Wyrmwood: Apocalypse film review by UK film critic Hope Madden. Starring Shantae Barnes-Cowan, Luke McKenzie, Bianca Bradey directed by Kiah Roache-Turner. HOME | FILMS | REVIEWS Wyrmwood: Apocalypse Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 12, 2022 Directed by: Kiah Roache-Turner Written by: Kiah Roache-Turner Starring: Shantae Barnes-Cowan, Luke McKenzie, Bianca Bradey Back in 2014, co-writer/director/Aussie Kiah Roache-Turner brought new life to tired ideas. Wyrmwood: Road of the Dead took an old-school Australian road movie and littered it with some undead. The two went well together. The result was a novel, often funny, action-packed splatter fest. The original braided ideas from Romero and others, but somehow the amalgamation felt fresh. Zombie movies are rarely fresh. Same can be said for sequels. Zombie sequels — very hard to say something new. For his sequel, Wyrmwood: Apocalypse , Roach-Turner writes again with brother Tristan. They return to the post-apocalyptic Outback to catch up with zombie/human hybrid Brooke (Bianca Bradey), her scruffy brother Barry (Jay Gallagher), and whatever’s going on at those military outposts. As this is a zombie movie, assume the worst about those outposts. Roache-Turner leans a little more heavily on dark humor for this one. The previous installment was brighter with its laughs, while this go-round finds comedy mainly inside the viscous filth of the laboratories. Nicholas Boshier, returning as The Surgeon, gets to even wink and nod toward the Evil Dead franchise. Meanwhile, outside the barracks, brothers and sisters are duking it out with everyone and everything to save or avenge one another. Bradey and Gallagher take a backseat this time to Rhys (Luke McKenzie), a skeptical soldier whose twin was slain in the last film. He teams up, somewhat reluctantly, with Maxi (Shantae Barnes-Cowan), whose sister is inside one of those nasty labs. A couple of intriguing kills (or near-kills), a little loose-end tying, and a few laughs keep this one from disappearing completely from memory. The inspired lunacy of Roache-Turner’s original is gone, replaced with entertaining if forgettable fun. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Changing Tune film review by UK film critic William Hemingway. Starring Olivia Dowd, Freddy Goymer, Maya Pillay, Barry Smith directed by Nick Fuller. HOME | FILMS | REVIEWS Changing Tune Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 4, 2025 Directed by: Nick Fuller Written by: Nick Fuller Starring: Olivia Dowd, Freddy Goymer, Maya Pillay, Barry Smith A couple facing difficulties in their relationship hash it out at the kitchen table in order to reset the boundaries and lay bare the unfairly weighted imbalance within. Phil (Goymer) is a musician. At least that’s what he calls himself, even if he doesn’t have a recording contract or seemingly play his songs live. When we meet Phil, he has just crashed his car, shown to us by some pretty basic shaky-cam footage to suggest the impact. We later find out that the only thing Phil was interested in after the crash was his external hard drive which he had kept beside him on the front seat. This was because his hard drive had everything on it relating to his music, including videos and other media he had paid for, because he was trying to get his music out there by himself. A flashback scene then gives us the lowdown on why Phil finds himself in the situation he’s in, as we watch a cringe inducing interview that he has with a testy record company exec. This bruising interview was never going to get anywhere as the exec (Smith) has no time for Phil or his music, and in his best Alan Sugar manner, the exec says pretty much everything derogatory that he could say apart from the immortal words, ‘You’re Fired.’ To top it all off, Phil’s partner Becky (Dowd) has just been informed by the bank that he’s spent all of their money, well actually, all of her money, and she wants to know just what the hell has been going on. So, for the large part of writer/director Nick Fuller’s, Changing Tune we sit down with Phil and Becky and get into the nuts and bolts of their relationship. Then, half way through the focus shifts, and we get another point of view as Becky shares some wine with her best friend, Melanie (Pillay) and the two of them talk it out together, still at the kitchen table. This two-handed narrative gives us important information from both Phil and Becky’s perspectives and helps us dig down into the feelings that underpinned their relationship in the first place. Unfortunately though, this is as far as we go, and none of the story ever moves very far away from that kitchen table. The location is set, the lighting is placed, the camera moves to its designated positions, and the dialogue is spoken, just with a change of character half way through. The dialogue, also, just like the eerily spotless kitchen, comes across as very clinical at times, even as the characters express what are supposed to be deep seated emotions. They say the words, but there’s very little feeling behind them, as though they’re trotting out standard lines which we would expect any troubled partners to say to each other, before moving on to the next part of their conversation. This is not to say that the performances are not good, because they are, and both Freddy Goymer and Olivia Dowd do their characters justice in their presentation of the narrative. It’s just that’s there’s not a lot of depth behind the words they are saying and the surface level conversation is as far as things go. This also gets evidenced in the denouement of the story, where an ending is offered that seems to buck the trend of the direction of travel, and most of what was discussed is seemingly thrown in the bin. While Changing Tune has its moments and is a well put together short film, it never really takes off in terms of its narrative and the inner turmoil of the characters is never really explored. Writer/director, Nick Fuller has obviously also intended the piece to be a showcase for his own musical talents, as he wrote or co-wrote almost all of the songs which appear in the film. However, the music doesn’t play as big a role in the film as you might expect, and judging by what’s on offer, it’s no real surprise that Phil wasn’t getting any traction with what he was producing. For its thirteen-minute runtime, Changing Tune offers a brief insight into a broken relationship, and by swapping out Phil’s passion for music for something else, many people will be able to relate to the scenario displayed on screen. Sadly, there’s not much else going on beneath the surface and the characters and scenario could have benefitted from a more orchestral background rather than the one-man band that we get. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Boomslang 3: Your Future film review by UK film critic Patrick Foley. Starring Ryan Vincent, Trisha Rae Stahl, John Waters directed by Justin Schwan. HOME | FILMS | REVIEWS Boomslang 3: Your Future Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 17, 2022 Directed by: Justin Schwan Written by: Allen Osborne Starring: Ryan Vincent, Trisha Rae Stahl, John Waters In the latest entry in the ‘Boomslang’ series, director Justin Schwan and writer Allen Osborne’s titular serial killer returns in Boomslang 3: Your Future, a fine addition that matches the quirky, surrealist dark comedy which its predecessors successfully established. Fresh from his latest murder, Erik Boomslang (Ryan Vincent) takes refuge in the abode of fortune teller June (Trisha Rae Stahl). Sceptical of her methods, Boomslang humours June – who, with help from her assistant Ali (Irving Green), does her best to conjure up supernatural projections and predictions. Boomslang is not impressed, until a chance phone call leaves him feeling like he has seen a ghost… The Boomslang series’ penchant for quick wit and bold, memorable characters has led to considerable acclaim, and the third entry Your Future is more of the successful same. The short film is colourful, full of life and features genuine laughs making it a joyous watch – even with comically dark overtones. By continuing to place the protagonist in increasingly absurd situations, Schwan and Osborne have established a winning formula for inventive comedy. Ryan Vincent excels again as the suave serial killing titular character, clearly enjoying his repeated opportunities to don Boomslang’s stylish, yet blood-covered white suits. Despite his extravagance, he practically plays the straight man to an even more absurd duo in June and Ali, who deliver some hilarious one-liners and physical comedy courtesy of Trisha Rae Stahl and Irving Green. Their chemistry in particular shines as the pair try to continue their ruse in the face of a disbeliever. Black comedy can often be difficult to execute (pun intended), but by jam-packing the rest of the cast with character and outrageousness, Boomslang’s disturbing pastime can be the subject of comedy rather than being off-putting to the viewer. Not every gag lands, particularly in the opening segment with Stahl and Mari Muscio’s Ms. Bailey which feels like only an average effort at establishing June’s deceptive nature. The film’s tension arrives when Boomslang does – as does the best of its humour. His combative and snarky approach to fortune telling results in some fine back and forth, impressive seeing as how such critiques of the practice are well-covered territory. Schwan’s direction shines in these moments – with cuts back and forth between two delusional characters trying to out-deceive one another making for an amusing dynamic between two larger-than-life characters. Boomslang 3: Your Future impressively shows that there is no sign of decline in the series despite its status as the third entry. Audiences will sense the passion that is poured into the short by its cast and creators, which will hook them along for an unusual and original ride. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Web Series < All Reviews Next Film Review >

Satellites film review by UK film critic Amber Jackson. Starring Tamzin Murray directed by Spencer Anderson. HOME | FILMS | REVIEWS Satellites Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Jun 25, 2022 Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Tamzin Murray Written and directed by Spencer Anderson, Satellites is a spectacularly immersive short film that questions reality whilst offers an opportunity to become more centred. This six-minute piece follows a woman in a spacesuit as she wanders a quiet and desolate planet and contemplates her existence. We do not know the specifics of her journey, but for a brief moment in time we find ourselves captivated and eager to understand more about her life and the lessons on humanity that she has learnt along the way. Astounding cinematography is the crowning glory of Satellites, with the breath-taking landscape of Cwmystwyth in Wales creating a rocky illusion of space. The jumbled rocks and disorientation that the camera creates for the viewer is very clever and the film feels entirely vibrant. The decision to use the beautiful Welsh landscape creates a vibrant and intriguing film, as we are visually stunned. Alongside this, the all-consuming visual effects and camera angles distort reality and allow us to believe that this astronaut really could be anywhere in the universe. The writing of this short film is beautifully crafted, with a focus on the struggle and often inability for a person to feel grounded. Anderson’s script talks about ‘feeling lost in orbit like satellites,’ as thematically, space is used to explore the realities of a person encountering feelings of emptiness. Tamzin Murray’s narration muses over how people can be unsure where to turn when experiencing personal pain, which in turn causes an overwhelming loss of faith. Yet despite Anderson’s musings on these negative emotions, Satellites is ultimately a peaceful watch. There is a surprising feeling of contentment as a lonely astronaut wanders in the beautiful backdrop of an unfamiliar planet and offers some hope for the future. Whilst aesthetically the film is a spectacle, and the jargon on space is well-written, there is minimal plot direction. However, it leaves plenty of room for intrigue which is the marker of an effective short film. This is an engaging and slightly mysterious film with excellent potential. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Bad Senator film review by UK film critic Patrick Foley. Starring Bob Gallagher, Rob Moore, Vanessa Neff directed by Chad W. Richardson. HOME | FILMS | REVIEWS Bad Senator Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 14, 2025 Directed by: Chad W. Richardson Written by: Chad W. Richardson Starring: Bob Gallagher, Rob Moore, Vanessa Neff It seems harsh that Richard Van Sutton, the (fictional) star of Bad Senator would be deemed as such when his fellow senate members are taking bribes or supporting insurrections. His worst sin is seemingly being a bad dad, politics don’t really come into this heartfelt but overlong feature. Van Sutton (Bob Gallagher) is the aforementioned senator – retired and spending his days on the golf course with friend/rival/Jurgen Klopp-lookalike Jocko Stone (Rob Moore). Estranged from his daughter Eliana (Kaylee Amante), his carefree but careless life is turned upside down by the arrival of Iris (Vanessa Neff), a yogi youtuber whose presence sits at odds with his conservative tendencies. A shared love of music might be a way to a family reunion, but Van Sutton needs to learn to put aside his ego first. Don’t go into Bad Senator expecting politics. A strange thing to say given its title, but this film is decidedly un-political. ‘Bad Dad’ would have been more appropriate, as the heart of the film is protagonist Richard Van Sutton’s journey to put selfishness aside and learn how to be there for his loved ones. It’s a curious choice to frame the film’s name around his rather important job when it really doesn’t play much of a role in the driving of the plot – and feels like a bit of a disconnect from the story of that director Chad W Richardson really wants to tell. The film is packed with heart and sweetness, and Richardson knows how to embody his characters with emotion and depth. Van Sutton’s aloofness comes through loud and clear thanks to Bob Gallagher’s humorous but weighted performance, and the collapse of his family dynamic is understandable – though the extent of his failures probably would’ve benefitted from an expansion on his neglect. A pivotal scene involves daughter Eliana casting him out of a performance of hers due to him arrogantly taking over the stage. Yet it is previously established that it is his negligence, not his scene-stealing, that is the real issue in their relationship. The same scene involves her partner Billy (Hunter Johl) saving the day and winning her back by playing guitar – which seems like a pittance gesture seeing as how he nearly got their son run over by a train just a few scenes earlier (yes, really). At over 2 hours, there is also simply not enough sustenance from the plot to justify the running time. Kaylee Amante can certainly sing, but the film really doesn’t require multiple musical performances. Rob Moore’s Jocko Stone is a great comedic presence and an effective foil to Van Sutton, but his scenes are largely comedic filler – Richardson at times seemingly torn between who his protagonist is. A much trimmer and focused film would’ve formed a much stronger emotional bond, whereas the number of distractions mean the grasp of Van Sutton’s development is lost on the audience. Bad Senator has a strong, simple core idea of a broken family on the path to redemption, and Chad Richardson’s film punctuate this with some solid humour and moments of emotional melodrama. But fundamentally it is way too long, with too many distractions and the desperate need of an edit. Whilst the world seems overly and permanently political at the moment, it is also a strange title for a film in which one of America’s most important jobs barely features in the narrative. If this film were a senator, it wouldn’t be a bad one. But it would certainly have filibustered once or twice. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Trailers for movies coming out in March 2020. Watch these awesome film trailers and find out what to watch in cinemas in March this year. March Movie Trailers It's post-award season, and March is the movie calendar's equivalent of The Godfather III. With that being said, we hope we have scavenged some decent enough movie trailers of films coming out in March 2020 that you can at least have something to watch through all the tears streaming down your faces (was that a Coldplay lyric?). All of these trailers are on YouTube, either via the official distributor's channel or the EXTRA SPECIAL UK FILM REVIEW YOUTUBE CHANNEL. Use the YouTube link in the footer of our website to SUBSCRIBE. That way you get to be part of our super duper trailers community. It's pretty much like any other YouTube channel except our's is messier...Don't tell the Editor we said that. You can also find our march movie trailers on our Facebook page, where we post them regularly. Or you can use the "Videos" tab to search for an older film trailer and binge until your heart's content. Although, why we are on the subject, why does Facebook call them videos? Nothing is on videotape anymore. Sure it should be called something else by now. Anyway, this is all by the by. Take a look at the trailers below and enjoy March in all its movie sadness. Onward Movie Trailer Trolls World Tour Movie Trailer Mulan Movie Trailer Misbehaviour Movie Trailer Back to MOVIE TRAILERS

An Ríomh film review by UK film critic Patrick Foley. Starring Eleanor Shannon, Jack Watson directed by Eleanor Shannon. HOME | FILMS | REVIEWS An Ríomh Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Dec 11, 2025 Directed by: Eleanor Shannon Written by: Eleanor Shannon Starring: Eleanor Shannon, Jack Watson Eleanor Shannon’s debut feature An Ríomh is an inventive and atmospheric reimagining of Irish folklore and its treatment of women, set in the modern age and framed around contemporary dilemmas and dangers. The film follows Aine (Shannon), a young woman excited by her upcoming meeting with Ciaron (Jack Watson). Matched up by a dating app, Aine quickly relaxes in Ciaron’s presence and nerves are overtaken by excitement. When Ciaron reveals that he is not all he seems, a hidden supernatural presence reveals itself as well. And in a flash, the hunter becomes the hunted… An Ríomh brilliantly uses the misrepresentation of women in historic Celtic mythology to engage with modern blights of violence towards women, abuse and sexual slavery. Women in many of these tales have been distorted, originating as righteous justice-seekers before being morphed over time into cackling, vengeful and malevolent spirits. Shannon seeks to reclaim elements of these stories from sexist reimagining, showing clearly in this short that Ciaron’s horrifying intentions are what brings about the wrath of the spirit that comes to inhabit Aine. The non-linear structure helps hammer home this point further. Ciaron’s predicament is a mystery to the audience at first, and his panic alone is enough to have some sympathy for him. But as Aine’s story is told, it becomes clear the truth we are initially presented with is not what it seems. It is a clever way to demonstrate how stories become distorted and muddied – one of the film’s key themes – in a way that can be as true in 2025 as at any point in history. Those who get their story out first are usually the ones who are believed, and in cases of violence or hierarchical gender-based abuse, it is often men who benefit from this. As the star as well as writer and director, Eleanor Shannon demonstrates a whole range of talents – easily immersing into the role of Aine. Her initial romantic swooning over Ciaron’s flirtatious texts is sickly-sweet and charming, but she just as easily convinces as the embodied vessel of vengeance that becomes of Aine – carrying a powerful degree of menace. Jack Watson similarly excels as Ciaron, an affable charmer with a dark side. His personality switch is jarring in just the right way, and when he becomes prey for the darker side of Aine and the film accelerates into full-blown folk horror mode, he makes for a brilliant target. An Ríomh ’s originality and boldness are its biggest strengths. It is not afraid to ask questions of its audience or flip their expectations, and uses historical precedents that surround the myths that inspire it to great effect. It is remarkable that this is a debut feature, and Eleanor Shannon is certainly someone to watch – not only as a performer but even more so as a writer and director with great depth of understanding around layering her stories with true substance. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

The Choice film review by UK film critic George Wolf. Starring Elijah Khodyrev, Vladislav Demchenko directed by Igor Federov . HOME | FILMS | REVIEWS The Choice Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 25, 2023 Directed by: Igor Federov Written by: Igor Federov Starring: Elijah Khodyrev, Vladislav Demchenko Writer/director Igor Federov crafts a terrific debut with The Choice , a tense, taut and well executed mystery thriller. Taking inspiration from both the societal impact and creative restrictions of the pandemic, Federov is able to mine impressive payoffs from an almost one-man show in a nearly one-room setting. The one man is Matvey (Elijah Khodyrev), and the room is where he is set up as a nighttime call center operator for Russia’s Frount Bank. It is the near future, when massive unemployment and numerous bank failures have spawned a new government via coup, but little relief for the struggling. Matvey is accustomed to angry and irate callers, but Daniel (Vladislav Demchenko) is a different animal. His voice is calm but menacing. Daniel is watching Matvey at work, he’s watching Matvey’s family at home, and he has a laser target pointed squarely at Matvey’s head. The demand? Right old wrongs by transferring money from the account of a V.I.P client. The setup doesn’t exactly blaze new trails, but the ways Federov consistently rises to its inherent challenges make the film an engaging and satisfying ride. The action here is all tech and talk, but through creative shot selection, crisp editing and precise sound design, Federov builds palpable tension around headsets, computer screens, digital switchboards, and voices on the line. And, as Matvey tries to buy time and seek help, Federov’s script reveals secrets that slyly shift the balance of power while deepening our investment in predator as well as prey. At just 77 minutes, The Choice might seem a bit brisk, but the story never feels slight. Federov resists the urge for padding he doesn’t need, cementing a debut feature that reaps plenty of benefits from the instincts of a smart new talent. Buy UKFR Banner Space About the Film Critic George Wolf Indie Feature Film, Film Festival < All Reviews Next Film Review >

Unintentional film review by UK film critic Swati Verma. Starring Rhythm Rajyaguru, Anil Modi, Dhuruvin Kumar directed by Sandeep Sharma. HOME | FILMS | REVIEWS Unintentional Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 18, 2023 Directed by: Sandeep Sharma Written by: Sandeep Sharma, Mughdha Shah Starring: Rhythm Rajyaguru, Anil Modi, Dhuruvin Kumar The name of the short film-Unintentional given by the writer-director Sandeep Sharma to elevate the elements of drama, thrill, mystery, and suspense to increase the degree of audience engagement with the content through Nisha (Rhythm Rajyaguru). The plot of Unintentional revolves around a young and successful restaurant owner who was tasting her success, little did she know her nasty past contained some horrible consequences which could take away her everything. The white font of Unintentional has the connotation of purity, simplicity, and innocence that are in danger of being destroyed due to the subject matter of the film. The dramatic piece opens with the voiceover sounding like a police investigation along with an upbeat yet eerie sound effect utilised to make the audience pay tension to even the minute details showcased. The narrative continuously moves back and forth between the present as well as the past time lines during the questioning allowing the viewers to be interested and involved with the movie as the storyline picks up pace. The combination of white, black yellow colours to set the tone, set design, dim lighting, dialogues, costume, hair, makeup, and props complement the mood as well as the genre of Unintentional. The director has smartly incorporated sub-plots in the movie in an attempt to add a surprise element for the audience as they reach the climax of the crime drama. In terms of performance, Rhythm Rajyaguru plays the female protagonist Nisha Mehta who believes in giving her 100 percent when it comes to both professional and personal spaces. Rajyaguru depicts the changes in Nisha’s behaviour as per the script utilising body language, voice modulation, facial expressions, and eyes. The actress portrays the stress and emotional trauma the character goes through and appeals for an instant connection and the viewers too want to be at her side praying hard to come out of the abusive relationship she is bearing with. Anil Modi plays the role of Shrey(Nisha’s husband) who comes across as an ideal boyfriend/husband material initially but later we are introduced to multiple shades of Shrey. Modi finds a balance between the two versions of the character arc and executes the transition effectively and efficientl Dhurvin Kumar as the police inspector illustrates the combination of empathy as well alertness the two major qualities required daily especially when on duty mode. Kumar understands the nuances and delivers them as per the demand of the screenplay. Unintentional talks about the importance of keeping the career and personal equations separate or else one has to face dire consequences that would become irreparable as time passes. The short film reiterates the fact that violence as well as aggression will always pull someone toward their downfall only. The thriller movie highlights the power of law and so advises the audience to not commit anything wrong because the police can get the culprit to confess. The cinematic piece also discusses the significance of marriage in Indian culture but one shouldn’t be forced to stay in the relationship especially when it comes at the cost of mental stress or a threat to life. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Pieces of Us film review by UK film critic Jason Knight. Starring Sinead Ferguson, Tim Seyfert, Lisa Leilani, Rory Wilton directed by Ben Fullman. HOME | FILMS | REVIEWS Pieces of Us Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 1, 2025 Directed by: Ben Fullman Written by: Tim Seyfert Starring: Sinead Ferguson, Tim Seyfert, Lisa Leilani, Rory Wilton A feature-length drama directed by Ben Fullman, written by Tim Seyfert and starring himself and Sinead Ferguson, Lisa Leilani and Rory Wilton. This sentimental film focuses on the lives of a young artist named Delilah (Ferguson) and Jack (Seyfert), a middle-aged famous author. The story takes place in Cornwall, where Delilah lives and Jack is passing through as he is doing a tour to promote his latest book. Delilah approaches him and states that Evelyn (Leilani), a former partner of Jack, was her mother. As the two of them proceed to build a rapport between them, they also reminisce about the past and consider their lives. This feature would not have the deep emotional impact that it has, had it not been for the wonderful music by James Coulthard. Beautiful piano and violin melodies create an atmosphere that feels melancholic and also tender and magical. Accompanied by the great score, the screenplay concentrates on the situation that arises between Delilah and Jack, with flashbacks revealing their past. Revelations and inner struggles are the main elements that make drama in this story, a story that basically consists of the consequences of adultery. Seyfert's script effectively explores the characters and their emotions and personal issues and he also delivers a great performance as a recognised writer who finds himself forced to deal with his past actions while being hassled by his obnoxious assistant. Ferguson's role is that of a youngster, a talented painter who lives with a workaholic partner (Tommy Lumley) and seems to believe that she needs Jack in order to understand certain things regarding her life and family. Leilani plays Delilah's mother, a university lecturer who deeply cares for her daughter and her husband (Wilton) and is torn apart by her careless action that ends up putting her family through very harsh times. Wilton is quite likeable as a supportive husband and father. The strong acting from all the main cast adds a lot of value. Looking into the themes in this story, there are numerous and they are heavy. The plot dwells into painful subjects including loss, infidelity and regrets, creating a great deal of drama. On the other hand, it also explores the significance of support, forgiveness, self-reflection and family. Pieces of us is Fullman's debut as a director of a feature film. Filming was executed entirely in Cornwall and Fullman's methodical directing perfectly captures the beauty of the area, with wonderful shots that reveal the nature, including great beaches and all of this is significantly supported by Andy Qualtrough's superb cinematography. A heart-warming film that revolves around an eventful encounter that changes two lives and it also works as a family drama. This is an emotional viewing about coming to terms with the past and acknowledging how much people need each other. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Last Snow film review by UK film critic Swati Verma. Starring NA directed by Shayan Naghibi. HOME | FILMS | REVIEWS The Last Snow Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Sep 6, 2024 Directed by: Shayan Naghibi Written by: Shayan Naghibi Starring: NA The writer-director Shayan Naghibi utilises literary devices like symbolism and connotation of snow to bring out the necessary life lessons he wants to communicate through the movie. The plot of The Last Snow revolves around the idea that everything can be lost just like snowfall and it can disappear like the fall of the last snowflake. The short film begins with a black screen along with an eerie sound in the background as the name-The Last Snow appears on the screen elevating the subject matter it deals with and also attempting to increase the degree of audience engagement with the content. The set design, a combination of black, and white as well as a blue tint colour palette, dim lighting, lamp lighting, natural lighting, sound, camera angles, old damp wallpapers, rains, snow, and props brilliantly depict time- lapse a photographic/camera technique to showcase the necessary changes people experience in life and therefore developing many skills required to combat all the challenges life throws at us. The light bulb continuously going on and off as the narrative moves forward can portray the struggle between life and death to survive another day. The continuous rains can signify sadness, melancholy or introspection, chaos, conflict, or disaster illustrating different moods people experience while adapting to various situations. The sound of the wall clock ticking indicates the precious special moments that must be cherished. In terms of performance, The Last Snow is an animation, experimental short film that introduces us to extreme weather with rain and snow and an empty house with some eerie sounds and props but no dialogue. Shayan Naghibi along with his crew has done a wonderful job with on-point animation skills making sure of maintaining factors like continuity, realism, and relatability, especially with the short running time. The Last Snow has an open ending therefore giving the audience freedom to interpret it as they want to. The Last Snow talks about life being short and unpredictable so one shouldn’t take anyone for granted. The short film teaches its viewers that change is the only constant and time well spent with people one cares about is the best way to cherish it because everything materialistic cannot find someone the happiness, as well as satisfaction one is hoping for in their journey from the mother’s womb to the graveyard. The cinematic piece reiterates that just like snow life also has happy days and sad days to create a perfect balance giving people the choice of making it beautiful as well as blissful for themselves and their families or vice versa. To conclude, I would like to appreciate Shayan Naghibi and his team for going forward with a simplistic approach breaking free from mainstream filmmaking for this project to make the audience understand the theme without diverting attention between dialogues, character arcs, costume, hair, and makeup using unconventional techniques and ideas making it interesting for those who like to experiment with their watch list. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film, Animation < All Reviews Next Film Review >

Mémoires d’un Mime film review by UK film critic Julian Gaskell. Starring Samson directed by Jamey Brown . HOME | FILMS | REVIEWS Mémoires d’un Mime Film Review average rating is 3 out of 5 Critic: Julian Gaskell | Posted on: Dec 20, 2021 Directed by: Jamey Brown Written by: Jamey Brown Starring: Samson A film by Jamey Brown, which he made whilst at film school with his brother, shows some interesting experimentation, most notably with the sound and the grading, in a short story about a down on his luck mime artist. The short is just under two and a half minutes in length and features Samson as the mime artist who's alone in his apartment. As he sits up in his full mime artist costume and make-up, his whitened face full of tears, he opens the bedside draw to get a cigarette. The foley sound effects are big and exaggerated, rattling the senses. He lights up and begins to scribble a note in his notebook with the continued heightened sound grabbing your attention, making you feel them and bringing them to the fore as acts of dramatic significance. It becomes clear he is writing a suicide note that mocks his own art form, “I can’t take this anymore I feel all alone in a silent world...” All the while the music score plays charming French café music (C’est L’Amour Classiques Francais Romantique) that conjures up images of the French joie de vivre that’s in contrast to his sad and depressed disposition, alone in his rundown room, with the tears of a clown painted on his face, wearing his hooped marinière top. He takes a knife from the kitchen and turns on the shower taking one slow knowing look to the camera before it cuts to him slumped on the shower floor his blood draining away. As the credits role the film finishes with an audio quote from philosopher Tom Watts, “A person that thinks all the time has nothing to think about except thoughts and so he loses touch with reality and lives in a world of illusion.” A profound statement ironically linked to this mime artist's story who has had enough of his own acts of illusion. There is plenty to like here including the sole performer, the mime artist played by Samson, who has some wonderful looks to the camera at the beginning and at the end that speak volumes. The grading uses a worn grainy effect that matches the run down state of the apartment, which looks like it has been patched up with masking tape, that all add to the overall gloomy outlook. The dramatization is forewarned and concluded with the ominous sounds of a woodblock used to great effect in traditional Asian theatre and there are some nice camera touches like the pan between the facial expression and the knife, which says it all before the final conclusive frame. It’s a thoughtful and thought provoking short that packs plenty of creative elements in it combining the French sound and look with the melancholic struggle of the mime artist and, although it doesn’t end well for him, leaves you with plenty to think on. Buy UKFR Banner Space About the Film Critic Julian Gaskell Short Film < All Reviews Next Film Review >