The Ballad of Tita and the Machines film review by UK film critic Amber Jackson. Starring Laura Patalano, Luis Antonio Aldana, Nico Greetham directed by Miguel Angel Caballero. HOME | FILMS | REVIEWS The Ballad of Tita and the Machines Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Oct 4, 2023 Directed by: Miguel Angel Caballero Written by: Miguel Angel Caballero & Luis Antonio Aldana Starring: Laura Patalano, Luis Antonio Aldana, Nico Greetham Indeed Rising Voices presents filmmaker Miguel Angel Caballero and his short film The Ballad of Tita and the Machines, featuring an older woman’s fight to keep her job. When Tita, an elderly queer fieldworker is threatened to be made redundant from her job, she reluctantly hires a humanoid to fill in for her at work and pick strawberries. However, she quickly attracts the engineers’ attention because their humanoids are unable to perform Tita’s back-breaking work. Ultimately, this is a film that explores how technology is interacting and even interrogating the human workforce around the world - especially in key industries. This film is truly a homage to Caballero’s heritage as the son of Mexican immigrant farmworkers. We open on a farm stretching across the landscape and witness the laborious job of fruit picking, whilst feeling a deep sense of sympathy for an aging woman who still craves purpose, but is fighting being phased out. The camera flits around as a keen observer, excited by the technology but also apprehensive of it, and so is keen not to reveal too much. What the engineers cannot understand is why Tita is better than all of the humanoids combined. Why are they unable to perform her job role? The film hints at how all manual labour and physically demanding jobs cannot be replicated by the robots. There are a lot of current social issues at play here that all weave together effectively, particularly concerning the debate over if artificial intelligence (AI) will replace human workforces, or make some jobs obsolete. However, Caballero makes the striking point that AI and humanoid-like machines do not have the advantages of human connection and so are unable to be superior in certain instances. More generally, film has offered viewers a hard look at what AI is, or could, become. From The Matrix, to Ex Machina, these digital tools are often portrayed in a wide variety of ways, as either a hero or a threat to humanity. Films have also explored how AI can be used by humans with bad intentions as they desire to exploit others. Caballero considers all of these themes within his short film, as a kind and unassuming woman is placed in the centre of the debate. The story offers a futuristic look into how machines could become even more integrated into life as we know it. The technology conceptualized within this short film is very well actualized with clever special effects that actually look and feel realistic and provide insight into a haunting reality that we could recognize one day. Tita perhaps symbolizes that no machine could ever fully replicate humanity, or human connection, but it does offer the viewer a look at what life could become if machine learning tools continue to develop. Will this be what future generations will come to know of AI? Should we treat it as friend or foe? Through a striking storyline and emotive performances, Caballero’s film suggests that for now, perhaps some jobs are safe from AI. At least, for now. Miguel Angel Caballero is an award-winning Queer Mexican-American-Chicano writer, producer and director. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

The Call film review by UK film critic William Hemingway. Starring Jo Martin, Amarah-Jae St. Aubyn directed by Riffy Ahmed. HOME | FILMS | REVIEWS The Call Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: May 4, 2024 Directed by: Riffy Ahmed Written by: Vanessa Rose Starring: Jo Martin, Amarah-Jae St. Aubyn On the off chance that you don’t already know this, let me give you a little bit of backstory: The asteroid Apophis – designation 99942 – is a near Earth asteroid with a diameter of 370 metres which was classed as a potentially hazardous object, in astronomical terms, when initial observations in 2004 suggested a 2.7% probability that it would hit the Earth in the Spring of 2029. The asteroid was named after the Greek god of chaos and undoing, who was in turn a representation of the Egyptian god, Apep – The Lord of Chaos, who embodied darkness and disorder. As is the way of these things, the geeky scientists who discovered and named the asteroid were also big fans of the classic sci-fi show Stargate-SG1 , where an alien named Apophis was the main antagonist and the greatest threat to life on Earth. There’s no need to worry though because the asteroid was downgraded fairly quickly and is now known to have no chance of impacting the Earth in the next hundred years. Phew! In the short film The Call , from director Riffy Ahmed and writer Vanessa Rose, one of the main characters, Cora (Martin) has found herself to be completely distracted by what she thinks is the appearance of Apophis in the sky. Cora’s daughter Athena (St. Aubyn), on the other hand, just can’t get on board with such outlandish stories and feels that her mother is entering into a slow, steady mental decline in her twilight years. When we first meet Athena, she is on her way to her mum’s flat in an inner-city tower block. Athena’s mum hasn’t been answering her phone and it seems likely that she has forgotten about the rendezvous they had arranged the week before. As she approaches the door of the flat, Athena sees that the mail hasn’t been collected for some time and is overflowing out of the letterbox. When she is finally let inside things don’t look any better, with clutter everywhere and the curtains drawn, and Athena soon discovers that her mother has taken the double precaution of leaving the phone’s receiver off the hook as well as unplugging it from the wall. In her perceived mania, Cora explains that the phone had been ringing all night and she was not ready to deal with whoever was on the other end of the line. As Athena tries to get out of her mother just what is going on, and subsequently finds an eviction notice, the two women discuss their relationship over the years and a host of cross-matched feelings are brought to the fore. It’s clear that there’s always been a lot of love between the two characters, and despite Cora’s distracted demeanour and Athena’s obvious frustration, the entire scenario within the small flat is completely filled with warmth and tenderness. Everything in The Call is conveyed with a sumptuous attention to light and to colour, with Pep Bosch’s cinematography and Riffy Ahmed’s direction keeping the inside scenes close while allowing the outside shots to appear expansive. The jazzy rhythms from composer Joe Stevenson match up with Cora’s mania perfectly but also know when to calm down and become gentle as the relationship between mother and daughter takes precedence. Similarly, the performances from Jo Martin and Amarah-Jae St Aubyn allude to a history and a certain quiet knowing from the characters while they both try to deal with the current situation from their own perspectives. There’s a lot to recommend The Call to the viewer as it plays out its small family drama with a twist. Unfortunately, the twist is telegraphed all too early on and when it does come along it’s barely any surprise at all, with an underwhelming costume change to boot. The family dynamics, which are really the heart of the film, never get explored fully and it’s hard to understand why Vanessa Rose decided to aim for the denouement that she did. The Call runs like any regular relationship drama with a throughline that’s pretty easy to spot where it’s going, which when the story clearly has elements that should suggest that it’s anything but run-of-the-mill, becomes slightly unsatisfying despite its feelgood factor. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Imagining the Indian film review by UK film critic George Wolf. Starring Kevin Blackistone, Suzan Showin Harjo directed by Aviva Kempner, Ben West. HOME | FILMS | REVIEWS Imagining the Indian Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Apr 12, 2023 Directed by: Aviva Kempner, Ben West Written by: Aviva Kempner, Ben West Starring: Kevin Blackistone, Suzan Showin Harjo “We’ve been used for entertainment for so long, most Americans don’t even question it.” Imagining the Indian is a documentary with a clear agenda and a specific target audience. It isn’t really interested in preaching to the choir, and it seems to realize there are those on the opposite side who view even broaching the subject as threatening some God-given right to tell others how to feel. But in the middle, there’s a group that may indeed have never questioned why Native American team names and mascots need to be changed. Imaging the Indian makes a clear and very convincing case. In short, “It’s either racist or it’s not.” True enough, but directors Aviva Kempner and Ben West follow that early declaration with multiple historical and uniquely personal perspectives that repeatedly drive the point home. Like Kempner’s 2019 doc The Spy Behind Home Plate , the approach is far from stylish, but heavy on substantial persuasion, usually from those most directly affected by the demeaning mascots, team names and group cheers. While veteran sports journalist (and co-producer) Kevin Blackistone finds no shortage of sports fans who dig in their cleats and yell “It’s just a name!,” we see a series of Native Americans who have receipts. And they say it honors nothing but a continued “white fantasy” of a people swept out of the way for hundreds of years. “I’m so past arguing. This is life and death for us.” Really? Life or death? Yes, expect more receipts. Kempner and West also highlight the leadership of Native American activist (and 2014 Medal of Freedom winner) Suzan Shown Harjo, and offer solid rebuttals to the frequent charges of “erasing history” and those misleading polls which seem to suggest Native American support for the controversial mascots. I’m actually writing this review while a Cleveland Guardian’s game plays in the other room. And while it’s encouraging to note that the Cleveland Indians/Chief Wahoo die-hards are becoming less and less vocal, I know first hand that plenty still proudly resist the name change as some heroic stand against “wokeness.” But with the Washington football team finally ditching “Redskins” (a name singled out as the most blatantly offensive of all), progress is being made, which is why it may be the most opportune time for Imaging the Indian to get this wider release. Can a documentary actually be the tipping point for a new conventional wisdom, and a catalyst for permanent change? Ask Sea World. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

Triangle film review by UK film critic Lucy Clarke. Starring Lili Vetlényi, József S. Kovács, Dániel Gaál directed by Péter Engelmann. HOME | FILMS | REVIEWS Triangle Film Review average rating is 5 out of 5 Critic: Lucy Clarke | Posted on: Sep 14, 2021 Directed by: Péter Engelmann Written by: Péter Engelmann Starring: Lili Vetlényi, József S. Kovács, Dániel Gaál You’re only thirty-six questions away from feeling like you’ve known a stranger forever. Pioneered by psychologist Arthur Aron in 1997, these questions are designed to slowly get more probing as you work through them, and by the final question, you’ll – ideally – feel like firm friends. There have been various rehashes of the same principle, perhaps most famously The New York Times’ Thirty-Six Questions That Lead to Love , which presented the 36 questions as a gateway to a long-lasting romantic relationship. Answer these questions and know the truth about human connection – but what happens when there are secrets you want to keep hidden? From the beginning, Péter Engelmann’s short film Triangle echoes documentary filmmaking so strongly in its approach, that it seems like an army of white-coated scientists is watching their subjects behind the camera. The test subjects are all from different walks of life, each with their own ambitions. We meet ByStan (Dániel Gaál), a cocky, successful guy whose answers to the probing questions are trite comedic comments. His life is motivated by his high-flying career, gorgeous girls and easy laughs. Perp (József S. Kovács) is a little less sure of himself than ByStan, and he’s consumed with anxiety and parental worries. The final person to complete the experiment is Vic (Lili Vetlényi), a 28-year-old mother and wife who becomes the subject of the men’s envy: she seems to have her life together, and she joyfully lives in the moment. Sitting in a room which looks more like a doctors’ waiting room than a cold lab, Vic, Perp and ByStan rattle questions off to each other, ranging from the simple “who would you have as a dinner guest?” question to the more taxing: “If a crystal ball could tell you the truth about yourself, your life, the future, or anything else what would you want to know?”. By this point, the audience can sense a twist coming. There’s tension on the breeze, and Vic, Perp and ByStan are getting along far too well enough for their happiness to be sustained until the end. Engelmann’s deeply haunting third act yanks happiness out of the characters’ reach, but Engelmann’s sustained grasp on emotions and responsibility echo the nail-biting early episodes of Black Mirror. Triangle lures us in with the false promises of a social experiment, a documentary, or some kind of moral lesson about the infallibility of human friendship. Instead, darkness swirls underneath, and the final moments rattle you to your core. Buy UKFR Banner Space About the Film Critic Lucy Clarke Short Film, World Cinema < All Reviews Next Film Review >

The Donor Party film review by UK film critic Tori Hanes. Starring Malin Akerman, Rob Corddry, Jerry O 'Connell directed by Thom Harp. HOME | FILMS | REVIEWS The Donor Party Film Review average rating is 2 out of 5 Critic: Tori Hanes | Posted on: Mar 1, 2023 Directed by: Thom Harp Written by: Thom Harp Starring: Malin Akerman, Rob Corddry, Jerry O 'Connell Ah, the days of early aughts romcoms. Do you remember turning off your brain for 90 full minutes while the cinematic equivalent of white noise lulled you? Could it be considered brave for a film released in 2023 to pivot on its heels back to this genre of gooey nothingness? If so, The Donor Party by director Thom Harp deserves a Purple Heart. Following wanna-be mother Jaclyn (Malin Ackerman) through her misguided – and frankly, morally challenged – quest for self-insemination, The Donor Party does little to endear itself to audiences through its clunky plot. The hook- one night, three unknowing sperm “donors”, and a woman watching her biological clock click closer to midnight- is one better left in the aughts. The story bobs and weaves awkwardly, causing fatigue for both the audience and, seemingly, the performers. The cutesy setup of quirkily tricking men into fatherhood immediately stings and continues to rest like a hot iron branding the forearm. The film finds its footing through the natural chemistry and charisma that the performers practically beg you to acknowledge. Having pulled a crew of stealthily loaded comedic talent, Harp allows for long moments of play from his actors. In these beats of palpable improv, the humor, depth, and charm of The Donor Party shimmers. Rob Corddry, Bria Henderson, Erinn Hayes, and Dan Adhoot bring a warmth and passion so rarely seen in mid-to-low-budget romcoms that it’s occasionally staggering. A particular scene with Erinn Hayes (who plays up-tight, accidentally drugged host Molly) lamenting to Jacyln about her march toward stagnation while high off her rocker in a pool strikes as one of the more sincere moments in the recent memory of movies. It’s fun. The story gets caught up in itself at the expense of any sort of meaning, the plot feels icky at times, but Harp couldn’t have picked a more affable crew. If you’ve long missed the washing glow of aughts-based goof, The Donor Party is for you. Buy UKFR Banner Space About the Film Critic Tori Hanes Digital / DVD Release < All Reviews Next Film Review >

The Last Bus film review by UK film critic Chris Olson. Starring Timothy Spall, Phyllis Logan directed by Gillies MacKinnon. HOME | FILMS | REVIEWS The Last Bus Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Aug 12, 2021 Directed by: Gillies MacKinnon Written by: Joe Ainsworth Starring: Timothy Spall, Phyllis Logan The British “Road Trip” movie is a fairly neglected genre, for obvious reasons. Unless you are on a Vespa to Brighton or Tom Hardy on the M6, it’s unlikely that a trip across the UK is going to be interesting (or long) enough. Joe Ainsworth’s tale of an elderly man travelling the longest route possible is sentimental but heartfelt viewing. Timothy Spall plays Tom, a recent widower living in John o' Groats who is planning one hell of a bus trip - and without a Megabus or National Express in sight. His plan is to travel to Land’s End in Cornwall using local buses, on an expedition that will see him mix it up with all walks of life. Well, those that take the bus. Relying on the kindness of strangers is a well-worn trope, and director Gillies MacKinnon uses it like a freedom pass with The Last Bus. Everyone Tom bumps into seems to have the potential to be a friend for life or an instant foe, and his ailing health or pitiful funds is almost instantly solved by a stranger’s charity. Regular commuters will be asked to suspend their disbelief at the social interaction Tom is able to garner from the bus stops he stands at. Not a silent one among them. Fortunately, Spall’s engrossing portrayal clocks up the emotional miles as we witness through flashbacks the life he had with his wife (Phylis Logan). His astonishing range is given a wide berth, MacKinnon knowing this is his ace in the hole, and the actor manages to depict the grit and frailty of the central character with deft skill. The cast as a whole are silhouette passengers on the screen for brief interactions and narrative convenience. It’s unglamorous and misty-eyed, with enough coats of slapped on poignancy to paint, well a bus. A sombre score gets punctuated with vibrant acoustic tunes to provide the essential travelling montages, direct from the road trip handbook. But this is a lovingly crafted entry into the UK road trip movie genre that, at the very least, should be an inspiration to filmmakers that a trip down the M4 corridor could be the next On The Road. Or at least Dumb and Dumber To. Buy UKFR Banner Space About the Film Critic Chris Olson Theatrical Release < All Reviews Next Film Review >

Corvine film review by UK film critic Chris Olson. Starring Robert McCarron directed by Sean McCarron. HOME | FILMS | REVIEWS Corvine Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: May 18, 2023 Directed by: Sean McCarron Written by: Sean McCarron Starring: Robert McCarron A tale of a child’s yearning to express himself is given a delightful warmth in this animated short film from filmmaker Sean McCarron. Sans dialogue, the 10-minute piece captivates, inspires, and delivers a wholesome story of trying to fly free. In Corvine Robert MCarron voices Kevin (although “voices” may be a strong term, it’s just caw-caws I believe), a young lad who revels in pretending to be a crow in the fields around his home. His imagination runs wild as he frolics and life seems to be full of wonder and charm. Queue the record scratch when he is forced out of his crow costume and into a school uniform, where life suddenly becomes dull and lifeless. Furthermore, he experiences bullying at the hands of students who don’t take kindly to his passion for birds. How can a child soar above these soul-sucking pressures of fitting in? Charming and exuberant, Corvine has the enduring quality of the best animated movies. Utilising a style that feels as traditional as The Snowman but as fresh as My Life as A Courgette, Sean McCarron contributes expertly to a filmmaking genre that transcends the ordinary milieu of cartoonish storytelling or children’s fables. It’s a coming-of-age film that can also apply to audience members of any age, tapping into a time when perhaps they felt freer and less burdened by the drudgeries of growing up and/or becoming “sensible”. The score effortlessly carries the picture, with Suad Bushnaq capturing the purest essence of childhood during the opening section of the film when Kevin is full of happiness and wonder, only to completely rob us of it when his school uniform gets donned. The bullying scene is also arresting with its dynamic and enthralling tones, rattling the viewer. We live in a society more aware (and hopefully, more accepting) of people’s eccentricities and natures, and yet childhood can often be a time when reasoning and rationalising are not applied. Kids can be cruel, as the saying goes. The film does include characters of all ages though, and this is key in exploring the topic of being true to yourself and championing one’s identity over integration. Kevin’s journey through home life and school feels like a tug-of-war that shouldn’t be as tragic as it is but the themes are universal and enduring. The filmmakers hone in on something all audiences could relate to, making animation the spot-on choice for the delivery of this potent and stirring short film. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, Animation < All Reviews Next Film Review >

Lampros film review by UK film critic Holly Baker. Starring Aristotelis Nikou, Eren Stauraki, Giorgos Dedes directed by Giorgos Vasilakopoulos. HOME | FILMS | REVIEWS Lampros Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Dec 8, 2025 Directed by: Giorgos Vasilakopoulos Written by: Aristotelis Kostopoulos, Giorgos Vasilakopoulos Starring: Aristotelis Nikou, Eren Stauraki, Giorgos Dedes The short film Lampros (2024), directed by Giorgos Vasilakopoulos, is a disturbing exploration of grief. The film goes straight to the point, sharply narrating the story of Lampros and Lena, siblings whose relationship has become estranged following the death of both of their parents. Through washed-out colour grading reminiscent of Twilight , with a bluish tone overwhelmingly toning the majority of the piece, viewers are taken on an uncomfortable journey of loss and family turmoil as secrets threaten to surface. Lampros is a young boy played by Aristotelis Nikau, and whilst struggling with grief, he becomes eager, alongside his like-minded friends, to embark on sexual conquests through unconventional means. Meanwhile, he and his sister Lena, played by Eren Stauraki, suffer from a communication breakdown. Hiding her true profession, she vaguely describes to Lampros the horrors she faces whilst working at a hospital. Frustration builds between them as Lampros can sense that Lena is keeping information from him, and Lena is unable to express what she is having to go through in order to support them both financially now that their parents are gone. Both Nikau’s and Stauraki’s performances are outstanding. The film deals with very complicated issues, and both actors evoke a heavy disturbance that encapsulates what they are going through brilliantly. Through facial expression, body language, and tone of voice, which are often delivered in blunt dialogue, viewers feel their sense of detachment from reality and confusion around their identity. Visually, the film contains many effective, moody shots with varying stylistic choices, painting an erratic picture of both the emotional and physical endeavours both characters are facing. Accompanied by a heartwrenching, sombre soundtrack, the film grips viewers with its darker moments and doesn’t shy away from creating an atmosphere of hopelessness as it tells its story. The film is permeated by catastrophe and deprivation, yet, through its artful shots, it captures a beauty hard to define in its ability to depict such a tender struggle. The despairing mood the film captures is comparable, perhaps, to the feeling evoked by I Saw The TV Glo w, both dealing with slightly similar themes of loss and isolation. As the story unfolds, each setting is necessary in providing another piece of the puzzle. Side characters drift in and out, every one adding layers to Lampros and Lena’s situation in disturbing detail. Viewers may find some aspects difficult to watch, especially as the cast members are clearly very young and play their roles convincingly, making the film's tragic events truly sorrowful to watch. Overall, Lampros is an expertly crafted exploration of highly difficult situations through the naive lens of adolescence. Each and every aspect of the film, from its artistic choices to its blunt dialogue, brings together a unique telling of the two siblings' story. As they grow and navigate the world without any role model figures to help guide them, viewers understand their journey as one which has been derailed and left them feeling lost and helpless. They must deal with the hardships of being financially struggling young adults in a world where they feel abandoned and unable to find their way, and in a way, they do. Viewers may find it difficult to accept the choices that Lampros and Lena make; however, it is impossible to blame them, as their scenario is so specific and complex that the only possible response is one of empathy and compassion. Buy UKFR Banner Space About the Film Critic Holly Baker Short Film < All Reviews Next Film Review >

Moonfall film review by UK film critic Kieran Freemantle. Starring Patrick Wilson, Halle Berry, John Bradle directed by Roland Emmerich. HOME | FILMS | REVIEWS Moonfall Film Review average rating is 2 out of 5 Critic: Kieran Freemantle | Posted on: Feb 6, 2022 Directed by: Roland Emmerich Written by: Roland Emmerich, Harald Kloser, Spenser Cohen Starring: Patrick Wilson, Halle Berry, John Bradle Roland Emmerich is a director who’s known as the master of disaster. His work includes Independence Day, The Day After Tomorrow, and 2012. He returns to the sci-fi disaster genre with Moonfall. In 2011 a space shuttle gets attacks by a swarm of nanobots, leading to one of the astronauts getting killed and another, Brian Harper (Patrick Wilson) disgraced. Ten years later, K. C. Houseman (John Bradley) undercovers evidence that the Moon is out of orbit and heading towards Earth. The fate of the world lays in the hands of Harper, Houseman, and the deputy director of NASA, Jo Fowler (Halle Berry). Emmerich’s disaster work has an increasing level of escalation. Independence Day was about aliens destroying a lot of major cities, The Day After Tomorrow was about climate change wreaking havoc to the Northern Hemisphere, and 2012 showed the Mayan Doomsday destroying the world. If the moon crashes into Earth, it would completely destroy the planet, not just kill everything. As well as a sense of escalation, Emmerich’s disaster films have also been getting more ridiculous. Moonfall requires a big suspension of disbelief. However, another use to Emmerich’s work would know what they are letting themselves in for and anyone who has seen the trailers know Moonfall is about stopping the Moon crash into Earth. Criticising Moonfall for having a silly plot is a moot point. Since Independence Day Emmerich has been trying to repeat that success. However, Independence Day was a lightning in a bottle situation. It was a cross between a ‘70s style disaster film, a modernisation of War of the Worlds, and ‘90s filmmaking. It had a mix practical effects and ground-breaking CGI which made the action and destruction a marvel to behold. Emmerich’s follow up disaster films had become CGI fests which meant the physicality was lost. One of the big appeals of Emmerich’s disaster films is the destruction. Many landmarks were blown up in Independence Day, New York was flooded in The Day After Tomorrow, and 2012 saw California, Las Vegas, Washington, and the Vatican all getting destroyed. Moonfall was lacking this: there wasn’t much property damage in comparison to his other films. It’s what audiences have come to see. This smaller scale was also expended to the cast. Independence Day, Independence Day: Resurgence, and 2012 had massive casts that were spread out across America or the globe. Moonfall had three main characters and the supporting cast were family members. When Harper and Fowler finally do go into space the secondary plot was about their families trying to get to safety. I can picture the press notes saying ‘Moonfall is a film about family.’ To be fair to Moonfall there was an emotionally powerful moment in the third act. Moonfall does have some impressive visuals. The launch sequence was a prime example of this. Gravity went haywire as humanity has only has one chance of being saved. It was a ludicrous moment because water was rising up into the air but it was an awe-striking image and there was a great sense of peril. Emmerich is a German director known for making patriotic American films and Moonfall was no expectation. Fowler said she worked for the American People with pride and determination. A scene where the NASA and the American military bring a space shuttle out of retirement would make audiences want to chant ‘U.S.A, U.S.A.’ Another trend in Emmerich films is conspiracy theorists are right. Moonfall was no expectation with Houseman being the wise sage that everyone ignored. He was like Woody Harrelson’s character in 2012 if given a more prominent role. One of the most ridiculous moments was Houseman leaking the information on Twitter and the world’s media reporting on it quickly. How the hell was that tweet treated seriously when there are many nutcases saying the world’s flat or run by lizard people? Emmerich has joined the bandwagon of big-name directors who have criticised the current cinematic landscape, namely Marvel films. He criticised the MCU and Star Wars have made it harder for original films to be made. His statement would have more weight if he wasn’t such a formulaic filmmaker. Like Independence Day and 2012, Moonfall had a big cover-up hiding some deep, dark secret and Moonfall lifted ideas from those films. Like Independence Day the heroes in Moonfall had to go off into space to use a weapon against the alien threat and whilst on the ground Harpers and Fowlers had to trek through the mountains to find safety, like John Cusack and his family in 2012. Moonfall was a knowingly silly film and it’s the best way to approach it. There were laughs to be had, both intentional and unintentional and people can treat it as a turn-off-your-brain film. But it was a lesser offering from Emmerich due to his formulaic storyteller, inconsistent special effects and lacking the destruction of his previous disaster films. Buy UKFR Banner Space About the Film Critic Kieran Freemantle Theatrical Release < All Reviews Next Film Review >

Don Q film review by UK film critic William Curzon. Starring Armand Assante, Chuck Zito, Frank Aquilino directed by Claudio Bellante. HOME | FILMS | REVIEWS Don Q Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Sep 17, 2025 Directed by: Claudio Bellante Written by: Claudio Bellante, Michael Domino Starring: Armand Assante, Chuck Zito, Frank Aquilino Don Q focuses on the title character, set in Little Italy, as he believes himself to be a powerful mafia figurehead. Don is set on reclaiming the neighbourhood for himself and its values. The return of a rival ex-con pushes his idea of power to the brink as he is tested with conflict, while taking a younger individual under his wing in a turf war between the communities. The film explores ideas of power and greed reminiscent of classic mafia films such as The Godfather trilogy and GoodFellas. One of the most striking things about Don Q in its opening moments is the commanding screen presence of Armand Assante. He exudes a level of confidence and a mobster mentality in his personality, as well as a great empathy for the people he cares about in his community. The piece takes a grounded approach in its presentation, establishing Little Italy as its own character as it explores Don’s daily routines in the neighbourhood. Audiences familiar with this area may find this refreshing, given how well it captures the spirit of the area in a modern-day setting. Shot on location, writer and director Claudio Bellante conveys a heart-warming love letter to the streets of the area with its focus on the restaurants and street vendors that populate the territory. It does, however, feel restricted in its budget in terms of production value, and the film rarely ventures outside the surrounding areas of Little Italy. The piece also suffers from an underwhelming array of supporting characters that feel underdeveloped and underutilised in the narrative outside of the titular character. The pacing can meander throughout the majority of the runtime, with a lack of focus on narrative, and it feels aimless as it tracks Don in his daily routine. The flow of the narrative sadly starts to feel repetitive with a lack of conflict until he is met with discord from his rival, Rocco, who suddenly reappears in the district. Formally, the film is aggressively stylised at times with a jarring amount of cuts within brief outbursts of violence and use of steadycam as Don discovers more about the criminal underworld of Little Italy. On the other hand, the colour grading is vibrant and makes the environment of the neighbourhood more lively for the audience. The use of music throughout is effective in the context of specific scenes tonally, with its placement of needle drops and an originally scored piece from Jeremy Adelman. The musical score is reminiscent of the classic mob films it is inspired by, with its use of orchestral sequences oddly scattered throughout. Tonally, the film balances out a mix of comedic and more serious elements; however, it can feel uneven at times with a confusing variety of clashing creative ideas. While the narrative does feel stagnant, the final act of the film does finally pick up, and tensions arise with a heavier focus on story and an explosive finale. However, the final moments of the piece are abrupt, with minimal character growth for the protagonist and the surrounding characters, which makes the whole experience feel like wasted potential, especially with the talent involved. Don Q is a disappointing pastiche of the classic gangster genre with an excellent performance at the centre of it that only just holds it together alongside its love letter to the community of Little Italy. A small neighbourhood fable undercut by a plethora of baffling creative decisions and an unengaging narrative that meanders to a grinding halt. Don Q is on digital 15 September 2025 from Reel2Reel Films. Buy UKFR Banner Space About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

The Dead Thing film review by UK film critic Hope Madden. Starring Blu Hunt, Ben Smith-Petersen directed by Elric Kane. HOME | FILMS | REVIEWS The Dead Thing Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 13, 2025 Directed by: Elric Kane Written by: Elric Kane Starring: Blu Hunt, Ben Smith-Petersen The clever, underlying theme in Shaun of the Dead is that every Londoner was already basically a zombie. Elric Kane, co-writer and director of The Dead Thing , looks at a culture of app hook ups and sterile, fluorescent work spaces and sees something similar. A whole generation of people seems to already be dead. They’re not exactly alive, anyway. Beautiful Alex (Blu Hunt) fits that bill. Her job is mindless, she keeps her headphones in and avoids eye contact with her one co-worker, Mark (Joey Millin). After work and another swipe right hookup she sneaks into her apartment to avoid conversation with her longtime best friend (Katherine Hughes). Sleep. Wake up. Repeat. Then she meets Kyle (Ben Smith-Petersen), and it’s as if she wakes from a trance. It starts off the same as every other meet up, but Kyle is different. They connect. He stays all night, they laugh and draw pictures of each other and hate to say goodbye the next day when her uber for work arrives. She decides to keep in touch, but he never responds to a text. So, she shows up where he works, and a mystery begins. Each act in The Dead Thing tells a different story. Hunt anchors the evolving storytelling with an authentic display of ennui, of disconnectedness—partly chosen, partly inevitable. Smith-Petersen’s vacant sweetness gives each change in the narrative an underlying sinister quality that also evolves nicely from one act to the next. By Act 3, Kane abandons the film’s original metaphor in favor of a different analogy. While this change offers more opportunity for visceral horror, the result is less satisfying than the original, insightful image of modern romance. Though the more traditional wrap up disappoints after such a stylish and intriguing premise, The Dead Thing —including Iona Vasile’s dreamy camerawork and deceptively creepy performances throughout—keeps your attention and manages to subvert expectations and entertain. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Jane Austen's Period Drama film review by UK film critic Joe Beck. Starring Julia Aks, Lachlan Ta’iuma Hannemann, Samantha Smart, Hugo Armstrong directed by Julia Aks, Steve Pinder. HOME | FILMS | REVIEWS Jane Austen's Period Drama Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Apr 27, 2024 Directed by: Julia Aks, Steve Pinder Written by: Julia Aks, Steve Pinder Starring: Julia Aks, Lachlan Ta’iuma Hannemann, Samantha Smart, Hugo Armstrong Jane Austen is rightfully widely regarded as one of the greatest authors of all time, and a pioneer for women in literature. Her works include the iconic ‘Pride and Prejudice’, ‘Mansfield Park’, ‘Sense and Sensibility’, and ‘Emma’, and over two hundred years laters her impact on popular culture remains. Most romance novels and films bare some feature or trope that was conceived by Austen, whilst her work has been immortalised on screen with film adaptations of her novels. The short film ‘Jane Austen’s Period Drama’ works both spoofing and in appreciation of Austen’s work, with incredibly witty and funny dialogue, it feels as though Austen was still alive with us. The title itself is a witty play on words, with film adaptations of Austen’s work over the years generally labelled period dramas, this doubles up, also referring to a woman’s menstrual cycle. It’s an Austen story, with the modern day awareness about a women’s menstruation and periods. IT feels at times like the kind of story Austen would have written had there been an openness regarding the subject as there is today. Writers Julia Aks and Steve Pinder revel in the wit and wordplay of bending an Austen tale to modern sensibilities to hilarious effect. Estrogenia Talbot, played by Julia Aks, has fallen in love with Mr. Dickley, who is played by Lachlan Ta’iuma Hannemann. Dickley, the Darcy of the film, is about to propose to Estrogenia when she gets her period, staining her dress. Unaware of periods, or frankly anything to do with women and the menstrual cycle, Dickley believes that she is injured, and abruptly sweeps her back to her home to receive medical assistance. Further hijinks ensue here, as we meet Estrogenia’s sisters, who are equally as wittily named, and their maid, Mrs. Bitts. Aks and Pinder write the film with a knowing tone, and every actor is in on the joke. Each line is delivered with perfect comedic timing, in purposefully hammy tones, and particularly Aks herself as Estrogenia excels as the slightly bemused Estrogenia. Her chemistry with Lachlan Ta’iuma Hannemann is marvellous, and as Dickley he is magnificent in his own right, knowingly playing into the cluelessness of his character, and yet still managing to maintain a heartwarming sense that he is nonetheless a gentlemen despite his lack of awareness. The film is also directed by Aks and Pinder with a similar visual wit and there is physical comedy to match the verbal humour. Overall, ‘Jane Austen’s Period Drama’ is a film that one would imagine Jane Austen herself would have approved of. It transforms and spoofs her iconic tropes with modern sensibilities and openness regarding the formerly taboo subject of menstruation, to raucously hilarious effect. You can’t help but wonder why this wasn’t made sooner. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >