DannyBoy film review by UK film critic Jason Knight. Starring Darragh Byrne, Helena Geoghegan, Clelia Murphy, Jack Hickey directed by Ferdia MacAnna. HOME | FILMS | REVIEWS DannyBoy Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 1, 2022 Directed by: Ferdia MacAnna Written by: Ferdia MacAnna, Mary Duffin Starring: Darragh Byrne, Helena Geoghegan, Clelia Murphy, Jack Hickey In 1981 Ireland, an insecure young man struggles to find romance and direction in his life. Nineteen-year-old Daniel (Byrne) is having trouble finding a girlfriend and stutters when he gets nervous. He lives with his mother Kathleen (Murphy), brother Rory (Hickey) and sister Maeve (Geoghegan). His father disappeared a long time ago and nobody knows what happened to him. Daniel makes some effort to move on in the world and finds a job as a boat inspector. He also ends up meeting Carla (Moloney), with whom he becomes romantically involved and starts seeing a professional in order to help him with his stutter. This coming-of-age comedy-drama is rather enjoyable, with interesting characters and a funny and emotional screenplay. Poor Daniel has to deal with quite a lot. His singer brother disrespects him and his mother does not hesitate to say whatever is on her mind. His sensible younger sister appears to be the only member of his family with whom he can really talk. The main focus is Daniel as he tries to build a life for himself and ends up dealing with one thing after another as he pursues his goals. The film also follows his relatives, as they pursue their own goals. There is plenty of humorous dialogue, awkward situations and scenes of confrontation. Rather amusing are the scenes where Dr. Wolkenski uses unusual methods in order to help Daniel overcome his stutter. Generally, the acting is good and the cast delivers performances that are entertaining and dramatic. Daniel is believable as a socially-awkward young man and he is particularly funny when he gets nervous. Geoghegan is the most mature and sensible of the three siblings, who is also cheeky and almost constantly wears heavy makeup and Murphy is a person who is always willing to do something about anything she does not like, even showing her neighbour that she disapproves of her. The mise-en-scene effectively brings the audience back to the early nineteen-eighties, with the clothing, hairstyles and makeup belonging in that period. The editing by Philip Lewis is creative and makes effective use of wipe techniques. The soundtrack contains quite a few enjoyable songs from various artists. This feature is about finding romance, about finding one's place in the world and it also explores family values. Well acted and with a strong script, this film is a comical experience that also has its fair share of drama. DannyBoy is available to watch via VOD at Apple TV, Google Play Ireland, Amazon UK, and the Microsoft Store. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Transplant film review by UK film critic Patrick Foley. Starring Deana Taheri, Bobbi Johnson directed by Vanessa Vivas. HOME | FILMS | REVIEWS Transplant Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 14, 2021 Directed by: Vanessa Vivas Written by: Deana Taheri Starring: Deana Taheri, Bobbi Johnson Transplant takes audiences on a metaphorical and metaphysical tour of multi-culturalism and the challenges of belonging, led by its English-Iranian writer and star Deana Taheri and director Vanessa Vivas. The short follows Mahasti (Taheri) as she navigates various mental states which leave her questioning her own reality. In some she sits across from a therapist (Bobbi Johnson) who bombards her with questions about her personal life and relationships. In others she receives visions of faraway lands, that come to her with a surprisingly familiar feel. Making sense of the montage becomes increasingly stressful, and Mahasti yearns for something that feels like home. Transplant provides heavy doses of symbolism and visual metaphor which makes it a stimulating watch, but in turn also makes the short seriously inaccessible and difficult to connect to emotionally. The piece is clearly a passion project of Deana Taheri’s, and her personal story and experience of living an international life, torn between cultures, is essential knowledge for viewers. Without this understanding, the film is otherwise barely legible from a storytelling perspective. Cinema should not be bound to hold the hands of audiences at all times, and the very best films usually come from a deeply personal place. But there is also a reasonable expectation that some semblance of story can break through. It’s a shame Transplant does not really communicate it’s point or it’s heart, because upon understanding it is an interesting portrayal of internal divide. Mahasti’s inability to place herself is a battle even she does not seem to know she is fighting, and the impact on her is well-portrayed by Taheri. The frantic and stressful pace in the therapist’s office contrasts effectively with the relaxed, zen-like calm when imagery of faraway cities and life are overlayed with a controlled and tranquil voiceover. Coming to terms with different homelands and heritages, and therefore coming to terms with yourself, is at the film’s heart – and these techniques relay this brilliantly. These scenes are further enhanced by excellent use of sound effects such as a throbbing heartbeat from an unknown abyss, or the sharp and piercing sonic strikes that impact the viewer as much as Mahasti. It’s these techniques that grab audience attention and implant them in the protagonist’s place. Director Vanessa Vivas also provides some brilliant visual innovation, and the use of camera placement for example does portray the stories of the scenes well. It is just a shame the story itself could not have knitted together these stimulating scenes a little more accessibly. The personal story at the heart of Transplant makes it an endearing and admirable short film. It’s just a shame that a creative and innovative project, which clearly puts great value of symbolic storytelling, could not have been a little more coherent with the themes that drive it. Films should intrigue and leave audiences wanting to find out more without leaving them totally perplexed. Transplant is too elusive for its own good, which is a shame as it is well worth the background reading. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Love Loaded film review by UK film critic Chris Buick. Starring Monica Young, Adam Huss, Erin Chambers, Emily Goss, Tim Heurlin directed by Jan Miller Corran. HOME | FILMS | REVIEWS Love Loaded Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Jul 27, 2026 Directed by: Jan Miller Corran Written by: Jan Miller Corran Starring: Monica Young, Adam Huss, Erin Chambers, Emily Goss, Tim Heurlin October 1958. Downtown Los Angeles. At Club Figaro, songstress Didi Scanlon (Young), a knockout torch singer with an even more devastating voice, sings a sultry number by the piano. Amongst the patrons sits husband Jack (Huss), club owner and legendary surgeon, trying his best to become a legendary alcoholic as well, while around him, friends, admirers and even past lovers watch on in awe. But as the night begins to wind down, with everyone now making their way into the crisp LA night, suddenly, a gunshot rings out. Lying there, on the cold, hard ground outside his own club, is Jack. Not dead, but someone clearly meant him to be. So, with Jack now in hiding, Didi is left alone to doubt everyone around her, as she looks to find answers to the troubling questions. Who fired the shot? And why? From the very start, Love Loaded swaggers into the joint, rests its hat on the bar while ordering a scotch neat, and invites us to pull up a chair, ready to spin us a tale about all the crazy reasons people might do just about anything for love; the good, the bad, and the downright deadly. It's a delectable journey of meticulous noir homage, getting almost everything spot on; sights, sounds, speech and expected skullduggery in a story filled with complex and suspicious characters, all with their own reasons for being the one who held the gun. But writer/director Jan Miller Corran isn't content to settle for any old whodunit; the film aspires to be so much more, weaving in themes of prejudice, gender and social status, guilt, and revenge for good measure. It's the sheer love and devotion to getting every look and feel just right that is Love Loaded 's biggest strength. Key locations like Club Figaro are like actually stepping back in time, although they do leave a couple of the perhaps more budget-constrained settings feeling a bit sparse by comparison. But it's always a maximum-effort endeavour, with the impeccable hair and costume design along with the tight, era-authentic script also making sure everyone always looks and sounds the part. And finally, it's all wonderfully played out by a cast full of more than capable actors. At the centre of it all, of course, are Didi and Jack, who have to be and unequivocally are the strongest parts on show. Young and Huss's is a dynamic with so many layers that makes them perfect to watch and root for despite being completely wrong and right for each other all at the same time. There are, however, question marks over the mafioso-type element that plays as another subplot here. It seems neither Katsis's Mario Ponzetti, nor his fixer Alex (Bucci) ever have enough menace in them to be taken seriously as a threat, and thus never truly believable to turn out as such. Outside of that though, it's a supporting tour-de-force. Whether its broken-hearted April (Davis), still devastated by Didi's desertion out of fear of revealing her true self, to the other admirer on Jack's side Molly (Goss), the devoted nurse whose feelings for Jack cause deep seated resentment in her husband Gary (Bennett), same of which can be said for fellow-doctor Richard (Heurlin), the creepy devotee besotted with Didi himself. These, and indeed the rest, are all roles that feel fully defined; their circumstances and motivations both relatable and clear, and ultimately true to the era they live in. Love Loaded is teeming with pretty much everything that aficionados of the genre would want and expect, while also undoubtedly impressing those that simply appreciate astute technical filmmaking, compelling characters and simply great storytelling. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Chernobyl: Men of Steel film review by UK film critic Patrick Foley. Starring Amadeusz Kocan, Krystian Machnik, Maciej Bogaczyk directed by Amadeusz Kocan. HOME | FILMS | REVIEWS Chernobyl: Men of Steel Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Jul 20, 2022 Directed by: Amadeusz Kocan Written by: Amadeusz Kocan Starring: Amadeusz Kocan, Krystian Machnik, Maciej Bogaczyk Chernobyl: Men of Steel is a tragic enough watch without the unavoidable context of its creation occurring right before Russia’s invasion of Ukraine. This documentation of ‘The Samosely’ – native inhabitants of villages and towns around the infamous Chernobyl power plant who returned home despite Soviet quarantine, feels like the final chapter of one disaster, and an unwitting prelude to another. The documentary follows a humanitarian team led by Amadeusz Kocan, the film’s director, who enter the Chernobyl quarantine zone to visit the elderly residents of a village who returned home against regulations after the disaster. The team provides resources for the ‘Samosely’ (self-settlers), but more importantly company in the face of extreme isolation. Only a few hundred still remain in the region – and the filmmakers offer them the opportunity to tell their stories whilst they still can. What stands out about Chernobyl: Men of Steel is its sense of purpose and importance. Director Amadeusz Kocan’s documentation of the last remaining inhabitants of the Chernobyl region feels like a crucial mission – and a message for the rest of humanity to hear. And it is a message that is relevant to more than just politicians or historians. The stories of the Samosely contain wisdom that speaks to the importance of family, relationships, connections and a place to call home. Despite the incredible risks taken, the choices of the now old and frail men and women feel totally logical when heard first-hand. And Kocan’s drive to provide basic provisions and human connection for these remarkable people is justified by the friendship he makes with them. The film is deliberately slow, and prefers to prioritise its hour-runtime with the stories of its subjects rather than rerunning the tale of the disaster – a wise choice given the abundance of Chernobyl documentary content since the eponymous HBO drama from a few years ago. Instead, the film covers the present day, from 2020 up to 2022, and the still-lingering impact of the disaster, and perhaps more significantly for the film – the evacuation. Simple and everyday aspects of the resident’s lives – such as the joy one old woman gets from singing herself a song every day to remind herself of music – receive more coverage than any grand explanations for the USSR’s actions in 1986. Despite the monolithic manoeuvrings changing these people’s lives forever, it feels appropriate to just accept the happenings of the past and focus more on the present - just as the Samosely themselves have done. Though unmentioned throughout the film, it is impossible when watching in 2022 to ignore the context of the ongoing war in Ukraine, and the imagined impact this would have on the Samosely, and the humanitarian effort to support them. For people who fought so hard to return home, only to see their entire home nation threatened, adds a layer of unexpected grief to the film, and particularly to the humanitarian team given their bond with those they serve. As terrifying as the situation is, the film always remembers the great strength and bravery of the people it documents. If these people survived the disaster, and the forces in place to keep them from their rightful place in the world, you’d bet they can survive Vladimir Putin. If there’s anything to criticise about Chernobyl: Men of Steel it is the title, given that the majority of the people the film documents are in fact little old women (though the steel part is never in doubt). But beyond this, this is a remarkable documentary – that feels like essential viewing, as a coda for one of history’s most tragic and shocking disasters. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Documentary, World Cinema < All Reviews Next Film Review >

The North film review by UK film critic Jason Knight. Starring Bart Harder, Carles Pulido directed by Bart Schrijver. HOME | FILMS | REVIEWS The North Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 9, 2025 Directed by: Bart Schrijver Written by: Bart Schrijver Starring: Bart Harder, Carles Pulido A feature-length adventure drama written and directed by Bart Schrijver and starring Bart Harder and Carles Pulido. An English-speaking Dutch production that was filmed in the Scottish Highlands. Estranged friends Chris (Harder) and Lluis (Pulido) reunite and decide to go hiking for a month in the Scottish Highlands via the West Highland Way and the Cape Wrath Trail, with the intention of reaching Cape Wrath and in hope of rebuilding their friendship. However, dramatic complications will unstable things between them. This slow-burn film does not rely on the narrative in order to have an impact, rather, it focuses on character development and the relationship between Chris and Lluis. Through long takes and establishing shots and without any music, the viewer follows the two men as they go through their outdoor adventure, walking through mountains and several inhabited locations, sleeping in a tent, catching up and meeting other travellers. Schrijver's directing is an aspect that adds massive value. He creates many fantastic shots that reveal the beauty of the Scottish countryside and are supported by Twan Peeters' cinematography. Whether the camera is still or moving, the frame captures magnificent images of nature, making this feature a pleasure to watch from start to finish. The fact that the pace is slow would not had been an issue had it not been for the lengthy duration. The slow storytelling, that takes its time to move the plot forward is an effective way to explore the characters and acknowledge the activity that they are doing: traveling through beautiful scenery. However, experiencing this for more than two hours might be overdoing it, making the film feel overlong. Chris and Lluis have a bond between them, yet, they are quite different. Chris has a good job, a partner and hopes to have children one day. On the other hand, Lluis appears to lack direction in life and does not seem to be completely honest with Chris. On the surface, this is a story about hiking, camping and exploring nature. More deeply, it explores self-reflection, friendship, isolation and dishonesty. An outdoor adventure with a lot of drama. Some viewers might disapprove of the slow pace. Nevertheless, Schrijver's directing and the themes make this feature an achievement that deserves recognition. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Art Thief film review by UK film critic Jason Knight. Starring Ronan Colfer, Alexandra Bigourdan, Youlim Nam directed by Rebeca Castilho, Tristan Allen. HOME | FILMS | REVIEWS The Art Thief Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 15, 2024 Directed by: Rebeca Castilho, Tristan Allen Written by: Rebeca Castilho Starring: Ronan Colfer, Alexandra Bigourdan, Youlim Nam A series of rather outrageous events are taking place inside an art gallery. This short dark comedy was inspired by the French New Wave from the 60s and 70s, especially by Louis Malle's Zazie dans le Metro . The plot of this entertaining film revolves around an encounter between two strangers at an art gallery that starts of as awkward and turns into a hand-to-hand fight. The two strangers are a man (Colfer) and a woman (Bigourdan) and although she is at the gallery to admire, he has other reasons for being there. He believes that the artist (who is his ex-partner) took his ideas and presented them as her own. Now, dressed in black and wearing a beanie, he intends to steal the valuable work of art that he claims belongs to him. As he and the woman stand in front of the special item, holding champagne flutes, they struck up a conversation (or maybe a minor argument) about the artist, before focusing on their romantic lives. Then, after an act of back-stabbing, the two of them proceed to fight each other. There are several elements that stand out and make this fun to watch. The first would be the over-the-top performances by Colfer and Bigourdan and by Nam who plays the receptionist. The acting and the screenplay makes the characters immature and almost cartoonish (all in a positive way) and from start to finish, the protagonists never fail to be amusing. Next there is the fighting, which covers a significant part of the film's 10-minute duration. The fight scenes are not brutal, instead they are rather childish due to Colfer and Bigourdan's acting and the way they were arranged by fight coordinator Ana Esposito. Then, there is the entertaining music throughout that maintains a light-hearted atmosphere and also some cool sound effects that were probably added for comical effect. Also, making things more interesting, the filmmakers utilise some awkward camera angles and on several occasions, characters break the fourth wall and look into the camera, addressing the viewer. People who watch this film will see two people starting a rapport between them, before turning against each other. The humorous screenplay, the amusing performances and the fight scenes make this short a fun watch. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Turning Red film review by UK film critic George Wolf. Starring Rosalie Chiang, Sandra Oh directed by Domee Shi. HOME | FILMS | REVIEWS Turning Red Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Mar 9, 2022 Directed by: Domee Shi Written by: Sarah Streicher, Julia Cho, Domee Shi Starring: Rosalie Chiang, Sandra Oh With baseball still on hold for this year, it’s safe to say the most impressive batting average out there still belongs to Pixar. Twenty-four films in, and seeing that name at the top of the poster still has me expecting excellence. Turning Red – Pixar’s twenty-fifth – keeps the winning streak alive with a frisky, meaningful and culturally rich update of a well-worn message. Meilin Lee (voiced by the completely captivating Rosalie Chiang) is a 13-year-old honor student in Toronto circa 2002. She loves math, her besties (Miriam, Priya and Abby), and the 5 singers in “4-Town” (the boy band craze is the most likely reason for the early 2000’s timestamp). But above all, Mei lives by one rule: honor your parents! Yeah, um…that rule is going to get tested when 4-Town comes to Toronto just as Mei’s world turns completely upside down. Mother Ming (Sandra Oh) has never disclosed the “quirk” in their family history, and now it’s staring back at Mei from the bathroom mirror. The mystical powers wielded by ancient ancestor Sun-Ye promised that one day Mei would awaken as a giant red panda. That day has come, and once Ming understands it’s not that other red visitor that has her daughter locking doors in panic, Mom explains. Strong emotions will release Mei’s inner panda, so she must keep a calm demeanor until the family can gather and perform the ancient Chinese ritual that will banish that bear forever. Stay calm? Now? The 4-Town show is coming up, and the girls have to score some tickets without helicopter Ming finding out! And there’s this bully at school that needs to be taught a lesson! Plus, that dreamy Devon at the Daisy Mart has Mei feeling some strange new feelings… Sure, the panda is a cute metaphor for the raging hormones of puberty, but director Domee Shi (who also co-writes with Julia Cho) has much more to offer in her feature debut. Here, the often generic moral of “be true to yourself” plays out with stakes that will feel authentic to both kids and parents. Pixar has a long history of finding true poignancy amid big laughs, but Turning Red feels like a turning point. Not only is it the first Pixar film with a female director, women are also in leadership roles throughout most areas of the production. The mission was clearly to begin speaking to a slightly older target, with a tender honesty that adolescents – girls especially – could appreciate. Mei’s feelings of pressure and confusion are laughed with, not laughed at, and her first fantasies of physical romance are presented with a refreshing, relatable warmth. There’s also fresh air blowing through the animation department, realizing Shi’s self-described “Asian ‘tween fever dream” with an aesthetic that yearns for the big screens the film is not getting. Mei’s world is alive with modern vibrancy, yet full of bursts that recall more classic animation styles, including hand-drawn and slo-motion sequences, as well as eyes and mouths that suddenly pop open wide with anime homages. Effervescent pop songs by Billie Eilish and Finneas O’Connell (who also voices 4-Town’s Jesse) blend joyously alongside Ludwig Göransson’s more traditional score, completing the film’s perfect ecosystem of subtext. Respect the past, but embrace the possibilities of the future. That future is going to include parts of your true self that are messy, and that’s okay. In fact, accepting those awkward, messy parts is the first step to being okay. Really, the most disappointing thing about this film is that it’s going straight to Disney+. A theater experience might make the promise of mother-daughter bonding feel even more memorable, if not downright eventful (as the trips to see the first Toy Story were for my son and me). But Turning Red finds Pixar with a healthy and welcome new approach to its lineup. So wherever it’s found, that’s more than okay. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release, Animation < All Reviews Next Film Review >

Beguiled Company (2022) film review by UK film critic Patrick Foley. Starring Chance Gilliam, Jess Tomasko, Devyn Williams directed by Tristan James Jensen. HOME | FILMS | REVIEWS Beguiled Company (2022) Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Dec 23, 2022 Directed by: Tristan James Jensen Written by: Tristan James Jensen Starring: Chance Gilliam, Jess Tomasko, Devyn Williams It’s the most wonderful time of the year – a strange time to watch the angriest film of the year. Tristan James Jensen’s nihilistic fantasy Beguiled Company has a lot to say about society, yet lacks consistent themes, storytelling or engaging characters to convince viewers to join its titular gang on their revenge rampage. When he is fired from his dishwashing job, Brenden (Chance Gilliam) gathers friends Ilisha (Jess Tomasko), Mason (Devyn Williams), Tino (Gabriel Hawk) and Sydney (Megan Thompson) to help him rob his former employer. Emboldened by their success, the 5 form a gang, buy a house and bond over drug-fuelled parties. But Brenden starts to set new targets for the group, like the 1%, alleged paedophiles, and their unreliable drug dealer, as the gang become uneasy with being their leader’s tool for lashing out at society. Gratuitously violent, visually striking but narratively malfunctioning, Beguiled Company is at the very least an electrifying mess. At the core of its issues are around two and a half characters stretched into five, first-draft video-game villain dialogue and a storyline that can’t seem to decide what its actual point is – with poor overall storytelling to boot. Brenden is an utterly detestable lead, whose malicious sadism ends up far more off-putting than his supposedly deserving targets. In another version of this story, it is HE who would be the villain - with the far-more relatable Mason the story’s focus as Brenden’s tyranny is challenged. But writer/director Jensen seems to revel in Brenden’s viciousness – and his fatally negative traits rarely result in coherent consequence. Even at times when the group begins to question his leadership, they revert to joining him in brutalising others as soon as the story demands it – without so much as a hesitation suggested by their prior apprehension. ‘As soon as the story demands it’ more or less sums up the entire storytelling approach. The whole structure of the plot demands audiences abandon logic for the story to function – such as in a pivotal gang shootout in which the audience is aware that the scene is surrounded by armed police – who fatally shoot a character only to vanish from the plot despite numerous additional gunshots being let off between rival gang members right in their apparent vicinity, and subsequently doing nothing to prevent another character then fleeing from the location. Devices, characters and motives are summoned when necessary and disregarded when not – with Jensen hoping no-one will notice. Unfortunately, it leaves the plot holier than your Nan’s favourite Christmas carol. Jensen’s talent as a director is evident from the intense, pounding cinematics and visuals. Imaginative editing and lavish framing and lighting of the photogenic cast create a sense of youthful exuberance, and echo the likes of Euphoria to make this as much of a coming-of-age movie as ultraviolent societal thriller. The much-discussed psychedelic drugs sequence allows impressive experimenting on behalf of the director and the cast – who refreshingly frame the experience as beautifully traumatic rather than turning into The Beatles. Were the film shorter, the crisp and creative cinematography may have been enough to cover up its flaws – but at feature-length, good looks just aren’t enough. There’s a great film somewhere in Beguiled Company. One senses that in an effort to avoid a more conventional story (and to live out some badass fantasies) Tristan James Jensen has ended up muddling the plot and losing sight of the film’s purpose. More time should have been spent building the dynamics between the characters and improving the dialogue – as well as recognising when the story is crying out for a change of direction. Viewers will certainly not be bored at least, and the breakneck visuals and pulsating experimentation act as something of a saving grace. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Wolfs film review by UK film critic George Wolf. Starring George Clooney, Brad Pitt directed by Jon Watts. HOME | FILMS | REVIEWS Wolfs Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Sep 25, 2024 Directed by: Jon Watts Written by: Jon Watts Starring: George Clooney, Brad Pitt Watch the trailer for Wolfs , and you hear Sinatra front and center. But watch the movie, and it’s Sade time, baby. I get that the Apple marketing department wants you to remember the fun of Clooney and Pitt’s Ocean’s Eleven franchise, but this new venture crafts its effective charm from a more seedy vibe. New York D.A. Margaret (Amy Ryan) has a problem. She’s covered with blood in a swanky hotel with a much younger man (Austin Abrams), and he’s half naked on the floor with no pulse. Plus, that’s a lot of drugs. Margaret calls a fixer (Clooney), who promises to make it all go away. But it’s Pam (Frances McDormand) running the hotel and she has her own man (Pitt), who shows up with identical claims of problem solving. The rival lone wolves have no intention of teaming up, but fate has other ideas. So it’s going to be a long and bumpy night. Years before Reynolds and Jackman started their good natured ribbing, Clooney and Pitt owned the “fun frenemy” schtick, and writer/director Jon Watts reminds us that their charisma still has plenty of life. The deadpan sparring is a mischievous hoot, as Margaret’s Man and Pam’s Man each strive to be too cool for competition while secretly pining for the other’s respect. Watts (Cop Car , the Spider-Man “Home” franchise, TV’s The Old Man) creates a nice counterbalance via the uncool “Kid” (Abrams is terrific) and backs up the snappy dialog with understated visual gags (one Man slowly peering around the corner at embarrassing moments) and some pieces of stylish, well-staged action. There’s a winning air of confidence to the film, and it’s not just from two A-listers secure in their movie star status. Wolfs isn’t trying to re-invent any genres, but Watts displays plenty of skill with plot twisty intrigue. These fixers aren’t leading a team of good-hearted thieves, robbing people who probably deserve it and righting old wrongs. Yes, they’re still unreasonably handsome, but they are shady characters with bloody pasts and clearly compromised moral codes. They are interesting, in a Tarantino sort of way. And they are in one helluva mess. How dirty will they have to get to clean it up? You may be surprised. Just don’t expect Vegas, and you’ll be entertained. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

A Haunting Winter's Tale film review by UK film critic Jason Knight. Starring Gilda Ciccarelli, Francesco Teselli directed by Lorenzo Sicuranza. HOME | FILMS | REVIEWS A Haunting Winter's Tale Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 3, 2023 Directed by: Lorenzo Sicuranza Written by: Lorenzo Sicuranza, Miriam Vitillo Starring: Gilda Ciccarelli, Francesco Teselli A couple's happiness is destroyed by a terrible act. Inspired by actual events, this story is about a young couple in Italy, whose relationship takes a dramatic turn. The couple (Ciccarelli and Teselli) have just moved into a new home and seem happy and keen to start a new chapter of their life together. However, their bliss is threatened by the man's pill addiction and a series of events will result in the couple viciously turning on each other and life-and-death situations. This one-hour-long, low-budget feature tells a story about romance, drug addiction, betrayal and revenge. It begins as a romantic drama, exploring the tender relationship between the couple, with things indicating that they are going to live happily ever after, as the man proposes to her and she discovers that she is pregnant. Then suddenly everything changes following a confrontation, turning the film into a dark thriller about survival, murder and getting even. The narrative is more or less straightforward: happiness, then things go bad and someone is determined to take revenge. It is quite an intriguing viewing, with a great deal of suspense, although there is a sequence that involves a stranger who helps one of the protagonists that feels bizarre. The couple are two people who have been through difficult times and want to get on with their lives and both go through significant character development. The man ends up becoming a murderous antagonist, while the woman is forced to be strong, yet she too develops an urge to kill and therefore they both end up going down dark paths. The filmmakers utilise creative lighting techniques and the dramatic and sinister music by Jan Romano creates a sinister atmosphere and the addition of a classic Christmas song during the closing credits creates a sinister side for that track, considering the devastating events in the movie. The film is rather faithful to the true story that it is based on, making it disturbing to think that things of that nature actually happened. As a thriller, it works well, with tense and life-threatening situations and it tells a story about two people who go from caring for each other to turning into worst enemies. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Trial 22 film review by UK film critic William Hemingway. Starring Corinna Brown, Graham O'Connor, Isabella Lake, Felix Garcia Guyer directed by John Ferrer. HOME | FILMS | REVIEWS Trial 22 Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Jul 7, 2023 Directed by: John Ferrer Written by: Harry Metcalfe and John Ferrer Starring: Corinna Brown, Graham O'Connor, Isabella Lake, Felix Garcia Guyer In Trial 23, Contestant Number 1 (Brown) is busy beating the crap out of some sort of ninja dude. She's an obvious hardass and she pulls no punches as she knocks the ninja out and puts him to the ground. She looks like a really strong contestant and could even have the chops to go all the way, but hey, this is no time for dawdling, let's get through the door and onto the next trial – Trial 22 . Trial 22 initially looks very similar to Trial 23 in that the dark underground room with its painted brick wall is exactly the same – just with a '22' imprinted on it this time. However, Trial 22 brings with it its own complications, mostly in the form of three other contestants. Contestant Number 2 (O'Connor) is helping out Contestant Number 3 (Lake) who has broken her wrist, but let's just say that compassion is not anybody's strong suit in this scenario. Contestant Number 4 (Guyer) is another hardass, dressed up in pseudo-military gear, and he can't be bothered with the snivelling and the whining. He just wants to get on with it. So, the mood lighting goes on, the countdown timer begins and a cage with no bars(!) appears in the middle of the room with some kind of monster in it. Alan. Looking like some kind of skinned version of Donnie Darko 's (2001) death rabbit, Alan appears to be blind and has the keycard to the next exit door around his neck. The understanding of this situation pits one contestant against the other and begins a lethal game of Keeper Of The Keys, as Contestant Number 1 and Contestant Number 2 realise that working together might just be the way to get out of this mess. So, what's on offer from director and co-writer, John Ferrer in his new nine minute short, is an obvious rerun of a plethora of 'deadly game' movies and shows including Saw (2004), Squid Game (2021), and the Granddaddy of them all, Cube (1997). To his credit, Ferrer gets the feel and the look right for a claustrophobic clash in a lethal, underground fight for survival. The lighting keeps things firmly embedded in future horror, while the cinematography and creature effects offer a measure of quality which keeps the gory bits gruesome and the tension tantalizingly tight. This only lasts so long though as the second half of the short makes several continuity and plotting errors which leave the film feeling like a parody of what it should have been. It starts when the contestants use a beeping watch to have Alan take out one of their rivals and then in the very next shot we see the lit up digits and hear the beeping of the countdown digital timer, which seems not to affect Alan at all. We then move on to find that an arbitrary choice is forced upon the contestants, something that hadn't been mentioned before, and which just feels like a lazy cop out from the writers. Then there's the dumbfounding denouement, which presumably was intended to turn the scenario on its head, but which in the end is so nonsensical that it undermines everything which the film tried to set-up in the entire rest of its runtime. In the end Trial 22 is a well made but badly structured horror short that borrows heavily from those which came before without adding anything positive of its own. There are obvious mistakes which should have been fixed before the film went into production and the writing and the plotting come across as being fairly lazy, even for a film that's under ten minutes long. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Deadly Nightshade film review by UK film critic Patrick Foley. Starring Suzie Houlihan, Christopher Blackburn, Matthew Laird directed by Benjamin Rider. HOME | FILMS | REVIEWS Deadly Nightshade Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 5, 2023 Directed by: Benjamin Rider Written by: Tom Baldachin, Christopher Blackburn, Suzie Houlihan Starring: Suzie Houlihan, Christopher Blackburn, Matthew Laird Brixton-based experimental feature Deadly Nightshade is trippy, unnerving and unique – but this unusually structed and designed psychological horror from director Benjamin Rider misses more of marks than it hits, and fails to engage on an emotional or visceral level. Victoria (Suzie Houlihan) and Marcus (Matthew Laird) are a couple who take advantage of a long weekend to get away to Brixton. But when they arrive in their flat, bizarre occurrences begin to haunt them, and their reality becomes distorted by a strange TV which appears to be directing events. Victoria tries to keep her grip on the real world as the flat becomes a prison. Deadly Nightshade’s originality and unconventional storytelling style is admirable and notable, but unfortunately it is not enough to prevent the film from being dragged down by a muddy and inconceivable main plot that ultimately results in the film feeling like a slog to unpick. The filmmakers took the unusual step in allowing the film’s main arc to be largely improvised by the cast on set rather than following a defined script. From the results in this film, this unusual method is likely to remain as unrecommended as it sounds – and viewers will do well not to get lost by the film’s second act. Not every film has to follow conventional storytelling methods, and audiences shouldn’t be expected to be shielded from difficult or complex plots. But Deadly Nightshade fails to find a real hook to engage viewers enough to want to understand it. This problem is exacerbated by the lack of engaging characters. Neither Victoria nor Marcus make for engaging co-leads, and viewers will find little within these characters to empathise with or root for. The film feels more focused on shooting off unsettling visuals and messing with perceptions of the audience rather than embodying its cast of character with distinct or memorable personalities. Eric Roberts’ sinister Father Walsh leaves an impression, but his lack of interaction with the rest of the cast means this role ultimately feels ancillary. The film looks slick and dynamic enough, and scenes are framed well to create a disturbing and disconcerting tone. The film is dark – both metaphorically and visually – which helps create a sense of mystery and gloom but becomes somewhat bland and unstimulating by the film’s conclusion. Deadly Nightshade is an example of a film that is too experimental for its own good, and where its creativity gets points for originality, it fails to conjure enough of a legible story, intrigue or audience engagement to justify its’ extended runtime. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >