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Descendent film review by UK film critic Hope Madden. Starring Ross Marquand, Sarah Bolger directed by Peter Cilella. HOME | FILMS | REVIEWS Descendent Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 14, 2025 Directed by: Peter Cilella Written by: Peter Cilella Starring: Ross Marquand, Sarah Bolger Vampires are scary. Werewolves. Clowns! Clowns are scary. Dudes in horse head masks. You know what’s scarier still? Those last weeks leading to the birth of your first child. Damn, nothing on earth will make you feel more unprepared or likelier to die (if the baby is in your belly) than that. Andrea (Sarah Bolger) and Sean (Ross Marquand) are feeling it. Andrea’s about 8 weeks out, and it would seem Sean’s biggest anxiety is the worry that his gig as a private school security guard won’t cut it. But as writer/director Peter Cilella slowly unveils information in his sci-fi thriller Descendent , we learn there’s a lot more plaguing Sean than underemployment. Climbing on the roof of the school one evening to change a lightbulb, Sean is mesmerized by a light in the sky. The next thing he knows, he’s in a hospital bed trying to shake nightmares of an alien abduction and get his head straight so he can get back to work and stop being a burden on his very pregnant wife. But Sean is not the same since the fall. Or since whatever happened that night on the roof. Cilella shows sharp instincts for creating trippy tension. His script manages to blur reality without abandoning logic. More importantly, as Sean’s jarring bouts of unreality reach a crescendo, Cilella never lets go of the truth of the film’s emotional core. We are all terrified to become parents. Bolger makes sure Andrea is always a partner, a full character, never the beleaguered but supportive wife. These two feel like an actual married couple, buddies and partners, each shielding the other from their own fear of inadequacy. But Descendent rises and falls with Marquand. Haunted and occasionally frightening without ever losing your compassion, Marquand’s authentic and sympathetic performance grounds the fantastical and allows the metaphor at the center of the horror to ring true. Descendent is an impressive piece of homegrown intergalactic horror worth your time. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

I'll Be Frank film review by UK film critic Jason Knight. Starring Jake Doyle, Helena Bereen, Bernadette Brown, James Devlin, Eimear Bailie directed by Carleton Rodgers. HOME | FILMS | REVIEWS I'll Be Frank Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 4, 2024 Directed by: Carleton Rodgers Written by: Carleton Rodgers Starring: Jake Doyle, Helena Bereen, Bernadette Brown, James Devlin, Eimear Bailie A short comedy drama from Northern Ireland written and directed by Carleton Rodgers and starring Jake Doyle, Helena Bereen and Bernadette Brown. Teenager Danny (Doyle) lives in Northern Ireland and is a massive fan of American singer and actor Frank Sinatra, having decorated his bedroom with photographs and newpaper articles about the celebrity and listening to and singing his hits. However, he keeps his admiration a secret from others, especially his friends. Then, the boiler in his home needs to be replaced and his family cannot afford a new one. When his grandmother (Bereen) informs him that his school is organising a talent show that offers prize money to the winner, a reluctant Danny must decide whether he can overcome his personal issues and perform and win so that they can buy a new boiler. A feel-good story with a likeable protagonist and supporting characters. Since the plot involves Sinatra, it should come as no surprise that the soundtrack includes some of the singer's hits such as It All Depends on You , It Had to Be You and Someone to Watch Over Me , making the audible experience quite pleasant and even more pleasant thanks to the contributions from composer James Everett and The Belfast Jazz Swing Orchestra. As good as the audio is, the screenplay is also to be commended as it is intriguing and inspiring, focusing on a youth who has a big passion, yet is does not seem to have the courage to share it with the world because he thinks low of himself. The overall atmopshere is uplifting, with humour, heart-warming moments and plenty of singing. Although the film has a good script, perhaps the characters of Danny' mother (Brown) and Hannah (Bailie), Danny's love interest, could had been explored in more depth with the intention of adding more quality to these two characters. Doyle delivers a sympathetic performance as Danny, a nice, well-meaning guy who adores Sinatra and sadly lacks the self-esteem to reveal it to others as he is worried about what other people will think of him. Bereen stands out as Danny's grandmother, an optimistic and cheerful elderly woman who also likes Sinatra. She believes in her grandson and encourages him to share his passion with the world. Unfortunately, his mother thinks otherwise. The group of boys that serve as Danny's friends are different than him, as they are loud and a bit unruly and are led by Ciaran (Devlin), who is wild but a good guy. Through Danny's character the film explores low self-esteem, having an idol and a passion. His grandmother represents the significance of support and the idea that one should not be afraid to be who they really are and that by doing so, good things happen. Furthermore, the story explores financial difficulties, that money does not matter and that great joy is to be found when a person reveals their passion. And of course, the happiness that can be found in singing is present and the film pays homage to Frank Sinatra. What is there to gain by viewing this short? Experiencing an uplifting and moving story about sharing one's passion with others. Fans of Sinatra will most likely enjoy it and so will people who appreciate a story about being oneself and pursuing what makes them happy. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Shrubaboti Bose writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Shrubaboti Bose I’m a postgraduate student of Jadavpur University (India), currently doing my Masters in English Literature. I want to continue my further studies in the field of academic research. I love reading novels and I often write short stories or memoirs in my free time. You can check out my work on Instagram or WordPress, using the links attached below. I grew up watching films, one of my fondest childhood memory is that of sitting with my parents to watch a film together. Without even realizing it, I became a cinephile. Shortly after I figured that being a film critic would allow me to write about films, something I immensely enjoyed, I started writing articles for online websites. Recently, I got selected for a workshop organized by the MAMI Film Festival and it gave me valuable insights. It’s always been very difficult for me to choose favourites, but if I were to name a few, Seven Samurai by Kurosawa, Charulata by Satyajit Ray, In the Mood for Love by Wong Kar Wai, Midnight in Paris by Woody Allen and Wings of Desire by Wim Wenders are some of the films I never get tired of watching. I’m really glad to be a part of the contributing team under UK Film Review because it provides me an opportunity to discover a diverse variety of short indie films, a genre that I hadn’t explored much before and I’m happy to extend my support to its motto of helping indie filmmakers. You can also see more of my writing here: shrubaboti.wordpress.com Follow On Twitter Read My Film Reviews

Theatrum Mundi film review by UK film critic Isabelle Ryan. Starring Augustin Trapenard, Yéro Mbow, Silène Gerschel directed by Léo Boucry. HOME | FILMS | REVIEWS Theatrum Mundi Film Review average rating is 3 out of 5 Critic: Isabelle Ryan | Posted on: Sep 2, 2021 Directed by: Léo Boucry Written by: Léo Boucry Starring: Augustin Trapenard, Yéro Mbow, Silène Gerschel Léo Boucry’s short film Theatrum Mundi filters a young man’s coming of age through the lens of commedia dell’arte. The protagonist, named Pierrot (voiced by Augustin Trapenard, played by Yéro Mbow), is fascinated with cinema. He joyfully recounts introducing his girlfriend (Silène Gerschel) to the big screen at a showing of Edward Scissorhands, before bitterly reliving the moment she left him for someone else. That one betrayal shapes his life, and he begins to explore what it really means to be alive. Each performer represents a stock commedia dell’arte character, though some double. Pierrot, the sad clown, narrates the film; Isabella, his girlfriend, is the young lover (doubling as Columbina, Pierrot’s wife); Lélio is Isabella’s lover (also representing the Harlequin, who steals Columbina away); and finally Pantalon, the rich man (here, Pierrot’s boss). Prior knowledge of this form of theatre is unnecessary, as Boucry’s intentions are clear, and the storytelling simple enough to bypass anything that may be lost in translation. Through commedia dell’arte, Boucry explores his protagonist’s belief that birth and death (or, ‘entrances’ and ‘exits’) are life’s only certainties. In between, one must improvise. The film’s title can be understood as “all the world’s a stage”, and by presenting to the audience not only the experience of sitting in a theatre, but also the rich costumes, the visual of deep red curtains such as those that rise and fall between acts, and the interesting (and underused) puppetry, there is a clear feeling of performance and unreality. The protagonist grows up in an implicitly abusive household. The one scene with his parents shows them gesticulating and apparently yelling (the sound is covered by the score and Pierrot’s narration). He retreats to the sanctuary the cinema – and, by extension, movies – provides him. He is raised on films, and once he learns his girlfriend has been unfaithful, he begins to doubt their power. “Life is not like a box of chocolates,” he says. While it is understandable that sharing cinema with a person who eventually betrayed him could lead him to associate only negativity with that which he once loved, it seems strange that the main crux of the film is a man angry with his girlfriend. Of course, he is angry with the world, but it is a woman’s betrayal that pushes him over the edge, that turns film into a source of hurt. Despite the theatrical presentation, the influence of film is clear, not least in Pierrot’s falling in and out of love with the medium. At one moment, he echoes a sentiment from Mathieu Kassovitz’s 1995 film La Haine: “The most important thing is not the fall, it’s the landing.” This parallels Pierrot’s belief that death is one of life’s only certainties and, implicitly, he gets to choose how he dies. Sadly, none of the film references feel embedded in the narrative. Lines and titles are mentioned or paraphrased, but Pierrot’s interest in film could be replaced by something else (perhaps theatre or puppetry, as we see him puppeteering a homemade theatre as a child) and little would be lost. It would have been great to see that passion better represented. As it stands, the commedia dell’arte is much stronger, even solely as a visual. Theatrum Mundi feels both too vague and too obvious. The narration says nothing we haven’t heard before, while the visuals are inventive and often striking: Pierrot’s unchanging makeup forces us to wonder, is this simply a ‘costume’, or has he never had the opportunity to change? There are frustrating flashes of brilliance here, but they are buried in Boucry’s heavy-handed message. About the Film Critic Isabelle Ryan Short Film < All Reviews Next Film Review >

Cast Away film review by UK film critic Joe Beck. Starring Mike Archer directed by Luisa Guerreiro. HOME | FILMS | REVIEWS Cast Away Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: May 1, 2024 Directed by: Luisa Guerreiro Written by: Luisa Guerreiro Starring: Mike Archer Autophobia is the fear of being alone and isolated. Being stranded on a barren, desert island is perhaps the most extreme realisation of that fear, and would no doubt likely terrify any human being. ‘Cast Away’, explores this fear and this state, as one man finds himself completely alone on a desert island, to mixed effect, and is at its best when it is most mysterious. Desert island films and tv shows have been done to death over the years. From early conceptions of famous novels such as ‘Robinson Crusoe’ and ‘Lord of the Flies’ and films such as ‘The Blue Lagoon’ and ‘The Beach’, the popularity of desert island’s in media perhaps peaked in the early 2000s, with the now iconic TV show ‘Lost’ revolutionising television with it’s unpredictability and constant cliff-hangers at the end of each episode. There was also this film’s luminary, ‘Cast Away’, the 2000 Robert Zemeckis film starring Tom Hanks as he struggles to survive and make his way back home, befriending a beachball called Wilson in the process. The strength in all these films lies both in the allure of the concept, but more so in the ability that it provides to create mystery. ‘Cast Away’, as written and directed by Luisa Guerreiro, finds its strengths in the same way. Our sole protagonist is Diggory Sambor, played by Mike Archer, a man who wakes to discover that he is on a barren shoreline, that though sparse is nonetheless beautiful due to the Guerreiro’s directing, which portrays the island as nature at its most simple and undisturbed. Immediately we are confronted with the mystery of how he has come to this place. Was he on a shipwrecked boat? Was he kidnapped and left there to die? Or was this the result of the greatest drunken night out ever? We don’t know and for much of the film we are left to enjoy this mystery. Indeed, it is to the film’s detriment that the element of mystery is discarded in favour of a metaphor and an explanation. It seems as though this happens so often in modern cinema, unless a truly visionary director is at the helm - i.e. Jordan Peele and ‘Nope’. When did we lose the ability to leave a mystery unexplained, and to lace that mystery itself with subtext? There is another mystery at hand in ‘Cast Away’, that of a bright, shining light in the horizon. Is it a lighthouse? Is it a helicopter? Or is it, could it be aliens in a UFO? Again, this hinting at the possible supernatural is done excellently by Guerreiro for the first two thirds of the film, and then she feels the need to explain, and the allure and mystique falls apart. We as humans are thrilled by the unknown, to remove that thrill in such a disappointingly mundane reveal of the truth is frustrating because by the end we now know too much. The thrill is gone and has been replaced by a mere shrug of the shoulders. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Film news - Monster Hunter in UK Cinemas June 18th. Find out more at UK Film Review. Monster Hunter in UK Cinemas June 18th Chris Olson Friday, June 11, 2021 at 1:27:55 PM UTC Monster Hunter Only at Cinemas, June 18 Behind our world, there is another: a world of dangerous and powerful monsters that rule their domain with deadly ferocity. When an unexpected sandstorm transports Captain Artemis (Milla Jovovich) and her unit (TI Harris, Meagan Good, Diego Boneta) to a new world, the soldiers are shocked to discover that this hostile and unknown environment is home to enormous and terrifying monsters immune to their firepower. In their desperate battle for survival, the unit encounters the mysterious Hunter (Tony Jaa), whose unique skills allow him to stay one step ahead of the powerful creatures. As Artemis and Hunter slowly build trust, she discovers that he is part of a team led by the Admiral (Ron Perlman). Facing a danger so great it could threaten to destroy their world, the brave warriors combine their unique abilities to band together for the ultimate showdown. MONSTER HUNTER is at UK cinemas Friday June 18 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

Last One Standing, Castleward film review by UK film critic Jason Knight. Starring Peter Cromie, Adrian Daye, Jill McCann, Claire Bannwarth directed by Joseph Conlan. HOME | FILMS | REVIEWS Last One Standing, Castleward Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 1, 2025 Directed by: Joseph Conlan Written by: N/A Starring: Peter Cromie, Adrian Daye, Jill McCann, Claire Bannwarth A short documentary about an annual marathon in Northern Ireland, directed by Joseph Conlan. This physically and mentally demanding devent takes place annually in mid-February in Castle Ward, Northern Ireland and it involves a large group of participants who run a 4.2 mile loop in the countryside. The rules are to complete the loop in one hour, before beginning the next one on the hour, every hour, for as long as they can. There is no finish line and the event starts at noon and it carries on until there is only one man and one woman remaining. The marathon is organised by Atlas Running, a company that manages running events. Through interviews and footage of the marathon itself, this documentary introduces the viewer to this exciting event that pushes the participants to their limits. There is footage of people running in the woods and catching their breath before starting again. The film also presents several people who are involved in this activity, along with their impressive achievements, including Adrian Daye, the co-Race Organiser, spectator Kevin Kearns and some of the athletes including Peter Cromie, Jill McCann, Eoin Keith and Claire Bannwarth. The film focuses primarily on exploring how challenging this event is, what the participants have to go through and it is quite entriguing. Still though, it would have been interesting to know how Last One Standing began, who thought of it and how it is all organised leading to the day of the marathon. This approximately eight-minute-long documentary investigates an activity that is more about mental strength than about physical strength and it acknowledges that the main reason that people take part is to challenge themselves and achieve their personal goals. An intriguing and informative short documentary about a running event that requires a great deal of determination and endurance. People who watch this will most likely be impressed by the athletes who take part in this activity and might find themselves thinking that they would like to do something similar themselves. About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

Padre Pio film review by UK film critic Brandon Thomas. Starring Shia LaBeouf directed by Abel Ferrara. HOME | FILMS | REVIEWS Padre Pio Film Review average rating is 2 out of 5 Critic: Brandon Thomas | Posted on: Jun 2, 2023 Directed by: Abel Ferrara Written by: Maurizio Braucci, Abel Ferrara Starring: Shia LaBeouf Shortly after the end of the first World War, a priest named Padre Pio (Shia LaBeouf) finds himself suffering an enormous crisis of faith. Having had health issues that kept him from the front lines of the war, Pio’s guilt is slowly consuming him. Outside the walls of the monastery, a less internal battle is brewing. Many townspeople, upset with fascist landowners and their own working conditions, are drawn to the rising Socialist Party. They see the town’s first free election as a way to make their voices heard. When the old rulers see the tide turning against them, violence becomes their only way of holding onto power. Director Abel Ferrara made a name for himself by directing some of the most notable exploitation movies of the late ‘70s, ‘80s, and early ‘90s. Films like Ms. 45 and Bad Lieutenant were cultural firestarters in their day, and might even draw the ire of Film Twitter in the present should it stumble upon those seedy gems. However, in the latter half of his career, Ferrara has been drawn to more contemplative works. Pasolini , Tommaso , and Siberia show the filmmaker at his most introspective. Instead of trying to provoke an audience with violence and graphic sex, Ferrara is now trying to get them to look inward through quiet but haunted protagonists. Padre Pio is Ferrara’s attempt to subtly blend religion and politics, though neither topic is given its due. Unlike Paul Schrader’s more recent First Reformed , Ferrara’s film is far too disjointed and muddled to prove his own point. The religious fervor found in LaBeouf’s scenes never coherently connects with the film’s political half. There are hints at Ferrara’s initial intentions, but unfortunately very little of that appears on screen. LaBeouf’s casting is a major blunder. The actor has turned in very good work in movies like The Peanut Butter Falcon , Fury , and American Honey , but as an iconic Italian priest, he is horribly miscast. While the entirety of the film is in English, the bulk of the cast is made up of Italian and other European actors. LaBeouf’s distracting American accent drags any discerning viewer out of the film immediately. His inclusion, and the messiness of the overall storytelling, makes Padre Pio feel like a bad movie-within-a-movie from an Apatow comedy. Ferrara’s ideas here are compelling and might’ve worked in movies of their own. When crammed together as competing – not complementary – narratives, the film never finds its footing and feels like a slog even at a reasonable 1 hour and 44 minutes. About the Film Critic Brandon Thomas Theatrical Release < All Reviews Next Film Review >

Circus film review by UK film critic Swati Verma. Starring Syed Saad Farrukh, Mustafa Zeeshan directed by Mohsin Tariq. HOME | FILMS | REVIEWS Circus Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 20, 2024 Directed by: Mohsin Tariq Written by: Mohsin Tariq Starring: Syed Saad Farrukh, Mustafa Zeeshan The writer director Mohsin Tariq presents a conversation between two male protagonists Syed Saad Farrukh and Mustafa Zeeshan giving us a different perspective on life and happiness therefore increasing audience engagement with the content. The plot of the short film revolves around the coming back of the circus in the city, and so does a roadside mascot costume artist who hopes for a change in his otherwise monotonous and tedious life. Circus begins with a series of long shots of a busy street cut to the mascot costume artist busy with his day-to-day schedule of going to work and entertaining the children. The set design, location, colour pallet, lighting, sound, dialogues, costume, hair, makeup, and props are kept natural to provide depth to the topics being discussed in the film and also give the viewers a sense of being involved with it. The makers utilise the visual imagery and symbolism to convey the challenges and inner turmoil of keeping up with his monotonous routine adding a sense of realism and relatability in the minds of the viewers making the story inspiring for them even when the running time of the film is short. In terms of performance, Syed Saad Farrukh plays the roadside mascot costume artist who is extremely busy with daily life and he grapples with the need to maintain his image as a happy go lucky performer while struggling with his inner turmoil. Farrukh utilises voice modulation, body language, facial expression, and eyes to portray the calm demeanour the costume artist maintains to depict and complement the theme/situations in the script. Mustafa Zeeshan plays the small child who meets the roadside mascot costume artist and discusses happiness and life in general. Zeeshan beautifully provides an innocent viewpoint into this discussion making it interesting for the audience even if the topic was a serious one. Circus compares life to be similar to a play where people tend to come finish their act and leave and God is the supreme director who is responsible for the smooth functioning of life. The short film talks about the importance of being honest and loyal to one’s work commitment because people have certain expectations from the person both in short/long term. The cinematic piece explores the corelation between being happy and also being rich. The creative piece highlights that everyone tends to choose their definitions of happiness as per the changing situation in their respective lives and it tends to be dissimilar for different people. Circus also sheds light upon the fact of the survival of the fittest one should always try to overcome all the apprehensions and be ready to fight as well as survive every day to combat new challenges life puts us through. Circus talks about how crucial it is to spend time with oneself alone to understand what one wants to do because everyone is unique. To conclude, I would like to appreciate the writer/director and the creative team for giving us the opportunity to think about happiness and life and many other things related to the same because we tend to be so busy in life that we don’t find time to discuss it and be thankful for what we have received from the Almighty. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Barry Versus The Binman film review by UK film critic Chris Olson. Starring Graham Earley, John Connors directed by Craig Moore. HOME | FILMS | REVIEWS Barry Versus The Binman Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Dec 21, 2023 Directed by: Craig Moore Written by: Craig Moore Starring: Graham Earley, John Connors Perhaps the most regularly stressful part of any adult’s week is bin day. Which bins are being collected? Will they accept our cardboard recycling if it’s above the height of the bin? And don’t get us started on the food waste bin that looks like it needs napalming. Filmmaker Craig Moore has captured this intense frustration we all feel with his plucky and entertaining short film, Barry Versus the Binman . Graham Earley stars as the titular Barry, a morose thirty-something who lives alone in his house surrounded by empty beer cans and whose only company seems to be the irritating neighbour Shane (John Connors) down the road, with whom he argues over the early use of the latter’s leaf blower (8 am is indeed ridiculous for that sort of thing!). However, it is Barry’s weekly encounter with his binmen that becomes the thing to tip him over the edge into a fully psychotic ordeal. They keep leaving his bin down the road! Even though it clearly has his number on it. The fiends. Earley absolutely shines in this role. Drawing us in through his humorous portrayal of Barry and then compelling us with the darker and more pathos-laden moments. Connors is also fabulous as the annoying neighbour, and the two enjoy a sort of Planes, Trains, and Automobiles kind of chemistry. Barry Versus the Binman has a delightful filmmaking style. From the Edgar-Wright-influenced quick-cut transitions to the dramatic orchestral soundtrack, this is a short film heightened for big laughs. Indeed, the scene where Barry chases the bin lorry through the streets whilst Shane laughs on maniacally is a particular highlight. Barry’s struggle to overcome his anger at his neighbour, the binmen, and the world at large reveals a deeper layer of thematic storytelling here that audiences are able to engage with. His mental health gets mentioned and it’s a film that uses an array of devices to examine this central character’s situation in life to get us thinking about how commonplace annoyances can become far bigger challenges for someone not in the right headspace. A particular dream sequence threatened to plunge this short into the thriller territory which would have been a bold move. Dramatically, the film touches upon Barry’s partner leaving him (Shane makes a comment about a man with three legs “two for walking” and there are pictures of a lady on the mantle) but this isn’t really explored to its fullest potential. Viewers may find it difficult to find the reasoning behind Barry’s elaborate reaction to the binman’s misdeed, or at least yearn for a little more of the storyline to go along with this excellent piece of comedy filmmaking. Overall, it's a successful executed and enjoyable comedy film that hints at a lot of future filmmaking potential for those in front of and behind the camera. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Out Stretched Hands film review by UK film critic Patrick Foley. Starring Devon Grevious, Quan Moore, Conor Lucey directed by Nate Reynolds. HOME | FILMS | REVIEWS Out Stretched Hands Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 18, 2025 Directed by: Nate Reynolds Written by: Tayvon Bradford Starring: Devon Grevious, Quan Moore, Conor Lucey Out Stretched Hands imagines a sadly common altercation, in the United States. Its soft immersion into the normal night of two friends leads to a painful tragedy, which will haunt viewers long after its short runtime ends. Caleb (Devon Grevious) and Junior (Quan Moore) and old friends embarking on a normal night. Both have ties to the local drug trade, but their conversations revolve around family, friends, hopes and dreams. They notice a car following them, and prepare for a confrontation with rivals. But when it is revealed that it is a police officer (Conor Lucey), both understand that a different threat now exists. The entanglement of police violence and racism in the US is a societal blight. So often it is the innocent actions or pleads from victims that become rallying cries – ‘he can’t breath’ in the aftermath of George Floyd’s murder or ‘Hands up, don’t shoot’ in Michael Brown’s. ‘Out Stretched Hands’ echoes such phrases, as a demonstration of how police bigotry is an inherent cause of such events. Caleb and Junior are not portrayed in this film as squeaky-clean, but their efforts to comply and negate threat are met in response with fear, anger and suspicion – leading to an avoidable and intentional tragedy. Tayvon Bradford’s script comes with a hard edge. Caleb and Junior’s bond is established quickly and convincingly through their vulgar banter. The effortless injection of their personal lives within the dialogue quickly details their background and the complexities of their relationship, such as Caleb’s admiration for Junior’s sister and each’s opinion on whether the risks that come with their lifestyle are worthwhile. Similarly authentic are Nate Reynolds’ direction and Chris Rivera’s cinematography, which immerse the audience in dark and foreboding city streets, in which the pair’s car is the only source of light. The red lights of the cop car that illuminate the vehicles interior are the first signs of warning, and Caleb’s decision to leave the car is what proves to be a sadly fateful one. Grevious and Moore demonstrate a playful bond that gives room for moments of both drama and comedy in the film’s opening. They each bring their own shade of cool, both able to give and take jokes at their expense, but touch on deeper questions about their characters’ lives. It quickly builds their profiles and relates the pair to the viewer. This is of course essential to deliver the blow of the finale, in which an interaction with a police officer escalates to devastating results. The tension in this scene in built well, and viewers will be shaken by the outcome. If there is one major mark against the film, it is in the flat response of Moore’s character to the officer’s actions – which falls short of the emotional stakes and pulls the audience out of the immersion at the worst possible time. Out Stretched Hands is powerful short that asks familiar questions of its viewers. Its power comes from its protagonist's imperfections – by building real people with real lives it counters any narratives that the reactive and violent actions of people are justifiable. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Rosaline film review by UK film critic Hope Madden. Starring Kaitlyn Dever, Isabela Merced, Sean Teale directed by Karen Maine. HOME | FILMS | REVIEWS Rosaline Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 13, 2022 Directed by: Karen Maine Written by: Scott Neustadter, Michael H. Weber Starring: Kaitlyn Dever, Isabela Merced, Sean Teale Sometimes it’s fun to reconsider a Shakespearean story from the perspective of a side character. Rosencrantz and Guildenstern got their own play. Juliet’s nurse got her own book. So why not Romeo’s first love, Rosaline ? Director Karen Maine takes Rebecca Serle’s YA novel When You Were Mine back to Verona for a savvy, fun if slight reimagining of the Bard’s tragic love story. Kaitlyn Dever (who also produces) stars in a comedy that pokes holes in old-fashioned concepts of romance. Devers is Rosaline, beloved of Romeo (Kyle Allen, your future He-Man, here sporting an eerily Heath Ledger look). He climbs her balcony at night, brings her roses, speaks such poetry – so when he finally tells her he loves her, why does she freeze? It doesn’t matter. She’ll make it up to him at the masquerade ball, where Montagues and Capulets can dance together without anyone ever knowing. Brilliant! But she’s held up by one of her dad’s stupid suitors, Dario (Sean Teale, of the strong jawline and perfect teeth). By the time she gets to the ball, everyone’s gone. Romeo is long, long gone. But soon enough she realizes it’s her young cousin Juliet (Isabela Merced) he’s fallen for. So, Rosaline takes Juliet under her wing in an attempt to undermine the new romance, to comedic ends. The best bits come by way of Rosaline’s nurse, played with droll perfection by Minnie Driver, but the entire supporting cast is rock solid. Bradley Whitford is a charmingly befuddled father, Nico Hiraga gives good reason that Steve the Courier never seems to deliver packages properly, and Spencer Stevenson gets off a couple of chuckles as Paris. Anachronistic dialog fits the fun. Maine’s film, written for the screen by Scott Neustradter and Michael H. Weber (who together penned The Spectacular Now , 500 Days of Summer , The Fault in Our Stars ), is intentional in the way it dismantles damaging tropes of romance. Classic romantic stories pit women against women. And the best-known romance of all time ends with two youngsters making the dumbest decisions ever put to paper. Rosaline recognizes this and makes light entertainment of it all. Dever is more than strong enough to carry the comedy. Her heroine offers stubbornly wrong-headed reasons for resilience and it’s hard to root against her. There’s nothing profound here, but it’s a breezy bit of fun. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >