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Another Way film review by UK film critic Jason Knight. Starring Alice Rosano, Timo Elony, Laura Heilanen, Giuseppe Di Bella directed by Alice Rosano. HOME | FILMS | REVIEWS Another Way Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 26, 2026 Directed by: Alice Rosano Written by: N/A Starring: Alice Rosano, Timo Elony, Laura Heilanen, Giuseppe Di Bella Time for a trip to Egypt. Filmed over the course of twenty days in Sinai, with a budget funded by the director, this short documentary was directed by Alice Rosano and it involves a film crew and highliners going to Egypt and filming themselves highlining. Just explaining that highlining is a sport that involves a person walking on a narrow, flat rope (called a slackline) that is suspended high above the ground between high points such as mountains and cliffs. Some of the dynamic individuals who decided to make this project a reality are the director, Alice Rosano, camera operator, Laura Heilanen, rope technician, Timo Elony and professional highliner, Giuseppe Di Bella. The result is a beautifully shot, fifteen-minute-long documentary that takes the viewer on a journey through Sinai. However, unlike what is usually seen in documentaries about Egypt, there are no pyramids or temples in view, (there are camels, though) instead this film visits various locations across Sinai, has a few locals share information about Egypt and themselves and, as expected, has plenty of highlining. Some of the locals include Sheikhs Saleh Abu Eid and Rabia Barakat and an elderly woman named Amreya Farag. Thanks to Rosano's expert directing and hers and Heilanen's beautiful cinematography, viewers has the privilege of seeing the wonderful landscapes of Sinai and the atmospheric music adds to the sense of adventure. The creativity of Caterina Delli Carri and Chiara Mazzotta results in impressive illustrations that appear often, depicting maps that reveal the team's journey through Sinai. The whole film is of a high standard, however, special acknowledgement goes to the shots of highliners performing their sport. This documentary offers to teach some things about Egypt and its people and become familiar with the sport of highlining. Moreover, it promotes the significance of pursuing a goal and having a passion, new discoveries and experiences. Through Amreya Farag, the film also explores feminism. This project focuses on a lesser-known side of Egypt. It is a short and informative trip through parts of Egypt and it introduces the viewer to some inspiring individuals. About the Film Critic Jason Knight Documentary, Short Film < All Reviews Next Film Review >

Motor City film review by UK film critic George Wolf. Starring Alan Ritchson, Ben Foter, Shailene Woodley directed by Potsy Ponciroli. HOME | FILMS | REVIEWS Motor City Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jul 24, 2026 Directed by: Potsy Ponciroli Written by: Chad St. John Starring: Alan Ritchson, Ben Foter, Shailene Woodley Man, if you can hang with Motor City for about an hour and fifteen minutes, you’ll get one damn fine action sequence. Suddenly violent, increasingly bloody and eventually downright grisly, it’s an impressively choreographed and well shot set piece. It’s also curious, considering the film surrounding it is a pretty tedious exercise in navigating a needless hurdle of its own making. And needle-dropping some sweet 70s hits. The theme is simple enough: revenge. Ex-con John Miller (Alan Ritchson) is on probation and trying to toe the line in 1977 Detroit. He pops the question to his honey Sophia (Shailene Woodley) and things are looking up. But then Sophia’s gangster ex-boyfriend Reynolds (Ben Foster) frames John with a staged drug bust, and back to the slammer he goes. So how does director Potsy Ponciroli (Old Henry ) refresh the familiar idea from writer Chad St. John? By crafting Motor City as a nearly dialog-free thriller propelled by mood and music. That “nearly” is the first curious bump in John’s long road to payback. The few bits of dialog that are here just end up drawing attention to how hard the film is trying to get credit for telling most of this story without words. And it just isn’t necessary. Scenes that should naturally have organic conversation do not, and the strain of keeping the silent device intact is just too obvious. I mean, do it or don’t. Since there is some dialog, Ponciroli’s commitment to visual storytelling ends up feeling more gimmicky and forced. Foster and Woodley are customarily fine, Ritchson continues to show raw talent and real charisma, and Pablo Schreiber makes a perfectly menacing henchman. The soundtrack choices from Jack White (who also has a cameo) are on point, too, which helps keep the boredom at bay when the story just takes too long getting down to business. And though revealing just what derails the finale would be too much of a spoiler, the result is anticlimactic and just plain silly. But man, that one elevator scene shows just how much action potential is wasted in Motor City . About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Dink film review by UK film critic Hope Madden. Starring Jake Johnson, Mary Steenburgen, Ed Harris directed by Josh Grenbaum. HOME | FILMS | REVIEWS The Dink Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 23, 2026 Directed by: Josh Grenbaum Written by: Sean Clements Starring: Jake Johnson, Mary Steenburgen, Ed Harris I was cautiously optimistic about The Dink , Josh Greenbaum’s feature that pits the elegant sport of tennis against goofy good time of pickle ball. It seemed like a funny concept. Jake Johnson plays one-time tennis phenom Dustin Boyd, also known as the Hammer because that was the name his dad (Ed Harris) gave him as a kid due to his incredible serve. But now, rolling through his 40s in his 1998 Dodge LeSabre and working at his dad’s country club as the junior tennis instructor, the Hammer’s hitting some hard times. As luck would have it, Dad has hatched a plan to rid the club of the goofy menace that is pickle ball. Does it involve a tournament, one pickle baller vs one tennis player? Will the Hammer somehow screw up his opportunity to be that tournament tennis pro? Will he somehow find himself falling for pickle ball? I’m not saying, but if you’ve ever seen either a sports film or a comedy, you may be able to guess. No, Sean Clements’s script doesn’t feel terribly fresh, but the sort of Dodgeball meets Caddyshack concept is immediately appealing. Lower your expectations and you might enjoy the movie. Johnson’s built a career on the likeable goof character, and he’s as endearingly off-putting here as anywhere. Greenbaum surrounds him with solid support. Harris, obviously, but the ensemble teems with comic talent: Mary Steenburgen, Patton Oswalt, Ben Stiller, Chris Parnell, and even more veterans in cameos. The Dink opens on its funniest scene, of the Hammer and his sidekick bestie (Aaron Chen) regaling two unimpressed kids with tales of their instructor’s youthful glory. Both kids (Indiana Elle and Cayden Romero) are dry, droll comic gold. Everything after that is formula broken occasionally by random comedy bits. Stiller’s doctor is preoccupied with the “stickyhoney” dating app. Oswalt’s pickle ball advocate wastes a lot of tiny paper cups. John McEnroe brings his own concessions. Nothing is laugh-out-loud funny, but all the silliness is delivered by such pros that you chuckle regardless. The Dink doesn’t rank among the great sports comedies, surely, but you’ll crack a smile. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The Last Show film review by UK film critic William Curzon. Starring Anna Arthur, Adrian Berry, Chenine Bhathena directed by Lisle Turner. HOME | FILMS | REVIEWS The Last Show Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jul 23, 2026 Directed by: Lisle Turner Written by: Lisle Turner Starring: Anna Arthur, Adrian Berry, Chenine Bhathena The Last Show is a documentary piece that follows the final London International Mime Festival and highlights its cultural significance to the theatre community. The festival featured miming, visual theatre, clowning, puppetry and dance from a wide variety of cultures from around the world. Primarily focusing on the artists who contributed to the festival, the documentary is a compelling portrait of theatre’s monumental impact. One of the documentary's greatest strengths is its blend of archival footage and informative interviews based around many of the central figures. While the documentary maintains a brisk runtime, it never feels rushed, taking the time to explore the festival’s cultural impact and celebrate the many individuals who have devoted their lives to keeping theatre accessible. It's an inspiring and informative piece of art that has, sadly, been affected over the last decade by a lack of government funding and the pandemic. The documentary explores the artists impacted by this and how they cope with the lack of support. The filmmakers don't shy away from the profound pressure the arts council suffered from to gain funding, and it's engaging to see how many years the festival sustained its longevity despite its hardships. It's a concise documentary that wastes no time, exploring the festival in depth while shining a spotlight on the inspiring artists whose passion and talent have helped shape its legacy. The film is a visually stunning portrait of the awe-inspiring aspects of theatre and its transformative power for audiences around the world. The material may encourage viewers to seek out more theatre productions due to how striking the archival footage is. While it may not resonate with viewers who have little interest in theatre, the filmmakers do a tremendous job of drawing audiences into the festival’s rich legacy and lasting cultural impact. As the film’s cinematographer, Kie Cummings does a terrific job framing each interview, using intimate close-ups that foster a strong sense of connection with each subject. While the shift to archival footage may be jarring to some viewers, the blend of interviews keeps the material utterly engaging. One of the most surprising aspects of the documentary is its musical score. Though understated throughout, Jonny Pilcher’s score is imbued with melancholic motifs that perfectly complement the documentary’s tone and elevate its closing moments to impressive heights. The documentary conveys a powerful message about the state of the arts in the UK and the importance of supporting a widespread art form such as theatre in the current post-Brexit climate. It also explores how theatres embraced virtual performances throughout the pandemic, aided by additional government funding that helped keep the arts accessible. Perhaps the most emotionally compelling aspect of the piece is the question asked about how future generations will champion this art form. It's a hopeful and awe-inspiring sentiment that comes with an anxiety about how long artists can sustain theatre. It may deeply resonate with viewers who have a connection to theatre and the festival itself. The Last Show delivers an emotionally resonant portrait of the artists grappling with the loss of the London International Mime Festival, confronting their anxieties with honesty and compassion. It's an inspiring piece of work that shines a heavy light on the struggling theatre industry and the incredibly inspiring artists who poured their hearts and souls into it. About the Film Critic William Curzon Documentary, Short Film < All Reviews Next Film Review >

Hadestown: The Musical film review by UK film critic George Wolf. Starring Reve Carney, Eve Noblezada, atrick P age directed by Brett Sullivan. HOME | FILMS | REVIEWS Hadestown: The Musical Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jul 22, 2026 Directed by: Brett Sullivan Written by: Anaïs Mitchell Starring: Reve Carney, Eve Noblezada, atrick P age For the next week at least, Greece is most definitely the word at your local theatre. While Christopher Nolan’s take on The Odyssey is wowing critics, audiences and box offices, the movie version of Broadway smash Hadestown combines the Greek tragedies of Orpheus and Eurydice and Hades and Persephone with an irresistible, jazz-infused treatment that dazzles from the opening glimpses backstage. Screening in theaters for five nights only beginning July 24th, Hadestown unveils the “pro-shot” film capture of a reunion performance from last year in London. The five leads reprised their roles in the multi award-winning production, with veteran filmed stage feature director Brett Sullivan bringing new life to stage director Rachel Chavkin’s original vision. Tony Award-winner Andre De Shields is a mesmerizing tour guide as Mr. Hermes, our host who explains “the road to hell is a railroad line,” as Anaïs Mitchell’s Tony and Grammy Award-winning score begins working it’s toe-tapping magic. Young lovers Orpheus (Reeve Carney) and Eurydice (Eva Noblezada) face an uncertain future due to their life of poverty. When King Hades (Patrick Page and his delicious baritone) arrives to bring his wife Persephone (Amber Gray) back to the Underworld and usher in a harsh winter, Eurydice is intrigued by his offer to end her hunger and suffering. Urged on by the Fates, Eurydice signs Hades’s book and leaves Orpheus for a new life down below. But Orpheus will not give up his quest to bring Eurydice home, and his commitment inspires Persephone to plead his case to her husband, leading to the legendary offer Hades extends to the couple for a final chance at their freedom. Mitchell updates the classic myths with a timely parallel to our current chasm between the privileged and the struggling, and Sullivan bolsters that theme with a wonderfully active showcase for Rachel Hauck’s Tony Award-winning set design. Anchored by a rotating center stage with one circle descending to the Underworld, the set extends the movement outward to the dancing Fates, the terrific jazz musicians upstage and the frequently pacing Mr. Hermes. Sullivan mines that sweet balance between framing the totality of the audience view with the more intimate moments a camera allows. Overplaying this hand would betray the innate beauty of a pro shot experience, but here the pushes only to accentuate the emotion of the performances, the detail of the production design and the richness of the costuming (bonus points for turning Page’s cane and walking boot from an Achilles injury into a menacingly cool addition to the Hades swagger). And much like its mythological sister The Odyssey , Hadestown ‘s extended length (2h 21m) only gives you more time to relish the experience. The brief screening window (remember, only five nights beginning this Friday) however, does not. So don’t miss your chance to bask in the joy and pain, tragedy and hope that Hadestown finally brings to the big screen. And get ready to put those jazz hands together, early and often. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Generation Necktie film review by UK film critic Jason Knight. Starring Dane Bachman, Kyle Roth, Ben Dougherty, Jonas Chartock, PJ Clarke directed by Dane Bachman. HOME | FILMS | REVIEWS Generation Necktie Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 22, 2026 Directed by: Dane Bachman Written by: Dane Bachman Starring: Dane Bachman, Kyle Roth, Ben Dougherty, Jonas Chartock, PJ Clarke Dane Bachman writes, directs and stars in this comedy/drama mockumentary and joining him in the cast are Kyle Roth, Ben Dougherty, Jonas Chartock and PJ Clarke. Recently released on YouTube, production for this feature commenced shortly before COVID-19, when the director was nineteen years old and was postponed for six month, before restarting and been completed over a period of four years. Funding was accomplished via a pizza delivery job and an Indiegogo campaign. Filmed as a documentary, this feature concentrates on a film crew that follows a group of four young unemployed skateboarders in the United States, documenting their lives. These four individuals are Patrick (Bachman), Mickey (Roth), Adam (Dougherty) and Dust (Aiden Skipper). The crew films them as they contemplate their lives, hang around with each other, encounter a dangerous drug dealer (Steven Skipper) and vandalise a garden. Then, a terrible tragedy occurs that changes everything. This film could be described as a coming-of-age story and a family drama. There is hardly a plot, with the main focus being instead on the characters, analysing their situations and struggles. It is the four skateboarders that are arguably the most interesting aspect, with their unconventional perspectives regarding the world and their outrageous behaviour. There is humour and dark humour, and there is plenty of drama and character development. The four skateboarders have things in common, being simple, well-meaning guys, who seem to have reached a point where they do not know which direction to take in life, but they also have differences. With a strong performance, Bachman presents Patrick as a rebellious youth who lives with his parents and does not hesitate to communicate his disapproving views regarding society, believing that anarchy is good. Adam just does not know what to do with his life, much to the disappointment of his partner, Nora (Jade Collins). Mickey is perhaps the most joyful one of the bunch, while Dust is the awkward one, who appears to have a fascination with dust. Regarding their parents, the ones who stand out are Patrick's father (Chartock), who believes that his son is capable of achieving more and Adam's dad (Bruce Coen), who can be loud at times. The events in this film provide an insight into life concerning middle class America and the world of filmmaking. More dramatically, self-reflection, loss, family, parenting and the ideas of moving on to better things, having motivation and finding purpose in life are brought to light. This feature shows that not a great deal of money is required in order to make something of considerable quality. A film with a great soundtrack that has laughter, poignant moments and is quite thought-provoking. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Odyssemen film review by UK film critic Patrick Foley. Starring Clara McGough, Daniel Adams, Lujane Yacoub directed by Minh Ngo. HOME | FILMS | REVIEWS The Odyssemen Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jul 21, 2026 Directed by: Minh Ngo Written by: Minh Ngo Starring: Clara McGough, Daniel Adams, Lujane Yacoub When Christopher Nolan took a look at the competition that his blockbuster Odyssey was likely to be compared with this summer, he will have no doubt circled Spider-Man, Moana or Toy Story as his greatest opposition. He probably didn’t account for a small, student-created microbudget project starring a cast of semen, but if you somehow stumble across The Odyssemen whilst looking for the ancient epic, you will find a bizarre, yet against-the-odds charmingly obscure short film. After their cellular divisional split births them as meiosisters, Orchis (Clara McGough) and Semes (Daniel Adams) find themselves in the strange, barren land of Test, where the annual Testy Festy is well underway. This festival harkens the journey of the sperm to heaven, but a mysterious sister by the name of Seed (Lujane Yacoub) warns that the journey is a lie. An alternative path ahead is offered by ‘The Great Jac’ – an event that could lead to a civil war. But which side will the sisters fall on? The Odyssemen is an upstart short film that manages to use the appearance of a gross-out comedy to explore much deeper questions about humanity, faith and belief. Whilst the absurdity of a cast of sperm in human form (dressed proudly in painter’s coveralls) or some fine use of word-play (the ‘phallus palace’ an obvious yet amusing example), the themes that are behind the inner and external conflicts that affect the characters are drive their motives and curiosities are much more salient. The struggle with going against ones most potent and sacred of beliefs, pushing back against values that have become corrupted or misguided, or defying the gods whose orders have always been followed would not look out of place in Nolan’s epic. And where there is ultimately a limit on how far director Minh Ngo can dig with this within timing and budget limitations, it is quite impressive how comfortably more serious concepts are able to be introduced to the world. The film is spoken in a Shakespearian dialogue throughout its runtime, coupled with monolithic, monk-like chanting from the sperm hordes as they await ‘salvation’. The chanting in particular, coupled with the haunting red landscape gives an unnerving alien feel to events. Despite being set within the human body, there are distinct sci-fi flavours at play amidst the old-world overlays. Whilst the Olde English verbiage threatens to become trite in moments, it is nicely counter-weighted by these unearthly settings that place us in a timeless space, created uncertainty in the viewer as to what fate belies the sperm (even in those of us who have knowledge of the anatomy…). There are moments in which the film loses its way. The characters or Orchis and Semes do not carry enough distinction to really stand out as unique or memorable – with the film instead relying on its absurd concept to stand out. Once one adjusts to this as normal, some of the problems with the plot’s ability to sustain the concept become clearer, and stronger storytelling would have benefitted the audience’s appreciation for the two paths ahead of the heroes. There is also an awful lot going on in the 20-minute runtime, and simplifying the events given the limitations at play may have meant the overall experience would land with more vigour from a story-perspective. Yet when put against its $250-million namesake, there is a triumph in The Odyssemen, which no doubt is the result of an epic journey in its own right. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Orchard film review by UK film critic Madeleine Lavers. Starring Lucas Szuch, Kate Webb, Hubert Brandys directed by Kerry McArthur, Mark Wolfe. HOME | FILMS | REVIEWS The Orchard Film Review average rating is 3 out of 5 Critic: Madeleine Lavers | Posted on: Jul 21, 2026 Directed by: Kerry McArthur, Mark Wolfe Written by: Kerry McArthur Starring: Lucas Szuch, Kate Webb, Hubert Brandys The Orchard (2022) is a drama/thriller following protagonist Lucas as he moves into the town where his grandfather lived, inheriting his well-known and highly praised cherry orchard. Hoping for a fresh start after his recent trauma, he moves into the house he used to visit as a child with his girlfriend Kate. Unfortunately, he soon falls back into drug abuse after being prescribed painkillers due to a pruning incident that left him without a finger. As his relationship with Kate weakens, he surrounds himself with old friends, one of whom is a drug dealer. Lucas returns to a state of psychosis as she traces the orchard's history, uncovering the mystery of his grandfather’s unorthodox methods, which led to the fruit’s success. Blood. The narrative of this film is interesting; the idea of involving elements of horror and gore with a beautiful orchard is unique. The story unravels into chaos, which will ultimately hook viewers into the unexpected mayhem. The film frequently includes smooth drone shots of the film’s luscious setting, further flaunting the gorgeous location. This greatly juxtaposes the darker and sinister mise en scene that follows. A more unfortunate contrast was the stark difference between high-production-value drone shots and the rest of the film, which did not seem to meet the visual richness seen in the previous elevated perspectives. From a technological standpoint, there was a disparity in quality, with some scenes having noticeable flaws within the sound and camera departments. The music used in the film sometimes felt extremely fitting and well placed. At other times, it felt distracting and oddly timed; this did not aid in the pacing of the film, which sometimes felt rushed, like there was no breathing room between scenes. The performance of main characters Lucas (played by Lucas Szuch) and Kate (played by Kate Webb) was strong, but not entirely convincing. There seemed to be an overexaggeration throughout most performances on screen, many seeming melodramatic. The scriptwriting was consistent and understandable, but slightly confusing at times. The couple bounded from heated arguments to celebrating a pregnancy without many meaningful conversations in between. There was a decently sized cast for this film, which added some depth, although character motivations sometimes felt unclear. One example is the drug dealer character Hubert, played by Hubert Brandys. Hubert’s relationship with Lucas was understood to be a long one, spanning from before Lucas moved to town, yet their interactions felt awkward and full of tension sometimes, then full of laughter at other times. It was hard to understand their past together and may be difficult for audiences to fully reconcile with how they view each other in the present. With that being said, due to Lucas’s substance abuse, he is most likely an unreliable narrator, so it may be a purposeful choice for audiences not to fully grasp the evolving layers of his relationships. Overall, I applaud the detailed story and management of many different overlapping characters. I enjoyed the darker aspects of the narrative but think some work on the sound effects and music used during the film, especially during more thrilling scenes, could improve the impact of this horror. About the Film Critic Madeleine Lavers Indie Feature Film < All Reviews Next Film Review >

The Brokenhearted film review by UK film critic William Curzon. Starring Leroy Nguyen, Samuel Joon Lee, Travis Davis directed by Leroy Nguyen. HOME | FILMS | REVIEWS The Brokenhearted Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Jul 20, 2026 Directed by: Leroy Nguyen Written by: Leroy Nguyen Starring: Leroy Nguyen, Samuel Joon Lee, Travis Davis The Brokenhearted follows a petty gangster desperately attempting to prevent the escalating conflict between two of his childhood friends. One of his friends is a struggling martial artist whose school fails after taking out a loan, and the other is a vicious loan shark intent on collecting the debt. The piece is a tale of loyalty and redemption that blends a gritty action drama with a character study. What is perhaps most apparent in the film's presentation is its grainy photography, which lends the experience a gritty edge, stylistically and tonally. It almost feels like an early-2000s blockbuster with its grimy visuals, rapid camera movement and costume design. While the desaturated colour palette might not appeal to everyone, it ultimately complements the film’s grim aesthetic. The film also feels heavily inspired by Martin Scorsese’s Mean Streets (1973), particularly in its character motivations and its blend of intimate drama and gangster cinema. While it clearly wears its influences on its sleeve, it strays from a typical Asian-American action piece, opting for a character-focused narrative that feels far less concerned with frequent action set pieces. Despite how visceral the infrequent outbursts of action are, they feel like an afterthought because the initial setup is so prolonged. Alex Au, serving as the film’s cinematographer, does a terrific job of framing each set piece and the intimate dialogue-heavy sequences. The fluid camera movement and raw close-ups are incredibly claustrophobic and hard-hitting, anchored by the physicality of each performance. The shift to wide framing is also incredibly impactful, as it gives the viewer space to process what's occurring. Despite how claustrophobic it feels, the use of a shaky cam works well, as it gets up close and personal with the actors. Serving as the director and editor, Leroy Nguyen’s editing is jarring, with choppy cuts during the fight sequences; however, the choreography and suitable framing choices make it worthwhile. Leroy Nguyen really knows how to shoot action set pieces, and it's one of the most memorable aspects of the experience. One of the film’s biggest issues is its pacing. While it takes its time to establish the bond between the central characters, Sonny (Leroy Nguyen), James (Samuel Joon Lee), and Winston (Travis Davis), it overstays its welcome with a prolonged runtime which doesn't justify its length. While the character-driven approach is commendable, the meandering pacing is detrimental to the experience, as it feels sluggish to endure. That said, it rewards viewers with brutal action set pieces and delivers a satisfying payoff. Despite how understated Alex Kane’s musical score is throughout the first half, it's utilised profoundly in the final third of the film, anchoring the emotional resonance with its meditative motifs. The use of needle drops is also a commendable choice as they are utilised well throughout the narrative. The performances across the board are memorable, in particular Leroy Nguyen’s portrayal of Sonny. He conveys the character’s sheer physicality while boasting seamless chemistry with the supporting players. As the tension brews among Sonny, James and Winston, each performance shines profoundly. The Brokenhearted may surprise audiences with its distinct focus on character over spectacle. While it may suffer from dimly lit sequences that give the film a lack of visual flair, it's held together by hard-hitting action sequences, magnetic chemistry between each cast member and solid performances all around. The piece is a flawed yet rewarding and brutal experience. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Still Life (2026) film review by UK film critic Jason Knight. Starring Ophelia Lovibond, Jacob Anderson directed by Sophie King. HOME | FILMS | REVIEWS Still Life (2026) Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 19, 2026 Directed by: Sophie King Written by: Kate Radcliffe Starring: Ophelia Lovibond, Jacob Anderson A short drama directed by Sophie King, written by Kate Radcliffe and starring Ophelia Lovibond and Jacob Anderson. Jessica (Lovibond) and Max (Anderson) are expecting a baby. Although this is supposed to be good news, the soon-to-be-parents are facing complications involving the pregnancy, particularly Jessica, who appears to be quite anxious. This short focuses less on the plot, concentrating instead on the effects the anticipation of having a baby has on the couple, especially Jessica. The film examines the emotional struggles she goes through, ostensibly because she is worried that something might go wrong with the pregnancy. Then the dramatic revelation arrives. The twist makes the viewer question everything they saw before as it reveals that as well as being apprehensive about the future life-changing event, Jessica has also been devastated by a terrible experience that took place in the past. As the story is told though her character's perspective, Lovibond's performance is vital in order for the film to work and she pulls it off terrifically, playing a woman who is distraught for reasons that are not clear, until the end. The film relies primarily on her facial expressions to capture her emotions, with plenty of close-ups utilised to capture that. Interestingly, while attending yoga classes with the apparent intention to help her relax during pregnancy, she does reveal that she is expecting when the instructor inquires, making one wonder why. Anderson is sympathetic as Jessica's supportive partner and, although their appearance is brief, Phoebe Pryce, Alex Bhat and Jordan Alexandra effectively portray individuals who know and support the struggling couple. For the most part, this short is about pregnancy, exploring the anxiousness and uncertainty a future parent can go through and it also points out the significance of support. More dramatically, it is also a commentary about the effects of trauma and loss. This short manages to squeeze a lot of drama in ten minutes and the result is the emotional and unsettling aftermath of a tragedy and great acting. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Home film review by UK film critic William Hemingway. Starring Shanzay Shah, Members of the Compass Collective directed by Lorenzo Harani. HOME | FILMS | REVIEWS Home Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 12, 2026 Directed by: Lorenzo Harani Written by: Lorenzo Harani, Shanzay Shah, Members of the Compass Collective Starring: Shanzay Shah, Members of the Compass Collective According to the UNHCR, there are around 550,000 refugees currently having claimed asylum in the UK, with a further 75,000 applications, relating to around 100,000 individuals, looking to get processed in the year up to March 2026. These numbers equate to less than 1% of the population of the UK being made up of refugees, with around half of these being made up of Ukrainians escaping war, as well as Hong Kong and Afghan nationals escaping persecution, who have been welcomed using resettlement schemes. These numbers are beginning to fall, mainly because most of the Ukrainians and Hong Kongers have already been relocated, but the numbers of small boat crossings in the English Channel is also down. The government would have you believe that this is all down to their hard work and determination to ‘control our borders’, but by March 2026 around 42% of all asylum seekers since 2018 had arrived by small boat. It is easy to see that numbers like these, year on year, are still unsustainable, but it is important to see that the real numbers are a far cry from what certain hard-right nationalists would have you believe. Angry little ‘nationalists’ like Stephen Yaxley-Lennon, who likes to call himself ‘Tommy Robinson’ as an homage to a prominent, violent football hooligan(!), want to tell you that every problem in society is created by the incoming wave of refugees to the country, jumping on any news story that involves asylum seekers and then painting everything they do in a dark light. The ignorant and supercilious Elon Musk also likes to get in on the act, through his hate-speech machine and personal megaphone platform, X, continually wading in on issues that have got nothing to do with him and which he knows absolutely nothing about, just to stir up hatred and unease, because a confused and angry electorate is easier to control when you’re working for some of the biggest warmongers in the world. It would be better not to even talk about the leader of Reform UK, so let’s not. Instead, let’s look at writer/director, Lorenzo Harani’s new short film, Home , which actually lets us look at the people who are being talked about as mere statistics. In four short minutes we are invited to speak with just some of the people who have sought asylum in the UK and who are being helped by the London charity, Compass Collective. Through their words, and the voice of one of their members (Shah), we can directly hear their pleas to just wake up in a place where they don’t fear for their lives. The loss and pain are etched deeply onto each of their faces as we are introduced to them in turn, and they tell us what they hope for in a new place, in a new world, in a place they one day would like to call home. Much like what Ken Loach and his screenwriter Paul Laverty knew when they made The Old Oak (2023), Harani knows that you can’t talk about these people until you start to talk about them as people. Having spent time at the Compass Collective, talking to and getting to know the refugees that are shown in his film, Harani understands that things are not as black-and-white as they are made out to be in short news bulletins, or on dubious, unsubstantiated, unregulated websites. He has taken the time to hear their stories and really see the people underneath, and so has turned to us, to highlight their stories and show us the faces of those we would condemn, to see if we can see the humanity in ourselves as we look at them. Sadly, there’s not an awful lot of time to spend with each of the refugees in the film, and we only get one voice speaking for all the others, in a short four-minutes that only scratches the surface of what the lives of these asylum seekers is like. There are a few artistic shots interspersed amongst the talking heads, of crashing waves and flocks of birds in flight and such, but not much more that would help constitute Home as a film rather than an infomercial. While Harani’s heart is in the right place and his intentions are pure, with Home we are left at a bit of a loss as to the nuances of becoming a refugee, of choosing the UK as the country of destination, and of what these people would like to do as a working, tax-paying citizen. With all of the civil unrest that has exploded in the last few days and weeks in the UK, with alleged rapes of many young girls by asylum seekers, and the turning of whole communities in Glasgow against individuals who they ‘think’ might be involved, as well as marches and protests and the ever-present hotel room housing debate, it is important that people are faced with the facts before being asked to make up their minds about how we help those who have come to us in their time of need. While Home tries to at least put a face to the people at the sharp end of the statistics, it is very limited in the facts it portrays, and instead, in giving its subjects a voice and a platform for their hopes and their opinions, may end up having the opposite effect than the one hoped for by the filmmakers, as certain hardliners will only hear more people saying that they want to come to the UK to live a good life, to take the jobs that are here, and to be a part of the state system. However, maybe that is the point. Perhaps we should all take four-minutes out of our day to watch Home , to gauge our reactions to what we see and hear, and find out just what kind of a person we are by how we respond to desperate people asking for human dignity and a safe place to live their lives. About the Film Critic William Hemingway Digital / DVD Release, Short Film, Documentary, World Cinema < All Reviews Next Film Review >

Andrea Alive film review by UK film critic William Hemingway. Starring Timo Honsa, David Zamperla directed by Wolfgang Stegemann. HOME | FILMS | REVIEWS Andrea Alive Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Jul 18, 2026 Directed by: Wolfgang Stegemann Written by: Timo Honsa Starring: Timo Honsa, David Zamperla An enigmatic spy is on a mission to take down the leader of a crime syndicate wanted by the International Criminal Court, traversing the streets and the underworld of Rome, kicking criminal ass, and trying to look as fabulous as possible while doing so. Andrea (Honsa) is an international spy on the trail of master criminal, Victor Pavlov (Zamperla), who is the head honcho of an organised crime syndicate currently operating across Europe. Andrea’s investigations have led her to Rome, where she intends to catch up to Victor and put him away for good, but there’s a few rounds of goons and henchmen to get through first before she can consider her work done. There is also the very important job of catwalking through some of Rome’s most famous landmarks by night, and making shapes on the cobbled streets as she throws hoods to the ground, that Andrea just can’t avoid taking time out for. Andrea’s mission, you see, is to set the world free, and not just from criminal enterprises, but from the shackles of ordinariness and social norms. ‘Be whoever you want to be’, she says to an unsuspecting bystander as she hands him her handbag, which he clutches covetously – and this is the message that she wishes to spread through her work and the kicking of criminal butts. Andrea is fabulous and fashionable and fully committed to her role, which means that she always has to look great doing it, no matter if she’s fighting dirty, or is getting personal with the scum on the streets. Looks come first for Andrea, and everything else is just extra, including the fact that she is a cross-dresser. Think more Conchita Wurst than Baga Chipz, and you’ll get a good impression of Andrea, with her full face of make-up and neatly trimmed beard to go with her lean physique and catwalk wardrobe. This ‘twist’ is added somewhat giddily by the filmmakers, overtaking almost the entire film in lieu of an actual plot, any sort of characterisation, or even minimal helpful backstory, leaving us with an idealised protagonist that stands only as a symbol rather than anything real. The writing from writer/star, Timo Honsa is extremely basic, and only furnishes us with enough stilted dialogue to string the fighting (and walking) scenes together, so we can get from one to the other, but without actually filling us in on any detail. The laughably named Victor Pavlov, leaves us in no doubt that he is supposed to be Russian, sounding like he was named by JK Rowling in a rush when she needed to add in a bad guy Russian character, and the criminal syndicate he is in charge of never gets referenced as anything other than the cunningly titled, Crime Syndicate, showing a distinct lack of effort and originality. Bad guys spout stock bad guy one-liners while Andrea gets to try out her witty repartee as she bonks them on the head or whacks them in their knackers, but all lines are delivered with a horrible staccato tone that imparts nothing in the way of emotion, or intent, or intelligence. For the five-and-a-quarter minutes that we spend with Andrea Alive in Rome, we are witness to three fight scenes and a few transitions, but there’s nothing much more than that. These are well handled and well shot by director, Wolfgang Stegemann, who keeps things pacy and intense, while making the streets of Rome look simultaneously menacing and beautiful, but most of the heavy lifting in the film comes from the soundtrack. A cover version of The Bee Gees’ ‘Stayin’ Alive’ is played throughout the entire film, giving a modern edge to the transition shots in the city, and leaning in to Andrea’s gender role in the lyrics as she goes around beating people up, but mostly it ups the intensity of the fight scenes and offers a sleek soundtrack to the fashionably dressed visuals. This, however, is the only main selling point of the film. What Andrea Alive lacks in terms of plot or dialogue or characterisation it tries to make up for in its style and presentation, without ever managing to make up the distance between them. It is fully an example of style over substance, where looks mean everything and anything of value is left by the wayside for us grey-lived normies to cry over. Unfortunately, once the main conceit is revealed, and we see that what we’re watching is a guy in a dress beating up some cons on the street, that is really all we see and all we get, which makes for a very empty and unsatisfying watch that offers nothing interesting or new for the audience. About the Film Critic William Hemingway Digital / DVD Release, Short Film, LGBTQ+, World Cinema < All Reviews Next Film Review >