn’t seek to teach or tame Becky, just to point her in the direction where doing harm will do the most good. Wexler and her game ensemble lean hard into everything the previous two efforts did so well: kill Nazis. It’s possible that nothing is more cathartic to watch on screen. The result is a wild, unpredictable, lawless pleasure. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Silver Screamers film review by UK film critic Hope Madden. Starring Sean Cisterna, Diane Ament, AnthonyGarramone directed by Sean Cisterna. HOME | FILMS | REVIEWS Silver Screamers Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 4, 2026 Directed by: Sean Cisterna Written by: Sean Cisterna Starring: Sean Cisterna, Diane Ament, AnthonyGarramone Sean Cisterna has made a lot of movies, most of them cheesy TV crime dramas. But his best work (The Long Rider, From the Vine ) have been documentaries. For Silver Screamers , the filmmaker combines the best of both worlds. Silver Screamers is Cisterna’s documentary about making the short horror film The Rug . Like a lot of BTS filmmaking docs, Silver Screamers offers a fly-on-the-wall observation of the craft and crap that goes into making a movie. What sets this documentary apart and gives it endless appeal is its cast. Cisterna put out a call to retirement homes looking for crew for his horror short. Though it took some doing, and some taming of the language in the want ad, the filmmaker found his volunteers: an 80-year-old former softball coach, a ninety-something grandmother for on-set sound, a recent widow for blood FX, a long-retired teacher for practical creature FX. Nobody involved likes horror. Indeed, once they sign on with Cisterna, they all watch The Exorcist together, some of them holding folders in front of their eyes while others grimace. So, why take the job? Though the answer is obvious and potentially cloying, Cisterna’s approach is respectful and full of compassion. Yes, the seniors are cute. They’re also genuinely proud of themselves, and with good reason. Anthony Garramone is a beloved figure in their small town of Aurora, often referred to as the town’s ambassador, so he’s elected to sweet talk townsfolk out of the props the production will need. He indeed obtains the titular rug at a deep discount. David Swift uses his old art lessons on puppetry to figure out how to make the rug seem to crawl up a narrow set of steps. Diane Ament throws herself into the make-up role, even keeping the severed body parts looking freshly gnawed. Ament took the position because her husband had recently passed away. Like everyone else who volunteered, Ament needed something to fill her time, to keep her mind busy. Though slight and to a degree predictable, Silver Screamers is as endearing a peek behind the filmmaking curtain as you are likely to find. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Documentary < All Reviews Next Film Review >

Line of Control film review by UK film critic William Curzon. Starring Nikhil Singh Rai, Rudi Dharmalingam, Nitin Ganatra directed by Travis Hodgkins. HOME | FILMS | REVIEWS Line of Control Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Nov 4, 2026 Directed by: Travis Hodgkins Written by: Travis Hodgkins, Mirza Waheed Starring: Nikhil Singh Rai, Rudi Dharmalingam, Nitin Ganatra Line of Control follows a teenager known only as The Boy (Nikhil Singh Rai) as he searches for his missing best friend. The Boy is forced by a ruthless Indian Army captain named Kadian (Rudi Dharmalingam) to collect ID cards from a valley of corpses. Set in 1993 Kashmir, the narrative unfolds amid the tragedy of the conflict between India and Pakistan. Line of Control adapts Mirza Waheed’s novel ‘The Collaborator’ and follows a linear narrative that shifts from the central character in his home village to his alignment with the Indian Army captain named Kadian. While the film’s opening is incredibly intense and firmly places the audience in the heart of the Kashmir conflict, the initial setup is steady and introduces a wealth of characters. Despite its meandering pace, the film boasts a wonderful ensemble that keeps the narrative endlessly engaging throughout its first hour. Writer/director Travis Hodgkins’ script strikes a careful balance of tenderness and tragedy, investing the audience in The Boy’s life while exploring profound themes of identity, survival, and coming-of-age. Its coming-of-age elements, in particular, work powerfully with The Boy and his friends’ struggles amid horrific conflict. While the film is a difficult watch that explores the psychological impact on people living in contested regions, it's a hopeful story told through The Boy’s eyes. The relationship built between The Boy and his love interest, Asma (Anastasia Jairath), is incredibly heartwarming thanks to their magnetic chemistry. It's the most tender aspect of the story, but sadly, the conflict that pulls them apart prevents it from being explored further. The narrative conveys a profound level of empathy for The Boy, and it's difficult to watch as his whole world is torn apart through the Kashmir conflict. Line of Control is firing on all cylinders as a visual and audio experience. Writer/director Travis Hodgkins does a wonderful job directing the film with a clear understanding of the source material. Johan Holmqvist’s camerawork is jaw-dropping throughout, from the stunning wide shots of the vast wilderness to the intimate close-ups between The Boy and Asma in their moments of stillness. Wayne Sharpe’s musical score further enriches the material with sombre motifs that accompany the harrowing conflict and whimsical motifs over the stunning drone shots. Despite how over-convoluted the narrative can feel, the editing helps each scene transition seamlessly. Nikhil Singh Rai’s performance as The Boy is incredibly raw, conveying so much innocence through his eyes alone. Rudi Dharmalingam’s portrayal of Kadian is commanding and deeply haunting throughout as he takes advantage of The Boy’s innocence to force him into conflict. The supporting characters are also memorable, and it’s difficult to watch as they’re caught in a horrific conflict that impacts their lives deeply. Despite how engaging the first hour is, the middle portion of the narrative is incredibly sluggish and takes a far more methodical approach. The film's narrative structure hinders the pacing and feels overly convoluted, with a plethora of characters and events intertwining. The film, however, concludes on a meditative and sombre note that may leave viewers deeply moved. Line of Control is a harrowing showcase of the Kashmir conflict and the innocent, vulnerable individuals trapped in the middle of the dispute. Elevated by breathtaking camerawork and raw performances, the film is a bleak yet hopeful portrait of resilience amid tragedy. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

The Last Screenplay film review by UK film critic Chris Olson. Starring Jane Lee Jones, Andrew Norman, Emily Moment directed by Thomas Ward. HOME | FILMS | REVIEWS The Last Screenplay Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 3, 2026 Directed by: Thomas Ward Written by: Thomas Ward Starring: Jane Lee Jones, Andrew Norman, Emily Moment Winner of the Best Low Budget Feature at the London Independent Film Festival 2026, Thomas Ward’s drama The Last Screenplay (aka The (first) Last Screenplay )ambitiously intertwines a character’s dementia with an influencer’s desperate attempts to get her movie edited. Jane Lee Jones plays Debbie, an influencer turned filmmaker who hopes to create a UK Hollywood by pushing out homegrown movies from her seemingly professional studios. However, among the faux glitz and glamour, a painful reality is emerging in the editing suite, where legendary editor Richard (Andrew Norman) is struggling to remember when he last ate, let alone how to piece together Debbie’s latest attempt at a movie (two never saw the light of day). What transpires is a crumbling sense of reality for Debbie, whose walls are closing in and her encounters with people on the lot are becoming increasingly volatile. Palpably mysterious, The Last Screenplay creates an unnerving atmosphere for the audience to dwell in as the central character attempts to “fix it in post”. Scenes and timelines seem to blend, mesh, and undermine each other, creating a fascinating, if frustrating, viewing experience. The obfuscation is so heavy-handed at times that audiences will be forgiven for feeling a little bewildered. The film makes candid criticisms about the movie and entertainment industry, as well as the place of Social Media in filmmaking. Ward seems determined to wag the finger in the face of many unfair aspects of the system, as well as the crippling impact it has on creatives. This fighting spirit gets brilliantly balanced with an emotional core in the characters of Debbie and Richard. Their scenes in the edit suite are laden with the bittersweet parallels of the loving care provided to someone experiencing memory loss. The labyrinthine nature of the studios also enhances this state of neural disorientation. Debbie traverses the various rooms and studios of the location, only to find herself caught up in a confusing array of weird and baffling sequences. Her perplexity mirrors our own, and we attempt to piece the narrative together, much like an Editor would in post-production. Jane Lee Jones is phenomenal in the lead role, sucking the audience into her myriad challenges and pressures. Andrew Norman’s performance is also brilliant; his character’s passion for filmmaking is balanced beautifully with his frustration at forgetting things, culminating in a ferocious scene between the two leads that is not to be missed. Whilst the deception tactics of the filmmakers may alienate some audience members, and the gritty nuances of the filmmaking industry may be a little too niche, The Last Screenplan is a meritorious exploration of the human need to make sense of our timeline. The cruel impact of when this is robbed from us gets creatively executed here, and the sombre reflections will stay with viewers long after the credits roll. Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >