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Love Is Real film review by UK film critic William Hemingway. Starring Cathy Sole, Warrick Simon directed by Albert Bullock. HOME | FILMS | REVIEWS Love Is Real Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 15, 2025 Directed by: Albert Bullock Written by: Albert Bullock Starring: Cathy Sole, Warrick Simon A separated couple try to come to terms with their loneliness in their own ways, leaning into the deviance of their sexual habits to try and supplant the aching void they feel inside. Aoife (Sole) is broken. When we first meet her, she is busy trying to free her mind as a whale in the ocean, meditating on the support of the water and the freedom of movement in all directions. Gradually though, the whale song breaks out into squeals and screams, and the imagery of sexual gratification keeps pushing through into her conscious mind to remind her of what she actually wants. Cut to a party, where a few people are milling about outside somebody’s house, and Aoife, complete with four-inch platform f***-me boots, approaches a man from nowhere and asks him to come home with her. At Aoife’s place she sets about getting what she wants, but insists on playing games with her new toy and physically tormenting him, pushing him away and slapping him whenever the intimacy gets too real. Obviously used to a more violent level of sexual activity, Aoife loses her companion and is left alone. Mark (Simon), on the other hand, is much quieter in his quest for gratification. After giving a hand-job to a stranger he met on the bus, he goes home and deals with the problems that exist there, with his quiet, brooding father, absent brother, and sequestered mother who is hidden away behind closed doors. The two lonely-hearts search the streets of the city for anything that might resemble real love, but find that either they, or everybody else, is lacking in that department. Whether or not Aoife and Mark’s Love Is Real , is something that is left up to the viewer to decide. What we certainly see, is that in every instance apart, they search for real love in the wrong places and reap the consequences for that. Their sexual deviations push them in dangerous directions, and leave them at the mercy of those who would take advantage or want something more, with those who look at sex as an act of power only too ready and willing to exert that power to get what they want. The direction from writer/director, Albert Bullock keeps everything gritty and real as we follow the two lead characters around the streets of the city. The lens almost feels like it has a layer of grime over it as we descend further and further into deviance and danger in order to satisfy a desire that is either misplaced or formed from a place of trauma. The underpass scene, in particular, is strikingly real and hard-hitting, with the camera and sound choices really emphasising the danger women face every day from sexual predators, not to mention the difficulty for those who may feel a need to step in and save the day. Bullock’s shot choices are flawless and he fills a frame expertly well, with some really nice artistic visuals in the composition of his scenes, leaving the film with the feel of a kitchen-sink drama, but with the look of a cinematic feature. The acting, too, is of a high quality from both leads, underplaying on the surface the deviance they share, and allowing a lot of their characterisation to come from their look and their actions. Sole especially, as Aoife, is able to turn from little-girl-lost into sexual deviant at the drop of a hat, with the gradual decline of her mental health being mirrored in the state of dishevelledness that she shows in her person. The strong understatedness of Simon, as Mark, also really adds to this feeling of something unnamed bubbling just underneath the surface. However, in the end there’s no real story attached to the two lovers, just a thematic link which coalesces them together into a short narrative. The imagery and scenarios are mostly independent of each other and could have taken place at vastly different times without altering the feel or message of the film. Love Is Real feels more like a series of vignettes, each stating the startling reality of a different aspect of sexual deviance, which each character encounters apart from the other, before coming together in the end. In this way, Love Is Real feels like it could be just one thread from Plan B’s Ill Manors (2012), but without the rest of the story to fill in the context and the meaning, leaving it slightly lacking in the message it is trying to deliver and ultimately in the impact it leaves behind in the audience. About the Film Critic William Hemingway Digital / DVD Release, Short 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. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

When an Interpol-issued Red Notice — the highest level warrant to hunt and capture the world’s most wanted— goes out, the FBI’s top profiler John Hartley (Dwayne Johnson) is on the case. Brand new film trailers. Red Notice Teaser Trailer Netflix Releases Teaser Trailer for Red Notice The FBI’s top profiler The world’s most wanted art thief And the greatest conman the world has never seen Directed by: Rawson Marshall Thurber Written by: Rawson Marshall Thurber Produced by : Beau Flynn for FlynnPictureCo; Dwayne Johnson, Dany Garcia, and Hiram Garcia for Seven Bucks Productions; and Rawson Marshall Thurber Cast : Dwayne Johnson, Gal Gadot, Ryan Reynolds Synopsis : When an Interpol-issued Red Notice — the highest level warrant to hunt and capture the world’s most wanted— goes out, the FBI’s top profiler John Hartley (Dwayne Johnson) is on the case. His global pursuit finds him smack dab in the middle of a daring heist where he’s forced to partner with the world’s greatest art thief Nolan Booth (Ryan Reynolds) in order to catch the world’s most wanted art thief, “The Bishop” (Gal Gadot). The high-flying adventure that ensues takes the trio around the world, across the dance floor, trapped in a secluded prison, into the jungle and, worst of all for them, constantly into each other’s company. The all star cast is joined by Ritu Arya and Chris Diamantopolous. Directed and written by Rawson Marshall Thurber (Central Intelligence, Skyscraper) and produced by Hiram Garcia, Dwayne Johnson and Dany Garcia of Seven Bucks Productions, Beau Flynn’s Flynn Picture Co. and Thurber’s Bad Version, Inc., Red Notice is a stylish globe-trotting game of cat-and-mouse (and cat). Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting.

For The Boss film review by UK film critic William Hemingway. Starring Daniel-Paul Sampson, Sam Biskey, Cole Munden, Darius Rathe, Shelby Handley, Daniel Christian Jones directed by Xavier St-Roch. HOME | FILMS | REVIEWS For The Boss Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Apr 4, 2025 Directed by: Xavier St-Roch Written by: Xavier St-Roch Starring: Daniel-Paul Sampson, Sam Biskey, Cole Munden, Darius Rathe, Shelby Handley, Daniel Christian Jones A gang of inept mobsters get more than they bargained for when, as a surprise for their boss, they kidnap the guy who has been sleeping with his wife. Lance (Sampson) is a guy who’s just trying to live out his life. He’s got a past that we don’t talk about, but because of that past he’s finding it difficult to obtain gainful employment and that’s putting a strain on his new relationship with Maria (Handley), who just wants to get away on holiday to Mexico. In the pre-titles sequence, we find out that Lance has been kidnapped by a trio of kooks, who, in their wildest and wackiest ways, present themselves to us one by one with the most ridiculous and adolescent dialogue imaginable. This vein of characterisation continues for the rest of the film, and much like Lance, we just have to get used to the way these idiots interact with one another; comparing their penis sizes, calling each other names, and asking each other if they think they’re funny. Spoiler alert – they’re not. The plot runs in very much the way you would expect, with the incompetence of the idiots giving Lance enough window for escape, and then the rounding up of the story with Lance despatching each goon in turn as the narrative unfolds. Towards the end there’s some attempt at schmaltz, with the henchmen displaying worrying amounts of inner turmoil, but generally everything in For The Boss is aimed at being as silly as possible while also getting to say a few dirty words in the process. Most of the scenes which make up the film are populated by really bad comedy sketch tropes that have been tried a million times in other places, and better. The insecure gangster, the dumb but highly erudite girlfriend, the Mob Boss with a heart, and all the other cut-to and sight gags that go along with them, are delightfully trotted out one-by-one, although at least with a hint of irony thrown in. Thankfully, the cinematography from Jason Bergen makes everything on screen look professional, even if what we’re actually watching is nonsense. For The Boss could, for all intents and purposes, be a studio movie because it looks so good. The acting, too, is of a very high standard. From the idiot grunts of Sal (Rathe), Micheal (Munden) and Phil (Biskey), right through to the Boss himself (Jones), everyone is sold on their character and giving their all to the performance. While this doesn’t really help in most scenes, when the dialogue is so off-putting that it’s hard to stay invested in anything being said, every frame with Shelby Handley as Maria in it is absolute gold. She embodies the ditzy moll perfectly and delivers some of the best lines in the movie with such stone-cold precision that it almost raises a smile. There’s a strong feeling that what writer/director, Xavier St-Roch and the rest of the team at Friendly Fire Productions were aiming at, was something along the lines of characterful gangsters, as in the likes of In Order Of Disappearance (2014), and current Oscar darling, Anora (2024), but what they’ve ended up with is way off the mark. There’s no real joy in anything coming across in the dialogue, and any actual emotion that is aimed for is obliterated by the sheer silliness of everything else in the scenario. In terms of the production, it’s top marks for the team, but there’s plenty of room for improvement in the writer’s room if future projects from the production house are going to continue to try to be full length features. About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Watch Another Day at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. Another Day Listen to our review on the film podcast What our film review said: READ FULL REVIEW The film is bookended by a second montage. During the finale, there is a heart-fluttering visual expression that is a little clunky in execution but expresses the sentiment of the short as succinctly as the opening. This kind of experimentation is what makes watching short films exciting. The kind of risks that pay off. Proudly supporting MediCinema for our 2022 film festival.

Think of England film review by UK film critic Jason Knight. Starring Jack Bandeira, Natalie Quarry, John McCrea, Ronni Ancona, Ben Bella Bohm, Ollie Madigan directed by Richard Hawkins. HOME | FILMS | REVIEWS Think of England Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 22, 2026 Directed by: Richard Hawkins Written by: Richard Hawkins Starring: Jack Bandeira, Natalie Quarry, John McCrea, Ronni Ancona, Ben Bella Bohm, Ollie Madigan A World War II drama thriller written and directed by Richard Hawkins and starring Jack Bandeira, Natalie Quarry, John McCrea, Ronni Ancona, Ben Bella Bohm and Ollie Madigan. The Scecond World War is taking place, the Allies' Invasion of France is near and the British Government is sending six people to the Orkney Islands to make three short pornographic films, one for the Army, one for the Navy and one for the Air Force. The plan is to boost the soldiers' spirit. These six people are Captain Clune (McCrea), who works for the Ministry of information, specialising in film propaganda, Holly (Quarry), an aspiring actress, Max (Bohm), a German film director, Agnes (Ancona), in charge of the makeup and the clothing, Clifford (Maddigan), the sound apprentice and Corporal Evans (Bandeira), an unstable soldier. As they attempt to complete the project under a tight deadline, they find themselves dealing with a lot of drama and complications. This feature concentrates primarily on character exploration rather than the narrative. Some of the story's challenges are the crew's personal issues that they have with making this kind of film, particularly the erotic scenes. As they work (or at least try to) work together, with Holly and Corporal Evans being the actors, the crew build rapport with one another, a significant one being the relationship that develops between Max and Holly, with him acting as her acting mentor. A significant part of the narrative involves Corporal Evans, whose outrageous behaviour creates a lot of tension and he secretely captures a German soldier and holds him captive. The creative mise-en-scene effectively brings to life a Second World War environment, with Nadia Dunn-Hill doing a great job on the costumes and the hairstyles looking good and the soundtrack consisting of music that is very appropriate for that era. Director of photography Sarah Cunningham expertly mixes black-and-white cinematography with colour. The viewing is quite dramatic and it is also a psychological thriller, mostly because of Corporal Evans's actions. Some viewers will most likely find the sex scenes hard to watch and there is graphic nudity. These observations are not ment to be nagative, but rather to point out that they highlight what the team is there to do and they also contribute in character development. It would be fair to state that Bandeira's character is the one who steals the show. A war veteran, one moment he can be utterly quiet and motionless and the other he bursts into a fit of rage, shouting obscenities, making it evident that he is a damaged man. Quarry is quite emotional as the one who has to film intimate scenes that she is uncomfortable with, especially with a man who terrifies her. Captain Clune is the one in charge of the project, a serious and determined man who is also dealing with family issues. This is a World Ward II story and a commentary about the challenges of filmmaking and acting. Additionally, it is a story about trauma, mental health, self-esteem and self-reflection. Moreover, it also explores the limits of acceptable behaviour. This is not a comfortable viewing, however, the strong acting, the intriguing plot and the heavy drama make this a skilfully crafted film. UK premiere at Glasgow Film Festival-March 2026. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

NYC Dreams film review by UK film critic Jason Knight. Starring Yves Mathieu East, Carol Weakland, Nixon Frederick directed by J. Arcane, Paul Erskine. HOME | FILMS | REVIEWS NYC Dreams Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jul 16, 2022 Directed by: J. Arcane, Paul Erskine Written by: J. Arcane, Paul Erskine Starring: Yves Mathieu East, Carol Weakland, Nixon Frederick A troubled young man with a passion for dancing struggles to find his place in the world. Theo (East) is young African American who is a homosexual and dreams of becoming a professional dancer. Unfortunately, he is having a hard time succeeding at that and he must find a way to come to terms with his past and find out who he is and what he really wants before he can move on with his life. This drama focuses on the life of an individual who appears to have reached a point where he has hit a brick wall and does not know how to get his life back on track. The story is told through his perspective and the audience follows him as he walks through New York City, finds work in a coffee shop, spends time with acquaintances, experiences romance and tries to figure out what to do with himself. The screenplay explores his struggles and brief flashbacks reveal the troubled relationship he had with his father. The narrative does not put a lot of effort into showing his attempts to begin a dancing career, but instead concentrates more into pointing out how much he loves that activity and how he attempts to deal with his past and be a decent person. What mostly stands out are the multiple scenes where Theo begins dancing by himself, accompanied by music and lyrics, in a way turning the movie into a musical. These beautiful scenes contain wonderful choreography and highlight his passion for dancing and signify his temporary escape from reality, much like the main character in Dancer in the Dark proceeds to sing in order to escape from her harsh life. There are lengthy periods of time with no dialogue, many of which include the dance scenes and montages. Arcane also worked on the editing and does a great job with the dancing parts and montages, utilising superimposition to great effect. As the main subject of the feature, East delivers a dramatic performance as a self-taught wannabe dancer with personal issues. He comes across as a bit socially awkward, shy and having difficulties expressing himself. Arcane and Erskine do a great job as directors and create magnificent shots that capture the splendour of New York City. The soundtrack consists of various wonderful songs that add significant value to the movie. The pace feels a bit slow, which is not necessarily a bad thing as this film is a character study and primarily aims to explore a person's life, who they are, rather than focusing on the narrative. Nevertheless, the movie generally does seem overlong. This movie is about self-discovery, inner struggles and having a passion. The narrative might be tedious to some, however it is a decent drama that reveals the beauty of dancing and the importance of people realising who they are and what their purpose in life is. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Raspberry film review by UK film critic William Hemingway. Starring Emmie Rhodes, Samuel Marlow directed by Scott Kingsnorth. HOME | FILMS | REVIEWS Raspberry Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 3, 2024 Directed by: Scott Kingsnorth Written by: Scott Kingsnorth Starring: Emmie Rhodes, Samuel Marlow Making films is such a really easy thing to do, innit? In fact, it’s so easy that I’m surprised more people aren’t out there giving it a shot; scripting their dreams, grabbing a camera and committing their ideas to film. And what about short films, eh? They’re even easier to make, aren’t they? So easy, in fact, that anyone can do it. All you have to do to make a short film is to come up with an idea, just one, and then film a small scene about it. It doesn’t even need to be that long, a couple of minutes maybe, and there doesn’t even need to be any dialogue if you don’t want there to be. Yeah, of course you’ll be able to get across what you want to say in that short, tiny, miniscule amount of time, without any words. Don’t worry, everyone is bound to understand it. Everyone is bound to love it. It’s easy – just go for it. And so, dear audience, today for your consideration we have Raspberry . Written, directed and shot by Scott Kingsnorth, Raspberry is one of those films. Coming in with a total runtime of just under two-minutes there’s not a lot of time, space or anything else for Kingsnorth to get his point across. Luckily for him though, his point is not all that involved, and to be fair it’s not all that subtle either, leaving the way open for a quick exchange of attitudes before it’s all over and we’re left to go our separate ways again. So, just what is it that Raspberry has to offer? Well, to start with there’s nearly thirty seconds worth of credits to lead us in, which along with the extra fifteen seconds of credits at the end, only leaves us with about one minute and fifteen seconds worth of actual film left to watch. Within that window we get to see a woman (Rhodes) sitting on a bench, in black and white. She looks like a bit of a schoolmarm, what with her rimmed glasses and her stern look, and it seems as though she probably isn’t very good at sharing or socialising. When another person – a gentleman – then decides to take a load off and sit on the bench, the woman doesn’t like it and so she shoots him a fierce look. Unperturbed, the gentleman (Marlow) shoots a look straight back at the schoolmarm and a Sergio Leone style face-off begins as the two sets of eyes are trained on one another with no sign of giving way. Eventually, with there seemingly being no other way out of the deadlock, the woman sticks her tongue out and blows a raspberry at the man before he turns around and does the exact same thing back. Fin. And so that’s it. That’s all we’ve got. That’s all there is. If you wanted to – and I mean really wanted to – you could try, I suppose, to link what’s going on in the film to the real world. You could try to say that the characters represent their respective sexes within wider society, and that the woman here, as in the wider world, is protecting her personal space from the inevitable invasion of men and is showing her disgust at the entitlement men have to all spaces, even those which surround women. You might try to say that the film is a commentary on modern society and the current generation, where actual face-to-face communication has broken down so much that it seems insults are the norm and the art of conversation has been lost. You could try to say that this is Kingsnorth’s two fingers up to the Oscars. You could try and say a lot of things, if you wanted to, about Raspberry but none of them would be right because in reality it has none of these things in it. It is merely a very short film about two people blowing raspberries at each other – it tells you right in the title – and that’s it. However, if that’s all that Kingsnorth wanted to show, then he’s managed it pretty well. In two-minutes he’s demonstrated that he can select, shoot and edit his shots with a degree of skill. He’s managed to offer a sort of characterisation through the look and wardrobe of the two leads and he’s offered some measure of directorial style by choosing to film in black and white. The story, for what it is, hangs together and does create a narrative, while the music from Matt Williams provides a throughline as well as a sense of atmosphere to the audience. Which means that while Raspberry may not be very much, it is at least something. Just who would want to watch it though, is another question entirely. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

God & Country film review by UK film critic George Wolf. Starring Rob Schenck directed by Dan Partland. HOME | FILMS | REVIEWS God & Country Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 21, 2024 Directed by: Dan Partland Written by: Dan Partland Starring: Rob Schenck When Rob Schenck was a young pastor, he was told never to prepare a sermon without consulting the Theological Dictionary of the New Testament , edited by Gerhard Kittel. Years later, Schenck learned that Kittel was also the man who gave Hitler a Christian blessing for his Final Solution. “That was an eye opener,” Schenck admits. The point—that there is no limit to what radical Christianity can be used to justify—is what drives God & Country. And much of the film’s success comes from how it combats that fanaticism with a measured, confident deconstruction. Director Dan Partland doesn’t insert himself into the conversation, but has no problem crafting a spirited one. Yes, he has a clear agenda, but includes enough footage from news reports, political speeches and televangelist messaging that the film’s worldview becomes the “other side” getting a chance to be heard. Partland relies on historians, authors, and theologians to trace the rise of Christian Nationalism, it’s deviation from actual Christian teachings, the quest for power over values that earns a rebranding as “White Religious Nationalism,” and how the true believers have been convinced that America has a God-ordained role in human history. And if democracy gets in the way? See January 6th, 2021. The attack on the Capitol is what bookends the film, and in between, Partland actually elicits sympathy for the attackers, who have been fed a calculated diet of lies, fear and outrage. The resulting echo chamber creates an alternative reality bubble, one that was always designed to burst. If you noticed the proudly theocratic ruling from the Alabama Supreme Court last week, you know that the threat to democracy is only becoming more dangerous. Partland makes it clear that the biggest hope is awareness, so that those led astray by the fervor (like Schenck) can experience a new awakening. Christian Nationalism has nothing to do with Christianity. And God & Country finds a useful tone between sermonizing and condescension that can help us see that light. About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

Rage film review by UK film critic Jason Knight. Starring Gary A Wales, Lara Fullerton, Bailey Penman directed by Gary A Wales, David Penman. HOME | FILMS | REVIEWS Rage Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 7, 2022 Directed by: Gary A Wales, David Penman Written by: Gary A Wales, David Penman Starring: Gary A Wales, Lara Fullerton, Bailey Penman A man's heavy drinking and drug abuse leads to devastating consequences. Alex (Wales) is a married man and has a son (Penman). One night, he and is wife Courtney (Fullerton) go to a pub and things end up going downhill. Alex drinks a lot and secretly takes drugs, becoming aggressive and out of control. Eventually, the couple return home, where things go horribly wrong. This short film is a hard-hitting thriller that pulls no punches when it comes to showing the terrible results that alcoholism and substance abuse leads to. While under the influence of drugs and alcohol, Alex turns into a vile person, resorting to violence, swearing and shouting. The scenes of violence are very distressing and it is his wife and son who become victims of his actions. The screenplay also explores how Alex himself becomes a victim of his own deeds and it is equally upsetting to watch. The narrative begins with calmness and normality and gradually the signs that indicate that Alex is an unstable man appear. The atmosphere becomes more and more tense, until things finally reach the abyss. Wales's perfomance is vital in order for the film do deliver its messages. He dramatically and powerfully portrays an individual who is battling substance addictions and is on the edge. When he reaches breaking point, he is terrifying and when he is forced to deal with the consequences, he is pitiful. Fullerton and Penman are great as the innocent ones who become targets of Alex's aggression. Alfie Marsh develops wonderful cinematography and there are creative lighting techniques. The filmmakers make effective use of fisheye techniques and the music by David Campbell is tense and dramatic. This viewing is quite unpleasant, however it deserves significant praise and recognition because it raises awareness of domestic violence and substance abuse and it portrays the acts and the consequences very directly. It provides a heartbreaking and memorable experience with important messages. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Goodbye, Petrushka film review by UK film critic Jason Knight. Starring Lizzie Kehoe, Thomas Vieljeux, Casey Landman, Bartek Szymanski, Cat Grey directed by Nicola Rose. HOME | FILMS | REVIEWS Goodbye, Petrushka Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 3, 2024 Directed by: Nicola Rose Written by: Nicola Rose Starring: Lizzie Kehoe, Thomas Vieljeux, Casey Landman, Bartek Szymanski, Cat Grey An American student goes to Paris in order to pursue a project involving puppets and skating and ends up dealing with numerous complications. Claire (Kehoe) is a film student in New York City and she has a passion for puppetry and is quite fond of Paris. Unfortunately, her ideas are not accepted by her tutor and fellow students and she decides that the time has finally come to go to Paris and work at the Puppetry Arts Institute of Paris. So she does just that, accompanied by Julia (Landman), her awkward best friend. In France, she gets into contact with Thibaut (Vieljeux), a former figure skating champion who she recently met by chance back in the U.S. and convinces him to work on a project she has in mind that will involve combining her puppetry skills and his skating experience and the Petrushka ballet by Russian composer Igor Stravinsky. This comedy drama plot combines chasing dreams, self-discovery and romance. Poor Claire has to deal with quite a lot in Paris: being a foreigner, she struggles to fit in due to language barrier and she works as an au pair for a French family who does not approve of her. In addition to all this, she discovers that Thibaut (who is she quite fond of) has a partner (Grey) and he has lost his passion for skating because he believes that he is now past his prime and now works at a bank. Disappointed, Claire begins a relationship with Rafal (Szymanski), a student at the Institute, while Thibeut reconsiders his life's choices. The screenplay includes awkward moments and the well-written dialogue deserves praise. The rapport that develops between Claire and Thibaut is the main center of the narrative, exploring how these two individuals are affecting each other. Claire is a friendly person who wants to pursue her goals and faces all sorts of problems will trying to do so. Thibaut has abandoned his passion and lives a life that he does not really want. That contradiction creates the main conflict of the story: two people come together and one wants to make their dreams a reality while the other is done with that and the viewer will most likely sympathise with the two main leads. Landman's character is quite intriguing: a childish young woman who is a germophobe, believes in other-worldly beings and is filled with mostly silly advice. The rich soundtrack is one of the best aspects of this feature as it contains wonderful pieces by artists such as Pyotr Ilyich Tchaikovsky and Frederic Chopin which fit very effectively in the film, creating pleasant experiences. The lovely animation sequences are another big plus, which are based on Stravinsky's ballet mentioned above. Filled with beautiful colours, they take the viewer on a short but magical journey. It is worth mentioning that as puppetry plays a significant part in this film, there are plenty of those to be seen, some of which look good, others not so good. This is a funny and emotional story that significantly focuses on self-discovery and the pursuit of dreams. It is a heart-warming film with two likeable leads, splendid music and it touches on the joys of the worlds of puppetry and ice skating. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Q&A film review by UK film critic James Learoyd. Starring Bobby Schofield, Matthew Mora Hegarty, Kevin Harvey directed by Jack McLoughlin. HOME | FILMS | REVIEWS Q&A Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jun 19, 2025 Directed by: Jack McLoughlin Written by: Jack McLoughlin Starring: Bobby Schofield, Matthew Mora Hegarty, Kevin Harvey Jack McLoughlin’s acidic new comedy Q&A is a force to be reckoned with. Shot with a multi-camera setup to replicate the scenario of, perhaps, a live broadcast, the audience bears witness to a question-and-answer presentation with a celebrated actor which will soon take a disastrous turn. When one aspiring actor wishes to ask the famous attendee a question, this aspiring performer reveals – rather dramatically, though slightly predictably based on the size of his coat – a bomb strapped to his chest. He proceeds to break down and confront the casting director about his lack of success in the industry despite seemingly empty promises. It’s tense stuff, well observed and, through its ridiculousness, occasionally quite amusing in a perceptive, uncomfortable sort of way. But the piece is made not only watchable but engaging through its execution (over its base concept). It may have a provocative screenplay, but the film’s ideas and conflicts are held together completely by the superb performances across the board. To its strength, this very much feels like a piece of drama made through collaboration, despite only having a single writer/director credit. I commend director McLoughlin on making it feel as creatively multifaceted as it does, since they clearly constructed a space in which each and every performer can bring a lot of individuality to the dialogue and acting styles. And yet it all remains utterly consistent and never goes off the rails. Every individual featured in this film knows precisely where to pitch their performance at – how big or small to go; how absurd or grounded. Much of the joy of this film comes from focusing in on the nuances of their behaviour since there's strong realism to it all. Quite an unusual quality for a short film. The fact that Q&A is shot as if simply to document this live event really lends this one extended scene a unique feel. One advantage of this is that we get to view the actors’ unbroken interactions. It’s much more like theatre in that manner – reliant less on aesthetic or cinematic devices and more on our engagement with character. However, if you don’t find this scenario engaging, one can imagine critics going to blame the form for any shortcomings. After all, without conventional visual storytelling, we’re not given emotional cues by the camerawork. Decidedly, this is meant to be a much more Brechtian exercise – and even if it is a comedy of sorts, it’s a smartly objective one. Q&A strikes the perfect balance of tone. Were the tone to be completely outrageous and satirical in its comedy, the audience wouldn’t buy into the threat, intensity and quite scathing indictment of both the entertainment industry as well as the fragile, shallow egos of many who attempt to break into it. And on the flip side, if the piece were completely self-serious, audiences may risk finding the narrative to be more unpleasant than it is conceptually interesting. Overall, you can expect both enrapturing drama and subtle humour from this well-observed deconstruction of stardom. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >