Count On Me film review by UK film critic Swati Verma. Starring Will Fitz Gerald, Thom Leon, Mica Williams directed by Matteo Mauroni. HOME | FILMS | REVIEWS Count On Me Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Sep 8, 2023 Directed by: Matteo Mauroni Written by: Matteo Mauroni Starring: Will Fitz Gerald, Thom Leon, Mica Williams The writer-director Matteo Mauroni builds up an intricate script around the role of expectations in various relationships and how Jay (Will Fitz Gerald) as well as the people around him get affected by it in the long run. The plot of Count On Me revolves around a glamorous drag queen who sits alone in a small semi lit changing room. Her shiny dress and radiant smile are the perfect alter ego, the ultimate disguise but underneath the heavy make-up her eyes tell a very different story. The film opens with an extreme close-up shot of the drag queen getting ready for her show while a voice message along with intense music plays in the background quickly establishing the subject matter of the film it deals with. The nonlinear format of storytelling at the beginning and then switching to linear narrative provides depth and maintains interest of the audience in the content of the movie. Matteo Mauroni and his creative team have incorporated a well-written conversation between two lead characters so that the viewers get emotionally connected to the movie from the very start and keep them eagerly waiting for the climax. The red, blue, and gold colours utilised for the colour tone of Count On Me attempt to celebrate the lives of the entertainers. The set design, lighting, dialogues, costume, hair, makeup, and props compliment the story assisting the cast and crew to effectively and efficiently communicate the key messages to its audience. In terms of performance, Thom Leon plays the male lead Sebastian who works as a drag queen and finds happiness in fulfilling the basic right of the audience to be entertained. Thom Leon understands the nuances of both the persona as well as character arc of Sebastian as well as his professional self. Leon presents a non-identical perspective to life providing the viewers with a chance to learn from the protagonist and making their lives better in the long run. Will Fitz Gerald plays the role of Jay who is a friend as well as the manager of Sebastian. Jay is both the biggest cheerleader and a critic Sebastian needs. Gerald’s screen time is very short but he leaves an everlasting impression in the minds of the viewers. Count On Me talks about mutual love, respect, and appreciation between the audience and an artist working in the entertainment industry. The dramatic piece reiterates the importance of the saying what goes around comes around so we should do good to others and don’t bother about what we get in return. The cinematic piece discusses how significant it is to face one’s fear and not give up and survive each day to achieve the goal/purpose of life god has set for them. Count On Me also highlights the dynamics of the father and child relationship and how the situation changes positively for both of them at the end of the movie. The creative piece teaches the audience about the sense of responsibility towards the work commitments irrespective of the challenges one is going through in his/ her personal life. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Night of the 12th film review by UK film critic George Wolf. Starring Bastien bouillon, Lula Cotton-Frapier, Pauline Serieys, Bouli Lanners directed by Dominik Moll. HOME | FILMS | REVIEWS The Night of the 12th Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Aug 2, 2023 Directed by: Dominik Moll Written by: Pauline Guena, Gilles Marchand, Dominik Moll Starring: Bastien bouillon, Lula Cotton-Frapier, Pauline Serieys, Bouli Lanners The police work on display in The Night of the 12th (La nuit du 12 ) is methodical, committed, and sometimes intense. You can say the same about the filmmaking. Director and co-writer Dominick Moll introduces his latest as a retelling of a “based on true events” unsolved case that still haunts a veteran French police captain. But as he unveils the facts of the investigation in an intimate and calculating manner, Moll deftly brings more universal concerns to the forefront. Yohan Vives (Bastien Bouillon) rises to Le capitaine after a retirement on the force, and it’s at the going-away party for the retiree that we first glimpse the signs of a generational divide. Not long after Yohan’s promotion, 21-year old Clara Royer (Lula Cotton-Frapier) is attacked and killed while walking home from a party. And as Yohan digs into the details of the life Clara had been living, he starts to realize that something’s also “amiss” between men and women. Moll (With a Friend Like Harr y…, Lemming, Only the Animals ) pulls off a tricky balancing act here. He brings a detached, documentary-like approach to the investigation itself, but adds layers of humanity through Yohan’s growing obsession with the case, and the B story involving an older investigator named Marceau (Bouli Lanners). Marceau’s marriage is suddenly in serious trouble, and the effect this has on his approach to Clara’s case brings the narrative threads together with a weary resignation. Bouillon and Lanners are terrific leads amid a first-rate ensemble that includes Pauline Serieys as Clara’s grieving best friend and Anouk Grinberg as a sympathetic judge who urges Yohan not to give up on the case. Cinematographer Patrick Ghiringhelli immerses us in the imposing beauty of the French Alps, while Moll’s Memories of Murder setup gradually adopts a more Cormac McCarthy worldview, but it’s one more focused on how that world views women, young or old. This is a completely absorbing crime drama, and one that is not afraid to reach beyond its local jurisdiction. By the end of The Night of the 12th , Moll has drawn us into a tragic mystery and left us searching for answers to questions beyond the identity of Clara’s killer. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Bury the Devil film review by UK film critic Hope Madden. Starring Dawn Ford, Emmanuelle Lussier Martinez directed by Adam O'Brien. HOME | FILMS | REVIEWS Bury the Devil Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 18, 2026 Directed by: Adam O'Brien Written by: Brad Hodson, Philip Kalin-Hajdu, Adam O'Brien Starring: Dawn Ford, Emmanuelle Lussier Martinez Things don’t often go well for live-in nurses in horror movies. Whether the caregiver is a loved one (Undertone , Relic , The Taking of Deborah Logan ) or a professional (I Am the Pretty Thing That Lives in the House , The Dark and the Wicked ), the patient always seems to bring with them an additional presence. So, I guess Julia (Emmanuelle Lussier Martinez) only has herself to blame. If she’d watched more horror, she might have known that her latest gig in a gorgeous lakeside home with Evelyn (Dawn Ford) would take more from her than her time and compassion. Writer/director Adam O’Brien’s Bury the Devil creates a great, spooky atmosphere. Long takes and a prowling camera give the film a haunted quality, and O’Brien makes the most of his limited budget with a small but talented cast and this stunning location. Ford takes advantages of the opportunities afforded her, gliding from wistful old woman to confused dementia sufferer to something sinister and back with ease. She commands the screen as patients in these films rarely do. Likewise, Martinez carves out a believable character—not the martyr or conniver, just a working nurse on her first night in a new home. The writing is occasionally pushy, trying too hard to wedge information into conversations without forced exposition. We exist only in the present tense. There are no flashbacks or days marked on the screen to help us along. Instead, O’Brien drops us into Julia’s first night and possibly Dawn’s last. It’s a structure that keeps the film moving and surprising, but it doesn’t offer a lot of opportunity to expand the story. The gaps in the mythology weaken the climax. What you don’t know and couldn’t possibly understand without some guidance leaves you guessing at too much. That guesswork keeps the finale from feeling like a resolution, like pieces finally fit into a puzzle. It’s not enough to ruin the movie, but it’s enough to keep it from leaving a mark. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Hot Chip Eleanor film review by UK film critic Swati Verma. Starring Na directed by Alice Kong. HOME | FILMS | REVIEWS Hot Chip Eleanor Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Sep 18, 2023 Directed by: Alice Kong Written by: Alice Kong Starring: Na The writer-director Alice Kong utilises animation to create a miniature world beautifully integrating major life lessons for the audience in a fun way without sounding moralizing to them. The plot of the music video revolves around Eleanor who, after a series of unfortunate events then takes control of her environment and twists everything to her advantage by literally sculpting the clay world, she lives in. The music video opens with a long shot of a building quickly camera panning into Eleanor’s world along with upbeat music establishing the subject matter Kong wants to discuss therefore increasing the degree of engagement of the audience with the content of the film. The set design, the combination of yellow, blue, pink, grey colour tone, dim lighting, camera angles, sound, costume, hair, makeup, and props add depth to narrative, realism, and relatability, therefore building and maintaining the emotional connect as well as the interest in the content even though the length of Hot Chip Eleanor is about 4 minutes long. In terms of performance, Alice Kong and her team work hard to slowly develop a clay miniature form in this wonderful animated promo for Hot Chip. The team has decided to concentrate on the slightest of details like colour combination of the name-Eleanor Hot Chip, the colour of the brick, and the poster. The creative team has also hidden some Easter eggs in the animated clip making it an interactive experience for the viewers while watching it. The editing skills beautifully depict and demarcate the two different perspectives of life Kong wants to showcase so that audience can learn from them. All the cartoon characters as well as the props are aptly designed to suit every subplot. There are no dialogues in Hot Chip Eleanor making it dependent on body language, and facial expressions for taking care of the continuity factor as well as the smooth flow of the storyline demanding a lot of attention from the audience to enjoy and interpret it as per their understanding. Hot Chip Eleanor talks about the need to craft one’s destiny and too much emotional dependence on people can prove detrimental to one’s mental and physical wellbeing. The music video reiterates the fact that it is all about making suitable choices to improve the quality of one’s life and also positively affect the lives of loved ones too. The cinematic piece restates that there would be a lot of people and situations that will tend to pull one back in the path of success but everyone needs to combat the hurdles to emerge victorious in life. Hot Chip Eleanor tells the audience that one should continuously learn from all their experiences and face their fears without giving up until life allows to portray all the qualities like charm, politeness, sensitivity, tenderness, happiness, hope and romance one has managed to retain despite all the hardships thrown at them by life. Buy UKFR Banner Space About the Film Critic Swati Verma Animation, Music Video < All Reviews Next Film Review >

Juniper film review by UK film critic George Wolf. Starring Charlotte Rampling, George Ferrier directed by Matthew J. Saville. HOME | FILMS | REVIEWS Juniper Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Feb 23, 2023 Directed by: Matthew J. Saville Written by: Matthew J. Saville Starring: Charlotte Rampling, George Ferrier So you’ve got the final draft of your first full screenplay, which you plan to develop for your debut feature as a director. It’s a solid script, but it treads some familiar ground, and there’s never much doubt about where it will lead in act three. What’s the smart play? Cast esteemed talent that’s capable of elevating that material at every turn. And writer/director Matthew J. Saville is no dummy, letting the great Charlotte Rampling leave a memorable mark all over Juniper , a family drama blessed with fine performances across the ensemble. Rampling is Ruth, an alcoholic and former war photographer who has moved in with her estranged son, the recently-widowed Robert (Martin Csokas), as she recovers from a broken leg. But Robert must attend to some business out of town, leaving his teenage son Sam (George Ferrier) to assist Nurse Sarah (Edith Poor) every time Ruth rings that damn bell. She rings it often, and Sam is not amused by this grandmother he’s never met before suddenly barking orders at him. But Sam isn’t amused by much. The death of his mother is still a fresh wound, his father seems clueless to his needs, and the young ladies aren’t too interested lately. Plus, Sam’s been suspended from school, which gives Robert an excuse to punish him with elder-sitting duties. Can this resentful teen and his feisty granny find some common ground in their anger at the world, maybe even develop a begrudging respect on their way to learning from each other, and cherishing this new family bond? The things Ruth has seen have hardened her to pretense and empty gestures, and she’s only too happy to dig into everyone around her as she searches for those with substance and a zest for living. Rampling brings all of this to the screen with wonderful authenticity, sometimes needing only a steely glare to get the job done. She’s a treasure. And kudos to the young Mr. Ferrier. He doesn’t let Rampling’s shadow block him out, and the two share a natural chemistry that fuels the organic melting of the ice between their two characters. Saville’s storytelling is sound and well-intentioned, it’s just not overly profound. Much like nearly every romantic comedy you’ve ever seen, the trick for Juniper is how well it gets to where you know it’s going. And thanks to Rampling and her solid support, the trip is constantly engaging. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Midnight film review by UK film critic Rachel Willis. Starring Wi Ha-Joon, Park Hoon, Ki-joo Jin directed by Oh-Seung Kwon. HOME | FILMS | REVIEWS Midnight Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Apr 5, 2022 Directed by: Oh-Seung Kwon Written by: Oh-Seung Kwon Starring: Wi Ha-Joon, Park Hoon, Ki-joo Jin In the dark and deserted alleys of an unnamed Korean city, Do Shik (Wi Ha-Joon) hunts. His prey is mostly young women, but men are not invulnerable to his violent pursuits. In writer/director Oh-Seung Kwon film Midnight , two Deaf women (mother and daughter) find themselves in a game of cat and mouse with the manipulative and persistent killer. From the very beginning, Kwon’s focus is building tension. The gorier aspects of what Do Shik does are left to audience imagination. And by introducing the killer first, Kwon allows us to be privy to the type of games this hunter plays. After a creepy opening scene, the movie takes a little time to introduce us to our other main characters. Kyung Mi (Ki-joo Jing) works as the Deaf representative in a call center and longs to take a vacation with her mother. We also meet an older brother and younger sister who playfully battle over the sister’s curfew for her blind date. The film moves back and forth between these pairs before reintroducing us to our sadistic killer. Some of the tension is built upon the things mother and daughter can’t hear. A sticky door lock that, even while pulled slowly, emits an ear-splitting whine. The approach of hurried footsteps from behind. A thrown shoe. The second act is the film’s strongest portion. The incompetence of police officers trying to “help” leads to some funny moments, and the reactions of the officers and their inability to understand teeter between hilarity and frustration. There are also some moments of teeth-grinding tension as the two women find themselves alone and taunted by Do Shik. His threatening words are delivered in low tones and close-lipped sentences, allowing the audience to understand what the two women can’t. Kyung Mi’s mother is not as quick as her innocent daughter to accept that Do Shik is trying to help. She quickly picks up on the contradictions in his attitude, which range from distraught to amusement. Yet for all the strength of the second act, the movie unravels in the final segment. Suspension of disbelief is tested with some truly questionable character decisions. Though the tension carries over from the middle section, it’s hard to maintain when you’re too busy wondering why certain characters behave the way they do. A disappointing climax muddies the film’s overall effect and overshadows the message. However, there’s enough working for this tense and exciting thriller to entertain even the most skeptical viewer. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Flakes film review by UK film critic Rob Jones. Starring Barbara Spevack directed by Barbara Spevack. HOME | FILMS | REVIEWS Flakes Film Review average rating is 2 out of 5 Critic: Rob Jones | Posted on: Mar 17, 2023 Directed by: Barbara Spevack Written by: Barbara Spevack Starring: Barbara Spevack There are very much two parts to Flakes. One is an audio track that’s comprised of a subtle score and a recital of an original piece of literature concerning the heaviest of topics - the extermination of Jewish bodies during World War II and the personal feelings of a German soldier facilitating the last phase of an evil plan. The other is a kind of montage that’s supposed to give a visual element to what we’re listening to. Unfortunately it never really comes anywhere close to doing it any justice. It gets to the point where it feels more natural to mentally come up with an image than it is to take in the one we’re given. The written work here is very good. It’s challenging and it explores a perspective on the atrocities of the war that aren’t usually looked at. The idea that good people were coerced into doing awful things is a vital part of modern history that gets pushed aside in favour of a binary narrative, that there was a good side and a bad side when the truth is clearly far more nuanced. With films like All Quiet on the Western Front getting so much attention recently, it may be that things are changing for the better in that area. Nonetheless, Flakes does a brilliant job of describing some really gruesome truths that good people would have had to battle with, and from that point of view, it’s measured, considered, and thought-provoking. It’s a bit of a distraction that while that’s going on there are visuals that don’t add anything meaningful. It appears as if it’s mostly stock footage layered underneath stock effects, but ultimately it isn’t anything that we haven’t seen before and therefore couldn’t have just been left to come up with ourselves. To a degree, it cheapens the whole piece because when we should be thinking about the richness of the text, it’s hard not to wonder why it’s been paired with such a low-quality accompaniment. It has to be said that it feels like this would have been more suitable just as a work of spoken word rather than a short film. It doesn’t suit the brief of creating an audio-visual experience, but rather it comes across as two separate pieces that have been pulled together into a package for reasons unknown. While it might be very well written, the extent to whether this should have ever become a film in the way that it has makes it a difficult experience. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Read LGBT Film Reviews from UKFR on some of the latest theatrical, indie, and short films. Submit your LGBT film for review too. LGBT Film Reviews One of the most influential and exciting genres in films, our LGBT film reviews cover a massive array of cinematic releases, independent cinema, and short films. Having become a hotspot for new filmmakers, UK Film Review is proud to have promoted some of the best LGBT films in the UK and internationally. We also work regularly to promote BFI Flare, the biggest LGBT film festival in Europe. In fact, on this page you will see reviews of LGBT films as well as features and special articles that we have written about BFI Flare. The reason why we have chosen to highlight LGBT as a specific genre on our website is to promote the ideas of inclusion. As an entertainment website, we invite all types of filmmakers to submit their films for us to review and promote (good or bad) and want storytellers from all walks of life to do the same. You can use the Submit Your Film page to send us the details of your film and there are various options available in terms of when you need the review done by (perfect for festival submissions etc). If you are an LGBT organisation and would like to be a partner with UK Film Review, drop us a message on our Facebook page. We are always looking to promote our filmmakers across as many relevant platforms as we can and can offer exposure for your organisation in return. All that's left to say is enjoy these LGBT film reviews, remember to share the love wherever you can. Gender Studies (2026) Short Film Review William Hemingway Mar 13 3 min read Sister Wives Short Film Review alexjames96 Aug 21, 2025 2 min read Filmmaker Interview with Val Tan Amber Jackson Sep 2, 2024 5 min read Film Podcast: Paul Mescal and Andrew Scott shine in Love Drama Chris Olson Feb 23, 2024 1 min read Dino at the Beach Short Film Review alexjames96 May 3, 2023 2 min read Aristotle and Dante Discover the Secrets of the Universe TIFF Review - Sep 12, 2022 2 min read More Film Reviews

The World Cruzer film review by UK film critic Jason Knight. Starring David Nathan, Gerrit Schmidt-Fob, Jurgen Thormann, Philipp Moog directed by Yorick Niess. HOME | FILMS | REVIEWS The World Cruzer Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 16, 2022 Directed by: Yorick Niess Written by: Yorick Niess Starring: David Nathan, Gerrit Schmidt-Fob, Jurgen Thormann, Philipp Moog An extraordinary journey through planet Earth, humanity and space. This rather intriguing and genuine documentary from Germany makes the audience feel like they are traveling around the globe, arriving at any part of it in the blink of an eye, and seeing the beauty of it and mankind's progress. The people who view this film will see a lot of things, as it contains a rich collection of images that seem to show what life is like on Earth. The entire feature is basically a one-hour-and-forty-minute long montage of wonderful images, some of which are about Earth and others about space. It could also be categorised as a music video, with electronic music by the band Reecode. There is voice-over from a narrator and several other individuals who appear to portray unknown and unseen characters. The narrator talks about an entity called The World Cruzer, who embarks on a journey, traveling around the world. The character voices belong to a group of people who express their opinions on a variety of subjects including acceptance, happiness and self-discovery. Their words appear like text messages from messaging apps, pointing out that this is a way many people communicate these days. Regarding the words and messages, they come across as philosophical and wise and some seem to be advice on how to live a productive life. The visuals appear to represent the topic of the narration that accompanies them. Visually, the documentary contains stock footage, animation and photographs. The images cover many areas, including social issues, space, nature, the ocean and people around the world. The viewers will see many animals, both on land and in the ocean, all kinds of people, beautiful landscapes and astronauts in space. There is a great deal of slow motion and Niess did a great job with the editing. Interestingly, if the voice-over was removed, this would be a different kind of experience, taking the viewer on a journey filled with wonderful music and mesmerising visuals. It would also make an interesting viewing if there was nothing to see, no images only audio, with people listening to the voice-over and score. Although to some it might feel a bit overlong, this documentary is quite a journey and one that explores the wonders of Planet Earth and the evolution of mankind. It is a calming and fascinating look into Earth, humanity and space. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary, World Cinema, Music Video < All Reviews Next Film Review >

Maybrick film review by UK film critic Patrick Foley. Starring Nanci Bennett, Adan Osborne, Maisie Blake directed by Charlotte Rose Ainsworth, Lorna Lennon-Dalziel. HOME | FILMS | REVIEWS Maybrick Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 23, 2026 Directed by: Charlotte Rose Ainsworth, Lorna Lennon-Dalziel Written by: Charlotte Rose Ainsworth, Lorna Lennon-Dalziel Starring: Nanci Bennett, Adan Osborne, Maisie Blake Charlotte Ainsworth's and Lorna Lennon-Dalziel's Maybrick is a dramatisation of a controversial but forgotten Victorian-era murder case that would have made a killer documentary on the 19th-century version of Netflix. Combining elements of sexism, classism and racism with a shocking link to one of history’s most notorious figures, this short tells a gripping story of its own whilst making its subject both relevant to modern audiences and of its time. American socialite Florence Maybrick (Nanci Bennett), is on trial in Victorian Liverpool for the murder of her husband James. With her arrest doggedly pursued by James’ brother Michael (Adan Osborne), scandalous details of liaisons emerge that destroy Florence’s reputation – despite her husband’s guilt of the same sins. With the prospect of an execution hanging over her, Florence searches for another method of salvation in a world stacked against her – and her intuition of the Maybrick family’s connection to a greater scandal may provide it… Created by Liverpool-based filmmakers, Maybrick is an intriguing examination of a forgotten episode in the city’s history – one that collides brilliantly with the rebellious and non-conformist spirit that has emerged since the 80s. Sexual liberalism and feminism were as strange to Liverpool as anywhere else in the 1890s, and Florence Maybrick’s story is one that intriguingly stands out for the blights against her name that Charlotte Ainsworth and Lorna Lennon-Dalziel brilliantly skewer in this drama. The film has a dark tone that suitably matches the overwhelming force its subject is set against as she tries to clear her name against flimsy charges of poisoning. It is evident from the start that the wealthy, trusted Maybrick family name turns on her, as her deceased husband’s brother – brilliantly played by the acid-spitting Adan Osborne – wields the full force of societal expectation as a weapon. It is clear that existing outside of the norm is what has condemned Florence – with even housemaid Alice (Maisie Blake) standing against her despite knowledge of the family. Courtroom scenes are particularly intense and foreboding, with an intimidating pomp of the Victorian justice system brilliantly recognised by the set designers. Nanci Bennett’s Florence is suitably stubborn and cunning. A heroine in the same mould as many upstart protagonists standing against the empirical conservatism of Victorian Britain, she is strong in the face of authority and unapologetic for the crimes she has not committed. There are some moments in her cell with Lisa Howard’s Baroness Von Roques or with Maisie Blake’s Alice where we see a more vulnerable side and the complexity of her circumstance comes to bare – the choice between a false confession and life, or a stand against the system that means death. A few more of these moments would have served the film better – and better placed it in the confines of the time period in which the attitudes of society seemed intractable and a stand against them a futile effort, making the character’s bravery all the more powerful. However given the shorter runtime, it is understandable that not every avenue can be pursued. Similarly, whilst there are some production hiccups such as the cleanliness of the film for the time period, it’s a forgivable indiscretion given the film’s budget, which is easily ignored due to the quality of the storytelling. Maybrick is a great telling of a fascinating story that will be fresh to many a viewer. It captures the injustice of its case and draws an important line between the events it portrays and the modern day, and has enough intrigue to leave audiences desperate to know more about the case and its participants. And it doesn’t need 4 parts filled with filler to do it - Streamers take note. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Swapped film review by UK film critic Hope Madden. Starring Michael B. Jordan, Juno Temple,Tracy Morgan directed by Nathan Greno. HOME | FILMS | REVIEWS Swapped Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 1, 2026 Directed by: Nathan Greno Written by: John Whittington, Christian Magalhaes, Robert Snow Starring: Michael B. Jordan, Juno Temple,Tracy Morgan Director Nathan Greno pulls from a lot of influences for his new feature, the Netflix exclusive Swapped. The vibrant colors and poetically gorgeous woodland creatures conjure Miyazaki, particularly the more serene scenes from Princess Mononoke . And the bit where the little chipmunk looking thing and the big plumy bird switch bodies, that is obviously the Disney classic Freaky Friday . Swapped is a visual feast, especially the earliest sequences when a young Pookoo (chipmunk like thing) named Ollie (voiced in youth by Camden Brooks and in adulthood by Oscar winner Michael B. Jordan) explores the waters around Pookoo Island. But Ollie’s mom and dad (Justina Machado, Cedric The Entertainer) warn him that everything off island is dangerous. Everything! Ollie doesn’t believe them, so things, of course, go terribly wrong. Mean birds steal the seeds that keep the Pookoo alive, and Ollie has to make things right. But instead, he Freaky Fridays with one of those birds (Juno Temple), and suddenly everybody’s in a terrible state. Swapped takes that time honored tale to share a meaningful fable on the power of empathy. Temple and Jordan both provide strong voice talent—Temple is especially on point. Tracy Morgan is ideal as Boogle, an enormous, simple-minded fish. Honestly, Swapped offers Morgan more of an opportunity to stretch than any role he’s had in recent memory, and he nails it. And while the story leans into familiar territory, its tale is important. Greno and his team of writers don’t complicate it beyond what youngsters will gladly follow, nor do they water down their message. The result is emotional, funny, sometimes even harrowing. And really gorgeous. Swapped doesn’t do enough to set itself apart from other animated wonders, but what it does it does really well. It’s a powerful story beautifully animated and well told. Buy UKFR Banner Space About the Film Critic Hope Madden Netflix < All Reviews Next Film Review >

Seine film review by UK film critic Patrick Foley. Starring Tim Klotz Davenport, Lee Bane directed by Dan Horrigan. HOME | FILMS | REVIEWS Seine Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 24, 2024 Directed by: Dan Horrigan Written by: Dan Horrigan Starring: Tim Klotz Davenport, Lee Bane Seine is a poignant and poetic look at vagrancy, dignity and humanity that aims to redefine how viewers consider homelessness and the people who end up trapped in the cycle. It’s a genuine and authentic short that is sure to leave an impression, thanks to inspired structuring and powerful performances from its lead. An ex-taxi driver (Tim Klotz Davenport) who ended up living on the streets of London recounts a meeting that changed his life. Now working as a debt collector, he looks back on a friendship he briefly formed with another homeless man (Lee Bane) who has since passed. Left with questions and recollections, he tries to make sense of a harsh and uncaring world that makes kindness and openness a choice, and how people can find dignity even in degrading circumstances. Dan Horrigan sets lofty ambitions with Seine. Set in monochrome and overlayed with a haunting monologue in a Scottish accent, the film could easily drift into a stagey and overly serious self-parody in attempts to tug on heartstrings. But Horrigan’s emotional, intelligent script, and Tim Klotz Davenport’s considered, authentic delivery means that the heart of the film pulls out. The reliable, tested tropes employed serve their purpose in this sense rather than taking over the film, highlighting the central themes of friendship and common humanity rather than overshadowing them. Told in a dreamy, floating state in which viewers are left to speculate timing and truth, audiences are absorbed into the protagonists’ troubled existence in an overbearing, ominous London. Wracked by guilt and insecurity, the film feels like a confession of sins, a desperate plea for penance of a man who made a choice that might have saved his life, but that many others never get the chance to take. The narrative excels in capturing this unusual experience and equating the end and beginning of the man’s story, making for both a fascinating character study and a tragic gritty chronological look at the complexities of homelessness. Davenport’s performance in the lead role is exceptional. Underneath a hardened, harsh shell, lifelong wounds and traumas seem to seep out of his weary eyes. The film’s closing shot is truly affecting, simple yet destined to drag the tears from viewers as a precision-strike summarisation of the film’s examination of just what dignity means. Lee Bane similarly lands his role as a mysterious fellow vagrant, leaving breadcrumbs for both the protagonist and viewer to contemplate. The film isn’t perfect, with a score that grows a little repetitive, and the stagey-ness does feel a little ‘amateur theatre production’ in moments such as the shaving scenes, which feel like they do not land with the intended impact. Yet these don’t undermine the brilliant emotional construction or break immersion in the story. Horrigan has made something truly moving with Seine, a film that will leave a mark of its audience and shines a genuinely thoughtful, uncompromising light on homelessness. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >