Fisher film review by UK film critic Jason Knight. Starring Lilly Leann Wright, Nasim, Jessie Bell, Mia Naipaul, Zachary Rodriguez-Gardner, Alexander Chastain directed by Cassandra Bryson. HOME | FILMS | REVIEWS Fisher Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 1, 2021 Directed by: Cassandra Bryson Written by: Cassandra Bryson Starring: Lilly Leann Wright, Nasim, Jessie Bell, Mia Naipaul, Zachary Rodriguez-Gardner, Alexander Chastain Bad things are happening in Eden, Tennessee during Halloween that involve murder, online deception and death threats. Clara (Wright) is a teenager who uses catfishing to her advantage and what she does is pretend to be another person on social networking services and sends intimate pictures of women to various men online in exchange for gift cards. Things go well for her until her activities attract unwanted attention and end up putting her life in danger. As things turn more and more sinister, Clara finds herself being a victim of stalking and receives disturbing life-threatening messages involving dead animals and blood. This psychological mystery horror film contains a variety of characters, including socially awkward Micah (Chastain), who has to deal with his abusive father and Jacob (Gardner), who along with his parents is deeply religious. There is a great deal of online socializing going on and characters are often seen interacting with their laptops. Since the events take place around Halloween, there are scary costumes to be seen. The plot explores the hazards of interacting with others through social media, particularly catfishing. Religion is also a significant part of the story and the unknown stalker appears to be strict when it comes to religion. The story and characters are interesting and there are nail-biting moments. The movie begins rather sinister, with a brutal murder. After that, the atmosphere is more relaxed during the first half of this two-hour-long feature, mainly exploring the lives of the main characters and the pace is a bit slow. Things pick up during the second half, with the intense stalking and the emotional damage it causes to Clara. Generally, the film seems overlong and there are montages that include Micah cleaning and Clara carving pumpkins which come across as awkward and unnecessary. As far as the acting goes, it gives the impression that it could had been better. Bell probably has the most interesting role, that being of a religious woman whose life is turned upside down after a discovery that causes her to develop a desire for revenge. She plays her part well and manages to make her character fragile and fierce. There are numerous great establishing shots and composer Kevin Czaja makes a positive contribution with the dramatic and tense music. Overall Fisher is not a bad film. The plot deals with a dangerous individual looking to harm someone and that is intriguing. It might require patience for a while, but eventually the narrative gets better and better and eventually grabs the viewer's attention. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Panama film review by UK film critic Brandon Thomas. Starring Cole Hauser, Mel Gibson directed by Mark Neveldine. HOME | FILMS | REVIEWS Panama Film Review average rating is 2 out of 5 Critic: Brandon Thomas | Posted on: Mar 18, 2022 Directed by: Mark Neveldine Written by: Daniel Adams, William Barber Starring: Cole Hauser, Mel Gibson There’s been a lot of talk lately about the “Geezer Teaser” subgenre. What’s a Geezer Teaser you might ask? Well, it’s typically a cheaply made action movie or thriller that has a semi-recognizable young lead (usually Scott Eastwood or Devon Sawa), and a much more famous older actor that shows up for a solid 10 to 15 minutes tops. A lot of action movie heavy-hitters have done these. Bruce Willis, Sylvester Stallone, John Travola, and Mel Gibson have all done their fair share. I guess the big question is “Are these movies any good?” The answer? No, not really, and Panama , Gibson’s latest in this subgenre, is particularly sleep-inducing. Ex-marine James Becker (Cole Hauser of 2 Fast 2 Furious ) is recruited by Stark (Mel Gibson) to negotiate an arms deal in the country of Panama. As the American invasion of Panama looms over the country, Becker becomes more embroiled with the corrupt government and a shadowy local (Kiara Liz). From the get-go, Panama is a chore to sit through. Director Mark Neveldine (Game Over , Ghost Rider: Spirit of Vengeance ) tries hard to craft a sexy, tropics-based thriller, but nearly every beat is a re-heated moment from infinitely better movies. It’s not a matter of budget, as Daniel Adams’s and William Barber’s script fails on even an entertainment level. The twists lack surprise and a coherent story or character motivation seems to have been an afterthought. That Panama is so inert is a shame as Neveldine and former directing partner Brian Taylor made two of the wildest action movies with their Crank series. Panama – while not trying to be anything that zany – lacks even a tenth of Crank ’s macabre sense of humor or electric visual style. Cast wise, the bulk of the heavy lifting is put on the shoulders of Hauser. Hauser has rarely been a leading man, and his work in Panama does nothing to show that this should change. Supporting turns in Dazed & Confused , Good Will Hunting and Pitch Black allowed the actor to play second, third or even eighth banana in some really good films. For a character that’s supposed to be charismatic and suave, Hauser brings nothing to the role. His constant stoic and dry delivery conveys the opposite every single time. At this point, Gibson is just doing his traditional thing. He shows up, kicks a little ass, delivers a few cool lines and heads off into the sunset. It’s the kind of role Gibson could do in his sleep, but doesn’t offer anything we will remember even five minutes after the credits begin to roll. As far as Geezer Teasers go, Panama is hardly the worst. Still, with weak action, a “been there, done that” story, and a phoned-in cast, it’s still one to skip. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Slightly Red Handed film review by UK film critic Joe Beck. Starring Wayne O. Reid, Adam Tucker, Katie McKenna directed by James Hastings. HOME | FILMS | REVIEWS Slightly Red Handed Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Mar 2, 2022 Directed by: James Hastings Written by: James Hastings Starring: Wayne O. Reid, Adam Tucker, Katie McKenna The western genre has been enjoying something of a revival over the past decade or so. Films like ‘Django Unchained’ and ‘The Hateful Eight’ from Quentin Tarantino have given the genre a more pop-infused tone, whilst the likes of ‘3:10 to Yuma’ and ‘Hell or High Water’ have maintained the traditional dusty feel of an old classic like ‘The Good, the Bad and the Ugly’. The short film ‘Slightly Red Handed’ certainly feels more like the former films in tone. ‘Slightly Red Handed’ tells the story of a retired magician, Carson Avery (Wayne O. Reid), who has now settled into his ranch in Wyoming. One dark, stormy night an anxious reverend , Jericho Pile (Adam Tucker), turns up at his door searching for a miracle. He doesn’t get it. Tensions between the two come to the fore after the true reason for the reverend’s wife being ‘ill’ is revealed. As with all great westerns, the theme of redemption is overarching. Redemption is relevant to all three characters, including the reverend’s wife Dorothy Pile (Katie McKenna), but all in different ways. Our protagonist Carson Avery seems to be searching for redemption - it’s never explicitly stated but the character’s morals and the bodies hanging outside suggest that there’s something in his past driving his search for salvation. Ironic then that it should be a reverend who acts as the main antagonist, and the character most in need of atonement. Can his actions be redeemed? His incessant begging and bout of tears suggest a profound regret; the drawing of his gun suggests otherwise. Then, and perhaps most interestingly there his wife Dorothy, who is faced in the end with the need for redemption. In the spirit of redemption it is only right to mention another major influence on the renaissance of the western, not a film, but a video game - ‘Red Dead Redemption’. The vast popularity of those games have undoubtedly spurred on the rediscovery of the western, largely due to their massive scope and engaging stories. Elements of those games - in particular ‘Red Dead Redemption 2’ are also evident in ‘Slightly Red Handed’. For starters, the short takes place in 1503, at the dusk of the wild west, the same as the much-acclaimed video game. Furthermore, the character of Carson Avery resembles the two protagonists John Marston and Arthur Morgan from the games in his desire to retire and rest - and his inability to escape trouble. However, if there’s one thing you can take away from any western, its that trouble always finds its way back to you. That is no different in ‘Slightly Red Handed’, where our one-eyed jack is confronted with the priest. The issue is, that at times the film feels extremely gimmicky, in particular when the band pops up singing an old-timey cowboy tune. The song is good and fits the rather bleak mood of the film, but it instantly loses its cinematic feel when the band are show singing away in their cowboy gear. At that moment, a long, lingering shot on the ranch, on Carson, or just on the stars in the sky would have accompanied the song better. The other, though relatively minor problem with the film is that it suffers from bouts of mumbling from actors, in particular Adam Tucker as the reverend. This is particularly annoying because otherwise Tucker’s performance is phenomenal, portraying a believably corrupt churchman who’s soul interest is self-salvation. There are moments when he resembles Paul Dano in his mannerisms and facial expressions - it is a very good performance. Wayne O. Reid is imposing and charismatic as the retired old magician, working well with Tucker and creating an all round likeable character in just 15 minutes. Katie McKenna has a lot less to do, but when she does do it she is also charming in her own way. Aside from the inexplicable cuts to the band, the direction from James Hastings is impressive as well, creating an atmospheric and believable setting from the outset. The way the camera is set up on the table as Carson and the reverend have a little, let’s say, talk is nothing you haven’t seen before, yet it isn’t utilised often enough in shorts, so it’s a pleasant shot. In truth, it’s a story which could be expanded to a feature length version, and yet it tells a whole and complete story in just 15 minutes. By the end you’ll be wanting to see a lot more of Carson Avery, who is an enigmatic and engaging character that deserves a chance on a bigger screen. The film has its faults and so the title ‘Slightly Red Handed’ is fitting - it would have gotten away with the perfect short if it weren’t for the drops of blood on its hand from the bizarre cuts to the band. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Hocus Pocus 2 film review by UK film critic Hope Madden. Starring Bette Midler, Kathy Najimy, Sarah Jessica Parker directed by Anne Fletcher. HOME | FILMS | REVIEWS Hocus Pocus 2 Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 29, 2022 Directed by: Anne Fletcher Written by: Jen D'Angelo, David Kirschner, Blake Harris Starring: Bette Midler, Kathy Najimy, Sarah Jessica Parker Thirty years ago (more or less), Disney released a family-friendly seasonal comedy that underperformed and was forgotten. Forgotten, except by every 8-year-old who watched Hocus Pocus then or would go on to rewatch it annually during spooky season. The entertainment behemoth finally realized what it had and commissioned a sequel. Hocus Pocus 2 reunites willful witches Winnifred (Bette Midler), Sarah (Sarah Jessica Parker) and Mary (Kathy Najimy) with Salem, the town that hates them. What is it that reawakens the evil Sanderson sisters? A somewhat convoluted storyline, actually, but it involves female empowerment and community and it’s charmingly, inoffensively told. Halloween’s here, and with it, Becca’s (Whitney Peak) 16th birthday. She’ll celebrate this year as every year by sharing a little spookiness in the woods with her bestie, Izzy (Belissa Escobedo). It’ll be the first year that the third in their trio, Cassie (Lilia Buckingham), doesn’t join because she’s hanging out with her boyfriend. Meh! Anyhoo, the Sandersons are accidentally conjured. Somehow the local crystals and essential oils purveyor (Sam Richardson, likable as ever) is mixed up in things. And Cassie’s dad – kindly Mayor Traske (Tony Hale) – is in mortal danger! Director Anne Fletcher (The Proposal ) hits enough nostalgic notes that adult fans of the original will feel seen. Its contemporary story allows for brand new witch-out-of-water scenarios to explore, and, of course, the sisters are always up for a musical number. But this is definitely a kids’ film. The original was a kind of sibling to Fred Dekker and Shane Black’s 1987 family film Monster Squad . Both showed poorly at the box office and went on to become beloved seasonal fixtures. Hocus Pocus brought the sensibilities into the nineties by, for one thing, recognizing that boys can also be virgins. HP2 modernizes further. To begin with, not every citizen of Salem is white. And though it’s impossible to entirely redeem three characters looking to eat children, at least the sequel skims the ideas of systemic misogyny. But mainly it offers campy, scrappy, bland but amiable fun. Midler, Najimy and Parker reinhabit the old trio well enough to remind us why so many kids loved the original. Whether HP2 can strike the same chord with today’s youth is tough to tell, but at least there’s a Halloween flick everyone can watch together. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Mein, Mehmood film review by UK film critic Jason Knight. Starring Ozair Abdul Aleem directed by Prataya Saha. HOME | FILMS | REVIEWS Mein, Mehmood Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 5, 2022 Directed by: Prataya Saha Written by: Prataya Saha Starring: Ozair Abdul Aleem A man is having a hard time making ends meet due to the language barrier. Mehmood (Aleem) is a middle-aged immigrant from the Middle East living in Dubai. His wife and daughter are back in his home country and he is working as a travel consultant. Things are tough because COVID-19 is having a devastating impact on the travel industry and to make things worse, Mehmood does not understand English, which makes it very difficult for him to do his job. This short film from the United Arab Emirates is a hard-hitting drama that straightforwardly reveals the enormous difficulties that immigrants around the world have to deal with due to the fact that they do not speak a particular language. In this case, that language is English and the protagonist of this story appears to be unable to progress in the world because he cannot communicate via this language. His line of work requires him to know English and therefore he fails to reach his assigned targets and struggles to send money back home, for his daughter's education. It is a sad story, one that focuses on an unfortunate individual who lacks a specific quality in order to move forward and who seems isolated from the entire world, as he is never shown interacting with anyone face-to-face, only through devices. Aleem delivers an emotional performance as a well-meaning person who has found himself living away from his country and facing the same challenges that many immigrants do, which include language barrier and being away from loved ones. He tries hard to deal with everything, unfortunately things just get harder and harder for him and the audience will most likely sympathise with him. Saha does a great job as director and the cinematography by Abhishekh Saravanan looks wonderful. Karthik Bhandare does an amazing contribution with the dramatic and beautiful score. This film is dedicated to hard-working immigrants around the globe and it points out the problems they often have to deal with due to language barriers. It also indicates that the English language has a dominant role worldwide, affecting people's ability to find work and progress. It theorises that if one does not understand English, they are likely to have trouble moving forward with their life even though there are so many other languages. This is a viewing that provides a thoughtful experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Lioness film review by UK film critic William Hemingway. Starring Sara Oliva, Lily Jane directed by Molly E. Smith. HOME | FILMS | REVIEWS Lioness Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 30, 2023 Directed by: Molly E. Smith Written by: Sara Oliva Starring: Sara Oliva, Lily Jane As Lioness opens, we find a tired and weary mother and daughter settling into a dingy motel room for the night. The daughter (Lily Jane) is already asleep on the bed while the sound of a car engine outside has spooked the mother (Sara Oliva) into action. She’s taking no chances and gets to work barricading the door to keep them both safe for the night. When her phone starts making noises she switches that off too, as she tries to ensure that nobody can locate them in this small, unexpected safe-haven. No words need to be uttered as we watch this spent, frightened mother do everything she can to keep her child safe from whatever danger lurks outside that empty, lifeless room. We see that it’s gone well after midnight, but still the mother’s work is not yet done, and we watch as she empties the contents of her handbag out onto the floor as she frantically searches for tools and resources to work with. Everything from the Yellow Pages, to chewing gum, to her own spit, to sanitary towels somehow get utilised by the mother’s ingenuity to help create the atmosphere that she is looking for, but it’s not until we watch her take the surgical tape from a bandage covering a very serious wound on her stomach that we realise just how desperate the situation is for the two women in this story. Produced, written and edited by Sara Oliva, who also plays the mother, Lioness is a delicate look into an all too common situation. Inspired by her time in one such motel room filming another project as well as her experiences helping out at a Florida based women’s shelter, Oliva fleshed out the idea for Lioness fairly quickly, with the story coming to her in images. These images are in truth both affirming and harrowing at the same time and with Oliva deciding to let them tell the story, along with her incredibly affecting performance, without the need for any real dialogue, they then create a rich, intense and moving short film which is impossible to tear your eyes away from. Director Molly E. Smith shows a skill and understanding well beyond her years as she helms the project and handles the camera while still being in her senior year at high school. Oliva explains the decision to hire someone so young to direct as coming from the fact that Smith could bridge the generational gap between mother and daughter and nowhere is this expressed more beautifully than when the attention shifts to the daughter’s perspective and the full meaning of the film comes sharply into focus. Helping things along is a beautiful and sometimes haunting score from Austin Becker, while Smith keeps everything stripped back and natural with the sound and lighting coming from within the scene. There are some really nice details scattered throughout Lioness which should help the eagle-eyed viewer stay aware of the analogy offered by the film’s title; that of a fierce, protective mother doing whatever is necessary to look after her young and give her the best opportunities in life despite any oppressive outside concerns. My favourite of these is that the mother in this story never speaks but is only heard once through a Lioness’ roar. With this seven-minute short film also being dedicated to all the other lionesses out there it can only be hoped that as many of them as possible, as well as anyone else who can identify with a lioness’ soul, will find their way to viewing this small, well-crafted gem, and take from it the strength, ferocity and nurturing tenderness which shines through every frame. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

Jake, the failure film review by UK film critic Jason Knight. Starring Andi Rexha, Emily Arrington directed by Julian Sibal. HOME | FILMS | REVIEWS Jake, the failure Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 17, 2023 Directed by: Julian Sibal Written by: Julian Sibal Starring: Andi Rexha, Emily Arrington A young man reflects on his struggling life. Jake (Rexha) is a youth who has high ambitions but has reached an emotional rock bottom. He is a wannabe scriptwriter and is having a hard time becoming that. Having sacrificed everything to pursue his dream, he now works as a parking attendant and repeatedly tries to get his work noticed. Eventually, he gives up on everything, believes that he is no good and decides that there is only one thing to do. This short drama works like a montage with Rexha's voice-over guiding the viewer through his life. The narrative is nonlinear, with many brief scenes show what he is up to and his thoughts reveal how he views life and the world. The viewer sees him working as a parking attendant while working on scripts, presenting them to potential buyers, however without success. There are also flashbacks of his former happy relationship with his girlfriend (Arrington). The narration explains that failure to fulfil his wishes has landed him in a dark place with no hope. The protagonist's thoughts are rather distressing and pessimistic. He has come to the conclusion that people going after their dreams is pointless and destroys their lives. He also believes that ultimately, every person is forgotten. All these beliefs have led him to conclude that life is meaningless and that there is no point in going on. The wonderful cinematography deserves big commendations, courtesy of Thomas Hubbel and the beautiful and sentimental music by Tiko Lasola and Samuel Andrew Garcia is a great feature and the song True Love Will Find You in the End by Priscilla Ahn was a perfect choice. This is a moving story about a person who has lost all hope. It is not a pleasant viewing, however it is an important one that explores the ways people feel about their choices and mistakes and it also addresses mental health issues and suicidal tendencies. The film is quite upsetting and filled with negative thoughts, although the ending appears to offer hope. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Film news - EFN Film Festival Goes Hybrid for 2021. Find out more at UK Film Review. EFN Film Festival Goes Hybrid for 2021 Chris Olson Friday, June 25, 2021 at 9:59:59 AM GMT+1 EFN’s next Edition is going hybrid! Our Summer/Autumn Spectacu-ganza will take place both on live-stream and in the flesh in London’s Iconic Genesis Cinema . ● Expect: o Our trademark Awards Night with a selection of films competing for the Critics’ Choice Award given by a panel of film industry experts (BBC, Leeds Int. Film Festival) and the Audience Favourite Award voted by the audience attending on the night both LIVE and ONLINE! o Side film screenings with more official selections as part of our non-competitive programmes. o Online Industry Workshops around funding, writing and film festival strategies! ● EFN is an international short film festival reaching over 3000 cinephiles. ● We accept films of any genre and type: **Comedy, Drama, Horror, Animation, Documentary, Experimental, all are welcome** ● All films need to be no longer than 20 minutes and produced within the last 2 years. ● Film submissions are accepted via FilmFreeway. 10% discount for students 15% discount for gold FilmFreeway members and 20% for those who have submitted to EFN before. ● Visit www.efnfestival.org/submit for full details: EARLY BIRD DEADLINE June 30th 2021. “I honestly can’t recommend this festival highly enough. One of the best experiences I’ve had as a filmmaker: from the insightful and fascinating questions during the Q&A to the clear connection they have with an engages audience” - Celestine Fraser - Writer/Producer Our panel of experts includes Leeds International Film Festival Programmer Molly Cowderoy , UK partner of the Clermont-Ferrand Film Festival Abla Kandalaft and Christina Papasotiriou Genesis Cinema’s Alternative Programming Manager. “EFN- Emerging Filmmakers Night is a professional and extremely well run festival. The communication with the filmmakers, the quality of the event and audience engagement are all excellent” - Steven Dorrington-Writer/Director 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

Still Life (2026) film review by UK film critic Jason Knight. Starring Ophelia Lovibond, Jacob Anderson directed by Sophie King. HOME | FILMS | REVIEWS Still Life (2026) Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 19, 2026 Directed by: Sophie King Written by: Kate Radcliffe Starring: Ophelia Lovibond, Jacob Anderson A short drama directed by Sophie King, written by Kate Radcliffe and starring Ophelia Lovibond and Jacob Anderson. Jessica (Lovibond) and Max (Anderson) are expecting a baby. Although this is supposed to be good news, the soon-to-be-parents are facing complications involving the pregnancy, particularly Jessica, who appears to be quite anxious. This short focuses less on the plot, concentrating instead on the effects the anticipation of having a baby has on the couple, especially Jessica. The film examines the emotional struggles she goes through, ostensibly because she is worried that something might go wrong with the pregnancy. Then the dramatic revelation arrives. The twist makes the viewer question everything they saw before as it reveals that as well as being apprehensive about the future life-changing event, Jessica has also been devastated by a terrible experience that took place in the past. As the story is told though her character's perspective, Lovibond's performance is vital in order for the film to work and she pulls it off terrifically, playing a woman who is distraught for reasons that are not clear, until the end. The film relies primarily on her facial expressions to capture her emotions, with plenty of close-ups utilised to capture that. Interestingly, while attending yoga classes with the apparent intention to help her relax during pregnancy, she does reveal that she is expecting when the instructor inquires, making one wonder why. Anderson is sympathetic as Jessica's supportive partner and, although their appearance is brief, Phoebe Pryce, Alex Bhat and Jordan Alexandra effectively portray individuals who know and support the struggling couple. For the most part, this short is about pregnancy, exploring the anxiousness and uncertainty a future parent can go through and it also points out the significance of support. More dramatically, it is also a commentary about the effects of trauma and loss. This short manages to squeeze a lot of drama in ten minutes and the result is the emotional and unsettling aftermath of a tragedy and great acting. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Disclosure Day film review by UK film critic Hope Madden. Starring Emily Blunt, Josh O'Connor, Colin Firth, Colman Domingo directed by Steven Spielberg. HOME | FILMS | REVIEWS Disclosure Day Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 9, 2026 Directed by: Steven Spielberg Written by: David Koepp, Steven Spielberg Starring: Emily Blunt, Josh O'Connor, Colin Firth, Colman Domingo For about fifty years, Steven Spielberg has been indulging his wonder. By sheer force of will and undeniable talent, the filmmaker turned the direction of Hollywood’s alien fascination, not from “they’re coming to get us” to “maybe they love us.” But he pushed hard enough, beguiled intensely enough, to create that space. He isn’t done. Disclosure Day returns our eyes to the skies and asks us to examine why our natural inclination is to believe the worst in each other and blame the “other” for it. Josh O’Connor is Daniel Kellner, math nerd (you knew there’d be a nerd). He’s employed by Wardex, an intelligence and security paramilitary firm that works alongside, not for, the US government. But Spielberg, working from a script by longtime collaborator David Koepp (Jurassic Park, War of the Worlds) for which he gets story credit, wastes no time on this set up. From the opening smackdown, we are on the run with Daniel and girlfriend Jane (Eve Hewson) from Wardex and its head, Scanlon (Colin Firth). Cut to the charmingly unserious Kansas City meteorologist, Margaret Fairchild (Emily Blunt). Quite suddenly, over the objections of Margaret’s equally unserious boyfriend (Wyatt Russell), she’s on a collision course with Daniel while Scanlon’s high tech, black clad operatives use all intel on hand to close in. The shot making is Spielberg at his most reflectively, thrillingly Spielbergian. Disorienting, gorgeous, and often recalling his own work in nod after ingenious nod. Plus, John Williams came out of retirement, pairing music to scene to reliably engrossing effect. Colman Domingo offers his support as the father figure whose let wonder and optimism override knee jerk fear and cynicism. Everybody’s great, Blunt in particular. And there’s a lovely sentiment fueling the tale as Spielberg uses his familiar themes to point to the weaponization of religion and society’s bottomed-out belief in humanity. But the world is not the same place it was when Richard Dreyfuss wasted a good plate of mashed potatoes. As well made and engaging as Disclosure Day is, the third act reveals what the first two suggested. For a comment on the state of the world, or an extra-terrestrial thriller, the film’s sweet, quaint, and somewhat irrelevant. A few questionable details would be easier to overlook thanks to the film’s admirable momentum had it all led somewhere less telegraphed and less wide-eyed. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Axmo Deus film review by UK film critic Joe Beck. Starring Ken Fletcher, Noel Vinson, David MacPhail, Deidre Campbell directed by Noel Vinson, Abel Robinson, Luke Agius. HOME | FILMS | REVIEWS Axmo Deus Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Oct 30, 2022 Directed by: Noel Vinson, Abel Robinson, Luke Agius Written by: Axmo Deus, Abel Robinson, Noel Vinson Starring: Ken Fletcher, Noel Vinson, David MacPhail, Deidre Campbell Web series’ are often a strange concoction of the internet’s most basic ideas mixed with some of its most creative artists. ‘Axmo Deus’ exemplifies this completely, attempting to mix ‘new horror’ with surface-level ideas and messages, resulting in a disappointing, and ultimately weary, experience. At some stage in the 2010s, perhaps formally beginning with ‘It Follows’, horror films once more became the genre that, alongside superheroes, garnered the most attention from both general audiences and critics. It was an incredible decade for horror films - ‘Us’, ‘Hereditary’ ‘Get Out’, ‘The Witch’, ‘A Quiet Place’, ‘It’, ‘Don’t Breathe’, ‘It Comes At Night’, ‘Doctor Sleep’ - and that’s without mentioning juggernauts like ‘The Conjuring’ and ‘Halloween’. With that trend set to continue with Ti West’s ‘X’ thriving, it therefore comes as no surprise that an increasing amount of aspiring filmmakers are turning to horror to get a footing in the industry. ‘Axmo Deus’ picks up on the flaws inherent in many ‘new horror’ films - an overemphasis on exploiting a political message, without adding any depth to the argument - and blends it with the overemphasis on blood, gore and jump scares which epitomised the largely lacklustre horror films of the 90s and 00s. In many ways ‘Axmo Deus’ is an early warning of what the horror genre will likely become in five to ten years’ time, as the pendulum will once again flip, as it always does, towards trashy horror flicks, as another genre enjoys a period in the limelight. The biggest issue with ‘Axmo Deus’ is that it feigns to have an important message, especially in early episodes, but lacks the time (each episode clocks in at just one minute) to explore it, and so deviates into an excess of violence. As each episode moves to the next at a breakneck pace - the credits are literally playing at 2x speed - and each episode is completely disconnected to the previous one, there isn’t enough time to care in each scenario. The rapid pace of each story is also numbing, nullifying any shock from its jump scares as we are often confronted with an overly loud shouting match and an ensuing bloody outburst. Each episode is well-directed and the production value appears to be high, especially given the presumably low budget, but that doesn’t prevent the stench of a project created only to generate clicks and likes permeating through the piece. It becomes overbearing after two episodes, and long outstays it’s welcome, so that by the time the shackles are loosened a little, and it allows itself to sometimes drop the messaging, we simply do not care. It alienates its viewer, and will not be appreciated in any format other than a TikTok clip. This is a web series made for the TikTok generation, so mind-numbingly fast that they can consume an episode before swiping to the next clip. It’ll convince many users that they’ve witnessed a cinematic masterpiece, condensed and tailor-made to themselves, when in reality ‘Axmo Deus’ is a reflection of the sad state of cinema. If clips last one minute and tell no story, but are lauded for being artsy and powerful, become the means through which people, especially young people, view cinema then long-form, character-driven stories, which take time to build up suspense, will die. Buy UKFR Banner Space About the Film Critic Joe Beck Web Series < All Reviews Next Film Review >

My Name Is Alfred Hitchcock film review by UK film critic Matt Weiner. Starring Alfred Hitchcock directed by Mark Cousins. HOME | FILMS | REVIEWS My Name Is Alfred Hitchcock Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Nov 7, 2024 Directed by: Mark Cousins Written by: Mark Cousins Starring: Alfred Hitchcock My Name Is Alfred Hitchcock isn’t the first Alfred Hitchcock documentary in the last decade. It’s not even the second prominent one. But this unique take on the director’s entire filmography sets out to show why these movies have not only endured, but continue to speak to audiences—and some of our seamiest impulses. My Name Is Alfred Hitchcock is a welcome companion piece to the other recent documentaries, falling somewhere between the broad interrogation of 2015’s Hitchcock/Truffaut and the technical hyper-focus of 2017’s 78/52 . Writer and director Mark Cousins uses Hitchcock’s “voice” and—more importantly—almost exclusively clips from his films to take a fresh look at the legend. Thankfully for anyone tackling a feature-length video essay, you’re at a huge advantage when the subject is Alfred Hitchcock. Cousins breaks the documentary up into six key themes, some expected (height, escape) but others taking a surprising metaphysical turn. It’s hard not to want to dive into a full Hitchcock movie after watching the clips. Especially notable is the amount of time that Cousins devotes to the less usual suspects. There are the silent films and early movies pre-Hollywood, but also plenty of love for techniques in his late films that show him fully in command of his craft. Even the classics that have been analyzed to death show off new themes. If you want more on the shower, well… there’s an entire movie for that. It was novel to sit with some of the other parts of movies like Psycho or North by Northwest without getting caught up on “that scene.” The documentary’s strict adherence to showing us “what’s on the page” has some limits, though. Hitchcock’s wife, Alma, gets a section of the movie. But it doesn’t do justice to her role, not just as beloved muse, but extremely influential collaborator. And then there’s the voice. Hitchcock gets a writing and voice credit at the start of the film, and it isn’t a spoiler to point out that Alfred Hitchcock is not writing new scripts in this century. The voice belongs to English impressionist Alistair McGowan, who does a solid job sounding equally plummy and put-upon. But it’s an affectation that wears across the two-hour runtime, especially when it shouldn’t be a surprise reveal to tell the audience that this was just part of the artifice of film. Cousins’ script, plus the exceptionally deep range of highlights, stand on their own without the gimmick. The shots speak for themselves to reveal even more than the voice of the director himself ever could, if you buy into the psychology behind the movies. And Cousins makes a decent case that you should. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release, Documentary < All Reviews Next Film Review >