Diary of a Ghost film review by UK film critic Lee Sinden. Starring Genevieve Chenneour, Alfie Noble and Mia Rodgers. directed by Caroline Hajny. HOME | FILMS | REVIEWS Diary of a Ghost Film Review average rating is 4 out of 5 Critic: Lee Sinden | Posted on: Sep 23, 2026 Directed by: Caroline Hajny Written by: Maren Koenigs Starring: Genevieve Chenneour, Alfie Noble and Mia Rodgers. “Our Story was meant to be longer than a year; it was meant to be a lifetime”. This is a short film looking at grief and how one young woman, Sage Evans, is coping a year after her boyfriend’s death. This was her first love, and we see how she struggles as grief impacts every part of her daily life. She battles to keep him close but is overwhelmed by the reminders of what happened that tragic day. To cope, she writes chapters in her diary, which help bring her lost love to life. Is this healthy, or is this taking her down a dark hole? It is amazing what can trigger a memory: a sound, a picture, or even a smell. The film shows all of this. Genevieve Chenneour plays Sage Evans, and she does a remarkable job keeping the audience engaged. This is an achievement, as so much of the film focuses solely on her. With minimal dialogue, Chenneour successfully conveys the character’s sadness through her facial expressions and body language. Her actions make the audience feel the pain of loss as they follow her through every emotion. This powerful performance will speak to many who have experienced the pain of grief. Alfie Noble gives a sincere performance as Riley Leeks, the boyfriend who has been lost far too soon. He and Genevieve Chenneour have strong chemistry as they bring comfort and sadness to the main roles. His character delivers an important message that it is time to move on. There are disturbing moments, but they give the audience a gritty reality outside of Sage's mind. Caroline Hajny directs and has experience developing stories with a female lead. In this film, she has created a beautiful story that will have a lasting effect on its audience. The locations support the actors’ portrayal of loneliness, and the close-up camera work helps the viewer understand how the main characters feel. The musical score is well chosen to reflect the sadness in each scene, particularly those involving Sage and Riley. Music can play a pivotal role in emphasising emotions and developing a film's many layers. Some words will leave an imprint on the audience, and that comes down to the writer's talent. Some of the script is pure poetry with a beautiful insight into how a person can feel when someone close has died. It is impossible to know what people are going through, and the writer delves into the loneliness that accompanies grief with a powerful closing message. The words are delivered softly but with conviction, making them even more thought-provoking. I think every part of this film will tug at the heartstrings and allow viewers to reflect on their own feelings of loss and grief. The cast's performances are highly impactful and show that grief can affect everyone around you. Film can make a real impression and play an important role in people’s lives by giving them characters they can connect with. This film certainly does that. Buy UKFR Banner Space About the Film Critic Lee Sinden Short Film < All Reviews Next Film Review >

Incognito film review by UK film critic Jason Knight. Starring Vikram Singh, Ayushi Nema, Dev Chauhan directed by Ravi Muppa. HOME | FILMS | REVIEWS Incognito Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 6, 2022 Directed by: Ravi Muppa Written by: Ravi Muppa Starring: Vikram Singh, Ayushi Nema, Dev Chauhan A hotel receptionist discovers that one of the guests is in serious trouble. A man (Singh) works as a receptionist at a hotel. However, that is not the only thing he does there, as he has placed hidden cameras in one of the rooms and the en suite bathroom, so that he can film couples as they have intercourse and then he uploads the videos on a pornographic website in order to make money. One day, a man (Chauhan) and a young woman (Nema) rent the same room and through the cameras, the receptionist finds out that something very bad is going on. This short is a thriller with a great deal of suspense and tension. With very limited dialogue, it tells a dark story that catches the viewer's attention right from the start and maintains it until the end. The plot deals with rather sinister subjects that include people unknowingly being filmed while they have intercourse and having the act being posted online, people trafficking and individuals being forced into prostitution. With this in mind and the addition of some scenes that are quite distressing, it should be mentioned that this film is not for sensitive viewers. As the main character, the receptionist is mostly an anti-hero. Because of what he does with the cameras, the audience is unlikely to root for him, even though he decides to help the woman who is being used as a sex slave by the man who accompanies her. The receptionist proves that he has a heart, however that is not enough to redeem him. The character who gets the viewer's sympathy and support is the unfortunate young woman, who is in a terrible situation. The story is told from the perspective of the receptionist and much of the film is seen through the spy cameras. By intercutting the hidden camera shots with actual shots, the director and writer Ravi Muppa creates a lot of tension. The dramatic, suspenseful and tense music by Mathew Job is a great aspect that helps create the right emotions and praise also goes to the cinematography provided by Azim Moollan. This short thriller is certainly one that will keep the audience in suspense and occasionally at the edge of their seat. The acting is strong and the plot (although dark due to the subject matter) is quite intriguing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Dawn Raid film review by UK film critic Hope Madden. Starring Andy Murnane, Danny Leaosavai'i directed by Oscar Knightley. HOME | FILMS | REVIEWS Dawn Raid Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 11, 2022 Directed by: Oscar Knightley Written by: Matthew Metcalfe, Tim Woodhouse Starring: Andy Murnane, Danny Leaosavai'i “Delightful” is a word I wouldn’t expect to use to describe a documentary about the rise and fall of a hip-hop empire. And yet, there you have it. Dawn Raid , Oscar Knightley’s doc about the seminal New Zealand rap label, is just that: delightful. The main characters in the tale, Dawn Raid co-founders Danny “Brotha D” Leaosavai’i and Andy Murnane, are delights themselves. Humble, funny, self-deprecating and excellent storytellers, the duo tell their tale the way a buddy might over a few beers. “Dude, listen to this — it’s crazy!” The pair met taking a trade school business course that preached entrepreneurial spirit. Well, these two had that, so why finish the training? They wanted to start South Auckland’s first hip-hop label. To generate funds, they made and sold t-shirts. The t-shirts, like their label’s own name, took ugly stereotypes about Polynesians and turned them on ear. (Dawn Raid itself refers to racist, government-sanctioned police action meant to rid NZ of unwanted Polynesian Islanders who’d outstayed their welcome.) The joy and community pride that infects the pair’s actions inform not only their entire career but the film itself. While Murnane talks consistently of his desire to go bigger and get richer, it’s clear that both entrepreneurs wanted primarily to give South Auckland the chance to show the world its worth. And it did. Beyond the charm of the film’s leads is the joy of the music itself. Knightly is wise to showcase each of Dawn Raid’s major artists—Deceptikonz, Adeaze, Aaradhna, Mareko and Savage. This not only provides a remarkable soundtrack, but it amplifies the impressive and unique style of music Dawn Raid recorded. The typical ups and downs associated with this kind of music doc take on a freshness for the sheer energy Murnane brings to the film. Not a moment is wasted on regret, even though the digital age and the NZ government were not kind to Dawn Raid. Still, Leaosavai’I and Murnane have little but joy to share when they remember the ups and the downs. Regardless of the fact that the outline is the same as many an entertainment doc, the soul is as jubilant as the music. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

Kalimba film review by UK film critic Joe Beck. Starring Raiany Silva, Sheila Ball. Joana Cruz directed by Robbie J. Atkinson. HOME | FILMS | REVIEWS Kalimba Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Sep 10, 2023 Directed by: Robbie J. Atkinson Written by: Robbie J. Atkinson, J.E. Atkinson Starring: Raiany Silva, Sheila Ball. Joana Cruz It’s well known that the greatest horror is generally psychological. The horror within can inspire fear far greater than anything that resides outside the corporeal, and often is the cause of such external horrors as spiders or snakes or sharks. Our mind is the source of all human fear, whether directly or indirectly, and as psychology and scientific understanding has become more developed, so have horror films and, perhaps more significantly, horror literature, to focus more on a psychological terror and how that is linked to the fears that exist outside our own bodies. ‘Kalimba’ blends the psychological and the physical fears exquisitely, creating a short horror film high on thrills, full of nervous tension, and with some excellent direction. The film focuses on a young woman, Cassidy (Raiany Silva), and her haunted psychological state, as she battles a sleep paralysis demon. Cassidy’s reality and dream state converge more and more, becoming blended and more confused, as her terrors transfer to her reality, leading her to the black sheep of the family to try and solve her troubles. Perhaps the aspect about ‘Kalimba’ that is most immediately striking is the sound design. Beginning with the sound of heavy breathing, and the deep, intimidating voice of a demon saying ‘look at me’ the sound design is always going to be immediately apparent, but in ‘Kalimba’ it is sustained to a high quality throughout. Sound is used excellently to create suspense and and to the terror of a scene, and even in the quiet scenes, in which there is no horror, at least no horror of note, to be found, the sound design continues to be impressive. Another aspect of ‘Kalimba’ which is exceptional is the directing by Robbie J. Atkinson, who handles the camera with the right balance of verve and composure in order to set up a number of thrills and suspenseful moments. Atkinson’s use of jump shots to create horror are surprisingly effective, where so often they can be comical and come across as cheap, and the use of lighting is genuinely phenomenal. Dim purple, yellow, and green lighting with the silhouette of Cassidy dancing, or screaming in the dark, outline the dreamlike state perfectly, whilst adding to the creepy atmosphere of Cassidy’s home, which she shares with her mum (Sheila Ball), who is largely absent and distant from her daughter. ‘Kalimba’s quality further grows through its script, which is dynamite, both in terms of dialogue, and in terms of authenticity. The dialogue zings between characters, particularly in the interactions between Cassidy and friend Esther (Joana Cruz), which is both integral to outlining the breaking down of reality and psychological barriers, as well as playing as extremely funny - to the credit of the two young actresses whose chemistry is extremely strong. Indeed, the acting throughout is compelling, with Raiany Silva giving a particularly captivating performance in the lead role as Cassidy, handling both lighter moments, and those that require bursts of emotion to engaging effect. This is what happens when good actors are given a good script to work with - excellent performances in a good horror film. ‘Kalimba’ is an excellent psychological horror. High on thrills and suspense, and complete with excellent direction and an intriguing script, with a superb lead performance. ‘Kalimba’ soars in its exploration of sleep paralysis and its breaking down of reality, and outlines the quality of its filmmakers in its technical aspects. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Wavelength film review by UK film critic James Learoyd. Starring Lily Manning directed by Holly Warburton. HOME | FILMS | REVIEWS Wavelength Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Sep 15, 2025 Directed by: Holly Warburton Written by: Benjamin Verrall Starring: Lily Manning Wavelength stands tall as being one of the more beautiful animated short films this critic has ever seen. It’s quite the transcendent fusion of poetry and design; combining evocative words with moving, textural visuals. This masterpiece is only a little over three minutes in runtime, and yet in that short span, the filmmakers craft such an emotional and complete expression. We begin our illusory story in a train station. The virtual camera flows through layer upon layer of silhouetted personages. Meanwhile, we hear layered, fragmented sounds of each different individual living out their story. There’s a powerful loneliness to these dark figures, and yet – rather incredibly – a genuine beauty to this cacophony of activity within the mellow, abstract station space. As if we’re viewing the world in its unfiltered, all-encompassing state. Immediately, the piece sets up its themes through the hypnotic voiceover: experiencing the world through a ‘Wavelength’ -- specifically linking with the sensory experience of another person and drowning out the rest of the noise with a singular focus. In the short’s latter part, the narrative shifts to subjective descriptions of what happens when such a wavelength is absent from one’s life – like following a breakup, for instance. The animation throughout is astonishing. There’s a soft, hand-drawn, painterly evocation about it, despite some of its digital construction – and this is emblematic of the attention to detail present in Wavelength. There’s a great amount of depth in every frame; and, as someone who has become slightly desensitised to the ossified state of desaturated dramatic short films, the colours here felt cinematically rejuvenating. Whilst the graphic style does not, on its surface at least, appear to take after anime – there is most certainly something of the work of Miyazaki to be found within these tranquil, mediative compositions. Some of the themes touched upon here are ambitiously complex, especially considering the animation’s short runtime. But that’s exactly why a poem is a poem and not a novel; there’s an elegance here in the rhythms of speech combined with the film form which any audience member can find light, appealing, but also psychologically engaging. The film – in addition to evoking feelings and textures through audio-visual means – is encouraging you, the viewer, to consider your own environment and your own surroundings; its unique patterns and ways of being. This all feels like such a collaborative, egoless effort, since no one element of its construction holds priority over another. Sure, it’s a stunning work of animation; and yet, were I to close my eyes while watching, I would find an equally fascinating experience in isolating the words and soundscapes carefully crafted by the writer and audio department. What’s then masterful is the fact that the animation team has created something that can also stand apart as a successful piece of art – even without said audio. What a moving effort from animator and art director Holly Warburton, creative lead Kate Auster, writer Benjamin Verrall, voiceover artist Lily Manning, composer Jack Ledger-Dowse, sound designer Thomas Dalton, and the rest of the team. Very rarely have I witnessed such a short work wherein each element combined creates such harmony. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, Animation < All Reviews Next Film Review >

Watch Painting By Numbers at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. Painting By Numbers Listen to our review on the film podcast What our film review said: READ FULL REVIEW Like many of his films, Jegatheva has developed an educational context for his audience with vibrant animation and an interesting vision into what our world could become if we keep seeking to destroy it. Painting by Numbers is a clear presentation of the faults of the human condition and the form of an animated short film is an eerie way to portray it. Proudly supporting MediCinema for our 2022 film festival.

Rub film review by UK film critic Brandon Thomas. Starring Micah Spayer, Jennifer Figuereo directed by Christopher Fox. HOME | FILMS | REVIEWS Rub Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jul 31, 2023 Directed by: Christopher Fox Written by: Christopher Fox Starring: Micah Spayer, Jennifer Figuereo As disheveled loner Neal (Micah Spayer) sits at his work desk scanning through dating site profiles, it’s hard not to immediately think of other cinematic losers. Taxi Drive r’s Travis Bickle, One Hour Photo ’s Seymour Parrish, and Joker ’s titular character spring to mind first. However, as Christopher’s Fox feature debut Rub plays out, our expectations are slowly thrown out the window and the film unfolds into something completely different. Neal leads an isolated life. His coworkers don’t take him seriously, his relationship with his family seems to exist only over the phone, and any attempt at a romantic relationship is dismissed. At the urging of a co-worker, Neal visits a tawdry massage parlor where he meets Perla (Jennifer Figuereo). As Neal’s humiliation at the hands of his co-workers boils over, he makes another visit to the parlor – a visit that will wind up with both Neal and Perla on the run. The way Rub nimbly dances between sub-genres really allows it to surprise. Just when you think it’s going to become Maniac , the film veers off into Taxi Driver territory. However before Rub can fully commit to homaging Scorsese’s anarchic opus, the film takes another hard right into Badlands . Director Fox never lets his film get comfortable in any of these genre-defining areas. Instead, the tone and tenor of the film follows the characters and their journey, not the other way around. Spayer has the flashier role of the two roles, and he handles himself quite well, but the real fireworks happen when both Spayer and Figuereo are sharing the screen. They are an unlikely pair but their vulnerability shines through to something deeper and more meaningful. Both characters have been discarded by those around them – to be used only as things of either enjoyment or ridicule. It’s a pairing that begs for a happy ending, but the mounting suspense and tension only point to one inevitable outcome. Rub is the kind of character-centric genre outing that evokes the electric and gratifying cinema of the 1970s. Sure, it’s a low-budget film that’s rough around the edges, but any shortcomings on a purely production level are soon erased by the commitment to surprising storytelling. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Heartland film review by UK film critic William Baines. Starring Maxine Goynes, Haskell Vaughn Anderson III directed by Jahmil Eady. HOME | FILMS | REVIEWS Heartland Film Review average rating is 5 out of 5 Critic: William Baines | Posted on: Aug 18, 2021 Directed by: Jahmil Eady Written by: Jahmil Eady Starring: Maxine Goynes, Haskell Vaughn Anderson III Heartland is an absorbing and thought-provoking short film that follows Jackie (played by Maxine Goyes) attempting to immortalize her dying Grandfather (played by Haskell Vaughn Anderson III) using new technology that records the two together and stores their memories. However, Jackie’s focus soon shifts from enjoying the last moments with her Grandfather to an obsession with the new tech as she begins to miss the last real memories. Jahmil Eady’s storyline is excellent. Powerful, thought-provoking and relentlessly entertaining. In a way, it acts as an examination of the modern world and how our attempts to immortalize our memories and loved ones through technology can harm our connections and enjoyment of everything. For me, I thought about what happens at events such as concerts today. A crowd of people going to see a band live, yet so many view it through the lens of their phone. It is another attempt to immortalize a memory by sacrificing making that memory in the first place. Eady takes this idea that we see so often in the modern world and shows us the risk of emotional damage that misusing technology can do. The cinematography of the film complements the storyline perfectly. Much of it is simplistic, but effective. The film is not necessarily an excessive exercise in the Directors style, (as so often seen by new filmmakers) but driven by a powerful storyline that is complemented by the graceful and subdued cinematography. An outstanding needle drop of Bill Wither’s ‘Lovely Day’ really ties together the sweet, beautiful images that Eady creates and makes us pray that Jackie does not miss the last beautiful memories that are unfolding in front of her. Maxine Goynes’ performance as Jackie is genuine, meaningful and always believable. Sharing the screen with the subdued yet outstanding performance by Haskell Vaughn Anderson III lead to a sweet relationship created. A relationship that a viewer fears could end bitterly and with regret. Overall, I cannot fault Heartland. It is a bold and meaningful storyline that acts as a warning for a trap that we can all fall into. Outstanding performances by Anderson and Goynes form a relationship on-screen that I am sure Eady aimed to create. The Directing style of Eady is faultless, too. Avoiding the over-the-top exercise in style trap that many new filmmakers fall into. Instead, making every shot count to what she really wanted to create. A short film with meaning, beauty and a message that you are unlikely to forget. Buy UKFR Banner Space About the Film Critic William Baines Short Film < All Reviews Next Film Review >

Primal Fear film review by UK film critic William Hemingway. Starring Leilah Star, Daniel Mart directed by Elizabeth Jean Nicholls. HOME | FILMS | REVIEWS Primal Fear Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Oct 14, 2024 Directed by: Elizabeth Jean Nicholls Written by: Elizabeth Jean Nicholls Starring: Leilah Star, Daniel Mart Shot for a Horror short film contest in 2023, Primal Fear is a five-minute short film about a girl who’s just trying to get home. Liv (Star) is getting back to her apartment late from work one evening after having been to the store to stock up on groceries. As she parks the car and gets all of her bags out of the boot she is surprised by a stranger, who rather creepily hangs in the background, and materialises as she shuts the door of the boot down. The stranger (Mart), who looks to be around Liv’s age, is wearing a facemask and apologises for startling her. It seems he just wants to help, and in seeing that she is struggling with her bags, offers to take some of the load off by carrying a few things to her door for her. Liv, obviously, brushes him off and declines the help but after a few small insistences and a spoken guarantee that he ‘is not a serial killer’, the two get talking. The stranger then shows himself to be the most ADHD creep out there as he talks about his allergies and the fact that it’s flu season and whatever else he can think of to explain away his facemask. He is nerdy and anxious and speaks at a hundred miles an hour, while also pointing vaguely into the distance to supposedly identify the building that he lives in just across the road. Eventually, Liv acquiesces and allows the stranger to help her, even though it’s against her better judgement, with those damned social cues and societal expectations again working in the favour of the pushy male predator. With bags in hand the two of them head across the car park and up the stairs towards Liv’s apartment, where she hopes she can get away without him inviting himself inside. At this point, Primal Fear takes a rather stupid turn and the real horror kicks in, it’s just that it’s so far removed from reality and what we’ve been shown up ‘til now that it really jars with the rest of the film. Liv’s apartment then becomes some sort of lockbox from which she can’t escape and the stranger, well, that’s best left unsaid. In the end, the rug is pulled out from under us again and we find that the previous scenario probably never happened, leaving Liv to deal with the stranger in a better way, but which leaves the audience wondering what on Earth it was all for in the first place. For a film that’s only five minutes long there’s an awful lot that’s unclear about the narrative of Primal Fear . The oddness of the ‘scary’ scene is one thing, but when matched with the ending and the way the film is wrapped up, suddenly everything becomes muddied. It seems that Liv was just imagining a worst-case scenario, as most women have to do on a near daily basis to keep themselves safe when dealing with pushy, insistent men, but when she gets another chance to relive the situation and stand up for herself, the stranger doesn’t react very well and we’re left to wonder if she has, in fact, made an enemy and made things worse for herself. Unfortunately, that’s where the film leaves us and so the message of whatever writer/director Elizabeth Jean Nicholls was trying to say is lost and any goodwill built up in the mind of the viewer in the first half of the narrative also falls by the wayside. In saying that, the switcheroos at the end at least add something to the story of Primal Fear and stop it from becoming just another sad, bad horror short. The photography throughout is well handled by James Saint-Surin and everything looks good even though we know it’s just a couple of people in a car park on a dark night. There’s not much to talk about in terms of music and incidentals, but what is there is good and matches with the feel of the film well. Sadly, there’s nothing to gain from watching Primal Fear as the stupid turn is just laughable and the message is lost in the end. Even at only five minutes long you’d be better leaving this alone and watching something which actually makes sense. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Incomer film review by UK film critic Hope Madden. Starring Domnhall Gleeson, Gayle Rankin, Grant O'Rourke directed by Louis Paxton. HOME | FILMS | REVIEWS The Incomer Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 23, 2026 Directed by: Louis Paxton Written by: Louis Paxton Starring: Domnhall Gleeson, Gayle Rankin, Grant O'Rourke The Incomer , acclaimed short filmmaker Louis Paxton’s first feature, opens as a sort of fairy tale. A woman’s voice begins a narration about two gulls, brother and sister, and their obligation to protect themselves and their island from incomers. What follows is a charming, funny, endearingly odd and oddly endearing story of isolation and community. Isla (Gayle Rankin, glorious) and her brother Sandy (Grant O’Rourke, dear) have lived alone on Auk Isle, a remote Scottish island, since they were children. And, like the tale, they organize their days around certain tasks including training for the invasion if incomers. They get their chance to test that training when Daniel (Domnhall Gleeson, awkward perfection) comes to call. Daniel works for the government, who’s recently learned that this uninhabited island is, indeed, inhabited. Daniel’s been sent to evict and relocate the siblings. Their time together devolves into an often absurd and silly but always intelligent and empathetic struggle: between the incomer and the gulls, between loneliness and community, and between fear and optimism. Paxton’s somewhat miraculous script never dismisses Isla and Sandy, even when it’s laughing at them more than with them. And Gleeson is the ideal choice to bridge “normal civilization” with the mythical fantasy alive on this island. A lonesome darkness anchors the film that gives the absurdity substance, and Gleeson’s endless tenderness keeps you emotionally invested in the story. And O’Rourke’s soft-headed vulnerability makes for a delightfully sweet character. Back on the mainland, a small ensemble of sharply drawn comic foils (Michelle Gomez and Emun Elliot, in particular) serves as a wonderful balance for the trio on the island. But Rankin owns this film. Isla’s ferocity and naivete both reflect an incredible intelligence, and Rankin brings all three to bear in a performance that commands attention. Because of this powerful performance, The Incomer is more than funny, more than clever. It’s a reminder that we are each the agent of our own destiny. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Gon Bauer film review by UK film critic Chris Buick. Starring Robert Oppel, Jason Weary, Cynthia San Luis, Sofia Papuashvili directed by Gary Teperman. HOME | FILMS | REVIEWS Gon Bauer Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: May 10, 2025 Directed by: Gary Teperman Written by: Gary Teperman Starring: Robert Oppel, Jason Weary, Cynthia San Luis, Sofia Papuashvili Gon Bauer from Canadian filmmaker Gary Teperman starts big. Kicking off with some 80s synth and a graphic sex scene (not to be the last), the film throws us straight into the crazy world of its eponymous protagonist, Gon Bauer (Oppel). By day, Gon (pronounced John) is a surgical technician, real name Michael. By night however, he assumes his podcast persona of the “loud-mouthed, misogynistic asshole” Gon Bauer, where he and his team air their interesting views on women, monogamy, misogyny and other controversial topics that get all the likes and clicks these days. But Gon, it is soon revealed, is also in a spot of trouble, owing some increasingly impatient bad guys quite a bit of money. But if Gon can help them entertain an acquaintance of theirs by getting them into the local swinging scene, something Gon used to be well acquainted with, they might be a bit more understanding. Despite an intriguing premise and promise to explore this colourful, seedy underworld, Gon Bauer instead very quickly loses momentum, losing any real sense of urgency, drama or purpose as the two narratives of Gon’s entanglement with these gangsters alongside the podcast sub-plot distract from one another rather than gel together as intended. It feels like two separate stories fighting for attention, with some of the more interesting parts seemingly sacrificed for the podcast thread that is perhaps looking to make some point about internet culture or misogyny or both, but never really gets there. Its lack of a focused and engaging storyline also means there is no distraction from some of the film's other flaws. While technically the film can’t be faulted, it sounds great, looks better with Teperman and their team showing they definitely have the filmmaking chops, it’s excessive content, middling script, and serviceable-at-best performances far outweigh those positives. Gon is a man with edge, strong opinions and zero Fs given, which in theory makes for a compelling lead to follow, but Gon never actually becomes someone you want to like, win, understand or even follow by the end, something in fact that can be said for most of the characters. And while Gon Bauer 's unforgiving edge and challenging nature is acceptable in theory, it all feels ridiculously gratuitous here, the films excessive language and plot-irrelevant sex scenes never in service in something bigger and instead highlighting the fact that all the female characters lack any sort of agency, instead being reduced to a sex objects or someone to be talked down to. The world of Gon Bauer could be an interesting one, but unfortunately, this film doesn’t show that. There is a sequel in the works, but while Gon Bauer does show off some very impressive technical filmmaking, the lacklustre performances and script don’t quite cut it this time around. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Sebastian film review by UK film critic Rachel Willis. Starring Ruaridh Mollica directed by Mikko Mäkelä. HOME | FILMS | REVIEWS Sebastian Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Aug 28, 2024 Directed by: Mikko Mäkelä Written by: Mikko Mäkelä Starring: Ruaridh Mollica Sebastian is the alter-ego for Max (Ruaridh Mollica), an up-and-coming young writer in writer/director Mikko Mäkelä’s film, Sebastian. A journalist and short story writer by day, Max spends his nights as “Sebastian,” working as an escort and researching for a novel in progress. Though writing about sex workers is apparently tired, the aspect of hustling in the digital age perks up the ears of a publisher. The film does a good job of examining the question of how deeply writers live their own stories. Interviews with writers peppered throughout the film contradict Max’s lived experience: most of the writers insist their fiction is completely separate from their lives. This makes it interesting when Max receives criticism for his work, especially when he’s told it’s not realistic enough or that the emotions of the character negate what others have heard. To be told his work is repetitive or unbelievable makes the criticism harder for Max to bear. The film doesn’t always follow its own advice. Some of the scenes become repetitive. This mirrors the progress of Max’s novel, but that doesn’t make it any more interesting to watch. However, this is minor, and the film quickly shifts to widen Max’s experiences. As he delves deeper into sex work, his ability to maintain two lives–that of Max and that of Sebastian–starts to break down. As interesting as it is to examine the realism and lived experiences of writers and their work, the film leaves several ethical dilemmas unexamined. Since Max is writing about Sebastian’s experiences, he runs the real risk of “outing” his clients, something untouched in the film. While the film has its own story to tell, it would have been interesting to show more of what’s at stake for Max’s “characters.” On the whole, Sebastian is a well-written and well-acted look at how far a writer will go in pursuit of a good story. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, LGBTQ+ < All Reviews Next Film Review >