Aaram Viral film review by UK film critic Swati Verma. Starring Gopinath Rajkumar directed by Jairam Mouri. HOME | FILMS | REVIEWS Aaram Viral Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 19, 2023 Directed by: Jairam Mouri Written by: Jairam Mouri Starring: Gopinath Rajkumar The writer-director Jairam Mouri strongly believes that the art of filmmaking is like an expensive form of therapy for him and he wants to address many issues that were part of Indian society long back with the help of the intricate script and a male protagonist (Gopinath Rajkumar). The plot of the short film-Aaram Viral revolves around the people living in a small village who are still in grip of a social evil like untouchability and the effects of the same in every sphere of their lives. The film opens with a radio message on untouchability, Aaram Viral wants to quickly establish the subject matter so that it can emotionally appeal to its target audience. The camera pans into a classroom set up to showcase the caste divide with the seating arrangements as well as conversations to add elements of realism and relatability to the narrative. The black, white, and brown with a hint of blue and green colour tones provide a sense of nostalgia and want the audience to experience the struggles of times when discrimination was prevalent due to the existence of the caste system. The filmmaker has incorporated references to great political leaders like BR Ambedkar, and many flashbacks as well as dream sequences assist in building up the essence and give it the necessary detailing to maintain continuity as well as ensure the smooth flow of the storyline. The set design, camera angles, lighting, dialogues, music, costume, hair, makeup, and props complement the simple way of storytelling. In terms of performance, the leading actors and supporting cast understand the nuances of what Jairam Mouri wants to extract from them to make the finished product appealing in the eyes of the viewers. The actors chosen by the casting team fit the part as the audience can correlate all three the essence, the mood and the screenplay to enjoy the film. Aaram Viral talks about the importance of education to claim all the well-deserved rights of the citizen of India. The short film reiterates the mission of the film that efforts should be made continuously till every human being is free of the tag of untouchable on account of his birth because everyone deserves equal opportunities to contribute to the development of their motherland. The dramatic piece also discusses education the matter of making right decisions if one wants to be a part of the change and work towards improvising the quality of life for self as well as the family. The movie restates that the existence of the caste system was considered a requirement during ancient times and protesting against the same is needed at present to provide the dignity to live life on their terms. The cinematic piece also tells us that despite the difference in caste, colour, and creed we should always be ready to stand together as a unit in case of emergencies. To conclude I would like to say Aaram Viral sheds light on several integral issues within Indian society that it does not want to express the same to outsiders. The inclusion of the subtitles is of utmost priority if the makers want to reach a wider set of audience. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Rivals of Amziah King film review by UK film critic George Wolf. Starring Matthew McConaughey, Angelina LookingGlass, Kurt Russell directed by Andrew Patterson. HOME | FILMS | REVIEWS The Rivals of Amziah King Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Aug 13, 2026 Directed by: Andrew Patterson Written by: Andrew Patterson Starring: Matthew McConaughey, Angelina LookingGlass, Kurt Russell Back in 2019, Andrew Patterson’s debut feature The Vast of Night was a welcome surprise. Meticulously crafted with a detailed throwback vibe and some snappy dialog, it got me excited for what Patterson had in store. We finally get his second feature with The Rivals of Amziah King , and once again, I am charmed. His timeline shifts to present day, and the setting moves from New Mexico to Oklahoma for an adventure filled with rousing roots music, the basics of beekeeping, a Southern Gothic mystery and one clever plan for revenge. Matthew McConaughey is electric as Amziah King, a rural beekeeper, musician and all around character who’s asked to help find the rightful owner of twenty barrels full of stolen honey. But after some absurdist violence, a reconnection with his former foster daughter Kateri (Angelina LookingGlass in a captivating debut) and a memorable pot luck/jam session, King finds his own bee colony has been lifted. Kateri’s affection for King as a father figure has never wavered over their years apart, and she commits herself to payback for the guilty party. And she’s pretty sure the trail will lead right to local tycoon Dob McCoy (Kurt Russell). Patterson has a delightfully unique brand of storytelling, one that retains a youthful innocence no matter what adult themes are being juggled. His wordplay is fresh and often deadpan funny, and his camera can oscillate between fluidity and bits of slo-motion for effect. Two films in, it’s clear Patterson is a skilled world-builder. And here, that world is a small Oklahoma community with many interconnected parts and memorable personalities. The parallels that Patterson draws with bee colonies are clear but not force-fed, and his wonderfully eclectic ensemble makes it a kick to follow them around. Patterson seems to be enjoying the bigger canvas for his second film, with a few strands of excess and a 130-minute run time that does get a tad bloated when we reach some odes to Huck Finn in Act III. But it always feels in service of a big swing and a committed vision, and that will always bee easy to forgive. Yes, bee. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Morris Men film review by UK film critic Jason Knight. Starring Ross O'Hennessy, Eloise Lovell Anderson, Jamie Chambers, Jon Campling, Shahid Hussain directed by Gregg Masuak. HOME | FILMS | REVIEWS Morris Men Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 2, 2024 Directed by: Gregg Masuak Written by: DB Morgan Starring: Ross O'Hennessy, Eloise Lovell Anderson, Jamie Chambers, Jon Campling, Shahid Hussain In a seaside town, a secret organisation goes up against a gang of criminals. The general concept of this low-budget crime action feature is good guys versus bad guys. A British coastal town is being ravaged by crime with gang violence and drugs being everywhere and the main person responsible for this is crime boss Frankie (O'Hennessy). In the same town there are the Morris Men, a large number of people who primarily engage in dancing activities. However, there is another side to them, as they are actually an organisation of vigilantes and they aim to bring order to the area. As these two groups clash with each other, murders and hand-to-hand combat will ensue. There are some interesting characters in this story. First, there is Frankie, the ruthless gangster and the main antagonist. Then, there is Sally (Anderson) a tough young woman and a member of the Morris Men and she is very committed to the goals of the organisation. Her reunion with Tommy (Chambers), her old flame, creates a romantic subplot. Tommy has returned to the town after spending time in the army and ends up joining the unique group. He is the central male character, a man who is suffering from his experiences in warfare. Then, there are the Morris Men in general (who in contrast to their organisation's name, have women members). Their appearance consists of wearing black clothing, including hats and having face paint. Their activities (apart from fighting crime) involve martial arts training (mostly with sticks), dancing and playing music, particularly drums and bagpipes. Their leader is Bagman (Campling), a middle-aged man with long hair and a beard. Arguably, what stands out the most are the fight scenes and there are plenty of them, plenty of times seeing either Sally or Tommy punching, kicking or utilising sticks to fight bad guys and plenty of time watching them train. Although the fight scenes are not very realistic, they are entertaining. The low production value is evident, with poor quality regarding the image. The camerawork appears amateur and clumsy and so does the editing which often involves dissolve techniques. The acting though is pretty decent. The soundtrack is interesting and includes a variety of songs from the heavy metal, pop and electronic genre. A low-budget action film with plenty of fighting and some romance. This is a story about redemption and courage. The low production value does bring it down, nevertheless the intriguing plot and the fight scenes are enough to make this an enjoyable viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Home film review by UK film critic William Hemingway. Starring Shanzay Shah, Members of the Compass Collective directed by Lorenzo Harani. HOME | FILMS | REVIEWS Home Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 12, 2026 Directed by: Lorenzo Harani Written by: Lorenzo Harani, Shanzay Shah, Members of the Compass Collective Starring: Shanzay Shah, Members of the Compass Collective According to the UNHCR, there are around 550,000 refugees currently having claimed asylum in the UK, with a further 75,000 applications, relating to around 100,000 individuals, looking to get processed in the year up to March 2026. These numbers equate to less than 1% of the population of the UK being made up of refugees, with around half of these being made up of Ukrainians escaping war, as well as Hong Kong and Afghan nationals escaping persecution, who have been welcomed using resettlement schemes. These numbers are beginning to fall, mainly because most of the Ukrainians and Hong Kongers have already been relocated, but the numbers of small boat crossings in the English Channel is also down. The government would have you believe that this is all down to their hard work and determination to ‘control our borders’, but by March 2026 around 42% of all asylum seekers since 2018 had arrived by small boat. It is easy to see that numbers like these, year on year, are still unsustainable, but it is important to see that the real numbers are a far cry from what certain hard-right nationalists would have you believe. Angry little ‘nationalists’ like Stephen Yaxley-Lennon, who likes to call himself ‘Tommy Robinson’ as an homage to a prominent, violent football hooligan(!), want to tell you that every problem in society is created by the incoming wave of refugees to the country, jumping on any news story that involves asylum seekers and then painting everything they do in a dark light. The ignorant and supercilious Elon Musk also likes to get in on the act, through his hate-speech machine and personal megaphone platform, X, continually wading in on issues that have got nothing to do with him and which he knows absolutely nothing about, just to stir up hatred and unease, because a confused and angry electorate is easier to control when you’re working for some of the biggest warmongers in the world. It would be better not to even talk about the leader of Reform UK, so let’s not. Instead, let’s look at writer/director, Lorenzo Harani’s new short film, Home , which actually lets us look at the people who are being talked about as mere statistics. In four short minutes we are invited to speak with just some of the people who have sought asylum in the UK and who are being helped by the London charity, Compass Collective. Through their words, and the voice of one of their members (Shah), we can directly hear their pleas to just wake up in a place where they don’t fear for their lives. The loss and pain are etched deeply onto each of their faces as we are introduced to them in turn, and they tell us what they hope for in a new place, in a new world, in a place they one day would like to call home. Much like what Ken Loach and his screenwriter Paul Laverty knew when they made The Old Oak (2023), Harani knows that you can’t talk about these people until you start to talk about them as people. Having spent time at the Compass Collective, talking to and getting to know the refugees that are shown in his film, Harani understands that things are not as black-and-white as they are made out to be in short news bulletins, or on dubious, unsubstantiated, unregulated websites. He has taken the time to hear their stories and really see the people underneath, and so has turned to us, to highlight their stories and show us the faces of those we would condemn, to see if we can see the humanity in ourselves as we look at them. Sadly, there’s not an awful lot of time to spend with each of the refugees in the film, and we only get one voice speaking for all the others, in a short four-minutes that only scratches the surface of what the lives of these asylum seekers is like. There are a few artistic shots interspersed amongst the talking heads, of crashing waves and flocks of birds in flight and such, but not much more that would help constitute Home as a film rather than an infomercial. While Harani’s heart is in the right place and his intentions are pure, with Home we are left at a bit of a loss as to the nuances of becoming a refugee, of choosing the UK as the country of destination, and of what these people would like to do as a working, tax-paying citizen. With all of the civil unrest that has exploded in the last few days and weeks in the UK, with alleged rapes of many young girls by asylum seekers, and the turning of whole communities in Glasgow against individuals who they ‘think’ might be involved, as well as marches and protests and the ever-present hotel room housing debate, it is important that people are faced with the facts before being asked to make up their minds about how we help those who have come to us in their time of need. While Home tries to at least put a face to the people at the sharp end of the statistics, it is very limited in the facts it portrays, and instead, in giving its subjects a voice and a platform for their hopes and their opinions, may end up having the opposite effect than the one hoped for by the filmmakers, as certain hardliners will only hear more people saying that they want to come to the UK to live a good life, to take the jobs that are here, and to be a part of the state system. However, maybe that is the point. Perhaps we should all take four-minutes out of our day to watch Home , to gauge our reactions to what we see and hear, and find out just what kind of a person we are by how we respond to desperate people asking for human dignity and a safe place to live their lives. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, Documentary, World Cinema < All Reviews Next Film Review >

Chris Olson writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Chris Olson I am the Founder of UK Film Review and have been a film critic since 2010 - originally writing for London publications. My passion is for great films, no matter the budget, and have promoted indie filmmakers through UKFR since 2012 when it was founded. Along with my film reviews, I also interview filmmakers and take part regularly on the UK Film Review Podcast - which is available to listen to via all good Podcast platforms. Each year, I also organise and host the UK Film Review Festival - an event that supports indie filmmakers from around the world. Outside of film I like to spend time with my two daughters and wife, as well as write/record music. 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Film news - Encounters Presents Female Filmmaker Showcase with Maisie Williams. Find out more at UK Film Review. Encounters Presents Female Filmmaker Showcase with Maisie Williams Chris Olson Wednesday, June 16, 2021 at 8:32:38 AM GMT+1 Encounters present She/Her A short film showcase from emerging female filmmakers in association with Maisie Williams & Frank Film Club Encounters Film Festival, the leading international short film festival and the UK’s only ACADEMY AWARD®, BAFTA and European Film Academy qualifying festival has partnered with celebrated actor and producer Maisie Williams, and her podcast Frank Film Club. Together, they present a programme of short films by emerging female directors available to UK cinemas from Friday July 23rd, titled “She/Her”. Cracking open the vault from their 26-year history, Encounters will curate monthly programmes of short films from around the world, bringing them to new audiences in cinemas around the UK. Each month’s programme will be introduced by talent from either in front of or behind the lens. The first, screening from July 23, is a showcase of emerging female filmmakers. These films explore what it means to be She/Her in the 21st century, with an introduction from Maisie Williams and the Frank Film Club podcast. Maisie is joined by her fellow podcast members, filmmaker Lowri Roberts (whose credits include the BAFTA Cymru winning Girl, screening in this programme), producer Chloe Culpin, and casting director Hannah Marie Williams. The hosts’ introduction to this programme of films explains why short film, as a medium, is so important to filmmakers and their careers, helping them gain wider industry recognition. This programme aims to celebrate emerging female talent with related narratives on screen. Smear comes from director Kate Herron, whose notable career has seen her direct Loki on Disney+ from Marvel Studios, starring Tom Hiddleston and Owen Wilson, as well as the hit Netflix series Sex Education. Kate’s shorts have played at festivals around the world. Smear is a lube-tastic horror-comedy inspired by Gremlins, Tremors and Little Shop of Horrors, about a woman going in for her first pap-smear test. “My friend told me my first pap-smear would be the worst thing that ever happened to me... it wasn’t.” The remaining films come from a host of award-winning female directors from around the world. This includes Frank Film Club member Lowri Roberts, director of BAFTA Cymru Award-winning Girl. Isabel Lamberti, the multi-award-winning director of Amor who scooped the coveted best new director award at the San Sabastian film festival and now directs TV Drama. Audrey Lam, director of Faraways, attended the festival as part of Future Encounters. Her films have screened at internationally acclaimed festivals around the world, including BFI London Film Festival, Centre Pompidou and Melbourne International Film Festival. Rosie Westhoff, director of Crush, is a BAFTA-nominated filmmaker. Her latest film ‘Our Sister’ premiered at LFF. She was recently nominated for a BAFTA for the BBC iPlayer Sparks New Voices episode The Main Part, which she directed. This programme presents a valuable opportunity for UK cinemagoers to explore the exciting world of short film on the big screen, and for aspiring filmmakers around the country to discover new inspirations. A vital step to continue driving change within the industry and inspire the next generation of filmmakers, particularly those who identify as women. Maisie Williams of Frank Film Club, said: “We love short films. They’re a massive part of a filmmaker’s training because it allows them the space to experiment and be playful. You can make short films with next to no budget, they can be really accessible to make. When festivals like Encounters screen a short film they become instrumental in furthering that filmmaker's career. It acts as a calling card. That’s why Encounters is such an important festival - it gives new voices a platform for their work to be shown to the industry.” Dave Taylor-Matthews, Head of Audience at Encounters Film Festival, said: “We’re excited to be able to launch this programme as part of our sector’s return. Our festival is built around the concept of community building and, like so many over the last year, it’s been difficult for us to not be able to connect in the ways we are used to. We wanted to kick off with the “She/Her” programme to celebrate female filmmaker talent and storytelling. Encounters is where the story of film begins and we really want this programme to help cinemas welcome their audiences and creative communities back into their spaces.” Encounters will launch this programme in cinemas around the UK from July 23rd. To find out more please visit https://www.encounters.film/theatrical-encounters . The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). 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Alasdair MacRae writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Alasdair MacRae Alasdair is an open-minded critic, currently based in Edinburgh. He has a particular fondness for the films of Agnès Varda, Robert Bresson, and David Cronenberg. Read Latest Film Reviews Rindido Read Film Reviews Alasdair MacRae Apocryphal Read Film Reviews Alasdair MacRae The Soul Graffiti Read Film Reviews Alasdair MacRae The Oil Machine Read Film Reviews Alasdair MacRae Bones and All Read Film Reviews Alasdair MacRae Avatar Read Film Reviews Alasdair MacRae Chuck Steel: Night of the Trampires Read Film Reviews Alasdair MacRae Solitary Read Film Reviews Alasdair MacRae The Manager Position Read Film Reviews Alasdair MacRae On Our Doorstep Read Film Reviews Alasdair MacRae The Dance Read Film Reviews Alasdair MacRae Escape from Reality Read Film Reviews Alasdair MacRae The Getgoes Read Film Reviews Alasdair MacRae Doctor Strange in the Multiverse of Madness Read Film Reviews Alasdair MacRae 118 Fest Read Film Reviews Alasdair MacRae Influenced Read Film Reviews Alasdair MacRae Powdered Dandelions Read Film Reviews Alasdair MacRae The 400 Blows Read Film Reviews Alasdair MacRae Pink Purple and Blue Read Film Reviews Alasdair MacRae ZAPPER! Read Film Reviews Alasdair MacRae The Date Read Film Reviews Alasdair MacRae The Right Words Read Film Reviews Alasdair MacRae Triangle of Sadness Read Film Reviews Alasdair MacRae Corsage Read Film Reviews Alasdair MacRae Enys Men Read Film Reviews Alasdair MacRae The Razing Read Film Reviews Alasdair MacRae Small Talks Read Film Reviews Alasdair MacRae Genocidium Read Film Reviews Alasdair MacRae Morris Read Film Reviews Alasdair MacRae Devil's Hollow Read Film Reviews Alasdair MacRae Solus Read Film Reviews Alasdair MacRae As A Prelude to Fear Read Film Reviews Alasdair MacRae We're All Going to the World's Fair Read Film Reviews Alasdair MacRae The Burning of the Custom House Read Film Reviews Alasdair MacRae The Show Read Film Reviews Alasdair MacRae The Profiler Read Film Reviews Alasdair MacRae Pandemic Spy Read Film Reviews Alasdair MacRae The Blood of the Dinosaurs Read Film Reviews Alasdair MacRae The Countryman Read Film Reviews Alasdair MacRae The Lone Wolf Read Film Reviews Alasdair MacRae No Bears Read Film Reviews Alasdair MacRae Summer Issues Read Film Reviews Alasdair MacRae One Fine Morning Read Film Reviews Alasdair MacRae Weekend Healer Read Film Reviews Alasdair MacRae Glorious Read Film Reviews Alasdair MacRae Fractured Read Film Reviews Alasdair MacRae Long Way Back Read Film Reviews Alasdair MacRae A Moral Man Read Film Reviews Alasdair MacRae The Tree Read Film Reviews Alasdair MacRae Halfpace Read Film Reviews Alasdair MacRae The Scourge Read Film Reviews Alasdair MacRae Brother Read Film Reviews Alasdair MacRae Uncharted Read Film Reviews Alasdair MacRae Bad Luck Banging or Loony Porn Read Film Reviews Alasdair MacRae Another Day Read Film Reviews Alasdair MacRae

Joy Uncensored film review by UK film critic Jason Knight. Starring Joy France, Damani Dennisure, Lee Dunn directed by Natasha Hawthornthwaite. HOME | FILMS | REVIEWS Joy Uncensored Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 21, 2021 Directed by: Natasha Hawthornthwaite Written by: N/A Starring: Joy France, Damani Dennisure, Lee Dunn A late-middle-aged woman decides to take part in a rap battle event. This fifteen-minute long documentary follows Joy France, who is in her early sixties, as she challenges herself by doing some rap battling. Having had experience as a performance poet and a festival performer, France does something rather unusual, which is entering an activity that is almost entirely occupied by young individuals. The documentary begins with France talking about herself, about who she is, about her past and why she does what she does. Her experiences as a poet inspire her to try a bit of rapping and she begins her preparations for the rap battle, along with the help of others. When the big day comes, she is ready and holds nothing back. Arguably, the highlight is the rap battle itself. Joy finds herself in front of a crowd and opposite her rival, who is a young man. The rapper goes first and proceeds to sing heavy insults to her, however she is undeterred and when her turn comes, she unleashes her own verbal abuse. Unsurprisingly, since a rap battle involves rappers singing lyrics that insult the opponents, there is a great deal of profanity involved during the rapping. Of course, neither Joy nor the guy mean any of it, but it is likely that some viewers will find the vocabulary offensive. The main focus here is a fish-out-of-water situation, that being a woman who is getting old appearing in a rap battle and doing a good job at it. Depending on a person's sense of humour, it is amusing watching her as she comically raps insults, while a crowd of youths cheers her on. Generally, the mood is light-hearted throughout, although there are also moving moments. As for Joy herself, she comes across as a likeable and friendly person. She is an everyday individual who decided to try something new, challenge herself and gain a memorable experience. Due to the strong language, this documentary is not for everyone, however it provides an interesting and thoughtful viewing. It is about self-discovery and it promotes the idea of exploring new ventures and the opinion that when people believe in themselves, they can achieve their goals. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

James Learoyd writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. James Learoyd Films have always been the most exciting thing in the world to me: I love making them and I love talking about them. For me, discussion and analysis of any movie illuminates a special kind of push and pull between artist and spectator that's essential in fulfilling the viewing experience. I will always have a lot to say and can't wait to say it. 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Mouse film review by UK film critic James Learoyd. Starring Vikash Bhai, Rakhee Thakrar, Sanish Shah directed by Max Fisher. HOME | FILMS | REVIEWS Mouse Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Nov 24, 2024 Directed by: Max Fisher Written by: Max Fisher Starring: Vikash Bhai, Rakhee Thakrar, Sanish Shah Covid-19 and lockdown-living brought with it a trend of artists, often filmmakers, wishing to lend their personal perspective on the hardships they’ve had to face. Mouse! is a prime example of a dramatic piece managing to maintain a sense of genuine sincerity while grappling with the contentious issue. The worst Covid films have tended to be icky, big-budget productions which exploit global mourning as a way of attaining an audience – with the absolute best recent films addressing Covid being ones which simply incorporate it into the background realism of the narrative (such as Mike Leigh’s Hard Truths ). The short in discussion, however, is certainly ‘about’ Covid, yet on a personal level. It’s political – as it should be – and provides authentic critical commentary on the pandemic. Operating on multiple levels of perspective and social implications, writer-director Max Fisher is concerned with how we deal with death in all forms; from the perspective of a hopeful child, to that of his jaded father feeling alienated by the flawed systems he’s forced to confront. We follow two separate stories belonging to the same family. The dad is having to deal with irksome bureaucratic pains following his father’s tragic death, in addition to processing the resentment he felt towards the man; his young son, on the other hand, spends his time playing with an adorable mouse, whose presence in the house the dad is less than pleased about. This is an effective storytelling device, for it allows the filmmakers to explore national implications, as well its microcosm - to portray the internalised poetry of a boy and his pet. Audiences are bound to enjoy the film’s parallel narrative, and the profound emotions that then reveal themselves when juxtaposing a child’s perspective of mortality with that of an adult. You could argue that the screenplay is too simplistic for a film about the pandemic; however, one could very well argue that it has enough of a perspective, and a tone which reflects upon the challenges we face in life through different ages - even if it simply scratches the surface - that the viewer is able to empathise fully with both viewpoints. There’s some great lens work in Mouse! As the majority of contemporary short films do, the visual style consists of a wide-aperture, shallow focus look. This is pleasant to the eye and definitely lends the film a sense of production value. With an anamorphic, widescreen format, and an image with plenty of fall-off and constant shimmering flares, the cinematography draws our attention to the quality of the filming equipment. Although, if there’s one problem with the mise-en-scène, it’s that it occasionally misses a trick by not holding on wide shots. It’s very much a story being told through closeups, which is apt for the emotional and grounded nature of the content; but sometimes you wish that the director and cinematographer had allowed further opportunity for complex compositions. Then again, it’s still a handsome looking piece, and made with a competence which shouldn’t go unnoticed. A genuine, well-considered and heartfelt work, it successfully moves the audience and leaves us on a sentimental note. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

V/H/S/94 film review by UK film critic George Wolf. Starring Anna Hopkins, Steven McCarthy, Thiago Dos Santos directed by Jennifer Reeder, Simon Barrett, Chloe Okuno, Timo Tjahjanto, Ryan Prows, . HOME | FILMS | REVIEWS V/H/S/94 Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Oct 5, 2021 Directed by: Jennifer Reeder, Simon Barrett, Chloe Okuno, Timo Tjahjanto, Ryan Prows, Written by: Jennifer Reeder, Timo Tjahjanto, Ryan Prows, Chloe Okuno, David Bruckner, Simon Barrett Starring: Anna Hopkins, Steven McCarthy, Thiago Dos Santos You ready for scary? 1994 was almost thirty years ago. Three zero. So the fourth film in the V/H/S series places the found footage premise in a decidedly nostalgic vibe, with plenty of videotape filter effects, “taped over” moments and no worries about smartphones crashing the internal logic. Five filmmakers deliver separate short film visions, as four segments are bookended by an anchor meant to tie them all together as a narrative whole. Jennifer Reeder handles the wraparound, entitled “Holy Hell,” which follows a SWAT team invading a compound while members shout about drugs and search warrants. They find much more than drugs in a frantic, satisfactory opening that suffers from some uneven production values and pedestrian acting. Chloe Okuno’s “Storm Drain” finds an Ohio TV reporter and her cameraman investigating the local legend of the Rat Man. Venturing a little too deep in the sewers, what they find sheds a nicely subtle light on the plight of the homeless before the creature effects come calling. Okuno’s camerawork and dark tunnel framing is effective, and Anna Hopkins delivers a fine performance as the reporter, but like all the segments here, “Storm Drain” feels like a great idea that’s never fully realized. That is the most true with Simon Barret’s “Empty Wake.” Barrett, writer of You’re Next, The Guest and Blair Witch , gives us a funeral home employee waiting out a wake that no one is attending. As a storm escalates outside, noises from inside the casket suggest a soul may not be ready to move on. Barrett lays out some nicely simplistic stakes, and plays a fine game of peek-a-boo with the inside lights going off and on, but the payoff ultimately lands as a bit familiar and anti-climactic. The opening shot of Timo Tjahjanto’s “The Subject” grabs your attention immediately, bringing you into the horrific laboratory of a mad scientist conducting human experiments. What starts as a fun and gore-filled homage to both Frankenstein and Tetsuo descends into an overlong, first-person shooter game that squanders much of its early potential. “Terror,” the final segment from Ryan Prows, brings horror comedy to the party with a look at good ‘ol boy militia members aiming to overthrow the government. They’re more than well-armed, they’re fostering a supernatural entity. And you can guess how well that goes. Prows never completely sets the tone, as the few truly comedic moments crash into an overall atmosphere that plays it too straight for satire. Reeder closes it all out with the conclusion of “Holy Hell,” bringing a surprise to one of the SWAT teamers and an overly tidy reinforcement of the videotape theme. V/H/S/94 presents a host of promising ideas and several solid moments. A step up from Viral for sure, but with too many false starts for a rewind-able experience. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Julian Gaskell writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Julian Gaskell Who'd have thought I'd end up on here as a writer? Certainly not my nan but I feel hugely honoured and privileged to be here passing judgement on far better creative and talented people than I, mostly;) Like a lot of people born post-70s I grew up watching TV, which meant watching whatever films were on terrestrial. This meant I grew up with an addiction to John Ford films although I never knew who he was until my late 20s. Then with the advent of VHS videotapes, I got the opportunity to watch my favourite films over and over again without having to wait for the repeats. Haven't times changed? You'll be glad to know my tastes have moved on since then and I now have pretensions towards more cerebral indie international films just with less chance of enjoying them, but you never know when you might stumble across a classic... Read Latest Film Reviews Travel Read Film Reviews Julian Gaskell Little to Lose Read Film Reviews Julian Gaskell Behind Closed Doors Read Film Reviews Julian Gaskell Sonata For A Calendar Read Film Reviews Julian Gaskell My Open Heart Read Film Reviews Julian Gaskell Mémoires d’un Mime Read Film Reviews Julian Gaskell Round Read Film Reviews Julian Gaskell No More Inner Voice Read Film Reviews Julian Gaskell