Untitled Home Invasion Romance film review by UK film critic Hope Madden. Starring Jason Biggs, Meghan Rath, Arturo Castro, Anna Konkle directed by Jason Biggs. HOME | FILMS | REVIEWS Untitled Home Invasion Romance Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jan 28, 2026 Directed by: Jason Biggs Written by: Joshua Paul Johnson, Jamie Napoli Starring: Jason Biggs, Meghan Rath, Arturo Castro, Anna Konkle Jason Statham is doing what Jason Statham does in a new thriller hitting screens this week. But did you know that Jason Biggs, known mainly for being a likeable dork who makes bad decisions, is doing just that as well this week? Actually, with his latest film Untitled Home Invasion Romance , Biggs does stretch a new muscle. The American Pie star directs. It’s his first go behind the camera and, much thanks to a game cast and a surprisingly dark script from Joshua Paul Johnson and Jamie Napoli, he delivers an unexpected delight. Biggs plays Kevin, an actor known best for his role in erectile dysfunction treatment ads. But Mr. Softy has decided to play rough. Just play, though. In an attempt to win back his wife (Meaghan Rath), he’s planned a weekend getaway where another actor (Arturo Castro) will pretend to break into the house, giving Kevin the opportunity to play the hero and win back Suzie’s love. It backfires, obviously. And indeed, the set-up is so obvious you may be tempted to give up on Untitled Home Invasion Romance . I was. But stick it out, because not only does the film get zanier by the minute, but Biggs manages an impressive feat of tone, humor, and sly feminism. Rath delivers nuanced comedy with a restrained but important physical performance. The action in the film is big and showy, but the comedy is a bit more low key. Micro, even, like the micro-aggressions both Suzie and police chief Heather (Anna Konkle) tolerate from the men around them who insist on taking care of things. At a certain point, the underlying comedy of sexual politics takes over the larger-than-life home invasion plotline, but Biggs and cast have done such a wonderful job of charming and alarming that it feels both wildly out of place and exactly necessary. A comedy this likeable and smiley, that’s simultaneously twisted and dark is tough to come by. Because a lot of people meet grisly ends, and most of them are actually pretty nice. Not the lawyer, though. Screw that guy. Credit Biggs for stretching. Not the performance—Kevin is, to the letter, your garden variety Jason Biggs character. But the director knows how to wring a little something different out of his work. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Last Looks film review by UK film critic George Wolf. Starring Charlie Hunnam, Mel Gibson directed by Tim Kirkby. HOME | FILMS | REVIEWS Last Looks Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Feb 3, 2022 Directed by: Tim Kirkby Written by: Howard Michael Gould Starring: Charlie Hunnam, Mel Gibson “I looked up and there she was, the dame I thought I’d left behind a lifetime ago. Would she find what she came back for? Well, one thing’s for sure, getting that answer was going to hurt one of us.” Nobody says that in Last Looks . In fact, there isn’t any leading, dramatic voiceover at all, which turns out to be a pleasant surprise for a neo noir mystery that manages to entertain in spite of its missteps. Charlie Hunnam (also an Executive Producer here) stars as Charlie Waldo, a disgraced ex-cop in L.A. who has retreated to a life in the woods with a vow to not own more than one hundred things. “And you kept that hat?” asks former flame Morena Baccarin (Deadpool ‘s Lorena Nascimento). She’s tracked Charlie down with a lucrative offer to get back in the game. It seems celebrated actor Alistair Pinch (Mel Gibson) has been accused of murdering his wife, and the defense team could use Charlie’s old sleuthing skills. Charlie declines, but when word is leaked that he actually accepted, he hops on his bicycle and heads down to Hollywood to set the record straight, which of course proves harder than he imagined. Suddenly Morena is missing and presumed dead, and Charlie suffers repeated beat downs while studio bigwig Wilson Sikorsky (Rupert Friend) throws money at him to spend just one day with Alistair before swearing off the case entirely. Pinch is a blackout drunk who stars as a judge in a gleefully over-the-top show called “Johnnie’s Bench,” and Gibson, like him or don’t, doesn’t waste the chance to be the highlight of the film. Leaning into lines such as “I’ve fathered children and taken out mortgages I can’t remember,” and being quick to put up dukes at the slightest umbrage, Gibson seems to relish getting cheeky with his own image, and it’s a hoot to behold. But director Tim Kirkby (Veep, Fleabag, Brockmire ) and writer Howard Michael Gould (adapting his own novel) can’t quite decide just how cheeky they want Last Looks to be. Hunnam brings a solid and sympathetic anchor while the strong ensemble surrounds him with deliciously exaggerated performances, snappy retorts and vampy character names like “Big Jim Cuppy” and “Fontella Davis.” But just when you’re thinking The Nice Guys , Kirkby overdoes the noir shadings with a turn toward L.A. Confidential . It never reaches either destination, going at least 20 minutes out of its way to end up somewhere in the middle. But when it lands, Last Looks carves out a throwback mystery that’s engaging enough, and – whenever Gibson’s around – even devilish fun. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

The Farm film review by UK film critic Jason Knight. Starring Alicia Kelley, Austin Chunn directed by Ryan Pace. HOME | FILMS | REVIEWS The Farm Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 23, 2023 Directed by: Ryan Pace Written by: Ryan Pace Starring: Alicia Kelley, Austin Chunn A couple live in an isolated location and try to live life. Catherine (Kelley) and Tom (Chunn) are a married couple who live on a farm that used to be run by Tom and his late father. They have been there for a year, living a quiet life, just the two of them, with Catherine working in the healthcare industry and Tom attempting to make the farm operational again. As time goes by, they make the most of what they have, yet both of them are facing inner struggles. A rather moving story about the relationship between a young couple and the emotional challenges they are going through. The whole narrative takes place at the farm, making it seem like that is the couple's entire world, an isolated house, surrounded by nature. Generally, the pace is slow and the screenplay effectively explores the couple's loving relationship, making it clear that they love each other dearly. However, they both have internal wounds, with Tom struggling to come to terms with the loss of his parents and Catherine's inability to get pregnant. The narrative pretty much balances the goods and the bads of the couple's situation, with scenes showing their happiness and scenes where they get to express their sorrow. There is heavy drama throughout and tender moments and things move towards life and death circumstances during the climax. Both Kelley and Chunn are terrific in their portrayals of two people who are united by love, yet their inner pain threatens their bond. Although they have differences, including the work they do for a living which is quite different from each other, the way they interact with a child that they babysit clearly indicates that they both would make loving parents. The voice-over they provide also gives the viewer an opportunity to understand their emotions. As mentioned, the pace is slow, which is not a bad thing, however a great deal of time is spend on Tom as he works around the farm, particularly when he deals with a faulty motor vehicle. Although this reveals how dedicated he is, perhaps it would had been better if the script used this time to explore the characters more. Pace does a terrific job as the director, creating marvelous shots of the countryside that capture the beauty of nature. The slow motion parts look great and huge commendations go to composers Rachel F. Williams and Emmanuel Abrudean for the mesmerising music that develops powerful emotions. Richard Sanborn and Adam Bova also deserve praise for the editing that includes creative dissolve techniques. This feature is an emotional story about inner pain and love, loss and guilt, told through the perspective of a couple who are somewhat separated from the rest of the world. The story also points out the joys of having someone for support and to care for and the blissfulness of living a quiet life in the countryside. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Final Destination: Bloodlines film review by UK film critic Kieran Freemantle. Starring Kaitlyn Santa Juana, Ted Briones, Rya Kihlstedt, Richard Harmon directed by Zach Lipovsky, Adam B. Stein. HOME | FILMS | REVIEWS Final Destination: Bloodlines Film Review average rating is 4 out of 5 Critic: Kieran Freemantle | Posted on: May 21, 2025 Directed by: Zach Lipovsky, Adam B. Stein Written by: Guy Busick, Lori Evans Taylor, Jon Watts Starring: Kaitlyn Santa Juana, Ted Briones, Rya Kihlstedt, Richard Harmon The Final Destination series returns after a 14-year break and sees a whole family needing to evade death. Stefani Reyes (Kaitlyn Santa Juana) is suffering from a recurring nightmare about a disaster in the 1960s. The woman who survived (Brec Bassinger) is called Iris, and Stefani believes she might be her estranged grandmother, so she returns home from college to get answers, However, this leads to opening family scars and awakens Death’s wrath. The Final Destination series had been financially successful, but critically much more divisive. Final Destination: Bloodlines has received the best reviews in the series, deservedly so. This film had some more prestigious writers: Jon Watts of the MCU Spider-Man films co-wrote the story, and one of the credited writers was Guy Busick, a writer who worked with Matt Bettinelli-Olpin and Tyler Gillett, the team behind Ready or Not, Scream 5 and 6, and Abigail. Busick’s presence was felt in the sixth entry. It was a darkly funny and gory film, whilst also having much more substance than previous entries. Final Destination Bloodlines was about mental health and generational trauma. Stefani’s nightmares had detrimental effects on her, since she was sleep deprived and her college grades were slipping. She inherited her grandmother’s (Gabrielle Rose) and mum’s (Rya Kihlstedt) paranoia; they were unable to live their lives, and Stefani’s family thought she was losing the plot. Mental health themes have been in vogue in recent years, with characters inheriting their parents’ issues, like Hereditary, Last Night in Soho, Smile, and Talk to Me. Final Destination: Bloodlines did this in a more mainstream, popcorn manner. And it was a bloody fun popcorn experience. Stefani was a likeable presence, and her family run the gamut of being nice to arseholes. Since all the potential victims were related, they had more of an emotional connection. Even if one of the members of Campbell clan was a dick, the rest of them didn’t want them to die. Making the potential victims related was a genius move to help shake up the series’ formula, and one character was given more significance than originally thought. Fans of the series will enjoy all the references and Easter Eggs to the previous films. The themes enhance the film, but the appeal of the Final Destination films is the deaths and gore. Final Destination: Bloodlines offered plenty of that. The Final Destination movies have been part-disaster film, part-gore fest, and Final Destination Bloodlines continued that tradition. There’s a sadistic glee when watching people die in an overly elaborate way and seeing bad people getting crushed, set alight, and impaled. As the film series progressed, the filmmakers became more self-aware, and Final Destination: Bloodlines had a darkly funny approach to all the deaths and carnage. I was grinning and laughing like a psychopath when watching the sixth entry. Final Destination: Bloodlines was one of the entertaining films in the series, and the best in story quality. Who would have thought the sixth entry in a series about death could breathe new life into the series? Buy UKFR Banner Space About the Film Critic Kieran Freemantle Theatrical Release, Horror < All Reviews Next Film Review >

Humane film review by UK film critic Hope Madden. Starring Emily Hampshire, Jay Baruchel, Peter Gallagher directed by Caitlin Cronenberg. HOME | FILMS | REVIEWS Humane Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 26, 2024 Directed by: Caitlin Cronenberg Written by: Michael Sparaga Starring: Emily Hampshire, Jay Baruchel, Peter Gallagher When Brandon Cronenberg decided to be a filmmaker—one keenly interested in corporeal horror—it felt both natural and brave. Natural because his father David is perhaps the all-time master of body horror. Brave for the same reason. It turns out, Brandon Cronenberg is a natural. (If you haven’t, you should definitely see his films.) But the family affair doesn’t end with him. Daughter Caitlin Cronenberg’s feature debut Humane sets her slightly apart from the fellas, though. Written by Michael Sparaga, Humane takes place in a near future where climate catastrophe requires that each country on earth purge itself of 20% of its population. A euthanasia program allows citizens to enlist, helping the nation reach its quota, helping the planet survive, and providing government funds to the family bereaved. But with numbers lower than expected, the nation is considering conscription. Cronenberg’s tale focuses on one family in particular. Patriarch Charles York (Peter Gallagher), retired from a storied career as a TV journalist, invites his four adult children (Jay Baruchel, Emily Hampshire, Sebastian Chacon, Alanna Bale) home for an important dinner. Dad, and the kids’ stepmother Dawn (Uni Park), have decided to enlist. With this dinner bombshell Cronenberg sets in motion a realistically cynical look at a government’s opportunistic manipulation of a thinning of the herd. She then zeroes in on the festering effect of privilege on the York children, simultaneously throwing shade at the “salt of the earth” types who are as violently judgmental as their position allows. Gallagher’s great as the martyr desperate to leave a legacy, and Hampshire’s ferociously self-serving villain is a joy. Enrico Colantoni delivers the most fascinating, frustrating character, easily stealing every scene. Humane makes two horror films in a row, following last week’s Abigail , where you don’t really root for anyone. Everyone’s terrible and it’s slightly disappointing that anyone survives at all. Worse, the big revelation that pushes characters toward the climax is unearned. More problematic is that there are two fairly substantial omissions—not plot holes, just conveniently placed gaps in clarification that feel like intentional cheats. Beyond that, the writing often feels slightly behind the times. Jared York’s (Baruchel) claim that he “doesn’t see color” feels more suited to a tale set a decade ago rather than in a near-future dystopia. These writing concerns don’t sink the effort entirely. An intriguing premise buoyed with darkly comedic performances, plus a brisk 90 minute runtime keep Humane entertaining, but it’s hard not to feel a bit disappointed. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Car Sick film review by UK film critic Joe Beck. Starring Jamie Marie Leary, Kathryn Howden, Eoin Sweeney directed by David Hayman Jr.. HOME | FILMS | REVIEWS Car Sick Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Jul 11, 2023 Directed by: David Hayman Jr. Written by: Marcus McPeake Starring: Jamie Marie Leary, Kathryn Howden, Eoin Sweeney David Hayman Jr.’s ‘Car Sick’ is a neat Scottish drama that examines compulsion and isolation in a real world setting, yet whilst it probes these topics in an interesting manner, it fails, just slightly, to truly stick the landing. 

 Car sickness is common - though some suffer more than others - yet ordinarily such sensation occurs when the vehicle is in motion (although to some people - including a relative of this critic - it’s the smell and stuffiness of the car). The sickness experienced by Hannah McCauley (Jamie Marie Leary, however, is twofold - and neither is caused by the car itself. Hannah has a medical problem, or, at least she believes that she does, although the doctors tell her otherwise, and that she is, in fact, in perfect health. The larger sickness facing Hannah is mental, as, compelled by paranoia, fear, and compulsion, she has taken to living within her car inside hospital grounds, so that she is near to the hospital in case her problems get worse, which she believes them to be. Of course, as a doctor points out, any problems will be compounded by eating junk food and living in a car during the harsh Scottish winter, yet nevertheless Hannah soldiers on, even despite the dissuasion of everyone from the doctors, to her mother, to Vincent (Eoin Sweeney), her partner. They look at her incredulously, with her partner even calling her mad, before manipulatively blaming her for ruining Christmas in a ploy to get her to return home - though his intentions are no doubt correct. Hannah is in an eternal state of flux - avoiding calls from work, brushing her teeth into a coffee cup, being woken in the middle of the night by ambulances - yet she nonetheless continues, almost out of stubbornness as if just trying to prove to the naysayers that she is really sick. What the screenplay, written by Marcus McPeake, does so well, is subtly illustrate the state of turmoil which Hannah’s mind is in. The little actions which seem strange to us - i.e. using loo roll as a stand for her toothbrush - are made to seem perfectly natural to her, whilst the rationale and logic presented to her by Vincent and the doctors only alienate her from them and cause distrust and frustration. Hannah is stuck in this place, and though her mother offers support with the addition of christmasy fairy lights to her car, she is very much alone with herself. Jamie Marie Leary understands this in her performance, which is magnificent in detailing the weariness and confusion, as perhaps even Hannah fails to understand her actions, in just the blank expression which becomes a permanent feature of her face. Aided further by a director in David Hayman Jr. who shows a certain understanding of the complexities of the screenplay, ‘Car Sick’ is a thoughtful character study that only falters in its ending, which feels abrupt and contrived, though doesn’t detract from the strength of the twelve or so minutes that precede it. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Song of the Selkie film review by UK film critic William Curzon. Starring Layla Burns, James Robinson, Kerry Browne directed by Kerry Browne . HOME | FILMS | REVIEWS Song of the Selkie Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Feb 22, 2026 Directed by: Kerry Browne Written by: Kerry Browne Starring: Layla Burns, James Robinson, Kerry Browne Song of the Selkie follows Isla (Layla Burns), a young girl who returns to the Scottish Highlands with her father, Craig (James Robinson). Their return leads her to the mystery of the mythical and legendary being, the Selkie. Set over two time periods, the narrative is a mix of two languages (Scottish English and Scottish Gaelic) and an exploration of grief and forgiveness. The piece is ultimately paced as a slow burn, with a meandering depiction of a father and daughter reconnecting as they return to the Scottish Highlands. As the film spans two time periods, the transition between these sequences can feel jarring and difficult to comprehend; however, as the narrative progresses, it ties together wonderfully. While it may take multiple viewings to appreciate its subtlety on a deeper level, this approach is a welcome one that genuinely trusts its audience to follow along. It's a quietly meditative and haunting experience as Isla begins to unravel the truth about her mother’s disappearance, and both central performances from Layla Burns and James Robinson convey their characters' struggles profoundly. The chemistry between both performers is endearing and feels like a raw father-daughter relationship as the two characters grapple with grief over the loss of their beloved wife and mother. Both Jon Burton and Ryan Gibson, serving as the cinematographers, do an incredible job of showcasing the landscapes of the Scottish Highlands while making the experience intimate and thought-provoking. The camera is often positioned close to the actors during scenes of self-discovery or discomfort, allowing the performances to shine in each frame. David Julyan, serving as the film's composer, delivers an evocative musical score that is quietly haunting and striking in its motifs. It's a haunting portrayal of loss and acceptance, deeply rooted in its technical prowess. One of the most surprisingly memorable aspects of the narrative is a wonderfully choreographed dance sequence that feels thematically rich in its purpose during the story and deeply enriches Isla’s character arc. While it may take its time to find its footing, the film is a rewarding and emotionally resonant experience with plot points that piece together wonderfully. The mix of a contemporary setting with the old folklore is constructed perfectly and becomes less jarring as the story delves deeper into the two time periods colliding. The over-reliance on visual storytelling is both a positive and a detriment to the experience; despite the lack of exposition being refreshing, the limited context provided for certain elements of the narrative can become frustrating for the viewer to piece together. Its meandering pace at times can also hinder some of the engagement within the story; that being said, as a directorial effort from Kerry Browne, it's a stunning achievement with splendid direction that may entice viewers to seek out her upcoming projects. Song of the Selkie is an absorbing experience that blends two time periods and explores profound themes of grief and forgiveness. The importance of family and understanding one's grief is a prevalent theme at the centre of the story, and the film never shies away from this. Despite some hiccups in its pacing and some jarring tonal elements, the film is an affecting and gripping piece of filmmaking that ties together superbly in its emotionally resonant conclusion. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

A ho ho whole load of Christmas Film Reviews from the movie critics at UK Film Review. Get your festive spirit going with these Xmas classics. Christmas Film Reviews One of the most important genres known to cineastes, the festive film is a staple of the movie calendar. Here at UK Film Review we aim to please, or if not entertain, so that is why we give back to the masses by offering a relative Santa's Grotto of Christmas Film Reviews for you to gorge on during the festive period...or any other part of the year for that matter. We will cover classics and newer releases alike, and if you have any suggestions for movies we have not covered do get in touch using Facebook and Twitter. Or why not write to Father Christmas himself and see if he can help? As with all our film reviews, this Christmas section will feature the Naughty and the Nice. So you will be able to see what our critics thought of Home Alone and Die Hard (yes it is a Christmas movie) alongside their opinions of that terrible one with Ryan Reynolds that we don't mention. There will also feature any short and indie films that have Christmas themes in them. So if you are a filmmaker with a Festive Movie for us to review, do get in touch and submit your film. If you attach a picture of cookies and milk we may also be less hangry when we review which tends to help. As they say in the North Pole...my hands are freezing...so without further ado take a look at some of these frankly perfect Christmas Film Reviews. Why We Love Love, Actually Chris Olson Dec 19, 2025 4 min read 5 Christmas Films For People Who Hate Christmas Films Chris Olson Dec 18, 2025 5 min read 12 Films of Christmas 2025 and Where to Watch Them Chris Olson Dec 16, 2025 10 min read Santa's Slay Christmas film review UK Film Review Dec 23, 2021 3 min read Holiday Spirit short film review - May 17, 2021 2 min read Christmas in London short film review Patrick Foley Mar 24, 2021 3 min read More Film Reviews

George Wolf writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. George Wolf George “Screen” Wolf, an Ohio State University grad, is co-founder and writer for maddwolf.com as well as being a DJ, voiceover artist, Assistant Production and Program Director and film critic for the Columbus Radio Group (Sunny 95, Rewind 103.5/104.3, Mix 107.9, and QFM96) as well as film critic for Saga Communications radio (25 other markets across the US). George wrote for award winning independent weekly The Other Paper for 5 years, and currently writes for Columbus Underground and the UK Film Review. In Columbus, Ohio, you can catch George on TV every Friday morning on ABC6/Fox28’s Good Day Columbus. George is a member of the Columbus Film Critics Association, and lives in Grandview Heights with his wife, Hope Madden. Their son Donovan lives in L.A. George enjoys music, politics, his Harley, sports, travelling, and, oh yeah, movies! Contact George at maddwolf95@gmail.com . 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Stranger at The Gate film review by UK film critic Jason Knight. Starring Richard McKinney, Dana McKinney, Emily McKinney, Bibi Bahrami, Saber Bahrami, Jomo Williams, Zaki Bahrami directed by Joshua Seftel. HOME | FILMS | REVIEWS Stranger at The Gate Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 24, 2022 Directed by: Joshua Seftel Written by: N/A Starring: Richard McKinney, Dana McKinney, Emily McKinney, Bibi Bahrami, Saber Bahrami, Jomo Williams, Zaki Bahrami A short documentary about Richard McKinney, an individual whose anger towards Islam almost led to a devastating event. Through interviews, photographs and archive footage, this documentary analyses a remarkable story about a person who had found himself in a dark place and as a result, believed that violence was the only answer. The person that the documentary revolves around is Richard McKinney, a U.S. Army veteran, who fought in the Middle East and Somalia. Having returned to the States, he was filled with anger and hatred towards Muslim people and decided that he was going to blow up the Islamic Center of Muncie, in Indiana. Fortunately, after coming into contact with people at the mosque, he realised the errors of his intentions and ended up becoming a Muslim and even president of the centre. As Richard is being interviewed, he talks about his past, why he started hating Muslims and what motivated him to cancel his plans for the bombing. Other interviewees include Richard's wife Dana and her daughter Emily, both of which provide an insight into what it was like living with him. Other interviewees also include Muslims who are associated with the mosque and they include Dr. Saber Bahrami, his wife Bibi and their son Zaki. Listening to the interviewee's experiences is fascinating, informative, moving and together they tell quite a story. There are many photographs of the people who are interviewed and they provide information regarding their past. The archive footage includes conflict in the Middle East and the September 11 attacks. The tense and dramatic score that is provided by Meredith Ezinma Ramsay is a great contribution that makes the moments more powerful. Jeremy Medoff and Eric Metzgar worked on the editing and did a fine job. This half-hour-long documentary provides a memorable insight into an astonishing story that could have been a movie script. The experience of viewing this encourages the idea that one must turn their back on hatred and violence and reveals the importance and joy of embracing good. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

Everyone film review by UK film critic Jason Knight. Starring Yasaman Mohsani, Jules Brown, Che Watson, Flynn Matthews directed by Marcus Flemmings. HOME | FILMS | REVIEWS Everyone Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 27, 2024 Directed by: Marcus Flemmings Written by: Marcus Flemmings Starring: Yasaman Mohsani, Jules Brown, Che Watson, Flynn Matthews A great deal of drama is taking place inside a restaurant. This feature drama follows the lives of several customers and a waitress as they dine in a fancy London restaurant and have meaningful conversations and arguments. The customers are split into groups, each table with its own issues. The diners consist of Rich (Matthews), a famous football player and his agent, Tom (Watsone), Sasha (Ella Bardot), a young model and her mother (Saria Steel), a trio consisting of a woman and two men, sitting next to each other, four siblings and a man sitting by himself named Jack, who strikes up a conversation with Ella (Mohsani), the waitress (apparently, Ella is the only waitress in that restaurant). The well-structured screenplay alternates between the tables, constantly moving from one conversation to the other and the story takes place in real-time. Over the course of an hour-and-a-half, the viewer will get to know the characters and their situations and experience heavy drama and also some dark and adult humour. The atmosphere switches between awkward, light-hearted or serious, with the subjects of life-changing discussions including loyalty, relationships, family values and self-expression. In order to provide a clearer picture, a brief description of the conflicts at each table would help: Tom is trying to convince Rich not go sign up with another agency, Sasha forces her mother to follow her wishes, Rob (Mitch Hewer) is struggling to understand the relationship that is going on between him, a woman and a man, the four siblings have hard feelings between them and insult each other and Ella builds a strong bond with the lonely stranger. Although each discussion has its own subjects, they have similarities as they all involve some sort of conflict, or at least self conflict. It should be mentioned that an elderly couple is also present in the restaurant, quietly eating. The characters are interesting and diverse when it comes to personality and opinions. Tom stands out as an angry football agent with an in-your-face attitude. Ella is the most uplifting protagonist and her positive attitude encourages her new photographer friend to rediscover his joys. The directing includes many face closeups with the character making eye contact with the viewer. Junior Jackson is creative with the editing and effectively utilises wipe techniques. The dramatic music includes drumming and violin and successfully constructs an atmosphere. There is a part where the film turns into a black-and-white music video. Although the dancing and song during that sequence are to be commended, the whole part feels out of place in comparison with the rest of the feature. This film is basically a collection of stories that take place simultaneously inside a restaurant and the result is intriguing thanks to the well-written dialogue, the strong performances and the themes that are explored, particularly self-discovery. The ending seems to indicate that even though people can have issues and differences, they can still be united. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Hidden World film review by UK film critic Jason Knight. Starring Emily Deforest, Austin Cassel directed by Anthony Vazquez. HOME | FILMS | REVIEWS Hidden World Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 7, 2022 Directed by: Anthony Vazquez Written by: Anthony Vazquez Starring: Emily Deforest, Austin Cassel A woman is left alone in her house after her partner goes on a business trip. She soon discovers that she is not alone. A young couple live in a large, smart house and one night the man (Cassel) leaves to go abroad for a couple of days for a temporary work assignment. The woman (Deforest) stays at home, with the dog to keep her company. However, a masked intruder breaks in and she finds herself at his mercy. Will she survive? This short thriller is quite a nail-biting ride that concentrates a great deal on the home invasion genre. The majority of the narrative focuses on the poor woman as she is taken prisoner in her own home by the fiend. He ties her up and gags her and then proceeds to torment her in disturbing ways. When unnoticed, she attempts to free herself and use a mobile phone to call for help. The film begins with normality, showing a seemingly happy couple, with the woman being unhappy that her partner goes of on business trips so often. The atmosphere changes dramatically with the appearance of the intruder, bringing the viewers into a world of despair and danger. The screenplay does a very effective job in keeping the audience at the edge of their seat and the unpredictable plot twist will most likely make them want to watch the film again and try to pick up the clues they might had missed before. As the victim of the villain, Deforest's performance is vital in order for the invasion scenes to be terrorising, and she succeeds at that spectacularly, being very convincing at being hopeless and petrified. Director of photography Jared Freeman delivers wonderful cinematography and Matthew Newman and Jordan Seah make a great contribution with the music that they provide, which is sinister and tense, accompanying the scenes very effectively. This twenty-minute-long film is a memorable experience whose greatest strength is creating a dreadful atmosphere. For the most part, it will keep the viewers on the edge and it will then surprise them with the plot twist. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >