Vazhiye film review by UK film critic Swati Verma. Starring Jeffin Joseph, Ashwathi Anil Kumar, Varun Raveendran directed by Nirmal Baby Varghese. HOME | FILMS | REVIEWS Vazhiye Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Sep 27, 2022 Directed by: Nirmal Baby Varghese Written by: Nirmal Baby Varghese Starring: Jeffin Joseph, Ashwathi Anil Kumar, Varun Raveendran The Red font colour used for the title of the feature film has connotations of danger, warning, and mystery to get the audience hooked to its content and therefore increase the degree of audience engagement with the movie. The writer-director Nirmal Baby Varghese works on the modern twist while staying grounded in terms of the tradition and culture of South India and also discusses some important life lessons through the three protagonists Albin (Jeffin Joseph), Teena (Ashwathi Anil Kumar), Saran (Varun Raveendran). The plot of the film revolves around the story of YouTube vloggers who decide to make a documentary film about a mystery land, where they confront perilous nightmarish situations. In the opening sequence, the cinematographer Midhun Eravil uses an alarm and the signal problem to give a sense of urgency and uncertainty in the minds of the audience. The set design, lighting, location, colour palette, costume design, makeup, background music, and dialogues are kept natural so that the viewers get an opportunity to appreciate the realism the director Nirmal Baby Varghese has attempted to incorporate into the screenplay of the cinematic piece with the help of the found footage tactic of filmmaking. The long shots, mid shots, closeup shots followed by a series of tracking shots are utilized to provide the details of an idea of the journey to the mysterious area nearby , gorgeous travelogue footage to create an impressive starting point to complement all the four genres- thriller, horror, mystery and experimental. In terms of performance, Jeffin Joseph plays Albin who wants to explore life experiences and share them with everybody through YouTube. Joseph portrays the young enthusiastic and adventurous Albin effectively and also switches to the more intense scenes with ease both emotional and physical. Ashwathi Anil Kumar plays Teena (Albin’s girlfriend) who is the softer, innocent one out of the two. Kumar understands the nuances of her character and depicts all the emotional moments experienced during the trip beautifully. Vazhye communicates the bad effects of social media on youngsters and also warns about all the dangers associated with it to the parents of teenagers as well. The creative piece talks about thinking of one’s safety first and not following others blindly. The thriller advises the audience to realise the importance of one’s privacy and act appropriately to protect the same to avoid circumstances that can make people lose their rights. The feature film addresses the issues of using too much social media like mental health and also how people are allowing social media to control their lives. The thrill and adventure are crucial to add flavour to our daily life but safeguarding the life given to us is also very significant. I love that the director Varghese uses various filmmaking technics as per their need to work with the new filming restrictions in the times of the pandemic has given birth to new and fresh ideas in the world of cinema. There are a few flaws that I noticed while watching the experimental feature film. A lot of things happening all at once make it hard for the audience to follow. The kidnapping and dance sequences are just included in the script without giving any sensible reason for the same. The subtitles are required to better understand it and also help the film reach a wider audience. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

Mickey 17 film review by UK film critic Hope Madden. Starring Robert Pattinson, Naomi Ackie, Mark Ruffalo directed by Bong Joon Ho. HOME | FILMS | REVIEWS Mickey 17 Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 6, 2025 Directed by: Bong Joon Ho Written by: Bong Joon Ho Starring: Robert Pattinson, Naomi Ackie, Mark Ruffalo People mainly familiar with filmmaker Bong Joon Ho’s Oscar-sweeping masterpiece Parasite may not know of his remarkable skill with a SciFi creature feature. Mickey 17 , then, will be an excellent primer. Robert Pattinson is the titular Mickey. Well, he’s a bunch of Mickeys, all 17 of them. Hoping to get away from some pretty bad fellas on Earth, Mickey signs up for a flight of space pioneers, but there’s a lot of competition to make the voyage and he has no skills so he signs on as an expendable: a clone who, for the betterment of science, subjects himself daily to every conceivable new threat so science can better prepare the non-expendables. Chief among the unexpendable on this colonizing mission are the commander, vainglorious attention whore Kenneth Marshall (Mark Ruffalo), and Lady to his Macbeth, Ylfa (Toni Collette). Joining Mickey onboard are his best friend, con-man extraordinaire Timo (Steven Yeun, playing delightfully against type) and the love of his many, many lives, Nasha (Naomi Ackie, Blink Twice ). Pattinson’s a hilarious, self-deprecating charmer, a man who believes he somehow deserves his fate. Fates. Through him the filmmaker employs absurd, sometimes even slapstick humor to satirize our own current fate. Beautifully (and characteristically), all of this is in favor of the reminder that our humanity requires us to be humane. There’s great tenderness in this film, though it competes with sharp satire and fun action. But what fuels every scene, however lunatic or sweet or absurd, is the heat of Bong’s rage. His more than capable ensemble—from the sycophant scientist (Cameron Britton) to the ego-stroking puppet master (Daniel Henshall) to the guy forever dressed as a mascot (Tim Key) and on and on—brings every enraged idea to vivid, remarkable, too-close-to-home life. Weaving sensibilities and ideas present in Snowpiercer , Okja , The Host as well as any number of clone movies, Mickey 17 could feel borrowed. It doesn’t. Like the best science fiction, it feels close enough to reality to be a bit nightmarish. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Walking Fernando film review by UK film critic Joe Beck. Starring Javier Bardem, Fabienne Piolini-Castle, Evan Sokol directed by Max Mir. HOME | FILMS | REVIEWS Walking Fernando Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Sep 1, 2023 Directed by: Max Mir Written by: Luke Norton Starring: Javier Bardem, Fabienne Piolini-Castle, Evan Sokol Everyday we see hundreds of people walking their dogs, getting in their own exercise and that of their four legged friends. Some very strange people even take their cats out on walks, yet you don’t ever see people talking their goldfishes out for a walk down the park. ‘Walking Fernando’ gets over the confines of the fish bowl, and sees a surprisingly touching and meaningful story told through a fish’s walk with his human friend. Though the concept may seem absurd, ‘Walking Fernando’ is in fact an inspirational tale of breaking free from the monotony of life and enjoying its freedoms. This is only heightened by the absurdity of it all, with the sight of a woman, Nadia (Fabienne Piolini-Castle) confidently striding through the streets of London, talking goldfish in hand, highlighting that life is full of wonders, none of which can be experience cooped up in an office all day. Sometimes it takes an irreverent concept to inspire us, and such is the case with ‘Walking Fernando’, with the films ability to weave irreverence with thoughtful meditations its greatest strength. The dichotomy between the monotony of everyday office life and the freedom and beauty provided by nature is wonderfully illustrated throughout ‘Walking Fernando’. The opening montage sets the scene of a dull, average day of work, with people mulling around the office, which, rather ironically is that of a travel agency, and the forced polite laughter. This is continued when Nadia’s boss (Evan Sokol) dumps her a massive pile of work just as she’s getting ready to enjoy her weekend plans of doing nothing. It is this soulless lifestyle of working yourself into tiredness, so that on your days off you are content to simply do nothing, that ‘Walking Fernando’ discourages. Instead, through Fernando the fish, who has the voice of Javier Bardem, both Nadia, and we as an audience, are offered the opportunity to have our horizons broadened by looking for the beauty in nature and the outdoors. Director Max Mir, and writer Luke Norton both understand that in order to truly appreciate beauty and the world around us you must live life to your fullest, and transgress the restraints placed upon us by social expectations. The fish wants to get out of his bowl and does so. Nadia wants to escape from the office and does so. Both are much the more fulfilled. Norton’s script is fairly straightforward, but doesn’t need to be anything special in order to convey its message, while crucially it doesn’t leave any unnecessary fat to be trimmed. Mir’s directing is competent, and particularly strong when walking through London from Fernando’s perspective within his tank, further conveying the fish out of water experience and the euphoria which comes from breaking the everyday routine. Its always a perk to have Javier Bardem in your film, especially when he gets to play around as a fish (for the second time this year if you include his role as the mermaid King Tritone in ‘The Little Mermaid’) and he is delightful here as the wise beyond his nautical miles Fernando. His voice work, coupled with Fabienne Piolini-Castle’s performance in the central role as Nadia, elevate the screenplay, straightforward as it is, to a higher level, and ensure that its message never becomes too repetitive. ‘Walking Fernando’ may be an irreverent film, with an irreverent Javier Bardem role as the titular fish, but that only strengthens its message and the quality of filmmaking displayed throughout. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Best of the Best: Jazz from Detroit film review by UK film critic Patrick Foley. Starring Leslie Graham Andrews, Daniel Aldridge, Joan Belgrave directed by Daniel Loewenthal. HOME | FILMS | REVIEWS The Best of the Best: Jazz from Detroit Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Dec 23, 2025 Directed by: Daniel Loewenthal Written by: Mark Stryker Starring: Leslie Graham Andrews, Daniel Aldridge, Joan Belgrave ‘We make cars and we make Jazz musicians’ is a killer of a tagline for The Best of the Best: Jazz from Detroit . Indeed whilst New Orleans or New York might take a lot of the glory for America’s jazz legacy, Detroit’s musical history has been neglected for too long (unless you are an Eminem fan). This proud documentary seeks to right that wrong – and offers a passionate and forceful case for the importance of the city, culture and people who honed jazz through the 19th and 20th century. Providing a double narrative that follows both the story of the city of Detroit itself and the music that accompanied it, The Best of the Best shows how culture, politics, race and entertainment are inherently intertwined – with a spectrum that reaches from beauty to malice resulting from it. Decades of attempts to repress black inhabitants have failed to silence the voices of great artists who refuse to have their music quieted, and the result is a vibrant, storied history in a city renowned for steel. Most viewers of Best of the Best will have a familiarity with jazz and its background – particularly in relation to black communities in America. But Detroit’s part of this story is more than worth its own focus. “Detroit doesn’t have black communities. Detroit is a black city ” says contributor Marsha Music – a quote that sums up why Detroit became such a hotbed of resistance to top-down efforts to supress black voices and art by authorities throughout the years. Best of the Best does a brilliant job of contextualising this and bringing the history to life, taking its audience on a journey through time to explain the factors that caused racial politics to become a hotbed issue in the city and how these were combatted by residents – from its origins in the Black Bottom neighbourhood through to the clubs that spawned legends like Charlie Parker. Whilst the tempestuous history is the fire in the film’s belly, there is also an educated love and respect for the craft of jazz itself that flows throughout the documentary. Nowhere is this more notable than in a moving highlight of pianist Barry Harris – both performer and mentor to a generation of musicians from Detroit. Concepts and styles are discussed in-depth, as is the intricacies around Detroit itself and why the city’s soul crafts its music in a unique fashion. But the ode to Harris is a truly touching and affectionate tribute to the individuals who were essential for the innovation and preservation of the musical identity. It manages to do all this without getting overly technical or obtuse – meaning newcomers and nerds alike will find enjoyment in its breakdown of the music itself. Jazz can sometimes feel like an intimidating world to outsiders, but Best of the Best shows how to make both the music and the history behind it welcoming and invigorating without losing any of the passion or complexity that underlines both its composition and history. It’s more than a music documentary – it is a strong-willed and unapologetic spotlight on American culture and racial history illuminated by an art form that is bound to the fabric of the country. Capturing that importance is no mean feat – but this film accomplishes it effortlessly. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary, Amazon Prime < All Reviews Next Film Review >

Dion & Anto Go To A Gender Reveal Party film review by UK film critic Jason Knight. Starring Dion Kelly, Anthony Somers directed by Adam Boland. HOME | FILMS | REVIEWS Dion & Anto Go To A Gender Reveal Party Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Dec 20, 2024 Directed by: Adam Boland Written by: Adam Boland Starring: Dion Kelly, Anthony Somers A short dark comedy written and directed by Adam Boland and starring Dion Kelly and Anthony Somers. Two young friends, Dion and Anto (both actors use their actual names), are planning to attend a gender reveal party and they need some supplies. So Anto (Somers) has his friend Dion (Kelly) go to a local shop and buy a couple of gender reveal party cannons for them to bring to the event. However, the two guys end up finding themselves in a situation involving drugs. This short is supposedly intended to be a humorous dark comedy about two guys discussing the uses of gender reveal party poppers before the subject moves on to them being in possession of illegal drugs. The writer of this review found it hard to understand the plot as (to his ears at least), the two protagonists do not speak very clearly. And once the story is comprehended, the screenplay fails to be significantly enganging, even when drugs enter the picture. Basically, the whole film is two youngsters inside a house, talking, arguing a bit and using a lot of profanity. On top of this, without the intention of spoilers, the title is a bit misleading and a title like ''Dion & Anto Prepare To Go To A Gender Reveal Party'' might had been more appropriate. What is good about this film then? That might be Kelly's character as he plays a chilled-out dude constantly grinning. Also, the filmmakers make good use of the handheld camera. However, the camera techniques and Kelly's presence do not seem to be enough to elevate this short to decent standards. And this leads to the performances. As mentioned, Dion is a laid-back, optimistic, happy guy. On the contrary, Somers portrays an apprehensive character who appears to be more cautious than his friend. Both protagonists act decently, nevertheless, as mentioned, they fail to make their voices clear enough for a comprehensible audible experience. Going to the themes now, the significance of gender reveal party cannons is a major one here and the film also works as a commentary about drugs. Is this four-and-a-half-minute-long story worth watching? The critic of this review could not see the humour or another way in which this short can be considered entertaining. As mentioned, Dion Kelly delivers an amusing performance, nevertheless, if he is removed from the film, then there does not appear to be much there. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Mothers, Lovers & Others film review by UK film critic Patrick Foley. Starring Davo Hardy, David Charlie, Lindford Gilmour directed by Davo Hardy. HOME | FILMS | REVIEWS Mothers, Lovers & Others Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Oct 3, 2025 Directed by: Davo Hardy Written by: Davo Hardy Starring: Davo Hardy, David Charlie, Lindford Gilmour Mothers, Lovers & Others is not for the prudish. Indeed, to say that it features full-frontal nudity and graphic sex is a bit like saying Better Man features scenes with a monkey. The explicit nature will take all the headlines, but does it rise to the occasion when it matters? The film follows the lives of different attendees at an orgy. Couple Graeme (Davo Hardy) and Elijah (David Charlie) are balancing the complexity of an open relationship with a desire to settle down and start a family. Shibari expert August (Lindford Gilmour) runs his business from home, trying to keep his endeavour quiet from niece Kelly (Ahlex Leyva). And teacher Vincent (Jason Spindlow) deals with the fallout of his awful conduct. These lives intertwine throughout the film as the odd and unconventional dynamics required to navigate the party world place the cast into uncomfortable situations. Mothers, Lovers & Others is a graphic, uncompromising look at unconventional human sexuality that threatens to shock even the least prudish audiences. Sex and nudity are gratuitous throughout the film – though interestingly not always actually sexualised. Director and star Davo Hardy boldly focuses on how sex really works in his character’s lives – sometimes as a glorious and empowering rush of pleasure, other times as a difficult, burdensome dance between people where pressure and power exist in unwelcomed forms. There are many times the film walks the line between pornographic and prestige – such as in a long shibari session between Elijah and August where neither man quite knows the direction their desires are taking them. Hardy has a talent for identifying gripping dynamics such as this, however there is otherwise a lack of artistry to the direction that means such daring sequences are diminished by their presentation, rather than raised by them. The unfortunate impact is that the nudity comes to feel like a crutch – given that it is often the most interesting thing happening with the scene. This is not so much of a problem in quieter moments of emotional heft, such as Graeme and Elijah’s discussions about their future, but the (many!) sex sequences are lessened by the limp direction, creating an uncomfortable sense for the viewer of being an intruder. The ensemble structure allows the filmmakers to follow the lives of different attendees at the orgy. By far the most interesting and moving of these are those of Graeme and Elijah. Their turmoil about the direction of their relationship explores some fascinating areas and each of the pair feel fully developed and believable – complimented by great performances from Davo Hardy and David Charlie. The remaining storylines pale in comparison, with Lindford Gilmour’s August’s meandering aimlessly around his relationship with his niece and personal liaisons whilst others are underdeveloped and easily forgettable. It makes for an intriguing and difficult final assessment for the film. A lazy critique would say that the emotional and considered writing are its highs and the graphic sex are the lows. But the film’s construction, thematics and unconventional approach means one can’t really exist without the other. Graeme and Elijah’s relationship is ultimately challenged by their desires – and director Davo Hardy deserves credit for presenting both the good and bad of sexuality in such bare form. Perhaps the simplest conclusion is to highlight that there are too many sequences that exist that serve little purpose in driving the complex points you can sense the filmmakers want to make, leaving the film open to accusations of salaciousness. Whether the characters are nude or not, too much of the film is bloat, which outweighs the good that is there. Sometimes you just have to climax a little quicker. You can also watch Patrick's Video Film Review on our YouTube Channel. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, LGBTQ+, Indie Feature Film < All Reviews Next Film Review >

The Killer film review by UK film critic George Wolf. Starring Michael Fassbender, Tilda Swinton directed by David Fincher. HOME | FILMS | REVIEWS The Killer Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 26, 2023 Directed by: David Fincher Written by: Andrew Kevin Walker, Alexis Nolent, Luc Jacamon Starring: Michael Fassbender, Tilda Swinton It’s been over twenty years since American Psycho personified the soulless self-interest of the Reagan 80s with bloody, hilarious precision. Around the same time, the French duo of writer Alexis “Matz” Nolent and illustrator Luc Jacamon published the first of their graphic novels centered around the life of “Le Tueur” a ruthless, unnamed assassin. Now, writer/director David Fincher gives us The Killer as a Patrick Bateman for a new generation. And while his film is not as outwardly comedic as Mary Harron’s classic, Fincher manages some dark fun as he probes our descent into cold, violent narcissism. After some brisk and stylish opening credits, Fincher and Fassbender slow the pace to a crawl, and the opening chapter of their character study begins in France, with the quiet assessing of a target. The Killer (Michael Fassbender) is an ex-law student turned assassin for hire, and his years of completed assignments have earned him big targets and big rewards. The Killer has iron clad rules for success in work and in life, and Fassbender’s voiceover narration puts them on repeat. “Keep calm. Keep moving.” “Empathy is weakness. Weakness is vulnerability.” “What’s in it for me ?” But when The Killer’s aim fails him on that Paris job, he is the one who is suddenly hunted. Things get nasty, and The Killer sets off on a multi-national manhunt for vengeance, buoyed by another effectively moody, pulsating score from Trent Reznor and Atticus Ross. There are no business cards involved, but passports with increasingly funny aliases (brush up on your classic sitcoms) provide levity as scores are settled with inventive bloodshed and impressive fight choreography. And through it all, The Killer keeps preaching his mantra as a MAGA Bond, unwavering in his devotion to self and the perpetual need to feel aggrieved. Fassbender is perfection as this meticulous, emotionless killbot, and the great Tilda Swinton’s late stage cameo brings the film more star power, plus one genuinely hilarious and insightful moment. It’s a fascinating film, and one that feels like a new kind of Fincher. Recalling not only American Psycho, but also his own Fight Club and Anton Corbijn’s assassin creed The American , The Killer succeeds both as a surface-level thriller, and as a deeper illustration of another empty era. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Your Monster film review by UK film critic Hope Madden. Starring Melissa Barrera, Tommy Dewey, Edmund Donovan directed by Caroline LIndy. HOME | FILMS | REVIEWS Your Monster Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 23, 2024 Directed by: Caroline LIndy Written by: Caroline Lindy Starring: Melissa Barrera, Tommy Dewey, Edmund Donovan Often, the most useful way to revisit the worst moments in a life is through horror or comedy. Genre lets us distance ourselves from the truth of a situation—that people are often selfish and even evil, and that the world can be bone crushingly lonely and cruel—with laughter or screams while still acknowledging that reality. Surviving it, even. Writer/director Caroline Lindy navigates a blend of genres—comedy, drama, musical, romance, horror—with a clever “beauty and the beast” tale that acknowledges that each of us can be our own beauty and our own beast. Life may work best that way for everyone. Except Jacob. But Jacob’s a dick. Lindy expertly montages us through the backstory. Laura (Melissa Barrera, Abigail ) and Jacob (Edmund Donovan) are a cute couple working together on a musical. Laura will be the lead and she’s overcome with joy. Then there’s a cancer diagnosis, then a hospital room breakup that ends with Laura sobbing after a fleeing Jacob as she grips the IV stand she’s dragged to the hospital hallway. Without Jacob’s apartment to return to, bestie Mazie (Kayla Foster) drops Laura at the house she grew up in, where she will cry her way through many boxes of tissues as she eats her way through many boxes of snacks, all alone—except for the monster (Tommy Dewey, Saturday Night ’s Michael O’Donoghue) who used to be under her bed and who’s grown used to having the place to himself. From here, Lindy does an exceptional job of disguising a brilliant journey of self-discovery as a New York romcom about a budding actress denied her Broadway debut by her gaslighting ex. Barrera’s never been better and Dewey strikes the perfect balance between ferocious beast and supportive buddy. The metaphor is perfect. So much so that a lot of viewers may see right past it and believe this is, indeed, the story of a woman who falls in love with a ferociously loyal monster. And that’s fine. If you want a musical theater romance, Your Monster delivers. But it’s Lindy’s crafty subversion of all those tropes, and her game cast’s spot-on characterizations within this genre mashup, that makes the film—and, in particular, the final scene—so wickedly satisfying. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

We review animated movies on our website. Read these and other film reviews for the best in animation filmmaking. Animated Film Reviews Animation is quickly becoming one of the most influential genres when it comes to storytelling in films. Visionary studios such as Disney, Pixar, Aardman, Studio Ghibli and Dreamworks are constantly raising the bar when it comes to delivering some amazing animated films. Which is why we want to review them! This is the UK Film Review page for animated film reviews . Not only do we critique the big players of animation we also like to support indie filmmakers who produce animated feature and short films. You will find them all reviewed here by our team of critics who love all genres of movies. You will also find interviews with filmmakers involved in the animated film genre. Every aspect of an animated movie is reviewed, not just how good the animation is. This means we look at the story, characters, dialogue, voice performers and more, and tell you (our beloved readers) about the best and worst of them. If you have an animated film and would like us to review it, please use the Submit Your Film option under the #supportindiefilm drop down in the navigation. Just as with all the film reviews on our website, please share. These animated films often struggle to reach an audiences and we hope our words about them will encourage viewers to seek them out, so we need your help! CoComelon: The Movie Expected February 2027 - first look images and teaser trailer Chris Olson Aug 6 3 min read Lesbian Space Princess (2026) Film Review Holly Baker Jun 8 3 min read New Movie Lesbian Space Princess Gets UK Release Date Chris Olson Mar 24 2 min read Universal Pictures Dropped The Final Trailer for The Super Mario Galaxy Movie Chris Olson Mar 10 3 min read The Land of Sometimes (2026) Film Review Holly Baker Mar 9 3 min read Official Trailer for New Toy Story Movie Drops with UK Release Date Confirmed Chris Olson Feb 24 3 min read More Film Reviews

Guilty film review by UK film critic Swati Verma . Starring Kalyan Goswami, Anirbaan Guha, Sayanta Dhar directed by Junayed Alavi. HOME | FILMS | REVIEWS Guilty Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 16, 2024 Directed by: Junayed Alavi Written by: Junayed Alavi Starring: Kalyan Goswami, Anirbaan Guha, Sayanta Dhar The writer-director Junayed Alavi uses the yellow font for the name of the short film-Guilty which has the connotations of cowardice, betrayal, egotism, and anxiety perfectly complementing the subject matter the movie deals with. Bidyut Newton Islam, Sayanta Dhar, Kalyan Goswami, and Anirbaan Guha help Alavi express his vision via the medium of Cinema. The plot of Guilty revolves around a college student who finds himself guilty about an age-old crime and how it affects the student in the present. The movie begins with a combination of long shots coupled with tracking shots mid shots, and closeup shots to showcase an intense raging scene of a junior student by two seniors. Initial shots of Guilty manage to emotionally appeal to its audience increasing their engagement with the content from the very first moments of the narrative. The storyline follows a nonlinear format to highlight key interactions between various characters to provide the much-needed depth, and realism as well as making it relatable for the viewers. The set design, colour palette, lighting, eerie/intense sound, camera angles, dialogues, costume, hair, makeup, and props are aptly configured to assist the makers deliver the messages as well as the lessons smoothly to the audience and also help the viewers to understand incorporate the learning into their lives. In terms of performance, Sayanta Dhar plays a simple junior student at college who dates a senior girl Liza and falls in love with her and pays a very heavy price for it. Dhar with his body language, voice modulation, facial expressions, and eyes portrays the fear, sadness, hopelessness, and trauma the student has to experience due to unprecedented brutal ragging even though he did not do anything wrong. Kalyan Goswami plays a senior male student, a friend of Jeet who helps his classmate to rag an innocent boy at college which turns out to be a bad decision for both of them. Goswami depicts the gradual changes in his character over time. The senior wants to be strict with the ragging but feels bad for the victim too. The actor’s acting skills are regularly put to the test with each subplot. Anirbaan Guha plays the brother of the ragging victim. He is a loving and supportive kin. Guha portrays the pain, anger, and grief he experienced losing his sibling. Guha lifts the emotional scenes so effortlessly on his shoulders with the limited screen time he has and Guha’s character tends to be remembered by the audience even after the viewers have finished watching the dramatic piece. Guilty talks about the long-term adverse effects of ragging and violence on someone’s physical as well as mental health. The short film reiterates the fact that crime does not spare anybody and everyone has to bear its consequences. The cinematic piece also advises the viewers to carefully use social media, it can make or break one’s future also affecting loved ones in the long run. The creative piece explores how college students think that alcohol, and drugs can give them the power to rag as well as abuse an innocent person for no fault of theirs. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Holy Irresistible film review by UK film critic Patrick Foley. Starring Ian Gregg, Lea DeLaria, Tyler Graham directed by Pamela Corkey. HOME | FILMS | REVIEWS Holy Irresistible Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Mar 25, 2024 Directed by: Pamela Corkey Written by: Andrew Shearer & Nicholas Sherman Starring: Ian Gregg, Lea DeLaria, Tyler Graham The quirks of small-town Christian America have come under increasing focus during and after the Trump years, where intolerances have evolved from unpleasant prejudices to all-out hate movements that view differences in lifestyle as an existential threat. Feel-good religious romcoms in the make of Holy Irresistible risk feeling outdated in 2024, but director Pamela Corkey and writers Andrew Shearer and Nicholas Sherman are wise enough to address contemporary issues in their film, allowing it to get away with an uplifting if somewhat forgettable tone. College student Ivy (Ian Gregg) holds a bitter grudge with God, after his parents were killed by a careless Christian driver. His life consists of living with his dying Aunt Rad (an on-form Lea DeLaria) and hanging out with his best friend (and gay anarchist) Surge (Tyler Graham), whilst working as a restaurant server. One day, he meets local pastor’s daughter Sadie (Leah Merritt) and conjures a lie about being a devoted Christian in order to get close to her. But when Surge thinks of a plot involving the new relationship to bring down the local Church, Ivy is torn between loyalties. Holy Irresistible takes a classic comedic premise and uses it to explore small-town Christianity, intolerance, trust, hypocrisy and forgiveness. The cast is filled with either stereotypes – (the innocent preacher’s daughter and her hard-ass preacher dad) or amalgamations of entire political beliefs (a gay anarchist, pot-smoking hippy teen). Yet the exploration and evolution of these characters shows a maturity on behalf of the writers. Through Ivy, facets of all kinds of belief system are confronted and critiqued, without the film ever becoming explicitly preachy or damning itself. Plenty of space is left for audiences to come to their own conclusions about the characters, their actions and their morals, with an enthusiastic tone that compromise and reconciliation can be found – a necessary message for America today. Much of the comedy comes from Ian Gregg’s awkward and slippery attempts to pose as a devoted Christian. His subterfuge in the face of Sadie’s optimistic embrace of Christian values and her father’s interrogative suspicion around his daughter’s new interest leads to some amusing scenarios, and delivers enough laughs to satisfy viewers. Lea DeLaria is a level above as cancer-struck Aunt Rad, and her trademark boisterousness and bluster is amongst the film’s highlights. As a low-budget production, there are some rough edges and underdeveloped story beats. Surge’s overall presence in the film feels like a convenient complication, appearing out of thin air whenever the story commands and plotting an ambitious operation to ‘take down’ his local church – though details of this plan and why Ivy is required feel sparse at best until they are required. The character’s existence in general feels like a convenience, and doesn’t sit well with the grounded and authentic tone of the rest of the film – even in deep rural America, not many Surges are around. Ian Gregg and Leah Merritt also lack a convincing chemistry to sustain the central romance. Sadie’s willingness to throw away her closest values feels unearned despite sufficient time trying to build the pairing. Holy Irresistible is a surprisingly likeable and thoughtful film that subverts expectations and stereotypes despite its classic rom-com structure. It carefully balances criticism of religion with an argument that coexistence with the modern world is possible, along with change in the Church. It’s unlikely to leave a major impression with audiences, but there is ultimately a positive message to be found at its core. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Hey Tu! film review by UK film critic Joe Beck. Starring Al Fenderico, Gabriele Moio directed by Al Fenderico. HOME | FILMS | REVIEWS Hey Tu! Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Sep 30, 2024 Directed by: Al Fenderico Written by: Al Fenderico Starring: Al Fenderico, Gabriele Moio There are many moments and people that shape the tapestries our lives. The slightest decision can influence our future in innumerable ways, shaping our path and sending us down roads previously concealed to us. Each choice we make shapes our fate, for better or for worse. ‘Hey tu’, demonstrates this fact, but does so in such overly sentimental, cheesy fashion that it is nothing more than an eye-rolling experience. It is produced by Make a Wish film productions, whose tagline ‘where dreams can come true’ is rather indicative of the entire message of the film. It is wistful and sentimental - two things that can make of fun and endearing cinema, but not when they lack any sense of grounded realism, or any sense of struggle. The title derives from the first words said by a robber, Francesco played by Gabriele Moio. The initial interaction between the robber and his victim, Diego (played by Al Fenderico), is strong, however it quickly descends into schmalzy chaos. The robber is rather foolish to begin with. He gives the victim his name and forgets to take both his phone and wallet. The victim recognises this and begins to play games on the robber, eventually weakening him to the point where the robber’s pent up aggression and anger becomes a confession of his miserable and desperate life. The victim then takes pity on him, with so-called happy music playing in the background, as he comforts his would-be assailant and helps to transform him into a reformed man with his life all put together. It is a modern day version of a biblical parable, only without the guile and wisdom of those ancient tales. There is no weight to hold the story down, we never get a sense of the robber’s struggle or the victim’s success. Neither character appeals, and in the moment when the robber changes from antagonist to protagonist there is very little about him to suggest that the transformation has taken place. It is a film with a message, yet it doesn’t know how to translate that message effectively. The directing is pretty poor, with no sense of space and poorly framed shots, whilst the writing is weak and overly sentimental. Overall, ‘Hey tu’ is a film that fails to convey its feel-good message effectively, instead coming across as far too hokey and contrived, even for the most sentimental of its viewers. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film, World Cinema < All Reviews Next Film Review >