Sherbet film review by UK film critic Joe Beck. Starring Jay Simpson, India Brown directed by Danny Gibbons. HOME | FILMS | REVIEWS Sherbet Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Oct 27, 2023 Directed by: Danny Gibbons Written by: Danny Gibbons Starring: Jay Simpson, India Brown Driving through the city at night brings out emotions never really felt at any other time. Whether it be London, New York, Los Angeles, Tokyo or any other city, there’s something about those night lights, especially the neon ones, and the glow they leave in the air which brings out a contemplative side of people. This isn’t merely a state exclusive to the driver, however, passengers more than often will experience a similar reflective state, lulled by the shining city lights against the dark sky. ‘Sherbet’ explores this dynamic between driver and passenger as they travel through the city at night to excellent effect, with thoughtful meditations on life and humanity that wouldn’t come out in any other environment. We’re introduced to Rene (Jay Simpson), a taxi driver who neither looks nor sounds like a Rene, as his passenger Isa (India Brown) makes pains to point out. Rene is a man fed up with life and the world, listening to calming meditations when in between jobs to try and ease the pain of the world on his shoulders. It’s late night when he picks up Isa, who instantly grates him due to her incessant questioning and leaning forward in the car without her seatbelt on. Rene is all rigid and tight up, afraid to let loose a little - though understandably he doesn’t want to lose his licence - the polar opposite to Isa, who appears, at least on the surface, to be filled with enthusiasm for life and the desire to live it to its fullest potential. Isa’s constant philosophising annoys Rene, who’s own philosophy on life is ‘you’re born, you’ve got to be f***ing kidding me, you die’, and his anger bubbles further when Isa pukes in the back of the taxi, though luckily she manages to catch it all. Isa’s constant ‘live while you’re young’ attitude and desire to have fun is at odds with Rene, whose responses become increasingly blunt and sarcastic, fed up of having to listen to a perspective so distantly remove from his own. Writer-director Danny Gibbons establishes this dynamic perfectly, however, then comes the real masterstroke in the his excellently written screenplay, as he delivers a truly shocking twist in the narrative which elevates the film to another level of euphoric deliberation over life. Danny Gibbons screenplay maintains a composure throughout that allows it to reach such highs of thought - creating both two extremely compelling and engaging characters, who are excellently brought to life by Jay Simpson and India Brown’s astonishing chemistry, whilst allowing for lines of thought to become well nuanced and developed. One line in particular, about leaving home and the people you love behind is particularly striking - ‘sometimes you need to leave them to realise how much you miss them’ - in the level of depth behind such a simple line. Gibbons’ excellency in his writing is only matched by his work as director, in which he imbues the film with life and creativity, making the most simple shots pop off the screen with his visually arresting use of lighting. ‘Sherbet’ is a wonderful film of the highest quality, providing such nuanced thoughts about life through the lens of intriguing characters in a manner which both looks and sounds beautiful as a result of the excellent work of writer-director Danny Gibbons. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

It Must be Done film review by UK film critic James Learoyd. Starring Mary Manos-Mitchem, Chad Critelli, Jessica Buck directed by Heather Bayles. HOME | FILMS | REVIEWS It Must be Done Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jan 28, 2026 Directed by: Heather Bayles Written by: Heather Bayles Starring: Mary Manos-Mitchem, Chad Critelli, Jessica Buck It Must be Done is a strange, arresting – but tonally unruly – horror short from writer-director Heather Bayles. The setup involves a woman, who is clearly being abused by her husband, attempting to maintain a genial appearance in front of her two children and orthodox Christian mother. Immediately, we’re in tricky territory. Despite its issues though, this is an impactful piece which is quite well-constructed. There’s a certain level of aggression through which this story is being told that will inevitably turn off some audience members. Whilst it’s a given that any work with a principal interest in domestic abuse as theme will be a tough sell, this one becomes especially hard to swallow due to its heightened tone and performances. And by the end, one can’t help but be left with the nagging question: Is this film exploiting its subject-matter for cheap thrills; or are the filmmakers using the horror genre to tell a deeper story? This critic’s conclusion is that it lands somewhere in between... By mixing such cartoonish genre-based violence with more realistic content and potentially triggering depictions and suggestions, the atmosphere ends up feeling unpleasant and at odds with itself in terms of what it wishes to say. However, by shining a light on a tragically common aggression; and then morphing that into the form of a revenge-thriller; you could argue that the film is utilising cinema’s most important and inherently potent genre (horror) to effectively explore disturbing issues. I should also mention that there’s something backwards – or, perhaps, thematically overwhelming – about attempting to integrate some kind of religious commentary into this narrative. You can clearly see the positive intentions (many great horror movies focus on the results of extreme religious convictions); but it almost overshadows what this story should really be about – abuse. As with any work, it will all come down to the individual spectator and their discretion. The problem is, no-matter how you look at it, is that for this to come across as prescient and probing – instead of icky and bizarre – a slightly steadier hand and more considered technical approach would be beneficial. That’s not to suggest that this film falls short significantly in any department. Every aspect maintains a minimum level of watchability. When it comes to how the story is being told through the camera and editing, there remains a clear sense of authorial purpose, which should be recognised. There is no particular problem inherent to any of the compositions and sequencing in this movie, but rather a more general aesthetic that slightly lacks polish and clarity of technique. Nevertheless, this is a well-directed short film. The way in which the subject-matter is tackled risks polarising many viewers – yet we should still admire the valiant attempt to tell a confrontational story such as this; especially within the contexts of small-scale independent filmmaking. I would be most interested to see the evolution of this filmmaker’s career as all the elements seem to be present – the passion for genre and the willingness to go to these dark places as an artist. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Dove Never Breaks Its Promise film review by UK film critic Joe Beck . Starring Iman Zulkarnain, Lugman Junaidi, Adman Salleh directed by Tengku Adrian Ismail . HOME | FILMS | REVIEWS The Dove Never Breaks Its Promise Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Mar 6, 2022 Directed by: Tengku Adrian Ismail Written by: Tengku Adrian Ismail Starring: Iman Zulkarnain, Lugman Junaidi, Adman Salleh HIV/AIDS is still huge problem in parts of the world, not least in Malaysia where the short ‘The Dove Never Breaks Its Promise’ originates from. Every day in Malaysia, almost 10 people are diagnosed HIV positive and more than 100,000 people have been diagnosed with the disease since the first case in the country in 1986. AIDS has caused the deaths of more than 13,000 Malaysians, and whilst in the West we see it as a problem we long ago overcame, its a telling reminder that the same is not true for everywhere in the world. ‘The Dover Never Breaks Its Promise’ is also a telling reminder that being homosexual is not accepted in all cultures around the world. More than 70 countries around the world still criminalise homosexuality - it was less than 50 years ago that it was decriminalised in the UK and in parts of America there are still laws prohibiting the rights of LGBT folk. In Malaysia, lesbian, gay, bisexual, and transgender persons are prohibited from expressing their sexuality. Sodomy is a crime and laws are strictly enforced with punishments of up to 20 years in jail and the authorities will also bring the person to corporal punishment. In the West we like to think that the world has moved on, and everyone is more accepting than they once were, sadly that’s not the case everywhere. ‘The Dove Never Breaks Its Promise’ tells the story of a HIV-infected man, Norman (Iman Zulkarnain), who struggles to cope with thoughts of suicide in the wake of his diagnosis and as he copes with the inescapable fact that he’ll likely die. Norman is a shy man in his early twenties, cast out by his father, played by Adman Salleh, as is often the way with in Malaysia when parents find out their children are homosexual. Norman lives alone with his dove, who stays in its birdcage - the dove is the only one that can truly comfort him. His former lover, Izuan (Luqman Junaidi) comes round to visit, asking how he is following the diagnosis. They’ve been apart three years but Izuan still cares for Norman, breaking up and marrying Fazia was the only way he could stay safe. The two talk, searching endlessly for ways out of their desperate plight. There isn’t one. Norman knows this, hence why he’s suicidal, a major health problem associated with HIV/AIDS. Suicide rates among people living with HIV/AIDS are more than three times higher than the general population, a telling inditement of just how difficult it must be to suffer from such a diagnosis. The film is directed with a tenderness befitting of the sensitive subject matter. Director Tengku Adrian Ismail was inspired by the short story ‘Al Ghaist’ by Fadli Al-Akiti and he tells it with heart and care for the gentleness of the subject matter. That doesn’t mean that he skirts around the edges, rather that he tells the story in such a sympathetic way that you’ll do well not to have tears in your eyes by the end. The acting is impressive from both Zulkarnain and Junaidi, who have good chemistry together and the conversation between the two of them flows effortlessly. Zulkarnain is excellent as Norman, with a tear-jerking performance of bravery in the face of hopelessness. Junaidi, with his strikingly long hair, comes across as the more confident of the pair and also catches the eye. Adman Salleh is solid with little to say and asserts his presence onto the film. The score is similarly amazing, with the sound of a piano gently rising and falling throughout, it matches the sombre tone of the short to a tee, and would not be out of place in a feature length film. However, the biggest issue with the film is also to do with sound because although the score is magnificent, the sound mixing is torrid and often breaks the tight, enclosed mood of the short, with an unnaturally loud closing of a door, especially when contrasted with the quiet whispers of the dialogue. ‘The Dove Never Breaks Its Promise’ is an essential short, if only to serve as a poignant reminder that many parts of the world still suffer from HIV/AIDS and even more still criminalise homosexuality. Tengku Adrian Ismail has created a tear-jerking short, which tells an important story with masterful direction and all-round terrific performances. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Alexandra James writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Alexandra James My passion for film began at an early age, it was my dad who opened my eyes to the wonderful world of cinema. I was shown many classics from his youth which allowed me to immerse myself in Hollywood and British stars such as Peter Sellers, James Stewart, Alfred Hitchcock, Terry Thomas and many more. From then on, my interest in film began to grow and I chose to study English Literature and Film, Television and Radio Studies at University level. I became fascinated by the history and complex intricacies that surround the silver screen. It became apparent that my favourite genres were Horrors and Thrillers, the excitement and nail-biting sensation makes for a completely mesmeric experience and always has me at the edge of my seat. Writing allows me to express myself and I am grateful to have had the opportunity to share my thoughts and views on UK Film Review, especially on a subject that captivates me and that I have complete adoration for. Read Latest Film Reviews

Eternity film review by UK film critic Patrick Foley. Starring P.M. Thomas, Margie Newton directed by Philip Brocklehurst. HOME | FILMS | REVIEWS Eternity Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 9, 2025 Directed by: Philip Brocklehurst Written by: Alexander Sharoglazov Starring: P.M. Thomas, Margie Newton Just a hint of AI in mainstream cinema is enough to cause a controversy – with even best-picture-winning The Brutalist recently succumbing to ‘the discourse’ on its usage. Truthfully, the long-term impact of the technology is almost impossible to predict – though sceptics are right to be concerned about the impact it is likely to have on visual effects. The counterpoint is that it opens all sorts of doors to lower-budget filmmakers who can now envisage worlds and concepts formerly outside of their scope. Phil Brocklehurst’s Eternity is an experimental venture into the latter. The short follows the life of a man (P.M. Thomas) rocketing through time, his face aging from a young man to an old one interspersed with a spinning clock to represent the speed at which the years pass us by. Photo AI software is used to rapidly age the man, before reaching a bittersweet, thoughtful ending which ponders the circle of life. A self-admitted experimental short, Eternity visualises a theme more than it tells a story. It’s impossible therefore to judge it on traditional measures. The real purpose of the film is to demonstrate the potential of AI editing software, particularly how this can imagine the impact of aging on someone and simulate them at various stages of life. In this endeavour, its success is mixed. The purpose comes through clearly in the film and Brocklehurst’s vision of a man racing against time is coherent. The visuals themselves are reasonably impressive – the stages of aging are well-realised whilst convincingly portraying the man as the same individual throughout. The film introduces the angel of death (Margie Newton) to accompany him to the afterlife, with further use of photo editing software to create an impressive angelic background which adds a haunting vibrancy. There are some clear telltale signs of AI throughout the film however – such as the unmistakable ‘AI face’ in which an image stares dead-eyed into the distance and a face moves ever so slightly out of tandem with the body it is attached to. This uncanny valley effect is an ultimate barrier to AI adoption in a wider use – ethical implications aside – as it simply looks odd and inhuman. For a film designed to showcase and experiment with AI use, it is something of a timestamp evidencing that we are not quite ready to hand over to the machines just yet. It should be said that with the ever-developing world of AI, it is possible that the technology has already progressed to the point where some of the issues seen in Eternity may be within tech’s capability to solve. This short demonstrates many of the benefits of AI, and will help filmmakers working on lower budgets identify areas where it may be of use. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Desires and Delusions film review by UK film critic Jason Knight. Starring Yasmine Meaden, Lottie Saul-Paterson, Nicole Sarah Fry, David Stokes, Emily Dickson directed by Nicole Sarah Fry. HOME | FILMS | REVIEWS Desires and Delusions Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 31, 2023 Directed by: Nicole Sarah Fry Written by: Anita Fry, Jasmine Fry, Nicole Sarah Fry Starring: Yasmine Meaden, Lottie Saul-Paterson, Nicole Sarah Fry, David Stokes, Emily Dickson An early 19th century woman hopes to find her perfect spouse by using an unconventional matchmaking service. Georgiana (Meaden) is a wealthy young woman, living in Regency England and she wants to find a partner. She decides to use the services of a business that utilises her criteria in order to gather information and place small, hand-sized portraits of men who fit her criteria inside a small chest, along with written information about each potential husband. The chest is delivered to her large mansion, as she is having a picnic in her garden, along with her friends Clara (Paterson) and Amelia (Fry). Excited, she proceeds to look through the portraits, hoping to find that special man. Will her wish come true? This period comedy focuses on the idea of someone attempting to find a partner by looking at a picture of their physical appearance and by reading limited information about them, only to discover that meeting them in person can be quite different. Basically, the first half of this short film consists of the three friends sitting together around the picnic and going through the details of the men. The second half is about Georgiana meeting the one she chose and getting to know him. There are some rather amusing moments that include the three women trying to analyse each person, one of which seems to be after her wealth and another states that he is married. All protagonists deliver strong performances and are convincing as people living in Regency England. Georgiana is the main character, one who is determined to find a partner and appears a bit naive when it comes to making decisions. Clara comes across as the most cheerful one of the trio and she supports her friend's dream of finding a husband via a matchmaking service, while Amelia is more reasonable and disapproves of Georgina's method of finding a man. Stokes steals the show with his entertaining performance as an awkward and sensitive individual. Regarding the mise-en-scene, the furniture looks great and huge commendations go to the costumes, which are the work of the director and Anita Fry. A lot of praise also goes to the music by Dan Whitlock, which matches the atmosphere. This short is an entertaining experience with well-written dialogue and interesting characters. The plot revolves around the idea of finding romance and points out the idea that one should not judge a book by its cover. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Marty, Life Is Short film review by UK film critic George Wolf. Starring MartinShort, Steve Martin, Tom Hanks, Catherine O'Hara, Eugene Levy directed by Lawrence Kasdan. HOME | FILMS | REVIEWS Marty, Life Is Short Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 12, 2026 Directed by: Lawrence Kasdan Written by: Lawrence Kasdan Starring: MartinShort, Steve Martin, Tom Hanks, Catherine O'Hara, Eugene Levy Remember when someone on social media tried to come at Martin Short, and it seemed like the entire internet rose up in protest? That was awesome, because even if you don’t think Short is funny for some odd reason, he just seems like a peach of a human being. The Netflix doc Marty, Life Is Short confirms that peachiness, for just about every one of its 99 minutes. Full of home movies, TV and movie clips, interviews with family, famous friends, and a few new thoughts from Short himself, the film reveals him as a kind soul committed to fighting pain by spreading laughter. And while Short insists that, as opposed to the well worn comic stereotype, his humor was not born from pain, he has endured plenty of it. “It came from my whole life,” he says. Short lost his brother at age 12, his mother at 18, his father at 20, his beloved wife of thirty years, Nancy Dolman, in 2010, and his daughter Katherine just three months ago. And still, as Steve Martin tell us, if Marty says he’ll be at your dinner party and then he can’t come, “you cancel the party.” Martin is just one of the many longtime friends and colleagues that director Lawrence Kasdan assembles to sing Short’s praises. From Speilberg to Hanks, from former SCTV co-stars Eugene Levy, Andrea Martin, and the late Catherine O’Hara to Short’s own siblings and beyond, all of the love feels warm and one hundred percent authentic. It’s often touching. Clearly, Kasdan is also a longtime friend, which brings both pluses and minuses. He’s an Oscar-nominated director with no shortage of inside access to his subject, yes, but his closeness to Short also fuels the feeling that all the film’s edges have been safely dulled. Kasdan also asks some onscreen questions without being mic-ed up, which can be frustrating to follow. Recent docs such as Steve! (Martin) and Pee-wee as Himself have shown how these types of biographies can transcend the standard playbook for a deeper, more resonant type of engagement. Marty, Life Is Short keeps the ranks more closed, leaning into a greatest hits presentation, a box set with extended liner notes. It’s an entertaining, funny, and star-studded salute to a guy who’s pretty easy to like and who, in the words of Tom Hanks, “moves at the speed of joy.” And, man wait ’til you see the footage of his A-list Christmas parties from back in the day. Epic! Buy UKFR Banner Space About the Film Critic George Wolf Netflix < All Reviews Next Film Review >

Who Invited Them film review by UK film critic Hope Madden. Starring Ryan Hansen, Melissa Tang, Perry Mattfeld, Timothy Granaderos directed by Duncan Birmingham. HOME | FILMS | REVIEWS Who Invited Them Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 30, 2022 Directed by: Duncan Birmingham Written by: Duncan Birmingham Starring: Ryan Hansen, Melissa Tang, Perry Mattfeld, Timothy Granaderos Perhaps the most terrifying horror born of neighborly manners is Michael Haneke’s unnerving Funny Games (either his 1997 German-language original or his 2007 English-language remake). Writer/director Duncan Birmingham doesn’t go that far. What he does is walk a tightrope that’s a little goofier, a little less horrifying, but effective nonetheless. Margo (Melissa Tang) and Adam (Ryan Hansen) throw a housewarming party. Well, Adam throws it. Margo endures it. She doesn’t honestly know what was wrong with their old neighborhood. It doesn’t help that their 5-year-old has had nightmares every night since they arrived. Adam invites all his colleagues and bosses, hoping to impress without coming off as douchey. He’s upwardly mobile, although the house —which he got at a steal because of that nasty double homicide—might make them look a little higher up than they really are. Not that Margo and Adam are the only partiers who aren’t what they seem. That really good-looking couple—the two who look like they just came from a really hip funeral—does anyone know who they are? Maybe Sasha (Perry Mattfeld) and Tom (Timothy Granaderos) are the neighbors, as they say. But probably not. What we can say for sure is that they do not want to leave. What transpires after all the other guests have gone would be a comedy of manners except that it feels pretty clear that something awful lurks underneath the handsome couple’s evasion and gaslighting. Birmingham’s film is a mystery of sorts, although you’ll have most of that intrigue figured out pretty early. There is also a subplot about Margo’s friends who are babysitting. This goes essentially nowhere. Worse still, Birmingham rushes Act 3 and leaves you feeling short-changed. However, that 30 minutes or so that Margo and Adam and Sasha and Tom have on their own gets pretty uncomfortable. Hansen unveils surprising warmth within the needy, insecure Adam. He and Tang take the married couple in surprising and welcome directions. Mattfeld and Granaderos are drolly perfect as the home invaders masquerading as partygoers who just can’t tell it’s time to go. A tight script wastes little time and manages to surprise even if you figure out the main mysteries early. Who Invited Them isn’t flawless, but it is an anxious bit of fun. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Of Souls & Secrets film review by UK film critic Jason Knight. Starring Sujoy Prosad Chatterjee directed by Uttaran De. HOME | FILMS | REVIEWS Of Souls & Secrets Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 27, 2021 Directed by: Uttaran De Written by: Uttaran De Starring: Sujoy Prosad Chatterjee A mesmerizing journey through nature, accompanied by a man's thoughts. An unknown person speaks about his views regarding life, his voice working as a voice-over, while shots of wilderness are shown. These terrific shots consist of mountains, many trees, waterfalls, lakes and rivers. The colour green plays a significant part in this film, as it pretty much dominates nearly the entire viewing. However, there is also civilization to be seen, including people with backpacks walking in the woods and street lights illuminating a road. De is also responsible for the editing and does a wonderful job, utilizing dissolve techniques to great effect. The editing is very constructive, putting the images together in a way that reveals the wonders of nature. With the exception of a few shots, there are no people here and the protagonist could be nature. The beauty and magic that it possesses is vividly shown in the outstanding shots that this film contains. Shooting took place in West Sikkim, India and nearly all the shosts are of wilderness. Chatterjee's voice-over is another plus. His voice is gentle and calm as he speaks about his character's perspective on various things, including secrets and whether he is living his life the way he is supposed to. He talks about trees and compares them to secrets, emotions and clouds. His words give the impression that he is dealing with regrets and has lost his way. The score consists of beautiful flute and piano music and listening to it while looking at the magical scenery adds further value to the experience. The audience will also hear the peaceful sounds of birds chirping and water flowing. The camera work makes watching this short is a rather calm experience. The camera is almost constantly stationary and the movement that is seen often belongs to acts of nature, whether that is leaves moving due to the wind or the river flowing. This achievement is twelve minutes of beauty. De's outstanding directing shows how breathtaking natural environments are and the addition of Chatterjee's words create a thoughtful viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Taste the Difference film review by UK film critic Swati Verma. Starring Mark Prendergast, Houston Rhines , Kevin M Walsh directed by Sohale Dezfoli. HOME | FILMS | REVIEWS Taste the Difference Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 1, 2022 Directed by: Sohale Dezfoli Written by: Nicholas Begnaud Starring: Mark Prendergast, Houston Rhines , Kevin M Walsh The title of the short film- "Taste the difference" is chosen by Sohale Dezfoli to attract the audience to the film. The red font for the title of the film has connotations of vigor, and courage needed to participate in the Pepsi challenge. The mention of a big brand like Pepsi helps increase the views on YouTube and Vimeo. The genre of the cinematic piece is experimental comedy. The creative piece explores the subject of the Pepsi challenge for painkillers. The cinematographer Paul W Sauline uses a combination of long, mid, and close-up shots to establish the topic of the film. The white and grey colour palette of the film gives the desired boost to the experimental comedy mood. The use of blood, violence, and swearing in the experiment increases the gruesomeness of the examination taking place in the movie thus the makers introduce some comic relief in the narrative. The use of an intense music piece and voice modulation by the analyst can enhance the research by demanding the full attention of the viewers. The plot of the film revolves around whether Painkillers can be replaced by Pepsi and if the experts can find significant evidence to prove the assumptions made earlier is the question the film raises. In terms of performances, Mark Prendergast has excellent comic timing in the movie, making sure there isn’t any dull moment for the viewers. He portrays the desired variations in the range of emotions the candidate of the experiment is forced to go through effortlessly. Houston Rhines plays the role of the scientist. The facial expressions, eyes, and voice modulation assist the actor to maintain the seriousness of the experiment. Kevin M Walsh plays the role of the assistant to Houston's character. He ensures the smooth flow of the study of the Pepsi challenge Kevin proves to be a strong support system to the structure of the storyline. The short film transforms into the marketing campaign for Pepsi with loud music and an orchestra, the billboards. It is like a fest organized for the celebration of the cold drink giant in the market. It is a smart collaboration between the director of the movie and Pepsi. The inclusion of common people of America in the campaign increases the degree of interaction with the short film and also makes the content relatable to the masses. The public after watching the marketing campaign should express their desire to be featured in it. In my opinion, the film has a well-written script to strike a perfect balance between the analysis part and the drive but the elements like blood, violence and swearing can be detrimental for the film. The movie fails to cater to those who only want to get entertained by the movie. I also feel developing liking of Pepsi in children can major boost in their sales graph of the company and depicting such unsocial components can be harmful for the image of this large brand. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Last Conception film review by UK film critic Jason Knight. Starring Nazanin Mandi, Callie Schuttera, Matt Richards, Veena Bidasha, Marshall Manesh directed by Gabriela Ledesma. HOME | FILMS | REVIEWS The Last Conception Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 26, 2021 Directed by: Gabriela Ledesma Written by: Gabriel Constans Starring: Nazanin Mandi, Callie Schuttera, Matt Richards, Veena Bidasha, Marshall Manesh The fact that a young Indian-American woman is attracted to other women creates complications for her family. Savarna Sikand (Mandi) works as an embryologist at an IVF clinic and is in a happy relationship with university student Charley (Schuttera). When she decides to tell the news to her family, initially they are surprised but eventually they accept the facts. However, things change when it is discovered that the Sikand family are Buddhists and are actually direct descendants of Buddha, meaning that it is up to Savarna to maintain that honour by having a child. This causes her to get stuck in a dilemma between honouring her family and following her own wishes. This lighthearted romantic comedy is based on a book by Constans, who also wrote the screenplay. It deals with family values, relationships, friendships, the idea of supporting one another, self-discovery and religion. There is clever humour, well-written characters and the plot is intriguing. It is entertaining watching how the protagonists react to situations and attempt to find solutions and it does have sentimental scenes as well. The story deals a lot with Buddhism and there are plenty of elements related to that religion to be seen, including monks wearing traditional clothing and engaging in relevant religious activities such as meditation and praying. There are also scenes that take place in Buddhist temples, filled with statues and decorations. The film also provides an insight into Indian traditions and includes characters wearing traditional clothing. The acting is fine with Mandi leads the film well as an intelligent individual who wants the best solution to her problems. Richards is amusing and emotional with his presence as a cheerful guy who always looks at the bright side of things. The actors who play members of Savarna's family portray caring people. Regarding the soundtrack, it contains conventional Indian music, that develops a feeling that this movie is about Indian people. There is also a comical score that accompanies the comedic scenes effectively. Ledesma does a great job as director and creates wonderful establishing shots of buildings and neighbourhoods. This comedy is a character study and a decent viewing. Well acted with a story that is interesting to follow, it manages to provide a fair amount of amusement. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

You'll Never Find Me film review by UK film critic Hope Madden. Starring Brendan Rock, Jordan Cowan directed by Josiah Allen, Indianna Bell. HOME | FILMS | REVIEWS You'll Never Find Me Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2024 Directed by: Josiah Allen, Indianna Bell Written by: Indianna Bell Starring: Brendan Rock, Jordan Cowan A somber experiment in atmospheric horror, Josiah Allen and Indianna Bell’s feature You’ll Never Find Me waits out a storm with a couple of curious characters. Patrick (Brendan Rock) sits quietly if unhappily in the kitchen of his trailer. It’s late—after 2 in the morning—and he seems a tad morose. When a persistent knock on his door punctures the noise of the storm, he ignores it as long as he can. Eventually, he admits a stranger (Jordan Cowan), barefoot, drenched and shivering. She was caught in the storm and just needs a ride to town. At this time of night? What’s really going on here? The film feels lost in a dream—the lighting, the silences, the pair’s lonesome and broken expressions. The co-directors linger on the actors’ faces, allowing the paranoia to shift so you’re never fully sure of either character. Everybody in You’ll Never Find Me moves slowly. Everything moves slowly. You don’t know who to trust because neither of these two seems to trust the other, and you can’t judge either of them for it. Surely, they’re not both up to something nefarious. Maxx Corkindale’s sometimes roving camera reveals something creepy in the trailer’s tidy, tightly enclosed ordinariness. The sound design is hushed and foreboding, blending with Darren Lim’s score to work the nerves. The result allows the film to suggest something supernatural, although all other signs point to very human crimes. A slow boil like this requires committed, compelling performances and both Cowan and Rock deliver. Eventually the gender politics on display unnerve, and what’s what the film is more than truly scary. It’s unnerving. The third act doesn’t entirely deliver on the promise made earlier in the film, but Bell and Allen have crafted an unsettling and spooky feast for the senses. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >