Glass film review by UK film critic Joe Beck. Starring Susan Taylor, Brendan James Hanrahan, Alex Kyle Young, Darren Barnet, Veronica Sixtos, Anna Berg directed by Brionne Davis. HOME | FILMS | REVIEWS Glass Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Jun 8, 2022 Directed by: Brionne Davis Written by: Darren Barnet, Alex Kyle Young Starring: Susan Taylor, Brendan James Hanrahan, Alex Kyle Young, Darren Barnet, Veronica Sixtos, Anna Berg There are moments of ‘Glass’ in which it promises to be a tight, well-thought-out family drama, however, it descends far too often into melodrama. The melodrama is cheesy and comes across as insincere - the kind of thing you’d see on an early evening talk show as you’re gathering around for dinner. Dinner is what provokes what will hereby be known as ‘the incident’ which sparks the core issue of the film. A family, we don’t know their family name, are gathered around the table for dinner - the parents being Nadine, an ambiguous woman played by Susan Traylor, and Frank, a balding, middle-aged man with a sharp temper who is played by Brendan James Hanrahan. Also at the table, we have Austin (Alex Kyle Young), Danny (Darren Barnet), Allie (Anna Berg) and Yolanda (Veronica Sixtos). Other than the fact that Austin and Yolanda are seeing each other, their relationship with each other, and indeed Nadine and Frank, remains unknown. This means that it is more difficult to build tension between the characters and Frank, as he unleashes his drunken tirade. It is very much a tirade, unleashing an onslaught of words at Danny for his unhappiness towards his unfavourable position at work - brought about by his lack of qualifications. There are also complaints towards Yolanda, who is unhappy that she hasn’t yet received a promotion - something Frank blames on her poor work ethic. Naturally, Yolanda doesn’t take too well to this, fighting fire with fire, and provoking ‘the incident’, which, unsurprisingly involves some glass. This is the climax of the film - a problem given that this scene concludes just five minutes in. That leaves the remainder of the film as something of an anti-climax, with a time-jump springing a shock which was supposed to have emotional weight, but is instead devoid of feeling. This is largely due to the poor establishment of each of the characters in the film, all of whom are one-dimensional at best. Frank is a hot-tempered man when drunk, and a kind-hearted man when sober. Danny is a bit of a scrounger, with big ambitions but lacking the ambition to fulfil them. Austin is a quiet guy, though not afraid to pull any punches. Yolanda knows that she’s above all the petty family drama and isn’t afraid to stand up for herself. Two characters - Nadine and Allie are non-entities, given barely a bone to feed on, and remain blank canvases throughout. This suggests a larger problem with the script, which was penned by Darren Barnet from a story by Alex Kyle Young. The script omits too much information which is needed to give the film’s latter half any emotion. Additionally, rather than fill in the blanks, there is instead a meaningless scene of Frank hugging a young girl, before an eight-month time jump to an unexpected turn of events, which is just sprung on us with no build-up. Whilst the script is impressive in the film’s first half, it fails to flesh out its character, leaving the second half anti-climactic and ultimately disappointing. In a similar vein, the direction from Brionne Davis excels in the first half but is lacklustre in the second. In the first half, Davis’ close-up shots of Frank, complete with a shaky camera to echo his drunken state, set the scene perfectly and effectively set up the climax. However, in the second it reverts to a corny, hallmark quality direction, only amplifying the sense of melodrama, with the film being drenched in light overbearingly to establish Frank’s change in character. The acting, for the most part, is competent - especially that of Brendan James Hanrahan, who goes through the full range of emotions as Frank, including an excellent almost maniacal moment as he reaches the peak of his toxicity. Alex Kyle Young and Darren Barnet are also impressive, the latter of ‘Never Have I Ever’ fame, giving understated performances as Austin and Danny respectively. Veronica Sixtos is good, though her role is constrained to a few angry outbursts, whilst Susan Traylor and Anna Berg never really get the opportunity to impress. The first half of ‘Glass’ is an example of near-perfect tension building, however, it reaches its climax far too soon, leaving the second half reaching in the dark, and failing to switch on the light. Poor characterisation of pretty much every character drags the film down, with nobody given anything much to work with in a disappointing second half. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Hit Man: Secrets of Lies film review by UK film critic Joe Beck. Starring Richard Kind, William Sadler, Karen Allen, Peter Riegert directed by Elias Plagianos. HOME | FILMS | REVIEWS Hit Man: Secrets of Lies Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 11, 2023 Directed by: Elias Plagianos Written by: Elias Plagianos Starring: Richard Kind, William Sadler, Karen Allen, Peter Riegert You may expect a film entitled ‘Hit Man: Secrets of Lies’ to be a middling action film, with a bald man played by either Timothy Olyphant or Rupert Friend totting some heavy duty weapons. Instead, ‘Secrets of Lies’ is a cold, brooding thriller - a character study asking why we do what we do, especially when what we do has such a profound impact on others. The hitman at the centre of ‘Secrets of Lies’ isn’t the muscle-man you expect in these sort of films either, instead he’s a world-wearied Richard Kind, who’s starting to feel all the years he’s put into the business take a toll on his body. Kind plays JP Keller, though for much of the film is Al Gordon, as he navigates interwoven plots involving a therapy session and a mission to a quiet rural town. Following the vein of the iconic ‘The Sopranos’, it’s always interesting to see a bad guy in therapy and forced to face the weight of their actions. That’s what Keller has to do, seeking a connection and understanding of his past and how it has impacted the man which he became. Therapist Jerrald Been (William Sadler) doesn’t offer very much in terms of comfort, more nodding on as Keller talks about his childhood and his absent father. That’s further built upon on Keller’s mission, which takes him to a leafy All-American town in the north, the kind of idyllic place men of his age normally retire. His target is Ed Vandemeer (Peter Riegert), who quietly enjoys life in the witness protection programme with his wife Betty (Karen Allen). We never learn what Ed has done and that’s the point. It outlines the coldness of Keller’s job, and how little of it involves any passion. Writer-director Elias Plagianos illustrates this inherent coldness in Keller, which has come from years of making his living on the misfortune of others. He approaches everything with a sigh and a sad glance, with the knowledge that his time spent in this communal town will be abruptly cut short by his own responsibilities and actions. Based on the novel ‘Hit Man’ by Lawrence Block, Plagianos brings the story to life adeptly, with a nuanced screenplay and competent direction clearly painting a character that can blend in anywhere, and with a danger about his presence, mixed with years of regret and tiredness. Richard Kind is impressive in the lead role, possessing both a brewing menace and a genial warmth in equal measure. It’s a subtle performance, not showy at any point but instead focused on a deft glance and the slyly false intonation in his voice. It is always nice to see the likes of Sadler, Allen and Riegert grace our screens and they provide honest performances, particularly Allen, to match Kind’s subtlety. The title itself doesn’t make sense, how can you have a secret of a lie? But that is besides the point, as is the occasional stupidity of the screenplay, which forces you at times to suspend belief. Nevertheless, ‘Hit Man: Secrets of Lies’ is a surprisingly taut film, a cold study of a man doubting his profession, yet compelled to carry out one last job regardless. At a certain point it becomes a part of him, he’s institutionalised or no longer cares enough to change his path, and that’s what makes ‘Secrets of Lies’ such a chilling film. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Witchez are Bitchez film review by UK film critic Nina Romain. Starring Jazmine Cornielle, Ryan Marko, Caeron Zabae directed by Gideon McCarty. HOME | FILMS | REVIEWS Witchez are Bitchez Film Review average rating is 3 out of 5 Critic: Nina Romain | Posted on: Oct 14, 2025 Directed by: Gideon McCarty Written by: Jazmine Cornielle Starring: Jazmine Cornielle, Ryan Marko, Caeron Zabae A comedic horror buzz not to be taken too seriously. This 15-minute comedy focuses on revenge and dating in a world of modern-day witches who use smartphones as well as spells, and zips exist on buxom wenches’ bustiers. Fraya (writer and producer Jazmine Cornielle) is “the ugliest witch in town” looking for love and also collects male genitalia in a jar for her collection. Taking a breather from swiping left on non-matching potential suitor warlocks on her smartphone, she visits a cobweb-strewn bar for a drink. Here she hits on Dalvin (Ryan Marko), the self-proclaimed town “warlock-saviour”, who deals fearlessly with dragons; he’s also a conceited womaniser, all flowing neo-gothic shirts and designer stubble. Despite Fraya promising him a good time (“I can take care of that wand of yours,” she purrs seductively) to her annoyance, he turns her down. In revenge, Fraya puts a curse on him, causing Dalvin to lose his warlock powers unless he fancies her, so he is forced to turn up to her lair and beg her to have sex with him in return for his powers back. The action takes place on the cheap in a Halloween-themed bar, and according to the entertaining YouTube behind-the-scenes short with leads Cornielle and Marko, it was in fact completed in two overnight shoots in a Long Island bar finishing at 6 am. The acting is vampishly hammy, and could be toned down along with the non-stop fart jokes, but viewers can tell working on the vampy production was fun, like an R-rated Hocus Pocus with more knob gags and witchy saucy banter. There’s also a streak of visual comedy as when one of Delvin’s ladyfriends/conquests demands payment in gold coins, which end up being chocolate pieces instead of cash, and promptly starts eating them. Like a Halloween-themed cocktail laced with cheap green-dyed tequila and pumpkin-shaped chocolate, Witchez are Bitchez is a fun horror buzz not to be taken too seriously. Buy UKFR Banner Space About the Film Critic Nina Romain Short Film < All Reviews Next Film Review >

The Toxic Avenger film review by UK film critic James Learoyd. Starring Peter Dinklage, Jacob Tremblay, Taylour Paige, Kevin Bacon directed by Macon Blair. HOME | FILMS | REVIEWS The Toxic Avenger Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Aug 27, 2025 Directed by: Macon Blair Written by: Macon Blair Starring: Peter Dinklage, Jacob Tremblay, Taylour Paige, Kevin Bacon Since its original announcement and first festival screening in 2023, Troma fans everywhere have waited patiently for the highly anticipated reimagining of the 1984 cult classic while it’s been in limbo; and readers will be relieved to discover that Macon Blair’s horror-comedy does not disappoint. The Toxic Avenger is a loving new take on our beloved, mop-wielding Toxie, with lead actor Peter Dinklage taking the helm. As opposed to a geeky young janitor attacked by his comically murderous bullies, here we’re introduced to Winston – also a janitor and single stepdad of Jacob Tremblay’s Wade – who finds out he’s terminally ill. Much like the plot of The Toxic Avenger Part III: The Last Temptation of Toxie , our protagonist is working a job at the evilest company in Tromaville; the head of which is Kevin Bacon giving a fabulously enjoyable, moustache-twirling villain performance alongside Elijah Wood as his Igor-esque henchman. Post being toxic-wasted, Winston teams up with the cool as hell eco-warrior J. J. Doherty (played by the great Taylour Paige) who’s fighting to expose corruption and take down said company. Writer-director Blair (whom you will have recently watched in Oppenheimer ) also has many amusing cameos in the film. It’s likely that fans of the original series will lament the absence of Toxie’s blind, kooky girlfriend who provided the 80s entries much of comedy and sweetness. However, for a modern release, the character of the son portrayed by Room star Tremblay is probably an easier sell for wider audiences. He’s great in the albeit small role as he gives the story some genuine emotional stakes. As everyone hoped for, this is a funny, heartfelt gore-fest. In his director’s statement, Blair explains that what appealed to his “sixth-grade brain” was “the feeling that this movie was literally homemade, a thing that a group of friends could make in their own backyard with a video camera and some Karo-syrup blood” (Blair: 2025 | Signature’s Press Kit). And by giving us the perfect balance of vulgarity and sincerity, he manages to keep that homemade feeling alive in this release. He offputs gross-out humour with family dynamics and new friendships; extreme violence with an air of genre-independence and abandon. Much like the original, it feels like watching a live-action cartoon... Many will compare the self-aware style of comedy to actual trash like Deadpool , which is foolish since this has such a positive, personal, non-cynical sentiment. But it’s also a film which aspires to have as much fun as possible in each and every scene. The Toxic Avenger manages to maintain some of the cheap, exploitation characteristics that make the original a real curio, but tempers these attitudes slightly for the benefit of the modern viewer – there's still plenty of sex jokes and gratuity, yet it rarely feels tone-deaf. But if there’s an aspect to the filmmaking very much open to criticism, it would be the movie’s use of CGI violence. And this critic’s response to that is this: yes, the film would be better with purely practical violence; however, Blair clearly wanted to go extremely cartoonish with the elaborate nature of these deaths, that one can surely comprehend – much like the recent Final Destination – why the filmmakers opted for the plasticky, digital route. And do not fret dear reader! The Toxic Avenger himself is completely practical and completely beautiful, brought to life through a strong physical performance by Luisa Guerreiro. Buy UKFR Banner Space About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >

Men film review by UK film critic Hope Madden. Starring Jessie Buckley, Rory Kinnear directed by Alex Garland. HOME | FILMS | REVIEWS Men Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 18, 2022 Directed by: Alex Garland Written by: Alex Garland Starring: Jessie Buckley, Rory Kinnear Alex Garland bats 1.000 with his third feature, Men , a terrifying look at the complicated aftermath of trauma. Jessie Buckley (flawless, as always) plays Harper, a woman in need of some time alone. She rents a gorgeous English manor from proper country gentleman Geoffrey (Rory Kinnear) and plans to recuperate from, well, a lot. Garland unveils Harper’s backstory little by little, each time slightly altering our perception of the film. The more about Harper we learn, the more village folk we meet: vicar, surly teen, pub owner, police officer, and a naked man in the woods. Each is played by Kinnear—or by actors sporting Kinnear’s CGI face—although Harper never mentions this, or even seems to notice. Is she seeing what we’re seeing? All is left open to interpretation. An easy read, given Kinnear’s multiple roles, is simply that all men are the same. And while each of Kinnear’s characters represents a specific and common type of male threat, as bizarre reality begins tipping further into outright fantasy, it seems likelier we are seeing more of Harper than we are of men in general. She is putting a face—the same face—on a lifetime of traumas, large and small. Garland’s bold visuals—so precise in Ex Machina , so surreal in Annihilation —create a sumptuous environment just bordering on overripe. The verdant greens and audacious reds cast a spell perfectly suited to the biblical and primal symbolism littering the picture. Ben Salisbury and Geoff Barrow’s score meshes with Garland’s lush imagery, releasing a blend of music, ambient sound and, at its most eerily beautiful moments, Buckley’s voice. The result is powerful and unnerving. Men is more of a head-scratcher than either of Garland’s previous films. Yes, even Annihilation . It’s far more of a horror film, for one thing, and far less of a clearly articulated narrative. Rather than clarifying or summing up, the film’s ending offers more questions than answers. But if you can make peace with ambiguity, Men is a film you will not likely forget. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Enter the Room film review by UK film critic Patrick Foley. Starring Rich Holton, Peter Mastne directed by Harry Waldman. HOME | FILMS | REVIEWS Enter the Room Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Apr 29, 2026 Directed by: Harry Waldman Written by: Harry Waldman Starring: Rich Holton, Peter Mastne Harry Waldman’s psychological short Enter the Room is a striking, mind-bending domestic thriller that follows a pair of siblings who drive each other crazy when one moves in with the other. So far, so typical. But a darker secret they share means the torment that their living arrangement causes comes from a deeper source than sibling rivalry. When Jeremy (Rich Holton) moves back in with his brother Brian (Peter Mastne) following his arrival to a new city, he expects there to be some tension. But Brian quickly takes his frustrations with his new housemate to a new level, subjecting Jeremy to constant freakouts, surveillance and a ruleset that demands pristine living conditions. Jeremy starts to delight in crossing Brian’s lines, pushing him further to the brink. Tensions must reach a tipping point – though revelations upend the entire nature of Brian’s anxieties… Enter the Room uses the domestic stress that often comes from reheated familial living arrangements in adult life to great effect when weaving an unnerving story of brother against brother. Both Jeremy and Brian possess troubling characteristics that make them imperfect housemates, bound together by family loyalty but seemingly little else. Brian’s obsession with cleanliness and meticulous attention to detail mean that an interloper like Jeremy quickly upsets his perfect balance. Audiences will relate to Jeremy’s frustration, and anyone who has shared a similar flatmate in their life will quickly emphasise with his predicament. Yet Jeremy’s responses go beyond brotherly teasing – and his intentional disruptions begin to become unnerving in their own right. This leads to the film’s most interesting element – that being that viewers will not really know who to throw their support behind. Like parents of fighting brothers, it is hard to pick a side. Waldman cleverly walks a line between humour and intensity. It makes the seriousness that slowly simmers and unfolds all the more shocking and discomforting, as it becomes clear that the two men’s incompatibility could lead to something unthinkable. A twist ending actually damages this dynamic and leaves viewers with more questions than answers, and rather than recontextualise the film, leads to audiences wishing the story played straight. Peter Mastne’s performance is a highlight. He perfectly captures the unmatchable perfectionism of tedious housemates, and couples this with the innate childishness that overtakes any of us when dealing with our siblings. It is a testament to him that he can take such an annoying character and invert audience’s opinions as the story enters its final phase, showing real humanity and vulnerability in the closing moments. Rich Holton is similarly admirable in a role that gives him less to do. The purportedly normal brother at first, he quickly finds a darker, vengeful side that plays with the established dynamic as it becomes clear that the relationship between the brothers is not all it seems. Enter the Room is an entertaining short that succeeds due to the boldness of its director to unnerve his audience, and due to two strong performances that capture the awkwardness of adult brotherhood. The twist ending doesn’t really land, and some tonal shifts throughout the 15-minute runtime are occasionally overly jarring. But that doesn’t diminish from the overall enjoyment of this unique film. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Stalker Part II film review by UK film critic Jason Knight. Starring Chad Ayers, Jessie Bell, Sean Michael Nugent, Troy Fromin directed by Jared Reeder, Michelle Lewis. HOME | FILMS | REVIEWS The Stalker Part II Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 24, 2024 Directed by: Jared Reeder, Michelle Lewis Written by: Michelle Lewis, Jimmy Ace Lewis Starring: Chad Ayers, Jessie Bell, Sean Michael Nugent, Troy Fromin A killer plots revenge on a family. The sequel to the 2020 horror feature The Stalker is a direct continuation to the story with Jared Reeder and Michelle Lewis doing the director's duties as John Giorgio did for the first film. The events of the previous film have had very bad consequences for the Hamilton family. Wendy (Bell) was wrongfully sent to prison for murder and her husband Steve (Ayers) and two sons ( Ace Lewis and J. Gaven Wilde) miss her tremendously. Thankfully, the truth is brought to light and she is released, but under house arrest. Meanwhile, Marc (Nugent) a dangerous fiend who was thought to be dead, has returned and he is hell-bent on getting even with the Hamiltons as he believes that they wronged him in the past. This fifty-minute-long film is successful in being a decent psychological horror story with plenty of nail-bitting moments, a lot of threatening, suspense and drama. The screenplay is basically split into two storylines, one exploring the terrible effects events from the previous story are having on the family and the other following Marc as he plans to attack them with the help of his not-so-threatening sidekick Craig (Fromin). Eventually, Marc will put his plan into action, forcing the unfortunate family to play a cat-and-mouse game with him, leading to desperate fight for survival. Although the atmosphere is dark throughout, there is also dark humour, particularly in relation to Craig's character such as a scene where he decides to grab himself a snack during a home invasion. From some of the actors, the performances are not convincing and the acting qualities of the film are saved by Ayers, Bell and Nugent. Ayers and Bell act strongly, with Ayers being a concerned and supportive husband and parent and Bell suffering the aftermath of her ordeals (probably PTSD) as she takes medication and has hallucinations and nightmares. Nugent is the one who steals the show as the deranged stalker who is determined to destroy the Hamiltons. Constantly grinning, using sharp weapons, he is a vile individual who enjoys killing and playing with his victims. Going to the technical side of things, the directing is good and commendations go to some beautiful aerial shots of mountains. The feature seems to rely a lot on the suspenseful, sinister and dynamic score in order to have an effect and it does. It should be noted that a reunion scene involving slow motion comes across as silly. The slow motion was obviously intended to make it dramatic, yet the result can hardly be taken seriously. A psychological horror revenge film about a family being targeted by a dangerous and heinous man. Save for some bad acting, this feature has an intriguing and sinister plot, an interesting villain (Marc) and a lot of tension, making it a satisfying viewing for horror fans. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Older Gods film review by UK film critic William Hemingway. Starring Rory Wilson, Ieuan Coombs directed by David A. Roberts. HOME | FILMS | REVIEWS Older Gods Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: May 27, 2023 Directed by: David A. Roberts Written by: David A. Roberts Starring: Rory Wilson, Ieuan Coombs Chris' best bud Billy has a lot to answer for. He was getting himself involved in some pretty weird stuff and apparently killed some folk in his last few days on Earth. Chris (Wilson) still has some unresolved guilt over his best pal, too, and now since Billy's passing he's hoping that he can pay back some of that heavy feeling in his heart and get to the bottom of just what the hell was going on with his friend before he died. Billy (Coombs), you see, knew that the end was coming and prepared for his demise by collating all of his research into a giant sized manilla folder, as well as recording some informative videotape messages for Chris to chow down on. Billy left all of this for Chris and asked him to take it all to a small, secluded cottage far into the Welsh countryside to then figure out for himself. Silly Billy. When we pick up the story in Older Gods , Chris has just arrived at the cottage, alone, and already he's giving off vibes of a condemned man. The images we saw in the opening credits sequence of a ritual sacrifice may also have something to do with it. Soon Chris is getting himself neck deep into the conspiracy and wonder of Billy's research, which has a lot to do with the Primordial Fear known as Insignificance as well as the belief and apparent cult following of an older god known only as The Origin. It's not long before the same weird stuff starts happening to Chris and we see that despite his best intentions, Billy may well have damned him to the very same fate. With this being our set-up and lead in to writer/director David A. Roberts' Older Gods , you may well be thinking to yourself, so far so standard, but in reality when you watch it on screen you understand that there's so much more. The cinematic vision of Roberts is infused into every frame, with a well crafted story that takes its time to be told and which drip feeds the viewer with the necessary details to keep you hooked. The first time the film dips into supernatural territory it sends a rush through your system and makes the hairs on the back of your neck stand up on end, as you realise that there's a whole other dimension to what's going on in that little, lonely cottage. The photography from DoP Shawn Bishop creates a tense, brooding atmosphere and manages to switch from the claustrophobic confines of the cottage to the wide expansiveness of the Welsh countryside seamlessly. The visual effects sequences also add that extra level of depth to the story and imagery with some seriously impressive shots. Add into all of this some effective sound design and an emotionally charged standout performance from Rory Wilson as Chris and what Roberts has ended up with is a supernatural horror of Lovecraftian proportions which is able to shock, stun and shift you to the edge of your seat in equal measure. Older Gods is a perfect example of what can be achieved with a relatively small budget and the skill which is shown in the film-making and storytelling really lifts the film to where it can be favourably compared to the likes of Ben Wheatley's Kill List (2011). A soft ending might feel more sentimental than satisfying to some, but for those looking for a genuinely different experience from the horror/slasher norm, Older Gods is definitely one to watch. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

Motion Picture film review by UK film critic Jason Knight. Starring Evan Snyder, Ian Snyder, Dylan Snyder, Noah Tierney directed by Evan Snyder. HOME | FILMS | REVIEWS Motion Picture Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 2, 2021 Directed by: Evan Snyder Written by: Evan Snyder Starring: Evan Snyder, Ian Snyder, Dylan Snyder, Noah Tierney A young man decides to make a film about his life, leading to awkward situations and confrontations. Evan obtains the help of his brother Ian in order to follow him around with a camera and film him doing various things, the objective being that they will end up with a feature film about the life of Evan.They begin by filming each other as they talk about themselves and this and that. Things get complicated when Evan has the idea to film scenes that re-enact significant events from his childhood, as this involves hiring an actor, which leads to problems. This dark comedy drama was filmed like a documentary and the majority of the action takes place inside the house where the siblings live. They are shown having conversations and engaging in activities such as cycling and playing the guitar. The biggest challenge for them is creating the re-enactment scenes, as they are having a hard time finding an actor and Evan often expresses his dissatisfaction about that. They have acquired the required equipment for the filming, including a clapperboard, turning their home into a studio. They often talk about what they are going to do next and how they plan to do it. There is profanity, dark humour, toilet humour and eventually a series of events turns the story into a thriller. The movie was shot in black-and-white, with brief scenes that were done utilizing colour. The editing was done by Evan Snyder and he creates well-constructed montage sequences and makes interesting use of the split screen technique. Quite a few times, when an editing cut occurs, it involves a 'beep' sound accompanied by a flash of red, which is quite creative. There are many long takes, sometimes the camera is handheld and sometimes it is stationary and at times the camerawork appears a bit clumsy. Evan leads the story well as an individual who is obsessed with finishing a movie that is about him. He has a short temper and is willing to get even with people who he believes have wronged him. Ian is easy-going and follows his brother's plans. The amusing soundtrack includes tracks by various artists including Kevin MacLeod, Bryan Teoh and Alexander Nakarada. This feature is a decent achievement with an intriguing plot. The humour may not appeal to everyone, however the characters are interesting, the dialogue is well-written and the audience will most likely want to follow the two brothers as they attempt to carry out their plans. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Poser film review by UK film critic Hope Madden. Starring Sylvie Mix, Bobbi Kitten directed by Noah Dixon, Ori Segev. HOME | FILMS | REVIEWS Poser Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 1, 2022 Directed by: Noah Dixon, Ori Segev Written by: Noah Dixon Starring: Sylvie Mix, Bobbi Kitten No matter how familiar the synopsis might sound to you, know for certain that Poser will surprise you. Directors Noah Dixon and Ori Segev , working from Dixon’s script, drop you into the indie music scene you may never have realized existed in Columbus, Ohio. Lennon (Sylvie Mix) wants to change that with her podcast. She may not have a lot of listeners, but she promises those who do listen a deep dive into the scene, with interviews and performances from the best bands you’ve never heard of. She’s kind of banking on that last bit, actually. Mix’s open stare and stealthy movement — a technique she used to great effect in her haunted Christmas flick Double Walker — here feels slyly deceptive. Lennon’s an introvert, a fan, an artist herself. Or is she? A clever opening in an art gallery sets wheels in motion, and you’re never quite sure how sympathetic Lennon really is. Mix masters pseudo-innocence, only betraying Lennon’s true nature in glimpses during meet-ups with her sister. Lennon’s real purpose materializes with the introduction to idol/muse Bobbi Kitten, a rock star on the scene who is all that Lennon would like to become. Like a cagey, pink-haired Jena Malone, Kitten commands the screen playing a version of herself. The singer from Columbus-based indie band Damn the Witch Siren, Kitten performs along with bandmate Z Wolf, whose presence adds a fascinating air of whimsy, danger and apathy. Though Kitten and Mix are more than enough to keep your attention, the music scene and Columbus itself offer fascinating, pulsating ensemble support. The music for Poser , and the likely ad-libbed dialogue from band members, enliven every scene. And Columbus looks terrific. Logan Floyd’s gorgeous cinematography meshes with performances and story to depict the melancholy and madness that go hand-in-hand with youth, art and punk rock. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Immaculate film review by UK film critic Hope Madden. Starring Sydney Sweeney, Alvaro Morte, Simona Tabasco directed by Michael Mohan. HOME | FILMS | REVIEWS Immaculate Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 22, 2024 Directed by: Michael Mohan Written by: Andrew Lobel Starring: Sydney Sweeney, Alvaro Morte, Simona Tabasco Does Immaculate benefit from low expectations? Maybe, but I’ll tell you what, I did not hate this movie. First of all, it looks great—and not just because it stars Sydney Sweeney. Sweeney plays Sister Cecilia, a Michigander transplanted to rural Italy in time to take her vows to become a nun. Her Italian is not very strong, and she sometimes feels like she’s being left out of conversations intentionally, but she takes her vows anyway: poverty, chastity, obedience. For a lot of people, those first two seem like the tough ones. Nope. It’s the last one you have to avoid. (Note for the uninitiated, priests do not have to take a vow of obedience. And I don’t just mean in this movie.) Anyway, miracle of miracles, Sister Cecilia finds herself pregnant. Immaculate is not the first film to tread such unholy ground. Agnes of God, The Innocents, Deliver Us —it’s actually a pretty long list. And sexy nuns, well that list is even longer and more sordid. Though Michael Mohan’s film certainly falls into the sexy nun trap (because it is, in fact, possible to hire women between the ages of 19 and 45 who are just ordinary looking), it’s rather surprising all he gets right. The science gets dumb, but the self-righteous torture, that is spot on. Working from a script by Andrew Lobel, Mohan mines the desperate helplessness of Rosemary’s Baby . And Sweeney does a fine job of swimming the murky waters of faith, innocence, and the wisdom born of innocence lost. What’s most stunning is how well two male filmmakers channel female rage. And I don’t just mean the rage of having to sit through beautiful, nubile virgins bathing together in soaking wet white nighties. That too, but also the good kind of female rage. Immaculate digs into the way organized religion constrains, punishes, silences, bullies, vilifies and oppresses women and then unleashes glorious fury. Fearless, cathartic, bloody, beautifully sacrilegious fury. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Snack Shack film review by UK film critic George Wfol. Starring Connor Sherry, Gabriel LaBelle, Mika Abdalla directed by Adam Rehmeier. HOME | FILMS | REVIEWS Snack Shack Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Mar 14, 2024 Directed by: Adam Rehmeier Written by: Adam Rehmeier Starring: Connor Sherry, Gabriel LaBelle, Mika Abdalla Four years ago, Adam Rehmeier’s Dinner In America arrived as a delightfully subversive 90s punk rock rom-com. Snack Shack finds the writer/director still navigating the 90s with hilarious R-rated delight, even as the punk rock ‘tude has been usurped by capitalistic dreams. It’s 1991 in small town Nebraska, and teen best friends A.J. (Conor Sherry) and Moose (The Fablemans ‘ Gabriel LaBelle) are coming hot into summer with some big plans. They score at the dog track, market their own homemade beer and are working more than enough angles to please the Gordon Gekko poster hanging on the wall. But then an unexpected new hustle presents itself. The boys’ older friend Shane (Nick Robinson) – who’s a bit of a local hero thanks to his service in Kuwait – is home to manage the local pool, and he gives the foul-mouthed young Gekkos a tip on how to win the city council’s summer contract for the poolside snack bar. Before long, business is booming, and that 75-cent upcharge for using ketchup to write “fuck” on a hotdog (a “fuckdog!”)is paying off big time. Will success go to their heads? Will A.J. earn enough cash for his Alaskan trek with Shane, AND earn the respect of his parents (David Costabile and Gillian Vigman, both priceless)? And what about Brooke, the hot new lifeguard (Mika Abdalla)? Could she actually come between these hometown homies? You’ll know where some of this is going, but Rehmeier’s script delivers foul, horny hilarity, and outstanding turns by both Sherry and LaBelle stand out in a letter perfect ensemble. The time stamp is again spot on, with Rehmeier’s freewheeling style crafting an infectious mashup of The Way Way Back, Superbad and Project X . And most importantly, Rehmeier captures that zest for life on the cusp of adulthood without a whiff of pandering or condescension. The boys will do some growing up during this one crazy summer, and the film will grow up with them. Slowly, parents don’t seem quite as lame, the hijinx aren’t as silly and some important lessons about love, sex, death and friendship hang in the air just long enough to hit just hard enough. Fuckdogs are still funny, though, homie, just like a surprise punch to the nuts. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >