Mammoth: Adventures In Gnomeman's Land film review by UK film critic William Hemingway. Starring N/A directed by Matt Check. HOME | FILMS | REVIEWS Mammoth: Adventures In Gnomeman's Land Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Sep 5, 2025 Directed by: Matt Check Written by: Matt Check Starring: N/A A guy plant, his girlfriend, and his two crazy best-friends have an adventure in the Land of the Gnomemen, where a whole bunch of weird, trippy stuff happens to them, during which the Gnomes try to vanquish a celestial enemy, and group loyalties are put to the test. Mammoth is just like any other chill, regular, guy plant out there, wanting to take it easy and have a nice time without anyone getting too aggro or in everyone’s face about stuff. Unfortunately, he’s woken up tied to the ground in the Land of the Gnomemen, with his three best-friends beside him, caught underneath the ropes of the devilish little Lilliputians. Before too long, Peyote, the enraged cactus, breaks his bonds, and pretty soon the others have done the same, sending the gnomes running for cover in all directions. From here we are springboarded into a whole host of shenanigans, including some giant beanstalk action, a quest for lost friends, pagan ritualism, and bio-terrorism, where Mammoth and his pals help the Gnomemen out before dealing with their own stuff that appears to be a hangover from past adventures. In fact, Mammoth: Adventures In Gnomeman’s Land is the ninth such adventure that Mammoth and his pals have been on, Chasing The Rainbow , however this instalment turns out to be a bit of a departure from the rest. In writer/director/producer Matt Check’s animated series, he has taken around thirty-seven minutes to tell all eight of the previous parts to Mammoth’s tale; when he has been Chasing The Rainbow . However, in his Adventures In Gnomeman’s Land , the scale is much greater, with the story perhaps getting away from Check at times, and nearly twenty-four minutes is dedicated to this little escapade alone, making it by far the most important and expansive in the series to date. It seems as though Check hadn’t really intended for this episode to go on for as long as it did, but as it grew and took shape he found that he was bound to the story for as far as it took him. In fact, it took him a whole thirteen months from start to finish, to get the episode out, which is a huge investment for one man doing everything on his own. The music, too, is composed by Check, and is a huge undertaking along with the animation itself. What Check has created here, as he says himself, is a valuable form of therapy, where he can disappear into his animation and busy his thoughts with creating this new world, where everything is creatively expressed by him. The adventures of Mammoth are not really so important, as much as what the adventures represent, where each new episode is an achievement in application and skill that provides an outlet for pent-up creative energy to blossom on the screen. Whatever it is that Mammoth and his friends get up to, the sentiment and feelings that come from their actions is always entirely Matt Check, and the camaraderie and closeness that they feel towards each other helps us understand a bit about him. With no dialogue or lyrics, just the music and the animation to tell the story, Mammoth: Adventures In Gnomeman’s Land ends up sitting in a strange place in film somewhere between Yellow Submarine (1968) and Flow (2024), where it feels like we’re watching an instrumental rock opera with a twenty-four-minute music video. (The band, Mammoth , would definitely be prog-rock.) Realistically, the animation is still pretty basic, with some fairly blocky character movements and little background detail throughout, making it not always easy to tell where the emotions or motivations of the characters are coming from. The music, too, lends itself a lot to children’s TV, with repeating motifs and basic riffs trying to tell us the story, and some of the electronic instruments not always providing the best sound. Overall, it’s a great achievement in indie production for Check to be creating these animations for people to enjoy, and to have created a series that can still grow and explore new areas and avenues. With Adventures In Gnomeman’s Land ending on a cliffhanger, there’s obvious room for another adventure just around the corner which will continue the tale of Mammoth and his pals, and I’m sure that will be created with just as much care and attention as this one. How many other people will want to come and enjoy Mammoth’s adventures, however, I’m not so sure about, as I wasn’t moved to watch any other episodes after this one. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, Music Video, Animation, Web Series < All Reviews Next Film Review >

Do Not Expect Too Much from the End of the World film review by UK film critic Matt Weiner. Starring Ilinca Manolache, Nina Hoss directed by Radu Jude. HOME | FILMS | REVIEWS Do Not Expect Too Much from the End of the World Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: May 9, 2024 Directed by: Radu Jude Written by: Radu Jude Starring: Ilinca Manolache, Nina Hoss An overworked production assistant driving all over Bucharest to collect footage for a workplace safety video doesn’t sound like the most likely candidate for an era-defining film that best captures the current political and social moment. Yet with Do Not Expect Too Much from the End of the World , writer and director Radu Jude has made an unsparing, pitch-black comedy with a sprawling but never dull nearly 3-hour runtime that attempts to distill the last decade-plus of precarity and decline felt by so many workers. What’s miraculous is how well Jude succeeds, without ever becoming cloying or didactic. Angela (Ilinca Manolache) is a contract worker for a Romanian film production company. A multinational company has commissioned a safety video that sends Angela around the city to interview severely injured workers that will be vetted for the final video. Angela, an overworked gig worker herself who is so exhausted she can’t stop falling asleep at the wheel, shows sympathy for the workers and their families as she draws out their stories for the camera. This stands out in stark contrast to how the Austrian bosses parachute into Bucharest and talk about the poorer Romanians that bring the company its massive profits. Nina Hoss in particular stands out as a perfectly icy marketing executive whose feigned empathy masks a barely submerged contempt for the lower-class Romanian employees. (The company itself is kept vague, but Jude gets in plenty of digs about a deforestation scandal involving furniture, which narrows it down considerably.) Angela’s diatribes take on everything from class politics to foul-mouthed influencers like Andrew Tate, with these being delivered by her filthy alter ego Bobita. Manolache created the character during COVID lockdowns, and Jude brings them to hyperreal life in one of the film’s few recurring segments shot in color. Jude’s story is unabashedly political, and ruthless in its portrayal of the inhumanity of neoliberal austerity. But the script, propelled by Manolache’s indefatigable portrayal of Angela, is also laugh out loud funny. The capital class can take a lot from its workers, but not their profanity. Or, as the film shifts into the making of the final safety video, their humanity. When the company selects the injured worker they want to star in the safety video, the film crew gets to work recording his story. This sequence makes up nearly the final half hour of the film, and Jude’s staging and camera choices turn a routine film within a film into an audacious set piece with an unforgettable gut punch. Whether or not another world is possible seems to lie just outside the bounds of Angela’s day-to-day living. But Jude makes the case that one is urgently necessary, even as we laugh in the face of everything speeding up our destruction in the meantime. Do Not Expect Too Much from the End of the World is out now on digital. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

Under Offer film review by UK film critic Patrick Foley. Starring Sumah Ebele, Archie Fisher, Kurtis Thompson directed by Vincenzo Pellegrino. HOME | FILMS | REVIEWS Under Offer Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Feb 22, 2024 Directed by: Vincenzo Pellegrino Written by: Ben Clough, Vincenzo Pellegrino Starring: Sumah Ebele, Archie Fisher, Kurtis Thompson Under Offer is an all-too-relatable short comedy that dissects the difficulties young people face getting on the property ladder or even finding a roof to put over their heads in a market where development firms have squeezed all but the richest off of the ladder. It’s an imperfect but enjoyable film, with a likeable and impressively developed ensemble cast. When squatters Dev (Sumah Ebele) and Billy (Archie Fisher) find that their latest residence is being auctioned, they decide to take matters into their own hands. They set out to convince pregnant couple Ali (Akim Bangura) and Ash (Louise O’Dowd), and young professionals Nick (Christopher Williams) and Jess (Georgia Cudby) that the place has a dark past. Estate agent Izzy (Kurtis Thompson) does his best to make a sale in spite of their efforts, but Nick and Jess’ own secret poses more of a threat than anything Dev and Billy can come up with. The highlight of Under Offer is the intelligent character construction undertaken by writer and director Vincenzo Pellegrino. Viewers get a sense of the lives of each member of the main cast, much beyond their role in the events of the film. It builds authenticity and relatability, and develops each of their motivations, ideals and histories. It makes for an almighty emotional clash over the property at the plot’s heart – where audience sympathies will be split between Dev and Billy, and Ali and Ash – with even some left over for hapless agent Izzy, who we see having a nightmare first day on the job. The plot itself is a relatively straightforward one that allows the comedy to flourish. The film elicits genuine laughs, as Dev and Billy spice up the already-gross apartment with satanic decorations to really put off the potential buyers (to no avail), and Christopher Williams’ Nick comes up with a dreadful cover story of being Jason Statham’s stunt double to hide his true identity. The film critiques development companies’ habit of circumventing rules to buy up properties in order to shoot up mortgage and rental prices that make owning a home a pipe dream to many young people. Where the squatters may wish to prevent anyone moving in to their specific place, it is these corporations that lock people out of the market entirely, and this theme is well-communicated throughout the story through conversations between all parties. There are a few misfires – such as the raising of relationship issues between Dev and Billy which ultimately lead to nothing, and lack of chemistry between a few of the cast members which stilts the dialogue at times. There is also not much of a resolution to Izzy’s character, whose circumstances end up lacking much overall relevance despite focus being given to his desperation to make a sale. But these strands and rough edges leave no mark on the film’s charm or comedic value. For a lower-budget short to tell an engaging story with seven well-developed, multi-dimensional characters is more than enough value for money – meaning Under Offer actually offers well above its market value. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Koko Suzanne film review by UK film critic Jason Knight. Starring Alphie Lotawa, Clothilde Masele Liluku, Flavien Muaba Assani, Emie Mokonzi directed by Zach Bandler. HOME | FILMS | REVIEWS Koko Suzanne Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 24, 2026 Directed by: Zach Bandler Written by: Zach Bandler, Emmanuel Epenge Starring: Alphie Lotawa, Clothilde Masele Liluku, Flavien Muaba Assani, Emie Mokonzi A short Lingala-speaking drama directed by Zach Bandler, written by Bandler and Emmanuel Epenge and starring Alphie Lotawa, Clothilde Masele Liluku, Flavien Muaba Assani and Emie Mokonzi. Based on true events, this film was shot in Kinshasa, the capital of the Democratic Republic of the Congo, with a cast that consisted of Congolese people. Prisca (Lotawa) lives with in Kinshasa, in relative poverty, with her parents, Jean-Pierre and Vanessa (Assani and Mokonzi) and her grandmother, Suzanne (Liluku). Suzanne has been behaving very erratically, causing Prisca's parents to believe that she might be under the influence of witchcraft. This theory proves to be false when the poor woman is taken to the hospital where she is diagnosed with dementia. This heartbreaking story is told primarily through the eyes of Prisca, a little girl whose childhood innocence is pushed aside as she witnesses her beloved granny gradually deteriorate, behaving in a variety of incoherent ways, such as attending the local market in order to purchase unneeded charcoal, easily losing her temper or accusing her relatives of trying to harm her. Although things are seen through Prisca's perspective, it is Suzanne who gets the spotlight because of what she is going through and what she is going through is the core of this film: the effects of dementia. From the beginning, right until the devastating ending, Suzanne's condition gets worse and worse and it is not just her who suffers, it is also Prisca and her parents. Bandler directs beautifully and his work is primarily visible in the establishing shots. The dramatic atmosphere is enhanced by Charles Humenry's sombre but beautiful music. Since this short concerns dementia to a high degree and Liluku's character is the one who has it, her performance is crucial in order for the film to deliver its messages and she succeeds oustandingly in portraying a person suffering from this condition. As Prisca, Lotawa is quite dramatic as grandchild forced to witness a relative going through terrible times. Although Prisca barely speaks, the emotional pain that she is experiencing is very evident. Adding to the drama are Vanessa and Jean-Pierre, who are struggling to deal with the situation. This short serves as a commentary about the healthcare system of Congo and theories involving witchcraft. What it concentrates on the most is dementia, how it affects those who have it and how it also affects their loved ones. A poignant short drama about dementia and family. As well as telling a meaningful story, this film aims to acknowledge Dr. Emmanuel Epenge's (one of Congo's few neurologists) efforts to raise awareness and provide support to the families of people living with dementia. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

The War Below film review by UK film critic Chris Olson. Starring Sam Hazeldine, Tom Goodman-Hill, Kris Hitchen directed by J.P. Watts. HOME | FILMS | REVIEWS The War Below Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Aug 27, 2021 Directed by: J.P. Watts Written by: J.P. Watts, Thomas Woods Starring: Sam Hazeldine, Tom Goodman-Hill, Kris Hitchen Director J. P. Watts leans heavily on the working class hero in this WW1 tale of mining heroes at the Battle of Messines. With a crew of lovable rogues as his emotional fodder, he makes sure his audience also feels the reverberations of classism and social plight in The War Below. Tom Goodman-Hill (best-known for playing Joe in the TV series Humans) plays a Commanding Officer with arguably the greatest name ever produced - Hellfire Jack. He is charged with finding a solution to the stalemate currently unfolding in Messines, Belgium, whereby the Allies and the Germans are haemorrhaging troops and bullets. He quickly acquires the expertise of a group of skilled miners from home in order to successfully burrow their way across No Man’s Land and blow the enemy to smithereens. This plucky rag-tag group, headed by Peaky Blinders’ Sam Hazeldine, were deemed unfit to serve as soldiers - due to an array of health reasons - but now find themselves on the frontlines, and playing a vital role in the outcome of The Great War. They experience a plethora of abuse from the higher-ups, not to mention the soldiers who were deemed fit to fight, and must endure the horrid conditions of life in the trenches (steer clear of the crapper, there’s a Gerry taking potshots at anyone trying to evacuate their bowels). The War Below successfully and efficiently explores the disconnect between soldiers and officers, and makes it clear that this broken relationship has instant modern parallels. Whereas officers in WW1 were decorated for heroic bravery without ever firing a gun (they left that to the expendable soldiers) our battles today see economic titans winning a capitalist war won off the backs of the same underclass workforce. The difference now being there is very little mention of doing it for “King and Country” these days. But let’s stay with the real strengths of Watts’ film (co-written with Thomas Woods) which are the notions of noble sacrifice and brotherhood. Our heroes are underground, out of sight, unrecognised and yet they boldly march into the face of almost certain death with each other out of loyalty and honour. Their commitment to “do their bit” whilst being spat on from every which direction make them enduringly endearing, and when personal tragedies start to occur it makes the film ultimately more heartbreaking. It’s a poignant and remarkable story of bravery told with class acting all round. Goodman-Hill delivers a powerful performance as the only officer with a heart, with plenty of stiff-upper-lip stuff for fans of the era. It’s not in the same league as 1917 or Saving Private Ryan but is most definitely a worthy entry into the War genre, if only for the self-contained narrative which is bolstered by great performances and a strong emotional connection to their social and physical plight. Buy UKFR Banner Space About the Film Critic Chris Olson Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Burial film review by UK film critic Hope Madden. Starring Charlotte Vega, Tom Felton, Barry Ward directed by Ben Parker. HOME | FILMS | REVIEWS Burial Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 1, 2022 Directed by: Ben Parker Written by: Ben Parker Starring: Charlotte Vega, Tom Felton, Barry Ward If you’re hoping that Nazi werewolves are a kind of new villain, like the Nazi zombies that have been popular for the last decade, you may be disappointed in Burial . Rather than a horror tale of the supernatural sort, writer/director Ben Parker spins a WWII thriller more interested in the cancerous effect of a cult of personality. So, less fun but probably more relevant. It’s Christmas Day, London, 1991 and Anna Marshall (Harriet Walter) is watching Mikhail Gorbachev announce his resignation as President of USSR. Suddenly, she faces a home invader. The shaven-headed thug (David Alexander) has come in search of information (and probably blood and terror). He believes she can confirm his deepest, most sacred belief: Hitler did not commit suicide but survived WWII. Why would Anna know? Because she’s really Brana Vasilyeva (Charlotte Vega), and during the war she was a Soviet intelligence officer. Quickly, we’re whisked to the spring of 1945. Brana and a small platoon of Russians are tasked with bringing Hitler’s body directly to Stalin because “Russians like to look their enemy in the eye.” That’s all fine and good until the platoon runs afoul of the “werewolves” — Nazis trained in guerilla warfare, who were unsuccessful as soldiers but pretty effective as terrorists. The two groups come to a head just outside a small Polish village, where local Lukasz (Tom Felton) chooses between two villainous sides, deciding to help Brana and team in a standoff. Parker’s film is never showy or lurid in the way you might expect from a movie carting Hitler’s carcass around. It’s an understated effort more interested in kicking around how toxic hateful leaders can be once they strike a chord with like-minded populations willing—eager, even—to dominate and victimize to prove how special they are. Brana wants less to show Stalin the corpse than to end Hitler’s legacy. Given her holiday guest, that didn’t work. There’s a lovely mixture of melancholy and fire that inform both Walter and Vega’s performances. Barry Ward, playing Russian soldier Tor, adds depth to the group but all performances are solid. The language — English throughout with random bits of Russian, German and Polish — pulls you out of the cinematic fantasy. But Parker’s spare use of violence ensures that it makes an impression when it does show up. The story frame works less well. Plus, I wanted real werewolves. But still, Burial is an effective piece of historical fiction. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

La Mort Pourpre film review by UK film critic Jason Knight. Starring Kevin Sakac, Erwan Ott, Guilhem Thiel directed by Erwan Ott. HOME | FILMS | REVIEWS La Mort Pourpre Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 31, 2025 Directed by: Erwan Ott Written by: Erwan Ott, Salah Maalem Starring: Kevin Sakac, Erwan Ott, Guilhem Thiel First of all, just explaining that the title translates into English as The Crimson Death . This is a short fantasy adventure horror film directed by Erwan Ott, written by Ott and Salah Maalem and starring Ott, Kevin Sakac and Guilhem Thiel. The story takes place in France, during the Middle Ages and vampires are everywhere. Thankfully, there are people whose job is to kill these entities and they are known as monster hunters and Seth Gecko (Sakac) is one of them. Seth arrives at an isolated village during a period of heavy snow as there have been a string of murders in that location that are believed to be the acts of vampires. While investigating, Seth encounters an old acquaintance, Alucard Topes (Ott), a vampire who is an Ekon, a superior vampire who has more traits than the average ones, like having the ability to be in the presence of sunlight. The two will collaborate and track down the one responsible for the deaths. This short begins with a bang, with an animated montage consisting of terrific images that depict the history between humans and vampires throughout the centuries, accompanied by voice-over and great music by Morgan De Carvalho. Once that is over, the story begins and what a story it is, set in a medieval Europe where humans and vampires coexist, with vampires utilising their fangs to deadly effect and (unsurprisingly since the plot takes place in the Middle Ages) there is plenty of sword fighting. The screenplay plays out as a sort of murder/mystery type and a manhunt and it is quite intriguing and entertaining. The mise-en-scene is another big plus, with the weaponry, costumes and settings all looking authentic. And, of course, Sakac's contribution to the fight choreography also deserves praise. This is pretty much a buddy film, with Seth and Alucard both serving as main protagonists. Sakac's character is a seasoned vampire killer, like Van Helsing, dedicated to his profession and duties. Ott plays a vampire who has principles, who acts as what is known as a Domovoy, an entity that acts as a guardian and lives off the blood of scoundrels. Thiel portrays Orlock, the bad guy, a vampire who has gone rogue, not being able to control his thirst for blood and takes pleasure in killing. This is a Good vs. Evil tale. A story about courage, friendship, morality and striving to eliminate a deadly threat. Another addition to the vampire genre. This exciting production is an achievement that is worth seeking out. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

The Feeling That the Time for Doing Something has Passed film review by UK film critic Hope Madden. Starring Joanna Arnow, Scott Cohen, Babak Tafti directed by Joanna Arnow. HOME | FILMS | REVIEWS The Feeling That the Time for Doing Something has Passed Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 9, 2024 Directed by: Joanna Arnow Written by: Joanna Arnow Starring: Joanna Arnow, Scott Cohen, Babak Tafti no one told you when to run you missed the starting gun Pink Floyd sang of a particular worrisome anxiety. Joanna Arnow perfectly articulates the emotion, or lack of, right from the title of her feature, The Feeling That the Time for Doing Something has Passed. Arnow writes, directs and stars as Ann with unerringly deadpan delivery. Ann suffers from Millennial malaise. Her job evokes no passion. Her family is clingy and yet distant. Even her interest in BDSM, in Arnow’s hilariously banal depictions, is lifeless. Growing listless with her longtime, much older “dominant,” Allen (Scott Cohen), Ann engages new partners, then moves to more traditional dating, finally developing a charming relationship with Chris (Babak Tafti, all warmth and tenderness). At this point, Arnow’s detached irony threatens to make way for genuine human emotion. Chris and Ann’s awkwardness is sweet. You almost root for the film to be turning into a romcom. Arnow toys with that, as well as the coming-of-age arc, resisting cliché and doling out generational insights in hilarious monotone. While there is something vaguely Lena Dunham about Arnow’s film, her voice is so utterly her own it’s tough to really compare The Feeling That the Time for Doing Something has Passed to anything else. That voice echoes in the film’s visual aesthetic as well: everyone and everything at arm’s length, somehow simultaneously disengaged but compelling. Not everything gels, and even the bulk of the film that works brilliantly will not work on everyone. Arnow’s film is an acquired taste— defiantly so. But like most good comedies, it’s saying something incredibly honest and more than a little bit sad. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Requiem for a Fighter film review by UK film critic Jason Knight. Starring Kim Kold, Enn Reitel, Grayson Matthews, Glenn Dagda, Edie Newman, Cara Partridge directed by Danny Patrick. HOME | FILMS | REVIEWS Requiem for a Fighter Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 18, 2022 Directed by: Danny Patrick Written by: Danny Patrick, Jason Gerard Starring: Kim Kold, Enn Reitel, Grayson Matthews, Glenn Dagda, Edie Newman, Cara Partridge A Danish man goes to Northern Ireland, in order to investigate his son's mysterious passing. There he encounters a variety of characters as he searches for the truth. Lucas (Kold) is a hardened man with a military background and his son has just passed away while in Derry, Northern Ireland. Lucan is not satisfied with the authorities' investigation regarding his passing and he decides to travel from Denmark to Derry and conduct his own search into the causes of his son's demise. In Derry, there is a bare-knuckle fighter named Michael (Matthews), who is managed by his father Liam (Reitel). As Lucas investigates, he gets involved with those people and others in the city. Based on the short film Michael by Jason Gerard, this feature is a dark comedy drama that contains multiple characters whose lives are connected to the story's events. Basically, the narrative consists of two storylines, one is about Lucas' investigation and the other concerns Michael and the issues he has two deal with, including dealing with a fight whose terms he and his dad believe are unfair and trying to come to terms with his sexuality. Other characters include Michael's sister Alice (Newman), a doctor named Peter (Dagda), Michael's girlfriend Emma (Partridge) and two nasty people named Brian and Paddy, who give Michael and his father a hard time while negotiating a fight. There is dark humour and adult humour, mystery and scenes of confrontation and emotional scenes. This movie was made in response to a great deal of homophobic marches and backlash in Northern Ireland against same-sex marriage and Michael appears to be the character who is related to that fact. Michael hides his homosexuality, only revealing it to Peter, his doctor, with whom he has an intimate relationship. Michael's struggle to come to terms with being gay is one of the main conflicts of the film. The feature has a few interesting traits. Some of the characters (the ones with boxing experience actually) are introduced with a title card that caontains their name, nickname and fighting record, which is pretty cool. In some scenes with Lucas, his son's ghost can be seen accompanying him. The ghost looks like his son when he was alive, only that it glows a bit and does not speak or interact. Having this apparition is odd and adds a supernatural element to the film. The presence of the young man's spectre might suggest that his father imagines that his son is still with him, encouraging him to seek justice for his son. The phantom is an interesting addition, although maybe it is not really necessary. Patrick directs very well and creates wonderful aerial shots of Derry. Commendations also go to Michael Miles for the beautiful cinematography. Regarding the audio, Paul Casey makes a great contribution with the dramatic score and the soundtrack also includes a number of songs by Paddy Nash. This feature is a viewing that is humorous and also quite dramatic at times. The plot explores homosexuality, loss, the world of combat sports, family, inner struggles and self-discovery. It suggests that one should be who they want to be and not try to hide who they are. With good acting and well-written characters, this movie is a satisfying experience. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Honey Makers film review by UK film critic Jason Knight. Starring Finbar Lynch, Anil Goutnam, Nila Aalia directed by Jeneffa Soldatic. HOME | FILMS | REVIEWS The Honey Makers Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 10, 2021 Directed by: Jeneffa Soldatic Written by: Deborah Grimberg Starring: Finbar Lynch, Anil Goutnam, Nila Aalia A foreign couple are dealing with two problems: a gang of skinheads and a bee nest. Arjun (Goutnam) and his wife (Aalia) are an Indian couple from Uganda living in North London in 1984. They work at the shop, which the own. Unfortunately, they are being menaced by a group of skinhead youths that hang around outside their store. And if that was not enough, bees have formed a large beehive in the back garden of their shop. The two of them need to find a solution for both issues if they are to find solace. A beekeeper (Lynch) arrives and what follows is a conversation between him and the shopkeepers about their past, bees and confrontation with the vicious people. This is a multi-award-winning short drama about immigration, antisocial behaviour, racism and bees. It addresses social issues and depicts what the poor couple have to endure rather vividly. The skinheads tend to remain outside the shop, shouting and giving the couple threatening stares and occasionally walk in and intimidate them into giving them goods for free. Interestingly, comparisons are made between the skinheads and the bees. For instance, when the couple and the beekeeper talk about how the bees tend to find a spot to create a nest and stay there, it is implied that a similar thing could be said about the gang, as apparently, they have chosen to hang around the shop. The acting is superb. Goutnam and Aalia are very convincing as hard-working individuals who just want a peaceful life. Lynch is sympathetic as a friendly beekeeper who knows his trade very well and cares about others. Great praise goes to the actors playing the tattooed skinheads, who are very menacing as aggressive young men, willing to resort to violence. The sound has good quality when the buzzing of bees is heard and the song I Shake by Sean van Doornum is an appropriate addition. Susanne Salavati does an amazing job with the cinematography. This is a rather interesting achievement that contains tense and dramatic moments and well written dialogue. It tackles issues regarding racism and yob violence and will likely leave the viewer with a thoughtful experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

7 Kills, 3 Songs & a Banana film review by UK film critic Amber Jackson. Starring Alexandria Romanov, Mark Bogumil, Charleston Harvey directed by Richard Fysh. HOME | FILMS | REVIEWS 7 Kills, 3 Songs & a Banana Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Mar 19, 2024 Directed by: Richard Fysh Written by: Richard Fysh Starring: Alexandria Romanov, Mark Bogumil, Charleston Harvey “A casually coherent concoction of chaos. And fruit.” Would you like to watch a thrilling murder-mystery film that is equally comedic and horrific? Then you’ve come to the right place, as Richard Fysh’s American feature film fits the bill. This is a movie certainly unlike any other. Merging horror, satire and even the essence of a musical, 7 Kills, 3 Songs & a Banana ticks all the boxes for being absurd in a fun way. Containing all the hallmarks of a horrifying thriller, including sex and death, the film is a slightly funky take with music - and bananas. 7 Kills follows Amber (Alexandria Romanov), a vibrantly cynical young woman who identifies as a lesbian. At the start of the film, she is struggling to deal with the sudden death of her ex-girlfriend, Rachel (Charleston Harvey), which forms the crux of the story. With a killer on the loose, as well as Rachel’s boyfriend Steve (Mark Bogumil), sparks fly and venomous words are exchanged in this bitter satirical feature. An engaging interpretation of a modern-day slasher film, 7 Kills clearly takes inspiration from those before it in the genre. Slowly building suspense and integrating various moments of gory horror, the film successfully charts Amber’s journey as she tries to come to terms with her emotions. However, there are elements of the film that unfortunately fall flat. With some moments feeling awkward and some of the actors struggling to convey the essence of the dialogue, the feature struggles to keep pace - giving the viewer permission to lose interest. Likewise, parts of the narrative feel inconsistent and cut around a bit too much, again losing some of the meaning. As the story goes through the motions, we lose sight of Amber’s motivations which confuses some of the scenes. Whilst 7 Kills is not perfect, there is something captivating about it. The viewer finds themselves invested in Amber’s story, whether we like it or not, in addition to the lives of the supporting cast that all become intertwined in a cocktail of drama. Whilst it is not perfect, making a film with a very minimal budget is no small feat and should be commended. Parts of the satire are glorious, but some lands a bit dry - although that may just be the English filmmaking influence! Dealing with challenging subjects including homophobia, mental health, grief and murder, 7 Kills deserves some merit for handling these subjects in a comedic way without being offensive. Being originally from Doncaster in the UK, writer and director Richard Fysh’s American-based film cuts through the noise and posits his ironic perception of US culture, alongside some of the trials and tribulations of the modern world. 7 Kills holds great potential as a feature and Fysh is certainly one to watch as his unique style develops. Buy UKFR Banner Space About the Film Critic Amber Jackson Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

THOR v Killer Clown film review by UK film critic Joe Beck. Starring Reggie Haynes, Devane Boyd, Isha Margry directed by Reggie Haynes. HOME | FILMS | REVIEWS THOR v Killer Clown Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Dec 30, 2022 Directed by: Reggie Haynes Written by: Reggie Haynes Starring: Reggie Haynes, Devane Boyd, Isha Margry Certain films have the ability to capture a time period and provoke glorious reminiscences of past glories. ’THOR V KILLER CLOWN’ captures all the worst aspects of 2016 and reminds us that life wasn’t necessarily as good as we remember it to be. Some may interpret that as a compliment. It isn’t, ‘Thor v Killer Clown’ is one of the worst films you’ll ever have the displeasure of witnessing. Before the film begins, we are told that it may be confusing for those that haven’t watched ‘The House of Reggie’s series. Naturally, as I have more things to do with my life than search out an obscure web series from over five years ago, I had not watched the show. I can say with certainty that I will not be seeking it out on the back of ‘Thor v Killer Clown’. Quite frankly it’s hard to say whether or not the film would be any less confusing having watched the show, since its plot is hardly the main source of confusion, rather how haphazardly it has been created. Written and directed by Reggie Haynes, the film stars Haynes as four twin brothers, whom all use their special talents to make the world a better place. However, when threatened by a malevolent politician, and facing pressure from the UN, the quadruplets must face a murderous clown. Killer clowns were all the rage for a few months in 2016, and ‘Thor v Killer Clown’ capitalises on that long-passed craze with a performance by Devane Boyd as the titular clown which is reminiscent of a drunk impression of Heath Ledger’s ‘Joker’. The killer clown, on the orders of the former UK leader (Isha Margry), has been ordered to blow up a building and kill the members of THOR (standing for The House of Reggie’s). Also embroiled in this bizarre, yet extremely basic, plot are ‘the Orphans’ - two young superheroes, whom we’re told, marvel-style, in the middle of the film will return. The four brothers, all played by Haynes with ample passion to make up for a lack of ability, all feature prominently, though the value of some of their talents isn’t particularly apparent. Three of the brothers have fairly ordinary talents - music, comedy, radio - and indeed it is one of those brothers, VR, who is the main target of the Killer Clown’s pursuit. However, one of the brothers, Legacy, has the talent of superpowers. Imagine being given the talent of radio when your brother has literal superpowers. The major oversight of this glaring imbalance sums up the botched script, which is stunted, leaving every line of dialogue forced and inhuman. The script is too convoluted, making a relatively simple plot far too dense for a 35-minute film, meaning that it’s impossibly difficult to become invested in the outcome of the story. This isn’t helped by Hayne’s direction, which is almost non-existent, and reduced to nothing by the inconsistency of the film’s editing, which, fraught with redundant jump-cuts, would leave even the most ardent Tommy Wiseau fan with a raging headache. ‘Thor v Killer Clown’ is, quite simply, terrible. Though Reggie Haynes’ passion for his work cannot be faulted, the film itself is bad in pretty much every way imaginable. Killer clowns were a fad forgotten in a matter of months, but ‘Thor v Killer Clown’ may take years to recover from. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >