Incognito film review by UK film critic Jason Knight. Starring Vikram Singh, Ayushi Nema, Dev Chauhan directed by Ravi Muppa. HOME | FILMS | REVIEWS Incognito Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 6, 2022 Directed by: Ravi Muppa Written by: Ravi Muppa Starring: Vikram Singh, Ayushi Nema, Dev Chauhan A hotel receptionist discovers that one of the guests is in serious trouble. A man (Singh) works as a receptionist at a hotel. However, that is not the only thing he does there, as he has placed hidden cameras in one of the rooms and the en suite bathroom, so that he can film couples as they have intercourse and then he uploads the videos on a pornographic website in order to make money. One day, a man (Chauhan) and a young woman (Nema) rent the same room and through the cameras, the receptionist finds out that something very bad is going on. This short is a thriller with a great deal of suspense and tension. With very limited dialogue, it tells a dark story that catches the viewer's attention right from the start and maintains it until the end. The plot deals with rather sinister subjects that include people unknowingly being filmed while they have intercourse and having the act being posted online, people trafficking and individuals being forced into prostitution. With this in mind and the addition of some scenes that are quite distressing, it should be mentioned that this film is not for sensitive viewers. As the main character, the receptionist is mostly an anti-hero. Because of what he does with the cameras, the audience is unlikely to root for him, even though he decides to help the woman who is being used as a sex slave by the man who accompanies her. The receptionist proves that he has a heart, however that is not enough to redeem him. The character who gets the viewer's sympathy and support is the unfortunate young woman, who is in a terrible situation. The story is told from the perspective of the receptionist and much of the film is seen through the spy cameras. By intercutting the hidden camera shots with actual shots, the director and writer Ravi Muppa creates a lot of tension. The dramatic, suspenseful and tense music by Mathew Job is a great aspect that helps create the right emotions and praise also goes to the cinematography provided by Azim Moollan. This short thriller is certainly one that will keep the audience in suspense and occasionally at the edge of their seat. The acting is strong and the plot (although dark due to the subject matter) is quite intriguing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Dawn Raid film review by UK film critic Hope Madden. Starring Andy Murnane, Danny Leaosavai'i directed by Oscar Knightley. HOME | FILMS | REVIEWS Dawn Raid Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 11, 2022 Directed by: Oscar Knightley Written by: Matthew Metcalfe, Tim Woodhouse Starring: Andy Murnane, Danny Leaosavai'i “Delightful” is a word I wouldn’t expect to use to describe a documentary about the rise and fall of a hip-hop empire. And yet, there you have it. Dawn Raid , Oscar Knightley’s doc about the seminal New Zealand rap label, is just that: delightful. The main characters in the tale, Dawn Raid co-founders Danny “Brotha D” Leaosavai’i and Andy Murnane, are delights themselves. Humble, funny, self-deprecating and excellent storytellers, the duo tell their tale the way a buddy might over a few beers. “Dude, listen to this — it’s crazy!” The pair met taking a trade school business course that preached entrepreneurial spirit. Well, these two had that, so why finish the training? They wanted to start South Auckland’s first hip-hop label. To generate funds, they made and sold t-shirts. The t-shirts, like their label’s own name, took ugly stereotypes about Polynesians and turned them on ear. (Dawn Raid itself refers to racist, government-sanctioned police action meant to rid NZ of unwanted Polynesian Islanders who’d outstayed their welcome.) The joy and community pride that infects the pair’s actions inform not only their entire career but the film itself. While Murnane talks consistently of his desire to go bigger and get richer, it’s clear that both entrepreneurs wanted primarily to give South Auckland the chance to show the world its worth. And it did. Beyond the charm of the film’s leads is the joy of the music itself. Knightly is wise to showcase each of Dawn Raid’s major artists—Deceptikonz, Adeaze, Aaradhna, Mareko and Savage. This not only provides a remarkable soundtrack, but it amplifies the impressive and unique style of music Dawn Raid recorded. The typical ups and downs associated with this kind of music doc take on a freshness for the sheer energy Murnane brings to the film. Not a moment is wasted on regret, even though the digital age and the NZ government were not kind to Dawn Raid. Still, Leaosavai’I and Murnane have little but joy to share when they remember the ups and the downs. Regardless of the fact that the outline is the same as many an entertainment doc, the soul is as jubilant as the music. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

Kalimba film review by UK film critic Joe Beck. Starring Raiany Silva, Sheila Ball. Joana Cruz directed by Robbie J. Atkinson. HOME | FILMS | REVIEWS Kalimba Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Sep 10, 2023 Directed by: Robbie J. Atkinson Written by: Robbie J. Atkinson, J.E. Atkinson Starring: Raiany Silva, Sheila Ball. Joana Cruz It’s well known that the greatest horror is generally psychological. The horror within can inspire fear far greater than anything that resides outside the corporeal, and often is the cause of such external horrors as spiders or snakes or sharks. Our mind is the source of all human fear, whether directly or indirectly, and as psychology and scientific understanding has become more developed, so have horror films and, perhaps more significantly, horror literature, to focus more on a psychological terror and how that is linked to the fears that exist outside our own bodies. ‘Kalimba’ blends the psychological and the physical fears exquisitely, creating a short horror film high on thrills, full of nervous tension, and with some excellent direction. The film focuses on a young woman, Cassidy (Raiany Silva), and her haunted psychological state, as she battles a sleep paralysis demon. Cassidy’s reality and dream state converge more and more, becoming blended and more confused, as her terrors transfer to her reality, leading her to the black sheep of the family to try and solve her troubles. Perhaps the aspect about ‘Kalimba’ that is most immediately striking is the sound design. Beginning with the sound of heavy breathing, and the deep, intimidating voice of a demon saying ‘look at me’ the sound design is always going to be immediately apparent, but in ‘Kalimba’ it is sustained to a high quality throughout. Sound is used excellently to create suspense and and to the terror of a scene, and even in the quiet scenes, in which there is no horror, at least no horror of note, to be found, the sound design continues to be impressive. Another aspect of ‘Kalimba’ which is exceptional is the directing by Robbie J. Atkinson, who handles the camera with the right balance of verve and composure in order to set up a number of thrills and suspenseful moments. Atkinson’s use of jump shots to create horror are surprisingly effective, where so often they can be comical and come across as cheap, and the use of lighting is genuinely phenomenal. Dim purple, yellow, and green lighting with the silhouette of Cassidy dancing, or screaming in the dark, outline the dreamlike state perfectly, whilst adding to the creepy atmosphere of Cassidy’s home, which she shares with her mum (Sheila Ball), who is largely absent and distant from her daughter. ‘Kalimba’s quality further grows through its script, which is dynamite, both in terms of dialogue, and in terms of authenticity. The dialogue zings between characters, particularly in the interactions between Cassidy and friend Esther (Joana Cruz), which is both integral to outlining the breaking down of reality and psychological barriers, as well as playing as extremely funny - to the credit of the two young actresses whose chemistry is extremely strong. Indeed, the acting throughout is compelling, with Raiany Silva giving a particularly captivating performance in the lead role as Cassidy, handling both lighter moments, and those that require bursts of emotion to engaging effect. This is what happens when good actors are given a good script to work with - excellent performances in a good horror film. ‘Kalimba’ is an excellent psychological horror. High on thrills and suspense, and complete with excellent direction and an intriguing script, with a superb lead performance. ‘Kalimba’ soars in its exploration of sleep paralysis and its breaking down of reality, and outlines the quality of its filmmakers in its technical aspects. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Wavelength film review by UK film critic James Learoyd. Starring Lily Manning directed by Holly Warburton. HOME | FILMS | REVIEWS Wavelength Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Sep 15, 2025 Directed by: Holly Warburton Written by: Benjamin Verrall Starring: Lily Manning Wavelength stands tall as being one of the more beautiful animated short films this critic has ever seen. It’s quite the transcendent fusion of poetry and design; combining evocative words with moving, textural visuals. This masterpiece is only a little over three minutes in runtime, and yet in that short span, the filmmakers craft such an emotional and complete expression. We begin our illusory story in a train station. The virtual camera flows through layer upon layer of silhouetted personages. Meanwhile, we hear layered, fragmented sounds of each different individual living out their story. There’s a powerful loneliness to these dark figures, and yet – rather incredibly – a genuine beauty to this cacophony of activity within the mellow, abstract station space. As if we’re viewing the world in its unfiltered, all-encompassing state. Immediately, the piece sets up its themes through the hypnotic voiceover: experiencing the world through a ‘Wavelength’ -- specifically linking with the sensory experience of another person and drowning out the rest of the noise with a singular focus. In the short’s latter part, the narrative shifts to subjective descriptions of what happens when such a wavelength is absent from one’s life – like following a breakup, for instance. The animation throughout is astonishing. There’s a soft, hand-drawn, painterly evocation about it, despite some of its digital construction – and this is emblematic of the attention to detail present in Wavelength. There’s a great amount of depth in every frame; and, as someone who has become slightly desensitised to the ossified state of desaturated dramatic short films, the colours here felt cinematically rejuvenating. Whilst the graphic style does not, on its surface at least, appear to take after anime – there is most certainly something of the work of Miyazaki to be found within these tranquil, mediative compositions. Some of the themes touched upon here are ambitiously complex, especially considering the animation’s short runtime. But that’s exactly why a poem is a poem and not a novel; there’s an elegance here in the rhythms of speech combined with the film form which any audience member can find light, appealing, but also psychologically engaging. The film – in addition to evoking feelings and textures through audio-visual means – is encouraging you, the viewer, to consider your own environment and your own surroundings; its unique patterns and ways of being. This all feels like such a collaborative, egoless effort, since no one element of its construction holds priority over another. Sure, it’s a stunning work of animation; and yet, were I to close my eyes while watching, I would find an equally fascinating experience in isolating the words and soundscapes carefully crafted by the writer and audio department. What’s then masterful is the fact that the animation team has created something that can also stand apart as a successful piece of art – even without said audio. What a moving effort from animator and art director Holly Warburton, creative lead Kate Auster, writer Benjamin Verrall, voiceover artist Lily Manning, composer Jack Ledger-Dowse, sound designer Thomas Dalton, and the rest of the team. Very rarely have I witnessed such a short work wherein each element combined creates such harmony. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, Animation < All Reviews Next Film Review >

The Incomer film review by UK film critic Hope Madden. Starring Domnhall Gleeson, Gayle Rankin, Grant O'Rourke directed by Louis Paxton. HOME | FILMS | REVIEWS The Incomer Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 23, 2026 Directed by: Louis Paxton Written by: Louis Paxton Starring: Domnhall Gleeson, Gayle Rankin, Grant O'Rourke The Incomer , acclaimed short filmmaker Louis Paxton’s first feature, opens as a sort of fairy tale. A woman’s voice begins a narration about two gulls, brother and sister, and their obligation to protect themselves and their island from incomers. What follows is a charming, funny, endearingly odd and oddly endearing story of isolation and community. Isla (Gayle Rankin, glorious) and her brother Sandy (Grant O’Rourke, dear) have lived alone on Auk Isle, a remote Scottish island, since they were children. And, like the tale, they organize their days around certain tasks including training for the invasion if incomers. They get their chance to test that training when Daniel (Domnhall Gleeson, awkward perfection) comes to call. Daniel works for the government, who’s recently learned that this uninhabited island is, indeed, inhabited. Daniel’s been sent to evict and relocate the siblings. Their time together devolves into an often absurd and silly but always intelligent and empathetic struggle: between the incomer and the gulls, between loneliness and community, and between fear and optimism. Paxton’s somewhat miraculous script never dismisses Isla and Sandy, even when it’s laughing at them more than with them. And Gleeson is the ideal choice to bridge “normal civilization” with the mythical fantasy alive on this island. A lonesome darkness anchors the film that gives the absurdity substance, and Gleeson’s endless tenderness keeps you emotionally invested in the story. And O’Rourke’s soft-headed vulnerability makes for a delightfully sweet character. Back on the mainland, a small ensemble of sharply drawn comic foils (Michelle Gomez and Emun Elliot, in particular) serves as a wonderful balance for the trio on the island. But Rankin owns this film. Isla’s ferocity and naivete both reflect an incredible intelligence, and Rankin brings all three to bear in a performance that commands attention. Because of this powerful performance, The Incomer is more than funny, more than clever. It’s a reminder that we are each the agent of our own destiny. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Gon Bauer film review by UK film critic Chris Buick. Starring Robert Oppel, Jason Weary, Cynthia San Luis, Sofia Papuashvili directed by Gary Teperman. HOME | FILMS | REVIEWS Gon Bauer Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: May 10, 2025 Directed by: Gary Teperman Written by: Gary Teperman Starring: Robert Oppel, Jason Weary, Cynthia San Luis, Sofia Papuashvili Gon Bauer from Canadian filmmaker Gary Teperman starts big. Kicking off with some 80s synth and a graphic sex scene (not to be the last), the film throws us straight into the crazy world of its eponymous protagonist, Gon Bauer (Oppel). By day, Gon (pronounced John) is a surgical technician, real name Michael. By night however, he assumes his podcast persona of the “loud-mouthed, misogynistic asshole” Gon Bauer, where he and his team air their interesting views on women, monogamy, misogyny and other controversial topics that get all the likes and clicks these days. But Gon, it is soon revealed, is also in a spot of trouble, owing some increasingly impatient bad guys quite a bit of money. But if Gon can help them entertain an acquaintance of theirs by getting them into the local swinging scene, something Gon used to be well acquainted with, they might be a bit more understanding. Despite an intriguing premise and promise to explore this colourful, seedy underworld, Gon Bauer instead very quickly loses momentum, losing any real sense of urgency, drama or purpose as the two narratives of Gon’s entanglement with these gangsters alongside the podcast sub-plot distract from one another rather than gel together as intended. It feels like two separate stories fighting for attention, with some of the more interesting parts seemingly sacrificed for the podcast thread that is perhaps looking to make some point about internet culture or misogyny or both, but never really gets there. Its lack of a focused and engaging storyline also means there is no distraction from some of the film's other flaws. While technically the film can’t be faulted, it sounds great, looks better with Teperman and their team showing they definitely have the filmmaking chops, it’s excessive content, middling script, and serviceable-at-best performances far outweigh those positives. Gon is a man with edge, strong opinions and zero Fs given, which in theory makes for a compelling lead to follow, but Gon never actually becomes someone you want to like, win, understand or even follow by the end, something in fact that can be said for most of the characters. And while Gon Bauer 's unforgiving edge and challenging nature is acceptable in theory, it all feels ridiculously gratuitous here, the films excessive language and plot-irrelevant sex scenes never in service in something bigger and instead highlighting the fact that all the female characters lack any sort of agency, instead being reduced to a sex objects or someone to be talked down to. The world of Gon Bauer could be an interesting one, but unfortunately, this film doesn’t show that. There is a sequel in the works, but while Gon Bauer does show off some very impressive technical filmmaking, the lacklustre performances and script don’t quite cut it this time around. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Sebastian film review by UK film critic Rachel Willis. Starring Ruaridh Mollica directed by Mikko Mäkelä. HOME | FILMS | REVIEWS Sebastian Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Aug 28, 2024 Directed by: Mikko Mäkelä Written by: Mikko Mäkelä Starring: Ruaridh Mollica Sebastian is the alter-ego for Max (Ruaridh Mollica), an up-and-coming young writer in writer/director Mikko Mäkelä’s film, Sebastian. A journalist and short story writer by day, Max spends his nights as “Sebastian,” working as an escort and researching for a novel in progress. Though writing about sex workers is apparently tired, the aspect of hustling in the digital age perks up the ears of a publisher. The film does a good job of examining the question of how deeply writers live their own stories. Interviews with writers peppered throughout the film contradict Max’s lived experience: most of the writers insist their fiction is completely separate from their lives. This makes it interesting when Max receives criticism for his work, especially when he’s told it’s not realistic enough or that the emotions of the character negate what others have heard. To be told his work is repetitive or unbelievable makes the criticism harder for Max to bear. The film doesn’t always follow its own advice. Some of the scenes become repetitive. This mirrors the progress of Max’s novel, but that doesn’t make it any more interesting to watch. However, this is minor, and the film quickly shifts to widen Max’s experiences. As he delves deeper into sex work, his ability to maintain two lives–that of Max and that of Sebastian–starts to break down. As interesting as it is to examine the realism and lived experiences of writers and their work, the film leaves several ethical dilemmas unexamined. Since Max is writing about Sebastian’s experiences, he runs the real risk of “outing” his clients, something untouched in the film. While the film has its own story to tell, it would have been interesting to show more of what’s at stake for Max’s “characters.” On the whole, Sebastian is a well-written and well-acted look at how far a writer will go in pursuit of a good story. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

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The Civil Dead film review by UK film critic Christie Robb. Starring Clay Tatum, Whitmer Thomas directed by Clay Tatum. HOME | FILMS | REVIEWS The Civil Dead Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Feb 9, 2023 Directed by: Clay Tatum Written by: Clay Tatum, Whitmer Thomas Starring: Clay Tatum, Whitmer Thomas Emotional honesty is hard. But it’s even harder when you are someone’s entire social world. In The Civil Dead , deadbeat photographer Clay finds himself alone for the weekend when his wife goes out of town. He’d promised her he’d do something productive instead of sitting around drinking beer, so he goes out to snap some photos. While taking a photo of a graffitied mattress abandoned on the side of the road, he runs into an old acquaintance from back home, Whit, whom he’s been ghosting since the dude moved out to Los Angeles. They chit-chat a bit, each clearly lying about their successes in the art and film industries. After an awkward night together in which Clay gets hammered and Whit spends the night, Clay tries to get the guy to leave. But Whit won’t. [Spoiler Ahead. Read At Your Own Risk.] See, Whit is dead and Clay is the only person who is able to see him. Unlike other movie ghosts, Whitt can’t move physical objects or float through walls so he’s mostly just wandering around the streets of LA, and he hates walking. He’s stoked to find that Clay has “the shining” and is totally psyched to spend the rest of Clay’s life together and then pal around once Clay shuffles off his mortal coil. The Civil Dead is a unique entry in the spooky dark comedy genre. The horror comes not from the paranormal, but from the very mundane social awkwardness of someone trying to disentangle themselves from a relationship they never wanted in the first place while the other desperately clings on. Directed by Clay Tatum, written and starring Tatum and Whitmer Thomas, the two get a lot of mileage out of a simple concept. But it’s a chill kind of milage. There’s no solving the mystery of Whit’s death or helping him step into the light. Instead, they explore the possible advantages of having an invisible friend, the boredom inherent in a life after death, and just how hard it is to communicate honestly with another grown-up. Tatum’s misanthropic loser is charming, but Thomas really shines, giving a pretty subtle performance as he cycles between submissive affability, existential despair, fear and rage. I, for one, will never feel quite as comfortable in a vacation rental again. Buy UKFR Banner Space About the Film Critic Christie Robb Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Group film review by UK film critic William Curzon . Starring Elle E, Magnus Einarsson directed by Neil Crittenden. HOME | FILMS | REVIEWS The Group Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Dec 23, 2025 Directed by: Neil Crittenden Written by: Neil Crittenden Starring: Elle E, Magnus Einarsson The Group is a short piece that follows a young woman, Jackie Gibson-Berg (Elle E), as she drives her father, Terrence (Magnus Einarsson), to his regular Parkinson’s support group meeting, where she is faced with a harsh reality. Written and directed by Neil Crittenden and shot on location at the Cloisters in Letchworth, Hertfordshire, the piece explores the inner turmoil the daughter faces as she musters the courage not to bottle up her emotions and reach out to her father. One of the most impressive feats of the film is how compelling and emotionally resonant the experience is despite its tight runtime. It's evident from the opening frame that the daughter is hiding something and is unable to express her feelings to her father due to the actress's use of an understated posture. The use of visual storytelling and the “show, don't tell” approach is a compelling tool that works profoundly here, anchoring the performances to impressive heights. Implementing striking stock footage is another astounding formal decision that conveys the daughter's childlike innocence before cutting to the present day. The piece is accompanied by a haunting and melancholic musical score that complements the meditative tone throughout its entirety. However, the most unique narrative device is the use of quotes presented on the screen between scene changes to convey the character’s inner torment. Both central performances from Elle E, in her portrayal of the daughter and Magnus Einarsson, in her portrayal of her father, are incredibly compelling and understated in their delivery. While the performers are not given much material to work with, they elevate the script by conveying profound nuance and restraint in their performances that deeply resonates. Their chemistry is raw and haunting as their love for one another is profoundly evident in their dialogue exchanges, showcasing a lovely father-daughter dynamic. Despite its limited runtime, the film manages to convey its themes and message eloquently by displaying a helping hand of empathy towards families or individuals dealing with Parkinson’s. It's a deeply haunting piece of filmmaking that may connect profoundly with many viewers. Sam Beckley’s cinematography primarily consists of fixed camerawork and tracking the actors slowly in moments of discomfort. It's an incredibly visceral way to shoot the performers and creates a sense of anxiety as the daughter wrestles with her inner harsh reality. The use of surrealism is another potent choice that depicts the daughter's anxiety taking hold of her and essentially forcing her to speak out. While the film is relentlessly paced, the editing at times can become jarring as it awkwardly cuts to black during pivotal moments, and this may take viewers out of the experience. That being said, the powerful and emotionally gut-wrenching performances from Elle E and Magnus Einarsson vastly outweigh those flaws. The Group is a striking piece of filmmaking that uniquely depicts a father-daughter relationship and the fear of coming to terms of how having Parkinson’s can affect you and the people around you. While the material is restricted due to budget constraints, it still manages to convey a raw depiction of having the courage to speak out to another before it's too late. Led by two phenomenal performances from Elle E and Magnus Einarsson, this is an emotionally resonant body of work that is bound to stick with you. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Armageddon Time film review by UK film critic George Wolf. Starring Banks Repeta, Jaylin Webb, Anne Hathaway, Jeremy Strong directed by James Gray. HOME | FILMS | REVIEWS Armageddon Time Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 3, 2022 Directed by: James Gray Written by: James Gray Starring: Banks Repeta, Jaylin Webb, Anne Hathaway, Jeremy Strong One of the reasons Greta Gerwig’s semi-autobiographical coming-of-age film Lady Bird was such a refreshing treasure was the forgiveness that followed every stupid decision made by every single character. Gerwig’s film embraces the necessity of terrible choices in adolescence and it never caves to the easy desire to blame others for teenage misery. But Gerwig didn’t grow up a Jew in Queens in 1980, which is why James Gray’s Armageddon Time tells quite a different story. To his credit, Gray still reaches toward forgiveness. And both films are mercifully unsentimental. Young Banks Repeta is terrific as Paul Graff, Gray’s very cute, bratty, privileged stand-in. Like every 12-year-old, Paul is oblivious to his privilege. He may even enjoy becoming the class outcast since the other student spurned by Mr. Turtletaub is fast becoming Paul’s best friend. But Johnny’s fate and Paul’s will never really gel because Paul is being trained with love to disappear when trouble arises, which means that all eyes fall on Johnny (Jaylin Webb). Paul’s relationship with his parents (Anne Hathaway and Jeremy Strong, both excellent) can be funny, sassy, and heartbreaking, while his grandfather (Anthony Hopkins) can always be counted on for encouragement, well-earned advice, and a present. The stellar ensemble infuses the film with warmth, humor and sadness. And aside from a line or two that’s a shade too obvious, there’s a feeling of authenticity here that Gray is able to nurture beyond personal memoir to a grander comment on race and class. The filmmaker may be copping to his own bargains with guilt and privilege, but he’s also highlighting the daily turns of the American wheel that push so many of us toward our dreams, and so many others further away from theirs. Forgiveness doesn’t come easily, nor should it. Gray tosses aside the rose-colored glasses that usually tint a director’s look back. Armageddon Time doesn’t deliver any easy answers, just more opportunities to question. That’s why it works. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Aporia film review by UK film critic Brandon Thomas. Starring Judy Greer, Edi Gathegi, Payman Maadi directed by Jared Moshe. HOME | FILMS | REVIEWS Aporia Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Sep 11, 2023 Directed by: Jared Moshe Written by: Jared Moshe Starring: Judy Greer, Edi Gathegi, Payman Maadi Most time travel movies don’t get into ethical dilemmas that going into the past – or future – might cause. The plot is usually too confusing anyway so adding moral problems to the mix might send audiences screaming from the theaters. With Aporia , director Jared Moshe makes the ethics of time travel the centerpiece of the movie and to riveting results. It’s been 8 months since Sophie (Judy Greer of 13 Going on 30 , Ant-Man , and 2018’s Halloween ) lost her husband, Mal (Edi Gathegi of X-Men: First Class and Gone Baby Gone ) to a drunk driver. Mal’s loss has had a devastating impact on Sophie and her daughter Riley (Faithe Herman). As the two try to pick up the pieces of their shattered lives, Mal’s close friend Jabir (Payman Maadi) confides in Sophie that he has been working on a device that could potentially bring Mal back but that it would involve killing someone else in the past. Aporia slowly reveals its cards, or genre trappings, if you will. Stylistically the film skews closer to an indie drama than it does sci-fi. This is also the film’s greatest strength. As Sophie and Jabir’s changes to the past take form in the present, it’s not through fancy CGI set-pieces. Clever changes in production design or the cast’s appearance are utilized to showcase the ripple effect in time. These easy gags help keep the film grounded. Moshe refuses to get lost in the complex mechanics of the story, instead leaning into the characters and the roller coaster of emotions they ride through the film. The deeper Aporia questions the ethics of changing time, the more interesting the film becomes. Using these characters to ask complex questions about grief and responsibility was clearly where Moshe felt most inspired when making the film. Movies use the scenario of going back in time to kill baby Hitler as the ultimate moral time travel question. Aporia theorizes that this question – and many like it – doesn’t always have simple answers or solutions. Greer continues to show that she deserves to be seen as more than “Hey, that girl!” Her relatability and charm help keep the character lighter than the subject matter might have allowed. Like the character of Sophie herself, Greer delicately dances between emotions – sometimes in the same scene. Given the small size of the cast, the chemistry between the core three is important and both Gathegi and Maadi also bring a natural gravitas to the film. Aporia asks a lot of interesting and important questions but it’s the kind of film that isn’t necessarily interested in following through with answers. Here that isn’t a detriment as the journey through asking those questions makes for one of the smartest time travel films in recent memory. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >