The World Cruzer film review by UK film critic Jason Knight. Starring David Nathan, Gerrit Schmidt-Fob, Jurgen Thormann, Philipp Moog directed by Yorick Niess. HOME | FILMS | REVIEWS The World Cruzer Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 16, 2022 Directed by: Yorick Niess Written by: Yorick Niess Starring: David Nathan, Gerrit Schmidt-Fob, Jurgen Thormann, Philipp Moog An extraordinary journey through planet Earth, humanity and space. This rather intriguing and genuine documentary from Germany makes the audience feel like they are traveling around the globe, arriving at any part of it in the blink of an eye, and seeing the beauty of it and mankind's progress. The people who view this film will see a lot of things, as it contains a rich collection of images that seem to show what life is like on Earth. The entire feature is basically a one-hour-and-forty-minute long montage of wonderful images, some of which are about Earth and others about space. It could also be categorised as a music video, with electronic music by the band Reecode. There is voice-over from a narrator and several other individuals who appear to portray unknown and unseen characters. The narrator talks about an entity called The World Cruzer, who embarks on a journey, traveling around the world. The character voices belong to a group of people who express their opinions on a variety of subjects including acceptance, happiness and self-discovery. Their words appear like text messages from messaging apps, pointing out that this is a way many people communicate these days. Regarding the words and messages, they come across as philosophical and wise and some seem to be advice on how to live a productive life. The visuals appear to represent the topic of the narration that accompanies them. Visually, the documentary contains stock footage, animation and photographs. The images cover many areas, including social issues, space, nature, the ocean and people around the world. The viewers will see many animals, both on land and in the ocean, all kinds of people, beautiful landscapes and astronauts in space. There is a great deal of slow motion and Niess did a great job with the editing. Interestingly, if the voice-over was removed, this would be a different kind of experience, taking the viewer on a journey filled with wonderful music and mesmerising visuals. It would also make an interesting viewing if there was nothing to see, no images only audio, with people listening to the voice-over and score. Although to some it might feel a bit overlong, this documentary is quite a journey and one that explores the wonders of Planet Earth and the evolution of mankind. It is a calming and fascinating look into Earth, humanity and space. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary, World Cinema, Music Video < All Reviews Next Film Review >

Maybrick film review by UK film critic Patrick Foley. Starring Nanci Bennett, Adan Osborne, Maisie Blake directed by Charlotte Rose Ainsworth, Lorna Lennon-Dalziel. HOME | FILMS | REVIEWS Maybrick Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 23, 2026 Directed by: Charlotte Rose Ainsworth, Lorna Lennon-Dalziel Written by: Charlotte Rose Ainsworth, Lorna Lennon-Dalziel Starring: Nanci Bennett, Adan Osborne, Maisie Blake Charlotte Ainsworth's and Lorna Lennon-Dalziel's Maybrick is a dramatisation of a controversial but forgotten Victorian-era murder case that would have made a killer documentary on the 19th-century version of Netflix. Combining elements of sexism, classism and racism with a shocking link to one of history’s most notorious figures, this short tells a gripping story of its own whilst making its subject both relevant to modern audiences and of its time. American socialite Florence Maybrick (Nanci Bennett), is on trial in Victorian Liverpool for the murder of her husband James. With her arrest doggedly pursued by James’ brother Michael (Adan Osborne), scandalous details of liaisons emerge that destroy Florence’s reputation – despite her husband’s guilt of the same sins. With the prospect of an execution hanging over her, Florence searches for another method of salvation in a world stacked against her – and her intuition of the Maybrick family’s connection to a greater scandal may provide it… Created by Liverpool-based filmmakers, Maybrick is an intriguing examination of a forgotten episode in the city’s history – one that collides brilliantly with the rebellious and non-conformist spirit that has emerged since the 80s. Sexual liberalism and feminism were as strange to Liverpool as anywhere else in the 1890s, and Florence Maybrick’s story is one that intriguingly stands out for the blights against her name that Charlotte Ainsworth and Lorna Lennon-Dalziel brilliantly skewer in this drama. The film has a dark tone that suitably matches the overwhelming force its subject is set against as she tries to clear her name against flimsy charges of poisoning. It is evident from the start that the wealthy, trusted Maybrick family name turns on her, as her deceased husband’s brother – brilliantly played by the acid-spitting Adan Osborne – wields the full force of societal expectation as a weapon. It is clear that existing outside of the norm is what has condemned Florence – with even housemaid Alice (Maisie Blake) standing against her despite knowledge of the family. Courtroom scenes are particularly intense and foreboding, with an intimidating pomp of the Victorian justice system brilliantly recognised by the set designers. Nanci Bennett’s Florence is suitably stubborn and cunning. A heroine in the same mould as many upstart protagonists standing against the empirical conservatism of Victorian Britain, she is strong in the face of authority and unapologetic for the crimes she has not committed. There are some moments in her cell with Lisa Howard’s Baroness Von Roques or with Maisie Blake’s Alice where we see a more vulnerable side and the complexity of her circumstance comes to bare – the choice between a false confession and life, or a stand against the system that means death. A few more of these moments would have served the film better – and better placed it in the confines of the time period in which the attitudes of society seemed intractable and a stand against them a futile effort, making the character’s bravery all the more powerful. However given the shorter runtime, it is understandable that not every avenue can be pursued. Similarly, whilst there are some production hiccups such as the cleanliness of the film for the time period, it’s a forgivable indiscretion given the film’s budget, which is easily ignored due to the quality of the storytelling. Maybrick is a great telling of a fascinating story that will be fresh to many a viewer. It captures the injustice of its case and draws an important line between the events it portrays and the modern day, and has enough intrigue to leave audiences desperate to know more about the case and its participants. And it doesn’t need 4 parts filled with filler to do it - Streamers take note. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Swapped film review by UK film critic Hope Madden. Starring Michael B. Jordan, Juno Temple,Tracy Morgan directed by Nathan Greno. HOME | FILMS | REVIEWS Swapped Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 1, 2026 Directed by: Nathan Greno Written by: John Whittington, Christian Magalhaes, Robert Snow Starring: Michael B. Jordan, Juno Temple,Tracy Morgan Director Nathan Greno pulls from a lot of influences for his new feature, the Netflix exclusive Swapped. The vibrant colors and poetically gorgeous woodland creatures conjure Miyazaki, particularly the more serene scenes from Princess Mononoke . And the bit where the little chipmunk looking thing and the big plumy bird switch bodies, that is obviously the Disney classic Freaky Friday . Swapped is a visual feast, especially the earliest sequences when a young Pookoo (chipmunk like thing) named Ollie (voiced in youth by Camden Brooks and in adulthood by Oscar winner Michael B. Jordan) explores the waters around Pookoo Island. But Ollie’s mom and dad (Justina Machado, Cedric The Entertainer) warn him that everything off island is dangerous. Everything! Ollie doesn’t believe them, so things, of course, go terribly wrong. Mean birds steal the seeds that keep the Pookoo alive, and Ollie has to make things right. But instead, he Freaky Fridays with one of those birds (Juno Temple), and suddenly everybody’s in a terrible state. Swapped takes that time honored tale to share a meaningful fable on the power of empathy. Temple and Jordan both provide strong voice talent—Temple is especially on point. Tracy Morgan is ideal as Boogle, an enormous, simple-minded fish. Honestly, Swapped offers Morgan more of an opportunity to stretch than any role he’s had in recent memory, and he nails it. And while the story leans into familiar territory, its tale is important. Greno and his team of writers don’t complicate it beyond what youngsters will gladly follow, nor do they water down their message. The result is emotional, funny, sometimes even harrowing. And really gorgeous. Swapped doesn’t do enough to set itself apart from other animated wonders, but what it does it does really well. It’s a powerful story beautifully animated and well told. Buy UKFR Banner Space About the Film Critic Hope Madden Netflix < All Reviews Next Film Review >

Seine film review by UK film critic Patrick Foley. Starring Tim Klotz Davenport, Lee Bane directed by Dan Horrigan. HOME | FILMS | REVIEWS Seine Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 24, 2024 Directed by: Dan Horrigan Written by: Dan Horrigan Starring: Tim Klotz Davenport, Lee Bane Seine is a poignant and poetic look at vagrancy, dignity and humanity that aims to redefine how viewers consider homelessness and the people who end up trapped in the cycle. It’s a genuine and authentic short that is sure to leave an impression, thanks to inspired structuring and powerful performances from its lead. An ex-taxi driver (Tim Klotz Davenport) who ended up living on the streets of London recounts a meeting that changed his life. Now working as a debt collector, he looks back on a friendship he briefly formed with another homeless man (Lee Bane) who has since passed. Left with questions and recollections, he tries to make sense of a harsh and uncaring world that makes kindness and openness a choice, and how people can find dignity even in degrading circumstances. Dan Horrigan sets lofty ambitions with Seine. Set in monochrome and overlayed with a haunting monologue in a Scottish accent, the film could easily drift into a stagey and overly serious self-parody in attempts to tug on heartstrings. But Horrigan’s emotional, intelligent script, and Tim Klotz Davenport’s considered, authentic delivery means that the heart of the film pulls out. The reliable, tested tropes employed serve their purpose in this sense rather than taking over the film, highlighting the central themes of friendship and common humanity rather than overshadowing them. Told in a dreamy, floating state in which viewers are left to speculate timing and truth, audiences are absorbed into the protagonists’ troubled existence in an overbearing, ominous London. Wracked by guilt and insecurity, the film feels like a confession of sins, a desperate plea for penance of a man who made a choice that might have saved his life, but that many others never get the chance to take. The narrative excels in capturing this unusual experience and equating the end and beginning of the man’s story, making for both a fascinating character study and a tragic gritty chronological look at the complexities of homelessness. Davenport’s performance in the lead role is exceptional. Underneath a hardened, harsh shell, lifelong wounds and traumas seem to seep out of his weary eyes. The film’s closing shot is truly affecting, simple yet destined to drag the tears from viewers as a precision-strike summarisation of the film’s examination of just what dignity means. Lee Bane similarly lands his role as a mysterious fellow vagrant, leaving breadcrumbs for both the protagonist and viewer to contemplate. The film isn’t perfect, with a score that grows a little repetitive, and the stagey-ness does feel a little ‘amateur theatre production’ in moments such as the shaving scenes, which feel like they do not land with the intended impact. Yet these don’t undermine the brilliant emotional construction or break immersion in the story. Horrigan has made something truly moving with Seine, a film that will leave a mark of its audience and shines a genuinely thoughtful, uncompromising light on homelessness. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Alpha film review by UK film critic Hope Madden. Starring Mélissa Boros, Tahar Rahim, Golshifteh Farahani directed by Julia Ducournau. HOME | FILMS | REVIEWS Alpha Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 25, 2026 Directed by: Julia Ducournau Written by: Julia Ducournau Starring: Mélissa Boros, Tahar Rahim, Golshifteh Farahani There are drawbacks to being one of the most daring and original voices in cinema. Chief among them is expectation. Audiences anticipate that each new effort will somehow outshine the previous. After 2016’s Raw , Julia Ducournau’s incandescent first feature, surely no one expected Titane . And I mean no one. Feral and unforgiving, homaging others but blazing its own wildly individual path, Ducournau’s sophomore effort took home Cannes’s Palm d’Or in 2021. The film that defies summarization managed to make Raw look tame, almost precious. Raw , by the way, is about a college freshmen overcome with cannibalistic frenzy whenever she’s aroused, if you haven’t seen it. Tame and precious. So, expectations for Alpha , the filmmaker’s latest, were high. The tale begins with its best scene. Amin (a wondrous Tahar Rahim) sits with his arm outstretched as his 5-year-old niece Alpha (Ambrine Trigo Oaked) makes his needle wounds pretty by connecting them, constellation-like, with a black marker. Simultaneously heartwarming and queasying, it seems the perfect opening to a Ducournau project. We flash forward quickly to another disturbing scene. This time, 13-year-old Alpha (Mélissa Boros) has her arm outstretched. She’s barely lucid, surrounded by teens partying obliviously, as someone tattoos an enormous A on her arm. The work is not professional and draws plenty of blood. From here, Alpha oscillates between two timelines in an alternate reality France. The core story of love and negligence, family trauma and addiction, sits in the context of a blood-borne epidemic. An epidemic to which Alpha has now made herself susceptible. The AIDS analogy is clear but expect Ducournau’s visual style to turn the somber into something harrowingly beautiful. Sufferers of this unnamed virus show symptoms of smoke escaping their mouths when they cough. As the diseases progresses, bodies turn to something akin to blue veined, cracking marble. It’s in this world that confused, self-destructive Alpha comes of age. Her mother (Golshifteh Farahani), a doctor, becomes passionately, almost blindly obsessed with keeping her junky brother and her reckless daughter safe. The crisscrossing timelines often rob the film of its momentum. The real problem, though, is that in the end, Ducournau employs a fantasy trope to connect the timelines and embody the mother’s anxiety. Vague as she is about it, and powerful as the final moments are, Ducournau cannot breathe enough life into the cliché to elevate it above cliché. There is a haunting ghost story at work here. Ducournau’s cast is astounding, and her visual style, though far more somber here than in her previous work, is still enough to draw a gasp. But Alpha boasts less imagination than either of the filmmaker’s previous efforts, and it’s hard not to be a tad disappointed. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Code Red: Spain film review by UK film critic Jason Knight. Starring Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez, Ismael Abadal directed by Jason Figgis. HOME | FILMS | REVIEWS Code Red: Spain Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 5, 2025 Directed by: Jason Figgis Written by: Jason Figgis Starring: Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez, Ismael Abadal An action crime thriller written and directed by Jason Figgis and starring Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez and Ismael Abadal. There is trouble in Spain. Crime boss Eduardo Sanchez (Arnau Redorta) has been killed after murdering a couple and their son. Now, his widow, Estelle (Kingdon) has decided to become an informant and enter a witness protection program. While she and her son, Ari (Rodriguez) await to be transferred from their home to a safe location, two Ex-Special Forces soldiers, Solomon (Smith) and Thomas (Sparkes) are assigned by their former Commanding Officer, Frank (Ian Burfield) to watch over them. Meanwhile, a ruthless and dangerous gangster named Cortes (Abadal) is determined to silence Estelle and Ari. This film has an intriguing plot: two tough, ex-military men having to stay at a large house and protect two people from potential lethal dangers. The protagonists are interesting characters and the screenplay does a decent job in exploring them and in creating suspense and drama. There are plenty of guns and the cool action sequences involve shooting and hand-to-hand combat. Regarding the soundtrack, there is suspenseful music and Spanish music and some great tracks. Commendations also go to the animation during the opening and closing credits and to the impressive aerial shots that capture the beauty of the landscapes. This feature is marketed as an action film, however, the action arrives during the third act and it arrives in buckets. Those who are hoping for an action-packed experience might be disappointed, nevertheless, the fact that this is not an action-filled story does not destroy the film, as instead of shooting and punching, the majority of the narrative focuses on character development and exploring the relationship between Estelle and Ari and the rapport they end up building with Solomon and Thomas. Regarding the performances, Kingdon is very dramatic as a woman who has gone through terrible times after being married to a criminal. However, she is strong and wants to start a new life for herself and her son, away from danger. Rodriguez is sympathetic as a frightened youth who does not feel comfortable being near the two combat experts. As for the two combat experts, they dislike each other and have a history together, yet, both are proficient in their line of work. Solomon is a no-nonsense guy, while Thomas (who is quite good with a sniper rifle) is more relaxed and easy-going. Abadal is the bad guy, a murderous fiend who will stop at nothing to get what he wants. Survival is a major theme in this story. So is mother-and-son relationships and reminiscing the past. This feature is also a commentary about isolation, self-reflection and inner strength. An enjoyable viewing with a good story, well-explored characters and great dialogue that includes film references. It may not really be an action film, instead, it is strong as a crime thriller with suspense and drama. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Good Boss film review by UK film critic George Wolf. Starring Javier Bardem, Manolo Solo, Almudena Amor directed by Fernando Leon de Aranoa. HOME | FILMS | REVIEWS The Good Boss Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Sep 1, 2022 Directed by: Fernando Leon de Aranoa Written by: Fernando Leon de Aranoa Starring: Javier Bardem, Manolo Solo, Almudena Amor For awhile, The Good Boss (El buen patrón) seems to reflect that elusive uncertainty principle the characters often discuss. The more we try to pin it down, the less we know of its nature. And then writer/director Fernando León de Aranoa reveals his hand in a delightfully satirical manner, only to end up tipping the scale in the opposite, obvious direction. And that would cause a furrowed brow from Julio Blanco (Javier Bardem), head of the Blanco Industrial Scales corporation. Blanco’s life – and work – is about perfectly equal measures. “Hard work, balance, loyalty” is the company motto. Employees are family. Their problems are Blanco’s problems. And just when he’s a finalist for a prestigious business excellence award, Blanco’s got plenty of problems. A longtime worker’s son is in trouble with the law. His production head’s wife might be banging another employee. And that new young intern (Almudena Amor) is returning Blanco’s frequent glances. But worst of all, a guy he “had no choice” in firing (Óscar de la Fuente) is camped out across the street, protesting Blanco with signs and a bullhorn. And the guy will not leave. As de Aranoa ticks off the days of the week, there are some glimpses of playful humor in the drama. But when Thursday rolls around, and Blanco’s security guard starts complementing the bullhorn guy’s rhyme schemes, The Good Boss starts having finger-wagging fun with the myth of benevolent “job creators.” Bardem, no surprise, is a wonder. He slowly reveals cracks in Blanco’s facade of ethical bullshit, while never causing us one moment’s doubt about Blanco’s firm belief in this image he’s created. For Blanco, as long as the scales appear balanced, they are, regardless of the tricks it took to get there. And anyway, he needs that award and the government subsidies that come with it. We don’t want “those artists” to hog the award money, do we? Yes, the satirical fruit can hang pretty low, and de Aranoa’s subplot juggling skills start to waver as his narrative becomes more madcap. But right to the bitter end, Bardem can be trusted most when Blanco deserves it least, making sure The Good Boss is a satisfying day at the office. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Morris film review by UK film critic Alasdair MacRae. Starring Adam Probets, Tamara Glynn, Katie Smart, Darren Randall directed by Jason Brown. HOME | FILMS | REVIEWS Morris Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Jun 26, 2022 Directed by: Jason Brown Written by: Jason Brown Starring: Adam Probets, Tamara Glynn, Katie Smart, Darren Randall In the 1980s a teenage boy is killed whilst playing on the railway tracks as a group of his friends looks on. Several decades later the group of friends reunites in their hometown only to be plagued by Morris’ ghost seeking revenge. Morris is a cross between a Stephen King novel and a British railway safety advert, but disappointingly lacks the intensity of either. One must bear in mind that British safety ads can be particularly scary, search out Network Rail’s See Track, Think Train circa 2012 if you don’t believe it. Or to go slightly further afield the Central Office of Information’s Lonely Water from 1973. Returning to Morris , the film largely revolves around the main group of characters moving from location to location as they are stalked by the spirit of their ex-friend who lingers about two feet off-screen at all times clad in jean shorts and brandishing a kitchen knife. The characters themselves are very thinly sketched and have little to no personality. This is due to most of the dialogue being consumed by growing fears that Morris is either upstairs, in the room, or right behind them. The exception is Nathan (Darren Randall) who is granted a subplot with his son being one of several neighbourhood teens that were on a school bus that has gone missing. Although, not much time is allocated to developing it into something emotionally rewarding for when it eventually ties into the main plot. Visually there is a distracting haze on most shots that gives the film an anachronistic peachy glow. And most of the visual effects that have been added in post, particularly the smashing glass effects, draw too much attention to themselves. As the adage goes, less is more. An early kill from a darkened space is by far the most effective, and Morris’ blackened eyes play into the sinister depths of the uncanny valley. Ultimately, the real scares are too few and far between. Morris plays out like a shallow memory of a Stephen King plot. It pays little attention to developing its characters and the visuals are tonally incongruent. There is a concept for a chilling thriller here, but in its current form, it is ironically too skeletal to be scary. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

Jacob's Little Helper film review by UK film critic Swati Verma. Starring Anna Dutilly, Heather Bayles , James L. Edwards directed by Richard Russell. HOME | FILMS | REVIEWS Jacob's Little Helper Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 15, 2025 Directed by: Richard Russell Written by: James L. Edwards Starring: Anna Dutilly, Heather Bayles , James L. Edwards The director Richard Russell and writer James L. Edwards incorporate the comedy and horror genres into the screenplay. The makers utilise editing capabilities to place the scenes properly to make them effective and engaging for the audience. Heather Bayles, Anna Dutilly, and James L. Edwards give shape to the director’s vision beautifully. The plot of Jacob’s Little Helper revolves around Jacob Vorski, who believes that it’s not easy being a franchise Horror icon. Everyone can use a little help, and that help comes in the form of Adrienne Palmer. In an exclusive interview, get a behind-the- scenes look at the inner workings of mass slaughter. Jacob’s Little Helper begins with a long shot of a microwave heating some food, followed by a mid-shot of a woman having popcorn while watching television. An eerie sound elevates the comic and horror elements in the subject matter of the short film. The one-to-one interview between Adrienne Palmer (Heather Bayles) and Roy Weiand (James L. Edwards) initially seems to be a day-to-day conversation, a way to express appreciation towards partners but it turns out to be full of twists and turns that keep the viewers hooked to the content all through the 11 minutes. The set-design, a mix of black, white, grey and multiple colours, a combination of dim and natural lighting, sound, camera angles, dialogues, costume, hair, makeup, and props are designed to enhance the right mix of mystery and realism to add depth for those who enjoy this horror-comedy genre. In terms of performance, Anna Dutilly plays Punk Chick, who lives a normal life, but things turn towards a drastic downfall. Dutilly understands the nuances of the character arc and picks up the traits in her portrayal that lift the narrative’s pace. The young actress with her limited screen space balances her emotions through her body-language, voice modulation, facial expressions, and eyes. Heather Bayles plays Adrienne Palmer, who is Jacob’s helper/partner in crime, revealing a lot of unsaid storylines of crimes done together. Bayles adopts a dramatic style of telling the tale to make the interview more interesting for those watching it. Bayles with her acting skills manages to keep the viewers glued to the film. James L. Edwards plays three crucial roles in this horror comedy piece. He is writer and also fits effectively as Roy Weiand/Jacob Vorski. The actor effortlessly switches between all three parts. Jacob’s Little Helper talks about being aware of the dangers around someone and taking adequate steps to deal with them. The short film reiterates that choosing the right friends and colleagues is crucial for a hassle-free, peaceful life. The cinematic piece tells the audience to be careful regarding the cinematic/web series content or news so that it doesn’t prove to be detrimental for their mental health. The creative piece highlights that the makers of these shows, movies should always be ethical and not be ready to do anything for popularity and television rating points. To conclude, I would like to say that the inclusion of the behind-the- scenes clips along with end credits rolling in is smart move to keep the audience invested in the movie, giving them freedom to interpret it as per their understanding. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

One Summer When You Went Away film review by UK film critic Isaac Parkinson. Starring Laurence Ellerker, Laura Peterson, Kenneth Mguni, Angela Stone, Stan Haywood directed by Chris Hopkin. HOME | FILMS | REVIEWS One Summer When You Went Away Film Review average rating is 2 out of 5 Critic: Isaac Parkinson | Posted on: Jun 21, 2022 Directed by: Chris Hopkin Written by: Chris Hopkin, JF Woodford Starring: Laurence Ellerker, Laura Peterson, Kenneth Mguni, Angela Stone, Stan Haywood A cliched and tonally inconsistent coming-of-age romance which you wouldn’t expect to need a content warning for sexual assault, but you do in fact need a content warning for sexual assault. CW: Sexual Assault Danny (Ellerker) is a young man. How young is unclear. He looks like he’s in his late twenties to me, but seems shaken by his mum leaving to go to Cyprus for a while. This abandonment is compensated for by the arrival of his meddling aunt Gas (Stone), as well as his friendship with Tre (Mguni) and budding romance with Izzy (Peterson). Formally, the film has some great strengths. The busy opening montage includes some good close-ups which changing neon colours in a dark club. In between dialogue scenes, the transitions are often very playful and experimental. At the beach, water laps over rocks in a beautiful image, followed by a tracking shot of a bird through the sky. The cinematography becomes immediately stronger when away from its human subjects. The pub scene in particular features a really vibrant environment, with live music and candlelight that lends an authenticity otherwise missing from the film. Danny first meets Izzy on the bus, watching her be verbally harassed by a group of boys. Amused by their embarrassing attempts to get her attention, they share a smile. She’s charmed by this interaction somehow, appealing to a male fantasy of getting attention from women by merely sitting silently and thus appearing respectable by contrast. Not all men will harass you on the bus! Some of them are sensitive artists with dreams of going to art school. This dream of Danny’s is encouraged by his ageing grandfather (Haywood), seemingly the only person left in his family he can trust. We’re told repeatedly that Danny has talent, but are never actually shown his work. At least a glimpse could provide some context and encourage some belief in his ability to achieve his ambitions. Danny and Izzy’s brief interaction is followed almost immediately by a secondary meet-cute. Izzy is working behind the bar at a pub where Danny meets Tre. They immediately begin flirting, which for her includes a manic pixie morosely kooky description of his death. While this is intended as alternative and charming, she comes across as a sociopathic creep, which is only the first instance of her character behaving like a robot programmed to adopt a new personality depending on the circumstances. She’s there to facilitate Danny’s belief in himself, while herself remaining a one-dimensional love interest. She tells Danny “You’re the most interesting creative person I’ve met in my life and I’ve known you one day.” An insane thing to tell someone until you consider that maybe she has never met anyone before in her life, explaining both a lot of her behaviour and sudden interest in the reticent and quiet Danny. Her support of him is delivered mostly through platitudes and jokes. They visit the beach together, and by the fire engage in some teenage philosophising over their respective existential theories. “What do you think it’s all about?” Danny asked her. “What, everything?” she responds, leading her into a theologically confused monologue on monadology which she didn’t even have the decency to get very high before delivering. Another directly cliched element comes in Tre, the best friend who’s there to deliver expository narration, occasional levity, and general support for Danny. Similar to Izzy, he’s there to facilitate the lead character’s growth. The most significant moment he has is his abrupt departure with a man he met only seconds before at the beach. Asked by Izzy if he’s “a bit gay,” Danny says “no nothing like that.” Trey’s ambiguous sexuality clearly induces discomfort in them, and his implicitly dangerous promiscuity provides a juxtaposition against which their safe and comforting heterosexual courting is signalled as virtuous. However, the most dangerous depiction of queerness comes from Danny’s aunt Gas. Her presence at first is merely a frustrating imposition, arriving without warning and staying indefinitely to criticise Danny in lots of little ways. But her irritating personality takes a much more sinister turn later. As Danny leaves to attend an art school interview, she stays to take care of an emotionally fragile Izzy. But she has more threatening intentions, pushing the conversation to sexual topics and invading her personal space. While Izzy collects her things to hurriedly try to escape, Gas locks the door. The implied rape is confirmed the next morning when Danny returns, seeing dried blood on the floor. The intense violence of this is a jarring shift in the story, turning Gas into an absurdly evil character. This moment is only another in a long line of articulations of queerness which necessitates lesbianism be framed as predatory. It’s also a shark jumping moment which is hard to come back from. Danny’s journey of learning to let go of a responsibility to hold his fragmented family together didn’t need such an extreme example of his relatives’ evil, and its violence only adds to an overall tonal inconsistency. Buy UKFR Banner Space About the Film Critic Isaac Parkinson Indie Feature Film < All Reviews Next Film Review >

Guillermo Del Toro's Pinocchio film review by UK film critic Hope Madden. Starring Gregory Mann, Ewan McGregor, David Bradley directed by Guillermo del Toro, Mark Gustafson. HOME | FILMS | REVIEWS Guillermo Del Toro's Pinocchio Film Review average rating is 5 out of 5 Critic: Hope Madden | Posted on: Nov 18, 2022 Directed by: Guillermo del Toro, Mark Gustafson Written by: Guillermo del Toro, Patrick McHale Starring: Gregory Mann, Ewan McGregor, David Bradley Is it any surprise that Guillermo del Toro’s visionary style, sentimental sensibilities, and macabre leanings suit animation so well? If there was any question, he dispels it with his gorgeous, emotional stop-motion wonder, Guillermo del Toro’s Pinocchio . Co-directed with sculptor/animator Mark Gustafson, the film begins, as all good children’s tales must, with devastating loss and grief. If you thought the opening minutes of Up! were heartbreaking, gird your loins for this one. The tragedy begins to abate, albeit clumsily and with much shouting, once Geppetto (David Bradley) hacks away at the tree recently occupied by one Sebastian J. Cricket, homeowner (Ewan McGregor, charming). Cricket’s home becomes Geppetto’s disobedient new puppet. You may think you know where it goes from here, but you do not. Del Toro’s script, co-written with Patrick McHale and Matthew Robbins, establishes itself immediately as a very different story than Disney’s. The 1940 film – and, to a degree, the live-action remake Disney launched earlier this year – offers a cautionary tale about obedience. So does del Toro’s, although, in true GDT fashion, he’s warning against it. Set between world wars in rural Italy, the film – as so many of del Toro’s do – examines the presence and pressures of authoritarianism, specifically Catholicism and fascism, on families and on the young. A magnificent cast including Cate Blanchett, Tilda Swinton, Tim Blake Nelson, Ron Perlman, Burn Gorman, Finn Wolfhard, John Turturro, Christoph Waltz, and Gregory Mann as Pinocchio brings charisma and dark humor to their roles. This matches the sometimes darkly funny images. Waltz, in particular, is garish, frightening fun as Count Volpe, puppet master. The animation itself is breathtaking, and perfectly suited to the content, as if we’ve caught an artist in the act of giving his all to bring his creation to life. Everything about the film is so tenderly del Toro, whose work mingles wonder with melancholy, historical insight with childlike playfulness as no other’s does. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Netflix, Animation < All Reviews Next Film Review >

ClearMind film review by UK film critic Brandon Thomas. Starring Rebecca Creskoff, Jessica Meraz, Toks Olagundoye directed by Rebecca Eskreis. HOME | FILMS | REVIEWS ClearMind Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Jan 11, 2024 Directed by: Rebecca Eskreis Written by: Seana Kofoed Starring: Rebecca Creskoff, Jessica Meraz, Toks Olagundoye With Clear Mind , director Rebecca Eskreis and writer Seanea Kofoed craft a darkly comedic tale of revenge while also poking fun at new age therapy. After losing her daughter in a freak drowning accident, Nora (Rebecca Creskoff) finds herself adrift in grief. Her marriage over and dropped from her friend group, Nora seeks solace in a new form of virtual reality therapy. In the virtual world, Nora gets to exact revenge against the family and friends who have wronged her. Unfortunately the violence doesn’t stay virtual. Despite presenting itself as a horror thriller, Clear Mind is surprising light on frights. As the carnage begins to splash across the screen later in the film, it’s only after Eskreis has subjected the audience to round after round of uncomfortable confrontations between Nora and her former friends. While the kills and gore gags might not wow horror fiends, the tension and seat-squirming anxiety created in the lead up more than makes up for it. Despite being high-concept, Clear Mind is not a plot heavy film. The bulk of the movie features characters simply talking to one another around a table. It’s a testament to Kofoed’s writing that while the movie is overly chatty, it’s never boring. Only when the movie stops to propel the plot forward does Clear Mind stumble. Eskreis and Kofoed’s commentary on therapy and the people found in Nora’s friend group is so well established through character relationships that any push to highlight it through plot seems disingenuous and clunky. The genre hook of the movie feels like the part the filmmakers were the least interested in. Despite somewhat pulling punches with its genre elements, Clear Mind is still a well written jab at pseudo-science and the people in its orbit. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >