1 Degré de Séparation film review by UK film critic Patrick Foley. Starring Lauraine Gillieron, Maria Mettral, Isabelle Caillat directed by Sonia Rossier. HOME | FILMS | REVIEWS 1 Degré de Séparation Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jan 31, 2025 Directed by: Sonia Rossier Written by: Tiziana Giammarino, Lauraine Gillieron Starring: Lauraine Gillieron, Maria Mettral, Isabelle Caillat French short 1 Degré de Séparation packs an emotional punch. Set a little-known French law that permits posthumous marriage, it explores the complexity of emotions experienced by those who go through with such an arrangement. What may have otherwise been a straightforward tear-jerker actually considers more difficult and realistic journeys that partners go through following the loss of a lover. The film follows Victoria (Lauriane Gillieron) on her wedding day. Already dressed in white, she tries to navigate final preparations whilst kids and family members circumnavigate her. A strange tension in the air and fraught conversations suggest there is an underlying schism in her upcoming nuptials. But the reality of her marriage-to-be and the hesitancy that surrounds the event is revealed to be something all the more tragic. Undying love is at the heart of 1 Degré de Séparation, with a closing message dedicating the short to those who are left behind. The conclusion is a bittersweet but touching moment in which Victoria realises the importance of her decision and attains a sense of peach – movingly and powerfully captured by Lauriane Gillieron. In this sense the film is something of a tribute to the obscure and unusual law in France that permits posthumous unions – one that provides comfort and finality to the bereaved. There are moments of drama in the lead-up to the ceremony relating to family heirlooms, much of which however feel like more of a preamble in place to add a dramatic edge. Running at a crisp ten minutes, the film doesn’t really delve too far into the more ethical, moral or practical questions around the law. Granted this may not be the purpose, but given that the filmmakers are clearly happy to raise some questions around Victoria’s decision it feels like a missed opportunity to take on any critics who may stand in opposition to the legal function, or who have questions about how such marriages can work once the credits roll. Much of this is a result of wanting to maintain the surprise ending of the film – a dramatic conclusion for sure, but one that perhaps undermines the actual purpose of the short. 1 Degré de Séparation is surprisingly engaging and does avoid some of the soppier pitfalls that a film addressing spousal loss may have encountered. Some of its storytelling however is a little confusing and it elects not to tackle certain ethical aspects of its subject. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Kraven the Hunter film review by UK film critic Hope Madden. Starring Aaron Taylor-Johnson, Fred Hechinger, Russell Crowe directed by JC Chandor. HOME | FILMS | REVIEWS Kraven the Hunter Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Dec 12, 2024 Directed by: JC Chandor Written by: Richard Wenk, Art Marcum, Matt Holloway Starring: Aaron Taylor-Johnson, Fred Hechinger, Russell Crowe I keep waiting for Aaron Taylor-Johnson to become a giant household-name superstar. He’s a good-looking kid, always turns in solid work, makes interesting career choices. I’ve been a fan since 2010’s Kick-Ass, but it doesn’t seem to me that he’s really hit. Maybe now’s his time. He does a solid job in a supporting turn in Nosferatu , hitting screens this Christmas. And based on the trailer, he seems to be leading the most anticipated horror sequel in decades, next summer’s 28 Years Later . Plus, he’s finally starring in his own franchise comic book superhero movie, J.C. Chandor’s Kraven the Hunter . And holy shit, J.C. Chandor! Do you know how good a director he is?! Margin Call, All Is Lost, A Most Violent Year — these are brilliant films. Brilliant! And you know what happens with genius indie directors pair up with Marvel. Just look how well that went for Oscar winner Chloé Zhao and her endlessly maligned Eternals . What to know going in? It’s rated R. Hmmm, provocative. Oscar winners Ariana DeBose and Russell Crow join Taylor-Johnson, along with beloved indie actors Christopher Abbott and Alessandro Nivola, plus Fred Hechinger, who is killing it in 2024 (Thelma , Gladiator II , Nickel Boys ). The result: After a fun, bloody prologue, Act 1 plods along with scene after scene of exposition. In Act 2, we get to see a lot more exposition, a bit more action, but at least the seriously fine ensemble is able to carve out some weird, fun characters. Hechinger comes off best as the sweet-natured younger brother Dmitri to Kraven (Taylor-Johnson). Both sons of criminal kingpin Nikolai Kravinoff (Crowe), Dmitri craves his father’s respect while Kraven spurns all his dad stands for and hunts down baddies like him all over the world. Crowe, brandishing a ludicrous Russian accent, is fun in that saucy Russell Crowe way. Likewise, Nivola and Abbott are delightfully, drolly evil and seem to be having an excellent time. DeBose is wasted in a badly written role. Her scenes are almost exclusively with Taylor-Johnson, who’s asked to look good shirtless, move about well, and talk more than the character should just to make sure audiences don’t get lost. The biggest problem are the CGI animals. Yikes. (It makes one worry for the brilliant indie director Barry Jenkins and his leap to CGI animals/giant studios with next week’s Mufasa: The Lion King .) How can they all look this bad? But, Act 3 delivers so much blood! I’d almost forgotten about that R rating until Kraven snaps shut those bear traps on that bad guy’s head! It’s not a great movie. I doubt it’s really franchise material, which is almost too bad because I’d love to see Hechinger again. It’s not really worth waiting for the Act 3 payoff, unless you just really like bloodspatter and viscera in your superhero movies. Maybe 28 Years Later will be better. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Film news - The Human Voice Gets UK Release Date. Find out more at UK Film Review. The Human Voice Gets UK Release Date Chris Olson Friday, April 16, 2021 at 11:53:25 AM GMT+1 Pathé are delighted to announce that the new short film, THE HUMAN VOICE , directed by Spanish auteur Pedro Almodóvar and starring Tilda Swinton , will be launched on 19 May 2021 at a special Event Screening in cinemas across the UK. The film will be followed by a pre-recorded Q&A with Almodóvar and Swinton hosted by film critic Mark Kermode. THE HUMAN VOICE is Almodóvar’s first work in the English language and had its World Premiere to critical acclaim at the Venice Film Festival last year. Madness and melancholy intersect to thrilling effect as Almodóvar reimagines Jean Cocteau’s short play The Human Voice for an era in which isolation has become a way of life. Laws of desire become the rules of the game as Tilda Swinton’s unnamed woman paces and panics in a glorious Technicolor apartment where décor offers a window into her state of mind. A short, sharp shot of distilled Almodóvar: passion, emotion, heartbreak, wit, and melodrama exquisitely bound up in a tale for our times. Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, numerous Goyas and over 100 further wins and nominations. His credits include WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, ALL ABOUT MY MOTHER, VOLVER and most recently PAIN AND GLORY. 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

Another day in Buenoseres film review by UK film critic Jason Knight. Starring Jason Bailey, Andrew McGillan, Shingai Shoniwa, Kirris Riviere directed by Cameron Medford-Hawkins, Benjamin Scrase. HOME | FILMS | REVIEWS Another day in Buenoseres Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Nov 23, 2023 Directed by: Cameron Medford-Hawkins, Benjamin Scrase Written by: Cameron Medford-Hawkins Starring: Jason Bailey, Andrew McGillan, Shingai Shoniwa, Kirris Riviere A Wild West bounty hunter is assigned to go after a dangerous criminal. A man named Bishop (Riviere) has hired Iron Gus (Bailey), the fastest shooter around, to locate and eliminate Texas Red (McGillan), a loose cannon, murderous outlaw. Gus arrives at Buenoseres, where Red is believed to be, and enters a bar. After asking people for information and having a conversation with Widow (Shoniwa), a singer, Gus comes face-to-face with the wanted man and the fateful confrontation begins. This intriguing short has various elements that are associated with the Western genre. To begin, the scenery resembles the one that often serves as the background of such films, dry, desert-like landscapes and much of the narrative takes place inside a bar, an obvious replacement for the typical saloon. The costumes include cowboy hats and similar clothing and the plot involves the hero, a loner and gunslinger, pursuing the bad guy. Science fiction is also present, with a spaceship being used for travelling instead of a horse and several characters have supernatural powers that prevent people from moving and cause vein-like lines to appear on their skin. The mise-en-scene is a great aspect of the film and so are the characters. Iron Gus makes an interesting hero, a no-nonsense bounty hunter who does not fancy a conversation and Iron Gus is quite a character, the bad guy, a menacing, hatchet-wielding killer. Other supporting characters include a woman bouncer (Chloe Kelloway) and a bartender (Emile J. Clarke). The story itself is rather simple: the hero going after the bad guy, which is not a negative thing as it is a plot that creates suspense. Instead, the screenplay has more depth when it comes to the dialogue, especially the cat-and-mouse interaction between Gus and Red. The montage during the opening credits certainly succeeds in catching the viewer's attention. With superb editing by Scrase, it introduces the protagonists via title cards with stylised letters and it is accompanied by the wonderful song Railroad Tracks by Rob Crooks and Riviere. The whole thing is a joy to watch and it effectively sets up the atmosphere. Big commendations go to Scrase for the fantastic cinematography and visual effects, particularly during the scenes where characters utilise their powers. A lot of praise also goes to Imogen Bennett for the terrific costumes. The music is another plus, which sounds electronic and tense and the song Too Bold by Shoniwa was a good choice to end the film with. This is a Wild West story about the hunt for a criminal, murder and betrayal. The mise-en-scene stands out and so do the characters and the strong performances. The impressive creativity that was put into this project is evident throughout and the result is an entertaining and visually stunning viewing that effectively mixes the Western genre with sci-fi. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Spider-Man: Across the Spider-Verse film review by UK film critic Rob Jones. Starring Shameik Moore, Hailee Steinfeld, Jake Johnson, Oscar Isaac, Issa Rae, Daniel Kaluuya, Karan Soni directed by Joaquim Dos Santos, Justin K. Thompson, Kemp Powers. HOME | FILMS | REVIEWS Spider-Man: Across the Spider-Verse Film Review average rating is 5 out of 5 Critic: Rob Jones | Posted on: Jun 2, 2023 Directed by: Joaquim Dos Santos, Justin K. Thompson, Kemp Powers Written by: Dave Callaham, Phil Lord, Christopher Miller Starring: Shameik Moore, Hailee Steinfeld, Jake Johnson, Oscar Isaac, Issa Rae, Daniel Kaluuya, Karan Soni The multiverse trend is tough to navigate. It’s so easy to either underwhelm the narrative by not living up to the scale implied by its premise, or to completely overdo it to the point that the structural integrity of a blancmange would become enviable. In Spider-Man: No Way Home, for example, it’s used for little more than to introduce a couple of nostalgia-bait cameos. To be fair, they may have been fun at the time, but on reflection, they don’t go anywhere near far enough to demonstrate the magnitude of possibilities that come with the idea that any and all eventualities are happening somewhere. In Doctor Strange in the Multiverse of Madness, the problem only gets worse. Instead of expanding the breadth and depth of the concept, it leant more into the idea that different multiverses are all essentially the same thing with a few aesthetic differences, even contradicting the already small scale of Spider-Man: No Way Home in favour of an even smaller one. If nothing else, at least the three Peter Parkers were different people, unlike the Doctor Stranges who were so identical that they could be held accountable for one another’s misdemeanours. The most successful of the subgenre so far is undoubtedly Everything Everywhere All at Once , but there’s still a feeling that more could have been explored than just hotdog fingers, everything bagels and altered relationship dynamics between the same characters in a few different settings. What Spider-Man: Across the Spider-Verse does so well is entirely a continuation of what made Spider-Man: Into the Spider-Verse such a great representation of what the multiverse premise can achieve. It uses the idea to present a genuinely diverse set of characters, all connected by the experiences that they share instead of divided by the ones they don’t. There are Spider-beings with different cultures, ethnicities, genders, species, and even art styles and cinematic forms, all managing to co-exist in the same space because they all share fundamental similarities that go far deeper than any surface-level distinction ever could. It’s a refreshing view of the intersectionalities that are often used politically to pull people apart from one another, and there’s a lesson to be learnt from Spider-Man: Across the Spider-Verse about how we can just choose to try and understand each other instead. There’s really only one thing, though, that separates the Spider-Society from any other normal person. They’re all lucky enough to have been bitten by the spider that started them on a journey of self-discovery by literally hiding who they are behind a mask. In an early sequence, Miles Morales (Shameik Moore) is in the position to talk to his father, Jefferson Davis (Bryan Tyree Henry), in a way where he’s able to discover that his dad has his own mask too. Without realising that he’s speaking to his son when he encounters Spider-Man, Jefferson talks about the intimate struggles of parenting that are otherwise hidden behind a tough exterior which has been crafted with the best intentions of raising a child in the right way. Similar is true for Miles’s mother, Rio Morales (Luna Lauren Velez). We’re almost given two characters for her; one who loves her son to the point of self-harm, and one who presents unachievable expectations of him in the hope that it might steer him towards becoming the best person he can be. The struggle between having a truly authentic self as well as a version of it that has to be presented to the world is a commonality between every character, just as it is among people in general. Gwen Stacy (Hailee Steinfeld) has a similar family dynamic to Miles, Spider-Punk (Daniel Kaluuya) is played off in a more satirical way, and there are many shades in-between with Spider-Man India (Karan Soni), Miguel O’Hara (Oscar Isaac) and many other characters doing their utmost to fulfil their purposes in life while embracing what makes them who they really are. Not only does Spider-Man: Across the Spider-Verse manage to tell a very personal story at the heart of a huge multiverse blockbuster, but it does it on such a scale that the multiverse becomes necessary to contain it. Spider-Man has always been a character used to convey a metaphor for identity. His superpower is a burden because he’s not able to reveal himself to the people he loves, and he’s not able to be anything else because the values of what it is to be Spider-Man are fundamental to his core. He’s a character naturally filled with loneliness, but Spider-Man: Across the Spider-Verse changes that ever so slightly while remaining faithful to who and what the character is supposed to be. There are people who he’s allowed to reveal his true self to because they’re all part of the same Spider-Society, but that doesn’t make it any less painful that he has to lead a double life of sorts in front of the people who were there for him before any of this happened. Although he’s found a new community to be a part of, that doesn’t replace the one that he came from. It’s so well-crafted that by changing the traditional Spider-Man archetype for something that’s more of a communal experience, it supercharges the issue of identity to a new height of relevance where it could have easily abandoned it. In a world where topics concerning identity are spoken about in far more divisive terms than they could ever warrant, it’s another lesson that Spider-Man: Across the Spider-Verse offers at a time when it’s necessary. All of that said, it’s also just incredibly fun. When Martin Scorsese delivered his now-infamous line about how superhero movies were more akin to theme park rides than cinema, it didn’t have to be taken as such an outrageous statement. The simple fact is that part of their purpose is, like theme park rides, to provide us with a good time full of excitement and elation. In Spider-Man: Across the Spider-Verse we’re given so many reasons to smile alongside all of the deep and meaningful stuff, with a number of action set-pieces that any master of the art would be immensely proud of. By anyone’s standard, it hits all of the markers of being great cinema as well as being a great theme park ride. In Spider-Man: Across the Spider-Verse there’s a story and an experience for everyone. If there’s any point in exploring the concept of a multiverse in film, then it’s to do exactly what this film has done. It highlights the emotional tether that, in one way or another, links us all together, but it also celebrates the things that make us different. It may be quite early to make such a claim, but it’s nothing short of a masterpiece of genre filmmaking. Buy UKFR Banner Space About the Film Critic Rob Jones Theatrical Release < All Reviews Next Film Review >

Trap film review by UK film critic Hope Madden. Starring Josh Hartnett, Saleka Shyamalan, Arial Donoghue directed by M. Night Shyamalan. HOME | FILMS | REVIEWS Trap Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Aug 1, 2024 Directed by: M. Night Shyamalan Written by: M. Night Shyamalan Starring: Josh Hartnett, Saleka Shyamalan, Arial Donoghue You have to feel for a guy who’s built his career on trick endings. If he delivers another twist, he’s nothing but a gimmick. What if he just makes a thriller, no tricks, no twist, no gimmick? It can be done, right? Other filmmakers do it. In the case of Trap , M. Night Shyamalan trades in twists and surprises for contrivance and predictability. Josh Hartnett is Cooper, the awesome dad who sprung for floor seats to take his daughter Riley (Ariel Donoghue) to see her hero, Lady Raven (Saleka Shyamalan). But—you’ve seen the trailers—the whole concert is a trap. Cooper’s a serial killer and the Feds know he’ll be there, so they’ve descended on the show to smoke him out. It is a compelling idea—sort of like the sting operation at the beginning of the 1989 Al Pacino/Ellen Barkin thriller Sea of Love . Except on a larger scale, with twenty thousand innocent lives at stake. I mean, cinematically it’s not a bad scheme, but in terms of law enforcement, feels sketchy. Still, with a premise like that, the real star is the writing. How on earth is Shyamalan going to get his characters out of this? With a lot of convenient opportunities for exposition, unreasonably handy opportunities for possible escape, and a heavy reliance on the idea that the moviegoing audience has not been to a lot of concerts. Hartnett’s great. He’s an excellent choice for a serial killer: physically imposing but somehow bland, likeable without being memorable. Shyamalan’s camera emphasizes his height one moment, his Good Guy Jim smile the next. Donoghue’s believable as the star struck pre-teen and Alison Pill shines late in the movie as her mother. Marnie McPhail feels unsettling real as that mom who will not drop it, and Jonathan Langdon charms as the vendor who talks to much and doesn’t have to work that hard. Saleka Shyamalan struggles. She writes and performs all the Lady Raven songs, which seem reasonable enough as pop hits to me but, let’s be honest, I would have no idea. She comes up lacking in stage presence as the pop diva, though, and even more so as an actor. But it’s the writing that lets you down the most. He can’t nail it every time, and when M. Night hits—The Sixth Sense, Unbreakable, Signs, The Visit, Split —it’s worth all the misses. Trap is a miss. It’s not his worst, just middle of the pack, but a disappointment nonetheless. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Bestias film review by UK film critic Patrick Foley. Starring LA Rivers. Ta'j Coleman, Steven Richardson directed by V.R. Rao. HOME | FILMS | REVIEWS Bestias Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 19, 2024 Directed by: V.R. Rao Written by: V.R. Rao Starring: LA Rivers. Ta'j Coleman, Steven Richardson Bestias, Spanish for ‘Beast’ (thanks Duolingo), is a short film from V.R. Rao that explores a beastly and horrifying dilemma that befalls a young mother lost in a forest, stalked by monsters of her own making – with memories of her family the key to finding her way out. The film follows Jess (LA Rivers) who is lost alone in the woods. Carrying only a backpack of supplies to see her through, she begins to be haunted by visions of her former life with partner Jeff (Steven Richardson) and son Jake (Ta’j Coleman) in happier times. Losing herself to the visions, she tries to interact with her family – only to find her hand passing through their ghostly apparitions. Demonic presences begin to encircle her as she loses grip with reality, confronting very real ghosts from the past. There are positives to Bestias – a lush and vivid forest location intertwined seamlessly with household furniture from Jess’ past make for a dynamic and striking setting for the film. Director Rao creates a notable sensation of isolation and vulnerability as Jess finds her way through the trees – which make the unexpected accompaniment of lost family members all the more jarring and discomforting. The campsite quickly becomes a hellscape as the visions turn, and even some poor-quality visual effects are not enough to knock the viewer out of their investment in the film’s world. Rao also allows quieter moments between Jess and Jake to play out in order to give priority to the characters and Jess’ development at the centre of the story. The film is not a traditional horror in this sense, operating as much as a family drama that has some serious trauma echoing in the form of beastly apparitions. It beats yet another woodland chase film with family background sprinkled in at an attempt to add some depth. The traumatic inciting incident for the film’s story feels a little underdeveloped and underwhelming once viewers are given insight. The weight Jess carries is obvious, but more focus on how she feels she failed in her own role and responsibilities would add a layer of context to her haunting that audiences may feel is lacking. It’s a good thing that the filmmakers have understanding that the best horror films are not really about the monsters themselves, but the individuals being horrified. But in Bestias’ case, it feels a little self-justifying. There is also an unfortunate lack of chemistry between LA Rivers and Ta’j Coleman that means the pair who share the screen for the majority of the film never really convince as mother and son. Individually they play their roles well, with Rivers in particular relishing in the physical demands of the role. But without an enticing dynamic between them, viewers lack a real connection to the family life that bears on Jess through the film. Bestias has some genuinely interesting tweaks for a short horror film, and there is more to it than many of its contemporaries that lack as clear of an understanding of how to use the genre to do something interesting. It doesn’t quite land some essential elements of its characters, themes or story which let it down, but there are far more derivative low-budget horrors out there that are nowhere near as admirable as an attempt at doing something meaningful with the genre as this. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Good Luck, Have Fun, Don't Die film review by UK film critic Hope Madden. Starring Sam Rockwell, Haley Lu Richardson, Juno Temple directed by Gore Verbinski. HOME | FILMS | REVIEWS Good Luck, Have Fun, Don't Die Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 10, 2026 Directed by: Gore Verbinski Written by: Matthew Robinsin Starring: Sam Rockwell, Haley Lu Richardson, Juno Temple Say Sam Rockwell, ragged clothes under homemade explosives and draped in clear plastic, walks into the late-night diner where you’re eating and claims to be from the future. I mean, if anybody’s going to do it, it’ll be Sam Rockwell. The reliably loose cannon stars in Good Luck, Have Fun, Don’t Die , director Gore Verbinski’s first film since 2016’s regrettable A Cure for Wellness . The sci-fi time loop fantasy sees Rockwell as a man on a mission: find the little boy whose AI is going to destroy the world and keep him from finishing it. But it will take the perfect mix of people to help him, and he knows those people are here, in this diner, on this night. He knows about certain groupings that are not the saviors because he’s tried this exact thing many times already. Many, many times. But he’s got a weird feeling about tonight’s recruits: an unhappily married teacher couple (Zazie Beetz, Michael Peña), a mousy woman sitting alone (Juno Temple), a woman who just wanted to relax with some pie (Georgia Goodman), a tough guy (Asim Chaudhry), and a Goth princess (Haley Lu Richardson). Matthew Robinson’s script spins each recruit’s backstory with its own little chapter—because chapters are a really popular cinematic device right now—gives us not only a bit of intel on the character, but also some context. Robinson’s greatest achievement is the alarming mix of gallows humor and rainbow colored confetti. His characters race against the clock, video game like, to beat level after level of difficulties before finally entering the final layer—well, Sam’s never made it this far, so who knows what’s in there? And don’t start guessing because that basically guarantees the form of your doom. At least don’t think about Mr. Sta Puft. Speaking of Bill Murray, the film owes as much to Groundhog Day as it does Terminator , and that’s a heady mix. The imaginative side plots and character arcs feel wild and random, but the script is actually built quite solidly. And the theme—that AI cannot help but ruin human existence—may not be new, but it’s truer than ever. Thankfully, Verbinski, along with his game cast and writer, recognizes the bitter, cynical humor in the fact that this hero is probably already too late. But hey, at least he can blow himself up and start over. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Toymaker's Key film review by UK film critic Jason Knight. Starring Harry Shotta, Drew Casson, Peter Kingston, Kele Le Roc, Rhys Earlson Ray, Kimberly Wyatt directed by Andy Turner, Drew Casson. HOME | FILMS | REVIEWS The Toymaker's Key Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Feb 20, 2026 Directed by: Andy Turner, Drew Casson Written by: Jamie Christofersen Starring: Harry Shotta, Drew Casson, Peter Kingston, Kele Le Roc, Rhys Earlson Ray, Kimberly Wyatt Created & Story by Andy Turner. A feature-length animated fantasy adventure directed by Andy Turner and Drew Casson, with a screenplay by Jamie Christofersen and featuring the voices of Harry Shotta, Casson, Peter Kingston, Kele Le Roc, Kimberly Wyatt, and Rhys Earlson Ray. Terrific animation, fantastic music and an intriguing story all come together to deliver an enchanting experience. The year is 1945 and a young man named Tommy (Shotta) has returned injured to his wealthy home in Sussex after having fought in the Second World War. He has been informed that his father (Kingston) has gone missing and retrieves a special key that belonged to his parent. This key was discovered in a forest by Tommy's great-grandmother and it has magical powers that lead to another world, a magical place. Tommy uses the key to open a chest and is magically transported to that world. There, he finds out that his father has been captured by evil fiends and with the help of a number of unique allies, he sets out to rescue him. The plot is a Good vs Evil. A group of good individuals going against an army of evildoers in an otherworldly place. Tommy and his new friends traverse this strange world, encountering obstacle after obstacle, gaining new allies and fighting the bad guys. It is a concept that is not unusual, however it works well, with significant character development and tense fighting scenes. Regarding the visuals, they look amazing. The 2D hand-drawn animation contains rich colours and lighting and the editing makes the viewing look like a graphic novel, with characters being motionless for the majority of the film but with letters replaced by voices. ThE ToYMaKeR’s KeY Film has been made from a beautiful graphic novel, which is releasing this year. Some of the things that viewers will see, are magical locations that include forests, snow-covered areas and a vast castle. Then, there are the characters and it is the ones who inhabit the magic world that stand out. These beings include the Butterfly People, a tribe of people who have giant butterfly wings on their back and a led by iO (Le Roc), the leader of their kind. Others are Darwin (Cosmo Wellings) a man with the appearance of a clown, who performs acrobatics and speaks in rhymes, Rhu (Ray) a young boy from the Butterfly People who is having his own misfortunes and the Grandmaster (Casson), a man in a hooded robe who has defferent coloured eyes. These are some of the good guys. The bad guys consist of an army of medieval soldiers armed with sharp weaponry, who are led by the General (also Casson), a brutal knight in a dark armour who plans to replace Tommy's father as the creator of this other world. Another character who should be mentioned is Nekos (Turner) a warrior who is also a werewolf. All characters look great, however, it is the bad guys who stand out the most. The music is another huge plus. It is mesmerising and dynamic, effectively creating an atmosphere that is adventurous, dreadful and emotional. The plot involves fighting evil and saving people. It is also about tyranny, cruelty, support, bravery and redemption. The screenplay also manages to be a World War II story and a family drama. This animated film succeeds in every aspect, making it a pleasure to view the visuals, to listen to the music and the voice acting and to enjoy the story. Huge commendations go to everyone who contributed to the development of this project. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Animation < All Reviews Next Film Review >

Reklaw film review by UK film critic Swati Verma. Starring Lance Henriksen, Tasha Guevara, Bill StinchComb directed by Polaris Banks. HOME | FILMS | REVIEWS Reklaw Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 29, 2022 Directed by: Polaris Banks Written by: Polaris Banks Starring: Lance Henriksen, Tasha Guevara, Bill StinchComb The writer-director Polaris Banks believes in the idea of eradicating crime from society and not the criminals. Reklaw becomes a medium of expressing concern about the modern- day criminal justice system. The narrative of the film is written with the humanitarian perspective in mind. The plot of this crime drama revolves around a rogue prosecutor and his team of uniquely talented criminals disillusioned by the justice system destroying evidence to keep as many people from prison as possible but when one of their crime scene cleanups is revisited by the killer, the strength of conviction is tested. A combination of extreme close-up, close-up, and mid-shot is used by the DOP Robert Nachman to showcase the details of planning taking place. The dim lighting technique is utilized by the filmmaker to elevate the elements of mystery, thrill, drama, and dark comedy in the storyline. A well-researched portrayal of the prison cell and the prisoners living in it give a sense of realism to the cinematic piece. The special glasses worn by the Lott's team symbolizes that they are happy to assist people with criminal past to get on to the path of redemption without judging them. The crime scenes are very well constructed with the use of blood, guns and alcohol maintaining the foundation of film as a crime thriller and not losing the crux of the movie while experimenting with idea of cross-genre. Now let's discuss the performance in the film, Tasha Guevara plays Melissa who defines the modern woman and the audience also sees the vulnerable side of Melissa as the storyline progresses. Guevara illustrates the internal fight between what is morally right and what is not and attempts to find a possible solution to it effortlessly. Lance Henriksen as Lott is a person who wants to stay true to his dramatic need in the film. Henriksen uses his firm voice to reiterate the fact that he is the anchor of the narrative responsible to keep it together. He handles various tricky situations with apt reasoning. Lance Henriksen picks up all the nuances of the senior prosecutor and gives the audience to learn from watching Lott in the film. Bill Stinchcomb is Marshall (Melissa's husband). Marshall comes across as a villain in the story but the viewers empathize with him as the film inches towards its climax. Stinchcomb depicts the physical and emotional turmoil so efficiently. Bill Stinchcomb breaks the stereotype that men are not supposed to be vocal about how they feel. Reklaw debates the notion of right, wrong and social justice. It believes in love and unconditional forgiveness being the two most important elements to allow the miscreant to heal and prove to be beneficial for the community. The short film teaches the viewers to have faith and find positivity and spread it so that the world becomes a better place to live in for all. The movie talks about the need for determination and courage to stand up against what's wrong and give the wrongdoer a chance to rectify their behavior. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Stealing Chaplin film review by UK film critic Jason Knight. Starring Simon Phillips, Doug Phillips, Bianca Katz, Al Sapienza, Anne-Carolyne Binette, Liliana Vargas directed by Paul Tanter. HOME | FILMS | REVIEWS Stealing Chaplin Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 16, 2021 Directed by: Paul Tanter Written by: Doug Phillips, Simon Phillips Starring: Simon Phillips, Doug Phillips, Bianca Katz, Al Sapienza, Anne-Carolyne Binette, Liliana Vargas A dark comedy crime film with a rather eerie plot that was inspired by real-life events. Two crooks decide to excavate the coffin that contains the body of actor and filmmaker Charlie Chaplin and hold it for ransom. It should be mentioned that although in real life the theft of Chaplin's coffin took place in 1978 in Switzerland, this story takes place in present-day Las Vegas. Cal (Simon Phillips) and Terry (Doug Phillips) are two English small-time criminals who are currently residing in Las Vegas. Through clumsy actions they have gotten themselves into serious debt with dangerous gangsters and come up with the idea of digging up Chaplin's body with the intention of demanding a large sum of money for its return. Their decision to do so leads to further complications as the theft reaches news headlines, a reward is offered for information and the authorities (and money-hungry people) close in on them. This feature has quite an intriguing plot that contains interrelated storylines with characters who each have their own plans regarding the stolen coffin. Cal and Terry are brothers and their criminal lifestyle is about to be the end of them. They do not have much success in crime and just end up getting into trouble due to their silliness. They do not think things through and once they have Chaplin's body in their possession, they are unsure how to proceed and end up focusing on other things instead such as a scam involving leprosy. Other characters include a police detective named Goddard (Vargas), who gets closer and closer to the siblings, Billy (Sapienza), a homicidal mobster who is after the brothers for the money that they owe and Helen (Katz), a waitress with whom Cal is trying to have a romantic relationship. Generally this movie is an enjoyable viewing. Cal and Terry provide the funniest parts, particularly due to the way they constantly have disagreements and tend not to acknowledge the life-threatening situations they get themsleves into and neither do they really take into account the fact that they are carrying around a coffin that has a dead person inside. There is a great deal of profanity, plenty of dark humour and adult humour and a bit of romance as well. There is also nasty violence as hoodlums harm anyone who gets in their way. There are some rather interesting characters, the most significant of which is probably Terry who is not the sharpest tool in the shed, believes he knows more than he actually does and tends not to think before he acts or speaks while his brother appears to have more brain and tries to be more careful. Sapienza delivers a chilling performance as a cold-blooded criminal. The film contains footage of scenes from movies in which Chaplin acted, either when the brothers visit a cinema, watch television or during the opening credits. Occasionally, a title card appears on screen that presents a quote by Chaplin, announcing a new chapter of the narrative. The cinematography by Cory Warner looks great and there is infrequent narration. There are also terrific establishing shots that show various areas of Las Vegas. This feature will most likely appeal to viewers who enjoy dark humour and crime themes. The acting is strong, the dialogue is well written and amusing and the plot will probably maintain the audience's attention until the end. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Pretty film review by UK film critic Chris Buick. Starring Melisa Kihtir, Sara Duren, Omer Gursoy, Iclal Aykac, Kayra Dogan directed by Metecan Duren. HOME | FILMS | REVIEWS Pretty Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Jul 12, 2026 Directed by: Metecan Duren Written by: Metecan Duren Starring: Melisa Kihtir, Sara Duren, Omer Gursoy, Iclal Aykac, Kayra Dogan Horror films are often a fantastic jumping-off point for new and upcoming filmmakers to show what they’re all about. They’re often relatively cheap to make, they can draw on an amazing catalogue of old and modern classics for inspiration, and have an avid fanbase that would rival, if not beat out, most other genres. But it’s easy to copy and paste the hits. To truly stand out, one needs to take a big swing. And although it’s not without its issues, Pretty from writer and director Metecan Duren swings hard and true. While walking home with her friend Tom (Gursoy), our protagonist, Pretty (Kihtir), is drawn to a nearby building by a woman’s faint voice. Tom hears nothing, and while Pretty herself can’t see this entity either, she can certainly feel and hear her just beyond the door, trapped somewhere in the space in between life and death. Eventually pulled away by Tom, they arrive home to be greeted at the door by Pretty’s big sister Emma (Sara Duren), who instantly questions their closeness. Later, Emma cruelly derides Pretty for her fancies about a relationship with Tom, or anyone, for that matter. No one could ever, or will ever, love her. So, when a mysterious stranger begins messaging Pretty, despite all the warning signs, she is drawn straight in by the attention. But as their relationship grows, Pretty starts to be haunted by strange rabbit-masked figures, dangerous killers and an obsession as to how it all connects to what happened to the girl behind the door. Pretty presents a complex and compelling concept, mixing a mystery thriller with supernatural elements and some masked-killer slasher fare for good measure, at times going places you don’t expect. However, in trying to keep the audience on its toes, it does convolute itself into a bit of a muddle at times, though it always seems to right itself again eventually. There are continuity errors, lighting flits between day and night in the same scene many times, and while one can always keep up with the general narrative, there are a few moments of “Wait...what? How did we get here?”. But Duren films the absolute hell out of this; from a visual and technical perspective, the film is almost completely flawless. Almost every single frame is given the utmost care, effort, time and composure, giving the film a consistently brilliant atmosphere and a fair few genuinely tense and scary moments it deserves. It is truly beautiful to watch, and at just nineteen years old, it proves that Duren just has it when it comes to cinematography. Moving forward, however, stronger direction in performances is a must, as Pretty suffers greatly from flat performances almost entirely across the board. The dialogue itself seems sound on the page, but with the exception of Sara Duren, who actually manages to inject some real life into Emma, the rest of the cast is rarely able to truly act the moment. Granted, these aren’t actors per se, but a film like this can often live or die on its cast. If this film were about thirty minutes shorter, which it probably could and should be, it might have been able to pass by more unnoticed, but at over two hours, these often-numb characters get harder and harder to connect with or root for. Despite its performance, pacing and continuity issues, things that can of course be tightened up with time, Pretty ultimately lands right side up, and overall, there is definitely more than enough exceptional talent and execution of ideas in other areas of the film to make it worth your while. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >