As Easy as Closing Your Eyes film review by UK film critic James Learoyd. Starring Laura Coover, Sean Marquette, Dawson Sweeney directed by Parker Croft. HOME | FILMS | REVIEWS As Easy as Closing Your Eyes Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Aug 13, 2025 Directed by: Parker Croft Written by: Aaron Golden, Parker Croft Starring: Laura Coover, Sean Marquette, Dawson Sweeney As Easy as Closing Your Eyes is so deeply heartbreaking that it’s almost difficult to think about. It tells a personal story, and yet it’s set, either in the future, or in some parallel world in which technology has advanced enough to provide consumers a drug with which you can bring back a dead loved one for a short time. The film begins with what appears to be an AA meeting, but with further context, we come to realise it’s in fact a rehabilitation group for those addicted to this sci-fi drug. Here we’re introduced to our protagonist: a woman who has recently lost her son. There are some interesting parallels between this film and other classic movies. Arguably the main inspiration (or, at least, closest film in terms of content) is Steven Spielberg’s A.I. Artificial Intelligence . But Parker Croft’s short intelligently flips that concept in its head, where it is the mother who becomes addicted to this ephemeral, superficial experience with her lost son. If there’s one reason to watch this already technically competent, emotionally arresting movie over any other, it would be the utterly transfixing performances given by both Laura Coover and – in the film’s rug-pulling dénouement – Sean Marquette. Coover, in particular, plays the main character Lila, and I can’t remember being this affected by a performance for some time. She feels so emotionally vulnerable, yet completely in control of how she’s reading on camera. She manages to evoke genuine loss and joy without it ever seeming as if she’s reaching for the feeling. Both Coover and Marquette bring an authenticity to their roles which could move a viewer to tears. Without delving in to explicit spoiler territory, I’d like to address the piece’s final moments. It’s a gut punch – a well-constructed one – which leaves us feeling completely empty inside. Yet as well-constructed as it is, this reviewer questions whether this story needs it. Were As Easy as Closing Your Eyes to end optimistically, it would not deter from the overall darkness that’s been so effectively conveyed. The current ending, while technically sound and honestly mind-blowing, could be compared in ways to a Black Mirror ending. This is better than Black Mirror ; it reaches higher and achieves more with less. The famously divisive ending of A.I. (which this reviewer believes to be genius) better evokes the kind of melancholy ambiguity that may have pushed this movie into 5-star territory. But right now, I’m almost less inclined to think too hard about the ending because it is just so cynical and terrifying; - and in the long run, one might be more inclined to block it out of one’s memory instead of revisiting and pondering on this already haunting story. The narrative and performances are so fascinating that one almost neglects to discuss the technical... This is a well-lensed picture undoubtedly. Arguably, it could be slightly more dynamic colour-wise, but the stunning photography on show already possesses a strength of depth. A highlight would have to come during Lila’s fantasy, when she sits amongst the hills with her son at dusk. This sequence – and the short film as a whole – serves as an astonishing work of film craft. Buy UKFR Banner Space About the Film Critic James Learoyd Short 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. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Protanopia film review by UK film critic Patrick Foley. Starring Timothy J. Cox, Anthony Carey, Matthew Mahler directed by Matthew Mahler. HOME | FILMS | REVIEWS Protanopia Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 4, 2025 Directed by: Matthew Mahler Written by: Matthew Mahler Starring: Timothy J. Cox, Anthony Carey, Matthew Mahler Matthew Mahler’s Protanopia is a psychological, acid-trip of a horror determined to incite epilepsy in its audience. Its explosive use of visual effects make the protagonists’ descent into madness real and visceral, but it feels a little hollow beneath the spectacle. Alan Roscoe Jr. (Timothy Cox) is the recent recipient of a house passed down to him from his late father (John Mahler). Navigating difficult neighbours like Janice (Paula Mahler) looks like the extent of his worries. But a vision by Luke (Anthony Carey) of the house’s connection to a gruesome murder is a hint towards a terrifying true nature that hides in the Roscoe family. Named after a form of colour blindness, Protanopia earns its title with psychedelic, traumatising usage of lighting and visual effects straight out of Lewis Carroll’s worst nightmare. Viewers will genuinely be seeing stars come the end of the hour-long running time, with the pulsating flash of the memorable and shocking experimental sequences bound to reverberate. These sequences are more than a gimmick – they are meticulously plotted and poured over to match the current tone of the story to perfection. Intense scenes surrounding murder or madness crank up the trauma with shocking flashes of red, whilst more contemplative scenes of discovery move at a slower, albeit still disturbing pace. They are integral to the film’s storytelling – which some viewers may find strange or off-putting. But they are delivered brilliantly in of themselves. The story itself is quite standard stuff – even if the telling of it is anything but. A cursed inheritance and a missing girl come together to put Alan and Luke through the ringer, and their warping psyche that bends and breaks across the film is an entertaining throughline. But it is difficult to decipher a deeper meaning to all the madness. It may be that the director’s intention is to create a visual smorgasbord more than anything – and if so, mission accomplished. But a little more substance to the surface would have pushed this lower-budget passion project into a really rare realm of quality in the genre. Outside of the visual mania there are a few production hiccups, with sound levels being off in certain scenes, a recurrent voiceover that sounds cartoonish and the setting becoming occasionally stale. However, this is offset by some genuinely impressive improvisation in others, such as John Mahler’s terrifying appearance as an undead version of Roscoe Sr. The director also extracts some fine performances from the cast – Paula Mahler’s Janice being a particular highlight which skirts the line between comic and sinister. Protanopia is a genuinely interesting and lively film. Audiences can be assured that they will never be bored thanks to the electric use of colour and lighting, and Matthew Mahler’s masterful editing of these sequences in particular. Others will yearn for a little more story and substance, and for the film to have a better sense of exactly what it wants to say under all the chaos. But to build a horror from the ground up and have it stand out as much as Protanopia does is an accomplishment in itself – one that no one will be blind to. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

The American Question film review by UK film critic Jason Knight. Starring Guy Seemann, Amy Chua, Joseph Orengia, John Keegan, Colin Woodard directed by James Kicklighter. HOME | FILMS | REVIEWS The American Question Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 22, 2024 Directed by: James Kicklighter Written by: James Kicklighter, Guy Seemann, Lucy Copp Starring: Guy Seemann, Amy Chua, Joseph Orengia, John Keegan, Colin Woodard A feature-length documentary about the issues concerning unity in contemporary America, directed by James Kicklighter and written by James Kicklighter, Guy Seemann and Lucy Copp. This intriguing documentary provides a deep insight into the crisis that is threatening political and economic stability in the United States. The film suggests that the United States has reached a point where its citizens are becoming increasingly divided and it investigates the reasons behind this by looking into American politics, immigration, globalisation, polarization and the American Dream. Presenting and narrating is Guy Seemann, a political analyst who has lived in Israel and has been working in campaigns and government since his teens. His attempts to find answers regarding the problems that are dividing America make him focus on three cities that seem to represent these problems: Erie, Hazleton and Detroit, three communities that are facing high unemployment and crime. As he travels, Seemann interviews a variety of individuals who have knowledge regarding what is happening in the U.S. and why. Some of these people are gym owner, Joseph Orengia, Professor of Psychology Tania Israel, PhD, journalist Colin Woodard, pharmacist John Keegan and army veteran Kyle McChesney. Along with the interviewees, the documentary contains footage of politicians and old footage of campaigns and riots. The filmmakers make frequent use of animation in order to visualise the narration and it usually involves the map of the United States. All this is supported by Nicolas Repetto's dramatic and dynamic score and special mention goes to the animated montage that opens the film. The viewing experience is informative and the subjects are thoroughly explored. However, some viewers might doubt whether certain or all of the issues presented in this documentary are the actual factors behind instability in the United States. As the feature explores the ways in which American citizens are becoming more and more diverse between them, it ends up looking into a number of subjects including a crumbling economy, demographic changes, immigration, xenophobia, inequality, polarization, globalisation, crime and unemployment. It is implied that the reason for these are a lack of communication and collaboration. This documentary reveals major problems that exist in the United States today and are significantly affecting the country in general, turning it into a place where people are split into groups and are not united as a whole. Generally, it presents an image of a country that seems to have lost its way and whose future appears to be in jeopardy. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Armstrong: Dark Secrets film review by UK film critic James Learoyd. Starring Christian Menace, Jaylon Bolden, Gloria Prince directed by Tray Williams. HOME | FILMS | REVIEWS Armstrong: Dark Secrets Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Dec 7, 2025 Directed by: Tray Williams Written by: Tray Williams Starring: Christian Menace, Jaylon Bolden, Gloria Prince Tray Williams’ Armstrong: Dark Secrets is, in many ways, a crime epic. It’s filled to the brim with overlapping dramas, complex interpersonal dynamics and moral grey areas. The film begins with a high-stakes situation wherein two men – having each been shot – are in critical conditions respectively. This is a phenomenal way to begin your movie from a storytelling standpoint, and maybe most effective is that the gunfight itself has taken place offscreen. The conceit is clear. The suspense is tangible and well-crafted due to its focus on the characters involved and their authentic emotions. These are characteristics of the film’s first half which are unfortunately neglected in the latter half. Williams’ screenplay is a nuanced one with many moving parts; but it’s a tough ask to balance every storyline with grace. Nevertheless, this is a very impactful movie which demonstrates a respectful level of dramatic scale and structural ambition. Within the first act, we most prominently follow two women connected with those almost killed in the shooting. Their interactions in the hospital – their unknown connections to one another and the strange sense of fate that’s brought them to a point of shared desperation – is what makes much of the writing feel incredibly empathetic. The movie it at its very best when it’s primarily about the fallout of gang violence, and just how many people an incident such as this impacts. Yet, as the narrative progresses, deaths and conflicts take place at a far more frequent, and eventually flippant, rate – unfortunately minimising what felt like a socially probing work, transitioning to more hollow Hollywood thrills. It remains well-crafted since this is a consistently well-directed piece, but it sadly loses its emotional steam and thematic resonance. To briefly touch on the technical craft, there’s some great work on display. Visually, this is a sharp and nicely balanced work. There’s an incredible use of steadycam so to create a sense of sustained unrest and disorientation. The least effective aspect of the cinematography is unfortunately the lighting – there's something about the image which is mildly lacking in depth. But it’s still all competent and watchable. When it comes to the audio, there’s some discrepancy. The on-location sound recording itself is of an expert, professional standard; however, the sound design is inconsistent. I’m referring specifically to varying background noise between takes which is distracting. This could have been fixed with what’s called room-tone, simply to soften out those jarring dips and background interference. To surmise, this is a movie which feels authentic, and there’s no better compliment than that. There are certainly issues with both story and craft, certainly, but this shouldn’t overshadow what is ostensibly a convincing, arresting depiction of contemporary conflict and chaos. Tonally, there is an increasing disparity which maybe could have been avoided with a slightly shorter runtime – or an edit that removes some of the more erratic sequences. Either way, the cinematic intent is always there. Featuring an impressive ensemble, if you’re after a gritty, unrelenting watch, then this could be the film for you. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Queen of the Beach film review by UK film critic Cat McAlpine. Starring Shilpa Poojar, Christopher McDonell directed by Christopher McDonell. HOME | FILMS | REVIEWS Queen of the Beach Film Review average rating is 2 out of 5 Critic: Cat McAlpine | Posted on: Aug 19, 2021 Directed by: Christopher McDonell Written by: Christopher McDonell Starring: Shilpa Poojar, Christopher McDonell While returning from his trip filming traveling preachers in India, Chris McDonell becomes enamored with some young girls hawking their wares on a beach in Goa. One precocious girl, in particular, catches his eye, and her name is Shilpa Poojar. At the time, Shilpa’s only nine years old, and she works full-time to help support her family. Almost desperately McDonnell repeatedly asks her, “Do you have a dream? Are you happy?” Shilpa shrugs several times before finally admitting that she’d like to go to school, but she can’t afford it. Unable to shake the idea that this young girl is working instead of getting an education, McDonell sets out to change her fate. McDonell has many paths he could follow in his telling of Shilpa’s story, but he largely avoids any avenue except trying to convince her to go to school. As he returns to India year after year, Shilpa’s interest in school fluctuates. She’s the breadwinner for her family, and if she stops earning an income her family won’t eat. It’s rare that you see a documentary so heavily dependent on the director inserting themselves into the narrative, but McDonell is determined to “save” Shilpa in the way he deems best. As he is entangled with Shilpa’s family, McDonell grows disheartened that there isn’t an easy win ahead of him. The girls he’s desperate to help are businesswomen who easily out-barter him. He’s constantly promising them gifts in exchange for their participation in the documentary, and his proximity to the young girls sometimes feels uncomfortable. He never acknowledges the obvious power imbalance between himself, a white adult man with the promise of money, and the young Indian girls who are desperate to earn their daily keep or otherwise be beaten. Once or twice, McDonell recognizes that India is often a location for sex tourism, but he doesn’t delve. McDonell never delves, in fact. He is desperate to make a documentary about sending Shilpa to school, and that’s the documentary he makes despite all odds. He never ends his mission, even when Shilpa is run out of her shop on the beach because she is accused of having an inappropriate relationship with McDonell. “I come here to help, and instead I cause all of these problems.” He worries out loud to her. “This is called life, Chris.” She consoles him. “This is India life.” The documentary is worth watching just to meet the whip-smart, incredibly charismatic Shilpa, who carries on despite horrible circumstances. But her journey seems halted and messy through McDonell’s insistence that she receive his help the way he wants to give it. Cultural context is sidestepped and ignored. Her story ends with no update on her adult life. Does she still have dreams? Is she happy? We are left with a multitude of unturned stones and unanswered questions. The only thing that is clear is that McDonell is proud of what he thinks he’s accomplished. Buy UKFR Banner Space About the Film Critic Cat McAlpine Digital / DVD Release, Documentary, World Cinema < All Reviews Next Film Review >

Ladybug film review by UK film critic William Hemingway. Starring Corinne Irving, Dani May Cook directed by Jason Galea. HOME | FILMS | REVIEWS Ladybug Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Oct 7, 2024 Directed by: Jason Galea Written by: Jason Galea Starring: Corinne Irving, Dani May Cook Ladybug is a nine-minute arthouse film from writer/director Jason Galea depicting, according to the tagline, ‘a haunted woman’. With this being an arthouse film, the subject matter is somewhat hidden in amongst the imagery on display and in truth it’s pretty difficult to identify just what on Earth is actually going on at all. For fans of Galea’s earlier work this should, however, not come as much of a surprise. His time with the band King Gizzard & The Lizard Wizard , animating a lot of their music videos, especially highlights a tendency towards the absurd and the sublimely ridiculous which Galea injects into his visual style. (Particularly impressive examples of this would be for the songs ‘Robot Stop ’ and ‘The River ’ which I would encourage everyone to have a look at.) Here in Ladybug though, there is no preconceived lyrical storyline to follow and so no basis for Galea to match his visuals to. Instead he’s doing it all himself, creating his own narrative, building a structure for a visual story, and then using all of his creative knowhow to express that to the viewer through his own visual techniques. The result, as you would expect, is really quite visually impressive, with a lot of striking shots of things coming together and breaking apart, exploding like stars and coalescing into eye like substances, or something like that, because it’s still not entirely clear what’s going on. The parts of the film which move away from the visual techniques and which include the characters are by far the poorest. It’s unclear what the two women are doing or what they represent, just that one comes into a dark apartment and switches on a few dimly lit lightbulbs then walks through the dark woods, while the other stares out at the camera from behind a warped glass window. There’s no dialogue to help the viewer understand what’s going on, so we’re just left to our own devices to try and unlock the mysteries behind what Galea is trying to say. The title, Ladybug , may well represent a lot to do with the dots flying about on the screen, as well as the colour scheme, but otherwise again we’re left at a loss as to just what is being represented throughout the film. As an arthouse piece, Ladybug works well enough, with it being enigmatic and metaphorical in its expression, and visually stunning in parts to boot. Unfortunately, it doesn’t offer enough for the audience to hold onto to get very much from the narrative or characterisation. In fairness, it’s obvious that something’s going on, that one woman is haunted by something, which is likely represented by the other woman in the frame, but in terms of finding out what that actually is, we’re all pretty much left in the dark. Jason Galea’s talent as an animator and visual expressive is undeniable, but a story writer he is not, and that lets him down when creating his own vision for his own narrative. My only hope is that this will get better with time and practise. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Upside film review by UK film critic Swati Verma. Starring Philip Rafferty, Keenan Dunleavey, Rachel Murray directed by Jim Mcmorrow . HOME | FILMS | REVIEWS Upside Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 28, 2022 Directed by: Jim Mcmorrow Written by: Jim Mcmorrow Starring: Philip Rafferty, Keenan Dunleavey, Rachel Murray The name "Upside" has connotations of some unusual situation that needs to be dealt with. The font of the title of the film is cleverly been chosen by the director Jim Mcmorrow to lighten the mood of the audience while he addresses the topic of Down's syndrome. The DOP Michael Reynolds shakes the camera slightly to denote the upheaval in their lives as a family unit. The close mid-shot used by the cameraman to establish the bond between the mother and two brothers that makes up the basic building block of the narrative of the film. The audience eagerly waits to see how the dynamics between the three characters change over the running time of the film. The script of the film is very well written around a major health issue that needs to be discussed. The continuity factor of the storyline plays a crucial role to keep the essence of the gripping yet emotional tale the director is trying to convey. The plot of the short film revolves around a young man suffering from Down's syndrome who attempts to gain some independence on his 18thbirthday from the overprotective yet loving mother. Will Stephen get the normal life he has always craved for? In the performances department, I want to first talk about Matul McGibbon the child artist who plays the young Dylan. He manages to switch effortlessly from being excited for his new-born brother to becoming more of a responsibility-driven person later on. The sense of maturity and understanding of the script by the young actor is commendable. Next, I want to talk about Keenan Dunleavey who essays the role of Stephen. The struggles within him to fit into society seems real and relatable to the audience. The character desperately wanting some sense of normalcy in life is portrayed with utmost realism. Phillip Rafferty is the older Dylan. Phillip makes sure he keeps his body language close to Matul McGibbon while playing the grownup Dylan so that the viewers don’t perceive him as a completely different character. Phillip effortlessly imbibes the various aspects of Dylan's personality. Rachel Murray is the mother of Dylan and Stephen in the short film. She displays a range of emotions. Murray is a loving mother yet transforms into an overprotective guardian when her insecurities about losing her younger son crop up. The viewers sympathize with the mother but also want her to deal with life situations better. The colour palette, lighting are kept natural while the music is intense in a few sequences where specific crucial details are shared with the audience so that the viewers feel involved with the storyline and don't lose out on the message the film delivers at the end. Upside movie shows the viewers how one is very much capable of finding happiness in any given situation in life. Family becomes the ultimate support system no matter what we are experiencing. It is very crucial to understand, respect, and give the desired space to everyone to coexist peacefully. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The North film review by UK film critic Jason Knight. Starring Bart Harder, Carles Pulido directed by Bart Schrijver. HOME | FILMS | REVIEWS The North Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 9, 2025 Directed by: Bart Schrijver Written by: Bart Schrijver Starring: Bart Harder, Carles Pulido A feature-length adventure drama written and directed by Bart Schrijver and starring Bart Harder and Carles Pulido. An English-speaking Dutch production that was filmed in the Scottish Highlands. Estranged friends Chris (Harder) and Lluis (Pulido) reunite and decide to go hiking for a month in the Scottish Highlands via the West Highland Way and the Cape Wrath Trail, with the intention of reaching Cape Wrath and in hope of rebuilding their friendship. However, dramatic complications will unstable things between them. This slow-burn film does not rely on the narrative in order to have an impact, rather, it focuses on character development and the relationship between Chris and Lluis. Through long takes and establishing shots and without any music, the viewer follows the two men as they go through their outdoor adventure, walking through mountains and several inhabited locations, sleeping in a tent, catching up and meeting other travellers. Schrijver's directing is an aspect that adds massive value. He creates many fantastic shots that reveal the beauty of the Scottish countryside and are supported by Twan Peeters' cinematography. Whether the camera is still or moving, the frame captures magnificent images of nature, making this feature a pleasure to watch from start to finish. The fact that the pace is slow would not had been an issue had it not been for the lengthy duration. The slow storytelling, that takes its time to move the plot forward is an effective way to explore the characters and acknowledge the activity that they are doing: traveling through beautiful scenery. However, experiencing this for more than two hours might be overdoing it, making the film feel overlong. Chris and Lluis have a bond between them, yet, they are quite different. Chris has a good job, a partner and hopes to have children one day. On the other hand, Lluis appears to lack direction in life and does not seem to be completely honest with Chris. On the surface, this is a story about hiking, camping and exploring nature. More deeply, it explores self-reflection, friendship, isolation and dishonesty. An outdoor adventure with a lot of drama. Some viewers might disapprove of the slow pace. Nevertheless, Schrijver's directing and the themes make this feature an achievement that deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Wonka film review by UK film critic Brian Penn. Starring Timothée Chalamet, Olivia Colman, Calah Lane directed by Paul King. HOME | FILMS | REVIEWS Wonka Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jan 13, 2024 Directed by: Paul King Written by: Simon Farnaby, Paul King, Roald Dahl Starring: Timothée Chalamet, Olivia Colman, Calah Lane In the distant realms of childhood it’s a fair bet that Roald Dahl featured in the literary choices made by most. A magical mix of imagination and youthful humour would easily put him on reading lists. This latest iteration of the kids’ classic doesn’t disappoint with a beautifully packaged combination of music and special effects. Director Paul King cut his teeth on Paddington and producer David Heyman has Harry Potter among his many credits. It’s therefore safe to say the story is in very safe hands. Willy Wonka (Timothée Chalamet) arrives in town with dreams of becoming a chocolatier. He has an eye on the shop he’d like to buy but decides to rest at the sanctuary run by Mrs Scrubitt (Olivia Colman). Noodle (Calah Lane) warns him not to sign anything. However he signs a contract that condemns him to a life of drudgery and debt. In a dark and grimy laundry Willy toils with Noodle and Abacus Crunch (Jim Carter). With the help of his new friends he secretly weaves a magical recipe that quickly alerts the local cartel of chocolatiers. The cartel led by Slugworth (Paterson Joseph) is determined to stop him and enlist the help of the local constabulary. If that isn’t enough he is dogged by a troublesome Oompa Loompa (Hugh Grant) regarding the small matter of some stolen cocoa beans. There’s no doubting the brilliance of a film that takes on board everything modern technology can offer. Hugh Grant’s delightful cameo as an Oompa Loompa is a marvel of computer generated imagery. The design is drawn from a vivid colour box that blends perfectly with a luxurious soundtrack. There are new songs written for the film by Neil Hannon from the Divine Comedy. He adds a characteristic dose of whimsy especially on ‘A World of Your Own’. However, it doesn’t quite reach the melodic precision of ‘Pure Imagination’ a song from the 1971 film. As an ensemble piece it works superbly with a bright cast that obviously revelled in the experience. Timothée Chalamet brings a vital charm and sense of mischief to the title role, whilst Olivia Colman is great fun as the evil Mrs Scrubitt. Some may find Wonka overly bland and loaded with sickly sweet sentiment. It is a children’s fantasy but there’s no reason why it shouldn’t appeal across the board. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Hunger film review by UK film critic Swati Verma. Starring Kalyan Goswami, Subinoy Ganguly directed by Junayed Alavi. HOME | FILMS | REVIEWS Hunger Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jun 13, 2023 Directed by: Junayed Alavi Written by: Junayed Alavi Starring: Kalyan Goswami, Subinoy Ganguly The writer-director Junayed Alavi brilliantly combines the horror genre with addressing a crucial social issue while adding a twist in the climax so that he can increase audience engagement with the content even though Hunger has a very short running time. The narrator (Subinoy Ganguly) and the landlord (Kalyan Goswami) along with the rest of the cast have managed to uplift the vision of Alavi allowing the viewers to take away a lot of key messages from the short film. The plot of Hunger revolves around the times of the Bengal Famine, a starving man gets into trouble when he gets a surprise invitation from the landlord. The font style used by the makers fits perfectly to establish the subject matter of the movie thus demanding the viewer’s involvement from the very beginning. The cinematographer Puspen Majumdar captures the long shot of the dried-up farmland along with a series of mid-shots and close-up shots of Raghu a poor farmer to illustrate how bad the effects of famine can get for the villagers under the rule of the East India Company. The black-white colour pallet is chosen by the creative team to depict a particular era to evoke a certain mood or emotion from the audience concerning the situation with respect to the script. The set design, lighting, sound, dialogues, costume, hair, makeup, and props provide a sense of a simple subtle treatment of the topic adding realism and making it relatable for the local set of viewers. Hunger follows a nonlinear form of storytelling giving the screenplay multiple layers allowing the audience the freedom to interpret the film as per their understanding. In terms of performance, Subinoy Ganguly as a Narrator is given the responsibility by Junayed Alavi to be mindful of all the nuances and subplots of the script and also pay attention to dialogue delivery, body language, facial expressions, and eyes to ensure the viewers don’t get bored of the content of the movie. Kalyan Goswami plays the landlord who is the antagonist of Hunger. The landlord is a powerful man who is given the duty to help the poor farmers to help them revive from the basic necessity in life like food but later some negative streaks are visible as the story moves forward. Goswami carries a strong personality effortlessly and the makers have added an apt background music to suit the character arc of the landlord. Hunger talks about the importance of food and other basic requirements when it comes to the question of survival in the case of scenarios like a famine. The short film reiterates the fact that one should be sure about the person he or she seeking help from because the majority of these influential people tend to take advantage of the situation. The Bengali movie restates that one shouldn’t give up on their morals for a powerful position at work because power fades away with time but morals are imbibed in the personality forever. The cinematic piece teaches us that we should be careful about what details we share with people as it can prove harmful for the individual in the long term. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Spoon-Man film review by UK film critic Matt Trapp. Starring Farren Chahal, Aqil Ghani, Daniel Farrier directed by Farren Chahal. HOME | FILMS | REVIEWS Spoon-Man Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Apr 27, 2026 Directed by: Farren Chahal Written by: Farren Chahal Starring: Farren Chahal, Aqil Ghani, Daniel Farrier Superheroes have come to dominate the pop culture of the early 21st century, and it’s no surprise that many filmmakers have attempted to put their own spin on the genre. Farren Chahal’s Spoon-Man is a quirky comedy take on the conventions of typical superheroism, and the short is brimming with quintessentially British personality. It’s fair to say that the short also feels disposable, as it fails to set itself apart from other superhero comedies and pastiches of the last 20 years. Most of Spoon-Man takes place in a single encounter, where a mugger (Aqil Ghani) has a man (Daniel Farrier) at gunpoint. Even before the eponymous hero shows up, the encounter is bizarre; there’s no question that the short will be leaning into absurdist humour. Chahal steps into frame as Spoon-Man (don’t forget the hyphen), dressed in a shoddy homemade costume, a spoon literally taped to his chest in a hilarious detail. Our Spooned hero engages in a back and forth with the mugger, and the comedy here is mostly solid. There’s a looseness in the dialogue that suggests some improvisation, which while charming, can make the scene feel like there’s not necessarily a destination in mind. The performances from Ghani and Chahal are likeable enough that the choppy dialogue can be forgiven, and their chemistry injects a lot of energy into what is a pretty static scene. It’s a shame that the short is so focused around this one scenario, and it would have been interesting to see a few more outings for Spoon-Man which are sadly only hinted at. Still, the short has a surprise in mind towards the end which is reasonably satisfying, and it reinvigorates Spoon-Man for a final extended punchline with an excellent theme song written and produced by Joseph Hooligan. It’s hard to ignore that Spoon-Man is ultimately pretty shallow, and it’s not doing or saying much about superheroes that other parodies haven’t done or said. In Spoon-Man, there’s more than a passing resemblance to The Tick, from them both sharing bright blue costumes, to their shared penchant for spoons. Audiences might also notice similarities to 1999’s Mystery Men , particularly Hank Azaria’s character Blue Raja, who is also themed around throwing cutlery (though he is not limited to spoons). It can be difficult to stand apart in a landscape where superheroes have been parodied so much already, and there’s an argument to be had that a 7 minute long comedy short shouldn’t need to make a grand statement on the genre. However, there could have been some more comedy mined from the short’s already comedic use of violence, perhaps leaning in to particularly British sentiments. While guns are commonplace in superhero fiction, owing to the fact that they are largely based in the United States, there’s no shock or question concerning the gun in Spoon-Man, which visibly takes place in the midlands. Chahal may have wanted to keep larger statements away from his comedy, and that’s entirely reasonable and fair, but the result is a short that lacks some bite, one which fails to really satirize anything that The Boys hasn’t already. It’s hard not to love Spoon-Man thanks in large part to the charming performances and mostly witty dialogue. While it may not aspire for greatness, the short manages to deliver some good laughs, without outstaying its welcome. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >