Fishtank film review by UK film critic James Learoyd. Starring Tiffany Chu, Isaac Jay directed by Wendi Tang. HOME | FILMS | REVIEWS Fishtank Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Aug 2, 2024 Directed by: Wendi Tang Written by: Wendi Tang Starring: Tiffany Chu, Isaac Jay There’s a unique poetry to Wendi Tang’s near-perfect new drama Fishtank which is slightly difficult to define. It’s a film as hypnotic as it is absurd; sincere as it is painful, and deeply introspective from beginning to end. Centred around the character of Jules (played excellently by Tiffany Chu), this 17-minute short is a strikingly perceptive examination of a woman’s life following alcohol addiction, and the bizarre, metaphorically imbued occurrence that’s taken over her life since being sober. What might that occurrence be, you ask? Well, poor Jules has been vomiting up goldfish for some time now and thought best to take care of her new-found friends by keeping them in the titular fishtank, of course. It’s an unusual conceit for sure; one bound to put some viewers off – particularly those who aren’t willing to follow a plot whose logic is bound by that of the mind as opposed to the real world. But for those who are willing to submit themselves to the journey will discover that the movie’s dealings in the absurdist provide an affecting, poignant mode of discussion. Allow us to get the obvious out the way. In terms of audio and visuals, this piece is exemplary. A lot of my love for Fishtank starts with its gorgeous look - the cinematography really never puts a foot wrong. It has a wonderfully soft, vibrant, grainy, film feel about it; operating subtly, but veering into the expressionistic when called for. This must be one of the most beautiful looking shorts I've seen in a long time, and for that it deserves a great deal of recognition. The film's technical and stylistic sensibilities - extending, of course, to the superb sound design - are astoundingly refined and well-considered throughout. And yet, having praised all this, it is the picture's exploration of its theme as well as the audacious, surreal nature of the narrative which keeps us glued to the screen. This is not a conventional film, and it doesn't care to be; but through that artistic bravery comes some truthful messaging. There are many evocative little details and ideas which elevate the concept from being gimmicky to profound. For instance, you may find that in some ways it's about the experience of having someone else try to fix a person’s trauma for them; the damage that can be caused by playing the hero and disrupting the healing process. Then again, you could also view it as a story about the numb response to big events following the period of substance abuse -- as the protagonist at one point states, "Not everything happens for a reason". Towards the end, a dramatic tonal shift occurs which I can imagine may not go over so well with some audiences; however, when viewing it through the lens of a recovering alcoholic's emotional world and psychological responses, one may find that the movie's sudden darkness rings true. And the important thing is that you have no choice but to admire these big swings, for it certainly feels like a completely original and uncompromised vision. I hope the team who produced the short continue to collaborate together, perhaps even in a range of genres since the craft and ability is so clearly there. Keep an eye out for Fishtank because it’s a rare gem and one of the most powerful short-form works I’ve seen in some time. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Whisper 2: Natural Connection film review by UK film critic James Learoyd. Starring Simona Rose, Phil Herman, Alicia Hinson directed by Miroslav Petkov. HOME | FILMS | REVIEWS The Whisper 2: Natural Connection Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Dec 30, 2025 Directed by: Miroslav Petkov Written by: Miroslav Petkov, Teddy Nikolova Starring: Simona Rose, Phil Herman, Alicia Hinson The Whisper 2: Natural Connection would appear to the uninitiated as just a run-of-the-mill horror short. It consists of a standard formula – a dark mystery gradually unravels before the protagonist’s eyes as supernatural elements begin to seep into the horror. It has a haunted, wandering vibe; very little dialogue or plot. It then concludes with a ‘shock’ ending of sorts. Pretty normal film, right? – Wrong! This is, in fact, one of apparently three movies made by the same people depicting the same thing. This critic has seen the first short film in this ‘series’ (you’ll notice it’s called The Whisper 2), and according to notes provided by the filmmakers, there is a later feature entitled Whispers . I, for one, find this quite fascinating – particularly when we consider how little story either short contains. We can then surmise that, as opposed to wishing to explore characters or themes deeper, this must be a formal experiment of sorts; a blank genre-based canvas upon which the director can practice camera and editing techniques. And through replication or aesthetic repetition, some form of creative discovery must surely arise – not just for the creatives behind the piece, but potentially for the audience as well... Before deconstructing this further, let us first analyse the piece in isolation. In cinematic terms, the first thing one maybe notices is that – whilst the camera quality and lens-work leaves something to be desired with its low-budget digital feel – the direction itself, and the visual ideas at play, are incredibly effective. There’s some real suspense being forged through camera movement as well as the crafting of perspective, which go hand-in-hand. Quite intelligently, the director knows that to maintain a subjective sensibility, the camera must remain in motion whenever the protagonist is traversing her environment. In the opening sequence, as she observes with terror every ‘missing’ sign in her vicinity, we get a series of immersive shot-reverse-shots. She wanders and the camera wanders with her; we transition to the signs, and instead of a static closeup, the shot adopts a floaty, glancing characteristic. Through this, we remain in the mind of the subject and visually become the character. There’s a bunch of fun visual ideas, much like the one described, sprinkled in throughout. But can more be garnered from these formal flourishes when placing the film in contrast with the original version? – are there further nuances to be found? Having just now rewatched the previous version, I have a couple important observations. While what ‘happens’ is virtually the same, the manner in which the story is told is surprisingly distinctive. The main visual difference is how the original uses a lot of static wide shots, locked down on a tripod. You could argue that this makes the first appear more conventionally professional-looking, but I’d also argue that it makes it less immersive compared to this one. However, there’s a slight suggestion in the first film that some shots are from the perspective of the ghosts, which is unnerving. The latest, on the other hand, completely commits to the ultra-subjective single moving perspective. What a fascinating experiment! Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Someone Dies! film review by UK film critic Jason Knight. Starring Joseph Graham, Amy Anderson, John Wessling, Adam Edwards directed by Justin Petty. HOME | FILMS | REVIEWS Someone Dies! Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 20, 2024 Directed by: Justin Petty Written by: Justin Petty Starring: Joseph Graham, Amy Anderson, John Wessling, Adam Edwards Extraordinary things are taking place inside a Houston apartment. In Houston, Texas, Detective Jim Jenkins (Graham) has a problem: he has received a note informing him that his daughter has been kidnapped. In order to get her back, he must go to an unknown apartment and plant a listening device under the kitchen sink. So he goes there, where he ends up meeting Glenn (Wessling), the occupier and Jane (Anderson), who is there for her own affairs. What follows is a great deal of misunderstandings, a lot of drama, a terrible event and time traveling. This feature blends dark comedy with the crime and sci-fi genre. Almost the entire narrative takes place inside the apartment, with Jim, Jane and Glenn interacting with each other and trying to deal with the situation, which becomes more and more dramatic and bizarre. Initially, things between the three protagonists are quite unstable and poor Jim is even assaulted and held captive by the other two. The arrival of Ivan (Edwards), the eccentric landlord, leads to further complications and true to the film's title, someone does end up losing their life. The three main elements that build the narrative are, first of all, Jim's mission to find his daughter, second, the rapport that develops between him and Jane and Glenn and finally, the time traveling investigations, which involve the cupboard underneath the kitchen sink. The performances of the three leads are one of the aspects that make this feature enjoyable. Graham deserves a lot of credit for his over-the-top performance as a naive guy, who constantly wears a headset and is not on good terms with the mother of his child. Wessling plays a man who is rather childish and not too bright while Anderson portrays the only character who is sensible and does not behave in eccentric ways. Another thing that this feature has going for it is Petty's funny and interesting screenplay. The plot certainly attracts attention and there is plenty of dark humour and also some toiler humour. An example of the humour would be the part that involves a dead body being ignored by the three protagonists. Cinematographer Michael Langhausen creates a look for the film that gives it a sort of grindhouse feeling. Petty also worked on the editing and is quite creative with the split screen and wipe techniques and also with the fast cutting sections that involve close-ups. Interestingly, there is a point where the feature suddenly turns into a music video. This part feels awkward, yet one should still acknowledge the creativity and the fact that the song is amusing. This feature is basically a dark comedy about a kidnapping that turns into a story about time traveling. Top enjoyment can be found in the dark humour (for viewers who are in to that) and in the entertaining performances. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Night of the Tommyknockers film review by UK film critic Jason Knight. Starring Richard Grieco, Jessica Morris, Angela Cole, Robert LaSardo, Tom Sizemore, Michael Beran directed by Michael Su. HOME | FILMS | REVIEWS Night of the Tommyknockers Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 17, 2022 Directed by: Michael Su Written by: Rolfe Kanefsky Starring: Richard Grieco, Jessica Morris, Angela Cole, Robert LaSardo, Tom Sizemore, Michael Beran Regarding the title, it should be mentioned that this feature is not related to Stephen King's book The Tommyknockers . This is a comedy horror Western survival film. The plot takes place during the late 19th century. A band of outlaws robs a bank and finds out about a town called Deer Creek, where there is a mine nearby that has gold. The gang go there, with the law in pursuit. Once there, they find the place deserted and realise that something is terribly wrong. Horrible creatures known as 'Tommmyknockers', who live inside the mines, have overtaken the area and are devouring people. Having found themselves in a life-threatening situation, the robbers must collaborate with the remaining survivors if they are to make it through this alive. This is an enjoyable movie with plenty of action and humour that combines the Western genre with horror comedy. The narrative begins as horror, with miners being killed by the monsters, then switches to Western for a while, with a bank robbery and a shootout, before going back to horror, with the deadly entities attacking the town. There are quite a few characters, however there is not a main character, with the focus going from one person to the other. Some characters who stand out are Dirk (Grieco), the leader of the gang, Betsy (Cole), the only woman in the gang, Marshal Steed (Sizemore) and Lucky (LaSardo), a member of the gang. There are plenty of fights between people and the monsters, with guns or melee weapons being used in order to fight them. There is a lot of gore and some gruesome scenes, where victims are torn apart by the creatures. As one character after the other is killed, one wonders who (if anyone) will be the survivor. The mise-en-scene is rather interesting and contains elements that are often seen in Westerns and horror. Regarding Westerns, the clothing looks great and so do the firearms and buildings. For horror, the Tommyknockers look horrible and terrifying and they are arguably the highlight of the film. They have sharp teeth and their appearance generally resembles that of zombies. A lot of praise goes to the creativity that was applied to the monsters and to the makeup involving wounds. The acting is not realistic, however that does not damage the movie a lot, as this is also a comedy and although few characters come across as likeable, the performances are entertaining nevertheless. The feature gains from tense music, interesting lighting techniques and special mention goes to the cool opening credits, that consist of a creative montage, accompanied by a great score. To summarise, this is a Cowboys versus Monsters movie and an enjoyable one too. The story is intriguing, the fight scenes are entertaining and the creatures look great. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Film news - West Side Story In Cinemas December 2021. Find out more at UK Film Review. West Side Story In Cinemas December 2021 Chris Olson Wednesday, July 28, 2021 at 11:02:44 AM GMT+1 West Side Story - in Cinemas 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. 20th Century Studios recently released this special look at the film, teasing audiences with what's to come. Fans of West Side Story will obviously be eager to see what this 2021 version does with the 1957 musical, which is all to do with forbidden love and gang rivalry. Fans of Spielberg will also be excited to see how he approaches the film, especially given the filmmaker's remarkable catalogue which does not include full-on musicals. Stay tuned for more information about the West Side Story cinema release, especially in the UK where cinemas being able to stay open is still hit and miss with the current COVID pandemic. If all goes to plan, film fans will have a lot to sing about if doors can stay open. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

Pause (Music Video) film review by UK film critic James Learoyd. Starring 'Outpost 3' directed by Dan Skelt. HOME | FILMS | REVIEWS Pause (Music Video) Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Apr 14, 2025 Directed by: Dan Skelt Written by: 'Outpost 3' Starring: 'Outpost 3' (Pause is a new song by the band Outpost 3, and the subject of this review is its music video animated by Dan Skelt and Will Lamb) This is an interestingly constructed, stylistically audacious piece which, particularly considering its only three-minute runtime, is well worth your time as a viewer. What transpires in the video is effectively a surrealistic chase-sequence, taking place in a graphic world defined by dramatic reds and stark silhouettes. The eye of a raven, as motif, overlooks the exciting chase like an omniscient yet ambivalent entity – bookending the succinct narrative. Meanwhile, occasionally intercut and also silhouetted are the bandmembers performing – seemingly within their own liminal, animated world defined purely by colour and shape. The look and feeling crafted by the animators is of a high-quality. Its potent impact on an audience can be attributed to its bold nature; jagged outlines and saturated tones overwhelm the eye in the best way. While the visuals are digital and often quite simple texturally, there also comes a pleasing handmade sensibility in its arrangement. For instance, the aesthetic is two-dimensional and makes little attempt to stretch beyond this. It’s very much a strength because the filmmakers have turned a limitation, in terms of workforce and financing, into an integral artistic characteristic. When it comes to the movement of the figures in the story – while one can tell that this is no expansive production – the motion does give you a genuine sense of physicality and propulsion. This is a fantastic effort on the part of the animators. Now we must move onto the song itself, which is really the primary purpose of a music video. In very simplistic terms, the hard-rock sound of the track evokes a positive musical chaos. As subjective as it is, I’d say that it’s a good song with definitively strong sound production supporting it. The crazed, euphoric collage of overlapping sound – the intense, fast-paced percussion, the virtuosic electric guitar, and of course the terrific 80s-sounding vocals – all make the record a hit in my eyes. Looking at the whole product, there’s certainly an underground temperament which plays in the band’s favour. The viewer witnesses a personal work of art; not just personal in terms of the lyrics or message, but in terms of the effort behind the craft. Let’s surmise that a music video, besides being a delivery system for the song in question, should ideally provide some sort of evocative or pleasing accompaniment to what the spectator is hearing. Additionally, a great music video may opt to place the technical aspects of the images in contrast with what we are hearing, leading us to focus on how the two operate in tandem. In Pause , the vividness and aggressiveness of the picture matches the tone and tempo of the song being performed. And to state the obvious, the visuals are just as ‘loud’ as the music. This signals a clear sense of cohesion within the piece; a great music video with a real understanding of drama and style. Buy UKFR Banner Space About the Film Critic James Learoyd Animation < All Reviews Next Film Review >

Soft film review by UK film critic Joe Beck. Starring Harry Walters, David Carrozzo, Julia Leyland directed by Benedict Webb. HOME | FILMS | REVIEWS Soft Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Mar 2, 2023 Directed by: Benedict Webb Written by: Benedict Webb Starring: Harry Walters, David Carrozzo, Julia Leyland Ah, daddy issues. Where would cinema be without them. Those complex father-child relations have greatly influenced the medium, from practically anything from Spielberg’s oeuvre to Daniel Day Lewis’ ‘I ABANDONED MY CHILD’ and the most famous line of all - ‘I am your father’ in Toy Story 2. ‘Soft’ doesn’t see such a dynamic played out on an intergalactic scale (in reality it rarely ever is), and is instead a much more subtle, sombre meditation, often impressive, but never immersive. Interestingly, and perhaps wisely, we only see the father-son relationship in ‘Soft’ through the adolescent lens of Jaden (Harry Walters), a shy teenager with a world-weary face harbouring many pent-up emotions. We assume that his father walked away when he was one, with the film light on details and exposition, also wisely, Benedict Webb’s direction, and the subtleties of Walter’s face to convey unspoken emotions. Equally, this lack of clarity regarding the true extent of Jaden’s father’s absence gives room for different interpretations on the events of the film, making the film feel more personal to the viewer, able to base his absence, and the resultant long-pronounced feelings of detachment on individual circumstances and events. It’s a tactfully light script, one which feels better for the lack of drawn-out emotional outbursts, and which allows Webb to demonstrate his directorial flair. Webb firmly establishes Jaden’s lack of confidence through the words not spoken, and the sharp close-ups of the sullen, withdrawn look on his face. Coupled with his meekness, which steadily subsides as the film progresses, and reluctance to contradict those around him, we are given a view of how his father’s absence, and his refusal to accept another father figure to act as a role model, has created a shell of a young man, shy when he should be filled with the unabashed confidence of youth. The flair of Webb’s direction is similarly effective in asserting Jaden’s isolation, often placed as a small presence in the comparatively large expanse of his room. As the camera zooms carefully in on the troubled markings of his face we see a teenager in desperate need of a hug, unable to move on from the absence of his father despite his mother’s (Julia Leyland) insistence that he try. The issue is that the film never quite manages to bridge the admittedly narrow gap between Jaden’s isolation and lack of confidence, and the issues of masculinity and identity it wishes to broach. In fact, masculinity and identity are rather oddly better approached in the albeit brief depiction of Jaden’s step-father (David Carrozzo), struggling to establish the nature of his relationship with Jaden with the knowledge that he will likely never quite be the father Jaden is missing. Similarly, regarding identity, as Jaden brashly states ‘what would you know about being a man’, and we realise that he is in fact the embodiment of what a man should be. He has the best interests of those he loves at heart, and that should be the depiction of masculinity which we should all aim to fulfil. Nevertheless, ‘Soft’ is a good film, an impressive presentation of isolation and a teenager’s loss of confidence through Benedict Webb’s firm direction and a nuanced performance from its star Harry Walters. But it’s the script, in its subtlety that caters for everything that comes with it, with its soft nature, if you will, reflective of the absent space left by Jaden’s father, and giving greater room for the direction and performance to probe deeper. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

SHC: Freak Accident film review by UK film critic Joe Beck. Starring Thomas Burke, Zachary T. Scott directed by Thomas Burke. HOME | FILMS | REVIEWS SHC: Freak Accident Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Jan 8, 2023 Directed by: Thomas Burke Written by: Thomas Burke Starring: Thomas Burke, Zachary T. Scott Everybody morbidly imagines being involved in a freak accident at some point in their life. Be it a car crash, a falling wall (perhaps reminiscent of Buster Keaton in ‘Steamboat Bill Jr’), or a boomerang to the face. Writer and Director Thomas Burke’s freak accident, in the aptly titled ‘SHC: Freak Accident’, is spontaneous human combustion, a fear which has haunted him from a very young age. Burke alleges that spontaneous human combustion is the most frightening way possible. That after learning about it on a documentary aged just seven it has haunted him, and that he can’t help but picture something similar happening to himself one day. ‘SHC: Freak Accident’ is a good way of representing those fears. With a runtime of just two minute, ‘SHC: Freak Accident’ is slight on nuanced thoughts, relying more on the shock and horror at the fate which befalls the victim, played by Burke himself. We are introduced to the character via a webcam on a desktop surely at least ten years old - perhaps representative of the fact Burke felt these fears as a child. He calls a friend (Zachary T. Scott), who is at a party which the victim, as he is credited, didn’t show for due to feeling unwell. We’ve all missed events because we feel a bit queasy, but the victim’s illness is evidently far more distressing given the panic in his voice. At first we think that he is unnecessarily worrying, but as the spontaneous human combustion burns up the computer screen we realise that his fears were justified. Burke’s screenplay is solid if unremarkable - not a surprise at less than two minutes - yet he adeptly imbues the screen with tension. It’s something unexpected from a film with such a short runtime, yet as the freak accident occurs we do feel a release of tension, as the event heavily foreshadowed finally hits. His direction is similarly hard to judge for the same reason, yet in such a short sample size it appears strong, though the webcam style doesn’t allow him to truly flex his muscles in any regard other than building tension. A pleasant surprise, ‘SHC: Freak Accident’ is a worthwhile watch for anyone with a spare two minutes. Another of the webcam horror genre - like a sample size ‘Host - the film may slight on runtime, yet it nonetheless builds suspense admirably, making the slightly crass depiction of the freak accident itself feel deserved. Kudos must be given to writer-director Thomas Burke, not just for the film, but for facing his fears. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

A Curious Tale film review by UK film critic Jason Knight. Starring Pete Tindal, Bill Johnson, Ian Kear, Amanda Dann directed by Leigh Tarrant. HOME | FILMS | REVIEWS A Curious Tale Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 22, 2022 Directed by: Leigh Tarrant Written by: Leigh Tarrant Starring: Pete Tindal, Bill Johnson, Ian Kear, Amanda Dann An elderly musician travels to a small coastal town in Sussex, in search of a crown from the Middle Ages. What he finds is more than he bargained for. A veteran musician named Rattlebone (Tindal), who has a keen interest in archeology arrives at Snowgood, where there is a legend that says that hundreds of years ago the Three Royal Vintage Crowns of the Sussex Heritage were buried there. It is believed that these crowns have a magical power that protects the Kingdon of Sussex from invasions, providing that at least one crown remains undiscovered. Today, only one crown is still buried and apparently no one knows where. Through extensive research, Rattlebone believes that he has discovered the location of the last one and is determined to find it. However, by doing so he might be putting his life in danger, as sinister figures proceed to pursue him. This spooky ghost story was inspired by the novel A Warning To the Curious by M.R. James and it is interesting, suspenseful and has its scary moments. The majority of the narrative focuses on the optimistic musician as he explores the city, meets locals that include an antique dealer, a farm woman, a vicar and a visiting man named Blackman (Johnson). Most of the individuals he encounters appear friendly and he also learns about the Hagar family, whose members claimed to know the whereabouts of the hidden crown. As the plot moves on, things move towards the supernatural and frightening things begin happening that include the spirit of William Hagar, the last relative of the Hagars, going after Rattlebone and the terrifying spirit of a woman holding a tool with a large blade. Is this horror film any scary? The horror elements are mainly the ghost of William and the woman. The woman's appearance is quite frightening, as she wears clothing that appears to belong in the Middle Ages, walks slowly and she is surrounded by mist. On the other hand, William's appearance is no different from that of a normal person, which makes him seem less menacing as he chases Rattlebone. It is during the second half of the film that things turn towards horror and there are nail-biting moments and murder. Tarrant directs well, capturing the beauty of the surrounding locations and creates wonderful establishing shots of beaches. Neill McKenzie provides satisfying narration and Jeff Crampton composes music that is tense and suspenseful and in other parts it makes one think of the medieval times. Acknowledgement also goes to the stylized letters during the opening and closing credits. This feature is not without its flaws. The acting is not very strong and there are moments that seem silly. Nevertheless, the plot is interesting and there are scenes that will probably give some viewers the chills. Generally, this is a decent ghost story. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Chekhov's Bun film review by UK film critic James Learoyd. Starring Amelie Leroy, Eric Lim directed by Beau Fowler. HOME | FILMS | REVIEWS Chekhov's Bun Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jul 14, 2026 Directed by: Beau Fowler Written by: Beau Fowler, Haydn Worley, Simon Darkman Starring: Amelie Leroy, Eric Lim The new one-room action thriller Chekhov’s Bun is riveting, shocking and a great deal of fun. Writer-director Beau Fowler’s short film is about a woman, with a husband and daughter, who is struggling with the preparation of some baked goods for her daughter’s birthday party. Part way through the preparation, a man appears; a face from a past long forgotten. He persuades her to return to a life of crime and leave this comfortable family bubble behind, but she’s not having it... and it’ll take a fight to the death to convince her otherwise. From a practical filmmaking point of view, the setup is ingenious; basing everything that happens in one kitchen means that the geography is clear, and the director is able to turn the limitation of a single-room setting into a weapon – much like our ex-assassin protagonist and the many ways she finds to utilise her domestic surroundings to her tactical advantage. An essential aspect of the setup working well lies in the kinetic, Raimi-meets-John-Woo nature of the cinematography. Seemingly every shot consists of some dynamic movement of the camera – either with the intention of revealing some further information within the shot, or to mimic/complement the intensity of motions from our subjects on screen. It’s refreshing to see someone understanding why wide-angle lenses exist. Critics frequently point to their overuse in the current landscape of cinematography – the fact that many DPs seem to be building their whole visual style around an 18mm without apparently comprehending what a lens like that can and can’t accomplish on a level of composition and camera blocking. Yet here, the filmmakers know that it’s the perfect way to capture speed and agility; to pull the audience into the action through a dynamic push-in, or how to implement a dolly shot to shrewdly place an item of importance in the foreground. This style works even better in a tight environment because it places something the audience is familiar with (a kitchen) into a fresh cinematic context. Addressing what might be a common complaint, you could easily argue that the plot is contrived. And whilst certainly many titles match in premise (an early set-piece in the first Kill Bill movie comes to mind), the fact is, a short film is a different beast. Often, a short-form work exists as a space of play, experimentation, and a method in which to showcase talent. The talent on display here is obvious from the outset – the visuals being the thing – and frankly, as soon as we get to the fighting, we level up a notch. The choreography is outstanding – every beat clearly thought-through, every increment of movement and timing rehearsed until it’s perfect. For a short film, the arrangement of this fight scene is an awesome achievement. If you’re a fan of action movies, I would highly recommend Chekhov’s Bun. The short exists to deliver pure thrills through balletic action, and does so exceptionally well with the help of some sturdy visual work behind the camera. Starring Amelie Leroy and Eric Lim as her kitchen opponent. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

God & Country film review by UK film critic George Wolf. Starring Rob Schenck directed by Dan Partland. HOME | FILMS | REVIEWS God & Country Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 21, 2024 Directed by: Dan Partland Written by: Dan Partland Starring: Rob Schenck When Rob Schenck was a young pastor, he was told never to prepare a sermon without consulting the Theological Dictionary of the New Testament , edited by Gerhard Kittel. Years later, Schenck learned that Kittel was also the man who gave Hitler a Christian blessing for his Final Solution. “That was an eye opener,” Schenck admits. The point—that there is no limit to what radical Christianity can be used to justify—is what drives God & Country. And much of the film’s success comes from how it combats that fanaticism with a measured, confident deconstruction. Director Dan Partland doesn’t insert himself into the conversation, but has no problem crafting a spirited one. Yes, he has a clear agenda, but includes enough footage from news reports, political speeches and televangelist messaging that the film’s worldview becomes the “other side” getting a chance to be heard. Partland relies on historians, authors, and theologians to trace the rise of Christian Nationalism, it’s deviation from actual Christian teachings, the quest for power over values that earns a rebranding as “White Religious Nationalism,” and how the true believers have been convinced that America has a God-ordained role in human history. And if democracy gets in the way? See January 6th, 2021. The attack on the Capitol is what bookends the film, and in between, Partland actually elicits sympathy for the attackers, who have been fed a calculated diet of lies, fear and outrage. The resulting echo chamber creates an alternative reality bubble, one that was always designed to burst. If you noticed the proudly theocratic ruling from the Alabama Supreme Court last week, you know that the threat to democracy is only becoming more dangerous. Partland makes it clear that the biggest hope is awareness, so that those led astray by the fervor (like Schenck) can experience a new awakening. Christian Nationalism has nothing to do with Christianity. And God & Country finds a useful tone between sermonizing and condescension that can help us see that light. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

Rabbits Under the Shed film review by UK film critic Amber Jackson. Starring Emmi McIntosh, Darwin Shire, Nolan Bunting directed by Mia Stegner. HOME | FILMS | REVIEWS Rabbits Under the Shed Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Oct 28, 2021 Directed by: Mia Stegner Written by: Mia Stegner Starring: Emmi McIntosh, Darwin Shire, Nolan Bunting Rabbits Under the Shed is a fun family film that acknowledges a difficult reality for its characters, but also recognises the importance of hope. Made as a student film by multiple collaborators during COVID-19 restrictions, this short film explores a warm-hearted way of finding a place of belonging. With innovative animation and escapism with nature, this short film focuses on a young girl, Natalie, who comedically runs away “into nature” (her back garden) after an argument with her mother. At the end of Natalie’s garden, Bella the rabbit and her family are anxious to be above ground for long, fearing predators, and express how humans and rabbits are too different from one another. In a neutralised safe space close to the shed, two worlds collide and Natalie ultimately seeks to befriend the rabbit family and live harmoniously with them. Released onto YouTube earlier this year, Stegner’s film fits well into the ‘YouTube kids’ category with its Watership Down vibes being less threatening and more family friendly. Whilst the rabbits are having to hide away and still search for food, the musical scenes build an optimistic and more hopeful element into the film. Music highlights parallels between Natalie and the rabbits in terms of how they learn to trust each other and overcome their fears through singing, whilst connecting through their differences to make room for everyone – even making room for a bird-of-prey-turned-vegetarian! Despite being labelled as a short film for children, there is content for adults watching too, parents or not. The more serious themes, such as a commentary on nature, are written in a way that children and adults alike can understand, which is a great writing skill. The accessibility of both animation and script is fantastic and spreads a simple message of acceptance and that being kinder to everyone makes the world a better place. Natalie’s day of adventure ultimately teaches her something – and teaches the rabbits too. Rabbits Under the Shed is a delightful short film and promises positive future content for the filmmakers and collaborators involved. It has already been nominated for and won several awards and its success can only continue. Rabbits Under the Shed is available to watch on YouTube now. Buy UKFR Banner Space About the Film Critic Amber Jackson Animation, Short Film < All Reviews Next Film Review >