Waiting for the Light to Change film review by UK film critic Rachel Willis. Starring Joyca Ha, Jin Park, Qun Chi directed by Linh Tran. HOME | FILMS | REVIEWS Waiting for the Light to Change Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Oct 20, 2023 Directed by: Linh Tran Written by: Jewells Santos, Linh Tran, Delia Van Praag Starring: Joyca Ha, Jin Park, Qun Chi The quarter-life crisis. From the hindsight of middle-age, it seems an enviable position to be in. Yet, the memory is fresh enough to recognize the anxiety, loneliness, and a certain longing for direction. Director Linh Tran captures the feeling with heartfelt tenderness in her film Waiting for the Light to Change. Falling between the ages of 23 and 25, several friends, including Amy (Jin Park) and Kim (Joyce Ha), have gathered at a beach house. Kim has a boyfriend, a career, and enough money to allow Amy to join the group. Amy, on the other hand, is single and back in school because she couldn’t find a job. Kim’s cousin Lin (Qun Chi) has recently broken up with a beloved boyfriend because the distance between the United States and China was too great. Tran mines the tumultuous years after college to examine characters on the verge of their adult lives. Amy’s loneliness pushes her to do things she might not otherwise do. The aimlessness Jay (Sam Straley) feels leads him to make decisions he later regrets. And though they have the connection of a lengthy friendship, Amy and Kim’s conversations are often fraught with tension. The early- to-mid 20s is a period when many start to realize a friendship made in youth may be toxic. The film loses its momentum as it moves toward its climax. The group’s apathy starts to manifest in more solid ways, which detracts from the affecting dialogue. As images take the place of realistic and uncomfortable moments between characters, the movie flounders. A few moments try too hard for profundity and instead stumble over stereotypical conversation. It’s disappointing that these unnatural moments shoulder their way into a film more notable for its naturalism. However, Waiting for the Light to Change rights itself as it progresses. As relationships rupture, we’re drawn into the turmoil that often plagues adolescents as they struggle to find their way into adulthood. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Even Monsters Can Be People film review by UK film critic Swati Verma. Starring Ferdinand Bernander , Ola Normellie directed by Kevin Gater. HOME | FILMS | REVIEWS Even Monsters Can Be People Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Dec 6, 2021 Directed by: Kevin Gater Written by: Kevin Gater Starring: Ferdinand Bernander , Ola Normellie The word "Monster" has been given green color with a different font to attract children towards the film. The genre of the cinematic piece is horror-comedy. The filmmaker gives it a child's perspective. "Even monsters can be people" forces the audience to think about the deeper meaning it tries to communicate. The movie talks about being open to experiences and not having a preconceived notion about the subject matter. It also delves into the hardships of parenthood. Parents continuously protect and safeguard their children from all the cruelty the world outside has to offer. In the opening scene, the dim lighting and the sound effects are crucial elements of filmmaking that the director uses to justify the genre of horror-comedy that makes the audiences interested in what the film deals with. The lighting of Billy's room also gives the desired warmth in the scene shared by the father and son. It also showcases the dynamics of the film. The audience engagement in the narrative from the starting point in the story is because of the brilliant camera work done for the short film. A child is scared to sleep peacefully due to the unearthly creatures in his room. The father comes to help him solve the core problem of the monsters and assist the little boy fight off his fears. The writer-director -Kevin Gater has given the film an open-ended closure so that it is open for interpretation from its audiences. He has put together a script to build up the tension and reveal the facts only when the time comes. The audiences are always eagerly waiting for the turn the storyline will take next. Ferdinand Bernander, who plays Billy, can hold the narrative together and deliver the message the creative piece is trying to put across to the viewers with his expressions and reactions to all the dialogues coming from the father. Ola Normellie plays the father. Ola Normellie as a dad is quite convincing and relatable. The dialogue delivery is apt for the genre as he adds the comic element to the script and makes it child friendly. The bond between the actor in their respective characters is visible onscreen as the father is telling stories to Billy to make him happy. The movie can capture all the little nuances of rapport between the parents and their children. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Britto film review by UK film critic Swati Verma. Starring Ashmita Badhuri, Avinaba Pal Chaudhary, Shereoshee Chakraborty directed by Priyan Chanda. HOME | FILMS | REVIEWS Britto Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 5, 2022 Directed by: Priyan Chanda Written by: Kausani Mitra Starring: Ashmita Badhuri, Avinaba Pal Chaudhary, Shereoshee Chakraborty The title of the film "Britto" means "strength" and "powerful". The director of the film - Priyan Chanda has managed to highlight the beauty and culture of Kolkata. The camera department and the creative team have assisted Priyan with it. Britto is a short film that clubs both horror and the romantic genre. The movie captures two different eras in order to build up the narrative effectively. The director Priyan and script- writer Kausani Mitra work together to intertwine both the timelines and makes the end product that keeps the audience engaged with the content of the short film up until the end of it. The film is based on true events. It revolves around a woman who has an encounter with her past. The turn of events, which follows in the present as a result of her past, forms the basic storyline of the film. The plot also deals with a couple who are busy searching for love. Will they be successful with their romantic endeavor is another subplot the film talks about. The director of the film wants to speak about subjects like aristocratic homicide and extramarital affairs. Britto has a simple screenplay and does not overdramatize the same so that the audience relate to the subject matter. The short film tries to create a mirror image of the various aspects of human nature that makeup the society, so that the viewers could absorb the social message the movie is making efforts to communicate to them. The film does justice with the horror genre to some extent. The production design, background music, lighting and a few jump- scares create the darkness that is necessary for the gothic feel in the horror genre. The costume, makeup and the jewelry from both the timelines shown in the movie is on point. All the actors featured in the Bengali short film play their characters so beautifully. They are able to bring out the emotional turmoil and fears with so much ease. Even the vengeful spirit in the movie does not come across as a villain. The viewers of the short film try to find out the reason behind such behavior of the character. The only fault I could find with the short film was that the white font of the subtitle given to the film is not suitable as it merges with the color palette of the film. This makes it difficult to follow the cinematic piece for those who don’t understand Bengali. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Bad Luck Banging or Loony Porn film review by UK film critic Alasdair MacRae. Starring Katia Pascariu, Claudia Ieremia, Olimpia Malai directed by Radu Jude. HOME | FILMS | REVIEWS Bad Luck Banging or Loony Porn Film Review average rating is 4 out of 5 Critic: Alasdair MacRae | Posted on: Jan 18, 2022 Directed by: Radu Jude Written by: Radu Jude Starring: Katia Pascariu, Claudia Ieremia, Olimpia Malai Bad Luck Banging or Loony Porn is the latest film from Romanian new wave director Radu Jude. The narrative revolves around schoolteacher Emi, whose private sex tape has somehow made it onto the internet and now her job is under threat. The film is divided into three acts with an additional prologue and epilogue. Whilst Emi’s ‘trial’ at the hands of the parent-teacher association may take place in the third act, Jude’s film represents a defence from the outset. The prologue functions as Exhibit A, the sex tape in question, an explicit but clumsy amateur film. Around the cinema, there may be gasps and a feeling of unease. Some people decide to talk through it to quell their discomfort. But to resign this to shock value would be reductive. It may be something that is unusual for cinemagoers to see on the big screen but this begins the defence; that the video is not in fact offensive, merely taboo. Without showing the tape Jude’s argument would lose all credibility, and as he goes on to display, sex tapes are the least of society’s issues. Act one follows Emi in her daily life as she wanders the streets, visiting shops and markets. The camera is frequently disinterested in her, floating away to capture comic observations of daily life in Romania in a documentary-like fashion. There are billboards of buff men and sexually suggestive women. Shops selling Frozen and emoji branded backpacks occupy equal time and space as those which sell religious literature. Men get out of ridiculously oversized cars, or just clutter the streets, sometimes doing nothing more than holding a rather large watermelon. Amongst this we see glimpses of male entitlement and rage: one man hits another with his car as they quarrel about who has right of way. Altogether the camera is more interested in documenting any and all of these things than our grey suit-wearing protagonist. Jude exonerates her by effectively eschewing her from her own story. The second act is where Jude gets to the real crux of the matter through the medium of an unconventional dictionary segment. Presented like a slideshow, we see Romanian words and their cultural definitions; sometimes satirical and humorous, at other times they spark outrage. All serve to turn the spotlight on the failings of Romanian society. He juxtaposes blowjobs with genocide; making explicit references to widespread sexism, child abuse, and the tightening grip of fascism. The images displayed here are undoubtedly the most shocking in the film which threatens to make the surrounding plot feel totally redundant. For the third act, we return to Emi who awaits a trial at the hands of the parent-teacher association. It begins with the parents demanding to watch the sex tape because they need to see the evidence (cue the men watching lasciviously). The farcical affair spirals further out of control as discussions that extend as far as to the morality of education are heckled by one individual incessantly making ‘road runner sounds’. This segment of the film becomes rather testing the longer it plays out, mainly due to the frustration that backwards minded individuals who dominate conversation are a current fixture in daily life. Fortunately, the epilogue rounds the film off with a cathartic flourish. During the second act, cinema is defined by relating it to Perseus’ shield: the mirror used to indirectly look at and consequently slay Medusa. Whilst Jude’s film does clarify the serpentine foe in a unique and incisive fashion, there are times we begin to stare directly at our adversary and feel paralysed by despair. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Theatrical Release, World Cinema < All Reviews Next Film Review >

Stockhausen Syndrome film review by UK film critic William Hemingway. Starring Sophie Bullock, Julie Hayes, Robert Woodhall directed by Howard-Smith. HOME | FILMS | REVIEWS Stockhausen Syndrome Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Feb 11, 2022 Directed by: Howard-Smith Written by: Gabriel Brown and Howard-Smith Starring: Sophie Bullock, Julie Hayes, Robert Woodhall Karlheinz Stockhausen (1928 – 2007) was a German composer known in the 50's and 60's as a groundbreaking pioneer in the evolutionary theory of music. He is widely regarded as one of the most important and influential composers of the 20th Century with his compositions and theories reaching into fields as diverse as jazz, pop and electronica. His influence can be found in the music of bands from Pink Floyd to Sigur Ros to Captain Beefheart to Elbow. He, and his music, were also a bit weird. Cue, Sophie (Bullock) – a regular, bored teenager who always has a dismissive scowl on her face and who thinks there is never anything else to do but look at her phone. She has, however, managed to find herself listening to House Of The Rising Sun by The Animals. This is due to Uncle Eric (Woodhall) who, despite Sophie's mother's protestations, continues to be a presence and influence on Sophie's life. Uncle Eric, rather incongruously, runs a bookshop and not a music store. Yet, when Sophie finds herself again with nothing to do, this is where she heads to get advice on expanding and developing her knowledge and taste in music. Uncle Eric is also more than a little bit weird. After a brief conversation about how music should 'speak to you', Uncle Eric reveals that Stockhausen is his kind of music. Sophie is eager to explore Uncle Eric's passion and on listening to Stockhausen's music for herself finds that the bangs and clicks and crashes and atonal notes unlock something within her too. Naturally, Sophie's mother is against this kind of dangerously alternative influence, and takes matters into her own hands to try and stop it. Stockhausen Syndrome appears then, to be commenting on the mainstreaming of media which is more and more keeping people hemmed in behind tight boundaries, as well as the perceived corruption of youth which gets attributed to anything outside of the norm. Uncle Eric seems to have his ick factor deliberately turned up to eleven so that he almost comes across as a clone of the Childcatcher from Chitty Chitty Bang Bang (1968), even though he is in actuality just a kindly uncle who takes an interest in the likes and dislikes of his niece. Julie Hayes as Sophie's mother, Jean therefore takes on the role of 'normal society', who sees danger and criminality everywhere and whose mind and ears are closed off to anything that isn't immediately familiar. She sees herself in a battle for Sophie's soul and seems to equate alternative sounds, visions or lifestyles as tantamount to heresy. All this, you would think, sounds like a strong basis for a thoughtful and compelling short film. There are over-arching themes and relevant discussion points as well as a subtext that serves to deliberately unsettle the viewer in order to provoke a reaction which reveals in themselves their own standpoint on what's being shown. However, it feels as though writer/director Howard-Smith may be testing us. By making his film an arthouse movie, about the inability of the mainstream to find an accessibility to art, he is challenging us to say whether or not we find his film accessible, and therefore allow him to classify it as art. It's not. This is just a cheap and meaningless trick to try to elevate his work beyond the sum of its parts. It is clear throughout Stockhausen Syndrome that the best things about it are the casting choices. Each actor physically represents their role perfectly and their characters are easily identifiable by their characteristics. Unfortunately this is all undermined by the fact that nobody in the film can act. This, coupled with a banal, lacklustre script and the way the camera always seems to find the easiest rather than the best placement, all serves to build an underwhelming film that is likely to turn many viewers off and tune many others out. If you find Stockhausen Syndrome to be a poorly made film it is likely not to be because, as Howard-Smith seems to be suggesting, you are a philistine who doesn't understand 'real art' – it is more likely because you have eyes and ears and can identify its flaws. We should all be free to make our own choices of the things which we elevate or deny, which is ironically the exact struggle Howard-Smith engages Sophie in. By trying to educate us about the acceptance of all forms and styles he instead alienates the viewer by forgetting to entertain or engage us. There is no reason that art and accessibility can't go hand in hand – just not here. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Another Date film review by UK film critic Lawrence Bennie. Starring Tyler Day, Wiktoria Bialek directed by Lee Richards. HOME | FILMS | REVIEWS Another Date Film Review average rating is 2 out of 5 Critic: Lawrence Bennie | Posted on: Aug 17, 2024 Directed by: Lee Richards Written by: Lee Richards Starring: Tyler Day, Wiktoria Bialek Does Dracula date? For those looking for the ultimate night owl, with a penchant for Victorian-era fashion, paler than pale features and and a very unique European accent, then he’s here in Lee Richards’ comedy Another Date . But, would-be vampire lovers beware - there is a red flag around this particular incarnation of fiction's most famous immortal. This Dracula isn’t very good at dating. No, not because he only has one thing on his mind. He’s just really, really shy. Another day (or, to be correct, another night) begins for Count Dracula (Tyler Day) as he emerges from the coffin looking for love once again. But this stiff-necked Satanic servant just has nothing to sink his teeth into. Yet, an opportunity arises for the prince of darkness to dine once more; this time, not on a bare neck but on a date with the lovely Elizabeth (Wiktoria Bialek) who’s keen to unpick the shyness behind Dracula’s cloak… In playing literature’s lord of the undead for laughs, Richards sends it up a lot like Mel Brooks’ Dracula : Dead and Loving It yet shoots in crystal-clear black and white like Young Frankenstein . On a slightly more artistic note, the early scenes with the isolated Dracula wearily pottering around at home are ironically reminiscent of the lonely desperation of Klaus Kinski in Werner Herzog’s Nosferatu : The Vampyre , the first successful attempt at portraying Bram Stoker’s creation not as a powerful predator but a haunted victim himself. That's the angle Richards and Day have gone for here. This isn't the omnipresent nemesis of Abraham Van Helsing with a long list of vampire brides to cuddle up to. This Count is gentle, kind but hopeless, overpowered by insecurity and nerves instead of garlic and the crucifix. And he's not Dracula. He's Jack. Other than that, Another Date is very much need of another bite. As its title suggests, Another Date isn't unsurprising. It's rom-com a mile off. So, its refreshing that Richards does attempt to take things in a slightly different direction. Bialek is sweet and charismatic and she will fare even better in a film with some more tooth. The premise is there, but Richards’ script isn’t funny enough to cultivate the potential of a dating Dracula gone shy. With a rewrite or two, this could be a neat little spoof but a well-worn caricature in horror and comedy as the Dracula figure needs some sharper fangs to tackle it. Buy UKFR Banner Space About the Film Critic Lawrence Bennie Short Film < All Reviews Next Film Review >

The Baltimorons film review by UK film critic Hope Madden. Starring Michael Strassner, Liz Larsen, Olivia Luccardi directed by Jay Duplass. HOME | FILMS | REVIEWS The Baltimorons Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 10, 2025 Directed by: Jay Duplass Written by: Jay Duplass, Michael Strassner Starring: Michael Strassner, Liz Larsen, Olivia Luccardi A love letter to Baltimore and a beautiful showcase of talent, The Baltimorons is the yes-and of romcoms. Jay Duplass directs a script co-written with Michael Strassner, who plays Cliff. Lovable, endearing, excruciatingly earnest, Cliff is headed with girlfriend Brittany (Olivia Luccardi) to spend Christmas Eve with her family. He falls on the back step, knocks out a tooth, and has to comb Baltimore for a dentist available to help. Schlubby and sweet and desperately afraid of needles, Cliff makes quite an impression on the difficult to impress Dr. Didi (Liz Larsen). A series of mishaps, hijinks and opportunities keeps the two together for the balance of Christmas Eve. This one-thing-leads-to-another cinematic structure can feel tedious and contrived, but Duplass and Strassner ground the narrative in Cliff’s two defining traits. Newly sober, Cliff is still learning who he is without alcohol. There’s a tentative, brave, sad but funny exploratory nature to the narrative that exactly mirrors this. He’s also a sketch and improv comic, though he hasn’t done comedy since “the incident”—the catalyst for the film, for his sobriety, and for the personal journey that led Cliff to this moment. Cliff’s approach to life is the “yes, and” improv ethic. Whatever comes Cliff’s way, he’s not only up for it, he will meet it with the next most unexpected yet organic step to take. Strassner couldn’t be better or more authentic in the lead, and his natural chemistry with Larsen compels interest. It’s a master class in opposites attract, two fully realized characters who are who they are, somehow warming to the thing in each other that most surprises them. The Baltimorons is about fresh steps and reawakenings and taking what comes with humor and bravery. And it’s funny—sometimes slyly, sometimes hilariously. There’s substance to it, and romance, though the late-film reveal feels forced when compared to the balance of the film. Still, I haven’t seen a romantic comedy this romantic or funny since The Big Sick . Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Demon Dancer: Sua/Nara film review by UK film critic William Curzon. Starring Jiyeon Han, Anita Korosi, Eunhee Jeong directed by Attila Korosi. HOME | FILMS | REVIEWS Demon Dancer: Sua/Nara Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: May 11, 2026 Directed by: Attila Korosi Written by: Attila Korosi Starring: Jiyeon Han, Anita Korosi, Eunhee Jeong Demon Dancer: Sua/Nara follows Sua (Jiyeon Han), a talented ballerina pushed to the brink of death after a brutal attack. In her quest for vengeance, she invites a demon, Nara (Anita Korosi), into her body. The piece follows a nonlinear narrative structure, with flashbacks beginning to transport us back into the protagonist's memories in this neon-drenched action fantasy. One of the most recognisable aspects many viewers will pick up on is the film's clear anime influence in its visuals and presentation. While some may find its clear influence derivative of other anime media, the execution of its influence in the action and VFX is outstanding. Given its budget constraints, it's genuinely astounding what is achieved in camera with its disturbing practical effects and gnarly imagery. Gareth Taylor, serving as the film's cinematographer, constantly ensures the camera movement is fluid with the use of tracking shots and point-of-view photography. The point-of-view photography, in particular, is incredibly impactful and brutal, accompanied by some stunning fight choreography. While the budget holds back some of its visuals, the dedication and passion from the filmmakers shine through its shortcomings. The fast-paced nature of the narrative can be disorienting at first, with the film's commitment to pure spectacle; however, the shift to the more intimate character moments is commendable. It occasionally sacrifices its narrative focus for spectacle, despite the engaging nature of each set piece. The experience can quickly become exhausting in the opening due to its repetitive nature; however, the tonal and narrative shifts soon return to a more focused flow. While the film does take its time to flesh out its ideas and characterisation, it is sadly overstuffed and messy narratively due to the over-expository dialogue thrown at the viewer. That being said, the world-building and inner universe established is surprisingly dense and engaging. Chris Potter, serving as the film’s composer, delivers a musical score that can at times feel overbearing and out of place with what is occurring on screen, despite its thematic resonance to the central character. While its motifs accompany the set pieces and more dialogue-heavy scenes aptly, it can feel unnecessary in particular sequences. The stylish direction from writer/director Attila Korosi helps, as each scene feels incredibly well-staged and anchors the less engaging aspects of the material. Many of the performances across the board are commendable, in particular the central performance from Jiyeon Han in her portrayal of Sua. Her commitment to the physicality of the role and quest for vengeance is conveyed tremendously, keeping the narrative engaging. Anita Korosi’s portrayal of Nara the demon is another standout performance that profoundly plays into the dual personality of Sua/Nara. The fight choreography displayed by each performer is astounding and consistently enthralling throughout each set piece. The material does lose momentum towards the third act due to the overstuffed nature of the narrative; however, the finale makes up for it with some incredible action on display. Itai Levin, serving as the film’s editor, delivers a tremendous feat in matching the fast-paced nature of each set piece flawlessly. Demon Dancer: Sua/Nara is an impressive piece of action filmmaking that blends fantasy and horror into a vengeful, nonlinear narrative structure. While it may suffer from an overstuffed narrative, its commitment to spectacle keeps the film engaging and incredibly worthwhile, despite its minimal budget. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Chris Buick writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Chris Buick There are a couple of things in my life I am passionate about; music, Lego, Batman, Lego Batman. But the one thing that always stands miles above all others is film. My informal education started from a very young age with my parents, especially my mum, introducing me to classic films and taking me on countless trips to the local cinema to see the latest big releases. Since then I have never looked back and my passion for film keeps growing every day and it still amazes me the power cinema can have and the experiences it can give you. Having the opportunity to write for UK Film Review has given me the amazing privilege of experiencing a wide range of works from all different genres, topics and directors that I would otherwise have probably never seen, as well as being able to learn from the other writers and improve my own writing in the process. Listing my favourite films can be hard, but there are some that always come back to me. Jaws (my all-time favourite), Inglourious Basterds, Baby Driver, The Dark Knight and Young Frankenstein, as well as being a fan of the works of great directors such as Damien Chazelle, Edgar Wright, Taika Waititi and Christopher Nolan. 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Jack Be Nimble film review by UK film critic Chris Buick. Starring Bae Ling, Vernon Wells, Steve Silver, Brent Moorer Gaskins, Elizabeth Gribbon McCullough directed by Steve Wollett. HOME | FILMS | REVIEWS Jack Be Nimble Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Feb 13, 2022 Directed by: Steve Wollett Written by: Steve Wollett Starring: Bae Ling, Vernon Wells, Steve Silver, Brent Moorer Gaskins, Elizabeth Gribbon McCullough In Steve Wollett’s rough but very likeable Jack Be Nimble, a group of old-school D&D players long past their prime find themselves living out the remainder of their days trapped in a two-bit retirement home, rolling dice as the days roll by and cursing all the “joys” of growing old. But when one of the old timers discovers that a demon is taking the souls of the other residents, they are about to embark on one last big adventure together to save the day. All cards, dice and spell books on the table from the start, Jack Be Nimble is not going to be a film for everyone. For the first third of the film, it’s hard to keep a handle of what’s going. The film jumps around a lot, and takes a while to find its feet and it’s that lack of coherence that can and will be a bit off putting for some. It’s also a film that’s hammy as all hell from start to finish, with all the appropriate performances and set pieces to go along with it, some of which hit the mark more than others. But for those willing to enjoy Jack Be Nimble for what it is, the end result can be quite rewarding, and a good time can definitely be had. Yes, the film does amble around rather weirdly until around the half hour mark but then the plot points of the story begin to fall into place and things start to make a lot more sense. And while there are still a lot of nonsensical WTF moments to be experienced still, it’s straightening up here allows one finally to get their teeth into what’s going on and begin rooting for our heroes. Ultimately, it’s a film that shows a lot of heart and good intention, a unique tale of the battle between good and evil determined to remind its audience that you’re never too old for an adventure. The second act is where the performances also step up a gear as well. Bae Ling, a powerhouse of an actress with a list of roles longer than both arms, absolutely steals the show as the retirement home nurse/demon struggling with her own inner conflict and delightfully going all in during the films wildly over the top moments. And Wells, whose credits are just as long and impressive, clearly relishes the role of the rudely abrasive curmudgeon determined to expose her and when the two collide in the final act, it’s electric and enthralling to watch. The rest of the cast do enough, hit their marks and provide some laughs but a few could be found guilty of a lack of conviction in their deliveries. It doesn’t help perhaps that the writing isn't the sharpest when it comes to dialogue but what is evident and important is you can tell the cast are loving every minute of it. In fact, you get the sense that the primary directive on set was “just have fun”. And considering the film had to battle pandemic-imposed restrictions like so many others, what we get isn’t too bad at all really. With points for originality, Wollett and co. have managed to put together a story of resilience in the face of adversity that despite being a little rough around the edges, is crazy and fun enough to go along with and put a smile on your face. And what’s wrong with that? Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Beyond film review by UK film critic Patrick Foley. Starring Tamara Mark, Ian Mark. Harry Mark directed by Thiago Dadalt. HOME | FILMS | REVIEWS Beyond Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 23, 2022 Directed by: Thiago Dadalt Written by: Thiago Dadalt, Dru Miller Starring: Tamara Mark, Ian Mark. Harry Mark Whilst the world gradually gains a better understanding of autism, and more and more stories are represented in film and television like Atypical and Please Stand By, most people still have yet to grasp the realities of the spectrum and the demands placed on families as a result. Thiago Dadalt’s Beyond documents a year in the life of one family, and shows the highs and lows they experience. The documentary, produced by Dru Miller, tells the story of Tamara Mark, a former dancer and actor who left behind dreams of stardom to care for her sons Ian and Harry when their father left the family. Both Ian and Harry are non-verbally autistic and have recently had to adapt to a new stage of life as they have become adults, resulting in a withdrawal of much of the support they have relied upon. The family take each day as it comes and handle both the challenges and joyous moments, as Tamara tries to rally support for adults with autism – with a dream of building a community in which they can thrive. What makes Beyond such an affecting film is the level of intimacy the director achieves with the Mark family. The film hits a perfect balance of bringing its audience into the families lives without us ever feeling like an intruder. The scenes shot in the family’s home are raw, authentic, and unimpacted by the presence of a camera. Thiago Dadalt’s crew are ghosts in the film’s most touching moments – showing a trueness that is both heart-breaking and heart-warming, such as in a scene in which one of the sons relies on a typing board to communicate a tooth pain that the family have been unable to treat. Tamara Mark is the viewer’s window into the family, and her remarkable life story is a worthy entry point into all 3 lives. Her past as an actor and dancer is examined, as is her revelation as to her true purpose upon the death of her mentor and the birth of her children. Her new goal of a community in which people with autism can live their lives together, with proper support to allow for their independence invigorates the documentary and fulfils its purpose – to provide something ‘beyond’ your own abilities as an individual. Indeed, the battle against an uncaring and unsuitable system that simply does not cater for the needs of families like the Marks is presented in such a way that audiences will share the frustration and despair Tamara herself, as well as the full team she relies upon to raise her boys feel. The aforementioned dental problem ends up requiring multiple treatments, which mean multiple hirings of a team just to get Harry to the hospital and multiple excessive dental bills. Shining a light on these difficulties, that most would never comprehend, adds to the film’s noble purpose without ever coming across as preachy. And whilst Tamara’s ambition of a mini-city community may feel lofty, it is hard to argue by the film’s end that it is not a worthwhile cause. Watch Patrick Foley's review of Beyond below or on the UK Film Review YouTube Channel! Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

Still Life film review by UK film critic Finn O'Toole. Starring Ihor Fendrikov, Angelina Fendrikova. directed by Olia Yenko. HOME | FILMS | REVIEWS Still Life Film Review average rating is 5 out of 5 Critic: Finn O'Toole | Posted on: Jul 2, 2026 Directed by: Olia Yenko Written by: Benedict Flynn Starring: Ihor Fendrikov, Angelina Fendrikova. A gloriously sensitive and soothing piece, Still Life follows an elderly man living alone as he learns to find love again in a tale that will move all who watch it. Directed and produced by Olia Yenko, this short film is a stripped back masterclass in visual storytelling. Emotionally, this vignette may remind viewers of sequences in movies such as the beginning of Up but with a much more optimistic twist. The sweet unfolding tale written by Benedict Flynn is the beating heart of this piece, with all other departments of production rising to meet its tone. Quiet, charming, soft. These are all words that could be used to describe this story, evidence of the thoughtful and understated work put in behind the scenes. The cinematography, realised gently by Lora Arkhypenko, is much like the film’s title – still , never calling attention to itself in service of the narrative, but providing enough artistic flare to keep the audience visually engaged. One such moment is the purposeful split-screen shot of the two elderly lovers playing checkers over a video call, making it seem as if they are in the same room together. This not only functions narratively to show they are growing closer to each other, but it also displays a sharp creativity on behalf of the filmmakers. This maturity in visual storytelling, mixed with a tranquil score by Alonso Del Carpio, results in the gentle tone that is likely to endear even the most stone-faced viewer. With only one word amounting to the entire film’s dialogue, this project relies entirely on the skill of the actors to convey the emotional beats and plot developments. The two central performances from Ihor Fendrikov and Angelina Fendrikova achieve this to excellence. Although acting is a subjective art form, there are just some performances that one never fails to believe . There is not a moment throughout the story in which these two strangers turned sweethearts ever break the audience’s suspension of disbelief, delivering delicate and empathetic depictions of each character. And here comes the section of the film’s downsides – there are none. From beautiful writing to subdued cinematography, a tender score and wonderful performances, Still Life achieves its story with perfect precision and sensitivity from all units of the filmmaking team – resulting in a profound short that I defy any viewer not to shed a happy tear while watching. Olia Yenko and company are absolutely a creative force worth keeping an eye on, and I keenly anticipate their next work. Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >