Voyage To Himalaya film review by UK film critic William Hemingway. Starring Teodor Tulpan, Catalin Mastan directed by Octavian Repede. HOME | FILMS | REVIEWS Voyage To Himalaya Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Dec 31, 2023 Directed by: Octavian Repede Written by: Octavian Repede and Teodor Tulpan Starring: Teodor Tulpan, Catalin Mastan In the Spring of 2022 a group of twelve international climbers from as far afield as Romania, The Netherlands, India and Canada came together to tackle the ascent of one of the most remote and difficult peaks in the world, that of Kangchenjunga. The short film, Voyage To Himalaya – The Kangchenjunga Expedition 2022 is the story of that ascent. Situated deep in the Himalayan mountains, Kangchenjunga is the third highest peak within that mountain range and as such is also the third highest peak in the world, standing at 8586m tall. As one of the more inaccessible peaks to reach, it can take a ten day march (or one pretty hairy helicopter ride) just to make it to base camp at Kangchenjunga, and as such it sees just one summit attempt from climbers for every twenty-five seen at its most famous neighbour, Mount Everest. This does not mean, however, that there is nobody else on the mountain when our intrepid team arrives – far from it – and the first thing that becomes immediately apparent is that extreme mountain climbing is big business for those in the region. Some BBC style narration helps us join the team up into the mountains where we find that the entire expedition is provided for and run by a Himalayan mountaineering tour operator. Just like a regular package holiday to Zante, the agency organises flights and transfers, nightly accommodation whilst travelling to the destination, and all meals along the way. Once at the base camp all mod cons are provided with tents and food and paraphernalia for comfortable living brought by the Sherpas to make sure that everything runs smoothly and everyone has a good time. Base camp is already pretty busy, with several other expeditions set up as well, and to all intents and purposes a small village of bright orange tents has risen up out of the snow. There is a very small window each year where the weather is clear enough for mountaineers to attempt to reach the summit and this year (2022) the expedition we’re following has taken a few weeks through April and May, right around Easter, to try to make their ascent. The climb takes several days, over several stages, and takes in four further camps higher up the mountain, in order to reach the peak. There is a lot of to-ing and fro-ing between camps due to weather issues and acclimatisation for the climbers but all in all everything seems positive for managing to ascend to the summit. On hand are a couple of Romanian climbers, Teodor Tulpan and Catalin Mastan, and it is Tulpan who is taking the footage of his journey to share with us. He also provides some narration from his journal as he relays some of his thoughts and feelings along the way, although this can at times feel perfunctory as he shares some of the mundane details, too. Throughout Voyage To Himalaya there are obviously some breath-taking visuals to behold. The clouds, mountains and sky look glorious in full HD and it’s clear to the viewer that what we’re seeing is a view which is literally unlike anything else on the planet. Tulpan does a good job of taking it all in as well as showing enough of the camps to give a rounded view of how the expedition functions. Despite the travelogue narration not really adding very much to the feel of the documentary, a good understanding and a great sense of wonder is still transmitted to the audience. While Voyage To Himalaya may well be more of a personal travelogue or home video for those undertaking the journey that year, its documentary aspects do enough to broaden the scope of its audience out to the wider mountaineering community, as well as those who like to watch stunning photography. There’s more than enough unique content here to keep the viewer interested for an easily palatable forty-five minute runtime. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, Documentary < All Reviews Next Film Review >

Anglerfish film review by UK film critic Jason Knight. Starring Katy Wilson, John Wilkins III, Paula Black directed by Calvin Welch. HOME | FILMS | REVIEWS Anglerfish Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 29, 2023 Directed by: Calvin Welch Written by: Calvin Welch Starring: Katy Wilson, John Wilkins III, Paula Black A surreal film about a couple living in the woods and a stranger who enters their lives. Mary (Wilson) and Jonathan (Wilkins) are a young couple who live in an isolated house in the countryside during the early twentieth century. Their quiet lifestyle is disrupted by the arrival of Juliette (Black), a woman who has just lost her husband in a rather dramatic fashion. The couple agree to accommodate her and take her to a train station. The three of them seem to get along for a while, however Juliette suddenly vanishes and things turn sinister. This hour-long feature is a slow-paced story that could be placed towards David Lynch territories due to the performances, dialogue and awkward events that take place. The story is rather straightforward (a couple meet a stranger) and it is the weird events that stand out. These events include dance sequences that involve either two or all three protagonists dancing inside the house. These lengthy scenes are heavily edited and contain flashing, colourful lights and club music (which feels out of place considering that the plot takes place during the early nineteen twenties). Another part that stands out is a black-and-white sequence again with a lot of editing that keeps showing the same actions. This part and the dance scenes are quite long and watching them can be a bit tiring. Nearly the entire narrative takes place during night-time, making the atmosphere feel downbeat. Most of the time, the feature seems surreal and it is when Juliette disappears that horror elements take place, such as gore and dread. Things also move towards the supernatural, with the appearance of ghostly figures. Repetition is widely present here, particulalrly during the black-and-white sequence that keeps showing the same actions again and again with speed. Repetitive sounds are also present, such as a radio going static, a clock striking and the constant sounds of crickets. The acting is surreal and the three characters are individuals who have suffered a loss. While Mary and Juliette develop a rapport, Jonathan is the one who appears to become the antagonist. Visually, the film looks good thanks to some creative lighting techniques and the mise-en-scene that includes period clothing that looks convincing thanks to Caroline Roberts. This is a surreal dark psychological horror film. The target audience is small as the slow pace and awkward moments will probably not appeal to everyone. The viewers who will appreciate this feature will most likely be the ones who approve of Surrealism and unique approaches to storytelling. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Candy Heart Heist film review by UK film critic Jason Knight. Starring Dave Shecter, Scarlett Vaill, Jason Whited, Amy DiLorenzo, Carl Covington directed by Dave Shecter. HOME | FILMS | REVIEWS Candy Heart Heist Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 28, 2025 Directed by: Dave Shecter Written by: Dave Shecter Starring: Dave Shecter, Scarlett Vaill, Jason Whited, Amy DiLorenzo, Carl Covington A short crime drama written and directed by Dave Shecter and starring himself, Scarlett Vaill, Jason Whited, Amy DiLorenzo and Carl Covington. Teenaged Amber (Vaill) lives in a small town with her parents. One school day, she goes out, ostensibly to meet with a friend, however it soon becomes evident that her true intentions are to steal here and there. She enters a convenience shop and steals some sweets, before wondering around the area and breaking into a car. Eventually, she ends up in a restaurant, where she sits at a table with a stranger, a middle-aged man named Bradley (Shecter) and he tells her interesting things about him and offers her some advice. The narrative takes place over the course of a few hours and focuses primarily on exploring Amber and Bradley's lives, as well as several other characters, including a shopkeeper (Whited), Agent Grey (Covington) and two police officers. It is when Amber meets Bradley that things turn very dramatic and the film reaches its peak, communicating important lessons about life. There is great character development and the inclusion of tense and interesting music adds to the atmosphere. This may be a minor observance, nevertheless, it should be acknowledged as it is obvious. When Amber is at the restaurant, why does she sit with Bradley, a person she has never seen before? This does not really matter, but when people go to places like these, they do not tend to sit at the same table with stranger. As Bradley, Shecter portrays a career criminal, a theif to be precise. However, he is not proud of his illegitimate actions, on the contrary, he deeply regrets having chosen such a life, particularly due to a terrible incident and when he meets Amber he becomes a sort of mentor, trying to persuade her not to follow in his footsteps. Wearing a black jacket and headphones, Amber is a rebellious teen who is going down the wrong path. Crime is a main theme in this short, especially the fact that crime does not pay. The film's primary objective strongly appears to be to communicate the message that turning to crime will only end in tragedy. Alongside this, this is also a story about law enforcement, self-reflection, regrets and the ups and downs of marriage. A story about crime that centers on a life-changing encounter between two strangers. The strongest aspect of this film is the fact that it encourages people to say no to crime and that is enough for it to be categorised as a viewing of considerable significance. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Shrapnel film review by UK film critic Daniel Baldwin. Starring Jason Patric, Cam Gigandet, Efrain Villa directed by William Kaufman. HOME | FILMS | REVIEWS Shrapnel Film Review average rating is 3 out of 5 Critic: Daniel Baldwin | Posted on: Jul 27, 2023 Directed by: William Kaufman Written by: Chad Law, Johnny Walters Starring: Jason Patric, Cam Gigandet, Efrain Villa DTV action maven William Kaufman (Sinners and Saints ) returns for the third time this summer with a south-of-the-border extraction/revenger combo, Shrapnel . This time around, Kaufman is playing in another insanely tropey sandbox: “Dad has a special set of skills.” Jason Patric plays military veteran Sean Beckwith, who lives on a Texas ranch with his wife and two daughters. The oldest of which, as per a frantic voicemail overheard at the start of the film, made the mistake of sneaking across the border into Mexico with a friend to party. Anyone who watches action flicks or TV shows already knows where this is going: she’s been kidnapped. Beckwith attempts to go through proper legal channels to retrieve his firstborn, but there’s no help to be found. When pleas for mercy on TV just piss off the cartel responsible and result in them sending a hit squad to silence the family, Sean realizes that the only hope he has is to take the fight to them. Luckily, in true Rolling Thunder fashion, he has a former soldier buddy named Vohden (Cam Gigandet) who simply needs to be told to get his gear and tagalong for an assault on the cartel boss’s (Mauricio Mendoza) compound in Juarez. What we have here is a pretty meat and potatoes modern Mexico-set action thriller. For better or worse, this is an inherently problematic subgenre that often centers around white vengeance (i.e. Rambo: Last Blood , Sicario , etc.). If you are willing to overlook that, Shrapnel does have some things to offer. Patric is compelling as the ever-troubled Beckwith, who has doubts from the outset that his daughter is still alive and knows that even if she is, she’ll never be the same. Nor will his wife and other kid, after the ranch assault. Nor will he, for that matter. All of this plays on his face throughout. Gigandet carries himself well as our Tommy Lee Jones but isn’t required to do much more than that. Other performance highlights include Kesia Elwin as Sean’s wife Susan, Guillermo Ivan as the main henchman, and the aforementioned Mendoza as the big bad. It’s not the most original low budget actioner and it’s a step down from Kaufman’s own The Channel earlier this month, but if you’re in the mood for a solid little “Dad movie”, it’ll get the job done. While no Sicario , it’s certainly better than Rambo: Last Blood . Buy UKFR Banner Space About the Film Critic Daniel Baldwin Digital / DVD Release < All Reviews Next Film Review >

Hands (Mãos) film review by UK film critic William Hemingway. Starring Maria Leite directed by Filipe Piteira. HOME | FILMS | REVIEWS Hands (Mãos) Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Aug 12, 2024 Directed by: Filipe Piteira Written by: Filipe Piteira and Maria Leite Starring: Maria Leite Hands , or Mãos as it is in Portuguese, is a seven-minute short film from writer, director and producer Filipe Piteira. It is very much an arthouse film, or if we are to follow the tags on Vimeo, experimental, having as it does no dialogue and no plot to follow. What we do get is seven minutes of quiet contemplation of hands. In particular we get to see the hands of co-writer, although without dialogue or plot I believe choreographer would be a more accurate description, Maria Leite. We watch as Maria takes a leisurely wander around a derelict building in her bright pink ski jumpsuit. The building is large and empty but with plenty of corridors and small stairways to get lost in. There’s rubble and debris all over the floor, there’s graffiti plastered on every wall, and Maria is interested in taking it all in. Naturally, most of the focus is not on the building or surroundings at all, but on Maria’s hands. It’s about what she has in her hands, what she does with the things in her hands, how she moves her hands, and what her hands tell her about the reality she is experiencing. A nice, soft score from Aurélien Martin Vieira Lino also accompanies the visuals and builds a throughline from which we can journey with Maria as she explores her world. As you might expect, there’s not an awful lot else for the viewer in Piteira’s short film, and if you’re not interested in the philosophical contemplation of hands, then there’s really nothing for you at all. There may be something to be said for the things that Maria takes into her hands; a camera, pieces of a mirror, a prism; as each offers a viewpoint or reflection, but it is of course up to the audience what they take away from the visual representations. The one thing that might give us a clue to Piteira’s motivation is a scene where Maria drags on a vape and blows the smoke onto her hand as she holds it up. The shot becomes dreamy, as colour billows around and a drug induced haziness emerges, signalling that this may well be where and how Piteira got his idea. Throughout Hands the photography stands up, taking in the light and the shadows in equal amounts and drawing our focus where it needs to go. The idea for the film is to express the hands as the connection between body and soul, and if you really want to believe in it, then Piteira manages this well. However, Hands is not a film you’re likely to see in a cinema or at a festival, but is far more suited to being something short and enjoyable as part of an art installation. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Our Males and Females film review by UK film critic Brian Penn. Starring Kamel El Basha, Shafeqa Al-Tal directed by Ahmad Alyaseer . HOME | FILMS | REVIEWS Our Males and Females Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Sep 28, 2023 Directed by: Ahmad Alyaseer Written by: Ahmad Alyaseer, Rana Alyaseer Starring: Kamel El Basha, Shafeqa Al-Tal The ancient and modern can often be strange companions, but occasionally they come together and provide a stunning contrast as a human tragedy unfolds in the stark light of day. This film by Ahmad Alyaseer examines the impact of the Islamic ritual known as Ghusl Mayyit. It is usually carried out by family members who are the same sex as the person who has died. It involves washing all parts of the body with soap and water in a specific way while maintaining privacy and dignity. Alyaseer treats the subject with sensitivity but throws in a contemporary twist that gives the piece added strength and resonance. The grieving parents (Kamel El Basha and Shafeqa Al-Tal) have just received the body of their child for burial. However, before the final act can take place they must perform Ghusl Mayyit which is a requirement of Islam. Their child is subsequently revealed as a transgender female. A man who initially agreed to perform the ritual refused as did a woman who was asked to stand in his place. The couple are left in a quandary; even though their child is legally male they are unable to find anyone to perform the task. The father contemplates extreme measures to give his child full rights as a deceased Moslem. This powerful film is remarkable on so many levels that it’s difficult to know where to begin. There is no posturing or tub thumping rhetoric on LGBT+ issues here. It’s a painfully honest story of how someone can be excluded just because they happen to be different. An unwavering respect for one’s faith is to be admired, but there is an underlying sadness when inequality is the result. The narrative is sparse but strong enough to confront distressing issues; a fine example of how a short film should be made. Buy UKFR Banner Space About the Film Critic Brian Penn Short Film < All Reviews Next Film Review >

Here Today, Gone Tomorrow film review by UK film critic Jason Knight. Starring P.M. Thomas directed by Philip Brocklehurst. HOME | FILMS | REVIEWS Here Today, Gone Tomorrow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 7, 2023 Directed by: Philip Brocklehurst Written by: N/A Starring: P.M. Thomas Independent and experimental filmmaker Philip Brocklehurst has made numerous intriguing short films about dying and starring himself, credited as P.M. Thomas. This is another one. Since the duration is one minute and fifteen seconds, it would be difficult to analyse this short without including any spoilers. Shot in black-and-white, with the camera constantly static and without any speech, this project was made in a way that looks like one long take through the use of creative editing. Following a title card, the film fades into an interior shot of a large window with net curtains, probably inside a house. Then, a man (Thomas) appears through dissolve, apparently naked, sitting on the window sill, facing left, in what appears to be a sort of fetal position, completely still. Again through dissolve, he maintains the same posture, however his head is now up. Then his position changes more significantly, as his legs are now flat on the sill, while his back remains up. Then, he is lying down completely, before he disappears, leaving the screen back to the empty window. Then, a basket and a vase containing flowers appear on the sill, along with what appears to be an urn. Then, the basket fades away, then the vase and finally the urn, leaving only the window again. All this is accompanied by beautiful and melancholic music by one of Brocklehurst's frequent collaborators: Vladislav Nogin. As mentioned the film looks like one long take and this is thanks to Brocklehurst's editing techniques. He utilises dissolve quite effectively, making each shot enter the next one smoothly and create the impression of disappearance. So what is the meaning of everything in the film? It could be interpreted as a journey. The journey of human's. As mentioned, the man first appears in a posture that resembles the fetal position, which could be seen as his birth, the beginning of his life. The next two postures seem to gradually move towards the final one, which is him lying down, apparently dying. The postures could represent various stages of his life, from birth to death. The basket, the vase and the urn could represent the aftermath of his passing (funeral and cremation to be more precise), as they appear after he is not seen again. The fact that the film begins and ends with the shot of the empty window could indicate that before and after life there is nothing. Interestingly, the words that make up the title are separated, with 'Here Today' appearing at the start of the film and 'Gone Tomorrow' appearing just before the closing credits. By having 'Gone Tomorrow' at the end, the film seems to emphasise death, the passing of the character. This is another short by Brocklehurst that deals with death and this one has an atmosphere that is quite haunting and it is beautifully shot and edited. A lot of praise goes to Nogin's score, without which the film would not have the powerful impact that it does. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Ashes film review by UK film critic Matt Trapp. Starring Iliana Malihin directed by John Mathioudakis. HOME | FILMS | REVIEWS Ashes Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Apr 27, 2026 Directed by: John Mathioudakis Written by: John Mathioudakis Starring: Iliana Malihin Ashes is an emotional documentary following Iliana Malihin’s journey of wine production in Melambes, Greece, and the challenges that she faces following a devastating fire in 2022. The short film takes a naturalistic approach in the form of a relaxed interview with Iliana, who tells her story of resilience and the power of community. Arguably, the film could have expanded its scope and included interviews from more people who were affected by the fire, but as a short documentary piece focusing mainly on the vineyards of Melambes, Ashes is an excellent and evocative piece of filmmaking that depicts the power of hope in the wake of tragedy. Ashes succeeds in painting a portrait of a volatile industry, sensitive to the unpredictability of the elements. For Iliana, who has studied agronomy and oenology, winemaking is her life, and her passion for it is infectious. The challenges for her are clearly worth enduring. Director John Mathioudakis intelligently devotes a good amount of time in Ashes focusing on Iliana’s character before diving into the real drama of the film. Iliana is depicted as an expert in her field, and a trustworthy voice for the audience to listen to. The Greek countryside is verdant and expansive, and as she talks about how her business has grown and created new producer groups in various regions, the social impact of the business becomes visible. It does verge on sounding like an advert at times, and it would have been valuable to hear from other workers in the business to offset what could be a limited perspective from the top. Still, Iliana does come across as honest, and audiences will be unlikely to see her as an insincere subject. The second half of Ashes is devoted to the 2022 fire in the region which lasted for four days, ultimately destroying 90% of Iliana’s vineyards. The feeling of loss is palpable, and the accompanying imagery of fires raging through the night are shocking. Mathioudakis chooses to focus the narrative on human resilience, as Iliana quickly moves on from the damage done to her vineyards towards community strength. From talk of community created Fire Protection Plans to a frustration with poor evacuation communications, it’s clear that the film is gesturing towards the role of the private sector versus the state. In a particularly refreshing moment of directness, Iliana declares that ‘the state must assume its responsibility’. Ashes ultimately presents a strong case for community solidarity as well as the importance of human resilience. In a particularly poignant scene, Iliana flips through a physical picture book, showing images of the fire to the camera. The choice to show Iliana turning the pages herself rather than showing the images full screen reminds viewers of the closeness of the fire, and how much it touched the lives of those in the community. It’s a reminder that while nobody died, the fires directly impacted the lives of the community, and their ability to continue together undeterred is demonstrative of the human spirit. Ashes will provide audiences with a powerful statement on surviving hardship and the potential for regrowth following tragedy. The focus on community transforms the story from one of personal success towards the power of community solidarity and reinvestment. Iliana’s community learned a great deal from the fires in 2022, by applying their collective experience towards an initiative to support fire relief efforts in the future, something valuable can grow from the ashes and make a difference for the future. Buy UKFR Banner Space About the Film Critic Matt Trapp Documentary < All Reviews Next Film Review >

Zombie Beach film review by UK film critic Brian Penn. Starring Mukesh Asopa, Katherine Stefanski, Kamal Nandi directed by Mukesh Asopa. HOME | FILMS | REVIEWS Zombie Beach Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Mar 5, 2022 Directed by: Mukesh Asopa Written by: Twinkle Asopa, Rajesh Asopa, Mukesh Asopa Starring: Mukesh Asopa, Katherine Stefanski, Kamal Nandi The horror genre will frequently fall back on a reliable formula and the haunting spectre of zombies causing mayhem is a rich source of inspiration. The notion of flesh eating, undead beings has kept fans happy for generations. Zombie Beach sticks faithfully to the rules and executes a familiar narrative with more than a dash of gusto. Roshan (Mukesh Asopa) returns from India to rejoin girlfriend Vanessa (Katherine Stefanski). High school friends Justin (Josh Macdonald) and Mike (Wade Gamble) are also on hand to welcome him home. However, Roshan is distracted by recurring dreams despite the assurance of Vanessa. Meanwhile, Justin and Mike have a side hustle as they convince Cindy (Nikki Yee) that pictures of her in a bikini will be good for her modelling aspirations. They venture down to Zombie Beach to further their enterprise. However, they get much more than they bargained for. Roshan and Vanessa set off to investigate their absence and make a shocking discovery. The couple encounter a Holy Man (Kamal Nandi) who tells of a legend born many centuries before. Rather than risk a full out war of revelation, a deal was struck between the heroes of the good and the evil. The legend foretold the coming of a new hero who will eradicate the forces of evil and the undead. But how exactly is Roshan involved in this mysterious turn of events? There are few surprises here because the plot follows a fairly predictable line. In many respects there is less propensity to cause genuine suspense or invoke elements of shock. Shot in a flickering, grainy mix of colour and monochrome it has the look of a classic 70s B movie. That in itself is no bad thing as it will help secure cult status. That is the real test for any film shot with a modest budget; can it create a unique aura that will attract a sufficient fan base? It certainly has the potential with strong imagery and a clean soundtrack. There is also an entertaining climax to the piece, which raises this film above the standard offering of similar efforts in this genre. This is a solid piece that demonstrates a complete understanding of the horror genre. Buy UKFR Banner Space About the Film Critic Brian Penn Indie Feature Film < All Reviews Next Film Review >

Inu-Oh film review by UK film critic Matt Weiner. Starring Mirai Moriyama, Avu-Chan directed by Masaaki Yuasa. HOME | FILMS | REVIEWS Inu-Oh Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Aug 11, 2022 Directed by: Masaaki Yuasa Written by: Hideo Furukawa, Akiko Nogi Starring: Mirai Moriyama, Avu-Chan Inu-Oh is one of those movies where the less you know going in, the more of a delight it becomes as the story unfolds. Stop right now, go see the movie and you won’t be disappointed. To call director Masaaki Yuasa’s take on feudal Japan a Noh rock opera undersells the delirious places the movie goes, even for Yuasa (although if you watched his Devilman Crybaby on Netflix, you know what you’re in for). What starts with a ghost story and a brief history of the birth of Noh in 14th century Japan becomes a rollicking, righteous homage to the likes of Queen and Bowie. The animation is as fluid and rhythmic as the music, and Inu-Oh is always beautiful to look at. But the music is where the film soars—along with its almost relentlessly on-message theme. The story focuses on the friendship between Tomona (Mirai Moriyama), a blind biwa player looking to avenge his father, and Inu-oh (Avu-chan), a demonic child who can only exorcise his curse through storytelling. But these aren’t just any stories. Tomona and Inu-oh form a band and start staging modern rock performances that inspire crowds but anger the shogun and the more traditional troupes that will become the highly regimented Noh. For Tomona, there is a creative imperative to be yourself and decide who that is, even under threat of execution. And for Inu-oh, their new form of expression is even more essential. As he tells these forgotten stories of dead Heike warriors, he slowly becomes more and more human. The message isn’t subtle, and just in case, it’s spelled out explicitly by Tomona and Inu-oh. The songs are a way to honor memories. If our stories are forgotten, what do we have left? Still, it’s hard to argue. And harder still to resist when delivered in the form of Yuasa’s brilliantly conceived stage performances that blend traditional, modern and downright trippy into something wholly new. It’s about as joyful a movie as you’re likely to get for a feudal ghost story about curses and family tragedy. It’s also a movie that manages to be both epic and immediate. History for Inu-oh is alive. And art needs to be as well if it’s going to have any lasting relevance for an audience. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release, Animation, World Cinema < All Reviews Next Film Review >

A Bunny Girl’s Tale film review by UK film critic Amber Jackson. Starring Kathleen Bascombe, Antonia Beamish, Kitty Beamish directed by Sarah Miles. HOME | FILMS | REVIEWS A Bunny Girl’s Tale Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Oct 6, 2022 Directed by: Sarah Miles Written by: Sarah Miles Starring: Kathleen Bascombe, Antonia Beamish, Kitty Beamish A Bunny Girl’s Tale is a short introspective film detailing what it meant to be a Bunny Girl specifically in 1970s England. As director Sarah Miles herself wished to be a Bunny Girl when she was younger, she interviews several original Bunnies out of curiosity as well as to learn the rules and expectations of the job. Whilst this insight is fun as the women reminisce, the short film also briefly touches on the hard-hitting reality of the profession – and with that comes a more sinister side. ‘We thought we knew it all, but we didn’t – but we had a great time’ Produced in 1998, multi-layers of nostalgia and discussion are at play here. The film begins with brief insights from women who are looking back on their youth and their work as Bunnies and the realities of the job. Some moments are hard-hitting, as they expand upon the regulations into how women had to look and behave, along with the training that they all had to obey. It is undoubtedly a thought-provoking ‘where are they now’ film, as the audience gets to see where these women’s lives have led after being a Bunny. Although, this is only briefly! It does feel as though their individual narratives are brushed over a little bit too quickly and it seems a shame to not focus more into that. The hindsight that these women are able to offer is empowering, despite describing themselves as ‘naïve’ young women at the time. Important themes are touched upon too, along with a lack of male shame versus female enjoyment and the desire for glamour and attention. The 1976 unsolved murder of a Bunny Girl is an unsettling twist in reality that no one being interviewed wished to discuss. Therefore, Miles’ musings on the case are brushed aside fairly quickly in favour of more reminiscent dialogue on ‘the good old days.’ And there isn’t much information about this crime online which proves Miles to be correct – either not much is known about it, or no one wants to talk about it. However, this scene is over as quickly as it starts, and we are left wondering what on earth happened to that poor woman. Filmed inside nondescript locations, such as inside a house or outside in a green space, as well as a studio, allows for the camerawork to be fairly artsy and experimental in style. In exploring different medias with dramatizations, along with archive footage, this short film presents itself as forward-thinking. Needless to say, this film is one for recalling fond memories from a very middle-class English perspective, rather than focusing on the heavier topics. This leaves the tone of the film feeling slightly confused, as we struggle to perhaps understand the messages that Miles wants to convey. Despite having an intriguing atmosphere and being engaging to watch, the overall point of A Bunny Girl’s Tale is lost in the abstract camerawork and singing scenes – although beautifully shot, perhaps not the most impactful. We still find ourselves asking: what does it mean to be a Bunny Girl? Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Space Goblins film review by UK film critic Patrick Foley. Starring AMS Overton, HTB directed by AMS Overton. HOME | FILMS | REVIEWS Space Goblins Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Aug 9, 2025 Directed by: AMS Overton Written by: AMS Overton, HTB Starring: AMS Overton, HTB Punky sci-fi short Space Goblins is an irreverent throwback to cult animated comedies of the 90s such as Ren & Stimpy . Its underground humour will please an alternative crowd who enjoy genre-mixing and narrative deconstruction. The story follows Gib (AMS Overton) and Gob (HTB), a pair of goblin bounty hunters in space on the hunt for tax avoiders and other prey. Gib regularly experiences existential crisis, pondering the meaning of his role in life and the universe, whereas Gob in instinctive – comfortable his role and with his goal. The pair’s galactic adventures give Gib much to ponder, as they encounter con-men, criminals and a domineering Captain Rhodes (HTB). Space Goblins is what you get when you take Jules and Vincent from Pulp Fiction , turn them green, and put them in a world that is a mix of Rick & Morty , Ren & Stimpy and The Hitchhikers Guide to the Galaxy . This animated short from creators (and voice actors) AMS Overton and HTB is packed with witty dialogue and dissecting humour that shows a great appreciation for both the sci-fi and buddy cop genre, as the titular alien monster Goblins embark on low-level bounty hunting, but manage to find universal truths in their line of work (at least in Gib’s case). The simple premise of subverting the audience’s expectations with theoretical musings works well and is an engaging base for the film to succeed – at least as a fun short. This is helped out further by the amateurish animation style – which brilliantly captures the homemade, upstart feel of 90s late-night alternative comedies that Space Goblins pays homage. Creator AMS Overton is credited with the animation and character designs, and their ramshackle style makes for an unnerving but inventive atmosphere for the short. These stylings build the sense that the work is that of an original, maverick creator – something impossible to recreate authentically but true in the case of Space Goblins’ low-budget production. The voice acting from the co-creators is impressive, and each of the weird and wonderful monstrous cast stand out as unique creations with individual personalities. Whether it is the contrasting personalities of Gib and Gob themselves, or the rogue’s gallery they encounter such as a shady four-eyed bartender or surprisingly human hustler Sellers, AMS Overton and HTB enliven the characters with their committed vocal performances that are wonderfully alien. Captain Rhodes is a bit of a misfire, feeling a little derivative and passé especially given the originality that is evident through the rest of the film. Space Goblins is definitely an acquired taste, and those without the context of its inspirations may be put off by the distinctive animation style or alternative comedic stylings. But this ground-up creation succeeds in its ambition and has enough laugh-out-loud moments thanks to excellent vocal work and a considered script. Watch our Video Film Review of Space Goblins on TikTok. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >