Love Is Real film review by UK film critic William Hemingway. Starring Cathy Sole, Warrick Simon directed by Albert Bullock. HOME | FILMS | REVIEWS Love Is Real Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 15, 2025 Directed by: Albert Bullock Written by: Albert Bullock Starring: Cathy Sole, Warrick Simon A separated couple try to come to terms with their loneliness in their own ways, leaning into the deviance of their sexual habits to try and supplant the aching void they feel inside. Aoife (Sole) is broken. When we first meet her, she is busy trying to free her mind as a whale in the ocean, meditating on the support of the water and the freedom of movement in all directions. Gradually though, the whale song breaks out into squeals and screams, and the imagery of sexual gratification keeps pushing through into her conscious mind to remind her of what she actually wants. Cut to a party, where a few people are milling about outside somebody’s house, and Aoife, complete with four-inch platform f***-me boots, approaches a man from nowhere and asks him to come home with her. At Aoife’s place she sets about getting what she wants, but insists on playing games with her new toy and physically tormenting him, pushing him away and slapping him whenever the intimacy gets too real. Obviously used to a more violent level of sexual activity, Aoife loses her companion and is left alone. Mark (Simon), on the other hand, is much quieter in his quest for gratification. After giving a hand-job to a stranger he met on the bus, he goes home and deals with the problems that exist there, with his quiet, brooding father, absent brother, and sequestered mother who is hidden away behind closed doors. The two lonely-hearts search the streets of the city for anything that might resemble real love, but find that either they, or everybody else, is lacking in that department. Whether or not Aoife and Mark’s Love Is Real , is something that is left up to the viewer to decide. What we certainly see, is that in every instance apart, they search for real love in the wrong places and reap the consequences for that. Their sexual deviations push them in dangerous directions, and leave them at the mercy of those who would take advantage or want something more, with those who look at sex as an act of power only too ready and willing to exert that power to get what they want. The direction from writer/director, Albert Bullock keeps everything gritty and real as we follow the two lead characters around the streets of the city. The lens almost feels like it has a layer of grime over it as we descend further and further into deviance and danger in order to satisfy a desire that is either misplaced or formed from a place of trauma. The underpass scene, in particular, is strikingly real and hard-hitting, with the camera and sound choices really emphasising the danger women face every day from sexual predators, not to mention the difficulty for those who may feel a need to step in and save the day. Bullock’s shot choices are flawless and he fills a frame expertly well, with some really nice artistic visuals in the composition of his scenes, leaving the film with the feel of a kitchen-sink drama, but with the look of a cinematic feature. The acting, too, is of a high quality from both leads, underplaying on the surface the deviance they share, and allowing a lot of their characterisation to come from their look and their actions. Sole especially, as Aoife, is able to turn from little-girl-lost into sexual deviant at the drop of a hat, with the gradual decline of her mental health being mirrored in the state of dishevelledness that she shows in her person. The strong understatedness of Simon, as Mark, also really adds to this feeling of something unnamed bubbling just underneath the surface. However, in the end there’s no real story attached to the two lovers, just a thematic link which coalesces them together into a short narrative. The imagery and scenarios are mostly independent of each other and could have taken place at vastly different times without altering the feel or message of the film. Love Is Real feels more like a series of vignettes, each stating the startling reality of a different aspect of sexual deviance, which each character encounters apart from the other, before coming together in the end. In this way, Love Is Real feels like it could be just one thread from Plan B’s Ill Manors (2012), but without the rest of the story to fill in the context and the meaning, leaving it slightly lacking in the message it is trying to deliver and ultimately in the impact it leaves behind in the audience. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Pursued film review by UK film critic Patrick Foley. Starring Madison Lawler, Molly Ringwald, Sam Trammell directed by Jeffrey Obrow. HOME | FILMS | REVIEWS Pursued Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Sep 5, 2025 Directed by: Jeffrey Obrow Written by: Jeffrey Obrow, Julie Pifher Starring: Madison Lawler, Molly Ringwald, Sam Trammell The digital age has destroyed many things: the high street, cable TV, democracy… but spare a thought for serial killers. Not many make it in an era of internet banking, online surveillance and social media. Pursued is Jeffrey Obrow’s effort at constructing a modern, conceivable serial killer thriller without shirking contemporary sensibilities or technologies. Unfortunately, this film is not one worth hunting down. Blaming herself for the death of her father, Lark (Madison Lawler) tries to hide her reservations about her mom Carol’s (Molly Ringwald) new boyfriend. The mysterious Mark Franc (Angus Macfadyen) seems too good to be true, and having met online, Lark starts to investigate this suave stranger. When dead bodies start showing up linked to one profile, Lark fears her mother’s life is in danger. Is this new suitor really who he says he is? Pursued is a confused film. At times aiming to be an intense, chilling horror about the dangers of anonymity online, at other times a teenage detective drama with servings of comedy – all whilst driving towards revenge-fuelled titillating torture porn laced with MMA fights and topless women that it is enough to wonder whether Dana White financed the thing. It misses the mark on all of them. There is something reminiscent of when teen dramas go off the rails about the film – think the crazy babysitter or Russian gangster arcs on One Tree Hill . For a film that wants to base itself in a digital age that viewers will recognise, its plot is scarcely believable. Social media plays a large part in the film but it makes zero sense as to why Lark and her friend/co-detective Nicole (Taylor Blackwell) do not use it to their advantage once they identify the killer – with a throwaway conversation over the phone with the police being all that is needed for law enforcement to vanish from the film’s world as quickly as Molly Ringwald’s Carol does. The film eschews the supernatural, but the killer might as well be Freddie Kruger given his ability to teleport, turn invisible and overpower trained MMA fighters. No one really expects thrillers to be entirely reality based, but the contrivances in the film stretch credibility beyond breaking point. Seemingly meant to represent the perils of online anonymity, Angus Macfadyen’s Marc Franc is a one-note, unmemorable antagonist that fails largely due to a lack of real meaning. Macfadyen delivers a solid performance, though anyone would struggle with the script that transforms his chameleonic stalker into an extravagant monologue-er – much to the character’s detriment. Whilst the duelling pursuits of Lark and Marc is an interesting angle, it means that the film fails dillutes its social media/online dating theme. For all of his brutality and threats, Franc is most terrifying when he is offscreen as an ominous unreadable profile – something all too many women are familiar with and wary of. The film looks fine and has some intriguing kill set-ups that will jolt some life into its audience. There is a youthful vibrancy in scenes of Lark bonding with her friends, and odd sound design around the backing soundtrack to some sequences between her and Sam Trammell’s Jack which are reminiscent of the corny teen dramas that seem to be an influence on the film in the best way. However a confused take on social media means the visualisation of familiar apps and sites fails to really convince – although nowhere near as much of the character’s use of these for their own purposes. It is a lack of cohesiveness that really kills Pursued. Its attempts at exploring themes around online dangers fall flat due to an uninteresting villain and unrealistic actions of its cast. A baffling, unsatisfying ending sums up a film that doesn’t know what it wants to be or do. Run from this one. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release, Amazon Prime < All Reviews Next Film Review >

Film news - Filmmakers including Edgar Wright, Gurinder Chada and Asif Kapadia curate new BFI season. Find out more at UK Film Review. Filmmakers including Edgar Wright, Gurinder Chada and Asif Kapadia curate new BFI season Chris Olson Monday, May 10, 2021 at 12:48:42 PM GMT+1 Special guests appearing (some in person, some virtually) to introduce their choices include Edgar Wright, Gurinder Chadha, Luca Guadagnino, Asif Kapadia, Prano Bailey-Bond, Kirsten Johnson, Peter Strickland and many more. With just one week to go until cinemas across the country are able to reopen, BFI Southbank’s new season DREAM PALACE: MOVIES MADE FOR THE BIG SCREEN is the perfect programme to get audiences excited about returning to cinemas. The season is inspired by the ongoing Sight & Sound editorial campaign ‘My Dream Palace ’, which sees film industry luminaries pen their own love letters to cinemas; over the past year the campaign has celebrated and ‘kept a light burning’ while cinemas around the world were closed. The DREAM PALACE season, at BFI Southbank from 17 May – 30 June , has been curated by filmmakers including Edgar Wright , Gurinder Chadha , Luca Guadagnino , Asif Kapadia , Prano Bailey-Bond , Peter Strickland , Francis Lee and many more. Our special guests, some of whom will introduce their choices in person and some virtually, have all picked the film that they would most like to see at BFI Southbank; the result is a wonderfully eclectic mix, all of which will be glorious on our dreamy big screens. This month’s issue of Sight & Sound , which is out digitally today (in shops on Thursday 13th May), features the latest love letter to a cinema from Gurinder Chadha, who writes about our very own BFI Southbank in the My Dream Palace column. She recalls: “I shot a scene for Bride & Prejudice (2004) in NFT1: somebody’s watching a movie and then a fight breaks out. I chose the NFT because it represents British cinema, it represents everything I aspired to as a filmmaker of colour on the margin at that time…it always felt like the NFT represented something bigger than the sum of its parts.” The cover of this month’s Sight & Sound is graced, by way of a major focus on video nasties, by Prano Bailey-Bond’s CENSOR (2020), which was developed and produced with the support of the BFI, using funds from the National Lottery. Bailey-Bond also takes part in the DREAM PALACE season, with her film choice, David Lynch’s THE ELEPHANT MAN (1980). The full programme includes screenings of: - BLACK NARCISSUS (Michael Powell, Emeric Pressburger, 1947) chosen by Edgar Wright (in person intro) - CAR WASH (Michael Schultz, 1976) chosen by Gurinder Chadha (in person intro) - THE WARRIORS (Walter Hill, 1979) chosen by Asif Kapadia (in person intro) - FOOTLOOSE (Herbert Ross, 1984) chosen by Francis Lee (pre-recorded intro) - BEAU TRAVAIL (Claire Denis, 1999) chosen by Kirsten Johnson (pre-recorded intro) - THE ELEPHANT MAN (David Lynch, 1980) chosen by Prano Bailey-Bond (pre-recorded intro) - MIRROR (Andrei Tarkovsky, 1975) chosen by Małgorzata Szumowska (pre-recorded intro) - THE SHOUT (Jerzy Skolimowski, 1978) chosen by Mark Jenkin (pre-recorded intro) - GOODBYE, DRAGON INN (Tsai Ming-liang, 2003) chosen by Peter Strickland (in person intro) - BEGINNING (Dea Kulumbegashvili, 2020) chosen by Luca Guadagnino (pre-recorded intro) - THE GLEANERS & I (Agnès Varda, 2000) chosen by Zhu Shengze (pre-recorded intro) - HAIR (Milos Forman, 1979) chosen by Kleber Mendonça Filho (pre-recorded intro) - BROADCAST NEWS (James L Brooks, 1987) chosen by Sarah Smith (in person intro) - THE WONDERS (Alice Rohrwacher, 2014) chosen by Mark Cousins (pre-recorded intro) - SYNDROMES AND A CENTURY (Apichatpong Weerasethakul, 2006) chosen by Chaitanya Tamhane (pre-recorded intro) The season also includes screenings introduced by BFI staff including: BFI CEO Ben Roberts , who has chosen BLOW OUT (Brian De Palma, John G Fox, 1979), BFI Creative Director Heather Stewart who has chosen a double bill of MAGNIFICENT OBSESSION (Douglas Sirk, 1954) and FEARS EATS THE SOUL (Rainer Werner Fassbinder, 1974) and BFI Festivals Director Tricia Tuttle , who has chosen DAVID BYRNE’S AMERICAN UTOPIA (Spike Lee, 2020). Full listings, including screening dates and times can be on the BFI website . TECHNICAL IMPROVEMENTS TO NFT1 During the most recent lockdown BFI Southbank’s technical team have used this prolonged period of closure to make some upgrades and improvements to our biggest cinema, the 450 seat NFT1. This work has included a new screen, new sound system, improved lighting, and the imminent installation of a new laser projector. The NFT1 stage has also been adapted with a new permanent ramp to ensure the stage is completely accessible at all times; this complex piece of work (which has involved dropping the stage and raising the floor) means that event-specific temporary solutions are a thing of the past. TICKETS Audience members aged 25 and Under are able to buy tickets for BFI Southbank screenings, in advance or on the day, for just £3, through our ongoing ticket scheme for young audiences. Tickets for screenings between 17 May – 30 June are on sale now: www.bfi.org.uk/whatson HEALTH AND SAFETY MEASURES BFI Southbank will reopen on 17 May (pending confirmation that restrictions will be relaxed as planned), with health and safety measures including social distancing and the wearing of face coverings, continuing until government guidance advises otherwise. Full details of all measures in place to protect visitors and staff are available on the BFI website . The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. 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Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. 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Freydís and Gudrid film review by UK film critic Patrick Foley. Starring Micaëla Oeste, Kirsten Chambers, Bray Wilkins directed by Jeffrey Leiser. HOME | FILMS | REVIEWS Freydís and Gudrid Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 20, 2024 Directed by: Jeffrey Leiser Written by: Jeffrey Leiser Starring: Micaëla Oeste, Kirsten Chambers, Bray Wilkins Norse and Viking mythology and opera have long been intertwined, with Wagner’s Die Walkure codifying many of the familiar tropes that form most people’s first impressions of the art. Jeffrey Leiser’s Freydís and Gudrid is an enormously ambitious project to bring to screen the operatic realisation of the ‘Vinland’ saga – an epic journey of its namesakes. Set in ancient times across Norse islands of the past, the film follows a group of merchants and Vikings as they journey to find the land that they deem their heritage. Featuring legendary figures such as Erik the Red (Bryan Glenn Davis) and Leif Erikson (Samuel Druhora), it is the lives of two women – Freydís (Kirsten Chambers) and Gudrid (Micaëla Oeste) that form the background of a legend that will shape the group’s fate. Freydís and Gudrid will unsurprisingly find its audience first and foremost in those with an appreciation for opera. Jeffrey Leiser’s background in theatre and performance ensures that the musical pedigree in the film is generally top notch, with the majority of the cast given ample opportunity to demonstrate their talent. The studio performance delivers in this regard, with particularly strong performances from the lead actresses and Druhora and Davis as the legendary Vikings. There are also moments wherein the film takes advantage of its cinematic staging – but these are too few and far between, largely presenting as a filmed performance of the opera as opposed to being designed as a movie. It (perhaps unintentionally) creates a distinct classic-Hollywood atmosphere – further bolstered by the monochrome production. The live performances make this sacrifice worth the while – and as the film stems from a stage production initially, it allows Leiser to maintain the core storytelling elements that sit at the story’s heart. Though certain scenes such as the combat between two of the main characters give a taste of what is missing further throughout the film that would have made it more visually stimulating. The desolate islands that make up the story’s setting are created by footage of Iceland married to the live footage from the Brooklyn studio performance of the actors. The shoots themselves are impressive, but lack character or dynamism. For a supposedly harsh-yet-beautiful homeland, the static imagery make the background ultimately lifeless and unimposing upon the drama. One lacks an ability to really appreciate the task or scale of Leiser’s accomplishment in marrying the cast to the islands, and immersion is never fully accomplished as a result. Freydís and Gudrid, is likely to only truly find an appreciative audience with committed opera afficionados. As a passion project of the director, it is a fine and admirable piece of art. Yet it suffers a common dilemma that most opera faces in 2024 – that of accessibility and appeal, even when performed in the English-language. The project never really makes up in cinematic production what it loses without its live element – though Leiser should be commended for bringing the story to life and pushing what can be done with Opera on a smaller budget. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

Leila - BFI Flare film review by UK film critic Amber Jackson. Starring Leila herself directed by Fariba Haidari. HOME | FILMS | REVIEWS Leila - BFI Flare Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Mar 23, 2023 Directed by: Fariba Haidari Written by: Fariba Haidari Starring: Leila herself Content warning: scenes containing discrimination towards a transgender person, references to gender dysphoria and sexual assault. ‘A portrait of an unforgettable transgender schoolteacher in Herat, Afghanistan, who shines even with the prospect of the Taliban’s return.’ Leila is a vibrant and kind-hearted sixty-four year old transgender woman who is permanently navigating and negotiating her life in Afghanistan. Filmed just three months before the Taliban retook control of the country, Leila is a Dari-language short film that handles the search for safe spaces and the hard-hitting reality for transgender-identifying people across the world. Filmed in a documentary style and focused purely on Leila’s lived experience in Herat in the weeks leading up to the takeover, this is a poignant and powerful film that raises awareness for trans people needing community and safe spaces across the world. The film shows another side to Afghanistan and its landscape that UK audiences have seldom seen. Leila herself provides viewers with an introspective look into a society through a transgender lens. Whilst we see her experiencing enjoyment and entertainment in the place that she calls home, we also see the daily struggle of how she is not accepted by those within her community and wider society. Men do not embrace her because they see her as ‘inferior’ because of her femininity, as well as women not accepting her into their communities because they do not view her as a woman. Leila speaks to a conflict that she cannot win and how there continues to be no safe place for her. She speaks candidly and honestly throughout the film, stating that “there are 30-40 transgender people in Herat who hide their identities. What have we done wrong to deserve this?” Leila’s career as a schoolteacher is also captured on screen, including the faces of young girls that she educates every day shown. They are happy and enjoy learning and playing outside. In scenes that are haunting and incredibly moving in hindsight, Leila speaks of aiming to help these girls build a future for themselves through the power of education. You cannot help but wonder where these girls are today. This is how the film also speaks to wider issues of women in Afghanistan, as in addition to Leila’s voice being captured, many other marginalised voices are too, such as women and people with disabilities that Leila visits. Concerning gender, Leila shares first-hand experiences on the changes that they have seen in their lifetime. She candidly shares her thoughts on society, as well as their gender identity journey and hopes to further transition. Fortunately, the documentary reveals that Leila managed to leave Afghanistan and is now seeking asylum in a country where she feels safer. Yet, also acknowledged is the devastating hardships that transgender people face in Afghanistan, especially under Taliban rule. It speaks to a worrying reality that transgender people continue to fight to exist openly and without fear across the world. Leila is a beautifully formed documentary that advocates for all transgender people. It should not be missed. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film, World Cinema, Film Festival, LGBTQ+, Documentary < All Reviews Next Film Review >

Guillotine film review by UK film critic Patrick Foley. Starring Sean Young, Laurent Andruet, Owen Bonito directed by Ray Izad-Mehr. HOME | FILMS | REVIEWS Guillotine Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 3, 2025 Directed by: Ray Izad-Mehr Written by: Nabor Cabanillas, Ray Izad-Mehr, Lisa Molenda, Melinda Molenda, Sara Vahabi Starring: Sean Young, Laurent Andruet, Owen Bonito As protagonists go, a 17th century execution apparatus is a unique one. But it really would be accurate to say that the biggest star in Guillotine – a five-part anthology feature – is the titular killing machine that, as the film shows, features as the instrument of some of the most notorious monsters and regimes throughout history. The film is broken into 5 phases, each focusing on seminal moments in the history of the guillotine, from its concept and creation in France under the reign of Louis XVI, through utilisation as weapon of terror in Nazi Germany, all the way to an instrument of torture at the hands of Saddam Hussein’s maniacal children during the fall of Iraq. At each stage the presence of the guillotine exists to torment and terrify, but it is the hand of the people in charge of it that represent its true evil. Guillotine is an original concept for a film that is unfocused but never short of entertaining. Narrated by Sean Young, this whistle-stop tour of some of history’s most infamous moments is lively, energetic, bloody and even quite comedic in moments. Historical accuracy be damned, this is anything but a dour rundown, but one more akin to a macabre and twisted edition of Horrible Histories – and definitely not for the kids. The highlight is the film’s opening in France, where Laurent Andruet’s Dr. Guillotin designs his eponymous machine as a cleaner way of executing dissidents. He is none too pleased when it comes to share his name, after John Fantasia’s unhinged Louis XVI is convinced that putting his own royal seal on the new head-chopping method of choice may not endear him to his subjects, despite his eagerness to begin its use. Fantasia’s performance stands out in a film that is packed with strong individual showings, and is a fine example of filmmakers knowing that sometimes the most important ingredient in bringing history to life is fun. Conversely the final segment in Iraq is a misfire. Perhaps Uday and Qusay Hussein are too contemporary for figures to really extract much fun from, but both tonally and visually the scenes set in their torture chamber are dark, depressing and void of the drama that permeates elsewhere in the film’s 5 acts. The resolution of this scene steers into fan-fiction, as US troops arrive to dish out justice the American way, and ends on a note so cheesy it belongs in the French portion of the film. The film looks fantastic outside of the final segment – each of the prior four acts carry their own visual style that makes the whole film a treat to watch and remain engaged with. It is paced to perfection, with no segment outstaying its welcome and abiding by the principle of less being more. And the guillotine’s presence itself is handled uniquely across the film, acting as a horrifying tower of destruction in some moments and a tool at the hands of evil in others. A selective history of the guillotine may feel like a flimsy spine for a feature length film, but Guillotine largely makes up for it through energetic pacing, memorable performances and decisive desire to make history exciting. It probably isn’t getting cited in any history books anytime soon, but the fun audiences will have means that even historians won’t be losing their head over that. Guillotine is currently available on VOD on Amazon Prime in the USA/UK/Ireland. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

The Mix film review by UK film critic Jason Knight. Starring Sophia Lucia Parola, Thomas Philip O'Neill, Brandice Peltier, Grant Neale directed by Christian La Morte. HOME | FILMS | REVIEWS The Mix Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 19, 2025 Directed by: Christian La Morte Written by: Christian La Morte Starring: Sophia Lucia Parola, Thomas Philip O'Neill, Brandice Peltier, Grant Neale A short tense thriller written and directed by Christian La Morte and starring Sophia Lucia Parola, Thomas Philip O'Neill, Brandice Peltier and Grant Neale. A podcast is taking place and many people disapprove. An IQ-enhancing serum has been developed and clinical psychologist Dr. Janet Weddley (Peltier) is promoting it. The serum is widely disliked by the public and Weddley is now in a recording studio, doing a live podcast with host Sean Palermo (O'Neill) for his show Palermo's Perspectives. Joining them is sociologist Professor Clive Mason Jr. (Neale) and the three of them informally discuss the serum during the podcast. Meanwhile, the show's producer and Sean's partner, Becca (Parola) is observing through her laptop people's dramatic reactions regarding the podcast and fears that if the podcast continues, things might go terribly wrong. This short has quite an intriguing plot: a podcast taking place that is causing a massive uproar. The screenplay basically alternates between the podcast, with the host and the two guests having their friendly discussion and Becca, who is realising that the show is making everyone furious, with people expressing their anger towards Weddley online and protesting for the podcast to be cancelled. The tension rises and rises as Sean ignores Becca's pleas for him to stop the show. The performances are top-notch, the story is interesting and the technical aspects of the film are of great quality, be it the dynamic music by Benjamin Doherty, the moody cinematography by Anthony Altamura or the creative editing. There are several montage sequences throughout, which create tension and drama by depicting the chaos that is unfolding outside the studio, because of the podcast. These sequences are expertly created, with effective use of superimposition, however, it could be argued that they are a bit overused, appearing too much throughout the film. As mentioned, the acting is excellent, with the main cast very convincing in their roles. O'Neill's part is that of an experienced podcaster who is quite dedicated to his job. Peltier is an ambitious psychologist, while Neale is a sociologist with a childish behaviour. These three characters are oblivious to the potential danger that might be arriving due to the podcast, unlike Becca, who seems to be sensible and vigilant. This short explores ways in which people communicate their perspectives in today's world, that being through the internet and the services that it contains. It provides an insight into the world of podcasts and it is a commentary about social media and how people utilise them in order to spread their messages and influence people. Technology aside, the film also looks into ignorance and public anger. This film can be appreciated both as a thriller with an interesting plot and for the themes that it deals with that are mentioned above. Overall, this is a very-well-made short that offers a tense experience and also a thoughtful one. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Gran Turismo film review by UK film critic Brian Penn. Starring Orlando Bloom, David Harbour, Archie Madekwe directed by Neill Blomkamp. HOME | FILMS | REVIEWS Gran Turismo Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Aug 26, 2023 Directed by: Neill Blomkamp Written by: Jason Hall, Zach Baylin Starring: Orlando Bloom, David Harbour, Archie Madekwe The big screen is made for motor racing with its dazzling mix of sound and physical drama. Watching the action from left to right complements the intense relationship between driver and machine. Gran Turismo is based on a true story which should add to the lustre of this film directed by Neill Blomkamp. However, the end product is a mixed bag that often promises more than it delivers. The story kicks off in Cardiff as teenager Jann Mardenborough (Archie Madekwe) becomes increasingly hooked on the Gran Turismo race simulator. His despairing parents want him to pick up his studies at university but Jann dreams of being a racing driver for real; as a gamer he’s mastered every engine and racetrack. If only he could do it for real? The chance presents itself when he emerges as a top scoring gamer. He is invited to the GT Academy to train a professional driver. The Academy is the brainchild of marketing executive Danny Moore (Orlando Bloom). He convinces the Nissan Motorsport team that the best ‘sim racers’ can be turned into real drivers. Moore recruits frazzled ex-driver Jack Salter (David Harbour) as chief mechanic but can the theory ever work in practice? It’s blatantly obvious this film is a PlayStation co-production with its clinical representation of the game at regular intervals. When Jann is in race mode his mind drifts back to endless hours playing the game. Whilst these sequences are brilliantly constructed they’re not really needed. This might be an inevitable by-product of the film’s origins. But when Jann actually becomes a driver it should be more about him, the machine and his opponents. The real strength is that it plays into a fantasy that afflicts many children when they’re growing up. Gaming opens the door to a more glamourous existence for the players. Gran Turismo the film proves that dreams can turn into reality. The unique selling point is the truth of the story being told. However, they overplay their hand, especially in the closing captions where they proclaim that Jann Mardenborough has changed the face of motor sport forever. Whilst it’s true he broke new ground as an inexperienced driver Jann wasn’t that influential. He has raced at junior level e.g. GP2 and GP3 which puts him in Formula 3 territory. Exaggeration aside this remains a well-made, entertaining romp. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

1 Degré de Séparation film review by UK film critic Patrick Foley. Starring Lauraine Gillieron, Maria Mettral, Isabelle Caillat directed by Sonia Rossier. HOME | FILMS | REVIEWS 1 Degré de Séparation Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jan 31, 2025 Directed by: Sonia Rossier Written by: Tiziana Giammarino, Lauraine Gillieron Starring: Lauraine Gillieron, Maria Mettral, Isabelle Caillat French short 1 Degré de Séparation packs an emotional punch. Set a little-known French law that permits posthumous marriage, it explores the complexity of emotions experienced by those who go through with such an arrangement. What may have otherwise been a straightforward tear-jerker actually considers more difficult and realistic journeys that partners go through following the loss of a lover. The film follows Victoria (Lauriane Gillieron) on her wedding day. Already dressed in white, she tries to navigate final preparations whilst kids and family members circumnavigate her. A strange tension in the air and fraught conversations suggest there is an underlying schism in her upcoming nuptials. But the reality of her marriage-to-be and the hesitancy that surrounds the event is revealed to be something all the more tragic. Undying love is at the heart of 1 Degré de Séparation, with a closing message dedicating the short to those who are left behind. The conclusion is a bittersweet but touching moment in which Victoria realises the importance of her decision and attains a sense of peach – movingly and powerfully captured by Lauriane Gillieron. In this sense the film is something of a tribute to the obscure and unusual law in France that permits posthumous unions – one that provides comfort and finality to the bereaved. There are moments of drama in the lead-up to the ceremony relating to family heirlooms, much of which however feel like more of a preamble in place to add a dramatic edge. Running at a crisp ten minutes, the film doesn’t really delve too far into the more ethical, moral or practical questions around the law. Granted this may not be the purpose, but given that the filmmakers are clearly happy to raise some questions around Victoria’s decision it feels like a missed opportunity to take on any critics who may stand in opposition to the legal function, or who have questions about how such marriages can work once the credits roll. Much of this is a result of wanting to maintain the surprise ending of the film – a dramatic conclusion for sure, but one that perhaps undermines the actual purpose of the short. 1 Degré de Séparation is surprisingly engaging and does avoid some of the soppier pitfalls that a film addressing spousal loss may have encountered. Some of its storytelling however is a little confusing and it elects not to tackle certain ethical aspects of its subject. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Kraven the Hunter film review by UK film critic Hope Madden. Starring Aaron Taylor-Johnson, Fred Hechinger, Russell Crowe directed by JC Chandor. HOME | FILMS | REVIEWS Kraven the Hunter Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Dec 12, 2024 Directed by: JC Chandor Written by: Richard Wenk, Art Marcum, Matt Holloway Starring: Aaron Taylor-Johnson, Fred Hechinger, Russell Crowe I keep waiting for Aaron Taylor-Johnson to become a giant household-name superstar. He’s a good-looking kid, always turns in solid work, makes interesting career choices. I’ve been a fan since 2010’s Kick-Ass, but it doesn’t seem to me that he’s really hit. Maybe now’s his time. He does a solid job in a supporting turn in Nosferatu , hitting screens this Christmas. And based on the trailer, he seems to be leading the most anticipated horror sequel in decades, next summer’s 28 Years Later . Plus, he’s finally starring in his own franchise comic book superhero movie, J.C. Chandor’s Kraven the Hunter . And holy shit, J.C. Chandor! Do you know how good a director he is?! Margin Call, All Is Lost, A Most Violent Year — these are brilliant films. Brilliant! And you know what happens with genius indie directors pair up with Marvel. Just look how well that went for Oscar winner Chloé Zhao and her endlessly maligned Eternals . What to know going in? It’s rated R. Hmmm, provocative. Oscar winners Ariana DeBose and Russell Crow join Taylor-Johnson, along with beloved indie actors Christopher Abbott and Alessandro Nivola, plus Fred Hechinger, who is killing it in 2024 (Thelma , Gladiator II , Nickel Boys ). The result: After a fun, bloody prologue, Act 1 plods along with scene after scene of exposition. In Act 2, we get to see a lot more exposition, a bit more action, but at least the seriously fine ensemble is able to carve out some weird, fun characters. Hechinger comes off best as the sweet-natured younger brother Dmitri to Kraven (Taylor-Johnson). Both sons of criminal kingpin Nikolai Kravinoff (Crowe), Dmitri craves his father’s respect while Kraven spurns all his dad stands for and hunts down baddies like him all over the world. Crowe, brandishing a ludicrous Russian accent, is fun in that saucy Russell Crowe way. Likewise, Nivola and Abbott are delightfully, drolly evil and seem to be having an excellent time. DeBose is wasted in a badly written role. Her scenes are almost exclusively with Taylor-Johnson, who’s asked to look good shirtless, move about well, and talk more than the character should just to make sure audiences don’t get lost. The biggest problem are the CGI animals. Yikes. (It makes one worry for the brilliant indie director Barry Jenkins and his leap to CGI animals/giant studios with next week’s Mufasa: The Lion King .) How can they all look this bad? But, Act 3 delivers so much blood! I’d almost forgotten about that R rating until Kraven snaps shut those bear traps on that bad guy’s head! It’s not a great movie. I doubt it’s really franchise material, which is almost too bad because I’d love to see Hechinger again. It’s not really worth waiting for the Act 3 payoff, unless you just really like bloodspatter and viscera in your superhero movies. Maybe 28 Years Later will be better. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Film news - The Human Voice Gets UK Release Date. Find out more at UK Film Review. The Human Voice Gets UK Release Date Chris Olson Friday, April 16, 2021 at 11:53:25 AM GMT+1 Pathé are delighted to announce that the new short film, THE HUMAN VOICE , directed by Spanish auteur Pedro Almodóvar and starring Tilda Swinton , will be launched on 19 May 2021 at a special Event Screening in cinemas across the UK. The film will be followed by a pre-recorded Q&A with Almodóvar and Swinton hosted by film critic Mark Kermode. THE HUMAN VOICE is Almodóvar’s first work in the English language and had its World Premiere to critical acclaim at the Venice Film Festival last year. Madness and melancholy intersect to thrilling effect as Almodóvar reimagines Jean Cocteau’s short play The Human Voice for an era in which isolation has become a way of life. Laws of desire become the rules of the game as Tilda Swinton’s unnamed woman paces and panics in a glorious Technicolor apartment where décor offers a window into her state of mind. A short, sharp shot of distilled Almodóvar: passion, emotion, heartbreak, wit, and melodrama exquisitely bound up in a tale for our times. Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, numerous Goyas and over 100 further wins and nominations. His credits include WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, ALL ABOUT MY MOTHER, VOLVER and most recently PAIN AND GLORY. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Another day in Buenoseres film review by UK film critic Jason Knight. Starring Jason Bailey, Andrew McGillan, Shingai Shoniwa, Kirris Riviere directed by Cameron Medford-Hawkins, Benjamin Scrase. HOME | FILMS | REVIEWS Another day in Buenoseres Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Nov 23, 2023 Directed by: Cameron Medford-Hawkins, Benjamin Scrase Written by: Cameron Medford-Hawkins Starring: Jason Bailey, Andrew McGillan, Shingai Shoniwa, Kirris Riviere A Wild West bounty hunter is assigned to go after a dangerous criminal. A man named Bishop (Riviere) has hired Iron Gus (Bailey), the fastest shooter around, to locate and eliminate Texas Red (McGillan), a loose cannon, murderous outlaw. Gus arrives at Buenoseres, where Red is believed to be, and enters a bar. After asking people for information and having a conversation with Widow (Shoniwa), a singer, Gus comes face-to-face with the wanted man and the fateful confrontation begins. This intriguing short has various elements that are associated with the Western genre. To begin, the scenery resembles the one that often serves as the background of such films, dry, desert-like landscapes and much of the narrative takes place inside a bar, an obvious replacement for the typical saloon. The costumes include cowboy hats and similar clothing and the plot involves the hero, a loner and gunslinger, pursuing the bad guy. Science fiction is also present, with a spaceship being used for travelling instead of a horse and several characters have supernatural powers that prevent people from moving and cause vein-like lines to appear on their skin. The mise-en-scene is a great aspect of the film and so are the characters. Iron Gus makes an interesting hero, a no-nonsense bounty hunter who does not fancy a conversation and Iron Gus is quite a character, the bad guy, a menacing, hatchet-wielding killer. Other supporting characters include a woman bouncer (Chloe Kelloway) and a bartender (Emile J. Clarke). The story itself is rather simple: the hero going after the bad guy, which is not a negative thing as it is a plot that creates suspense. Instead, the screenplay has more depth when it comes to the dialogue, especially the cat-and-mouse interaction between Gus and Red. The montage during the opening credits certainly succeeds in catching the viewer's attention. With superb editing by Scrase, it introduces the protagonists via title cards with stylised letters and it is accompanied by the wonderful song Railroad Tracks by Rob Crooks and Riviere. The whole thing is a joy to watch and it effectively sets up the atmosphere. Big commendations go to Scrase for the fantastic cinematography and visual effects, particularly during the scenes where characters utilise their powers. A lot of praise also goes to Imogen Bennett for the terrific costumes. The music is another plus, which sounds electronic and tense and the song Too Bold by Shoniwa was a good choice to end the film with. This is a Wild West story about the hunt for a criminal, murder and betrayal. The mise-en-scene stands out and so do the characters and the strong performances. The impressive creativity that was put into this project is evident throughout and the result is an entertaining and visually stunning viewing that effectively mixes the Western genre with sci-fi. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >