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Everyone Back To Ours film review by UK film critic Jason Knight. Starring Ellis Todd, Charlie Sellars, Fraser Briggs, Jessica Savage directed by Mal Williamson. HOME | FILMS | REVIEWS Everyone Back To Ours Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 12, 2022 Directed by: Mal Williamson Written by: Mal Williamson Starring: Ellis Todd, Charlie Sellars, Fraser Briggs, Jessica Savage A young, struggling artist tries to understand what the point of his work is. Set in Hull-UK City of Culture, this low-budget feature includes improvised dialogue explores the life of painter Ellis, who appears to have forgotten what the meaning of his creativity is. He attemtpts to rediscover his passion for art, while dealing with issues concerning his social life. This drama has a rather slow pace and looks at themes of self-discovery, friendship and making contributions to the world. The audience observes Ellis as he spents time painting in his studio, as he socialises with friends, attends art exhibitions and concerts and learns about what it means to be an artist with the help of another painter. His voice-over is often heard, expressing his views regarding life and art. There is a lot of discussion about being a good artist, making plans for the future and texting. As the main character, Todd is convincing as a man who loves painting but seems to be disillusioned and awkward. He wishes to know the true meaning of being a painter if he is to dedicate his life to that. The supporting cast also do a good job. The movie is separated into chapters, each of which begins with a title card announcing the chapter's title. There are well executed point-of-view shots that include fisheye lens and the soundtrack is entertaining. In the interest of avoiding offence, it should be mentioned that there is brief but very graphic nudity. Is this a viewing experience worth pursuing? Generally, the film feels overlong, with some scenes lasting longer than necessary. The main character does not come across as particularly interesting and neither does some of the dialogue. The subject matter concerns finding out who one is, what one wants to achieve in life, which is intriguing and if one is interested in such subjects, then they should give this feature a go. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Mirror Game film review by UK film critic Joe Beck. Starring Teya Patt, Michael Tennant, Kenny Ridwan directed by William J. Stribling. HOME | FILMS | REVIEWS The Mirror Game Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Jul 30, 2023 Directed by: William J. Stribling Written by: Marissa Flaxbart Starring: Teya Patt, Michael Tennant, Kenny Ridwan Las Vegas is a city known for its wild nights. All the casinos, the post modernist hotels, the clubs. Elvis, Adele, Lady Gaga have all had lucrative residencies in the city. It’s the city where people go for bachelor and bachelorette parties, for wild holidays and one night stands. Ross and Rachel were married there (again), Brad Pitt, George Clooney and co. pulled off a series of impressive heists, and Nic Cage got stuck there. William J. Stribling’s ‘The Mirror Game’ is another wild night in Sin City, though the success of this wild night is less clear than the aforementioned films and tv. The neon lights of the strip shine brightest on those who dare, and in ‘The Mirror Game’ that is Rose (Teya Patt), a frustrated single woman in her late thirties in Vegas for a friends bachelorette party. She’s checked into one of the numerous hotels to meet her old childhood friend Abe (Michael Tennant), a man whose hyperactivity is only countered by his own cynicism, for a catchup, with the latter in Vegas for a bachelor party himself. Rose would rather chill in the hotel room, which incidentally has been accidentally to have a king sized bed, than spend the night catching up at some casino, and so the two reminisce on old school days and bring each other up to date with their lives until Rose asks for a life altering favour from Abe. ‘The Mirror Game’ follows in the vein of films such as Richard Linklater’s seminal ‘Before’ Trilogy, and the filmography of Wong Kar Wai in its questioning of love, desire, friendship, and a whole host of other issues in the modern world. Its failure to reach a level of profundity, or to achieve the serenity offered by such films, is frustrating, but not a fault unto itself. Rather the issue is that it tries to cover such a broad range of themes and issues, many of which without the depth necessary, and that the writing by Marissa Flaxbart is so intent on being punchy that it goes to hard, becoming incredibly irritating rather than philosophically emotional. This is not for a lack of trying, and there are moments, particularly surrounding ideas of love, marriage and desire, and what those things mean that are genuinely well-thought out and contain a well-constructed argument. However, around other themes - i.e. modernity, feminism, and technology - the ideas fall flat, and are generally less interesting, with more stuffy dialogue that doesn’t zing in the same way certain other lines do. Although both Teya Patt and Michael Tennant are more than competent actors whose chemistry is believable and sometimes charming, with Tennant’s delivery of ‘what like do sex?’ Incredibly funny, they nonetheless fail to hold the film together in these less interesting moments, with Tennant’s Abe particularly coming across as an overacted caricature. There’s a lot going on with ‘The Mirror Game’, and whilst not all of it works, when it does, it is a sumptuously refreshing meditation on twenty first century values and life for people in their late thirties. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Fat Girl film review by UK film critic William Hemingway. Starring Stella Stevens, India Lillie Davis directed by Makez Rikweda. HOME | FILMS | REVIEWS Fat Girl Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Aug 14, 2023 Directed by: Makez Rikweda Written by: Makez Rikweda Starring: Stella Stevens, India Lillie Davis With Barbie (2023) mania currently sweeping through the world's theatres, raising more than $500 million in revenue and kicking the grey, sombre tones of its main rival Oppenheimer (2023) into the long grass, it seems as though the planet may be finally waking up to the feminist struggle and be willing to spend their time and money on hearing the message that has for so long been sidelined or drowned out by small fearful men in grey suits. However, for all of the clear, outwardly stated messaging of female empowerment, personal agency and dismantling of the patriarchy, Greta Gerwig's seemingly triggering social comedy comes across as particularly light on the topics of self-image, self-esteem, self-criticism and self-hatred, and with absolutely no mention of eating disorders (unless you count the fact that they don't actually eat or drink anything in Barbieland). Yes, lip service is paid to the “impossible beauty standards” portrayed by the slimline plastic beauty but after one conversation on how Barbie has let generations of women down, it's barely mentioned again. Thankfully, other film-makers are on hand to take up the cause and in writer/director Makez Rikweda's new short film, Fat Girl we get to witness first-hand how the pervasive influence of social media impacts the mental and physical wellbeing of young girls and teens. Lexi (Stevens) is one such teen who is just trying to live her life under the umbrella of the societal pressure exerted upon her from through her mobile phone. The regular teenage hang-ups of bodily changes, hormonal flux, social awkwardness and an intense need to fit in, are all amplified to the Nth degree as beautiful, slim, stacked bodies bare their wares in lavish surroundings advertising a lifestyle that is designed to be appealing but ultimately remains unachievable. Through the screen in her pocket Lexi is consumed by the love-bombing and empty supportive statements trotted out like motivational poster quotes by her favourite sociopathic parasite, or should that be social media influencer, Carly (Davis). Their lives and looks are nothing alike but still Lexi wants to emulate what she sees and this leads her down a dark path towards bulimia and DIY surgery. Rikweda pulls no punches in setting out and detailing Lexi's issues in Fat Girl , with the title giving some insight to the harsh, stark realities of how insecurity is preyed upon by those trying to elevate themselves and make a quick buck. Playing much like an arthouse movie, Fat Girl necessarily focuses more on imagery than on dialogue as we are party to a colourful showreel of TikToks from Carly which are then contrasted with the bleak mundanity of Lexi's real life. The one scene which is dialogue heavy again focuses on beauty, the projection of beauty and the all important acceptance of others but is told in the yoofspeak of teenagers and therefore may well be incomprehensible to anyone older than millennial status. This does, however, keep the film firmly rooted in reality and speaks to the integrity of the film-makers. The technical aspects of Fat Girl are all excellently handled with the vision of Rikweda shining through in every scene. Cinematographer, Rui Jiang Ong contrasts the difference between TikTok fantasy and everyday reality with real skill and the music from Hollie Buhagiar shifts from hopeful naivete to concerning depression without missing a beat. The visual style of the film, mixing different viewpoints, uses and intents of the camera, really helps to keep the presentation fresh and exciting while also highlighting the disconnect between what Lexi has and what she wants in her life. As a treatise on the dangers of social media and the influencing of youngsters into harmful lifestyle practices, Fat Girl shocks the viewer into taking note. It takes a clear line on what is happening to the youth of today and serves as a stark warning as to what can result from it. With a genuine vision and real skill, Rikweda brings us face to face with a reality that may be happening under our very noses, making Fat Girl an urgent and provocative watch. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Forever Young film review by UK film critic Jason Knight. Starring James Johnson, Thomas Lewis, PJ Manney, Nir Barzilai directed by David Donnelly. HOME | FILMS | REVIEWS Forever Young Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 7, 2025 Directed by: David Donnelly Written by: David Donnelly Starring: James Johnson, Thomas Lewis, PJ Manney, Nir Barzilai An informative feature-length documentary about ageing, written and directed by David Donnelly. Can science find a way to prevent humans from ageing? Could people eventually live eternally? These are questions posed in this feature. By utilising interviews consisting of experts sharing their knowledge and predictions, photographs, computer animation and archival footage, this documentary investigates what exactly ageing is, how it works and how the progress of science and technological advancements is attempting to find ways to slow down or even permanently stop this process. The interviewees include seasoned and highly knowlegeable academics, some of which are Psychiatrist Thomas Lewis, Futurist PJ Manney, President and CEO of Buck Institute for Reserach on Aging Eric Vardin, Psychiatrist Sarah Centeno and Steve Horvath, the creator of the epigenetic clock. Listening to their words regarding the possiblities that one humans will not grow old and might not even die is intriguing and makes one wonder whether it is truly possible. The addition of computer animation in order to present diagrams and more was a great idea as it helps to make the viewing experience significantly interesting. This technique is also applied to the sequences where a woman named Ava interacts with artificial intelligence in order to live a healthy lifestyle. Ageing and immortality. These are the two main subjects here and this documentary asks whether the former could be prevented and whether the latter could be made possible. By analysing genes, lifestyles and the progress of medicine and technology, this film explores the probability of this becoming a reality some day. The idea of never ageing and perhaps even never dying is centainly intriguing. This inspiring documentary encourages viewers to consider what humans are capable of achieving. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

The Doll film review by UK film critic Patrick Foley. Starring Pamela Mayoss, Paul Woodward, Karly Maguire directed by Thomas Elliott Griffiths. HOME | FILMS | REVIEWS The Doll Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Dec 14, 2023 Directed by: Thomas Elliott Griffiths Written by: James M. McCann Starring: Pamela Mayoss, Paul Woodward, Karly Maguire I have to say, it is refreshing for an ‘evil doll’ movie to get straight to the ‘evil doll’ part. It’s an evil doll movie after all – do we really need to spend half an hour with a family wondering why creepy happenings start occurring right after purchasing a 19th century porcelain monstrosity (FOR SOME REASON). You’re probably sick of the word ‘doll’ already, but you’ll have to withstand it a little longer – as The Doll is a dark comic short that horror fans will appreciate. We meet protagonist Lisa (Pamela Mayos) mid-murder, having recently killed her partner (Daniel Saint Roberts) under the instruction of a haunted girl doll (Sarah-Louise Chadwick). Lisa has born a lot of resentment to her partner for neglectful behaviour and infidelity, but the doll’s whisperings has led her to doing the unthinkable. Not knowing what to do, she takes further advice from the condemned toy – but death seems to follow the doll wherever it goes, and whoever it comes into contact with. The Doll follows in the long footsteps of Chucky, M3gan, and at least two Simpsons Halloween episodes in bringing a murderous, haunted doll to screen which catches the ear of a vulnerable herald who does its horrifying bidding. The doll in this short never takes up the butchers knife itself, but instead gets into the head of Lisa, played subversively by Pamela Mayos. Having already done something truly terrible, the film employs black comedy by making clear that Lisa does not truly appreciate the magnitude of what she has done. Her discussions with the doll are quite surreal, and the main source of the humour as she protests at some of the more meagre requests asked of her whilst quite happily taking on the more brutal ones. The script is hit and miss – flipping conventional horror dialogue and storytelling at its best and presenting as confusing and expository at its worst. It really is quite refreshing to be placed at the ‘mid-point’ of events – with Lisa having already bought the doll and killed her partner at the film’s beginning. Jarring moments of humour add a quirkiness and originality to the film as well, with some intriguing moments that subvert expectations. But elsewhere the dialogue is ropey and unoriginal, and Pamela Mayos never really sounds like she is speaking in an original, authentic or defined voice as Lisa. We are led to believe that her and the doll have a formed relationship where they can talk openly – but the recounting of prior events feels for the audience’s benefit alone. The pacing could have done with some extra work as well – with a coda to the film featuring a couple (Karly Maguire and Paul Woodward) considering buying the doll at some point in the future. This section takes up a significant amount of the film’s short runtime, yet feels tacked on and separate. Clearly the intention is to say that the doll’s evil persists, but this time would have been better served elaborating and adding more to Lisa’s story. Horror fans will appreciate the more experimental instincts of The Doll , which at least tries – and largely succeeds – to do something different with a story outline that really always follows the same path. It stands up as a respectable short film, though doesn’t change my opinion that scary dolls really need to be left on the toy shop shelf. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Martyrs Lane film review by UK film critic Hope Madden. Starring Denise Gough, Kiera Thompson, SiennaSayer directed by Ruth Platt. HOME | FILMS | REVIEWS Martyrs Lane Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 8, 2021 Directed by: Ruth Platt Written by: Ruth Platt Starring: Denise Gough, Kiera Thompson, SiennaSayer Six years ago, filmmaker Ruth Platt released the thriller The Lesson . While essentially no one else saw the film, I was impressed enough by it to look forward to whatever else Platt wanted to make. So here’s her follow up, the grief-driven horror Martyrs Lane. Platt’s story of a haunting walks in familiar circles, as confused and lonesome 10-year-old Leah (a heart-bruisingly melancholy Kiera Thompson) makes a spooky new friend (Sienna Sayer, wonderful). By day Leah rattles about the vicarage where her father (Steven Cree) is minister, her older sister (Hannah Rae) kills time before fleeing for university, and her mom (Denise Gough) mourns something secretly. At night, the creaks and whistles combine with Leah’s fears, imagination and loneliness to conjure a visitor who leaves Leah with clues to follow. There is a lot about Martyrs Lane that feels familiar, but Platt grounds her spectral tale in messy, lived-in family drama. Set design, costuming, framing, moments of silence, pointed cruelties followed by protective love—all of it combines to create an atmosphere both familial and haunted. No austere staircases, empty nurseries, or any of the other chilly and spare environs where you might expect to set a mournful ghost story. Instead, Leah’s home bears the weary chaos and forced cheer of family and absence. Thompson’s performance is driven by the recognizable, shapeless guilt that looms in a child’s imagination, making every perceived transgression somehow unforgivable and therefore impossible to share, even with a caring adult. Cree’s bright presence offsets the gloom nicely, while Sayer’s ghostly cherubic image is wonderfully, tenderly haunting. Gough’s understated frailty is the unease that haunts the film from its opening, a feeling that blossoms into dread as the tale wears on. Platt and her talented group do not fail to deliver on the promise of their ghost story. The issue is only that, while the execution is impeccable, the story itself is a bit tired. Wisely, Platt capitalizes on character over story, leaving you so invested in this little girl and her family that you’ll likely forgive the sense of having been here before. And, like me, you’ll probably keep an eye out for wherever it is Platt wants to take you next. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The First Fallen film review by UK film critic Rachel Willis. Starring Johnny Massaro, Renata Carvalho, Victor Camilo directed by Rodrigo de Oliveira. HOME | FILMS | REVIEWS The First Fallen Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Feb 22, 2023 Directed by: Rodrigo de Oliveira Written by: Rodrigo de Oliveira Starring: Johnny Massaro, Renata Carvalho, Victor Camilo Writer/director Rodrigo de Oliveira shapes a not-so-subtle soldier metaphor for the first victims of the AIDS crisis in his film, The First Fallen. The film follows biologist Suzano (Johnny Massaro), and his band of friends and family as he navigates the frontlines of a war waged within his body. The first half of the film is less engaging than the more personal second half. Though we meet several characters over the course of the first hour or so, no one really has much depth – that comes later. Suzano has been away in Paris but has returned to his sister Muriel (Clara Choveaux) and her son Muriel (Alex Bonin) to reconnect. His friend Rose (a transcendent Renata Carvalho) has not only been turned away from the hospital where she seeks care, but they have misgendered her – the indignities of which lend the film its most powerful scene. Most of the first act is concentrated around boisterous NYE celebrations, ringing in the year 1983. Rose performs for the celebrants at a gay club; Maura and Muriel attend a party. Suzano spends his evening alone. There is a downheartedness that follows both Suzano and Rose, but it isn’t until the end of the first half that we get confirmation of what causes their sorrow. A sarcoma on Suzano’s neck is our first hint that several of these characters have fallen victim to the devastating AIDS epidemic. De Oliveira doesn’t spend time catching up those who might not know the history of AIDS and its startling explosion onto the scene in the early 80s, particularly in the gay community. At the time of the film’s events, the medical world didn’t even know the cause of AIDS (HIV would be identified in May of 1983), let alone how to treat it. Seeking to document how the disease ravages his body, Suzano isolates himself, along with Rose and another afflicted man, Humberto (Victor Camilo). This is where the film excels. We’re privy to an experience not many have witnessed, particularly at a time when fear of the unknown isolated those who suffered most. How Rose, Humberto, and Suzano deal with their illness is at times touching and other times heartbreaking. The film’s home video approach lends authenticity to the experience. The soldier metaphor is apt. For the first victims of the AIDS epidemic, many became numbers, dehumanized to understand what plagued them. De Oliveria wants us to remember those who fell. About the Film Critic Rachel Willis Digital / DVD Release, LGBTQ+, World Cinema < All Reviews Next Film Review >

Pinocchio film review by UK film critic George Wolf. Starring Tom Hanks, Joseph Gordon-Levitt, Cynthia Erivo directed by Robert Zemeckis. HOME | FILMS | REVIEWS Pinocchio Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Sep 8, 2022 Directed by: Robert Zemeckis Written by: Robert Zemeckis, Carlo Collodi, Chris Weitz Starring: Tom Hanks, Joseph Gordon-Levitt, Cynthia Erivo I saw a tweet not long ago that suggested Disney should stop with the live-action remakes and instead, re-do their classics with the Muppets. That logic is sound. Disney now owns the necessary rights, of course, and Muppet treatments would at least ensure creative visions that run deeper than “because we can.” Heck, Tom Hanks could still star in them, as he does in this new live-action version of Pinocchio . Really, it would be more of a surprise if Hanks didn’t play the kindly Geppetto, and he’s just as fitting as you would expect a GD National Treasure to be. And since the film mixes Hanks and other live actors with impressive digital animation, seeing the name Robert Zemeckis (Who Framed Roger Rabbit?, The Polar Express, Welcome to Marwen ) as director and co-writer gives you confidence the entire project will be well-crafted and satisfactory. And it is. But if true magic is what your heart desires, keep wishing. Young Benjamin Evan Ainsworth is in fine voice as the legendary puppet who longs to be a real boy, while Joseph Gordon-Levitt strains for that distinctive Jiminy Cricket phrasing and lands a little too close to South Park ‘s Mr. Hankey. But more importantly, Zemeckis and co-writer Chris Weitz seem too eager to justify their project via modern sensibilities. And in turn, they end up short-changing elements that made Disney’s original such an enduring favorite. New songs add little beyond pop flavor, while one new character, Sofia the seagull (Lorraine Bracco) exists mainly to over-explain character motivations. Pinocchio’s friendship with Sabina (Jaquita Ta’le), a skilled puppeteer in Stromboli’s (Giuseppe Battiston) show, is well-intentioned but forced. Keegan-Michael Key’s foxy Honest John tempts Pinocchio with fame through references to “influencers” and Chris Pine. Luke Evans does make a delightfully devilish Coachman, who leads Pinocchio to an effectively realized Pleasure Island that glimpses some darker themes. Exploring more of these layers would have strengthened the fairy tale roots, but it’s the tale of the Blue Fairy (Cynthia Erivo) that gets the shortest shrift. “When You Wish Upon a Star” is not just a song for Disney. By now it’s the bedrock of their entire, world-conquering, fantasy-selling enterprise. And Erivo has a beautiful voice. Let her let it gooooo! (pun intended). Yes, the song comes early in the film, but go ahead and hit us with an extended mix of full-blown goosebump orchestration while the fairy dust goes to work, then a reprise over the credits. Erivo deserves it. It could have been a magical moment, and Pinocchio needs more of them. Much more than it needs Chris Pine. About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Run To The River film review by UK film critic William Hemingway. Starring Tinni Roy, Poonam Saha, Uma Banerjee, Swaraj Chakrabart directed by Anuparna Roy. HOME | FILMS | REVIEWS Run To The River Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Mar 16, 2025 Directed by: Anuparna Roy Written by: Anuparna Roy Starring: Tinni Roy, Poonam Saha, Uma Banerjee, Swaraj Chakrabart A young girl in British Bengal sees her life change when her parents marry her to an older man during hard times. There is a revolution of fire taking hold in British Bengal, and while the movers and the shakers are busy making power grabs in amongst all of the chaos, the local people are having to endure less money, less food, and more difficult living conditions. Even though she tries to do well for her family, and is still underage, Pakhi’s (Roy) parents have decided to marry her to an older man in return for a dowry. Pakhi is still very young, and she seeks guidance from an older widow, Khandi (Saha) as well as listening to the story her mother tells her, of the beautiful natural purity of the river. Pakhi’s longing to see the river one day is a guiding light for her, especially when she finds out that marriage isn’t all it’s cracked up to be. Sadly, a life out beyond the boundaries of her existence, outside the vicinity of her parents’ home or her husband’s compound, will only ever be a dream to her. As the burning revolution takes place all around, Pakhi must deal with her own rights being forever ignored. From writer/director, Anuparna Roy, Run To The River takes us on Pakhi’s journey, settling us into her life and her relationships while she waits for destiny to come for her. At twenty-six minutes there’s plenty of time for this to happen, as well as for some nice establishing shots of life in the Bengal countryside. The dialogue itself is actually pretty sparse, and a lot of the narrative comes from the situations we see on-screen, detailing the daily lives of the people on the land. While this might at first seem like it keeps Run To The River a little light on story, it’s the context that matters, and Roy creates acres of space for her story to grow into from the time we spend witnessing Pakhi’s life turn around. There’s a strong sense of authenticity in Run To The River , which Roy has been careful to collect and curate in her depiction of rural life at the time. Managing to convince people from her own village to participate in the film, Roy encapsulates the story she knows so well and shows it as close to how she knows it to be through her camera. There’s an other-worldly nature to the film, which opens up a window to somewhere most of us have never been, and shows us in great, gentle detail how life there took shape. In an almost documentary type manner, we’re asked to peek into Pakhi’s life as she goes through a traditional rite of passage, all the while there’s revolution happening in the background. There’s real depth to Run To The River , with layers of story being piled upon the youngster who is coming-of-age, and big themes getting expressed in a real-world setting. Roy’s visual storytelling helps pull all of this together into the frame, and despite a rather leisurely pace and gentle feel, there’s real horrifying truths being shared across the camera. Run To The River showcases a real talent for visual language from the filmmakers, transporting the viewer into Pakhi’s life for a short half-hour, and allowing us to live there with her, even if we are then left forever dreaming of a far-away river we may never get to. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Elio film review by UK film critic Hope Madden. Starring Yonas Kibreab, Zoe Saldaña, Remy Edgerly directed by Adrian Molina, Madeline Sharafian, Domee Shi. HOME | FILMS | REVIEWS Elio Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 18, 2025 Directed by: Adrian Molina, Madeline Sharafian, Domee Shi Written by: Julia Cho, Mark Hammer, MikeJones Starring: Yonas Kibreab, Zoe Saldaña, Remy Edgerly Few films, animated or otherwise, breathe the rarified air of Pixar’s best. The animation giant has turned out an alarming number of outright masterpieces: Toy Story, WALL-E, Up!, Toy Story 3, Inside Out . Their second tier is better than nearly every other animated film you’ll come across. The originality, humanity, and visual magic on display in these films is so superior to anything else out there, it becomes an almost impossible standard to bear. Pixar’s latest effort, Elio , tells the sweet story of a lonesome orphan who wants desperately to believe that “we are not alone.” Elio inadvertently casts himself as leader of earth and invites aliens to abduct him. They accept. Elio ’s writing team includes Julia Cho, who penned the charming Turning Red , and Mike Jones, whose Soul rightfully took 2021’s Oscar for Best Animated Feature. The directing team includes Turning Red ’s Domee Shi and Coco ’s Adrian Molina. That’s a solid team, one fully aware of the wondrous possibilities of animation and family friendly storytelling. And they do tell a lovely story. As Elio (Yonas Kibreab) finally finds a friend in galactic warlord Grigon’s (Brad Garrett) son Glordon (Remy Edgerly), he also realizes that he might have liked his Auntie (Zoe Saldaña) more than he thought. Once Elio is space bound, the film brightens. The inhabitants of the Communiverse are delightfully oddball. There’s brightly colored fun to be had. But Act I doesn’t dig deep enough into Elio’s relationship with his auntie to give the film real stakes, so the emotional center that creates the Pixar gravitational pull is never as strong as it is in their best efforts. The story beats also lack the freshness of the best Pixar has to offer. Still, a first-contact film that retails a childlike wonder about what lies beyond the stars without resenting what waits at home is a rare thing. About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Holier Than Thou film review by UK film critic Jason Knight. Starring Dan Le Friec, Rhys Ashcroft, Ian Taylor, Jacob Morgan, Doug Craig directed by Rhys Ashcroft, Dan Le Friec. HOME | FILMS | REVIEWS Holier Than Thou Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 22, 2025 Directed by: Rhys Ashcroft, Dan Le Friec Written by: Dan Le Friec Starring: Dan Le Friec, Rhys Ashcroft, Ian Taylor, Jacob Morgan, Doug Craig A short comedy drama film directed by Rhys Ashcroft and Dan Le Friec, written by Dan Le Friec and starring themselves and Ian Taylor, Jacob Morgan and Doug Craig. A young priest named Keith (Friec) decides to address God and tell Him about the complications of his life. Based on a live comedy show that played in London, the story begins after Keith has done something outrageous and goes to his church and proceeds to speak to the supreme being, ostensibly to make amends for his actions. From there, he goes on a series of long monologues that take place in a variety of locations, including the church, Keith's living room, his bathroom or his kitchen, where he communicates his emotions and describes his romantic experiences to God. A priest talks about their intimate experiences. The fact that it is a priest who is talking about such things is probably what makes this short stand out and the result is funny and shocking as people who work in religion are not expected to speak of such things, especially on church premises. If Keith's character was a simple person, one whose occupation does not involve religion, then the events and emotions that come to light in the story would not have the same impact, be it comedic or shocking. Basically, the screenplay is about Keith trying to come to terms with his life by speaking to God, revealing his thoughts, how he feels about this and that and hoping to find answers and it works well at being an interesting and amusing experience thanks to Friec's performance, cheeky and adult humour and a soundtrack that is comprised of songs by various artists including Elliot Albert Orchard, John Runefelt, Sleepaway Camp, Indigo Days and Anna Landstrom. Some viewers might perceive Keith as an anti-hero as they might be offended by the fact that this film is about a priest who uses profanity (especially inside a church), drinks heavily, takes drugs and engages in a series of activities that include masturbating in a cemetery and having intercourse inside a church. On top of this, they are also likely to disapprove of the content of some of the pictures in Keith's home. Friec does a great job as a young priest who is trying to understand his life and his experiences, delivering a performance that is comical throughout. This protagonist comes across as a well-meaning but naive guy, who fancies older women and enjoys alcohol. The script includes numerous flashbacks about Keith's experiences with other, including during his childhood and the actors that appear in this scenes play their part well, specifically Ashcroft, who is quite entertaining in his brief role. Self-reflection and self-expression are two main themes in this story that also delves into religion, specifically the idea of turning to God for advice. Reminiscing the past is another subject, along with romance, loss and having regrets. Friec's performance and the humorous screenplay make this short an amusing and intriguing viewing. Some people are likely to dislike the idea of a priest being involved in sexual matters, however, a priest having sexual thoughts and engaging in sexual activities is probably the primary thing that makes this film entertaining, because it is an unusual and outrageous (from a fun perspective) idea. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Swingers film review by UK film critic Jason Knight. Starring Patric Basse, Emma-Kate Barry, Laura Jackson, Callum Henderson, Samuel Nichols directed by Harvard John. HOME | FILMS | REVIEWS Swingers Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 22, 2021 Directed by: Harvard John Written by: Harvard John Starring: Patric Basse, Emma-Kate Barry, Laura Jackson, Callum Henderson, Samuel Nichols A mini golf course turns into a war zone as four golf players ruthlessly go against each other. Tensions are high during try outs for the last place on Britain's first Collegiate Crazy Golf Tour. Two English golfers (Nichols and Barry) and two Russians (Jackson and Henderson) just cannot resist giving each other a hard time and trying every way possible to sabotage their efforts. The scorer (Basse) has had enough of this unacceptable behaviour and is warning them to clean up their act or they can forget about their golf ambitions. His patience turns out pointless, as the four candidates are stubborn and determined to succeed, even if that means resorting to violence and cheating. This short story is a rather entertaining slapstick comedy, filled with clever humour and playful fighting. The four mischiefs are very funny as they behave like five-year-olds, looking to thwart their rivals in various ways, including making them trip with their clubs or distracting them while they attempt to show their golf skills. Basse is also amusing as a sensible man who is making his best efforts to keep the peace and maintain order but to no avail. The film begins with the scorer lecturing the golfers about their unacceptable actions and after he walks away, they engage in a dispute between them, verbally insulting each other. It then moves to the highlight, which is a montage of the four of them bullying each other during try outs, while the scorer look on in disbelief. The wonderful jazz score that accompanies the montage makes the experience even more humorous. Credit also goes to the stylized closing credits. Watching Swingers is kind of like viewing an episode of Tom and Jerry , with four immature adults going after each other. This accomplishment offers ten minutes of amusement that are worth the experience. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >