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Caught Stealing film review by UK film critic Hope Madden. Starring Austin Butler, Regina King, Zoë Kravitz directed by Darren Aronofsky. HOME | FILMS | REVIEWS Caught Stealing Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Aug 28, 2025 Directed by: Darren Aronofsky Written by: Charlie Huston Starring: Austin Butler, Regina King, Zoë Kravitz Watching the trailer for the new Austin Butler actioner Caught Stealing , it’s easy to forget it’s a Darren Aronofsky film. Yes, the guy who swung from Requiem for a Dream to Noah has an interest in varied material, but a zany, sexy, urban action romp? None of those words feel right for an Aronofsky. Fitting, because that’s not at all what Caught Stealing is. Based on the Charlie Huston novel, the film trails a good-looking, well-intentioned New York alcoholic named Hank (Butler). Hank sometimes looks after his punk rock neighbor Russ’s (Matt Smith) cat, and Russ has to rush back to London on account of his dad’s stroke. In his rush, Russ seems to have forgotten that a whole bunch of very bad people are looking for something he has, and they assume Hank knows where to find it. Yes, that does sound like it could be sexy and zany. The wild bunch that populates the tale—Hank’s girlfriend Yvonne (Zoë Kravitz), his hard rockin’ hippie boss (Griffin Dunne), the Russians (Nikita Kukushkin and Yuri Kolokolnikov), the Hebrews (Liev Schrieber and Vincent D’Onofrio), and the cop (Regina King)—certainly carry a madcap vibe. But the film turns on a dime with an act of shocking violence, and Aronofsky reminds us again that we’re never fully safe in his hands. It could feel like a mismatch—the hyper serious, even sometimes punishing auteur helming a glossy mistaken identity action thriller. It’s not. It’s probably the best thing that could have happened to the property. It’s fun to see Aronofsky—who scarred us so deeply with Requiem , and Black Swan , and The Wrestler , let’s not even talk about Mother! —cut loose a little bit. Laugh. Shoot some people. But we never really lose him. His camera is trained on all the details a more glamorous version of the film might skim over: the blood and urine pooling under Hank after his first beating., for instance. Who but Aronofsky would have chosen to film Hank’s drunken, projectile vomit from the point of view of the window it slaps against? It also helps that the hijinks are driven by such remarkable talent. Smith and Dunne are both a riot, and King toes the line between comic foil and badass like the professional she is. The depth and the darkness, the broken humanity and festering shame, those are the themes that might surprise folks looking for the new Austin Butler blockbuster. They’re lucky. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

For the Lives of Others film review by UK film critic Jason Knight. Starring N/A directed by Yama Rauff. HOME | FILMS | REVIEWS For the Lives of Others Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 27, 2025 Directed by: Yama Rauff Written by: Yama Rauff Starring: N/A A thought-provoking documentary about activism and police procedures, written and directed by Yama Rauff and a title that appears over twenty minutes after the beginning (an unusual aspect and therefore worth mentioning). Activists in Denmark with code names Blue, Yellow, Mink and Pelle utilise signs and chalked messages on the ground in order to protest against animal cruelty by companies such as Stampe and Max Mara. While doing so in areas such as Copenhagen and a horse racing venue, they are filmed as they are repeatedly being confronted by police officers, who claim that their actions are braking the law. Confrontations between police and the activists is the primary event that is seen throughout this eighty-minute long film and the footage is rather dramatic, capturing police officers getting physical with the protestors in crowded locations. Additionally, regarding the police's methods, the activists also recall their tense experiences with law enforcement staff and state their thoughts about it. Since there is a great deal of footage showing physical confrontations, it should be acknowledged that some viewers might find the content distressing. This documentary does not present the police forces of Denmark in the best light. The footage gives the impression that they are intimidating, disrespectful and ruthless. This film also appears to suggest that in Denmark, people's right to protest is being violated and that not significant action is taken against animal cruelty. People who view this documentary will most likely be shocked by what they see and will get the impression that in Denmark, human rights are in jeopardy and that animals are not being protected. This feature dramatically raises concerns regarding social issues in Denmark and will probably stay in the viewer's memory for a long time. About the Film Critic Jason Knight Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

213 Bones film review by UK film critic Patrick Foley. Starring Colin Egglesfield, Dean Cameron, Luna Fujimoto directed by Jeffrey Primm. HOME | FILMS | REVIEWS 213 Bones Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Aug 26, 2025 Directed by: Jeffrey Primm Written by: Jeffrey Primm, Dominic Arcelin Starring: Colin Egglesfield, Dean Cameron, Luna Fujimoto It’s hard to find an original angle for slasher films in 2025. Many of the more prominent features come with a heavy dusting of parody, or rely on ever-increasing supernatural crutches to escalate horror – often at the expense of story and coherence. 213 Bones prefers to go back to basics with its grounded college setting, and frames its grizzly murders around a whodunnit story structure that make it a throwback to classics such as Scream . It follows a group of anthropology students whose local college is terrorised by a masked killer. Students such as Lisa (Luna Fujimoto) and Brent (Hunter Nance) set out on their own investigation whilst their Teacher Kelly (Colin Egglesfield) and local police Sheriff Bracco (Ernest Walker) and Deputy Freeman (Adara Toop) hunt the killer. As more and more students drop dead, it becomes clear that the murderer is closer to the survivors than they think. 213 Bones is an admirable but sadly uninspired effort at capturing the brilliance of its classic slasher-mystery predecessors. It’s hard to get invested in the hunting down of its young cast of victims when none of them receive any real character development. Hunter Nance’s socially awkward Brent and weed-loving couple Eric (Liam Woodrum) and Joanna (Simone Lockhart) are the most interesting of the bunch, but audiences will struggle to forge much of a connection outside of this. Neither do any of them fully embody the classic slasher-cast stereotypes that they merely skirt around the edges of – the jock, the overly-innocent girl, the castoff. Characters instead come across as hollow allusions. Similarly, the mystery at the film’s heart also lacks inspiration. It works as a vehicle, delivering a coherent plot which viewers won’t feel ripped off from and raises just enough possible candidates before the big unveiling. But there is nothing especially complex or gripping about the killer’s motives and viewers are unlikely to come away with a sense of real satisfaction – and an eye-roll inducing juxtaposition-dump at the conclusion is a real underlining of this. Whilst the script itself is largely fine, it falls flat as the characters learn of their classmates’ gruesome murders – some reactions more akin to being told their fridge was left open that day. For a film that intends to play its story straight, it is a disappointing omission not to allow the cast to let the emotional impact of their losses leave more of an impression. The murderer’s design is back-to-basics – a menacing but low-key masked façade that is believable without being extravagant or clearly aimed for virality. Murder sequences themselves are quite restrained – plenty of characters meet a deadly fate but the director never truly lingers with the blood and guts. Fans who enjoy the gore might come away feeling short-changed, but those who prefer the mystery element won’t be as offended by the omission. Whilst it suffers from lack of inspiration and really offers nothing that even casual horror fans will not have seen before, 213 Bones is not a bad movie, and its influence from slasher mysteries from the turn of the millennium is clear to see through director Jeffrey Primm’s presentation that doubles as a tribute to these films and successful to implantation of youthfulness in the film. It is a terrible shame that the director’s passing means that we will not be able to see what he could have done with a stronger script or more developed characters, but 213 Bones shows potential, and at least aims towards a style of horror that feels at risk of being left behind. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Film Festival < All Reviews Next Film Review >

Directed by Simon Stone and based on the book The Woman In Cabin 10 by Ruth Ware, the film comes to Netflix on October 10th 2025. . Brand new film trailers. The Woman in Cabin 10 Directed by Simon Stone and based on the book The Woman In Cabin 10 by Ruth Ware, the film comes to Netflix on October 10th 2025. While on board a luxury yacht for a travel assignment, a journalist witnesses a passenger thrown overboard late at night, only to be told that it didn't happen, as all passengers and crew are accounted for. Despite no one believing her, she continues to look for answers, putting her own life in danger. Based on the bestselling novel The Woman in Cabin 10 by Ruth Ware. The new Netflix movie stars Keira Knightley in the leading role, alongside other stars including Guy Pearce, David Ajala, Art Malik, Gugu Mbatha-Raw, Kaya Scodelario, David Morrissey, Daniel Ings And Hannah Waddingham, Gitte Witt, Christopher Rygh, Pippa Bennett-Warner, John MacMillan, Paul Kaye, Amanda Collin, and Lisa Loven Kongsli. The writers who have brought The Woman in Cabin 10 to the silver screen are Joe Shrapnel & Anna Waterhouse, and Simon Stone. Best known for films like 2015's The Daughter, and 2021's film The Dig (starring Carey Mulligan), Simon Stone has a strong filmography as both a director and actor. The Woman in Cabin 10 Directed by Simon Stone and based on the book The Woman In Cabin 10 by Ruth Ware, the film comes to Netflix on October 10th 2025. Helloween Helloween, makes its way to the UK. The film, which has been making waves, is set to arrive on digital platforms on September 29, 2025, with a physical Blu-ray release following on October 13, 2025. Stand or Fall: The Remarkable Rise of Brighton & Hove Albion From the brink of extinction to the heights of Premier League glory, Stand or Fall: The Remarkable Rise of Brighton & Hove Albion tells the extraordinary true story of a football club that refused to give up. Steve Film trailer for the upcoming Netflix movie Steve, starring Cillian Murphy. Based on Max Porter's Shy, the film will come to select cinemas and then Netflix. Borderline A bodyguard protects a pop superstar and her athlete boyfriend from a determined stalker in 1990s Los Angeles. Watch the Borderline official film trailer. That Alien, Sound Mia Danelle stars alongside veteran actors Richard Masur (My Girl, The Thing, Risky Business) and Amy Hill (50 First Dates, The Cat in the Hat) in this humorous and touching tale of identity and acceptance with a sci-fi twist. From writer-director Brando Topp, in his feature debut, the film is set to crash land on digital this Monday, courtesy of Miracle Media. Bad Man Bad Man stars Sean William Scott (American Pie), Rob Riggle (21 Jump Street), Johnny Simmons (The Perks of Being a Wallflower), Lovi Poe (Chelsea Cowboy), Andre Hyland (Barry), and marks the final film of the late Chance Perdomo (Chilling Adventures of Sabrina). Little Trouble Girls Co-written by Urška Djukić and Maria Bohr, with its title inspired by the iconic 1995 song Little Trouble Girl by Sonic Youth, the film is a tender portrayal, sensuously shot and beautifully scored, of the sexual awakening of a young chorister. Ghosts of Alderney: Hitler's Island Slaves Ghosts of Alderney follows the research of internationally renowned artist Piers Secunda, who recently spent five years recording stories of slave labourers sent to Alderney. When Hitler’s forces invaded the small Channel island in 1941, nobody knew just how brutal the occupation of this piece of UK Crown land would become. Secunda has worked for years to commemorate the slaves who endured random and unprovoked shootings, beatings and starvation. Downton Abbey: The Grand Finale DOWNTON ABBEY: THE GRAND FINALE, the cinematic return of the global phenomenon, follows the Crawley family and their staff as they enter the 1930s. As the beloved cast of characters navigates how to lead Downton Abbey into the future, they must embrace change and welcome a new chapter. Black Phone 2 Official Trailer for The Black Phone 2 Released! Four years ago, 13-year-old Finn killed his abductor and escaped, becoming the sole survivor of The Grabber. But true evil transcends death … and the phone is ringing again. Happy Gilmore 2 Official Trailer Watch the official teaser trailer for Happy Gilmore 2. Starring Adam Sandler in the sequel to his popular golf film. Death of a Unicorn Official Trailer Starring Paul Rudd and Jenna Ortega, Death of a Unicorn is about a father (Paul Rudd) and daughter (Jenna Ortega) accidentally hit and kill a unicorn while en route to a weekend retreat. In the Lost Lands Official Trailer Watch the official trailer for In the Lost Lands 2025, starring Milla Jovovich (Resident Evil, The Three Musketeers) and Dave Bautista. How To Train Your Dragon Offical Trailer A brand new trailer and poster for the highly anticipated live-action reimagining of HOW TO TRAIN YOUR DRAGON has launched, ahead of its release in UK & Irish cinemas in June. The Bezonians Official Trailer Greeks take on geezers in The Bezonians, a satirical Brit gangster thriller that gets its UK debut on DVD and digital this May from 101 Films. Streamline Dive into Streamline, an emotionally rich coming-of-age-film, and a supremely impressive directorial debut from Tyson Wade Johnston, who also penned the piece. This gritty and gripping feature is produced by Australian swimming legend Ian Thorpe and stars Hollywood favourite Brit actor Jason Isaacs (The Harry Potter Franchise, Mass) is now set to wow UK audiences with its digital release on 11 April from 101 Films. Spears Watch the trailer for the indie film Spears, by filmmaker Gerard Lough. For more of the latest film trailers visit UK Film Review. First Date Check out the trailer for 101 Films' First Date. Help Official Trailer Help from filmmaker Blake Ridder releases official trailer. Watch the trailer for Help from filmmaker Blake Ridder.

Mary film review by UK film critic Joe Beck. Starring Juliette Regnier, Logan Cutler-Smith directed by Jo Rou, Dan Riordan. HOME | FILMS | REVIEWS Mary Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Oct 25, 2022 Directed by: Jo Rou, Dan Riordan Written by: Justin Lazor Starring: Juliette Regnier, Logan Cutler-Smith Loss is difficult for everyone, especially the loss of a parent. They are the people who we always, whether consciously or subconsciously look towards for help and guidance, who helped to shape our being. As we ourselves grow older and forge our own lives, separate from those of our parents, we often come to appreciate them all the more, making their death, though we understand it to be inevitable, all the more profound. Most of us grieve for a short period of time, carrying that burden on our shoulders, making our lives just a little bit heavier. However, we still mourn the loss each day, merely in different ways - there is a wonderful quote from Keanu Reeves: “Grief changes shape, but it never ends” - and occasionally it’ll come to the surface, whether that be in tears, anger, or even terror. ‘Mary’ details the last of those three, as Rich (an impressive Logan Cutler Smith), a by-the-books insurance salesman, makes a house call on an elderly woman, Mary (Juliette Regnier), a year after his mother’s passing. What begins as an ordinary visit becomes an exercise in coming to terms with his sense of responsibility for his mother’s death, and the wide range of emotions that in itself ensues. Rich begins to see parallels between Mary and his deceased mother - their tastes in ornaments and the way in which they bake their brownies, not to mention the mannerisms inherent in any sweet, old lady. The parallels are unnerving, amplified by the continued confusion by both characters in referencing each other as ‘mother’ and ‘son’, but the film doesn’t become terrifying until Mary lists, in excruciatingly long fashion, the ways in which Rich feels responsible for his mother’s death, and tensions reach their boiling point. Elderly women have long had the ability to terrify us. Think of Mrs Bates in Psycho, or the rotting old woman in the bathtub in ‘The Shining’ - both of those women are terrifying not through words but through actions, however. Mary is more like the Blind Medium in ‘The Others’, save for the fact that she possesses the sweet voice of a woman her age rather than the uncanny voice of a child. She is hidden in the shadows for the first half of the short, as directors Jo Rou and Dan Riordan build up suspense through words and darkness alone. Juliette Regnier is excellent as the unsettling title character, each word manifests terror the second it leaves her lips, and her eyes have that air of decrepitude about them, which just suggests that something is off. In fact, were it not for the fact that the script, penned by Justin Lazor, is a little too obvious, then Regnier’s performance would be all the more convincing. Unfortunately, the script fails to cajole the viewer into falling for Mary’s initial charm - lines like ‘difficult to find…difficult to leave’ make it plain that there’s something off about her - and similarly weakens the suspense created through Rou and Riordan’s crafty direction. The film is shot with an artistic flourish and feels like an 80s B-Movie with modern-day editing, as the directors insert deeper layers into a film which is, at times, and particularly towards the end, a bit of fun. Whereas normally you would deem that to be out of touch with the otherwise serious tone of the film, throughout ‘Mary’ is embedded with an undercurrent of the absurd, and that is briefly let loose in its climax. As such, ‘Mary’ is an amalgamation of three words which don’t usually go together - ‘loss’, ‘terror’, and ‘fun’. Make of that what you will, but if nothing else, after watching ‘Mary’ maybe you’ll think twice before accepting the next brownie you’re offered. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Wicked Little Letters film review by UK film critic George Wolf. Starring Olivia Colman, Jessie Buckley, Timothy Spall directed by Thea Sharrock. HOME | FILMS | REVIEWS Wicked Little Letters Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 3, 2024 Directed by: Thea Sharrock Written by: Jonny Sweet Starring: Olivia Colman, Jessie Buckley, Timothy Spall Long before you could hide behind a keyboard and avatar, a small English village was scandalized by some expert-level anonymous trolling. Wicked Little Letters tells us that story is “more true than you’d think,” and rolls out a stellar ensemble to elevate the tale at nearly every turn. It is the 1920s in Littlehampton, England, where unmarried Edith Swan (Oscar winner Olivia Colman) still lives with her parents (Timothy Spall, Gemma Jones). Edith is known to be a dutiful daughter and devout Christian, so town tongues are wagging when she begins to receive hateful and profanity-laced “poison pen” letters in the mail. Who could be behind such unwarranted vitriol? Whaddya bet it’s that filthy Irishwoman Rose Gooding (Oscar nominee Jessie Buckley)? Rose is frequently loud, drunk and vulgar. Plus, she’s a war widow (or is she ?) with a young daughter (Alisha Weir from the upcoming Abigail ), a “reputation” and a live-in boyfriend (Malachi Kirby). Throw in the recent falling-out with Edith, and that’s enough for the town Constables (Hugh Skinner, Paul Chahidi), who arrest Rose and quickly schedule a show trial. But “Woman Police Officer” Moss (Anjana Vasan) isn’t convinced, and she risks her position by continuing to investigate the letters on her own. Director Thea Sharrock (Me Before You, The One and Only Ivan ) and first-time screenwriter Jonny Sweet don’t craft a “whodunnit” as much as they do a “whoproveit” and a “whydunnit.” The real culprit is revealed fairly early on, and the film tries to balance some British wit atop heavier themes of repression, equality, and the sanctimonious crowd who are all preach no practice. It’s historically interesting and well-meaning enough, but it reveals Sweet’s TV background through a light and obvious romp that’s rescued by heavyweight talent. Colman, Buckley and Spall are all customarily splendid, each making up for the lack of nuance in their characters with some livid-in conviction and natural chemistry. Plus, Vasan stands out in the winning supporting group as the overlooked and underestimated W.P.O. Moss. So while it’s lacking in the bite needed to leave a lasting impression, think of Wicked Little Letters as an extended cat video, one just amusing enough to take your mind off of all those nasty comments from the keyboard warriors. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Seeding film review by UK film critic Patrick Foley. Starring Scott Haze, Kate Lyn Sheil, Alex Montaldo directed by Barnaby Clay. HOME | FILMS | REVIEWS The Seeding Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Aug 16, 2025 Directed by: Barnaby Clay Written by: Barnaby Clay Starring: Scott Haze, Kate Lyn Sheil, Alex Montaldo Being victimised by rapid teenagers is the worst nightmare of every middle-aged man. Though getting abuse at a bus stop or eggs thrown at your window pales in comparison to The Seeding , Barnaby Clay’s unnerving folk horror set in the desert. Wyndham Stone (Scott Haze) is transversing the desert when he comes across a lost young boy. Refusing Wyndham’s offer of help, the boy runs away – and during pursuit Wyndham trips and finds himself waking up at the home of the mysterious Alina (Kate Lyn Shell). Alina seemingly lives alone in an inescapable canyon, and takes care of Wyndham whilst he recovers. But when a savage pack of boys reveal themselves living on the canyon’s overlook, Wyndham senses there is more of connection to Alina than she is willing to say. The Seeding is a folk horror that is strong in design, atmosphere and depth, but misfires a little in delivery. Its unsettling central theme is the fear of disposal and replacement, with Wyndham constantly outwitted and mocked by the younger generation he is at the mercy of. His only solace is Alina, who shows him kindness but withdraws when he asks for help. The theme of masculinity runs through their relationship, as Wyndham feels an obligation to act as Alina’s caregiver even as it slowly becomes evident to all but himself that no one could coexist with her brutal neighbours without cooperation. Wyndham is unable to extract his traditional outlook of the world he knows in one that operates under very different rules. However whilst its themes are evident, the glacial pace of the film means they unravel slowly – too slowly to satisfactorily come together in a way that feels insightful or engaging. It helps the viewer get a sense of time passing whilst Wyndham is trapped, but not always in a positive way. Long sequences between him and Alina only sparsely develop their relationship and drag, whilst confrontational interactions between Wyndham and the boys are the source of horror but end up repetitive. It doesn’t help that many viewers will quickly gain a sense of where the plot is heading and get there long before the film does. The film has fantastic production values and looks great, particularly in how it creates the ambiance of a sweltering desert setting. The heat alone is enough to make this a horror, and the reoccurring raised perspective we get of Wyndham as he contemplates escape mean we are reminded of the burning and shining sun he is at war with as much as the boys who torment him. His hair and clothing remain intact a little too long for ones liking given the time he is trapped, but this is a forgivable faux pas. Scott Haze is another strength, giving a brilliant leading performance as a man whose pride is his downfall. Wyndham feels he can win the boys around with leadership, adult authority and acts of strength – blind to the violent society they have created where brutality is the only force. He expertly portrays Wyndham’s growing madness and acceptance of this world, and excels in scenes of torment and suffering (his likeness of a certain Vice President is a little bonus for the viewer…). The Seeding is an imperfect film but one that’s strengths shine. Its themes are interesting but explored in more inventive and striking ways by contemporaries like Men, and a slow narrative means some viewers will lose interest as the film drags in its second act. But a worthy central performance and strong production stand out and make it worth checking out for fans of folk horror stylings. About the Film Critic Patrick Foley Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Iron Claw film review by UK film critic Matt Weine. Starring Zac Effron, Jeremy Allen White, H arris Dickinson directed by Sean Durkin. HOME | FILMS | REVIEWS The Iron Claw Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Dec 22, 2023 Directed by: Sean Durkin Written by: Sean Durkin Starring: Zac Effron, Jeremy Allen White, H arris Dickinson For the Von Erich professional wrestling family, success in the ring—starting in the freewheeling territory days and continuing into the present—has existed uneasily alongside the “family curse.” Writer/director Sean Durkin (Martha Marcy May Marlene and The Nest ) brings together his lifelong love of wrestling with a keen ability to heighten psychological tension to the breaking point and then see what fills the void that comes after that break. The Iron Claw charts these harrowing ups and downs starting with family patriarch Fritz (Holt McCallany), whose overbearing presence dominates every aspect of his children’s lives. The athletic Von Erich children unquestioningly glide into the path Fritz lays out for them, the family business of wrestling. The series of events that ultimately spin out of this fateful choice gives rise to the legend of the curse, which the brothers deal with in their own (mostly taciturn) ways. Kevin (Zac Efron) is the genial audience stand-in, who wants nothing more than to please his father and have fun in and out of the ring with his brothers. This includes the charismatic David (Harris Dickinson), golden boy Kerry (Jeremy Allen White) and the sensitive aspiring artist Mike (Stanley Simons). Fritz and the boys are given varying degrees of personality and dialogue that at times sacrifices depth for quick characterizations. But with so much biopic ground to cover, Durkin narrows in on Kevin as the one bearing witness to all the inexplicable tragedy. It’s a difficult role to serve, and Efron delivers a commanding performance. As the family’s Job-like suffering grinds down his stoicism and filial loyalty, he remains tethered to hope and the possibility of a different life thanks to his stalwart wife Pam (Lily James, matching Efron with a vibrant performance that elevates her otherwise dutiful lines). The result is a mesmerizing sports movie with more echoes of Malick than Aronofksy. Call it a curse or call it bad luck, but Durkin’s deft handling of these events turns public tragedy into a searing meditation on familial bonds and the limits of a certain type of masculinity. About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Watcher film review by UK film critic Swati Verma. Starring Samad OluKunle, Tyreke Leslie, Anita Bright directed by Ivo Bright. HOME | FILMS | REVIEWS Watcher Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jan 30, 2023 Directed by: Ivo Bright Written by: Ivo Bright Starring: Samad OluKunle, Tyreke Leslie, Anita Bright The writer-director Ivo Bright likes to follow his passion of filmmaking and explores the genre of crime with a well-knit script that evokes a sense of fear and isolation in the minds of the audience hence hooking them with the content with the help of the protagonist Raheem (Samad OluKunle). The plot of the short film revolves around Raheem and his friends who are trying hard at convincing him that someone watching and following them. The only hang-up is, Raheem does not believe it thinking that his friends are winding him up and they are growing confident that the watcher is getting closer with every passing minute. Watcher opens with a black screen along with an eerie background sound followed by the title of the film establishing the subject matter of the film. The DOP Cassius Kane utilises the combination of a series of tracking shots, mid-shots and close-up shots allowing the viewers to interact with the characters and be involved from the very beginning. The bluish-black colour palette, dim lighting, set design, dialogue, costume, hair, and make-up complements the concept and adds the element of realism to the same. In terms of performance, Samad OluKunle plays Raheem who believes in what he sees. OluKunle understands the nuances and portrays the multi-layered character with the right mix of emotions and logic as per various situations in the screenplay. Tyreke Leslie plays the role of Raheem’s friend who spots the mysterious being for the very first time in the film. Leslie manages to establish an emotional connection with the audience due to his dialogue delivery, voice modulation, and facial expressions, and the comic timing is on point. Leslie has a very strong screen presence and therefore he can ensure to provide the desired push to the narrative when necessary. Watcher talks about building such strong bonds that no stranger can break all the ties and walk away. Trust is the most important element in a friendship or any relationship, especially when going through tough patches or hardships. The short film reiterates that mental peace and well-being becomes crucial and sharing how one feels with family and friends helps combat and emerge victorious. The psychological thriller restates that one shouldn’t always go for a physical fight especially if one does not know about the enemy and analyse all possible repercussions of the action one takes. The crime drama tells its audience that it is very good to be self-reliant but one cannot ignore the value of friends as well as loved ones and regret it in the latter stage of life. Watcher discusses that there is nothing wrong with staying true to one’s emotions and listening to those who care in the hope of a better future. The short film tells its audience the significance of unconditional love and support are the bonus elements required to make friendship deeper and stronger over the years. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Emily film review by UK film critic Hope Madden. Starring Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead directed by Frances O'Connor. HOME | FILMS | REVIEWS Emily Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2023 Directed by: Frances O'Connor Written by: Frances O'Connor Starring: Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead Wuthering Heights was always a conundrum of Gothic literature. It is mean, its tragedies ugly, its heroes selfish and boorish. It’s a dark and misanthropic piece of fiction often mistaken as romance. Lucky for all of us, Frances O’Connor appreciates the twisted nastiness of the novel and suggests a vividly unusual inner life for its author in her feature debut, Emily. Emma Mackey stars with an understated but authentic weirdness as the misfit Brontë sister. Emily doesn’t seem suited for teaching, or for much of anything. The stories she tells are childish and they embarrass her sisters, and she won’t let anyone read what she’s writing. She seems to disappoint everyone around her except her brother, Branwell (Fionn Whitehead). In O’Connor’s loose biopic, Emily finds the space to explore once her sisters are gone off to teach and she is alone with Branwell. The filmmaker slyly inserts memorable scenes from Brontë’s novel as moments, here more innocent, between brother and sister. These moments work on many levels, but mainly because writers draw from their own lives. The dynamic complicates and Emily’s transformation deepens as an unexpected, almost involuntary suiter comes into the picture. Untethered by the judgments of her sisters, Emily is free to determine her own course and the journey is intoxicating to witness. Mackey glows as her character slowly, finally comes into her own, giving us a dimensional, tender and delicately genius young woman you yearn to know better. Whitehead charms in a slightly underwritten but nonetheless poignant role. Oliver Jackson-Cohen – so different than the unrelenting narcissist of The Invisible Man – delivers the greatest arc of any character as assistant parson William. His performance is never showy, but moments of vulnerability give the film its heartbeat and heartbreak. O’Connor breathes life with all its chaos, misery and joy into the Brontës’ 19th century. Emily feels less like the vision of a newcomer than the product of a passionate kindred spirit. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

English Rose film review by UK film critic Patrick Foley. Starring Adam Houghton, Katie Benbow, Peter O'Connor directed by Alexander Bather. HOME | FILMS | REVIEWS English Rose Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 4, 2024 Directed by: Alexander Bather Written by: Alexander Bather, Adam Houghton Starring: Adam Houghton, Katie Benbow, Peter O'Connor The ‘Bonnie & Clyde’ model has been explored by everyone from Oliver Stone to Bruce Springsteen – there’s just something about a young couple, crazy in love, leaving a bloody trail of destruction behind them that gets the creative pulses racing. English Rose is a British take on the structure, and Alexander Bather’s short makes sure to push it to the excess. Shortly after killing her husband, ‘Butterfly’ (Katie Benbow) is picked up on the road by Adam (Adam Boughton). Initially horrified by her actions, Adam reveals he has his own deadly tendencies. The terrible twosome embarks on a combined crime wave that leads them to a violent confrontation with the law. English Rose is a thrill-ride, promising and delivering violence, chaos, twists and turns that make for an entertaining, if mindless 15 minutes. The film wrenches the attention of the viewer – making absolutely certain that one is engaged through its stylistic vibrance. If you’re expecting a typical bloody road trip film, turn everything up a degree and slap British accents all over the place – that is English Rose. It’s over-the-top and a little corny, but still grounded in bloody realism that makes its brutality really pop. It’s perhaps not a surprise that Bather isn’t aiming for prestige drama status with his short. Dialogue is cliched and exposition-heavy, though still carries charm given the film’s cards are laid clearly on the table from the get-go. Where the film raises some themes of desperation, abuse, isolation and the delusional state love can leave one in, these are only explored at surface level. Tender moments with the couple in the car could have been expanded upon a little with more of a background provided for the leads, which in turn would have added to the impact of their actions and consequences thereof. There is simmering chemistry between Katie Benbow and Adam Boughton, a metaphorically corrosive kind in the film’s case. Their performances precisely capture the sense that their meeting is a spark that sets of a fire – an unfortunately ideal pairing for a uniquely destructive rampage. The confidence each character gains from the other is underlined by each’s uncertainty before they come clean to one another about their nature. Elsewhere Peter O’Connor gives a remarkable short showing as unfortunate cashier John What – whose terror is a heartbreaking reminder of the real-life consequences of the couple’s deadly actions. English Rose excels in excess. Impressively cinematic in its presentation and vibrancy, the short is well-worthy of a bigger screen – delivering explosive action and a colourful leading pair. There is not a whole lot of depth – not wholly a problem but a shame given the unexplored layers hinted at for the leading characters. But for a stylish roller coaster of a film, it does not disappoint. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Rupture film review by UK film critic Jason Knight. Starring Mark Strange, David Lamont, James Bryhan, Shally Tria-Amanda, Nisaro Karim directed by Ranjeet S. Marwa. HOME | FILMS | REVIEWS Rupture Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 15, 2023 Directed by: Ranjeet S. Marwa Written by: Daniel White, Ranjeet S. Marwa Starring: Mark Strange, David Lamont, James Bryhan, Shally Tria-Amanda, Nisaro Karim An ex-con sets out to take revenge on the people who wronged him. It is the near future, and Raven (Strange) is a criminal and he is planning to do a highly-paid illegal job with his associates. The act gets him arrested and imprisoned, leaving his pregnant partner Amanda (Tria-Amanda) in a vulnerable situation as Raven's gangster friends refuse to help. Amanda decides to continue her life without him and when he is released a few years later, he sets off to settle the score with his former colleagues and he will do so rather viciously. Vengeance and betrayal are the main themes in this action thriller, with an angry and emotionally damaged man going after the people who wronged him and destroyed his life. Beginning with Raven murdering three of the ones who double-crossed him, a flashback reveals the events that led to the protagonist's current vengeful status. In comparison to the second half, the first half is a bit slow, focusing on introducing the characters and revealing the magnitude of what Raven lost due to his imprisonment. Later on, things get quite exciting as he proceeds to eliminate the bad guys, taking out a lot of them, with cool action scenes taking place in a variety of places, including a club and a bar. Arguably, the action sequences are the highlight of the feature, with Raven tearing through his foes like a one-man army, shooting them, stabbing them or beating them. These scenes are directed in a way that resembles the John Wick movies, making them look rather cool and the hand-to-hand combat contains great choreography. The mise-en-scene is interesting, containing several gadgets that look futuristic, including glasses and computer chips that seem to be attached to people's heads. Unsurprisingly, there are plenty of guns and a fair amount of blood. Raven makes an interesting anti-hero and as an individual who is willing to resort to violence and whose actions cause great pain to Amanda, he is hardly likeable, with Strange's voice-over providing an insight into his damaged mind. Although Coby (Karim) is a loyal friend to him, Amanda appears to be the only person in his life who is truly decent and Tria-Amanda plays the part very well. Lamont is Smoke, the leader of the crooks, a drug user with a Mohawk haircut and Sanford (Bryhan) stands out due to his not-very-handsome appearance. Sometimes the acting is weak, however it does not ruin the experience. The feature contains interesting lighting techniques and the filmmakers make effective use of slow motion. The soundtrack is enjoyable and includes electronic music and special mention goes to the animation during the opening and closing credits. This is a futuristic revenge action thriller with criminals, plenty of profanity and a great deal of shooting and physical fighting. The story, characters and tense action provide an amusing experience, however this is not just a brainless action film, as it also has heavy drama and points out the consequences of turning to crime. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >