Snorkeling film review by UK film critic William Hemingway. Starring Daniel Zolghadri, Kristine Froseth, Tim Johnson Jr. directed by Emil Nava. HOME | FILMS | REVIEWS Snorkeling Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 27, 2025 Directed by: Emil Nava Written by: Jack Follman Starring: Daniel Zolghadri, Kristine Froseth, Tim Johnson Jr. A seventeen-year-old boy and his friends get caught up with a new drug on the scene, which offers an escape from the crushing hopelessness they feel in the real world through hallucinations and out of body experiences. Within the last year there has been an explosion of a new drug into the communities of North America – Nitroxin. Troxy – to give it its street name – is administered from a small canister attached to a pipe and a mask, which is then placed over the junkie’s face and breathed in through a process called Snorkeling . Once snorkeled, the user then drifts out of consciousness, usually into an inanimate stupor, while their mind travels freely around traversing their inside thoughts without question or worry. There are plenty of trippy visuals to accompany the high of Troxy, usually with environment bending results, as well as a tendency to imagine beings or other creatures that aren’t really there. Michael (Zolghadri) and his pal Brice (Johnson) are already pot-heads, enjoying a series of spliffs throughout their day as they navigate high school and the surrounding environment. Jameson (Froseth) is Michael’s crush, and a dope-fiend too, so when she plays the part of Eve in the Garden of Eden and offers Michael a taste of the forbidden fruit, he all too willingly takes it from her and blasts his brains out with a shot of Troxy to expand his consciousness. Soon, the teenagers are getting high on a regular basis and tripping their little minds out together while they try to come to terms with this thing called life. For seventy-odd minutes we watch the kids languishing in their comfortable middle-class lives, and listen to them wax lyrical about the state of their mental health due to the problems of the world. All of this seems to be done unironically, without any question of these privileged, well-off, self-entitled whiners actually knowing anything of the difficulty and hardship outside of their suburban bubbles. Director, Emil Nava presents these soundbites and portraits to us as a series of talking heads, where the children talk straight to the camera and answer questions from an unknown interviewer, as well as a more conventional narrative where we follow them around in their daily lives. Together these sequences take up around two-thirds of the narrative, with the rest given over to the psychedelic hallucinations experienced by one or more of the main characters. This breaking up of the narrative also means that the film is broken up into sections or sequences which we follow for a short time before moving onto another. This gives Snorkeling the feeling of it being more of an extended music video than of an actual feature, especially as the narratively driven dialogue is kept to a severe minimum, and the rest of the talking merely provides context. This will come as no surprise to those who know Nava as a music video director, and here he plays to his strengths in providing striking visuals, even though there’s not much story to go along with them. For the entire runtime we’re following the kids in corridors, into parks, out into nature, and around their lavish homes, as they talk about their difficulties with living in this world, telling themselves that they must be depressed, most likely because social media made them believe it is so. For that, the theme of Snorkeling becomes not so much that the kids are escaping into a drug fuelled haze, but more that they all believe their lives to be so messed up and that they are all so depressed. There is not a strong message on whether the drug-taking is truly bad or not, with everyone enjoying their little sojourns into another world, explaining to the camera how the drug helps them with their thoughts and their fears, right up until the very end where the spectre of overdose finally rears its ugly head. With Nava’s expertise, the visuals look truly stunning at times in Snorkeling , with the hallucinatory sequences drifting between oversaturated filters, CGI effects and good, old-fashioned animation. Everything is accompanied by an intense and strongly moulded soundtrack which follows the characters on their mind-bending journeys, enhancing the feel of a music video, as what should be narrative structure is played out in the background as the main characters float through the scenes. This sort of visual expression definitely works best in the short form, and when there’s a definite narrative coming from the lyrics, but when used to create a full-feature the storytelling limitations of the device really do come through. While Snorkeling is a real visual and auditory experience, taking the viewer on a trip that’s over an hour long, that’s really all there is. The story is not generally a story at all, and the characters are only caught together in a thematic device which they experience but don’t necessarily explore. There’s not enough there to justify the feature length runtime, as mainly all we do is follow the kids around with a soundtrack playing behind them as they try to get high. Still, the arthouse feel of the film might be enough for some, and for those who are happy to have an audio-visual feast without needing to work too hard on the narrative side of things, Snorkeling might be just the pill you need to escape from the world for seventy-odd minutes. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Challengers film review by UK film critic James Learoyd. Starring Zendaya, Mike Faist, Josh O'Connor directed by Luca Guadagnino. HOME | FILMS | REVIEWS Challengers Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Apr 29, 2024 Directed by: Luca Guadagnino Written by: Justin Kuritzkes Starring: Zendaya, Mike Faist, Josh O'Connor Love his work or otherwise, one must acknowledge that nobody is making films like Luca Guadagnino. His movies have always provided something uniquely reflective and, as many have pointed out, ‘sensual’; although he has never been known to limit himself genre-wise. Even in his ‘horror’ films – Suspiria (2018) and Bones and All (2022) - there’s maintained a level of wistfulness, or, at least, a stunning sense of humanity. He wants to draw our attention to the beautiful things in the world without needing to impose an extreme directorial sensibility... however, Challengers (2024) is something slightly different, proving to be audacious in every way, not least stylistically. If perhaps you haven’t heard, this film stars Zendaya as Tashi, a skilled tennis player with a hold on two other tennis players – portrayed by Mike Faist and Josh O’Connor. The piece consists of an unconventional narrative, jumping back and forth, held together by a single climactic match which you can quickly infer holds all the stakes. You may expect this to be a picture about competing for a person’s affection, yet it proves to be something much more complex and fun than simply that. It is soap-opera-esque with many twists and turns; betrayal around every romantically or sexually charged corner. It’s a great time. We’ve always been able to see Éric Rohmer’s influence over Guadagnino’s movies, though most unusually can it be identified in Challengers . The dynamics of our central love triangle can be compared to something like La Collectionneuse (1967) though with a focus on sport and the body over art or intellect. It's all about the characters. I’m sure this has, or will, quickly become the consensus, but this is Zendaya’s best performance. It’s kind of incredible; maybe even more incredible is the way in which a co-star like Mike Faist refuses to buckle under the weight of such a powerful, layered persona as Tashi - Faist more than holds his own as Art, by the end maybe the film’s most conflicted character. One of the most enjoyable elements of the film is its unabashed love for melodramatic, heightened character moments – executed through Luca’s steady hand and the exhilarating new score by Reznor / Ross (immediately in the history books). Comparable to the iconic music for The Third Man (1949) -- not in any way for how it sounds (they’re pretty much diametrically opposed), but for the specific, unusual feeling it evokes: In Challengers , the score is saying, ‘Don’t take this too seriously’. It’s a beautifully tongue-in-cheek evocation, and quite bravely trusts the audience to follow its tone; quite unlike anything in Call Me by Your Name (2017), for instance, which is always sincere, earnest. It’s phenomenal, and certainly in the conversation for being Guadagnino’s best movie... it probably is; although I’m a huge A Bigger Splash (2015) fan. I would highly recommend the film, if not just for the final scene, which is maybe the most stylistically expressive sequence Luca’s ever helmed. Very rarely do I sit in a cinema grinning not due to the content of a movie but because of how it was made – a level of cinematic kineticism not dissimilar from Mad Max: Fury Road (2015). I left the cinema beaming, and others will too. Buy UKFR Banner Space About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >

Last Hit film review by UK film critic Jason Knight. Starring Mike Ferguson, Twana Barnett, LeeAnne Bauer, Levee Duplay directed by David M. Parks. HOME | FILMS | REVIEWS Last Hit Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 27, 2026 Directed by: David M. Parks Written by: Anthony Leone, Ovsanna Yepremyan Starring: Mike Ferguson, Twana Barnett, LeeAnne Bauer, Levee Duplay An action crime thriller directed by David M. Parks, written by Anthony Leone and Ovsanna Yepremyan and starring Mike Ferguson, Twana Barnett, LeeAnne Bauer and Levee Duplay. Vincent (Ferguson) and Maya (Barnett) are a couple in Los Angeles who make a living by collaborating with a few others and acting as sort of mercenaries for crime boss, Dante (Duplay), killing people and stealing money. When they are assigned what they plan to be their final job for him, things do not go according to plan and they end up empty-handed. Regardless, the couple still stick to their retirement plans, much to Dante's dissatisfaction, who is determined to make them execute one final mission. Heavily-tattooed criminals, plenty of guns, shooting, a lot of hand-to-hand combat, threats, kidnapping, double-crossing, profanity. All these are what one will see by viewing this feature. But the story covers significantly more, with a great deal of character development present as the protagonists contemplate their life and their actions. The fight scenes are arguably the highlights, even if they are a bit unrealistic and limited. Daniel Taranto's ominous, tense and suspenseful music enhances the scenes and the aerial shots of Los Angeles look great. Taking under consideration that this is an action film, it could be forgiven for the not-very-great acting. And, for the same reason, it could also be forgiven for having a predictable screenplay. These flaws do not spoil the show completely, however, they do bring it down. Ferguson't character is a seasoned outlaw, covered in tattoos, a guy who longs to abandon criminal activities and live a peaceful life, along with Maya. He and Maya believe in principles and trust but are willing to resort to violence if necessary. Bauer plays Lana, a member of the couple's team, an ambitious woman who has her own agenda. Duplay is supposed to be portraying the antagonist, although his character's menace is overshadowed by the presence of Jack (Cody Cowell) and Tommy (Trent James) two other members of the group. Unsurprisingly, since this story has criminals as protagonists, the script examines living a life of crime, organised crime in particular and things that tend to accompany such a lifestyle, such betrayal and manipulation. From a different point of view, this is also a feature about self-reflection and the desire to start a new life. An action crime feature with fighting and killing, tension and drama. And it could also be categorised as a neo-noir film. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Dust Angel film review by UK film critic Chris Olson. Starring Craig Vaden II, Bret Tencheira, Ken Krauss directed by Peter Dorn-Ravlin. HOME | FILMS | REVIEWS Dust Angel Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Dec 28, 2021 Directed by: Peter Dorn-Ravlin Written by: Peter Dorn-Ravlin Starring: Craig Vaden II, Bret Tencheira, Ken Krauss Having smashed the box office recently, audiences who loved Denis Villeneuve’s Dune may find enjoyment in this latest short film from writer/director Peter Dorn-Ravlin (see also Ruben and Ethel ). With clear inspiration from the Dune movies and books, as well as other sci-fi hits like Star Trek and Star Wars , Dust Angel packs a whole lotta desert-based adventure into its 23-minute run time. Craig Vaden II plays Damion, a soldier who we meet early on flying a spaceship solo and thumbing a photograph of his wife and kid. His subsequent foraging on a mysterious planet leads him into the path of a masked warrior (Bret Tencheira) and the two engage in an action-packed fight sequence that includes laser guns, swords, and good old-fashioned knuckle dusters. Soon after, we are giving more details as to why the pair are fighting and what has happened on this peculiar planet. You can immediately tell when a metric tonne of passion has been poured into a project and the filmmakers behind Dust Angel showcase that within the first few minutes of their short film. It is clearly a work of pure devotion to the genre, with a strong admiration for their forbearers. It’s an ambitious and at times enthralling short that achieves a lot. The use of real and super-imposed locations is obvious but not a problem, as aren’t the special effects that range somewhere between Red Dwarf and South Park. They are a lot of fun, actually, and give the film a genuine sense of creative flair. The various ships that appear are intricate and, whilst crudely delivered, inject a sense of science fiction theatre that really adds to the piece. The performances are sturdy, with a lot of time dedicated to the fighting which was impressively choreographed. The dialogue scenes felt quite wooden, with one character masked and the other talking through their mind it didn’t give the actors much scope to really shine. This, paired with an underdelivered premise, made Dust Angel feel more like the first chapter in a feature, rather than a standalone short film. As the audience is enlightened with more details of the story behind the worlds we see in the film, a few meatier themes emerge - such as the yin and yang of war and peace, or the instinctual violent human nature which prevents the latter from ever being realised. These ideas only flicker onto the film’s radar before disappearing though and would have been something viewers may have wanted to see more of. What’s clear with Dust Angel is that the filmmakers wanted to embrace all aspects of the genre, without making harsh sacrifices due to budget limitations. It would have been easy to just have two characters talking in one location and just reference the “futuristic world” in which they stood. Instead, audiences are treated to a smorgasbord of visual treats, from flying spaceships to laser fights, and the result is impressively entertaining if you are willing to accept the crudeness which comes to special effects when they don’t have Denis’ 165 million USD budget. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

The Girl with the Needle film review by UK film critic Hope Madden. Starring Vic Carmen Sonne, Trine Dryholm directed by Magnus von Horn. HOME | FILMS | REVIEWS The Girl with the Needle Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 21, 2025 Directed by: Magnus von Horn Written by: Line Langebek Knudsen, Magnus von Horn Starring: Vic Carmen Sonne, Trine Dryholm Were The Girl with the Needle any less gorgeous, less poetically filmed or liltingly told, the misery of 1919 Copenhagen might be too grim to bear. But somehow co-writer/director Magnus von Horn’s hypnotic storytelling bathes the nightmare in beauty, compassion, even hope. Vic Carmen Sonne’s vacant expression gives Karoline an inscrutable quality that suits the character of a young seamstress coming to terms with more and more dire circumstances as WWI ends. Pregnant when her husband, long presumed dead, returns from the war, she faces difficult choices. Each choice—always a hopeful step toward the promise of something better—is punished in time. Between the grimness of the wartime sufferings, the unreadable expression of the protagonist, and Michal Dymek’s gorgeous black and white cinematography, The Girl with the Needle conjures Václav Marhoul’s 2019 ordeal, The Painted Bird . But von Horn’s story rings with authenticity, partly because he treats the suffering with some distance and restraint, and partly because the story itself is rooted in true events. Which, of course, only makes the tale that much more difficult. Bravo to the filmmaker and actor Trine Dryholm for treating Dagmar—the woman who represents Karoline’s biggest leap toward something better—the way they do. Dryholm’s beautifully tormented, conflicted performance never veers toward cliché, or even toward sinister. Though her acts are unthinkably villainous—the stuff of legend and nightmare—they are rooted in a logic that feels honest to the character. The dual performances transform this true crime horror story into a fable of mothers and children, of collecting and discarding family. Sonne’s childlike trust and Dryholm’s tortured caregiving further distort an image von Horn’s been twisting since his remarkable opening shots. Mercifully, he ends his film and its portrait of family on a hopeful note. You won’t find much other mercy here, but alongside these powerful performances and mesmerizing storytelling, just a glimmer is enough. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Miss Man film review by UK film critic Helen Samuels. Starring Arghya Adhikary, Riddhish Dhar, Manoj A Michigan directed by Tathagata Ghosh. HOME | FILMS | REVIEWS Miss Man Film Review average rating is 4 out of 5 Critic: Helen Samuels | Posted on: Oct 15, 2021 Directed by: Tathagata Ghosh Written by: Tathagata Ghosh Starring: Arghya Adhikary, Riddhish Dhar, Manoj A Michigan A young man from a village near Kolkata navigates the pitfalls of gender nonconformity and the many forms of prejudice and hostility it provokes within his family and wider network. In an era of greater acceptance of a spectrum of sexualities and gender identities in the Global North, this film shows how the search for his true sexual identity plays out for one young man from a rural Indian background. Hiding his transvestism and his sexual relationship with a local man, Manob (sensitively portrayed by Arghya Adhikary) is contemplating gender reassignment and is sometimes attracted to women. Attempting to convey the nuances of these complex feelings to his lover, he receives the response, “Does that make you a gay or a lesbian?”, delivered with a mixture of hilarity and contempt that stamps all over the emotional closeness Manob craves. Drawn to the anonymity and greater liberality of the city, he is freed from the strangling conservatism and adherence to tradition of his home life. A new trans friend provides fleeting hope when she reveals that she holds down a regular office job. However, Manob is able to earn money only through sex work. Collage-like juxtaposition of images from locations and eras throughout the protagonist’s life are intercut with mises en scene of a purely symbolic nature (for instance, a repeated motif of submersion which occurs at moments of emotional rejection), this symbolism tending somewhat towards the heavy-handed. Writer-director-producer Tathagata Ghosh’s background in commercials, music videos and fashion informs his cinematography. Charismatic trans figures in vivid makeup and ravishing saris posed against the crumbling back alleys of Kolkata evoke a pop video aesthetic, this seductive visual language perhaps speaking to the elusive alter ego of the imagined or desired self. In this young man’s life, poverty and prejudice are everywhere but the beautiful and fantastical carve out their own space. Within recent years, the Indian Supreme Court has granted recognition of a ‘third gender’, including the ancient community of gender-variant hijras (traditionally singers, dancers and sex workers), offering some protection of their rights, and consensual homosexual intercourse is no longer a criminal offence, but homophobia is far from vanquished within contemporary Indian society. We feel this homophobia throughout the film as a potent presence assuming many forms: The blows and cigarette burns inflicted by Manob’s outraged father; the scorn of his best friend, herself an impoverished sex worker, who until the moment he reveals his transvestism, we are led to view as a kind of guardian angel; the brutality with which the attention and approval gained as a little boy allowed to dress up in his mother’s clothes has now soured into rejection by nearly all those he holds dear. This feature uses a kaleidoscopic and hallucinatory style to merge bleak realism with a defiant assertion of self-expression and a visionary transcendence of material circumstances. Buy UKFR Banner Space About the Film Critic Helen Samuels Short Film < All Reviews Next Film Review >

The Outer Threat film review by UK film critic George Wolf. Starring Constance Wu, Mark O'Brien, William Fichtner directed by William Woods. HOME | FILMS | REVIEWS The Outer Threat Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jul 8, 2026 Directed by: William Woods Written by: William Woods Starring: Constance Wu, Mark O'Brien, William Fichtner Even if Spielberg’s latest alien adventure left you a bit frustrated, you might think twice about turning to The Outer Threat to scratch that E.T. itch. That’s not to say it’s a terrible movie. But while Disclosure Day leaned into the extra-terrestrial question the more it went along, The Outer Threat does the opposite, ultimately becoming more of a family-based race against time and tech. Scientist couple Daniel (Ready or Not ‘s Mark O’Brien) and Michelle (Constance Wu, Hustlers and Crazy Rich Asians ) live out in the country with their two teen kids (Calista Crowe, Isaac Smelcer-Zhang). They’re not married, and if Daniel keeps abandoning his family to search for signs of alien life in his underground lab, they won’t be any time soon. This time he swears it’s different, though. Really. He finally has proof we are not alone. Too bad no one at NORAD is listening to him anymore. And even when Daniel’s newest findings convince Michelle, she implores him not to..ahem…disclose the news to anyone. But in an impulsive moment, he emails the data to a trusted contact and instantly becomes the target of a mysterious threat. In his debut behind the camera, writer/director William Woods crafts a competent ride full of paranoia, cautionary tales and family bonds. The cast is trusty and believable (William Fichtner’s second half cameo is an added bonus), but the third act moves the film closer to a softened young adult thriller assembled via well-traveled plot points and surface level messaging. To say what films The Outer Threat will bring to mind is probably saying too much, but this is one where the trailer teases some closer encounters than those actually delivered. Still, need a mild, 90-minute diversion in an air-conditioned theater with the kids? The Outer Threat will be perfectly fine and pretty forgettable. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Sauce film review by UK film critic Helen Samuels. Starring Avigail Tlalim, Michael Workeye directed by Daniel Daniel. HOME | FILMS | REVIEWS Sauce Film Review average rating is 5 out of 5 Critic: Helen Samuels | Posted on: Nov 10, 2021 Directed by: Daniel Daniel Written by: Daniel Daniel Starring: Avigail Tlalim, Michael Workeye Two people are on a date. But whether or not they are a couple is the issue at stake. There is one big question mark hovering over Beccs and Josh’s trip to the drive-thru. Are they going to be able to negotiate a form of togetherness which accommodates her practice of polyamory and his preference for monogamy? Beccs’s phone rings insistently as the couple tease each other about who is supposed to be navigating. She is hesitant about taking the call and this is less about dating etiquette vis-a-vis mobile phone usage than whether integrity demands that she reveal her other love interests. Can she whip out the tablecloth of polyamory without the whole relationship crashing to the ground? The script writers have found some better and funnier metaphors to illuminate the quandary - every element of the McDonalds Happy Meal is mined for innuendo. Why should you have to stick to just one ‘sauce’ when you can sample many? Should a fancy for ‘mayonnaise’ preclude an enjoyment of ‘ketchup’? Is a World War III of the condiments about to break out? Josh states his case clearly: “At some point you’ve got to sit down, look at the menu and choose your meal”. The whole short is filmed with one fixed camera angle - the viewer looking in through the front windscreen of the car. Reflected streetlights, tree branches and the headlights of other cars slide by. The McDonalds sign makes an appearance. It is an ultra-minimalist set with nothing wasted. A dangling blue toy gets its moment to squeak and even forms part of the commentary on fidelity. As a premise, a 15-minute two-hander where the action revolves around ordering burgers might not sound gripping but the two lead performances are animated and slyly hilarious. Avigail Tlalim shapes her portrayal of Beccs with an expressive delivery and offbeat humour. Michael Workeye as Josh presents a more measured and affectionately exasperated character. The tone is light but there is a good deal of underlying tension and frustration. Josh wants to seem ‘cool’ about polyamory but fundamentally doesn’t get it. Beccs seems to think that a rational explanation will be enough to bring him round. It would be entirely wrong to frame Sauce as a romantic comedy with ‘will the guy get the girl?’ as the burning question, yet this is the movie Josh seems to think he is in. Beccs steers the narrative in a completely different direction, offering an invitation to reconsider the rules of intimacy and whether exclusivity and longevity have to be the markers of a successful relationship. They are in the same car but on different journeys. In the end, whether the viewer prefers to inflame their nuggets with chilli sauce or smother their McMuffin in mayo, this brilliantly executed drama will provide plenty of food for thought. Buy UKFR Banner Space About the Film Critic Helen Samuels Short Film < All Reviews Next Film Review >

Lost Love film review by UK film critic Patrick Foley. Starring James Miles Boyd, Grant McIver, Michael Robertson directed by Eric W. Whitelaw. HOME | FILMS | REVIEWS Lost Love Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Dec 1, 2024 Directed by: Eric W. Whitelaw Written by: Eric W. Whitelaw Starring: James Miles Boyd, Grant McIver, Michael Robertson Set in Edinburgh’s gritty rock scene, Lost Love tackles the difficulties and dangers of drug abuse on relationships, friendships and individuals by following the grief of a band’s lead singer and the destructive effect on his bandmates. Jack (James Miles Boyd) is the lead singer of heavy rock band ‘Lost Love’ alongside bandmates Harry (Grant Mciver) and Cal (Michael Robertson). After collapsing on stage, Jack’s drug abuse becomes a source of anger and dissent amongst them, with Cal particularly angry about how Jack’s habits are damaging their chances of success. However, Jack is dealing with visions of Katie (Robyn Reilly), an important part his life that he cannot move on from – and her presence makes fighting his addiction that much harder… Lost Love is fundamentally about drug abuse and how it comes to grip people in their darkest moments. Jack’s refusal to open up about his trauma and face his problems head on is fracturing his band before his eyes. Once a source of passion, he now struggles through gigs and suffers from blackouts that lose the band money. We see how therapy sessions help him admit the pain he suffers from, and use a new community to begin recovery. It is an important and admirable message. However, the narrative of the film can be confusing. Katie’s appearance at the band’s gig triggers Jack’s collapse – prior to which the frontman is shown in fine form. It suggests the film is going down the horror route rather than gritty real-life drama, and even as Katie’s metaphorical nature is revealed, it suggests that Jack’s grief is the primary cause of his collapse rather than the abuse of drugs. A scene in which Jack is convinced to go to therapy is also bizarrely inserted just before the conclusion, after we have already seen the beneficial impact of his decision. It works somewhat in saying that those around us care – even when we drive them nuts. But it upsets an otherwise emotional high point in the film. The film ultimately seems unable to decide whether to stress the importance of personal responsibility on Jack’s behalf, or the message that trauma is an overriding influence that we are all vulnerable to. Jack’s story will naturally illicit sympathy from viewers, but his bandmates response to his problems mean we are inclined to defend him from their very reasonable issues as the importance of Katie to Jack’s psyche is stressed so strongly. This in turn dilutes the film’s conclusion – that Jack taking control of his life is his path to redemption and sobriety. If his collapses and outbursts are his own actions, more should be made of his culpability. If they are not, the dangers of addiction are diluted. Neither feels like the filmmaker’s aim, but it is the outcome of the story structure. The gritty underground club world of Edinburgh looks fantastic, and anyone who has attended a smoky, sticky rock gig will feel right at home. Music from James Miles Boyd’s real band Dootchi is also a nice touch, that creates the sense that Lost Love are a living, breathing group establishing themselves in the scene. Boyd himself is impressive as the lead, bringing a softness to Jack that is too often omitted from stories about drug abuse. Not every victim is wild and out of control 24/7, just as not every rock star isn’t. Lost Love ’s heart is in the right place, and the film taps into an emotional beat with moving performances and a strong moral sense. But its narrative is flawed and leads to the central message being muddled. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Short Film < All Reviews Next Film Review >

Six Feet of Separation film review by UK film critic Amber Jackson. Starring Nina Yndis, Fayez Bakhsh directed by Toni Nordli. HOME | FILMS | REVIEWS Six Feet of Separation Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Apr 10, 2022 Directed by: Toni Nordli Written by: Toni Nordli Starring: Nina Yndis, Fayez Bakhsh A simple message: stay at home. A message that now contains so many memories from the months that we lost to a COVID-19 lockdown. Did we learn anything? Toni Nordli’s latest film Six Feet of Separation suggests that we did. This short features Noah (Fayez Bakhsh) and Dina (Nina Yndis), a young couple living apart in the same city who are forced into a long-distance romance. Despite being in close proximity, they are unable to see each other and so their relationship is put to the test. For many watching, it will act as a reminder of the realities of the early lockdown in 2020. An example being that many UK couples who felt it was too soon to move in together were forced to confront the hardships of being apart. They were unable to rely on the physical presence and support of their significant other and Noah and Dina highlight how romantic relationships had to evolve. The film contains a variety of different filming mediums, with Noah and Dina mostly communicating via video calling every day on their phones as they continue their every day existence from the comfort and security of their homes. Poor video quality as a result of mediocre internet ensures that the film maintains its realistic centre, as the reality of speaking with people in this way during the first lockdowns is all-to-familiar. A long-distance phone call captures the challenges that come with a lack of physical affection and touch, again allowing these experiences to flood the film. Noah and Dina’s healthy and realistic relationship remains at the centre, as despite their struggle with being apart, their mutual understanding of the situation is maintained. It reminds us not only of our own experiences of living through a pandemic, but of what truly mattered to us. Much like the central theme of love, as Noah and Dina have to find ways to adapt to this new way of living, many other 2020 experiences are represented in Nordli’s film. We get to remember and laugh about the fact that we actually had to queue outside of shops and once we eventually got in there, the shelves were empty and we could not buy basic items. Noah and Dina joking about being finally able to find eggs or toilet paper is highlighted as comedic relief, yet also captures the ridiculousness of the reality that we as a society actually witnessed that. Captured is the city of London, typically bursting and bustling with a busy and rushed life, now shown as we have never seen it before – and probably will never see it like again. Numerous cityscape shots and real camera footage sandwich Noah and Dina’s story, reminding us of the context these two characters are in. We are looking at our own pasts as well, looking at a window of time to what we, UK audiences, directly experienced two years ago. Travelling shots of key London landmarks, such as Trafalgar square, Westminster Bridge, Southbank, are all desolate. Main roads are empty as only one or two people walk along the street as we drive around taking in the silence of a beautiful lockdown summer. Billboards along main roads declare the importance of community and thanking the NHS. It is equally beautiful and eerie as we are permitted to remember the places that we didn’t go. This bittersweet time capsule of a film shows how cautious people were back in 2020 and how we were able to survive an isolation period of being unable to see and comfort many of our loved ones. Viewing these memories two years later, in 2022, is an interesting retrospective as the viewer is able to consider how these events affect us now. Noah and Dina’s love for each other and their families is the defining factor of this ode to 2020 and is a reminder that in times of doubt and despair, we have each other. Six Feet of Separation is ultimately a heartfelt film about the hope of reunion. Despite the toughness of isolation, it implores that love and togetherness keeps us human during an unfamiliar event of a pandemic. Viewed at Tromsø International Film Festival, it is exciting to see where this film will screen next. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Succuba film review by UK film critic William Hemingway. Starring Keith Johnson, Ketrick 'Jazz' Copeland, Nichole Tate Jackson directed by Jaron Lockridge. HOME | FILMS | REVIEWS Succuba Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 8, 2023 Directed by: Jaron Lockridge Written by: Jaron Lockridge Starring: Keith Johnson, Ketrick 'Jazz' Copeland, Nichole Tate Jackson Even if Nope (2022) wasn't that good of a film; it was basically just Jaws (1975) in the desert with aliens and a few false steps; it did allow Jordan Peele to tell us what he knew about cinema. He said it with his previous films, too – Get Out (2017) and Us (2019) – that if cinema is going to be diverse and inclusive then it's going to need to have black made films with real black characters. Now, writer/director Jaron Lockridge is looking to follow in those very same footsteps as he presents us with his feature-ish length horror story, Succuba . Eddie Williams (Johnson) is a pastor in Whiteville, Tennessee. He lost his wife not so long ago and has perhaps been questioning his faith since. He's still doing his community fellowship rounds though and takes it upon himself to call on Maurice, who hasn't been turning up to church for the past few weeks. At Maurice's house, however, something shocking has happened. Ready to start a house fire at the same time as blowing his brains out, Maurice is found dead at the kitchen table, but there's something else, something far more sinister, waiting, tied up in the bedroom and now it has attached itself to Eddie. Cut to Sheriff Philip Grover (Copeland) who's been out electioneering with his wife (Jackson). The next day he needs some downtime and so sets off to his usual fishing spot to relax a little. On the way back home his truck cuts out and so Sheriff Grover needs to find someone to help and somewhere to get out of the rain. It just so happens that the first house he comes across and the first door he knocks upon belongs to former Pastor Williams, who unfortunately is looking decidedly worse for wear. Now it seems like it's time to get to the bottom of things. What Lockridge is offering to us in Succuba is a real grass-roots production that speaks to the heart of home-grown cinema. He has taken an idea which may well seem fairly standard in the horror genre and applied his own vision to it entirely so that it becomes a personal tale, perhaps even an allegory, that fits in with the world he sees around him. Lockridge's vision was so strong that he could picture the actors he wanted playing the parts and so wrote the characters with them in mind. His vision then extended to the setting, the way the story would play out and the way he would shoot the scenes, meaning that he also took on the roles of editor and cinematographer for the film. As a creature feature, Lockridge does a lot of the right things in Succuba to keep the tension high and the audience hooked. Small teases and flashes of the monster scare our imagination into action, the presentation of Pastor Williams as some sort of monster himself keeps us on the edge of our seat, and the closed in surroundings where most of the tale is told engenders a feeling of claustrophobia that only tightens the nerves. The best thing which sells the story, however, is that the characters themselves are well drawn and believable, as well as being played expertly well, especially by Keith Johnson as Eddie. There are still some things in amongst all this that Lockridge doesn't quite get right, especially with the minimal (to no) lighting and sound design. There are far too many too long shots which should have been cut far earlier and at times it does seem like Lockridge is padding the film out to give it more heft. For a seventy minute film it still feels as though there's not quite enough to justify the length and in the end Succuba would have benefited from being a good half-hour shorter and just a bit punchier and tight. Still, for a film with such a small budget it does what it does well, uses its characters and actors properly, and has that Peele appeal which audiences should appreciate. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

I Didn't See You There film review by UK film critic Matt Weiner. Starring Reid Davenport directed by Reid Davenport. HOME | FILMS | REVIEWS I Didn't See You There Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: Jan 11, 2023 Directed by: Reid Davenport Written by: Reid Davenport Starring: Reid Davenport Early on in the documentary I Didn’t See You There , filmmaker Reid Davenport says that his new camera allows him to look for shapes and patterns in a way that wasn’t possible when he wasn’t the one physically filming his movies. Davenport succeeds, wildly—and the end result is so poetic, bracing and beautiful that it’s more than a bit of an understatement. I Didn’t See You There is shot entirely from Davenport’s perspective. Often this is from his wheelchair, with unbroken shots on the streets of Oakland, California, that start to take on their own captivating rhythm. At least until Davenport is nearly taken out by inattentive drivers or forced to stop at a blocked crosswalk. It’s a deeply personal and unabashedly political film. As Davenport shows, what other choice is there? Every public act, from taking the bus to using the ramp to get into one’s own home, becomes a negotiation with (at best) apathetic parties. The presence of a circus tent in his neighborhood becomes a jumping-off point for Davenport to tie in the cultural history of the freak show and this country’s treatment of people with disabilities. It’s a connection Davenport can’t avoid—during a trip back east to his family, he points out that he shares a birthplace with P.T. Barnum. At the same time, Davenport interrogates this throughout the film, his intimate filmmaking and perspective on the environment turn the personal documentary into a visually stunning meditation on the connections we have to our built environments. Davenport’s eye calls attention to every bump in the street, or shrub encroaching on the sidewalk—there’s a fresh beauty to the tessellated patterns of urban design that he uncovers, and a hostility always there beneath the surface. I Didn’t See You There presents an undeniably unique perspective. But it also feels impossible to view one’s own environment the same way afterward. Buy UKFR Banner Space About the Film Critic Matt Weiner Digital / DVD Release, Documentary < All Reviews Next Film Review >