213 Bones film review by UK film critic Patrick Foley. Starring Colin Egglesfield, Dean Cameron, Luna Fujimoto directed by Jeffrey Primm. HOME | FILMS | REVIEWS 213 Bones Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Aug 26, 2025 Directed by: Jeffrey Primm Written by: Jeffrey Primm, Dominic Arcelin Starring: Colin Egglesfield, Dean Cameron, Luna Fujimoto It’s hard to find an original angle for slasher films in 2025. Many of the more prominent features come with a heavy dusting of parody, or rely on ever-increasing supernatural crutches to escalate horror – often at the expense of story and coherence. 213 Bones prefers to go back to basics with its grounded college setting, and frames its grizzly murders around a whodunnit story structure that make it a throwback to classics such as Scream . It follows a group of anthropology students whose local college is terrorised by a masked killer. Students such as Lisa (Luna Fujimoto) and Brent (Hunter Nance) set out on their own investigation whilst their Teacher Kelly (Colin Egglesfield) and local police Sheriff Bracco (Ernest Walker) and Deputy Freeman (Adara Toop) hunt the killer. As more and more students drop dead, it becomes clear that the murderer is closer to the survivors than they think. 213 Bones is an admirable but sadly uninspired effort at capturing the brilliance of its classic slasher-mystery predecessors. It’s hard to get invested in the hunting down of its young cast of victims when none of them receive any real character development. Hunter Nance’s socially awkward Brent and weed-loving couple Eric (Liam Woodrum) and Joanna (Simone Lockhart) are the most interesting of the bunch, but audiences will struggle to forge much of a connection outside of this. Neither do any of them fully embody the classic slasher-cast stereotypes that they merely skirt around the edges of – the jock, the overly-innocent girl, the castoff. Characters instead come across as hollow allusions. Similarly, the mystery at the film’s heart also lacks inspiration. It works as a vehicle, delivering a coherent plot which viewers won’t feel ripped off from and raises just enough possible candidates before the big unveiling. But there is nothing especially complex or gripping about the killer’s motives and viewers are unlikely to come away with a sense of real satisfaction – and an eye-roll inducing juxtaposition-dump at the conclusion is a real underlining of this. Whilst the script itself is largely fine, it falls flat as the characters learn of their classmates’ gruesome murders – some reactions more akin to being told their fridge was left open that day. For a film that intends to play its story straight, it is a disappointing omission not to allow the cast to let the emotional impact of their losses leave more of an impression. The murderer’s design is back-to-basics – a menacing but low-key masked façade that is believable without being extravagant or clearly aimed for virality. Murder sequences themselves are quite restrained – plenty of characters meet a deadly fate but the director never truly lingers with the blood and guts. Fans who enjoy the gore might come away feeling short-changed, but those who prefer the mystery element won’t be as offended by the omission. Whilst it suffers from lack of inspiration and really offers nothing that even casual horror fans will not have seen before, 213 Bones is not a bad movie, and its influence from slasher mysteries from the turn of the millennium is clear to see through director Jeffrey Primm’s presentation that doubles as a tribute to these films and successful to implantation of youthfulness in the film. It is a terrible shame that the director’s passing means that we will not be able to see what he could have done with a stronger script or more developed characters, but 213 Bones shows potential, and at least aims towards a style of horror that feels at risk of being left behind. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Film Festival < All Reviews Next Film Review >

Anno 2020 film review by UK film critic Chris Buick. Starring Jessica Castello, Sheila Ball, Gil Ben-Moshe, Lital Luzon, Adriana Moccia, Kevin Scott Allen, Greg Poppleton, Andre Doc Green, Shaun Huff, La Rivers directed by James Morcan. HOME | FILMS | REVIEWS Anno 2020 Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Feb 13, 2025 Directed by: James Morcan Written by: James Morcan Starring: Jessica Castello, Sheila Ball, Gil Ben-Moshe, Lital Luzon, Adriana Moccia, Kevin Scott Allen, Greg Poppleton, Andre Doc Green, Shaun Huff, La Rivers Anno 2020 is writer and director James Morcan’s adaptation of his own novel of the same name, which weaves together a series of interconnecting stories set during the COVID-19 pandemic. Now, in this feature, Anno 2020 looks to encapsulate further still that turbulent period through especially relatable experiences as we follow the lives of an ensemble cast of characters spread far and wide across the globe. Anno 2020 is a film that, despite some issues, achieves a great deal and fully deserves significant credit. Firstly, as an undertaking in itself, Anno 2020 is a monumental achievement in terms of just getting a film made, with Morcan beginning actual production of the film during the pandemic yet somehow managing to capture footage from seventeen different cities within five countries across four different continents, and all for a mere six thousand dollars. We start at the beginning, with early rumblings of a virus in China eventually making its way west, and then journey with our characters as it takes hold of the world. We follow quite a diverse group; travel-blogger Emma is stuck in Wuhan during this time feeding on conspiracy theories before reconnecting with her mother Heather when Heather reveals her cancer diagnosis. There’s Elijah, living in the States estranged from his Australian family home after coming out and struggling to reconnect with his brother Mark. Then there’s Levi, a man using this time to pursue two different women online. And then there are childhood best friends Jarrell and Malik, two journalists whose personal and professional relationships are nearly torn apart by the appearance of Malik’s new love interest Imani. It moves surprisingly quickly for a two-and-a-half-hour film, jumping back and forth constantly between stories to keep things moving along and fresh. Where the well-earned poignancy of the film is let down is in the delivery from the cast, at times feeling like a collation of dramatic soap-opera vignettes full of over-long, digressing monologues rather than conversations, something that may translate better on the page but not as well on screen, and there are also scenes which often have scores laid over them that really don’t seem to vibe with the emotion of the moment. But despite that, nothing should take away from what Anno 2020 represents. Through these stories, Morcan shows just how much impact the pandemic had on everything , how the world changed, how the medical, economic, and societal consequences of the pandemic are still being unraveled, how a constant stream of conspiracies and distrust grew out of nowhere and most of all, how people’s lives all over the world were turned upside-down. But it also shows how despite all of that, in so many ways, the world also became more connected as people chose to reset, re-think, and re-evaluate what is really important. So, while some may question the need for more stories on the pandemic given how we all experienced it firsthand, to be able to look back and study the humanity of it all will always be important. With that, one would argue that is exactly the reason we need films like Anno 2020, a n ambitious look back at one of the most significant periods in human history filled with passion and important reflection. Buy UKFR Banner Space About the Film Critic Chris Buick Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Don't Look Up - Again film review by UK film critic India Gwyn-Williams. Starring Nisha Taylor, Bradford Konowitz, Bridget Ingal, Alexandria Saylor directed by Nisha Taylor. HOME | FILMS | REVIEWS Don't Look Up - Again Film Review average rating is 3 out of 5 Critic: India Gwyn-Williams | Posted on: Mar 16, 2026 Directed by: Nisha Taylor Written by: Nisha Taylor Starring: Nisha Taylor, Bradford Konowitz, Bridget Ingal, Alexandria Saylor Nisha Taylor’s feature length documentary Don’t Look Up - Again explores the lead up to the 2023 Youth Spring Climate Justice Act. This represents a successful but delayed recognition of youth groups who, fearing the state of their future with the threat of global warming, demanded change. The documentary and its title refer to Adam McKay’s 2021 black comedy film Don’t Look Up, which presents a world very similar to ours. It is fated to end with the impact of a comet and while the protagonists endeavour to warn people of such a sincere threat, they are met with ignorance and dismissal. Such concepts imitate the real world where many, from youth groups to scientific experts, desperately try to communicate the threat of global warming with little success or recognition. The film’s satirical imitation of actual events in the world sparked a level of activism in people to improve the state of the planet, and this documentary explores one of the impressive effects the film had. The informative aspect of Taylor’s documentary shows passion and dedication - it offers a multitude of interviews from individuals who responded publicly to Don‘t Look Up and were thus involved in the social media uproar that followed. The documentary presents a chronological expansion - beginning with a central subject of McKay’s film and its critical response, to the response of real media personnel. The insight into this audience subgroup was incredibly engaging. As people both inspired by the film and belonging to a profession which offers a level of visibility, this specific audience were able to draw the message of Don’t Look Up from a satirical context into the real world. The narrative sequence offering their tales of rebellion against their superiors makes for incredible storytelling. Though this instance of the storytelling is effective, it is a majoritively abandoned aspect in the body of the documentary - made up by a number of interview clips. A steady progression remains in the story through the phases, identifiable by their introductions of people affected by the film and thus portraying the vastness of the audience. What begins as an enclosed conversation of McKay’s film grows to individual stories of people in the media and in climate change research who were impacted, inspiring youth groups and real world change. The ripple effect is large, impressive, and the documentary effectively conveys the extent of the growing conversation on climate change, but viewers may feel that the frequent, consecutive clips of news anchors is repetitive. It arguably restricts the flow of the documentary, affecting the viewing experience. While this could have been improved by a clearer or stronger line of narrative from its maker, the informative aspect remains impressive and well-researched. It is an intricate accumulation of people affected by the message of Don’t Look Up , stories of them risking their careers and reputation to affirm it and an exploration into its impact on our world. All the while, it is proving the power of film and solidarity, which means that simply by existing, Don’t Look Up Again it is an aid to an incredibly important instruction - save our world. Buy UKFR Banner Space About the Film Critic India Gwyn-Williams Documentary < All Reviews Next Film Review >

Apples Oranges Lemons & Limes film review by UK film critic Swati Verma. Starring Calvin Waldau, Skye Marie Sena, Juan Rodriguez Leon directed by Pat Mitchell. HOME | FILMS | REVIEWS Apples Oranges Lemons & Limes Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 22, 2023 Directed by: Pat Mitchell Written by: Pat Mitchell Starring: Calvin Waldau, Skye Marie Sena, Juan Rodriguez Leon The writer-director Pat Mitchell is a self-taught filmmaker who wants to continuously learn several techniques to give his audience a fresh perspective on the youth and the partying culture through the two protagonists Henry(Calvin Waldau) and Natalie(Skye Marie Sena). The plot of Apples, Oranges, Lemons & Limes revolves around Henry a timid young man who chronically suffers from social anxiety. At a party, an unlikely encounter inspires a night of drinking, joy, and romance. In the opening sequence, long shot of Henry Boyd in the washroom battling his social anxiety issues just before partying with friends as he wants to let loose and enjoy what he missed out on in middle school. Introducing the main character in this manner allows the audience to build an emotional connection with the content ready to embark on the journey. A house party set-up along with upbeat music and gaming gives the viewers a perfect uplift to the mood of the film with a fresh and youthful outlook on the subject matter it deals with. Pat Mitchell utilises the technique of hybrid genre to combine romance, drama, comedy, suspense, and thriller to add the elements of realism and relatability among the younger section of the viewers allowing them to learn some valuable lessons from the film. In terms of performance, Calvin Waldau plays the male protagonist Henry Boyd a shy guy who now wants to explore various aspects of life like romance, drama, and adventure with the second chance he has got. Waldau understands the nuances of his character. The dressing style, hair, makeup, body language, dialogues, and expressions all mimic someone who is in the stage where people get confused about their aspirations and dreams in life. With his brilliant acting skills, Calvin Waldau has proved that he has a very strong screen presence which helps him to demand the attention of the audience each time he features in the scene. The chemistry between Waldau and Sena appears to be natural and makes them shine all through the performance. Skye Marie Sena plays Natalie Newman the love interest of Henry. Newman is a very beautiful and popular girl yet faces her struggle in middle school not known to anyone. Sena’s portrayal drops many truth bombs for all the girls busting many myths people have concerning beauty or popularity. The carefully written conversations between Henry and Natalie help the actress to add multiple layers to her character both emotionally and look wise making it interesting for the viewers to decode the same and eagerly wait for the climax. Apples, Oranges, Lemons and Limes talks about devising one’s personalised mantra to combat social anxiety issues as it is different for different people and the methods used by one may or may not work for the other person. The short film reiterates that popularity and being beautiful do not mean that life would be free from all problems. The suspense thriller restates that one should be courageous enough to give love a second chance and not hide romantic feelings due to a bad experience in the past. The romantic drama tells that people shouldn’t be competing in the race of fitting in but trying to be not afraid of true to what they are is the best policy in life. The cinematic piece also discusses the significance of taking responsibility for our happiness ourselves rather than putting the burden on their shoulders for the same can be detrimental to the relationships we share with them. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Monochromatic film review by UK film critic Patrick Foley. Starring Stephanie Levi-John, Sonnyboy Skelton, Cressida Cooper directed by Karen Bryson. HOME | FILMS | REVIEWS Monochromatic Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Jun 5, 2023 Directed by: Karen Bryson Written by: Karen Bryson Starring: Stephanie Levi-John, Sonnyboy Skelton, Cressida Cooper Cinema does not come in a form much more personal than in Karen Bryson’s Monochromatic , a harrowing and emotional semi-autobiographical short about a young girl growing up in a world that slowly reveals its prejudice. In 1970s London, Grace (Kennedy McCallam-Martin) is growing up with her mother Bev (Stephanie Levi-John). We are given snapshots of Grace’s life as she slowly begins to realise that the country she is growing up in is hostile towards her because of her skin colour. Her mother’s fears and traumas become more apparent as her memories become more profound – and the impact of discrimination is shown to last a lifetime. Monochromatic is a meaningful and significant work that will leave a lasting impression on its audience. Shot in the first-person, viewers are intimately invited into Grace’s life – experiencing the innocence of childhood, the confusion of her first interactions with discrimination and the difficulty in processing the impact racism has on her mother. The choice to present the film in such a way is bold, but one that thoroughly pays off. Slow revelations such as National Front graffiti or the steel-tipped boots of a neo-nazi are horrifying to modern audiences – but by framing them in such a way through Grace’s eyes, we feel the same sense of slow conceptualising that she does as the protagonist. There is also a chaotic and dishevelled drive created by this framing, as Grace’s active childlike nature means the viewer is constantly in motion. This also matches the sense that the family’s lives can never truly be stable whilst they live under threat from racism in their community. Stephanie Levi-John is remarkable as Grace’s mother Bev, taking the focus of much of the film given this first-person nature by virtue of her central role in Grace’s upbringing. Bev is desperate to be a powerful and authoritative role model for her daughter, but wary and horrified by her surroundings and many of her neighbours because of their prejudices. This juxtaposition is captured fantastically by Levi-John – capable of emoting great anguish before giving her best attempts at morphing back into a mother figure for Grace. It’s a wonderful performance – and one that will enrage the viewer that someone they instantly attach to is treated so terribly. 70’s London is recreated brilliantly by the filmmakers. Whether it’s fashion choices, unmistakable wallpaper or a distinctive shade of dog poo (did scientists ever figure that one out?), the world of Grace’s youth matches the immersion created by the directional choices. Authenticity is essential to a film so personal and so powerful – and it is provided in spades throughout. Monochromatic ’s powerful and vivid depiction of a dark time for racial equality in the UK is a highly recommended view – which will leave a lasting impression on audiences who will be reminded that even though the events they see are from days gone, the impact they leave still lingers. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

What I'm Hiding From You film review by UK film critic Jason Knight. Starring Isidro Ridout directed by Conor Devlin-Powell. HOME | FILMS | REVIEWS What I'm Hiding From You Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 9, 2024 Directed by: Conor Devlin-Powell Written by: Conor Devlin-Powell Starring: Isidro Ridout An experimental short film about a troubled young man. This film commemorates Autism Awareness Month April 2024 and its contents appear to follow a youth (Ridout) who is a neurodivergent. After beginning with a title card that contains a definition of 'masking', the short moves to the protagonist, who is the only person seen in the film. There is a sort of narrative that seems to be about a man who is different (probably due to autism) and is forced to become 'normal'. To describe the story briefly, it begins with the protagonist walking on a pavement, before suffering what is probably a panic attack. Then, he is in a darkened environment, where a pair of hands wearing hygiene gloves (a doctor's hands?) are examining his face, ostensibly trying to find out what is wrong with him, why he is different and the result is the man now in an underground station, wearing a suit and a mask of an expressionless human face, apparently having now become a normal person. This four-and-a-half-minute long film contains a variety of filmmaking techniques. Regarding the visual aspects, cinematographer Roo England often makes the image appear grainy and Powell makes extensive use of fast cutting, resulting in tense sequences. The short is separated into chapters, each apparently being a different stage of the hero's psychological transitions. During the scene where the man is extremely anxious, words appear on screen that seem to be upsetting things that people have said to him, such as 'Grow Up', 'Be Normal', 'Loner' and 'Why are you so weird?'. When it comes to the camera, Powell frequently creates close-ups of Ridout's face, obviously with the intention of catching his expressions and thanks to the actor's performance, they vividly reveal a tormented person. Live action is combined with animation, an example being the character surrounded by animated humans while he is in a troubled state, probably judging him or mocking him. Rotoscope animation is present throughout the film, proving Powell's abilities as an animator. Regarding the audio, there is no speech and thanks to the contributions of composer Jagun Meseorisa, there is music that sounds electronic and also tense and sinister. The film is also loaded with plenty of dynamic sound effects. This short is a psychological drama. It is basically a commentary about neurodivergent people, about being different and being forced to become someone else. With animation and a surreal atmosphere, it explores how people with such conditions feel, the challenges they have to face including isolation and despair and it points out that sometimes people 'wear masks', meaning that they pretend they are just like others in order to be accepted. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Coup de Chance film review by UK film critic Jack Salvadori. Starring Lou de Laâge, Niels Schneider, Anna Laik directed by Woody Allen. HOME | FILMS | REVIEWS Coup de Chance Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Feb 7, 2024 Directed by: Woody Allen Written by: Woody Allen Starring: Lou de Laâge, Niels Schneider, Anna Laik All good things must come to an end. Even the best ones - the ones we’re so used to that they end up becoming ordinary elements in our life. This one began in 1969, with Woody Allen’s directorial debut, the cult hit Take The Money And Run, setting him on a path that led him to become an icon. Since then, almost every year, we have had a date with Woody Allen - a chance to dive for an hour and half into his unique world of witty New York salons, Jewish humour at its finest, and existential ennui. The most prolific voice in American cinema, he has surely earned his retirement, and now, reaching his 50th film, he seems to have crossed the finish line. For such a directorial achievement, he has decided to treat himself and shoot Coup de Chance in his favourite city, Paris, and for the first time entirely in French, a language he doesn’t speak (yet, he claims you can still tell good and bad acting nevertheless). We find familiar elements from the director’s classic inventory: a writer in love, private eyes, suspicious minds, and hitmen. Similar in structure to Match Point, and also to his less successful Cassandra’s Dream, this time suspense is replaced with humour. In all these films he plays with fate, and how serendipitous events may have drastic consequences in our life. Such a belief is the perfect ground for irony, for no matter how tragic the goings-on may be, they leave the audience with a cynical smile, wondering at the curious twisted turns of luck. Sharp as always, Allen’s typewriter delivers a masterclass in characterisation, and in just a few minutes it feels like we have always known the protagonists. Playfully shot by legendary cinematographer Vittorio Storaro, the camera vigorously moves in long-takes and articulate movements, painting each shot with bold colours and a decisive poetic touch. Two old friends still having fun, and simultaneously two masters with still a lot to teach. Coup De Chance is easily Allen’s best film in a decade, and I personally rank it in the director’s top 20. The plot twist, as usual, is pure genius, and it got an instant round of applause from the bemused audience that continued all the way till the credits started to roll on screen, showing, perhaps for the last time, the iconic Written & Directed by Woody Allen. And if this is indeed the last time we’ll be graced with Woody’s magic, we can at least sigh with a bittersweet smile: he is going out with a bang. Buy UKFR Banner Space About the Film Critic Jack Salvadori Theatrical Release < All Reviews Next Film Review >

Silent Night film review by UK film critic George Wolf. Starring Joel Kinnaman directed by John Woo. HOME | FILMS | REVIEWS Silent Night Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Nov 29, 2023 Directed by: John Woo Written by: Robert Archer Lynn Starring: Joel Kinnaman December is a busy month, so Brian (Joel Kinnaman) has some helpful reminders written on his wall calendar. “Pick up Mom from the airport?” “Buy a ham?” No, no, Brian is thinking bigger this year, especially for his Christmas Eve party plans. “Kill them all!” And, if things go really well, “start a gang war?” Yes, he really writes that down. A year ago, Brian’s son was killed by a stray bullet from a gangland shootout in suburban Texas. Brian himself was shot in the throat during the mayhem, and he’s spent all his silent days and nights since then ignoring his wife (Catalina Sandino Moreno, doing what she can with a thankless role) and planning some very bad tidings of revenge. Silent Night is director John Woo’s first American film in 20 years, but his considerable skill with an action sequence is never enough to elevate the film beyond a misguided fantasy of bloodlust and wall-building. And even then, the blood-spilling combat doesn’t begin until nearly halfway in, as we wade through 50 tedious minutes of dialog-free montages with Brian target shooting, reinforcing his ride and making anguished faces. Despite the title, the Christmas setting feels tacked-on for marketing purposes, becoming the only theme in Robert Archer Lynn’s script that’s soft-pedaled. The “silent” gimmick becomes contrived pretty quickly, there are numerous gaps in logic and you wonder why everyone involved here was so comfortable with an angry, self-righteous white man executing countless Mexicans. Sure, Brian tips off an African-American cop (Scott Mescudi) about his mission to do what the law won’t, but the film is never hazy about what heroes and villains look like. Those hand-written calendar notes teased the possibility for some humorous lunacy that is completely ignored, as the only thing over-the-top here is the utter seriousness of tone. Could Nic Cage and a face-off machine have saved this holiday turkey? Tough call. Even Woo’s battle sequences seem uninspired and repetitive, and the most memorable piece of the action in Silent Night becomes how much louder its speaking. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Glass film review by UK film critic Joe Beck. Starring Susan Taylor, Brendan James Hanrahan, Alex Kyle Young, Darren Barnet, Veronica Sixtos, Anna Berg directed by Brionne Davis. HOME | FILMS | REVIEWS Glass Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Jun 8, 2022 Directed by: Brionne Davis Written by: Darren Barnet, Alex Kyle Young Starring: Susan Taylor, Brendan James Hanrahan, Alex Kyle Young, Darren Barnet, Veronica Sixtos, Anna Berg There are moments of ‘Glass’ in which it promises to be a tight, well-thought-out family drama, however, it descends far too often into melodrama. The melodrama is cheesy and comes across as insincere - the kind of thing you’d see on an early evening talk show as you’re gathering around for dinner. Dinner is what provokes what will hereby be known as ‘the incident’ which sparks the core issue of the film. A family, we don’t know their family name, are gathered around the table for dinner - the parents being Nadine, an ambiguous woman played by Susan Traylor, and Frank, a balding, middle-aged man with a sharp temper who is played by Brendan James Hanrahan. Also at the table, we have Austin (Alex Kyle Young), Danny (Darren Barnet), Allie (Anna Berg) and Yolanda (Veronica Sixtos). Other than the fact that Austin and Yolanda are seeing each other, their relationship with each other, and indeed Nadine and Frank, remains unknown. This means that it is more difficult to build tension between the characters and Frank, as he unleashes his drunken tirade. It is very much a tirade, unleashing an onslaught of words at Danny for his unhappiness towards his unfavourable position at work - brought about by his lack of qualifications. There are also complaints towards Yolanda, who is unhappy that she hasn’t yet received a promotion - something Frank blames on her poor work ethic. Naturally, Yolanda doesn’t take too well to this, fighting fire with fire, and provoking ‘the incident’, which, unsurprisingly involves some glass. This is the climax of the film - a problem given that this scene concludes just five minutes in. That leaves the remainder of the film as something of an anti-climax, with a time-jump springing a shock which was supposed to have emotional weight, but is instead devoid of feeling. This is largely due to the poor establishment of each of the characters in the film, all of whom are one-dimensional at best. Frank is a hot-tempered man when drunk, and a kind-hearted man when sober. Danny is a bit of a scrounger, with big ambitions but lacking the ambition to fulfil them. Austin is a quiet guy, though not afraid to pull any punches. Yolanda knows that she’s above all the petty family drama and isn’t afraid to stand up for herself. Two characters - Nadine and Allie are non-entities, given barely a bone to feed on, and remain blank canvases throughout. This suggests a larger problem with the script, which was penned by Darren Barnet from a story by Alex Kyle Young. The script omits too much information which is needed to give the film’s latter half any emotion. Additionally, rather than fill in the blanks, there is instead a meaningless scene of Frank hugging a young girl, before an eight-month time jump to an unexpected turn of events, which is just sprung on us with no build-up. Whilst the script is impressive in the film’s first half, it fails to flesh out its character, leaving the second half anti-climactic and ultimately disappointing. In a similar vein, the direction from Brionne Davis excels in the first half but is lacklustre in the second. In the first half, Davis’ close-up shots of Frank, complete with a shaky camera to echo his drunken state, set the scene perfectly and effectively set up the climax. However, in the second it reverts to a corny, hallmark quality direction, only amplifying the sense of melodrama, with the film being drenched in light overbearingly to establish Frank’s change in character. The acting, for the most part, is competent - especially that of Brendan James Hanrahan, who goes through the full range of emotions as Frank, including an excellent almost maniacal moment as he reaches the peak of his toxicity. Alex Kyle Young and Darren Barnet are also impressive, the latter of ‘Never Have I Ever’ fame, giving understated performances as Austin and Danny respectively. Veronica Sixtos is good, though her role is constrained to a few angry outbursts, whilst Susan Traylor and Anna Berg never really get the opportunity to impress. The first half of ‘Glass’ is an example of near-perfect tension building, however, it reaches its climax far too soon, leaving the second half reaching in the dark, and failing to switch on the light. Poor characterisation of pretty much every character drags the film down, with nobody given anything much to work with in a disappointing second half. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Hit Man: Secrets of Lies film review by UK film critic Joe Beck. Starring Richard Kind, William Sadler, Karen Allen, Peter Riegert directed by Elias Plagianos. HOME | FILMS | REVIEWS Hit Man: Secrets of Lies Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 11, 2023 Directed by: Elias Plagianos Written by: Elias Plagianos Starring: Richard Kind, William Sadler, Karen Allen, Peter Riegert You may expect a film entitled ‘Hit Man: Secrets of Lies’ to be a middling action film, with a bald man played by either Timothy Olyphant or Rupert Friend totting some heavy duty weapons. Instead, ‘Secrets of Lies’ is a cold, brooding thriller - a character study asking why we do what we do, especially when what we do has such a profound impact on others. The hitman at the centre of ‘Secrets of Lies’ isn’t the muscle-man you expect in these sort of films either, instead he’s a world-wearied Richard Kind, who’s starting to feel all the years he’s put into the business take a toll on his body. Kind plays JP Keller, though for much of the film is Al Gordon, as he navigates interwoven plots involving a therapy session and a mission to a quiet rural town. Following the vein of the iconic ‘The Sopranos’, it’s always interesting to see a bad guy in therapy and forced to face the weight of their actions. That’s what Keller has to do, seeking a connection and understanding of his past and how it has impacted the man which he became. Therapist Jerrald Been (William Sadler) doesn’t offer very much in terms of comfort, more nodding on as Keller talks about his childhood and his absent father. That’s further built upon on Keller’s mission, which takes him to a leafy All-American town in the north, the kind of idyllic place men of his age normally retire. His target is Ed Vandemeer (Peter Riegert), who quietly enjoys life in the witness protection programme with his wife Betty (Karen Allen). We never learn what Ed has done and that’s the point. It outlines the coldness of Keller’s job, and how little of it involves any passion. Writer-director Elias Plagianos illustrates this inherent coldness in Keller, which has come from years of making his living on the misfortune of others. He approaches everything with a sigh and a sad glance, with the knowledge that his time spent in this communal town will be abruptly cut short by his own responsibilities and actions. Based on the novel ‘Hit Man’ by Lawrence Block, Plagianos brings the story to life adeptly, with a nuanced screenplay and competent direction clearly painting a character that can blend in anywhere, and with a danger about his presence, mixed with years of regret and tiredness. Richard Kind is impressive in the lead role, possessing both a brewing menace and a genial warmth in equal measure. It’s a subtle performance, not showy at any point but instead focused on a deft glance and the slyly false intonation in his voice. It is always nice to see the likes of Sadler, Allen and Riegert grace our screens and they provide honest performances, particularly Allen, to match Kind’s subtlety. The title itself doesn’t make sense, how can you have a secret of a lie? But that is besides the point, as is the occasional stupidity of the screenplay, which forces you at times to suspend belief. Nevertheless, ‘Hit Man: Secrets of Lies’ is a surprisingly taut film, a cold study of a man doubting his profession, yet compelled to carry out one last job regardless. At a certain point it becomes a part of him, he’s institutionalised or no longer cares enough to change his path, and that’s what makes ‘Secrets of Lies’ such a chilling film. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Witchez are Bitchez film review by UK film critic Nina Romain. Starring Jazmine Cornielle, Ryan Marko, Caeron Zabae directed by Gideon McCarty. HOME | FILMS | REVIEWS Witchez are Bitchez Film Review average rating is 3 out of 5 Critic: Nina Romain | Posted on: Oct 14, 2025 Directed by: Gideon McCarty Written by: Jazmine Cornielle Starring: Jazmine Cornielle, Ryan Marko, Caeron Zabae A comedic horror buzz not to be taken too seriously. This 15-minute comedy focuses on revenge and dating in a world of modern-day witches who use smartphones as well as spells, and zips exist on buxom wenches’ bustiers. Fraya (writer and producer Jazmine Cornielle) is “the ugliest witch in town” looking for love and also collects male genitalia in a jar for her collection. Taking a breather from swiping left on non-matching potential suitor warlocks on her smartphone, she visits a cobweb-strewn bar for a drink. Here she hits on Dalvin (Ryan Marko), the self-proclaimed town “warlock-saviour”, who deals fearlessly with dragons; he’s also a conceited womaniser, all flowing neo-gothic shirts and designer stubble. Despite Fraya promising him a good time (“I can take care of that wand of yours,” she purrs seductively) to her annoyance, he turns her down. In revenge, Fraya puts a curse on him, causing Dalvin to lose his warlock powers unless he fancies her, so he is forced to turn up to her lair and beg her to have sex with him in return for his powers back. The action takes place on the cheap in a Halloween-themed bar, and according to the entertaining YouTube behind-the-scenes short with leads Cornielle and Marko, it was in fact completed in two overnight shoots in a Long Island bar finishing at 6 am. The acting is vampishly hammy, and could be toned down along with the non-stop fart jokes, but viewers can tell working on the vampy production was fun, like an R-rated Hocus Pocus with more knob gags and witchy saucy banter. There’s also a streak of visual comedy as when one of Delvin’s ladyfriends/conquests demands payment in gold coins, which end up being chocolate pieces instead of cash, and promptly starts eating them. Like a Halloween-themed cocktail laced with cheap green-dyed tequila and pumpkin-shaped chocolate, Witchez are Bitchez is a fun horror buzz not to be taken too seriously. Buy UKFR Banner Space About the Film Critic Nina Romain Short Film < All Reviews Next Film Review >

The Toxic Avenger film review by UK film critic James Learoyd. Starring Peter Dinklage, Jacob Tremblay, Taylour Paige, Kevin Bacon directed by Macon Blair. HOME | FILMS | REVIEWS The Toxic Avenger Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Aug 27, 2025 Directed by: Macon Blair Written by: Macon Blair Starring: Peter Dinklage, Jacob Tremblay, Taylour Paige, Kevin Bacon Since its original announcement and first festival screening in 2023, Troma fans everywhere have waited patiently for the highly anticipated reimagining of the 1984 cult classic while it’s been in limbo; and readers will be relieved to discover that Macon Blair’s horror-comedy does not disappoint. The Toxic Avenger is a loving new take on our beloved, mop-wielding Toxie, with lead actor Peter Dinklage taking the helm. As opposed to a geeky young janitor attacked by his comically murderous bullies, here we’re introduced to Winston – also a janitor and single stepdad of Jacob Tremblay’s Wade – who finds out he’s terminally ill. Much like the plot of The Toxic Avenger Part III: The Last Temptation of Toxie , our protagonist is working a job at the evilest company in Tromaville; the head of which is Kevin Bacon giving a fabulously enjoyable, moustache-twirling villain performance alongside Elijah Wood as his Igor-esque henchman. Post being toxic-wasted, Winston teams up with the cool as hell eco-warrior J. J. Doherty (played by the great Taylour Paige) who’s fighting to expose corruption and take down said company. Writer-director Blair (whom you will have recently watched in Oppenheimer ) also has many amusing cameos in the film. It’s likely that fans of the original series will lament the absence of Toxie’s blind, kooky girlfriend who provided the 80s entries much of comedy and sweetness. However, for a modern release, the character of the son portrayed by Room star Tremblay is probably an easier sell for wider audiences. He’s great in the albeit small role as he gives the story some genuine emotional stakes. As everyone hoped for, this is a funny, heartfelt gore-fest. In his director’s statement, Blair explains that what appealed to his “sixth-grade brain” was “the feeling that this movie was literally homemade, a thing that a group of friends could make in their own backyard with a video camera and some Karo-syrup blood” (Blair: 2025 | Signature’s Press Kit). And by giving us the perfect balance of vulgarity and sincerity, he manages to keep that homemade feeling alive in this release. He offputs gross-out humour with family dynamics and new friendships; extreme violence with an air of genre-independence and abandon. Much like the original, it feels like watching a live-action cartoon... Many will compare the self-aware style of comedy to actual trash like Deadpool , which is foolish since this has such a positive, personal, non-cynical sentiment. But it’s also a film which aspires to have as much fun as possible in each and every scene. The Toxic Avenger manages to maintain some of the cheap, exploitation characteristics that make the original a real curio, but tempers these attitudes slightly for the benefit of the modern viewer – there's still plenty of sex jokes and gratuity, yet it rarely feels tone-deaf. But if there’s an aspect to the filmmaking very much open to criticism, it would be the movie’s use of CGI violence. And this critic’s response to that is this: yes, the film would be better with purely practical violence; however, Blair clearly wanted to go extremely cartoonish with the elaborate nature of these deaths, that one can surely comprehend – much like the recent Final Destination – why the filmmakers opted for the plasticky, digital route. And do not fret dear reader! The Toxic Avenger himself is completely practical and completely beautiful, brought to life through a strong physical performance by Luisa Guerreiro. Buy UKFR Banner Space About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >