What We Did Yesterday film review by UK film critic Joe Beck. Starring Dominique Moore, Matt Kennard, Harriet Kelleher directed by Matt René. HOME | FILMS | REVIEWS What We Did Yesterday Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Jun 26, 2023 Directed by: Matt René Written by: Matt René Starring: Dominique Moore, Matt Kennard, Harriet Kelleher The gutting feeling of catching a partner’s infidelity is both heart breaking and angering at once. It is an experience shared by many, hence why ‘What We Did Yesterday’ credits itself as based on dozens of true stories. However, whilst ‘What We Did Yesterday’ is an effective reconstruction of a variance of such scenario, it feels undercooked, and leaves you wanting more than it bothers to give you. The cheater is Jake (Matt Kennard), whom we see rushing around his apartment topless, struggling to get his bits and pieces, and himself, ready for work - we assume he is a teacher - to attend his early morning briefing. He’s had a bit of a wild night, there’s wine glasses decked on the coffee table, a guitar resting far too loosely, and boxes and boxes of Chinese food takeaway strewn across the apartment’s living room and kitchen. If not a cheater he is certainly lazy and demonstrating an inability to look after himself or his space, further shown by his breakfast of a cold spring roll hastily popped into his mouth. 

 But he is a cheater, as Rhiannon (Dominique Moore) discovers, as her initial disappointment at the ruinous state in which he’s left their apartment soon becomes anger when she discovers an out of place hair clip, and then open a message from the youthful Sophie (Harriet Kelleher), who is speaking about the actions of yesterday. Rhiannon, who had been away on a trip but has returned a day early, doesn’t even seem surprised, or at least doesn’t show much shock. Instead she seems more disappointed that her partner has succumbed to wanton temptations, though perhaps she expected, deep down in her heart, that such a day would eventually come. 

 The shock comes later, and seems obvious in hindsight though in the moment doesn’t quite compute. This indicates strong writing, which is consistent throughout the rest of Matt René’s screenplay. Each movement feels telegraphed to a tee, and seems to occur with deliberate purpose in order to either explore the characters or to progress Rhiannon’s discovery of Jake’s infidelity. This is particularly important given the lack of dialogue in the film’s short eight minute runtime, with most coming as Rhiannon enters on the phone to whom we presume is a friend, and as then again as the film draws to a conclusion, also over the phone. The lack of conflict between Rhiannon and Jake is at once both interesting and the film’s downfall. On the one hand it solidifies Rhiannon’s emotional isolation - with no one to even scream obscenities at - and allows the ambient sounds of Valentina Pappalardo’s divine score to perfectly illustrate Rhiannon’s internal handling of the situation, as she struggles to hold in her anger and accept the new reality of her life. However, it also means that the film lacks a dramatic centre point to stand on, never really reaching a point of emotional climax, rather frustrations just softly boil and remain ultimately unresolved. Matt René’s directing is competent, if unremarkable, though you feel it is massively enhanced by the luscious score, and would otherwise become stale quickly. Dominique Moore is excellent as the torn Rhiannon, though her performance too feels incomplete without interacting, at least directly, with another character. Therefore, whilst ‘What We Did Yesterday’ is in parts effective, it feels half-baked, with the potential for more to enhance a solid film and smooth out some rough edges. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Staycation film review by UK film critic Jason Knight. Starring Sean Kenney, Olivia d'Abo, Catherine LaSalle, Lilly Ivring, Gilles Stricher, Bailey Sorrel directed by Russ Emanuel. HOME | FILMS | REVIEWS Staycation Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 2, 2025 Directed by: Russ Emanuel Written by: Emile Harris Starring: Sean Kenney, Olivia d'Abo, Catherine LaSalle, Lilly Ivring, Gilles Stricher, Bailey Sorrel A feature-length sci-fi horror comedy directed by Russ Emanuel, written by Emile Harris and starring Sean Kenney, Olivia d'Abo, Catherine LaSalle, Lilly Ivring, Gilles Stricher and Bailey Sorrel. A worldwide pandemic is taking place and people are in lockdown and wearing face masks. No, it is not the COVID-19 outbreak but another dangerous virus that reduces people to a catatonic state. Riots are taking place everywhere and everyone is afraid. In the United States, lead virologist Professor Edward Bellows (Kenney) is trying to develop a vaccine, while roomates Britt (LaSalle) and Marnie (Ivring) are struggling to cope with living in lockdown and young couple Cathy (Sorrel) and Matt (Stricher) have been separated because of the pandemic. Made during the height of the COVID-19 pandemic and filmed on location in Australia, France, Tanzania, Thailand and the United States, this film has an interesting way of telling a story about a global pandemic from multiple perspectives, be it scientists, journalists or everyday people. Ultimately, there is no main character, but rather, several characters who are the protagonists. Through the storylines of Bellows focusing on a vaccine and being interviewed by the media, the two roomates trying to get through the outbreak, numerous news reports, podcasts and less about the couple, the filmmakers create a story about a world that is on the brink of collapse. Each sequence plays it part in contributing to the plot. The feature benefits primarily from the amusing performances, the intriguing plot, the light-hearted music by Vasilis Milesis and the plenty of tracks by American composer and music producer Kevin MacLeod. Plus, the make-up effects applied to the people infected by the virus are to be commended. Throughout the film, there are many satirical advertisements that involve a clown-themed vitamin, wine and tea. While these are amusing in their own way, one might wonder what their exact purpose is, how they contribute to the viewing experience apart from a little amusement? Is their presence necessary? There are many characters and the acting is strong. The performances are entertaining, however, they are also dramatic at certain points, adding quality to the feature. Obviously, one of the main themes here is life during a pandemic, with people isolating themselves and communicating via computers. The film is also a commentary about mass hysteria, public opinion, the influence social media has on people and consumerism. It also looks into the gun culture in the United States. This feature was evidently influenced by the COVID-19 pandemic and people who experienced that outbreak will almost certainly indentify with the plot of this feature. There is not much action (very little actually) and the appearances of the infected are brief and therefore, this film should probably be appreciated mostly because of the themes that it explores rather than as an exciting story. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Lunavom film review by UK film critic Patrick Foley. Starring Muthu Karthikeyan directed by Muthu Karthikeyan. HOME | FILMS | REVIEWS Lunavom Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Dec 7, 2025 Directed by: Muthu Karthikeyan Written by: Muthu Karthikeyan Starring: Muthu Karthikeyan An argument in favour of AI generation is that it could allow smaller or lone filmmakers to explore worlds and concepts that have been locked away behind million-dollar budgets since the invention of VFX. But on the basis of Lunavom, technology has a long, long way to go to bridging that gap – and a true understanding of character and human emotion will always outweigh visual spectacle: something able filmmakers ought to understand. Created by Tamil filmmaker Muthu Karthikeyan entirely with AI, the film is a sci-fi tale of a human colony based on the moon in the not-so-distant future after the collapse of humanity. A mysterious signal from Mount Kailash triggers an investigation, and a glimmer of hope emerges of a brighter future from the lessons of the past. There are important ethical questions about the use of AI in film that are far too extensive for a single review. Needless to say, many in the industry will find films like Lunavom controversial; my intent is to review this film independent of these. However, it really is impossible to separate it from the technology behind its creation. Most prominently is that for all the sci-fi spectacle, epic space sequences and photorealistic ‘actors’, the uncanny valley effect is completely overwhelming. Even 68-year-old Facebook users will be able to spot that the scenes are off, with the characters almost unanimously robotic and artificial. This is purportedly intentional, but it’s impossible to connect to their stories or invest emotionally when such a clear lack of humanity emanates from the screen. It is unlikely that Karthikeyan could have done much more to resolve this due to the technological limitations of the day, but whether the endeavour was worth proceeding with is another question due to this. The plot is based around Tamil mythologies implanted into a futuristic imagined world where humanity has nearly perished. It is an admirable idea to proceed with – one that will be unfamiliar to many Western audiences and one that may not otherwise be supported by large studios. It is these types of stories where an argument for AI use exists – that filmmakers who otherwise would be ignored can punch through the ceiling of financial restriction. But Lumavom does a poor job of explaining its quite complicated story aspects and concepts. Perhaps to those with prior familiarity with the culture, this will have more of an impact, but otherwise comes across as difficult to interact with. It also seems particularly galling to mention humanity forgoing real human experiences in place of the artificial as one of the film’s themes. If an appetite for fully AI films even exists, it is unlikely to be satisfied by Lunavom. The film is the definition of artificial and is utterly shallow despite occasional photorealism. There are far more interesting and fulfilling ways in which such a story could have been told, and whilst the questions around the benefits that the technology can have for small-scale films ought to still be pondered, AI superiority is still, thankfully, a long way off. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Animation < All Reviews Next Film Review >

Marijuana Minutes film review by UK film critic Joe Beck. Starring Rebecca DeMarco, Sophia Lucia Parola, Jared Cardenas directed by Ryan D. Moore. HOME | FILMS | REVIEWS Marijuana Minutes Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Oct 2, 2022 Directed by: Ryan D. Moore Written by: Ryan D. Moore Starring: Rebecca DeMarco, Sophia Lucia Parola, Jared Cardenas The stoner comedy is a dying breed in the cinematic landscape. We are long past the days when you’d get the next flick from one of Seth Rogen, James Franco, or Adam Sandler every month. Longer ago are the days of The Dude or Sean Penn’s Jeff Spicoli telling us “people on ludes should not drive’. In that respect, the aptly titled ‘Marijuana Minutes’ is a relic from a bygone era, the raunchy, sex-fuelled bonanza from the early 2010s, however, it is also a signal of how the genre can make a comeback and give the latest generation of twenty-somethings to take nature’s green grass with. Refreshingly, unlike so many stoner classics - putting aside ‘Smiley Face’ - our protagonist is a woman - Amy (Rebecca DeMarco). Perhaps even more refreshingly, at a time in which half of Hollywood’s female protagonists are lazily written, flawless beings with no relatable traits for all those watching, Amy is remarkably human, and while by no means a role model, she’s at the very least relatable. We meet Amy waking up in a pile of clothes, to the sound of a blaring alarm and to the tune of Playboy ManBaby’s ‘Cadillac Car’. She’s got no job, shares a basement with her intimidating best mate Clover (Sophia Lucia Parola) and spends most of her waking hours getting high. Honestly, like so many people her age, she’s a bit of a mess. Still, starry-eyed and full of optimism, she heads out to a job interview - no prior preparation - for the role of secretary at a tech company. For whatever reason (definitely not the casual outfit or her air-headed answers), she doesn’t get the job, but she doesn’t let that faze her - a sign of the kind of ‘it is what it is’ attitude that she takes to life. As part of that easy-going, deadbeat attitude towards life she finds herself procuring a vape pen from her dealer friend Trevor (Jared Cardenas), who is a bundle of unabashed craziness every time he graces the screen. This isn’t like any other vape pen, no, it turns back time, opening up a world of possibilities for a deadbeat stoner. Of course, being a messy twenty-something with no plans past the next day, Amy’s use of the magical vape pen is mainly limited to finding attractive men to spend the night with and messing with the lives of her innocent neighbours. With her priorities in order, Amy’s life is only complicated by the increasingly hopeless pursuit of a job, and the miserable attempts of Trevor’s dealer pals to reclaim their missing vape. This leads to panda hats, fourth wall breaks, and a surprisingly large amount of blood and gore. The main issue with ‘Marijuana Minutes’ is that it lacks any semblance of heart in its story and that beyond its sheer ridiculousness it lacks much of a sense of humour. There are only so many lines which Rebecca DeMarco can flawlessly nail, and even the ones in which she falls fractionally short feel derivative and poorly written. Writer-director Ryan D. Moore has plenty of interesting ideas on the directing front - it’s full of verve and spirit - but the script lacks that same spark, and leaves a lot lacking. This is most apparent in the scenes revolving around Trevor’s dealer friends, in which subpar acting mixes with unfunny jokes to create painfully awkward scenes. Nevertheless, the positive characters, lack of derogative humour, and overall buzz of creative energy offer a way forward for the stoner genre. With films like ‘Marijuana Minutes’, and the success of characters like Argyle in the recent season of ‘Stranger Things’, the stoner genre won’t be going anywhere anytime soon, and amen to that. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

The Buraq That Can't Fly film review by UK film critic India Gwyn-Williams. Starring Shanaia Khursigara, Syed Muteen, Khan Muhammad Arham, Shafin Azim directed by Zeed. HOME | FILMS | REVIEWS The Buraq That Can't Fly Film Review average rating is 5 out of 5 Critic: India Gwyn-Williams | Posted on: May 13, 2026 Directed by: Zeed Written by: Zeed Starring: Shanaia Khursigara, Syed Muteen, Khan Muhammad Arham, Shafin Azim The Buraq That Can’t Fly is a short film made as part of the Hong Kong ‘All About Us’ film festival in 2024. The festival provides space for ethnic minorities in cinema, who were involved in their Creative Camp and Young Filmmaker Mentoring Programme. The topics it focuses on, including struggles of oppression, immigration and loyalty to tradition, are seen in this director's short film. It opens with camera footage of a baby, Rumi (Khan Muhammad Arham), while the fairytale story of a prince narrates over. The audience are then brought into his real life with his parents, Ayesha (Shanaia Khursigara) and Niyas (Syed Muteen). Immediately their circumstance is grounded - they have recently moved to Hong Kong, a substantial life change whether for good reasons or because of difficulties. It seems however they have entered a kind, supportive community. Their lives in very early parenthood transitions to years later, through another segment of camera footage, where Rumi is celebrating his fifth birthday. On this day, the story blossoms from the enclosed, intimate, central focus of parenthood, to the topic of Ayesha’s untraditional love of filming and storytelling. This passion existed from the beginning, shown in the camera footage used and her recording throughout Rumi’s early life. Yet as her child has grown and the demand of motherhood has eased slightly, there is now room for her supposed immodesty to come to light more. This draws attention from their neighbour Nargis (Shafin Azim), whose children are portrayed as friends with Rumi and thus close with the family. Through her uncertainty over Ayesha’s behaviour, Zeed deftly explores the delicate topic of gender roles, specifically women as mothers and the expectation laid upon them to give up their dreams for the sake of others. The film is visually beautiful. It utilises soft lighting, intimate and busy frames and slow moving scenes. Interweaved throughout are sequences of camera footage from Rumi’s childhood, which heightens the naturalistic and artistic feel of the film (furthered by the fact parts are real footage of the director’s childhood). It uses cinematography to explore deeper unseen elements - the last few moments we spend with the family with Rumi as a baby is through a visually divided image. The camera sees into two separate rooms, with Ayesha and Nisyas in each one. Ayesha spends time alone with Rumi, at one point filming him in her arms. Next door, Niyas entertains the children by telling them the story of the Buraq that can’t fly, which the film centralises on. His story of a mythical creature who cannot do what is expected while his wife shares the screen in an image of motherhood, is an artistic choice that feeds the topic of the story. The storytelling succeeds in grounding the issues of the characters and then allowing them to meet a solution. For Ayesha, the kindness and love of her husband means her passion is encouraged, shown through his screening of her film to the family and neighbours. Similarly when Nargis tries to reason with Ayesha, gently putting her off her actions for the sake of motherhood and her responsibilities, she relates to her. Nargis’ love for dancing was something she parted with for the same reasons. Yet at the end, we see her dancing with her husband and two children in a sweet and moving final scene. This is an instance of the film's clever, detailed storytelling and within the story, makes a statement that societal expectations should not flood out such wonderful passions that create moments of love and joy. To hold onto what you love, something that identifies who you are, is brave and it is not this which one should give up, but the expectation to do so. The characters and dialogue are consistently beautiful and evidence of Zeed’s talent and dedication. The film is realistic and grounded, allowing audiences to sympathise with its genuine, kind characters. But it also has abstract elements, like the camera footage used and the imagined sequence Ayesha has while playing with Rumi, which welcomes animation. The audience are gifted viewership into the lives of this group, in a story that teaches kindness, authenticity and community despite societal expectations. Buy UKFR Banner Space About the Film Critic India Gwyn-Williams Short Film < All Reviews Next Film Review >

Swingers film review by UK film critic Jason Knight. Starring Patric Basse, Emma-Kate Barry, Laura Jackson, Callum Henderson, Samuel Nichols directed by Harvard John. HOME | FILMS | REVIEWS Swingers Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 22, 2021 Directed by: Harvard John Written by: Harvard John Starring: Patric Basse, Emma-Kate Barry, Laura Jackson, Callum Henderson, Samuel Nichols A mini golf course turns into a war zone as four golf players ruthlessly go against each other. Tensions are high during try outs for the last place on Britain's first Collegiate Crazy Golf Tour. Two English golfers (Nichols and Barry) and two Russians (Jackson and Henderson) just cannot resist giving each other a hard time and trying every way possible to sabotage their efforts. The scorer (Basse) has had enough of this unacceptable behaviour and is warning them to clean up their act or they can forget about their golf ambitions. His patience turns out pointless, as the four candidates are stubborn and determined to succeed, even if that means resorting to violence and cheating. This short story is a rather entertaining slapstick comedy, filled with clever humour and playful fighting. The four mischiefs are very funny as they behave like five-year-olds, looking to thwart their rivals in various ways, including making them trip with their clubs or distracting them while they attempt to show their golf skills. Basse is also amusing as a sensible man who is making his best efforts to keep the peace and maintain order but to no avail. The film begins with the scorer lecturing the golfers about their unacceptable actions and after he walks away, they engage in a dispute between them, verbally insulting each other. It then moves to the highlight, which is a montage of the four of them bullying each other during try outs, while the scorer look on in disbelief. The wonderful jazz score that accompanies the montage makes the experience even more humorous. Credit also goes to the stylized closing credits. Watching Swingers is kind of like viewing an episode of Tom and Jerry , with four immature adults going after each other. This accomplishment offers ten minutes of amusement that are worth the experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Mondocane film review by UK film critic Hope Madden. Starring Dennis Protopapa, Giuliano Soprano, Alessandro Borghi directed by Alessandro Celli. HOME | FILMS | REVIEWS Mondocane Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 27, 2022 Directed by: Alessandro Celli Written by: Alessandro Celli, Antonio Leotti Starring: Dennis Protopapa, Giuliano Soprano, Alessandro Borghi Mad Max: Beyond Thunderdome , The Girl with All the Gifts , The Girl with No Mouth , Tigers Are Not Afraid — world cinema is littered with post-apocalyptic tales focused on how children will survive and determine the trajectory of humanity. Is it wish fulfillment? I mean, presumably, adults caused the apocalypse, so maybe the kids can do better. Or is it just that putting kids in jeopardy automatically increases tensions? Either way, it’s a proven vehicle for heart-tugging action and adventure, something co-writer/director Alessandro Celli drives quite well in his first feature, Mondocane (Dogworld ). We follow two boys, Dogworld (Dennis Protopapa) and Pissypants (Giuliano Soprano), through their trials to impress the Ants, a gang of orphaned children led by an enigmatic adult named Hothead (Alessandro Borghi, remarkable). Pissypants earned his name due to the unfortunate side effect of seizures. Dogworld got his name as a result of what he was willing to do to be accepted by the Ants. Once they’re in, though, there’s no going back. Borghi makes a stunning central figure. A cross between Dickens’s Bill Sikes and Fagin, Hothead leads this band of mercenary children because he was once one of them. He plays and caresses like a caring father, punishes — even kills — without malice for the good of the clan. Borghi finds the zealot, parent and child in the character and leaves quite an impression on the screen. Celli’s dystopian world only borders on science fiction. This is honestly what the apocalypse is likely to resemble: more and more people living lawless, filthy existences while a handful chug along as they always have and even fewer continue to live the high life. The unnerving nearness to modern reality sets Mondocane apart from the earlier, clearly futuristic fables. It’s a fierce first feature from Celli, much aided by Guiseppe Maio’s cinematography. Maio can veer from paradise to post-apocalypse in a single shot. His camera straddles the edge of the unmanageable fantasy of prosperity, hideous reality poisoning the edges of the frame. In the next moment, they infuse every moment straight out of Thunderdome with youthful hope. Like maybe, without adult interference, the kids can do it right next time. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Brightwood film review by UK film critic Brandon Thomas. Starring Dana Berger, Max Woertendyke directed by Dana Elcar. HOME | FILMS | REVIEWS Brightwood Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Aug 24, 2023 Directed by: Dana Elcar Written by: Dana Elcar Starring: Dana Berger, Max Woertendyke We’ve all been stuck at a dinner or party with that one couple that seemingly hates one another. The snide remarks, uncomfortable body language, and icy stares create a tense environment that’s almost tangible. Now, imagine that this couple are the only two characters in a 90 minute horror movie. It would be easy to root for their eventual demise, but through clever plotting and character arcs, Brightwood manages to circumvent early assumptions. Things are not going well for Jen (Dana Berger) and Dan (Max Woertendyke). Dan’s embarrassed himself – and mostly Jen – at a party the night before, and the hostility between the couple is at a fever pitch. That he’s tagged along on her morning run has only made Jen all the more angry. As Dan tries to match Jen’s pace – and beg for forgiveness along the way – the two slowly realize that their surroundings keep repeating and that odd-looking – but familiar – strangers are appearing to the both of them. Writer/Director Dane Elcar takes his time getting to the genre trappings in Brightwood . The deteriorating relationship between Jen and Dan takes up the bulk of the film’s first act. It’s a portion that may test a lot of viewers as the rage and desperation radiating from the couple showcases two people at their lowest. That Berger and Woertendyke are so good at selling these heightened characters only makes the latter half of the film all the better. Elcar keeps things character-centric even as the events around the couple get weirder. Brightwood isn’t a plot heavy film. The strange events happening to Jen and Dan are never explained. The fascinating part of the film is witnessing their arc not only in “real time”, but also through various versions of themselves that come and go. Things get devilishly funny and violent as the film races (ahem) to its climax. What could’ve at first been a talky relationship drama ends in blood-soaked mayhem by the time the end credits begin the role. Dead Alive this movie ain’t, but Elcar doesn’t shy away from the carnage. The tonal shifts never feel jarring or unnatural, which is a testament not only to Brightwood ’s script but also the actors bringing it to life. Brightwood is a clever addition to the time travel subgenre. Instead of getting lost in the mechanics of paradoxes and and alternate timelines, the film wisely keeps its eye on the two characters experiencing this horrifying event. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Drop film review by UK film critic Hope Madden. Starring Meghann Fahy, Brandon Sklenar, Violett Beane directed by Christopher Landon. HOME | FILMS | REVIEWS Drop Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 10, 2025 Directed by: Christopher Landon Written by: Jillian Jacobs, Chris Roach Starring: Meghann Fahy, Brandon Sklenar, Violett Beane The thing about Drop , Christopher Landon’s new first date thriller, is that we’ve seen it before. Maybe not this exact scenario, but the idea. Go all the way back to 2002’s Phone Booth , when Joel Schumacher and a self-righteous sniper trapped Colin Farrell on a pay phone. Or back to 2014 and Drop co-writer Chris Roach’s extortion-by-text-in-the-sky thriller, Non-Stop. The point has always been that, via our technology, we’re helplessly surveilled and those watching can pull strings we don’t want pulled. It can be effective because it mines our collective reality. And Landon and a game cast keep the cat-and-mouse antics about as believable as they can be. Meghann Fahy (The Unbreakable Boy , White Lotus ) is Violet, a single mom out on her first date since the death of her abusive husband. She leaves her precocious 5-year-old Toby (bespectacled Irish internet sensation Jacob Robinson) at home with her sister (Violett Beane) and heads to a downtown Chicago high rise for a pricy dinner with too-good-to-be-true Henry (Brandon Sklenar). But before she can even taste that calamari appetizer, Violet’s phone starts pinging with messages, including a command to check her home security footage. If Violet doesn’t kill Henry, the masked man in her living room will kill Toby. Landon (Freaky , Happy Death Day , Scouts Guide to the Zombie Apocalypse ) has a strong track record with horror comedies, but Drop is not really either. It’s a tidy thriller, and though Landon’s instinct for humor gives the first date banter a charming quality, he can’t quite direct his way out of the script’s physical limitations and storytelling contrivance. Almost, though. Landon gives the penthouse eatery a dizzying fishbowl quality. Between savvy editing and the cast’s commitment, tensions rise with gamesmanship that usually feels fairly authentic. But then, a dramatic convenience reminds you that this is a movie, and that no human would react as the character is reacting if, indeed, a gun was pointed at their 5-year-old. Still, Drop exceeds low expectations mainly on the charisma of the cast and two universal fears: technology and first dates. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

My Dead Friend Zoe film review by UK film critic Hope Madden. Starring Sonequa Martin-Green, Natalie Morales. Ed Harris directed by Kyle Hausmann-Stokes. HOME | FILMS | REVIEWS My Dead Friend Zoe Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 28, 2025 Directed by: Kyle Hausmann-Stokes Written by: Kyle-Hausmann Stokes, Cherish Chen,A.J. Bermudez Starring: Sonequa Martin-Green, Natalie Morales. Ed Harris Filmmaker Kyle Hausmann-Stokes impresses with his feature debut, My Dead Friend Zoe . Based on his 2022 short Merit x Zoe , the film follows Army veteran Merit (Sonequa Martin-Green, Star Trek: Discovery ) as she tries to overcome some post-Afghanistan trauma. Merit’s best friend Zoe (Natalie Morales)—who is, as you might surmise from the title, dead—isn’t making recovery easy. A constant companion (at therapy, on dates, etc.), Zoe— as well as Merit’s noticeable interactions with the invisible friend—is a big part of Merit’s problem. But therapy will have to hang on because Merit’s hero, Vietnam Veteran grandpa (Ed Harris), has early onset Alzheimer’s and Merit (with Zoe in tow) needs to get to the family lake house and figure things out. While the title and premise may sound a tad flippant, My Dead Friend Zoe turns out to be a rewarding and earnest drama. Morales delivers a boldly funny and equally vulnerable turn, and Utkarsh Ambudkar injects the film with charming, self-deprecating humor. But the levity tends to enrich the film’s truly human quality rather than distract from its underlying tensions. Hausman-Stokes’s patient direction and unsentimental script, co-written with Cherish Chen and A.J. Bermudez, slowly uncover Merit’s trauma, which gives the unfolding family drama the attention and respect it needs. Martin-Green’s stoic performance is offset by well-timed flashbacks to the friendship during active duty. So often in other films, this structure feels cliché and formulaic, as the look back teases a dark episode that the frivolity is meant to contrast with. Instead, Hausman-Stokes and his remarkable cast clarify the joyous bond the two women shared, deepening the sense of loss that is now drowning Merit. We’ve seen plenty of solid dramas depicting struggles facing veterans, Megan Leavey , Thank You for Your Service , American Sniper , and the masterpiece Leave No Trace among them. The commonality My Best Friend Zoe shares with these films is the profound need for the veteran services currently on the DOGE chopping block. While My Dead Friend Zoe ’s delightful and moving buddy picture vibe carves a different direction than the others took, the message is even more urgent. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Film news - Mamoru Hosoda and Studio Chizu's Belle come to Cinemas from Anime Limited. Find out more at UK Film Review. Mamoru Hosoda and Studio Chizu's Belle come to Cinemas from Anime Limited Chris Olson Wednesday, June 16, 2021 at 1:15:21 PM GMT+1 ANIME LIMITED BRINGS MAMORU HOSODA AND STUDIO CHIZU’S “BELLE” TO CINEMAS Oscar®-Nominated Director Mamoru Hosoda’s Latest Animated Marvel May Be His Most Stunning Yet Another me. Another reality. We are no longer limited to a single world. Anime Limited, Europe’s premiere distributor for Japanese animation, announced today that it has acquired all distribution rights in the United Kingdom and Ireland for Mamoru Hosoda‘s upcoming animated feature from Studio Chizu, BELLE . The film is written, directed, and produced by the celebrated filmmaker Mamoru Hosoda whose previous works include Mirai , The Boy and the Beast , Wolf Children , Summer Wars , The Girl Who Leapt Through Time , among other classics. Anime Limited previously distributed Mirai , the previous film from Mamoru Hosoda and Studio Chizu, in the UK, France, and Ireland. After debuting at the Director’s Fortnight in Cannes, Mirai went on to receive a nomination for “Best Animated Feature” from the 2019 Academy Awards and for “Best Feature - Animated” at the 2019 Golden Globe Awards. Mirai is the only Japanese animated film to have received a Golden Globe nomination in the history of the event. The all-star team at Studio Chizu is joined on BELLE by an impressive roster of talent from around the world, many of them new to the world of anime. The striking character designs for the character of Belle come from character designer Jin Kim , best known for Disney features including Frozen , Moana , and Tangled . The Oscar®-nominated team of Tomm Moore and Ross Stewart , who previously have worked at Cartoon Saloon on Wolfwalkers , Song of the Sea , and The Secret of Kells , contributed gorgeous artwork that enriches the fantasy of BELLE . As with previous films, Hosoda also collaborated with an architect to help design his films, this time joined by British architect and designer Eric Wong , who was tasked with designing the virtual world of “U”. Ludvig Forssell makes his theatrical debut as a composer with BELLE , having spent the last decade as a composer and audio director at Kojima Productions and scoring critically acclaimed games such as Death Stranding and Metal Gear Solid V. “Mamoru Hosoda is one of the greatest directors alive, and his film The Girl Who Leapt Through Time is not only a personal favorite, but was the catalyst for the founding of this company,” said Andrew Partridge, CEO and Founder of Anime Limited. “BELLE represents a dream team of talent from around the globe to create - this is a big screen extravaganza. Perfect for this time as we welcome people safely back to cinemas once more - I can‘t wait for people to see it!” Synopsis: From the celebrated Oscar®-nominated director Mamoru Hosoda and Studio Chizu, creator of Mirai, Wolf Children, Summer Wars, and more, comes a fantastical, yet beautiful and contemporary thematic story of one girl’s growth in the age of social media. Suzu is a 17-year-old high school student living in a rural village with her father. For years, she has only been a shadow of herself. One day, she enters “U,” a virtual world of 5 billion members on the Internet. There, she is not Suzu anymore but Belle, a world-famous singer. She soon meets with a mysterious creature. Together, they embark on a journey of adventures, challenges and love, in their quest to become who they truly are. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. 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Kill Your Lover film review by UK film critic Brandon Thomas. Starring Paige Gilmour, ShaneQuigley-Murphy directed by Alix Austin, KeirSiewert. HOME | FILMS | REVIEWS Kill Your Lover Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jun 8, 2024 Directed by: Alix Austin, KeirSiewert Written by: Alix Austin, Keir Siewert Starring: Paige Gilmour, ShaneQuigley-Murphy To say that relationships are ripe for mining when it comes to horror movie material might be the king of all understatements. The complex nature of romantic human relationships involves the entire spectrum of emotions and said emotions tend to burn at their brightest during a courtship’s beginning and at the perilous end. With Kill Your Lover , filmmakers Alix Austin and Keir Siewert have crafted an intimate analogy about what happens when the person you’ve loved for so long changes into something darker. Through flashes back and forth from the past to the present, Kill Your Lover tells the story of Dakota (Paige Gilmour) and Axel (Shane Quigley-Murphy). The most passionate portions of their relationship are juxtaposed with the present and Dakota’s feelings that the relationship has run its course. It’s not that simple though, and Axel’s changes have less to do with his personality (or do they?) and more with the sickness overtaking him. Austin and Siewert wisely spend the majority of Kill Your Lover’s scant 77 minutes just spending time with Dakota and Axel. It’s easy to see why these two characters would’ve fallen so hard for one another. It’s equally easy to see why Dakota wants to break things off. However, with clever plotting, the film also peels back layers and floats the idea that maybe things weren’t so great in the past either. Gilmour and Quigley-Murphy’s fiery chemistry gives the film a sense of life it might not have with lesser performers. Kill Your Lover gets a lot of mileage out of essentially being a single-location film. The isolation of the small apartment only increases the anxiety and tension around the situation Dakota finds herself in. From a character standpoint, the awfulness of Axel’s transformation is mirrored by Dakota’s memories of the good times they shared in the same space. Despite being a very character-centric bit of horror filmmaking, Kill Your Lover doesn’t skimp on the carnage. The “creature” (if you will) make-up is icky and gruesome and has an outstanding originality to how it behaves and spreads. Still deeply rooted in story and character, when the battle of wills between Dakota and Axel turns into a physical one, the gooeyness of the film increases tenfold. By leaning heavily into character and the sometimes claustrophobic nature of spiraling relationships, Kill Your Lover offers an exciting and emotional bit of genre filmmaking. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >