Sundays With Dad film review by UK film critic Holly Baker. Starring George R. Hildebrand, Timothy J. Cox directed by Thomas Angeletti. HOME | FILMS | REVIEWS Sundays With Dad Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Aug 24, 2026 Directed by: Thomas Angeletti Written by: Timothy J.Cox Starring: George R. Hildebrand, Timothy J. Cox Sundays with Dad is an all-American, family-based short film. Directed by Thomas Angeletti, the film follows Widower Ben, who is spending a Sunday afternoon bonding with his son Jason, a weekly tradition they have maintained for years. The film takes place mostly on Ben’s porch, where Ben reveals to his son that he has been struggling with loneliness and shares a secret he has been ashamed of: how he has been coping without his late wife, Maggie. Ben has hired a prostitute named Heather — but not for sexual purposes. Heather is simply there as a companion to Ben, for him to spend time with so he can enjoy his life, distracted from the difficult feelings of grief. This revelation is bizarre at first; however, as the two men connect and Ben opens up, viewers will find themselves touched by Ben’s story and somewhat empathising with the choice he made to hire Heather. Whilst the two main protagonists are men, and they are also the only physical characters in the film, a major theme of the film is the role of women. Jason speaks lovingly about his wife Melanie, who also had a caring relationship with Ben, and Ben is haunted by his unrelenting love for his dead wife, which is torturous for him now that he must live without her. Although there is controversial messaging here surrounding the purpose of women, as being there to comfort men, those who watch and listen to Ben can understand the situational nature of his struggles, and allow his feelings to be at the core of the film’s messaging. The exploitation of women for use in prostitution is grim on many levels, so viewers may find it difficult to open their minds to the film’s core narrative. Sexual or not, the concept of a man paying a woman for her comforting services is a long-lived, disgusting exchange which is ingrained in misogyny. We sense Jason’s disgust at his father’s revelation, although he eventually comes to understand his father’s difficulties leading to this decision, as Ben breaks down in front of him. However, with its short runtime of only 22 minutes, and unfortunate lack of actual characterisation of Heather as she is never pictured on screen, Ben’s action does not feel truly justified. This is worsened by the emphasis made on the fact that she is good at cooking and cleaning, another example of the film leaning into misogynistic tropes about women. The most touching aspect of Sundays with Dad is Ben and Jason’s relationship, and the way that both characters express emotions. Jason and Ben’s weekly time together is clearly more of a routine than a true time of bonding; until this precise Sunday, both men haven’t been able to truly open up to one another. Here, viewers witness a heartfelt flooding of emotion as Jason comes to understand the true impact of Maggie’s loss. Though both actors are cast as unprofessional, their talent does not go unnoticed. This is particularly the case for George R. Hildebrand, who plays Ben. The film is made up of lingering still takes, allowing Hildebrand to shine through his monologues. Sundays with Dad is a film full of love. This is seen in the film’s attention to detail. In the small moments that are shot inside the house, the camera’s close-up shots show a romanticisation of the cinematic space, focusing on the joy in small, satisfying domestic moments such as the opening of a brown paper bag and the preparation of lunch. Love is also clearly the strongest emotion that both men feel. This is what leads them to accept one another fully, as Ben accepts that Jason now has a family of his own to take care of, so he cannot spend more than one day a week with him, and Jason accepts that his grief has led him to make a morally controversial choice to help him cope. Most of all, Ben’s love for his late wife is what permeates the entire film. Ben’s sadness and the hole that is in his life are especially moving, and all the while, adoring. What is grief, if not love persevering? Buy UKFR Banner Space About the Film Critic Holly Baker Short Film < All Reviews Next Film Review >

War of the Wills film review by UK film critic Jason Knight. Starring Steven David Martin, Kot Takahashi, Gina Alvarado, Emily Tugaw, Ilana Niernberger directed by George Dondero. HOME | FILMS | REVIEWS War of the Wills Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 2, 2023 Directed by: George Dondero Written by: George Dondero, Bethany Browning Starring: Steven David Martin, Kot Takahashi, Gina Alvarado, Emily Tugaw, Ilana Niernberger An elderly man and his estranged son must spend a month living together in the same house in order to claim a vast inheritance. A wealthy old man has passed away and he left instructions stating that if his son (Martin) and grandson (Takahashi) are to inherit his wealth, the two of them must live in his large house for 29 days and not leave the property during that time. The problem is that the two potential executors do not have positive feelings for each other and their departed relative arranged things that way in hope that if they spend so much time together, things will improve between them. Things will not go smothly, as father and son will often lock horns. This feature is a comedy drama, particularly a family drama, as the center is the relationship between the two relatives who are hoping to inherit and it is a relationship that is far from a good one. The father, a man in late middle age, did not reveal to his deceased dad that he had a son until just before he passed away, so needless to say, he was never a proper parent to the young son, who in his turn is not very fond of him as a result. As they stay in the house together, just the two of them, the father keeps taunting, teasing and provoking his boy, hoping that he will leave the house and thus lose his right to receive the inheritance. The son tries to remain calm and endures his dad's cruelness, as he needs the money for an investment. Meanwhile, two women have been assigned to watch the property and make sure that neither of them leaves. Martin's character is the one who steals the show. A grumpy, sarcastic, rude, childish and manipulative person who drinks a lot, listens to old music on a gramophone and is determined to claim the inheritance for himself, by trying to come up with all sorts of ways to make his son quit, including using people the latter knows. Martin plays his role convincingly and it seems that he is having fun with his character. Takahashi plays a part that is quite different. The vile man's son, who is young, means well and falls victim to his dad's mistreatment. He attempts to cope by remaining calm and by viewing online videos about anger management. He comes across as a decent person and the audience will most likely be rooting for him and not his father. The general concept is amusing: a father and son who dislike each other force themselves to live together in a house that is filled with empty bottles that contain notes. The film is interesting and amusing at first, however after a while it runs out of steam and it is towards the final act that things pick up again, during which things move towards thriller territory. Non-diegetic letters announce the number of the day that is taking place and praise goes to the animation during the opening and closing credits. The sinister music throughout the feature creates a tense atmosphere. This movie is about family, confrontation, anger management and hard feelings. It does feel overlong, yet Martin's performance and the situation between the father and his son are enough to make this a viewing that is worthwhile. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The After film review by UK film critic Jason Knight. Starring David Oyelowo, Amelie Dokubo, Jessica Plummer directed by Misan Harriman. HOME | FILMS | REVIEWS The After Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 19, 2023 Directed by: Misan Harriman Written by: John Julius Schwabach, Misan Harriman Starring: David Oyelowo, Amelie Dokubo, Jessica Plummer A man's world is shattered after a devastating incident. It is a nice day in London and Dayo (Oyelowo), a man who holds a high-profile financial position, is with his young daughter Laura (Dokubo), on their way to meet her mother (Plummer). All is looking wonderful, until out of the blue, a terrible incident occurs. In his first short film, photographer Misan Harriman tells a moving story about a man who loses everything and becomes a changed person. Prior to the fateful event, Dayo was a happy family man, who pushed work aside in order to spend time with his loved ones. Now, he has become a quiet loner, having lost the will to remain connected with people who are concerned about his well-being, including friends and social workers. One way the film explores his current life is with a series of scenes of various of his passengers, each having its own atmosphere, whether it involves a father being proud of his son, an emergency, a loss or an argument. By listening to his passengers, Dayo seems to repeatedly be reminded of everything he has lost. As the main character, Oyelowo plays a man who is broken by grief, an individual who goes from happy to torn apart and does not know how to carry on with his life and Oyelowo delivers a powerful performance, which adds significant value to the film. Now to the technical aspects, there are some fantastic establishing shots that benefit greatly by Si Bell's cinematography and the fillmakers are creative with the sound, during scenes where voices sink in the background. Regarding the soundtrack, Francesco Le Metre develops music that includes sentimental piano melodies and the song Let It All Go by Birdy and Rhodes was an excellent choice. Unsurprisingly, this film won the Best Live Action Short at the Oscar-qualifying HollyShorts Film Festival. It is an emotional and hard-hitting drama with superb acting and great character development and it explores psychological deterioration due to the effects of loss and grief. Viewers will most likely find the story intriguing and be moved by the ending. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Netflix < All Reviews Next Film Review >

Son of Sara film review by UK film critic Hope Madden. Starring Chloe Van Landschoot, Tymika Tafari, Garrett Hnatiuk directed by Houston Bone. HOME | FILMS | REVIEWS Son of Sara Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 30, 2026 Directed by: Houston Bone Written by: Houston Bone Starring: Chloe Van Landschoot, Tymika Tafari, Garrett Hnatiuk It’s hard to do something new with the “pregnant with Satan’s baby” formula. There are only so many ways it can go, and you can’t hope to unseat Rosemary’s Baby . But writer/director Houston Bone and a game cast breathe weird life in this oft-told tale. Sara (Chloe Van Landschoot) is very pregnant. Overdue, huge, and constantly vomiting, she’s ready to be done. Her devoted girlfriend Carol (Tymika Tafari) takes good care of her. Still, Sara’s definitely not entirely OK. She runs into Troy (Garrett Hnatiuk), the pre-Carol fling and baby daddy, and feels strangely compelled to take him up on his offer of dinner. Back at his house. Out in the middle of nowhere. With his mom (Jane Moffat). While moments of Act 1 smack of cliché —certainly that package of bloody ground chuck in the refrigerator—Bone’s script and his actors’ talent, plus Sara’s convincing pregnant state, keep you invested. Bone gives his cast breathing room, never rushing a scene, always lingering just long enough for someone to be intriguing. That could be Hnatiuk’s awkwardly seductive dancing, Tafari’s disdainful glare, Moffat’s contemptuous sneer, or Landschoot’s childlike gesturing. The chemistry between and among the actors is top notch, and the way they inhabit their characters ensures even formulaic scenes feel unusual and fresh. Son of Sara is not a spendy affair, but it rarely feels trapped by its budget. Bone and crew make great use of what funds they do have, and the filmmaker’s instinct for relationship-driven humor and discomfort overcome nearly every cinematic setback. Even if a few beats buckle under familiarity, the underlying change in theme quietly upends a status quo expectation in enormously enjoyable ways. Son of Sara has an F-you quality to it that doesn’t draw attention to itself and is all the more satisfying for it. It’s fun, tightly constructed, compellingly performed horror and you’re out in under 90 minutes. What do you have to lose? Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

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Moana film review by UK film critic Hope Madden. Starring Catherine Laga'aia, Dwayne Johnson directed by Thomas Kail. HOME | FILMS | REVIEWS Moana Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 9, 2026 Directed by: Thomas Kail Written by: Jared Bush, Dana Ledoux Miller, Ron Clements Starring: Catherine Laga'aia, Dwayne Johnson Has there been a reason yet for one of Disney’s live-action remakes? Arguably, no, but some of them have been fun. Jon Favreau’s 2016 The Jungle Book used inspired casting and fun tweaks on the Disney’s 1967 animated classic to craft easily the best of the bunch. Since then? They range from garbage (Robert Zemeckis’s 2022 abomination Pinocchio ) to fine (Bill Condon’s 2017 Beauty and the Beast ). Disney’s latest, Moana , falls somewhere in between. Director Thomas Kail (Hamilton ) guides the effort that sees Dwayne Johnson adding flesh to his voice role as demigod shapeshifter Maui. Catherine Laga’aia is Moana, the future leader of her Polynesian village in a long ancient time when islands were still being pulled from the ocean floor by gods. Moana’s father warns her never to go beyond the reef, but if we know anything about young Disney heroes, we know Moana is destined to roam. Her quest: to find Moana, get him on her boat, cross the ocean, and return the heart of the sea to the goddess he stole it from a thousand years ago. Laga’aia is in fine voice, and the story is as charming as ever. But even more than most of these remakes, Moana begs the question: why? Favreau used motion capture to bring actor and jungle character together, allowing for an experience the animated original couldn’t offer. The animals didn’t look or move like cartoons. They seemed like panthers and tigers, snakes and orangutans imbued with weirdly human personalities. But a giant, bedazzled crab (still voiced gloriously by Jemaine Clement) just looks like a big, animated crustacean covered in glitter. Tiny coconut pirates, huge fire gods—every unusual creature Moana and Maui encounter still looks cartoon-like. If not cartoon, why cartoon shaped? The fact that Kail works from Jared Bush, Dana Ledoux Miller, and Ron Clements’s original screenplay, varying barely an iota, doesn’t help. It’s not that Moana is bad. Were it a standalone, it would be a lovely family film. And in a way, that’s still what it is. It just isn’t necessary. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Snow White film review by UK film critic George Wolf. Starring Rachel Zegler, Gal Gadot directed by Marc Webb. HOME | FILMS | REVIEWS Snow White Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Mar 20, 2025 Directed by: Marc Webb Written by: Erin Cressida Wilson Starring: Rachel Zegler, Gal Gadot Death, taxes…Disney live action remakes? We may not be there quite yet, but the train keeps rolling with Snow White, an update that’s consistently appealing enough to rise above an unsteady opening and one unfortunate choice. Much of that winning appeal comes from a terrific Rachel Zegler, who commands the title role with confidence and zest. Pairing Zegler with a well-cast Gal Gadot as the Evil Queen, the film dives into their royal power struggle and finds a nice sweet spot between honoring a classic and nudging it toward new sensibilities. That new attitude starts right from the “Once Upon a Time” prologue, where we get a new inspiration for the name Show White, and a quick look inside a wholesome upbringing that focused on the common good. Her stepmother’s attitude toward power is especially timely, and the Magic Mirror (in great voice thanks to Patrick Page) is quick to point out that beauty can be more than what’s seen in a simple reflection. Once Snow White is grown, with her royal father out of sight and her wicked stepmother on the throne, Director Marc Webb (500 Days of Summer, The Amazing Spider-Man 1 and 2 ) and screenwriter Erin Cressida Wilson (Secretary, Chloe, The Girl on the Train ) give us a princess who is still in peril, but is not content to wait around for a handsome prince to save her and her kingdom. In fact, there’s no handsome prince in sight. Oh, sure, she’s attracted to the rouge-ish peasant Jonathan (Andrew Burnap), but this Snow White’s not about to stay home with the dwarfs while he does all the heroic adventuring. We’ll get to those dwarfs in a minute. Songwriters Benj Pasek and Justin Paul provide original tunes, and while the style they brought to The Greatest Showman, Spirited , and Dear Evan Hansen will be instantly familiar, the songs here showcase the talent, bolster the narrative, and add a little new Disney magic. Zegler soars on “Waiting on a Wish,” and Gadot – in her best turn since Wonder Woman – seems positively giddy to vamp it up on “All Is Fair,” the Evil Queen’s defiant ode to evildoing. Burnap and Zegler both have fun with “Princess Problems,” a tongue-in-cheek framing of privilege and stereotypes, but their audience of dwarfs only calls more attention the film’s nagging question. This is a live action remake, correct? So why are the dwarfs not played by live actors? The CGI results seem to point to an attempt at making them look as much like the original cartoon characters as possible, which is curious at best. Much of the film is committed to a new vision, how did this tired one get through? The CGI animals I get – they’re cute – but man these dwarfs become such an albatross it’s even more impressive that Snow White manages to charm despite them, and the few too many opening minutes spent on exposition. But it does, and Disney’s live action scorecard earns one in the ‘plus’ column. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

It's a FRANCO Life film review by UK film critic Jason Knight. Starring Lucie Lutte, Tajah Cleatha-Marie, Christopher Tiero, Micah Drew-Forbes directed by Damien Brewer. HOME | FILMS | REVIEWS It's a FRANCO Life Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 17, 2023 Directed by: Damien Brewer Written by: Lucie Lutte Starring: Lucie Lutte, Tajah Cleatha-Marie, Christopher Tiero, Micah Drew-Forbes A young woman introduces her life and her family and prepares for an annual dancing event. In this short mockumentary, the viewers will have the pleasure of meeting Lola (Lutte), a joyful woman from Hackney, East London, whose parents came to England from Africa. Over the course of approximately twelve minutes she will take the audience on a funny and awkward journey as she engages in a variety of activities that include buying a takeaway (stealing it actually), mourning the loss of her beloved pet, getting ready to go to church with her family and spending time with friends at a park. One thing that makes this short entertaining are the characters, primarily Lola, a friendly and sweet individual who is portrayed by Lutte in a way that makes her rather likeable. And then, there are her relatives, who constantly argue between them and a couple of eccentric characters that Lola encounters throughout the film, which include Crazy Judy (Cleatha-Marie), the religious and wild owner of a takeaway restaurant and a peculiar man who appears while Lola is mourning her pet. Lola often looks into the camera and addresses the audience, talking about her life, her past and her dreams for the future and looks forward to the Francofest, an event that is held annually, where people from all over the world attend in order to dance. The atmosphere is light-hearted and there are awkward situations and humorous moments. There is some amusing music throughout and the filmmakers make effective use of the split screen technique. This is a fun story about a young woman's life and the people around her. It is the pilot episode for a potential sitcom, which is definetely good news, as this is an enjoyable ride, with a clever script and comedic performances and a continuation feels promising. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Inventors film review by UK film critic James Learoyd. Starring Eric Close, Stephen Tobolowsky, Tony Todd, Angelique Chase, JuJu Chan Szeto directed by Chip Lane. HOME | FILMS | REVIEWS Inventors Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Apr 22, 2025 Directed by: Chip Lane Written by: Angelique Chase, Chip Lane Starring: Eric Close, Stephen Tobolowsky, Tony Todd, Angelique Chase, JuJu Chan Szeto Inventors is a new feature-length stop-motion animated movie about a group of (you guessed it) inventors competing in an annual competition. Separated into two groups, things get stirred up when the character of Bull is made to join the team which he’s long fought against. The crux of the story is then based around whether this talented but self-centered scientist can put his ego aside for the greater good; to create the winning invention. The film is set, for the most part, in two rooms, each containing the respective teams. And the animation style is a simple, plastic action-figure look. In the 75-minute runtime we follow the trials and tribulations, tests and conundrums of the collective; but it’s in the last few minutes that we come to better understand the reality we’re witnessing. Allow us to start by discussing the unique form of stop-motion used in the film’s making. Perhaps the most unusual aspect of the animation is the notable lack of mouth-movement of the personages. You could easily hold this against Inventors , and certainly for western audiences used to an almost restrictive level of mouthing accuracy in big commercial animation. This idiosyncrasy does take a bit of getting used to; however, one must realise that not only is this a matter of taste, but that the actual reality of the film – and the ‘twist’ of sorts which takes place in its mind-warping, metatextual dénouement – in fact conclusively places the figures in a context of absolute artifice. These creations are not for one moment meant to be interpreted as real people, and so the bare-bones, dollhouse aesthetic is made to reflect that idea. The only issue being that, depending on the target-audience, I can imagine children finding this style slightly unnerving. It’s not the gentlest, nor the easiest to follow of aesthetics – although incredibly impressive and skillfully done nevertheless. For this writer, the standout element of the film is the direction and camera placement, even outside of animated considerations. The fact is that there are some fantastic shots in this picture. Compositions which demonstrate a clarity of space; framing which stays consistent with geography. The lens work is also quite wonderful, for there’s a depth to every image: we have subjects taking up the foreground, and background, sandwiching our subject in a most pleasing fashion. It’s quite a strong screenplay which understands the conventions of a teamwork, race against the clock kind of narrative. The dialogue – which, in fact, often takes on quite an adult tone – veers into some emotional territory relating to confidence, self-image and empathy. The big problem with the script, on the other hand, is the lack of clarity and specifics surrounding the main invention. It doesn’t have to be much, but the film risks confusing the audience with the vague nature of the stakes at play, left not understanding the drive of the characters. There’s a cathartic reveal at the end relating to the relevance of the inventions, yet there’s a certain inelegance to the lead-up. At its best, the writing incorporates complex narrative layers, keeping the viewer on their toes, particularly during the third act. The plot itself (depending on how far you’d be willing to stretch this interpretation) can be viewed as a reflection of the puppet masters. Not just a reflection of the human inventors in the outside world of the story, but the creative puppet masters (the filmmakers and animators) who struggle together, bounce around ideas, and do their best to construct a winning movie. The individuals who worked on this movie, more than anything else, demonstrate their ability to manipulate live-action cinematic language into an animated form – and that, from a level of cinematography and editing, is Inventors’ greatest asset. Showcasing fun original songs, optimistic ideas and lessons, and a great cast of voice actors, this is a successful animated feature. Buy UKFR Banner Space About the Film Critic James Learoyd Animation, Indie Feature Film < All Reviews Next Film Review >

Anirudh film review by UK film critic Jason Knight. Starring Rishan Dhamija, Crystal Kim, Meg Evans directed by Raghav Puri. HOME | FILMS | REVIEWS Anirudh Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 11, 2023 Directed by: Raghav Puri Written by: Raghav Puri Starring: Rishan Dhamija, Crystal Kim, Meg Evans An Indian theatre worker living in the United States reluctantly agrees to audition for a lead role in a play after the designated actor quits. Anirudh (Dhamija) is a former actor who now works in plays in a variety of other roles, yet he dreams of becoming a great actor. Complications arise regarding the play he is currently working, as lead actor Timothee (Kieran Barry) has left the play in order to pursue other ventures and director Anastasia (Evans) has a very limited amount of time to find a replacement. Will this be Anirudh's chance to show his acting talents to the world? This entertaining short comedy tells a story by utilising an issue that foreigners sometimes have to face, which is a foreign accent. Anirudh loves acting, however he abandoned it as he lost his confidence due to past failed performances related to his accent. Even now, his accent still gets in the way when he interacts with people, be it colleagues or stangers and it is his friend and actress Zoey (Kim), who encourages him to try to get the part after Timothee quits, however Anirudh believes his accent will prevent him from getting it. The screenplay effectively explores Anirudh's character and his friendly relationship with Zoey and there are awkward and funny moments, with one that stands out being a montage of clumsy auditions Dhamija's character is the protagonist and the story is told through his point of view. He is a person who has lost his inner strength because of his failed attempts to become an actor and has now become a sort of outsider, a guy who watches others succeed in something that he is very passionate about. Zoey is his shoulder to cry on, an optimistic young actress who believes in Anirudh. Other notable characters include Anastasia, the director of the play, who primarily thinks that Anirudh's biggest talent is to bring her coffee and Francis (William Lindner), an actor with a childish personality. Puri does a great job with the directing and creates some wonderful extended tracking shots, special mention going to the one that opens the film. There are creative lighting effects, which look even better thanks to the cinematography by Zhibin Geng. The majority of the narrative takes place in the theatre and regarding the mise-en-scene, significant praise goes to the costumes and stage props, which indicate that it is a medieval play. Although this short is a light-hearted story, it is also a commentary about the challenges that foreigners have to deal with, paying particular emphasis on foreign accents, how that can harm their self-esteem. Despite addressing this serious problem, the film also states that if people believe in themselves, they can achieve their goals. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Daddy's Head film review by UK film critic George Wolf. Starring Rupert Turnbull, Julia Brown directed by Benjamin Barfoot. HOME | FILMS | REVIEWS Daddy's Head Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Oct 10, 2024 Directed by: Benjamin Barfoot Written by: Benjamin Barfoot Starring: Rupert Turnbull, Julia Brown You see the title Daddy’s Head and you might expect a bit of grind house fun, full of schlock and awe and signifying little. But this Shudder original has higher aspirations, as writer/director Benjamin Barfoot pulls off a nifty creature feature steeped in the psychology of grief. Young Isaac (Rupert Turnbull) lives with his father James (Charles Aitken) and stepmother Laura (Julia Brown) in the English countryside. Life has already dealt the boy a terrible blow with the death of his mother, so James’s fatal car accident weighs heavy with cruel trauma. Isaac is left with no next of kin, and officials from social services favor Laura taking over as legal guardian, if she is agreeable. But while Laura is sorting through the legalities, days and nights begin to get bumpy. Isaac insists that his father has returned. Something breaks through a picture window and attacks the family dog.** A kitchen knife turns up missing. And James’s divorced friend Robert (Nathaniel Martello-White) is always finding reasons to drop by. As Isaac becomes convinced that is father is calling to him from the nearby woods, Barfoot punctures the questionable realities with some well-crafted jump scares and satisfying practical effects. The frights that come in the third act succeed because of the character dynamics that Barfoot and his talented cast build in the first two. The child-centered mystery and sleek, imposing aesthetics will likely call Goodnight Mommy to mind early on, before giving way to a Babadook -styled struggle with a monster. But Daddy’s Head tripping is committed to upping the ante, and the escalation ultimately delivers enough to satisfy fans of both blood and metaphors. **trigger warning: violence to animals Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Bad Genius film review by UK film critic Lawrence Bennie. Starring Jude Harris, Erielle Scott, Bryson Bonta directed by Chris Wu. HOME | FILMS | REVIEWS Bad Genius Film Review average rating is 3 out of 5 Critic: Lawrence Bennie | Posted on: Aug 1, 2024 Directed by: Chris Wu Written by: Chris Wu Starring: Jude Harris, Erielle Scott, Bryson Bonta A young tenant called Jackson (Jude Harris) is nearly evicted by his irate landlady and friend, Jess (Erielle Scott), who scolds him for having recently dissapeared. Things are resolved when Jackson reveals he has spent two months in ER following an accident and, consequently, he is given more time to pay his outstanding rent. Left in a tight spot, Jackson uses a fake student ID to complete a chemistry test to, presumably, improve his prospects. However, whether he will get away or not, is another story… A finalist for Best Short Film at this year’s Rome Prisma Film Awards, Writer-Director Chris Wu's Bad Genius is presumably inspired by the hit 2017 Thai feature film of the same name, itself a response to a real-life SAT exams-cheating scandal. In contrast, Wu’s short film is built around just three scenes; Jackson’s confrontation at home with Jess, his meeting with a shady friend (Bryson Bonta) to retrieve the fraudulent ID and the exam itself, supervised by a veteran professor (David Ksiazek). If it’s a good example of economical film-making that you’re looking for, then Bad Genius is certainly not bad at that. Cinematically, much like Jackson’s academic potential, Bad Genius is lacking. Wu’s script is tight, pragmatic and realistic enough to sustain the drama, but a few dashes of visual flair along the way would have helped the story to become more engaging and interesting. As Jackson, Harris is believable and understated, though we’re never quite sure about the morality or motivations of his character. Was he really involved in a near-fatal car crash? Why does he pursue the enormous risk of posing as a chemistry student, when other short-term options or taking up Jess’ offer of support seem better and, certainly, less riskier? During the climatic exam, Wu offers a neat surprise, but one can’t help but feel this scene had a lot more potential for suspense and tension going for it. The moments with Jackson nervously approaching to collect his paper, the seeming hesitation of the professor and the intrusive and unexpected entrance of a police officier (Tommy Quinn) are wonderfully Hitchcockian on paper but, here, the execution feels a little flat. Much like the whole of Bad Genius itself, it works well enough - but, arguably, it all could have been done even better. Satisfyingly though, Wu’s most effective punch is the film’s ending. Not for its twist, but the final image which Wu sets-up. Jackson’s became known as “the smartest guy” but he is left disgraced and exposed. Indeed, we get a glimpse of his innate genius during the test but, in the end, he is shown to be far from smart and, ironically, Wu closes the classroom without him in there. Bad Genius may not always perform that highly, but its pay-off does. Buy UKFR Banner Space About the Film Critic Lawrence Bennie Short Film < All Reviews Next Film Review >