Shape, Refine film review by UK film critic Isabelle Ryan. Starring Pete Rix, Anna Rix, Eva Rix directed by Dean Harris. HOME | FILMS | REVIEWS Shape, Refine Film Review average rating is 2 out of 5 Critic: Isabelle Ryan | Posted on: Sep 22, 2021 Directed by: Dean Harris Written by: Dean Harris Starring: Pete Rix, Anna Rix, Eva Rix Shape, Refine follows Pete Rix, a carpenter who specialises in rocking horses. In interviews and candid footage, we learn about his childhood passion for woodworking, his decision to leave a digital design career, and the amount of work that goes into each rocking horse. The director, Dean Harris, is a friend of Rix’s, and as such has a personal connection to the subject. At 12 minutes, the documentary is so short that we only skim the surface of Pete as a person, his family life, and the career itself. Based on the information that we do get, though, it seems perhaps that the story may be quite a shallow one; there is no suggestion that Pete struggled at all to make the decision to switch from digital to analogue, as it were, and despite some mentions of the work being time-consuming (he states that it took him a year, working three hours per week, to carve a lime likeness of his dog’s head), he has only a positive outlook. He remembers fondly a gift of a pond yacht from his grandfather, and making balsa wood models as a child. More recently, he recalls the first purchase of an old rocking horse, the shock that it was in much poorer condition that he’d assumed, but how he relished the challenge anyway. Simply put, there is no conflict here, nothing more complex to which the audience can connect. This trend continues in the direction. The candid footage in the workshop either focuses on the tools and the horses emerging from the wood, or close-ups of Rix’s face in concentration. Other than some footage of Rix with his wife, Anna (who barely gets a mention, but works with Pete in the workshop), and daughter, Eva, the rest of the documentary is made up of interviews with Rix, who appears relaxed if rehearsed. There are no really interesting decisions made in the direction of the film, and the same goes for the score, which is comprised of short, forgettable pieces. There is an interesting moment where Rix states that part of the reason he loves rocking horses is that they help children to be imaginative. He criticises technology, stating that children need other ways to play creatively. He is openly in awe of his daughter’s imagination, but for some reason attributes her creativity to the rocking horse, not to the fact that children are, given half a chance, much more imaginative than adults, and certainly much smarter than even their parents may think. Without such a beautiful toy, Eva would still find a way to be imaginative. There is a sense that Rix believes he is doing something right and just, but he seems quite detached – he talks philosophically about “the child” as though he has forgotten that he, too, was a child once – and while singing rocking horses' praises, he neglects to mention that they are far too expensive for many children to enjoy. It is hard to judge Shape, Refine. On the one hand, it is lacking in depth and imaginative direction, while on the other, it is clearly a passion project, produced by one friend about (and for) another. As such it feels almost unfair to criticise it harshly, when at the end of the day, it is a personal film, and hopefully will serve as a positive memory for Rix and his family for years to come. However, Harris has shared the film widely – it does not exist solely for the Rix family – and it is unfortunately a very shallow, unimaginative piece that borders at times on pretentious. Buy UKFR Banner Space About the Film Critic Isabelle Ryan Documentary, Short Film < All Reviews Next Film Review >

My Apocalyptic Thanksgiving film review by UK film critic Rachel Willis. Starring Joshua Warren Bush, Walker Haynes, Chris Wu directed by Charles B. Unger. HOME | FILMS | REVIEWS My Apocalyptic Thanksgiving Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Nov 23, 2022 Directed by: Charles B. Unger Written by: Richard Soriano Starring: Joshua Warren Bush, Walker Haynes, Chris Wu With My Apocalyptic Thanksgiving , writer Richard Soriano and director Charles B. Unger have crafted a touching and unique holiday film. When Doris, the matriarch of a group home serving adults with special needs, unexpectedly dies, it leaves Marcus (Joshua Warren Bush) awash in loneliness and obsessed with a TV show called Apocalyptic Zombies. Come Thanksgiving, Marcus decides he wants to spend time with his long-absent mother. A colorful cast of characters populates this film. There is Frank (Walker Haynes), who’s trying to fill the void Doris left behind in the group home, and the Park family. It is friction between young Kim Park (Chris Wu) and his parents that leaves a hole Marcus seems to fill. Luis (Paul Tully) and Paco (David Jenson Perez) are local thugs who see Marcus’s size as a benefit to their operation. Social worker Nicole (Ciera Foster) does her best to help Marcus find his mother, despite Frank’s protestations. One of the themes of the film is the constant conflict that affects the lives of many adults with special needs. It is clear Marcus cannot consistently take care of himself, but he is independent enough to resent the intrusion of those in charge of his care. He is allowed some freedoms: a job at the local laundromat, the ability to visit with friends. But he is still subjected to a curfew, to the demands to take his medication, even when he expresses his right to refuse. Bush does a stunning job of encompassing the very real struggles that affect many adults with special needs. Marcus understands that he is frequently at the mercy of someone else’s wishes, but his desperation for family makes him easy to manipulate. Those with good hearts sometimes use this naivety to their advantage. Others with more devious intentions know exactly how to twist the knife in Marcus’s aching heart. The film’s most disappointing element is the constant return to the fictional zombie show. Though it is an important part of Marcus’s life, the show and its actors never feel truly integrated into the film. This is especially true as we get to know our “real-world” characters. The forced humor of the show draws our attention away from the more interesting elements. However, this is the only thorn in an otherwise lovely film. The writing is sensitive, and the actor portrayals are poignant. This is a delightful, sometimes devastating, portrait of what it means to be a family. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release < All Reviews Next Film Review >

Just the Usual film review by UK film critic James Learoyd. Starring Søren Sætter-Lassen, Petrine Agger, Casper Kjær Jensen directed by Nanna Tange. HOME | FILMS | REVIEWS Just the Usual Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Dec 3, 2025 Directed by: Nanna Tange Written by: Nanna Tange Starring: Søren Sætter-Lassen, Petrine Agger, Casper Kjær Jensen Just the Usual is a rich and emotional Danish film about an older hairdresser, Ole Benny (played terrifically by Søren Sætter-Lassen), and how exactly he spends his final day before his beloved barbershop closes. He encounters a few other characters through the story who each illuminate a different facet of his professional life – much like the narrative structure of a fable. But at its heart, this is a tale of a deeply lonely man who is about to lose a significant aspect of his identity: his passion. The film’s running time is 27 minutes. It’s a slow, textural, contemplative film; one which won’t entirely sit right with everyone for its slow place. Yet, this is an immensely accomplished piece – masterfully designed, performed and constructed. A wonderful picture. There’s plenty to discuss when it comes to the visuals. The first thing that strikes you is the flawless set-design. The Wes Anderson-feeling colours; the vintage lights; the pleasing combination of materials and eras. That, combined with what Ole Benny looks like as a character – the particularities of his formal wear, his use of hairspray and black-rimmed glasses – really infuse the story with a fully-realised sense of style. Directorially, this is an incredibly confident piece. The camera is seemingly always in the right place, as the lenswork, in turn, complements the arrangement of the location. One characteristic of the cinematography which I’d like to draw attention to is the effective yet sparing use of the dolly shot. In the opening shot – in addition to one or two shots later on – the camera slowly slides forward through the location, and it’s incredibly satisfying. It’s a form of camera movement whose sensibility seems to match nicely with the lines, operations and smooth surfaces of the establishment; – and heightens a certain sense of meticulous care and focus from the protagonist himself. Writer-director Nanna Tange has done a truly immaculate job with the mise-en-scene of this movie. There’s not a detail in any frame which doesn’t please the eye or stimulate the senses in some way. I found myself becoming very relaxed due to the pastel balance of the colours, the softness of the light, the crispness of the sound, and of course, the slow flow of the pace. Anyone can tell that, from the form and technicalities alone, this movie is a wonderful and positive work. But I’d argue that it’s the central performance – its tenderness, charisma and emotional depth – that elevates this smooth aesthetic into genuinely moving territory. The conceit itself if quite random; this isn’t a setup we’ve seen before, and in addition to that fact, it’s being depicted in a uniquely restrained, matter-of-fact manner. Some may find such a setup intriguing, but maybe too mundane to sustain their attention. But it’s the opinion of this critic that the concept and lax runtime provide a refreshingly open space for the filmmakers to form their tone, and – maybe most importantly – for the lead performer to find the beauty and complexity in his character. In summation, this is a near-masterpiece; and potentially a film which, due to its refined, comforting tone and deep sense of identity, a film I may be inclined to revisit. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, World Cinema < All Reviews Next Film Review >

It’s A Work Of Fiction film review by UK film critic Isabelle Ryan. Starring Sayan Biswas, Rocky Singh, Subinoy Ganguly directed by Junayed Alavi. HOME | FILMS | REVIEWS It’s A Work Of Fiction Film Review average rating is 3 out of 5 Critic: Isabelle Ryan | Posted on: Nov 8, 2021 Directed by: Junayed Alavi Written by: Junayed Alavi Starring: Sayan Biswas, Rocky Singh, Subinoy Ganguly In 1960, Indian director Satyajit Ray released Devi, a historical drama about a devotee of the goddess Kali. The film garnered harsh criticism for its apparent anti-religious sentiment. In a 1989 interview with Pierre Andre Boutang, Ray defended his work, claiming it criticised dogmatism, not general religious belief. He called the critics ‘stupid’ and the general film audience ‘backward’ and ‘unsophisticated.’ This interview opens Junayed Alavi’s film It’s a Work of Fiction, a weirdly fascinating short about a group of filmmakers struggling to produce work under threat of boycotts and censorship. With Ray’s words at the start, and a dedication to young filmmaker Shady Habash (who was arrested and later died after directing a music video that mocked Egypt’s president) at the end, it is abundantly clear where Alavi stands in the debate. On his way into work, Suman receives a call summoning him to an afternoon meeting. Upon arrival, he discovers that his filmmaking friends are deep in discussion about their next project. Worrying that their film will either be virulently criticised on social media or banned by the government (or both), they concoct a plan to get around the strict rules. Will their allegorical science fiction film escape backlash, or will this too fall victim to harsh censorship? Firstly, it must be stated that this is an obviously low-budget affair. This is not to the film’s detriment – at least, not completely. The sound design sticks out as a negative, from diegetic sound being too loud or too quiet, to the painfully obvious dubbing of the actors’ lines. Furthermore, Tyler DeTulleo’s score is misplaced, and more often than not feels like a collection of pieces from a stock music provider. Thankfully, the original song ‘Make a Comeback!’ by Keiran Rhodes, which plays at the beginning and again towards the end, is much more successful. Otherwise, the mostly black and white cinematography by Puspen Mazumder works in the film’s favour, and while one or two scenes would have benefitted from better lighting, in general, the film looks good. Of course, there is a political debate at the heart of Alavi’s film. On the one hand, there is the issue of censorship. The film opens with warnings about smoking and alcohol consumption, and later when the characters smoke, a message reminding us that “Smoking is injurious to health” appears. On the other, there is the discussion about cinema as an art form. These men are passionate about cinema, convinced that making a good film is the best way to effect change. In a discussion about Muslim representation Nikhil, the most hot-headed of the group, expresses an Islamophobic view that is immediately challenged by the others. It would have been great to have more of these discussions. The sole female character, Menoka, is mocked for acting in ‘cringe’ films – that is, family dramas that, according to these men, have no political or artistic merit. This discussion – what kind of art has value and what kind does not – is one that would have been great to explore; and it goes without saying that the only female character having her work and contributions diminished by her male colleagues would have been worth unpacking. Despite its shortcomings, there is something undoubtedly compelling about It’s a Work of Fiction. Most of the film is comprised of a group of men (and one woman, briefly) talking to each other, sharing their ideas and, every now and then, arguing over them. These scenes are the strongest. A misplaced montage with a Reservoir Dogs reference detracts from what is, in the end, quite an interesting piece. Buy UKFR Banner Space About the Film Critic Isabelle Ryan Short Film, World Cinema < All Reviews Next Film Review >

Jakob's Wife film review by UK film critic Chris Olson. Starring Barbara Crampton, Larry Fessenden, Bonnie Aarons directed by Travis Stevens. HOME | FILMS | REVIEWS Jakob's Wife Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Aug 19, 2021 Directed by: Travis Stevens Written by: Kathy Charles, Mark Steensland, Travis Stevens Starring: Barbara Crampton, Larry Fessenden, Bonnie Aarons Veteran horror actor Barbara Crampton is having a lot of fun in Travis Stevens’ vampire flick Jakob’s Wife, perhaps a little too much fun. She plays Anne, the wife of a minister - the titular Jakob (Larry Fessenden) - and is about to wreak havoc on small-town America when she is bitten by “The Master” (Bonnie Aarons) and becomes a bloodsucking rebel. Anne’s absence from the title of the film is an intentional clue to the thematic foundation of Jakob’s Wife. This is a film exploring gender inequality, feminism, and sexual liberation through the formula of a vampire tale. Having been unhappy living a small life, Anne is conflicted when the run-in with a bloodsucking demon gives her super strength and vitality - powers at odds with the quaint and biblical lifestyle she had. Her husband may preach the good word from the pulpit, even stressing the importance of being a good husband to his congregation, but at home, he is a dominant patriarch with little time or respect for his spouse. The marriage is the most compelling aspect of the film, with Jakob undergoing a seemingly rapid transformation from hard-ass to bad-ass but the intensity of the performance from Fessenden at any stage in the movie is pure entertainment. The minister’s lines could be lifted from anti-feminism rhetoric, archaic objections to the liberation of women transplanted, in this case, onto monsters. He wants to “put a stop to this insanity before it goes any further.” - which could just as easily be about his wife’s appetite for blood as it could be about the feminist movement in general. Can they save her soul before the seductive lure of power and freedom get to her? The practical effects hark back to Crampton’s 80s horror roots and work brilliantly. The blood and gore is full of theatrical splendour, adding a few litres more of fake blood than was probably necessary but all in good humour. The pink-eyed demon that was The Master felt a little more Power Rangers than Nosferatu but it was all forgivable in the grand scheme of things. Because, with Jakob’s Wife, the filmmakers realise the comedic aspects of the story are just as important as the horror ones, and this is one of its core strengths. That and Crampton. She is on top form as the uncaged wife whose newfound lust for life makes her a formidable on-screen presence. The teeth whitening scene alone can stand shoulder-to-shoulder with any of the best horror sequences of recent years and Crampton delivers it all with triumphant glee. The combination of marriage stasis and violent supernatural intervention is a fun mix and the acting talent go to great lengths to ensure all ribs are tickled and all necks are gushing. JAKOB’S WIFE arrives on SHUDDER on 19 August 2021 Buy UKFR Banner Space About the Film Critic Chris Olson Digital / DVD Release < All Reviews Next Film Review >

Stan Ritchie film review by UK film critic Chris Olson. Starring James Serpento, Cait Moira, Hunter Phoenix, Willie Farrell directed by Thor Moreno. HOME | FILMS | REVIEWS Stan Ritchie Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Oct 29, 2025 Directed by: Thor Moreno Written by: Thor Moreno Starring: James Serpento, Cait Moira, Hunter Phoenix, Willie Farrell The pilot episode for a new show, the titular Stan Ritchie (played brilliantly by James Serpento), is a down-on-his-luck type facing a mountain of repercussions for his reckless hedonism over the years. A once prominent poker player with his face on billboards in Vegas, Stan is being hunted by violent loan sharks whom he owes many dollarbucks to. One such loan shark gives Stan a lifeline in the form of a high-stakes poker game where the prize is a cool one million dollars. Enough to clear his debts and return to his former glory. Unfortunately, Stan’s route to freedom has more than one roadblock. Filmmaker Thor Moreno (see also When Jack Came Back ) provides excellent direction here, creating a palpably tense atmosphere for Stan’s world to cave in within. The dialogue comes across as organic and far less wooden than other crime/comedy scripts with similar stories and the proceedings vamp up accordingly when they need to in order to keep a modern audience intrigued and hooked for another episode (this critic certainly was). James Serpento is doing some excellent screen work here; his character takes to desperately visiting anyone who may offer him money in his time of need and instead, most seek to rebuke him or even humiliate him. Viewers will be likely appalled at his poor life choices (cemented by a hazy “party” scene with his uncle) but will also be drawn to his “mouse caught in a cat’s grasp” antics, as well as his desire to protect his daughter, which provides a sense of poignancy to the piece. Setting up a series is always difficult, and Stan Ritchie could certainly struggle to make much of an impact with audiences who have seen this story played out before, or ones very similar. Viewers will be impressed by certain sequences in the first episode (such as a killing), however, the tone and delivery are most definitely going to feel familiar. And with recent slick movies, like Uncut Gems starring Adam Sandler , or high-end shows like The Gambler starring Mark Wahlberg, most of the success of this show is going to come down to whether you buy into the lead character, and the casting here is what will likely tempt good viewership. Knowing the calibre of film Thor Moreno can make, Stan Ritchie offers a great deal of promise and some compelling spectacle in its debut episode to show potential. However, much like the main character’s game of choice, the odds are stacked against it, especially when there are already so many great players to choose from. Buy UKFR Banner Space About the Film Critic Chris Olson Web Series, Short Film < All Reviews Next Film Review >

Book Club 2: The Next Chapter film review by UK film critic Brian Penn. Starring Diane Keaton, Jane Fonda, Candice Bergen, Mary Steenburgen directed by Bill Holderman. HOME | FILMS | REVIEWS Book Club 2: The Next Chapter Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: May 20, 2023 Directed by: Bill Holderman Written by: Bill Holderman, Erin Simms Starring: Diane Keaton, Jane Fonda, Candice Bergen, Mary Steenburgen So what happens to Hollywood actors when their star inevitably begins to fade? It’s a fate that befalls the very best exponents of the art. The ageing process will entail a shift from leading actor to character supporting roles. They might retreat into semi-retirement or branch into TV. Where the big screen is concerned they either wait for the revival of a film made in their prime; or jump into a role that exploits their maturity in older age. Book Club 2 falls into the latter category and plunders some very big players from yesteryear. Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen reprise their roles from the original Book Club made in 2018. Diane, Vivian, Sharon and Carol are four best friends united by their love of literature and lifelong angst in relationships. Vivian (Jane Fonda) drops a bombshell when she announces her engagement to old flame Arthur (Don Johnson). The friends react with astonishment as she brandishes a sparkler on her finger. It leaves them with a straight run of single, widowed, married and engaged in the relationship stakes. When Carol stumbles across an old diary it rekindles a holiday the girls planned but never took. They duly take a trip to Italy and turn it into a bachelorette party for Vivian. The original premise for the Book Club seems to have been buried in a more conventional rom-com format. Although there are occasional references to ‘The Alchemist’ by Paolo Coelho the focus is on a girl’s holiday where relationships are dissected and analysed. The film almost runs like an advert for the Italian tourist board; Rome, Venice and Tuscany have never looked more vivid or beautiful. The plot feels laboured and the narrative is running on little more than fumes. The finale is over-cooked and largely unnecessary as it delivers the same message. We live our lives by design but fate plays a significant part, regardless of the control we seek to impose. However, what saves this film from complete mediocrity is the performance of an excellent ensemble cast. The leading quartet display a natural chemistry and are obviously comfortable in each other’s company. They are ably assisted by talented supporting players including Andy Garcia and Hugh Quarshie. It fails the sequel versus original test but there’s enough here to maintain the interest. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Wildcat film review by UK film critic Brandon Thomas. Starring Harry Turner, Samantha Zwicker directed by Trevor Frost, Melissa Lesh. HOME | FILMS | REVIEWS Wildcat Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Jan 4, 2023 Directed by: Trevor Frost, Melissa Lesh Written by: Trevor Frost, Melissa Lesh Starring: Harry Turner, Samantha Zwicker Much has been made of how animals impact the lives of their humans. For a lot of people, many of the fondest memories they have are of a dog or cat that brought an enormous amount of joy to their lives. Of course, these stories usually revolve around domesticated pets and not wild animals. Wildcat deviates from your standard nature documentary and instead focuses on the deep bond between an emotionally fragile man and the wildcat that relies on him for survival. Harry Turner is a twenty-something Englishman who deployed to Afghanistan when he was 18 years old. As Harry’s time in the armed forces comes to an end, he’s left with scars both physical and emotional. Looking for a fresh start, Harry travels to the remote Peruvian portion of the Amazon and links up with a Ph.D. student and her animal sanctuary. As Harry continues to struggle with the effects of debilitating depression and PTSD, fate drops an orphaned ocelot (ironically named Keanu) into his care and into his life. There’s a breeziness to Wildcat that helps it feel more personal than most nature docs. A huge swath of footage is shot by Harry himself and helps the audience understand his state of mind much more quickly than a series of talking heads might have. When Harry’s doing well, there’s a tight focus to the footage of Keanu and of his testimonials. As his mental health deteriorates, so does the shooting style of the film. Entire scenes take place with participants off-screen or in the background – at times leaving us just as disoriented as Harry. So much of the film begins to feel voyeuristic as Harry spirals. Not in a gratuitous or exploitative way, but in that Harry’s deep emotional connection to Keanu’s well-being feels like an exposed nerve. Seeing this vulnerable wildcat rely on an equally vulnerable human being is a beautiful juxtaposition that forms the core of the film. Wildcat isn’t the kind of film that gives one a better understanding of nature and its fragility. Instead, this is a film that seeks to better understand the delicate connection that can exist between humanity and the animals that co-exist with us. Buy UKFR Banner Space About the Film Critic Brandon Thomas Theatrical Release, Amazon Prime, Documentary, World Cinema < All Reviews Next Film Review >

Death of a Mule film review by UK film critic Swati Verma. Starring Prakash Shaw, Arpan Dutta, Deep Nigam directed by Ankit Singha. HOME | FILMS | REVIEWS Death of a Mule Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 13, 2024 Directed by: Ankit Singha Written by: Ankit Singha Starring: Prakash Shaw, Arpan Dutta, Deep Nigam The writer-director Ankit Singha utilises the Bengali culture to illustrate the intricate dance between the art and the artist and also the courage to dream and pursue one’s dream even when the world appears to be indifferent. Prakash Shaw and Arpan Dutta help Singha give shape to a heartfelt homage to the many artists navigating their path of rejection and self-discovery. The plot of Death of a Mule revolves around two friends following their dreams trying hard to navigate missed opportunities and rejections. In the end, they leave behind an art that resides solely in the memories and dreams mirroring the life of a Mule who toils tirelessly but finds little value in the end. Death of a Mule begins with a long shot of a field where Mule is seen standing with background music followed by the title of the movie appearing on the screen. Two friends are seen following the Mule embarking on a journey full of uncertainties and hope as indicated by the choice of the music by the makers increasing the degree of audience engagement with the content. Death of a Mule follows a nonlinear way of storytelling constantly shifting timelines giving different aspects of hardships in two varied eras. The set design, location, colour pallet, lighting, dialogue, costume, hair, makeup, and props are kept natural to suit the changing situation and the time depicted in the script. In terms of performance, Prakash Shaw plays Uttaran a passionate screenwriter/photographer who wants his creative writing skills to be appreciated and given a chance to transform into a full-fledged movie so that it can emotionally appeal to the audience. Shaw’s body language, voice modulation, style of dialogue delivery, facial expressions and eyes depict both passion and disappointment as the narrative progresses. The young actor beautifully showcases the strength Uttaran’s character has and the viewers get inspired by the same trying to incorporate it into their lives too. Arpan Dutta plays the role of Arindam is struggling musician/ guitarist who wants to make it big in the opportunities he will be provided in the future. Dutta portrays Arindam’s continuous hard work without the guarantee of success. Arpan Dutta depicts the range of emotions Arindam goes through when life tests him by increasing his plight daily. Death of a Mule talks about dreaming and gathering the courage to turn those dreams into reality. Persistence is the key to believing in oneself even when people (potential employers) don’t believe in the employee’s skill. Alcoholism and smoking shouldn’t be adopted to heal the pain of failures as they can make life worse. The feature film reiterates the importance of the support system of friends as well as family who have the power to pick one up from their lowest and also make him/her feel better. The cinematic piece promotes the idea of simple and minimalistic living while pursuing what they love as the career option is the best way to deal with failures and rejections. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

Weekend Healer film review by UK film critic Alasdair MacRae. Starring David Ryan Kinsman, Liberty Hills, Nick Pages-Oliver directed by Robert Livings. HOME | FILMS | REVIEWS Weekend Healer Film Review average rating is 4 out of 5 Critic: Alasdair MacRae | Posted on: Sep 12, 2022 Directed by: Robert Livings Written by: Robert Livings, David Ryan Kinsman, Liberty Hills, Nick Pages-Oliver Starring: David Ryan Kinsman, Liberty Hills, Nick Pages-Oliver Constantly bickering and seemingly at a breaking point in their two-and-a-half-year relationship Mark (David Ryan Kinsman) and Katie (Liberty Hills) embark on a weekend getaway to a house in the country. After the first night, their woes are compounded by the unexpected arrival of Rob (Nick Pages-Oliver), the son of the house owner, of whom Mark is incredibly suspicious. From the off Mark and Katie are at each other’s throats. On the car journey up to the house, Mark suggests that they play a ‘game’ where they pick out an issue that one has with the other, a fault, and ask them to think about fixing it. Of course this is a bare-faced, targeted attack on Katie, which many would say she takes well, considering. Though Mark isn’t the only aggressor, as once they arrive Katie expects him to make dinner, and then chastises him for only making a salad as he is trying out a new diet, a fad, but admittedly still his choice. David Ryan Kinsman and Liberty Hills do well to sell themselves as characters who may even be normal, likable people outside of this relationship, but instead are trapped in an interlocking death grip neither one knows how to get out of. And then Rob enters the fray. Nick Pages-Oliver stars as the butter-wouldn’t-melt, deviously innocent intruder in this bitterly entrenched war. A beautifully abrasive character who seems polite and giving, but always does exactly the right thing to make things worse. With Rob now involved Mark becomes conflictingly jealous and possessive over Katie even as he pushes her away. In turn, she strikes up a friendship with Rob and uses it to create an advantage over Mark. The question becomes how long till someone snaps? Tightly scripted with wall-to-wall dialogue, except maybe for those cringe-inducing awkward silences, every conversation in Weekend Healer is loaded with tension. They take everyday mundane social conventions, say leaving a dinner party, and dial it in to the most excruciating point, where one person is made to look rude and offensive. And then repeat, again and again. One question that plays on the mind throughout is: is this a horror movie? A couple take a trip to a secluded house in the woods, only to find themselves living with a stranger, who seems to be driving them further apart? And what if the whole time they made exclusively the wrong decisions? It sure feels like horror. Weekend Healer is a tense and exhausting affair. It relentlessly threatens to boil over for the full seventy-six-minute run time. An indie feature surely made to please fans of the infamous Dinner Party episode of The Office (US). Buy UKFR Banner Space About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

Can I Hug You? film review by UK film critic William Hemingway. Starring Hossein Behboudi Rad directed by Elahe Esmaili. HOME | FILMS | REVIEWS Can I Hug You? Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Oct 1, 2023 Directed by: Elahe Esmaili Written by: Elahe Esmaili Starring: Hossein Behboudi Rad Since the death of Mahsa Amini almost exactly one year ago there has been a massive surge of civil unrest amongst many communities, but especially amongst the women, of Iran. Of course there had been many other protests previously, speaking out against the restrictive regime and the heavy handed brutality of the state in enforcing specific laws – again mostly those affecting women and in particular the wearing of the hijab in public – but Amini’s death at the hands of the state, whilst in police custody, was the spark and the driving force behind a brand new movement which is still gaining momentum today. The uprising and continued protests which began one year ago caught the attention of the international community and it is largely this which we in the West consider to be the defining cultural change which is attempting to take place in Iran. There are, however, other voices who are fighting to be heard; who are facing the same persecution and restrictive thinking imposed by the state as well as from those who would enforce it. In amongst all of this we find Hossein and his story, lovingly captured by his wife Elahe Esmaili, which opens up a whole new perspective on just who is rejected and marginalised by the ultra-religious leaders and followers in Iran. Hossein is now thirty and married, although without any children. In his childhood, when he was very young, Hossein suffered terrible crimes of sexual abuse from several older men in his community. Unable to speak about what happened to him, after opening up to his mother about it one day and having his confessions ignored and dismissed out of hand, Hossein then kept quiet and never revealed his terrible secret to anyone ever again. That is until one day when his wife asked him innocently what his earliest memory was and whether or not he enjoyed his childhood. Soon a whole host of memories and emotions came flooding back to Hossein as well as a realisation as to why he constantly moved from home to home and country to country trying to find somewhere ‘safe’ to live. In Can I Hug You? we find Hossein back with his family, surrounded by aunties, uncles, cousins, nephews and nieces, ready to face his trauma back on the same streets where it happened and also hoping to confront his parents about what he experienced as a child. From the beginning the tone of the film tends to be one of joy and of hope and this helps paint a deeply affecting and intimate portrait of Hossein’s journey to adulthood. For what is undoubtedly a horrific and difficult story to tell, Can I Hug You? manages to soften the trauma for the viewer very effectively, bringing us into Hossein’s family and his life to feel as though we are a part of the process of his healing. Much of this is down to the way that Esmaili expertly handles the focus of her film, tending to highlight the love, tenderness and joy which is felt throughout the entire family but especially in the way Hossein interacts with the children. There are moments of quiet, gentle mocking which Hossein receives for the fact that he hasn’t had any children of his own yet, but still these are presented as regular, loving moments between family members who, of course, are unaware of the trauma which he has carried along with him all these years. A simple animation brings us back to Hossein’s childhood, using a tried and tested technique from other similar films of oppression to express the difficult memories from his past; the music throughout the film from composer Nir Perlman is light and gentle and never imposing, carrying the viewer from scene to scene with and uplifting feeling; and the editing from Deliram Shemirami moves us seamlessly around the family home, offering shots from a variety of angles cut together to provide a holistic view while the sound editing keeps us within a single time and space. All of these elements, along with Esmaili’s direction and Mohamad Hadadi’s cinematography, are executed with the same gentle tenderness that we feel Esmaili shows towards her husband, with the tone of the film being encompassed beautifully in the scene where she asks him, ‘Can I Hug You? ’ At just over half an hour long, Esmaili’s documentary is a window into a different world. It is a beautiful and tender portrait of one woman’s love for her husband as well as a devastating showcase for how certain sections of society can still be ignored or shut down even by those closest to them. It is hard to think of a more intimate and honest documentary which treats its subject in such a respectful and moving way. Can I Hug You? in itself feels like one big, warm hug, which like all the best hugs do, allows the emotion to seep out and helps make the healing process seem a whole lot brighter. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Documentary, World Cinema < All Reviews Next Film Review >

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