Red Wine and Rain film review by UK film critic Jason Knight. Starring Ell Lee, Nina Gosiengfiao, Koji Niiya, Vincent Eclavea Jr. directed by Jennifer Marie Morgan. HOME | FILMS | REVIEWS Red Wine and Rain Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 9, 2022 Directed by: Jennifer Marie Morgan Written by: Alexis Camins Starring: Ell Lee, Nina Gosiengfiao, Koji Niiya, Vincent Eclavea Jr. A short film that focuses on an altercation between four people about adultery. Four young individuals are meeting at a car park. These people are Sophia (Lee), Kathy (Gosiengfiao), Danny (Niiya) and James (Eclavea). Sophia used to be James's girlfriend until he cheated on her with Kathy, who was with Danny at the time and she was also Sophia's long-term best friend. The meeting is taking place so that James can give Sophia the remaining of her belongings back. What was planned to be a brief gathering turns into a nasty confrontation with a lot of arguing and high tensions, but also with emotional and tender moments. The narrative is basically a long dramatic scene that reveals the consequences of infidelity. Beginning with the four protagonists meeting at the car park, the screenplay quickly moves to the pain and anger that an act of adultery has caused. Most of the shouting and swearing is done by Sophia as she angrily denounces James and Kathy's actions. Danny is also hurt, however he appears to control his anger. The atmosphere is quite tense and unpleasant throughout and the film also mourns the wonderful things that have been destroyed due to cheating thanks to emotional conversations between each former couple, as they recall happy times between them. Although on the surface Sophia and Danny are the victims, it becomes apparent that unfaithfulness has damaged all four of them. All the protagonists deliver great performances, however special mention goes to Lee, as she is very convincing as a person whose life has been turned upside down by James' deeds. Eclavea's character seems more or less unremorseful for his actions, while Gosiengfiao's openly expresses regret. The soundtrack contains songs from a variety of artists and although they are pleasant to the ear, some of them are utilised unnecessarily as they make the scenes feel awkward. This drama is an emotional roller-coaster that deals with themes involving adultery, reconciliation, forgetting about the past, remorse and self-expression. From start to finish it grabs the viewer's attention due to its subject matter and dramatic dialogue and provides a moving experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Fist of the Condor film review by UK film critic Daniel Baldwin. Starring Marko Zaror directed by Ernesto Diaz Espinoza. HOME | FILMS | REVIEWS The Fist of the Condor Film Review average rating is 4 out of 5 Critic: Daniel Baldwin | Posted on: Apr 6, 2023 Directed by: Ernesto Diaz Espinoza Written by: Ernesto Diaz Espinoza Starring: Marko Zaror Since 2006, the Chilean powerhouse team of writer/director Ernesto Diaz Espinoza and martial arts superstar Marko Zaror has been delivering some of the best independent action cinema in the world. From raucous martial arts mayhem (Kiltro ) to street-level superhero satire (Mirageman ) to Eurospy parody (Mandrill ), their wild body of work together has been a diabolical fondue of influences ranging from kung fu movies to spaghetti westerns to blaxploitation cinema and beyond. What makes them all the more impressive is that of the four previous films they’ve made together, no two are alike in terms of style and tone. Other than a good time, you never know what you’re going to get from an Espinoza and Zaror pairing. The Fist of the Condor sees this duo reuniting for the first time in almost a decade. Their last outing, the rogue assassin tale Redeemer , had been their weakest effort to date, but I’m happy to report that they’ve bounced back here and then some. A deep-flowing love of classic kung fu cinema has always run throughout their collaborations, but it’s never flowed as deeply or as lovingly as it does here. This is a martial arts adventure just as concerned with evoking the philosophy of both the genre and the real-life practices behind it as it is in showcasing expertly-choreographed fights. There is a poeticism behind the fisticuffs on display here that calls to mind the Hong Kong classics of yore, leaving us with a masterful modern piece of meditative martial arts cinema that would make the Shaw Brothers smile. Espinoza has always had a way with striking imagery that is a delicious mix of exquisite location photography and beautiful artifice that holds decades of movie knowledge behind it. Condor is no different, as it births some of the best sequences his wonderful mind has conjured to date. All backed by another excellent ‘70s-infused score by longtime collaborator Rocco, of course! Those whose only experience with Marko “The Latin Dragon” Zaror are his villainous turns in Hollywood films such as John Wick: Chapter 4 and Machete Kills might be surprised to see the monk-like heroism of his primary role here. Fear not, however, as he also plays his own evil twin! His heroic (but not innocent) protagonist Guerrero is his best role since Kiltro and one we’ll be lucky to see continue, since this is meant to be the first in a trilogy. The next two cannot get here soon enough. Buy UKFR Banner Space About the Film Critic Daniel Baldwin Digital / DVD Release, World Cinema < All Reviews Next Film Review >

False Memories film review by UK film critic Swati Verma. Starring Jack Caffrey directed by Jack Caffrey. HOME | FILMS | REVIEWS False Memories Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 20, 2023 Directed by: Jack Caffrey Written by: Jack Caffrey Starring: Jack Caffrey The writer-director Jack Caffrey attempts to combine the experimental and traditional genres with technics inspired by the French new wave. Caffrey builds up an intricate script incorporating the idea of memories as he dawns on the narrator’s cap. The plot of False Memories revolves around the theory of life that one dies twice once when the breathing process stops and the second time when the loved ones tend to forget the person and erase everything related to them from their mind. This is Caffrey’s creative tribute to keep a woman he has never known and never will know alive. It’s not the story of her life but it is a story of her life. The short film takes the form of a narration by Jack Caffrey allowing the audience to follow even the minute details of the film, therefore, increasing the degree of engagement and the emotional connection with content even in the short run time of the movie. The white poster with the black font utilised for the name of the dramatic piece offers a full spectrum of thoughts and connotations so that the viewers don’t have any preconceived perception and interpret the movie after watching it. False Memories project a series of images to tell the story similar to a scrapbook along with narration making it interactive provides a sense of being involved with it right from the beginning. The self-indulgent style of screenplay allows the audience to interpret it as per understanding without any interference from the filmmaker. The set design, colour palette, lighting, background music, dialogues, location, costume, hair, makeup, and props keep changing as per the switch in the issues discussed. The short film takes the form of a narration by Jack Caffrey allowing the audience to follow even the minute details of the film, therefore, increasing the degree of engagement and the emotional connection with content even in the short run time of the movie. The white poster with the black font utilised for the name of the dramatic piece offers a full spectrum of thoughts and connotations so that the viewers don’t have any preconceived perception and interpret the movie after watching it. False Memories project a series of images to tell the story similar to a scrapbook along with narration making it interactive provides a sense of being involved with it right from the beginning. The self-indulgent style of screenplay allows the audience to interpret it as per understanding without any interference from the filmmaker. The set design, colour palette, lighting, background music, dialogues, location, costume, hair, makeup, and props keep changing as per the switch in the issues discussed. In terms of performance, Jack Caffrey plays multiple roles as the film director, writer as well as narrator of the film taking most of the responsibility to bring the finished product to the viewers. Caffrey utilises the voice modulation to depict the combination of emotional upheaval and pride as he takes us through various subplots. The narration by Caffrey is well- suited and therefore complements the mood as well as the subject matter of the short film. The inquisitive and soothing tone appeals to the audience keeping them hooked to the movie until the climax of False memories. The short film reiterates the importance of both good and bad memories that affect the makeup of a person’s nature and the overall development of their personality. The creative piece restates the pain of being forgotten forever as if that person never existed. False Memories tells us about the significance of gaining knowledge regarding the inner realities of people in and around society. The documentary discusses that one needs to address every issue or learn new information with an open mind ready for overall growth and an updated version of themselves well-suited for future challenges. The cinematic piece continuously introduces the viewers to a new perspective regarding human beings, history, and general perceptions of life in the 1960’s 70’s. The dramatic piece also talks about the importance of evolution but people should also be aware of their roots. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

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Sanskar film review by UK film critic Jason Knight. Starring Vanshika Singh, Samar Shau, Rajikumar G Nadar directed by Sameer Anshari. HOME | FILMS | REVIEWS Sanskar Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Jan 5, 2023 Directed by: Sameer Anshari Written by: N/A Starring: Vanshika Singh, Samar Shau, Rajikumar G Nadar A journey through the countryside takes a sinister turn for a man and his daughter. A man and his young daughter are on a motorcycle, travelling through isolated locations. Eventually, they see a lone man by the road and offer him a lift. After a while, the transport fails and the father goes to get help, trusting the stranger to look after his child. Alarmingly, the unknown man is not what he appears to be and the girl's life might be in danger. This short film from India revolves around a plot that is often seen in the thriller and horror genre: people encountering strangers in the middle of nowhere and the strangers turn out to have bad intentions. After a frantic opening that shows the father desperately looking for his daughter, the film goes back to the joyful beginning, with father and child happily chatting while on the motorcycle. Things turn dark when the stranger walks off with the girl and from that point, the narrative alternates between the father searching for his daughter and herself facing a potentially life-threatening situation. A lot of tension is created and a great deal of drama too. The plot is interesting and that might be the only thing that gives this short positive qualities. The music is probably the aspect that brings the film down the most. The score is either sweet or quite intense and it just never works, especially when it is intense, making the scenes hard to be taken seriously. Maybe it would had been better if there was no music at all. Other elements that damage the film are awkward camera movements and editing that appears clumsy. The poor acting does not help either and the climactic ending is head-scratching to say the least. On the positive side, the plot is intriguing and the script explores the tender relationship between the father and his daughter. The film also seems to suggest that even children can be strong and achieve great things. Nevertheless, all this is not enough to categorise this short thriller as decent due to the faults mentioned above. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

A Deadly Beautiful Date film review by UK film critic Swati Verma . Starring Deniz Sodal Gulsen, Naja Julie Jensen, Tore Dokkedahl directed by Emrah Caso Ljucic . HOME | FILMS | REVIEWS A Deadly Beautiful Date Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Jun 19, 2025 Directed by: Emrah Caso Ljucic Written by: Emrah Caso Ljucic Starring: Deniz Sodal Gulsen, Naja Julie Jensen, Tore Dokkedahl The writer-director Emrah Caso Ljucic enjoys exploring mysteries of the human mind. Ljucic intermingled thrill, perceptions, and drama to create cinema that showcases the complexities of the human experience that resonate long after the credits roll leaving the audience inspired intrigued and eager asking for more. Deniz Sodal Gulsen, Naja Julie Jensen, and Tore Dokkedahl understand Ljucic’s vision delve into psychological thrillers blurring the lines between reality and Illusion. The plot of the short film revolves around a celebrity’s captivating and deadly beautiful date that escalates into a surreal nightmare. As tensions mount shocking revelations push the boundaries of sanity leaving the audience gripped on the edge of their seats yearning for answers. A Deadly Beautiful Date utilises various cartoons along with the opening credits and music to establish the subject matter of the movie engaging with the film’s content from the very beginning. The long shot of the male protagonist sitting alone in a lavish restaurant in a bad mood intensifies the narrative slowly picking up pace. The set design, the black, golden, and blue colour pallet exude elegance, and luxury but with hidden coldness/sadness, dim lighting, camera angles, sound, music, dialogues, costume, hair, makeup, and props complementing the storyline to depict authenticity, drama suspense, and emotions on a profound level. In terms of performance, Deniz Sodal Gulsen plays the male protagonist Deniz who likes to show off his luxurious life but he is running out of emotions in his day-to-day life. He is waiting for his date to arrive completely unaware of what the future holds for him. The young actor effortlessly portrays a dominant demeaner in major part of A Deadly Beautiful Date but is gradually forced to change his behaviour due to the situation that gets worse. Naja Julie Jensen plays the role of Mia Sofia a well-educated strong and charming lady who comes to meet Deniz challenging his thought process and standing against everything that she thinks is wrong. Jensen depicts all the qualities that inspire people and they can learn incorporating them in their lives. Phillip Bogh plays Dr. Nullermann who agrees to help the owner/ the waiter of the restaurant with an illegal activity for the sake of money. Bogh with his acting skills, body language, voice modulation, makeup, and facial expressions immerses himself completely in the negativity of the character arc. A Deadly Beautiful Date talks about the unconditional love of parents becoming our shield when something unforeseen happens that can turn life-threatening as well. The short film reiterates that society has given certain gender roles that’s need to be broken or altered to let people move on with the dynamic nature of time. The dramatic piece warns the viewers that choosing the illegal/wrong path may seem to lure them to take an easy solution for their problem but actually it comes with long term sadness, suffering for themselves and others around them. The creative piece also highlights that value people, relationships, and happy times spend it with the right mind-set because the time that goes by doesn’t come again and one is left with only regrets. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Dracula film review by UK film critic Hope Madden. Starring Caleb Landry Jones, Zoë Bleu, Christoph Waltz directed by Luc Besson. HOME | FILMS | REVIEWS Dracula Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 3, 2026 Directed by: Luc Besson Written by: Luc Besson, Bram Stoker Starring: Caleb Landry Jones, Zoë Bleu, Christoph Waltz There are those who would call Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula a masterpiece. The score is undeniable, the costuming and set design glorious, the use of shadow, the creature design, the pulsing sensuality, Gary Oldman—all of it is exquisite. The entire balance of the ensemble? Terrible. There, I said it. Still, it’s a memorable take—for many, a beloved all-timer—on Stoker’s vampire classic. I will assume that French filmmaker Luc Besson (Léon: The Professional, La Femme Nikita ) is a fan. While his Dracula delivers much in the way of new ideas, the source material for his script is less Stoker’s novel than Coppola’s film. He’s not hiding it. He even borrows—homages—bits and pieces of Wojciech Kilar’s score. Caleb Landry Jones is Vlad the Second, Count Dracul. He loves his wife, Elizabeta (Zoë Bleu). He fights the Crusades to eradicate Muslims for God. But God does not protect his Elizabeta, so he curses God and searches the endless centuries, hoping for his loves return. This storyline is 100% Coppola, not in the novel at all. Landry Jones is a talented actor, and versatile. See Nitram . But his performances tend to be somewhat interior, and you cannot help but compare his anguish over Elisabeta with Oldman’s in the ’92 film. Landry Jones comes up short. And though Besson manages one pretty impressive wide shot of the Vlad armies, the earth burning behind them, nothing can compare to the macabre puppet masterpiece Coppola brought to the same scene. But, after Act 1, the film settles into some new territory. France! No Renfield, no Van Helsing, no fight for Lucy’s hand, no Demeter. Christoph Waltz (a little bit autopilot here) is a priest whose order has been tracking vampires for 400 years. With this storyline, Besson, who wrote the script, forges some new ideas. Newish. And Matilda De Angelis is a particular joy as Dracula’s helper. Fresh ideas aside, Besson doesn’t bring much Besson to the film. There’s too little action here, and most of it is carried out by little CGI gargoyles, more comedic than thrilling. One scene doesn’t naturally lead to the next, characters feel disconnected to the plot, and, worst of all, it’s very talky and a bit dull. I’d call it a fanciful period piece before I called it horror. It’s OK to borrow. What’s hard is to come up with anything original, because no fictional character has been on screen more often in the history of film than Dracula. Even Jesus hasn’t been depicted as often in film. So, it’s fine to borrow as long as you can do something new to merit another go. Besson just about accomplishes that. Just about. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Gungnir film review by UK film critic William Hemingway. Starring Cooper Alexander, Harmonie He directed by Leomax He. HOME | FILMS | REVIEWS Gungnir Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Aug 7, 2024 Directed by: Leomax He Written by: Leomax He Starring: Cooper Alexander, Harmonie He In Old Norse mythology, Gungnir was the spear of Odin. Neither as fancy nor as famous as its hammer-headed cousin Mjolnir, Gungnir is rather light on lore, save for the fact that it had the ability to always hit its target no matter who was doing the wielding. In writer/director Leomax He’s new short film, Gungnir is the present which Leo (Alexander) gets for his tenth birthday, this time made of cheap plastic and dodgy electronics, and with the ability to record the wish of the holder. Leo’s best friend and number one crush, Charly (He) is also at his birthday party, and the two of them do their best to have a good time despite the antics of the rest of the children who are running around. Everything is spoiled though, when it’s announced that Charly will be headed to China with her family in the next few days, to go and live there. In his grief, Leo makes a wish to Gungnir for Charly to stay in America; for something to happen which would mean that she didn’t have to leave, no matter the price that would have to be paid. When COVID-19 comes along to stop the flights and close the borders, Leo unwittingly gets everything he asked for, but when anti-Asian sentiment starts to get stirred up throughout lockdown, he has to try and comes to terms with the guilt he feels for the wish he made. The beauty of He’s film lies in it being a lockdown story without it being a lockdown story. Everything we see on screen is vivid and full of life; full of people. Lots of the scenes are shot outdoors and there’s a world of colour which comes through from the trees, the grass, the sunsets and other parts of nature. All credit goes to DoP, Mufeng Han who captures it all intensely, soaking in the colours and getting close to the characters with some nice, fluid camerawork. The direction, too, from Leomax He, is what stands this story out from the usual ZOOM call, static camera, isolation films which populate the lockdown genre. There is a large focus on family and togetherness in Gungnir , with the children representing a large part of the themes and issues being discussed. Some of the scenes have a shade or two of E.T. (1982) about them, especially with the way the kids interact, and the natural, everyday feel to the positioning of the camera, almost documentary style, is reminiscent of a lot of Richard Linklater’s work, especially Boyhood (2014). Whether Gungnir succeeds or not rests largely with the performances of the children, taking up as they do, a large part of the narrative. It is again credit to He that he is able to get such open and natural performances from the kids and it was a masterstroke to get six siblings from the same family to play them. Cooper Alexander and Harmonie He as the two leads also work well together, and their natural style and understated performance relate a maturity which sits behind the actions of their characters. What He has created in Gungnir is nothing short of extraordinary. He has managed to subvert the genre from something which is usually grey and static into something beautiful and full of life. The fantasy element and reference to Norse mythology sit nicely within the narrative, and it’s He’s original approach to the telling of the story which means that, as was foretold, Gungnir truly hits its mark. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release, World Cinema < All Reviews Next Film Review >

The UK Film Magazine from UK Film Review was born in February 2020. Including movie reviews, short films, indie cinema, interviews and more Quick View UK Film Review - March 2021 Price £1.79 BUY NOW Quick View 1 Year Anniversary UK Film Review - February 2021 Price £1.79 BUY NOW Quick View New Arrival UK Film Review - January 2021 Price £1.79 BUY NOW Quick View New Arrival UK Film Review - December 2020 Price £1.79 BUY NOW Quick View UK Film Review - November 2020 Price £1.79 BUY NOW Quick View UK Film Review - October 2020 Price £1.00 BUY NOW Quick View UK Film Review - September 2020 Price £1.00 BUY NOW Quick View UK Film Review - August 2020 Price £1.00 BUY NOW Quick View UK Film Review - July 2020 Price £1.00 BUY NOW Quick View UK Film Review - June 2020 Price £1.00 BUY NOW Quick View UK Film Review - May 2020 Price £1.00 BUY NOW Quick View UK Film Review - April 2020 Price £1.00 BUY NOW Quick View UK Film Review - March 2020 Price £1.00 BUY NOW Quick View 1st Edition UK Film Review - February 2020 Price £1.00 BUY NOW UK Film Magazine IMPORTANT: THE UK FILM REVIEW MAGAZINE IS CURRENTLY ON HIATUS UNTIL FURTHER NOTICE. The UK Film Review Magazine launched in February 2020 with our classic recipe of reviews, features and interviews, covering all aspects of the film industry - not just the biggest releases. Short films, festivals, and indie filmmakers all made appearance alongside some of cinemas biggest releases of the month. So why, we hear you ask, have UK Film Review moved into the film magazine biz? We wanted to take our movie reviews to the next level and provide our readers with an alternative way of keeping up to date from the frontline of film. A handy digital magazine which can be downloaded onto any device and read at your leisure (without an internet connection even) was something we wanted to be able to offer. Also, we realise that online noise means sometimes our readers may miss some of the reviews we put out. This is why we aim to get into your mailboxes ;) Furthermore, the UK Film Review Magazine offers a nice snapshot of the movies in cinemas for that month, helping you decide whether you are going to take the plunge for certain films. Unlike some other UK film magazines, ours is very affordable. Just £1 per issue to keep your wallet happy and your movie appetite satiated. Ours will also include world cinema, documentaries, animated films, and anything else we decide to pop in there. We recommend subscribing, so you don’t miss an issue and you also get first access to the magazine each month. Some of the content in there will also be unique to the UK Film Review Magazine , such as filmmaker interviews and features, so it is going to be a must-read for any serious film fans. Inside we also include a little film game at the end which is a fun way to join in with us on social media after you finish reading the digital magazine. Don’t worry, the UK Film Review Magazine will not be replacing our usual website coverage of movies. All reviews will be available online with only select ones appearing in the magazine.

Scream film review by UK film critic Hope Madden. Starring Neve Campbell, Courteney Cox, David Arquette directed by Matt Bettinelli-Olpin, Tyler Gillett. HOME | FILMS | REVIEWS Scream Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 12, 2022 Directed by: Matt Bettinelli-Olpin, Tyler Gillett Written by: James Vanderbilt, Guy Busick Starring: Neve Campbell, Courteney Cox, David Arquette A quarter-century ago, horror master Wes Craven reinvented his genre of choice—again—with a savvy, funny, scary murder mystery. Scream was an inside-out spoof of the genre, a clever dissection of the tropes and cliches wrapped up in a celebration of those same elements. It was not our first meta-movie, but it was the first movie to refer to itself as such. Matt Bettinelli-Olpin and Tyler Gillett (Ready or Not ) return to Woodsboro for the franchise’s fifth installment. This go-round comments blisteringly (and entertainingly) not just on horror, but on the post-internet realities of cinema in general. They really have a good time with that. Tara Carpenter (the first of maybe 300 horror name drops), played by a remarkable Jenny Ortega, is home alone when she receives a threatening phone call. She doesn’t want to talk about slashers, though. She’d rather discuss “elevated horror.” That’s an in-joke, one of dozens, each landing but none taking away from the larger story. In that one, Tara’s older sister Sam (Melissa Barrera, In the Heights) returns to Woodsboro upon hearing of Tara’s attack. She follows advice from someone who would know and assembles Tara’s close-knit ring of friends to suss out suspects. But to really anchor these newfangled reboot/sequels (or, in the parlance of another inside gag, “requels”), Gillett and Bettinelli-Olpin will need some familiar faces. Neve Campbell, Courteney Cox and David Arquette are three excellent reasons to see the new Scream , a film that is both a fan of the franchise and a cynic of fandom. The young cast excels as well—Dylan Minnette and Jasmin Savoy Brown, in particular. In fact, Barrera in the central role is the only real weak spot. As was the case in In the Heights , she poses more than acts, a flaw that’s never more obvious than when she shares the screen with the noticeably more talented Ortega. The filmmakers, along with writers James Vanderbilt and Guy Busick, fill scenes with nostalgia too cheeky to be simple fan service. Their clear affection for the franchise (a surprisingly strong set of films, as horror series go) is evident and infectious. You do not have to know the 1996 original or any of its sequels to enjoy Scream . It’s a standalone blast. But if you grew up on these movies, this film is like a bloody message of love for you. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Jumpers for Goalposts film review by UK film critic Jason Knight. Starring Michael Newstead, Luca Donnelly directed by Thomas Elliott Griffiths. HOME | FILMS | REVIEWS Jumpers for Goalposts Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 30, 2022 Directed by: Thomas Elliott Griffiths Written by: Thomas Elliott Griffiths Starring: Michael Newstead, Luca Donnelly A middle-aged, terminally ill man attempts to reconcile with his estranged son. A man (Newstead) arrives at a property. He is paying an unexpected visit to his grown-up son Danny (Donnelly), who he has not seen for a long time. Danny is not happy to see him, however he agrees to go for a walk in the park with him, where they talk about their lives and the father tries to make amends for his past mistakes. This short is a moving story that focuses on a life-changing meeting between father and son. The screenplay effectively explores the lives of the two lead characters and reveals the unstable relationship they have between them. Their dramatic conversations pretty much dominate the entire narrative and it is quite an emotional ride as the father admits his past errors, makes efforts to reconnect with his son and reveals his illness and Danny discloses that his partner is pregnant. There is sadness because the father does not have long to live and he was not there for his boy while he was growing up, however there is also joy as Danny is going to become a father and hope for better times ahead as the two of them show sympathy towards each other. Both Newstead and Donnelly deliver very strong performances as they portray individuals whose lives become reconnected. Newstead plays a character who has been in prison, who had a troubled relationship with his own father, who knows that his life will end in the not-too-distant future and who has deep regrets and wants to use the time he has left to set things right with his child. Donnelly's character is angry with his father due to the past, however, he gradually warms up towards him and seems willing to accept him back into his life. Griffiths does a great job with the directing and composer Ray Gibson creates a magnificent score, with beautiful piano melodies. With this short drama, the filmmakers bring to life an emotional story about two people coming together after a long time apart, reminiscing about the past, sharing their troubles and attempting to spend quality time together in the future. It is a story that explores parenthood, reconciliation, terminal illness and mortality. It carries the message that life is too short for negative feelings and that people should try to put aside their differences and make the most of every day they are with their loved ones. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Outstanding film review by UK film critic Joe Beck. Starring James T. George, Veronica Halko, Tyler DeHaven, Rob DeHoff directed by James T. George. HOME | FILMS | REVIEWS Outstanding Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Nov 13, 2022 Directed by: James T. George Written by: James T. George Starring: James T. George, Veronica Halko, Tyler DeHaven, Rob DeHoff It can be very hard for up-and-coming filmmakers to break into the big time these days, perhaps harder than ever. That is all the more true for those who wish to begin with action films - a market often dominated by a fairly rigid group of directors, very few of whom offer all too much invention. Though James T. George doesn’t excel behind the camera in ‘Outstanding’, he wouldn’t be out of place in that group of action directors, and that, particularly on such a tight budget, is a credit to his abilities. ‘Outstanding’ begins with Jamison, a special operator, waking up in a daze. Blurry-cam suggests that he might have had a few too many drinks the night before, although his overall mannerisms suggest that it’s more the product of fatigue. Either way, it certainly appears as though Jamison needs a holiday, one which he’s supposed to be beginning that very day, only the mystery agency he works for has other plans. The smoothly robotic tones of his computer inform him that he still has an ‘outstanding balance’ to settle by completing an assignment, the nature of which is frustratingly vague throughout. Jamison refuses, but when his safe house blows up is forced reluctantly into the task. The following meeting with Evee (Veronica Halko), the voice of his computer, and Agent Miles (Tyler DeHaven) is perhaps the funniest the film gets. The action is competently filmed by George, making sure you feel each punch meticulously choreographed by Rob DeHoff. You feel as though given a higher budget George could make a much-improved, glossier film, with more refined action sequences and without such an eyesore as the freshly painted white brick wall which forms the backdrop for the majority of scenes. Another frustration is the score, which is the generic 'low-low-high-low-low-high' violin strings which worked so well when used by Chaplin, Keaton and Lloyd in the silent classics, but has lacked the same goofball vibrancy ever since it became used in every amateur comedy short film. 

What makes ‘Outstanding’, well, not outstanding, however, is the mismatch between the script and lead actor. It’s especially odd given that it was James T. George who wrote the script for… James T. George. The script is good and would be funny if the lead actor were someone more in the mould of Ryan Reynolds’ witty, self-aware, yet nonetheless smooth humour. Unfortunately, George is more of a straight man and his performance is more of a halfway house between the two, leading to some underwhelming line delivery and a general lack of laughs. Neither the script nor the acting is bad by any means, however, the two just don’t suit each other. 
Though ‘Outstanding’ may not quite live up to it’s name, there’s enough there to suggest talent in James T. George (in all departments - directing, writing, and acting, though perhaps a different style), and at ten minutes the pace is brisk enough to get past a few misguided jokes. Perhaps a better title would have been 'solid'. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >