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

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

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

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

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

Oppenheimer film review by UK film critic George Wolf. Starring Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey, Jr. directed by Christopher Nolan. HOME | FILMS | REVIEWS Oppenheimer Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Jul 20, 2023 Directed by: Christopher Nolan Written by: Christopher Nolan, Kai Bird, Martin Sherwin Starring: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey, Jr. I love that “Barbenheimer” has become a thing. Why are people so excited that two films open in theaters on the same weekend? The polar contrast of tones is certainly a fun mashup, but it’s also the confidence we have in two uniquely visionary filmmakers. Christopher Nolan reportedly became invested in making a film about “the father of the atomic bomb” when Robert Pattinson gave Nolan a collection of J. Robert Oppenheimer’s speeches. In adapting two source books, writer/director Nolan gives Oppenheimer an engrossing IMAX treatment that serves up history lesson, character study and mystery thriller during three unforgettable hours. Cillian Murphy is simply mesmerizing and absolutely award-worthy as Oppenheimer, who – years after his Manhattan Project delivered the bomb that ended WWII – is facing the possible loss of his security clearance and thus, career. With his wife Kitty (Emily Blunt) seated nearby, Oppenheimer endures grueling interrogation on his past associates and activities from an Atomic Energy Commission security board led by Roger Robb (Jason Clarke) and Gordon Gray (Tony Goldwyn). In the film’s first two acts, Nolan uses this questioning as the anchor to chart Oppenheimer’s rise through academia to become not “just self important, but actually important.” On the campus of Berkeley, he embraces revolution in both physics and the world, enthralling his students, supporting “left wing causes” and carrying on an intense affair with avowed communist Jean Tatlock (Florence Pugh) before being hand-picked by no-nonsense General Leslie Groves (Matt Damon) to lead the team tasked with inventing a nuclear weapon before the Nazis do. From the outset, Nolan and Murphy craft Oppenheimer as an endlessly fascinating creature, a man unable to turn off his mind from constantly questioning beyond this world. Murphy never shrinks from the close-ups that pierce Oppenheimer’s soul, and his body language and manner are often awkward and brusk, revealing an intellectually tireless man with little regard for alienating those not on his level, including AEC Chairman Lewis Strauss (Robert Downey, Jr., never better). But Oppenheimer’s commitment is total, as is Nolan’s. With strategic use of black and white (an IMAX film stock developed exclusively for the film) to contrast cinematographer Hoyt Van Hoytema’s eye-popping detail, Nolan utilizes impeccable visual storytelling that enhances his script’s ambition without overshadowing it. Ludwig Göransson’s score dances beautifully with production design from Ruth De Jong, totally immersing us in the manufactured town of Los Alamos, where three years of development finally led to a successful bomb test (a breathless sequence that alone should land sound designer Randy Torres an Oscar nod). For two hours, the historical tale is assembled through precision and care by a master craftsman with the finest tools at his disposal (including a spotless ensemble that also includes Kenneth Branagh, Rami Malek, Casey Affleck, Tom Conti, Matthew Modine, Olivia Thirlby, David Dastmalchian, James Remar and Benny Safdie), and then Nolan digs into the human failings, moral ambiguities and philosophical grappling that surround a man and his mission. As Oppenheimer realizes that “genius is no guarantee of wisdom,” and his superiors only want to expand America’s nuclear arsenal, the film’s final act becomes a dizzying mix of JFK , Amadeus and The Tell Tale Heart . Haunted by the devastation the bomb brought to both the “just and unjust,” Oppenheimer ignores his wife’s pleas to fight back as his character is assassinated, and a naive senate aide (Alden Ehrenreich) starts to piece together the puzzle about who is pulling the strings. As the film races toward a tense and satisfying reveal, some of the dialogue does flirt with needless explanation, but these sensational actors never let a word of it land as completely false. Much like any film of this nature, Oppenheimer takes its liberties and leaves room for further study. But Nolan takes you inside the personal journey of one of the most important men in history, with resonant and challenging lessons on hubris, envy, blind faith and the search for redemption. And by the end of hour three, he leaves you drained but thankful for the experience. There’s no Barbie here, but you will find a cinematic dream world with so very much to offer. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Burglary film review by UK film critic Swati Verma. Starring Tom Rainn, James Coutsavlis, Chloe Mitchell, Ian Ray White directed by Michael Houghton. HOME | FILMS | REVIEWS The Burglary Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jun 12, 2022 Directed by: Michael Houghton Written by: Michael Houghton Starring: Tom Rainn, James Coutsavlis, Chloe Mitchell, Ian Ray White The writer-director Michael Houghton believes in continuously experimenting and making gripping movies so that he can keep the audience engaged with the content even with the limited resources available. The title of the short film-The Burglary in white font appearing on the black screen has connotations of hope, simplicity and determination of Seth (Tom Rainn) to find the real culprit of loot that took place in his flat. The plot of the creative piece revolves around the burglary of Seth's flat and the struggles against the flat mate, the police and the tower block in which he lives to regain his stolen possessions and look for intruders. The cinematographer Rose McLaughlin captures the tension, conflict, and fear the protagonist is experiencing with mid and tracking shots. The grey yellowish and red colour palette, dim lighting, eerie sound, a messy set design, dialogues, costume and makeup -all these elements complements the psychological thriller keeping the viewers hooked to it eagerly waiting to know about the conclusion of the film. A very well written dream sequence/nightmare by the filmmaker gives the required push to the narrative so that the audience gets time to figure out what the central character is up to and help with achieving his dramatic need. The song chosen by Michael Houghton played when the credits roll in is strong and distinct and it reiterates the genre as well as the subject matter of the movie. In terms of performance, Tom Rainn plays Seth who is simple person disturbed by the sudden occurrence and tries very hard to normalize the situation. Rainn depicts a range of emotions through his facial expression and eyes and using minimum dialogues as per the demand of the script. The actor could effectively balance between being expressive and impassive. James Coutsavlis as Joel appears to be a grey shade character from the very start of the film. Coutsavlis displays his acting skills to intensify the thrill and suspense element in the story as it moves towards the closure of the cinematic piece. Chloe Tazia is the flirty female cop who adds the much needed comic element to the storyline providing some enjoyment away from the discomfort and a gloomy environment for the audience. Ian Ray White is the male policeman who is a no nonsense person and wants to concentrate on solving the mystery of the robbery. White uses voice modulation and laughter to instill a sense of mystery in the minds of the viewers. The Burglary demonstrates the power of psyche and the right way to manage the thoughts and apply it towards the productive duties. The short film talks about making a conscious decision of trusting people carefully and minimize the chances of being hurt/ cheated. The director along with his creative team has given the film an open ended climax so that the audience can interpret the same as per their understanding of the movie. In my opinion this short film needs subtitles especially in the scenes which have loud background sounds to increase the impact on the viewers. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Pricks film review by UK film critic Joe Beck. Starring Jade Byrne, Charlotte Melia, Philip Hill-Pearson, directed by Toby Kearton. HOME | FILMS | REVIEWS Pricks Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Mar 26, 2023 Directed by: Toby Kearton Written by: Toby Kearton, Jade Byrne Starring: Jade Byrne, Charlotte Melia, Philip Hill-Pearson, The issue with making a short film about a medical condition is that it is extremely difficult to make it seem as though it isn’t a public health broadcast or the kind of thing you’d see on Comic Relief or Children in Need. ‘Pricks’, though it is well-directed and stylistically shot, epitomises this issue, with it’s emphasis on spreading awareness and a message rather than story, which should be at the forefront of any film. The medical condition ‘Pricks’ aims to raise awareness of is Type 1 Diabetes - a chronic condition whereby by the pancreas doesn’t make insulin, causing a raised blood sugar level. The protagonist, though she’s really more a figure to embody all those who suffer from the condition, is Jade (Jade Byrne). As a chronic condition, Jade is diagnosed as a child, and the film opens with this diagnosis, with a worried Jade asking her mum (Charlotte Melia) if she’s going to die - understandable, and wryly comic, when you realise how the word diabetes sounds. This is the film’s most intelligent line, combining humour with drama to subtly make you realise how heartbreaking it is that innocent young children are diagnosed with Type 1 diabetes everyday. Unfortunately, the script doesn’t maintain the same level of intelligence, instead becoming full of stock phrases about how Jade is a fighter and about how the whole world is against her - both, in some ways, true, yet we don’t need to be given such an on-the-nose reminder of this. We repeatedly see similar shots of Jade in a boxing ring, throwing the odd punch, echoing the message of the insipid voiceover. We understand that life is a continual fight for Jade, the perennial fighter, but we really don’t need to be reminded with a right hook every thirty seconds. These ‘scenes’, though I am loathe to call them that given that they don’t progress the story in any way, are, however, well-directed. Toby Kearton, who also wrote the screenplay alongside Jade Byrne, gives the film a flare through his directing, which is about the only thing separating ‘Pricks’ from a Comic Relief short film to raise awareness. Kearton gives the film a stylistic edge, making the most of fluorescent lights and sharp editing in order to create a film which is, at times, visually beautiful. Though Jade Byrne’s performance as the eponymous Jade is competent, and Kearton lens magnifies it, capturing both the fragility and fighting spirit etched onto every facial expression, this is undermined by the decision to have child Jade, voiceover the entire film. As she explains the metaphor of the airplane which the doctor used to try and explain her diagnosis, we see her knocked down by bullies at school, left out of PE classes, and struggling on dates. It adds to the sense that ‘Pricks’ is some appeal to raise awareness of the condition, even as Jade’s former bully, who as an adult is played by Philip Hill-Pearson, returns to her life, any sense of drama or story is undermined by a child’s voice speaking fighting talk in a plainly un-childish manner. ‘Pricks’ is hindered by its very nature from the outset, though its uninspired screenplay doesn’t help its case. That’s in spite of Toby Kearton’s impressive directing, which at least elevates it from being written off completely. Nevertheless, ‘Pricks’ underwhelms, not because its message isn’t a good one or because its heart isn’t it the right place, but because it fails to pursue a narrative that enhances its own good nature. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Welcome To The Show film review by UK film critic William Hemingway. Starring Jack McGarry, Lucy Marshall, Emily Rose Holt, Ian Ray-White directed by Matthew Sawyer. HOME | FILMS | REVIEWS Welcome To The Show Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Oct 20, 2022 Directed by: Matthew Sawyer Written by: Matthew Sawyer Starring: Jack McGarry, Lucy Marshall, Emily Rose Holt, Ian Ray-White “Welcome, my son. Welcome to the machine.” Pink Floyd When Roger Waters wrote those lyrics he was talking about the ferocious meat-grinder that is the music industry. He knew first hand how hard it is to keep your artistic integrity and your feet on the ground when business execs and industry moguls are slipping pleasantries into your ear trying to get you to twist your principles into selling out to the mainstream and making people like them pots and pots of money. The song was also a reaction to how the industry had contributed to the mental breakdown of Syd Barrett, one of the band's founding members. In his new short film, writer/director Matthew Sawyer takes this to heart as he presents us with Welcome To The Show , a story about a young man, Jamie (McGarry) and his bid to rise to the top in the music business. Jamie is backstage at the gig which is going to break him into the big time. He's got about fifteen minutes before he has to go on but he's caught himself having second thoughts. He's been reminiscing about all the things he used to have in his life, his relationship with Ellie (Holt) most of all, and how he has given up everything he held dear just to have this one shot at his life-long dream. Alongside him is his tenacious agent, Lisa (Marshall) who has really manipulated this whole scenario to get Jamie to where he is. She's taken charge not just of his professional life but his personal life too, and she's been all too willing for Jamie to make sacrifices that have been needed to get him his big break. So we watch in flashback just how Jamie got to where he is now, while the dreary ballad he penned for his long lost love plays in the background and he gets lost in the lights of the mirror in his dressing room. There's really nothing new in Welcome To The Show as it retreads ground covered by a wealth of films, songs and TV shows that have exposed the greed, demise of innocence and deathly toll exacted by the music industry, from Pink Floyd's song released in 1975, to A Star Is Born – three times (1937, 1976, 2018) to 24 Hour Party People (2002) and a host of others in-between. This lack of originality might have been able to be overlooked if the production had something exceptional to offer, but sadly here that is not the case. The acting from the three main leads is sufficient but never anything other than that and the direction remains basic with simple, static backdrops that show time and place and nothing more. In a film that focuses fully on songs and music, you would hope that particular attention would be paid to the sound and audio recording, but several scratching sounds throughout, including the main song recital, and some short, sharp cuts in the editing show that this wasn't the case. McGarry unfortunately doesn't have the voice of a singer either, calling the validity of the whole project into question. For what could have been an insightful short film from an up and coming production company, Welcome To The Show misses most of the beats that it needed to hit and sadly never reaches any of the high notes that it was aiming for. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Neraka film review by UK film critic Patrick Foley. Starring Tom Clear directed by Paul Trigwell. HOME | FILMS | REVIEWS Neraka Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 11, 2023 Directed by: Paul Trigwell Written by: Paul Trigwell Starring: Tom Clear It is to Neraka ’s considerable benefit that it releases during a time when the news cycle is filled with stories covering the disturbing possibilities that come with the rise of artificial intelligence. But whilst the film’s titular app takes much more directly malevolent action that ChatGPT’s impersonations of political figures, the film’s poorly-defined plot and empty consideration of its ultra-relevant subject mean this short B-movie fails to live up to its potential. Al (Tom Clear) is a loner spending an evening mindlessly testing out a new AI-powered assistant app called Neraka. He trials its capabilities by asking a series of questions, but once he realises the answers are becoming increasingly personal, he decides to delete the app. But before he gets the chance, its sinister and unexpected true nature reveals itself. Neraka is a film of squandered potential. What starts out as an intriguing if pre-explored concept results in a voiceless, aimless horror that is nowhere near scary enough to justify the introduction of needless supernatural elements that only negate from the story. The film’s diversion around its midpoint from focusing on AI to an undefined but apparently spiritual adversary dilutes the threat that had been established from early on, and leaves audiences wondering quite what the whole point of the story is or what they are supposed to be afraid of. The issues with this shift are also exacerbated by the unlikability of the protagonist. Tom Clear gives a sleazy turn as Al, a leather-clad grizzly type who takes sad pleasure in messing with what he assumes is a computer programme. This is no issue when the film’s focus appears to be on the dangers posed by AI – as viewers are engaged with the central question of whether unthinking lines of code should super-cede the rights of those with free will – even when said persons are of an odious nature. Once the app’s true nature is revealed, audience’s concerns have to be supplanted to Al’s fate. And given the lack of empathy for the character and his unpleasant presentation, viewers will not have any great sense of regret over the prospect of his loss. The film happily embraces its B-movie status and director/writer Paul Trigwell and star Tom Clear take clear enjoyment in playing up the more classic horror elements – including an unsubtle nod to Steven King’s thematically aligned Christine. This embrace means the awful visual effects do not degrade from the film too much as the film’s boldness around its (lack of) budget is established pretty quickly – though one wonders just what model of smart phone Al has given one tap seems to input whatever command he so wishes at any given moment. But the film’s ultimate sin is that it never really establishes what it is meant to be about. It is lost somewhere between offering a warning of the dangers of sentience for programmes that are more calculating than compassionate, and a more fantastical story of a sinister force overtaking technology we don’t fully understand. And in this purgatory, the film ends without really establishing its point. Perhaps its script should have been run through ChatGPT for a little more consistency… Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Arabesque film review by UK film critic Patrick Foley. Starring Becki Lloyd, Liam M. Edwards, Peter Radford directed by Nick Archer. HOME | FILMS | REVIEWS Arabesque Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 9, 2023 Directed by: Nick Archer Written by: Nick Archer Starring: Becki Lloyd, Liam M. Edwards, Peter Radford The dark path to superstardom is stylishly pondered in Nick Archer’s Arabesque, a short, impactful drama which demonstrates how the power-wielders in the entertainment world abuse the dreamers and artists who need their backing. The film follows an ensemble, interconnected cast who share an ambition and taste for greatness, though each with a darker insecurity that hurts either themselves or others. Mads (Peter Radford) and Elodie (Becki Lloyd) pursue creative dreams as an actor and a dancer. Whilst talent agent Aurora Lapp (Bushra Greaves) and writer Shay Morgan (Liam M. Edwards) seek similar success – albeit from a position of power and influence. Struggling addict (and Johnny Depp lookalike) Roman Marshall (Daemian Greaves) exists in the middle, as a photographer indebted to Morgan and willing to go to extreme lengths to maintain his existence. All these paths intertwine in an abusive system with few real winners. Arabesque is a mature, dynamic and intriguing short film with a pessimistic and critical view of power structures in creative industries. Director Nick Archer does an impressive job of juggling a number of plot threads whilst maintaining a consistent theme and atmosphere in the film, whilst working alongside an impressive cast to build complex and multifaceted characters who stand out on screen. Themes of power, abuse, desperation, coercion and temptation that pervade across multiple interconnected industries are explored in a story that manages to critique whilst acknowledging that such systems have many points of origin, and that most participants in them come in shades of grey rather than black and white. The film is, quite literally, dark – with outstanding cinematography, lighting and scene-staging matching the film’s sombre and cynical tone perfectly. The intrusive, dominating eye of Roman Marshall’s camera in the film’s central scene focusing on Elodie’s traumatic photoshoot is one example of the filmmakers telling their story beyond a script. Light similarly is used to cast a shadow over the immoral and unseen world the likes of Shay Morgan and Aurora Lapp operate in. The film’s ensemble-led story allows its cast equal opportunities to shine. Becki Lloyd’s Elodie is the film’s empathetic heart as a naïve but ambitious dancer who is coerced into a difficult and upsetting situation. Daemian Greaves’ Roman Marshall is a troubling and conflicted figure whose immoral actions are just about offset by a clear internal struggle as he begins to see the consequences of his actions. Shay Morgan and Bushra Greaves’ performances are a little more caricatured and outlandish – lacking a lot of the complexity that makes other cast members so engaging. This is largely down to at-times poor and predictable dialogue that relies too much on exposition and cliché. Their physical presence however is undeniable, with both figures presenting as sinister and terrifying at pivotal, pointed moments. Whilst the dark side of fame is well-explored territory, the world Arabesque builds is challenging, thought-provoking and visceral. Added to a branching plot and striking representation of its angry, brooding themes and message, this memorable short shouldn’t be sleep on – and not least because there are rogue photographers about... Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Close-Up: An Odyssey film review by UK film critic Jason Knight. Starring Skye Armenta, Nick Gatsby directed by Nick Gatsby. HOME | FILMS | REVIEWS Close-Up: An Odyssey Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 14, 2021 Directed by: Nick Gatsby Written by: Skye Armenta, Nick Gatsby Starring: Skye Armenta, Nick Gatsby A surreal journey about a woman's quest to reach Mars. Gatsby is a filmmaker who specializes in experimental and surreal narratives and this short is an example of this kind of creativity. Storywise, this film is about a young woman named Lucy (Armenta), who seems to be under the influence of drugs and acquires the assistance of her dealer (Gatsby) in order to drive her to 'Mars', which appears to be her idyllic location. The story begins kind of like Trainspotting , with Lucy talking to the audience about going on a spiritual journey and then turns into Bonnie and Clyde as she and her dealer find themselves being pursued by the police after an armed robbery. The cinematography is a feature that stands out. The decision to shoot in HD 8mm gives the film a dark and unearthly feeling. Reality seems to be mixed with fantasy (most notably a scene showing the two protagonists driving towards planet Mars) and the world gives the impression that it is shown through Lucy's eyes. There are interesting lighting effects, mesmerizing images and colours and the way they are placed into the image brings similarities to the techniques used in Natural Born Killers . Without the apparent hallucinations from drugs, this would most likely provide a different experience. The fact that the entire film seems like a dream is probably its biggest strength and combines live-action with animation. Armenta plays a person whose main purpose in life seems to be taking drugs. Constantly smiling, she appears not to have a care in the world. Gatsby is her drug dealer, who knows how to use a gun. Watching this achievement is an amusing and surreal experience. The visuals are intriguing, the soundtrack is great and the editing is creative. The viewing will most likely make the audience feel that they are watching a dream rather than actual facts. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >