The Brokenhearted film review by UK film critic William Curzon. Starring Leroy Nguyen, Samuel Joon Lee, Travis Davis directed by Leroy Nguyen. HOME | FILMS | REVIEWS The Brokenhearted Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Jul 20, 2026 Directed by: Leroy Nguyen Written by: Leroy Nguyen Starring: Leroy Nguyen, Samuel Joon Lee, Travis Davis The Brokenhearted follows a petty gangster desperately attempting to prevent the escalating conflict between two of his childhood friends. One of his friends is a struggling martial artist whose school fails after taking out a loan, and the other is a vicious loan shark intent on collecting the debt. The piece is a tale of loyalty and redemption that blends a gritty action drama with a character study. What is perhaps most apparent in the film's presentation is its grainy photography, which lends the experience a gritty edge, stylistically and tonally. It almost feels like an early-2000s blockbuster with its grimy visuals, rapid camera movement and costume design. While the desaturated colour palette might not appeal to everyone, it ultimately complements the film’s grim aesthetic. The film also feels heavily inspired by Martin Scorsese’s Mean Streets (1973), particularly in its character motivations and its blend of intimate drama and gangster cinema. While it clearly wears its influences on its sleeve, it strays from a typical Asian-American action piece, opting for a character-focused narrative that feels far less concerned with frequent action set pieces. Despite how visceral the infrequent outbursts of action are, they feel like an afterthought because the initial setup is so prolonged. Alex Au, serving as the film’s cinematographer, does a terrific job of framing each set piece and the intimate dialogue-heavy sequences. The fluid camera movement and raw close-ups are incredibly claustrophobic and hard-hitting, anchored by the physicality of each performance. The shift to wide framing is also incredibly impactful, as it gives the viewer space to process what's occurring. Despite how claustrophobic it feels, the use of a shaky cam works well, as it gets up close and personal with the actors. Serving as the director and editor, Leroy Nguyen’s editing is jarring, with choppy cuts during the fight sequences; however, the choreography and suitable framing choices make it worthwhile. Leroy Nguyen really knows how to shoot action set pieces, and it's one of the most memorable aspects of the experience. One of the film’s biggest issues is its pacing. While it takes its time to establish the bond between the central characters, Sonny (Leroy Nguyen), James (Samuel Joon Lee), and Winston (Travis Davis), it overstays its welcome with a prolonged runtime which doesn't justify its length. While the character-driven approach is commendable, the meandering pacing is detrimental to the experience, as it feels sluggish to endure. That said, it rewards viewers with brutal action set pieces and delivers a satisfying payoff. Despite how understated Alex Kane’s musical score is throughout the first half, it's utilised profoundly in the final third of the film, anchoring the emotional resonance with its meditative motifs. The use of needle drops is also a commendable choice as they are utilised well throughout the narrative. The performances across the board are memorable, in particular Leroy Nguyen’s portrayal of Sonny. He conveys the character’s sheer physicality while boasting seamless chemistry with the supporting players. As the tension brews among Sonny, James and Winston, each performance shines profoundly. The Brokenhearted may surprise audiences with its distinct focus on character over spectacle. While it may suffer from dimly lit sequences that give the film a lack of visual flair, it's held together by hard-hitting action sequences, magnetic chemistry between each cast member and solid performances all around. The piece is a flawed yet rewarding and brutal experience. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Fast X film review by UK film critic Chris Olson. Starring Vin Diesel, Jordana Brewster, Tyrese Gibson, Jason Momoa, John Cena, Ludacris, Michelle Rodriguez, Charlize Theron directed by Louis Leterrier. HOME | FILMS | REVIEWS Fast X Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: May 17, 2023 Directed by: Louis Leterrier Written by: Dan Mazeau, Justin LinGary, Scott Thompson Starring: Vin Diesel, Jordana Brewster, Tyrese Gibson, Jason Momoa, John Cena, Ludacris, Michelle Rodriguez, Charlize Theron SPOILER WARNING Having directed a couple of Transporter films (and Grimsby to be fair), Louis Leterrier makes for a solid choice for this 10th installment of the Fast & Furious franchise. It’s rare to have an action series remain this commercially successful after so many movies, and Fast X knows exactly which gear it is in by now, so the filmmaker had his work cut out to keep this on the straight and narrow. We pick up with Dom (Vin Diesel) and the family having their legendary barbecue and beers at the beginning of the film after having witnessed a montage of scenes from previous films that essentially splice Jason Momoa’s character into important parts of the F&F story. Momoa plays Dante whose father owned the bank that our “heroes” robbed in a previous film, laying claim to one of the ballsiest action sequences in cinematic history; two cars dragging a huge safe through city. It becomes clear that Dante has been a silent enemy of Dom and his family for many years and has concocted a series of violent and theatrical ways to inflict a similar amount of “suffering” that he has had to endure because of Toretto. Meanwhile, our gang have a new mission coming up, which will see the charmingly foolish Roman (Tyrese Gibson) take centre stage as leader of the pack for the first time. They are heading to Rome and their quick, slick operation soon turns nasty when Dante turns up starts his symphony of suffering. Coordinating a film on this scale seems like a mammoth task. For a film that is definitely part of a double act (or perhaps even triple act if the rumours are true), there is no holding back in the delivery of enthralling action sequences, mind-blowing stunts, and enough sequences where Vin Diesel drives his car into things that should just crush him to make Russian dashcam enthusiast blush. Fast X is a film that gets the engines roaring and moreso, a culmination of incredible action filmmaking whereby the recipe is exactly how they want it. Because, yes, the plot of farcical, yes, Dom’s lines feel like AI escaped from a Playstation 1 and wrote them using a plastic sword dipped in jam, and yes, every single character should have died from the previously sustained injuries by now - but we bloody love it! Momoa is having way too much fun as the manical baddie. He seems to be channelling his inner Joker, as well as giving the audience a series of sensational outfits for their eyes to drink in. John Cena provides the film’s funniest moments, though, on a road trip (of sorts) with Dom’s son which feels like the spin-off we definitely needed after Hobbs and Shaw. The soundtrack thumps its way into your brain so much that you don’t care it’s mostly garbage. The unbelievable amount of characters reappearing feels like the film is eating itself in front of us but it’s a meal we chow down on greedily too. Our eyes may roll at each supercharged stunt but they quickly refocus for the next. And the fact the film has reached the level of self-referencing itself with pithy jabs about the ridiculousness of it all means we are all in on the same joke. Aside from criminally underusing Helen Mirren and Jason Statham, Fast X carries on the series with a vice-like grip on the audience’s lust for cinematic excess. If you have been on board for the previous nine, you are not going to want to jump out of the high-speed moving vehicle now…although, if you did, you would likely be able to barrel roll into oncoming traffic, grab a Corona, clink it open, and still pick up the kids from school. Buy UKFR Banner Space About the Film Critic Chris Olson Theatrical Release < All Reviews Next Film Review >

Namaste film review by UK film critic Jason Knight. Starring Doron Malka, Bar Zivlin, Eli Nuss directed by Matan Haim Yehuda Zrachia. HOME | FILMS | REVIEWS Namaste Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 3, 2025 Directed by: Matan Haim Yehuda Zrachia Written by: Doron Malka, Aya Bogod Starring: Doron Malka, Bar Zivlin, Eli Nuss A short comedy directed by Matan Haim Yehuda Zrachia, written by Doron Malka and Aya Bogod and starring Malka, Bar Zivlin and Eli Nuss. Just expaining that regarding the title, ''Namaste'' means ''I bow to you'' and it originates from Sanskrit, an ancient Indo-European language of India. Now to the plot: two young women (Zivlin and Malka) arrive at a park (probably Central Park in New York City) and they are carrying yoga mats and drinks. They then change into clothes appropriate for yoga and proceed to perform exercises on their mats. However, they are not there only for yoga, they have actually been spying on a young man (Nuss) because they fancy him and they have being regularly going to the same spot so they can see him from a distance as he passes by them while he is jogging through the park. Using unconventional methods, they finally get his attention, leading to awkward interactions. What makes this five-minute film entertaining are the performances and the humour, with jokes popping up throughout. The plot is the kind the revolves around looking for romance and yoga and also dishonesty, as the two women lure the man towards them with lies and do not admit to him that they are attracted to him. All this is supported by light-hearted music and acknowledgements also go to the animation during the closing credits. The characters that Zivlin and Malka play are awkward and it is primarily their behaviour that makes the story funny and interesting. They arrive at the park with the same blank expressions and make simultaneous movements like drinking from their cups at the same time. The conversations they have between them indicate that they more or less have the same opinions regarding most things. They are yoga enthusiasts with an unusual perspective on the world and they also fancy the same guy. As the 'ideal guy', Nuss's performance creates an everyday young man who is oblivious to the women's fondness of him. Obviously, yoga plays a significant part in this story, an activity that is utilised in the narrative in a comical way. Moreover, this is a story about finding romance, or maybe about attempting to find romance or maybe even dreaming of romance. Further, it also works as a statement about how people sometimes tend to rely on their views and judgements and are stubborn when it comes to questioning them. People can interpret this film according to the themes that it explores. However, probably more than anything, it is amusing comedic story with sometimes over-the-top performances and light-hearted humour. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Dew Before Dawn film review by UK film critic William Hemingway. Starring Estelle Hartford, Texas Cloete directed by Alexis Scholtz. HOME | FILMS | REVIEWS The Dew Before Dawn Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 8, 2026 Directed by: Alexis Scholtz Written by: Alexis Scholtz Starring: Estelle Hartford, Texas Cloete A photographer struggles to find the direction or the meaning behind her art. From writer/director, Alexis Scholtz, The Dew Before Dawn is a short arthouse piece musing upon the relationship between the artist and their art. At only six-and-a-half minutes long and shot entirely in black-and-white, it is pulling no punches in settling itself firmly within the arthouse genre. Minimal dialogue and an elusive message also feed into this categorisation of the film, as we ponder over the images presented to us and try to decipher their meaning. A young black photographer tries to capture the feeling and mood of her subject, an older white woman, as she rests within the spaces of her palatial home. A striking main foyer surrounded by a circular mezzanine is used as the main location for the photoshoot, and the photographer grapples with the idea of shooting her subject within different aspects of this space, from different angles, while getting her to play different roles. We see the older woman move into and between these spaces, and also feel her personality shift as she does so. There is a tension between the artist and the subject, with the photographer feeling that she is not quite capturing the authentic nature of what is in front of her camera, while her subject becomes involved and somewhat overbearing in her direction of what she thinks the photoshoot should produce. This smacks loudly of the entire history of patronage within art, where the artist must bow down and concede in certain areas to the perhaps uneducated, uncreative, and philistine nature of the person providing the money. We see this all the time in big-budget creations in film, where producers and studios ruin the director’s vision simply for the reason of appeasing censors, raising the bottom line, or the stroking of their own ego. Here, the photographer is more than ready to stand up for herself, and berates her subject for getting in the way. While there may be some kind of mentorship or expertise on offer, this is dismissed by the artist, and she is left to find her own path through the mire of finding meaning within her art. Director and cinematographer, Alexis Scholtz highlights the themes of light and dark within the photography, expressed also by the decision to shoot in black-and-white, while expanding this idea into the ‘rights and wrongs’ of artistic expression as the photographer tries to find her way. When, eventually, she begins to cut up the photographs and piece them back together with different halves, she perhaps finds the missing piece of her expression that she could not find in the initial frames, allowing her to see more than what was there in the first place. With each section of the film and transference into a new frame or idea punctuated by the ringing of a Tibetan singing bowl, and the main subject of the film moving around, changing colour of dress, and changing her personality, we are invited to make what we can of the themes and images that we are exposed to as a viewer. These ephemeral aspects are left to float in the air as spectres of something real yet untouchable, and we must give of ourselves to feel what must be felt by the characters and scenario we are witness to. There is plenty to hold onto in The Dew Before Dawn , if not enough for a structured narrative, and as an art piece for the artists it works very well in presenting what it wants to achieve. There is a lot to think about and discuss from what we see, and the images are beautiful and striking enough to keep us captured in the frame with them. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release, Film Festival, World Cinema < All Reviews Next Film Review >

Follow the Dead film review by UK film critic Jason Knight. Starring Luke Corcoran, Tadhg Devery, Marybeth Herron, Luke Collins, Christina Ryan directed by Adam William Cahill. HOME | FILMS | REVIEWS Follow the Dead Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 8, 2023 Directed by: Adam William Cahill Written by: Adam William Cahill Starring: Luke Corcoran, Tadhg Devery, Marybeth Herron, Luke Collins, Christina Ryan Something terrible is taking place in Ireland. Could it be a zombie outbreak? The story takes place in Offaly county, where peculiar and violent incidents are taking place. Robbie (Corcoran), his sister Liv (Herron) and their cousins Chi (Devery) and Jay (Collins) all live in a house, in that area. As the community begins to panic over the incidents, things get further complicated by a group of vigilantes who believe that the events are a sign for revolution and by Robbie's former partner Kate (Ryan) who re-emerges back into his life. As the threat escalates, the four relatives attempt to keep things stable and get through the situation. This horror comedy tells a story about a zombie apocalypse through the perspective of two siblings and their two cousins. Although this feature is about the undead being unleashed, they are absent for the majority of the film. The screenplay focuses a lot on the lives of the main characters and the relationships they have with each other, particularly the relationship between Robbie and Kate. Pretty much the first half is about the heroes discussing the terrible things that are taking place and also their personal problems. It isn't until much later that the heroes encounter zombies and do battle. There is plenty of dark humour throughout, however there are also moments that are quite tender and moving. The characters are interesting and the most entertaining one is the cheerful but naive Chi, who constantly wears a robe. Robbie is a man who is deeply affected when Kate reappears and does not know how to handle it. Liv is trying to be an online celebrity and films events during the outbreak, hoping that uploading them will increase her polularity. Generally, the performances are strong and effective at being amusing or emotional. Commendations go to the make-up effects. The bloodied zombies look quite hideous, with their eyes having an unnatural bright colour. Praise also goes to composer Steven McKenna for the sinister score. This is more than just a zombie comedy film. It is a story about family values, reconciliation, self-discovery and obsession with internet fame. Fans of Shaun of the Dead are the ones who will most likely enjoy this feature the most. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Bigfoot Unleashed: Part VII film review by UK film critic Patrick Foley. Starring Valena Zitello, Joe Fishel, John W. Iwanonkiw directed by Don Swanson. HOME | FILMS | REVIEWS Bigfoot Unleashed: Part VII Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Sep 9, 2023 Directed by: Don Swanson Written by: Joe Fishel Starring: Valena Zitello, Joe Fishel, John W. Iwanonkiw Forming part of a larger feature ‘The Haunting of Prince Dom Pedro ’ but released as a stand-alone short, Bigfoot Unleashed: Part VII draws upon classic horror film presentation in an attempt to ingratiate itself as a self-aware B-movie, but severe lack of substance means its overall oddness is more confusing than charming. A secretary (Valena Zitello) working for a construction company that is mining in woods of Appalachia finds herself constantly under threat from the legendary Bigfoot, who is angry at his territory being invaded. As she attempts to escape for a seventh time, it appears her luck has finally run out. But Bigfoot may not be as terrifying as he is made out to be… Bigfoot Unleashed: Part VII is not shy about the fact that it was produced on a very limited budget, and its circumstances of being a segmented part of a longer production mean it is difficult to know exactly what it is looking to accomplish. Judged on its own, it is a highly limited short film that elicits some amusement at the hokey Bigfoot costume it employs and the call backs to B-movies of the 70s and 80s. But ultimately, it contains only the semblance of a storyline that makes little sense to viewers, and ends on a strange, disconnected and unsatisfying note that leads viewers to question what it is ultimately for or about. Perhaps this was the point – and director Don Swanson was aiming squarely at ‘so bad it’s good’. But even the bad has to have purpose – and Bigfoot Unleashed: Part VII does not. It’s not a straight horror. It’s not a parody (or at least it is not clear what it’s parodying). It’s not a comedy. And it’s not good enough to be undefinable. Low production values are part of the package, and the film at least tries to work with what it has, and embraces making use of this in place of what it hasn’t. The director tries some innovative shots – such as when Valena Zitello’s character is chased by the titular creature, but these are few and far between. It’s as though someone forgot to add an actual plot to Bigfoot Unleashed. Beyond an opening title card, viewers would have zero idea about the big business/environmentalist elements to the ‘story’, and the protagonist’s previous history with Bigfoot is told solely through bizarre shots of the actress screaming. Budget restrictions really are the least of the film’s problems – the key question is what does this film try to achieve. It’s a mystery bigger than Bigfoot. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Tinsman Road film review by UK film critic Rachel Willis. Starring Robbie Banfitch, Leslie Ann Banfitch directed by Robbie Banfitch. HOME | FILMS | REVIEWS Tinsman Road Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Aug 5, 2026 Directed by: Robbie Banfitch Written by: Robbie Banfitch Starring: Robbie Banfitch, Leslie Ann Banfitch Writer, director, and star Robbie Banfitch crafts a unique, documentary-style film with his feature, Tinsman Road . Banfitch plays Robbie Lyle, a documentarian focused on capturing his mother Leslie’s (Leslie Ann Banfitch) belief that her missing daughter is now an angel. Leslie’s grief is tangible, and as the “documentary” progresses, her hold on reality seems more and more tenuous. Her belief that her daughter is now a visiting angel is met with tender skepticism by her son. When she asks if he believes in psychics, she answers his no with the assurance that while “some are scams,” hers is real. Leslie Banfitch’s naturalism helps sell the documentary approach. Her ability to fully encompass a woman who believes her missing daughter now haunts her life is not only heartfelt but convincing. Her performance sets the film apart from similar, weaker fare. Robbie’s own grief feels two-fold. Not only does he also mourn the loss of his sister but feels helpless in helping his mom with her grief. It’s a heart wrenching dilemma. Eerie elements underscore the fact that, while this is a movie about a grieving family, it’s also a horror film. It’s these subtleties from the very beginning that slowly suck you in. The film also pulls artfully from the true crime genre. The camera work and low-budget quality of the movie both heighten the tension and add to the sorrow surrounding the characters. Though the style has certainly been overused in the horror genre, Banfitch manages to make it feel like a necessary choice. Certain moments feel unnecessary, but they’re few and far between. The removal of one or two scenes may have helped tighten pacing. But these are small imperfections, easy to overlook. Tinsman Road ‘s slowly building dread gives way to a shattering climax. The intensity of the third act is stomach churning, especially after the quiet meditation on grief that came before it. Banfitch rewards your patience with the finale. Grief and horror have often gone hand in hand, and Banfitch offers up a worthy contribution. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Magellan film review by UK film critic Hope Madden. Starring Gael García Bernal directed by Lav Diaz. HOME | FILMS | REVIEWS Magellan Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 22, 2026 Directed by: Lav Diaz Written by: Lav Diaz Starring: Gael García Bernal Lav Diaz’s 2-hour and 40-minute epic Magellan is not for the impatient viewer. With no exposition, a primarily stationary camera, and only one internationally known actor (Gael García Bernal in the title role), the filmmaker quietly undermines a historically accepted notion of exploration and perseverance. Scenes have a painterly quality, the framing and lighting especially of interiors giving the impression of an oil painting. Each scene, threaded loosely together by time and location, feels more like a work of art into which characters tumble and behave. Relying almost exclusively on long takes with an unmoving camera, Diaz emphasizes not the characters in a scene but its geography, its ecology. Even in sound design, the crash of ocean waves, the rustle of jungle leaves, the creak and moan of a ship at sea are given equal, sometimes even primary attention. These set ups let the environment dictate the scene, emphasizing the natural world and not the puny individuals so desperate to leave a mark. Diaz, who generally films in black and white, revels in the hues and tones of the environments. Rich, deep browns in ship quarters conflict with the steely blue grey of the sky and ocean, which pale beside the rich greens of land. And the filmmaker insists that you notice, holding every shot far longer than expected so there’s nothing for you to do but take note of the brutal beauty. The showiest thing about Magellan is its silences, what Diaz leaves unexplored and disregarded. Don’t go into this film expecting a rousing image of endurance and vision. This film is not impressed by the explorer. Diaz’s languid camera empties his film of the urgency you might expect of a film so pointedly critical of colonizers and exploiters, and that seems to be the point. Diaz robs Magellan of the passion and romance often attached to his single-minded mission. The film’s unhurried nature subverts expectations and leeches the nobility from the history, leaving instead the impression of blundering, cruel acts performed by misguided, greedy men who died in the mud, far from home, while trying to steal land and enslave human beings. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Ghost Of Wuhan film review by UK film critic William Hemingway. Starring Ankit Mishra, Diksha Pathak, Veer Kant Singh directed by Ankit Mishra. HOME | FILMS | REVIEWS Ghost Of Wuhan Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: May 7, 2023 Directed by: Ankit Mishra Written by: RC Pathak and Ankit Mishra Starring: Ankit Mishra, Diksha Pathak, Veer Kant Singh Lest we forget, three years ago we were in the grip of a global pandemic the likes of which the world had never seen before. Since then there's been a deluge of indie films trying to take on the subject, coming at it from a variety of different viewpoints, but mostly settling on a few similar themes such as suffering, fear and isolation. Thankfully Hollywood has tended to stay away from telling lockdown stories or everyday tales of heroism from during the pandemic, probably feeling that showing images of coughing and painful death might not be the way to encourage the masses back into dark, cramped, crowded movie theatres. Still, it seems the indie film-makers aren't yet finished with what they consider to be the goldmine of COVID-19, from which they can salvage and scrabble together ready made stories that carry resonance and weight and which are undoubtedly relatable to the audience. Into this vast and muddled field now comes Ghost of Wuhan from writer/director Ankit Mishra, giving us his take on what it might be like for someone caught in the clutches of the virus very early on in the pandemic before anyone really knew what it was. Not bothering to trouble himself with anything so base as characterisation, Ankit casts himself in the main role and goes on to give his character the inspired name of Ankit. In this fantasy however, Ankit (the character) is an ingenious virologist who has just returned home to India after extended years of study in, you guessed it, Wuhan. The film follows the structure of a chamber piece as Ankit finds out that he is sick and we along with him slowly begin to work out just what it is that's the matter. Relying on his ex-girlfriend, Diksha (again inspirationally named and played by Diksha Pathak) and his old doctor friend Saurav (Singh) to keep him alive with food parcels, brown bags full of drugs and socially distanced conversations over the phone, Ankit stumbles about his house displaying all of the symptoms and sits down to put his virology degree to good use to try and diagnose and ultimately cure himself. Throughout all of this the photography has been bland, the colour muted, the direction shaky, the acting amateur, the editing sharp and cutting, and the audio mismatched to the visuals – leaving the whole production feeling like a one-man band who doesn't know how to play his instruments properly. The story, before it takes its fantastical turn, is basic and stale with a lot of the film taken up with scenes of coughing and rolling around on the floor, but then it strays into conspiracy territory when Ankit deliberately points a finger at Chinese scientists declaring that they made the virus in their lab on purpose. There are also reckless points being made towards the end of the piece, when through his incredible skill and determination, Ankit manages to find a cure for COVID-19 all on his own in his bedroom, then beats the disease through breathing techniques and homeopathic remedies. These are dangerously naïve views to promote and not only ignore the tireless, endless work of scientists and health professionals the world over but also besmirches and trivialises the deaths of millions as we watch how doing yoga and drinking bergamot tea would seemingly have helped keep them alive. Ghost Of Wuhan is a basic attempt at a lockdown story which tries to glamourise and celebrate the role of a single virologist in beating the pandemic but which in reality only goes to snub the actual involvement of those who helped their communities to survive. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, World Cinema < All Reviews Next Film Review >

Where the Devil Roams film review by UK film critic Hope Madden. Starring John Adams, Toby Poser, Zelda Adams directed by John Adams, Toby Poser, Zelda Adams. HOME | FILMS | REVIEWS Where the Devil Roams Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Dec 1, 2023 Directed by: John Adams, Toby Poser, Zelda Adams Written by: John Adams, Toby Poser, Zelda Adams Starring: John Adams, Toby Poser, Zelda Adams There is macabre beauty in every frame of Where the Devil Roams , the latest offbeat horror from the Adams family. The film was co-directed and co-written by its three lead actors – Toby Poser, John Adams and Zelda Adams – who are also a family. The same team made last year’s Hellbender and 2020’s The Deeper You Dig , among others. Like their earlier efforts, Where the Devil Roams concerns itself with life on the fringes, rock music, and the family dynamic. Their latest follows a sideshow act, a family. They perform unusual songs sung by their daughter Eve (Zelda Adams), who is, outside of these songs, entirely mute. But the act isn’t bringing in much lately, and as they move from town to town, sometimes Maggie’s temper or sense of justice means blood – even limbs, on occasion – will be spilled. The family’s lived-in quality benefits the film. As they move from farmhouse to farmhouse, sideshow to riverbend, their tics and quirks meet acceptance born of familiarity. It not only anchors the bizarre nature of the film in authenticity, but creates a tenderness that makes you root for the family no matter their actions. Poser continues to be a force. She compels your attention, carving out a character that’s vulnerable and strong, insecure, brutish and tender. The ensemble convinces, particularly the sideshow performers, but the film’s most enduring charm is its vintage portrait look. It’s a gorgeous movie, the filmmakers creating the beautifully seedy atmosphere ideal to the era and setting. Where the Devil Roams feels expansive and open, but like anything else in the sideshow, that’s all trickery. There’s more happening in this film than they let on, which is why the final act feels simultaneously “a ha!” and “WTF?!” You won’t see it coming, but in retrospect, it was there all along. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Fidelity film review by UK film critic William Hemingway. Starring Snower Sania Vasuder, Kulpreet Yadav, Tarun Sharma directed by Sagher A. Manchanda. HOME | FILMS | REVIEWS Fidelity Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 7, 2023 Directed by: Sagher A. Manchanda Written by: Sagher A. Manchanda Starring: Snower Sania Vasuder, Kulpreet Yadav, Tarun Sharma New sci-fi short film, Fidelity from writer/director Sagher A. Manchanda is according to its own tagline, ‘A story about a girl who gains power and weakness through radiation exposure’, and to be fair to the film-makers this is pretty much what we get. At just around twenty-two minutes long Fidelity only really serves as an introduction to Meisha’s (Vasuder) story, presented as an entrée to supposedly whet our appetite for what is likely to be a more substantial course at some point later down the line. As such, Manchanda is careful to leave various backstory threads around in his immediate plotting and dialogue to ensure that the audience understands there’s more at play here than what we see on screen. Supposedly. So currently Meisha’s sitting alone in her shack trying to come to terms with her powers which she got from the radiation off of her dad’s unfinished secret device that is rather suggestively called ‘The Conductor’. Her powers seem to be fairly limited for now despite the fact that all The Conductor ever seems to do is blast radiation about the place. She can sometimes see things in terms of radiation, very Matrix (1999) like, so can pick out devices such as phones and monitors easily, even when they’re hidden. If she concentrates, Meisha can also intuitively see what messages or information is displayed on people’s devices meaning that she’s basically just a one-person version of GCHQ, or Google, or Facebook. Bursting onto the scene, as this is a one room, one scene screenplay, comes Dhruv (Sharma), Meisha’s best friend. He is there to warn her against meeting her absent father’s arch-nemesis, Rakshit (Yadav) because he thinks, you know, that it’s probably not a good idea. Inevitably Rakshit does also enter the scene and reveals himself to be the dirty scoundrel we already knew him to be until a moment of becoming befalls our reluctant hero as more backstory is revealed and the promise of a future quest is hung off the edge of a cliff (or in this case hidden in the mountains of Kathmandu). Fidelity starts off with a nice noir feel to it, showing off moody lighting and an even moodier characterisation of Meisha from Snower Sania Vasuder. The customary budget VFX throw a bit of intrigue into the situation, especially because they’re used sparingly and effectively, and the rest of the production crew seem to know their jobs pretty well. There’s some deep and searching music from Deepak Gupta, a great sense of visual continuity from DoP, Furkan Ali and a full commitment from the actors to their character archetypes, even though Meisha’s whining does get a bit much towards the end. The acting on the whole though, is actually pretty naff and the no-action action sequences, where two people touch and one falls over, don’t serve the story well at all. There is never a suspension of disbelief attained from watching Fidelity as it feels at all times like it’s desperately yearning to be something bigger than it is. Sadly though, it only ever feels like you’re watching low budget, independent Indian film. There’s too much of what could be and not enough of what is in Fidelity . As a twenty minute chamber piece it works fairly well but the superhero science is flimsy and the story threads don’t bear pulling on, meaning that a longer, more in-depth adventure with Meisha just wouldn’t be worthwhile. As it stands Fidelity is a decent idea, ably executed but realistically, despite the skill of its crew, it’s not likely to ever be any more than that. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

Something About You film review by UK film critic Jason Knight. Starring Luana Maria Seu, Alastair Coughlan, Rebeca Valean directed by Alastair Coughlan. HOME | FILMS | REVIEWS Something About You Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 18, 2025 Directed by: Alastair Coughlan Written by: Alastair Coughlan Starring: Luana Maria Seu, Alastair Coughlan, Rebeca Valean A black-and-white feature film written and directed by Alastair Coughlan and starring himself, Luana Maria Seu and Rebeca Valean. Eva (Seu) is a young Romanian woman living in London, with hopes of getting a visa and becoming a personal trainer. One day, she meets Edward (Coughlan), a young aspiring pianist. Following unpleasant complications, Eva is forced to move out of the flat that she shares with her friend, Marie (Valean) and she ends up moving in with Edward and developing a relationship with him. Time will tell whether the two of them have a future together. A dramatic and heart-warming story that is separated into chapters. The screenplay focuses primarily on the progress of the romantic relationship between Eva and Edward, the ups and downs of it, how it overcomes issues and turns from friendship into a full-fledged romance. These two characters are well explored, with their struggles and ambitions being acknowledged and the melancholic and beautiful piano music contributes effectively to the sometimes uplifting and sometimes poignant atmosphere. Although the plot is interesting, some viewers might find that the slow pace makes it a bit hard to follow the story with enthusiasm. Both Seu and Coughlan bring life into their characters thanks to strong performances. Eva is a cheerful and optimistic person, eager to pursue her goals and enjoy life. Edward is a struggling musician who perhaps lacks self-esteem. As a supporting character, Marie is a character who acts as a threat to the relationship between Eva and Edward. Obviously romance is a main theme here and the story also explores friendship, honesty, support and infidelity. Furthermore, elements involving finding direction in life, pursuing dreams and desiring happiness are also significantly present. A film that examines the beginning and unstable development of a romance. It is a commentary about challenges that can affect a relationship and joys that emerge through finding someone special. As mentioned, the story moves slowly, however it succeeds in delivering an emotional and thoughtful viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >