The Manager Position film review by UK film critic Alasdair MacRae. Starring Curtis Cook Jr., Jackie Hoffman, Karina Willis directed by Craig Trow. HOME | FILMS | REVIEWS The Manager Position Film Review average rating is 5 out of 5 Critic: Alasdair MacRae | Posted on: Jul 20, 2022 Directed by: Craig Trow Written by: Craig Trow Starring: Curtis Cook Jr., Jackie Hoffman, Karina Willis Unemployed and afraid to tell his wife, Philip still returns every day to the abandoned office space of the company he used to work for. Most days he simply eats his lunch and passes the time, until one day he finds that he isn’t alone. As others arrive they begin to role-play an office, how long can this last? The Manager Position is a charming short that has that something special about it. On the surface, it sizzles thanks to its lively soundtrack, slick camera movement, and charismatic lead performer in Curtis Cook Jr. But just below lies an unsettling truth. It alerts us to our need to conform to the office lifestyle. What more could you want than a job in the city where there is an opportunity to move up the ladder? Files, meetings, water cooler chat, an office romance, ‘world’s best’ mugs. These are our aspirations. A ‘normal’ life. Why? There are plenty of representations in media that expressionistically exaggerate the modern workplace into a cold dystopia, see Severance , one of the more popular shows of the year. And there are others that seek to satirise it completely, like Office Space , or simply The Office . Boots Reilly’s Sorry to Bother You happens to do both. But the way in which writer-director Craig Trow seems to avoid tipping too far in either direction, and in the process create something ultimately more incisive, is merely by portraying office life as a fantasy, an ideal even. The imaginary company Philip manages is just as nameless and stereotypical in structure as those in dystopian fiction. However, when others are recruited to the company, there is joy and humour to be found in the fraternity of the staff. It plays on the dichotomy of the emptiness and unfulfilling nature of the day-to-day grind, and how, ironically, such a job can be used to define oneself. The Manager Position is an entertaining and simultaneously haunting experience. A potent and well-crafted short with a great central performance. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Lovely To Meet You film review by UK film critic Patrick Foley. Starring Alessandro Fiorucci, Carmen Hoyos, Ariadna Martin Esteve directed by Darwin Reina. HOME | FILMS | REVIEWS Lovely To Meet You Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 12, 2026 Directed by: Darwin Reina Written by: Darwin Reina, Lee Bailes Starring: Alessandro Fiorucci, Carmen Hoyos, Ariadna Martin Esteve Lovely To Meet You is Darwin Reina’s horror short that uses the manipulative tactics of pickup artists as a driver for a deceptive story filled with graphic violence and brutality. It’s a modern cautionary tale that shows you can’t always trust people you meet late at night, whose intentions may not be what they seem. Michael (Alessandro Fiorucci) is prowling the dingy bars of Barcelona to find himself a plaything to bring home for the night. He focuses on Caroline (Carmen Hoyos), and turns on the charm – weaving his way through an increasingly passionate conversation whilst dismissively ordering drinks from barmaid Maria (Ariadna Martin Esteve). But Caroline’s presence in the bar is not one of chance, and Michael is not the only one hunting in the city that night… Darwin Reina’s Lovely To Meet You is a horror short set in the dating world that gets straight to the gory stuff whilst offering a thought-provoking look at the uncertainties that come in hookup culture. It eschews a traditional narrative and framing for its central characters, twisting the expected roles for man and woman when it comes to random encounters and showing that risk is inherent when heading out alone to meet strangers. Whilst a conspiracy twist may not be a regular risk for most people, it is one that the directors and writers have fun with and use to demonstrate a darkness in human nature that can exist on both sides of an encounter. The film’s lower budget betrays it in moments. Blood effects do not convince and take away from viewer immersion, which is a shame as the film revels in its gore. Horror enthusiasts will feel a little undersold on the grisliness, which does not live up to its set-up in the bar scenes. Other action sequences similarly fail to really capture the intensity of the situations they take place in – such as a moment in which characters break down a door which looks fake and rehearsed. The bar scenes themselves are the production highlight, and where the director is able to build tension between the cast. Whilst the themes around risk purvey throughout the story, Reina never really coalesces them to focus on an overall statement or message. Instead, the final result is a mild torture fantasy with an unexpected twist, but one that doesn’t really justify its own build up. There are interesting elements here, but viewers will come away without anything that really stands out – outside of Alessandro Fiorucci’s brilliantly creepy performance and a twist that offsets the audience. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

A Balanced Breakfast film review by UK film critic Amber Jackson. Starring Vince Hobart Smith, Rhyan Hanavan, Mark Borison directed by J. W. Cox. HOME | FILMS | REVIEWS A Balanced Breakfast Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: May 5, 2022 Directed by: J. W. Cox Written by: J. W. Cox Starring: Vince Hobart Smith, Rhyan Hanavan, Mark Borison Best Picture winner at the Winterfilm Festival, A Balanced Breakfast is an eleven-minute piece centring a father in the midst of a mid-life crisis as he struggles to balance work and life. Short and sweet, it stars Vince Hobart Smith as Dennis and Rhyan Hanavan portraying Moriah, his daughter, as the two navigate the clashes between childhood and adulthood and discover what truly matters to them. Light and bright, with a clear focus on snowy weather, this short film quickly warms up in terms of its charm. A quirky and fun script provides an alternative narrative that does not typically get explored on screen: a single father parent confronted with many the everyday challenges of life and having to balance it all. We see Dennis becoming increasingly frustrated when struggling to weigh up an important day at work versus caring for his young daughter and we feel for him. This breaking point highlights a contemporary struggle of putting family first and not always getting the answers right. Moriah balances her father well as, despite his anxieties, she is cool and collected. Despite being unwell, her keenness to make her father happy keeps the film light-hearted and warm in tone. She too must balance her feelings and learns more about her father along the way. Whilst the contrast between a daughter wanting to spend him with her father, versus a father who cannot switch off from work, is apparent, the important of happiness prevails. Their sweet and relatable relationship as they both discover more about the other is portrayed with great on-screen chemistry from Rhyan Hanavan and Vince Hobart Smith. Both perform powerfully with great comedic timing as moments of relief interject into the more serious messages contained within the short. A Balanced Breakfast is a comedic film that carries a deeper meaning about maintaining balance. True to the everyday experience, writer and director J. W. Cox compares the little joys in life, like a delicious cereal, versus the larger joys of parenthood and bonding with your child. It sounds like an odd concept, but its metaphors work greatly to make an enjoyable viewing experience. Simple in execution, the performances ensure that the script conveys its powerful message where a father-daughter duo realise their true priorities. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Spinal Tap II: The End Continues. Set for a glorious return to UK cinemas this September, this film promises to be a welcome, if profoundly daft, comeback for the geriatric rockers.. Brand new film trailers. Spinal Tap II: The End Continues The amps are tuned, the drum risers are ready, and after four decades, the world's most enduringly hapless rock band is back. Yes, in a move that feels both long overdue and a magnificent piece of Spinal Tap-esque madness, David St. Hubbins, Nigel Tufnel, and Derek Smalls are reuniting for one last hurrah in the eagerly awaited sequel, Spinal Tap II: The End Continues . Set for a glorious return to UK cinemas this September, this film promises to be a welcome, if profoundly daft, comeback for the geriatric rockers. For those of us who grew up on the original, the idea of a sequel is both exciting and terrifying. The 1984 mockumentary This Is Spinal Tap was a genuine cultural landmark, a film so perfectly pitched that many viewers initially believed it was a real documentary. It defined an entire genre and provided a near-endless supply of quotable moments, from the famous amp that goes to eleven to the unceremonious demise of various drummers. So, what’s left to say? A lot, as it turns out. The premise sees the band, now estranged and in the twilight of their careers, forced to reunite for a final contractual obligation concert. This setup, of course, is a goldmine for the kind of observational, bone-dry humour that made the first film a classic. The genius of the original cast—Christopher Guest, Michael McKean, and Harry Shearer—is that they don't just reprise their roles; they truly embody them, giving us characters who are simultaneously pathetic and strangely endearing. We’ll get to see what David is up to, presumably still pontificating on the mysteries of rock 'n' roll, what Nigel is doing in his later years (a guitar-and-cheese shop, apparently), and how Derek Smalls has been getting on after his solo tour. The return of director Rob Reiner as Marty DiBergi, the long-suffering documentarian, is the perfect framing device, ready to capture every new misstep and glorious failure. The buzz around the film has been building for months, not least because of the promise of star-studded cameos. Sir Paul McCartney and Sir Elton John are among the musical legends set to make appearances, a testament to the original film’s legendary status within the music world. One can only imagine the hilarious interactions and improvised chaos these new faces will bring to the chaotic world of Spinal Tap. Ultimately, Spinal Tap II: The End Continues isn't just a sequel; it's a celebration of a cinematic institution. It’s a chance to see a legendary comedy act prove they’ve still got it, and a reminder that even after forty years, some things never change—notably, Spinal Tap’s inability to get anything quite right. The UK release this September is set to be a momentous event, and we can’t wait to see if the band finally find a stage prop that doesn’t mysteriously go missing. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Sam & Kate film review by UK film critic Hope Madden. Starring Jake Hoffman, Schuyler Fisk, Dustin Hoffman, Sissy Spacek directed by Darren Le Gallo. HOME | FILMS | REVIEWS Sam & Kate Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 11, 2022 Directed by: Darren Le Gallo Written by: Darren Le Gallo Starring: Jake Hoffman, Schuyler Fisk, Dustin Hoffman, Sissy Spacek Film right now is littered with “geezer teasers” – lowish budget action flicks with inflated cameos from aging actors who were once the world’s biggest box office draws. Bruce Willis and John Travolta have one right now. Mel Gibson has one every other week. Wouldn’t it be lovely to see a film that casts veteran actors in challenging roles that respect the actor, their age, and the audience? Yes, it would. The proof is called Kate & Sam . Dustin Hoffman and Sissy Spacek co-star in the indie dramedy about resilience, grief and family. Hoffman’s Bill, a boisterous widowed veteran, lives modestly with his good-natured son, Sam (Jake Hoffman, coincidentally Dustin Hoffman’s actual son). Father and son fall, almost simultaneously, for Spacek’s Tina and her daughter, Kate (Schuyler Fisk, coincidentally Spacek’s daughter – not that you could miss it with that pointed little nose). As much as the family ties may seem like a gimmick, the truth is that they bring unmistakable depth and rapport to the pairings. Writer/director Darren Le Gallo mines this repeatedly in large and small ways to create a believable, rich environment for pathos and love. Even small details breathe with authenticity touched lightly by nostalgia. You can imagine Bill’s recliner and afghan perhaps belonging to Le Gallo’s own father, while the stash of family photos clearly, sweetly come from the Hoffmans. Le Gallo never condescends, mercifully. His small town is possibly hipper than most, but the way the film expresses a healthy respect for vintage materials is impressive. Spacek is the adorable, natural presence she’s always been in a film that looks without mockery but with humor at the toll life takes on us all. She and Hoffman are, as expected, excellent. But they never outshine their kids. Fisk’s elegant, frustrated Kate is a solid anchor for the film’s drama, but Jake Hoffman is its heartbeat. With him in the lead, Le Gallo is able to make a lot of subtle points about fathers and sons, masculinity and acceptance. Most of all, the film balances loss and resilience beautifully. Le Gallo’s first feature delivers grace and goodwill in ways that are genuinely uncommon. It doesn’t tell a big story, but the story it tells resonates. Yes, he lucked into a dream cast, but they may have been luckier still to have him. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Swimming with You film review by UK film critic Amber Jackson. Starring Declyn Tracey, Dillon McFarlane, Carla McNeil directed by Holly Lawrenson Evans. HOME | FILMS | REVIEWS Swimming with You Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Jun 20, 2022 Directed by: Holly Lawrenson Evans Written by: Paul Davidson, Taylor Watson, Holly Lawrenson Evans Starring: Declyn Tracey, Dillon McFarlane, Carla McNeil Swimming with You is a delightfully relatable short film that encounters two young men on a journey of self-discovery and attraction. After a hook-up goes wrong and they get locked out of the car, sparks fly and embarrassment erupts as both men are frustrated with the uncomfortable situation that they find themselves in. However, once they get talking and learn more about each other, they begin to bond and the situation develops in ways that neither of them expected. The dynamic between Lucas (Declyn Tracey) and Rhys (Dillon McFarlane) is electric as both actors are able to convey an awkward relationship between two men who are unsure on how to feel about each other outside of their hook-up. When breakdown recovery woman, Lorna (Carla McNeil), enters the scene and teases them, the couple respond in very different ways. Whereas Rhys is incredibly embarrassed and uncomfortable with anyone finding out about his sexuality, Lucas is more open and very blasé and is not phased by Lorna’s teasing. These moments highlight the awkwardness between Rhys and Lucas, forcing them to confront what they actually want versus what their meetings actually mean. Director Holly Lawrenson Evans thoughtfully examines the secret and scary side of queer culture where two casual partners are unsure how they want to define themselves, let alone their relationships. As Lucas is not used to giving second chances and typically does not want to get emotionally involved, this situation forces him to be vulnerable with Rhys – and vice-versa – and re-examine their feelings. When Lorna enters the scene, the atmosphere feels tense and fearful, confronting the two men with the potential realities of their situation and that they actually have to talk to each other properly. You begin to realise that this short film is deeper than ‘just a hook-up’, but instead provides an insight into a real-life situation. An unexpected and simple situation of not being able to find the car keys leads to an evaluation of emotions and anxieties. Swimming with You has a beautiful and heartfelt script that conveys a reality for young gay men in the UK trying to figure themselves and their sexual identities out. The reality of dealing with raw emotions and public anxiety for the first time is tenderly examined and provides a sweet short film. This is well worth watching. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film, LGBTQ+ < All Reviews Next Film Review >

Starfisher film review by UK film critic Finn O'Toole. Starring Don Scribner, DW Ferranti. directed by Anthony Ferraro. HOME | FILMS | REVIEWS Starfisher Film Review average rating is 3 out of 5 Critic: Finn O'Toole | Posted on: Jul 1, 2026 Directed by: Anthony Ferraro Written by: Anthony Ferraro Starring: Don Scribner, DW Ferranti. Written and directed by Anthony Ferraro and independently produced for his YouTube community, ‘Starfisher’ follows exactly what the title proposes: an old man fishing among the stars hoping to catch “the big one”. This piece opens with the Ernest Hemingway quote “Now is no time to think of what you do not have. Think of what you can do with what there is.” A particularly poignant quote for multiple reasons. The first of which being that the film was made on a rather modest budget of absolutely nothing , a testament to the passion and creativity of the team behind it. The other reason being the inspired similarities between this and The Old Man and the Sea by Hemingway himself, albeit with a fun science fiction twist. The story also draws striking parallels to Moby Dick with the Starfisher searching for his own ‘white whale’ . The most immediate spectacle of the film is the excellent production design by Aidan James Hansen. The surfaces feel grimy, the tech seems functional and the surroundings look lived in, with blinking buttons and lights providing an effective excuse to light the protagonist in interesting ways – something cinematographer Jon Schweigart takes full advantage of, always keeping each frame engaging to look at. Even Matthew Patterson Curry’s subdued but effective score elevates the design and cinematographic work produced by his peers, creating a summative and powerful tone that leaves the audience with a calm and lonely feeling as we drift through outer space. Regrettably the immersion created by this atmosphere is broken when the film cuts to its VFX shots, which are jarringly low quality in comparison to the impressive practical visuals. Now, keeping in mind that this film was made with no money whatsoever, I’m aware that criticism may seem null and void. However this criticism lies not with the quality of work on display but rather the creative choice behind it. For example if as viewers we only saw glimpses of the alien from out the window, utilising practical and VFX assets in the same shot (much like at the end of the film), we may find the limited peeks at it more effective in creating a more vivid version of it in our imaginations. This would also add a more mythical quality to the creature. In this case, less is more. Another nitpick that may put off audiences is the computer’s voice, which is hard to understand at various moments. With mentions of the Starfisher’s family throughout the course of the film, we are led to believe that he has abandoned them in search for this creature. However we are never told why . This seems to be done with the intention of focussing the narrative, but in this case leaves the viewers with the possibility of disliking the protagonist – especially with no frame of reference on how or why we should empathise with his perplexing choice. Ultimately ‘Starfisher’ is a charming tale putting an enjoyable spin on iconic literary classics. Despite no budget, this fable is able to offer spectacular production design, stellar cinematography, and is a magnificent feat of resourcefulness and creativity. Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

Breaking film review by UK film critic Hope Madden. Starring John Boyega, Nicole Beharie, Michael Kenneth Williams directed by Abi Demaris Corbin. HOME | FILMS | REVIEWS Breaking Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Aug 24, 2022 Directed by: Abi Demaris Corbin Written by: Abi Demaris Corbin, Kwame Kwei-Armah Starring: John Boyega, Nicole Beharie, Michael Kenneth Williams John Boyega is here to remind us that he is more than Finn. He has been, of course. He burned right through the screen in the raucous Attack the Block . He simmered with contempt and resignation in Detroit . And he charmed as the well-meaning hero in some light galactic fluff. He explores something entirely different in Abi Demaris Corbin’s heartbreaking true story, Breaking . The filmmaker delivers a bleak look at bureaucracy and the plight of the Black American veteran without fanfare or sentimentality. Instead, her film aches with compassion. Boyega is Brian Brown-Easley, a retired Marine on the verge of homelessness due to a clerical error made by the VA. He is about to do something very rash. The set-up is pure high drama, a tension-fueled action flick waiting to happen. And it can wait, because Demaris Corbin and her cast take a profoundly dramatic situation, one exploited for its tension for as long as we’ve made films, and drain it of hyperbole, finding something not mundane but intimate. Films like this are loud, but Breaking is quiet. Demaris Corbin builds relentless tension with very little volume, the silences only emphasizing the fear felt by a small group of characters inside an uncomfortably intimate situation. Boyega disarms and devastates with clarity, tenderness, and touches of paranoia. You never know exactly what to make of Brown-Easley, but any tendency to underestimate him is met with rejection. Nicole Beharie (Miss Juneteenth ) meets that performance with fierce but terrified honesty. Her fiery performance demands that the film never resign itself to Brown-Easley’s fate, and reminds us clearly that the plight of the Black veteran looks different than that of a white one. Michael Kenneth Williams, in one of his final performances, joins mid-film, playing against-type as a thoughtful hostage negotiator. He carries a sense of optimism with him that only deepens the tragedy the film tells. Please prepare to be heartbroken, particularly when Brown-Easley’s daughter Kiah (London Covington – oh, that little face!) reminds her panicking father to breathe, imitating the proper way to do it as if it’s a ritual the two have. Covington is wonderful, heartbreakingly natural, and the scene offers a gorgeous piece of realistic tragedy, or day-to-day struggle and resilience. Demaris Corbin uses visuals to move seamlessly from present tense to flashback, and one particular image of a blood trail across worn bank carpet is particularly effective. For a film trapped primarily in a single space, Breaking creates something tragically universal, but it never betrays its hard-won intimacy. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Hollow film review by UK film critic Jason Knight. Starring Laura Bayston, Karl Collins, Kris Hitchen directed by Paul Holbrook. HOME | FILMS | REVIEWS Hollow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 25, 2021 Directed by: Paul Holbrook Written by: Paul Holbrook Starring: Laura Bayston, Karl Collins, Kris Hitchen A downbeat, hard-hitting story filled with hatred, sadness, cruelty and suffering. Laura (Bayston) is a woman who is devastated by the loss of her six-year-old daughter Lucy, who was brutally murdered by a man named Niall (Hitchen). Niall has now been released from prison and Laura cannot resist the desire to avenge Lucy's death. She seeks comfort in her friend Martin (Collins), a local vicar and they share their thoughts with each other. Martin is facing his own issues, as he is a victim of racism and is targeted by a group of youths who verbally abuse him. Meanwhile. Laura gets more and more closer to snapping and going after Niall. There is pretty much no joy in this bleak drama that deals with vengeance, racism, loss and grief. The plot focuses on two individuals who are now broken due to awful events they have endured. The sad state that Laura and Martin are in is vividly shown. Laura spends a great deal of time alone in her house struggling with her inner emotions, while Martin appears to be unable to stand up against the racist bullies. The two of them are in pain, however they have developed a strong bond between them and care about what the other is going through. The protagonists deliver great performances. Bayston is very emotional as a person who is feeling empty, following the loss of her child, has lost her faith and the only thing she seems to want now is for Niall to pay for his despicable deed. Collins is dramatic as a vicar who is gentle, kind and willing to help others and has been through a great deal of bad times. Hitchen is rather menacing in his portrayal of a dangerous, bad-tempered individual who is willing to resort to violence. The film also explores themes of religion and crosses are often shown. A flashback reveals Lucy's fears of spiders and a closeup of a black spider is seen throughout. The spider seems to represent Laura's nightmares, because her daughter was afraid of them. James Oldham does an amazing job with the cinematography and the music is tense and dramatic, adjusting very well with the atmosphere. The presence of the cheerful song 'Oh Happy Day' serves as an irony, due to the distressing themes in the film. The main subject here is one's desire to get even. The film suggests that the idea of revenge will not bring peace, but will instead create more suffering for those who pursue it. This is not a pleasant viewing, but it is a powerful story, with strong emotions and deserves a lot of praise. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Legions film review by UK film critic Hope Madden. Starring German de Silva, Lorena Vega directed by Fabian Forte. HOME | FILMS | REVIEWS Legions Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jan 18, 2023 Directed by: Fabian Forte Written by: Fabian Forte Starring: German de Silva, Lorena Vega I watch a lot of movies. More than anything, I watch horror movies. Once in a long while, you uncover a little treasure, something that sneaks up on you with a distinct voice and magical storytelling. Such is the case with Fabián Forte’s Legions . Antonio (Germán de Silva) recounts his life stories to the other residents in the hospital where he’s being held instead of prison. Some people call him a shaman. He prefers to be called a mediator between worlds. It’s that mediation that landed him in the hospital and caused a likely irreparable rift between him and his daughter, Helena (Lorena Vega). But the blood moon is coming and with it a demon that will use Helena to bring about the apocalypse. To save his daughter, Argentina, and the world, Antonio has to make his daughter believe in him again. Forte’s film traverses three different time periods and three distinct tones but the filmmaker masterfully blends them one to the next. Each new era has a different color palette and score to emphasize the change in tone, as Antonio’s stature and the respect he receives from those around him and from his daughter diminish. Finally, with a fully comedic tenor, Antonio finds himself quarantined in his old age. In this way, Legions bears a passing resemblance to Don Coscarelli’s amazing Bubba Ho-Tep , though the humor at the expense of residents is sometimes patronizing. Still, by having patients mount a stage production of Antonio’s tales strengthens the thread connecting truth and fiction, real-life horror and entertainment, and day-to-day cynicism with faith. Forte channels not just Coscarelli but, and far more obviously, Sam Raimi. Still, the film feels entirely its own, partly because it glides through different sub-genres so smoothly, and partly because it wears its heart on its sleeve. At its core, Legions is a fantasy about regaining the respect of your adult children, and because of that, it’s both relatable and touching. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Wednesday's Child film review by UK film critic Jason Knight. Starring Caroline Harvey, Charleigh Bailey, Fionna Hewitt-Twamley, Lauren Kinsella directed by Laura O' Shea. HOME | FILMS | REVIEWS Wednesday's Child Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 4, 2022 Directed by: Laura O' Shea Written by: Caroline Harvey, Charleigh Bailey Starring: Caroline Harvey, Charleigh Bailey, Fionna Hewitt-Twamley, Lauren Kinsella Two social workers pay a visit to a dysfunctional family. Marie (Harvey) has just began her new job as a community childcare worker and along with her experienced colleague Annie (Bailey), she is on her way to pay a call on a troubled household that consists of Dympna (Twamley), an unstable woman who lives with her daughter Geraldine (Kinsella), who has a baby. Once there, the two social workers try to keep things calm and understand the family's troubles, however things and up getting out of hand. Inspired by the memoir Wednesday's Child by Shane Dunphy, this short drama provides a hard-hitting insight into the world of social care by revealing the challenges they have to face. Marie has been assigned to work on a case that is very difficult due to Dympna' behaviour and Geraldine's lack of support. As the family is also facing financial worries and is living in a filthy and untidy home, the situation appears to be hopeless. There is a great deal of serious drama and the atmosphere is downbeat throughout, giving little indication that things are going to work out well. Twamley is the one who stands out the most, with her tense performance as a troubled individual who is struggling to pay her bills. She comes across as short-tempered, aggressive and seems to have mental issues. Kinsella plays her daughter quite convincingly and her character keeps to herself and ignores the social worker's attempts to reach out. Her behaviour makes it clear that she is fed up with dealing with problems. Harvey and Bailey are great in their roles and generally the acting is very strong. As the director of photography, Evan Barry provides beautiful cinematography and Seamus Harvey develops a dramatic score that adds significant value to the film. This is a poignant and distressing story that explores social care services and dysfunctional families and also looks into mental health, child protection and domestic violence. It brings the viewer into a situation that shows what social workers have to deal with and it does so rather vividly. It is not a pleasant viewing, however it deserves attention due to the themes that it contains. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Ember's Edge film review by UK film critic Swati Verma. Starring Edith Bahena, Danielle Chambers , Lance Caver directed by Edgar Alejandro. HOME | FILMS | REVIEWS Ember's Edge Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Sep 2, 2022 Directed by: Edgar Alejandro Written by: Edgar Alejandro Starring: Edith Bahena, Danielle Chambers , Lance Caver The maroon font colour used for the title of the feature film has the connotation of passion, ambition, strength, courage, and confidence necessary to combat the various emotions encountered by the two female protagonists Kara (Danielle Chambers) and Leticia (Edith Bahena) while on an outing in the jungle. The name of the movie-Ember's Edge can also signify the act of being pushed to the extreme. The writer-director Edgar Alejandro's ensemble Ember's Edge is a theater show but has the capability of engaging the audiences just like a full-fledged film. Ember's Edge tells the story of love, trust, and adventure- all put to the test when subjected to an unexplored forest, seeking a treasure that may or may not exist. The film opens with a long shot of the jungle with a slightly tilted camera angle to instill a sense of thrill and mystery into the minds of the audience in context to the dense forest. The DOP Adriel Roman with a mid-shot, low lighting and an eerie background sound gives the message to its audience to be ready to witness a lot of twists and turns that would keep them hooked throughout the running time of the creative piece. The set design, locations, lighting, dialogues, costume, and makeup has been kept natural to uplift the rawness of the narrative and also add the element of realism and make it relatable for the viewers. In terms of performance, Edith Bahena plays Leticia (Kara's love interest) who likes to handle things with emotions but the audience gets to watch the nuances of her character which remained uncharted till she was forced out of her comfort zone. The young actress effortlessly portrays the varied shades of her character and demands 100 percent involvement of the audience in the story right from the starting point. Danielle Chambers as Kara is opposite Leticia. She is the right mix of practical and explorer. Kara always leads herself to the physical and emotional ruckus. Chambers can delve into the mind of Kara and showcase the hassle, and paranoia that the character is experiencing due to her high ambitions. Lance Caver plays the role of Elijah the villain of the story. Caver illustrates multifaceted Elijah effectively to maintain the thrill, suspense, and mystery of the narrative. The various antics utilized by the actor also highlight the gruesome thinking of his character. The feature film-Ember's Edge talks about the importance of falling in love and staying faithful to the romance despite all the turbulence experienced in it. The cinematic piece teaches the lesson of togetherness which would help achieve long term goals in life. The thriller reiterates the fact of finding the balance between emotions, determination, and ambition as too much of anything can cause harm that cannot be repaired. The creative piece also tells us that love shouldn’t have a set rule attached to it and people cannot be subjected to judgment because of the choices they make regarding their love life. Ember's Edge advises its viewers not to lose themselves to discover something new with various experimentations in life. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >