Tyger film review by UK film critic Jason Knight. Starring Dylan Edwards, Shaun Dooley, Natasha O'Keeffe, Gerald Kyd directed by Alexander Milo Bischof. HOME | FILMS | REVIEWS Tyger Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Feb 6, 2024 Directed by: Alexander Milo Bischof Written by: Dylan Edwards, Alexander Milo Bischof Starring: Dylan Edwards, Shaun Dooley, Natasha O'Keeffe, Gerald Kyd A troubled man travels through England in order to reach Scotland, where his former partner and child are. Joe (Edwards) has just been released from prison and arrives at Margate, where he is provided with accommodation at a building and joins a rehabiliation program under the guidance of Neil (Dooley). Joe intends to save enough money so he can go to Scotland and be with his daughter, Grace and her mother. Joe keeps himself to himself, goes for walks along the beach, works out, develops a rapport with Neil and ends up getting employed by him. However, a terrible act forces Joe to go on the run and desperately make his way to Scotland. This feature is a heavy drama that follows a man whose life seems to have reached a dead end. The atmosphere is generally downbeat throughout, without much presence of joy. Although Joe gets friendly with Neil, who has his own tragic past, things do not look very bright for him, as he keeps to himself and has noisy neighbours. And just when it looks like he is on a steady path, the atrocious event occurs and Joe grabs his stuff, steals a bicycle and hits the road. Along the way, he visits a former acquaintance from his days in the army, has a meaningful conversation with a priest and goes through more dramatic experiences with other people. Some of the experiences he has on his way to his destination are either bad and reflect on his past mistakes, while others offer a glimpse of hope for him. The character of Joe is a broken man. Edwards's superb and emotional performance creates a reserved, quiet war veteran and former prisoner, who is suffering from war trauma and is torn apart by his past. He now lives in a world where there does not appear to be anything left for him, his sole purpose being to reach his destination. Commendations go to Bischof's wonderful directing, which includes well-executed long takes and fantastic establishing shots, that are supported by Ariel Artur's moody cinematography. The soundtrack contains a selection of poetic and beautiful songs that significantly add to the atmosphere. This film could be categorised as a road movie drama about regrets, loss and inner struggles. It is a sad and painful journey but also a powerful one that explores the hardships of life. Beautifully shot, with strong acting and a devastating ending, this feature is a memorable viewing that offers a hard-hitting perspective on life. Buy UKFR Banner Space About the Film Critic Jason Knight Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Return to Silent Hill film review by UK film critic Hope Madden. Starring Jeremy Irvine, Hannah Emily Anderson directed by Christophe Gans. HOME | FILMS | REVIEWS Return to Silent Hill Film Review average rating is 1 out of 5 Critic: Hope Madden | Posted on: Jan 23, 2026 Directed by: Christophe Gans Written by: Christophe Gans, Hiroyuki Owaku, William Josef Schneider Starring: Jeremy Irvine, Hannah Emily Anderson When I used to pick my son up from his dorm, invariably there was a video game on whether anyone was playing or not. Mainly it was badly articulated characters delivering stilted, unrealistic but wildly dramatic dialog on an endless loop because, with no one playing, there was no action. I could also be describing Christophe Gans’s twenty-years-in-the-making sequel, Return to Silent Hill . I did not care for the filmmaker’s 2006 Silent Hill , a film that followed a mother into a supernatural town to save her adopted daughter. The sequel, also based on the incredibly popular video game of the same name, follows a distraught man (James Sunderland) who returns to a supernatural town to save his girlfriend (Hannah Emily Anderson). Gans’s original at least boasted Radha Mitchell, who can, in fact, act. Gans didn’t give her much opportunity, but she tried. Do not look for that here. Though it doesn’t seem that acting is what Gans is after. He lights and frames actors specifically to make them seem less fleshy, less human. Their movement is stiff and unnatural, their dialog stilted and dumb. You truly feel like you’re watching a video game you’re not playing. Nobody’s playing. You would hope that in the 20 years between projects, the creature design would have improved. Not the case. You rarely get a good eyeball on any of the creatures—and the video game does have a slew of creepy beasties to choose from—and when you do see them, they’re bland and they do nothing. Because nothing happens in this movie. The entire film feels like being trapped in the between action set ups of a video game that nobody is playing. Nothing happens. There is no action. Somebody thought the storyline, sans shootouts, without monster carnage, just the storyline of a video game was interesting enough to make a movie out of. They were incorrect. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Shed film review by UK film critic Patrick Foley. Starring David Esposito, Ryan Crepack, Gina Esposito Reilly directed by David Esposito & Ryan Crepack. HOME | FILMS | REVIEWS Shed Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 30, 2024 Directed by: David Esposito & Ryan Crepack Written by: David Esposito Starring: David Esposito, Ryan Crepack, Gina Esposito Reilly Stealing a neighbours shed is an act of petty domestic feuding that not even Homer Simpson could contemplate. It is this bizarre scenario that structures David Esposito’s Shed , a surreal short that riffs on the very concept of ownership. Gilbert (Ryan Crepack) finds his neighbour Arthur (David Esposito) meticulously examining his newly-installed shed. Arthur explains that the shed is actually his, and somehow must have found its way into Gilbert’s Garden. Arthur finds this hard to believe, given that he knows he paid for his new shed (and that importantly, sheds cannot move). The pair begin to argue, attracting the attention of Arthur’s wife Sarah (Gino Esposito Riley), who decides to get to the bottom of the matter. For a lower-budget short film, it is impressive how much depth and atmosphere Shed creates in its sub-5-minute runtime. The film is genuinely funny, as the uncomfortable interaction between 2 neighbours escalates into a full-blown fight despite both seemingly eager not to allow the baffling schism that has emerged between them end in hostility. It also manages to be a touch unnerving – with Arthur’s determination to regain ‘his’ shed a discomforting, and possibly sinister, motivation for a character who begins to give audiences the creeps. It is also surprisingly philosophical on the concept of ownership – with Arthur raising some abstract (if not necessarily convincing…) arguments about possession relating to the claims of ownership on mobile phones. The film builds it suburban surrealness with an understated staging through the first half of the film, with the co-directors (and stars) allowing the dialogue to take centre stage with simple framing on the feuding neighbours. The lack of score, monochrome overlay and back-and-forth interaction make the debate feel like a dour, pedestrian squabble. But this contrasts brilliantly with the off-putting, abstract content of the dialogue itself. When the argument escalates, and the film threatens to become a kung-fu spectacular, the direction steps up in complexity – only to re-emphasise the humdrum nature of the two men in one of the films biggest laugh-inducing moments. Esposito and Crepack have a workable chemistry that best operates when the dry, simmering conflict is bubbling under the surface. Two seemingly normal neighbours growing incredulously frustrated with one another, each convinced they are in the right, is a straightforward but relatable domestic predicament. At its best, the film has echoes of Always Sunny , or similar irreverent comedies that implant the odd into the mundane. There are rough edges to both men’s performances, but none are significant or sufficient to really damage viewer immersion – and for a quick comedy short there is a certain charm added regardless. Shed is unquestionably odd, and is a little limited by its very short runtime. But this interesting snapshot into a domestic squabble has interesting framing and more than enough quirks to make it entertaining. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

She Rides Shotgun film review by UK film critic George Wolf. Starring Ana Sophia Heger, Taron Egerton, John Carroll Lynch directed by Nick Rowland. HOME | FILMS | REVIEWS She Rides Shotgun Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 30, 2025 Directed by: Nick Rowland Written by: Nick Rowland Starring: Ana Sophia Heger, Taron Egerton, John Carroll Lynch She Rides Shotgun sports a passionate performance from Taron Egerton as a desperate man on the run. It also features John Carroll Lynch – one of the most reliable character actors around – digging into the role of a crooked sheriff carrying a very nasty streak. But it’s the nine year-old girl you’ll be talking about long after the movie ends. Ana Sophia Heger delivers one of the most impressive child performances in years as Polly, a young girl who hesitantly gets in the car with her dangerous father Nate (Egerton) when her mother doesn’t show after school. You can probably guess why Mom is late, and Polly could be next unless Daddy and daughter make a blood-soaked road trip through the Southwest toward a chance at settling old scores. Director and co-writer Nick Rowland adapts Jordan Harper’s source novel, a story that shares the roots of generational violence that propelled Rowland’s brooding and excellent 2019 feature, Calm With Horses . And while that film was deeply and unmistakably Irish, this time Rowland crafts some sharp edges from the tragically familiar American meth epidemic. Egerton is intense, taut and terrific as a father with one last shot at redemption, while Lynch, as the sadistic “God of Slabtown,” mines tension and terror through a measured commitment to brutality. This is just the latest version of a tale that’s been told in countless crime thrillers, but Rowland works levels of camerawork, pace and performance that give familiar themes relevant life. Heger (Things Seen and Heard , TV’s Life in Pieces ) simply amazes, displaying a wonderfully authentic chemistry with Egerton that shines from their very first moments together. And though it’s hard to know in what order the scenes were shot, you start to wonder if Rowland began pushing Heger once he realized just what he had in the little powerhouse. The violence, tension and dramatic intensity get heavier, and this girl does not shrink from it at all. Far from it. Rowland trusts her enough to deliver his parting shot via a gradual, extended close up that will leave you astonished at Heger’s level of emotion and control. It’s a gripping reminder that one young actor has a seemingly boundless future, and that She Rides Shotgun conjures an effective remedy for some old wounds. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

El Conde film review by UK film critic Jack Salvadori. Starring Jaime Vadell, Gloria Münchmeyer, Alfredo Castro directed by Pablo Larraín. HOME | FILMS | REVIEWS El Conde Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Feb 7, 2024 Directed by: Pablo Larraín Written by: Guillermo Calderón, Pablo Larraín Starring: Jaime Vadell, Gloria Münchmeyer, Alfredo Castro It got me since the first poster was released a year ago - since I saw the pale silhouette of Augusto Pinochet looking down over a dark background, engulfed in his long, firm and wrinkle-free cloak. And when I finally got the chance to watch Pablo Larraín’s latest effort with the highest expectations, I stared in awe at the greatest satire I’ve ever seen - a film that, even without its political background, is an irresistible dark comedy. Nicknamed "El Conde", Pinochet is introduced as French vampire Claud Pinoche, whose rise to power goes as far back as the days of the French Revolution. After dishonourable military successes in Chile, he fakes his historical death in 2006 to conduct a more quiet, private existence - and to escape legal allegations. But his earthly existence is not over, and stumbling around with a walking frame, he sips on frozen human hearts. His castle? A decrepit villa by the sea. Struck with an existential dilemma after the disappointing downfall of his historical reputation, he courts death and wishes to finally rest, but his greedy wife Lucía keeps him alive by adding blood to his meals. When their five good-for-nothing bloodsucking children visit him, their only concern being their long-due inheritance, they bring an accountant along to clear up the several secret bank accounts dispersed around the globe. She happens to be a tempting nun in disguise who, while trying to exorcise the ex-dictator, also awakens in him a new thirst for life- and blood. And so, flying over the night skies of Santiago, Pinochet casts a terrifying shadow that still looms over Chile. With a surprising and hilarious political crossover, the Chilean director digs his teeth in the arteries of his country, delivering his funniest and most inventive film to date. Buy UKFR Banner Space About the Film Critic Jack Salvadori Netflix < All Reviews Next Film Review >

Civil War film review by UK film critic George Wolf. Starring Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson directed by Alex Garland. HOME | FILMS | REVIEWS Civil War Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Apr 10, 2024 Directed by: Alex Garland Written by: Alex Garland Starring: Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson Writer/director Alex Garland gets to the point quickly in Civil War, via battle-weary photographer Lee Smith (Kirsten Dunst). “Every time I’ve survived a war zone, I thought I was sending a warning home: don’t do this.” “But here we are.” Smith and her colleague Joel (Wagner Moura) are preparing for the 857-mile drive from New York to D.C. during a very active civil war in near-future America. Their press credentials may bring sympathy from some they encounter, and deadly aggression from others. The danger only intensifies when they agree to bring along elderly reporter Sammy (Stephen McKinley Henderson) and the aspiring young photojournalist Jessie (Priscilla ‘s Cailee Spaeny). The goal? A face-to-face interview with a President (Nick Offerman) who has disbanded the FBI, ordered air strikes against American citizens, and has not taken questions for over a year. Garland (Ex Machina, Annihilation, Men ) is careful not to tip his political hand. Though a couple lines of dialog give you a vague glimpse about what type of policies the President favors, we’re repeatedly told resistance is coming from the “Western Forces” led by California and Texas. The nicely subtle mix of red and blue state rebellion makes it clear the point here is not purely idealogical. “Don’t do this.” And though many a road movie has leaned on that narrative device for a flimsy connection of random ideas, Garland uses the trip to D.C. to bolster his very ambitious idea with tension-filled looks at the heartland. Through an uneasy stop for gas, the visit to a town the war forgot, a marksman’s simple rules of engagement, and a brutal citizenship test from an unforgettable Jesse Plemons, we’re immersed in a war-torn America that seems authentically terrifying. But it’s all just a prelude to the carnage ahead. Because once it settles in D.C., the film becomes a war movie that will batter your senses with a barrage of breathless execution. Dunst has never been better, particularly in the moments when Lee’s stoic rationalizing can no longer come to her rescue, or ours. Garland gives us the vulnerable Jessie as a logical entry point in the early going, but as she joins Joel in feeding off the war zone rush, moralities become more complicated. As draining as it often is, Civil War is also an exhilarating, sobering and necessary experience. Smartly written and expertly crafted, the film manages to honor the work of wartime photojournalists as it delivers a chilling vision. It’s one beyond left or right, where the slippery slope of dehumanization breeds a willingly and violently divisible America we always professed to be beneath us. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Coney Island Cousins film review by UK film critic Jason Knight. Starring Diana Sillaots, Upa InSpace, Janice Messitte, Rashad Bashir directed by Al Padilla. HOME | FILMS | REVIEWS Coney Island Cousins Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 22, 2024 Directed by: Al Padilla Written by: Al Padilla Starring: Diana Sillaots, Upa InSpace, Janice Messitte, Rashad Bashir Two cousins go through an unforgettable night in New York City. After a long separation, Russian nurse Valeriya (Sillaots) is visiting her cousin Yulia (InSpace), who lives in Coney Island, New York. They soon find themselves in the apartment of Max (Gregory Korostishevsky), a wealthy friend of Yulia's. After a socialising accompanied by drugs and alcohol, Max ends up dead on his bed. The two cousins discover a laptop with details regarding his finances and decide to utilise his fortune to benefit themselves. However, things do not unfold as they plan. With a narrative that takes place over the course of one night, this crime comedy feature has quite a plot: a rich guy passing away suddenly and two women attempting to take advantage of his fortune. Yet, the seriousness of this situation is overshadowed by the two cousins pretty much ignoring the deceased and instead talking about their lives and what they will buy with his money. Simultaneously, they relax in the apartment, they go for a walk, grab a bite to eat and invite Lucious (Bashir), a friend of Yulia's, to the apartment so he can give them drugs and the three of them enjoy themselves. Things get further complicated with the arrival of Marleen (Messitte), Max's mistress, and the action moves to other locations such as a bar where a comedy festival is taking place and a character ends up running through the streets of New York at night. There is plenty of dark humour and awkward situations and also drama, which is primarily originated through Valeriya. Things are not going well between her and her partner, who repeatedly tries to phone her throughout the film. She is at a stage in her life where she appears to have lost her way. Apart from the dead body, the relationship between Valeriya and Yulia is a main aspect of the story. Two estranged relatives meeting again and trying to rekindle their relationship. Valeriya is unhappy with her life, while Yulia is pursuing her acting ambitions. The two of them have fun together, they argue, however it is Valeriya's personal problems that are the main subject between them. Looking at the performances now, Sillaots and InSpace are the ones who primarily provide the drama (both are also entertaining) and it is Messitte and Bashir that create the most amusing characters, thanks to their dynamic and occasionally over-the-top acting. On the surface, this feature is a dark comedy about two women stealing a dead man's money. However, there is much more to it than that. It is a story about a reunion that ends up being life-changing. It explores support and self-discovery and it also touches on cybercrime. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Spin the Wheel film review by UK film critic Jason Knight. Starring Dianne Wulf, Neil Chase, S-Raj Kumar, Lindsay Christopher, Tyler Duffy directed by Neil Chase, David Heacock. HOME | FILMS | REVIEWS Spin the Wheel Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 9, 2023 Directed by: Neil Chase, David Heacock Written by: Neil Chase Starring: Dianne Wulf, Neil Chase, S-Raj Kumar, Lindsay Christopher, Tyler Duffy The world is coming to an end and a group of people are playing Russian roulette inside a dive bar. Outrageous acts of violence are taking place around the world, killing people and destroying everything. Office worker Eve (Wulf) leaves her workplace and casually walks to a bar, while around her chaos is spreading. She arrives at the bar, where there are a few other people. Shortly after, an unusual man (Chase) arrives and announces that he is the Devil himself and invites all the people in the bar to play Russian roulette with him for a chance to save the world. This feature begins as an apocalyptic drama and turns towards supernatural horror. The story begins quite impressively, introducing the disaster that is taking over the world, with a city on fire and Eve walking past people rioting, assaulting and vandalising. The film loses its grip while it introduces the characters and it is when Chase's characters informs everyone that he is Satan that things become exciting again. Although the center of the movie is the Devil playing Russian roulette with a bunch of people trapped in a bar while the world is falling apart, the majority of the screenplay involves confrontations between characters and individuals expressing themselves and dealing with their inner struggles. The people in the bar are strangers between them and they include a banker, a lorry driver and a porn star and Satan and his deadly game are pushed into the background as his victims interact between them, arguing and trying to comfort each other. Duffy's character Earl in particular, gets a lot of attention and kind of becomes an antagonist as he reveals himself to be a wicked person. Naturally, since Russian roulette is heavily involved, there is a great deal of people nervously pointing a revolver to their head and pulling the trigger and there is also murder, dark humour, a lot of alcohol consumption (it is a bar after all) and quite a bit of drama as characters attempt to come to terms with their lives and survive their current situation. Generally, the characters are interesting, with Wulf being the main lead, a quiet and reserved woman with a tragic past. Huereka Aragon is emotional as a person who is struggling with their sexual identity and Kumar stands out as a guy with a bandana and a cool beard. However, the one who stands out the most is the one who claims to be the Devil and Chase portrays him as a cool guy who enjoys playing cat-and-mouse. The cinematography by Heacock and Martin Truscott creates a kind of downbeat atmosphere and the creative editing by Heacock and Chase makes good use of wipe and dissolve techniques and includes a well-constructed montage. The soundtrack contains dramatic and sinister music and a rich collection of songs. This feature has quite an intriguing plot that addresses humanity's biggest errors such as war and it explores themes such as loss, regrets, sexual identity and redemption. Sometimes the pace is a bit slow, however the well-written dialogue, interesting characters, suspense and nail-biting moments make this a viewing worth experiencing. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Air film review by UK film critic George Wolf. Starring Matt Damon, Viola Davis, Ben Affleck, Jason Bateman directed by Ben Affleck. HOME | FILMS | REVIEWS Air Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Apr 4, 2023 Directed by: Ben Affleck Written by: Alex Convey Starring: Matt Damon, Viola Davis, Ben Affleck, Jason Bateman 1984. It was the best of times for Converse and Adidas, as they dominated the market share for basketball shoes. But for Nike’s basketball division, it was the worst of times that threatened to shut them down completely. That all changed, of course, when Nike brought Michael Jordan into the fold, and Air deconstructs that watershed moment with an endlessly compelling vitality. If you still need proof that Ben Affleck is a damn fine director, you’ll find it, right down to how he frames the multiple telephone conversations. But the real surprise here is the script. In a truly sparkling debut, writer Alex Convery brings history to life with an assured commitment to character. Taking his inspiration from the ESPN documentary Sole Man , Convery invites us into the sneaker wars via Sonny Vaccaro (Matt Damon), the legendary shoe rep and “Mr Miyagi” of amateur b-ball. Convinced the only way to save Nike basketball was to tailor everything around Jordan, Sonny began relentlessly lobbying Nike CEO Phil Knight (Affleck), executive Howard White (Chris Tucker) and marketing director Rob Strasser (Jason Bateman). And when Jordan’s agent David Falk (Chris Messina) tells Sonny it’s a lost cause, he brazenly heads to North Carolina for a face-to-face meeting with M.J.’s mother (Viola Davis) and father (Julius Tennon). Davis was reportedly Michael’s personal choice, proving the man knows more than basketball. She’s as masterful as you’d expect, becoming the linchpin in a sterling ensemble that delivers Convery’s nimble dialog with consistent authenticity and wit. And much like his success with the Oscar-winning Argo , Affleck proves adept at a pace and structure that wrings tension from an outcome we already know. In fact, he goes one better this time, inserting archival footage that actually reminds us of how this all turned out, before leaving Mrs. Jordan’s final ultimatum hanging in the air like a levitating slam from Michael. And as for the man himself, the film wisely treats him “like the shark in Jaws ,” with rare glimpses that only reinforce the elusive nature of the game-changing prize this Nike team is out to land. The film’s closing summary may flirt with hagiography, and some of the soundtrack hits do feel a bit forced, but Air finds a crowd-pleasing new groove inside a classic album. It’s the thrilling sports movie we didn’t know we needed, and a part of the Jordan legacy that instantly feels indispensable. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Little Games film review by UK film critic Jason Knight. Starring Hannah Arterton, Vita Bennett, Samantha Coughlan, Michael Matus directed by Stefane Houssier. HOME | FILMS | REVIEWS Little Games Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 4, 2023 Directed by: Stefane Houssier Written by: Stefane Houssier, Nicholas Penrake, Jane McLaughlin Starring: Hannah Arterton, Vita Bennett, Samantha Coughlan, Michael Matus A little girl reveals her sinister plan to a stranger who tries to prevent it. In an attempt to get away from an abusive relationship, Natasha (Arterton) has arrived to a manor house hotel. While there, she notices a young girl named Amelia (Bennett), who is staying at the same hotel with her parents. It is not long before Amelia approaches her and discreetly tells her that she and her father (Matus) are planning to kill her mother (Coughlan). Disturbed and alarmed by those words, Natasha becomes determined to find out if it is true and if so, to save the unfortunate woman's life. Suspense is arguably the best aspect of this short drama thriller, as it has so much of it in its twelve-minute duration. The narrative begins as a drama about domestic violence and escape and once Amelia's intentions are known, things turn into a thriller whose formula contains conspiracy to commit murder, an evil child and a race against the clock to save a life. Following the terrible revelation, Brave and selfless Natasha proceeds observe the family as they wonder around the hotel and attempts to warn the girl's unsuspecting mother. Will the woman be saved? What if it is all just a sick joke though? The well-structured screenplay keeps the viewer guessing right until the dramatic plot twist at the end. Samantha makes an interesting protagonist, a young woman who has been through very difficult times while living with a violent partner (and has the bruises to show for it) and is looking for a fresh start. She goes through significant character development as she starts playing detective, trying to find out the truth and she is played terrifically by Arterton. Amelia pretty much serves as the antagonist and her character is certainly intriguing. Bennett's convincing performance makes her come across as intelligent, manipulative and menacing and considering that this character is so young, such features make her quite a memorable character. Regarding her father, he appears to be a normal guy, not indicating that he has murderous intentions. Based on the short story Trio for Four Voices by Jane McLaughlin, this film manages to create a story with suspense on a level that could be compared to a Hitchcock picture, which is impressive considering the duration. It also works as a commentary about domestic violence and the idea that people are not always what they seem to be. The interesting plot and suspenseful atmosphere are supported by Frank Ilfman's ominous music and by Lily Grimes's cinematography and of course by the strong acting. This is a great thriller that revolves around the concept of is-something-bad-really-going-to-happen? and the result is rather effective. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Drifter - BFI Flare film review by UK film critic Amber Jackson. Starring Lorenz Hochhuth, Gustav Schmidt, Cino Djavid directed by Hannes Hirsch. HOME | FILMS | REVIEWS Drifter - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 27, 2023 Directed by: Hannes Hirsch Written by: Hannes Hirsch & River Matzke Starring: Lorenz Hochhuth, Gustav Schmidt, Cino Djavid The closing night film of BFI Flare 2023, Hannes Hirsch’s Drifter is a German-language story of self-discovery of a gay man’s ‘second coming out’ in Berlin’s techno scene. Having moved to Berlin for the first time to live with his boyfriend, Moritz suddenly finds himself alone in an overwhelming city in a gay scene that he is unfamiliar with. Being twenty-two years old, he experiences new sensations in the depths of the gay party scene and the film brings these moments to life in such a vibrant way. Drifter is a story that brings a community to life in a very immersive way and portrays the reality of Berlin as a young single gay person. Moritz’s partner wants the freedom to explore other experiences without living with someone. Then commences a so-called odyssey of new relationships, encounters and possibilities for Moritz to have in a new city whilst he figures out what he wants. There is an element of intensity and sadness that tinges the frames of every scene as his life takes a dramatic tangent, but this does feel short-lived as his life propels in the direction of his choosing. Whilst it may appear unclear to the viewer what he actually wants out of life, it is clear that he is expressing himself however he likes and surrounding himself with like-minded people. What is most prevalent in this fascinating film is that everybody around Moritz is fighting for connection and fulfillment. As Moritz learns more about himself and what he wants, he also uncovers what other people want. Every actor has an excellent overwhelming chemistry with each other as it feels as though the viewer is a part of watching a group of friends having fun. In addition to authentic and vulnerable performances, gorgeous outfits and fabulous accessories fill the screen as every character is able to express themselves in a wonderfully real way. Colour and culture fills the screen and revolves around consumption, as each character is able to take what they want from each other in a liberating and consensual way. It is such a unique experience captured on screen and powerful to consider singledom in such a contemporary way. This is a deep insight into how the younger generations explore life and love in the modern age. Berlin is the central aspect of this theme, with the night life being candidly depicted through the eyes of someone learning about it for the first time. In nightclubs with loud techno music, there is an incredible atmosphere of dancing, drugs and a deep overwhelming sense of simultaneous fun and risk. It is incredibly immersive, even for the viewer. As Moritz travels further into his journey of self-discovery, he meets more people who he can connect with, contrasting to past characters that return to the screen that he has moved on from. It is a spectacular transition that is portrayed in such an animated way that feels free and liberating. Drifter is a coming-of-age story of sorts, but it is without a doubt a beautifully written portrait of an individual becoming sexually confident. Through trial and error, Moritz unintentionally learns more about friendship and sex as well as living in the moment. Hannes Hirsch has successfully created an empowering feature-length film that provides a refreshing introspective look at the queer experience in Berlin. It is a gloriously human experience and a delightfully honest film to close BFI Flare with. Drifter is well-worth seeing. Buy UKFR Banner Space About the Film Critic Amber Jackson LGBTQ+, World Cinema, Film Festival < All Reviews Next Film Review >

Toast film review by UK film critic Chris Buick. Starring Natalie Hughes directed by Lawrence Rowe. HOME | FILMS | REVIEWS Toast Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Nov 2, 2023 Directed by: Lawrence Rowe Written by: Lawrence Rowe Starring: Natalie Hughes Writer/director Lawrence Rowe’s film Toast takes the idea of eating one's feelings to create a short film that is simple but highly substantial and satisfying, much like toast in fact. Following a difficult breakup, our main character (played brilliantly by a highly commendable Hughes) has taken solace in what might be the king of all comfort foods; toast. But what seems to start out as a love letter to our versatile bready friend soon transforms into something much deeper, a story of heartache where toast-based soliloquies thinly veil the tragic tale of lost love underneath. It’s a metaphor that’s fun and unique for sure, but in no way does it ever take away from the sincerity that Toast has as a film by taking its subject lightly. What the toast concept does do is make the film that bit more accessible than that of your typical tale of failed romance, and weirdly also more relatable. Heartache is a universal feeling difficult to verbalise for most, but it would be a safe bet to say most who have shared that experience will be able to find common ground here, the comparisons to feeling like a thrown-away piece of bread will not be lost on most. And that’s a testament to the hard work that Rowe and their team do with only two and a half minutes to play with. Toast manages to portray that kind of emotional turmoil almost completely, visual cues such as discarded pieces of toast and teabags as well as the gut punch shot of an engagement ring lost among the debris of crumbs all come together to create such a full picture of the disarray our protagonist now finds themself in. And carrying it all, off giving the film the true gravitas, emotional heft and delivery that it needs to really work, is Hughes who is remarkable, able to really exemplify that veritable “smiling through the pain behind the eyes” aspect that allows you to truly feel every bit of emotion the film is trying to achieve, their frantic monologue of a person teetering on the edge, being kept afloat purely on a life raft of toast and butter both captivating and heartbreaking. Manging to fully realise its story about a very universal facet of the human condition, Rowe’s film might be one of the more poignant and thoughtful pieces of work you might see centred around toast. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >