Elio film review by UK film critic Hope Madden. Starring Yonas Kibreab, Zoe Saldaña, Remy Edgerly directed by Adrian Molina, Madeline Sharafian, Domee Shi. HOME | FILMS | REVIEWS Elio Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 19, 2025 Directed by: Adrian Molina, Madeline Sharafian, Domee Shi Written by: Julia Cho, Mark Hammer, MikeJones Starring: Yonas Kibreab, Zoe Saldaña, Remy Edgerly Few films, animated or otherwise, breathe the rarified air of Pixar’s best. The animation giant has turned out an alarming number of outright masterpieces: Toy Story, WALL-E, Up!, Toy Story 3, Inside Out . Their second tier is better than nearly every other animated film you’ll come across. The originality, humanity, and visual magic on display in these films is so superior to anything else out there, it becomes an almost impossible standard to bear. Pixar’s latest effort, Elio , tells the sweet story of a lonesome orphan who wants desperately to believe that “we are not alone.” Elio inadvertently casts himself as leader of earth and invites aliens to abduct him. They accept. Elio ’s writing team includes Julia Cho, who penned the charming Turning Red , and Mike Jones, whose Soul rightfully took 2021’s Oscar for Best Animated Feature. The directing team includes Turning Red ’s Domee Shi and Coco ’s Adrian Molina. That’s a solid team, one fully aware of the wondrous possibilities of animation and family friendly storytelling. And they do tell a lovely story. As Elio (Yonas Kibreab) finally finds a friend in galactic warlord Grigon’s (Brad Garrett) son Glordon (Remy Edgerly), he also realizes that he might have liked his Auntie (Zoe Saldaña) more than he thought. Once Elio is space bound, the film brightens. The inhabitants of the Communiverse are delightfully oddball. There’s brightly colored fun to be had. But Act I doesn’t dig deep enough into Elio’s relationship with his auntie to give the film real stakes, so the emotional center that creates the Pixar gravitational pull is never as strong as it is in their best efforts. The story beats also lack the freshness of the best Pixar has to offer. Still, a first-contact film that retails a childlike wonder about what lies beyond the stars without resenting what waits at home is a rare thing. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

The Gazebo with a View film review by UK film critic Alex Crisp. Starring Yui Kalberg, Gail Taplin, Dean Forrester directed by James Short. HOME | FILMS | REVIEWS The Gazebo with a View Film Review average rating is 1 out of 5 Critic: | Posted on: Sep 27, 2021 Directed by: James Short Written by: James Short Starring: Yui Kalberg, Gail Taplin, Dean Forrester An anthology short film made up of three even shorter short films, none clocking in at more than a few minutes, each introduced with its own old timey title card, and all revolving around a park gazebo. This dearly modest endeavour is directed by the splendidly named James Short, who caps a great couple of days for fans of nominative determinism. I watched The Gazebo with a View the day after the BBC sent reporter Phil McCann to cover panic buying at petrol stations, so you can appreciate my titillation. In chronological order, the three stories are: Social Club? : Two pals sit in the gazebo discussing a screenplay, one hears a groaning sound in the distance. He leaves gazebo to find the source of the groan, which is coming from a bloke who has spent the night sleeping in the park after enjoying his “social club” celebration a little too much. The Perfect Swipe : Someone talking on his phone in the park gets his chocolate bar stolen by a masked man (this one is my favourite). Who The F--- Is Lilly? : Two characters who we will simply call “Girlfriend” and “Boyfriend” are sitting in the gazebo when Girlfriend confronts Boyfriend about a text she has discovered on his phone. As the title implies, she wants to know who “Lilly” is. He pleads that it’s only his boss, but she doesn’t believe him. Let’s make several things clear. This is a student film that looks like it was filmed with a camcorder, and employs student actors, or more likely students as actors. As such it’s difficult to judge the work by the same criteria one would judge professional filmmaking. On the flipside, students have produced professional grade films before, so there’s only so much leeway you can give James Short for his choppy 360p miniature. But at the same time, there’s something endearing and above all else fun about amateur filmmaking (as opposed to amateurish filmmaking) of this ilk. It’s like watching a secondary school play, and whether the comical effect was intentional or not, I had fun watching it—particularly “The Perfect Swipe”, which might be the sweetest mugging ever put to film. Unfortunately, I’m bound by professional duty to give this park bench triptych a solitary star. But as solitary stars goes, it’s one of the brighter. Buy UKFR Banner Space About the Film Critic Short Film < All Reviews Next Film Review >

This Sucks film review by UK film critic Jason Knight. Starring April Denise Scott, Michael Hooper, Emily Fletcher, Eric Flores, Rachel Amanda Bryant, Thresa Richardson directed by Cameron A. Mitchell. HOME | FILMS | REVIEWS This Sucks Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 2, 2025 Directed by: Cameron A. Mitchell Written by: Cameron A. Mitchell Starring: April Denise Scott, Michael Hooper, Emily Fletcher, Eric Flores, Rachel Amanda Bryant, Thresa Richardson A feature-length dark comedy written and directed by Cameron A. Mitchell and starring April Denise Scott, Emily Fletcher, Eric Flores, Rachel Amanda Bryant, Michael Hooper and Thresa Richardson. The COVID-19 pandemic is taking place and three young people in California are spending Christmas holidays together inside a house during quarantine. These individuals are Jess (Scott), a former make-up podcaster who is now struggling with depression, Carly (Fletcher), whose family is trying to convince her to move back with them and Ted (Flores), a homosexual. These three characters (including Jess' former boyfriend, Jake (Hooper)) are being invaded by imaginary demonic-lookin entities that represent their personal issues. As time goes by, the protagonists will attempt to deal with their problems, while also helping each other. Perhaps what stands out the most are the demonic entities. As mentioned, four persons in this story imagine that they are interacting with human-like entities that resemble some sort of demon, with red skin, horns on their head and goat-like legs. And each entity has a different appearance (at least facially), one that resembles a person that is related to the character who sees that entity. For example, Jess imagines that the entity resembles Jake, while Carly sees her sister, Ocean (Bryant). Therefore, the entities represent the person who is responsible for their troubles and their presence is an interesting way of exploring the characters. Demonic entities aside, the screenplay does a good job when it comes to explroring the characters and their struggles and the adult humour adds to the experience and so does the comedic music by Charlotte Partt. And recognition also goes to Siani Johnson's creative editing. Negatives regarding this feature? Overall, the pace is slow and makes the film feel overlong. This is probably because the plot is primariy character-driven, paying less emphasis on the story, nevertheless, the film does seem to have a duration that goes on for longer than necessary. The performances are great and some of the cast play two characters. Scott is a woman who is struggling with depression, caused partially by the pandemic, partially by the experinces she had with Jake, partially by her controlling mother (Richardson) and partially by a person she cares about leaving her household. Scott also portrays the demonic entity that pursues Jake. Fletcher is a naive, talkative and kind-hearted person who deals with her sister's attempts to convince her to return home. Then, there is Ted, the cheerful and optimistic homosexual who has an entity that resembles himself, indicating that he needs to confront himself in order to get better. Mental health is a major theme in this story, particualry depression. Friendship, support, self-reflection and family values are also significant. As the plot takes palce during COVID-19, this feature is a commentary about that global pandemic, exploring how it affected people, especailly during quarantine. The film also involves the Black Lives Matter movement. A story set during the COVID-19 pandemic, exploring how the lives of several characters develop during that time. There are humourous parts and emotional parts and the character development is executed well. Some might dislike the slow pace, however, in the end, this is an interesting viewing about dealing with personal issues and having support. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Opportunity film review by UK film critic Chris Olson. Starring Jon Waters, Quinn Aikele, Gabby Atkinson directed by Rusty Rehl. HOME | FILMS | REVIEWS Opportunity Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Nov 27, 2024 Directed by: Rusty Rehl Written by: Rusty Rehl Starring: Jon Waters, Quinn Aikele, Gabby Atkinson Mormon gangsters, crypto wallets, and oodles of makeshift charm, filmmaker Rusty Rehl’s indie crime comedy Opportunity gives viewers plenty to take advantage of, including a central bromance that will appeal to fans of Seth Rogen films. Jon Waters stars as Patrick, a man living in his van trying to get back on his feet in life. Having been rejected by the banks for money, he turns to a dangerous loan shark to help him purchase a house but gets embroiled in a dangerous favour that will see Patrick and his hapless pal Donny (Quinn Aikele) running from guns, cops, an yes…Mormons (although they prefer to be called Latter-Day Saints). Opportunity as an indie film has a lot of punk spirit, nothing is off-limits here. From opening the film with a profound quote from Sun Tzu to characters calling each other “woke” and “snowflake”, Rusty Rehl wants his audience in a state of unpredictability throughout. Patrick and Donny’s banterific relationship is the core of the movie and if you get on board with their foul-mouthed hijinks there is plenty of enjoyment to be found here. Their similarity as characters arguably makes it difficult to fully understand them, for example, Patrick seems reluctant to work for the loan shark initially, whilst Donny is totally up for it, but this hesitancy from the former seems completely gone not long later when he is maniacally breaking into a safe. The filmmaking is ambitious, stringing together numerous scenes in different locations and action sequences with sporadic violence, all with a tongue-in-cheek vibe. It’s hokey for the most part and viewers are unlikely to be waxing lyrical about the technical proficiency here but strength is found in the more emotional moments between our two leads. Jon Waters gives a strong performance as Patrick, emanating passionate energy at his character’s onslaught of life’s cruelties. Quinn Aikele is less sturdy with the dialogue but has a likeable magnetism making him a captivating onscreen presence. The supporting cast is an eclectic bunch of misfits but it is Gabby Atkinson as Donny’s long-suffering girlfriend Abby who shines the most - her potent hatred of Patrick is simply sumptuous. A rough around the edges production leaves the film feeling more endearing than compelling and there are certainly improvements that could be made to the convoluted crime plot but this will likely find a strong audience in the indie comedy scene. The quick-fire editing means it doesn’t outstay its welcome and it has balls and attitude, which, after all, are all the Opportunity one needs. Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Anora film review by UK film critic Matt Weiner. Starring Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov directed by Sean Baker. HOME | FILMS | REVIEWS Anora Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: Oct 31, 2024 Directed by: Sean Baker Written by: Sean Baker Starring: Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov Sean Baker doesn’t shy away from seamy subcultures, and the worthiness of people trying to get by outside of conformity. Yet it hasn’t been until his Palme d’Or winner Anora that he has found one group without any redeeming qualities. This shocking and depraved group of people is, in this case, the jet-setting global elite. Anora “Ani” Mikheeva (Mikey Madison) is no stranger to high rollers at her luxe Manhattan strip club. But there’s wealthy, and then there’s wealthy . When a party of Russians ask for a dancer who speaks their language, Ani becomes an object of desire to Ivan “Vanya” Zakharov (Mark Eydelshteyn, pitch perfect as a manic boychild whose naivete can turn on a dime from charming to something nearing sociopathic disinterest). Vanya has taken up residence in his Russian oligarch parents’ Brighton Beach mansion. He is in America to study, but spends his days playing video games and his nights partying into oblivion—anything to avoid being sent back to Russia to join the family business. His relationship with Ani quickly escalates, from sex work outside the club to becoming an exclusive escort to an impromptu Vegas marriage. This being a Baker fairytale, Ani’s whirlwind rags-to-riches marriage is only the beginning of her Cinderella story. What follows is a comically grotesque odyssey through the Russian-dominant Brighton Beach, as Vanya eludes his new bride and a superb supporting cast of family fixers and toughs sent to get the marriage annulled before more shame is brought on the Zakharov family. With the callow Vanya on the run, Baker instead focuses on the chaos and damage (both physical and emotional) left in his wake. And while this is a deserved star turn for Madison, who is electric and enthralling, she is just one of the victims of Vanya’s selfishness. She joins—or rather is dragooned into—the evening’s hunt for Vanya by a trio of Russian and Armenian strongmen, led by the beleaguered Orthodox priest Toros (Karren Karagulian, a Baker mainstay in his best role yet). For much of their night together, Baker pulls off a risky balance between outright comedy and what is, essentially, the kidnapping of a sex worker by three large, powerfully connected men. None of this would work without Baker’s characteristic empathy for everyone. And it certainly wouldn’t feel so easy-going were it not for the relationship between Ani and the silent strongman Igor, played by Yura Borisov with a standout turn that nearly rivals Madison’s. Baker’s most memorable characters are often wrestling with the American dream, and Baker himself seems like a Rorschach test for your own baggage: both pointed critic and secret optimist. Even at his most hopeful, though, there’s always a catch. Save the very few who can buy their way to hedonic bliss, carving your own real-life fairytale ending won’t look like it does in a Disney movie. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

WanderLand film review by UK film critic Jason Knight. Starring Holly Hajbok, Haylie Jones, Dru Jones, Ray William Butler directed by Nicole Pott. HOME | FILMS | REVIEWS WanderLand Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 15, 2021 Directed by: Nicole Pott Written by: Nicole Pott Starring: Holly Hajbok, Haylie Jones, Dru Jones, Ray William Butler A poignant story about a six-year-old girl who is being neglected by her mother. Alice (Hajbok) is the young daughter of single mother Tracy (Jones). Tracy claims to love her, however, she is an irresponsible parent and that is seen several times. She fails to pick Alice up after school, she makes her wait in a room full of slot machines, she swears in front of her child, she is rude and mean towards her and she generally does not go to great lengths to take care of her. Alice is forced to deal with her mum's unacceptable behaviour and Tracy does not appear to understand that her parenting is flawed. The narrative of WanderLand explores the relationship between Alice and Tracy and directly reveals how the child is ignored by her mum. Tracy takes her daughter here and there and makes her wait time and time again, not showing any remorse for her actions. Things get rather dramatic when Tracy is walking along the beach with a man she just met and Alice falls behind, subsequently getting lost. The mood is rather sad throughout the film and the audience will most likely sympathise with the little girl as she suffers from her mother's neglect and they will disapprove of Tracy as a parent. However, Tracy's better side is also shown, although it is not a side of her that she shows often. People's kindness is also present when Alice is looking for her mother and is approached by two constables who are kind to her. Hajbok delivers an emotional performance as a gentle, innocent little girl who is unfortunate to have an uncaring mother. The world is seen through Alice's eyes and the viewer feels for her and wants things to get better for her. Jones is quite convincing as a person who does not appear to know how to be a responsible parent. Pott does a great job with the direction and the cinematography by Fraser Oxlee is wonderful. Composer Richard Collins creates a mesmerizing and beautiful score, which along with Kim Moore's vocals, develops a melancholic atmosphere. The filmmakers also make effective use of sound techniques, with the sound of slot machines, waves and rain being quite strong. This short drama will most likely move the audience. With an unhappy but intriguing plot, beautiful cinematography and great acting, this accomplishment deserves a great deal of praise and recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Amerikatsi film review by UK film critic Rachel Willis. Starring Michael A. Goorjian, Hovik Keuchkerian, Nelli Uvarova directed by Michael A. Goorjian. HOME | FILMS | REVIEWS Amerikatsi Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Sep 14, 2023 Directed by: Michael A. Goorjian Written by: Michael A. Goorjian Starring: Michael A. Goorjian, Hovik Keuchkerian, Nelli Uvarova With the historical drama Amerikatsi , writer, director and star Michael Goorjian explores the harsh, sometimes funny, reality of life in Soviet Armenia during the 1930s. During the Armenian Genocide, four-year-old Charlie is smuggled out of Armenia and sent to the United States. He returns to his homeland as an adult (Goorjian) after Joseph Stalin offers survivors of the genocide scattered around the world a chance to return to Soviet Armenia. However, after saving a young boy from a mob, Charlie runs afoul of a soldier who doesn’t like his public displays of religiosity or his Americanism. Accused of spying for the United States, Charlie is sentenced to ten years hard labor. Charlie finds comfort in the view from the window of his cell: a glimpse into the lives of an Armenian couple. This unexpected view allows him the chance to form a connection with the outside world. It’s this link that sustains him during his imprisonment. Despite the seriousness of the situation, Goorjian elicits humor where he can find it. There’s an absurdity to Charlie’s circumstances that skirts the line between the comedy and the tragedy. The score often emphasizes the irrationality of both Soviet hypocrisy and the day-to-day realities of life in a gulag. At times the humor almost undermines the historical tragedies on which the film is based. But there are also moments when we truly feel for Charlie and his plight. The tightrope Goorjian walks between humor and heartache emphasizes his skills as both an actor and a director. The supporting cast, particularly Hovik Keuchkerian, helps the film strike the right balance. There is also genuine feeling for Armenia and its people peppered throughout the film. Despite Charlie’s treatment at the hands of the Soviets, he can’t ignore the overwhelming pull he feels for the country of his origin. At its heart, Amerikatsi requires the audience believe in the power of both human connection and hope. To weary the audience with too much focus on the tragedy of life while ignoring the joy would hamper the film’s message. In the end, Goorjian delivers a heartfelt love letter to Armenia and the resilience of its people. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release < All Reviews Next Film Review >

Inherited film review by UK film critic Sam Quarton. Starring Damon Hoyle, Jessica Davis, Natoya Danielle, Humphrey Brown III directed by Humphrey Brown III. HOME | FILMS | REVIEWS Inherited Film Review average rating is 4 out of 5 Critic: Sam Quarton | Posted on: Jul 29, 2022 Directed by: Humphrey Brown III Written by: Sekou Browne Starring: Damon Hoyle, Jessica Davis, Natoya Danielle, Humphrey Brown III Drenched in covid-induced familial anxiety, Inherited offers an emotionally articulate response to the question of covid-era representation. Now over two years on since the beginning of the pandemic, one we are still in fact shackled to, filmmakers have progressed past the unnecessarily tendentious question of whether it is too soon to depict the horrors of COVID-19 - and its cataclysmic impact on families - to broach a more pressing ethical quandary: how should we depict it? And while there is obviously no correct answer to this question, director Humphrey Brown III offers a deft and emotionally articulate response with Inherited. Mostly comprised of footage from several Zoom meetings, the short follows stalwart son Michael – played with apt emotional enervation by Damon Hoyle – and his quarrelling siblings as they attempt to find their missing father and pastor Michael Sr. during the height of Texas’ grappling with the pandemic. But Michael’s concerns bubble to boiling point upon discovering financial woes about Michael Sr’s floundering church, and how this might play a part in the pastor’s erratic behaviour. Based off writer Sekou Browne’s own period of covid-induced terror – Browne tirelessly cared for his ailing grandmother throughout the chaos of the pandemic – Inherited feels poignant and sincere. There is tangible fear here: Michael’s half smiling/half-worry leaden expression as he tries to assuage his bickering family’s concerns signposts that maybe everything won’t be alright after all. It’s the same sort of expression we have all grown to master during our own brush with the virus. Also running through this dizzying familial sadness is Joseph Zgamba’s pallid, overcast photography, which imbues the hazy Texan setting with a sense of foreboding worthy of a Scandinavian crime thriller. It’s as if the baleful spectre of death and misfortune hangs in the atmosphere like an unseen villain, waiting to strike Michael and his family at a moments notice. And unlike the latest wave of overly didactic covid dramas that attempt to chart an entire nation’s experience of the pandemic in one gelatinous mess – see the Chinese Government’s saccharine propaganda piece, Ode to the Spring – Inherited is imbued with tautness and palpable anguish that aptly focuses on one family’s travail and attempt at survival. Buy UKFR Banner Space About the Film Critic Sam Quarton World Cinema, Short Film < All Reviews Next Film Review >

Hunting Bears film review by UK film critic Joe Beck. Starring Joel Beckett, Nathaniel Parker directed by Jason Ruddy. HOME | FILMS | REVIEWS Hunting Bears Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Jun 21, 2022 Directed by: Jason Ruddy Written by: Jason Ruddy Starring: Joel Beckett, Nathaniel Parker A man staggers across an empty, frosty field, out of breath and panting, almost falling to his knees. Odd, you think to yourself - who’s he running from? Then you realise that the man is covered in blood. The question then becomes what’s he running from? What has this man done? They’re the kind of questions packed into the opening of ‘Hunting Bears’ - a short film full of intrigue. The opening suggests a film about Kenny (Nathaniel Parker) getting away from his past, but in fact, the rest of the film is more of a discovery about it. Kenny’s last line of dialogue before cutting to the title card is crucial - ‘Where am I?’ - which at first appears perfectly reasonable under the circumstances but soon stands out as symbolic of his debilitating Alzheimer’s disorder. Following the title card, we cut to the past. Same frosty weather but this time we’re in a forest, and Kenny is not alone. He’s with his brother Andy (Joel Beckett), who has reluctantly been caring for Kenny for the past couple of years. Andy, who appears physically younger than Kenny, is uptight and on edge - he’s at the end of his tether with his brother. The responsibility of caring for Kenny has grown to become too much, and so he takes him on a trip down memory lane - to a forest they grew up with - in order to search for a solution to his troubles. Both Nathaniel Parker and Joel Beckett are magnificent in their roles, finding the right footing to express their characters as a poor, clueless man and a wound-up, aggressive brother. They bounce well off each other, and portray their characters as intentionally narrowly as they were written, with good spatial awareness from Parker in particular. The script, which at first seems a little one-dimensional in its characterisation, slowly reveals itself to be top-notch stuff from writer-director Jason Ruddy. Whilst the script initially appears to have painted its characters as broadly as possible, it becomes apparent that that is the exact purpose - that these people could feasibly be anyone. This is matched with direction which is full of suspense and tension, as Ruddy, who was inspired by the experience of being a carer for his late mother, establishes a sense of foreboding and intrigue around the film. With the film being inspired by Jason Ruddy’s experience of being a carer for his late mother, the film is full of understanding and heart on both Andy and Kenny’s side. We’re encouraged to sympathise more naturally with Kenny due to his condition, however, too often people like Andy are presented as antagonists with no redeemable character traits. On the contrary, we’re encouraged to look at the situation from Andy’s perspective, and the burden which caring for his brother has had on his life and health. Though the film suffers, as it becomes apparent shortly after the title card where the story is headed - meaning that the end is hardly as surprising as it wants to be - ‘Hunting Bears’ is nevertheless an excellent example of how to make a short film about a difficult subject, and fill it with heart and class in equal measure. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Waiting for the Light to Change film review by UK film critic Rachel Willis. Starring Joyca Ha, Jin Park, Qun Chi directed by Linh Tran. HOME | FILMS | REVIEWS Waiting for the Light to Change Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Oct 20, 2023 Directed by: Linh Tran Written by: Jewells Santos, Linh Tran, Delia Van Praag Starring: Joyca Ha, Jin Park, Qun Chi The quarter-life crisis. From the hindsight of middle-age, it seems an enviable position to be in. Yet, the memory is fresh enough to recognize the anxiety, loneliness, and a certain longing for direction. Director Linh Tran captures the feeling with heartfelt tenderness in her film Waiting for the Light to Change. Falling between the ages of 23 and 25, several friends, including Amy (Jin Park) and Kim (Joyce Ha), have gathered at a beach house. Kim has a boyfriend, a career, and enough money to allow Amy to join the group. Amy, on the other hand, is single and back in school because she couldn’t find a job. Kim’s cousin Lin (Qun Chi) has recently broken up with a beloved boyfriend because the distance between the United States and China was too great. Tran mines the tumultuous years after college to examine characters on the verge of their adult lives. Amy’s loneliness pushes her to do things she might not otherwise do. The aimlessness Jay (Sam Straley) feels leads him to make decisions he later regrets. And though they have the connection of a lengthy friendship, Amy and Kim’s conversations are often fraught with tension. The early- to-mid 20s is a period when many start to realize a friendship made in youth may be toxic. The film loses its momentum as it moves toward its climax. The group’s apathy starts to manifest in more solid ways, which detracts from the affecting dialogue. As images take the place of realistic and uncomfortable moments between characters, the movie flounders. A few moments try too hard for profundity and instead stumble over stereotypical conversation. It’s disappointing that these unnatural moments shoulder their way into a film more notable for its naturalism. However, Waiting for the Light to Change rights itself as it progresses. As relationships rupture, we’re drawn into the turmoil that often plagues adolescents as they struggle to find their way into adulthood. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Even Monsters Can Be People film review by UK film critic Swati Verma. Starring Ferdinand Bernander , Ola Normellie directed by Kevin Gater. HOME | FILMS | REVIEWS Even Monsters Can Be People Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Dec 6, 2021 Directed by: Kevin Gater Written by: Kevin Gater Starring: Ferdinand Bernander , Ola Normellie The word "Monster" has been given green color with a different font to attract children towards the film. The genre of the cinematic piece is horror-comedy. The filmmaker gives it a child's perspective. "Even monsters can be people" forces the audience to think about the deeper meaning it tries to communicate. The movie talks about being open to experiences and not having a preconceived notion about the subject matter. It also delves into the hardships of parenthood. Parents continuously protect and safeguard their children from all the cruelty the world outside has to offer. In the opening scene, the dim lighting and the sound effects are crucial elements of filmmaking that the director uses to justify the genre of horror-comedy that makes the audiences interested in what the film deals with. The lighting of Billy's room also gives the desired warmth in the scene shared by the father and son. It also showcases the dynamics of the film. The audience engagement in the narrative from the starting point in the story is because of the brilliant camera work done for the short film. A child is scared to sleep peacefully due to the unearthly creatures in his room. The father comes to help him solve the core problem of the monsters and assist the little boy fight off his fears. The writer-director -Kevin Gater has given the film an open-ended closure so that it is open for interpretation from its audiences. He has put together a script to build up the tension and reveal the facts only when the time comes. The audiences are always eagerly waiting for the turn the storyline will take next. Ferdinand Bernander, who plays Billy, can hold the narrative together and deliver the message the creative piece is trying to put across to the viewers with his expressions and reactions to all the dialogues coming from the father. Ola Normellie plays the father. Ola Normellie as a dad is quite convincing and relatable. The dialogue delivery is apt for the genre as he adds the comic element to the script and makes it child friendly. The bond between the actor in their respective characters is visible onscreen as the father is telling stories to Billy to make him happy. The movie can capture all the little nuances of rapport between the parents and their children. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Britto film review by UK film critic Swati Verma. Starring Ashmita Badhuri, Avinaba Pal Chaudhary, Shereoshee Chakraborty directed by Priyan Chanda. HOME | FILMS | REVIEWS Britto Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 5, 2022 Directed by: Priyan Chanda Written by: Kausani Mitra Starring: Ashmita Badhuri, Avinaba Pal Chaudhary, Shereoshee Chakraborty The title of the film "Britto" means "strength" and "powerful". The director of the film - Priyan Chanda has managed to highlight the beauty and culture of Kolkata. The camera department and the creative team have assisted Priyan with it. Britto is a short film that clubs both horror and the romantic genre. The movie captures two different eras in order to build up the narrative effectively. The director Priyan and script- writer Kausani Mitra work together to intertwine both the timelines and makes the end product that keeps the audience engaged with the content of the short film up until the end of it. The film is based on true events. It revolves around a woman who has an encounter with her past. The turn of events, which follows in the present as a result of her past, forms the basic storyline of the film. The plot also deals with a couple who are busy searching for love. Will they be successful with their romantic endeavor is another subplot the film talks about. The director of the film wants to speak about subjects like aristocratic homicide and extramarital affairs. Britto has a simple screenplay and does not overdramatize the same so that the audience relate to the subject matter. The short film tries to create a mirror image of the various aspects of human nature that makeup the society, so that the viewers could absorb the social message the movie is making efforts to communicate to them. The film does justice with the horror genre to some extent. The production design, background music, lighting and a few jump- scares create the darkness that is necessary for the gothic feel in the horror genre. The costume, makeup and the jewelry from both the timelines shown in the movie is on point. All the actors featured in the Bengali short film play their characters so beautifully. They are able to bring out the emotional turmoil and fears with so much ease. Even the vengeful spirit in the movie does not come across as a villain. The viewers of the short film try to find out the reason behind such behavior of the character. The only fault I could find with the short film was that the white font of the subtitle given to the film is not suitable as it merges with the color palette of the film. This makes it difficult to follow the cinematic piece for those who don’t understand Bengali. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >