Diri film review by UK film critic Jason Knight. Starring Izyan Hay, Abigail Q Lee, Richard Yu directed by Rashdan Radha. HOME | FILMS | REVIEWS Diri Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 18, 2024 Directed by: Rashdan Radha Written by: Rashdan Radha Starring: Izyan Hay, Abigail Q Lee, Richard Yu A young woman makes a surprise visit to a friend. However, things appear to be different. Melur (Hay) arrives at the home of a friend that she has not seen in a while. Her friend is Rose (Lee) and she now lives with her partner, Oliver (Yu). Although Melur is welcomed in their household, it is apparent that all is not well, as Melur hears arguing coming from their house when she arrives and she herself seems to be having troubles of her own. This short drama has a narrative that follows a visit that turns awkward and dramatic. It focuses on a friendship that appears to be broken because of complications that involve relationship issues, personal problems and dishonesty. Melur becomes aware that things are not good between Rose and Oliver and when she enquires about it, Rose claims that all is well. Likewise, when Rose asks Melur about her life, she states the same, which feels unlikely as she repeatedly refuses to answer her phone and she is seen vomiting at the beginning of the film, indicating that she is pregnant. Their worries and negative experiences seem to have affected Melur and Rose to the point where they appear to be changed people now, even strangers to each other. The film seems to be pointing out that secrets and lack of communication create gaps between people and damage friendships. It is not clear what Melur and Rose's issues are exactly (when the arguing is heard, the voices are muffled), however both of them have worries and do not reveal them to each other and as a result, they are unable to connect anymore. Radha creates some well-executed long takes and the editing becomes creative during a sequence involving use of jump cuts. Regarding the audio, there is no music and there is a high pitch sound that seems to reveal Melur's troubled state of mind, the noise being the work of sound designer Joe Button. This is a sad story about two people who clearly used to be close and have drifted apart over time, having reached a point where they do not know each other anymore. Ultimately, the message that the film is trying to communicate appears to be that dishonesty causes people to lose the ones they are not being honest with. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Wanderer film review by UK film critic Matt Trapp. Starring Dead Movie Animals directed by Henrik Lande Andersen. HOME | FILMS | REVIEWS The Wanderer Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Aug 11, 2025 Directed by: Henrik Lande Andersen Written by: Henrik Lande Andersen Starring: Dead Movie Animals The dramatic landscape of Norway is on full display in the music video for Dead Movie Animals’ The Wanderer. Directed by Henrik Lande Anderson, the video perfectly compliments the duo’s meditative track to create a harmonic audio/visual experience. Shot over a period of two years, Anderson centres the changing seasons of Norway in this music video. Verdant, rolling hills of springtime give way in an instant to winter’s cold embrace, and the thick blankets of snow soon yield to a bracing wind from autumn. Amidst the changing seasons works the titular wanderer, a hardy worker constructing a dwelling in the changing environment. Behind the scenes, the project Anderson filmed was the conversion of a German WW2 bunker into a sanctuary, a project of reclamation over time. There’s a thoughtful juxtaposition in the filming of the natural and man-made worlds, a sort of harmony being found between them; seasons may change but the wanderer continues on all the same. Growth becomes a relevant and interesting theme as Anderson returns to the image of a tree growing through time lapse photography. Similarly, the bunker project continues on, taking shape and ‘growing’ from something uninhabitable to a welcoming space. Man is rendered as part of nature in The Wanderer , altering the face of the landscape but ultimately not becoming separate from it. It would be remiss not to acknowledge the precise filmmaking on display in The Wanderer . The effect of the changing Nordic landscape is achieved through masterful editing and thoughtfully planned photography - specifically, the changing seasons are captured seamlessly through the camera’s unchanging position. Even more impressively, the wanderer’s position in the frame is matched perfectly through the seasonal changes, maintaining a sense of consistency between the shots. The effect is magical, alluding to the power of time and its relationship with nature. Perhaps the film is alluding to the timelessness of nature compared to man - the only evidence that the footage was shot over two years comes from the building renovation. The footage suits Dead Movie Animals’ music perfectly, and the two work harmoniously to create a compelling audio visual experience. Dead Movie Animals’ ambient soundscape is complimented excellently by Anderson’s filmmaking, and the result is a thoughtful meditation on our relationship with the outside world. There’s a kind of melancholy in The Wanderer , the sands of time so visibly falling as reflected in the changing of the seasons. Perhaps it’s a reminder to start working on our own projects that will take time, or to take stock of the world around us. Time marches on and we are but wanderers in this world, afforded only a limited number of seasons. Rather than fighting against time, we could learn to appreciate the changing seasons, to admire the ancient beauty of our planet, and to live within nature. Buy UKFR Banner Space About the Film Critic Matt Trapp Music Video < All Reviews Next Film Review >

Wild Indian film review by UK film critic Hope Madden. Starring Michael Greyeyes, Chaske Spencer directed by Lyle Mitchell Corbine Jr.. HOME | FILMS | REVIEWS Wild Indian Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 2, 2021 Directed by: Lyle Mitchell Corbine Jr. Written by: Lyle Mitchell Corbine Jr. Starring: Michael Greyeyes, Chaske Spencer As angry a movie as you’re likely to see, Wild Indian pushes you to hope compassion and tenderness come to the most unlikeable man onscreen. When Makwa (an exceptional Michael Greyeyes) was a boy on the reservation, he and his best friend Ted-O (played in adulthood by Chaske Spencer) participated in something terrible. Ted-O never really got over it. Neither did Makwa, but now living in a high rise in Seattle and going by Michel Peterson, you might mistakenly believe he’s moved on. This man is possibly the most complicated character I’ve seen onscreen this year, and Greyeyes’s blistering performance delivers honesty that’s tough to look away from. Makwa/Michael is equal parts sociopath and lost soul. He is the result of his own upbringing, but also of suffering that goes back generations and reverberates outward to the sea outside his gorgeous upscale apartment and beyond. Writer/director Lyle Mitchell Corbine Jr. refuses to lean on stereotypes that would make the performance more comfortable viewing. Makwa is neither victim nor noble wiseman. Not entirely a villain, he’s nonetheless ill-suited as antihero or, god forbid, hero. He’s a survivor bound up in his own guilt and shame, taking advantage of whatever he can and hating himself and everyone around him because of it. Balancing that and breaking your heart as he does, Spencer’s Ted-O is a result of the same history of trauma, oppression, poverty. But the tenderness Spencer conveys in every scene, the humility and pain, give this film its humanity. Corbine Jr. contrasts Ted-O’s touching relationship with his sister and nephew against Michael Spencer’s robotic, even frightening reactions to the women in his world. The two men’s relationships in the workplace differ similarly. As the action builds toward an inevitable and bewildering climax, Ted-O is more sympathetic with every step he takes toward violence while Michael’s icy psychotic side emerges the more he tries to keep violence at bay. It’s a desolate world Corbine Jr. creates, but no less remarkable for its bleakness. A character study unlike anything else on screen this year, Wild Indian gives longtime character actors Greyeyes and Spencer the opportunity to command the screen with leading roles and they more than rise to the occasion. In his feature debut as a filmmaker, Corbine Jr. has also announced his own presence with authority. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

Jimmy and Stiggs film review by UK film critic Hope Madden. Starring Joe Begos, Matt Mercer directed by Joe Begos. HOME | FILMS | REVIEWS Jimmy and Stiggs Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 12, 2025 Directed by: Joe Begos Written by: Joe Begos Starring: Joe Begos, Matt Mercer Few filmmakers capture drug fueled horror mayhem quite like Joe Begos (Bliss, VFW) . His latest is an exercise in minimalism. Not in terms of drugs or mayhem, just filmmaking. An alien invasion horror flick, Jimmy and Stiggs sees Jimmy (Begos), an out of work filmmaker, hitting the stuff hard in his LA apartment when he blacks out and loses an entire night. Certain an alien abduction was involved, and that those slimy sardine MF’ers are coming back for him, he calls his best friend Stiggs (Matt Mercer) for advice. The thing is, Stiggs is six months sober and hasn’t spoken to Jimmy in ages. In fact, in an opening sequence shot go-pro style from Jimmy’s inebriated point of view, we learn that Stiggs isn’t interested in producing Jimmy’s new film, news that sends Jimmy spiraling. Still, worried for his old friend’s sanity and welfare, Stiggs shows up at Jimmy’s place just in time for the aliens to return. What Begos creates, in a quick 80 minutes with mainly two actors and one increasingly and impressively demolished set, is DIY filmmaking at its most profanity strewn. Given the sheer volume of cocaine and whiskey, the incoherence of the plot feels right at home. Begos amplifies the nuttiness with wild cuts, possible dream sequences, time shifts, and the periodic use of first person, go-pro POV sequences. The result is a dizzying, black-light colorful excuse to bash practical FX aliens to bits and let their day-glo goo decorate the apartment. On the downside, Begos is no actor, and even 80 minutes of isolation with Jimmy and his coked-up ranting feels too long. Mercer fares better, leading some Apocalypse Now type insanity that plays really well in this context. Jimmy and Stiggs was shot over 4 years, beginning during lockdown and extending until completion, mainly in Begos’s LA home. It’s a wild bit of alien fun that fades to black just before it outstays its welcome. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Odyssey film review by UK film critic George Wolf. Starring Matt Damon, Anne Hathaway, Tom Holland, Robert Pattinson directed by Christopher Nolan. HOME | FILMS | REVIEWS The Odyssey Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Jul 15, 2026 Directed by: Christopher Nolan Written by: Christopher Nolan, Homer Starring: Matt Damon, Anne Hathaway, Tom Holland, Robert Pattinson Christopher Nolan likes a big room. A massive cast, incredible set designs, far flung locations, 70mm IMAX cameras, The Odyssey has it all. And why not? Homer’s story is among history’s first ever epics. And it’s quite a tale, trailing Odysseus (Matt Damon) as he struggles to return home to Ithaca after his savvy strategy leading to the defeat of Troy. Nolan, who adapts the 2700-year-old tome, finds echoes of Oppenheimer in Odysseus’s struggle. It’s a haunting narrative choice that gives the ancient proceedings a relevance that transcends time. Damon is magnificent, wily and honorable, humble and arrogant, and Nolan surrounds him with a jaw-dropping ensemble. Anne Hathaway is bracingly wonderful as Penelope, the wife pushing off suitors circling the throne Odysseus left empty nearly two decades ago. Tom Holland, John Leguizamo, Mia Goth, Corey Hawkins, and Robert Pattinson join Penelope in the castle, and while the entire cast is solid, Pattinson again carves out unforgettable screentime. Out in the wild world, Charlize Theron offers a beautiful dash of melancholy as Calypso, who prods Odysseus to search his memories and tell the tale. Himesh Patel is also exceptional as Eurylochus, Odysseus’s second in command. Elliot Page delivers a heartbreaking turn as Sinon, a youngster who follows Odysseus into battle, Jon Bernthal crafts a perfectly hardened King of Sparta while Samantha Morton finds remarkable depths as the witch Circe, given her limited time on screen. With even less screentime, Lupita Nyong’o and Zendaya leave an emotional mark. And that’s not even the full cast, each of them bringing vulnerability to scenes of remarkable staging. The Trojan horse, the ship at sea, scenes of war, of mutiny, scenes confined to a banquet hall or strewn across the black embers of hell—this is Nolan at not just his most imaginative, but his most insightful as he finds relatable humanity inside even the grandest of moments. He also mines new relevance from this ancient text, increasing the narrative weight with each spectacular step on the journey. Set in “a time of apparent magic,” Nolan doesn’t let us forget that the sacred bonds between people are still very fragile indeed, and breaking them can still have haunting, tragic repercussions. The Odyssey casts such a mesmerizing spell that its three-hour runtime seems inconsequential, and the occasional lapses into more contemporary types of dialog and phrasing are rendered mere curiosities. Even those who may not be quite scholarly in Greek mythology will find a rich, rewarding story to get lost in, one that is anchored in storytelling itself as a reminder of what power the ancient art can hold. Expect witchcraft and monsters (maybe a horror film next, Mr. Nolan?), war, brutality, political skullduggery, love and longing, revenge and regret, sacrifice, cowardice, honor and visual wonder. The magic here is more than apparent, so don’t cheat yourself by waiting for the streaming date. The Odyssey is a true cinema experience, and a reason to seek out IMAX, 70mm, the whole fantastic shebang. This trip of a lifetime deserves nothing less. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Toasted film review by UK film critic Jason Knight. Starring Jack Murphy, Brady Stone directed by Jack Murphy. HOME | FILMS | REVIEWS Toasted Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 22, 2023 Directed by: Jack Murphy Written by: Jack Murphy Starring: Jack Murphy, Brady Stone A troubled man has a conversation with his landlord and things turn bad. Mike (Murphy) is a young man who is going nowhere in life. He has substance addictions and has gotten into trouble with the law. He pays a visit to his landlord (Stone) and after the two of them discuss Mike's problems, the landlord tells him that he is going to evict him. Mike does not take it well and reacts dramatically. This short dark crime drama focuses on a youngster who is living a meaningless life. The opening shot reveals that Mike has issues by showing pill containers and a box of beer on a table, which also sums up his negative lifestyle. When he goes to his landlord's apartment later, that is when it is revealed how low he has fallen. The landlord explains that Mike has been a long-term drug addict, who has failed to pay his rent for a while, yet he has tried hard to support him. Finally, he tells Mike that he must move, which pushes him over the edge. Approximately the first half of the film is a hard-hitting drama about addiction and desperation, which then turns into a thriller. The two protagonists are quite contradicting between them. The landlord comes across as caring, showing sympathy towards Mike, but also condemning his irresponsible actions. Mike is stubborn and unstable,refuses to acknowledge his mistakes and has a lot of aggression in him. The filmmakers make interesting references regarding the title. 'Toasted' is an informal way of describing someone as being drunk or under the influence of narcotics, which obviously applies to Mike and there is also actual toast in the film being toasted in a toaster, which clearly serves as a metaphor for Mike's unfortunate current situation: toasted. There are creative lighting techniques and the filmmakers make effective use of out-of-focus sequences and fast-cutting editing. The tense, sinister and dynamic music contributes significantly to the atmosphere. This short could be categorised as a dramatic commentary about low life, drug addiction, alcoholism, despair and trauma. However, it also works well as a thriller, telling a dark story about a youth going downhill and reaching the breaking point. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Woken film review by UK film critic James Learoyd. Starring Erin Kellyman, Maxine Peake, Ivanno Jeremiah directed by Alan Friel. HOME | FILMS | REVIEWS Woken Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jun 7, 2026 Directed by: Alan Friel Written by: Alan Friel Starring: Erin Kellyman, Maxine Peake, Ivanno Jeremiah Alan Friel’s Woken is a post-apocalyptic psychological thriller which, in many ways, delivers everything you could want for that exceedingly niche subgenre (if you can call it such). The setup is an engaging one, but territory we’re familiar with. Following a bewitching opening sequence wherein our main character is seen jumping off a cliff, the scenario we then find is one of forgotten memory and domestic suspicion. Anna (played brilliantly by Erin Kellyman) wakes up and finds herself being cared for by people she does not know and who reveal very little about the state of the world she’s woken up to. The film carefully unravels a multilayered mystery which delves into varying genres that the viewer may not see coming. This is a nicely crafted, expertly performed horror which manages to maintain a high level of suspense and intrigue – even offering some genuine frights. There’s something critically conflicting about this plot and how it evolves, and it’s something I’ve encountered in other popular contemporary horror film (namely the very good Barbarian ). I’m referring to the specific phenomenon of the movie’s first act being the strongest and most engaging – despite it also, simultaneously being the most predictable in terms of its plotting. The opening movement of Woken is wonderfully paced and truly immersive for its folk influences, its textural capturing of an island setting, and its overarching sense of doubt. Two of the best horror movies – The Wicker Man and Rosemary’s Baby – are evoked in these outstanding opening sequences. Best of all is the subjective way in which the audience is placed in the unknowing perspective of Anna. Due to the gradual impartment of clues and signs, the viewer only ever knows as much as our vulnerable hero, making the viewing experience an even more exciting one. Outside of the script and mise-en-scene, another significant detail that contributes toward our engagement is the quality of the performance at the centre of this tale. Despite being surrounded by stylistic developments that veer towards more exaggerated genre territory, Kellyman remains steadfast in her naturalism and believability; but, additionally, in such a way that doesn’t tonally undercut that more stylised type of filmmaking that the writer-director wishes to explore. The latter acts occasionally struggle to maintain the steady hand that was demonstrated in the first half-hour. However, despite the lessening of atmosphere and gentle craft, it’s undeniably invigorating to see the narrative be utterly flipped on its own head and morph into a different film altogether. The film’s multitude of story focuses and aesthetic concerns could prove overwhelming to the casual cinemagoer. To explain, consider how the film fluctuates between all the following modes: thriller, folk-horror, mystery, hot-house drama, creature-feature, high-minded science-fiction and even government conspiracy. For some, like myself, this broad scope is appealing – even when the film itself slightly buckles under the changing tonal weight of its own screenplay. Yet outside the narrative, this is also a beautifully shot and designed picture, built around anamorphic cinematography, real locations and perfectly balanced lighting. Woken is a curious object, and quite often an exceptional technical accomplishment. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film, Digital / DVD Release < All Reviews Next Film Review >

The Circle film review by UK film critic Lee Sinden. Starring Martin Green, Victoria Latham-Kelly, Nathan Wedge and Valerie Bundy directed by Iain Cash. HOME | FILMS | REVIEWS The Circle Film Review average rating is 3 out of 5 Critic: Lee Sinden | Posted on: Aug 6, 2026 Directed by: Iain Cash Written by: Michael Farrell Starring: Martin Green, Victoria Latham-Kelly, Nathan Wedge and Valerie Bundy This is a short film from 2025 that depicts a small group meeting at what looks like a local village hall. This is a group for addiction, and they all have a story to share. The group is led by Jay, who clearly believes he is above the rest, having come through his own addiction. His common phrase is “Safe Space”, but this meeting feels anything but safe. The lighting is very well done, and the audience will notice that there is a spotlight above each person which highlights their turn to speak. It also adds to the feeling of isolation that each character is feeling. It is also a clever use of lighting to show Jay is on one side with a dark backdrop and the three attending have a much lighter setting. The lighting plays a very important part in this film and really gives that uncomfortable feel as each person struggles to share their story. I found Martin Green's performance a touch hammy at times, and a little more subtlety could have been used. Despite this, he was able to clearly show the character's condescending nature, which drew an invisible barrier between his character and the others. The character was well written, and the audience will really get to feel some emotion towards him even though this may be negative. This is the strength of the writing and, to some degree, Martin Green's performance. The standout performance was from Victoria Lenham-Kelly, who really took control of many of the scenes. She depicts empathy really well towards the other characters. The best parts of the film came from Victoria Lenham-Kelly, and this is really helped by the writer, who gives this character the greatest depth. She develops a real chemistry with the other characters suffering from addiction and is the adversary to Jay, pulling no punches. The most important aspect of the performance is that she makes you believe her character is going through the struggle of addiction and wants to understand the others around her. At times she wants to help. Nathan Wedge and Valerie Bundy have limited dialogue, but they use their physical acting skills to portray their characters' emotions and their feelings towards the other characters. They provide real contrast to the two dominant characters. This works extremely well, particularly towards the closing scene. The director really knows how to set up a scene, particularly one that feels tense at times. Their use of the clock at the beginning and end makes the audience feel quite uncomfortable at times. The simple nature of the set draws the viewer to the actors' performances and avoids any distractions. As said previously, the director has used lighting to great effect throughout. The message of the film has really been handled very well by the writer and director. This is an enjoyable film that tackles very important issues, particularly in the time it is set. It has been made to highlight addiction in its many forms and how and why those addictions come to be. This film could really resonate with the viewers and could easily be used as an educational tool. The audience won’t know where the film is taking them until the very end scene, which really helps to build the different layers of the story. This is a very important watch for 2025 and beyond. Buy UKFR Banner Space About the Film Critic Lee Sinden Short Film < All Reviews Next Film Review >

Eco-Hack! film review by UK film critic Chris Buick. Starring Tim Shields, Frank Guercio, Dr. Kristin Berry, Sara Hanner directed by Brett Marty, Josh Izenberg. HOME | FILMS | REVIEWS Eco-Hack! Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Oct 2, 2023 Directed by: Brett Marty, Josh Izenberg Written by: Brett Marty, Josh Izenberg Starring: Tim Shields, Frank Guercio, Dr. Kristin Berry, Sara Hanner Tim Shields, a conservation biologist based in the Mojave desert in California, loves reptiles, tortoises perhaps most of all. The Mojave was once home to an abundant population of these shelled creatures but, as is becoming a familiar theme these days, these numbers have dwindled dramatically in recent years. Unwilling to “no longer be passive and simply watch the end of the show”, Eco-Hack showcases Shields’ ingenious and creative ways to step in and try and help. How, you might ask. Well, while there are some causes that are difficult for Shields to directly challenge such as climate change and increasing human population, there is one threat that Shields feels he can do something about; ravens. Because if the viewer didn’t know before, they will soon learn from co-directors Joshua Izenberg and Brett Marty’s short but compelling documentary that besides being perhaps the smartest of all birds, ravens present a very real threat to tortoises, especially those who have yet to reach an age where they can protect themselves, and Shields is determined to tip the scales the other way. Eco-Hack is not only a film that looks to serve as an inspiration for others to act, or at the very least start thinking, but also a dedication to those already looking to make a difference. At the centre of this uniquely fascinating documentary of one man’s mission to make a difference is a well-crafted and balanced film championing the tireless efforts of its subject. Thankfully, just to be clear, Shields’ methods only ever mean to deter and never harm, Shields himself a believer that more can be learned from these birds by discouragement and observation rather than complete removal. Complete with his own guy-in-the-chair Frank who outfits him with everything from spray-traps loaded into super-realistic looking, 3D printed fake tortoises to high-powered lasers used to disperse large flocks and countless other gadgets, Tim’s mission is one of endless ingenuity and determination, and Eco-Hack showcases that very well. Izenberg and Marty also do well to make sure their film doesn’t feel one-note, neither presenting such a topic as mere doom-and-gloom or as a completely light-hearted affair, but rather finding just the right balance of the in-between. A celebration of nature, yet also a reminder of its fragility, managing to hit home the heart-breaking numbers forcing the hands of people like Shields to finally step in rather than be simple observers. Eco-Hack does take its subject matter seriously but allows the audience the space to smile through it as well. And with Shields as its very likeable and inspiring subject, the film does what it should in showcasing him and his work front and centre. Short yes, but nothing short of an inspiring film of ingenuity, tenacity and belief in making a difference. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film, Documentary < All Reviews Next Film Review >

Leviticus film review by UK film critic Kieran Freemantle. Starring Joe Bird, Stacy Clausen, Jeremy Blewitt, Mia Wasikowska directed by Adrian Chiarella. HOME | FILMS | REVIEWS Leviticus Film Review average rating is 3 out of 5 Critic: Kieran Freemantle | Posted on: Aug 20, 2026 Directed by: Adrian Chiarella Written by: Adrian Chiarella Starring: Joe Bird, Stacy Clausen, Jeremy Blewitt, Mia Wasikowska Australia has become a hub for horror films. Films like The Babadook, Talk to Me, Bring Her Back and Dangerous Animals have come from the land down under. Naim (Joe Bird) has moved to an industrial town in Victoria with his mother (Mia Wasikowska). He ends up in a relationship with another boy in school, Ryan (Stacy Clausen), even though they are members of an evangelical Christian church. When Naim sees Ryan with another boy, Hunter (Jeremy Blewitt), he outs them in revenge. The pair are forced to undergo a ritual that causes them to see a malicious entity. Leviticus can be described in one sentence: the LGBT version of It Follows. Both films were about an entity that only the victim can see, which causes fear and death. There’s no running from it. There have been quite a few horror films that have used this premise recently, such as the Smile movies, It Lives Inside, Whistle, and Passenger. It Follows’ entity was sexually transmitted, and when it was transferred from one person to another, it was shown to be desperate yet malicious by the infected. In Leviticus , the entity was an extreme form of gay conversion therapy. Leviticus was about the contrast between Naim and Ryan’s love and the church's obsessive nature. These were scenes of the church being rigid and teenagers not wanting to be there. Ryan and Hunter made light of the cleansing ritual and tried hard not to snicker until it turned more sinister. The film opened with Naim and Ryan encountering a snake, which had religious connotations since a serpent was responsible for the first sin, and the pair gave in to their urges after they saw it. The entity was the physical threat; the real villain was the Church and the community. Naim’s mother was despicable because of her cold, cruel actions. The entity took the form of the person they loved. It turned love into fear, and afflicted people don’t know if they were speaking to a human or a being trying to kill them. The only safety was staying in crowded places. There was impact when Naim saw Ryan being haunted by the entity. There’s a risk that an invisible entity could look silly; It Lives Inside was an example of this, but Leviticus showed the physical impact. It was a bit more threatening. The director, Adrian Chiarella, and his editor knew what to show and what not to show. This was done when the entity attacked one of the boys in school. The aftermath was horrific, and the actual attack was left to the audience’s imagination. Nicholas Hope as the Deliverance Healer was a sinister presence because he was in a position of power and had mystical powers. Leviticus was only 88 minutes long, but it was a slow burn. This was felt at the beginning when Naim and Ryan started their relationship. The film was just as focused on their relationship as well as the threat. However, this slow-burn approach made Leviticus feel longer than it really was. Bird and Clausen were great in their roles and made the relationship feel organic. The film avoided making the characters into gay stereotypes: Ryan was a young Aussie bloke who was sporty and used colourful language, whilst Naim was a quieter fella. Both characters were flawed because Ryan was a bit rough and Naim did something unforgivable. Naim could challenge Bear in Obsession for committing an unforgivable action by a horror ‘protagonist.’ Leviticus was admirable for being a thematic horror film, and it got its message across in an effective manner. It’s not as strong as some of the other recent Australian horror flicks, but it was a solid horror film and an LGBTQ story that had lots of ideas. Buy UKFR Banner Space About the Film Critic Kieran Freemantle Theatrical Release, Sports Film < All Reviews Next Film Review >

Brother Troll film review by UK film critic Patrick Foley. Starring Bui Dam, Nicolaj Falck directed by Gudmund Helmsdal . HOME | FILMS | REVIEWS Brother Troll Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Mar 11, 2022 Directed by: Gudmund Helmsdal Written by: Gudmund Helmsdal, Rakel Helmsdal, Torfinnur Jakupsson Starring: Bui Dam, Nicolaj Falck You probably don’t associate the Faroe Islands with cinema. In fact, the only films you’ve probably heard of from the Archipelago are… well… no sorry, I’ve got nothing. Thankfully, director Gudmund Helmsdal is here to change that with Brother Troll, an eccentric short historical drama/comedy with a distinctive island feel. Jakup (Bui Dam) and Pætur (Nicolaj Falck) are brothers living in the rugged Faroe Island countryside sometime in the 19thcentury. Still mourning the loss of their older brother, the pair persevere in the cold and inhospitable territory. But when Pætur’s dogmatic religious beliefs lead to him developing a sense of impending dread, an unexpected tragedy strikes. There is an indefinable quality to Brother Troll that makes it as interesting as it is entertaining. The film features a typically Scandinavian-style mixture of intense and harrowing dramatics alongside genuinely hilarious dark comedy that intertwine seamlessly and fluently to tell its story. The similar coupling of supernatural elements and brutalist realism turn the story into something of a fable, that speaks to the audience’s fears of the unknown as well as the all-too-familiar. When considered with the odd-coupling of the brothers, whose personalities could not be much more contradictory, the film is a fine exercise in finding a balance of opposites. The two leads give excellent performances. Nicolaj Falck’s Pætur lives and breathes religious dogma, and his stoicism is an evident barrier for his bond with his easy-going brother. Bui Dam’s charismatic turn as Jakup is the source of much of the film’s comedy, and he brilliantly conveys a large and domineering presence on-screen. Whilst the rift between the pair is portrayed well in the film’s earlier scenes, the devastation and grief so brilliantly demonstrated by Falck’s Pætur encapsulates the familiar terms that so many brothers are aware of – that despite differences, family ties always emerge, even if they do not solve every problem. The historic past of the Faroe Islands is impressively realised, with the ruthless, rocky landscape of the islands used to its fullest potential. The scenery matches that of similar productions which enjoy considerably larger budgets such as Vikings, or even The Last Jedi, thanks to Helmsdal’s scene framing and the outstanding cinematography of Rogvi Rasmussen. The only hit to the film’s authenticity is the costumes, which appear far too clean and fresh for a pair of weathered and roughshod island-dwellers. For both its engrossing examination of brotherhood, and its darkly-comic, fable-like story, Brother Troll is a roaringly successful enigmatic short film. Viewers will laugh, cry, smile and cringe their way through its unpredictable and shocking plot, and immerse in the stunning landscape in which the story is set and presented. You’ll remember this film from the Faroe Islands – that is for sure. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Film Festival < All Reviews Next Film Review >

Matcha And Vanilla film review by UK film critic William Hemingway. Starring Qyoko Kudo, Tomoko Hayakawa directed by Hamish Downie. HOME | FILMS | REVIEWS Matcha And Vanilla Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 27, 2022 Directed by: Hamish Downie Written by: Hamish Downie Starring: Qyoko Kudo, Tomoko Hayakawa For those of us interested in following the happenings of Bake Off: The Professionals there's no need to explain what matcha is, other than to say that it is one of patisserie queen, Cherish Finden's favourite flavours to use in dessert making, as long as the flavour is finely balanced and not too much of it is used. For everyone else it's probably best to say that matcha is a green, ground powder made from specially grown tea leaves, which has a slightly bitter, earthy taste to it. What writer/director Hamish Downie is doing, pairing Matcha And Vanilla in his new feature's title, is describing the bittersweet nature of life, which gives with one hand and takes away with the other, while also describing in basic terms the personality of his two lead characters. Ai (Kudo) is quiet and timid and doesn't share much about herself with others. She likes the simple life and takes pleasure in things being comfortable and easy. Yuki (Hayakawa), by contrast, likes to stand out. She wears funky glasses and dyes her hair. She likes to take risks and seeks excitement through experience. Their tastes may be different, but in a delicately balanced way they complement each other to create something new – in this case their blossoming relationship. Ten years later and Ai and Yuki are settled down together in an Osaka apartment, happy in themselves and in each other, but still keeping their relationship a secret from the outside world. Their love for each other is apparent, and is evidenced in full by plenty of softcore scenes with skin on skin, which feel like they're in soft focus even if they're not. Downie takes his time to pile on the 'sweet' scenes at the beginning, making sure the audience understands the depth of love between the two women, as soon enough the 'bitter' parts of life come crashing in. Both women suffer tragedy which they can't initially communicate with one another, both deciding to lie about their situation to their partner as they try to protect them from a grief too terrible to bear. Ai has lost her job and has been trying for weeks to get a new one to no avail. Yuki, however, has been given a cancer diagnosis which knocks her for six when she finds out she only has a few months left to live. The rest of the film then deals with the fallout of this trauma and how desperately alone the two women find themselves in the face of traditional, conservative Japan. What is most striking about Matcha And Vanilla is of course the relationship between the two main characters. Ai and Yuki are both obviously positive and dutiful and live without harming anyone, yet are forced to live as 'friends' or 'sisters' so that no-one starts asking uncomfortable questions or 'outs' them to the rest of the community. Both lead actresses do an exceptional job of portraying their character, delivering real, unvarnished, believable and natural performances throughout some really challenging scenes. This is the film's real strength and luckily, as the main actresses are on screen for pretty much every frame, this carries the film, allowing the audience to believe in the scenario and the relationship to the end. Unfortunately though, a lot of the rest of the film isn't stitched together very well. There are plenty of nice shots from DoP/Producer Paul Leeming, and Downie's direction seems solid, if not really reaching for more, but in the end it's the technical aspects which let the film down. There's some quite patchy sound editing going on, with some parts so hard to hear that it was just as well there were subtitles on the screen. The video editing somewhat suffers the same fate with some scenes ending quite abruptly and some that seem shoehorned in without much cause. Then there's the music, arranged by Deron Reynolds, who also co-wrote most of the original songs played on the soundtrack. These schmalzy, warbling oddities almost seem like a pastiche of other more famous songs which they sound similar to, and detract and distract from what's happening on screen. There is a real disconnect between the songs and the visuals from which the film only suffers. All in all, Matcha And Vanilla survives as a worthwhile film due to its important, relevant story and the incredible ability of its two main leads. It is touching and tragic in equal measure and really strives to bring home the message of what it's like for members of the LGBTQ+ community in what is still one of the most rigid societies on the planet. Despite its faults Matcha And Vanilla has plenty to offer the audience and makes real a difficult situation which still only ever gets hidden behind closed doors. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, World Cinema, LGBTQ+ < All Reviews Next Film Review >