Your Host film review by UK film critic William Hemingway. Starring Jackie Earle Haley, Ella-Rae Smith, Jamie Flatters, David Angland, Joelle Ray directed by DW Medoff. HOME | FILMS | REVIEWS Your Host Film Review average rating is 1 out of 5 Critic: William Hemingway | Posted on: Aug 23, 2025 Directed by: DW Medoff Written by: Joey Miller Starring: Jackie Earle Haley, Ella-Rae Smith, Jamie Flatters, David Angland, Joelle Ray Does anyone remember the films of Uwe Boll? The German filmmaker from the late 90’s/ early 2000’s who became renowned for adaptations of horror computer games, but mostly for making them into big, steaming piles of dogwank? He made movies for a while but they were never commercial successes because of how stupidly bad they were and eventually he gave up. He became a restaurateur after that, and the world breathed a sigh of relief, but now he’s back. Now he sees where there’s space in the market, buoyed by the recent deluge of cheap-crap horror that’s been flooding the cinema screens and streaming services over the past fifteen years, and he sees that if everybody else is doing it too, then by crikey he can live his dream and make totally horrible movies until he dies. What’s given him succour and renewed vigour is films like Your Host , the worst kind of cheap-crap, borrowed from everyone else in the genre, cobbled together from a production studio that revels in this kind of pseudo-porn, nonsense. There’s four kids – or at least they would have pretended to be high school or college kids in Uwe’s day, even if they were being played by nearly-thirty-somethings with eating disorders and a bad coke habit, but here they’re ‘young professionals’ taking some time out from their oppressive barely working lives – and they’ve rocked up to a nice, newly inherited house in the sticks somewhere, now belonging to James (Flatters), the trust-fund daddy’s boy who thinks it’s a game to rail on everybody all of the time, and who would in Uwe’s day be the shock-jock with a father in politics or law. They spend some time getting jazzed-up on alcohol and bad acting, each revealing their stock characters to the audience, showing how little we’ve come from the jock and the cheerleader, his best-friend and the reluctant hottie in glasses and a ponytail, to now have basically the exact same stereotypes just updated and downgraded so than Gen Z can understand them. Lo and behold, once they start engaging in hedonistic and sinful activities, the bad guy turns up – this one’s got a video camera, he’s not very original – and the low-level terrifying begins before they are all captured, trussed up like prize turkeys, and chained to a dungeon wall somewhere in an industrial estate or whatever. So, yes – it’s the same old pish all over again. Just like you saw in Saw (2004), and in Saw II (2005), and in Saw III (2006), and in Saw IV (2007), and in Saw V (2008), and in Saw VI (2009), and in Saw 3D (2010) and in Jigsaw (2017) and in Spiral (2021) and in Saw X (2023) and in Saw XI (26th September 2025), and in any other knock-off horrors I could be bothered to mention including all seasons of Squid Game and every other S&M snuff movie that some people seem to get their kicks out of. Jackie Earle Haley turns up as the killer, Barry Miller, a former quiz show host with a literal axe to grind, along with a shotgun, a chainsaw, and a whole host of other torture devices linked to his devious question rounds. He’s wearing a suit right out of Joker (2019), which basically also makes him Rupert Pupkin, and a mask, 70% of which is basically The Grabber from The Black Phone (2021), and he’s making people play games of torture against each other so that there’s horrific injuries and gore and death, so he’s not exactly all that original. Haley does his best with what he’s got though, and it really is his show with this film, as there’s nobody else in it with an inkling of what acting is, other than screaming and pleading and getting covered in blood. Haley does what he can, but there’s no saving this god-awful show from the eternal hell of cheap-crap knock-off horror. There’s some character development at the end for Barry, which I guess is supposed to morph him into some kind of Jigsaw character, but really who cares? He’s just another sick puppy in a mask who likes to go around torturing people, the same as all the others, with no semblance of originality, while yet there’s apparently still plenty of producers going around saying to regular human beings that this is the kind of stuff they want to make and see on screen. If you want to go and see it then go and see it. You’ll know exactly what you’re getting before you go in, if not entirely how bad it will actually be, and if bland, standardised gore and terror is what you want to see with no difficult emotions attached, it’s all yours. But when you come out at the end, and it was just the same as all the other cheap-crap torture movies you love gooning over at home, not really worth spending your time on, tune in through the white noise and you’ll clearly hear me saying that I told you so. Your Host will have have its World Premiere at FrightFest 2025 on 22nd August. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, Film Festival, Digital / DVD Release < All Reviews Next Film Review >

Eddington film review by UK film critic Jack Salvadori. Starring Joaquin Phoenix, Emma Stone, Pedro Pascal directed by Ari Aster. HOME | FILMS | REVIEWS Eddington Film Review average rating is 3 out of 5 Critic: Jack Salvadori | Posted on: May 17, 2025 Directed by: Ari Aster Written by: Jack Salvadori Starring: Joaquin Phoenix, Emma Stone, Pedro Pascal Remember the days when a sneeze was more feared than a gunshot? Ari Aster surely does, and Eddington is his chaotic love letter to those unhinged, hand-sanitised months. Set during the early Covid lockdown, the film isn’t really about the virus: it’s about what happens when mass hysteria, meme culture, and small-town ambition collide in a dusty corner of New Mexico and go absolutely feral. For a filmmaker obsessed with paranoia, fear, and dark humour, the absurdly enforced safety norms provide an ideal playground, with six feet of mandated social distance offering the perfect staging for Aster’s twisted choreography. Joaquin Phoenix stars as Joe Cross, the incompetent sheriff of Sevilla County, who views a face mask not as a public health measure but as a direct assault on his starred-and-striped freedom. Spotting kindred spirits in his unmasked neighbours, he seizes the moment, launching a wobbly campaign for mayor and transforming into the poster boy for America’s right-wing fever dream. But Aster doesn’t let the other side off the hook either, as white teenagers riot against their own privilege, lost in a vortex of performative outrage. His mockery is direct, his vision exaggerated, but the satire often feels more like a laundry list of contemporary chaos than a pointed critique. The craziness is accurate; the commentary, less so. The first half plays like a cursed Twitter thread brought to life: anti-maskers, conspiracy theorists, and BLM protesters all swirl together in a soup of satire and surface-level hot takes. But then, halfway through, the film mutates—into something bolder, weirder, and far more interesting. It stops regurgitating headlines and starts remixing them with actual imagination. And then there’s Emma Stone. Present, technically. Mostly relegated to the background, quietly reminding us she deserves much better than a thankless third-fiddle role. Eddington is ambitious, bizarre, and tonally unstable— but maybe that’s the whole point. Still, one question lingers: is it too late for pandemic satire… or too soon? Buy UKFR Banner Space About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >

Little t film review by UK film critic Chris Buick. Starring Meredith Hom, Fran Kalal, Seraphina Tong directed by Masha Ellsworth. HOME | FILMS | REVIEWS Little t Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Oct 22, 2024 Directed by: Masha Ellsworth Written by: Masha Ellsworth Starring: Meredith Hom, Fran Kalal, Seraphina Tong A wonderfully animated short with incredible depth and heart, Little t tells the story of Alexis, an interior designer with clear talent but who struggles to see it herself due to almost crippling self-criticism, self-doubt and a need for perfection. On the day of her big interview for what hopes to be the launch of her post-grad career, Alexis, accompanied by her “inner critic” and her “inner child”, must confront the root cause of her anxieties and finally find that conviction and strength buried deep within herself. Little t isn’t a story that speaks purely to creatives, it's one that will undoubtedly resonate just as loudly and clearly to all of us. Exploring trauma, anxiety, hope and much, much more in just over six minutes, by drawing on her own experiences, writer/director Masha Ellsworth’s film taps into what are and always will be extremely universal human sentiments. At the forefront is the animation, every bit as dynamic and full of life as you hope it would be, and indeed would expect from a short film collaborated on by a plethora of accomplished animators coming together from the likes of Pixar, Netflix, Dreamworks and more. Characters not only seem to jump off the screen, but are given so much emotion and expression as to make them positively tangible, which in turn translates into not just bringing the film to life, but creating a beautiful world for us to enter into. And Ellsworth, themselves a lead technical director at Pixar, showcases the kind of talent that continues to make that studio shine time and time again, with an inimitable ability for heart-felt storytelling not just through their words but through their wonderful imagination as well. Because what truly impresses about Little t is its simplicity but yet its depth, putting across so much so eloquently in such a short amount of time so succinctly. It’s about exploring the crutches we lean on when things get too hard, but then also about how each of us live with these inner voices day after day that can either lift us up or pull us down, sometimes simultaneously. It’s about trauma and the marks that leaves behind, a topic it particularly handles with incredible sensitivity and consideration. And finally, it’s about how we deal with all of that, and find the strength to take back control and persevere. Little t is a remarkably deep, very human, wholehearted and inspiring short film that those who struggle with that critical little voice in their head will find a lot of comfort and empathy in, and also one that aspiring filmmakers would do well to learn from. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film, Animation < All Reviews Next Film Review >

1946: The Mistranslation that Shifted Culture - BFI Flare film review by UK film critic Amber Jackson. Starring Sharon Roggio, Kathy Baldock, Ed Oxford directed by Sharon Roggio. HOME | FILMS | REVIEWS 1946: The Mistranslation that Shifted Culture - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 18, 2023 Directed by: Sharon Roggio Written by: Jill Woodward and Jena Serbu Starring: Sharon Roggio, Kathy Baldock, Ed Oxford ‘Research into recent interpretation of the Bible results in a re-evaluation of the traditional prohibitions on gay sex.’ Trigger warning: Religious and parental trauma, references to suicide. The main argument for homophobia, especially in the United States, is that ‘the Bible says it is wrong’ - but what if that was never the intention? These are the questions asked in this hard-hitting documentary 1946: The Mistranslation that Shifted Culture. Directed by Sharon Roggio, this film features Christians Kathy Baldock and Ed Oxford who make a ground-breaking discovery that the word ‘homosexual’ first appears in the Bible as late as 1946. From this, they seek to uncover the truth behind this translation of the text and unearth plenty more shocking truths along the way. This is a documentary that tackles massive differences of personal and religious opinion, alongside Christians and activists seeking to change hearts and minds within the Church. Kathy Baldock and Ed Oxford and others within this film seek to uncover the truth behind the apparent mistranslation of ‘homosexual’ in the Bible in the United States. There is a clear conflict between sexuality and scripture woven into the framework of the documentary, as it recognises LGBTQ+ Christians’ daily struggle for acceptance. They love God and the Church, but also wrestle with their own thoughts and feelings concerning sexual orientation. The film effectively explores feelings of disconnect that religious LGBTQ+ people experience everyday with personal testimony and real experience. Whilst the film shares mostly white experiences, a queer Native American anecdotal perspective is shared, as well as a plethora of different scholars and professors commenting on the implications of translated Bible passages and the effect on queer people. This documentary seeks to reach everyone, irrespective of their identity and faith. Roggio’s documentary style is very raw and contains plenty of archive footage and videos and photos from her childhood, as well as animated drawings to bring history back to life. As well as Baldock and Oxford sharing their personal anecdotes, Roggio shares her private family experience growing up gay with her minister father whole-heartedly believing that homosexuality is a sin against God. She shares a heart-breaking reality for many LGBTQ+ people in America and across the world who are not only accepted by their family, but also feel unwelcome in their churches. Roggio successfully conveys a powerful loss of community and sanctuary that queer Christians experience when they are rejected by the Church that cannot be replicated. Whilst it is a deeply sad narrative, Roggio seeks to use her work to ultimately offer hope and kinship to her audience. Speaking on the alleged mistranslation, Baldock and Oxford examine the ideologies and Whilst linguistic powers behind Corinthians 6:9-10 in the Bible. These undefined Greek words and confusion leads them to find Reverend David S. Fearon, the gay man who originally discovered the mistranslation and wrote to the translators to correct them. His academic journey is also explored in the film, as well as his recognition that the word ‘homosexual’ would have plenty of social implications and Biblical reprints. Roggio does an excellent job at handling public opinion and politics within the context of LGBTQ+ communities. The film posits how major socio-historical events weaponised LGBTQ+ people and ultimately created irreversible damage, which is not only engaging, but also very thought-provoking to watch. Through this work, Sharon Roggio and those within the film display true strength in exploring personal testimony and trauma on camera. In sharing plenty of differing religious and social beliefs, the film highlights how the fight for acceptance is still not over as LGBTQ+ people are still being persecuted for their identities, with religion often being used as the main argument. Despite not having a clear outlook on the future, those within the film speak only to hope for change for future generations through solidarity. What is clear is that queer people can and should be able to practice their chosen faith and the film’s message is as beautiful as it is powerful. This is a fantastic documentary that recognises the need to break a cycle of generational trauma for LGBTQ+ Christians in the United States. In doing this, it aims to provide LGBTQ+ Christians a sense of peace and community. It is insightful and educational and well worth watching. To find out more about The Stroll and other films featured at BFI Flare 2023, see the BFI website or read more of our BFI Flare coverage at www.ukfilmreview.co.uk Buy UKFR Banner Space About the Film Critic Amber Jackson Documentary, World Cinema, LGBTQ+, Film Festival < All Reviews Next Film Review >

Cruel film review by UK film critic Patrick Foley. Starring Erin Taylor, Chris Dettone, Patrick Johnston directed by Naim David. HOME | FILMS | REVIEWS Cruel Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Apr 26, 2024 Directed by: Naim David Written by: Naim David Starring: Erin Taylor, Chris Dettone, Patrick Johnston A loud (well not so loud) and proud low budget mystery horror like Cruel is the type of film that should appeal to indie and horror film fanatics alike. Unfortunately, crippling sound problems that appear to be inherent in the film’s production make following an ambitious and depth-filled plot a considerable difficulty. Following the brutal murder of her parents Ava (Erin Taylor) lives with the burden of never knowing the identity of their killer. A devoted detective Peter Savage (Chris Dettone) suspects a deeper conspiracy as he works to put the pieces of case together, whilst Patrick (Patrick Johnston) starts to come closer to Ava who pursues her own investigations – with a much more violent fate for the perpetrator her preferred outcome. I really did want to engage with Cruel more than was possible. But unfortunately, sound production issues cripple a film that is heavily reliant on dialogue to tell its story. Numerous pivotal and establishing scenes are barely legible, even with volume turned to the max. Others blast out with these volume levels that suggest a poor job of sound mixing that is unacceptable even for a lower budget offering. Much in how the main takeaways from Christopher Nolan’s Tenet were not anything related to the film’s story or thematic devices, but its muffled, incoherent dialogue, these basic building blocks of cinema overshadow anything else in a movie if they are not in place. It’s particularly damaging to a film with a twisting and winding plot that requires an audience to be engaged fully with its set-up to feel the benefit of the payoff. The film has highs and lows outside of the sound issues. Its central mystery does offer intrigue, and keeps viewers guessing as to the identity of the culprits. Cleverly raising several possibilities, the result is a satisfying and shocking revelation that thankfully doesn’t collapse the narrative. Ava’s self-destructive quest for vengeance is an interesting contrast to Savage’s law-focused investigation, with both leading to dangerous places that neither are prepared for. The film is let down by some sub-par performances however – Erin Taylor failing to properly capture a genuine sense of grief throughout the film that is Ava’s driving force. A particularly devastating moment that occurs within the film is incredulously met with borderline indifference, which inadvertently undermines Ava’s moral justification for her entire plot. Once revealed, the killer is portrayed as a giggling, maniacal psychopath that mirrors a teenagers attempt at edginess. It's a shame as some scenes are staged beautifully in a way that feels like a loving homage to B-movies in general. Vibrant lighting is utilised well to stage carnage and chaos, and a grungy, gritty soundtrack makes for an ominous, underground dread that steadily builds until the explosive conclusion. But ultimately, it all comes back to the sound issues. Under-par performances and clunky action sequences are to be expected and hardly fatal for a lower budget production. But failure to address the volume levels make this film sadly unwatchable. With this issue fixed the film would be easier to judge on cinematic merits. But films also must be ultimately judged based on the condition they are presented in. Cruel as it may seem, Cruel is a disappointment on these terms. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Shang-Chi and the Legend of the Ten Rings film review by UK film critic Hope Madden, George Wolf. Starring Simu Liu, Awkwafina, Tony Chiu-Wai Leung directed by Destin Daniel Cretton. HOME | FILMS | REVIEWS Shang-Chi and the Legend of the Ten Rings Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 2, 2021 Directed by: Destin Daniel Cretton Written by: Dave Callaham, Destin Daniel Cretton, Andrew Lanham Starring: Simu Liu, Awkwafina, Tony Chiu-Wai Leung Imagine finding out your best friend and karaoke partner isn’t really a mild-mannered valet attendant, but a highly-trained ass-kicker with chiseled abs who’s the son of an immortal conqueror leading his own army. That’s a lot for Katy (Awkwafina) to digest, but when thugs come for her bestie Shaun (Simu Liu), the bus ride beatdown he gives them goes viral – in the first of many spectacular fight sequences – and the truth comes out. Shaun is really Shang-Chi, whose childhood was filled with intense training to one day fight alongside his father Wenwu (Tony Leung), a God-like figure powered by the five rings worn on each arm. The tragic death of Shang-Chi’s mother Li (Fala Chen) brought grief that stripped the mercy from Wenwu, forcing Shang-Chi to leave his younger sister Xialing (Meng’er Zhang) and run from his destiny. But Daddy’s patience for his wayward children has run out. So some familiar Disney building blocks are in place, with well-positioned signage (“post blip anxiety?”) and cameos (one very surprising, and welcome) to remind us what universe we’re in. But Shang-Chi and the Legend of the Ten Rings soars highest when it follows its groundbreaking hero’s lead and vows to build its own world. A quick look at the indie drama sensibilities of director and co-writer Destin Daniel Cretton (Short Term 12 ) might prepare you for the savvy complexities his Big Movie brings to Marvel’s favorite topic: family dynamics and daddy issues. But his filmography would not suggest this level of badassedness when it comes to action sequences. (And let’s be honest, neither would that subpar trailer.) The setpiece on the bus, though, tips you off. It’s followed by plenty of fun and funny, with often breathtaking feats of fisticuffs and flight (with dragons, no less!) Performers balance humor and pathos in that patented Marvel manner. This, of course, is Awkwafina’s wheelhouse and she is a hoot. Liu, who’s done mostly TV, shoulders lead responsibilities with poise and charm. Michelle Yeoh, always welcome, adds gravitas as Li’s sister Ying Nan, but Zhang struggles with Xialing’s underwritten angry sister storyline. Cretton’s film layers in feminism that almost works, but not entirely, as three women support a boy who must stand up to his father to become a man. Points for trying, I guess? But the wait for the MCU’s first Asian Avenger (sit tight for those 2 extra scenes) ultimately pays off with a visionary, big-screen-begging spectacle full of emotional pull and future promise. Pure, eye-popping entertainment is a welcome ring to reach for – especially now – and Shang-Chi never misses. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Nothing to Lose film review by UK film critic Chris Olson. Starring Nawell Madani, Guillaume Gouix directed by Ludovic Colbeau-Justin, Nawell Madani. HOME | FILMS | REVIEWS Nothing to Lose Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jul 8, 2026 Directed by: Ludovic Colbeau-Justin, Nawell Madani Written by: Walid Afkir, Mohamed Benyekhlef, Nawell Madani Starring: Nawell Madani, Guillaume Gouix John Q meets The Fault in Our Stars in this French feature drama, Nothing to Lose (original title: Jusqu'au bout ). A powerful story of one mother’s unrelenting resolve to save her son, eschewing law and order to get him what he needs to stay alive. Nawell Madani plays Jada, a fierce boxing instructor whose son Noa has been diagnosed with leukemia. To make matters more complex, Noa is not her biological son, making tracking suitable bone marrow donors incredibly difficult. In a race against time to track down Noa’s biological parents and anyone else who might be a match, Jada throws everything she has against the establishment, upending the rules around anonymity, finding herself in the centre of a siege inside Noa’s hospital, where he is rapidly deteriorating, and she is being surrounded by armed officers. Poignant but not manipulative, Nothing to Lose is a tearjerker, but it’s a movie that earns its emotional moments; it's not deliberately hurting the audience. Jada is a brilliantly written character, the viewer being given a solid amount of background before the more action-based events take place. We really care about the characters, especially once Noa embraces the other sick kids on his ward. The storyline is carefully plotted, with enough unique elements to make it feel bold and fresh, which is a challenge when serving up a cancer-heavy movie. The film does spend a fair bit on Jada’s poor relationship with her ex Paul (Guillaume Gouix), a workaholic whose absenteeism has left him getting the cold shoulder from Noa. This never really gets fully resolved, but there are moments between the two that enhance the drama and tap into the potential differences between mothers and fathers (albeit generalising). Themes of humanity, bureaucracy, and the depths of parental love all come to the fore here, making the film (which is new to Netflix this week) suitably laden with gravitas rather than a shallow ploy to turn a very sad tale of grief into a schlocky action thriller. Instead, Nothing to Lose is a smart and memorable piece of filmmaking that will stir something in most conscientious viewers, particularly parents. Buy UKFR Banner Space About the Film Critic Chris Olson World Cinema, Netflix < All Reviews Next Film Review >

American Sikh film review by UK film critic Chris Olson. Starring Vishavjit Singh directed by Ryan Westra, Vishavjit Singh. HOME | FILMS | REVIEWS American Sikh Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: May 11, 2023 Directed by: Ryan Westra, Vishavjit Singh Written by: Ryan Westra, Vishavjit Singh Starring: Vishavjit Singh The superhero origin story is a format audiences are well accustomed to by now. With the short documentary film American Sikh, however, filmmakers Ryan Westra and Vishavjit Singh subvert the typically pro-American narrative for something more emotionally tragic, charting the experience of a man attempting to maintain his religious identity in a society that has become increasingly hostile towards anyone wearing a turban. Told with a comic book aesthetic and slow-moving animation, American Sikh packs a powerful punch when it comes to arresting the viewer with this tale of two cultures. A thoughtful opening section leads to a more discomforting journey through post-9/11 violence towards Sikhs living in America. The filmmakers do not shy away from displaying events as horrific as gun shootings but the animated format allows the visual to become something more palatable and less isolating than the effect real footage or live action would have been. Another impressive filmmaking tactic is showcasing the various hurtful slurs our protagonist has to endure as captions, only ever written on the screen and never voiced. This seemed to remove the power of them, rejecting any connection to Singh's identity. It's only one mention of "Osama" that makes it through but this was important to explain his dilemma. American Sikh sidesteps being a cautionary tale that could have easily wallowed in the tragic unfairness of it all when we find out the man received a very different reaction from American citizens when he dressed up as Captain America. Whilst not atoning for their kneejerk cruelty towards people of different cultures following the terror attacks, it is a joy to see people asking him for pictures and autographs whilst dressed up as one of the most iconic superheroes, whilst also wearing a turban. The short film format works for the story, conveying Singh's experience with compact clarity without falling into any unnecessary padding. It's a mark of great direction, especially with the limitless lure of animation, that American Sikh feels taut and as professionally delivered as any of the Marvel or DC output. It's only the narration from Singh that does sporadically reveal the humble nature of the piece, with a few jolting moments where he verbally stumbles. One of the standout aspects of American Sikh was the music from River Nason - a jaunty explosion of sound that, again, really helped the tone of the film stay more upbeat than it might have done. It really complemented the origin story feel of the short film and worked sublimely with the animation. Bold, brave, and never boring, American Sikh tells an important story of identity struggle in one of the U.S.'s darkest hours. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, Animation, Documentary < All Reviews Next Film Review >

Flight into Darkness film review by UK film critic Brian Penn. Starring Martina Greiner, Wojo van Brouwer directed by Alexander Ratter . HOME | FILMS | REVIEWS Flight into Darkness Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Dec 2, 2023 Directed by: Alexander Ratter Written by: Arthur Schnitzler, Alexander Ratter Starring: Martina Greiner, Wojo van Brouwer The title of this film seems very apt as we are confronted by characters with doubtful motivation. They are no less compelling as the leading character contemplates a chequered past and uncertain future. The past might be another country but still leaves an indelible mark on the future. The present seems to be neutral territory as she ponders her next move. Maria (Martina Greiner) is a troubled soul who contemplates a new life in Buenos Aires far and away from her old existence in Vienna. However, her controlling older brother Daniel (Wojo van Brouwer) has something of a hold over her. As a doctor he would have some insight into Maria’s physical and mental health. But how well does Daniel know her, and how much emotional baggage is buried below the surface. The past is never far behind as Maria recalls a highly charged encounter. An evening of heavy drinking with an old friend gives her food for thought. The story is based on Arthur Schnitzler's novella of the same name published in 1931. But this short film directed by Alexander Ratter gives the story a modern setting with a stylish black and white hue. Maria and Daniel are complex characters with many moving parts. We can draw inferences from the dialogue that occasionally feels fragmented. There is a sense that Maria only has an illusion of choice; and her path in life seems pre-determined and cannot be altered. Her relationship with Daniel is pivotal to the overall narrative and can also be interpreted in a number of ways. Although riddled with ambiguity there is no denying the visual power of the piece. It’s underpinned by occasional voice-overs that give the film an episodic feel. There is a heavily stylised intro where Maria sits on a pier as the voice-over waxes lyrical. It could almost be a 1960s TV advert for Christian Dior. That in itself is no bad thing but there is an overriding feeling the story is too big for the short film format. But fair play to all concerned this is a solid piece of filmmaking that deserves due credit. Buy UKFR Banner Space About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

Centaur film review by UK film critic Jason Knight. Starring Per Ankjaer, Soren Bregendal, Patrick Kweku Quansah Kvaerno, Katinka Kamp Moth-Poulsen directed by Lars B. Frahm. HOME | FILMS | REVIEWS Centaur Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 13, 2024 Directed by: Lars B. Frahm Written by: Per Ankjaer Starring: Per Ankjaer, Soren Bregendal, Patrick Kweku Quansah Kvaerno, Katinka Kamp Moth-Poulsen An actor is chosen for a role that he is not particularly happy to play. Things seem to be looking up for Jacob's (Ankjaer) acting career. He has been offered to star in a film as a centaur. He prepares for the role in his apartment (much to the annoyance of his neighbour) and the day finally comes for him to play the role. However, when he arrives at the studio, he is informed that his role is actually separated: an actor named Keiser (Kvaerno) will play the front part of the centaur, while Jacob will be the back part. A rather amusing short comedy from Denmark about a simple guy who finds himself in an awkward and embarrassing situation. Poor Jacob reluctantly plays the part of the back half of the mythical creature, covered by the costume and clearly unhappy. To make things worse, the director (Bregendal) and the cast and crew appear unconcerned regarding the actor's uncomfortable position and even mock him. Jacob swallows his pride and puts up with everything, making the viewer feel sorry for him. What messages are there in this story? An obvious one is how cruel and inconsiderate people can be. Another is that some individuals are prepared to suffer in order to get by. Another one would be that someone has to do the worst jobs and that their work is not always appreciated. The opening and closing credits should be pointed out, due to the fact that they are accompanied by a background that contains what appears to be blood splatters. Although the creativity is to be congratulated, it feels odd to open and close the film with images that would probably be more suitable for a horror story. Composer Jonas Sorensen develops an interesting score that includes drumming and commendations go to costume designer Karina Seidelin Jensen for the elf, minotaur and centaur outfits. This short follows a man in an embarrassing situation, unsupported by his co-workers. It is a fun ride, yet one that seems to carry serious messages regarding people's tendency to ignore the misfortunes of others instead of helping them. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

The Home film review by UK film critic George Wolf. Starring Pete Davidson, John Glover directed by James DeMonaco. HOME | FILMS | REVIEWS The Home Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Jul 24, 2025 Directed by: James DeMonaco Written by: James DeMonaco, Adam Cantor Starring: Pete Davidson, John Glover About an hour into The Home , things escalate. And quickly. There’s a big enough jolt of blood and violence to make you hopeful the foolishness that’s been rolled out so far can be rescued. Sorry, too little, too late. Pete Davidson gives the film a solid, sympathetic anchor as Max, a troubled man who gets sentenced to community service doing custodial work at a New Jersey old folks home. He makes friends with some of the residents, angers some of his co-workers, and quickly comes to realize something pretty f’ed up is going on. Director and co-writer James DeMonaco, who created The Purge franchise and helmed three of the chapters, can’t mine the same levels of socially-conscious horror or reality-based tension. What’s up with these seniors is ridiculous sci-fi horror built on ideas from much better films, with a message that’s hammered home through repetition, explanation and – for the first 60 minutes at least – boredom. Through it all, Davidson exhibits a fine screen presence, and the supporting cast is littered with veteran faces you’ll recognize even if the names (John Glover, Ethan Phillips, Bruce Altman) aren’t familiar. They help you to keep rooting for the movie when the bloodshed hits, but DeMonaco doesn’t see it through, pulling up too soon and settling for a curious finale that’s far too weak to satisfy. A horror film out to chop bloody holes in that “Greatest Generation” mantra is plenty intriguing. The Home , though, feels stuck between more desirable neighborhoods. It’s not self-aware or over-the-top enough to be satirical fun, but far too obvious for metaphorical nuance. So we’re left wanting, reminded of how important it is to craft a good plan for the golden years. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Company film review by UK film critic Chris Buick. Starring Benjamin Stubbs, Jacob Taylor directed by Katie Parker. HOME | FILMS | REVIEWS Company Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Apr 25, 2024 Directed by: Katie Parker Written by: Katie Parker Starring: Benjamin Stubbs, Jacob Taylor Writer/director Katie Parker’s warm and endearing short Company tells the story of James (Stubbs) who has been spending the last six months mourning a failed relationship. Now, although initially tentative, James is beginning to work towards putting himself out there again and perhaps embracing the possibility of a new connection with Simon (Taylor). Company doesn’t exactly plunge the depths in terms of character or plot, it never really throws up any surprises or dramas or gives you anything you’re unlikely to have seen before. We see James moping alone to himself at home, reading self-help books and looking forlorn at the idea of finding love, brushing off blind dates and setups from friends while also getting to grips with dating in the digital age via all the apps and profiles etc. So no, it’s nothing new in that regard, but it's a film that ultimately just wants you to take away a feeling rather than any particular answers or new revelations; its journey rather than its destination is what's important and when all is said and done, Company leaves you brimming with a very warming sensation of optimism. And just to be clear, Parker’s film tells its story completely and elegantly, and James’s story is a representation of universal feeling, of isolation, apprehension and desire. No, it’s not a unique story, but that’s why it works, it’s utterly relatable, and will undoubtedly touch your heart. Watching the growth in James, who goes from acting like an awkward teenager running away from Simon in the park, to eventually trying to work himself up to face that terror, him taking that first step in finally opening up to the idea of allowing this connection with Simon is something we can all relate to, and the way this slowly blossoming romance starting with casual glances and one-word exchanges becomes something more will have you rooting for them all the way. It’s also a story that is presented so visually well that even with minimal dialogue, everything that needs to be conveyed is, and in fact, the film probably could have done it all with no dialogue at all. Of course, it does always help to have an actor that is able to be as expressive as Stubbs is here, with the talent to cycle through and fully portray loneliness, hope, anxiety and fear in equal measure. It's simple but ultimately charming, heartwarming and uplifting. Company is a beautiful story about connection and getting back out there and taking happiness in your own hands. Buy UKFR Banner Space About the Film Critic Chris Buick LGBTQ+, Short Film < All Reviews Next Film Review >