Midnight film review by UK film critic Rachel Willis. Starring Wi Ha-Joon, Park Hoon, Ki-joo Jin directed by Oh-Seung Kwon. HOME | FILMS | REVIEWS Midnight Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Apr 5, 2022 Directed by: Oh-Seung Kwon Written by: Oh-Seung Kwon Starring: Wi Ha-Joon, Park Hoon, Ki-joo Jin In the dark and deserted alleys of an unnamed Korean city, Do Shik (Wi Ha-Joon) hunts. His prey is mostly young women, but men are not invulnerable to his violent pursuits. In writer/director Oh-Seung Kwon film Midnight , two Deaf women (mother and daughter) find themselves in a game of cat and mouse with the manipulative and persistent killer. From the very beginning, Kwon’s focus is building tension. The gorier aspects of what Do Shik does are left to audience imagination. And by introducing the killer first, Kwon allows us to be privy to the type of games this hunter plays. After a creepy opening scene, the movie takes a little time to introduce us to our other main characters. Kyung Mi (Ki-joo Jing) works as the Deaf representative in a call center and longs to take a vacation with her mother. We also meet an older brother and younger sister who playfully battle over the sister’s curfew for her blind date. The film moves back and forth between these pairs before reintroducing us to our sadistic killer. Some of the tension is built upon the things mother and daughter can’t hear. A sticky door lock that, even while pulled slowly, emits an ear-splitting whine. The approach of hurried footsteps from behind. A thrown shoe. The second act is the film’s strongest portion. The incompetence of police officers trying to “help” leads to some funny moments, and the reactions of the officers and their inability to understand teeter between hilarity and frustration. There are also some moments of teeth-grinding tension as the two women find themselves alone and taunted by Do Shik. His threatening words are delivered in low tones and close-lipped sentences, allowing the audience to understand what the two women can’t. Kyung Mi’s mother is not as quick as her innocent daughter to accept that Do Shik is trying to help. She quickly picks up on the contradictions in his attitude, which range from distraught to amusement. Yet for all the strength of the second act, the movie unravels in the final segment. Suspension of disbelief is tested with some truly questionable character decisions. Though the tension carries over from the middle section, it’s hard to maintain when you’re too busy wondering why certain characters behave the way they do. A disappointing climax muddies the film’s overall effect and overshadows the message. However, there’s enough working for this tense and exciting thriller to entertain even the most skeptical viewer. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Flakes film review by UK film critic Rob Jones. Starring Barbara Spevack directed by Barbara Spevack. HOME | FILMS | REVIEWS Flakes Film Review average rating is 2 out of 5 Critic: Rob Jones | Posted on: Mar 17, 2023 Directed by: Barbara Spevack Written by: Barbara Spevack Starring: Barbara Spevack There are very much two parts to Flakes. One is an audio track that’s comprised of a subtle score and a recital of an original piece of literature concerning the heaviest of topics - the extermination of Jewish bodies during World War II and the personal feelings of a German soldier facilitating the last phase of an evil plan. The other is a kind of montage that’s supposed to give a visual element to what we’re listening to. Unfortunately it never really comes anywhere close to doing it any justice. It gets to the point where it feels more natural to mentally come up with an image than it is to take in the one we’re given. The written work here is very good. It’s challenging and it explores a perspective on the atrocities of the war that aren’t usually looked at. The idea that good people were coerced into doing awful things is a vital part of modern history that gets pushed aside in favour of a binary narrative, that there was a good side and a bad side when the truth is clearly far more nuanced. With films like All Quiet on the Western Front getting so much attention recently, it may be that things are changing for the better in that area. Nonetheless, Flakes does a brilliant job of describing some really gruesome truths that good people would have had to battle with, and from that point of view, it’s measured, considered, and thought-provoking. It’s a bit of a distraction that while that’s going on there are visuals that don’t add anything meaningful. It appears as if it’s mostly stock footage layered underneath stock effects, but ultimately it isn’t anything that we haven’t seen before and therefore couldn’t have just been left to come up with ourselves. To a degree, it cheapens the whole piece because when we should be thinking about the richness of the text, it’s hard not to wonder why it’s been paired with such a low-quality accompaniment. It has to be said that it feels like this would have been more suitable just as a work of spoken word rather than a short film. It doesn’t suit the brief of creating an audio-visual experience, but rather it comes across as two separate pieces that have been pulled together into a package for reasons unknown. While it might be very well written, the extent to whether this should have ever become a film in the way that it has makes it a difficult experience. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Read LGBT Film Reviews from UKFR on some of the latest theatrical, indie, and short films. Submit your LGBT film for review too. LGBT Film Reviews One of the most influential and exciting genres in films, our LGBT film reviews cover a massive array of cinematic releases, independent cinema, and short films. Having become a hotspot for new filmmakers, UK Film Review is proud to have promoted some of the best LGBT films in the UK and internationally. We also work regularly to promote BFI Flare, the biggest LGBT film festival in Europe. In fact, on this page you will see reviews of LGBT films as well as features and special articles that we have written about BFI Flare. The reason why we have chosen to highlight LGBT as a specific genre on our website is to promote the ideas of inclusion. As an entertainment website, we invite all types of filmmakers to submit their films for us to review and promote (good or bad) and want storytellers from all walks of life to do the same. You can use the Submit Your Film page to send us the details of your film and there are various options available in terms of when you need the review done by (perfect for festival submissions etc). If you are an LGBT organisation and would like to be a partner with UK Film Review, drop us a message on our Facebook page. We are always looking to promote our filmmakers across as many relevant platforms as we can and can offer exposure for your organisation in return. All that's left to say is enjoy these LGBT film reviews, remember to share the love wherever you can. Gender Studies (2026) Short Film Review William Hemingway Mar 13 3 min read Sister Wives Short Film Review alexjames96 Aug 21, 2025 2 min read Filmmaker Interview with Val Tan Amber Jackson Sep 2, 2024 5 min read Film Podcast: Paul Mescal and Andrew Scott shine in Love Drama Chris Olson Feb 23, 2024 1 min read Dino at the Beach Short Film Review alexjames96 May 3, 2023 2 min read Aristotle and Dante Discover the Secrets of the Universe TIFF Review - Sep 12, 2022 2 min read More Film Reviews

The World Cruzer film review by UK film critic Jason Knight. Starring David Nathan, Gerrit Schmidt-Fob, Jurgen Thormann, Philipp Moog directed by Yorick Niess. HOME | FILMS | REVIEWS The World Cruzer Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 16, 2022 Directed by: Yorick Niess Written by: Yorick Niess Starring: David Nathan, Gerrit Schmidt-Fob, Jurgen Thormann, Philipp Moog An extraordinary journey through planet Earth, humanity and space. This rather intriguing and genuine documentary from Germany makes the audience feel like they are traveling around the globe, arriving at any part of it in the blink of an eye, and seeing the beauty of it and mankind's progress. The people who view this film will see a lot of things, as it contains a rich collection of images that seem to show what life is like on Earth. The entire feature is basically a one-hour-and-forty-minute long montage of wonderful images, some of which are about Earth and others about space. It could also be categorised as a music video, with electronic music by the band Reecode. There is voice-over from a narrator and several other individuals who appear to portray unknown and unseen characters. The narrator talks about an entity called The World Cruzer, who embarks on a journey, traveling around the world. The character voices belong to a group of people who express their opinions on a variety of subjects including acceptance, happiness and self-discovery. Their words appear like text messages from messaging apps, pointing out that this is a way many people communicate these days. Regarding the words and messages, they come across as philosophical and wise and some seem to be advice on how to live a productive life. The visuals appear to represent the topic of the narration that accompanies them. Visually, the documentary contains stock footage, animation and photographs. The images cover many areas, including social issues, space, nature, the ocean and people around the world. The viewers will see many animals, both on land and in the ocean, all kinds of people, beautiful landscapes and astronauts in space. There is a great deal of slow motion and Niess did a great job with the editing. Interestingly, if the voice-over was removed, this would be a different kind of experience, taking the viewer on a journey filled with wonderful music and mesmerising visuals. It would also make an interesting viewing if there was nothing to see, no images only audio, with people listening to the voice-over and score. Although to some it might feel a bit overlong, this documentary is quite a journey and one that explores the wonders of Planet Earth and the evolution of mankind. It is a calming and fascinating look into Earth, humanity and space. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary, World Cinema, Music Video < All Reviews Next Film Review >

Maybrick film review by UK film critic Patrick Foley. Starring Nanci Bennett, Adan Osborne, Maisie Blake directed by Charlotte Rose Ainsworth, Lorna Lennon-Dalziel. HOME | FILMS | REVIEWS Maybrick Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 23, 2026 Directed by: Charlotte Rose Ainsworth, Lorna Lennon-Dalziel Written by: Charlotte Rose Ainsworth, Lorna Lennon-Dalziel Starring: Nanci Bennett, Adan Osborne, Maisie Blake Charlotte Ainsworth's and Lorna Lennon-Dalziel's Maybrick is a dramatisation of a controversial but forgotten Victorian-era murder case that would have made a killer documentary on the 19th-century version of Netflix. Combining elements of sexism, classism and racism with a shocking link to one of history’s most notorious figures, this short tells a gripping story of its own whilst making its subject both relevant to modern audiences and of its time. American socialite Florence Maybrick (Nanci Bennett), is on trial in Victorian Liverpool for the murder of her husband James. With her arrest doggedly pursued by James’ brother Michael (Adan Osborne), scandalous details of liaisons emerge that destroy Florence’s reputation – despite her husband’s guilt of the same sins. With the prospect of an execution hanging over her, Florence searches for another method of salvation in a world stacked against her – and her intuition of the Maybrick family’s connection to a greater scandal may provide it… Created by Liverpool-based filmmakers, Maybrick is an intriguing examination of a forgotten episode in the city’s history – one that collides brilliantly with the rebellious and non-conformist spirit that has emerged since the 80s. Sexual liberalism and feminism were as strange to Liverpool as anywhere else in the 1890s, and Florence Maybrick’s story is one that intriguingly stands out for the blights against her name that Charlotte Ainsworth and Lorna Lennon-Dalziel brilliantly skewer in this drama. The film has a dark tone that suitably matches the overwhelming force its subject is set against as she tries to clear her name against flimsy charges of poisoning. It is evident from the start that the wealthy, trusted Maybrick family name turns on her, as her deceased husband’s brother – brilliantly played by the acid-spitting Adan Osborne – wields the full force of societal expectation as a weapon. It is clear that existing outside of the norm is what has condemned Florence – with even housemaid Alice (Maisie Blake) standing against her despite knowledge of the family. Courtroom scenes are particularly intense and foreboding, with an intimidating pomp of the Victorian justice system brilliantly recognised by the set designers. Nanci Bennett’s Florence is suitably stubborn and cunning. A heroine in the same mould as many upstart protagonists standing against the empirical conservatism of Victorian Britain, she is strong in the face of authority and unapologetic for the crimes she has not committed. There are some moments in her cell with Lisa Howard’s Baroness Von Roques or with Maisie Blake’s Alice where we see a more vulnerable side and the complexity of her circumstance comes to bare – the choice between a false confession and life, or a stand against the system that means death. A few more of these moments would have served the film better – and better placed it in the confines of the time period in which the attitudes of society seemed intractable and a stand against them a futile effort, making the character’s bravery all the more powerful. However given the shorter runtime, it is understandable that not every avenue can be pursued. Similarly, whilst there are some production hiccups such as the cleanliness of the film for the time period, it’s a forgivable indiscretion given the film’s budget, which is easily ignored due to the quality of the storytelling. Maybrick is a great telling of a fascinating story that will be fresh to many a viewer. It captures the injustice of its case and draws an important line between the events it portrays and the modern day, and has enough intrigue to leave audiences desperate to know more about the case and its participants. And it doesn’t need 4 parts filled with filler to do it - Streamers take note. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Swapped film review by UK film critic Hope Madden. Starring Michael B. Jordan, Juno Temple,Tracy Morgan directed by Nathan Greno. HOME | FILMS | REVIEWS Swapped Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 1, 2026 Directed by: Nathan Greno Written by: John Whittington, Christian Magalhaes, Robert Snow Starring: Michael B. Jordan, Juno Temple,Tracy Morgan Director Nathan Greno pulls from a lot of influences for his new feature, the Netflix exclusive Swapped. The vibrant colors and poetically gorgeous woodland creatures conjure Miyazaki, particularly the more serene scenes from Princess Mononoke . And the bit where the little chipmunk looking thing and the big plumy bird switch bodies, that is obviously the Disney classic Freaky Friday . Swapped is a visual feast, especially the earliest sequences when a young Pookoo (chipmunk like thing) named Ollie (voiced in youth by Camden Brooks and in adulthood by Oscar winner Michael B. Jordan) explores the waters around Pookoo Island. But Ollie’s mom and dad (Justina Machado, Cedric The Entertainer) warn him that everything off island is dangerous. Everything! Ollie doesn’t believe them, so things, of course, go terribly wrong. Mean birds steal the seeds that keep the Pookoo alive, and Ollie has to make things right. But instead, he Freaky Fridays with one of those birds (Juno Temple), and suddenly everybody’s in a terrible state. Swapped takes that time honored tale to share a meaningful fable on the power of empathy. Temple and Jordan both provide strong voice talent—Temple is especially on point. Tracy Morgan is ideal as Boogle, an enormous, simple-minded fish. Honestly, Swapped offers Morgan more of an opportunity to stretch than any role he’s had in recent memory, and he nails it. And while the story leans into familiar territory, its tale is important. Greno and his team of writers don’t complicate it beyond what youngsters will gladly follow, nor do they water down their message. The result is emotional, funny, sometimes even harrowing. And really gorgeous. Swapped doesn’t do enough to set itself apart from other animated wonders, but what it does it does really well. It’s a powerful story beautifully animated and well told. Buy UKFR Banner Space About the Film Critic Hope Madden Netflix < All Reviews Next Film Review >

Seine film review by UK film critic Patrick Foley. Starring Tim Klotz Davenport, Lee Bane directed by Dan Horrigan. HOME | FILMS | REVIEWS Seine Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: May 24, 2024 Directed by: Dan Horrigan Written by: Dan Horrigan Starring: Tim Klotz Davenport, Lee Bane Seine is a poignant and poetic look at vagrancy, dignity and humanity that aims to redefine how viewers consider homelessness and the people who end up trapped in the cycle. It’s a genuine and authentic short that is sure to leave an impression, thanks to inspired structuring and powerful performances from its lead. An ex-taxi driver (Tim Klotz Davenport) who ended up living on the streets of London recounts a meeting that changed his life. Now working as a debt collector, he looks back on a friendship he briefly formed with another homeless man (Lee Bane) who has since passed. Left with questions and recollections, he tries to make sense of a harsh and uncaring world that makes kindness and openness a choice, and how people can find dignity even in degrading circumstances. Dan Horrigan sets lofty ambitions with Seine. Set in monochrome and overlayed with a haunting monologue in a Scottish accent, the film could easily drift into a stagey and overly serious self-parody in attempts to tug on heartstrings. But Horrigan’s emotional, intelligent script, and Tim Klotz Davenport’s considered, authentic delivery means that the heart of the film pulls out. The reliable, tested tropes employed serve their purpose in this sense rather than taking over the film, highlighting the central themes of friendship and common humanity rather than overshadowing them. Told in a dreamy, floating state in which viewers are left to speculate timing and truth, audiences are absorbed into the protagonists’ troubled existence in an overbearing, ominous London. Wracked by guilt and insecurity, the film feels like a confession of sins, a desperate plea for penance of a man who made a choice that might have saved his life, but that many others never get the chance to take. The narrative excels in capturing this unusual experience and equating the end and beginning of the man’s story, making for both a fascinating character study and a tragic gritty chronological look at the complexities of homelessness. Davenport’s performance in the lead role is exceptional. Underneath a hardened, harsh shell, lifelong wounds and traumas seem to seep out of his weary eyes. The film’s closing shot is truly affecting, simple yet destined to drag the tears from viewers as a precision-strike summarisation of the film’s examination of just what dignity means. Lee Bane similarly lands his role as a mysterious fellow vagrant, leaving breadcrumbs for both the protagonist and viewer to contemplate. The film isn’t perfect, with a score that grows a little repetitive, and the stagey-ness does feel a little ‘amateur theatre production’ in moments such as the shaving scenes, which feel like they do not land with the intended impact. Yet these don’t undermine the brilliant emotional construction or break immersion in the story. Horrigan has made something truly moving with Seine, a film that will leave a mark of its audience and shines a genuinely thoughtful, uncompromising light on homelessness. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Alpha film review by UK film critic Hope Madden. Starring Mélissa Boros, Tahar Rahim, Golshifteh Farahani directed by Julia Ducournau. HOME | FILMS | REVIEWS Alpha Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 25, 2026 Directed by: Julia Ducournau Written by: Julia Ducournau Starring: Mélissa Boros, Tahar Rahim, Golshifteh Farahani There are drawbacks to being one of the most daring and original voices in cinema. Chief among them is expectation. Audiences anticipate that each new effort will somehow outshine the previous. After 2016’s Raw , Julia Ducournau’s incandescent first feature, surely no one expected Titane . And I mean no one. Feral and unforgiving, homaging others but blazing its own wildly individual path, Ducournau’s sophomore effort took home Cannes’s Palm d’Or in 2021. The film that defies summarization managed to make Raw look tame, almost precious. Raw , by the way, is about a college freshmen overcome with cannibalistic frenzy whenever she’s aroused, if you haven’t seen it. Tame and precious. So, expectations for Alpha , the filmmaker’s latest, were high. The tale begins with its best scene. Amin (a wondrous Tahar Rahim) sits with his arm outstretched as his 5-year-old niece Alpha (Ambrine Trigo Oaked) makes his needle wounds pretty by connecting them, constellation-like, with a black marker. Simultaneously heartwarming and queasying, it seems the perfect opening to a Ducournau project. We flash forward quickly to another disturbing scene. This time, 13-year-old Alpha (Mélissa Boros) has her arm outstretched. She’s barely lucid, surrounded by teens partying obliviously, as someone tattoos an enormous A on her arm. The work is not professional and draws plenty of blood. From here, Alpha oscillates between two timelines in an alternate reality France. The core story of love and negligence, family trauma and addiction, sits in the context of a blood-borne epidemic. An epidemic to which Alpha has now made herself susceptible. The AIDS analogy is clear but expect Ducournau’s visual style to turn the somber into something harrowingly beautiful. Sufferers of this unnamed virus show symptoms of smoke escaping their mouths when they cough. As the diseases progresses, bodies turn to something akin to blue veined, cracking marble. It’s in this world that confused, self-destructive Alpha comes of age. Her mother (Golshifteh Farahani), a doctor, becomes passionately, almost blindly obsessed with keeping her junky brother and her reckless daughter safe. The crisscrossing timelines often rob the film of its momentum. The real problem, though, is that in the end, Ducournau employs a fantasy trope to connect the timelines and embody the mother’s anxiety. Vague as she is about it, and powerful as the final moments are, Ducournau cannot breathe enough life into the cliché to elevate it above cliché. There is a haunting ghost story at work here. Ducournau’s cast is astounding, and her visual style, though far more somber here than in her previous work, is still enough to draw a gasp. But Alpha boasts less imagination than either of the filmmaker’s previous efforts, and it’s hard not to be a tad disappointed. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Code Red: Spain film review by UK film critic Jason Knight. Starring Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez, Ismael Abadal directed by Jason Figgis. HOME | FILMS | REVIEWS Code Red: Spain Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 5, 2025 Directed by: Jason Figgis Written by: Jason Figgis Starring: Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez, Ismael Abadal An action crime thriller written and directed by Jason Figgis and starring Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez and Ismael Abadal. There is trouble in Spain. Crime boss Eduardo Sanchez (Arnau Redorta) has been killed after murdering a couple and their son. Now, his widow, Estelle (Kingdon) has decided to become an informant and enter a witness protection program. While she and her son, Ari (Rodriguez) await to be transferred from their home to a safe location, two Ex-Special Forces soldiers, Solomon (Smith) and Thomas (Sparkes) are assigned by their former Commanding Officer, Frank (Ian Burfield) to watch over them. Meanwhile, a ruthless and dangerous gangster named Cortes (Abadal) is determined to silence Estelle and Ari. This film has an intriguing plot: two tough, ex-military men having to stay at a large house and protect two people from potential lethal dangers. The protagonists are interesting characters and the screenplay does a decent job in exploring them and in creating suspense and drama. There are plenty of guns and the cool action sequences involve shooting and hand-to-hand combat. Regarding the soundtrack, there is suspenseful music and Spanish music and some great tracks. Commendations also go to the animation during the opening and closing credits and to the impressive aerial shots that capture the beauty of the landscapes. This feature is marketed as an action film, however, the action arrives during the third act and it arrives in buckets. Those who are hoping for an action-packed experience might be disappointed, nevertheless, the fact that this is not an action-filled story does not destroy the film, as instead of shooting and punching, the majority of the narrative focuses on character development and exploring the relationship between Estelle and Ari and the rapport they end up building with Solomon and Thomas. Regarding the performances, Kingdon is very dramatic as a woman who has gone through terrible times after being married to a criminal. However, she is strong and wants to start a new life for herself and her son, away from danger. Rodriguez is sympathetic as a frightened youth who does not feel comfortable being near the two combat experts. As for the two combat experts, they dislike each other and have a history together, yet, both are proficient in their line of work. Solomon is a no-nonsense guy, while Thomas (who is quite good with a sniper rifle) is more relaxed and easy-going. Abadal is the bad guy, a murderous fiend who will stop at nothing to get what he wants. Survival is a major theme in this story. So is mother-and-son relationships and reminiscing the past. This feature is also a commentary about isolation, self-reflection and inner strength. An enjoyable viewing with a good story, well-explored characters and great dialogue that includes film references. It may not really be an action film, instead, it is strong as a crime thriller with suspense and drama. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Good Boss film review by UK film critic George Wolf. Starring Javier Bardem, Manolo Solo, Almudena Amor directed by Fernando Leon de Aranoa. HOME | FILMS | REVIEWS The Good Boss Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Sep 1, 2022 Directed by: Fernando Leon de Aranoa Written by: Fernando Leon de Aranoa Starring: Javier Bardem, Manolo Solo, Almudena Amor For awhile, The Good Boss (El buen patrón) seems to reflect that elusive uncertainty principle the characters often discuss. The more we try to pin it down, the less we know of its nature. And then writer/director Fernando León de Aranoa reveals his hand in a delightfully satirical manner, only to end up tipping the scale in the opposite, obvious direction. And that would cause a furrowed brow from Julio Blanco (Javier Bardem), head of the Blanco Industrial Scales corporation. Blanco’s life – and work – is about perfectly equal measures. “Hard work, balance, loyalty” is the company motto. Employees are family. Their problems are Blanco’s problems. And just when he’s a finalist for a prestigious business excellence award, Blanco’s got plenty of problems. A longtime worker’s son is in trouble with the law. His production head’s wife might be banging another employee. And that new young intern (Almudena Amor) is returning Blanco’s frequent glances. But worst of all, a guy he “had no choice” in firing (Óscar de la Fuente) is camped out across the street, protesting Blanco with signs and a bullhorn. And the guy will not leave. As de Aranoa ticks off the days of the week, there are some glimpses of playful humor in the drama. But when Thursday rolls around, and Blanco’s security guard starts complementing the bullhorn guy’s rhyme schemes, The Good Boss starts having finger-wagging fun with the myth of benevolent “job creators.” Bardem, no surprise, is a wonder. He slowly reveals cracks in Blanco’s facade of ethical bullshit, while never causing us one moment’s doubt about Blanco’s firm belief in this image he’s created. For Blanco, as long as the scales appear balanced, they are, regardless of the tricks it took to get there. And anyway, he needs that award and the government subsidies that come with it. We don’t want “those artists” to hog the award money, do we? Yes, the satirical fruit can hang pretty low, and de Aranoa’s subplot juggling skills start to waver as his narrative becomes more madcap. But right to the bitter end, Bardem can be trusted most when Blanco deserves it least, making sure The Good Boss is a satisfying day at the office. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Morris film review by UK film critic Alasdair MacRae. Starring Adam Probets, Tamara Glynn, Katie Smart, Darren Randall directed by Jason Brown. HOME | FILMS | REVIEWS Morris Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Jun 26, 2022 Directed by: Jason Brown Written by: Jason Brown Starring: Adam Probets, Tamara Glynn, Katie Smart, Darren Randall In the 1980s a teenage boy is killed whilst playing on the railway tracks as a group of his friends looks on. Several decades later the group of friends reunites in their hometown only to be plagued by Morris’ ghost seeking revenge. Morris is a cross between a Stephen King novel and a British railway safety advert, but disappointingly lacks the intensity of either. One must bear in mind that British safety ads can be particularly scary, search out Network Rail’s See Track, Think Train circa 2012 if you don’t believe it. Or to go slightly further afield the Central Office of Information’s Lonely Water from 1973. Returning to Morris , the film largely revolves around the main group of characters moving from location to location as they are stalked by the spirit of their ex-friend who lingers about two feet off-screen at all times clad in jean shorts and brandishing a kitchen knife. The characters themselves are very thinly sketched and have little to no personality. This is due to most of the dialogue being consumed by growing fears that Morris is either upstairs, in the room, or right behind them. The exception is Nathan (Darren Randall) who is granted a subplot with his son being one of several neighbourhood teens that were on a school bus that has gone missing. Although, not much time is allocated to developing it into something emotionally rewarding for when it eventually ties into the main plot. Visually there is a distracting haze on most shots that gives the film an anachronistic peachy glow. And most of the visual effects that have been added in post, particularly the smashing glass effects, draw too much attention to themselves. As the adage goes, less is more. An early kill from a darkened space is by far the most effective, and Morris’ blackened eyes play into the sinister depths of the uncanny valley. Ultimately, the real scares are too few and far between. Morris plays out like a shallow memory of a Stephen King plot. It pays little attention to developing its characters and the visuals are tonally incongruent. There is a concept for a chilling thriller here, but in its current form, it is ironically too skeletal to be scary. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

Jacob's Little Helper film review by UK film critic Swati Verma. Starring Anna Dutilly, Heather Bayles , James L. Edwards directed by Richard Russell. HOME | FILMS | REVIEWS Jacob's Little Helper Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 15, 2025 Directed by: Richard Russell Written by: James L. Edwards Starring: Anna Dutilly, Heather Bayles , James L. Edwards The director Richard Russell and writer James L. Edwards incorporate the comedy and horror genres into the screenplay. The makers utilise editing capabilities to place the scenes properly to make them effective and engaging for the audience. Heather Bayles, Anna Dutilly, and James L. Edwards give shape to the director’s vision beautifully. The plot of Jacob’s Little Helper revolves around Jacob Vorski, who believes that it’s not easy being a franchise Horror icon. Everyone can use a little help, and that help comes in the form of Adrienne Palmer. In an exclusive interview, get a behind-the- scenes look at the inner workings of mass slaughter. Jacob’s Little Helper begins with a long shot of a microwave heating some food, followed by a mid-shot of a woman having popcorn while watching television. An eerie sound elevates the comic and horror elements in the subject matter of the short film. The one-to-one interview between Adrienne Palmer (Heather Bayles) and Roy Weiand (James L. Edwards) initially seems to be a day-to-day conversation, a way to express appreciation towards partners but it turns out to be full of twists and turns that keep the viewers hooked to the content all through the 11 minutes. The set-design, a mix of black, white, grey and multiple colours, a combination of dim and natural lighting, sound, camera angles, dialogues, costume, hair, makeup, and props are designed to enhance the right mix of mystery and realism to add depth for those who enjoy this horror-comedy genre. In terms of performance, Anna Dutilly plays Punk Chick, who lives a normal life, but things turn towards a drastic downfall. Dutilly understands the nuances of the character arc and picks up the traits in her portrayal that lift the narrative’s pace. The young actress with her limited screen space balances her emotions through her body-language, voice modulation, facial expressions, and eyes. Heather Bayles plays Adrienne Palmer, who is Jacob’s helper/partner in crime, revealing a lot of unsaid storylines of crimes done together. Bayles adopts a dramatic style of telling the tale to make the interview more interesting for those watching it. Bayles with her acting skills manages to keep the viewers glued to the film. James L. Edwards plays three crucial roles in this horror comedy piece. He is writer and also fits effectively as Roy Weiand/Jacob Vorski. The actor effortlessly switches between all three parts. Jacob’s Little Helper talks about being aware of the dangers around someone and taking adequate steps to deal with them. The short film reiterates that choosing the right friends and colleagues is crucial for a hassle-free, peaceful life. The cinematic piece tells the audience to be careful regarding the cinematic/web series content or news so that it doesn’t prove to be detrimental for their mental health. The creative piece highlights that the makers of these shows, movies should always be ethical and not be ready to do anything for popularity and television rating points. To conclude, I would like to say that the inclusion of the behind-the- scenes clips along with end credits rolling in is smart move to keep the audience invested in the movie, giving them freedom to interpret it as per their understanding. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >