Drama Queen film review by UK film critic My Nguyen. Starring Catarina Carvalho, David E. Texieria directed by David E. Texieria. HOME | FILMS | REVIEWS Drama Queen Film Review average rating is 2 out of 5 Critic: My Nguyen | Posted on: Nov 1, 2026 Directed by: David E. Texieria Written by: David E. Texieria Starring: Catarina Carvalho, David E. Texieria Drama Queen , starring Catarina Carvalho and David E. Texieria, is a dark dive into a love that goes awry right from the start. Told like a fairy tale, we are introduced to a young woman who straight away falls in love with a man. However, her feelings for this man isn’t reciprocated. So she bakes him a pie, in which she adds a love potion. But the love potion doesn’t work. Sadly, it turns out this man is gay. For the rest of this film, the woman is seen getting ready and talking to her cat. She is relating her tale to her kitten. Then, to the audience’s shock, we see her love interest, and blood is pouring from his wound. It looks like this woman had used a hammer to hurt him. When he tries to escape, she strikes him repeatedly with the hammer, determined to finish the job. She sits his corpse down at the dinner table for some “revenge pie,” and the film ends there. The shots in this short were very vivid and clear. The cinematographer obviously is very talented. Close-up shots of the actors’ faces as well as the objects around the house give this film an intimate and personal feel, while shots of the bloody hammer and the blood pouring from Texieria’s character’s wounds give the scene an especially violent and gory vibe. However, there was a shot where it looked like there was some overexposure to sunlight, and it was slightly darker when Carvalho’s character catches Texieria’s character trying to escape. Editing this out might make this pivotal scene flow better. Perfect for the spooky season, this tale of love and revenge only begins to touch the surface of what could be a more involved horror-related drama. For instance, for the majority of Act III: Once Upon a Dream, Carvalho’s character is seen laughing manically and dancing around the apartment to eerily show how crazy she is. That’s basically all she does. A lot more could be explored here, like maybe a flashback to how the protagonist and her love interest meet. A deeper dive into the past could tie into the present and make the film feel overall more dynamic. However, the film ends shortly after that. Which was a bit of a letdown. I felt the ending could be fleshed out more to make the Oscar Wilde quote in the beginning (“I hate people who are serious about meals. It is so shallow of them”) come full circle. Yet there are so many loose ends. And since this is a fairy tale, where’s the happy ending? Even a dark happy ending would look good here. Carvalho does a good job of portraying an unhinged character. Her memorably performance adds a touch of comedic flair and charm to a character, who doesn’t have a lot going for her. But Carvalho’s depiction feels spot-on. However, Texieria’s character functions more like a corpse, until he tries to get away. There’s not much to say about his performance, although by the end of the film, we’re led to believe Carvalho’s character, “the Drama Queen” wasn’t the hero of the story. Toward the credits, the real tell is when Director David E. Texieria is cited as “the Real Queen.” It explains a lot and seems to be a fun add-on. Despite its failings, Drama Queen definitely packs in the drama. From beginning to end, the histrionics are on high. If that’s something you can’t live without, then Drama Queen is for you. Buy UKFR Banner Space About the Film Critic My Nguyen Short Film < All Reviews Next Film Review >

¡Que Suene La Banda! film review by UK film critic Charlie Robinson. Starring Anthony Gonzalez, Martin Morales, Celina Fang, Marabina Jaimes directed by Jorge Parra Jr. . HOME | FILMS | REVIEWS ¡Que Suene La Banda! Film Review average rating is 5 out of 5 Critic: Charlie Robinson | Posted on: Nov 1, 2026 Directed by: Jorge Parra Jr. Written by: Jorge Parra Jr., Ling Li Starring: Anthony Gonzalez, Martin Morales, Celina Fang, Marabina Jaimes Javier (Coco ’s Anthony Gonzalez) wants to play the trombone. Javier’s father, Eladio (Martin Morales), also wants him to play trombone. But they have different ideas of what that trombone should be: the sliding trombone of classical music which Javier is practising for an upcoming audition at UCLA, or the valve trombone of banda music which Eladio wants him to play at an upcoming party. Jorge Parra Jr.’s heartening ¡Que Suene La Banda! delivers everything you might expect from this familiar familial dynamic, doing so with such warmth and confidence that you are sure to leave the short film with a smile on your face and a spring in your step. It is important to note that this is not a film in which a young adult must choose between their impassioned desires and their parent-mandated future, as in Dead Poets Society or even High School Musical . Javier’s struggle between his trombonic futures does not heavily feature overt external pressures; it is a crisis of self-identity. He is a boy becoming a man deeply in love with his family and culture, yet acutely conscious of their perceived social standing. To him, Eladio doesn’t have the right job and doesn’t play the right music, and Javier is determined to follow a different path. What makes the film so affecting is that nobody stands in Javier’s way but himself; he is at war with himself. As Eladio points out, there is little difference between the two instruments: “[They have] the same three valves. The same key. ” Gonzalez portrays Javier’s dilemma beautifully, allowing his insecurities to register while retaining that all-too-recognisable teenage ability to conceal them. He is supported by equally strong turns from Morales, Celina Fang (as Emily, Javier’s piano-playing duet partner and potential love interest), and, in particular, Marabina Jaimes as Javier’s mother Josefina, who exudes such powerful maternal warmth it feels like a hug through the screen. The performances are further bolstered by strong behind-the-camera talent. Parra Jr. has a clear eye for emotive filmmaking as he patiently manoeuvres and situates the camera around his talented cast, basking them all in a sun-tinged and homely orange glow. His reverence for Michael Bryan Stein’s music is equally apparent: the score is not merely an accompaniment to the story; it is woven into the storytelling itself, becoming a character in its own right and culminating in a third-act set piece as moving as it is triumphant. The music is beautifully composed and affectionately presented, with the cast delivering impressive work, whether actually playing their respective instruments or convincingly appearing to do so. Parra Jr. clearly takes pleasure in showcasing their musical abilities, allowing the performances to become a celebration of music itself. ¡Que Suene La Banda! is exciting not just because of its narrative tension, but because of the abundance of talent on display. It is a charming, assured piece of filmmaking that understands how music can become a battleground for identity, before serving as the ultimate reconciliation. Parra Jr. emerges as a talent to watch, and his film leaves us with a lovely reminder that finding your own harmony need not mean turning your back on where you came from, but embracing it. Buy UKFR Banner Space About the Film Critic Charlie Robinson Short Film < All Reviews Next Film Review >

The Last Room in Hanoi film review by UK film critic Nina Rawlingson. Starring Jack McEvoy, Jessica Truong directed by Coz Greenop. HOME | FILMS | REVIEWS The Last Room in Hanoi Film Review average rating is 3 out of 5 Critic: Nina Rawlingson | Posted on: Oct 31, 2026 Directed by: Coz Greenop Written by: Coz Greenop Starring: Jack McEvoy, Jessica Truong A young writer travels Vietnam to honour his wife’s passing. Amongst the bustling streets of Hanoi, he tries to find the words and, in the process, conjures up her existence and memories. We watch as Aron (Jack McEvoy) ventures through the capital, not quite understanding his purpose at first. Not a word is spoken through his moments of solitude, grief, and searching for answers internally. He carries a little pocket book at every sight he visits, never being able to jot anything down. Throughout the bliss of these locations, we notice Aron cannot soak anything in; he wallows in the pain of his wife’s death. So much so that he loses himself in an alcoholic spiral and begins to draw inspiration and write his wife, Mya (Jessica Truong), into actuality. The locations and cinematography do a lot of the heavy lifting here. Gary Long produces such gorgeous visuals, translating Hanoi’s vibrancy perfectly. Every shot looks like a painting and helps to narrate the storyline. Aron’s grief rests amidst breathtaking backdrops; one to note is when he’s travelling via train as he goes by wonderful views outside whilst he’s cooped up and isolated. Whilst it’s difficult to tell a story with no dialogue, both McEvoy and Truong convey their characters’ relationship and emotions effectively. Through facial expressions and mannerisms, they carry worry and heavy hearts as we approach the inevitable conclusion. The film ebbs and flows with the composition of scores to accompany, ranging from soft and melodic to darker undertones. At its core, we feel Aron’s hopelessness and loss of purpose as he scrambles to find meaning amongst his writing. As Aron and Mya reunite temporarily, they radiate intimacy, and this is a credit to their on-screen chemistry and up-close shots. We come to find out their love is on a time limit, and this makes it all the more harrowing. As a feature-length film, it explores the depth of characters, in particular Aron’s; however, it would have benefited from a shorter run time. The same sentiment would have been established even in a condensed format, honing in on the pivotal moments. An enjoyable, visually stimulating film about love, loss, and what comes next. The Last Room in Hanoi has won multiple awards at the Mei International Film Festival 2026 and the Terra Di Siena Film Festival 2026. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Indie Feature Film < All Reviews Next Film Review >

Jazz Infernal film review by UK film critic Finn O'Toole. Starring Ange Eric N'Guessan, Alexis Belhumeur & Kalombo Kasongo directed by Will Niava. HOME | FILMS | REVIEWS Jazz Infernal Film Review average rating is 5 out of 5 Critic: Finn O'Toole | Posted on: Oct 31, 2026 Directed by: Will Niava Written by: Kristelle Laroche, Will Niava Starring: Ange Eric N'Guessan, Alexis Belhumeur & Kalombo Kasongo Koffi Jr arrives in Montreal, looking for a job in the same city that his late father had become renowned as the legendary trumpeter ‘The Elephant’. Jazz Infernal , a short-film by Will Niava, is just as sensitive as it is bombastic! In true jazz style, this film moves through both fast-tempo set pieces and tranquil lulls with an ease that showcases a mastery of pace from the filmmakers. We open on young Koffi Jr peeking in on his Dad playing the trumpet, intercut with the view of a sombre beach at dusk. We are then snapped out of that serene location and into the high-sensory tension of an airport, with quick cuts and hectic noise, as Koffi Jr faces airport security. This simple couple of beats sets the stage for the story to come. Niava and cinematographer Harley Francis make the creative choice to depict the exterior of Montreal feeling cold with blue and green colour grading. But, when our protagonist steps into the jazz club, the frame is lit up with warm oranges wrapping Koffi in a homely light, transporting him and us back to his childhood in Ghana. Speaking of the flashbacks, the quiet yet powerful Ghanaian sequences scattered throughout the film are a welcome change of pace from the fast-moving farce of Koffi and co’s night out. The chaotically-paced ebbs and flows of instruments in the modern day (in a fantastic soundtrack provided by Hichem Ben Khalifa) gives way to a slow and contemplative trumpet solo, reflecting the simplicity of his childhood. Ange Eric N'Guessan, who portrays Koffi Jr, brings a subtle fish-out-of-water feel to the character that serves the story’s absurdist elements without ever making it seem unnatural. Joined by the anarchic but lovable side characters, played excellently by Alexis Belhumeur and Kalombo Kasongo, Jazz Infernal curates an excellent cast with everyone on absolute top-form. The final shot is likely to move even the most stoic of viewers. The chaos of Montreal winds down and Koffi decides to pick up his father’s trumpet. As the camera pans down and he decides to play, those orange colours begin to leak once more into the scene, as he brings his own warmth into the world. Initially conceptualised as a story centred on the immigrant experience, Niava’s experiences having lost his own father changed the course of the film, resulting in a profound and gentle exploration of grief that can be felt in every frame. Jazz Infernal is a singular vision, a singular instrument that cuts through the noise of the world and straight into the audience’s heart. Its only downside? That there isn’t more of it. This creative team is a force to be reckoned with, capturing the vision they set out to achieve with love. Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

Addicted To It film review by UK film critic Lee Sinden. Starring Mel Brooks, Dixie D’Amelio, Morgan Jay, Andrew “King Bach” Bachelor and Jeff Marx. directed by Nigel Tierney and Frederico Heller. HOME | FILMS | REVIEWS Addicted To It Film Review average rating is 4 out of 5 Critic: Lee Sinden | Posted on: Oct 30, 2026 Directed by: Nigel Tierney and Frederico Heller Written by: Jeff Marx and Andrew Hawkins Starring: Mel Brooks, Dixie D’Amelio, Morgan Jay, Andrew “King Bach” Bachelor and Jeff Marx. This short animation tackles the modern issue of phone addiction. The message is conveyed through a catchy song that will no doubt stay with you for hours after the credits. I think most people can say they spend too much time on their phones, and many of us have looked around and seen people head down, eyes glued to their screens. You may have even bumped into one of these people. The visuals for this are extremely colourful and make for great viewing. The creators have created a world of beautiful scenery with mountains, forests and rivers. They have also created some stunning scenes under the sea and beyond Earth and into space. The computer animation is crisp, and the facial expressions and movement are smooth and realistic. The animators created many textures, whether it is the disc florets in the middle of a Daisy, the stubble on the main character's chin, or the fuzzy fur on the character Phoney. Some of the main character's movements are particularly impressive, and this film was clearly made with a great deal of skill. The director (Nigel Tierney) and co-director (Frederico Heller) clearly enjoyed animating and created a light-hearted film that tackles a serious topic. Between them, they have a vast amount of experience creating animation and delivering important messages. The audience will enjoy seeing the many characters, whether that is the purple-haired teenager, the tough guy, the hippie, the runner or the twins. The film features characters from every facet of society. The message is that anyone can be addicted. The audience will enjoy the emojis and text boxes springing up from everywhere. The combination of natural scenery and phone technology works really well. It shows you what you can miss by constantly looking at your phone. This is basically an animated music video, and the song is definitely competing well with the animation. The songwriter brings adult humour to the film with lyrics like “ I am a big fat dickted”. This line was brought to life by the legendary actor Mel Brooks, who still has great comic timing even at 100 years old. In contrast to the humour, the lyrics also capture the serious topic of phone addiction. Lyrics such as “ A willing slave to your technology” and “the device you have in your hands is like a slot machine”. I think the mixture of humour, strong messaging and colourful animation is really powerful. The casting is really good, particularly the main character, whom we follow on his epic journey without his phone. The singing is by no means amazing, but that’s the point; it is meant to be your average person. The voice isn’t important; the lyrics are what make it worth listening to. The singer (Jeff Marx) is also the Songwriter who has built an amazing musical career. I don’t know if some of the cast were chosen because of their links to social media and the internet, but it adds more weight to the message. Most of the addiction revolves around the content on the phone, such as social media, messaging apps and video channels. Overall, this is an enjoyable watch that is really well put together and thoughtfully made. Hopefully it will encourage viewers to drop their phone, not in the toilet like one character did, but to leave it behind and enjoy the outside world and meet the people in it. So let’s take the five-to-ten-minute walk without our phones. Buy UKFR Banner Space About the Film Critic Lee Sinden Short Film, Music Video, Animation < All Reviews Next Film Review >

Pigeonholes film review by UK film critic Jason Knight. Starring Ronan Colfer, Jase Rivers, Katie Cannon directed by James Skinner. HOME | FILMS | REVIEWS Pigeonholes Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 30, 2026 Directed by: James Skinner Written by: Ben Marshall Starring: Ronan Colfer, Jase Rivers, Katie Cannon A short comedy directed by James Skinner, written by Ben Marshall and starring Ronan Colfer, Jase Rivers and Katie Cannon. In London, by chance, pickpocket and former prisoner, Jay (Colfer) is reunited with his estranged friend, Oz (Rivers). Oz has left his criminal days behind him and now works as a performance artist, with an event scheduled at a pub. The big day arrives, Jay attends and some thieving takes place, leading to complications. What stands out the most in this film is Oz's performance. The artist does his one-man show by standing naked on a stage in front of a small crowd, playing a ukulele, with bits of paper attached to his body to be taken by customers so they can get their seat number. A bearded guy in a pub, no clothes on, playing music in silence, with a blank expression, while people observe him. Awkward and humorous. The script also follows Jay as he moves around the building, talking to people and having a meaningful encounter with Angel (Cannon), a young kind woman at the pub. The narrative alternates between the performance and flashbacks of Jay and Oz meeting again for the first time in ages, catching-up and discussing Oz's new activities. This is a sort of buddy story that places equal emphasis on Oz and Jay. Oz is a reformed criminal who has chosen to pursue a career in performing arts. He pretty much steals the show due to being naked. On the other hand, recently-released-from-prison Jay remains a crook, a naive guy who also values his friendship with Oz. Cannon makes a significant impression with her supporting role as seemingly decent person. This story explores friendship, the world of performance artists, the concepts of living a life of crime, starting over and having a passion. Two messages that it appears to be carrying is that people can change and that sometimes, people are not what they seem to be. A comedy with adult humour and crime. A fun viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Echoes Of Dread film review by UK film critic William Hemingway. Starring Michelle Principi, Austin Greene, Mark Hyde, Mike Cuccherini, Rick Foucheux directed by Philip Cook. HOME | FILMS | REVIEWS Echoes Of Dread Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Oct 29, 2026 Directed by: Philip Cook Written by: Philip Cook Starring: Michelle Principi, Austin Greene, Mark Hyde, Mike Cuccherini, Rick Foucheux An intrepid young couple of monster hunters get more than they bargained for when they view some lost footage of a supposed meteor strike, filmed six years before the First World War, deep inside Russia. Samantha (Principi) and Reuben (Greene) are the Nerd Warriors. They are a self-championing power couple who get hot for anything out of the ordinary. They love spooky shit, and go wild for the macabre, so of course they made a ViewTube channel where they can upload all of their fetishistic ramblings for the whole world to see. This time, they are offered the tease of giant monsters, demonic beings of death and suffering, and the answer to a secret long hidden. So, of course they’re going to go and see what that’s all about. Rick Harding (Foucheux), professor of Archaeology at Tremper University, Virginia, and long-time host of the popular BBC TV programme, Time Troup, has sent the Nerd Warriors a still of some video footage, containing said giant monster, and they’ve set up a meeting for an interview. It just so happens that Tremper is way out in the middle of the forest somewhere, and the Bellatrix Inn, where the Nerd Warriors are lodging, bears more than a passing resemblance to the Outlook Hotel. It is also merely by coincidence that the landlord and lady are kooky as hell, that there’s sinister looking guests roaming the rooms, and that the landlady’s cat seems to have gone missing. Once the Nerd Warriors are caught up to speed on Rick Harding’s sudden death, and the torching of his study at the University, which we saw before the title card, they then resort to desperate measures to see the footage that they were promised, not realising the darkness that they could awake in doing so. As the Echoes Of Dread start to leak out of the people of Tremper, the Nerd Warriors have to try to pull themselves together if they’re going to stop the town from being torn apart. So, if you think that all sounds like standard horror setup, then you’d probably be right, but there’s nothing standard about how Philip Cook presents his film to the audience. As writer, director, producer, cinematographer, and editor of Echoes Of Dread , his stamp is over every frame of the film, and he brings every ounce of experience from his career at Eagle Films to bear as he creates his vision. With his company handling all of the visual effects and sound design on Echoes Of Dread , and he and co-producer/star, Mark Hyde working on the sets and the pyrotechnics together, there are lifetimes of expertise that have gone into this passion project to make it what it is. Working to the strengths of Eagle Films, Cook seamlessly blends CGI animated segments and in-frame models together with the video he is shooting on Panasonic 4K, to bring his film to life. There is a lot of background animation going on, through the driving sequences which look like car adverts, to the establishing shots of stunning places that don’t look like they can exist, and even onto the human models which stand-in during the more risky or fantastical elements of the film. The monsters though, are where the visual effects really shine, and watching the 1908 footage is truly terrifying and affecting, as it’s impossible to see where the film ends and the fantasy begins while people are being led to their gruesome deaths. It is a shame that Cook’s character driven scenes don’t match up to the scale and quality of the visual effects, with a real shift in cinematic feel bringing us back down to earth with the actors. It has nothing to do with the script or the performances, as Michelle Principi absolutely lets rip as Samantha, becoming a force of nature herself as she eats up the scenery, while being ably supported by some magnificent turns from Austin Greene as Reuben, Mike Cuccherini as Norman, and Rick Foucheux as Harding. Co-producer Mark Hyde’s turn as the enigmatic Mr. G is also not the self-serving tragedy that it might have been, with him giving enough gravitas and energy to the role to carry it off, but it’s clear that these scenes cinematically need the most work. Cook’s direction and determination to build his scenes though, is exemplary, with the sound design foremost as foley is painstakingly placed to reinforce the atmosphere of every shot. Increment by increment, each carefully selected shot is added to the scene, along with its sound, to build the vision that Cook knows he wants to see, with the script similarly building naturally, piece by piece, to accommodate a scale that is some of the most truly huge on film. There is barely a misstep in terms of story building throughout Echoes Of Dread , through visuals or dialogue, and that speaks volumes to the craft and expertise which Cook brings to his projects. With large amounts of industry experience behind it, Echoes Of Dread reaches far further than almost any other low-budget indie feature in its scale and its vision. Its cosmic horror is great and frightening, and the story told to bring it to the viewer has everything inside of it. The Nerd Warriors are cute and fun, Mr. G and Norman make a great monster hunting team, and the monsters are holy hell terrifying, which makes Echoes Of Dread a film that delivers on all fronts as something new and original. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Crab Cake Kid film review by UK film critic Thomas Manning. Starring Rob Auton, Luke McQueen, Homer Todiwala, Charlotte Brown directed by Kirill Teslia. HOME | FILMS | REVIEWS Crab Cake Kid Film Review average rating is 4 out of 5 Critic: Thomas Manning | Posted on: Oct 29, 2026 Directed by: Kirill Teslia Written by: Rob Auton Starring: Rob Auton, Luke McQueen, Homer Todiwala, Charlotte Brown Crab Cake Kid is a short film written by and starring the York comedian Rob Auton. It’s an incredibly well written and crafted film that is as funny as it is touching. The film follows Auton as he narrates a story surrounding his first job at aged sixteen working as a chef. He recounts stories of drug taking, camaraderie and bullying which will be familiar to anyone with experience working in kitchens. The centrepiece of these stories is Auton as the Crab Cake Kid who has become a cult like figure due to his special recipe for making crab cakes. The standout of this short film is certainly Auton himself. It’s evident he’s an established comedian with plenty of experience writing comedy and performing at the Edinburgh Fringe Festival. This film is not so dissimilar from seeing one of his shows at the festival or listening to him tell a comedic story in the corner of a pub and this is due to how the short film’s narration is framed. Director Kirill Teslia alongside writer Auton, create this film quite unconventionally. Within the first 30 seconds of the film, there is a fourth wall break as Auton narrates to the audience these stories of his kitchen experience. This creates an intimate viewing experience where it feels as though Auton is directly speaking to the viewer. As a comedian, it’s no surprise that the comedy of this film is particularly strong. From an early scene where Auton describes cling film as ‘the ghost of tin foil’ to the revelation of the secret ingredient that’s in the crab cake, viewers will find themselves laughing at many points throughout the film. That being said, there is also an understanding that this kitchen environment isn’t all fun and games. The 90s banter often tips over into bullying especially with the head chef (Luke McQueen) who makes 16 year old Auton clean the floor in his bare feet and gives him his first gram of weed. There is a satisfying end to the chef’s tenure at the kitchen that involves an off piece of Sea Bass which is one of the highlights of the film. The direction and editing of the film, both done by Teslia, are areas that are definitely worthy of note. The opening scene, for example, where each item that makes up the crab cake are laid out on a metal table while an intense jazz score creates tension, is something that wouldn’t look out of place in Boiling Point or The Bear. The only small gripe I have with this film is purely a selfish one, I would like more of it. There are moments that I feel could be expanded a little further, not necessarily for a full feature length film but perhaps a few minutes extra to the 13 minute run time. The bulk of the film’s flashbacks are spent in 1996 and it would have been nice to spend more time in 1998 where Auton is a more established chef. Altogether, Crab Cake Kid is an incredibly humorous film that is reflective of Auton’s deadpan Yorkshire humour. It’s a familiar story while being distinctive in its directorial choices and it provides its own critique on toxic kitchen environments. Crab Cake Kid is being shown at the Aesthetica Film Festival in York and it’s well worth seeing for anyone that values comedy in film. Buy UKFR Banner Space About the Film Critic Thomas Manning Short Film, Film Festival < All Reviews Next Film Review >

The Only Living Pickpocket in New York film review by UK film critic George Wolf. Starring John Turturro, Steve Buscemi, Giancarlo Esposito directed by Noah Segan. HOME | FILMS | REVIEWS The Only Living Pickpocket in New York Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 29, 2026 Directed by: Noah Segan Written by: Noah Segan Starring: John Turturro, Steve Buscemi, Giancarlo Esposito If you remember that seventies disco chestnut “Native New Yorker,” you’ll get an extra kick out of the first few minutes of The Last Pickpocket in New York, a delightful mash note to the Big Apple and a wonderfully engaging vehicle for John Turturro. Turturro’s Harry cues up the vinyl and dances for his wife, Rosie (Karina Arroyave), who is bedridden and catatonic. He cares for her sweetly, showing a tender side that seems at odds with his chosen profession as a pickpocket. Harry is quite good at his job, taking cash from wallets and fencing watches and other valuables at his buddy Ben’s (Steve Buscemi) corner pawnshop. Even a kindred spirit detective (Giancarlo Esposito) does Harry a solid now and then. But after snatching a duffle bag from the car of a young dumbass named Dylan (Will Price), Harry’s analog ways catch up to him. Dumbass Dylan is part of a local crime family, and there was something very valuable in the bag that Harry threw away moments after pocketing a fat wad of cash he found inside. Easily tracking Harry down from city surveillance cameras, Dylan and his crew let Harry know that his wife’s wellbeing depends on the return of what he tossed aside. Harry is still a bit haunted by some other things he’s left behind in life, and Turturro clearly relishes the chance to dig into the character. Yes, we’ve seen an aging man grapple with regret and possible redemption countless times now, but Turturro finds an identity, and a humanity in Harry that gets under our skin and captivates in every frame. He make us root for Harry despite some things we learn on his quest through the boroughs, and writer/director Noah Segan (Blood Relatives, Scare Package ) adds a layer of caper for extra fun. Segan’s first non-horror feature casts his native NYC as Turturro’s leading lady, and the city’s pulse is evident throughout every subway ride, diner visit and needle drop. Even minor characters are shaped through organic, lived in dialog, and by Act Three, Segan’s skill at reframing the familiar is on full display, along with a chemistry-filled cameo from a recent Oscar winner. And speaking of…expect to hear Turturro’s name plenty this award season. He deserves it. Even if Harry’s story is number eight million and one in the naked city, The Only Living Pickpocket in New York makes it worth sharing. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The History of the Islamic Golden Age film review by UK film critic Joyce. Starring N/A directed by N/A. HOME | FILMS | REVIEWS The History of the Islamic Golden Age Film Review average rating is 4 out of 5 Critic: Joyce Cowan | Posted on: Oct 29, 2026 Directed by: N/A Written by: The Great Courses Starring: N/A History of the Islamic Golden Age is a hugely absorbing lecture about the medical knowledge that originated during the Islamic Golden Age- highlighting the contribution of extraordinary scholars on whose knowledge modern medicine is based: Al- Razi and Ibn Sina. Delivered clearly and engagingly, the viewer becomes a student. We learn that Al Razi studied in Baghdad- the texts of Hypocrates and Galen, whose theory of the four humours he challenged and he even mentioned inflammability- a function of the human body that mainstream medicine is only now beginning to pay close attention to. He developed key concepts such as morality of medicine- the idea of the doctor as role model to their patients, advocated for the idea of the family doctor as safer and more effective, and was first to deal with specifity of what we know today as paediatrics. We learn about Canon of Medicine written by Ibn Sina, was used by European Universities for centuries, and that he carried out groundbreaking research in psychiatric conditions, and was first to lay out existence of air borne diseases Visually the lecture is great for deep learning, containing dates, images of the figures being talked about and maps. The lecture's love of the subject matter shines through in an understanded, English style. The lecture does contain a glaring omission: the contribution of women is conspicuously absent. Nevertheless, this eye opening short lecture should be at both medical and history courses the world over, as it's coverage of key contributions that are ignored by Western teaching is in itself encouraging of a push for wider inclusion. Buy UKFR Banner Space About the Film Critic Joyce Cowan Documentary < All Reviews Next Film Review >

Mr A: Genesis film review by UK film critic William Curzon. Starring Noah Olaoye, Tayo Aluko, Paul Woodward directed by Richard Ampeh. HOME | FILMS | REVIEWS Mr A: Genesis Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Oct 28, 2026 Directed by: Richard Ampeh Written by: Noah Olaoye Starring: Noah Olaoye, Tayo Aluko, Paul Woodward Mr A: Genesis is a comedic drama and follows Ayotunde “Mr A” Akinlade (Noah Olaoye), a 27-year-old English teacher and pastor navigating life between the lively chaos of a secondary school classroom and a Black-majority church in Liverpool. The narrative follows Ayo’s struggles with self-doubt and his journey to overcome it and find his purpose. One of the most awe-inspiring aspects of Mr A: Genesis is its themes of faith and identity. Sadly, stories about young Black British-Nigerian men remain rare outside of London, so setting the film in Liverpool feels incredibly uplifting. Elevating voices and talent from underrepresented individuals outside London is so important, and the film’s sense of community helps it to feel personal in that respect. The film feels incredibly lived-in with its distinct setting, and it's refreshing to see the perspective of a young Black Scouse individual navigating his struggles with identity and self-doubt. From the opening frame to the end, the filmmaking creates unease and firmly places the audience in the central character’s point of view. It's an incredibly engaging experience, as the film seamlessly shifts from the pressure of Ayo leading his church’s 30th-anniversary service to his interactions with his students. It's immediately effortless to become invested in Ayo’s life and sympathise with his struggles thanks to his heartwarming personality and journey to leadership. The church community and other teachers within the narrative put profound pressure on him to conform to societal norms, and his unique teaching style is awe-inspiring. Despite the initial lack of characterisation, by the film's conclusion, the audience is confronted with the personal and profound struggles Ayo has learned to overcome. That said, the brisk runtime is a detriment to the experience, as the narrative isn’t given enough breathing room to flesh out the themes of faith and identity. While the narrative presents these ideas in an engaging way, it is never given enough time to fully interrogate them. From a technical perspective, the film is incredibly creative with its camerawork and inventive editing choices. Steven Wyn Owen serves as the film's cinematographer, and utilises a mix of wide shots and extreme close-ups when venturing into Ayo’s point-of-view. It's an incredibly evocative choice as it feels intimate and personal, allowing the viewer to become invested in his character’s arc throughout. This is accompanied by the frenetic editing that seamlessly transitions from Ayo in the midst of teaching to leading the service for his church. Ayo’s role of leadership is a primary theme throughout and executed profoundly through the film's technical prowess. The ensemble performances are terrific throughout, with a compelling lead performance from Noah Olaoye as Mr. A. His performance exudes tenderness while balancing the comedic and dramatic tone of the script profoundly; it's a wonderful turn from Noah Olaoye that feels personal and uplifting. The supporting players, including the child performances, are also fantastic, and the chemistry between each cast member feels natural. However, outside of Ayo’s character arc being executed to its fullest, the narrative isn't given enough time to explore the supporting characters. Sadly, the conclusion to the narrative doesn't feel entirely earned and would have benefited from a more prolonged runtime to build on the supporting characters and their role in Ayo’s growth. Mr A: Genesis is an inspiring tale of self-doubt and having the confidence to believe in oneself. Despite its flaws, the film possesses a terrific lead performance from Noah Olaoye and an inspiring message. Mr A: Genesis is a flawed yet endearing piece of indie filmmaking. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Cages in Search of Birds film review by UK film critic Chris Buick. Starring Jochnowicz directed by Jochnowicz. HOME | FILMS | REVIEWS Cages in Search of Birds Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Oct 28, 2026 Directed by: Jochnowicz Written by: Jochnowicz Starring: Jochnowicz Most people will have a preconception of what extremism, or radicalisation, means to them and what it looks like. But much of this is shaped by the media and governments: what we are told extremism looks like, what we are told causes it, and what we are told the answers to it are. Even the dictionaries don’t quite agree. Cambridge defines extremism as “the fact of someone having beliefs that most people think are unreasonable and unacceptable”, while the OED describes it as “the advocacy of extreme measures or views; radicalism, fanaticism, especially in political matters”. The difference is subtle but telling. Cambridge presents extremism as a matter of social perception, defined by what most people consider unreasonable. The OED focuses more on intent, on actively promoting extreme views or measures, typically political ones. Jochnowicz, a UK-based Jewish filmmaker, wants to highlight exactly this problem: that defining extremism or radicalisation isn’t that simple. Their feature-length documentary, Cages in Search of Birds , isn’t born out of a desire to preach any particular viewpoint. Rather, it’s a response to documentaries that focus too heavily on a single cause or process, and an attempt to close the gap between how the public sees extremism and what the research actually says. Jochnowicz splits the film into six vignettes, each tackling a different aspect of, or misconception about, extremism. They call on a roster of scholars, activists and “formers” (people who have since been deradicalised) to explore what we have got, and continue to get, wrong. Social media, for example, is an oft-cited cause of growing radicalisation across the world, yet the film suggests it probably isn’t as responsible as we might think. It examines radicalisation both at an individual level and at a societal scale. And while it tackles a number of heavy, serious issues, Jochnowicz balances these with more hopeful insights into reconciliation, and an inspiring call to action in the film's epilogue. The film can feel a bit overwhelming at times, purely because of how much it packs in. But importantly, each vignette is followed by a conversation between Jochnowicz and an anonymous researcher, who not only delves further into its talking points but lays them out in such a concise and approachable way that even this reviewer can understand. And the film covers a lot of ground in its ninety-minute runtime, from home-grown extremism in the UK to cases further afield in the US, Israel and Sudan. It also questions whether counter-extremism programmes run by some organisations are as effective, or as fair, as they should be. The film becomes more personal when it turns to the Jewish diaspora in the UK, as Jochnowicz explores how we might deradicalise both Britain and their own community. Yet they make sure to give the same care and attention to detail to every other vignette, always staying true to the film’s purpose of promoting more open, nuanced thinking. Overall, it’s a highly considered, balanced film that oozes passion and never falls into the trap of preaching. Cages in Search of Birds does what all great documentaries should: rather than trying to convince you one way or the other, it simply asks you to think more critically about the sensitive issues it tackles. Buy UKFR Banner Space About the Film Critic Chris Buick Documentary < All Reviews Next Film Review >