Dario Argento Panico film review by UK film critic Hope Madden. Starring Dario Argento, Asia Argento, Fiore Argento, Guillermo del Toro, Nicolas Winding Refn directed by Simone Scafidi. HOME | FILMS | REVIEWS Dario Argento Panico Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 1, 2024 Directed by: Simone Scafidi Written by: Manlio Gomarasca, Giada Mazzoleni, Davide Pulici Starring: Dario Argento, Asia Argento, Fiore Argento, Guillermo del Toro, Nicolas Winding Refn In 2019, documentarian Simone Scafidi turned his attention to Italian horror filmmaker Lucio Fulci for the film Fulci for Fake . It seems only fitting, then, that he shine a spotlight on Italy’s most revered horror maestro – and a bit of an artistic adversary of Fulci’s – Dario Argento. Panico follows Argento into seclusion in a hotel where he hopes to finish his latest screenplay. From there, Scafidi interviews the director as well as his oldest daughter, Fiore, essentially ruining the whole point of Argento’s stay at the hotel, which makes the setup seem odd from the start. Argento knows what’s up, though, posing thoughtfully with beautiful architecture and charming Scafidi with the odd reminiscence. These moments pepper a chronological throughline of archival footage and movie segments as well as contemporary interviews with family and other filmmakers. Few genre fans would argue Argento’s influence or importance in cinema. Gushing tributes from Guillermo del Toro, Nicolas Winding Refn and Gaspar Noé (who cast Argento in the lead for his 2021 drama Vortex ) offer delightful glimpses into just what an influence he has been. Not every opinion is positive – one friend of Argento’s even articulates the plain truth that the maestro’s Nineties output lacked all art. What Panico lacks are follow-up questions. A number of provocative comments from interviewees seemed like opportunities to hear from Argento on the matter, and yet at no point does Scafidi dig in. This is most confounding during a fairly lengthy interview with Argento’s younger daughter, Asia. The star of six of her father’s films, beginning with Trauma when she was 16, Asia Argento has been the center of a great deal of speculation and debate concerning her father as a filmmaker and as a parent. And though she spins each unusual parenting or directorial choice as if it’s natural, positive, or wise, most of the time it clearly is not. In fact, an entire (and far more interesting) look at who Dario Argento is and what we should make of his movies could be carved out of just her interview, had Scafidi double checked any of it with her dad. Nope. Instead, Dario sits across a table from Fiore. She asks him how he managed to be such an amazing dad, always doting on his two daughters. He says that’s just how a person goes about being a father. I’m not bothered by a superficial doc that just points out why a filmmaker managed to leave such a remarkable legacy in a single genre. But if you’re going to tease us with actual information, choosing not to address any of that information makes for a very frustrating viewing experience. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Mr. Wonderful film review by UK film critic William Hemingway. Starring Michael Madsen, Kate Hodge, Robert Laenen, Brittany Underwood, Bradley Stryker, Priscilla Barnes, Robert Miano directed by Mark David. HOME | FILMS | REVIEWS Mr. Wonderful Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jan 28, 2026 Directed by: Mark David Written by: Daniel Blake Smith Starring: Michael Madsen, Kate Hodge, Robert Laenen, Brittany Underwood, Bradley Stryker, Priscilla Barnes, Robert Miano A struggling middle-aged man finds himself swept back up into the lives of his father and his son, as circumstances beyond his control force them back together in some difficult situations. Professor Brian Fenton (Madsen) is stuck in a rut. He’s been teaching at some mid-rate further education college in California for around twenty years now, still without tenure, and without having published any work for over ten years. He’s upped his alcohol intake to every day, and has taken to sometime day-drinking to stave off the existential dread. His lectures are the most boring, turgid crap, where he can barely get the words out due to his over-gruff, deep, raspy voice, and the students are in the process of revolting. Ironically, Brian is trying to teach about the American Revolution, and the misconceptions and false narratives surrounding it, but this all falls on deaf ears as his bad attitude and bad grades cause a cabal of his 4th years to conspire against him. On top of all this, Brian’s son, Danny (Laenen), has turned up from further down the coast, escaping his cheating girlfriend as well as a few drug dealers that he’s pinched some money from. Danny’s decided to camp out with his father and his second wife, Corinne (Hodge), for a while so that he can get his head together and maybe get a home cooked meal. Getting it together isn’t really on the cards for Danny as he is a developmentally arrested thirty-something man-child, and besides, his trailer-trash girlfriend, Dawn (Underwood), has followed him to his dad’s house to try and get him and her money back. As pressure piles upon pressure, Brian then has to deal with the ailing health of his father (Miano), who, all the way down in Texas, is dealing with dementia, and is becoming a threat to himself and his second wife, Claire (Barnes). Trying to take it all in his stride, and with a calm, Californian attitude, Brian is actually quite close to the edge. Corinne is an enormous support, but even she draws the line at Danny’s idiocy, and the arrival of Dawn throws everything into total disarray. Sooner or later, Brian is likely to break, and he can’t see clear to a path out of his huge pile-on of family trauma. Played by the late, great Michael Madsen, in his last starring role, Brian presents as a sour but amiable character, who’d just like everything to go back to normal, everything to work out, and everyone else to f*** off. Madsen imbues Brian with a feeling of history, if not entirely a chequered one like his more famous roles, and grants him a pathos that might not have been there otherwise. He ambles about from scene to scene, swilling wine, laughing at others, making some barbed statements, and bouncing off the other characters, with and without sunglasses, sometimes taking them off and putting them on as he goes. Each scene is filled with presence, and when the story lags, or the other characters don’t perform adequately enough on screen, Madsen is always there to pick up the slack and bring the film back into focus, giving it all he’s got, even as he knows he doesn’t have long left. That’s not to say that the other acting is not good, because it is, in fact it’s consistently strong right across the board as everyone delivers their characters down to a T. It’s just that the characters themselves are fairly poorly drawn, with very little backstory and very bland introductions. They respond to situations in a one-note fashion and never actually grow from the start of the film to the end, leaving the actors to spout quite childish dialogue while trying to save some drama from the situation, with varying results. The script, from writer Daniel Blake Smith, is taken from his own book, and one has to wonder if the quality of writing in that tome is similar to this, or whether the transition to screenplay has left some of the actual content out. Director, Mark David, is similarly average in his delivery, keeping a lot of his scenes still, or with simple tracking, and offering zero sense of visual style or flair. There’s a functionality about the way the narrative and the scenes are pieced together, and nothing ever really stretches beyond that to give something more to the audience. This also plays into the performances, where a certain am-dram quality is sprinkled over the proceedings due to the farcical nature of what is happening on screen. Thankfully, there’s a family feel to the ensemble nature of the piece, and everyone looks to be enjoying themselves on-screen, offering a relaxed atmosphere and a growing sense of nostalgia as the story nears its end. Conclusion would be too strong a word for how things are wrapped up in Mr. Wonderful , as more things are resolved by the freeing up of cash than they are by actual character development. However, there’s a nice bookending to the narrative that gives Brian his arcing trajectory, and by the end of it we’re all just happy to have gone on the journey with Michael Madsen, gaining another hour-and three-quarters with a screen legend who was never allowed to make his mark as a leading man anywhere near as much as he should have. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film, Amazon Prime < All Reviews Next Film Review >

Yellow Gangs film review by UK film critic William Hemingway. Starring Archana Kottige, Dev Devaiah, Arun Kumar, Sriharsha H.S., Sathya B.G. directed by Ravindra Parameshwarappa. HOME | FILMS | REVIEWS Yellow Gangs Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 29, 2023 Directed by: Ravindra Parameshwarappa Written by: Ravindra Parameshwarappa Starring: Archana Kottige, Dev Devaiah, Arun Kumar, Sriharsha H.S., Sathya B.G. Stop me if you've heard this one before: We're in the back seat of a moving car. Looking down we can see the body of an injured victim sprawled across the length of the seats. He's bleeding – profusely. The driver in the front is trying to get to safety, every so often turning to check on the invalid in the back, shouting his name, getting more and more worried with each passing second. What the hell has just happened? How did these characters get themselves into this diabolical situation? Are they going to make it? Is the person in the back still alive? Are they in fact a mole, a police operative working undercover in the shadows of a gangster underworld, who's managed to get caught up in the crossfire of a criminal enterprise gone wrong? Sounds kinda familiar, huh? And yes, writer/director Ravindra Parameshwarappa's intro to his new feature film, Yellow Gangs does smack an awful lot of Reservoir Dogs (1992) and goes on to reference/borrow a lot from Tarantino's first outing, as well as bits and pieces from his other major successes, but it's the other favourite Godfather of gangster movies that gets the most nods as a lot of the characterisation, story and style of the film ape faithfully the Cockney gangster vibe of Guy Ritchie. After the opening scene and slick title sequence then comes the usual rounds of introducing all the main characters, each with their own glib dialogue, a funky, fun theme on the soundtrack, and if they're really special, their very own title card splashed all over the screen in the RocknRolla (2008) style. So we've got Vikram (Devaiah), a cop and the guy in the back seat from the opening scene, who likes to play both sides and is involved with his on-again/off-again girlfriend Priya (Kottige), who was the one driving him to safety after he'd been shot. There's Ushna (Kumar), leader of a gang of hardened criminals who like to do drug deals and take receipt of giant bags full of cash. Then there's Tent Naga (Sathya B G), leader of a rival group of gangsters who wants to get in to rob a jewellery store and generally live the Thug Life. And, of course, we can't forget The Accountant (Sriharsha H.S.), the seemingly naïve stooge who's used as a safehouse for the cash while the heat is on and who also, by sheer coincidence, does the accounts for a certain jewellery store. There are plenty of other characters involved, too, with another gang on the scene, underlings with names like Spark and Double-Decker, and something to do with a grumpy old man and his classic Mercedes-Benz. So, the set-up is pretty standard for the usual crime caper. All of our characters get brought together and mixed up in each others' mess, then all the threads have to be unravelled to get us back to the start where we came in to the story. Everything in Yellow Gangs is slick and well presented, with the scenes running quickly and easily into one another and Parameshwarappa doing a good job behind the camera offering us plenty of different angles and viewpoints in each new scenario. All of the effects fit well into the story with some being impressive for the budget level of the film and the technical aspects all come together to keep the production of a high standard. As usual, all dialogue and sound effects are added in post-production and as such fail to sync up on occasion, but this can be overlooked as an idiosyncrasy of the process. At two and a quarter hours long there's a lot of jumping around and filler in Yellow Gangs which serves to slow the pace of the story down, especially in the middle act. It can be difficult to follow all the different characters and just who is who in relation to each other, especially if you're not too familiar with Indian names, and there's an awful lot of attempts at humour which just don't translate very well. There are definitely two barrels worth of Lock, Stock... (1998) in here as well as a smattering of Snatch (2000) but there's also definite allusions to Beverly Hills Cop (1984) and the Ocean's films (2001-2007) as well as many other heist movies which suggest that Parameshwarappa may have been lifting his favourite scenes and using them to his own ends. The use of some very Harold Faltermeyer synth in a mansion break-in seems to confirm this. For what is a very Western genre translated into an Indian setting, Yellow Gangs is an enjoyable romp. It won't win any prizes for originality, or scripting, but the actors give their all and the story isn't half bad. If you're into Indian cinema then it might be worth a look, but if not then it's probably not worth the time investment for something that you've most likely seen before, and better. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, World Cinema < All Reviews Next Film Review >

The UK trailer for Leos Carax’s epic musical Annette just dropped from Mubi, with the film headed to cinemas in the UK and Ireland on 3 September 2021 and available exclusively on MUBI from 26th November 2021.. Brand new film trailers. Annette UK Trailer The UK trailer for Leos Carax’s epic musical Annette just dropped from Mubi, with the film headed to cinemas in the UK and Ireland on 3 September 2021 and available exclusively on MUBI from 26th November 2021. The much-lauded filmmaker Leos Carax (check out his darkly intriguing Holy Motors ) brings new audiences ANNETTE, which sees him working with Sparks, one of pop’s best-loved and most influential cult bands, to tell an audacious story of the pitfalls of love, fame and fortune. The always impressive Adam Driver (House of Gucci, Marriage Story, Paterson) and Oscar®-winner Marion Cotillard (Inception, La Vie en Rose, Macbeth, ) star as a provocative stand-up comedian and internationally renowned opera singer living in contemporary Los Angeles: a seemingly perfect couple constantly in the good graces of the media spotlight. However, when they welcome their daughter Annette into the world, they soon learn that her mysterious and ethereal gifts will change their lives forever. Featuring phenomenal performances from its two leads, Carax’s latest is an unabashedly unique and unforgettable spectacle, soundtracked by Sparks’ typically idiosyncratic music and lyrics. Co-starring Simon Helberg (Florence Foster Jenkins, The Big Bang Theory) , it received a spectacular reception at the 2021 Cannes Film Festival , where it premiered as the Opening Film and won the coveted Best Director Award. ANNETTE WILL BE RELEASED BY MUBI IN CINEMAS IN THE UK AND IRELAND ON 3 SEPTEMBER 2021 AND WILL BE AVAILABLE EXCLUSIVELY ON MUBI IN THE UK, IRELAND, INDIA AND LATAM FROM 26 NOVEMBER 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.

Film news - Once Upon a River Virtual Cinema and On Demand Release. Find out more at UK Film Review. Once Upon a River Virtual Cinema and On Demand Release Chris Olson Wednesday, April 14, 2021 at 2:44:09 PM GMT+1 ONCE UPON A RIVER In Virtual Cinemas & On Demand 7 May 2021 ONCE UPON A RIVER is a gorgeous, festival-favourite slice of mid-western Americana ideal for fans of work such as Wendy & Lucy, Leave No Trace , We The Animals and Frozen River . Featuring a great folk music soundtrack and compelling central performance from young newcomer Kenadi DelaCerna. The film tells the story of Native American teenager Margo Crane in 1970s rural Michigan. After enduring a series of traumas and tragedies, Margo (Kenadi DelaCerna) sets out on an odyssey on the Stark River in search of her estranged mother. On the water, Margo encounters friends, foes, wonders and dangers; navigating life on her own, she comes to understand her potential, all while healing the wounds of her past. ONCE UPON A RIVER is the feature directorial debut of acclaimed folk musician Haroula Rose and is based on the best-selling midwestern gothic novel by Bonnie Jo Campbell. Starring Kenadi DelaCerna alongside legend John Ashton (Beverly Hills Cop, Midnight Run) and Tatanka Means (The Son), Ajuawak Kapashesit (Outlander), Coburn Goss (Widows), Lindsay Pulsipher (True Blood) and Josephine Decker. The soundtrack features new compositions and classics from modern and older folk legends including Will Oldham (Bonnie ‘Prince’ Billy), JD Souther, Rodney Crowell, Bridget St John and a score by Death Cab For Cutie member Zac Rae. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Voyage To Himalaya film review by UK film critic William Hemingway. Starring Teodor Tulpan, Catalin Mastan directed by Octavian Repede. HOME | FILMS | REVIEWS Voyage To Himalaya Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Dec 31, 2023 Directed by: Octavian Repede Written by: Octavian Repede and Teodor Tulpan Starring: Teodor Tulpan, Catalin Mastan In the Spring of 2022 a group of twelve international climbers from as far afield as Romania, The Netherlands, India and Canada came together to tackle the ascent of one of the most remote and difficult peaks in the world, that of Kangchenjunga. The short film, Voyage To Himalaya – The Kangchenjunga Expedition 2022 is the story of that ascent. Situated deep in the Himalayan mountains, Kangchenjunga is the third highest peak within that mountain range and as such is also the third highest peak in the world, standing at 8586m tall. As one of the more inaccessible peaks to reach, it can take a ten day march (or one pretty hairy helicopter ride) just to make it to base camp at Kangchenjunga, and as such it sees just one summit attempt from climbers for every twenty-five seen at its most famous neighbour, Mount Everest. This does not mean, however, that there is nobody else on the mountain when our intrepid team arrives – far from it – and the first thing that becomes immediately apparent is that extreme mountain climbing is big business for those in the region. Some BBC style narration helps us join the team up into the mountains where we find that the entire expedition is provided for and run by a Himalayan mountaineering tour operator. Just like a regular package holiday to Zante, the agency organises flights and transfers, nightly accommodation whilst travelling to the destination, and all meals along the way. Once at the base camp all mod cons are provided with tents and food and paraphernalia for comfortable living brought by the Sherpas to make sure that everything runs smoothly and everyone has a good time. Base camp is already pretty busy, with several other expeditions set up as well, and to all intents and purposes a small village of bright orange tents has risen up out of the snow. There is a very small window each year where the weather is clear enough for mountaineers to attempt to reach the summit and this year (2022) the expedition we’re following has taken a few weeks through April and May, right around Easter, to try to make their ascent. The climb takes several days, over several stages, and takes in four further camps higher up the mountain, in order to reach the peak. There is a lot of to-ing and fro-ing between camps due to weather issues and acclimatisation for the climbers but all in all everything seems positive for managing to ascend to the summit. On hand are a couple of Romanian climbers, Teodor Tulpan and Catalin Mastan, and it is Tulpan who is taking the footage of his journey to share with us. He also provides some narration from his journal as he relays some of his thoughts and feelings along the way, although this can at times feel perfunctory as he shares some of the mundane details, too. Throughout Voyage To Himalaya there are obviously some breath-taking visuals to behold. The clouds, mountains and sky look glorious in full HD and it’s clear to the viewer that what we’re seeing is a view which is literally unlike anything else on the planet. Tulpan does a good job of taking it all in as well as showing enough of the camps to give a rounded view of how the expedition functions. Despite the travelogue narration not really adding very much to the feel of the documentary, a good understanding and a great sense of wonder is still transmitted to the audience. While Voyage To Himalaya may well be more of a personal travelogue or home video for those undertaking the journey that year, its documentary aspects do enough to broaden the scope of its audience out to the wider mountaineering community, as well as those who like to watch stunning photography. There’s more than enough unique content here to keep the viewer interested for an easily palatable forty-five minute runtime. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, Documentary < All Reviews Next Film Review >

Anglerfish film review by UK film critic Jason Knight. Starring Katy Wilson, John Wilkins III, Paula Black directed by Calvin Welch. HOME | FILMS | REVIEWS Anglerfish Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 29, 2023 Directed by: Calvin Welch Written by: Calvin Welch Starring: Katy Wilson, John Wilkins III, Paula Black A surreal film about a couple living in the woods and a stranger who enters their lives. Mary (Wilson) and Jonathan (Wilkins) are a young couple who live in an isolated house in the countryside during the early twentieth century. Their quiet lifestyle is disrupted by the arrival of Juliette (Black), a woman who has just lost her husband in a rather dramatic fashion. The couple agree to accommodate her and take her to a train station. The three of them seem to get along for a while, however Juliette suddenly vanishes and things turn sinister. This hour-long feature is a slow-paced story that could be placed towards David Lynch territories due to the performances, dialogue and awkward events that take place. The story is rather straightforward (a couple meet a stranger) and it is the weird events that stand out. These events include dance sequences that involve either two or all three protagonists dancing inside the house. These lengthy scenes are heavily edited and contain flashing, colourful lights and club music (which feels out of place considering that the plot takes place during the early nineteen twenties). Another part that stands out is a black-and-white sequence again with a lot of editing that keeps showing the same actions. This part and the dance scenes are quite long and watching them can be a bit tiring. Nearly the entire narrative takes place during night-time, making the atmosphere feel downbeat. Most of the time, the feature seems surreal and it is when Juliette disappears that horror elements take place, such as gore and dread. Things also move towards the supernatural, with the appearance of ghostly figures. Repetition is widely present here, particulalrly during the black-and-white sequence that keeps showing the same actions again and again with speed. Repetitive sounds are also present, such as a radio going static, a clock striking and the constant sounds of crickets. The acting is surreal and the three characters are individuals who have suffered a loss. While Mary and Juliette develop a rapport, Jonathan is the one who appears to become the antagonist. Visually, the film looks good thanks to some creative lighting techniques and the mise-en-scene that includes period clothing that looks convincing thanks to Caroline Roberts. This is a surreal dark psychological horror film. The target audience is small as the slow pace and awkward moments will probably not appeal to everyone. The viewers who will appreciate this feature will most likely be the ones who approve of Surrealism and unique approaches to storytelling. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Candy Heart Heist film review by UK film critic Jason Knight. Starring Dave Shecter, Scarlett Vaill, Jason Whited, Amy DiLorenzo, Carl Covington directed by Dave Shecter. HOME | FILMS | REVIEWS Candy Heart Heist Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 28, 2025 Directed by: Dave Shecter Written by: Dave Shecter Starring: Dave Shecter, Scarlett Vaill, Jason Whited, Amy DiLorenzo, Carl Covington A short crime drama written and directed by Dave Shecter and starring himself, Scarlett Vaill, Jason Whited, Amy DiLorenzo and Carl Covington. Teenaged Amber (Vaill) lives in a small town with her parents. One school day, she goes out, ostensibly to meet with a friend, however it soon becomes evident that her true intentions are to steal here and there. She enters a convenience shop and steals some sweets, before wondering around the area and breaking into a car. Eventually, she ends up in a restaurant, where she sits at a table with a stranger, a middle-aged man named Bradley (Shecter) and he tells her interesting things about him and offers her some advice. The narrative takes place over the course of a few hours and focuses primarily on exploring Amber and Bradley's lives, as well as several other characters, including a shopkeeper (Whited), Agent Grey (Covington) and two police officers. It is when Amber meets Bradley that things turn very dramatic and the film reaches its peak, communicating important lessons about life. There is great character development and the inclusion of tense and interesting music adds to the atmosphere. This may be a minor observance, nevertheless, it should be acknowledged as it is obvious. When Amber is at the restaurant, why does she sit with Bradley, a person she has never seen before? This does not really matter, but when people go to places like these, they do not tend to sit at the same table with stranger. As Bradley, Shecter portrays a career criminal, a theif to be precise. However, he is not proud of his illegitimate actions, on the contrary, he deeply regrets having chosen such a life, particularly due to a terrible incident and when he meets Amber he becomes a sort of mentor, trying to persuade her not to follow in his footsteps. Wearing a black jacket and headphones, Amber is a rebellious teen who is going down the wrong path. Crime is a main theme in this short, especially the fact that crime does not pay. The film's primary objective strongly appears to be to communicate the message that turning to crime will only end in tragedy. Alongside this, this is also a story about law enforcement, self-reflection, regrets and the ups and downs of marriage. A story about crime that centers on a life-changing encounter between two strangers. The strongest aspect of this film is the fact that it encourages people to say no to crime and that is enough for it to be categorised as a viewing of considerable significance. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Shrapnel film review by UK film critic Daniel Baldwin. Starring Jason Patric, Cam Gigandet, Efrain Villa directed by William Kaufman. HOME | FILMS | REVIEWS Shrapnel Film Review average rating is 3 out of 5 Critic: Daniel Baldwin | Posted on: Jul 27, 2023 Directed by: William Kaufman Written by: Chad Law, Johnny Walters Starring: Jason Patric, Cam Gigandet, Efrain Villa DTV action maven William Kaufman (Sinners and Saints ) returns for the third time this summer with a south-of-the-border extraction/revenger combo, Shrapnel . This time around, Kaufman is playing in another insanely tropey sandbox: “Dad has a special set of skills.” Jason Patric plays military veteran Sean Beckwith, who lives on a Texas ranch with his wife and two daughters. The oldest of which, as per a frantic voicemail overheard at the start of the film, made the mistake of sneaking across the border into Mexico with a friend to party. Anyone who watches action flicks or TV shows already knows where this is going: she’s been kidnapped. Beckwith attempts to go through proper legal channels to retrieve his firstborn, but there’s no help to be found. When pleas for mercy on TV just piss off the cartel responsible and result in them sending a hit squad to silence the family, Sean realizes that the only hope he has is to take the fight to them. Luckily, in true Rolling Thunder fashion, he has a former soldier buddy named Vohden (Cam Gigandet) who simply needs to be told to get his gear and tagalong for an assault on the cartel boss’s (Mauricio Mendoza) compound in Juarez. What we have here is a pretty meat and potatoes modern Mexico-set action thriller. For better or worse, this is an inherently problematic subgenre that often centers around white vengeance (i.e. Rambo: Last Blood , Sicario , etc.). If you are willing to overlook that, Shrapnel does have some things to offer. Patric is compelling as the ever-troubled Beckwith, who has doubts from the outset that his daughter is still alive and knows that even if she is, she’ll never be the same. Nor will his wife and other kid, after the ranch assault. Nor will he, for that matter. All of this plays on his face throughout. Gigandet carries himself well as our Tommy Lee Jones but isn’t required to do much more than that. Other performance highlights include Kesia Elwin as Sean’s wife Susan, Guillermo Ivan as the main henchman, and the aforementioned Mendoza as the big bad. It’s not the most original low budget actioner and it’s a step down from Kaufman’s own The Channel earlier this month, but if you’re in the mood for a solid little “Dad movie”, it’ll get the job done. While no Sicario , it’s certainly better than Rambo: Last Blood . Buy UKFR Banner Space About the Film Critic Daniel Baldwin Digital / DVD Release < All Reviews Next Film Review >

Hands (Mãos) film review by UK film critic William Hemingway. Starring Maria Leite directed by Filipe Piteira. HOME | FILMS | REVIEWS Hands (Mãos) Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Aug 12, 2024 Directed by: Filipe Piteira Written by: Filipe Piteira and Maria Leite Starring: Maria Leite Hands , or Mãos as it is in Portuguese, is a seven-minute short film from writer, director and producer Filipe Piteira. It is very much an arthouse film, or if we are to follow the tags on Vimeo, experimental, having as it does no dialogue and no plot to follow. What we do get is seven minutes of quiet contemplation of hands. In particular we get to see the hands of co-writer, although without dialogue or plot I believe choreographer would be a more accurate description, Maria Leite. We watch as Maria takes a leisurely wander around a derelict building in her bright pink ski jumpsuit. The building is large and empty but with plenty of corridors and small stairways to get lost in. There’s rubble and debris all over the floor, there’s graffiti plastered on every wall, and Maria is interested in taking it all in. Naturally, most of the focus is not on the building or surroundings at all, but on Maria’s hands. It’s about what she has in her hands, what she does with the things in her hands, how she moves her hands, and what her hands tell her about the reality she is experiencing. A nice, soft score from Aurélien Martin Vieira Lino also accompanies the visuals and builds a throughline from which we can journey with Maria as she explores her world. As you might expect, there’s not an awful lot else for the viewer in Piteira’s short film, and if you’re not interested in the philosophical contemplation of hands, then there’s really nothing for you at all. There may be something to be said for the things that Maria takes into her hands; a camera, pieces of a mirror, a prism; as each offers a viewpoint or reflection, but it is of course up to the audience what they take away from the visual representations. The one thing that might give us a clue to Piteira’s motivation is a scene where Maria drags on a vape and blows the smoke onto her hand as she holds it up. The shot becomes dreamy, as colour billows around and a drug induced haziness emerges, signalling that this may well be where and how Piteira got his idea. Throughout Hands the photography stands up, taking in the light and the shadows in equal amounts and drawing our focus where it needs to go. The idea for the film is to express the hands as the connection between body and soul, and if you really want to believe in it, then Piteira manages this well. However, Hands is not a film you’re likely to see in a cinema or at a festival, but is far more suited to being something short and enjoyable as part of an art installation. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Our Males and Females film review by UK film critic Brian Penn. Starring Kamel El Basha, Shafeqa Al-Tal directed by Ahmad Alyaseer . HOME | FILMS | REVIEWS Our Males and Females Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Sep 28, 2023 Directed by: Ahmad Alyaseer Written by: Ahmad Alyaseer, Rana Alyaseer Starring: Kamel El Basha, Shafeqa Al-Tal The ancient and modern can often be strange companions, but occasionally they come together and provide a stunning contrast as a human tragedy unfolds in the stark light of day. This film by Ahmad Alyaseer examines the impact of the Islamic ritual known as Ghusl Mayyit. It is usually carried out by family members who are the same sex as the person who has died. It involves washing all parts of the body with soap and water in a specific way while maintaining privacy and dignity. Alyaseer treats the subject with sensitivity but throws in a contemporary twist that gives the piece added strength and resonance. The grieving parents (Kamel El Basha and Shafeqa Al-Tal) have just received the body of their child for burial. However, before the final act can take place they must perform Ghusl Mayyit which is a requirement of Islam. Their child is subsequently revealed as a transgender female. A man who initially agreed to perform the ritual refused as did a woman who was asked to stand in his place. The couple are left in a quandary; even though their child is legally male they are unable to find anyone to perform the task. The father contemplates extreme measures to give his child full rights as a deceased Moslem. This powerful film is remarkable on so many levels that it’s difficult to know where to begin. There is no posturing or tub thumping rhetoric on LGBT+ issues here. It’s a painfully honest story of how someone can be excluded just because they happen to be different. An unwavering respect for one’s faith is to be admired, but there is an underlying sadness when inequality is the result. The narrative is sparse but strong enough to confront distressing issues; a fine example of how a short film should be made. Buy UKFR Banner Space About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

Here Today, Gone Tomorrow film review by UK film critic Jason Knight. Starring P.M. Thomas directed by Philip Brocklehurst. HOME | FILMS | REVIEWS Here Today, Gone Tomorrow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 7, 2023 Directed by: Philip Brocklehurst Written by: N/A Starring: P.M. Thomas Independent and experimental filmmaker Philip Brocklehurst has made numerous intriguing short films about dying and starring himself, credited as P.M. Thomas. This is another one. Since the duration is one minute and fifteen seconds, it would be difficult to analyse this short without including any spoilers. Shot in black-and-white, with the camera constantly static and without any speech, this project was made in a way that looks like one long take through the use of creative editing. Following a title card, the film fades into an interior shot of a large window with net curtains, probably inside a house. Then, a man (Thomas) appears through dissolve, apparently naked, sitting on the window sill, facing left, in what appears to be a sort of fetal position, completely still. Again through dissolve, he maintains the same posture, however his head is now up. Then his position changes more significantly, as his legs are now flat on the sill, while his back remains up. Then, he is lying down completely, before he disappears, leaving the screen back to the empty window. Then, a basket and a vase containing flowers appear on the sill, along with what appears to be an urn. Then, the basket fades away, then the vase and finally the urn, leaving only the window again. All this is accompanied by beautiful and melancholic music by one of Brocklehurst's frequent collaborators: Vladislav Nogin. As mentioned the film looks like one long take and this is thanks to Brocklehurst's editing techniques. He utilises dissolve quite effectively, making each shot enter the next one smoothly and create the impression of disappearance. So what is the meaning of everything in the film? It could be interpreted as a journey. The journey of human's. As mentioned, the man first appears in a posture that resembles the fetal position, which could be seen as his birth, the beginning of his life. The next two postures seem to gradually move towards the final one, which is him lying down, apparently dying. The postures could represent various stages of his life, from birth to death. The basket, the vase and the urn could represent the aftermath of his passing (funeral and cremation to be more precise), as they appear after he is not seen again. The fact that the film begins and ends with the shot of the empty window could indicate that before and after life there is nothing. Interestingly, the words that make up the title are separated, with 'Here Today' appearing at the start of the film and 'Gone Tomorrow' appearing just before the closing credits. By having 'Gone Tomorrow' at the end, the film seems to emphasise death, the passing of the character. This is another short by Brocklehurst that deals with death and this one has an atmosphere that is quite haunting and it is beautifully shot and edited. A lot of praise goes to Nogin's score, without which the film would not have the powerful impact that it does. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >