Fallen Angel film review by UK film critic William Hemingway. Starring James Harris directed by James Harris. HOME | FILMS | REVIEWS Fallen Angel Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Nov 16, 2023 Directed by: James Harris Written by: James Harris Starring: James Harris Ostensibly, Fallen Angel is a five-minute short film from writer and director James Harris – at least that’s what it says on the tin. But when is a film with your name on it not exactly your own film? Probably when it’s made like this. The footage which makes up Fallen Angel , you see, wasn’t originally shot for the purpose in which it is now being used. Everything that Harris has cobbled together for his five-minute piece was rescued from the cutting room floor of another project, Paradise Lost, History In The Unmaking (2021) which was directed by Andy Howlett and shot by his cinematographers Matt Watkins and Martin McNally. Granted, the footage used does feature James Harris as the titular Fallen Angel but really everything we see was shot by different film-makers for another purpose. It then doesn’t help that everything on screen, although intended for use in the Paradise Lost… project, is a very close replica of the Wim Wenders classic, Wings Of Desire (1987) right down to the lost angel in fluffy wings wearing a suit. The theme/plot is also strikingly similar as Harris then tacks his poetry on top to suggest that said angel is having a tough time of things in immortality and is beginning to wonder if there isn’t something better than eternity between the worlds of Heaven and Hell. In fact the whole thing smacks so much of the German classic that Fallen Angel does a better job of aping it than the weird ass American remake with Nicolas Cage, City Of Angels (1998). So just what has Harris done to make this film his? Well, he’s saved the footage for one, and he has reconstituted and edited it to suit his new/borrowed narrative of little angel lost. He has added some postmodern brutalist soundscaping from Snowkitten, who provide some electrosynth noise as a backdrop to the postmodern brutalist setting of beneath Spaghetti Junction; and he has written the aforementioned poem to describe his plot/theme which he reads over the top of his newly stitched together shots. So, quite a bit then, and undoubtedly enough for him to call this Frankenstein’s monster of a short film his own. But is it any good? Sadly, the answer is no. Forgetting all of the difficulties and abortions which constitute the birthing of this creation, the main problem Fallen Angel has, like Frankenstein’s monster, is in identifying itself. Coming in at under five minutes and having no dialogue; is it a music video, a visual poetry slam, a short film, an art piece, an homage, or really just a mess? Perhaps merely as a showcase it might work but then the poetry itself would have to be good – which it isn’t. Sure, Harris can rhyme but he ends up falling into the trap of turgid theosophising by continually asking questions rather than actually saying anything. While some of the visuals are nice we have definitely seen their like before and Harris has added nothing new to the ‘Angel on Earth’ story with this effort. All credit to him for trying to reclaim something that was lost but in reality all that he found was something that was already there. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Dear Imelda film review by UK film critic Jason Knight. Starring Declan Curran, Rose Henderson directed by Aron Holden. HOME | FILMS | REVIEWS Dear Imelda Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 7, 2024 Directed by: Aron Holden Written by: Declan Curran Starring: Declan Curran, Rose Henderson A young man goes to stay with his grandmother and ends up changing her life for the better. The setting of this short comedy drama is Ireland's countryside, where Imelda (Henderson), an elderly woman, resides in a house by herself. One day, her grandson Ciaran (Curran) arrives as he needs a place to stay. Although she allows him into her home, she is unhappy with his presence as he unwillingly disrupts her lifestyle and he also brings technology into her house, which she is not fond of. However, he discovers something about her that will bring joy into her life. The results of an unexpected family reunion is whar the narrative follows and some are humorous while others are dramatic and they all involve Ciaran's efforts to improve things for Imelda. Starting with throwing away her expired food and fixing her television, he then proceeds to introduce her to the Internet and other technological products such as headphones. Although she initially refuses to have significant technology into her life, she eventually accepts it and it does make things better for her. However, Ciaran's most significant contribution occurs when he attempts to contact a past friend of Imelda's, who he becomes aware of after seeing his granny looking through a photo album. Story aside, this film also serves as a commentary about technology, about how technology makes people's lives more comfortable and also seems to suggest that the elderly tend to be unaware of the benefits this application. This short would not be a high quality viewing without Henderson's magnificent performance. Her character is a person who has become accustomed to living by herself and not relying on technology. She is kind of childish, utilising a tablet as a cutting board and treating the Internet like it is a lethal threat and she seems to be a bit confused, forgetting things such as buying new food and the condition of certain objects. She appears to find comfort by looking at pictures of her and a friend from when they were children. She goes through significant character development as she accepts her grandson into her life and embraces technology. Ciaran is a kind and helpful youth, played sympathetically by Curran. He cares deeply for his grandmother and goes to great lengths to make her life more comfortable and happy. Huge commendations go to Holden's superb directing, which includes wonderful shots of the ocean and landscapes, that are supported by Raditya Santosa's cinematography. Holden also worked on the editing and is quite creative with the montages. The beautiful music by Tara Howley and Faliq Auri is another element that deserves praise, especially when it comes to the song that enchants Imelda. This is a heart-warming story about a caring youngster who manages to improve the life of his grandmother. Exploring old age, nostalgia and the significance of support and reaching out, this short provides an emotional and at times comical experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Ancient Symbols film review by UK film critic Chris Olson. Starring Myles Wright (Narrator) directed by Dwayne Buckle. HOME | FILMS | REVIEWS Ancient Symbols Film Review average rating is 2 out of 5 Critic: Chris Olson | Posted on: Dec 29, 2021 Directed by: Dwayne Buckle Written by: Dwayne Buckle Starring: Myles Wright (Narrator) Symbology has played an interesting role within cinema. From films like The Mummy or Indiana Jones to The Da Vinci Code, ancient symbols have been utilised in some of the most exciting plots by filmmakers. In his documentary, Ancient Symbols , filmmaker Dwayne Buckle adopts a less mainstream popcorn appeal, opting instead for an enlightening exploration of this world, if executed with a dull methodology. Narrated by Myles Wright, Ancient Symbols hones in on some of history’s most enduring symbols (from the Yin Yang to the Christian Cross) and explores the early uses of them, stories attached to them from different cultures, and how they exist in today’s popular culture. The documentary highlights the power of symbols, often fairly simplistic designs which can take on enormous meanings that can be religious, philosophical or even transcendental, and looks at how societies were shaped around them. Small references are made to our modern use of symbols, such as the counter-culture of the 1960s or our modern use of emojis but the film largely spends its time exploring the roots of symbols from centuries ago, revealing some incredibly fascinating theories and ideas about what symbols such as the Winged Disc or The Eye may have meant. Ancient Symbols feels like a museum installation whereby patrons would pop on their headphones for a little while and find out more about these marks or hieroglyphs before skipping onto the next piece. Some of the archival footage is interesting but a significant proportion of it is low-res slides of a symbol in various shapes and sizes. Herein lies the crucial problem with the documentary. At just shy of the 40-minute mark, its repetitive execution of archive footage just doesn’t sustain the audience’s attention, the music feels plucked from a generic compilation album and doesn’t seem to reflect the narration or imagery in most cases, making the overall experience a monotonous lecture rather than an enthralling cinematic journey into an unknown world. It’s an interesting film to find out when certain symbols were starting to be used as well as the stories behind them and there are moments where the stories feel spiritual or at least moving or compelling. It’s not that the documentary should be expected to compete with the aforementioned action movies, being a completely different genre, it’s just that the essay-read-aloud approach just keeps the fascinating content from ever leaping off the page. Buy UKFR Banner Space About the Film Critic Chris Olson Documentary < All Reviews Next Film Review >

Two Minutes film review by UK film critic Jason Knight. Starring Annette Badland, Samuel Bottomley, Ashley Margolis directed by Jamie Benyon. HOME | FILMS | REVIEWS Two Minutes Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Sep 28, 2025 Directed by: Jamie Benyon Written by: Jamie Benyon Starring: Annette Badland, Samuel Bottomley, Ashley Margolis A short crime comedy written and directed by Jamie Benyon and starring Annette Badland, Samuel Bottomley and Ashley Margolis. Two brothers (Bottomley and Margolis) have a plan: they are going to rob a convenience shop. Why? Because they need money. So the day arrives and Anthony (played by Margolis) is going to enter the shop with a gun and a mask and force the staff to give him the money, while Jimmy (played by Bottomley) will wait in the car and be the getaway driver. Once the alarm goes off, they will have two minutes to escape and they have a timer ready. Once Anthony proceeds to walk towards the building, his sibling stays in the vehicle, waiting anxiously. Then, things take an unexpected turn when their grandmother (Badland) walks by, sees Jimmy and cheerfully decides to sit in the passenger seat and have a chat. During its five-and-a-half minute duration, this short manages to begin as a serious crime thriller, then move towards dark comedy, before entering family drama territories. The ominous music by Daisy Coole and Tom Nettleship adds great tension to the atmosphere and of course so does the plot: two guys are in the middle of committing armed robbery and out of the blue, their grandma appears, utterly oblivious to the situation and wants to have a friendly conversation with the getaway driver and offer treats. It is an intriguing plot, with humour and a great deal of suspense. The issue is morality. The two brothers are committing armed robbery in order to get money for a noble cause. Does wanting to do something good justify turning to crime in order to achieve it? The screenplay does not state that crime does not pay. It does not acknowledge that committing criminal acts is not the answer. Bottomley and Margolis generate the drama and seriousness in this story with their performances as two desperate young siblings who appear to be good people and turn to armed robbery because they believe they have no choice. Badland's presence provides the comical elements, as her character cheerfully socialises with her grandson and she is utterly unaware of the crime that is taking place. Desperation is the main feeling here, with the plot being about desperate individuals resolving to desperate measures in order to make things better for them and their actions resulting in a desperate events. Behind this, the reason is support, as that is the brothers' motive for their illegal act. The film also tenderly acknowledges family values and the pain caused by loss. The methodical directing, the strong acting and the plot are what bring this short to the two-star category. As mentioned, the fact that crime is never the solution is not acknowledged in this story and that is a big minus, because what is the message then? That crime can be a solution? This is a very well-made film, however it is vital that it had to carry the message that people must never turn to crime. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Vamos Carajo film review by UK film critic Jason Knight. Starring Bella Kouds, Amit Barnathan, Dhwani Shah, Harsh Gupta directed by Harsh Gupta. HOME | FILMS | REVIEWS Vamos Carajo Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 29, 2023 Directed by: Harsh Gupta Written by: Bella Kouds, Harsh Gupta, Juan Teisaire, Dhwani Shah, Isa Ebrahim Starring: Bella Kouds, Amit Barnathan, Dhwani Shah, Harsh Gupta A short film about the lives of several different individuals and the things that unite them. Over the course of less than three minutes and operating like a montage, this film introduces the characters one after the other with brief scenes that provide an insight into their lives, reaveling the highs and lows. It begins with a young woman performing an audition, tap-dancing in front of a judge and things do not seem to go well. Then a young couple enter an elevator and have a quarrel. An online celebrity struggles to get his work done. A woman trains hard in a gym, eager to lose weight. Two guys play football in a park. A guy is in an undergound train. Rather different activities involving people who appear to be unrelated to each other. 'Vamos Carajo' translates into 'Come On Damnit' and that appears to be significant towards the end. All the people mentioned above come from various walks of life, yet they all end up in the same bar, watching a football match, socialising, laughing and cheering. All the sequences that deal witheach one's circumstances are rather different from one another, with every person having their own problems and goals. And then, things become similar for all of them, as they find themselves at the same location and experiencing similar uplifting emotions and to make things even better, it is Christmas and there are Christmas trees to cheer everyone up. Hence, the title could suggest that people should be joyful because life is wonderful. Director Gupta also worked on the editing and does a great job, cleverly utilising match cut techniques. Composer Anuraj Bhagat makes a substantial contribution with the score, which includes jazz and uplifting piano melodies. And the addition of a well-known Christmas song is a significant plus. The main message of this short appears to be that no matter how different people's lives are, they can still be united by common things, and in this case, that thing seems to be joy, as (as the end reveals) it is joy that brings them together and helps them forget their troubles. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Boy film review by UK film critic William Hemingway. Starring Arthur O’Kelly, Abraham Kleinman directed by Ben Rusnak and Ruth Rusnak. HOME | FILMS | REVIEWS Boy Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Feb 4, 2026 Directed by: Ben Rusnak and Ruth Rusnak Written by: Ben Rusnak Starring: Arthur O’Kelly, Abraham Kleinman A young man reaches out for connection and the human touch, but when faced with the reality of his decisions and his desires, he finds that the truth of the situation is not as easy as the longing for it. Danny (O’Kelly) is looking for someone to hook up with. Or at least he thinks he is. He’s young and fairly new to the dating game, especially the swiping and fast-talking kind that dominates mobile phone culture and the rest of gen-z society, and he’s taking the first tentative steps into a new world of connection and instant gratification. He’s found someone on an app and has invited them over to his gaff; well, the place that he’s housesitting in for a couple of weeks, anyway. In amongst the stuffy hallways and the creepy busts littering the windowsills, Danny waits silently until the doorbell rings. At the door is Mark (Kleinman), a thirty-something gentleman in shirt and tie, with a gloriously furry beard on his face. The tension is immediately awkward and Danny almost forgets to invite Mark in, but soon they’re at the dining room table, sipping wine, and getting to know each other. Mark is obviously the more dominant of the two, and every question, look, pause, and picking up of the glass, is charged with electricity as he probes Danny’s need for companionship. The power dynamic only reaches one way as they figure each other out and Danny realises that he’s being sized up like a prize calf, slotted into a very defined box, and gently led to the deflowering of his virginity. There is a lot of heightened tension in directors/producers, Ben and Ruth Rusnak’s thirteen-minute short, Boy . For the time we are with the two main characters much is said in the spaces between them, and more is revealed about their place in the relationship and dynamic by their body language and subtle gestures than is ever said by their words. The atmosphere is charged with sexuality, and with power, and every inch of it escapes through the screen thanks to the main performances from the two actors. The direction and cinematography keep things cool and distant in the background, while filling the close-up scenes with light, colour and connection, really drawing the viewer into the very confined, homely, but slightly dangerous situation. The music from Umberto Guadino and Aleksandra Vilcinska also adds to this tension, scraping strings and hitting percussion at off-kilter moments to keep us off-balance as the two men jostle and settle into their positions. There is a strange fear of dread that leaks from the screen, mostly from Danny, and it feeds into the themes and undercurrents of what Boy is communicating to us, as well as the rounding out of the story. For a film that is so short, Boy expresses everything it sets out to, and does it with style, flair and integrity, with everything feeling real in the situation we are witnessing in front of us. For an uncomfortable thirteen-minutes we are given an insight into the repressed emotions and difficult situations that so many queer and homosexual dating partners find themselves in. There are many statements to be made by writer Ben Rusnak, but they are filed away in the dialogue, the narrative, and the character play, so well that we see them as natural expressions and dynamics on screen. The visual language really describes the emotions at play and the story eschews an exploitative approach for a much subtler, more real sharing to happen. Boy doesn’t mince its words or its message, and hits right at home to the foundations that underpin a lot of the ways queer relationships develop, sharing its voice with us to help us better understand some things that might never change, nor be spoken about in public truthfully. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, LGBTQ+ < All Reviews Next Film Review >

Mufasa: The Lion King film review by UK film critic Hope Madden. Starring Aaron Pierre, Kelvin Harrison Jr. Tiffany Boone, Mads Mikkelsen directed by Barry Jenkins. HOME | FILMS | REVIEWS Mufasa: The Lion King Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Dec 19, 2024 Directed by: Barry Jenkins Written by: Jeff Nathanson Starring: Aaron Pierre, Kelvin Harrison Jr. Tiffany Boone, Mads Mikkelsen It was hard not to be a little worried about Mufasa: The Lion King . Or maybe it was hard not to be worried about Barry Jenkins. Too few of our genuinely brilliant independent film directors come away from Giant Studio Efforts unscathed. (Quick callback to last week’s JD Chandor debacle, Kraven the Hunter .) Surely there are some auteurs who are able to leave their unique thumbprints on Disney films. No one comes to mind except Rian Johnson, and man, people really universally loved The Last Jedi , didn’t they? Well, Mufasa is far from the flaming disaster of Kraven , thank goodness. And it’s not nearly as polarizingly renegade as Jedi . Safe. That’s what it is. It’s also very pretty, if equally needless. The film delivers the origin story of Simba’s father Mufasa, providing—as origin stories so often do—a glimpse into the early development of other beloved and not-so-beloved characters. Young Mufasa (Braelyn Rankins) is separated from his parents and his pride by a great flood. Washed far from home, he’s saved by a bratty little cub called Taka (Theo Somolu). While Taka’s father, the king, will never accept this outsider, Taka’s mother (Thandiwe Newton) takes him in. As Simba and Taka (voiced as older lions by Aaron Pierre and Kelvin Harrison Jr., respectively) flee a marauding pride led by the villainous Kiros (Mads Mikkelsen, gloriously and effortlessly villainous), they find out what kind of lions they really are. And here for a while we get a bit of something refreshing. Mufasa’s worthiness to rule is grounded in skills learned from hunting with the females in the pride. And some of these transcend hunting skills: he listens, he’s humble, he’s honest. The CG animation is mainly very impressive and there are camera movements and choices that feel like new ideas in an old tradition. But tradition wins out, not just in the look but in the storytelling. (Outsiders are bad. It takes a king to lead. Women support the men who make things happen. Lions don’t eat meat?) The core story is often interrupted by a framing device of an elderly Rafiki (John Kani) telling the story of Mufasa. These breaks are meant to be funny, and sometimes they do generate a chuckle, but they feel more like well-timed bathroom breaks for when the film hits Disney+. But it’s not bad. Your kids might like it. They won’t likely remember it, but they won’t hate it. It’s perfectly safe. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Film news - The King's Man UK Home Release Date Announced. Find out more at UK Film Review. The King's Man UK Home Release Date Announced Chris Olson Wednesday, February 9, 2022 at 3:31:18 PM GMT The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Uncover the secrets of the world's most stylish spy organization and learn how it all began with the ingenious and action-packed origin story The King’s Man . From masterful filmmaker Matthew Vaughn, The King’s Man explores the mythology of the very first independent intelligence agency. Set in the historic WWI era, the lethal yet impeccably trained spies take on the ultimate mission to save the fate of humanity. Add the third Kingsman film to your collection on Digital February 9 and on 4K UHD, Blu-rayTM and DVD February 21. Film Synopsis Set during WWI, The King’s Man tells the exhilarating origin story of Kingsman, the world’s very first independent intelligence agency. As a collection of history’s worst tyrants and criminal masterminds gather to plot a war to wipe out millions across the globe, one man must race against time to stop them. Bonus Features* The King's Man: The Great Game Begins Documentary A Generation Lost – Discover how the filmmakers created a richly textured story that explores the origins of the Kingsman spy organization. Oxfords and Rogues – Meet the phenomenal new cast of characters Matthew Vaughn has assembled. All the World's a Stage – Delve into the meticulous world-building of THE KING’S MAN with interviews, on-location footage, artwork, and details of on-set construction and design. Instruments of War – Experience the analog spy tech and early 20th century weaponry utilized in THE KING’S MAN and see a breakdown of the precise execution and evolution of the major stunts and combat in the film. Fortune Favors the Bold – Join Matthew Vaughn and his team for music scoring and sound design. Long Live the Kingsman – Cast and crew reveal their thoughts about their collective journey through the very special experience of making THE KING’S MAN. Featurettes No Man's Land – Experience the creative process behind the harrowing knife battle sequence in several stages: rehearsals, storyboards, interviews and on-set footage, culminating with the atmospheric VFX. Remembrance and Finding Purpose – Learn about amazing organizations such as The Royal British Legion and Help for Heroes, two U.K.-based resources for recovery, well-being and employment for military veterans. Also hear why Matthew Vaughn strongly supports their mission. Spymaster: Conspiring with Matthew Vaughn – Cast members discuss collaborating with Matthew Vaughn, as well as their impressions of his distinctive storytelling style. Weaponized Cinema: Film Propaganda in World War I – An exploration into the very real use of film as a weapon of propaganda during World War I. *bonus features vary by product and retailer Cast Ralph Fiennes as Orlando Oxford Gemma Arterton as Polly Rhys Ifans as Grigori Rasputin Matthew Goode as Morton Tom Hollander as King George / Kaiser Wilhelm / Tsar Nicholas Harris Dickinson as Conrad Oxford Daniel Brühl as Erik Jan Hanussen Djimon Hounsou as Shola and Charles Dance as Kitchener Directed by Matthew Vaughn Produced by Matthew Vaughn David Reid and Adam Bohling Executive Producers Mark Millar Dave Gibbons Stephen Marks Claudia Vaughn and Ralph Fiennes Screenplay by Matthew Vaughn and Karl Gajdusek Story by Matthew Vaughn Music by Matthew Margeson Dominic Lewis and Henry Jackman Based on the comic book "The Secret Service" by Mark Millar and Dave Gibbons Product Specifications Street Date Digital : February 9 Physical : February 21 Feature Run Time Approx. 131 minutes Rating BBFC: 15 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

Sinners film review by UK film critic Hope Madden. Starring Michael B. Jordan, WunmiMosaku, Heilee Steinfeld, Delroy Lindo, Miles Caton, Jack O'Connell directed by Ryan Coogler. HOME | FILMS | REVIEWS Sinners Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 17, 2025 Directed by: Ryan Coogler Written by: Ryan Coogler Starring: Michael B. Jordan, WunmiMosaku, Heilee Steinfeld, Delroy Lindo, Miles Caton, Jack O'Connell Ryan Coogler can direct the hell out of a movie, can’t he? For Sinners , he reteams with longtime creative partner Michael B. Jordan to sing a song of a 1932 Mississippi juke joint. The Smokestack twins (Jordan) are back from Chicago, a truckload of ill-gotten liquor and a satchel full of cash along with them. They intend to open a club “for us, by us” and can hardly believe their eyes when three hillbillies come calling. Jack O’Connell (an amazing actor in everything he’s done since Eden Lake ) has a brogue and a banjo. He and his two friends would love to come on in, sing, dance, and spend some money, if only Smoke would invite them. He does not. The night becomes a standoff between those inside the club and those outside, but by the time Act 2 sets its fangs, Coogler and his terrific ensemble already have you invested in everyone inside. The great Delroy Lindo effortlessly charms as bluesman Delta Slim. Wunmi Mosaku (His House, Lovecraft Country ) works with Coogler’s direction to turn the horror trope “supernatural expert” (the one person who can explain to the others what’s going on and how to stop it) into the film’s broken heart. Newcomer Miles Caton shines as the young blues guitarist whose voice is so sweet it can conjure the devil. The setting and period suit the film beautifully, giving Coogler room to play with ideas of religion and redemption, music and temptation, and everything else that offers hope to the powerless. Every character carries a rich history that you can feel. Jordan impresses in dual roles, carving out unique but dependent characters. O’Connell delivers lines and lyrics with a lived-in magic, twisting together Coogler’s insightful ideas about how prayer and song are often tools of the oppressor. It’s scary. It’s sexy. The action slaps. It’s funny when it needs to be, sad just as often. It looks and sounds incredible. And there’s a cameo from Buddy F. Guy, in case you needed a little authenticity. When Ryan Coogler writes and directs a vampire movie, he gives you reason to believe there is yet new life for the old monster. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Audition film review by UK film critic Amber Jackson. Starring Kevin Leslie, Anita Chui, Xander Berkeley directed by Bizhan Tong. HOME | FILMS | REVIEWS The Audition Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Nov 11, 2022 Directed by: Bizhan Tong Written by: Bizhan Tong Starring: Kevin Leslie, Anita Chui, Xander Berkeley Written and directed by Bizhan Tong, The Audition is a psychological thriller where aspiring actor, Larry Boyle, must fight to keep the people in his life alive. So described as ‘the audition of a lifetime,’ and with the majority of the action on video calls, the story weaves in and out of Larry being controlled by a faceless voice online who takes sadistic pleasure in playing a confusing and cruel game with Larry. Having his narrative controlled for him, Larry must confront his demons along with his discomforts. Tong’s bleak feature raises questions of surviving a global pandemic whilst trying to make sense of what is real. The film deals with feelings that audiences will remember well from times of quarantine and questions all through the lens of a mediocre and opinionated actor trying to find work. Larry’s mindset is warped by ideas of hoaxes and institutional racism and at first the script is jarring as you cannot quite place the tone. His opinions are dangerous, and the film is trying to make a point of this, particularly that he wishes to “preserve white history.” Him having no redeemable qualities means that the viewer cannot hold any sympathy for him even after he starts experiencing the life-or-death challenges set for him. As it seems as though the film seeks to raise awareness of the selfishness of humanity, this leaves the overall tone to fall flat at times. Tong clearly wants viewers to consider what a post-covid world could look like amongst a society with divided people. A running theme of cancel culture and anxieties over doxing sets the feature up to be an all-consuming video call world for Larry to navigate and battle his way out of. As everything spirals out of control, he questions the world around him like never before. It is a very unfeeling feature in its brutal violence and bizarre playing with people’s lives. As Larry is caught up in a game orchestrated for him, what happens in front of his screen is very all-consuming as he starts to question who the anonymous voice is. Camera shots throughout the film are very clever and consist of varying angles and tacking shots during scenes. As a result, the film feels very three-dimensional and has a very high production value. Cut between these scenes are real footage clips of George Floyd protests and #BlackLivesMatter events, as well as people in their own homes on video calls commenting on social issues. This mix of media adds a realistic dimension to the film as though we are witnessing another aspect of society in an online format. However, despite this interesting concept, the film does feel slow and drawn out in parts. The script is overdone at times and the plot grows confusing as it develops out of control. We struggle to make sense of what is going on as the characters do and continue to question the ‘screen reality’ that we are presented with. Tension is built up well within intense scenes and there is plenty more unpredictability in the second half of the thriller, but action sequences are lacking and are sometimes not very believable. Each acting performance is the saving grace of this film as it is incredibly emotive, particularly during more dramatic moments. Viewers do not have a hard time believing what each character goes through, as their mortality is continually threatened. Questions are also raised concerning acting and the entertainment industry, alongside inauthentic representation for the viewer. Although unsure if the filmmaking intentions are good or not, racism is interrogated on screen and Larry in particular is not redeemed for his negative speech. The Audition subverts expectations in that it allows viewers to route for the innocent characters rather than a flawed and bigoted protagonist. It is dark in excessive measures and focuses on human suffering during and after an unprecedented social event. Buy UKFR Banner Space About the Film Critic Amber Jackson Indie Feature Film < All Reviews Next Film Review >

The King's Man film review by UK film critic Cat McAlpine. Starring Ralph Fiennes, Gemme Arterton, Rhys Ifans directed by Matthew Vaughn. HOME | FILMS | REVIEWS The King's Man Film Review average rating is 3 out of 5 Critic: Cat McAlpine | Posted on: Dec 22, 2021 Directed by: Matthew Vaughn Written by: Matthew Vaughn, Karl Gajdusek, Mark Millar Starring: Ralph Fiennes, Gemme Arterton, Rhys Ifans When Orlando Oxford’s (Ralph Fiennes) wife dies in front of him and his young son Conrad, his life is irrevocably changed. No longer is he a brave action taker. His life revolves around protecting his young son and respecting his wife’s dying wish. Naturally, this leaves an older Conrad (Harris Dickinson) desperate to prove himself as a man and meet danger at the front lines of WWI. That’s the first five or so minutes of The King’s Man . Director and co-writer Matthew Vaughn returns for his third entry in the franchise with something darker and sillier, plagued with tonal whiplash. What made his first two Kingsman films so successful was their absurd violence, over-the-top villains, and classic spy premise. This prequel goes without those key elements for almost an hour. Instead, we get a tense father-son drama about how war calls to all young men. The narrative of the first half of the film is punctuated with plot, plot, and more plot to explain the growing tensions leading to the world’s most gruesome war. When the Oxfords decide their only hope is to assassinate Rasputin (Rhys Ifans), I laughed out loud. It’s the same absurdity that made the rest of the series so enjoyable, but the ensuing hijinks were at odds with the movie I’d been watching. Most odd of all, The King’s Man ’s two most disparate scenes are its best. One features Ifans — fantastic as Rasputin, both horrifying and hilarious and perfectly suited to the series. In stark contrast is a night-time knife fight in no man’s land. Conrad’s experience at the war front is heart-wrenching and filled with equal parts hope and horror. Then Vaughn rips us right back into plot, plot, and more plot. Emotional arcs are completed with single, short scenes and we are finally delivered into the nonsensical action we expect, well into the film’s second hour. With The King ‘s Man , Vaughn has made two films. The first, a period war drama. The second, a Kingsman prequel. Both films are well done and enjoyable but squashed together they become difficult to keep up with. Buy UKFR Banner Space About the Film Critic Cat McAlpine Theatrical Release < All Reviews Next Film Review >

Glinting film review by UK film critic William Curzon. Starring Eoin O'Sullivan, Brid Ní Chumhaill, Maureen O'Connell directed by Eddie Jackson. HOME | FILMS | REVIEWS Glinting Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jul 8, 2026 Directed by: Eddie Jackson Written by: Eoin O'Sullivan Starring: Eoin O'Sullivan, Brid Ní Chumhaill, Maureen O'Connell Glinting follows a grieving husband, Jack (Eoin O’Sullivan), as he begins to sense his wife’s presence in the dust particles that catch a light around him. These dust particles draw him into moments that blur the line between memory and reality. The short piece is a harrowing depiction of grief, memory and loss, and how the central character copes with the glinting dust in his home. The piece immediately draws the viewer into the experience by providing no context for the central character's empty home, as he is drawn to the glinting dust. While the lack of characterisation and context is daunting at first, the filmmakers ensure each scene is crafted with a clear intent to showcase the damage grief can cause to an individual. The absence of dialogue creates an isolating, thought-provoking atmosphere as the central character struggles to make sense of his late wife’s sudden appearance in their home. It's a difficult watch, but its unique formalism and harrowing presentation make it essential viewing. The surreal, dreamlike presentation of the central character’s memories during moments of stillness is highly effective, powerfully reinforcing the film’s themes and ideas. Serving as the film's cinematographer, Jamie Doyle primarily employs fixed wide shots of the house to emphasise its emptiness, punctuated by close-ups of objects scattered throughout. This approach effectively frames the central character’s home as a space where memories of his late wife are evoked through everyday objects and drifting dust particles, blurring the line between memory and reality. At times, the camera also shifts to extreme close-ups of the central character in anguish, and this is incredibly devastating to witness as a viewer. Another incredible technical aspect is Karima Dillon El Toukhy’s musical score. The score is evocative with its hypnotic motifs that ultimately anchor the tension and severity of the central character's grief. Each musical cue feels perfectly suited to its scene, resulting in an unforgettable viewing experience. Eoin O’Sullivan delivers a compelling central performance as Jack, anchoring the film from beginning to end. He conveys so much with his facial expressions alone, making the experience all the more visceral through the raw honesty of his performance. Much of the narrative is focused on his performance, and the film wouldn't work without his commanding screen presence. The supporting players also leave a memorable impression despite their lack of screen time. While the piece doesn't offer much beyond its portrayal of a character processing his grief, its condensed runtime is well utilised, and it rarely puts a foot wrong. Each editing choice is profound, and it never overstays its welcome despite how harrowing its themes and ideas are. It's a deeply emotionally resonant experience, particularly in its exploration of the lasting damage grief can cause. The focus on themes of regret is also apt; the piece alludes to the importance of cherishing every moment while you still can and opening up to another individual before it's too late. The piece leaves the viewer soaring with hope, as the title suggests, the glinting dust shining with flashes of profound memory. Glinting is a harrowing experience with a dreamlike presentation to convey its emotionally resonant themes of grief, memory and loss. Aided by a terrific central performance and a hypnotic musical score, the film is an effective piece of filmmaking that doesn't shy away from the sheer isolation of grief. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >