Watch Coast Road at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. Coast Road Listen to our review on the film podcast What our film review said: READ FULL REVIEW There is real skill in portraying drama that flows from one premise into something entirely different. The film begins as a cosy almost nostalgic snapshot of a simple life. The coach is a microcosm of a close knit community where people lived in each other’s pockets. The death then changes the tenor and everyone on board becomes a suspect. Proudly supporting MediCinema for our 2022 film festival.

Hard Luck Love Song film review by UK film critic Rachel Willis. Starring Michael Dorman, Sophia Bush, Durmot Mulroney directed by Justin Corsbie. HOME | FILMS | REVIEWS Hard Luck Love Song Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Oct 14, 2021 Directed by: Justin Corsbie Written by: Justin Corsbie, Craig Ugoretz Starring: Michael Dorman, Sophia Bush, Durmot Mulroney Working from the Todd Snider song, “Just Like Old Times,” writer/director Justin Corsbie (with co-writer Craig Ugoretz) brings the lyrics to life with his debut feature film, Hard Luck Love Song . Basing a film on a song isn’t unheard of, but it isn’t very common either – probably for a lot of reasons. The biggest one being most story songs rely on character tropes to allow their listeners to connect to the characters. In this case, the antihero and the hooker with a heart of gold. And even then, a film can succeed in adapting a song to the big screen if the background story and characters are fleshed out in believable ways. Unfortunately, Corsbie and Ugoretz don’t pull this off. I find it hard to believe that in this day and age anyone could be hustled playing pool – didn’t everyone see Color of Money? But apparently, the scam still flies –because when we meet Jesse (Michael Dorman), it’s the way he makes his living. New to town, living in the Tumble Inn, Jesse is seeking to work over the locals. There’s some slow action in the first half of the film. A pool tournament that starts as a montage begins to drag as the final three games play out between Jesse and Rollo (Dermot Mulroney). After a particularly ill-advised hustle, Jesse’s celebratory scene is indulgent and tacks on to an already slow opening act. The story starts to pick up when an old flame (Sophia Bush) enters the picture, nearly halfway through the film. However, this is also when the movie begins to take on a different life, setting a new tone and coming closer to the meat of the song on which it’s based. If the film had continued to set a new stage in each act – treating each piece as a vignette in Jesse’s life – this may have worked. However, when elements of the first act are reintroduced into the final act, it’s jolting. The third act is the least satisfying segment – relying heavily on stereotypes and songs to carry it along. It’s also when the film goes completely off the rails. Had the tone of the story not been so serious throughout, perhaps the conclusion could have landed more skillfully. As it is, the tonal shift is so abrupt that it feels as if we’re watching another movie altogether. If you’re unfamiliar with Snider’s song, a live recording plays over the end credits. You’ll wonder why the filmmakers set such a serious tone when you hear Snider’s playful rendition. Perhaps if more of the song’s humor had made it into the film, the result would have been more satisfying. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Feet of Death film review by UK film critic Matt Trapp. Starring Andrew Jacob Brown, Jack Vanover, Benjamin Watts directed by James Chick. HOME | FILMS | REVIEWS Feet of Death Film Review average rating is 2 out of 5 Critic: Matt Trapp | Posted on: Mar 24, 2026 Directed by: James Chick Written by: James Chick, Ryan Stahl, Ashley Chick Starring: Andrew Jacob Brown, Jack Vanover, Benjamin Watts Set amidst the lush forests and haunted towns of Mount St Helens, Feet of Death stars Andrew Jacob Brown as Jason Easterly, a United States Forest Service ranger who finds himself pulled into a disturbing investigation into the death of an internet personality. While the film is shot competently, making great use of the beautiful locations, the characters are sadly underdeveloped and the narrative stretched thin. Feet of Death opens with a young woman wandering through a beautiful forest in Mount St Helens. The stakes of the film are firmly established when she suddenly comes across the mutilated body of a man, revealed to be YouTube personality Chris Dixon (Eric Berger). Director James Chick shows the audience the day leading up to Chris’ death, where he had been investigating mysterious deaths and disappearances in the area. Meeting locals and asking them for their thoughts on the recent ‘animal attacks’, the film calls to mind similar scenes from the Blair Witch Project , sprinkled with the eccentricities of rural townsfolk who littered Twin Peaks. Jason is soon introduced as a USFS ranger past his prime, sleeping on a sofa surrounded by bottles, still privately grieving the loss of his wife who was killed in one of the aforementioned animal attacks. After some convincing, he’s brought into the investigation, where he joins up with local Sheriff Ken (Jack Vanover). The two men must work through their initial resentment of each other to solve the case, and in doing so, they may reveal secrets that would rock their community if they were to come to light. Jason and Ken have a reluctant partnership, the two literally at each others’ throats when they first meet at the scene of the crime. While they do learn to work together and lean on each other, Feet of Death seems less interested in the human drama and seems to be more focused on the intrigue of the attacks themselves. Audiences may feel that Jason and Ken move past their antagonism for each other surprisingly quickly, and that the potential in seeing them move past their initial grievances was squandered. Unexpectedly, Jason’s arc revolves around him getting out of his depressive funk and more involved in the investigation, but it once again comes up short. The circumstances around his wife’s death are left mysterious, and there’s no particular lesson for Jason to learn, or obstacle to overcome, to deliver a satisfying conclusion to his story. Jason’s arc is set up pretty heavy-handedly in his first scene during a conversation with his colleague Al (Tim Blough), who tells him straightforwardly that he needs to find his purpose. Of course, solving the case is the purpose of all the primary characters, and while it does have a personal element for Jason since his wife was one of the victims, it never feels like he overcomes a past failing or really makes a consequential decision. The result is a narrative that lacks a real driving force, a reason for the audience to root for Jason to overcome his demons and solve the investigation that has plagued the community. The film’s score by Ryan Stahl compliments the film appropriately, and it was a particular highlight. There are shades of Disasterpiece’s ambient synth tracks from It Follows , and in more tense sequences, the use of rhythmic thumping in the soundtrack is reminiscent of Ennio Morricone’s score written for The Thing. It’s disappointing that while the music can be praised, the poster for the film appears to have been AI generated, featuring wobbly caricatures of characters who do not appear in the film. I can empathise with smaller productions doing the best they can with limited budgets, but a still from the film would always be preferable to generating a generic, poorly composed image that says nothing about the film. Feet of Death features some genuinely thrilling moments and an ending which ups the ante in a fun and unexpected way, showing that Chick had more up his sleeve than audiences may have expected. Still, the exciting climax is regrettably not enough to salvage the rest of the film which feels lethargic, meandering awkwardly through the expected motions in the standard police procedural. The characters just aren’t interesting enough here to sustain the runtime, and the crime at the heart of it isn’t sensational or unique enough to draw much curiosity. More factors could have been introduced in the second act to complicate the narrative, and more hurdles should have been placed in the way to impede the characters’ progress towards the conclusion. Feet of Death isn’t the easiest recommendation, but there’s a small town charm that some audiences may glean some enjoyment from. Buy UKFR Banner Space About the Film Critic Matt Trapp Indie Feature Film < All Reviews Next Film Review >

A Tortured Soul film review by UK film critic Joe Beck. Starring Jake Blight, Charlotte Blight directed by Jacob Bennett. HOME | FILMS | REVIEWS A Tortured Soul Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Feb 11, 2023 Directed by: Jacob Bennett Written by: Jacob Bennett Starring: Jake Blight, Charlotte Blight Even without saying ‘Cornish Short Film’ in its description, you can tell ‘A Tortured Soul is Cornish. It has that distinctive air of Cornwall, the spirit of the sea which can be found nowhere else but the westernmost corner of England. While it’s immediately evident where it’s located, it is less clear what value there is in any of what ‘A Tortured Soul’ is trying to say, or even whether it’s trying to say anything at all. Written and directed by Jacob Bennett, though the direction is competent, he is let down by his writing, which leaves a lot to be desired. The script is assumptive, it presumes that we already have a base understanding of certain events that have transpired before the film, and we are left with tidbits of information of little value as a result. We’re never given an opportunity to understand more of what has come before, perhaps due to its slight three minute runtime, and as a result there’s a layer of ambiguity where there should be clarity. At one point a character says ‘you know where’ to another, and that’s all well and good, but we, the viewer, have no idea where you’re talking about, and we don’t even get to know. That is poor writing. Unfortunately this doesn’t translate to the dialogue, in which too much is said aloud. It sounds awkward and fragmented, and doesn’t bother to create any subtext. This may have been overcome if not for underwhelming performances from both Jake Blight and Charlotte Blight as the Man and Lady at the forefront of the film, with both lacking spatial awareness in their movement and mannerisms. Furthermore, they simply lack chemistry, with conversation between the pair appearing stilted and forced. This is a major problem given that the film focuses on the dialogue between the two. Jake Blight plays a widowed man who has turned to drink and wandering the Cornish cliffs in order to find peace and seclusion after the death of his wife, for which he feels guilty. He is disturbed by his wife’s (Charlotte Blight) presence on the cliffs, lamenting his drinking habits and instructing him to take himself to another cliff. These appearances appear to be the mental disturbances of a sad drunk, and the wife’s appearance, dressed in all white lends itself to that interpretation. If the man, therefore, is the tortured soul whom the film refers to, then he appears to show very little remorse. Other than his drunkenness there’s no real sense of regret or torture for his wife’s death, indeed had the title not said otherwise, it would be reasonable to assume that he didn’t remotely care about his wife’s death. Bennett’s direction is more competent than his screenplay, he certainly creates a Cornish atmosphere, and captures the vastness of the environment without ever resorting to wide, establishing landscape shots. Similarly, the opening score is adept at instilling a distinctly Cornish feel, and is a highlight of an otherwise underwhelming film. Yet these bright sparks are ultimately only sparks, and the turgid screenplay of ensures that the film never really goes beyond its distinctly Cornish feel. The drunk man may be tortured, but at least he doesn’t need to watch ‘A Tortured Soul’ for that would surely only make matters worse. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Strange Dreams Of Hypnos And Venus film review by UK film critic William Hemingway. Starring Dante Fournarel, Eva Langlet directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS The Strange Dreams Of Hypnos And Venus Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 19, 2023 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Dante Fournarel, Eva Langlet You know, I really enjoy University Challenge. I watch it every week and think that it's the best quiz show on television. The reason that it's really good (apart from the dry sarcasm of Jeremy Paxman, of course) is that it's super difficult and you have to have an intense knowledge of a wide and varied number of subjects if you're going to stand any chance of answering the questions with any sort of frequency or accuracy. I usually manage to get one question right each episode, even before the plucky youngsters with their enormous intellect buzz in to tell Jeremy what they know, and sometimes I can even bump up my score by shouting out a random artist's name at the TV when a painting is flashed up on screen during the picture round, or by similarly shouting out the name of a random composer during the music round. So, when a film like The Strange Dreams Of Hypnos And Venus comes along you'd think that I might be in a pretty decent position to enjoy, decipher and understand what it's all about. Apparently not. Photographed, edited and directed by Alexandre David Lejuez, The Strange Dreams Of Hypnos And Venus opens with a quotation from Henry David Thoreau, a poem about love and the playing of some baroque(?) classical music. Then we meet Hypnos (Fournarel) surrounded by his own artistic impressions which seem to resemble himself, Jesus and the Devil all in one, and Ravel's Bolero begins to play (I know that one! 5 points to me) as Hypnos broods over making some tea before taking a drink and falling asleep to dream. This takes the entire length of the musical piece to do, some fifteen minutes, and by the end of it the audience is left wondering just what else they're going to get in the rest of the one hour and forty-five minute runtime. Well, the answer is not a lot. Inside Hypnos' dream more classical music plays while he sees images of faces – busts, statues, statuettes, masks, tapestries, paintings – faces, myriad faces and in the end some skulls. These are all still images which are cut together and zoomed in or out of alternately to give the impression of movement or gravitas. Then Hypnos wakes up, smokes something out of his pipe – probably weed – and falls asleep again for another extended dream sequence. This time he sees images of iconography and idolatry, mostly through stained glass windows, before moving onto lights and buildings. All of this might mean something to some people, if you're able to identify the faces of antiquity and the music which accompanies them, but unless you've had a classical education or have a serious interest in art and art history a lot of this is going to fall by the wayside and mean nothing at all. Part two is a mirror of the first, this time focusing on Venus (Langlet) whose poisons are cocoa and lollipops, and she prefers to dream about the seaside, coastline, cliffs and rocks. Venus enjoys sunsets and sunrises and eventually settles on the countryside and the gardens of country estates. Still the classical music plays and it's debatable whether any of this means anything to anyone other than Lejuez. It is clear to see that what Lejuez is trying to recreate here is his own version of the seminal artistic collaborations between Godfrey Reggio and Philip Glass, Koyaanisqatsi (1982)/ Powaqqatsi (1988) (and the third one which shouldn't even be uttered in the same breath). However, while Reggio's work focused on humanity and its destructive relationship with the natural world – which was able to be distinctly picked out as a narrative despite the lack of story or dialogue – Lejuez's work doesn't appear to have any such narrative to it at all, even with the basic attempt at plotting. Lejuez's images and music never really match up at all (certainly nothing on the scale of Glass' achievements), except perhaps Bolero which gets used twice, and it is unclear throughout the film just what he is trying to get at. The whole movie is one giant arthouse piece with a lot of navel gazing involved, which if it says anything at all seems to scream, “I am far more intellectual than you.” Granted some of the visuals are nicely photographed and very nice to look at, especially those filled with colour, and of course the music is very impressive but they just don't marry together into a cohesive structure to give the viewer enough to stay engaged. The Strange Dreams Of Hypnos And Venus is very slow in what it does and is likely to pass over the heads of many who take the time to sit down and watch it. Perhaps Lejuez's work would be better suited to an art installation but even then its interminable length will be too much for most to bear. Lejuez should be commended for his vision and commitment to his art but for the rest of us he's probably best left alone to dream his own dreams. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

It’s time to get Lucky, as this thrilling new feature from first time director and exciting new voice in Ghanaian cinema Fofo Gavua is set for its UK premiere this May.. Brand new film trailers. Lucky Trailer It’s time to get Lucky, as this thrilling new feature from first time director and exciting new voice in Ghanaian cinema Fofo Gavua is set for its UK premiere this May. Garnering critical acclaim on the festival circuit and selected for Lights, Camera, Africa Film Festival and Hip Hop Film Festival West Africa, this gripping drama follows the exploits of a plucky, down-on-his-luck teenager trying to make his way in the world. Giving a rare insight into the life of Ghana’s youth, we meet the endearing Twitter-celebrity Lucky, played with aplomb by rising star Kumi Obuoabisa (Sophie), who lands a date with Nutifafa (Jane Efya Awindor), the most popular girl on social media. Desperate to move on from his ex Pamela (Buki Akiwumi – Sophie) and make a quick buck to impress his dream woman, he teams up with longtime friend Wadaada (Solomon Fixon-Owoo Jr – Eden, Aloevera), and their plan is to sell a MacBook to fraudsters. But things don’t go the way they expect and the ensuing turn of events will keep you on the edge of your seat. Just when Lucky thinks nothing else can go wrong, it manages to… Funny, tragic, devastatingly sad, with comedic characters loosely based on those from the creator’s own life, Lucky is a harsh yet hilarious glimpse into the unpredictable life of a Ghanaian boy who finds increasingly inventive ways to solve the problems that the world throws at him. Will he finally get lucky? Released on digital Monday 10 Ma y Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

It's a Wonderful Knife film review by UK film critic Hope Madden. Starring Jane Widdop, JustinLong, Joel McHale directed by Tyler MacIntyre. HOME | FILMS | REVIEWS It's a Wonderful Knife Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 9, 2023 Directed by: Tyler MacIntyre Written by: Michael Kennedy Starring: Jane Widdop, JustinLong, Joel McHale For some people, it’s not even Thanksgiving, let’s not get into Christmas movies quite yet, OK? Meanwhile, countless people have been binging Hallmark Christmas tales since July. And the rest of us are still stinging that Halloween is over. By that math, 2/3 of all viewers will be pleased with It’s a Wonderful Knife , the Christmas story with all the feel-good cheer of the classics and all the bloody knifework of a solid slasher. The title gives away the film’s core conceit, but honestly, it bore more of a resemblance to Dolly Parton’s 2020 holiday debacle – I mean, charmer – Christmas on the Square . One small town real estate tycoon (Justin Long) intends to turn a historic strip into a shopping and dining oasis, even if it means bullying kindly old Mr. Evans (William B. Davis) into selling his family home. But wait! No time to think about that when a white clad, knife wielding maniac is on a tear! And all this in the first ten minutes of the movie. Fast forward one year and everyone’s pretty much over those murders, except Winnie (Jane Widdop). No one cares, no one notices, it wouldn’t even matter if she’d never been born (…never been born…never been born…). Director Tyler MacIntyre (Tragedy Girls ) and writer Michael Kennedy (Freaky ) have some fun piling on the holiday film cliches. And there are plenty of reasons to enjoy their movie. First of all, Justin Long. There are few people more reliably fun to see in a horror flick, and in this one he rocks a spray tan and fake teeth. So many bonus points. Also fun, Joel McHale (Becky ), who is somehow now the go-to for horror movie supportive dad with daughter issues. Add the always welcome Katharine Isabelle, and though she’s tragically underutilized, it’s great to see Cassandra Naud (who was phenomenal in Influencer). The story itself, with its plot twists and turns, is not as clever as it pretends to be. It is wryly funny, though, and often quite sweet. It’s not as raucous as Kennedy’s Freaky nor as badass as MacIntyre’s Tragedy Girls , but it is a bloody slice of Christmas fun. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

Rogue Elements film review by UK film critic Lee Sinden. Starring Derek Moran, Andrea Pavlovic, Brian Bisson, Mike Dopud and Olena Medwid directed by Travis Grant . HOME | FILMS | REVIEWS Rogue Elements Film Review average rating is 3 out of 5 Critic: Lee Sinden | Posted on: Aug 17, 2026 Directed by: Travis Grant Written by: Will Jordan and Travis Grant Starring: Derek Moran, Andrea Pavlovic, Brian Bisson, Mike Dopud and Olena Medwid This is a proof of concept/ pilot and gives a taster of what a series could look like. The proof of concept is based on the series of books written by Will Jordon which follow Ryan Drake a CIA operative. Ryan Drake is a member of a special activities division made up of elite military veterans who retrieve high value assets. On this occasion the high value asset has been taken by Russians and it is up to Ryan Drake and his small team to get the asset back. As you can imagine this is action packed viewing which does not hold back on the violence. If violence is not something you want to see on screen then this might not be an enjoyable watch, as at times it gets quite graphic. There are times where the camera quickly switches away from the violence leaving the audience to imagine what is happening. The action starts even before the opening credits have finished and this gives the audience a good grasp of what to expect. This is an effective way of drawing the audience in and it shows the viewer a key part of one characters history, which provides depth to the shows plot and clues to their role within it. This is fast paced high octane viewing and requires the audiences full attention. The action sequences are well choreographed and look believable and there are many to enjoy. There is no time to look away or be distracted as each character has their own battle against the enemy. The sound track is very effective throughout, with it’s fast paced beat as each scene unfolds. The music really sets the pace of each scene and acts like the ticking time bomb leading up to each sequences conclusion. The use of flashbacks is very effective and the way they are created reveals how the characters memory is working. There are times when the flashbacks feel like they are interrupted and distorted. This is a reflection of how the characters brain works and potentially how past events have affected their memory. The use of shallow focus works successfully throughout. The fact that this has been written by the author of the books is important as you can see their imagination unfold on screen. The characters and plot are not left to the ideas of others which can often lead to a lack of understanding of the authors vision. This maybe even more important to the viewers who have read the books and have expectations of how the story is told and how each character looks and behaves. The actors in the pivotal roles are generally based in Canada although appear to have backgrounds from countries in Europe. There are a number of accents on show such as Russian, American and English. Derek Moran plays Ryan Drake and appears to be good casting particularly during action sequences. This is not an easy task and no doubt takes weeks and possibly months of hard work. Ryan Drake has been written as an English agent and at times Derek Morans accent sounded a bit muddled. This did have a slight impact on the performance and may prove to be a distraction for the audience, particularly those from England. The cast was really balanced and well put together. They all meet the physical requirements of the role and are able to showcase their skills when speaking in accents that may not be natural to them. I found Brian Bisson and Andrea Pavlovic to be the stand out stars and they had good chemistry between them. Andrea Pavlovic stole many of the scenes and hers was a character I’d like to see more of going forward. Olena Medwid as Anya had limited dialogue but this did not detract from her performance as her physical acting skills were very effective and vital to her role. Her scenes were physically challenging and full of emotion. The director Travis Grant is also credited as a writer and the collaboration with the author works well. The lighting in many of the scenes portrays the desperate situation that some of the characters find themselves in. It is dimly lit and many of the sets lack colour. Close up camera work heightens the tension portrayed in each scene. Despite this being a proof of concept production, it feels polished and could easily be the finished product and ready to air. Overall this is an action packed show which sets the scene for future episodes. There is plenty of excitement and well choreographed fight scenes. This proof of concept gives the audience enough to want more and also provides enough answers to make for an enjoyable watch in isolation . If the audience have the read the books it will no doubt be beneficial but it is not essential. Make sure you watch through the closing credits as more is revealed in the mid credit scenes. Buy UKFR Banner Space About the Film Critic Lee Sinden Short Film < All Reviews Next Film Review >

Sunset Drive film review by UK film critic Patrick Foley. Starring Ion Ciotu, Julisa Zamora directed by Rodriguez Jennings. HOME | FILMS | REVIEWS Sunset Drive Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 8, 2023 Directed by: Rodriguez Jennings Written by: Rodriguez Jennings Starring: Ion Ciotu, Julisa Zamora For what is one of life’s unanimously accepted joys, filmmakers sure do love making bittersweet films with the word ‘sunset’ in the title. Rodriguez Jennings’ poignant and emotional Sunset Drive is an impressive and atmospheric adopter of this reliable metaphor. After an explosive and resentful row, couple Rowan (Ion Ciotu) and Eloise (Julisa Zamora) embark on a drive through the sunny streets and towns that they have tread in happier times. Along the way, as they pass through former haunts, they relive memories they have made throughout their relationship, as their connection was forming. With a sense of finality looming, it is for both to decide if their experiences were foundations for their future, or the sunny midpoint for a period in their lives that is drawing to a close. Driven (no pun intended) by emotion, chemistry and notable visual storytelling, Sunset Drive is a stylish and sensual short that denotes heartbreak, longing, nostalgia and growth in its viewers. The disparity between Rowan and Eloise’s love stricken and dreamlike partnership presented in flashbacks and the cold, discomforting fracturing evident in their present is wonderfully realised by Ion Ciotu and Julisa Zamora in bold and raw performances. The relationship dynamic – with Rowan as the charming impresser and Eloise as the shy admirer in the past is turned upside down and back to front throughout the film as Eloise’s jealousy and Rowan’s forcefulness have emerged in the future. Jennings’ accomplishment is to refrain from making either party the villain, and instead make the viewer morose and regretful that a partnership that they are introduced to on difficult terms is ending, by harkening to happier times and connecting them to their physical world. It is a fantastic realisation that sometimes problems exist in a certain place or time, rather than defining someone for who they are. The presentation of flashbacks in 8mm is every filmmaker’s favourite tool to inject nostalgia into any footage they so choose. The result is no different here. Happier times glow with crispness and warmth to match the leads’ emotional and relationship state, with the cool overlay of digital footage cast away in the same instant as Rowan’s morbid and depressive grimace gives way to beaming grins in the direction of his lover. It’s hardly a ground-breaking or revelatory technique, but for a film aiming for primary emotions, it is undeniably effective at tapping into the audience’s own experiences. Dialogue is relatively minimal once Rowan gets behind the wheel, with the couple’s argument echoing throughout the remainder of the film. Instead, intricacies in the actor’s faces tell the story, as Jennings decides to put the visual at the centre of the stage. It’s a wonderful show of respect and trust in the film’s audience which makes the slow death of the relationship all the more authentic. There is ultimately a limit to Sunset Drive’s significance and innovation. Yet as an examination of the impact of a break-up and the complex and difficult feelings they inspire during, it leaves a serious impression. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

2024 film review by UK film critic Patrick Foley. Starring Ayvianna Snow, The Heartland Collective directed by Michael Johnson. HOME | FILMS | REVIEWS 2024 Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 20, 2025 Directed by: Michael Johnson Written by: Michael Johnson Starring: Ayvianna Snow, The Heartland Collective Trump, wars, Oasis ticket prices – a lot of rough stuff went down in 2024. Michael Johnson’s eponymous music video images a world that somehow gets worse after, from which a heroine is sent back in time to rally the world of today to wake up to impending disasters – with a heavy synth rock soundtrack courtesy of Durham band The Heartland Collective to boot. Taking inspiration from The Terminator, the film opens with footage of a world approaching turmoil. As the anxiety-inducing footage crescendos, a young, otherworldly woman (Ayvianna Snow) is sent back from the future, exploring her new peaceful surroundings and strange customs. It’s not long before she sets about her goal, to warn the world of the danger approaching and rally support to fight back. As a short music video, 2024 does a solid job of telling a legible, relevant story (which aligns with the song’s lyrics) whilst also leaving enough focus on the music itself to shine. The intense, urgent chorus is animated by the heroine’s fist-pumping rallying cries in the video, with Heartland Collective themselves making appearances via TV screens. The setup of tumultuous footage at the film’s opening suggests a number of reasons for the sending of the messenger, from war to climate change, giving the video a wide context. Ayvianna Snow is an enigmatic heroine, dolled out in post-apocalyptic gear and makeup that hint at the darkness to come. Her initial intrigue and excitement in her new world comes out in impish fashion, as she fascinates herself with mobile phones on city streets. This gives way to anger and urgency when the realisation kicks in that the new world is in the danger of becoming the one she is already familiar with. It is then when she becomes a vessel for the song’s lyrics – which hint at the seeding of the disasters to come in our indulgences today. The video is very well produced and directed by Michael Johnson who imbues energy and clarity into the short. The urgency of the opening and conclusion of the short surrounds a focus on Snow’s character, who shines in the world she has been sent back to and stands out amongst the background. The film’s effects and editing also impress, with the time travel realised well and the footage of the world of 2024 looking authentic and convincing. 2024 is a solid music video that does a fine job of accompanying its song. There’s an in-built limit on storytelling due to the genre, but the themes and purpose of the song and worn on the video’s chest and come across powerfully. Ayvianna Snow steals the show with her performance, and really makes the difference in hammering home the urgency of the message that what we do today impacts the world of tomorrow. Buy UKFR Banner Space About the Film Critic Patrick Foley Music Video, Short Film < All Reviews Next Film Review >

Swords of Justice II film review by UK film critic Jason Knight. Starring Adham Oudeif, Mohammed Al Saidi, Adam Kavetsky, Benjamin Estep directed by Adham Oudeif. HOME | FILMS | REVIEWS Swords of Justice II Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 28, 2024 Directed by: Adham Oudeif Written by: Adham Oudeif Starring: Adham Oudeif, Mohammed Al Saidi, Adam Kavetsky, Benjamin Estep A medieval story inspired by Bozdag films, with conflicts, battles, death and treachery. This sequel to the 2020 short film Sword of Justice begins immediately where its predecessor finished, continuing a story that is set during the conflict between the Seljuk, Byzantine and Mongol Empires, although with a duration that is twenty minutes longer than the half-an-hour first one. As the story is set during the Middle Ages, it contains elements that are often encountered in films that are set in this period, that include people from different worlds clashing with each other, sword fighting (plenty of it in this instance) and the appropriate clothing. Taking under consideration that this is a low-budget feature, the mise-en-scene is to be commended, particularly due to the costumes and weaponry that includes swords, axes, bows and arrows and shields. The costumes and the weapons look great and are a highlight for the film. The majority of the narrative takes place in the countryside and also consists of scenes in tents and a large bridge, all of which look good thanks to Oudeif's directing that includes establishing shots of landscapes. However, viewers will most likely notice certain things that do not belong in that time period such as automobiles in the background and some of the footwear. The battle scenes are another strength. Although at times they are not very realistic, they are enjoyable thanks to the directing, the editing, the sound effects and the decent choreography. Also, the adventurous score by Hamdi Aslan and Enes G contributes significantly in adding greatness to the fights and to the film's atmosphere in general. There does not seem to be a central character, with the screenplay pretty much constantly moving from one to the other, which is not a bad thing. Generally, the acting is not convincing and that makes it hard to take the conversations seriously or to understand the characters. This fifty-minute-long feature is the continuation of a brutal medieval story. The battle scenes are what make it a decent viewing, making the audience forget about the poor performances and unexplored characters and fans of the medieval genre will probably be the ones who this film will appeal to the most. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Jay Kelly film review by UK film critic George Wolf. Starring George Clooney, Adam Sandler, Laura Dern directed by Noah Baumbach. HOME | FILMS | REVIEWS Jay Kelly Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 19, 2025 Directed by: Noah Baumbach Written by: Noah Baumbach, Emily Mortimer Starring: George Clooney, Adam Sandler, Laura Dern Oh, jeez, here we go. Just in time for Awards Season, it’s another group of Hollywood elites making a big Netflix movie about how great movies are, and how great the people making movies are and how hard those people work. Cue the eye-roll. Can the Oscar-baiting get any more shameless? Hang on there, hot-taker. Why can’t veteran movie-makers write what they know? Like any other story, it comes down to how well you’re telling it, and how much we’re invested in what’s happening to the characters. Turns out, it’s pretty easy to care about Jay Kelly , about the people in his orbit, and the commitment required to make cinema feel like “pieces of time.” George Clooney wears the title role like his most broken-in leather jacket. Jay Kelly is a veteran movie star, enjoying the comforts of his status while slowly realizing what he has given up to get it. And it’s not just Jay. From his loyal manager (Adam Sandler) to his publicist (Laura Dern), old roommate (Billy Crudup) to first mentor (Jim Broadbent) and beyond, their is no shortage of people holding a to-do list that starts with making Jay Kelly comfortable. Director Noah Baumbach and co-writer Emily Mortimer (who also takes a small role in a large ensemble) seem very committed to writing what they know and live. The script does get talky, but never preachy, and we do see the daily anxieties and the juggled priorities, plus the fun of often watching someone else get the glory. The film’s pool isn’t deep and its claws aren’t sharp but easygoing humor and poignancy reign. As Jay prepares for his career tribute in Tuscany (where else?), Baumbach’s breezy structure often feels like an adaptation from some unknown Sondheim musical. Characters hustle in and out of the periphery while Jay enters rooms that let him visit scenes from his life, reflecting on past choices and strained relationships with his two daughters (Riley Keough and Grace Edwards). The cast is littered with talent (including Greta Gerwig, Patrick Wilson, Isla Fisher and Stacy Keach), and Sandler may finally earn that Oscar nod he was robbed of in 2019’s Uncut Gems . But in the end, you may as well just pronounce the title as “George Clooney.” His modern-day Cary Grant persona is so effortless (just look at him charming that trainload of fans!), it’s nearly impossible to imagine the film working without him. And by the time Jay is seated for a very recognizable career tribute, the line where Clooney stops and Kelly starts becomes pretty damn thin. Do you appreciate movies? You like Clooney? Say hello to Jay Kelly . Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >