Gon Bauer film review by UK film critic Chris Buick. Starring Robert Oppel, Jason Weary, Cynthia San Luis, Sofia Papuashvili directed by Gary Teperman. HOME | FILMS | REVIEWS Gon Bauer Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: May 10, 2025 Directed by: Gary Teperman Written by: Gary Teperman Starring: Robert Oppel, Jason Weary, Cynthia San Luis, Sofia Papuashvili Gon Bauer from Canadian filmmaker Gary Teperman starts big. Kicking off with some 80s synth and a graphic sex scene (not to be the last), the film throws us straight into the crazy world of its eponymous protagonist, Gon Bauer (Oppel). By day, Gon (pronounced John) is a surgical technician, real name Michael. By night however, he assumes his podcast persona of the “loud-mouthed, misogynistic asshole” Gon Bauer, where he and his team air their interesting views on women, monogamy, misogyny and other controversial topics that get all the likes and clicks these days. But Gon, it is soon revealed, is also in a spot of trouble, owing some increasingly impatient bad guys quite a bit of money. But if Gon can help them entertain an acquaintance of theirs by getting them into the local swinging scene, something Gon used to be well acquainted with, they might be a bit more understanding. Despite an intriguing premise and promise to explore this colourful, seedy underworld, Gon Bauer instead very quickly loses momentum, losing any real sense of urgency, drama or purpose as the two narratives of Gon’s entanglement with these gangsters alongside the podcast sub-plot distract from one another rather than gel together as intended. It feels like two separate stories fighting for attention, with some of the more interesting parts seemingly sacrificed for the podcast thread that is perhaps looking to make some point about internet culture or misogyny or both, but never really gets there. Its lack of a focused and engaging storyline also means there is no distraction from some of the film's other flaws. While technically the film can’t be faulted, it sounds great, looks better with Teperman and their team showing they definitely have the filmmaking chops, it’s excessive content, middling script, and serviceable-at-best performances far outweigh those positives. Gon is a man with edge, strong opinions and zero Fs given, which in theory makes for a compelling lead to follow, but Gon never actually becomes someone you want to like, win, understand or even follow by the end, something in fact that can be said for most of the characters. And while Gon Bauer 's unforgiving edge and challenging nature is acceptable in theory, it all feels ridiculously gratuitous here, the films excessive language and plot-irrelevant sex scenes never in service in something bigger and instead highlighting the fact that all the female characters lack any sort of agency, instead being reduced to a sex objects or someone to be talked down to. The world of Gon Bauer could be an interesting one, but unfortunately, this film doesn’t show that. There is a sequel in the works, but while Gon Bauer does show off some very impressive technical filmmaking, the lacklustre performances and script don’t quite cut it this time around. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Sebastian film review by UK film critic Rachel Willis. Starring Ruaridh Mollica directed by Mikko Mäkelä. HOME | FILMS | REVIEWS Sebastian Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Aug 28, 2024 Directed by: Mikko Mäkelä Written by: Mikko Mäkelä Starring: Ruaridh Mollica Sebastian is the alter-ego for Max (Ruaridh Mollica), an up-and-coming young writer in writer/director Mikko Mäkelä’s film, Sebastian. A journalist and short story writer by day, Max spends his nights as “Sebastian,” working as an escort and researching for a novel in progress. Though writing about sex workers is apparently tired, the aspect of hustling in the digital age perks up the ears of a publisher. The film does a good job of examining the question of how deeply writers live their own stories. Interviews with writers peppered throughout the film contradict Max’s lived experience: most of the writers insist their fiction is completely separate from their lives. This makes it interesting when Max receives criticism for his work, especially when he’s told it’s not realistic enough or that the emotions of the character negate what others have heard. To be told his work is repetitive or unbelievable makes the criticism harder for Max to bear. The film doesn’t always follow its own advice. Some of the scenes become repetitive. This mirrors the progress of Max’s novel, but that doesn’t make it any more interesting to watch. However, this is minor, and the film quickly shifts to widen Max’s experiences. As he delves deeper into sex work, his ability to maintain two lives–that of Max and that of Sebastian–starts to break down. As interesting as it is to examine the realism and lived experiences of writers and their work, the film leaves several ethical dilemmas unexamined. Since Max is writing about Sebastian’s experiences, he runs the real risk of “outing” his clients, something untouched in the film. While the film has its own story to tell, it would have been interesting to show more of what’s at stake for Max’s “characters.” On the whole, Sebastian is a well-written and well-acted look at how far a writer will go in pursuit of a good story. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, LGBTQ+ < All Reviews Next Film Review >

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The Civil Dead film review by UK film critic Christie Robb. Starring Clay Tatum, Whitmer Thomas directed by Clay Tatum. HOME | FILMS | REVIEWS The Civil Dead Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Feb 9, 2023 Directed by: Clay Tatum Written by: Clay Tatum, Whitmer Thomas Starring: Clay Tatum, Whitmer Thomas Emotional honesty is hard. But it’s even harder when you are someone’s entire social world. In The Civil Dead , deadbeat photographer Clay finds himself alone for the weekend when his wife goes out of town. He’d promised her he’d do something productive instead of sitting around drinking beer, so he goes out to snap some photos. While taking a photo of a graffitied mattress abandoned on the side of the road, he runs into an old acquaintance from back home, Whit, whom he’s been ghosting since the dude moved out to Los Angeles. They chit-chat a bit, each clearly lying about their successes in the art and film industries. After an awkward night together in which Clay gets hammered and Whit spends the night, Clay tries to get the guy to leave. But Whit won’t. [Spoiler Ahead. Read At Your Own Risk.] See, Whit is dead and Clay is the only person who is able to see him. Unlike other movie ghosts, Whitt can’t move physical objects or float through walls so he’s mostly just wandering around the streets of LA, and he hates walking. He’s stoked to find that Clay has “the shining” and is totally psyched to spend the rest of Clay’s life together and then pal around once Clay shuffles off his mortal coil. The Civil Dead is a unique entry in the spooky dark comedy genre. The horror comes not from the paranormal, but from the very mundane social awkwardness of someone trying to disentangle themselves from a relationship they never wanted in the first place while the other desperately clings on. Directed by Clay Tatum, written and starring Tatum and Whitmer Thomas, the two get a lot of mileage out of a simple concept. But it’s a chill kind of milage. There’s no solving the mystery of Whit’s death or helping him step into the light. Instead, they explore the possible advantages of having an invisible friend, the boredom inherent in a life after death, and just how hard it is to communicate honestly with another grown-up. Tatum’s misanthropic loser is charming, but Thomas really shines, giving a pretty subtle performance as he cycles between submissive affability, existential despair, fear and rage. I, for one, will never feel quite as comfortable in a vacation rental again. Buy UKFR Banner Space About the Film Critic Christie Robb Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Group film review by UK film critic William Curzon . Starring Elle E, Magnus Einarsson directed by Neil Crittenden. HOME | FILMS | REVIEWS The Group Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Dec 23, 2025 Directed by: Neil Crittenden Written by: Neil Crittenden Starring: Elle E, Magnus Einarsson The Group is a short piece that follows a young woman, Jackie Gibson-Berg (Elle E), as she drives her father, Terrence (Magnus Einarsson), to his regular Parkinson’s support group meeting, where she is faced with a harsh reality. Written and directed by Neil Crittenden and shot on location at the Cloisters in Letchworth, Hertfordshire, the piece explores the inner turmoil the daughter faces as she musters the courage not to bottle up her emotions and reach out to her father. One of the most impressive feats of the film is how compelling and emotionally resonant the experience is despite its tight runtime. It's evident from the opening frame that the daughter is hiding something and is unable to express her feelings to her father due to the actress's use of an understated posture. The use of visual storytelling and the “show, don't tell” approach is a compelling tool that works profoundly here, anchoring the performances to impressive heights. Implementing striking stock footage is another astounding formal decision that conveys the daughter's childlike innocence before cutting to the present day. The piece is accompanied by a haunting and melancholic musical score that complements the meditative tone throughout its entirety. However, the most unique narrative device is the use of quotes presented on the screen between scene changes to convey the character’s inner torment. Both central performances from Elle E, in her portrayal of the daughter and Magnus Einarsson, in her portrayal of her father, are incredibly compelling and understated in their delivery. While the performers are not given much material to work with, they elevate the script by conveying profound nuance and restraint in their performances that deeply resonates. Their chemistry is raw and haunting as their love for one another is profoundly evident in their dialogue exchanges, showcasing a lovely father-daughter dynamic. Despite its limited runtime, the film manages to convey its themes and message eloquently by displaying a helping hand of empathy towards families or individuals dealing with Parkinson’s. It's a deeply haunting piece of filmmaking that may connect profoundly with many viewers. Sam Beckley’s cinematography primarily consists of fixed camerawork and tracking the actors slowly in moments of discomfort. It's an incredibly visceral way to shoot the performers and creates a sense of anxiety as the daughter wrestles with her inner harsh reality. The use of surrealism is another potent choice that depicts the daughter's anxiety taking hold of her and essentially forcing her to speak out. While the film is relentlessly paced, the editing at times can become jarring as it awkwardly cuts to black during pivotal moments, and this may take viewers out of the experience. That being said, the powerful and emotionally gut-wrenching performances from Elle E and Magnus Einarsson vastly outweigh those flaws. The Group is a striking piece of filmmaking that uniquely depicts a father-daughter relationship and the fear of coming to terms of how having Parkinson’s can affect you and the people around you. While the material is restricted due to budget constraints, it still manages to convey a raw depiction of having the courage to speak out to another before it's too late. Led by two phenomenal performances from Elle E and Magnus Einarsson, this is an emotionally resonant body of work that is bound to stick with you. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Armageddon Time film review by UK film critic George Wolf. Starring Banks Repeta, Jaylin Webb, Anne Hathaway, Jeremy Strong directed by James Gray. HOME | FILMS | REVIEWS Armageddon Time Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 3, 2022 Directed by: James Gray Written by: James Gray Starring: Banks Repeta, Jaylin Webb, Anne Hathaway, Jeremy Strong One of the reasons Greta Gerwig’s semi-autobiographical coming-of-age film Lady Bird was such a refreshing treasure was the forgiveness that followed every stupid decision made by every single character. Gerwig’s film embraces the necessity of terrible choices in adolescence and it never caves to the easy desire to blame others for teenage misery. But Gerwig didn’t grow up a Jew in Queens in 1980, which is why James Gray’s Armageddon Time tells quite a different story. To his credit, Gray still reaches toward forgiveness. And both films are mercifully unsentimental. Young Banks Repeta is terrific as Paul Graff, Gray’s very cute, bratty, privileged stand-in. Like every 12-year-old, Paul is oblivious to his privilege. He may even enjoy becoming the class outcast since the other student spurned by Mr. Turtletaub is fast becoming Paul’s best friend. But Johnny’s fate and Paul’s will never really gel because Paul is being trained with love to disappear when trouble arises, which means that all eyes fall on Johnny (Jaylin Webb). Paul’s relationship with his parents (Anne Hathaway and Jeremy Strong, both excellent) can be funny, sassy, and heartbreaking, while his grandfather (Anthony Hopkins) can always be counted on for encouragement, well-earned advice, and a present. The stellar ensemble infuses the film with warmth, humor and sadness. And aside from a line or two that’s a shade too obvious, there’s a feeling of authenticity here that Gray is able to nurture beyond personal memoir to a grander comment on race and class. The filmmaker may be copping to his own bargains with guilt and privilege, but he’s also highlighting the daily turns of the American wheel that push so many of us toward our dreams, and so many others further away from theirs. Forgiveness doesn’t come easily, nor should it. Gray tosses aside the rose-colored glasses that usually tint a director’s look back. Armageddon Time doesn’t deliver any easy answers, just more opportunities to question. That’s why it works. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Aporia film review by UK film critic Brandon Thomas. Starring Judy Greer, Edi Gathegi, Payman Maadi directed by Jared Moshe. HOME | FILMS | REVIEWS Aporia Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Sep 11, 2023 Directed by: Jared Moshe Written by: Jared Moshe Starring: Judy Greer, Edi Gathegi, Payman Maadi Most time travel movies don’t get into ethical dilemmas that going into the past – or future – might cause. The plot is usually too confusing anyway so adding moral problems to the mix might send audiences screaming from the theaters. With Aporia , director Jared Moshe makes the ethics of time travel the centerpiece of the movie and to riveting results. It’s been 8 months since Sophie (Judy Greer of 13 Going on 30 , Ant-Man , and 2018’s Halloween ) lost her husband, Mal (Edi Gathegi of X-Men: First Class and Gone Baby Gone ) to a drunk driver. Mal’s loss has had a devastating impact on Sophie and her daughter Riley (Faithe Herman). As the two try to pick up the pieces of their shattered lives, Mal’s close friend Jabir (Payman Maadi) confides in Sophie that he has been working on a device that could potentially bring Mal back but that it would involve killing someone else in the past. Aporia slowly reveals its cards, or genre trappings, if you will. Stylistically the film skews closer to an indie drama than it does sci-fi. This is also the film’s greatest strength. As Sophie and Jabir’s changes to the past take form in the present, it’s not through fancy CGI set-pieces. Clever changes in production design or the cast’s appearance are utilized to showcase the ripple effect in time. These easy gags help keep the film grounded. Moshe refuses to get lost in the complex mechanics of the story, instead leaning into the characters and the roller coaster of emotions they ride through the film. The deeper Aporia questions the ethics of changing time, the more interesting the film becomes. Using these characters to ask complex questions about grief and responsibility was clearly where Moshe felt most inspired when making the film. Movies use the scenario of going back in time to kill baby Hitler as the ultimate moral time travel question. Aporia theorizes that this question – and many like it – doesn’t always have simple answers or solutions. Greer continues to show that she deserves to be seen as more than “Hey, that girl!” Her relatability and charm help keep the character lighter than the subject matter might have allowed. Like the character of Sophie herself, Greer delicately dances between emotions – sometimes in the same scene. Given the small size of the cast, the chemistry between the core three is important and both Gathegi and Maadi also bring a natural gravitas to the film. Aporia asks a lot of interesting and important questions but it’s the kind of film that isn’t necessarily interested in following through with answers. Here that isn’t a detriment as the journey through asking those questions makes for one of the smartest time travel films in recent memory. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Horror returns to the big screen on May 17th with THE UNHOLY, starring Jeffrey Dean Morgan, Katie Aselton, William Sadler, Cricket Brown, with Diogo Morgado and Cary Elwes. . Brand new film trailers. The Unholy Trailer THE UNHOLY TRAILER AT CINEMAS MONDAY MAY 17 Horror returns to the big screen on May 17th with THE UNHOLY , starring Jeffrey Dean Morgan , Katie Aselton , William Sadler, Cricket Brown , with Diogo Morgado and Cary Elwes . To help prepare for the experience, Sony Pictures UK is pleased to make available the trailer , poster , and a set of stills from the film. Gerry Fenn (Jeffrey Dean Morgan), a disgraced journalist turned stringer-for-hire, of supernatural tabloid fodder, is sent to investigate a strange occurrence in a small farming community. A born skeptic, Fenn quickly dismisses the incident as just another benign story. But, before he writes it off as a hoax; Fenn witnesses a deaf, teenaged girl, Alice (Cricket Brown), whispering next to a petrified oak tree in the middle of a field. What follows, to his disbelief, is a series of inexplicable events that has the locals convinced Alice can perform miracles. When word spreads that Alice’s power to heal is attributed to the Virgin Mary, it fans the flames of curiosity from those near and far to witness the miraculous occur firsthand. As the hopeful masses descend upon this off-the-beaten-path town, Fenn sees this as an opportunity to redeem his reputation and resurrect his career. However, when a mysterious death befalls the church’s priest, Fenn believes that something more sinister is afoot. With the help of a local doctor, Natalie Gates (Katie Aselton), Fenn rushes to unlock the secrets of long ago to determine if Alice’s gift is divine or evil. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Interruption film review by UK film critic Chris Buick. Starring Zineb Oukach directed by Zineb Oukach. HOME | FILMS | REVIEWS Interruption Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Sep 28, 2023 Directed by: Zineb Oukach Written by: Zineb Oukach Starring: Zineb Oukach Sarah Taleb (played by Zineb Oukach, who also writes and directs) is a journalist advocating and reporting for women's rights in a country where cultural beliefs and laws systematically diminish those rights. Sarah’s personal situation within her culture is equally complicated and dangerous. Sarah is pregnant and was looking to travel to the United States for an abortion procedure just prior to Roe v. Wade being overturned by the US Supreme Court, a historical moment that’s impact short film Interruption looks to demonstrate was not just felt by women in the United States, but those all around the world. Now Sarah faces the decision whether or not to undergo the procedure in her home nation, a practice deemed both illegal and immoral by the state, who are waiting for any excuse to finally charge her with “immoral” crimes. But the lines between morality and necessity become blurred even further when the lead detective pursuing her finds out ends up in a situation of his own. Interruption provides a compelling look at the global imbalance women face everywhere for their rights, especially highlighting the reality for those women within certain cultures who still fight for any kind of equality or rights at all. It isn’t necessarily a film with a tremendous amount of depth or excitement narratively, the character explorations as well are really quite lean. And when all is said and done, the film will likely leave viewers with a number of questions, especially “what happened next” and at times seems a bit unclear as to what aspect of the discussion it's really trying to talk about. But one must applaud the films overall message and purpose that doesn’t shy away from its pertinent subject matter, a central theme that promotes a universally shared concern of equality. And it’s the point of that message being delivered, rather than how, that should be and rightly is the focal point of Oukach’s film, taking the time to centre its attention on a simple but well-told story. Oukach also manages to demonstrate a good deal of filmmaking prowess as well, interesting uses of perspectives in several shots really highlight the cat and mouse feel and that unnerving sense of constant surveillance, fear and trepidation that exists in such an environment. And both leads can take credit too for enhancing that feeling, managing to convey the gravity of this complex situation with nuanced expression amongst minimal dialogue. The basic narrative threads might not necessarily lead you anywhere exciting in terms of answers, but Interruption is a film that does well in making us think about the right questions. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film, World Cinema < All Reviews Next Film Review >

The American Question film review by UK film critic Jason Knight. Starring Guy Seemann, Amy Chua, Joseph Orengia, John Keegan, Colin Woodard directed by James Kicklighter. HOME | FILMS | REVIEWS The American Question Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 22, 2024 Directed by: James Kicklighter Written by: James Kicklighter, Guy Seemann, Lucy Copp Starring: Guy Seemann, Amy Chua, Joseph Orengia, John Keegan, Colin Woodard A feature-length documentary about the issues concerning unity in contemporary America, directed by James Kicklighter and written by James Kicklighter, Guy Seemann and Lucy Copp. This intriguing documentary provides a deep insight into the crisis that is threatening political and economic stability in the United States. The film suggests that the United States has reached a point where its citizens are becoming increasingly divided and it investigates the reasons behind this by looking into American politics, immigration, globalisation, polarization and the American Dream. Presenting and narrating is Guy Seemann, a political analyst who has lived in Israel and has been working in campaigns and government since his teens. His attempts to find answers regarding the problems that are dividing America make him focus on three cities that seem to represent these problems: Erie, Hazleton and Detroit, three communities that are facing high unemployment and crime. As he travels, Seemann interviews a variety of individuals who have knowledge regarding what is happening in the U.S. and why. Some of these people are gym owner, Joseph Orengia, Professor of Psychology Tania Israel, PhD, journalist Colin Woodard, pharmacist John Keegan and army veteran Kyle McChesney. Along with the interviewees, the documentary contains footage of politicians and old footage of campaigns and riots. The filmmakers make frequent use of animation in order to visualise the narration and it usually involves the map of the United States. All this is supported by Nicolas Repetto's dramatic and dynamic score and special mention goes to the animated montage that opens the film. The viewing experience is informative and the subjects are thoroughly explored. However, some viewers might doubt whether certain or all of the issues presented in this documentary are the actual factors behind instability in the United States. As the feature explores the ways in which American citizens are becoming more and more diverse between them, it ends up looking into a number of subjects including a crumbling economy, demographic changes, immigration, xenophobia, inequality, polarization, globalisation, crime and unemployment. It is implied that the reason for these are a lack of communication and collaboration. This documentary reveals major problems that exist in the United States today and are significantly affecting the country in general, turning it into a place where people are split into groups and are not united as a whole. Generally, it presents an image of a country that seems to have lost its way and whose future appears to be in jeopardy. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Highland Home film review by UK film critic Swati Verma. Starring Karen Johnson Miller, Grant Gosch directed by Dan Schaefer . HOME | FILMS | REVIEWS Highland Home Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 27, 2022 Directed by: Dan Schaefer Written by: Dan Schaefer Starring: Karen Johnson Miller, Grant Gosch The title of the music video-Highland Home has connotations of hills, mountains, and valleys. The Scottish heather symbolizes good luck, admiration, and protection. The writer-director Dan Schaefer builds the narrative around a fairy tale love story between the Scottish couple (Karen Johnson Miller and Grant Gosch) and manages to entice the audience with the content of the song. This elegant flower showcases the admiration towards each other in the video and it becomes an essential element to get their admiration to transform into love. This musical piece is an adaptation of the original song by Kurt Rosenberg. The plot of this music video revolves around a poignant tale of longing and loss revealed when a time-worn journal transports a young girl to a place of enchanting wonders. The cinematographers John Waller and Ben Canales capture the beautiful landscape as well as the culture of Scotland in the video. The delightful yet graceful countryside is also covered to bring out the beauty of the tune. The elements like set design, special effects, props, costume, hair, makeup, and the dance choreographer help in enhancing the look and feel of the romantic song along with the chemistry between the lead couple. The melodious voice of the singer KJ Miller highlights the journey of a young woman having a certain set of dreams and aspirations about love and her prince charming. A simple storyline and the choice of a beautiful location increase the degree of engagement of the audience with the creative piece making it relatable for the viewers. The soft background music in the opening sequence of the song is well suited to showcase the tenderness of the moment when a youngster is trying to discover about herself. The black and brown colour palette is used by the filmmaker initially at the start of the Highland Home and later various colours burst when the little girl delves into the dreamy land. In the performance department, Taylor Hennelly plays the teenage Heather. Hennelly's eyes and body language exude excitement and happiness and inspire children to maintain a diary and write about their dreams hoping for them to come true one day. Heather forces the parents to relive their young days once again through this music video. Karen Johnson Miller plays the grownup Heather who wants to find the love of her life. She uses music and dance to attract a suitor for her. Miller can portray the range of emotions a love- struck lady goes through and elevates it with the brilliant singing to accompany the same. Grant Gosch plays the love interest of Heather (Karen Johnson Miller). He ticks all the boxes of a suitable life partner every girl desires for. Gosch gives a sense of how being loved feels like every time he comes onscreen. The theme of the Highland Home is all about dreams and unconditional love. One should not give up on dreaming or falling in love because it did not go as planned in the past. It teaches the audience to be hopeful and happy in life always. The music video also tells the viewers about the importance of self-love. The only flaw I could find in this musical piece is that the makers should include the subtitles so that the audience can follow the lyrics and enjoy the song in its entirety. Buy UKFR Banner Space About the Film Critic Swati Verma Music Video < All Reviews Next Film Review >

Dear Zoe film review by UK film critic William Hemingway. Starring Sadie Sink, Theo Rossi, Kweku Collins, Jessica Capshaw directed by Gren Wells. HOME | FILMS | REVIEWS Dear Zoe Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Feb 19, 2023 Directed by: Gren Wells Written by: Marc Lhormer and Melissa Martin Starring: Sadie Sink, Theo Rossi, Kweku Collins, Jessica Capshaw It is written somewhere in the annals of the YA author's handbook that if your young adult novel is to be made into a film then your main character must have some horrifically giant obstacle to overcome, something so terrible and all encompassing that any regular, mature person would baulk at the insurmountable difficulty facing the young protagonist. If they don't already live in a dystopian future society a-la the Hunger Games (2012-2015), Maze Runner (2014-2018) or Divergent (2014-2016) series then they must face tragedy on a similar scale just with a more personal aspect, such as a terminal illness in The Fault In Our Stars (2014) or loss in All The Bright Places (2020). Casting Shailene Woodley in your film is also a good idea. In Dear Zoe most of these aspects are in place, with the film being an adaptation of Philip Beard's 2004 novel in which Tess DeNunzio pens a letter to her younger sister who died the previous year, on the day of the September 11th attacks, with Tess believing that she was to blame. With Shailene Woodley now in her thirties it was up to the producers to get the next, hottest new star to play the lead and so Sadie Sink, of Stranger Things fame and now also wowing audiences alongside Brendan Fraser in The Whale (2022), was given her chance to step up and become a leading lady. Zoe's death obviously hit the family hard and while everyone was busy retreating into themselves, Tess' mother decided to find solace in the arms of the young grocery clerk at the local store. After finding out, and being disgusted at her mother's choices, Tess then decides to move in with her birth father (Rossi), who lives on the wrong side of the tracks in Braddock, Pittsburgh and whose life is a total mess, but who of course has a heart of gold and would do anything for his daughter. Next door, lives Jimmy (Collins), a dreadlocked drug dealer who is also something of a diamond in the rough and who also has a heart of gold – naturally – and together they all work out their issues while adapting to their new environment. Whether it's down to Beard's source material or Marc Lhormer and Melissa Martin's script the main problems Dear Zoe has are to do with believability and relatability. The world which Tess inhabits is so far removed from reality that it becomes difficult to take any depression, sadness or trauma seriously. Any threats which would exist in the real world, such as living in a rough part of town or having an older drug-dealing neighbour slipping into a teen's bedroom at night to teach her how to smoke weed and kiss, are all whitewashed over by playing against type and any threat or conflict immediately disappears. Similarly, the direction from Gren Wells creates this faux sound stage of poverty and simple living, where Tess and Jimmy can communicate and get across into each other's rooms from their windows, where Tess gets a summer job at an actual lemonade stand and where every teen cliché gets an airing, from winning a big cuddly toy on a date at the fair to lying on top of the lockers in the locker room, which gives the whole film an air of an early 90's TV sitcom, like Roseanne or The Cosby Show . The fact that the audio all sounds like it's from a sound stage (whether it's indoors or not) and all of the indoor scenes seem to be lit in the exact same way whether it's a home or a church or a store, only serves to compound the situation. The saving grace for Dear Zoe comes in the form of its actors, who all determine to do the best with what they've been given, and who lift the film from a lifetime of reruns on TCM or the Hallmark channel with their performances. Sadie Sink will of course be the big draw with the film's intended audience and she holds the story together well as the central character with a very mature and nuanced performance, despite some of the make-up and wardrobe choices which were made for her. She is very ably supported by Theo Rossi as her deadbeat dad and Kweku Collins as the lovable rogue next door, with Rossi especially showing what he learned on Sons Of Anarchy and Luke Cage by making the character his own and breathing life into even the most hackneyed of scripts. Jessica Capshaw also adds some emotional resonance as the mother who faces losing everything. What Dear Zoe lacks in narrative it (nearly) makes up for in performance. While it may be a film that is all sentiment and no heart, all melodrama and no realism, the actors show in every scene what this opportunity means to them and manage to stop it from being just another teen drama that's really about nothing at all. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >