Butterfly Affect film review by UK film critic Joe Beck . Starring Jediael Stiling, Shadrach Agozino, Noah Hicks directed by Edem Wornoo. HOME | FILMS | REVIEWS Butterfly Affect Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Apr 23, 2022 Directed by: Edem Wornoo Written by: Edem Wornoo Starring: Jediael Stiling, Shadrach Agozino, Noah Hicks Google defines the butterfly effect as ‘the phenomenon whereby a minute localised change in a complex system can have large effects elsewhere.’ It’s a theory which has been explored by many philosophers, and many films - namely the 2004 film ‘The Butterfly Effect’ starring Ashton Kutcher. Here, in Edem Wornoo’s ‘Butterfly Affect’, the phrase fits both the google definition and also the journey of a butterfly in becoming the beautiful creature everyone knows and loves. Everybody knows the journey of a butterfly from primary school - the caterpillar creates a cocoon and emerges a beautiful butterfly - but not everybody associates the same process with human development. ‘Butterfly Affect’ makes a noble attempt at delving into this compact topic, nailing the caterpillar and butterfly stages, but delivering an unfulfilling and confusing cocoon phase. The film focuses on Iris (Noah Hicks and later Jediael Stiling), a young ballet dancer on a South London council estate, who has to hide his passions from the people around him, for fear of losing respect. Iris lives a double life - immersing himself in the street culture of South London, and dancing when he’s alone. He reluctantly smokes, he pretends to be going out to ‘kick ball’ and he is being pushed towards a path of violence, yet, unbeknownst to everyone but his cousin Prince (Shadrach Agozino) he dances in front of his pet butterfly. Prince is at least somewhat supportive at the beginning, telling Iris ‘do your ting bro’, but then abruptly tells him that he can’t be dancing if he wants to keep face. This is indicative of much of the adversity which Iris faces, and it all builds up into a couple of outbursts of anger - one violent, the other non-violent. What’s strange is that in the cocoon stage Iris turns into someone unrecognisable - committing an unforgivable act which makes it extremely difficult to come back and like the character. Nevertheless, 'Butterfly Affect' is powerful, sending a clear message of acceptance, and that people should be able to enjoy whatever they like. Director Edem Wornoo is clear in this messaging, and tells it well - incorporating it beautifully into a story which could have easily been utterly soulless. At times, Iris does resemble a buttery, with beautiful shots of him dancing in his room, the camera gliding over his posture and technique and inviting you to sit back and applaud. The actors all are terrific, with Noah Hicks playing the young Iris with a tenderness in his youth, but with a roaring lion wanting to burst out, whether that be through dance or violence. When the baton is handed over to Jediael Stiling to play the older Iris, he maintains that tenderness, but adds a layer of strength to the tenderness to suggest that Iris has been through something traumatic and come out the other side a more mature man. 'Butterfly Affect' is a beautiful story of overcoming a form of adversity to become the person that you want to be. It slightly loses itself in the middle, but is nevertheless affecting in its messaging, and it's tenderness makes it all the more heartwarming. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Saw X film review by UK film critic Hope Madden. Starring Tobin Bell, Shawnee Smith directed by Kevin Greutert. HOME | FILMS | REVIEWS Saw X Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 29, 2023 Directed by: Kevin Greutert Written by: Josh Stolberg, Pete Goldfinger Starring: Tobin Bell, Shawnee Smith Whenever someone states specifically that they do not like horror movies, there is a better than average chance they’ll namedrop Saw as what’s wrong with the genre. Of course, the Saw franchise is not really that typical of horror, especially today. But you wouldn’t know that if you didn’t like horror, would you? And to be fair, most of the films in the series are awful. James Wan’s 2004 original was clever and grim. But then a sequel came out every Halloween, each less clever and more grim until they became lazy, threadbare embarrassments. And then in 2021, an infusion of money and star power threatened to turn the tide with the refocused Spiral , which was so bad it felt more like a parody than a retooling. So why bother with the tenth installment, Saw X ? Badass poster That AMC ad Yes, some marketing genius got behind this episode in a big way, but how’s the movie? If you hate the Saw films, Saw X will not convert you. If you don’t, it’s probably the best since Wan’s original. Director Kevin Greutert, who directed the mediocre-at-best Saw VI , is back working with franchise writing regulars Josh Stolberg and Pete Goldfinger (responsible for two of the worst: Spiral and Jigsaw ). Also returning, Tobin Bell as John Kramer. You may know him better as Jigsaw, but he spends the majority of the film as the tender if zealous life coach, if you will. Series favorite Shawnee Smith returns as acolyte Amanda Young, and suddenly you may be wondering if there is anything fresh or new about the tenth episode. Yes and no. Though the tenth installment, the timing of this film would technically be the third in the cinematic timeline (after 2017’s unbearable Jigsaw , followed by the 2004 original). John’s no novice when it comes to traps, but he takes a break – may indeed have a complete change of heart – when he finds a miraculous clinic that may be able to cure his terminal brain cancer. It turns out to be an elaborate con. Can you guess what happens when you con Jigsaw? It ain’t good. But the movie’s not bad. It is bloody AF, with organs and limbs and eyeballs and brains, self-mutilation, others-mutilation, general nastiness and an abundance of bad behavior. Saw X spends nearly half its runtime leading up to the carnage with John (except for one fake-out early trap) in a kind of character study that doesn’t really pan out because we don’t dig very deep. Worse, Smith is painfully underused. It’s not the reawakening it may want to be, but for fans of the franchise, it’s finally an installment worth watching. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

To Lucasta, Going to the Wars film review by UK film critic John McKeown. Starring Jose Enrique Moronta, Manuela Lopez Lantigna directed by Luis C. Taveras. HOME | FILMS | REVIEWS To Lucasta, Going to the Wars Film Review average rating is 3 out of 5 Critic: John McKeown | Posted on: Jul 12, 2022 Directed by: Luis C. Taveras Written by: John McKeown Starring: Jose Enrique Moronta, Manuela Lopez Lantigna Set in the comfy suburbs of some Central or Latin American city, Luis C. Taveras’ short silently acted film could be a sneaker advert. If it weren’t for the black and white filter, or the gravelly thespian voice intoning the verses of Cavalier poet Richard Lovelace’s ‘To Lucasta, Going to the Wars’. Though having said that, these days even Cavalier Poets aren’t beneath the ‘creative departments’ of sneaker companies. Comparing it to a sneaker ad isn’t to disparage it completely. It’s short and sweet, the sweetness fairly natural, and far from cloying; and though just brushing six minutes in length, it’s scenically varied enough, with a bit of tension and some evocative camera work from Arisbel Escolastico Jerez, to make it watchable. The two young actors successfully command attention, and let’s not forget that acting without words is far from easy. Lovelace’s poem is a short paean to a mistress the narrator is leaving behind for another mistress, a far more exacting one: War. But he’s an honourable man, and it’s his dedication to Honour which makes him such a faithful lover, so his mistress shouldn’t begrudge him the opportunity to sow some wild oats in the local killing fields. Taveras’ boy (Jose Enrique Moronta) isn’t off to the wars, the only blood on his hands is red paint (figuratively speaking, due to that black and white filter) but he still faces a hard choice between pursuing his artistic muse or canoodling with a real flesh and blood one. The choice is decided perhaps too quickly, even for a film as brief as this, and the rest of it shows the lovers playing cards, walking and talking earnestly in the dusk, and taking selfies (the only spots of colour). The artist’s lover (Manuela Lopez Lantigna) plays guitar and sings, though the lyrics are in Spanish, and it might’ve added interest to have the song subtitled or narrated (though not by that gravelly thespian). Buy UKFR Banner Space About the Film Critic John McKeown Short Film < All Reviews Next Film Review >

Heathens film review by UK film critic Swati Verma. Starring Rosella Doda, Jo Shirley, Brad Johnson directed by Marlene Emilia Rios. HOME | FILMS | REVIEWS Heathens Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 11, 2022 Directed by: Marlene Emilia Rios Written by: Marlene Emilia Rios Starring: Rosella Doda, Jo Shirley, Brad Johnson Heathens are people who do not belong to one of the main worlds/ religions. The color chosen for the title of the short film is pink which has connotations that the female protagonist is busy looking for her identity as she cannot relate to her surroundings. The writer-director Marlene Emilia Rios builds up a very intriguing screenplay for the film with the help of various elements like Camera angles, lighting, costume, music, makeup, and hair. The blood shown in various scenes further intensifies the thrill factor in the narrative. The central character fiddles with her ring while she thinks about her life thus increasing the degree of engagement of the audience with the short film. The storyline of the film revolves around a woman who gets to know about her husband's secret affairs and looks for revenge from him. She includes one of his mistresses in her plan. Will she be able to do so is to be found out at the end of the cinematic piece? The DOP HSIEN YU NUI uses flashbacks, mid-shot of the main character followed by the camera quickly panning into her face has connotations that the wife already knows about his affairs from the very start of the film and is just waiting to get a solid proof against him to take revenge from her husband. The music given by Travis Kirby as the title flashes onscreen is upbeat so that it excites the audience to delve into the plot to find out more about the story. The music softens a little in scenes where the protagonist plans out her next move. The switch in the lighting and color palette of the film according to the mood of the scenes in the movie helps keep the narrative together and thus the audience eagerly waits for the climax of the creative piece. The set design of the short film is a combination of subtle and loud as per the demand from the director of the film. The "love" and "Power" written on the wall are all lit up suggesting that Marlene is looking into the importance of these two elements from the perspective of all the three characters in the plot. "Heathens" is a female-driven short film. It has two very well- written characters that are strong. Both these women support each other to reach the decision which proves to be very significant for the conclusion of the film. Brad Johnson plays the role of the husband; he effortlessly portrays various shades of the character required in different stages of the narrative. This short film has several life lessons hidden in it. Any relationship in life should be based on love, trust, and mutual understanding between the two partners. Being a man one does not get the right to be disloyal towards the spouse in a marriage set up. It shouldn’t be the responsibility of one person to keep the wedding healthy. There should be always a sense of regard and admiration for one another. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Through the Stew film review by UK film critic Jason Knight. Starring Willow Barrett, Chuck Bones, Syd Walsh directed by Sal Redpath, Ben Archer. HOME | FILMS | REVIEWS Through the Stew Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Nov 1, 2024 Directed by: Sal Redpath, Ben Archer Written by: Ben Archer Starring: Willow Barrett, Chuck Bones, Syd Walsh An experimental short drama directed by Sal Redpath and Ben Archer and written by Archer and starring Willow Barrett, Syd Walsh and Chuck Bones. The description that accompanies the trailer on YouTube states that this eight-minute short is about a young man named Anton (Barrett) who is in New York City and is spending his last day among the living trying to take care of unfinished businesses. By viewing the film, one might struggle to agree with this explanation regarding the plot. What is seen in the film is Anton waking up in an isolated location, barefoot and with an old, small radio. He then embarks on a journey through New York that involves meeting a friend, visiting his girlfriend (Walsh), riding a train, going to his apartment and generally traveling through the city. Then isn't anything that directly indicates that he is going to die and he does not appear to have a significant purpose. The creativity that went into this project deserves commendations, taking under consideration that the budget was low and filming took place over the course of a couple of days with a great deal of improvisation. Shot in black-and-white with Super 8 film, this short was inspired by the No Wave cinema movement and captures glimpses of life in New York City. The band Sunglasses For Jaws contributed to the film's notable soundtrack that includes 50's Noir radio recordings. This is an experimental film, however (as mentioned above), it probably would had benefited if the plot was more clear, that the story involves a person's last day alive. That aside, it might also had been better if the main character was explored more, who he is and what his purpose is. The cast consists of non-professional actors and dialogue is limited. As the main protagonist, Anton seems to be an outsider. Smoking cigarettes, carrying a small radio and dressed in what appears to be punk rock clothing, he does not say much (very little actually) and it is hard for viewers to understand him. Other characters are seen briefly as Anton interacts with them and during their short appearance they are convincing. What messages are here? What kind of themes are explored? Since the plot is not clear, these might be hard to comprehend. Religion is one, which seems to be addressed by the presence of a couple of characters attempting to spread religious messages. Another might be the idea of being an outsider, of having lost one's path in life. Fans of experimental films and the No Wave movement are the ones who are most likely to appreciate this short. Others might see this as a viewing experience that does not have much to say and feels empty. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Slaughter Beach film review by UK film critic Jason Knight. Starring Jon McKoy, Ethan Han, Jim Cannatelli, Michelle Quenzel directed by Daniel C. Davis. HOME | FILMS | REVIEWS Slaughter Beach Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 3, 2022 Directed by: Daniel C. Davis Written by: Daniel C. Davis Starring: Jon McKoy, Ethan Han, Jim Cannatelli, Michelle Quenzel As the title suggests, something bad is happening on a beach. A maniac is killing people. A deranged killer is on the loose, which is not good news from a resort town. He viciously murders anyone he can find and will never stop. Meanwhile, Barry (Han) and his friend Ralph (McKoy) are looking for a way to make money and decide that a clever way to do so would be to become vigilantes for hire. Will these newly-self-declared heroes manage to put an end to the atrocities? It should be made clear that this dark comedy slasher movie is not to be taken seriously. The acting is unconvincing and the dialogue is ridiculous, however the film still manages to be entertaining. The audience follows the two 'superheroes' as they get themselves into misadventures and the serial killer as he fatally attacks his unfortunate victims. Dark humour enters as the killings take place, which are gory and gruesome, yet so silly that they will probably generate laughs, which is no bad thing. Things are more lighthearted when the attention goes to Barry and Ralph pretending to be tough crime fighters. The whole movie is basically a switch-your-brain-off-and-enjoy experience, although not for the faint of heart. As mentioned, the performances are not realistic, but they are amusing. McKoy and Han are quite fun as the two friends who just like that decide to rid their town from crime and repeatedly fail to do so. Han's character is enthusiastic and naive and wears a cape in an effort to resemble a superhero, while McKoy is more cautious and equally naive and carries a spade around. It is also humorous watching the brainless victims as they do not run from the threat. There are quite a lot of killings in this film and they are simultaneously brutal and comedic. There is plenty of blood and dismemberment and the violence is over-the-top. The goofy acting by the killer and the victims make the murders darkly entertaining. Praise goes to Isabelle Isel for the work on the gore special effects. The maniacal killer is arguably the one who steals the show. He laughs and jokes while he slays, clearly enjoying the act of ending a life. His appearance will most likely seem familiar to fans of the slasher genre. He wears fisherman's clothing and uses fishing tools as weapons, including a hook, resembling the murderer from I Know What You Did Last Summer . He is terrifying and clownish at the same time. Davis does a good job as director and creates some wonderful aerial shots. The score was composed by Sam Bishoff and it sounds kind of over-the-top and silly, which adds to the amusement. Those who enjoy movies like Peter Jackson's Bad Taste or Braindead should give this one a go. It could be described as a parody of the slaher genre and a bit of the superhero genre as well. It is not for everyone, but for viewers who enjoy dark humour and slasher fims, it is a satisfying experience. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Turquoise film review by UK film critic Joe Beck. Starring Reza Amouzad, Serrodin Alavi directed by Roozbeh Misaghi. HOME | FILMS | REVIEWS Turquoise Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Jul 28, 2022 Directed by: Roozbeh Misaghi Written by: Roozbeh Misaghi, Sama Raoufi Starring: Reza Amouzad, Serrodin Alavi Obsession can be a dangerous thing. That’s the message of ‘Turquoise’, a meditative Iranian short-dil from Roozbeh Misaghi. It’s both very tight and very loose in its concept, showing us just enough to keep hooked but not too much to lose interest. It’s a short, which, and I don’t say this lightly, is as close to perfection as you’ll get. A public announcement, which, wisely we don’t see, is sent out to a small rural farming village in Iran. The announcement states that there is a concealed treasure in the village, which will make the finder prosperous upon it’s return to the rightful owner. So, the mad treasure hunt begins - people stop farming and begin digging up land in search of the treasure. It’s a race which everyone living in this poor village wants to win - the chance to earn not just wealth, but also respect, and a way out of the monotony of farming life. That monotonous sound is where we begin - the sound of pickaxes digging into the dry arid surface, broken only by the heavy breathes of the labourers. They aren’t farming, they’re looking for the treasure, and it doesn’t take long for someone to find it. What follows is shocking - the man is chased and cut down by another labourer - his brother. It doesn’t take long for the treasure hunt to dissolve into murder, as fathers injure sons, and wives kill husbands, all with the aspiration of finding the treasure. The web of shadows and secrecy that some villagers form gradually unravels until there is one man left standing - Morad (Reza Amouzad). The treasure - the object which drives this mad descent into violence is a black box, it’s contents unknown. In fact, the villagers know nothing, acting purely on the notion that “surely it’s worth a lot that so many have died for it”. We never discover what’s in this destructive box, and we’re left to wonder whether this could all have been some cruel experiment by the rich, looking to investigate the extent man will go to in order to obtain wealth. This kind of thoughtful filmmaking is largely down to director Roozbeh Misaghi, who also co-wrote the script with Sama Raoufi, as he guides the camera with grace, framing Morad’s isolation as his co-conspirators die and he emerges victorious. The camera operates gently, suiting the slow, meditative style, which means that when the moments of violence come, they are ten times more shocking, and cause far more profound thinking. Perhaps most impressively, ‘Turquoise’ had to be shot in secret in Iran, beyond the purview of the moral police of the Islamic Republic, something which Misaghi himself has discussed in the past. There’s a clear critique of both Iranian and global politics and culture evident in the film - from the worthless of the treasure hunt to the spiral of decline that capitalistic inclinations cause. This is the right way to make a potent political statement, letting the camera, not words, do the talking. ‘Turquoise’ has already enjoyed much success at film festivals and has rightly received several accolades for it’s bleakly damning critique of society, all wrapped in the guise of outstanding filmmaking. It’s rare to see a short so well made, but even rarer to see one with the ability to make a genuine statement - ‘Turquoise’ emphatically ticks both those boxes. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Lovesick film review by UK film critic William Hemingway. Starring Clint Ruben, Sandra Turell Henningson, Ellaha Lack directed by Alexander Saul. HOME | FILMS | REVIEWS Lovesick Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 28, 2024 Directed by: Alexander Saul Written by: Alexander Saul Starring: Clint Ruben, Sandra Turell Henningson, Ellaha Lack A patient in an open psychiatric ward in Denmark deals with his attachment to a nurse as he finds out that she will be leaving the facility the day after their New Year’s party. Elias (Ruben) is sick. He has to live every day with his mental illness and deals with voices in his head, the urge to self-harm, and delusions on an almost constant basis. He also has the hots for his assigned nurse, Solveig (Henningson). Elias likes to play out the fantasy that he and Solveig will get it on at some point and this arouses him enough to see him through most of the days in the psychiatric ward. The fact that Solveig attends to him most days personally, as well as needing to be present in some of his most intimate moments, such as showering, helps feed this fantasy, and in her presence Elias makes himself as approachable and charming as he possibly can. On the day of the New Year’s party, however, Elias learns that this will be Solveig’s last shift, and so he determines to open his heart to her before his time runs out. The fact that Elias has had to find this information out from a couple of the other patients, and not from Solveig herself, should really have told him something, but he has deliberately been dishonest about taking his meds recently and his thinking is not as straight as it should be. Still, Elias is ready to make his move and so he enlists the help of another patient to smarten himself up for the evening and then manoeuvres himself to sit next to Solveig at the party. Everything is set up for Elias to declare his love but unfortunately things do not go as well as he had planned. Throughout writer/director Alexander Saul’s new short film, Lovesick , we get up close and personal with some of the more difficult moments of life on a psychiatric ward. We are party to the thoughts that constantly berate and confuse Elias in his own head, as well as bearing witness to moments of self-harm and self-abuse. There are also instances of friction between Elias and other patients which demonstrate the fragile balance which is so carefully kept inside the walls of the facility. Saul’s aim, however, is to also show the humanity which pours forth from these people and how their feelings, dreams and desires are no different from anybody else’s. He successfully manages this by showing us all aspects of the interactions which take place between residents and staff, and gently places the characters in situations which reveal their vulnerabilities. There is a softness which resides over the entirety of Lovesick that speaks to the intentions of Saul in helping us identify with his characters. This can at times feel like the scenario, as well as the manifestations of mental illness, come across as tame with no major drama ever being involved, but really it is just an extension of how Saul is treating his subject. The inclusion of Frederikke (Lack), as someone who looks at Elias the way he looks at Solveig, helps show that there is more than one side to everyone’s story while also allowing Elias’ sympathetic character to emerge. In terms of production, however, Lovesick has nothing to write home about. The writing is fine, if a bit simplistic, and the direction and photography are serviceable to the narrative. Nothing really stands out at you as being one way or the other in terms of quality and this feeling lasts with the viewer throughout the twenty-minute runtime. In his desire not to judge or impose historic stereotypes on his characters, Saul has forgotten to give his story any real heart to engage with. The actor’s jobs are very basic, with very little emotion seeping out, and Ellaha Lack as Frederikke is the only standout in a small, enclosed field. While Lovesick does its best to humanise those with mental illness and share a real-life story which could be transposed to nearly anybody on the planet, it doesn’t do enough to separate its themes and ideas from just how interminably ordinary they really are, meaning that fundamentally nothing new or of substance is expressed in its telling. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

Dream Story film review by UK film critic Hope Madden. Starring Nikolai Kinski, Laurine Price directed by Florian Frerichs. HOME | FILMS | REVIEWS Dream Story Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 19, 2026 Directed by: Florian Frerichs Written by: Florian Frerichs, Arthur Schnitzler, Martina van Delay Starring: Nikolai Kinski, Laurine Price It takes chutzpah to choose to follow Stanley Kubrick, but Florian Frerichs is undeterred. His Dream Story , based on the same novel as Kubrick’s 1999 film Eyes Wide Shut , mines the sordid tale of high society orgies for a few different ideas. We are still focused on the bored, rich, and horny, though. Set in Berlin, where it does feel at home, Dream Story follows Jakob (Nikolai Kinski), a wealthy doctor. After putting their precocious, opera loving son to bed, Jakob and his wife Amelia (Laurine Price) reminisce about a recent night out. When Amelia admits to a powerful, unfulfilled longing for a stranger, Jakob’s marital contentment begins to feel like foolishness. What’s a guy to do but visit a secret, cloak-and-mask orgy? While most of the story beats echo those from ’99, there are some clear differences. Dream Story is indifferent to Kubrick’s themes of the grotesque heartlessness of the wealthy. In Eyes Wide Shut , the rich are so accustomed to treating everyone as a commodity and everything as a transaction that they’ve lost their humanity. Frerichs is more concerned with the “dream” in Dream Story (a title derived from the English translation of writer Arthur Schnitzler’s original title). Upon hearing of his wife’s unsatisfied lust, it’s as if Jakob wakes from the dream of a loving bond. Now, insecure and hurt, he wanders as an almost childlike outsider looking to be a bad boy. Frerichs amplifies the dreamy quality of the film with fanciful moments—Jakob’s operatic fantasies and instances when he breaks the fourth wall, for example. There’s also a trippy animated sequence to deepen the spell. Frerichs, who adapts Schnitzler’s 1929 novella Traumnovelle with frequent collaborator Martina van Delay, also enlists bloody imagery. This he does less for the sake of horror and more to signal Jakob’s own mortality. Frequent callbacks to the death of a patient in Act 1 keep the doctor’s preoccupation with his own morality top of mind. His quest to do something debauched, springs from a sudden sense of all he’s wasted being faithful to a woman who may not even want him. Dream Story is, in the end, more of a love story. In carving out so clearly a new path with the material, Frerichs delivers a whole new reason to watch. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Silhouettes film review by UK film critic Jason Knight. Starring Helen Day, Dick Terhune directed by Matt Hartley. HOME | FILMS | REVIEWS Silhouettes Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 15, 2021 Directed by: Matt Hartley Written by: Matt Hartley Starring: Helen Day, Dick Terhune An unforgettable journey. A journey that explores the magic of space and the wonders of planet Earth. This highly captivating feature is a sci-fi story, which focuses primarily on presenting the narrative through images of space and the nature and civilization that exists on Earth, rather than dialogue. While on a mission in space, an astronaut named Katherine is contacted by an otherwordly entity that can travel through galaxies with ease. No one can hear this being but her. The apparition speaks with a male voice and takes Katherine on a journey through the universe, showing her stars, colourful tunnels, spaceships, and life on Earth. She is also taken to the dimension from which the entity is from. This movie is basically an hour-long montage, consisting of fantastic images and was made entirely by utilizing SFX, CGI and stock footage. It begins with the astronaut narrating her life's story, from childhood all the way to ending up where she is now. There are pictures of her as she grows up, showing her experiences and achievements and eventually showing her as an astronaut. From there, the environment is mostly space-related and focuses on the rapport that develops between the heroine and the manifestation. The unknown entity shows Katherine the greatness of her planet and at her request, it takes her to the edges of the universe. There are many images depicting stars, space tunnels and spaceships and when Earth becomes the subject, a series of short scenes is included that shows the evolution of life, from dinosaurs, all the way to skyscrapers. Besides the photos, the woman is never seen. An astronaut suit is occassionally seen throughout, indicating that is her, traveling through space with the assistance of the entity. The entity never reveals itself and its presence is only through its voice. The conversations they have between them work as a voice-over. The soundtrack consists of outstanding classical music that accompanies the visuals perfectly. The score is beautiful and at times becomes dynamic or peaceful and listening to it while watching the mesmerizing content is quite an experience. Shiv Rajagopal was responsible for the editing and did a great job. Praise also goes to Matt Morello for the special effects. This feature offers a captivating experience and might make one think of 2001: A Space Odyssey . From start to finish it engages the viewer with its stunning visuals and audio and the narrative which involves an astronaut travelling through space with the aid of an extraordinary being, is certainly interesting. It is worth mentioning that there is a surprising revelation regarding Katherine. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Animation < All Reviews Next Film Review >

Mafia film review by UK film critic Patrick Foley. Starring Lottie Tolhurst, Martin Ball, Fabrizio Tullio directed by James Cleave. HOME | FILMS | REVIEWS Mafia Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 9, 2024 Directed by: James Cleave Written by: Tom Ward-Thomas Starring: Lottie Tolhurst, Martin Ball, Fabrizio Tullio Family game nights usually consist of 3 things: awkwardness, multiple and increasingly frustrated explanations of rules, and of course the inevitable blazing row when old frustrations are unearthed by game-related controversies. Mafia is a short comedy drama that brilliantly uses the premise to show a family with some serious secrets falling apart over itself – as part of a game that puts deception at its heart. A family’s game night turns to the game of Mafia, a game wherein players draw cards to determine if they are ‘Mafia’ members – and then can eliminate other players during rounds in the game where their eyes are closed. The other players must uncover the killers to win. It’s not long until clashes between the older generation such as mother Cynthia (Rosalind Adler) and the younger such as Ralph (Tom Ward-Thomas), Patch (Samuel Lawrence) and Emily (Cheska Hill-Wood) start to intermingle with the games’ deceptive ethos, as family trauma, relationship revelations and more overtake the evening. Mafia is an amusing and engaging ensemble short that keeps audiences on their toes with its insight into modern relationships and family dynamics, exploring a multitude of unusual situations around its dinner table. It jovially examines how younger and older generations take views on relationships and sexuality, tradition and modernity and generational trauma to draw lines between different members of its cast – whilst maintaining a light humour and a belief that bridges can be built despite differences. At the heart of the film is the titular card game, which serves as the driving force of the story. It works as a great send-up of the game, and the relatable scenario where something designed to entertain results in World War 3. There are certain moments which stretch credibility, such as a characters’ referencing to a picture on a website that threatens to reveal their own secret – and feels a little too convenient and designed to advance the plot. But the dialogue itself is authentic, and each character’s voice feels defined and unique. The cast themselves do a great job as well in delivering convincing performances that differentiate each member of the family. Rosalind Adler gives a fine turn as mother Cynthia – the long-suffering matriarch whose relationship with the children’s father is referenced numerous times, clearly explaining why many of the kids carry the weight they do. Her conservative values clearly clash with the lifestyles of her children, who are determinedly finding their own path in their own relationships. Cheska Hill-Wood’s Emily is seemingly the most cognisant of their fact, and her growing impatience impressively comes through the performance. Mafia is more likely to convince you to seek family therapy that play the card game – but James Cleave’s short is definitely a film any member of the family will enjoy. Maybe just don’t watch it all at the same time… Watch our indie film review of Mafia on our YouTube Channel - Click Here . Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Coral Clear film review by UK film critic Patrick Foley. Starring Evon Adjei directed by Harvey Marcus. HOME | FILMS | REVIEWS Coral Clear Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 3, 2022 Directed by: Harvey Marcus Written by: Badra Cherfi Starring: Evon Adjei High-fashion and traditional North African designs transform into couture evening wear in the debut collection from designed Bophonysse. In Coral Clear, this collection is celebrated and demonstrated artistically and in a way that demonstrates the deeper story behind the garments. The film is a short piece which highlights Bophonysse’s 2021 couture collection in intricate detail – featuring models donning the extravagant evening dresses in both neutral and energetic poses. The film shows the items in profile as well as up close, giving viewers an opportunity to see the complete work, as well as the fine, minute details included by the designer. Over the piece is a spoken word poem from poet Evon Adjei, whose words characterise the aims of the designer. Coral Clear is beautifully shot – both as a demonstration of the products that it is designed to advertise, and as a film in its own right. There is a story in the very design of the dresses themselves which the film highlights, and the poem from Evon Adjei is meaningful and soulful – easily dismissing fears that the film exists purely for commercial purposes. There is a clear and welcome consideration from the director to bring the story behind the clothes to the screen. There is a building momentum throughout the film – with the models initially moving in minimal and gentle ways which allows for more focused shooting, but appears to lack a confidence in the clothing’s ability to sustain motion. This develops as the film does, with the pace of the movements becoming faster in conjunction with the increasing speed and content of the poem, which gains a confidence in its own story. The collection is shown then in full, fluid motion to show that the dresses can be functional as well as fashionable, and can be worn as confidently and completely as the designer intends. There is a striking lighting spectrum to the film that firmly places the clothes on the centre stage. The vibrant colours of the outfits stand out against the bleached background, and the white lighting seems to flow over the textures as the camera pulls in close to examine them intimately. The soundtrack is also an interesting addition. The combo synthwave/piano soundscape does not immediately appear to mix with the designs we see. However, as the pace picks up, it contributes to a progressive and forward-thinking theme for the collection. There are inherent limits to a film so short that deny a fuller story or deeper themes being explored, and of course the primary purpose is to demonstrate a collection that ultimately will always be more impressive in person. But as an artistic endeavour, there is merit in Coral Clear – and that is clear to see. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >