Bad Hombres film review by UK film critic Brandon Thomas. Starring Diego Tinoco, Hemky Madera, Luke Hemsworth directed by John Stalberg Jr.. HOME | FILMS | REVIEWS Bad Hombres Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jan 26, 2024 Directed by: John Stalberg Jr. Written by: Rex New, John Stalberg Jr., Nick Turner Starring: Diego Tinoco, Hemky Madera, Luke Hemsworth Darkly funny neo-noirs hit my cinematic sweet spot more often than not. The satisfaction of laughing at outrageous bursts of violence or complex plans that go awry is second to none. And throughout these entertaining narratives are classic aesthetic tropes that give filmmakers the opportunity to lean into equally satisfying visuals. While the plot of Bad Hombres never enters complex territory, the characters and genre beats are more than enough to make up for it. Felix (Diego Tinoco) has just arrived in the U.S. from Ecuador. Looking to send money home to his impoverished family, Felix and his cousin go to the local hardware store in the hopes that they can pick up work as day laborers. After his cousin is picked for a job but he isn’t, Felix is approached by a twitchy Australian (Luke Hemsworth, TV’s Westworld , Next Goal Wins ) with an offer for an easy day’s work. Also on the job is gruff handyman Alfonso (Hemky Madera, Satanic Hispanics , Spider-Man: Homecoming ). Felix and Alfonso quickly realize the gig is more than basic labor after arriving to the job site to find several bodies and the Australian’s wounded partner (Paul Johansson, TV’s One Tree Hill ). Early on, Bad Hombres feels like it’s going to be your standard direct-to-streaming action thriller. The title alone doesn’t do much to dispel that initial gut reaction, either. However, once Hemsworth’s borderline lunatic character appears on screen, the dynamic shifts ever so slightly in favor of something a bit more interesting – and dare I say, chaotic. Director John Stahlberg Jr. wisely paces himself and lets the crazy of Bad Hombres blossom naturally. While it’s fair to say that Bad Hombres is a lower budget film, that never really comes across on screen. Stahlberg’s direction is methodical and focused with a strong emphasis on visual storytelling. Despite having moments of explosive action, the film mostly consists of scenes of people having conversations. Even in these more “mundane” moments, the film’s energy never drops. Along with Stahlberg’s direction, the other secret ingredient in Bad Hombres is the cast. Madera is especially notable as the unapproachable Alfonso. As the film progresses and the layers of Alfonso’s backstory is revealed, Madera’s performance becomes so much more nuanced and exciting. Hemsworth is having a blast playing a murderous madman who likes to portray himself as more politically progressive than he probably is. Even the always reliable Thomas Jane (The Punisher , The Mist ), Tyrese Gibson (Fast & the Furious series), and Nick Cassavettes (best known for directing The Notebook ) pop up in supporting roles. Bad Hombres is a lean and mean bit of modern day neo-noir that manages to deliver well past its budget and defy expectations all at the same time. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Brighton 4th film review by UK film critic Bandon Thomas. Starring Levan Tedaishvili, Giorgi Tabidze, Nedezhda Mikhalkova directed by Levan Koguashvili. HOME | FILMS | REVIEWS Brighton 4th Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Apr 1, 2022 Directed by: Levan Koguashvili Written by: Boris Frumin Starring: Levan Tedaishvili, Giorgi Tabidze, Nedezhda Mikhalkova Georgian filmmaker Levan Koguashvili’s Brighton 4th is a charming drama that surprises with some subtle comedic flourishes. It’s a film that never gets lost in a self-serious tale of immigrants “roughing it” – instead staying firmly grounded in interesting and likable characters. Kakhi (Levan Tedaishvili), a former Olympic wrestler, travels from the central Asian country of Georgia to the Brighton Beach neighborhood of Brooklyn to visit his son. He finds him living in a shabby boarding house and learns that his son owes serious debts to a local mob boss. Hoping to get his son out of this jam, Kakhi begins looking for ways to raise the money to pay off his son’s debt and return home to Georgia. Tedaishvili wows with a beautifully stoic performance. Kakhi is a character that happily takes on the burdens of those he loves. From committing a “minor” case of kidnapping to help two women get the pay they’re owed, to letting that same man free out of a sense of respect, Kakhi is a man with a strong – but quiet – moral code. Tedaishvili’s performance is all the more amazing as this is only his second film. His debut was all the way back in 1987’s Khareba da Gogia . Brighton 4th wonderfully blends drama and comedy. There’s a grounded absurdity to the comedy that makes it entirely relatable. Whether it’s the chaos from the kidnapping plot, or Kakhi’s family members continually losing money over minor annoyances, the laughs are good-natured and always centered in character. The most striking part of Brighton 4th is the spotlight it puts on basic decency. It would be easy to focus on the ugly parts of life when depicting the struggles of immigrants. That part is apparent in the film for sure, but Koguashvili’s interest is in how people treat one another when times get hard. Kakhi continually puts the hardships of his friends and family on his own shoulders and does so without complaint. One scene in particular – when the newly kidnapped man helps soothe a woman with epilepsy while she’s having a seizure – showcases the film’s core belief: that when things are hard, people will rise up to lend a helping hand. While not being an overly complicated tale about the strife of new immigrants, Brighton 4th does offer a sweet, uplifting tale of a family doing what they can with what they have to help each other. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Truth to Power film review by UK film critic Brandon Thomas. Starring Barbara Lee, Alexandria Ocasio-Cortez, Bory Booker directed by Abby Ginzberg. HOME | FILMS | REVIEWS Truth to Power Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Aug 18, 2021 Directed by: Abby Ginzberg Written by: Abby Ginzberg Starring: Barbara Lee, Alexandria Ocasio-Cortez, Bory Booker Barbara Lee: Speaking Truth to Power is a rapturous celebration of the long-time Congresswoman from Oakland, California. Instead of being an issues-driven fluff piece, Speaking Truth to Power is a movie that seeks to understand how Lee’s history and circumstances led her to becoming the woman she is today. Barbara Lee hasn’t become a household name like Nancy Pelosi, Maxine Waters or Alexandria Ocasio-Cortez. Despite her minor anonymity on the national political stage, the film puts a spotlight on how Lee has managed to get meaningful legislation passed while holding onto her core beliefs. It’s part of what has made Lee so endearing to her constituents, other House members and senators, and to her own family. So much of the early portion of Speaking Truth to Power focuses on Lee’s solitary post-9/11 vote against the Authorization for Use of Military Force Against Terrorists. By being the lone member of the House of Representatives to vote against the Act, Lee put a target on her back during a fraught time in American politics. Through leaning into this part of Lee’s life so early in the film, Director Abby Ginzberg sets the stage to show how the Congresswoman has always been that principled in her morals and convictions. Of course, the film is chock full of glowing testimonials from the creme de la creme of American political and activist life: John Lewis, Van Jones, Cory Booker and Danny Glover, just to name a few. These vignettes never threaten to overtake the film, but add flavorful bits to Lee’s ongoing story from childhood through her career in Washington. The real meat and potatoes of the film comes from Lee herself. So much of her story is told from her point of view as the filmmakers follow her from Washington, D.C., to her district in California, and even back to El Paso, Texas, where she grew up in the shadow of Jim Crow. The personal side of Lee’s story isn’t given the same attention that her professional side is, and that feels almost by design. Lee isn’t shy about her struggles as a single mother, or the failings of past relationships. But she isn’t looking to let those past hardships define her either. By the end of Speaking Truth to Power, it’s apparent that Barbara Lee deserves to be included in the pantheon of those aforementioned household names. Not for her political shrewdness though. No, Barbara Lee should be remembered for her convictions. Buy UKFR Banner Space About the Film Critic Brandon Thomas Theatrical Release, Documentary < All Reviews Next Film Review >

Red Wine and Rain film review by UK film critic Jason Knight. Starring Ell Lee, Nina Gosiengfiao, Koji Niiya, Vincent Eclavea Jr. directed by Jennifer Marie Morgan. HOME | FILMS | REVIEWS Red Wine and Rain Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 9, 2022 Directed by: Jennifer Marie Morgan Written by: Alexis Camins Starring: Ell Lee, Nina Gosiengfiao, Koji Niiya, Vincent Eclavea Jr. A short film that focuses on an altercation between four people about adultery. Four young individuals are meeting at a car park. These people are Sophia (Lee), Kathy (Gosiengfiao), Danny (Niiya) and James (Eclavea). Sophia used to be James's girlfriend until he cheated on her with Kathy, who was with Danny at the time and she was also Sophia's long-term best friend. The meeting is taking place so that James can give Sophia the remaining of her belongings back. What was planned to be a brief gathering turns into a nasty confrontation with a lot of arguing and high tensions, but also with emotional and tender moments. The narrative is basically a long dramatic scene that reveals the consequences of infidelity. Beginning with the four protagonists meeting at the car park, the screenplay quickly moves to the pain and anger that an act of adultery has caused. Most of the shouting and swearing is done by Sophia as she angrily denounces James and Kathy's actions. Danny is also hurt, however he appears to control his anger. The atmosphere is quite tense and unpleasant throughout and the film also mourns the wonderful things that have been destroyed due to cheating thanks to emotional conversations between each former couple, as they recall happy times between them. Although on the surface Sophia and Danny are the victims, it becomes apparent that unfaithfulness has damaged all four of them. All the protagonists deliver great performances, however special mention goes to Lee, as she is very convincing as a person whose life has been turned upside down by James' deeds. Eclavea's character seems more or less unremorseful for his actions, while Gosiengfiao's openly expresses regret. The soundtrack contains songs from a variety of artists and although they are pleasant to the ear, some of them are utilised unnecessarily as they make the scenes feel awkward. This drama is an emotional roller-coaster that deals with themes involving adultery, reconciliation, forgetting about the past, remorse and self-expression. From start to finish it grabs the viewer's attention due to its subject matter and dramatic dialogue and provides a moving experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Chad Faust’s directorial debut feature GIRL tells the story of a young woman who returns to her small hometown intent on killing her abusive father only to discover someone murdered him the day before. . Brand new film trailers. Girl Trailer ON DIGITAL DOWNLOAD 31 MAY 2021 Written and Directed by CHAD FAUST Produced by THOMAS MICHAEL , SARA SHAAK and SHAYNE PUTZLOCHER Starring BELLA THORNE (ASSASSINATION NATION , MIDNIGHT SUN ), MICKEY ROURKE (THE WRESTLER, IRON MAN 2 ) & CHAD FAUST (BILLIONAIRE BOYS CLUB ) Chad Faust’s directorial debut feature GIRL tells the story of a young woman who returns to her small hometown intent on killing her abusive father only to discover someone murdered him the day before. As she searches for answers, she uncovers a family legacy more dangerous than she ever imagined. Starring Bella Thorne, Mickey Rourke and Chad Faust , GIRL will be released in the UK and Ireland on digital download from 31 May 2021 . ‘GIRL’ IS AVAILABLE ON DIGITAL DOWNLOAD FROM 31 MAY 2021 Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Remi Milligan - Lost Director film review by UK film critic Chris Buick. Starring Yoshi Barrigas, Sara Granato, Sebastian Romaniuk, Andrew Forbes directed by Samuel Lodato. HOME | FILMS | REVIEWS Remi Milligan - Lost Director Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Nov 11, 2023 Directed by: Samuel Lodato Written by: Samuel Lodato Starring: Yoshi Barrigas, Sara Granato, Sebastian Romaniuk, Andrew Forbes Celebrating the life as well as the diverse and bizarre works of one Michele Benedetto aka Remi Milligan (a maverick film director who just disappeared one day under mysterious circumstances) through a clever combination of interviews, “behind the scenes footage” and a showcase of impressive fictional short films, Remi Milligan: Lost Director is the brilliant story of one of the greatest low-budget film auteurs that never existed. It's important to remember while watching Remi Milligan: Lost Director that, despite how one might feel while watching, it is actually all a work of fiction. And that is in no way intended to take away anything from the film, quite the contrary. In fact, it’s a testament to how ridiculously well writer/director Samuel Lodato has crafted such a complete and thought-out legend around this enigmatic character of Remi Milligan that you might in fact come away in the end, like I did, actually a bit sad that it’s not all true. The film is complete with talking head interviews from Milligan superfans, ex-girlfriends, former crew members, family and even his personal biographer, all of which are brilliantly delivered and utterly convincing. We are also treated to a showcase of some of Milligan’s most notable works: Killer Pencil, a five minute short about a cursed writing implement (that you can and should actually watch online), The Greek Connection, Song and Dance at Guantanamo Bay (featuring original songs with changed lyrics) and finally, the has-to-be-seen-to-be-believed Satsuman, a film about a giant Satsuma seeking out their long-lost father. Each of these films within the film are given as much care and attention as the main feature, and watching them will not only put a smile on your face, but highlights the care, passion and hard-work that Lodato and co. have put in to making this all feel as real as it does, and maybe even leave you wondering if we will ever get that Satsuman movie you didn’t know you wanted. Lodato definitely hits all the key notes that make a great mockumentary work, the most crucial being believability, which is absolutely nailed on. One would challenge anyone not to at some point get caught out by the “authenticity” of the ever-deepening mythos of Remi Milligan that Lodato invites us into, it’s very likely you may find yourself, again like me, suddenly remembering that in fact, Remi Milligan: Lost Director is merely for fun, but still a shining example on how mockumentaries should work. It could have perhaps had its tongue wedged a bit more into its cheek to establish a bit more of a stable tone throughout, but other than that, the look, feel and delivery can only be greatly admired. Remi Milligan: Lost Director is a wonderful addition to the mockumentary genre, as well as an homage to the tribulations and ingenuity of the guerilla, low-budget filmmaking process and to all those weird and wonderful creators out there who believe film is their calling. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

The Ballad of Straw Hat Sam film review by UK film critic Patrick Foley. Starring Duke Ross, Victor Acosta, Tommy Chong directed by Duke Ross. HOME | FILMS | REVIEWS The Ballad of Straw Hat Sam Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jul 16, 2024 Directed by: Duke Ross Written by: Duke Ross Starring: Duke Ross, Victor Acosta, Tommy Chong Just how many ballads get written these days? It seems romantic sentimentality is determined to rival ‘The Book of’ as the 2020’s most common film title prefix. Though it must be said, it’s unlikely any of them can quite match the oddity and uniqueness of The Ballad of Straw Hat Sam – Duke Ross’ obscure animated odyssey. The eponymous Sam (Ross) embarks on a quest to find the world’s greatest bourbon – a concoction named ‘Angels Teeth’. Partnering with avid writer Bucket (Victor Acosta), he ventures out with a map to find the drink – encountering unusual allies, adversaries and plains of reality along the way. Mixing crude animation with psychotropic live action performances, The Ballad of Straw Hat Sam is distinctive and likely divisive – though admirably unafraid to aim at something original and unique. The film is less of a defined narrative story as an opportunity for Duke Ross and Victor Acosta to experiment with humour and visual aplomb. Harkening back to late-night stoner cartoons of the 80s and 90s with its basic outlined character designs that intentionally jank through their scenes, whilst overlayed over vibrant live action backgrounds, audiences are likely to find the imagery of the film discombobulating. Whilst it won’t be to everyone’s taste – it is certainly never dull, and certain scenes like those in Birdie’s (Jennica Anusua) diner stand out in way their inanity is made interesting. The undoubted highlight of the film is the voice acting. Duke Ross echoes H. Jon Benjamin’s work as Sterling Archer for Sam – the film’s wisecracking, world-weary and unpredictable protagonist. Acosta as Bucket works brilliantly as Sam’s sidekick, and their pair’s clear enjoyment in playing their parts is transmitted into the film making both characters an enjoyable watch. The rest of the cast add their own touches of character into their roles – making the unusual journey of the leading pair an engaging experience thanks to the vibrancy of the performances. Where the voice work will please the majority of viewers, the script itself is likely to be more divisive. The film’s comedy is as crude as the artwork at times – never shying away from innuendo or toilet humour. It does feel there are some symptoms often seen in adult animation of creators who work on the assumption that because cartoon characters are saying something crass, that this adds to the wit. Some viewers may agree, but this was hit and miss for me. The film isn’t reliant on this, and there are some genuinely well staged moments that will guarantee laughs. The Ballad of Straw Hat Sam isn’t for everyone, and some viewers will find its tone of humour and animation style off-putting. However strong voice acting, and a commitment to the abstract means this bizarre creation will find an audience. It’s better to be divisive than boring, and it is commendable that Duke Ross’s animated short is willing to take risks. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Animation < All Reviews Next Film Review >

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

The Improviser film review by UK film critic William Hemingway. Starring Anthony Giordano, Zach Garner, Malorie Bryant, Jessica Ritacco directed by Daniel Florio. HOME | FILMS | REVIEWS The Improviser Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Aug 15, 2022 Directed by: Daniel Florio Written by: Daniel Florio Starring: Anthony Giordano, Zach Garner, Malorie Bryant, Jessica Ritacco If you've ever taken a wander around the Edinburgh Fringe and popped your head into a few of the free shows you will more than likely know already that comedy is not always about the laughs. Lower down, towards the business end of things, away from the bright lights, big stages and clued-up audiences are the raw performers – the ones who use comedy as their own personal therapy session, who want to rant and rave about their own pet peeves, air their dirty linen, and who mostly just want to get in front of an audience (no matter how small) and be accepted. There is a lot of darkness which surrounds the comedy world, so where better to set a new, modern, edgy psychological thriller than the New York comedy scene? In his new feature The Improviser , writer/director Daniel Florio introduces us to Brett Sugarman (Giordano), a struggling comedian nearing his 30's who's been trying for years to make a name for himself. He's been taking plenty of classes in Improv and has even managed to get himself accepted as part of a troupe, The Gigglypuffs, although they still do not have a residency at any of the clubs or theatres. Frustrated at his lack of work and perceived lack of talent in the rest of the troupe, Brett has also started up his own podcast which he calls Damn Funny. Now all he has to do is actually come up with some material and content for the show and convince someone/anyone to appear as a special guest. Naturally, this is not so easy for young Brett as his social awkwardness and overbearing behaviour isn't helpful in making him any friends. Shot in HD and adopting a Dogme 95 style of filming, the audience is invited to view The Improviser as if they were at a live event. Everything is fresh and raw as we watch the actors rehearse and perform, and the resulting improv shows display all the missed beats, insecurities and cringeworthiness that these events can bring. Being so close to the action, and so embedded in the scenes being shown, makes it easy for the viewer to be carried away by the characters, who seem for all intents and purposes to be real live people, and to be affected by the dark turns which inevitably come. It is an incredible trick of direction and cinematography that as Brett releases more of his frustration and ire and becomes more of who he really is that the film takes on more of a cinematic feel. It is almost as if we feel Brett's star rising within him the more he becomes infamous for the things which are not his comedy, and we see along with him how his perception is shifting as the world begins to point their gaze in his direction. It is clear that Daniel Florio and co-director Chris Sciacco are familiar with the world they are portraying on screen, giving us an insight into the green rooms, backstages and inner workings of some of the New York comedy clubs. Things will feel very familiar to anybody who has watched any number of comedy specials on streaming services and the tension is palpable as the relationship between the audience and performers becomes strained. There are plenty of references to famous comedy performers and as you may expect from a film that looks and plays much like an episode of Louie (2010-2015) – the ghost of Louis C.K. still hangs heavy over the New York comedy scene. With this in mind it should be stated that certain scenes and behaviours in The Improviser are extremely disturbing and should be approached with caution by the casual viewer. Brett is dealing with barely contained issues relating to homophobia and misogyny and watching these play out in what feels like a hyper-real environment, so close that you feel like you can touch it, isn't an easy or comfortable watch. Taking most of its beats from Joker (2019) or its infinitely superior predecessor The King Of Comedy (1982), as well as from real life, The Improviser won't win any awards for originality. However, its style, presentation and narrative have all been tweaked to update the story for a modern generation. It is at turns bitingly funny, unflinchingly real and supremely dark which all come together to make it a valuable commentary on a murky, underground world which attracts more than its fair share of misanthropes. Just don't ask for your money back if you don't quite get the show you were looking for. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, Digital / DVD Release < All Reviews Next Film Review >

An Artist's Curse film review by UK film critic James Learoyd. Starring Valentina Blagojevic, Georgia Eyers, Jay Jay Jegathesan directed by Steven J. Mihaljevich. HOME | FILMS | REVIEWS An Artist's Curse Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Oct 5, 2024 Directed by: Steven J. Mihaljevich Written by: Steven J. Mihaljevich Starring: Valentina Blagojevic, Georgia Eyers, Jay Jay Jegathesan An Artist’s Curse is a strikingly vivid horror short. Its style is completely unique due to the saturated, digital aesthetic it cleverly implements into the storytelling. The piece is unsettling and disturbing while also being overwhelmingly colourful (a very unusual combination). And through these strange visuals, we experience a story of a young girl who is haunted by a monster. Simultaneously, the girl’s domineering, “disgusting” father poses a different kind of pain in her life; one of creative restriction and verbal abuse. The film is a really interesting one because of the big, unconventional creative decisions being made. You could argue that the story itself is unoriginal, but it’s the style – the flowing montage of colour and violence – is what this piece is all about. So, what are we actually seeing? Primarily, we see a girl and the demons she encounters through time, and how they eventually take hold of her. You could argue that the film is about how we deny reality; or, additionally, about the cyclical nature of darkness and abuse. By juxtaposing our protagonist’s traumatic childhood with her tortured adulthood, the filmmakers create a disorienting atmosphere of terror and foreboding. A very impressive characteristic of the movie is the way in which repressed memories are represented. It’s subjective and assaultive; psychologically unbalanced, fragmented, and not always tangible. For the average viewer, there will be a few things which they’ll be drawn to, or even shocked by, immediately; and this lies in the aesthetic. The cinematography and design serve as this picture’s biggest strength for a multitude of reasons. Importantly, it’s consistently disruptive, psychologically speaking. There’s something fabulously jarring about having gory images contrasting with idealistic locations and vibrant colours. Some of the images created are incredibly painterly, in a digital sort of way. I’m thinking specifically of the blood-filled bathtub - placed in the yellow, over-exposed field. This abstract construction is so wonderfully inventive; top-tier filmmaking in terms of effort and attention paid to visual detail. Whether An Artist’s Curse works for you or not, one must acknowledge the unwavering devotion the filmmakers show towards both the bizarre visual world they build, and the horror genre as a whole. Various lines of dialogue lack nuance or deeper meaning, but then again, every moment is completely heightened – emotionally and visually (as it should be). It’s perfect content for a short film, as opposed to a feature, since the terrifying horror-fantasy concept is to be told sporadically and fleetingly; a gruesome idea delivered with as much potency as possible... and then it ends. Horror enthusiasts should appreciate the ingenuity on display. Many of its shots and overall visual ideas are so audacious, provocative and unexpected that you can’t help but admire the big swing the film takes when it comes to its aesthetic. I would highly recommend this work if you’re a fan of psychological horror films such as Midsommar, or even the viscera of The Texas Chain Saw Massacre (particularly in terms of its editing). Horror shorts can risk feeling cheap or manipulative, yet this showcases enough exciting technical concepts, and genuine scares, to leave the audience pleased. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Raquel's Legacy film review by UK film critic Jason Knight. Starring Sandra Del Cid, Woody Wilson Hall, John Johnny Mach Maciag, Mario Navarro directed by Sandra Del Cid. HOME | FILMS | REVIEWS Raquel's Legacy Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Sep 21, 2025 Directed by: Sandra Del Cid Written by: Sandra Del Cid Starring: Sandra Del Cid, Woody Wilson Hall, John Johnny Mach Maciag, Mario Navarro A crime feature based on the book Raquel's Legacy by Sandra Del Cid, written and directed by Del Cid and starring herself, Woody Wilson Hall, John Johnny Mach Maciag and Marion Navarro. A crime syndicate is operating in Houston, Texas. Their activities involve kidnapping and trafficking women for sex. Lorusso (Maciag) is the head of the gang, and Arpad (Navarro) is his right-hand man. Raquel (Cid) is the daughter of billionaire Randy (Hall), also living in Texas, and one day, the criminals abduct her and bring her to their hideout. There, she convinces one of her abductors, a woman named Brianna (Sarah Wyckoff) to release her in exchange for a reward. Now free, Raquel must find the courage to find a way to put an end to their atrocious crimes. The plot is certainly intriguing: a bunch of criminals profit by forcing women into sex trafficking, and the film examines in detail how the crooks plan and execute their vile deeds and how it destroys the lives of the victims. More importantly, though, according to FilmFreeway and IMDb, this film aims to acknowledge that Houston has the highest statistics of sex trafficking in the United States and that by viewing this feature, people will become aware and be more cautious. It is worth mentioning that the ending states that the story will continue. As interesting as the plot is and as much as the feature hopes to raise awareness of sex trafficking, that does not save the low level of creativity. The low production value is evident throughout, one of the lowest points being scenes where the background is evidently fake during numerous of the long takes. The screenplay is flawed, with uninspiring and childish dialogue and scenes that go on for far too long, such as a chase in the countryside and a character escaping captivity. The music that is added clearly intends to highlight the emotions of the scenes; however, it is exaggerated and makes the viewing feel ridiculous. On top of all this, the acting is...well, not convincing. Although the performances are far from realistic, some characters have some depth. One is Raquel, a wealthy woman who finds herself coming face-to-face with sex trafficking, and her experience drives her to do something about it. The other is Lorusso, the ruthless leader of the criminals. Of course, sex trafficking is the main theme here, with the film exploring how it operates and the devastating impact it has on the people who become victims. By focusing on this illicit occurrence, the feature also brings attention to bravery and morality. A poorly made film. The fact that the intention is to raise awareness of sex trafficking is to be acknowledged and commended. Nevertheless, taking this into account, a feature carrying such an important message deserves to have creativity of respectable standards. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Three Distinct Impressions film review by UK film critic Patrick Foley. Starring Bijan Karim, Jacqueline Welbers, Kellen Jackson directed by Bijan Karim. HOME | FILMS | REVIEWS Three Distinct Impressions Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Dec 2, 2021 Directed by: Bijan Karim Written by: Bijan Karim Starring: Bijan Karim, Jacqueline Welbers, Kellen Jackson Three Distinct Impressions is a short by director and star Bijan Karim that makes a great impression of its own, with dynamic direction and an elusive and engaging story which is not afraid to take risks. The film follows Parker (Karim), an enigmatic figure who agrees to return a wallet to his ex-girlfriend Sydney’s (Jacqueline Welbers) new partner. He attends a house party to seek out the mysterious Rachita (Kellen Jackson). But as he undertakes his search, his own questionable actions catch up with him – and his perception of the present uncovers shocking realities. It is impressive how much Three Distinct Impressions manages to accomplish in its short runtime. The film features considered and believable performances, dynamic and lively direction and cinematography, stimulating characters and an impressive array of themes that leave audiences considering the ramifications of what they have just witnessed – not to mention enough intrigue to demand a second watch. The film explores the consequences and ramifications of lies and untruths – both to one’s self and those around them – and how our own perceptions of ourselves can be lost within these. Parker is presented as a habitual liar, and a character viewers may find themselves uncomfortable in the presence of. However deeper realities that the film explores hints at a far more central conflict for the protagonist – and the reasoning for his constant truth-twisting becomes a much more complex question. The director is smart enough to leave enough of the film ambiguous in relation to Parker, whilst still making clear and significant statements through filmmaking. The story is interpretive – and the plot is up to the task of pacing viewers through events without becoming overly confusing. There are also some excellent hints at the story’s true meaning littered throughout for a second-time watch. The script features natural dialogue in which characters come across as authentic and cool without being obnoxious or overly-scripted (apart from in Parker’s case, where it is entirely appropriate…) Direction is impressive, with a long third-person shot of Parker’s exploits as he explores the house party a particular highlight. Cinematographer Wolfgang Gmoser also deserves praise for the lighting in the party scenes and in Sydney’s apartment, with bold and contrasting colours that add further life into the film. Shots of the house party band Tanglers threaten to drag the movie to a halt, but instead help establish the film’s world outside of the character’s perspective. The cast are all largely impressive and succeed in their portrayals. Bijan Karim is a little stiff in some moments, but distance and awkwardness are a requirement to add flavour to Parker. Jacqueline Welbers’ Sydney is suitably bitter, and her own conflict is displayed effectively. Films with interpretive and mysterious elements at their heart always run the risk of losing viewers along the way if they fail to properly sell their primary question, and do not provide engaging characters for the audience to explore this with. Three Distinct Impressions is a fine example of how to execute this correctly, and is certainly worth the multiple watches for the full experience. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, LGBTQ+, Indie Feature Film < All Reviews Next Film Review >