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Interviews by UK Film Review with some of the best filmmaking talent around. Read about the movie industry and more. Interviews UK Film Review are lucky enough to work with some of the best and most exciting filmmakers in the world. From the best indie and short film directors, to actors, composers, editors and more, we cover them all in our Film Reviews and every now and then we are able to conduct interviews with them to find out about their insight into the movie industry. We ask the questions our lovely readers want the answers to, like: Who are your filmmaking influencers? What are the toughest aspects of making a film today? What projects are you working on next? Were there any funny anecdotes from your filmmaking process? Where do you see the film industry going in the next one year? What would you say if you were a dolphin? ...That last one is a bit of a joke but the brilliant filmmaking talent we interview do give some amazing answers so be sure to check those out. If you are a filmmaker and want to do an interview with us in order to promote your film, why not get interviewed by us?Filmmaker Interviews are a fantastic way to promote your cast and crew alongside your movie, reaching a bigger audience, or simply use our online form to submit your film for a review. Please note that the list to be reviewed can be rather long (think months not weeks), but like waiting in line at Disneyland it will definitely be worth it!...probably. That all being said and done, what are you waiting for! Click one of the interviews listed on this page to read the article.

Awesome movie trailers for films coming to UK cinemas in September 2019. The latest theatrical trailers from the biggest films. September Movie Trailers As we enter into the latter part of the year in the movie calendar, we have collected some of the most exciting movie trailers that will be in UK cinemas September 2019. Here you will see UK Film Review have included many genres of film. Such as the crime, drama, romance, superheroes and more. Potential audiences should be aware, these movie trailers will occasionally have plot spoilers which can ruin your viewing experience of the full film, if you go and watch it in a cinema. They may also give you unreasonably high expectations about the movie, filmmakers, or acting talent. We are able to take no responsibility at all regarding whether these trailers are suitable for you and your personal sensibilities. Any of the clips may contain content which offends your political, social, religious, or ethical views, of which we know nothing of. In the event that you do not enjoy these trailers, but you would like to view some from indie cinema and short films, head over to our other movie trailers pages. These can be found by looking under the Movie Trailers drop down menu in our main navigation. There you will be able to see our Support Indie Film ethos in action, giving our film-loving audience access to trailers from indie filmmakers from around the world. The same rules apply there, so please do not contact us with gripes about any content there. If you hang about on social media, and we know you do, make sure you FOLLOW us on Facebook and Twitter, where we promote the latest movie trailers and film reviews. And please do us a solid and share these trailers (and our website) with everyone you know. From your mum to your milkman, your doctor to your dentist. Because they deserve to know about the wonderland that you have discovered, and who knows they may give you some free stuff in exchange for your kindness. It Chapter Two Downton Abbey The Goldfinch The Kitchen Back to MOVIE TRAILERS

Netflix film reviews by movie critics at UK Film Review. Reviewing Netflix original films and other movies found on the streaming service. Netflix Film Reviews Aside from the plethora of indie movies and short films, we also provide Netflix film reviews. One of the most influential companies to impact the movie industry in the UK, not only have they transformed the way in which we watch movies and tv series, they have also produced some incredibly impressive films over the past few years...and continue to do so. Other streaming services have attempted to keep up the pace with Netflix and few have been able to achieve the same results. Amazon Prime is arguably the nearest competitor but the general consensus amongst movie watchers is that Prime is a bit of a let down . Lots of niche providers have also popped up as well as mainstream providers attempting to get a slice of the market, but it is Netflix that dominates from a consumption and production point of view. Which is why our talented army of critics will be attempting to cover the output of movies and relaying their verdicts here on the Netflix film reviews page. Mostly we will review Netflix original films but may also turn our attention to other films that appear there. Not to mention putting together some brilliant feature articles that will sort the wheat from the chaff. All themes will be considered, such as: 5 Movies to dance in your pants to 13 Reasons why Adam Sandler films aren't that bad 8 Films to watch on your deathbed And so on. Be sure to tweet us if you think there is a particular collection of movies you would group together on Netflix @ukfreview. We would love to hear what you think about the impact streaming services is having on the film industry (good or bad). Apart from that simply enjoy these Netflix film reviews, ensure that you load up on snacks that are fun and healthy, and contact your "chill" partner well in advance to ensure you can compare diaries...there is little else worse in this world than having to watch a fantastic movie on your own. The Old Guard 2 Leaves UK Film Club Podcast Feeling Lukewarm UK Film Review Aug 15 2 min read When Does Happy Gilmore 2 Come Out? Chris Olson Jun 3 3 min read BARDO, False Chronicle of a Handful of Truths - Film Review Taryll Baker Oct 10, 2022 2 min read White Noise (2022) LFF Review - Oct 7, 2022 3 min read Tick Tick Boom! Netflix Review - Nov 19, 2021 2 min read Love Hard (2021) Film Review Emily Davison Nov 16, 2021 2 min read More Film Reviews

Chris Olson is a movie critic and Founder of UK Film Review. Learn more about his career in film journalism and being Editor-in-Chief. Chris Olson Founder / Editor-in-Chief Having spent a lot of time watching films during my time at the University of Plymouth, I decided to become a film critic - a job that offers no pay, no luxury, and no guarantee of meeting famous people...At least it doesn't come with a uniform. You can see my Plymouth University Alumni Page here . I started writing for a London cultural magazine about events going on in the city. Soon after I was made the Editor of the film section. Eventually, the mag went bust and I decided to use my connections and start UK Film Review. The result being what you see here - a platform to help filmmakers, actors, writers and indeed film critics achieve cyber glory. My reviewing style is probably more optimistic than most, especially as I try to find the good in what everyone does...except Michael Bay. My favourite films are, in no particular order, About Time (2013), Glengarry Glen Ross (1992), Fight Club (1999), 12 Angry Men (1957), Adam Sandler's early movies ("Hey Waterboy, durrr") and anything directed by Christopher Nolan. Outside of film reviewing I also release music as a recording artist and provide UK sync music for film & TV. Follow me on Twitter and LinkedIn using the icons below and drop me a line if you are interested in becoming a film critic or having your film reviewed. Or watch some of my video film reviews below and click the button underneath to read some of my movie reviews . Read My Reviews

Purchase your UKFRF pass here. For UK Film Review Festival passes, news, and information visit this page where you will find out about this year's event. UKFRF 2022 The 2022 UK Film Review Festival is back and it's BIGGER THAN EVER! What began as a way to support indie filmmakers during the 2021 lockdown has blossomed into an annual celebration of filmmaking across the world. The UKFRF welcomes films from all genres and includes short films, features, and documentaries. Our annual online film festival promotes independent films alongside the reviews from our esteemed house critics, as well as reviews from our audience! The UKFRF 2022 is going to be our biggest and most diverse film festival to date, with a sumptuous selection of genres for viewers to enjoy as well as more participation to leave your own film reviews . A full weekend pass to the UKFRF includes access to 50+ curated films, access to exclusive online events and filmmaker interviews, as well as the option to submit your own reviews to the site! Earlybird Passes are on sale now and make sure you stay up-to-date with us on social media for more news as it happens, including the 2022 UKFRF lineup. Toby Jones in A Moral Man No plans available Once there are plans available for purchase, you’ll see them here. Back to Home Page The 2022 UK Film Review Festival Lineup

Enter your indie movie, short film, animation or documentary. UK Film Review accept submissions from all types of filmmakers, offering insightful commentary. Submit Your Film! Calling all filmmakers, submit your films from the UK and abroad (that's right America, we're talking to you too). Short films, indie movies, artistic pieces, documentaries, animation - it all gets a fair review by one of our wordsmiths. Apologies to anyone creating a web series, as we are unable to review them at this point. All our Film Reviews are impartial and will not be swayed by gifts or favours - although we would not discourage attempts. We simply want to promote indie filmmakers and write about our passion - MOVIES. This does not mean we will simply say lovely things about your short film or indie movie. Do not submit your film if you cannot take firm criticism. We will not remove reviews simply because you do not like what we have said. Due to the volume of submissions we receive, reviews can take a long while! We are talking months not weeks. Please do not badger us to "hurry up", it simply does not work that way. We move as fast as we can but also give the films that are submitted our complete attention - this is not a production line. We now provide Queue Jump option for Film Reviews - with a 1 Week Turnaround time or other timeframes. This allows filmmakers to get their movies reviewed asap but does not affect the review at all. We reserve the right to promote our review on social media as we choose, so even if your selection does not include social media promotion. Please only submit information including artwork and trailers you are happy for us to use within our reviews. How to Submit Your Film Use the form below - it will take all the details of your film and any other promotion you may desire. PLEASE NOTE: all reviews are FREE. If you choose to pay to skip the queue, add your trailer or have us video the review that's cool but we are not charging you for the review, just so we can prioritise you and deliver what you want additionally. All films submitted must include free viewing links (e.g. YouTube, Vimeo etc). We will not pay to watch/review your film. BRAND NEW UK Film Review are now offering Video Reviews! So, along with a written review published on our website, you can also have a video review published on our YouTube channel! FIND OUT MORE UK Film Review love to promote Filmmakers working all over the world, and have reviewed some of the best Short Films , Indie Films and Theatrical movies in the industry. As such, we receive a lot of submissions so please do not be offended if reviews take a little while. Our film critics are delicate flowers who need lots of nurturing and energy drinks. So please be patient...or send a case of Monster! If you need your review quicker than you can say Grease Lightening, please use the Queue Jump options above. The queue jump options available for film reviews are simply so that you get your review back within a timeframe that suits your needs. Please note this does not mean the review will automatically be positive. We will still only give an honest film review, just quicker. No refunds. No returns.

Sponsors for film reviews website, helping to support filmmakers, filmmaking and indie cinema. Be a hero and get involved. Partners, Fans & Sponsors "UK Film Review deserve a big thank-you! They are a priceless gem to independent filmmakers who are fighting to survive in a world where Hollywood hogs the stage. They provide vital exposure and an all-important platform. Please keep up the good work so we can too!" - Angela Godfrey (Producer at Keen City) "UK Film Review provides my films the opportunity to be presented to a broad online community of film lovers and is an invaluable resource for independent filmmakers. Their reviews reflect both an expert knowledge and passion for the medium of film." - Alan King (Director and Filmmaker) " Indie filmmaking is a romantic illusion. However, once you've funded the project and dragged it through post production, it's sometimes (always) difficult to get eyes on your product. You may love the trailer you've cut- it's edgy, ambiguous and portrays your film as honestly as possible, but who's going to click the link? What Chris and the team have built with UK Film Review is a platform for indie films which is both supportive and fair. Communication is top notch and you get the impression they actually care. Reviews are personal and well written, boasting real insight and love for the medium. Through continued hard work the site has a strong fanbase, meaning there is a solid audience who might click your link. I've now dealt with UK Film Review on two feature films and I'm constantly impressed with their professionalism and generosity. When I Google my films, UK Film Review is always towards the top of the listings. They definitely have an influence and I look forward to watching that influence grow... Now click my link (please)!" - David Campion (Director and Filmmaker) Our Film Festival partners... Grimmfest Film Festival London Independent Film Festival Beeston Film Festival British Urban Film Festival High Peak Indie Film Festival Kinofilm Festival Barnes Film Festival Fringe! Queer Film Fest Berlin Liberi Film Festival International Film Festival Bengal Little Wing Film Festival Cheap Cuts Documentary Film Festival Horsham Film Festival Walthamstow Smartphone Film Festival Our Industry partners... If you are interested in working with UK Film Review, please email: info@ukfilmreview.co.uk

Request a video review of your short film or indie feature from UK Film Review. Like a Vlog, our film critics will review your film on camera. Video Review Submissions BRAND NEW! Get your film reviewed by one of our film critics on camera! The film review will be published via our YouTube channel (we reserve the right to also post the video elsewhere). As with all our film reviews, we ask you only to submit if you are open to the criticism we will provide. With EACH video review request we will also provide a written review on our website also. NOTE: The video review is the property of UK Film Review. No refunds under any circumstances. Please note: we may use footage from your trailer, images from your IMDb page, or stills from your film for review purposes. Get Your Film Reviewed ↓

View movie trailers for films hitting UK cinemas in July 2020. See a trailer from the best and most exciting movies here. July Movie Trailers This is the UK Film Review page where you can see a load of trailers for movies coming out in July 2020; many genres of film are included. Such as the latest action and drama movies, to slasher films and world cinema. Audiences should note, these movie trailers will from time to time have spoilers which can...ahem... spoil your viewing experience of the full film, should you decide to watch it, or may give you unreasonably high expectations about the movie, filmmakers, or acting talent. We take 0% liability in any way regarding whether these trailers are suitable for your tastes. How would we know what you like to watch? Or what offends you? If these trailers are not to your liking, but you would like to view some trailers of more of an independent persuasion, jolly over to our other movie trailers pages for shorts and indie cinema. You can find these by looking under the Movie Trailers drop down in the navigation. Once you arrive there, you will be able to access some of the most exciting and entertaining trailers from movies around the globe, allowing UK Film Review to do our utmost to support indie films. Be sure you FOLLOW us on Facebook and Twitter, where we promote the latest movie trailers and film reviews. Also, share them with your buddies, because people who share are people who care. And people who don't, are people who won't...be invited to our special, super-duper party! (p.s. there is probably not gonna be a party...or is there?). Tenet Movie Trailer Top Gun: Maverick Movie Trailer Back to MOVIE TRAILERS

Watch and love these movie trailers for films coming out April 2020. After you view a trailer or two, remember to share with the world. April Movie Trailers Spring has most definitely sprung and these April movie trailers have sprung into our lives and into our hearts. Okay, maybe UK Film Review is a little bit more excited about these trailers than the average movie fan, but we think they are fantastic! April is a difficult month in the movie calendar, especially in recent years where Marvel superhero films have dominated the box office. Take a look at this selection though and let us know what you think - via the usual channels of social media, carrier pigeon, smoke signals (please use responsibly), or shouting very loudly from the room you are already in...don't worry, we will probably hear your feedback on these 2020 movie trailers . Don't forget to check back later in the year where we will hopefully have film reviews of all these 2020 movies and more! This may be on the website or our film podcast or YouTube channel (we get everywhere). If you would like to promote your film and/or movie trailer, please use the Film Promotions page or relevant form, e.g. Film Channel, Indie Film Trailers, Short Film Trailers etc. All that 's left to say is that April is not only for sunny weather and blooming flowers, in fact, it is best to stay indoors, watch these April Movie Trailers, and get very excited about watching the films when they hit the cinemas. p.s. we apologise for any spoilers that are contained within the trailer. No Time to Die Movie Trailer Promising Young Woman Movie Trailer Back to MOVIE TRAILERS

A forum and online community for filmmakers and film critics alike to enjoy. Promote your film or reviewing capabilities here. To see this working, head to your live site. Categories All Posts My Posts Login / Sign up UK Film Review Forum Explore your forum below to see what you can do, or head to Settings to start managing your Categories. Create New Post Film Reviews Post a film review here and if we like your review we may ask to publish it on our site. subcategory-list-item.views subcategory-list-item.posts 527 Follow Vlog Film Reviews Upload your film review to YouTube or Vimeo and share the video here. subcategory-list-item.views subcategory-list-item.posts 14 Follow Movie Trailers Where can people find the best Movie Trailers? Promote your film trailer here, or talk about epic ones you have seen. subcategory-list-item.views subcategory-list-item.posts 58 Follow Film Festivals A forum dedicated to the best Film Festivals in the UK and internationally. subcategory-list-item.views subcategory-list-item.posts 46 Follow New Posts Ben Twomey Nov 21, 2024 "Gladiator II" (2024) review by Ben Twomey Film Reviews Gladiator II (2024) Savage. Silly. Spectacular. More than two decades after the original won ‘Best Picture’ at the Oscars, Gladiator II injects the world with some good old-fashioned anabolic steroids. As with any illicit steroid use, this is not to be encouraged and produces some very mixed results. Director Ridley Scott’s storyline picks up about 20 years after the original Gladiator’s fateful clash between tough but traumatised Maximus and self-pitying Commodus. We follow Lucius Varus, the young boy who accidentally gave the game away about Maximus’ imminent coup in Gladiator. After watching his hero suffer the consequences, it turns out he went full witness protection programme. New city, new name, new…muscles? That’s right, the skinny kid got jacked. When Lucius’ (Paul Mescal) home is conquered by the ever-expanding reach of the Roman Empire under General Acacius (Pedro Pascal), he is enslaved and forced to fight. Lucius’ owner and sponsor, Macrinus (Denzel Washington), sets him on a recognisable journey from small-time desert arena to the bright lights of Rome’s Colosseum. Twin Emperors and total psychopaths (Joseph Quinn and Fred Hechinger) are ruling the roost, while Lucius’ mother Lucilla (Connie Nielson reprising her role) is still stuck doing what she can to survive. She’s also dating Pedro Pascal’s character, which in any other circumstance would mean she’s thriving. The future of the empire is at stake but a furious and vengeful Lucius must reckon with his past if he is to seize his destiny. It’s so difficult to overstate how much this film amps everything up, that to understate it would feel out of kilter with the movie. An exercise in subtlety can be found by comparing to Emperor Commodus’ clammy and unwell aesthetic in Gladiator. That wouldn’t be enough for the twin emperors in Gladiator II, who have instead powdered their faces white and used red eye liner for their own imperial brand of conjunctivitis chic. The comparisons keep flowing, invited by the film constantly and lazily dishing up throwbacks to the original. In Gladiator, Russell Crowe’s Maximus is mostly quite muted. He is softly spoken and rarely expressive, but it works. Skip ahead to this sequel, and it’s difficult to pin down any personality at all for Mescal’s Lucius. Meanwhile Nielson’s Lucilla, who could have brought continuity to the franchise, feels lacklustre and a little bit lost. While the turbocharged plot left little time for nuanced character development, it’s not all bad. Denzel Washington steals the show as the wily Macrinus. Washington’s unparalleled charisma and on-screen presence keeps the audience invested in what could otherwise be quite dull scenes, and not for the first time (see: Training Day, Inside Man, Equaliser or basically anything he’s in). But the chemistry between the other characters was at times so stilted that even Pascal seems to struggle. If you’re looking for the fiery excitement of his Game of Thrones performance as Oberyn Martell, then look elsewhere. To give the actors a break though, these problems might have something to do with the writing. From Tacitus to Virgil, the dialogue is like a greatest hits of bumper sticker Roman philosophy. Dialogue made up entirely of ancient clichés and stoic maxims would be a challenge for any performer to land, and the emotional depth of the film suffers for it. But if lack of character development leaves a sour taste in your mouth, fear not, you can always wash it down with bucket-loads of blood. Gladiator II as an action spectacle does not disappoint, with adrenaline-fuelled violence hacking and slashing its way into every other scene. The use of beasts in grand set pieces is certainly entertaining, if implausible. If this film goes on to win any accolades at all, the stunt actors deserve the lion’s share. The music is also compelling in those moments where it does not lean too heavily on the original soundtrack. Composer Hans Zimmer gives way to Harry Gregson-Williams, whose use of choral music is particularly divine in adding much-needed tension. The problem is there are just too many throwbacks for this to be considered a standalone film, which presents a double-edged sword. You have to watch the original Gladiator to fully appreciate it, but in watching the original Gladiator you exclude yourself from appreciating it much at all. In ancient history, an arrogant emperor looked back on his reign and boasted that “I found Rome a city of bricks and left it a city of marble”. Sadly, between Gladiator and Gladiator II, an arrogant producer has taken a masterpiece of marble and transformed it into common brick. One day Hollywood will have matured enough to sensitively reimagine sequels or remakes. One day filmmakers will ask themselves if they’re using CGI because they should, or just because they could. One day the colosseum will rise again to a gripping storyline. That day may come. But not yet, not yet. Like 0 comments 0 Gregory Mann Jan 24, 2024 "Past Lives" Written by Gregory Mann Film Reviews "Past Lives" (Prince Charles Cinema) Nora (Greta Lee) and Hae Sung (Teo Yoo), two deeply connected childhood friends, are wrest apart after Nora's.family emigrates from South Korea. Two decades later, they're reunited in New York for one fateful week as they confront notions of destiny, love, and the choices that make a life, in this heartrending modern romance. The film, at once strikingly intimate and bracing in its scope, is broken into three parts spanning countries and decades: first with Nora (Moon Seung-ah) as a young girl in Korea, developing an early bond with her best friend, Hae Sung (Leem Seung-min), before she immigrates with her family to Toronto; then, following Nora in her early 20s as she reconnects virtually with Hae Sung; and finally, more than a decade later, when Hae Sung visits Nora, now a playwright married to an author, Arthur (John Magaro), in New York. The film has the instincts and control of an artist with a precise vision of the story's every conflicted, emotional note. The triptych that tracks Nora over the years is, in the most basic sense, about the different parts of her past. But in the film's breadth, sketching out the long arc of her relationships with Hae Sung and Arthur, and the memorable moment when they all eventually come together, the film constructs a deeply resonant and warmly generous meditation on the trajectory of a life. It's about, on a very simple level, what it's like to exist as a person. Or what it's like to choose a life that you live. More specifically, what that choice means for Nora, and what happens when the other choice, her phantom life in a sense, is suddenly staring at her through a computer screen, or across a park in New York City. It's so unfair, the devastating thing about us as people, the fact that we only have one life. The simple, poignant tragedy in the film is also its animating idea: that choosing one life means losing another. There's a piece of yourself that you leave behind in the place you left, who like Nora, emigrated from Korea at the age of 12 for Toronto, before moving again to New York in her 20s. The moment, and the meaning and history filled in that gaze, bears a striking resemblance to the moment in "Past Lives", when Nora and Hae Sung finally see each other, in person, for the first time in years. It's like seeing a reflection of yourself from a different time. Hae Sung a hologram of a totally different existence, what could have been. The connection that Nora develops, first as a child, then over online messages and Skype sessions in her 20er, and revisits in-person later in life is, structurally, a carbon copy of what happened in Hae Sung's life. For her, the experience, one that is at some level universal for anyone who has simply moved into, say, another city or another phase of life, is especially disorienting and wistful, imbued by a distinctly diasporic longing as an immigrant who left behind her country, culture, and language at a formative age. You're not just seeing this person as they're, but you're seeing them as you remember them, which is in childhood. Nora, in other words, is her own person, rather than an idea sketched out by the binary of which man she chooses. She's so certain about what she wants. And yet, as Nora's worlds collide between these two men, the third act eventually returns us to the bar scene that opens the film, with renewed context, if also a new, uneasy tension. There aren't any villains. But there are people who are filled with pride and people who are jealous and envious and angry, but they've to fight through those emotions. It would be a mistake, though, to read this dynamic as an early scene of a melodramatic love triangle. If "Past Lives" is a film about adults trying their best to behave like adults, no dramatic professions of love, no teary-eyed fights, no villains, this isn't to say it isn't a film that deals in sweeping emotional sentiment. One person can hold this much love, for her husband, for her childhood first love, and for herself, that's sacred. As for Arthur and Hae Sung, it's about these two men who know her, When Nora talks in her sleep, Arthur tells her at one point, she speaks in Korean, stepping into a version of herself only in her dreams. If Arthur can never know that part of Nora, there's a different, more alienating sense of absence for Nora and Hae Sung. He's here to sort of lift the veil and see that that little girl is gone. Then, Nora goes back, left to right, in the direction from which she came. She will stand there for a moment, and then she's gonna go back home, and every step is going to be a walk towards the future from the past. You find yourself sitting at a bar sandwiched between two men from vastly different parts of your life. One is your husband, the other you childhood sweetheart. These two men love you in different ways, in two different languages and two different cultures. And you're the only reason why these two men are even talking to each other. There's something almost sci-fi about it. You feel like somebody who can transcend culture and time and space and language. It would be a mistake, though, to read this dynamic as an early scene of a melodramatic love triangle. Instead, The film turns this seed of experience into a quietly gutting film, concerned with something far more emotionally complex, the parts of a self that we lose as we become the people we're, and the ways our lives are shaped by those we love. And yet, the film is just as deeply emotional about the cosmic forces that shape our lives: if there's a bone-deep mourning over past selves, there's also the beauty in human connection, in the fact that a woman can find herself sitting with two surreally disparate parts of her lives, as if bending the rules of time and space. If there are 50 people in the room, you've 50 different reasons each of them have cried, and 50 different ways they’ve seen themselves. In all those ways of watching the film, there's actually no wrong answer, except for the one where you don't feel connected at all. Written by Gregory Mann Like 0 comments 0 Gregory Mann Dec 26, 2023 "Ferrari" written by Gregory Mann Film Reviews "Ferrari" It's the summer of 1957. Behind the spectacle of Formula 1, ex-racer Enzo Ferrari (Adam Driver) is in crisis. Bankruptcy threatens the factory he and his wife, Laura (Penelope Cruz), built from nothing ten years earlier. Their volatile marriage has been battered by the loss of their son, Dino, a year earlier. Ferrari struggles to acknowledge his son Piero (Giuseppe Festinese) with Lina Lardi (Shai lens Woodley). Meanwhile, his drivers’ passion to win pushes them to the edge as they launch into the treacherous 1,000-mile race across Italy, the Mille Miglia. Passion, ambition, power, the characteristics of Enzo Ferrari racecars came from within the man himself. From the beginning, they began to dominate the competition and fire imaginations worldwide. Born in Modena, Italy, the former racecar driver and team manager formed his own company in 1947. Built with almost no funding, Ferrari’s first car in its sixth race won the Rome Grand Prix. By 1957 the world’s greatest racers were vying for seats in Ferrari’s. Enzo and his wife, Laura, re-invested heavily in the racing division. As a result, by 1957 insolvency was stalking the factory. Meanwhile the tragic death of their only son, Dino, to mluscular dystrophy in 1956 has further shaken their rocky marriage. Dino was their center and future; now gone. Both grieve differently over the devastating loss. Meanwhile, Piero Lardi, Enzo’s son born in 1945 from his liaison with Linda Lardi, now seeks the acknowledgment of his father. Together they constitute a second family of which Laura is unaware until it’s revealed. As crises and revelations converge, Ferrari wagers all on winning one race, the supremely dangerous 1,000-mile race across open roads called the Mille Miglia. We all know it’s our deadly passion, our terrible joy. But if you get into one of Ferrari cars, and no one is forcing you to take that seat, you get in to win. Enzo Ferrari is one of the most famous, yet inscrutable and complex men of the 20th century. “Ferrari” moves behind the inscrutable image of the iconic Enzo Ferrari. Based on Brock Yates 1991 book 'Enzo Ferrari: The Man, The Car, The Races, The Machine', the film is a character study. There's no equilibrium in his life, and that’s the whole point of Enzo Ferrari, because that’s more like the way life actually is. Ferrari was precise and logical; rational in everything to do with his factory and race team. In the rest of his life he was impulsive, defensive, libidinous, chaotic. The story is not a typical biopic. It seizes on the four months of Enzo Ferrari’s life, in 1957, when all the conflicts and fortunes, the drama of his and Laura and Lina’s lives come into focus. All the hurdles he faced in the mid-1950s, when motorsports was becoming a glamorous, international phenomenon. There's further duality in Ferrari’s life; his wife, Laura, was a woman hardened by struggle, grief, petrified love, and from being a woman involved in a business dominated by men. An early deal with Ferrari meant that Laura is a 50/50 partner in the Ferrari factory, which became even more complicated when the couple’s personal life became messy and cold, and Laura’s savvy business instincts emerged as one of the few avenues of control she had. The power Laura had over the Ferrari company would anger Enzo, and yet, when his engineering staff once threatened to quit if Laura continued to make production visits at the factory, Enzo fired all of them, the world’s greatest automotive engineers, on the spot, immediately, out of solidarity with Laura. Still, Laura is invested in Enzo’s success and the Ferrari team’s wins on the track. Meanwhile, Enzo met, Lina Lardi, whom he had met in a factory his native Modena, Italy, during World War II, anchored his life. When their son Piero was born in 1945, Lina raised him in Castelvetro. She was a post-war Italian single mother focused on what was right for her child despite his being born out of wedlock at a moment in history, and in a country, that didn’t accept divorce. It's about providing a safe space for her son to feel like he belonged in a world that, during that time, especially in Catholic Italy, told anyone under those circumstances that they didn’t belong. If Enzo Ferrari’s life was bifurcated into chaos and control, his life with Lina Lardi was a cause for one while embodying a desire for the other. When their affair began during the Second World War, Lardi had been working at a coachbuilding factory in Modena, and as Prime Minister Benito Mussolini’s fascist policies and World War II ravaged Italy, Ferrari and Lardi’s relationship grew. In the disarray of post-war Italy and the hardships that followed, Lardi raised their son, Piero. Lina is a woman at the crossroads of two lives that existed outside of her own, and she was a bit helpless in that situation; all Lina could do was show support and love for her son and the man that she loved. In Lina’s most forthright moment in the film, she confronts Enzo on his hesitancy to acknowledge Piero with his last name (due to Laura’s legal maneuvers and Italian cultural considerations, Piero was not able to be acknowledged as a member of the Ferrari family until after Laura’s death in 1978). The complexities and emotions involved were tumultuous, but Lina’s view is that what matters most is what’s best for Piero, and that has loved by Enzo as his son. The difficulty of having two families, and two homes, one filled with grief over the loss of a son who hadn’t lived past the age of 24, the other focused on making a 12-year-old boy’s life free from pain and want, crashes into Enzo Ferrari’s pursuit of engineering perfection. He sees all too clearly the risk of losing all he’s built, either to companies like Fiat and Ford who were looking to buy him out, or through personal issues that threatened to overtake his life’s work. In 1957, Ferrari was going broke; the company’s passenger car sales had dwindled as competitors began breaking his cars speed records, making it harder to secure funding. All of that fueled Ferrari’s competitive nature even more. Ferrari would take a huge gamble with the fortunes of his company by entering the 1957 Mille Miglia, the famous 1,000-mile, open-road endurance race through Italy that had begun in 1927. Thirty years after its inaugural race, it was about to collide with a form of blind ambition Ferrari isn’t ready to be accountable for. His aim, going into this dangerous race, is to put together a multigenerational, flashy driving team that would attract financing to keep the Ferrari factory in business, and which would allow Ferrari to maintain control. But the cost would be high. Moving to the racetrack, chief among the team of drivers surrounding Enzo Ferrari would be Alfonso de Portago (Gabriel Leone), whose horrific crash in the final stretch of Italy’s Mille Miglia, which killed de Portago and nine spectators, would for decades overshadow the legacy of the race and be part of the reason it ended in 1957. Eugenio Castellotti (Marino Franchitti) dies while attempting to reclaim Ferrari’s speed record from Maserati. Sound is also crucial in the de Portago crash sequence. At the moment of impact, the sound almost disappears, leaving a dull, closed-ear vibe to the sounds that follow. The concept is to have the impact noises as the car is plowing into the pole and through the crowd diminish over time. Piero began working with his father in the late 1960s and collaborated with the company’s Formula One teams, as well as in the concept and production process, and other aspects of production. When Enzo Ferrari died in 1988, Piero inherited his father’s stake in the company. Piero served as president of the Ferrari company until 2015. There's the world of Enzo’s more intimate, domestic life, at home with Laura or in the countryside with Lina, and then there's the world of racing. The former would be a more classically composed aesthetic, while the latter would be filled with visceral, dynamic energy often through handheld camerawork. Italian Renaissance painting is so informed by architecture and the natural light that Italian architecture of that period lends to a space. It’s all this single-source, directional lighting from the windows. As for the color palette, the yellows, oranges, pale greens and terracotta/ochre hues of Northern Italy set the template. The concept is to slash through that palette with the bright, primary red of the cars, signifying aggression and energy in the face of the more austere aesthetic elsewhere in the film. The cars are kinetic, they’re full of agitation. The film wants to show the experience of what it's to drive one of those cars and to be in a tense race, trying to master the forces. It's, by design, a counterpoint to the formality of the dramatic, dialogue-filled scenes. There are incredibly powerful human moments, then we’re roaring around Italy with drivers flirting with death. In so many places around the world, it’s still a very similar situation, working from the shadows and not being acknowledged for what they do, not being valued. It’s as if youve mild chronic pain, only it’s emotional, but it's important for us to see that represented in many ways, but especially physically. Life is asymmetrical. Life is messy. Life is filled with chaos. Written by Gregory Mann Like 0 comments 0 Forum - Frameless Film Reviews UK

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The UK Film Review Podcast is actually made up of several shows, hosted by different critics covering different topics/genres. Currently, these are the film podcast shows that are part of the UK Film Review Podcast umbrella: - UK Film Club : Hosted by Chris Olson and Brian Penn, covering cinema releases, streaming films (e.g. Netflix, Amazon Prime), Indie Films, and Nostalgia Films. - Gay, Actually : Hosted by Amber Jackson with co-host Joyce, covering LGBTQIA+ films. Any movies considered part of Queer Cinema get reviewed here. - The Scream Test : Hosted by Rachel Pullen with a range of co-hosts, this is a Horror-based film podcast. - The Fantom Zone : Hosted by Chris Buick and Ian Lunny, this is a podcast focused more on comic-book films. Martin Scorsese Andrew, Brian and Rachel discuss the films of legendary filmmaker Martin Scorsese on this film podcast episode. James Cameron Fan of massive blockbusters like Avatar and Titanic? 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