Goodbye Breasts! film review by UK film critic Holly Baker. Starring Joanna Callaghan directed by Joanna Callaghan. HOME | FILMS | REVIEWS Goodbye Breasts! Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Feb 2, 2026 Directed by: Joanna Callaghan Written by: Joanna Callaghan Starring: Joanna Callaghan Goodbye Breasts! is a fantastic, partly self-shot, introspective documentary following Joanna Callaghan’s lived experience of undergoing a mastectomy. The documentary investigates both the physical and psychological impacts that the life-altering surgery has, presenting Callaghan’s own inner turmoil alongside those of others who also underwent the procedure. Professor Joanna Callaghan teaches filmmaking at the University of Sussex, whilst being an artist filmmaker and a mother. The documentary begins with Joanna’s perspective, explaining to viewers how the procedure works and using her own body to visually demonstrate what had been removed, highlighting the areas that lack sensation. This raw opening works amazingly as an objective observation of Callaghan’s experiences. There is no editing or music, just her body and the camera, and viewers quickly get a grasp of the specifics of the surgery. Importantly, Callaghan’s open discussion of her surgery makes for a refreshing viewing experience, as so often are women’s bodies sexualised and censored in media, seeing breasts spoken about in a way focused around what they are, organs made up of tissue, is a great thing. This way, the male gaze is removed and women’s bodies are appreciated outside of any misogynistic, predatory context so often affiliated with the camera. Callaghan goes on to impress viewers with her sophisticated language as she describes growing up, delving into her femininity, and her experience of girlhood and motherhood in a delightfully authentic way. Her experience of living in a house full of a mostly female family, all very comfortable in their femininity and loving of their bodies, is wholesome and inspiring. Viewers get a clear sense of the vibrant, safe, female space which shaped Callaghan to grow up to be an inspirational filmmaker and academic. Following the heartfelt introduction to Callaghan and her family, the film dives into the topic of breast cancer with a devotion to the science behind how the condition is passed on, in particular, which genes are responsible. Goodbye Breasts! provides an important array of information about breast cancer, particularly outlining the PALB2 gene as an overlooked genetic factor. The film explains genetic coding clearly to give viewers a full explanation of why Callaghan, as well as many other women, were advised and chose to have a mastectomy following the discovery of this gene. The film incorporates several animated sequences that radiate a tender adoration for breasts and the female body. These add vibrancy to the documentary, interweaving documentary footage with artistic bliss, together carrying a strong message of understanding, acceptance, and celebration of the female form and all its variations. This sentiment of pure and uncensored displays and affections for the female body is one which Callaghan projects not only through this film, but also through the raising of her child. Several sequences feature Callaghan’s teenage son who is clearly mature and comfortable with the subject of breasts, and share their mother’s admiration and excitement about her project. Such an appreciation being passed on from mother to son is a delightful example to see, and a clear standard for future generations to aspire to in the hope to eradicate stigma around women’s bodies. Overall, Goodbye Breasts! is a fully rounded, heartfelt and informed documentary. As the film comes to a close, Callaghan touches on every possible tone and feeling surrounding the female body, what it goes through, and ultimately celebrates it beautifully through a comedic, colourful musical dance sequence. Viewers are left with a fantastical ending, an uplifting sensation filled with optimism, art, and joy, and so despite the film’s often solemn and tearful moments, the sentiment of female celebration is firmly secured. Buy UKFR Banner Space About the Film Critic Holly Baker Documentary < All Reviews Next Film Review >

Wrists Tied film review by UK film critic James Learoyd. Starring Beckett Nichols, Hank Holbrook, Sam Teague, Calvin Lewis directed by Joseph Jeavons. HOME | FILMS | REVIEWS Wrists Tied Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Mar 15, 2025 Directed by: Joseph Jeavons Written by: Joseph Jeavons, Owen Swift Starring: Beckett Nichols, Hank Holbrook, Sam Teague, Calvin Lewis Wrists Tied is an amusing new crime-comedy short from director Joseph Jeavons. It tells a story of two young guys – Melvin (Beckett Nichols) and Doug (Hank Holbrook) –who have been friends since childhood. After some failed business ventures, Melvin concludes that he’d like to get involved with a Get Rich Quick Scheme; this, however, quickly turns out to be a front for some kooky criminals wishing to rob banks. While Melvin is still willing to go along with the scheme, Doug is more sceptical and refuses to proceed. What follows is a watchable and humorous tale of corruption, betrayal, and leg hair. There’s a unique mixture of comedy styles present in this short film. For instance, much of the overall tone is reminiscent of a John Hughes style of youthful humour. The boys naturally joke back and forth, toeing the line between endearing and annoying. At the end of the day, this is a comedy; we’re meant to laugh at and with these characters as well as the absurdity of the scenario. The best jokes in the movie are more visual. To provide an example, at one point Doug phones Melvin while Melvin is at one of the criminal meetings. He lies about this, pretending he’s home and that his mother’s calling him. When we cut back to Doug and the camera pans over, it turns out that Doug is stood outside the meeting. “I’ve always known”, he says – an advancement of the plot, and a great punchline. This temperament of depicting young, disillusioned people turning to crime – not because there are no other options but simply because it is an option – is very reminiscent of what feels like this movie’s main inspiration: Wes Anderson’s short (and later debut feature) Bottle Rocket . Jeavons’ film does an amazing job at replicating, and paying homage to, Anderson’s classic comedy – particularly through how the friendships and comradery are placed at the forefront of the story's focus. I’d like to talk a bit about the difference between editing and structure. From an editorial standpoint, this is a really well-put-together piece. But sometimes, for whatever reason, the film feels as if it lacks focus. This is a consistently well-cut movie; it’s the scenarios and the dialogue which occasionally cause the film’s pace to meander. For instance, the first few minutes of the runtime work well to establish the crux of the story: this friendship. And yet, its overly plotty, explanatory “1 Year Later” structure (so to show that Melvin’s hypothetical business isn’t working out) could have been achieved smoothly in less time. Only to say that – while this short is terrifically entertaining – when it lacks propulsion, it’s more due to the overall structure. The cutting feels just about right. Wrists Tied is an immensely enjoyable watch. While the cinematography has its flaws – specifically the use of autofocus settings – there are still plenty of interesting shots on show. This film was made by people who know movies, and understand the rhythms, patterns, and visual traits of the good ones (Bottle Rocket as the prime example). It’s an absurdly endearing work from beginning to end, made by creatives at the beginning of a promising career. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Film news - The Wonderful: Stories From The Space Station UK Release Date. Find out more at UK Film Review. The Wonderful: Stories From The Space Station UK Release Date Chris Olson Monday, August 23, 2021 at 4:38:02 PM GMT+1 The Wonderful: Stories from the Space Station UK Trailer Release Drawing on breathtaking archive and interviews with astronauts, cosmonauts, colleagues and family members, THE WONDERFUL: STORIES FROM THE SPACE STATION brings together personal testimonies from the men and women who have been part of this extraordinary project - a remarkable achievement of technology, international collaboration, scientific endeavour and human bravery. The International Space Station is completely unique – continuously occupied since November 2000, it is a triumph of engineering and cooperation and the largest peacetime international project in history. Assembled by space walkers flying around the earth at 17,500 miles per hour, the length of a football pitch, its solar arrays stretching out for more than an acre, the work of 15 nations over 20 years. But the film is not about the 450 tonnes of silver spaceship orbiting earth - THE WONDERFUL is the story of the men and women who live inside it - their stories played out against the vast, beautiful, bottomless, darkness of the Universe. For every astronaut who risks their life to go into space there is a chain of people who help them get there. From the family members saying goodbye through protective glass at the launch site, to the engineers, flight directors and dedicated teams at NASA, Roscosmos, JAXA, ESA, and CSA - to the teachers who inspired them, to the pioneers of space exploration, to the pilot who taught a young Peggy Whitson to fly on her farm in Iowa. This is a story of human connection. THE WONDERFUL remains a constant reminder of mankind’s vulnerability but also our ability to reach beyond the unimaginable, to life in space. In a world of compromise and uncertainty the ISS is a triumph of engineering and cooperation. As an example of what man can achieve when we put aside our differences, it is more relevant now than ever. The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.) and produced by BAFTA and Emmy-nominee George Chignell (Citizen K, Searching for Sugar Man, I Am Ali ). The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

God of Dreams film review by UK film critic Patrick Foley. Starring Jessie Reeder, Keshawn Pettigrew, Julia Reilly directed by Jurian Isabelle. HOME | FILMS | REVIEWS God of Dreams Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Feb 11, 2022 Directed by: Jurian Isabelle Written by: Jurian Isabelle Starring: Jessie Reeder, Keshawn Pettigrew, Julia Reilly Be prepared for a mind-bending, cerebrum-twisting and brain-stimulating experience with God of Dreams, Jurian Isabelle’s ambitious conceptual epic that mixes action, thriller and sci-fi elements to tell the story of a society in which dreaming is outlawed. In a world where dreaming can be prevented through medication, a tyrannical US government has banned the act through law, and enforces this with a machine-like military police force. An underground community exists to fight back against this imposition, and following the death of leadership figure Angelo the 7th (Joshua Langford), a band of misfits come together to try and find a new direction for their rebellion. God of Dreams is a genuinely ambitious film from director and writer Jurian Isabelle which explores an original concept in a well-realised dystopian setting, though does suffer from an overly complex plot and from having no primary protagonist. The film is highly conceptual, and its central premise – dreams being illegal – is presented well and in a manner which is related effectively to the modern world. Jurian Isabelle uses this to comment on race, police militarization, overbearing government and the struggles of maintaining and directing a grassroots movement. Tying the science-fiction elements to contemporary issues and challenges provides the film with a powerful political message. The film’s plot is complex and told from the perspective of a number of different characters. This multi-perspective approach makes the story difficult to follow, as audiences lack a persistent basing in the world they are presented with. As an outsider to the group, Julia Reilly’s Ket is the film’s best conduit for providing exposition to the viewer, as she requires the same explanations herself. Other characters such as Keshawn Pettigrew’s Prophet Major are more deeply embedded in the story’s politics, and whilst they are intriguing characters in their own right, the ricocheting approach to character taking precedent from scene to scene does not help with getting a grounding in a world that requires significant explanation, especially as plot-twists and revelations begin. The characters themselves however are scripted brilliantly and naturally – never sounding trite or hammy despite having to engage in complicated sci-fi narrative. This is down to Isabelle’s tight script, and the acting talents of the ensemble cast. A fine example is Ket and Rasui (Aric Smith)’s bus stop conversation in which the underground’s dreaming techniques are explained – establishing an integral part of the film’s world without breaking immersion. Fine performances also come courtesy of Omar Cook as Ali, and Ann Nesby as Grandma Mae – demonstrating the strength of the film’s casting across the board. However, it still feels like the film would have been better served by shifting focus to one or two of these characters, rather than spreading itself thinner over multiple. Visually, the film is a treat – convincingly portraying a near-future dystopia where citizens are on constant edge and tracked throughout their daily lives. Lighting is used particularly well when contrasting the upper-class lives of Ket and her family with bright bold colours, compared to the rest of the resistance who operate in the dark – and under the authorities’ noses. The blue flashing lights that engulf the character’s cars on a number of occasions as the dream police stop them is also a deeply traumatic effect that harkens very-real police brutality incidents. The recurring sound of the cop’s leather outfits stretching also brilliantly creates a sense of deep discomfort whenever in their presence – another impactful production touch. Though it’s storytelling can be incoherent at times, and its plot difficult to follow, God of Dreams offers style, originality, an intriguing concept and some fine performances which make it an entertaining and thought-provoking watch. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Amazon Prime, Film Festival < All Reviews Next Film Review >

Spirit of Friendship film review by UK film critic Jason Knight. Starring Jeremy London, Sal Rendino, Carter Grassi, Delaney Miclette directed by Danny LeGare. HOME | FILMS | REVIEWS Spirit of Friendship Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 21, 2024 Directed by: Danny LeGare Written by: Danny LeGare Starring: Jeremy London, Sal Rendino, Carter Grassi, Delaney Miclette A young boy tries to communicate with his late mother and learns valuable lessons about life. The boy is Billy (Grassi), the protagonist in this heart-warming feature-length drama and now he is a grown man (London) with children. Sadly, a loved one has passed away and his children are struggling to come to terms with the loss. So to make them feel better, Billy tells them the story of how he was struggling to cope with the passing of his mother when he was a child. The narrative consists of flashbacks that alternate with the adult Billy describing the events to his two offspring. The flashbacks show young Billy's journey to discover how to hold on to those he cares for even after they are gone and to find himself. Following his mother's death young Billy and his father (Nicholes Jr.) barely communicate and Billy wants to contact his mum. His two friends Mike (Luca Corticelli) and Jake (Dante Corticelli) believe that a way to do so involves a personal item (in this case a crossword book) of the deceased and sitting together in a circle. Eventually, three girls get involved, one of which is Emma (Miclette), who Billy fancies. However, things take a dramatic turn for Billy when he meets and builds a rapport with Leonard (Rendino), a friendly and optimistic man who lost his wife and shares his views with the boy regarding how to be at peace with loss. Although the atmosphere is generally light-hearted, this film deals with heavy themes, loss being the main one, particularly how to deal with it. In this case, Leonard's character is the one who provides the answers to that, which are that people never lose connections with loved ones even after they are gone, which is achieved by remembering them and by engaging in activities they used to enjoy. In addition to this, the subject of bullying is present as Billy and his friends deal with two rather unpleasant youths and romance joins the scene as the boy spends time with Emma. The feature also points out the significance of support and friendship and not becoming disconnected from loved ones. Billy (child Billy that is) is a bright boy who does not know how to deal with the loss of his beloved mother. Leonard provides him with a solution and by doing so, he becomes the heart of this film: a happy man who has learned how to handle loss and shares his positive ideas with others. By the way, it is indicated that Leonard might be a ghost as he only appears at the cemetery, disappears quickly and Billy seems to be the only one who can see him. Is he actually a spirit? LeGare's directing deserves commendations, as it captures the beauty of the surrounding environments and special recognition goes to composer Craig Flaster for the music. The score includes beautiful piano melodies, is either light-hearted or melancholic and is vital in creating the right atmosphere. Further acknowledgements go to Sarah Young for the wonderful creativity during the opening credits montage. This is a moving story and one that holds heavy messages. Ultimately, it appears to be supporting the belief that loved ones who have passed away are always present as people keep them close with their memories and by enjoying life. Although sometimes the acting is not very convincing, that does not prevent this feature from being a heart-warming viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

White Crow film review by UK film critic Chris Olson. Starring Julian Gamm, Hannah Al Rashid, James Graeme, Andrew Rolfe directed by George Threadgold. HOME | FILMS | REVIEWS White Crow Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 5, 2025 Directed by: George Threadgold Written by: George Threadgold Starring: Julian Gamm, Hannah Al Rashid, James Graeme, Andrew Rolfe Humble spy thriller White Crow , written and directed by George Threadgold, takes an ambitious swing at the action thriller genre and manages to get a few good punches in. Julian Gamm plays ex-agent J.D who is on a mission to avenge his misdeeds as an operative in a shady government unit after he learns of the depths of their evil. Whilst trying to take out various members of his former agency, he becomes hunted in return and goes on the run with unwitting do-gooder Emma (Hanna Al Rashid), who saves his bacon on more than a few occasions. Akin in story (if not in substance) to the Bourne movies, White Crow is an ambitious UK production with a small budget telling a big story. The governmental treachery, the hand-to-hand fight sequences, and the moody lead character with a special set of skills will be familiar territory for many viewers and Threadgold ensures they get bang for their buck when it comes to momentum. Every scene is written with adrenaline pulsing through it, ready for the next challenge J.D and Emma must overcome, as the conspiracy evolves. Gamm is a worthy lead, coping particularly well with the physical aspects of the role but it is Al Rashid in the outsider thrown into chaos turn which audiences are likely to connect more with. Her performance brought a much-needed gravitas to the script which could often fall into clunkiness when the depths of the plot were being uncovered. The choreography of the action and fighting sequences was great, with plenty of thrilling brawls taking place across numerous locations, and the sound design is knocked up to ten to ensure viewers are never given a dull moment to relax in. James Graem and Andrew Rolfe play excellent higher-ups and a particular highlight for this reviewer was the missed putt on a golf green followed by plenty of expletives. There are also a number of side characters who enter the fray along the film’s running time, not to ignore them but conscious of spoiler territory. The use of flashbacks to draw in more of J.D’s background was cleverly done, showing how a younger version of him was recruited, leaving him knowing only a life of violence and following orders. This tied in nicely with the film’s themes and gave an emotional depth to his character’s arc. Less polished than the spy franchises you are used to, White Crow gives a rawer yet no less thrilling ride.The filmmakers admirably keep things moving at a breakneck (literally) pace with very little downtime or superfluous subplots, knowing that the strength of their film lies in the brutality of the world they have created. Watch our video film review of White Crow . Buy UKFR Banner Space About the Film Critic Chris Olson Digital Release, Indie Feature Film < All Reviews Next Film Review >

The Assessment film review by UK film critic Hope Madden. Starring Elizabeth Olsen, Alicia Vikander, Himesh Patel directed by Fleur Fortune. HOME | FILMS | REVIEWS The Assessment Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2025 Directed by: Fleur Fortune Written by: Nell Garfath Cox, Dave Thomas, John Donnelly Starring: Elizabeth Olsen, Alicia Vikander, Himesh Patel Director Fleur Fortune’s feature debut delivers an effective gut punch of a sleight of hand. What feels for quite a while like a near-spoof on our collective unpreparedness for parenting morphs slowly into something entirely else. Something more sinister, more human, and alarmingly likely. In a post-dystopian future where scientists have created an ageless but sterile dome world, it’s necessary to apply and be assessed for parenthood. Because, since no one dies anymore, and it was the strain on resources that caused the dystopia in the first place, children are not grown outside the uterus for just anybody. But Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) are ready, they’re sure of it. They just have to convince their assessor, Virginia (Alicia Vikander). Fortune’s career up to now has involved a lot of music videos and perfume advertisements, work that’s sharpened her instincts for image. The shot making in The Assessment is often stunning, but it also informs the story. There are no voiceovers or news flashes to catch you up on the dystopia, who caused what, why we are where we are. But you don’t lose track of it because of how organically Fortune fits this story in this environment with these characters. Everything serves a purpose—each costume, dinner guest, glance and line of dialog—but none of it feels forced or false. The delicate balance created in the early going, a balance the assessor destroys with manipulated childlike chaos, is thanks to meticulous direction and performances. The three leads shine, none of them blameless and yet all forgivable. Because the chaos wrought in the film becomes more and more dire as the honest-to-god strain of this kind of world slowly, authentically reveals itself. The Assessment ’s resolution unfortunately feels less sincere, landing far more obviously than the preceding scenes. There’s a predetermined tidiness that flies in the face of the disarming chaos that came before. It’s a small criticism of an insightful, frightening look at where our future may take us. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Intruder film review by UK film critic William Curzon. Starring Dana Godfrey, Iryna Scarola, D.C. Douglas directed by Christian Jude Grillo . HOME | FILMS | REVIEWS Intruder Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Oct 30, 2025 Directed by: Christian Jude Grillo Written by: Christian Jude Grillo Starring: Dana Godfrey, Iryna Scarola, D.C. Douglas Intruder follows an underground fighter, Bree (Dana Godfrey) and her estranged father as they attempt to steal a spacecraft to escape Earth, only to discover a deadly stowaway who damages their life support, forcing them to survive in the deadly and claustrophobic confines of space. A blend of sci-fi horror conceptually borrowing from the iconography of Star Wars (1977) and Alien (1979), the film visually and thematically employs social commentary on capitalist corporations within its futuristic landscape. It wears its influences on its sleeve to a fault and to the point of satire. Formally, the piece is overall competently shot and utilises a splendid use of blocking as well as unique colour grading. Visually, this is also a lot of fun, even with its lo-fi sensibilities, thanks to its limited budget and its genre-bending nature. The film almost has a B-movie feel to it and is reminiscent of the kind of films Troma Entertainment used to produce. Even though some of the VFX are inadequate, it almost adds to the feeling that director Christian Jude Grillo was attempting to create. The horror sensibilities surprisingly work well with the sci-fi elements, even with its jarring tonal shift through the midway point of the runtime. It owes a substantial amount to the films it borrows from. Dana Godfrey portrays Bree, and she gives a solid central performance balancing the comedic and more serious elements suitably well. Another standout aspect is the hand-to-hand combat, which is infrequently prevalent, with bare-knuckle fights emphasising the brutality of Bree’s MMA fighting techniques. The bloodshed on screen feels incredibly visceral to witness as a viewer. Unfortunately, outside of its technical standouts, the piece has little to offer thanks to uneven pacing, jarring edits and a severe lack of characterisation for the audience to latch onto and fear for their fate. Breaking news segments are oddly implemented into the narrative, which do, however, play well into the satirical nature thematically, but are jarring when inserted bizarrely throughout sequences of tension. While tonal shifts are admirable, both halves of the runtime feel like completely different films entirely, with no real sense of direction of where it's taking the audience. The corporation known as MICAH-TECH feels like a direct carbon copy of the Weyland-Yutani Corporation from the Alien franchise, as it embarrassingly homages other franchises to the point of unoriginality. While the survival horror elements are serviceable to the plot, the film struggles to create any claustrophobia or fear that the titles it is borrowing from did substantially better. The narrative becomes so unengaging thanks to stagnant pacing and oddly inserted flashbacks that may potentially take the audience out of the experience entirely. The tonal balance is incredibly uneven and baffling, with what the filmmakers were attempting to convey to the viewer about the greed of corporations, and the narrative concludes bafflingly with no sense of direction or thematic flair. Another major issue with the pacing is the prolonged runtime; trimming down the final edit could have potentially enhanced the overall finished piece by cutting out unnecessary scenes of exposition and exploring the deeper characterisation of other central characters. For example, further fleshing out ideas in the screenplay, such as why the director desperately wanted Bree to be an MMA fighter. Intruder is a genre-bending amalgamation of previous pieces of media with unique formal choices and a conceptually fun premise to boast. However, it feels like a chore to sit through, thanks to a baffling tonal redirect and borrowing too heavily from other pieces of pop culture, which executed their risky concepts much more earnestly. The result is an unfortunate and confusing attempt at a campy sci-fi horror piece of guerrilla filmmaking. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Finding Wilson film review by UK film critic Jason Knight. Starring Rhea Bailey, Darcy Jacobs directed by Emily Smith. HOME | FILMS | REVIEWS Finding Wilson Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 25, 2022 Directed by: Emily Smith Written by: Viv Young Starring: Rhea Bailey, Darcy Jacobs A young girl encounters a stranger in the countryside, leading to a great deal of drama. A teenage girl named Jess (Jacobs) is walking alone in a forest, holding a dog-lead, although there is no dog in sight. She is approached by an unknown woman named Nicky (Bailey) who proceeds to have a conversation with her. It is revealed that Jess is being the victim of bullying and Nicky, who has been through terrible experiences herself as a combat medic at war, has been sent by acquaintances in order to help her. This short is a powerful drama that explores emotional trauma, particularly post-traumatic stress disorder, war trauma and bullying, including online bullying. It effectively presents two individuals who are suffering due to distressing experiences. The narrative focuses mainly on the encounter between Jess and Nicky and it includes flashbacks of Jess being bullied and Nicky engaging the enemy during combat. The flashbacks depict the devastating events both of them have gone through rather vividly and it is vey moving watching them share their feelings with each other. There are also scenes of air ambulance doctors and paramedics arriving at an isolated location in the countryside, where a tragic event has taken place. Both leads deliver very strong performances. Jacobs is quite emotional as a troubled youngster who is tormented by constant bullying and has become fragile and angry as a result. Bailey is great as kind-hearted war veteran who believes she can help the young girl with her problems as she is facing demons of her own. The mise-en-scene is rather impressive and includes emergency vehicles. Particular praise goes to the combat scenes, which create the feeling of being stuck in the middle of a hellish situation. Composer Sian Elizabeth Selway develops a dramatic score that adds significant value and the cinematography by Lily Grimes and Ed White looks beautiful. This film is an emotional journey that is very well made and superbly acted. It raises awareness of post-traumatic stress disorder, bullying and mental health issues and encourages people who are experiencing similar problems as the protagonists to reach out for help. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Dreamcrasher film review by UK film critic Jason Knight. Starring Lyud Hristov, Adie Mueller, Charlie Smith directed by Joseph Ringland. HOME | FILMS | REVIEWS Dreamcrasher Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 27, 2026 Directed by: Joseph Ringland Written by: Joseph Ringland Starring: Lyud Hristov, Adie Mueller, Charlie Smith A short horror film written and directed by Joseph Ringland and starring Lyud Hristov, Adie Mueller and Charlie Smith. Things are not going well for young Norman (Hristov). He is being regularly plagued during night-time by some otherwordly supernatural and sinister-looking figure that magically appears in his bedroom. Not knowing whether this entity is real or not, he seeks the help of Dr Thorne (Mueller) in an effort to find a way to deal with this. This short starts as a supernatural psychological horror story, before getting into comedy and finally into heavy drama. The narrative alternates between Norman being tormented by the mysterious apparition and attending his therapy sessions with Dr Thorne. Things take an unexpected turn when he proceeds to develop a friendly rapport with the frequent and unwanted visitor. Clues appear here and there and they include the time three thirty-three in the morning, which seems to be significant and related to a fateful past event that severely impacted Norman's life. It is worth acknowledging the horror DVDs and posters, whose presence is probably to highlight the fact that this is a horror film. Arguably, the highlights occur when the humanlike creature appears (although it is not indicated in the film, this could be the titular Dreamcrasher). Dressed in what appears to be a hooded black robe, this being has a monstrous appearance, with branched horns on the head, a deer-like skull for a face and glowing white eyes. It does not speak and moves slowly. Are its intentions good or bad? Its presence is often accompanied by unsettling and ominous music by Thomas Pearce, who also provides dramatic music at times. The creativity involving the sinister sound of a clock ticking is also worth noting and so is Ringland's use of unconventional camera angles. As the main character, Norman is a tormented young man. Trying to secure himself a job, he is unable to do so due to the trouble that he is going through because of the entity. He is quite distressed and believes he might be losing his mind. However, it becomes evident that he is suffering the effects of a devastating experience. Mueller is sympathetic as a supportive and concerned therapist. The screenplay contains a variety of themes that involve mental health, including high anxiety, paranoia, having nightmares and insomnia. Mainly though, this is a story that deals with loss, trauma and grief and it is rather apparent that it aims to communicate the message that people must try to come to terms with their misfortunes and move on. A horror film that is frightening and also very emotional. On one hand it is about things that go bump in the night and on the other it concerns a terrible loss that has not been reconciled and it is the latter that gives this short the highest quality. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

James film review by UK film critic Joe Beck. Starring Jack Hollington, Morgan Watkins, Anna Koval directed by Claire Oakley. HOME | FILMS | REVIEWS James Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 31, 2024 Directed by: Claire Oakley Written by: Felix Levinson Starring: Jack Hollington, Morgan Watkins, Anna Koval The smallpox disease once caused the deaths of millions per year, sweeping across the world in the 17th and the 18th centuries, yet today it is the only human disease to have ever been eradicated. The diseases caused fever and vomiting, but was generally characterised by measles and rashes across the body, and in most cases it resulted in death. ‘James’ depicts the first steps towards the eradication of the disease, and the titular boy who was the first person to be vaccinated. As an educational and informative film ‘James’ excels, providing a detailed narrative of the process which saw Edward Jenner perform his first vaccination, and the boy who received it. However, as a dramatic film it falters, lacking any sense of tension or indeed pacing, and instead seeming to exist purely to provide a visualisation of those aforementioned events. There’s no dramatic edge to the film, and thus it is difficult to become truly invested, particularly when we already know the outcome, and that despite his protests James will be vaccinated, and will not contract smallpox. It is an interesting choice by both writer Felix Levinson and director Claire Oakley to frame the film not from the perspective of Edward Jenner, but from that of young James Phipps and his father. Through doing this we come to understand more the plight facing many of the poorest in England at the time Phipps was vaccinated in 1796, as poverty prevailed whilst the disease proliferated, causing deaths particularly amongst young children. James, played by Jack Hollington, is reluctant to be injected with the vaccine, yet the poverty of his family leads to both his father, played by Morgan Watkins, and his mother, played by Anna Koval, to see it as a means of putting food on the table and finding a much needed steady source of income. He is practically forced by his father to take the vaccine, and we see the pain and fear in his father’s eyes as he is forced to put his child through what was at the time an experimental procedure which few believed could actually work. Levinson’s script excels in these moments, as it demonstrates the bitter hardships facing the Phipp’s family, and how their desperation to get out of it, or perhaps more their desperation to survive, led to the breakthrough in Jenner’s vaccination and the eradication of smallpox. However, whilst Levinson’s script is excellent in portraying this through its subtleties, its dialogue is rather crude and altogether uninteresting, failing to add anything more, and, in some moments, even complicating the story. Furthermore, Oakley’s direction, whilst competent, fails to imbue the film with the creativity needed to elevate it beyond being categorised as purely educational, and means that the film is thoroughly lacking in drama. Nevertheless, despite a lack of drama throughout, ‘James’ is an interesting and informative watch, which both excels and falls down on key creative decisions. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

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