Menus-Plaisirs, les Troisgros film review by UK film critic James Learoyd. Starring Jean-Pierre Troisgros, Marie Badaut, Jean Troisgros, Pierre Troisgros directed by Frederick Wiseman. HOME | FILMS | REVIEWS Menus-Plaisirs, les Troisgros Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Dec 22, 2025 Directed by: Frederick Wiseman Written by: *N/A Starring: Jean-Pierre Troisgros, Marie Badaut, Jean Troisgros, Pierre Troisgros There is, perhaps, no recent cinema release more esoteric in its overall form and description than Frederick Wiseman’s latest documentary masterpiece Menus-Plaisirs, les Troisgros . The 95-year-old filmmaker – whose most famous works include Titicut Follies and High School – has returned to the festival scene with a beautifully restrained portrait of the legendary Troisgros family and French cookery school. What is also unique about the film is the fact of its audacious runtime: four hours. Let’s just say that, much like the cuisine of the Restaurant Troisgros Le Bois sans feuilles, this is a delectable yet inherently challenging dish; one which rethinks the conventions of its medium while providing the palate something rich and overwhelmingly detailed. As with practically every documentary, so much of the story is taking place through specific editorial decisions. Then again, what makes this film more exciting (I use that term loosely) than your average doc is how a notable lack of editing can be as equally significant to the tone. Unlike much factual media, Wiseman makes absolutely no attempt to craft a narrative here – and I’m referring to the idea of moulding a Hollywood three-act structure into an assembly of footage. This picture simply depicts, without the need to explain or emotionalise. This lack of filmmaker influence – what can be labelled as purely “observational” – is the approach for which the director has become most famous and celebrated. And on the flip side of that coin, unlike many European arthouse works which allow you to bask in an environment for extended periods – allowing shots to last for, say, five minutes at a time – Menus-Plaisirs seems to only ever be interested in the subjects and their activities; therefore infusing its ruthless running time with a surprising sense of urgency. It is as if we the audience were a lucky visitor getting a VIP tour of the kitchen and its workings. Famously, Wiseman never uses music or voiceover in his work so as not to manipulate his audience... We feel stressed when we sense stress from the employees, as you would with any real person with whom you empathise – but not as a result of the camera, editing or any other filmic aspect. Having said that, the project remains quite the undertaking from a technical point of view. The sound is outstanding, picking up a multitude of conversations all at once, mixing and overlapping them to perfection. It’s subtle but surely would have taken great pains to record and edit. The cinematography utilises the palette of a most plain digital image to gorgeous effect. Whilst the light is relatively muted, the colours still somehow seem to pop in a natural manner, and the focus is deep and all-encompassing. It’s a niche piece, no doubt. If you don’t like cooking, you’re not going to like this movie; if you don’t like art films, documentaries, or anything you could lackadaisically label as ‘slow-paced’ then this movie won’t be for you. However, I found myself delighted by this unique viewing experience. It’s a fascinating insight into the intricacies of fine dining – a world with which I was previously unacquainted. Menus-Plaisirs, les Troisgros opens in UK cinemas on January 2nd 2026. Buy UKFR Banner Space About the Film Critic James Learoyd Documentary, World Cinema, Theatrical Release < All Reviews Next Film Review >

Mending the Line film review by UK film critic George Wolf. Starring Sinqua Walls, Brian Cox directed by Joshua Caldwell. HOME | FILMS | REVIEWS Mending the Line Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Jun 7, 2023 Directed by: Joshua Caldwell Written by: Stephen Camelio Starring: Sinqua Walls, Brian Cox Mending the Line certainly has its heart in the right place. It gives us wounded warriors and grieving souls, all finding some peace for battered psyches through the Zen of fly fishing. There are some beautiful and serene Montana landscapes, and a message of caring respect that’s easy to get behind. It’s also smart to get behind it, because anything in front of that message is in the path of some dramatic box-checking with little thought of subtlety. Marine Sgt. John Colter (Sinqua Walls from the recent White Men Can’t Jump remake and next week’s The Blackening) is making good progress on recovering physically from a deadly firefight in Afghanistan. “Colt”‘s mental state is more fragile, as he’s plagued by memories of losing good men on their final tour before coming home. Their final tour. And Colt’s best friend in the Corps was about to be married. And Colt was to be the Best Man. Colt wants to get back to the front lines asap, but his V.A. Dr. (Patricia Heaton) isn’t sure his head is right, so she sends him to see old Ike Fletcher for fly fishing lessons. Ike (Bryan Cox) is a battle-scarred Vet himself, and begrudgingly puts Colt through some Mr. Miyagi-approved training while Colt gets to know the locals. There’s Lucy (Perry Mattfeld), who’ still mourning the loss of her fiancé, while Harrison (Wes Studi) is the requisite best friend who needles Ike about what an old coot he is before imparting a nugget of wisdom and walking off. The cast is fine, and director Joshua Caldwell follows up the in-your-face cliche fest of his Infamous with a appropriately gentler hand, but Stephen Camelio’s debut screenplay offers more good intention than authentic emotion. Pivotal changes of heart land suddenly without being earned, while the heavy-handed plot turns walk hand in hand with Bill Brown’s paint-by-melodramatic-numbers score. Veterans care, survivor’s guilt and life after trauma are worthy issues, and Mending the Line wants badly to respect those involved and provide enlightenment for the conversation. The respect is never in doubt, but the conversation ends up treading water. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Here you will find movie trailers for films coming out in June 2020. Watch a trailer from some of the hottest movies in UK cinemas. June Movie Trailers Welcome to our dedicated page where you can find a great selection of trailers for movies coming out in June 2020; all genres of film are included. From the latest psychological thrillers and crime movies, to buddy cop films and horror slashers. Please be aware, these movie trailers often contain spoilers which can ruin your viewing pleasure of the full film, or perhaps will give you unreasonable expectations as to whether you should part with money at a cinema to watch them. We take no liability in any way as to whether these trailers are suitable for your viewing pleasure, religious dogma, sensibilities or other. If these are not to your taste, but you would like some trailers of more a more independent persuasion, saunter on over to our other movie trailers pages for shorts and indie cinema. You can find these by looking under the Movie Trailers drop down in the navigation. Once you arrive there, you will be able to access some of the most exciting and entertaining trailers from movies around the globe, allowing UK Film Review to do our utmost to support indie films. Be sure you FOLLOW us on Facebook and Twitter, where we promote the latest movie trailers and film reviews. Wonder Woman 1984 Movie Trailer Soul Movie Trailer Back to MOVIE TRAILERS

Off Grid film review by UK film critic Jason Knight. Starring James Cosmo, Alison Steadman, Marc Baylis directed by Carl Timms. HOME | FILMS | REVIEWS Off Grid Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 3, 2025 Directed by: Carl Timms Written by: Mark Brendan, Carl Timms Starring: James Cosmo, Alison Steadman, Marc Baylis A short post-apocalyptic, sci-fi film independetly financed by crowd-funding and private investments. The film was directed by Carl Timms, written by Mark Brendan and Carl Timms and stars James Cosmo (Game of Thrones) and Alison Steadman (Gavin & Stacey). Something terrible has happened that has turned the world upside down, causing death and forcing people to hide for safety. John (Cosmo) is an elderly man who is trying to keep himslelf and his partner, Grace (Steadman) away from the deadly threat. John has brought Grace to the countryside where they now live in isolation inside a shack. Grace is unwell and in bed, while John surveys the surrounding areas, making sure that they are safe and places bear traps here and there. The catastrophic event that took place involves some sort of infection that turns people into menacing beings, however they can still appear human. One day, a stranger (Marc Baylis) arrives at their place and requests accommodation. Can he be trusted? This short has an impressive production value that convincingly creates a post-apocalyptic environment where life-and-death situations are common. For one thing, there are the people who have been infected by the threat, who are referred to as ''The Shining Ones'' because their eyes tend to turn bright blue and glow and they also make vile shrieking sounds. Thanks to the special effects and the actor's performances, their presence is quite sinister. The threatening and uncanny atmosphere is supported by Paul Angier's beautiful cinematography and Matthew Steed's ominous and dramatic music that includes sombre piano melodies. As for the narrative, it does a great job in creating suspense and tension, with dramatic dialogue and fight-to-the-death scenes. Then there is the plot twist. It is a clever one and it changes everything regarding the story when it is revealed. However, some viewers might dislike it and believe that it damages the film. It could be argued that a twist was unnecessary and that the story would had been fine without it. Cosmo delivers a dramatic performance as a tough man, determined to survive and protect his wife. Patrolling the woods with a spade as a weapon and comforting Grace, he is simultaneously a warrior and a caring person. Steadman is emotional as an ill woman who is terrified by what is happening. Since the setting is a post-apocalyptic world, it should not be surprising that two major themes are survival and desperation. Along with these, there is support and caring that are explored in interactions between John and Grace and trust and distrust that are dealt with in the rapport that John builds with the stranger. And there is mental health that is a subject throughout but primarily surfaces towards the end. A short post-apocalyptic film with fantastic performances, an intriguing story, heavy drama and plenty of tension. It is depatable whether the plot revelation is a plus or a minus, nevertheless, this is an experience that is worth pursuing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Generation Necktie film review by UK film critic Jason Knight. Starring Dane Bachman, Kyle Roth, Ben Dougherty, Jonas Chartock, PJ Clarke directed by Dane Bachman. HOME | FILMS | REVIEWS Generation Necktie Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 22, 2026 Directed by: Dane Bachman Written by: Dane Bachman Starring: Dane Bachman, Kyle Roth, Ben Dougherty, Jonas Chartock, PJ Clarke Dane Bachman writes, directs and stars in this comedy/drama mockumentary and joining him in the cast are Kyle Roth, Ben Dougherty, Jonas Chartock and PJ Clarke. Recently released on YouTube, production for this feature commenced shortly before COVID-19, when the director was nineteen years old and was postponed for six month, before restarting and been completed over a period of four years. Funding was accomplished via a pizza delivery job and an Indiegogo campaign. Filmed as a documentary, this feature concentrates on a film crew that follows a group of four young unemployed skateboarders in the United States, documenting their lives. These four individuals are Patrick (Bachman), Mickey (Roth), Adam (Dougherty) and Dust (Aiden Skipper). The crew films them as they contemplate their lives, hang around with each other, encounter a dangerous drug dealer (Steven Skipper) and vandalise a garden. Then, a terrible tragedy occurs that changes everything. This film could be described as a coming-of-age story and a family drama. There is hardly a plot, with the main focus being instead on the characters, analysing their situations and struggles. It is the four skateboarders that are arguably the most interesting aspect, with their unconventional perspectives regarding the world and their outrageous behaviour. There is humour and dark humour, and there is plenty of drama and character development. The four skateboarders have things in common, being simple, well-meaning guys, who seem to have reached a point where they do not know which direction to take in life, but they also have differences. With a strong performance, Bachman presents Patrick as a rebellious youth who lives with his parents and does not hesitate to communicate his disapproving views regarding society, believing that anarchy is good. Adam just does not know what to do with his life, much to the disappointment of his partner, Nora (Jade Collins). Mickey is perhaps the most joyful one of the bunch, while Dust is the awkward one, who appears to have a fascination with dust. Regarding their parents, the ones who stand out are Patrick's father (Chartock), who believes that his son is capable of achieving more and Adam's dad (Bruce Coen), who can be loud at times. The events in this film provide an insight into life concerning middle class America and the world of filmmaking. More dramatically, self-reflection, loss, family, parenting and the ideas of moving on to better things, having motivation and finding purpose in life are brought to light. This feature shows that not a great deal of money is required in order to make something of considerable quality. A film with a great soundtrack that has laughter, poignant moments and is quite thought-provoking. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Glade Of Ardet Lili film review by UK film critic William Hemingway. Starring Stefania Barr, Paris Warner, David H. Stevens, Stacey Jenson directed by Matthew Webb. HOME | FILMS | REVIEWS The Glade Of Ardet Lili Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Mar 8, 2023 Directed by: Matthew Webb Written by: Matthew Webb Starring: Stefania Barr, Paris Warner, David H. Stevens, Stacey Jenson If you go down to the woods today you're in for a big surprise. At least Ester (Barr) and Mabel (Jenson) are, as sometime in what looks like the early 19th Century in the New World, they head out to gather mushrooms and other yummy goodies from nature's bounty. There's a strong classical score that accompanies the girls as they tramp through the undergrowth, letting us know that something of note is afoot within the spaces between the trees. It's not long before the girls take a short break to sample some of what they have collected and the forest begins to take on the semblance of an ethereal garden with magic filling the air. Heading out into a small glade on her own, Ester wants to touch the magic and begins to pick more mushrooms from a dark patch of soil that also contains a small spiral formation of stones. Each mushroom picked releases a dark cloud of spores which herald an ominous portent, but that's not enough for Ester and she nabs one of the stones too, bringing forth a dark spirit who wishes her natural habitat to remain untouched by unclean human hands. When the spirit, Ardet Lili (Warner) first appears she is a marvel to behold; a malevolent woodland sprite as dark as shadow who delights in having new playthings to unleash her inner demons upon. She quickly takes possession of Ester's feeble human body and ascribes pain gleefully throughout the mind of her puppet. Mabel then rushes to get help from the nearby local priest (Stevens). Up until now the young girls' tale has been told entirely through music, as composer Christopher Doucet's evocative score channels the soul of the forest and its otherworldly inhabitants beautifully. Even when they speak to one another their words cannot be heard but now, suddenly, Ester's screams echo into the trees and the priest begins to recite his incantations to his own higher power. The way the sound and the visuals match up in Matthew Webb's dark fairy-tale, The Glade Of Ardet Lili is nothing short of spellbinding. There is a real sense of maleficence which abounds amongst the scenes and the physicality of both Warner and Barr's performances also really add to that. Unfortunately the words of the priest take you out from the magic somewhat but not enough to ruin the blackness and intrigue of the story being told. Both Stevens and Jenson support the narrative well and fit their performances into the feel of the film as best they can. The way that Webb has crafted his film feels like he has taken every effort to pour his own magic into it. The chapter headings are in pictures rather than words, each identifying the theme of the scene without needing to say a thing. The special effects remain wispy and light, even if not entirely convincing, but still giving the feel of an ethereal realm. Then the depiction of Ardet Lili herself, so graceful yet so dark, fully turns the tale into a morbid horror show that asks questions of the viewer as to where the evil really lies. The Glade Of Ardet Lili peeks out from the undergrowth and jumps out at you from behind the stumps of fallen trees. It is a beautiful creation depicting a magical world which allows just a sliver of sparkling fairy dust to seep through into the lives of its audience. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Celeste film review by UK film critic Amber Jackson. Starring Radha Mitchell, Thomas Cocquerel, Nadine Garner directed by Ben Hackworth. HOME | FILMS | REVIEWS Celeste Film Review average rating is 3 out of 5 Critic: Amber Jackson | Posted on: Sep 26, 2022 Directed by: Ben Hackworth Written by: Bille Brown & Ben Hackworth Starring: Radha Mitchell, Thomas Cocquerel, Nadine Garner Turbulent and dangerous, beautiful and sublime. Celeste itself is a bit of an oxymoron, with its beautiful landscape and secrets and dismay lurking within. A film by Ben Hackworth, this Australian film tells the story of a disjointed family coming together again to save the decaying world that they call home. Location unfamiliar and glorious, it is spell-binding – almost as though we are intruding just by watching. Protagonist Celeste, a ‘renowned opera diva’, retired from performing for the man that she loved, Mateo, to live on a crumbling and beautiful rainforest estate in Far North Queensland – before his sudden death. Ten years on, the film begins in the time leading up to Celeste doing one final performance. Whilst it is unclear what Celeste’s motivations are throughout the film, she is enthralling to watch and there is a need to discover more about her whilst watching. Jack, Mateo’s son, returns home and is scared and troubled in life. He too finds Celeste both beautiful, yet intoxicating, just as he did when he was a boy. The relationship between stepson and stepmother is strained and strange and there are a lot of uncertainties as to what happened between them after Mateo’s death. Ultimately, there is the sense that life in the rainforest wasn’t close to perfect at all. The Australian landscape is the most captivating part of the film, with beautiful cinematography and sublime shots of the rainforest. Overlapping sounds of nature and the constant noise creates a sense of timelessness of Australia, where, despite being run-down and crumbling away, Celeste’s home is ever-present and seemingly all-knowing. It feels as though it exists in another time, as there is a raw timelessness to the script and the way that it is filmed. In capturing those within the landscape, the camera is over-bearing and uncomfortably encounters each character that is underwhelming, yet uneasy. Hackworth’s film continually feels as though it is building to something but falls short of being overwhelming. Instead, the viewer is left feeling sad yet unsatisfied with the lives of Celeste and Jack. Both self-obsessed, they struggle to reconcile the trauma of Mateo’s death and reunite for all of the wrong reasons and there are some Freudian elements that cannot be overlooked. It feels as though we are watching two simultaneous falls from grace as Celeste and Jack both desperately seek to fill a void that they cannot fill. However, the third act suddenly comes to life and is the crowning glory of the film – it is bold and powerful as both characters fall apart. It saves the film and gives it meaning, whilst offering both Celeste and Jack purpose. Structurally, Celeste feels as though it is written to be an opera. Dramatic and melancholy, Celeste is described as the ‘bright young life of Australian opera’. It is poetic, the cinematography spectacular, but the plot itself not spectacular. Watch Celeste online on the UK Film Review VOD platform. Buy UKFR Banner Space About the Film Critic Amber Jackson Indie Feature Film, World Cinema < All Reviews Next Film Review >

Fixed film review by UK film critic Isabelle Ryan. Starring Nicholas Clarke, Gregory Piper, Esther Stanford directed by Jez Alsop. HOME | FILMS | REVIEWS Fixed Film Review average rating is 4 out of 5 Critic: Isabelle Ryan | Posted on: Nov 25, 2021 Directed by: Jez Alsop Written by: Ryan Davis Starring: Nicholas Clarke, Gregory Piper, Esther Stanford In the heart of Birmingham’s Jewellery Quarter, an illicit bare-knuckle boxing match ends in upset: the boxer with long odds wins, and the punters are furious. Daz (Nicholas Clarke) skims a wedge off the winnings and bolts, quickly followed by angry patrons. They catch him, beat him – in the confusion, someone stabs him – and drag him back to the warehouse, leaving him locked in a broom cupboard to await the arrival of the boss. Now, Daz must figure out a way to escape, pay off the man who wanted the winnings, and make his flight to Spain, all while trying not to bleed out. Jez Alsop’s Fixed plays out a little like a British Reservoir Dogs – except, we already know who the rat is, and instead of hopping around the timeline, we stick with Daz in his cupboard. This is no bad thing, especially when Clarke’s performance is as strong as it is. He presents a frantic, terrified man, begging for his life – and for favours. The section where he calls number after number, rejected each time (almost everyone he knows has come to expect the worst of him), and seesaws between cheery greetings and desperate anger is brilliant. There are great moments of tragedy throughout the film; Daz blames himself for everything, and now he is desperately trying to rebuild his life atop the ruins of his old one. Clarke’s constant presence – he is practically never offscreen – lifts the film considerably. Such a strong central performance is crucial, not least because it makes it easier to overlook some narrative issues. For example, wouldn’t the man guarding the door have taken away Daz’s phone the second he heard it ringing? Additionally, some of the more emotional moments are bogged down by exposition, and characters explaining to each other things they already know. There is also a lot of time spent establishing Daz’s kindness. An alcoholic and somewhat absent father, in one scene he realises that a fellow AA member is struggling, gives her solid advice, and asks their sponsor to check on her. It is easier to root for a man who is doing his best despite the circumstances, rather than a hardened criminal, which he could have been. It would have been interesting to see how Alsop and Davis would have humanised someone like that. On the technical side of things, Gary Rogers’ cinematography is dark, gritty, grimy. The shot of the broom cupboard’s lock, painted shut, slowly turning brown is great. A trick of the light makes it hard to tell at first that these stains are not rust, but blood from Daz’s scrabbling fingers. There is a strange decision to use split screen, but only when Daz is on the phone with his friend Ravi (Nisaro Karim, in a brilliant supporting role). This is disappointing in its inconsistency, but it does lead to some interesting shots. Towards the end of the film, in a dream sequence reminiscent of Get Out’s Sunken Place, Daz falls through darkness. Despite the seriousness of this moment, Clarke ends up looking as though he is simply flailing against a black background. The mise en scène, meanwhile, is mostly good, with Daz understandably finding much of what he needs to fashion an escape inside the cupboard, but three different drinks (including alcohol, to tempt him) lined up on a makeshift bar seem a bit on the nose. Fixed is, at times, an intense affair. Clarke’s performance anchors the film, his desperation palpable and compelling. Despite some convenient writing and ineffective editing choices, Alsop’s film is overall strong and definitely worth a look. Buy UKFR Banner Space About the Film Critic Isabelle Ryan Indie Feature Film < All Reviews Next Film Review >

Vazhiye film review by UK film critic Swati Verma. Starring Jeffin Joseph, Ashwathi Anil Kumar, Varun Raveendran directed by Nirmal Baby Varghese. HOME | FILMS | REVIEWS Vazhiye Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Sep 27, 2022 Directed by: Nirmal Baby Varghese Written by: Nirmal Baby Varghese Starring: Jeffin Joseph, Ashwathi Anil Kumar, Varun Raveendran The Red font colour used for the title of the feature film has connotations of danger, warning, and mystery to get the audience hooked to its content and therefore increase the degree of audience engagement with the movie. The writer-director Nirmal Baby Varghese works on the modern twist while staying grounded in terms of the tradition and culture of South India and also discusses some important life lessons through the three protagonists Albin (Jeffin Joseph), Teena (Ashwathi Anil Kumar), Saran (Varun Raveendran). The plot of the film revolves around the story of YouTube vloggers who decide to make a documentary film about a mystery land, where they confront perilous nightmarish situations. In the opening sequence, the cinematographer Midhun Eravil uses an alarm and the signal problem to give a sense of urgency and uncertainty in the minds of the audience. The set design, lighting, location, colour palette, costume design, makeup, background music, and dialogues are kept natural so that the viewers get an opportunity to appreciate the realism the director Nirmal Baby Varghese has attempted to incorporate into the screenplay of the cinematic piece with the help of the found footage tactic of filmmaking. The long shots, mid shots, closeup shots followed by a series of tracking shots are utilized to provide the details of an idea of the journey to the mysterious area nearby , gorgeous travelogue footage to create an impressive starting point to complement all the four genres- thriller, horror, mystery and experimental. In terms of performance, Jeffin Joseph plays Albin who wants to explore life experiences and share them with everybody through YouTube. Joseph portrays the young enthusiastic and adventurous Albin effectively and also switches to the more intense scenes with ease both emotional and physical. Ashwathi Anil Kumar plays Teena (Albin’s girlfriend) who is the softer, innocent one out of the two. Kumar understands the nuances of her character and depicts all the emotional moments experienced during the trip beautifully. Vazhye communicates the bad effects of social media on youngsters and also warns about all the dangers associated with it to the parents of teenagers as well. The creative piece talks about thinking of one’s safety first and not following others blindly. The thriller advises the audience to realise the importance of one’s privacy and act appropriately to protect the same to avoid circumstances that can make people lose their rights. The feature film addresses the issues of using too much social media like mental health and also how people are allowing social media to control their lives. The thrill and adventure are crucial to add flavour to our daily life but safeguarding the life given to us is also very significant. I love that the director Varghese uses various filmmaking technics as per their need to work with the new filming restrictions in the times of the pandemic has given birth to new and fresh ideas in the world of cinema. There are a few flaws that I noticed while watching the experimental feature film. A lot of things happening all at once make it hard for the audience to follow. The kidnapping and dance sequences are just included in the script without giving any sensible reason for the same. The subtitles are required to better understand it and also help the film reach a wider audience. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

Mickey 17 film review by UK film critic Hope Madden. Starring Robert Pattinson, Naomi Ackie, Mark Ruffalo directed by Bong Joon Ho. HOME | FILMS | REVIEWS Mickey 17 Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 6, 2025 Directed by: Bong Joon Ho Written by: Bong Joon Ho Starring: Robert Pattinson, Naomi Ackie, Mark Ruffalo People mainly familiar with filmmaker Bong Joon Ho’s Oscar-sweeping masterpiece Parasite may not know of his remarkable skill with a SciFi creature feature. Mickey 17 , then, will be an excellent primer. Robert Pattinson is the titular Mickey. Well, he’s a bunch of Mickeys, all 17 of them. Hoping to get away from some pretty bad fellas on Earth, Mickey signs up for a flight of space pioneers, but there’s a lot of competition to make the voyage and he has no skills so he signs on as an expendable: a clone who, for the betterment of science, subjects himself daily to every conceivable new threat so science can better prepare the non-expendables. Chief among the unexpendable on this colonizing mission are the commander, vainglorious attention whore Kenneth Marshall (Mark Ruffalo), and Lady to his Macbeth, Ylfa (Toni Collette). Joining Mickey onboard are his best friend, con-man extraordinaire Timo (Steven Yeun, playing delightfully against type) and the love of his many, many lives, Nasha (Naomi Ackie, Blink Twice ). Pattinson’s a hilarious, self-deprecating charmer, a man who believes he somehow deserves his fate. Fates. Through him the filmmaker employs absurd, sometimes even slapstick humor to satirize our own current fate. Beautifully (and characteristically), all of this is in favor of the reminder that our humanity requires us to be humane. There’s great tenderness in this film, though it competes with sharp satire and fun action. But what fuels every scene, however lunatic or sweet or absurd, is the heat of Bong’s rage. His more than capable ensemble—from the sycophant scientist (Cameron Britton) to the ego-stroking puppet master (Daniel Henshall) to the guy forever dressed as a mascot (Tim Key) and on and on—brings every enraged idea to vivid, remarkable, too-close-to-home life. Weaving sensibilities and ideas present in Snowpiercer , Okja , The Host as well as any number of clone movies, Mickey 17 could feel borrowed. It doesn’t. Like the best science fiction, it feels close enough to reality to be a bit nightmarish. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Walking Fernando film review by UK film critic Joe Beck. Starring Javier Bardem, Fabienne Piolini-Castle, Evan Sokol directed by Max Mir. HOME | FILMS | REVIEWS Walking Fernando Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Sep 1, 2023 Directed by: Max Mir Written by: Luke Norton Starring: Javier Bardem, Fabienne Piolini-Castle, Evan Sokol Everyday we see hundreds of people walking their dogs, getting in their own exercise and that of their four legged friends. Some very strange people even take their cats out on walks, yet you don’t ever see people talking their goldfishes out for a walk down the park. ‘Walking Fernando’ gets over the confines of the fish bowl, and sees a surprisingly touching and meaningful story told through a fish’s walk with his human friend. Though the concept may seem absurd, ‘Walking Fernando’ is in fact an inspirational tale of breaking free from the monotony of life and enjoying its freedoms. This is only heightened by the absurdity of it all, with the sight of a woman, Nadia (Fabienne Piolini-Castle) confidently striding through the streets of London, talking goldfish in hand, highlighting that life is full of wonders, none of which can be experience cooped up in an office all day. Sometimes it takes an irreverent concept to inspire us, and such is the case with ‘Walking Fernando’, with the films ability to weave irreverence with thoughtful meditations its greatest strength. The dichotomy between the monotony of everyday office life and the freedom and beauty provided by nature is wonderfully illustrated throughout ‘Walking Fernando’. The opening montage sets the scene of a dull, average day of work, with people mulling around the office, which, rather ironically is that of a travel agency, and the forced polite laughter. This is continued when Nadia’s boss (Evan Sokol) dumps her a massive pile of work just as she’s getting ready to enjoy her weekend plans of doing nothing. It is this soulless lifestyle of working yourself into tiredness, so that on your days off you are content to simply do nothing, that ‘Walking Fernando’ discourages. Instead, through Fernando the fish, who has the voice of Javier Bardem, both Nadia, and we as an audience, are offered the opportunity to have our horizons broadened by looking for the beauty in nature and the outdoors. Director Max Mir, and writer Luke Norton both understand that in order to truly appreciate beauty and the world around us you must live life to your fullest, and transgress the restraints placed upon us by social expectations. The fish wants to get out of his bowl and does so. Nadia wants to escape from the office and does so. Both are much the more fulfilled. Norton’s script is fairly straightforward, but doesn’t need to be anything special in order to convey its message, while crucially it doesn’t leave any unnecessary fat to be trimmed. Mir’s directing is competent, and particularly strong when walking through London from Fernando’s perspective within his tank, further conveying the fish out of water experience and the euphoria which comes from breaking the everyday routine. Its always a perk to have Javier Bardem in your film, especially when he gets to play around as a fish (for the second time this year if you include his role as the mermaid King Tritone in ‘The Little Mermaid’) and he is delightful here as the wise beyond his nautical miles Fernando. His voice work, coupled with Fabienne Piolini-Castle’s performance in the central role as Nadia, elevate the screenplay, straightforward as it is, to a higher level, and ensure that its message never becomes too repetitive. ‘Walking Fernando’ may be an irreverent film, with an irreverent Javier Bardem role as the titular fish, but that only strengthens its message and the quality of filmmaking displayed throughout. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Best of the Best: Jazz from Detroit film review by UK film critic Patrick Foley. Starring Leslie Graham Andrews, Daniel Aldridge, Joan Belgrave directed by Daniel Loewenthal. HOME | FILMS | REVIEWS The Best of the Best: Jazz from Detroit Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Dec 23, 2025 Directed by: Daniel Loewenthal Written by: Mark Stryker Starring: Leslie Graham Andrews, Daniel Aldridge, Joan Belgrave ‘We make cars and we make Jazz musicians’ is a killer of a tagline for The Best of the Best: Jazz from Detroit . Indeed whilst New Orleans or New York might take a lot of the glory for America’s jazz legacy, Detroit’s musical history has been neglected for too long (unless you are an Eminem fan). This proud documentary seeks to right that wrong – and offers a passionate and forceful case for the importance of the city, culture and people who honed jazz through the 19th and 20th century. Providing a double narrative that follows both the story of the city of Detroit itself and the music that accompanied it, The Best of the Best shows how culture, politics, race and entertainment are inherently intertwined – with a spectrum that reaches from beauty to malice resulting from it. Decades of attempts to repress black inhabitants have failed to silence the voices of great artists who refuse to have their music quieted, and the result is a vibrant, storied history in a city renowned for steel. Most viewers of Best of the Best will have a familiarity with jazz and its background – particularly in relation to black communities in America. But Detroit’s part of this story is more than worth its own focus. “Detroit doesn’t have black communities. Detroit is a black city ” says contributor Marsha Music – a quote that sums up why Detroit became such a hotbed of resistance to top-down efforts to supress black voices and art by authorities throughout the years. Best of the Best does a brilliant job of contextualising this and bringing the history to life, taking its audience on a journey through time to explain the factors that caused racial politics to become a hotbed issue in the city and how these were combatted by residents – from its origins in the Black Bottom neighbourhood through to the clubs that spawned legends like Charlie Parker. Whilst the tempestuous history is the fire in the film’s belly, there is also an educated love and respect for the craft of jazz itself that flows throughout the documentary. Nowhere is this more notable than in a moving highlight of pianist Barry Harris – both performer and mentor to a generation of musicians from Detroit. Concepts and styles are discussed in-depth, as is the intricacies around Detroit itself and why the city’s soul crafts its music in a unique fashion. But the ode to Harris is a truly touching and affectionate tribute to the individuals who were essential for the innovation and preservation of the musical identity. It manages to do all this without getting overly technical or obtuse – meaning newcomers and nerds alike will find enjoyment in its breakdown of the music itself. Jazz can sometimes feel like an intimidating world to outsiders, but Best of the Best shows how to make both the music and the history behind it welcoming and invigorating without losing any of the passion or complexity that underlines both its composition and history. It’s more than a music documentary – it is a strong-willed and unapologetic spotlight on American culture and racial history illuminated by an art form that is bound to the fabric of the country. Capturing that importance is no mean feat – but this film accomplishes it effortlessly. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary, Amazon Prime < All Reviews Next Film Review >