Search Results

Princess of the Murder film review by UK film critic Chris Olson. Starring Jacqueline Sophia London, Max Ferreiras, Luciana Kurzius directed by Jacqueline Sophia London. HOME | FILMS | REVIEWS Princess of the Murder Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Dec 2, 2025 Directed by: Jacqueline Sophia London Written by: Max Ferreiras, Luciana Kurzius, Jacqueline Sophia London Starring: Jacqueline Sophia London, Max Ferreiras, Luciana Kurzius Set in the unassuming town of Keyport, New Jersey, a Halloween evening takes a chilling turn when the locals accidentally awaken an evil presence. If you are a fan of films like Hocus Pocus and Hubie Halloween , and don’t mind your films roughing it on a budget, then grab your candy swag bag and tag along. In Princess of the Murder , Jacqueline Sophia London plays Jackie, a local searching for her pet crow Cris, who has gone missing. Along the way, we witness Jackie undergo a number of cruelties from members of the town, such as being egged by two bullies in a car and an older gentleman shouting at her from his doorstep. At the same time, two friends, Lucy and Max (Luciana Kurzius and Max Ferreiras, respectively) are making their way to a slumber party for the evening. The trio collide in a graveyard and set events in motion that will get the blood spilling. A very low-budget feature, with some great indie filmmaking techniques, colourful characters, and a good injection of comedy (look out for a hilarious slow-motion knife throw). Princess of the Murder has a can-do charm that really kicks in by the mid-point of the film, once the evil is released and the slashing starts. The first thirty minutes could have done with a slashing of its own, feeling incredibly baggy with too many innocuous scenes and a jumble of characters being introduced haphazardly. Whilst the horror antics are absurd and vamped up for dramatic effect, they have a whimsical charm to them that will appeal to viewers with an affection for B-movie horror-comedies and the like. There is also a lovely moment of respect paid to Edgar Allen Poe. Some of the music choices are pretty good, especially when the evil presence gets released in the graveyard, and there is a jump-scare track that gets used more than once, which is pretty fun. The performances are what you would expect for a small indie film of novices, and there is an ensemble energy that you can tell the cast is enjoying themselves wholeheartedly. Sadly, this doesn’t translate into a strong cast that the viewer will necessarily believe or engage with, unless you are family and friends watching the movie. As with a lot of indie horror-comedies, the horror works better than the comedy. The former lends itself nicely to indie budgets, where the lack of high-production values can often enhance the creepy atmosphere rather than hindering it. Whereas good comedy is hard to come by, and the laughs here are memorable (eggs hitting faces, slow-mo knives), but far too sparse. A streamlined short film eschewing the ensemble of characters and focusing more intently on the three main ones could perhaps have been a better route to take here. About the Film Critic Chris Olson Indie Feature Film, Horror < All Reviews Next Film Review >

Marion’s Lilies film review by UK film critic Patrick Foley. Starring Marcello Mantero directed by Marcello Mantero. HOME | FILMS | REVIEWS Marion’s Lilies Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 25, 2025 Directed by: Marcello Mantero Written by: Marcello Mantero Starring: Marcello Mantero A gruesome murder leads to a husband’s descent into darkness in Marion’s Lilies, Marcello Mantero’s short psychological thriller that confronts the realities, consequences and heartbreak of revenge. Reeling from the death of his wife at the hands of shadowy serial killer ‘The Owl’, David (Neil Bishop) obsesses over enacting revenge on the man responsible. Enraged by the sluggishness of the police, he embarks on his own investigation using his friendship with a homeless witness of the crime, Andy (John Britton), to try and find his own leads. As time goes by, David considers ever more extreme lengths to take revenge – to the point where his own morality abandons him. Unless your film stars a muscle-bound 80s action hero and features at least 12 explosions, filmmakers are honour-bound to conclude that revenge is, in fact, a bad thing. But few films imbibe this lesson quite as much as Marion’s Lilies . Taking place in the aftermath of a murder, Neil Bishop’s David is already a husk of a human at the film’s opening. Overwhelming grief quickly turns to anger and bloodlust, and our overall picture of the character is that of a ruthless and committed vigilante. The degree of David’s darkness actually asks a question that may be more interesting than the filmmaker intended at the film’s origin: is this darkness within us? Or is it caused by outside factors? David’s mother and items around his home suggest David has been turned by the event of his wife’s murder. But his resourcefulness and embrace of anger suggest this side of him is one that has always been present. The speed at which he grows tired of the police and the callousness he treats those who offer him kindness are further evidence of this. The noir influences are clear to see in the shadowy night-stalking sequences that are truly thrilling, as David puts his revenge plan into action. The film looks fantastic, with the streets David walks suitably consuming and hostile. For a film as dark both in terms of content and appearance, it is lit beautifully – avoiding the pitfall that so many contemporaries fall into when important action scenes end up barely visible due to a need to black-out the shot. Mantero avoids this comfortably, understanding that drama outweighs visual authenticity in such moments. There are a few moments where the film stretches credibility. Much of David’s investigation relies on police reports on TV and Radio – an effective way of demonstrating his amateurish tendencies (that he cannot see in himself) but raising a natural question of why such information would be made public at all. Exposition-heavy dialogue in general rears its head one too many times, with David himself outright stating his motivations and characters around him outlining the story’s message and themes in ways that feel easily improved upon with a stricter edit. And whilst Neil Bishop impresses in general as David, his unhinged explosiveness is ropey in parts, and the performance could have benefited from more restraint. Revenge has rarely been so prominent in a film’s narrative as it is in Marion’s Lilies. From the filmmaker’s own description of the project, it is possible that some of the intentions of the narrative are not met by the delivery of the production. Some of these (like the darkness David embraces) are actually to the film’s benefit, whilst others (the bluntness of the dialogue) detract from it. Nevertheless, this is a memorable, unrelenting thriller that looks great and isn’t afraid to take chances with its script and characters. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Hot Box film review by UK film critic Patrick Foley. Starring Julie Whelan, Steve Tsang, Brandon Rhiness directed by Brandon Rhiness. HOME | FILMS | REVIEWS Hot Box Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Dec 1, 2025 Directed by: Brandon Rhiness Written by: Brandon Rhiness Starring: Julie Whelan, Steve Tsang, Brandon Rhiness Everyone has that one party that ascends into legend, regaled amongst friend groups long after the days of debauchery leaves them behind. Hot Box is a multi-branching comedy that follows the odd-ball attendees at house party that is on the verge of swerving out of control onto the road to infamy. The feature follows a number of different friends who have all arrived at the party for wildly differing reasons. There’s the group of goth girls who believe a serial killer is stalking the night out for his next victim, the religious society trying to steer party-goers from their sinful ways, the sex-deprived guys who are convinced a porn star is in attendance, and the guy who is freaking out that his boss is organising drug tests the next day. Their stories inevitably end up colliding and colluding, making the party a night to remember for all of them. Following in the footsteps of Dazed and Confused, Superbad and American Pie , Hot Box is a fun and lively attempt to capture the fleeting madness of partying in your teens and twenties. It is suitably filled with energy, consisting of quickfire storylines, eccentric characters and enjoyable misdirects that mean audiences will be seldom bored whilst watching. Rhiness has a fantastic sense of when to hold back from wackiness or vulgarity, and when to ramp it up to escalate the layered, yet mostly relatable predicaments. Some of the storylines are a little out-there. The religious group who’ve ventured into the party solely to preach the good word stretch credibility, and their presence feels like it is for the filmmakers to take shots at the low-hanging fruit of evangelism that has been hit far more effectively in high school movies since the dawn of time. Their persistence and childlike ignorance lead to a few laughs, and Mary (Elizabeth Chamberlain) acts as something of a protagonist as the audience’s introduction to the rest of the cast. However the premise of their presence is shallow. Perhaps it is more relatable to US audiences (the film’s primary target), but UK viewers may find the jokes don’t travel as well. It probably would have also been a benefit to give a little more focus to certain characters and put more time into making them memorable rather than spreading the characterisation too thin. Mary and her fellow churchgoers are at least memorable, but other members of the cast are interesting by virtue of what happens to them rather than what the audience knows of them. The panic of an imminent drug test failure is a great set-up for hijinks, as is the uncertainty of approaching someone about an unconfirmed porn career. Yet what these moments mean to the characters themselves are what makes them memorable. An overabundance of storylines may be at fault here – with all being fun but few carrying any substance. Hot Box is undeniably entertaining, and anyone looking for a party film will find enough here to satisfy their craving for youthful craze. But you get the sense that a little more focus would have led to more memorable characters and a tighter grasp of story. Like any great party though, it’s a great time even if the details are a little fuzzy. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

The Ezzera & Gore-Girl Horror Anthology film review by UK film critic William Curzon. Starring Julia Van Dam, Paige Hounsome directed by Jeremy Decker, Jarvis Greiner, Brandon Rhiness. HOME | FILMS | REVIEWS The Ezzera & Gore-Girl Horror Anthology Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Dec 1, 2025 Directed by: Jeremy Decker, Jarvis Greiner, Brandon Rhiness Written by: Kristin Breitkreutz, Lindsay Christopher, Brandon Rhiness, Adam Storoschuk Starring: Julia Van Dam, Paige Hounsome The Ezzera & Gore-Girl Horror Anthology follows a woman who discovers an old VHS tape in her deceased parents’ basement, which contains a series of short horror films recorded from a late-night cable TV show hosted by the titular characters. While the premise is derivative of other anthology titles such as the V/H/S franchise, the central host segments from Ezzera Eve (Julia Van Dam) and Hellenore the Gore-Girl (Paige Hounsome) grant the piece a unique twist on the concept. Perhaps the biggest issue with the piece is the severe lack of tension and engagement within each story, primarily due to the glaringly sparse time allocated to develop these ideas and the central conflict. While each tape does vary in quality and tonal shifts, there is ultimately an overly convoluted amount of material that feels assembled poorly to see what sticks. As something interesting begins to occur within a story, it bafflingly concludes and simultaneously switches to the next story. It's a bizarre choice that feels like the screenwriters ran out of ideas whilst trying to cram in as much material as they could. The narrative directly becomes less interesting when it cuts away from the delightful host segments, wonderfully performed by Julia Van Dam and Paige Hounsome. The writer/director Brandon Rhiness employs some decent gags throughout most of the stories and effectively displays his distinct love for the genre as the darkly comedic elements soar. Unfortunately, these sequences are few and far between as the breathless pacing can feel disorientating with a severe lack of horrific scares and loss of tension towards the conclusion. While the make-up and costuming are commendable given the budget constraints, the frightful imagery feels undercooked and visually unappealing at times. There are also some bizarre editing and directing choices that seemingly see the piece cutting away from its own violence, with certain stories concluding almost immediately. Prolonging specific stories could have given the final film more depth, while further fleshing out ideas and granting each story an actual conclusion. The performances, for the most part, are serviceable for the plot of each story; however, they are nothing groundbreaking to elevate the material. On the other hand, Julia Van Dam and Paige Hounsome, portraying the titular characters, profoundly carry the material as they are astonishing performers. Whenever the film cuts away from the host sequences, it makes you question whether the entirety of the piece should have been based around their mischief, as their chemistry is incredible. The wraparound story with the titular characters is, unfortunately, underwhelming, though. Each short ultimately isn't given enough narrative flair to be compelling enough for the audience to stay on board with it. Thankfully, the quick-moving pace never makes the first half dull; however, it loses momentum towards the back half and feels like a chore to sit through its final moments. The piece, unfortunately, overstays its welcome and becomes too overly bloated with a mind-numbingly meandering finale. The Ezzera & Gore-Girl Horror Anthology is a baffling attempt at a horror anthology piece with decent gags throughout and an overly convoluted amount of short stories that amount to minor. While it displays moments of campy fun and a brisk pace, its ultimately underwhelming antagonists and questionable acting choices bring it down and make it feel like an endurance test to sit through. Can we get a spin-off feature based entirely around Ezzera Eve and Hellenore the Gore-Girl instead, please? About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Tangled Up in Christmas film review by UK film critic Wiliam Curzon. Starring Molly Flanagan, Tess Rianne Sullivan, Jonathan Cahill directed by Michael Joseph Nelson. HOME | FILMS | REVIEWS Tangled Up in Christmas Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Dec 1, 2025 Directed by: Michael Joseph Nelson Written by: Molly Flanagan, Michael Joseph Nelson Starring: Molly Flanagan, Tess Rianne Sullivan, Jonathan Cahill Tangled Up in Christmas follows Elizabeth (Molly Flanagan) when she returns home for the annual Christmas charity event at her parents’ home, with her sister Sam (Tess Rianne Sullivan). Elizabeth is reeling from a complicated relationship with her husband, Frank (Jonathan Cahill). Both sisters must learn to work together to ensure the event goes as planned, or Christmas will be ruined. Adopting a wholesome narrative from its holiday setting and the theme of sisterhood, writer/director Michael Joseph Nelson suitably sets the tone for what one would generally come to expect from a piece of filmmaking such as this. The film includes incredibly well-implemented Christmas needle drops with a cosy vibe, creating a heartwarming atmosphere reminiscent of a family Christmas. The musical score is whimsical and consistently fits the tone throughout the entire runtime. While the camerawork isn't anything that groundbreaking, it is competently shot for this specific genre of film and the themes it tackles. Michael Joseph Nelson and Marcelo Sansevieri’s edit is seamless throughout, with suitably placed transitions into different sequences. Some scenes may overstay their welcome; however, this is more a result of thinly stretched dialogue rather than formal decisions. The momentary use of black and white photography is also an effective decision within a sequence of surrealism. The film takes a rather steady pace to flesh out the character dynamics between Elizabeth and Sam, which brings strengths and detriments during the prolonged second act. While there's not much to chew on thematically, the narrative is entirely anchored by their relationship and the chemistry-laden cast of characters. The supporting characters, at times, can unfortunately feel one-dimensional in their characterisation, and some of the line deliveries can feel robotic and clumsy in their execution. It can also be challenging to engage with the supporting characters due to their limited depth, but their chemistry with the leading players always keeps the narrative grounded and natural. The central performances from Molly Flanagan and Tess Rianne Sullivan are incredibly endearing, and they display a profound level of nuance and love for one another. Flanagan, in particular, has incredible comedic timing, and the film rests entirely on their sisterhood dynamic. While Elizabeth does possess a rather manipulative personality to get Sam to come with her to their parents’ home, it's hard not to care about the character, thanks to Molly Flanagan’s performance. Unfortunately, the narrative can become deeply unengaging throughout the second act, primarily due to the stagnant planning of the charity event and a forced central romance that doesn't fully resonate, despite Molly Flanagan and Michael Joseph Nelson’s heartwarming chemistry. The prolonged buildup, however, thankfully feels earned as the conclusive moments of the story wrap up the central driving point of the narrative in an emotionally satisfying manner, leaving the viewer with a profound message of acceptance of where you are in life currently, even with its pitfalls. It’s a family-friendly piece of entertainment that may appeal to a broader target audience for annual viewing around the holiday season. Tangled Up in Christmas is a cosy and wholesome piece of filmmaking with a lovely Christmas setting built on a compelling set of performances from Molly Flanagan and Tess Rianne Sullivan. While it may suffer from some pacing issues in the second act and a central romance that doesn't fully land, it's competently directed by Michael Joseph Nelson and leaves the viewer with a loving sense of fulfilment in the acceptance of the complicated nature of their dysfunctional family. About the Film Critic William Curzon Christmas, Digital / DVD Release < All Reviews Next Film Review >

Fearless film review by UK film critic Jason Knight. Starring Sheila Daniel, Maggie Kelly, Nashattar Kang, Nages Amirthananthar, Aileen Edwards, Anne Gache directed by Noella Mingo. HOME | FILMS | REVIEWS Fearless Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 30, 2025 Directed by: Noella Mingo Written by: Noella Mingo Starring: Sheila Daniel, Maggie Kelly, Nashattar Kang, Nages Amirthananthar, Aileen Edwards, Anne Gache A feature-length documentary about six women who moved to Britain following the Second World War. This film was written and directed by Noella Mingo. After World War II, Britains was in great need of people to fill in positions in areas such as transport, manufacturing and healthcare. In response, citizens from Commonwealth countries were requested to come to Britain and contribute to the demanding situation. Among them were these six women: Sheila Daniel, Maggie Kelly and Aileen Edwards from the Caribbean, Nashattar Kang and Nages Amirthananthar from India and Anne Gache from Ireland. These six individuals give interviews in this informative documentary, telling their story, starting from their childhood, how and why they ended up making the move to the United Kingdom, the challenges they faced after arriving and how they have lived since then. Through the interviews, a rich collection of photographs revealing various stages throughout their lives and archival footage (all methodically edited by Ken Mizutani), viewers will become familiar with these wonderful individuals and their inspiring stories and how they built their lives in Britain. All this is supported by a good selection of songs, including Cooking Up A Rhythm by Jonathan Boyle, Shakin' All Over by Johnny Kid & The Pirates and A Mother's Love by Lord Tanamo. Additionally, this feature also provides an account of what life was like in Britain decades ago, with racism and injustice making life difficult. There are several historical facts that are referenced, including the Partition of India, the 1958 Notting Hill Race Riots, the Race Relations Act 1968 and the creation of the NHS, making the viewing dramatic and educational. Dy documenting the lives of several women who moved to Britain not long after WWII and pointing out significant political issues, this feature provides a commentary about reminiscing the past, childhood memories, appreciating achievements, making life-changing decisions, building a life, immigration, racism and inequality. People who view this documentary will become get to know six likeable individuals who moved to Britain for work following WWII and will also get an idea of how things were there during those times. This is an informative film and one that acknowledges the joys of living life. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

The Wildman of Shaggy Creek film review by UK film critic Lawrence Bennie. Starring Hudson Hensley, Allee Sutton Hethcoat, Josh Futcher, Ayla Bullington directed by Jesse Edwards. HOME | FILMS | REVIEWS The Wildman of Shaggy Creek Film Review average rating is 2 out of 5 Critic: Lawrence Bennie | Posted on: Nov 29, 2025 Directed by: Jesse Edwards Written by: Jesse Edwards, Scott Baird, Rob York Starring: Hudson Hensley, Allee Sutton Hethcoat, Josh Futcher, Ayla Bullington The legend of Sasquatch has led to a plethora of B-movie Bigfoot fodder much akin to the ceaseless zombie movie craze. Jesse Edwards' family adventure The Wildman of Shaggy Creek arrives to screens close to the debut of the fifth season of Stranger Things and treads the familiar troupes: young misfits bicker and bond as they become convinced strange goings on are happening in their hometown. Scott (Hudson Hensley) moves reluctantly with his mother (Allee Sutton Hethcoat) and father (Josh Futcher) to a dream home, leaving behind friends but making a new one in plucky princess Hailey (Ayla Bullington). However, strange smells and sounds suggest to Scott that all is not well. But, on this occasion, it’s not a sinisiter satanic house. And when Scott learns of the scary story of a missing youngster, he soon becomes convinced that the mythical Wildman, said to lurk in the outside woods, is no fantasy but reality. Adapted from a children’s book by the aptly named R.L Grimly, Edwards keeps everything very familiar throughout. The kid who has to leave for a fancy new home because of his mother’s new job which soon strains their relationship. The groan-inducing cliched high-school bullies. The girl who he clicks with and who sticks with him. What’s different here (to most of the standard Bigfoot cannon anyway) is that Edwards tells ‘Bigfoot horror’ as a children’s / familial tale rather than going out for the all-out scares of the likes of Willow Creek and Exists, among many others. The opening scene is the closest Wildman ever comes to horror (though the obligatory jump scares do sneak in here and there). In fact, the adult characters never experience or suspect any Wildman phenomena. Yet, Edwards uses a more mature tone than a typical children’s film (with the exception of a rather silly ending with all the kids and parents together). The story becomes more about Scott overcoming trepidation and terror to camp out in the woods, not to find the Wildman, but to face his fears and earn the respect of his peers. The central cast put some meat on the movie. Hensley is competent and comfortable in his role. Bullington is a delight. Futcher is charismatic, but Hethcoat is particularly good. If the film doesn’t always convince, or particularly know what it’s supposed to be (family movie or horror), the quartet at least bring a degree of authenticity and earnestness to the piece. Everything naturally builds up to the much-anticipated ‘meeting the monster’ climax. One can’t help but wonder how more effective such genre entries would be if we never did see the monster and things are left - as in reality - to the imagination of the audience (which of course was the masterstroke of the similarly spooky-wood centred The Blair Witch Project ), but too often filmmakers presumably swerve this for fear of short-changing the audience. That said, Edwards’ Bigfoot finale is surprisingly effective and worth the wait. The Wildman of Shaggy Creek treads a line between family comedy and creature-feature horror and its ending plays to both camps. More suspense and tension could have been rung from it. More chuckles and thrills could have been had with it. Yet, Edwards and his cast make the most of what they have to work with and cough up a fun enough Bigfoot flick for the family. About the Film Critic Lawrence Bennie Indie Feature Film < All Reviews Next Film Review >

Candy Heart Heist film review by UK film critic Jason Knight. Starring Dave Shecter, Scarlett Vaill, Jason Whited, Amy DiLorenzo, Carl Covington directed by Dave Shecter. HOME | FILMS | REVIEWS Candy Heart Heist Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 28, 2025 Directed by: Dave Shecter Written by: Dave Shecter Starring: Dave Shecter, Scarlett Vaill, Jason Whited, Amy DiLorenzo, Carl Covington A short crime drama written and directed by Dave Shecter and starring himself, Scarlett Vaill, Jason Whited, Amy DiLorenzo and Carl Covington. Teenaged Amber (Vaill) lives in a small town with her parents. One school day, she goes out, ostensibly to meet with a friend, however it soon becomes evident that her true intentions are to steal here and there. She enters a convenience shop and steals some sweets, before wondering around the area and breaking into a car. Eventually, she ends up in a restaurant, where she sits at a table with a stranger, a middle-aged man named Bradley (Shecter) and he tells her interesting things about him and offers her some advice. The narrative takes place over the course of a few hours and focuses primarily on exploring Amber and Bradley's lives, as well as several other characters, including a shopkeeper (Whited), Agent Grey (Covington) and two police officers. It is when Amber meets Bradley that things turn very dramatic and the film reaches its peak, communicating important lessons about life. There is great character development and the inclusion of tense and interesting music adds to the atmosphere. This may be a minor observance, nevertheless, it should be acknowledged as it is obvious. When Amber is at the restaurant, why does she sit with Bradley, a person she has never seen before? This does not really matter, but when people go to places like these, they do not tend to sit at the same table with stranger. As Bradley, Shecter portrays a career criminal, a theif to be precise. However, he is not proud of his illegitimate actions, on the contrary, he deeply regrets having chosen such a life, particularly due to a terrible incident and when he meets Amber he becomes a sort of mentor, trying to persuade her not to follow in his footsteps. Wearing a black jacket and headphones, Amber is a rebellious teen who is going down the wrong path. Crime is a main theme in this short, especially the fact that crime does not pay. The film's primary objective strongly appears to be to communicate the message that turning to crime will only end in tragedy. Alongside this, this is also a story about law enforcement, self-reflection, regrets and the ups and downs of marriage. A story about crime that centers on a life-changing encounter between two strangers. The strongest aspect of this film is the fact that it encourages people to say no to crime and that is enough for it to be categorised as a viewing of considerable significance. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

If I Could Get You To Stay film review by UK film critic William Curzon. Starring Hamish Wolstenholme, Erin Thwaites directed by Michael Spencer. HOME | FILMS | REVIEWS If I Could Get You To Stay Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Nov 26, 2025 Directed by: Michael Spencer Written by: Michael Spencer Starring: Hamish Wolstenholme, Erin Thwaites If I Could Get You To Stay is a touching love story which follows a young man, James (Hamish Wolstenholme), who struggles to find the courage to ask his long-distance girlfriend, Yvonne (Erin Thwaites), to stay with him as they prepare to part ways once more. It is a relatively grounded narrative that's tough to witness as both characters delay the inevitable and make the most of the final time they have together. The writer/director Michael Spencer sublimely ushers the viewer into the final time James and Yvonne have together, using steady camerawork to ensure both characters are always in the centre of the frame. Consisting predominantly of extreme close-ups and fixed camerawork by cinematographer Jeason Hanson, it's an incredibly intimate experience that feels meditative and a window into the love the two characters share for each other. Vanya Korolchuk’s musical score is low-key and moving while anchoring the touching nature of the narrative and quieter moments of recollection as James attempts to muster up the courage to speak before it's too late. It's an inevitably tragic story which makes the most of its short-lived runtime to flesh out both characters to a suitable degree. This is clearly a deeply personal piece of filmmaking that the performers and crew had joy making with a distinct love and passion for the material in every frame, while making astounding use of its budget limitations. The chemistry between the two leads is endearing, and they convey their characters’ emotions with such empathy and raw tenderness that it's incredibly heart-wrenching to see them both attempt to make the restricted time spent together as special as they can. While the characterisation for both central characters is paper-thin, the screenplay still manages to ground both characters well enough, and the formal elements soar to anchor the understated nature of the material to impressive heights. However, the short-lived runtime is a detriment to the experience, and there is ultimately not that much to chew on thematically. A broader runtime could have fleshed out James and Yvonne’s relationship more deeply to make it fully emotionally resonate with the audience. Perhaps reworking the material into a feature-length narrative could be a potential idea down the line, as the performances and filmmaking are profoundly moving. The piece still manages to be consistently engaging until its emotionally driven climax. Both actors clearly have a bright future ahead of them, considering what they were able to accomplish with such limited material. While the conclusion to the piece is ambiguous and leaves the viewer wanting more, it's a suitable place to leave it, as the audience can decide for themselves the further journey both characters end up on. The conclusive moments are emotionally overwhelming and deliver on the film’s steady build-up, effectively wrapping up both character arcs in a satisfying manner. If I Could Get You To Stay conveys the meditative and low-key journey of two individuals making the most of the time they have together before their inevitable departure. Held together by two outstanding central performances from Hamish Wolstenholme and Erin Thwaites, and Michael Spencer’s formalism, it's an intimate and touching piece of filmmaking that depicts the power of love between two individuals having the courage to reach out to one another. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Wake Up Dead Man: A Knives Out Mystery film review by UK film critic George Wolf. Starring Danie Craig, Josh O'Connor, Glenn Close directed by Rian Johnson. HOME | FILMS | REVIEWS Wake Up Dead Man: A Knives Out Mystery Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 25, 2025 Directed by: Rian Johnson Written by: Rian Johnson Starring: Danie Craig, Josh O'Connor, Glenn Close We may be early in awards season, but the slam dunk winner for Best Use of a Church Organ in an Ensemble Whodunnit has arrived. Wake Up Dead Man: A Knives Out Mystery brings that LOL moment and many other deadly delights, as writer/director Rian Johnson again shows a wonderful grasp on giving the Agatha Christie blueprint his own wickedly fun stamp. There’s been a murder at a small Catholic church in upstate New York. Just as young priest Jud Duplenticy (Josh O’Connor) is learning his way around Monsignor Jefferson Wick’s (Josh Brolin) iron-fisted control of his flock at Our Lady of Perpetual Fortitude, Wicks turns up with a literal knife in his back. Jud has some violence in his checkered past – and he found the body – but the pews are filled with suspects. There’s lawyer Vera (Kerry Washington), her adopted son Cy (Daryl McCormack), writer Lee (Andrew Scott), Dr. Nat (Jeremy Renner), newcomer Simone (Cailee Spaeny), groundskeeper Samson (Thomas Haden Church) or maybe even devoted church secretary Martha (Glenn Close). That much sleuthing is a bit overwhelming for Chief Scott (Mila Kunis) and her officers, so WGD (World’s Great Detective) Benoit Blanc (Daniel Craig) is on the case, albeit reluctantly. In fact, Blanc is loath to even set foot inside a church, a feeling detailed in his breathtaking introductory speech, the opening salvo in Johnson’s assault on demagoguery and the quest for power via radicalization. That assault is far from subtle, but man it’s a treat to get caught up in. Brolin continues his stellar year with a masterclass of egotistic bullying, and O’Connor is the perfect counterpoint. Fresh-faced and mop-haired, Father Jud is committed to being a force for good in the world, and to honoring Christ’s mission to heal the world. That mission seems lost amid Wick and his parishioners, and each member of this sublime ensemble understands Johnson’s assignment to skewer such commonplace self-righteous hypocrisy. Craig is letter-perfect once again, dialing back the giddy flamboyance that drove 2022’s Glass Onion with darker shades in line with the film’s tone. Blanc is troubled and stumped about more than just the facts of the case, and Craig continues to craft him as an endlessly fascinating figure. Wake Up Dead Man is less of an outright comedy than the last mystery, though some solid laughs do land (like the church organ gag). And just like last time, it will not be hard to guess who Johnson has his knives out for. What you won’t guess is who done it, or how they done it. But it sure is a kick to try. About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >

Zootopia 2 film review by UK film critic Hope Madden. Starring Ginnifer Goodwin, Jason Bateman, Ke Huy Quan directed by Jared Bush, Byron Howard. HOME | FILMS | REVIEWS Zootopia 2 Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 25, 2025 Directed by: Jared Bush, Byron Howard Written by: Jared Bush Starring: Ginnifer Goodwin, Jason Bateman, Ke Huy Quan It’s been a decade since Disney rewrote their longstanding history of rocking no boats when the delightfully fearless Zootopia asked its audience to confront our own biases and recognize the way we are programmed to fear the weak to benefit the powerful. Animators Jared Bush and Byron Howard maybe looked around and noticed certain themes trending again. Zootopia 2 , which both direct and Bush writes solo this time, benefits from the same fantastic casting, same visual splendor, same wit as their 2016 Oscar winner. But Bush’s writing burns a little more brightly with anger this time, however charmingly packaged. Bunny cop Judy Hopps (Ginnifer Goodwin) and her fox partner, Nick Wilde (Jason Batemen), will not content themselves to sitting on the sidelines as rookies when there are real crimes to investigate. Judy believes the weird material she found at the scene of a smuggling crime is actually the shed skin of a snake—and reptiles are banned from Zootopia! They’re weird and dangerous! Just ask the powerful land baron heirs of generational wealth, the Lynxleys! Do you know how to immediately convince children and adults alike that Gary the heat-sensitive pit viper is, indeed, no threat all? Besides naming him Gary? Cast Ke Huy Quan, whose performance, even when it’s only vocal, sings of harmlessness. Is Gary being framed? Can conspiracy-seeking podcasting beaver Nibbles Maplestick (Fortune Feimster, hilarious) help in the investigation? Can Judy and Nick’s friendship survive another big case? Is any of this worth dying for? Boy, that last one’s a big question for a kid’s movie, but Zootopia 2 is committed to asking big questions. It’s equally committed to hilarious sight gags (Hungry Hungry Hippo and Ratatoullie were battling for my favorite, but then they brought out the hedge maze). So it’s a good balance. Bush’s plot is a little complicated for the youngest viewers, and the film takes a while to really find its groove. But it’s also shockingly relevant and sometimes powerfully emotional. Plus, Patrick Warburton as a vainglorious blond show horse movie star turned mayor is a hoot. It’s great to see a family film that reminds kids (and adults) that bullies are often the people with the most money, and that the bully is always the problem. Zootopia 2 may not be the utter revelation of the original, but it is an excellent sequel and a tale worth telling. About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

In Need Of Seawater film review by UK film critic William Hemingway. Starring Mark Anthony Thomas, Ziaire Mann directed by Richard Yeagley. HOME | FILMS | REVIEWS In Need Of Seawater Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 25, 2025 Directed by: Richard Yeagley Written by: Mark Anthony Thomas Starring: Mark Anthony Thomas, Ziaire Mann A poet invites a small group of his mates round to read to them a retrospective of his most formative work. In 2004, Mark Anthony Thomas released his second major work of poetry, The Poetic Repercussion , containing a series of poems he wrote between the ages of twenty-one and twenty-four. The poems described his journey to manhood, and self-discovery, as a gay black man growing up in Atlanta, Georgia, and tried to relate the experiences, feelings, and desires he encountered along the way; those which shaped him into the man he would eventually become. Now, more than twenty-years later, and living in Baltimore, Maryland, Thomas has decided to revisit his earlier work and plans to release a trilogy of films about his poetry. This first film, In Need Of Seawater , intends to look back at ‘the past’, while it is assumed that the next instalments will focus on ‘the present’ and ‘future’ respectively. In Need Of Seawater , then, takes us back to 2004, when Thomas’ feelings were so strong that he just had to get them out onto the page. The poems are full of growth, and becoming, and clear sight, and quiet understanding, whilst distilling the energy of turmoil and inequality into reasoned words and rhythms. Thomas gathers a few of the faithful, people who know him from his work in publishing, civic leadership, or from his poetry, and gives a private reading for them in an uptown, modern, Baltimore apartment. The film records this event intimately, moving between the guests and the performer, watching the emotions spread across the faces of the gathered, as well as the nodding heads and the knowing glances, as Thomas reads his poetry aloud. Slotted into the narrative of the readings, between the lines and verses, are some staged scenes, historical footage, and home movies, which represent the themes, events, and emotions that Thomas is trying to convey. These interludes take us away from the enclosed space of the well-lit apartment, and whisk us away to the sea, to the park, to the homes and neighbourhoods of others, and to the past, giving us a visual insight into the words that we hear; those that flowed from Thomas’ pen. We are both at once, listeners and viewers, as we are also invited into this small space to experience the creative expression Thomas gives to his feelings, and we go on the journey with his audience, partaking in the literary emergence of a man who feels he must share with us all of who he is in order to survive. For twenty-six minutes we sit with Thomas as he moves around the room and reads his poetry from loose-leafed pages. This starkness of intimacy somehow leans us away from the semblance of art, however, and fully puts us in the frame of a personal documentary. It is clear that Thomas’ poetry is mostly about his singular experience of growing into who he is, wedged into a particular time and place, reacting to the social issues and politics of the day whilst trying to take account of all that has come before, and so we sit as an audience member, listening but not necessarily engaging, feeling truly that we are at a poetry event rather than watching a film. This is great for those who want to spend half-an-hour in the presence of a poet, and who want to be at such an event, but for those looking to watch a film or gain insight into the author beyond his published words, there is nothing else on offer. If you are not a person who would come to Thomas’ poetry on your own, you are not likely to get anything much out of the experience of watching In Need Of Seawater . It is a feeling of nostalgia which seems to have motivated Thomas into these new films, or at least this one, as he reminisces over the man he used to be at a private event for the chosen few. The choice to create films around the work seems oddly extraneous and unnecessary, when all that we get is a reading that we could have got from an audiobook, along with a few nice visuals thrown in. There is no exploration or analysis of the work, how it was created or what methods were used, and there’s no delving into the background and history of the young Thomas, either. While the focus of the film may well be artistic, creative, and true, the end result feels rather more like a clutching at the past, a determination to stay the inevitable passing of youth, whilst allowing the poet an opportunity to reconnect with his work through veiled self-promotion. About the Film Critic William Hemingway Digital / DVD Release, Short Film, LGBTQ+, Documentary < All Reviews Next Film Review >