Sister Midnight film review by UK film critic Rachel Willis. Starring Radhika Apte, Ashok Pathak directed by Karan Kandhari. HOME | FILMS | REVIEWS Sister Midnight Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Jun 5, 2025 Directed by: Karan Kandhari Written by: Karan Kandhari Starring: Radhika Apte, Ashok Pathak Watching the trailer for writer/director Karan Kandhari’s film Sister Midnight did not prepare me for the wild ride I was about to take. It is best to go into this movie knowing as little as possible, so each change in direction allows for surprise. For that reason, I will give away as little as I can. When Uma (Radhika Apte) travels into the city to marry Gopal (Ashok Pathak) in an arranged marriage, she doesn’t know exactly what to expect. She and Gopal knew each other as children, but it’s clear they no longer have any idea what makes the other one tick. We’re treated to several comedic moments as these two newlyweds navigate their shared space in one very tiny apartment on a busy street. However, the comedy quickly gives way to Uma’s despair. As her misery grows, she finds herself unable to eat, but the only thing her female neighbors seem to notice is how pale she appears. Many of them ask her which whitening cream she uses. This is one example of how deeply embedded into the culture the film lies. While most of the film’s details transcend culture, Kandhari doesn’t beat anyone over the head with extraneous information. Some things will likely go over the heads of anyone unfamiliar with India’s cultural history and background, but the audience can still identify with how Uma feels, which keeps the story relatable. Though Sister Midnight retains its humor, it’s impossible to deny the sadness that underlies it. As the film progresses, Kandhari peppers in horror elements. A couple of scenes even reminded me of Ari Aster’s Midsommar , though Sister Midnight never delves so deeply into outright terror. Apte excels as the woman whose husband is incomprehensible to her. Equally enjoyable is Pathak’s turn as the bumbling spouse who is just as perplexed by his new wife. Sister Midnight is funny, horrifying, and a little sad—a nice blend for an interesting take on surviving an unhappy marriage. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, World Cinema < All Reviews Next Film Review >

Last Days of Lab film review by UK film critic Joe Beck. Starring Alex Felix, Arianna Ortiz, Juan Francisco Villa directed by Maria Alvarez. HOME | FILMS | REVIEWS Last Days of Lab Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Oct 4, 2023 Directed by: Maria Alvarez Written by: Maria Alvarez, Ethan Newmyer Starring: Alex Felix, Arianna Ortiz, Juan Francisco Villa In a world where physical media is slowly dying out it is a strange paradox that people have begun to appreciate it even more. Things such as VHS, film tapes, polaroid cameras and vinyls have garnered a newfound appreciation, particularly amongst a younger generation who pine for and retreat into nostalgia in the face of the harsh reality of the modern world. It’s in this current landscape that a film like ‘Last Days of the Lab’ feels so poignant, with its heartfelt story of a lost world mirroring the current dysphoric state of the planet. There’s something about shops like a camera lab that holds a special power. Record shops, DVD stores (i.e. blockbuster), and book shops, also have this special power. They have a calming quality, making you feel both comforted by the presence of this object from yesteryear and at ease in the presence of people with a similar interest - be that music, film, or books. The owners, and even the workers, at these shops seem to generally care for both the product that they are selling and the customers they are serving, taking a genuine interest in their lives and how it involves whatever they may be purchasing. That is no different in ‘Last Days of Lab’, which follows a family business, now run by a mother, Lucia (Arianna Ortiz) and her teenage daughter Isabel (Alex Felix), following the assumed passing of husband and father Hugo (Juan Francisco Villa). They greet their customers with a smile on their face, and discuss the significance of the cameras or tapes that they have brought in, or are purchasing, with them. It’s a nice little family business, yet, unfortunately, it’s one that is closing, probably due to the rise of digital media and its effect on physical media businesses. As the title suggests, the film focuses on the lab’s final day, and Lucia and Isabel’s preparations to permanently close down the business. This creates an extremely sombre attitude that clouds over the film, with the pair essentially in mourning for not just the loss of the business, but the loss of the memories that come with it, including that of the absent Hugo. Sifting through old photographs and tapes it becomes apparent that they are saying goodbye to a part of themselves, and a final goodbye to Hugo. The screenplay by María Alvarez, who also directs, and Ethan Newmyer, perfectly illustrates the shared pain that both are going through as they reminisce of better, more innocent, days. This sentiment is echoed by Alvarez’s directing, which, using excellent red lighting, creates a mystical sense surrounding the camera lab, as though the actors, who both give engaging performances, are really walking around knowing that tomorrow their lives will have changed irreversibly. Each shot feels as though it has been imbued with Alvarez’s own loss, or her own wishes to go back to a bygone era, and there is a haunting sense of emptiness throughout the film. This translates to an incredibly moving film, with ‘Last Days of Lab’ a stark reminder that nothing lasts forever, and that one day we’ll all be relics in a world where we were once young. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Confessions in Static film review by UK film critic Jason Knight. Starring Mackenzie Keyes, Scott Dowd, Jimmy Donohue, Matt Tanzosh directed by Bob Freville. HOME | FILMS | REVIEWS Confessions in Static Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Nov 14, 2025 Directed by: Bob Freville Written by: Bob Freville Starring: Mackenzie Keyes, Scott Dowd, Jimmy Donohue, Matt Tanzosh A feature dark comedy mystery thriller written and directed by Bob Freville and starring Mackenzie Keyes, Scott Dowd, Jimmy Donohue and Matt Tanzosh. Filmed as a found footage film utilising a Canon mini-DV camcorder and an iPhone 13 Pro, the plot concentrates on the aftermath of a terrible incident and four youngsters, Lisa (Keyes), Jason (Dowd), Danny (Donohue) and Alan (Tanzosh) are interrogated individually regarding the crime, which involves three online influencers who go to a house that was once the scene of a gruesome murder. What happened? The interrogators (apparently the police, they are actually off-screen throughout) try to figure out what happened and the four friends will tell their version of events. The concept is interesting: a bunch of people being interrogated in relation to a crime for which they might be the perpetrators. The screenplay is constructed in a way that prioritises character development over a plot. The vast majority of the film involves the four friends being interviewed alone in separate rooms, being asked about the crime and about themselves and responding with naivety and sarcasm. All this alternates with scenes in the past leading to the fateful event, with the four of them socalising and driving around and scenes involving the three online celebrities (played by Katelynn Kennedy Staggs, Brian Smith-Brecht and Nic Andrews) as they arrive at the ominous property to film for their show. There are funny parts and the characters are intriguing, however, for one thing, the pace is slow and the fact that the camera is often still during long takes and music is almost entirely absent makes the viewing...well, not very exciting. The film relies heavily on the dialogue in order to be appealing, which often references films and real crimes and includers a fair amount of dark humour. Regardless, this does not seem to be enough to support the entirety of the one-and-a-half hour duration and as a result, the viewing feels overlong. This feature gains from good performances. One who stands out is Jason, a hot-tempered guy, played energetically by Dowd and Tanzosh also holds his own as Alan, an apprehensive dude wearing a neck brace. And Staggs should be acknowledged for her portrayal of a charismatic online personality. The script often looks into true crime and murder and it serves as a commentary about people's fascination with true crime. Additionally, self-reflection and friendship play significant roles, as do naivety and sarcasm. This feature is currently streaming on Relay and is available on VHS from Janice.click. The dialogue is probably the strongest aspect, however, taking under consideration that there is hardly a plot, this film might struggle to find an audience. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Apotheosis film review by UK film critic Jason Knight. Starring Rene Leech, Dor Gvirtsman, Jane Casserly, Ross Turner directed by Max Pearce. HOME | FILMS | REVIEWS Apotheosis Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 21, 2022 Directed by: Max Pearce Written by: Max Pearce, Maria-Sara Santoro Starring: Rene Leech, Dor Gvirtsman, Jane Casserly, Ross Turner In a futuristic world where genetic engineering has expanded, a young aerospace engineer goes through the demanding process that will hopefully lead to her dream job. Selene (Leech) lives with her mother (Casserly) and they are struggling to make ends meet. One reason for that is because science began creating genetically engineered humans, capable of performing tasks more efficiently than normal people. Hoping to make things better for the two of them, Selene decides to apply to become part of the first space colony, which is headed by Fred Rusk (Turner), who is the father of her friend Fabrizio (Gvirtsman). Fabrizio is genetically modified and is also planning to go to the colony. Selene must overcome the obstacles and reach her goals. Produced by students at the University of Southern California, this interesting short dystopian sci-fi drama has similarities to the 1997 science fiction film Gattaca , as they both have plots that deal with genetic engineering and pursuing one's dream. The screenplay effectively creates a world where simple humans are being pushed aside in favour of people who have been 'designed' to be better and it provides examples regarding how natural people suffer as a result of this scientific advancement. The main focus are the theoretical and physical tests that Selene has to pass, in order to qualify for a position in the colony. She works very hard and even utilises biological technology. The narrative also explores the effects that her application process has on her relationship with Fabrizio. The mise-en-scene contains elements often seen in the sci-fi genre. There are brief scenes that take place in space, extraordinary buildings and peculiar devices such as a bionic arm and a device that attaches to a person's back. Praise goes to Sonya Berg for working on the costumes. John Burroughs Hanle develops beautiful cinematography and David Myles Lewis makes a great contribution with a score that is dynamic and dramatic. Recognition also goes to the closing credits. The characters are well-explored and Leech is likeable as a strong and intelligent individual who is determined to achieve her ambitions in a world that is being dominated by genetic engineering. Casserly does a good job as her supportive mother and Gvirtsman is convincing as Selene's friend, who in some ways becomes a rival. From start to finish, this film is an intriguing viewing that includes themes regarding family, friendship, support, never giving up and the consequences of genetic engineering. It will most likely appeal not just to science fiction fans, but to those who appreciate good storytelling and character development. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

First One Away film review by UK film critic Jason Knight. Starring Dan Skinner, Angus Imrie, Robbie Scotcher, Brendan Wyer directed by Zak Harney. HOME | FILMS | REVIEWS First One Away Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 4, 2021 Directed by: Zak Harney Written by: Billy Reed Starring: Dan Skinner, Angus Imrie, Robbie Scotcher, Brendan Wyer A group of men find out something extraordinary about one of their friends. Five male friends are sitting at a table in a pub, chatting. Then one of them, Paul (Skinner) announces that it is time for him to go. However, his friends remind him that he is the first to leave and therefore he needs to tell them a joke or a story, as those are the rules between them. So he proceeds to tell them a story regarding his past. When Paul was young, his father passed away and he and his relatives frequently laid flowers on his grave and one day he noticed that the grave next to his father's never had any flowers and it consisted of a simple wooden cross with a wooden sign nailed to it which bore the name of the departed. Feeling sad for this, Paul began laying flowers to that grave as well and even started talking and singing to the deceased person. Then he noticed the name and it seemed familiar. Curious about this, he decided to find out who that person was. His decision to do so changed his life forever. This short is a dark comedy that is filled with clever dialogue and surprising revelations. It is amusing listening to Skinner's narration and watching his friends react to his story. There is also suspense as Paul's younger version attempts to discover the indentity of the one next to his father's grave. The narrative keeps cutting between the men at the pub and flashbacks that show young Paul's determination to learn who the late person. The filmmakers utilize interesting techniques in order to blend the present with the past. Occasionally, a character from the present suddenly appears in a flashback and even interacts with a character who belongs in the past. When this happens, the film moves back to the present, back to the pub. There is also a rather clever part, during which young Paul speaks and his voice is replaced by older Paul's voice. By using this smart technique, Paul narrates the story and puts words in the mouth of his younger version simultaneously. Skinner's voice-over works well through the story and effectively brings the scenes together. Skinner is convincing as a friendly man who tells his incredible story to his friends who are quite mesmerized by the events he describes. Imrie does a great job as the young Paul, portraying a warm-hearted individual who is willing to do the right thing. Nathan Baker and Alex Neofitou worked on the editing and created two montages that make good use of fast cutting and superimposition techniques and include still images. Ciaran O'Brien delivers beautiful cinematography and composer Quentin Lachapele's sentimental music helps create the right atmosphere. This short film has great performances, good plot twists and tells the story of how a man's actions changed the course of his life. It suggests that one never knows where life is going to take them and that life is full of surprises. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Manuscript film review by UK film critic James Learoyd. Starring Lucian Grozav, Diana Irimias, Adrian Gyorgy directed by Lucian Grozav. HOME | FILMS | REVIEWS The Manuscript Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: May 4, 2026 Directed by: Lucian Grozav Written by: Lucian Grozav Starring: Lucian Grozav, Diana Irimias, Adrian Gyorgy Lucian Grozav’s The Manuscript is a film beguiling in concept but tonally confusing in its execution. This near 30-minute Romanian piece tells an intriguingly insular story belonging to the sci-fi genre. Much like Blade Runner , we open on a gripping series of captions which establishes the world of the film and the abstract conceit we’ll have to keep in mind – that a group of people from various scientific, educational, agricultural professions have been tasked with building a new society on Mars; we follow the one and only philosopher employed by this program, tasked with writing a religious text for a new people. For its ethical complications and futuristic musings, this is a terrific setup which immediately grabbed this critic. It’s interesting, therefore, that the creative angle the writer-director-star takes from that point is one of domestic realism, slow reflection and sly referential aesthetics. While watching, I attempted to draw comparisons between Grozav’s film and anything at all similar to such an unusual and tonally mixed creation. The closest, one could argue, is Jean-Luc Godard’s Alphaville ; belonging to the canon of the French New Wave – utilising audacious formal traits commercial audiences are not used to – yet also clearly being something you can label as pulpy genre-fare. It’s a work of dystopia and of science-fiction, with a deeply personal, transgressive vision driving how we interpret the story. Similar to The Manuscript , it’s also a film which uses urban photography in a way that’s meant to suggest a strange, alternate future (despite the respective towns and cities looking as they do normally for the most part). Continuing with this theme of city photography, the film makes very obvious and pointed reference to Manhattan through its use of a George Gershwin soundtrack. I would argue that this is too obvious for its own good, and is also truly drawn-out to the point of it being unignorable. The filmmaker clearly wishes the viewer to place this work in parallel to the controversial 1979 release. This theme also announces a massive departure from the Kubrickian ambiguity of the opening act. What it ultimately adds to the piece, one supposes, is some kind of self-reflexive mixture of sentimentality and ostentatious editorial flare, but I think it could do without it. As a whole, it’s admirable to see a no-budget ‘genre’ movie - made, impressively, by only one person - take the more difficult route to success. Unwilling to compromise its big ideas for a conceit more aligned with your conventional shoestring short, The Manuscript successfully manages to channel its ambition via a minimalistic approach; using unremarkable settings and normal moments to express something abnormal and cerebral. To use a completely random example that springs to mind, consider how Jim Jarmusch managed to make such a great vampire movie in Only Lovers Left Alive despite it mostly being just two individuals chatting in a room. There’s a similar filmic philosophy at play here. By the end, what we have is a work, seemingly calculated and challenging by its opening approach, turned sentimental and – though not quite indulgent – perhaps overly playful with its previously tactile ideas. Yet this critic greatly enjoyed the experience of watching much of this movie. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, World Cinema < All Reviews Next Film Review >

. Brand new film trailers. Wild Foxes Wild Foxes is a French language coming of age drama directed and written by Valéry Carnoy and starring Samuel Kircher, Fayçal Anaflous, Jef Jacobs and Anna Heckel . It won the Europe Cinema Label for best European Film as well as the SACD Coup de Coeur’s Award at the Cannes Film Festival Directors’ Fortnight 2025 . The SACD Coup de Coeur’s Award recognises the best French-language feature and highlights impactful, emerging filmmaking. At a sports boarding school, talented young boxer Camille narrowly survives a fatal accident, saved by his best friend Matteo. After a swift recovery, an inexplicable pain gradually takes hold of him, threatening his dreams of greatness and his position in the team. Camille soon realises that the battle lies not only in the ring, but in discovering who he wants to become. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Shudderbugs film review by UK film critic Rachel Willis. Starring Johanna Putnam directed by Johanna P utnam. HOME | FILMS | REVIEWS Shudderbugs Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Mar 26, 2025 Directed by: Johanna P utnam Written by: Johanna Putnam Starring: Johanna Putnam The ability to dream of things that happened or will happen is part of the family mythology that permeates writer/director (and star), Johanna Putnam’s film, Shudderbugs . As we learn from Sam (Putnam), shudderbugs was what her mother, Eliza, called the eerie premonitions and feelings that allowed her to know when something was going to happen. After Eliza’s death, Sam begins having these same feelings as she explores what happened to her mom. Grief, and the whys that surround death, are the main focus of Putnam’s quiet, contemplative film. We learn through a slow unfolding that Eliza’s death was unexpected. A visit with Sam for her birthday was big on Eliza’s mind, as we see reminders throughout the house of the expected visit. The first inkling that something isn’t quite right occurs when Sam can’t find her mother’s dog. Then, the neighbor acts very strangely. The results from her mother’s autopsy require further tests. Sam’s suspicions grow as she uncovers new pieces of information while spending several days in her mother’s rural house. The setting of Putnam’s film, upstate New York, speaks to tranquility. The gorgeous surroundings make it hard to feel that something is amiss, but there are moments that unnerve: sounds from inside the creaky old house, dolls set up in cribs and highchairs around the garage attic, and the neighbor who is wonderfully “off.” It’s hard not to be sucked in to the mystery, especially as Sam starts to experience her own shudderbugs. The film starts off very strong, but it never quite pulls off the sense of dread that’s expected with such unusual circumstance. Sam carries the vast majority of the film. Unfortunately, Putnam’s talents are far better behind the camera. Her acting is fine, but not the caliber needed for such a quiet character study. However, for all the weaknesses, the film’s strengths are far more engaging. The writing is exceptional, and the unsettling questions that surround an unexpected death lend themselves well to the film. While there are some moments that stumble, the overall experience is worth the time. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Emotical film review by UK film critic William Hemingway. Starring Ellis E. Fowler, Omari Washington, Zaria Simone, John F. Thomas directed by Ellis E. Fowler. HOME | FILMS | REVIEWS Emotical Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Dec 24, 2023 Directed by: Ellis E. Fowler Written by: John F. Thomas and Ellis E. Fowler Starring: Ellis E. Fowler, Omari Washington, Zaria Simone, John F. Thomas Stop me if you’ve heard this one before. At some point in the future, at least we must assume it’s the future as there’s no introductory information to help ease the viewer into the scenario leaving us to glean whatever information we can from the rather substandard dialogue, an all powerful military AI named Arch-One has gone rogue and has mobilised its robot army to seek out and destroy mankind. The robots, which are audibly described as drones, are connected to a hive-mind and Arch-One by a wireless link and this link needs to be severed if our plucky heroes are to stand any chance of getting out of the situation alive. What situation is that? I hear you cry – but to be honest it’s not exactly clear. The four supposed soldiers we’re following are busy crouching down in an office in an undesignated building for, as far as we are told, absolutely no reason. They talk about how they might get out of the situation and hint badly through perfunctory dialogue about what might happen to them if they don’t. During this really bad scripting we are also introduced to Capt. David (who does have a last name, it’s just never mentioned), a Captain apparently only by designation. Nobody has any military gear on, there’s no rank, symbols or insignia to identify them as soldiers and frankly it seems like there’s not been a day of military training experienced by any of the four of them. It’s literally just three dudes and a girl hiding behind a desk. So, with all of this assumed set-up you’d think that it might be time to get into the scenario proper, maybe with a little bit of backstory or perhaps some expository information to help deepen the world that we are now exploring. But you’d need to think again. Instead what happens is that two of the characters start having a domestic right in the middle of the mission, apparently out of nowhere, and start having it out over past difficulties in their now ended relationship. As Erik (Washington) and Britney (Simone) keep arguing and begin shouting at each other, Justin (Thomas) then sticks his oar in as Britney’s new squeeze and the heightened argument just gets louder and bigger as the men stand up and face-off against one another. Just remind me – these are supposed to be a crack team of soldiers in a military organisation, right? While the relationship thread takes over the entire middle half of the film and any actual plotting is sidelined into the peripheries, Capt. David (Fowler) just lets them have at it, only coming in to quieten things down when the rather ineffectual robots get too close with their infra-red eyes. Apparently they don’t have good audio receptors to pick up on the shouting even though they explicitly verbally communicate with one another. When the overarching plot does eventually kick back in all interest and integrity in the short film has been lost as everything we’ve seen and heard up to now has been completely farcical. Helming the entire operation of Emotical and giving himself a starring role as Capt. David is Ellis E. Fowler. He wrote and produced this project along with John F. Thomas (who plays Justin) and also took on the roles of editing, visual effects and producing some of the music. With all of this, Fowler likes to credit himself as a ‘creative polymath’ although he’s really stretching things a bit there as he shows a bare minimum competence in any of the roles he takes on, especially script writer and story editor, let alone showing that he can excel at any of them. The direction is serviceable and the visual effects useful, if a little easy to come by, but the rest of the production is invariably amateurish and only serves to furnish a bad story with a less than adequate mode of presentation. In the end there is one line about getting ‘those codes to headquarters’, which I suppose will have to do in terms of plotting and motivation for this nine-minute piece, but nothing really makes sense in Emotical and there’s not an awful lot of skill or intent to help the audience engage. If you’re a veteran of the Syfy channel and are used to badly written science fiction then Emotical might give you nine-minutes of diversion from your life but for everyone else this is definitely one to avoid. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Father's Day film review by UK film critic India Gwyn-Williams. Starring Dennis Sanchez, Travis Campbell, Preston Wolf directed by Steve Beauregard. HOME | FILMS | REVIEWS Father's Day Film Review average rating is 3 out of 5 Critic: India Gwyn-Williams | Posted on: May 27, 2026 Directed by: Steve Beauregard Written by: Steve Beauregard Starring: Dennis Sanchez, Travis Campbell, Preston Wolf Father’s Day is a debut feature by Steve Beauregard. It tells the story of Quinn (Dennis Sanchez), who has 87 minutes to find and question a young, homeless alcoholic. He has shared the task with a lifelong friend Steve who acts as the cameraman, and Evert, who was hired for transport purposes. The number of characters and limited setting near a forest river determines the small world of the film. It is through clever dialogue and storytelling that its wider context is slowly revealed. Arguably such concepts are the leading strengths of a film which offers a strange circumstance. There is a deep mystery created by the secretive dialogue, which withholds the full context but drops unfamiliar terms and meanings that belong to it. By essentially breadcrumbing the audience with unexplained information, we are kept engaged and committed to the plot which promises a revelation. The eventual disclosure of the character’s circumstance delivers well and it directly affects the audience's position. A rule of the interaction Quinn hopes for is that every second must be recorded. Therefore, the audience are somewhat in debt to the cameraman who is the only reason our viewership is considered in the world of the story. This combined with the fact we are seeing through Steve’s eyes encourages viewers to associate more with the characters who introduce and close the film, despite not sharing their understanding of the situation. When this is revealed, the audience end up relating more with Jack’s outsider position. In turn the characters who the camera has been loyal to, become the outsiders. This manipulation of viewership and context favours the viewing experience. As the main protagonists, Jack and Quinn have the most identifiable personalities. However Steve and Evert lack the same developed, detailed character. They are distinguishable in their attitude to their responsibilities in the story - Evert’s rebellious streak makes him a liable character in its trajectory. He is more self-centred than Steve, who shares a friendship with Quinn and is therefore more careful with his obligation. Their contrasting dynamic is enough to provide some entertainment value, but it had potential to create an additional narrative depth if their characters had been developed more. Similarly, the narrative between Jack and Quinn would have benefitted from dialogue that gradually increased in emotional depth and understanding or connection. The strange circumstance of the characters, which is cleverly hinted at from the beginning, instead causes rifts in their conversation. The development of their dialogue is often interrupted by spikes of confused questioning or misunderstanding, which sacrifices the sentimental aspect of their interaction. However by evading this choice, the disclosure of Quinn and Jack’s circumstance has a deeper, dramatic impact. Overall, Father’s Day tells an interesting, surreal story, while keeping characters and even the audience at a distance until a final, significant revelation which alters the viewing experience. Buy UKFR Banner Space About the Film Critic India Gwyn-Williams Indie Feature Film < All Reviews Next Film Review >

Stuck on the Corner of Hope film review by UK film critic James Learoyd. Starring Johnny Capuano, Amanda Cox, Gabrielle Cody directed by Chris Guzzo. HOME | FILMS | REVIEWS Stuck on the Corner of Hope Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jul 4, 2025 Directed by: Chris Guzzo Written by: Christopher Lafferty, Chris Guzzo Starring: Johnny Capuano, Amanda Cox, Gabrielle Cody Stuck on the Corner of Hope is a slightly difficult film to reckon with. It’s a 38-minute-long drama which packs in a great many ideas and conflicts, but thematically never feels as elegant as it should. It tells the story of a man whose partner is revealed to have a terminal illness – he then proposes to her, confirming his love for her and his emotional support for her situation. Except – cut to a year later, and our protagonist has fallen out of love with his lovely wife. Not only has he fallen out of love, but he now seems to actively resent her presence in his life, even when it doesn’t appear to be so taxing. But the truth is that he’s in love with another woman, which gets even more complicated when it turns out his wife is pregnant. What a piece of work this guy is! Let’s speak a little regarding tone since this film cannot quite pick a lane. It could have had a little of the thematic resonance of Michael Haneke’s Amour in which we see the psychological toll taken on the carer of a loved one. Or, alternatively as opposed to realism, it could have completely leaned into its satirical sensibilities and gone full on Le Bonheur with an ironically vibrant, poetic depiction of male ego. The film’s fluctuating tone can’t quite handle either, which is a real shame because the two main performers demonstrate that they can evoke those different styles of acting. There’s some undeniably adept filmmaking on show here. The camerawork is sharp and slick. There’s also a clever use of colour grading which evokes a kind of dour French thriller feel. Other strengths include the blocking and lighting – all quite professionally executed. Surprisingly enough, the audio is almost flawless and, in terms of the sound design, goes technically unnoticed. I’d like to commend the filmmakers for attempting to deconstruct the yucky, self-destructive nature of our protagonist’s persona. The ending ties together his ironic fate in a satisfying manner which leaves the viewer with a positive impression of the story – and yet to get to that point at minute 37, we’ve had to suffer with this guy who, unfortunately, gives us little reason to care about his perspective. All the strength lies in it being a cautionary tale, but if interpreted the wrong way could be taken as quite the mean-spirited movie. Despite its many strengths regarding the sound, cinematography and performances, there is something very unnatural about Stuck on the Corner of Hope . As an audience member, you’re certainly taken on a journey – through its many twists and turns – but it’s hard to know whether said audience would remain emotionally engaged. Though, in a sense, this film is opting for a more Brechtian, objective spectator experience; heightened personas in morally compromising or questionable situations. It’s unfortunate, therefore, that the script lacks a level of complexity, and the tone lacks consistency, to fully pull off this ambitious feat. Even still, this is a well-made, technically competent movie. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Fried film review by UK film critic Patrick Foley. Starring Richard Goss, Jake McDaid, Marcus Massey directed by Jessica Crooks. HOME | FILMS | REVIEWS Fried Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 24, 2023 Directed by: Jessica Crooks Written by: Richard Goss Starring: Richard Goss, Jake McDaid, Marcus Massey Credit to the filmmakers behind Fried, it takes some impressive writing to make a film where half of the screentime is taken up by two drunk 30-somethings sitting on the couch lamenting on how terrible their lives are pretty damn engaging. The film is segmented into four chapters, tracking the descent of roommates Robert (Richard Goss) and David (Jake McDaid) from depressed nihilism into rage-fuelled madness as they deal with the miserable reality their lives have become. Stuck in dead-end jobs where overbearing managers delight in making their lives a misery, the pair feed off of each other’s frustration until unthinkable acts of rage become reasonable paths out of their circumstance – fuelled by excess amounts of alcohol. Robert’s manipulation of Dave becomes increasingly sinister – and the pair cross a line which puts them in a desperate situation. Fried explores a darkness in modern life that leaves all but the super-rich in a rat race for the next paycheque, unable to escape dead-end jobs or depressive monotony. Robert and Dave’s everyday existence is a struggle, and most of their time is spent exhausted on their couch contemplating just how their lives came to this given that they survive with barely enough to get by. It’s a sadly relevant experience for many during the cost-of-living crisis – especially for those living in London. The film never really establishes a timeframe over which the film is set, which means quite effectively unsettles the audience and reinforces a sense that the lives Robert and Dave live are stuck in the same place and in an unending loop. The eventual extreme steps the pair take bring the film into American Psycho territory, where capitalist excess is convincingly used to demonstrate that the inherent lessons of how society is constructed are enough to drive people crazy. Robert and Dave are losers – treated with barely hidden contempt by colleagues and customers, who end up worse off for their efforts to improve their lives. They can hardly be described as likable, but there is a truth in their frustrations – even Robert’s furious rants. The film’s exploration of mental illness adds further depth, and shows how society’s habit of looking for increasingly ineffective solutions is flawed as opposed to treating root causes. Jake McDaid captures the vulnerability and insecurity of Dave remarkably. Dave is manipulated by Robert’s unhinged rants and sinister ideas – though not above allowing his own anger to motivate his own thoughts. Dave could easily have been an unsympathetic figure, but McDaid’s ability to portray his life as out of control means the film’s depressing but complicated message of a world which causes figures like Dave to do terrible things comes through loud and clear. Richard Goss’ performance is more extravagant and overstated, but the character dynamic that is revealed between the two means this styling is vindicated. Fried has a dark and cynical heart. But the twists and turns of this short story and what it has to say about life during difficult times is a wickedly enjoyable-yet-brutal tale. Audiences probably ought not to take the same lesson Robert and Dave do, but the message of the filmmakers is an important one. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Web Series < All Reviews Next Film Review >