Raunch and Roll film review by UK film critic Patrick Foley. Starring Penelope Alex, Michael Pare, Lance Barber directed by Phil Wurtzel. HOME | FILMS | REVIEWS Raunch and Roll Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Mar 14, 2022 Directed by: Phil Wurtzel Written by: Brendan Ragotzy Starring: Penelope Alex, Michael Pare, Lance Barber It feels like the 80s revival we collectively decided to make fashionable in the mid-2010s has, itself now faded away like the last remnants of Hulk Hogan’s credibility. That means 80s staples like glam rock, leather pants and entire cans’ worth of hairspray are once again found only with those who never gave up the rock’n’roll vibe that Kurt Cobain killed. Raunch and Roll is for those die-hards, but an endearing character-driven story at its centre will reach out to other fans. Rock legend Roxy Starr (Penelope Alex) has recently received life-changing news, and alongside her manager Carl (Michael Pare) decides to head to the town she grew up in to in an effort to recruit her old band members who have long since left the rock’n’roll lifestyle behind, in order to pull off one last gig. On the way, she retraces her former life and the steps she took to get her where she is today. Raunch and Roll hardly breaks any new ground with a by-the-numbers story that is predictable to the beat. But an affirming heart, and an effective portrayal of an original and engaging protagonist make this a more worthy film. Roxy’s awakening has already taken place prior to the film’s beginning, and her determined story of redemption and freedom is an enjoyable one. Where the film’s plot may be a tired skeleton seen many times before, there is a level of charm and comfort to the thematic relevance of a star stuck in the past undertaking the kind of story that has been told many a time. And whilst the story is hardly refreshing, seeing it told with a woman in the leading role is. The story does a fine job of integrating flashback scenes from Roxy’s past in a way that adds real value to the story rather than bloating the plot. There is consistency between the performances of Penelope Alex and Melina Shiloh who both shine as Roxy at two ends of her life. The film takes inspiration from other glam rock-era pieces such as The Dirt and Rock of Ages which harken back to an idealised version of the 80s sunset-strip – when rock reigned supreme. The contrast of Roxy in the present day, where she stands out amongst the residents of her sleepy hometown, and the past scenes when smoke, sex and spandex is immersed everywhere you look, shows that Roxy is not ready to let the past go just yet. The film does an admirable job of setting the scene on its smaller budget – and we’ll just assume that the wigs are intentionally that terrible… The film suffers from poor technical production which cheapens it as an experience. The voice mixing compared to the sound of the music is wildly out of proportion, and viewers will be straining their ears to hear the dialogue – which at least effectively demonstrates what spending a life spent in front of amps turned to 11 would be like. Some scenes are awkwardly staged and framed like a soap opera, and a noticeable hue filtered over the screen throughout detracts much more than it adds. The film’s climactic gig is also laden with baffling split-screen edits and morphing audio, which looks tacky and downright ridiculous. Even Spinal Tap would have thought it a little over-the-top. Raunch and Roll’s heart is in the right place, and its story of an aging rocker after one last high is timeless for a reason – that being that there is always a willing audience for the quest to recapture lost youth. But much more refinement is needed to take this one from mid-afternoon slot to festival headliner. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Amazon Prime, Music Video < All Reviews Next Film Review >

The Wilde Girls film review by UK film critic Jason Knight. Starring Lydia Pearl Pentz, Cali Scolari, Teddy Smith, Matt Silver directed by Timothy Hines. HOME | FILMS | REVIEWS The Wilde Girls Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 4, 2025 Directed by: Timothy Hines Written by: Timothy Hines Starring: Lydia Pearl Pentz, Cali Scolari, Teddy Smith, Matt Silver A period comedy adventure feature written and directed by Timothy Hines and starring Lydia Pearl Pentz, Cali Scolari, Teddy Smith and Matt Silver. The year is 1932 and the Great Depression has damaged the economy. In New York City, a wealthy family is being deeply affected by this economic downturn as the father of young sisters Tinsley (Pentz) and Mattie (Scolari) takes his own life. Due to complications regarding the inheritance, his vast fortune goes to the siblings' two aunts, Florence (Heidi Kravitz) and Beatrice (Susan Goforth), who send their nieces at a remote location in the Pacific Northwest, with the apparent intention of finding some solace until things calm down. There, following dramatic complications, the sisters will end up alone in the wilderness, fighting for their lives and meeting Silas (Smith), a mountaineer who will end up teaching them valuable lessons about life. This slapstick comedy has a fish out of water plot: two women who are used to riches and not doing any chores suddenly find themselves losing their priviledges provided to them by wealth and having to live by themselves. It is an intriguing story that focuses primarily on the character development that the sisters go through as they become accustomed to living in nature. The humour comes in the form of the siblings' attitude towards their new situation and experiences. They constantly disagree with what to do next and do not fully understand the severity of their position (mostly Tinsley), whether it involves being hunted by a wolf or a bear, or even a hitman (Button). Approximately the first half is like a road movie with the siblings traveling through forests and mountains and the rest focuses on the rapport they build with Silas. The mise-en-scene is pretty impressive, with the clothing, vehicles and buildings being convincing that they belong in that era and there are many shots that capture the beauty of the surrounding landscapes and the wildlife. Commendations also go to the creativity involving the montages that contain atmosphere that bring the viewer to the time of the Great Depression. Goforth and Hines also contributed towards the soundtrack that consists of some feel-good songs. This film is obviously meant to be regarded as a light-hearted comedy so it could be forgiven that overall, the acting is not superb. A more solid issue might be the length. With a duration of nearly two hours, the feature feels overlong. One thing that was probably unnecessary was the addition of two characters: Helena and Larry, who are played by Lydia Scheuermann and Roman Dubrovskiy. Their presence does not really support the narrative and just adds in making the story overlong. As mentioned, the performances are not very convincing, however, they are entertaining. Pentz and Mattie are used to wealth, yet have different personalities and perceptions. Tinsley is naive and quite stubborn when it comes to changing her habits and she panics easily. Mattie is more sensible and has more (way more it seems) common sense than her sibling. Silas is a kind-hearted person who changes their lives: he shows them how to live off nature, how to hunt animals and generally teaches them that money does not matter. As for Silver's character, he is a British assassin who is rather clumsy. From one perspective, this feature can be perceived as a commentary about the Great Depression. From another point of view, it acknowledges that wealth is not everything and is not essential for a good life. Yet another opinion would be that this is a story about survival, self-reflection, self-discovery, sisterhood and friendship. An interesting period comedy. Viewers will most likely enjoy the humour and comical action scenes and also contemplate the messages that it carries. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Theatrical Release < All Reviews Next Film Review >

The Bridge film review by UK film critic Jason Knight. Starring Christopher Wallace, Susan Sims, Scott McMillan directed by Scott McMillan. HOME | FILMS | REVIEWS The Bridge Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 24, 2023 Directed by: Scott McMillan Written by: Scott McMillan Starring: Christopher Wallace, Susan Sims, Scott McMillan A youth has a terrifying experience while crossing a bridge that has a sinister history. Jack (Wallace), a college student, is walking home through a park and chatting with his his friend David (McMillan) over the phone. The area is deserted and when Jack reaches an old bridge, his mate informs him about the structure's dark past that theorises that a woman named Marrion Brown (Sims) threw her baby of that bridge, before jumping of it herself. Now it is said that her spirit haunts the bridge and approaches people who come near it and if they upset her, they die. Jack refuses to beleive any of this and after he hangs up, a woman suddenly appears and asks him where her child is. Could she be Brown? Filmed on location in Dumbarton, Scotland, this short horror film begins with a quote from Friedrich Nietzsche's book Beyond Good and Evil , with the apparent intention of setting up a spooky mood and it was a good idea, as this is a spooky story about a ghost encounter. Over its four-minute duration, this short effectively reveals the bridge's sinister background, thus preparing the viewer for the encounter with the supernatural entity. Arguably, it is when Jack discovers the phantom (or maybe it discovers him) that the film reaches its high point, thanks to the ominous score by Taha Khan, the work of make-up artist Sammi Rausch, the sound of demonic laughter and Sims's performance. Sims is the one who steals the show as the spectre and there are close-ups to show her character's monstrous face in detail. The concept is simple and contains elements that are common in horror: a character is alone and they go to a place with a bad history, where they encounter a threatening being. Nothing original, however it is an intriguing viewing with significant creativity and decent acting. Speaking of creativity, apart from the aspects mentioned above, praise also goes Lara Sluyter's contribution regarding sounds of screaming and to the animation that involves text messaged appearing in a bubble and the stylised letters during the closing credits. Also, the inclusion of the song The Backrooms by Myuu works very well. One might think twice about crossing a bridge after watching this. Overall, this a good horror film and a spooky one, however one might argue that it might had been spookier if the story took place during night-time. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Drums film review by UK film critic Patrick Foley. Starring Simona Rose, Rudy Ledbetter, Kate Ray directed by Miroslav Petkov. HOME | FILMS | REVIEWS Drums Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Aug 22, 2024 Directed by: Miroslav Petkov Written by: Miroslav Petkov Starring: Simona Rose, Rudy Ledbetter, Kate Ray Living next door to someone who plays drums is a horror movie in of itself, but finding a kit in your new flat is an unusual set-up for a film full of frights. This is the premise of horror short Drums , but marching to its own beat doesn’t mean this catches the right tempo. Casey (Simona Rose) is desperate to move into her new place, and when she is told it won’t be ready for another night, the one thing she needs is sleep. But her current accommodation houses a bizarre houseguest – a drumkit belonging to a former occupant. When it randomly starts playing in the middle of the night, Casey tries to get her landlord (Rudy Ledbetter) to remove it. But a startling revelation in the meantime casts a new light on the supernatural self-playing – one that puts Casey’s life in danger… Low-budget horror shorts live and die by ingenuity and the ability of the filmmakers to form immediate connections between their characters and the audience, and the originality of the circumstances in which they are inevitably threatened with brutality. And until Slipknot start replacing band members with AI, then an evil drumkit is certainly original. But the film’s execution of its meagre plot is poor, and there’s little substance behind the haunting of Casey. The story behind the drum’s evil nature is classic slasher fodder, but there is little context or reason given to how this relates to the character of the protagonist. Simona Rose’s Casey is world-weary, irritable and has a tense relationship with her landlord (AKA 2024’s everyman). But we don’t get much sense of her beyond this, such as her history or past, and the character’s distant personality means they don’t quite bring the classic vulnerability of a horror protagonist. Placing her into a random environment in which she is in danger therefore feels a little empty, as there is no emotional connection between her and the audience. Random, inexplicable scary events are really just that without proper synergy between the character and story, and this ultimately blights the film. There a couple of flourishes that help develop the story in interesting ways, such as a brief but telling look at Casey’s name in the landlord’s phone or the ramshackle appearance of the flat being a hint towards the neglect with which tenants are treated. But there is also the presence of unintentional moments of shaky cameras, and the pivotal sequence in which the evil behind the drums reveals itself is uninspired and derivative – a copy/paste sequence of countless horrors past. Drums is an original premise, but there’s not really enough underneath this horror short to get a rhythm going. A disconnected story, undercooked protagonist and the lack of visceral or standout direction makes the film flat. Whereas some of the shortcomings can be pinned on the low budget, some basic refinements would have allowed it to succeed much more as an obtuse short. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Film news - The Offering Film Release In Cinema and On Virtual Cinemas and VOD. Find out more at UK Film Review. The Offering Film Release In Cinema and On Virtual Cinemas and VOD Chris Olson Tuesday, July 6, 2021 at 10:44:06 AM GMT+1 THE OFFERING , RELEASED 30th JULY 2021 Jan, mysterious and marked by a profound sense of guilt, tries to win back the love of his ex Violeta, who is now a psychiatrist, with a family of her own. Jan’s complex and perverse plan to reunite him with Violeta, 20 years after the events that led to their separation, will have severe consequences. An erotic, intense and revealing adult thriller, with powerful central performances from Alex Brendemühl (Transit ), Anna Alarcón (A Thief’s Daughter ) and Verónica Echegui (Fortitude ), winner of Best Supporting Actress at this year’s Gaudi Awards, THE OFFERING is a remarkable, gripping excursion into the human psyche and the true nature of love and obsession. Filled with searing love scenes and unsettling mind-games, it’s a sensual, evocative and multi-layered experience, exploring forgiveness and guilt, and the consequences of a destructive love triangle, recalling the work of provocative Spanish directors Bigas Luna (The Ages of Lulu ) and Julio Medem (Sex and Lucia ). Ventura Durall, writer and director of THE OFFERING , set up the production company Nanouk Films in 2000, to promote Catalan cinema. His feature film The Two Lives of Andrés Rabadán was recognized as the Best European Independent Film at the 2009 ECU Festival in Paris, and also received three Gaudi Awards for Best Lead Actor, Best Supporting Actor and Best Actress. His 2014 documentary drama Bugarach won the FIPRESCI Award at the St. Petersburg Message to Man Film Festival. THE OFFERING IS RELEASED ON 30TH JULY, IN CINEMA AND ON VIRTUAL CINEMAS AND VOD. 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Jack Salvadori writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Jack Salvadori Over the past decade, Jack Salvadori has worked across film and documentary, specialising in writing, directing, producing, and film criticism. A regular reviewer and festival correspondent, he has attended major international festivals including Cannes and Venice for over ten years. His own work has been recognised at more than 75 international film festivals, and his latest film, Blondi, was longlisted for the BAFTA Award for Best British Short Film. Read Latest Film Reviews Look Back Read Film Reviews Jack Salvadori Primetime Read Film Reviews Jack Salvadori La Bola Negra Read Film Reviews Jack Salvadori Club Kid Read Film Reviews Jack Salvadori Father Mother Sister Brother Read Film Reviews Jack Salvadori Honey Don't! Read Film Reviews Jack Salvadori Eddington Read Film Reviews Jack Salvadori Joker: Folie à Deux Read Film Reviews Jack Salvadori The Brutalist Read Film Reviews Jack Salvadori Il Cinema Ritrovato Read Film Reviews Jack Salvadori The Shrouds Read Film Reviews Jack Salvadori Megalopolis Read Film Reviews Jack Salvadori Perfect Days Read Film Reviews Jack Salvadori DAU Read Film Reviews Jack Salvadori Wild Horse Nine Read Film Reviews Jack Salvadori Fjord Read Film Reviews Jack Salvadori The Voice of Hind Rajab Read Film Reviews Jack Salvadori Frankenstein Read Film Reviews Jack Salvadori Splitsville Read Film Reviews Jack Salvadori Peacock Read Film Reviews Jack Salvadori Queer Read Film Reviews Jack Salvadori Maria Read Film Reviews Jack Salvadori Grand Tour Read Film Reviews Jack Salvadori Emilia Perez Read Film Reviews Jack Salvadori Furiosa: A Mad Max Saga Read Film Reviews Jack Salvadori El Conde Read Film Reviews Jack Salvadori Possible Love Read Film Reviews Jack Salvadori Che Guevara: The Last Companions Read Film Reviews Jack Salvadori Fatherland Read Film Reviews Jack Salvadori The Smashing Machine Read Film Reviews Jack Salvadori Bugonia Read Film Reviews Jack Salvadori Die My Love Read Film Reviews Jack Salvadori April Read Film Reviews Jack Salvadori The Room Next Door Read Film Reviews Jack Salvadori Beetlejuice Beetlejuice Read Film Reviews Jack Salvadori Anora Read Film Reviews Jack Salvadori Kinds of Kindness Read Film Reviews Jack Salvadori The Second Act Read Film Reviews Jack Salvadori Coup de Chance Read Film Reviews Jack Salvadori

Flawsome: Sex, Drugs & Recipes film review by UK film critic Jason Knight. Starring Rachel Giddens, Christina Sankari, Kym Jackson, Shaun Martindale directed by Claudia Dzienny. HOME | FILMS | REVIEWS Flawsome: Sex, Drugs & Recipes Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 7, 2023 Directed by: Claudia Dzienny Written by: Rachel Giddens Starring: Rachel Giddens, Christina Sankari, Kym Jackson, Shaun Martindale A young woman is assigned to work with a celebrity chef, following a scandalous incident that threatens to ruin her reputation. Created and written by Giddens, this Australian web series consists of six episodes, each of which has an approximately ten-minute duration. The story is set in Sydney and follows Katy (Sankari), a young film graduate who now works in the television industry and Monica Flawsom (Giddens), a British celebrity cook, who sexualises her cooking shows. After her former assistant was fired for causing an embarrassing scene involving Monica that was captured on film, the footage went viral and her image is now in trouble. Now, with Katy as her new assistant, and with the help of Kym (Cook), the head of the cooking show in which Monica stars and Mike (Martindale), the show's feminist director, Monica will attempt to rebuild her image and prepare for the Celebrity Chef Cook Off competition. This mini series is a comedy drama with plenty of cheeky dialogue, sexual content and awkward situations, most notably one that involves a courgette. The main focus is the relationship that develops between Katy and Monica, which has its ups and downs and they get to know each other and help one another. The interesting characters are one of the show's greatest strengths and Monica is arguably the one who steals the show. She is a famous chef who is a bit of a diva, swears a lot, takes drugs, removes her clothing when she gets upset and takes her image very seriously and presents her cooking whith sexual remarks and also has a big sexual appetite (so to speak). Yet, she appears to be crumbling now and struggling to understand what she needs in order to get back on track. Katy's life is effectively explored. She is a Greek Australian, who lives with her caring mother (Barbara Goustos) and she is an ambitious person who does her best to support Monica. The supporting characters include Terry the Sound Guy (Adrian Twigg), Monica's lover Serge (Hafedh Dakhlaoui) and celebrity vegan chef Saskia. Regarding the soundtrack, the series benefits from a selection of enjoyable songs that include pop music and R&B. Big commendations go to Calum Riddell for the impressive cinematography. This web series is a satirical commentary about reality TV, social media, friendship, self-esteem and explores the darker side of fame. People who enjoy adult humour and are looking for a good laugh should look into this one. Buy UKFR Banner Space About the Film Critic Jason Knight Web Series < All Reviews Next Film Review >

Q&A film review by UK film critic James Learoyd. Starring Bobby Schofield, Matthew Mora Hegarty, Kevin Harvey directed by Jack McLoughlin. HOME | FILMS | REVIEWS Q&A Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jun 19, 2025 Directed by: Jack McLoughlin Written by: Jack McLoughlin Starring: Bobby Schofield, Matthew Mora Hegarty, Kevin Harvey Jack McLoughlin’s acidic new comedy Q&A is a force to be reckoned with. Shot with a multi-camera setup to replicate the scenario of, perhaps, a live broadcast, the audience bears witness to a question-and-answer presentation with a celebrated actor which will soon take a disastrous turn. When one aspiring actor wishes to ask the famous attendee a question, this aspiring performer reveals – rather dramatically, though slightly predictably based on the size of his coat – a bomb strapped to his chest. He proceeds to break down and confront the casting director about his lack of success in the industry despite seemingly empty promises. It’s tense stuff, well observed and, through its ridiculousness, occasionally quite amusing in a perceptive, uncomfortable sort of way. But the piece is made not only watchable but engaging through its execution (over its base concept). It may have a provocative screenplay, but the film’s ideas and conflicts are held together completely by the superb performances across the board. To its strength, this very much feels like a piece of drama made through collaboration, despite only having a single writer/director credit. I commend director McLoughlin on making it feel as creatively multifaceted as it does, since they clearly constructed a space in which each and every performer can bring a lot of individuality to the dialogue and acting styles. And yet it all remains utterly consistent and never goes off the rails. Every individual featured in this film knows precisely where to pitch their performance at – how big or small to go; how absurd or grounded. Much of the joy of this film comes from focusing in on the nuances of their behaviour since there's strong realism to it all. Quite an unusual quality for a short film. The fact that Q&A is shot as if simply to document this live event really lends this one extended scene a unique feel. One advantage of this is that we get to view the actors’ unbroken interactions. It’s much more like theatre in that manner – reliant less on aesthetic or cinematic devices and more on our engagement with character. However, if you don’t find this scenario engaging, one can imagine critics going to blame the form for any shortcomings. After all, without conventional visual storytelling, we’re not given emotional cues by the camerawork. Decidedly, this is meant to be a much more Brechtian exercise – and even if it is a comedy of sorts, it’s a smartly objective one. Q&A strikes the perfect balance of tone. Were the tone to be completely outrageous and satirical in its comedy, the audience wouldn’t buy into the threat, intensity and quite scathing indictment of both the entertainment industry as well as the fragile, shallow egos of many who attempt to break into it. And on the flip side, if the piece were completely self-serious, audiences may risk finding the narrative to be more unpleasant than it is conceptually interesting. Overall, you can expect both enrapturing drama and subtle humour from this well-observed deconstruction of stardom. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Hot Dog Guy film review by UK film critic Swati Verma. Starring Micaela Lonzo, Brent Bruchanski, Dakota Nickels directed by Sara Bulloch. HOME | FILMS | REVIEWS The Hot Dog Guy Film Review average rating is 2 out of 5 Critic: Swati Verma | Posted on: Apr 11, 2023 Directed by: Sara Bulloch Written by: Sara Bulloch Starring: Micaela Lonzo, Brent Bruchanski, Dakota Nickels The writer-director Sara Bulloch pays a tribute to the community of hot dog sellers and tries to provide a sense of nostalgia through the three protagonists Seth AKA hot dog guy (Brent Bruchanski), (Micaela Lozano), and Guy (Dakota Nickels) thus increasing the degree of audience engagement with the content of The Hot Dog Guy. The plot of the short film revolves around a woman in a club who has an anxiety attack and is comforted by a man with a hot dog cart outside. The film opens with a combination of mid-shot and close-up shots to establish the party scenes to showcase the lifestyle of the female protagonist and the film moves forward at a fast pace as it has limited time trying to communicate many messages to the viewers and so it becomes a little confusing losing out on the comic element and making it more dramatic. The set design, the multi-colours utilised for the tone of the film, lighting, background music, dialogues, costume, hair, makeup, and props complement the subject matter to help maintain the interest of the audience in the context of the movie. In terms of performance, Micaela Lozano plays the role of the woman who feels uneasy at the party attempting to figure out what has happened to her. Lozano understands the nuances of the character given to her. The actress has closely studied the body language of a person who suffers from an anxiety attack and keeps her performance very close to reality therefore the audience can relate to the same. Brent Bruchanski plays Seth the hot dog guy who believes in helping those in need. Bruchanski depicts values of Seth effectively both in the case of his business and as a person. With his acting skills, Bruchanski manages to illustrate the essence of a hot dog vendor and also appeals to a wider set of audience emotionally. Dakota Nickels plays the lover of the woman who suffered from an anxiety attack. Nickels effortlessly fits into the mould of a perfect boyfriend caring, loving kind of man that every girl dreams of getting. Though Nickels has very short screen time, his screen presence is very strong to leave a lasting impact on the audience. The Hot Dog Guy talks about always helping people in need without expecting anything in return. The short film reiterates the happiness and satisfaction one tends to feel when attending parties and becoming socially relevant but these cannot be done at the cost of one’s health which affects friends and loved ones also. The comedy film highlights that young people like to capture many things happening on the road and put them on social media platforms like YouTube instead of helping and saving lives in emergencies. The cinematic piece also tells us that food is the best thing to comfort someone, make them feel better, or motivate them to achieve important milestones and steer their lives towards a better future. To conclude, I would like to say the topic chosen by Sara Bulloch is a good one, the casting is on point but the director could have worked on the execution to make the audience more comfortable while watching the creative piece. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Networks of Street Signs film review by UK film critic Chris Buick. Starring Heshmatollah Behshad, Gabby Bilobrk directed by Dan Behshad. HOME | FILMS | REVIEWS The Networks of Street Signs Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Feb 25, 2025 Directed by: Dan Behshad Written by: Dan Behshad Starring: Heshmatollah Behshad, Gabby Bilobrk One (recommended) look at filmmaker Dan Behshad’s works in various media, such as film, photography, and art videos, will show a clear affection for the unique, the absurd, and the different, and The Networks of Street Signs is no exception. Written, shot, edited, sound-designed and directed by Behshad themselves, TNOSS begins with a montage of stock nature footage (provided by Talking Segment and Adobe Stock), accompanied by a deep voice declaring “Whose voice do you believe in, your own or your sidekick’s?” and from there, an impression starts to set in as to where this is all going to go, perhaps towards something grand and profound. But then, it doesn’t. In fact, TNOSS doesn’t really go anywhere, but what is most strange is how compellingly it doesn’t go anywhere. It doesn’t have a linear structure like Behshad’s previous offering, A History Long Forgotten , really it doesn’t have any kind of structure at all. What we get here instead is a bit of a showcase of everything else Behshad can do as a filmmaker. The film itself is more of a smorgasbord of visual styles and ideas, showing off everything from stop-motion to monochromatic dramatics, scenes running backwards, and of course, a montage of street signs. And after it's all topped off with a continuous and nonsensical narration, as well as some pop punk, country rock and smooth Americana vibes thrown in, TTNOS makes for one strange beast. Where A History Long Forgotten was a bit clearer on what it was trying to do and perhaps say, there appears to be no clear narrative at play here. Behshad themselves say they were inspired after an incident where their home was offended by a labourer; if that essence of an idea is meant to be represented here, then it’s buried deep. But what this film still manages to do somehow, is indeed make you look for something deeper even if it ultimately might not show itself. Maybe it’s all a parody of the type of ridiculous televisual broadcast segments it’s supposed to be presented as? Maybe it’s saying something about the number of signs and visual stimuli we see each day? Or maybe it’s just a bit bonkers? But on some level it works, because Behshad’s filmmaking style is really quite captivating, soothing even, and despite no threads to follow, is in no way boring. Whether intentional or not, it adds a certain element of cool to the mundanity of everyday sights and sounds, streets and their signs, and throughout Behshad is always mixing up the presentation to give us something fresh and different to look at, but in the end there’s really no guessing as to what it’s all supposed to mean...maybe that’s the point? Undeniably different if nothing else, The Networks of Street Signs firmly showcases Behshad’s adeptness at many visual styles, even if you are none the wiser by the end. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

The Monster Inside Me film review by UK film critic Patrick Foley. Starring Tony Silva, Frances Silva, Elena Ayala-Zajac directed by Tony Silva. HOME | FILMS | REVIEWS The Monster Inside Me Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Oct 28, 2022 Directed by: Tony Silva Written by: Tony Silva Starring: Tony Silva, Frances Silva, Elena Ayala-Zajac Due to general prevalence, awareness of Lyme disease is far lesser in the UK than in the USA, country of origin of The Monster In Me. But as Tony and Frances Silva’s documentary on the tick-borne infection demonstrates, awareness around the realities of the disease is misunderstood even in scientific communities – to the devastating detriment of its victims. The film is presented by the Silvas; a married couple who have experienced challenges relating to Frances’ infection for years, including those that have threatened her life. In breaking down the science behind the damage Lyme disease causes, as well as the difficulties in getting a Lyme diagnosis, the documentary demonstrates that Lyme threatens not only with the initial infection, but also through chronic harm that can last years. The couple’s anger at the medical establishment for failing to help treat chronic Lyme drives their mission, and leads them to lesser-known methods to help counteract the disease’s impact. For a film marketed as a borderline medical-horror documentary, The Monster In Me pleasantly surprises with a matter-of-fact, jovial tone that makes its feature-length runtime an enjoyable watch – even when dealing with a harrowing and crippling illness. This comes courtesy of Tony Silva’s entertaining and snarky narration, as well as the inclusion of clips from the likes of Robin Williams – which perfectly capture the farcical situation the couple find themselves in in their journey to find treatment. There is an implicit message in such a tone – that in some ridiculous situations, all you can do is laugh. It is a refreshing directional choice and allows the film to connect to audiences effectively and garner empathy from its viewers. But this is not at the expense of providing serious and scientific analysis of Lyme disease, and its unseen impact in the United States since general emergence in the previous decades. The film features contributions from an impressive number of doctors, physicians and medical experts across a number of fields – giving genuine legitimacy to the claims of the Silvas and other sufferers featured in the film who look to challenge the medical establishment’s current treatment recommendations. Less impressive is its conspiratorial statement of fact that the CDC and ‘Big Pharma’ refuse efforts to cure Lyme in order to profit from drug sales – an idea that may or may not contain elements of truth, but one that lacks the body of evidence amassed behind other claims made in the film. Given the difficulties the Silvas have faced, one can hardly blame their frustration and identification of a sinister explanation behind their struggle – but presenting it in such a way without proper proof feels beneath the film, especially considering the painstaking research undertaken elsewhere. Production is strong on the film, with a mixture of handheld tape, talking-head interviews and stock footage making up most of the screentime. Long scenes of scientific and medical jargon can become difficult to keep up with at times, but the directors usually have the sense to spice such technical info-dumps with animations, which visualise the necessary data and maintain the film’s momentum. The interviews with experts and other sufferers are professionally presented, and the fictional or interpretive scenes representing Frances’ experience are artistic and imaginative. It proves an impressive example of the director’s flexibility behind the camera. The Monster In Me is a fascinating work which documents a misunderstood and understudied disease, and the associated condition it can result in. Its flirtation with conspiracy-theory territory is a misstep which only cheapens the excellent research it otherwise presents – which it largely ought to be judged on, but its presentation of the human cost of Lyme disease is exemplary. You’ll be sure to check for ticks after watching. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release, Documentary < All Reviews Next Film Review >

Post film review by UK film critic William Hemingway. Starring Cy Ebert, Vivienne Bound, Elena Winnan directed by Terry Winnan. HOME | FILMS | REVIEWS Post Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Apr 20, 2025 Directed by: Terry Winnan Written by: Terry Winnan Starring: Cy Ebert, Vivienne Bound, Elena Winnan A grieving father faces the loss of his family whilst taking shelter from a nuclear war which has broken out across the world. Paul (Ebert) has managed to get himself to safety after the first nuclear bombs have dropped on the UK. Somewhere, up on a hillside, on the outskirts of town, Paul has taken himself to an old ‘post’ – a ROC (Royal Observer Corps) shelter which had been built during the Cold War to monitor radiation levels in the event of a nuclear fallout. As a bit of a ‘prepper’, Paul has bought and taken ownership of the shelter and has kitted it out with all the mod-cons of post-apocalyptic living. With plenty of canned goods, dried food, potable water, and electric dynamos hooked up to an exercise bike, Paul is in the best place to keep an eye on the world and the radiation levels, as he sits out the time waiting for the day that he will be able to resurface. Alongside Paul on this extended retreat is his family – wife, Suzy (Bound) and daughter, Maria (Winnan) – and even if they aren’t technically there, or alive, they still take up a lot of space inside that small underground bunker, as well as inside Paul’s mind. On the CB is John, another survivor who is hiding out in his own home with his own wife and children, and over the course of the film the two men build a tentative friendship based on a mutual understanding of needing to protect those they love. Inside the shelter, Paul’s new life is fairly well catered for, with him managing to eat, sleep, wash, and exercise all within the confined space of about fourteen feet by six feet. In contrast, John is finding it difficult to keep life going in the outside world, with resources scarce, radiation everywhere, and trouble brewing on the streets. There are outlaw gangs roaming around, looking for whatever they can get their hands on, and now the battle for survival is really hotting-up, as John must keep them away from his home and his family. Sadly, this means that most of the conflict and action in Post is actually happening elsewhere. While we hear about John’s difficulties and real crises over the citizens band radio, we sit with Paul in the bunker, in relative ease and safety, as he deals with the loss of his family over a year earlier. Of course, this inner conflict is integral to Paul’s story, and the idea of him using this time to finally come to terms with his loss and say ‘goodbye’ to his wife and daughter, is really what Post is about, however, it does mean that we as the viewer are limited to watching dull, slightly repetitive actions, in an enclosed space, while we hear about all the actual conflict happening out in the real world. Interestingly, writer/director, Terry Winnan also released another short film last year, named Prepared , which actually focused on the exact situations that we only hear about in Post . In the same scenario of a nuclear war, a man tries to keep his family safe while society crumbles around him, and without having seen this film, it seems as though this has a better focus for a post-apocalyptic thriller, staying where the action and the conflict actually takes place. However, for Post we stay inside the bunker and deal with the theme of loss from a more personal perspective, giving a more simplified and isolated point of view than we might otherwise have got elsewhere. The scenario of a nuclear war is obviously one which interests Winnan, having now made two movies on the subject, and his production company RVA Synergies Productions might just shed some light on why this is the case. Before creating his production house, Winnan ran the engineering arm of RVA Synergies, which developed and manufactured a special air filter product for use in safe rooms and emergency shelters. One of these air filters makes an appearance in Post , and while it may be far enough away from actual product placement, it’s easy to see where Winnan gets his ideas and his motivations from. The film itself is fairly well made, with decent lighting, photography, acting, and special effects where needed. The sound design is particularly good, with the CB conversations and radio messages sounding like they are actually in the room, and a nice little indie song thrown in for good measure. There’s some decent attempt at backstory, as we flashback to how Paul’s family died, and everything is edited well into the sequence of the twenty-two-minute runtime. Unfortunately for Post , all the action takes place elsewhere, and the revelation that Paul’s family are dead, just not by the nuclear holocaust, is one that doesn’t really resonate. Still, if you fancy a bit of a chamber piece with a good dollop of claustrophobia and inner turmoil mixed in, but just not for too long a time, Post will see you through until you’re able to resurface into the real world at the end of it. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >