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Drowned film review by UK film critic Patrick Foley. Starring Sonya Richards, Ryan Nunes, Julia Little directed by Ryan Nunes. HOME | FILMS | REVIEWS Drowned Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 28, 2026 Directed by: Ryan Nunes Written by: Ryan Nunes, Julien Elliot Starring: Sonya Richards, Ryan Nunes, Julia Little They say that the closest thing to war that most people ever experience is divorce. Ryan Nunes’ short film Drowned follows a couple in the aftermath of a separation, each side bearing the scars that complicate their lives as single parents in a melodramatic but moving short. After a fight with partner Jake (Nunes) at a Christmas party, we follow Sarah (Sonya Richards) as she navigates single parenthood of her daughter Emma (Julia Little). Sarah finds motherhood overwhelming, suffering from small memory lapses that lead to big problems. After forgetting Emma’s EpiPen, Sarah and Ryan find themselves in an emotional confrontation – where bitterness, anger and unresolved fractures explode into the open. Drowned tackles difficult questions about parenthood and divorce with a considerate tone and a careful hand. Ryan Nunes constructs characters with depth and reality, asking his audience to empathise with both parties of the divorce and engage with their qualities and their flaws as real people, rather than cutout characters. Jake’s outburst at Sarah feels aggressive at first, but his own struggles that originate in the breakdown of their relationship mean audiences will be able to understand his exasperation in a moment where he fears for the safety of his daughter. Similarly, the time we spend with Sarah where we see how her mental and physical condition lead to daily struggles just in her own life lead us give her grace naturally. It fits perfectly with the film’s message – that parenthood can be unconventional but is always easier shared, even in ways that we may not see firsthand. At times the film dials the melodrama up to 11, in moments that are emotional but a little awkwardly bulldozed into the story. The performers discard any sense of nuance in favour of amped-up cry-shouting. When appropriate this can be the crescendo of finely built dramatic tension that ensures no eye in the house is left dry. But rushed, and it feels like dramatic overkill – the acting equivalent of using a sledgehammer to crack a nut. There is no doubt that both Ryan Nunes and Sonya Richards are excellent at portraying a breakdown. But the place of the pivotal exchange involving the EpiPen feels rushed in the context of the narrative. Whilst it is possible to imagine real parents reacting this way, the storytelling of the film makes the moment feel a little unearned, particularly seeing as it is a trigger for the two finding common ground in what is the climax of the film. The film looks crisp and professional with some interesting using of lighting – which ‘drowns’ out of the screen as Sarah’s desperation grows throughout the film. Nunes’ direction is also solid enough, knowing how to present Sarah as someone finding life more and more difficult and unhinged whilst her former partner becomes an invading entity (Nunes’ way of presenting his own character in the film who uncomfortably throws off the focus and balance is a particular highlight). Whilst Drowned is imperfect structurally and will not pull up any trees when it comes to storytelling around parenthood (its release close to the dazzlingly original If I Had Legs I’d Kick You not helping in this regard), it is a solid enough effort from director, writer and star Ryan Nunes and his team which will speak to people navigating parenthood or even just those who have ever felt isolated when dealing with an imperceivable task. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Scream 7 film review by UK film critic George Wolf. Starring Neve Campbell, Isabel May, Courteney Cox directed by Kevin Williamson. HOME | FILMS | REVIEWS Scream 7 Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Feb 27, 2026 Directed by: Kevin Williamson Written by: Kevin Williamson, Guy Busick, James Vanderbilt Starring: Neve Campbell, Isabel May, Courteney Cox There’s a lot to be said for the Scream franchise. Sure, Wes Craven’s 1996 iconic original delivered the shot of adrenaline needed to reimagine and reinvigorate the horror genre. But the fact is that, seven episodes in, the series doesn’t have a lot to be embarrassed by. In case any unexpected callers ask, there are 12 Friday the 13th films, 8 Nightmare on Elm Street films (yes, we are counting the 2010 abomination), 9 Texas Chainsaw Massacre films, 12 Hellraiser s, and 13 Halloweens in all. Hell, there are 8 Leprechaun films. And, in every case, most of the individual sequels are terrible. Some of them unwatchable. But not Scream . Sure, Scream 3 was a step backward. Scream 4 was less beloved than it should have been. Scream 5 was a nice comeback, then 6 was a bit of a letdown. Still, seven episodes and we have no real stinkers. Including Scream 7 , co-written and directed by the franchise’s original scribe, Kevin Williamson. The storyline has veered back, after Melissa Barrera was fired, which prompted Jenna Ortega to quit. So, naturally, the property finally found the money to pay Neve Campbell to come back, and good thing they did. When Ghostface tracks Sidney Prescott down to the smalltown where she’s raising her three kids with husband/police chief Mark Evans (Joel McHale), she needs to keep her own history from echoing through her teenage daughter Tatum’s (Isabel May) life. Episode Seven is all about nostalgia, and a reminder of the years we all have invested. You’ll see plenty of familiar faces, including everyone’s favorite from the original film. There is a nicely organic reason for this, but the film’s core is about Sidney’s strained relationship with her daughter. That’s a weaker thread. Williamson sells the new setting well enough, and with some understatement that feels refreshing. What isn’t subtle is the frayed nature of the mother/daughter dynamic, fueled by dialog and drama that’s forced and unearned. The younger cast (including McKenna Grace, Michelle Randolph, Asa German, Celeste O’Connor and Sam Rechner), while perfectly talented, are slighted in terms of plot and character development. They only get a passing chance to school us on some new rules of the game, and benefit from the satisfying staging of just one standout kill. The grownup side of the story is solid. It’s still a kick to see Campbell’s Sid and Courteney Cox’s Gale Weathers doing their thing. There is still some teenage dumbassery involved, but this Scream is leaning into its age more than ever. It’s less risky, and certainly after all this time, less groundbreaking. But Scream 7 is also less silly. Like a proud parent reminding the kids they can always come home, Williamson’s return gives the franchise some bloody comfort food to chew on. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Crusader film review by UK film critic Jason Knight. Starring Tim Cullingworth-Hudson, Nigel Betts directed by Tim Cullingworth-Hudson. HOME | FILMS | REVIEWS The Crusader Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Feb 27, 2026 Directed by: Tim Cullingworth-Hudson Written by: Tim Cullingworth-Hudson Starring: Tim Cullingworth-Hudson, Nigel Betts Tim Cullingworth-Hudson writes, directs and stars in this captivating medieval dark fantasy. Within one and a half minutes, with the use of striking visuals, epic music and drama, this short takes the viewer on an adventurous journey. The film does not concentrate on telling a story, but rather to present a situation, or perhaps more appropriately, an otherwordly confrontation that takes place in the middle a battlefield. The setting is the Middle Ages and the titular Crusader (voiced by Hudson) awakens in an open area filled with dead bodies and fires. It is the aftermath of a devastating battle and as the warrior proceeds to rise, a demonic entity emerges from the soil (voiced by Betts) and begins to verbally condemn him. But the man is strong. Regarding the mise-en-scene, it looks superb, creating a dark medieval period environment. There are brief scenes of battle, with armoured soldiers wielding their weapons in slow motion. Filmed almost entirely in black-and-white, colour is present only in shots of blood being spilled. The black-and-white cinematography makes the atmosphere feel rather sinister, which is fitting given the events that take place. The appearance of the monster turns things towards fantasy and it appears to be a being of pure evil. The creature is anthropomorphic, has huge crow-like wings on its back and sharp teeth. As for the warrior, the hero, he is a bearded man, wearing heavy armour. This film would not be so impactful without the dynamic music. Dramatic chanting and strong drumming create a powerful atmosphere that promises adventure and brutal confrontation. Regarding the Crusader, voice-over describes him as a veteran of many battles, who is living a life of violence that will never lead to solace. His spirit is strong, but his many experiences in the battlefield have left mental scars in him. Moreover, it is indicated that he also possesses magical powers. As for the winged creature, it seems to be his utlimate enemy, menacingly telling him that there is no salvation. During its short duration, this film manages to explore religion, the brutality of war, bravery, self-reflection, redemption and desperation. It is a story about Good vs Evil, with the Crusader representing Good and the creature symbolizing Evil. A sword and sorcery tale filled with excitement and confrontation. It is a brief experience but one that never loses its power from start to finish and it carries the message that when people are going through challenging times and the odds are against them, they must never give up. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Dreams film review by UK film critic Hope Madden. Starring Jessica Chastain, Isaac Hernández directed by Michel Franco. HOME | FILMS | REVIEWS Dreams Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 26, 2026 Directed by: Michel Franco Written by: Michel Franco Starring: Jessica Chastain, Isaac Hernández Early in Dreams , Michel Franco’s latest, a wealthy white guy at a board meeting says, “Why Mexicans? Isn’t there anybody here we can help?” It’s a pristine boardroom, just the questioning Jake McCarthy (Rupert Friend), speaking to his benevolent father (Marshall Bell), and his philanthropic sister, Jennifer (Jessica Chastain). She gives him a playfully annoyed shake of the head, hands him a dossier to sign, and promises her “little projects” are all tax write offs. She and her father share a “what are we going to do with this guy?” smile and roll of the eyes. Franco’s film is not subtle. Chastain cuts an elegant figure, Franco’s cinematographer Yves Cape lingering over every meticulous ensemble, fetishizing each pair of impossible heels. She never smiles. There’s a hand ready to help her out of every vehicle as its door opens for her. She has never a hair out of place. Except when she’s having energetic sex with Fernando (Isaac Hernández), the talented ballet dancer who’s just crossed the border and most of the US on his own to be with her. The erotic thriller’s psychosexual politics are eye-catchingly surface level, with a heavy-handed examination of the American Dream driving the action. The role reversal—that the wealthy philanthropist is a woman and the beautiful ballet dancer in distress is a man—allows Franco provocative opportunities. One of the most interesting things about Franco’s films, including Memory , also starring Chastaine, and 2022’s Sundown , is that, at just past the halfway mark, each becomes an entirely different film. Dreams follows that path as well, although with less satisfying results. Like Memory , Dreams considers power and consent in sexual relationships, and again, the latter film comes up shorter. Dreams seems more obviously built to provoke, more relentlessly opposed to choosing a side. That feels less provocative and more irresponsible here. Whether, in the final image on the screen, we are expected to see the evil of privilege or the righteous glare of vengeance, what’s important to note is that no white men were harmed in the making of this film. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Crazy Old Lady film review by UK film critic Hope Madden. Starring Carmen Maura, Daniel Hendler directed by Martín Maregui. HOME | FILMS | REVIEWS Crazy Old Lady Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 25, 2026 Directed by: Martín Maregui Written by: Martín Maregui Starring: Carmen Maura, Daniel Hendler In a provocative and assuredly nuanced riff on the old hagsploitation genre so popular in the Sixties and Seventies, Martín Mauregui’s Crazy Old Lady dares you to look away. The agist, often misogynistic originators of the genre—What Ever Happened to Baby Jane? , Hush…Hush, Sweet Charlotte, Straight-Jacket —eventually made way for more thoughtful, but no less terrifying, meditations on the horrors that await us all. The heartbreaking nature of dementia in Natalie Erika James’s Relic and Adam Robitel’s The Taking of Deborah Logan struck a nerve. Crazy Old Lady traps us in a home with a dementia sufferer who’s stopped taking medication and has embraced a violent unreality. But Marengui, an Argentinian filmmaker, is less interested in what the future holds as what the past hides. The great Carmen Maura is Alicia. Alicia has her daughter Laura (Augistina Liendo) worried. By the third time Alicia calls Laura inside of ten minutes, always asking for the same recipe, Laura panics. Hundreds of miles from home with no one else to turn to, she phones her ex-boyfriend Pedro (Daniel Hendler) with a desperate request: stay with Alicia until Laura can get back home tomorrow morning. Pedro complies. But he’s not Pedro to Alicia. He’s Cesar, her first love, an abusive man with whom Alicia shared dark, even brutal secrets. Mauregui takes a Death and the Maiden approach to the balance of the film. The result is a profoundly uncomfortable, breathtakingly performed exhumation of the kind of dark past that refuses to stay buried in the garden. “People disappeared every day back then,” Alicia casually recalls. Through most of the film’s runtime, we’re alone with Alicia and Pedro. Maura’s masterful performance hardly comes as a surprise. Broken, seductive, self-righteous, naïve, sinister—the veteran weaves from one tone to the next with alarming flexibility. Hendler keeps pace. There is such humanity in his performance, confusion and terror and, most heartbreakingly, empathy. It’s a beautiful, aching turn. Though both actors are aided immeasurably by Mauregui’s deft writing, their chemistry and deeply felt performance elevate the film far beyond its genre trappings. Mauregui builds tension, delivers unexpected shocks, and lets his exceptional cast compel your attention. Despite its exploitation title, Crazy Old Lady delivers a gripping tale. About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >

The President's Cake film review by UK film critic George Wolf. Starring Baneen Ahmad Nayyef, Waheed Thabet Khreibet, Sajad Mohamad Qasem directed by Hasan Hadi. HOME | FILMS | REVIEWS The President's Cake Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 25, 2026 Directed by: Hasan Hadi Written by: Hasan Hadi Starring: Baneen Ahmad Nayyef, Waheed Thabet Khreibet, Sajad Mohamad Qasem After winning two awards last year at Cannes, The President’s Cake missed out on an Oscar nomination for Best International Feature. That says much about how stacked the category is this time, because writer/director Hasan Hadi’s feature debut is an absolutely wondrous mix of empathy and gut-punch heartbreak. In 1990s Iraq, nine year old Lamia (Baneen Ahmad Nayyef, in a remarkable debut of her own) lives with her feisty grandmother Bibi (Waheed Thabet Khreibet) in the poverty-stricken marshes. As “draw day” approaches at Lamia’s school, Bibi teaches her little tricks to avoid getting chosen for the compulsory “honors” of providing various items at the local celebration of President Saddam Hussein’s birthday. But Lamia’s stern teacher sees through the scams, and the girl is picked for the most scrutinized task of all: baking the birthday cake. Needless to day, failure would bring about some harsh consequences. Though Bibi thinks she knows the best way forward for her granddaughter, Lamia strikes out on her own. Clutching her favorite rooster and conferring often with her friend Saeed (Sajad Mohamad Qasem), Lamia desperately seeks ways to acquire the precious baking ingredients that she cannot afford. Buoyed by the two remarkably assured young performers, Hadi crafts the film with a delicate balance between childlike journey and harsh reality. Though Lamia’s travels through her homeland’s corruption, casual cruelty and degradation may recall The Painted Bird or Come and See , Hadi protects the innocence as fiercely as Lamia protects her rooster. His film’s heart aches for the plight of these people, even as it’s providing sly reminders that aspiring dictators share similar playbooks. There is a tender, poetic beauty to be found here as well. The President’s Cake signals Hadi as a filmmaker full of insight and compassion, with the storytelling instincts to mine universal resonance from a uniquely intimate struggle. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Return film review by UK film critic Matt Trapp. Starring Peter Faulkner, Jade Lauren, Bart Lambert directed by Sophia Carr-Gomm. HOME | FILMS | REVIEWS Return Film Review average rating is 5 out of 5 Critic: Matt Trapp | Posted on: Feb 24, 2026 Directed by: Sophia Carr-Gomm Written by: Sophia Carr-Gomm Starring: Peter Faulkner, Jade Lauren, Bart Lambert Return explores a layered cocktail of themes through its brief 10 minute runtime, leading the audience on an emotional meditation on grief, memory, and humanity’s place within the natural world. Peter Faulkner’s character carries the weight of loss deep inside, and most of Return’ s runtime is spent inside his mind. He sits alone in a dark room, apparently isolated from the world, and the image is a shockingly stark one. Carr-Gomm focuses a great deal of attention on the man’s difficulty in grasping a glass of water and bringing it to his lips to drink. Yet, when he closes his eyes, colour and light return to the picture. We see rocky clifftops adorned with birds, the power of a calm sea, a beautiful natural world rich with flora and fauna. A mysterious woman (Jade Lauren) with some connection to Faulkner’s character is always out of reach standing a part of the natural world within his mind. The vast skies and dense woodland suggest something heavenly about the Earth, and as the old man walks throughout these lush environments there’s no hint of any corporeal weakness about him. At one point, he plants his face in the grass, drinking in the physical sensation. Carr-Gomm’s depiction of literal connection with the land juxtaposes the isolation of Faulkner’s character at the start of the short - sat alone in his armchair, the only hint of a world outside his room is the sunlight softly settled on his window. Similarly to the recently Academy Award nominated Train Dreams , Carr-Gomm explores loss and the nature of grief by using the natural world as a sort of bridge between the living and the dead. The filmmaking on display in Return is spectacular and helps to sell the spiritual ideas that the film explores. The photography of the environment is breathtaking, often captured with wide shots from high above to capture the vibrant beauty of the Earth. Sunflower fields appear as a rich tapestry of colour, and a single cloud in the sky looks as though painted by a dexterous hand. Special attention is given to smaller details such as a hand running over wheat in a field, and the aforementioned face rubbing in the grass, giving a real sense of texture and presence in the world. Return ’s sensory experience is heightened by a simple piano score which guides the audience through the journey. The film is entirely without dialogue, yet Ben Rowarth’s composition speaks for itself. Peter Faulkner’s performance in the film was deeply personal to his own life experience, Carr-Gomm has stated. His character moves deliberately in every single moment, communicating feelings of love and loneliness clearly without speaking. A particularly moving sequence of Faulkner’s performance is when he dances alone in his kitchen, coming to life in a deeply vulnerable display of laboured elegance. He brilliantly embodies the heartbreak of continuing on after a loved one’s death, and the overwhelming inclination to withdraw into one’s shell. Reminiscing can be self destructive in a way, and Faulkner’s depiction of earthly liberation, to reconnect with the natural world as well as his loved one, suggests a call to be reunited with them, to return to them. Return speaks to the loneliness of life, but also the power of the natural world and the love that connects us to each other. The confident filmmaking and the tender performances support complex ideas with the short’s brief runtime, without the help of words to convey meaning. The result is a piece of cinema that will have audiences reminiscing about their lost loved ones, and maybe picking up the phone to give their older friends and relatives a call. About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Big Jay's Day Out film review by UK film critic Matt Trapp. Starring Austin Alexander, Angela Lin, Tanner Struyk directed by Mitch Silva . HOME | FILMS | REVIEWS Big Jay's Day Out Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Feb 24, 2026 Directed by: Mitch Silva Written by: Mitch Silva Starring: Austin Alexander, Angela Lin, Tanner Struyk The growing popularity of alternative media in the 21st century has had a fascinating effect. Truly esoteric discussions about anime, videogames, and fairly obscure movies are deftly navigated by the so-called ‘terminally online’, with new subcultures born and aesthetics named daily. The film follows Jay, described as ‘a man led astray’ who is thousands of dollars in debt, depressed, and developing an app which he believes will “change the world”. For the next 20 minutes, viewers are strapped into an outrageous, exhausting, and sometimes incoherent whirlwind of neon lights and violent gangsters. Mitch Silva’s Big Jay’s Day Out will be an enigma to general audiences everywhere, but something tells me that this won’t be a concern for the filmmaker. Big Jay’s Day Out is first and foremost a ‘vibes-based’ film, the first in a genre which the filmmakers have helpfully identified as ‘inhalantcore’. It’s certainly a satire, comparable to American Psycho by way of Harmony Korine, and it’s a relief that the humour is generally excellent, if not irony-poisoned. There’s more drama in the back half of the short than may be expected, and while the performances generally work, a few too many scenes descend into characters yelling melodramatically. It’s less atmospheric than it could be, and more dialogue heavy than it should be. Austin Alexander’s performance is enjoyable to begin with but it was a shame that he wasn’t given much more to do after the first few minutes. Similarly for Angela Lin who performs a dual role as Evelyn Chen and Not Evelyn Chen, while she makes an intriguing and enigmatic first impression as a modern day manic pixie meets 2020s online goth girl pastiche, her character becomes flattened and fairly dull by the end of the film. The filmmakers have added that this film is considered a ‘rebuild’ in the same vein as Evangelion. They state that Big Jay’s Day Out Remastered must be watched after the original Big Jay’s Day Out preAlpha 0.89 , originally released in 2017. Having watched both of these shorts now, there’s definitely some thematic and stylistic connections between the two, but the original film is not an essential watch to understand the ‘remaster’. It does gesture towards a specific artistic intent from Silva however, giving his short films a knowing interconnectivity, as well being a knowledge check for audiences who are familiar with Evangelion and its sequels. Similarly, the aesthetics of various internet subcultures are employed throughout Big Jay’s Day Out . The result is a visual melting pot of ideas and influences, and it’s undoubtedly unique. However, it would be remiss to ignore that the film’s abrasive sound and editing styles can make it a challenging watch. Big Jay’s Day Out may arguably be described as an exercise in style over substance. Whether or not that’s true will depend on who is watching the film. Undeniable however is the fact that there is a distinct quality in Silva’s filmmaking that certain audiences will particularly resonate with, and it would be an immense shame if this style became watered down and bent into something more recognisable. About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

SCRUTINY film review by UK film critic Matt Trapp. Starring Isaiah Bobb-Semple, Kevin Siaw-Badu, Elizabeth Oladapo-Jacobs directed by James Quinn. HOME | FILMS | REVIEWS SCRUTINY Film Review average rating is 5 out of 5 Critic: Matt Trapp | Posted on: Feb 24, 2026 Directed by: James Quinn Written by: James Quinn Starring: Isaiah Bobb-Semple, Kevin Siaw-Badu, Elizabeth Oladapo-Jacobs It’s ironic that, in many ways, modern innovations in communication have made us more isolated than ever before. James Quinn taps into these complex feelings in Scrutiny , a tender short story following a young man, Nathan (Isaiah Bobb-Semple), riding on a bus through south London after hanging out with his mate Kwame (Kevin Siaw-Badu). In just 10 minutes, Quinn leads the audience through an odyssey of anxious rumination, placing them right inside the spiralling mind of the protagonist. The direction and performances are all flawless, resulting in a vulnerable and very modern portrait of self doubt. SCRUTINY immediately announces its bold visual style with the use of a grainy, analogue filter. The visual noise serves as a relevant metaphor for how Nathan is thinking and feeling, and it also reveals the film’s keen attention to detail. Through careful choices, Quinn excels in delivering a subjective experience of the protagonist’s anxiety, which Bobb-Semple is able to articulate through subtle non-verbal cues. The camera pays particular attention to Nathan’s hands as he nervously taps the back of his phone, he erratically fiddles with his bracelet, and all the while the music is pulsing arhythmically. The audience doesn't yet entirely understand what the source of the tension is, but it’s clear that Nathan is feeling it intensely. The editor Christopher Morris must be given particular credit for how gripping SCRUTINY is. The film unfolds very quickly and discloses new information to the audience in the form of a flashback to before Nathan got on the bus. Reclined on a grassy hill with his friend Kwame, the two lay back comfortably, beers in hand, and worries apparently far far away. “You up for this again?” asks Kwame, to which Nathan enthusiastically replies “Sure!”. It’s a simple but sweet scene, unsubtly juxtaposed by the scenes on the bus which soon interrupt the relaxed flashback. Before long, the audience returns to the flashback, but this time it’s different. The script is the same, but the vibes are entirely off, and the once easy conversation which earlier flowed like honey is now stilted and awkward. Kwame seems less interested, and Nathan far less sure of himself. It’s a superb use of filmmaking, reminiscent of Kurosawa’s Rashomon , casting doubt on how the interaction between the two friends really took place. The sound design and quick editing on the bus becomes more and more overbearing as Nathan continues waiting for a text from Kwame. Passengers on the bus appear to be staring at Nathan, and it begins to look like something from a horror film. SCRUTINY reads as a narrative deeply rooted in the neurodivergent experience. It’s not uncommon for people with autism and ADHD to replay memories obsessively, to overanalyse social situations unhealthily, and to feel overwhelming feelings of shame and regret for perceived slights. Quinn should be praised for how he chooses to dignify Nathan’s emotional experience; he doesn’t downplay Nathan’s feelings of embarrassment and alienation. The narrative even gives its characters some form of resolution when Kwame reassures Nathan that he had a great time earlier that day, absolving his friend of any guilt for asking for some support. It’s a beautiful gesture and provides a great sense of closure. Persistently, the film ends on a different note as he finally arrives at Maria’s party. The final shot is devastating and all too familiar for anyone with experience of ‘masking’ in social scenarios. The ending suggests that the events of the film are more than likely to repeat until Nathan can learn to be comfortable being himself around his friends and not needing to perform what he thinks they want him to be. It’s a complex cocktail of emotions, with the vast weight of expectations of Nathan being self imposed. It’s a seriously impressive narrative to tell in just 10 minutes. Watching SCRUTINY through the lens of the neurodivergent experience is a rewarding one, whether or not that’s what Quinn and the crew intended. It should be praised for its depiction of neurodiversity in the black community especially, considering the fact that autism is overwhelmingly represented in media by white introverted boys. What stands out watching SCRUTINY is the sheer amount of empathy that is afforded to these characters. Although Nathan’s experience may not be one that every viewer has experienced in their life, through confident and motivated filmmaking choices, the movie may enable audiences to better understand and identify with a perspective outside of their own. About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Disremember film review by UK film critic Patrick Foley. Starring Matthew Simpson directed by Matthew Simpson. HOME | FILMS | REVIEWS Disremember Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Feb 23, 2026 Directed by: Matthew Simpson Written by: Matthew Simpson Starring: Matthew Simpson Matthew Simpson’s Disremember is an incredibly impressive solo project that won’t be ‘disremembered’ in a hurry. This memory-bending mystery thriller is solo-directed by its star, and tackles emotional questions around PTSD, trauma and addiction. The film follows Rob (Matthew Simpson), a former soldier tormented by alcoholism and memory-loss. After learning that his wife wants a divorce, Rob finds himself in the home of a friend with no memory of how he arrived. Determined to piece together his mind, he takes steps to track his movements – including setting up CCTV to monitor his actions. What he finds twists his world upside down. Disremember is an astounding piece of filmmaking and a proper production triumph from its creator and star Matthew Simpson. The credits demonstrate some of the techniques used in the film’s creation, with the innovation use of face-tracking cameras a particular highlight as they are used to simulate Rob’s fragile mental state. The process is seamless and means Matthew Simpson can focus on delivering a memorable performance, confident that the production steps put into place make for fluid camera work that draws the viewer into Rob’s world. Largely set in a single location, Simpson makes sure that his film is visually stimulating and invigorating, thanks to a combination of the aforementioned camera work and impressive lighting that adds an unnerving unsteadiness to the experience. The plot is centred around Rob’s traumatised and fractured memories, as he tries to piece together the mystery of his relationships and how he has come to find himself alone in the apartment. There will be some familiar territory for fans of predecessors like Memento – such as the presence of the protagonist as narrator and an inherent unpredictability to recollections that border on suspicion. Simpson’s storytelling is gripping, even if some of the film’s twists lean towards the predictable side. Rob’s history in the military is interwoven with trauma and alcoholism which lead to all kind of different plot threads and story angles as the mystery is explored, that are sure to keep viewer’s attention. A unique production alone makes Disremember worth checking out, and Matthew Simpson’s herculean efforts at bringing his idea to the screen singlehandedly deserve serious plaudits. In some ways it is a bonus that the film is as good as it is in as many traditional ways as novel ones. A fantastic, visceral leading performance, winding and engrossing plot and immersive atmosphere would serve any film, of any size, of any budget well. That Simpson accomplishes all of these along with his restrictions is truly commendable. Disremember makes its US premiere on 15th and 18th March 2026 at the Cinequest Film & Creativity Festival in California. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Being Ola film review by UK film critic James Learoyd. Starring Ola Henningsen, Lasse Kortegaard Kristensen directed by Ragnhild Nøst Bergem. HOME | FILMS | REVIEWS Being Ola Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Feb 24, 2026 Directed by: Ragnhild Nøst Bergem Written by: Ragnhild Nøst Bergem Starring: Ola Henningsen, Lasse Kortegaard Kristensen Documentaries don’t get any more moving than Being Ola , Ragnhild Nøst Bergem’s recent film about a man named Ola Henningsen who enjoys gardening and writing. The film focuses most prominently on how Ola navigates living with an intellectual disability. In this 70-minute feature, we see him reflect on a challenging, confusing childhood and adolescence; and the painful but, ultimately, socially beneficial and emotionally constructive decision to find a home amongst a close-knit rural community, consisting of many also living with learning disabilities – a safe space of growth, cohabitation and surrogate family. His journey is one of grappling with self-doubt, learning to love one’s imperfections and becoming more independent. But it’s also about looking towards the future, as Ola questions whether he may one day wish to live outside of the village wherein he’s forged such a valuable home. This is a beautiful piece, and a story that will touch many. The first thing you fall in love with while watching Being Ola is the cosiness of the physical location itself. One of the best decisions the filmmakers make on a level of immersion, is allowing the audience to slowly acquaint themselves with each and every place and landscape inhabited by those in the village of Vidaråsen. By letting the viewer grow to have a sense of visual familiarity, the narrative being crafted before you becomes all the more inviting. This is a movie you truly enjoy spending time in. You love the people it paints a portrait of. You love the various activities it documents. And, perhaps most of all, you love the always optimistic spirit of Ola – an endlessly charismatic, amusing and kind screen presence. This is also a wonderfully put-together work of art, both in terms of camera and audio. There’s so much to love about the quaint beauty of the cinematography. Defined by a subtlety and simplicity, both in its composition and in-the-moment capturing, so many shots feel like a colourful, affectionate meditation on the environments and people of Norway. And then, in turn, the very carefully crafted sound and calming choice of music go a long way to build a mood and provide the technical side of the filmmaking a finished quality. Like all great documentaries, all of this then comes together in the editing, which manages not to rush any moment whilst also maintaining a steady, purposeful direction of pace. There’s one clear highlight of movie, for this critic at least. On the celebration of another occupant’s seventieth birthday, many of village’s residents perform for her as a form of gift. For Ola, he’s been rehearsing Chopsticks on the piano. When he begins performing, things go a little wrong, and you can see his heartbreak at being unable to follow through with the performance. Later that day, though, he returns to the piano with his teacher, and together they perform a duet. After this performance, Ola receives a rapturous round of applause. In testimony captured later in the day, he turns the event into a most moving and optimistic philosophy about not giving up. It’s such a perfectly imperfect, almost overwhelmingly – yet effortlessly – emotional instance of captured reality, and the sequence which takes Being Ola into five-star territory. Being Ola gets its UK premiere at the opening night of Oska Bright film festival, on March 28th. About the Film Critic James Learoyd Indie Feature Film, Documentary, Film Festival, World Cinema < All Reviews Next Film Review >

Dolly film review by UK film critic Hope Madden. Starring Fabianne Therese, Seann William Scott, Max the Impaler directed by Rod Blackhurst. HOME | FILMS | REVIEWS Dolly Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 24, 2026 Directed by: Rod Blackhurst Written by: Rod Blackhurst, Brandon Weavil Starring: Fabianne Therese, Seann William Scott, Max the Impaler Fans of Savage Seventies Cinema, rejoice. Filmmaker Rod Blackhurst channels The Texas Chain Saw Massacre, Tourist Trap, and even a little bit of Ted Post’s 1973 freak show The Baby for his wooded horror, Dolly. Macy (Fabianne Therese) and Chase (Seann William Scott) hike through the woods to a breathtaking overlook where Chase will pop the question. But they probably should have turned back at the first sign of those baby dolls nailed to the trees. Soon enough, they meet Dolly (Max the Impaler, that’s quite a name), an enormous person whose whole noggin is hidden inside a cracked ceramic doll’s head. Dolly has a shovel, puts it to unusual use, and soon enough it’s just Dolly and her new baby, Macy, back at Dolly’s house. Blackhurst nails the look and vibe of a 70s grindhouse horror show. And it’s not just tone, it’s also the content. Dolly gets nasty. Blackhurst intends to horrify you far more than frighten you. Whether it’s blood or body fluids or rancid food stuffs or broken bones that trip your gag reflex, he’s aiming to find it. Ethan Suplee—you remember, the happy singing football player from Remember the Titans –cuts a far more intimidating presence as Daddy, and you can’t help but wonder about the backstory here at Dolly’s place. Kudos to Blackhurst, who co-writes with Brandon Weavil, for keeping it ambiguous. Yes, if it’s an indie Seventies horror aesthetic you’re after, and logic and common sense are of less importance, then Dolly is for you. But if you crave one single scene of realistic behavior, the movie comes up short. Therese can’t be blamed. She does what she can, her attempts at carving a heroic character are in and of themselves heroic. But Macy’s every action is made exclusively to further the plot and never, ever to create a believable character. If you have a tough time watching a person constantly abandoning weapons along with common sense, this film will frustrate you. The excellent grindhouse violence and style are only equaled by the utter and distressing ridiculousness of the plot. So, even Steven, I guess. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >