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Higher Methods film review by UK film critic Jason Knight. Starring Michael Christoforo, Jamie Lyn Bagley, Aaron Andrade, Kayla Caulfield directed by Nathan Suher. HOME | FILMS | REVIEWS Higher Methods Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 20, 2023 Directed by: Nathan Suher Written by: Lenny Schwartz Starring: Michael Christoforo, Jamie Lyn Bagley, Aaron Andrade, Kayla Caulfield A surreal and dark story about the mental torments of an actor who is looking for his missing sister. Matt (Christoforo) has arrived in Los Angeles in search of his sister Katherine (Caulfield), who disappeared mysteriously after moving there in order to make it as an actress. His investigation eventually leads him to her former acting coach, John (Andrade), who proceeds to apply his extreme methods on Matt. As time goes by, Matt attempts to solve the mystery behind his sibling's disappearance, while trying to hold on to his sanity. This is quite a tense and disturbing psychological horror feature that brings the audience into the mind of a troubled young man. The narrative bears similarities with films such as Black Swan and Whiplash , as it centres on a young artist who goes through devastating emotional torments, especially when interacting with a demanding tutor and the difference between reality and fantasy is almost non-existent. The screenplay is unconventional and it would be hard to say that there is a plot to follow. The majority of the story takes place on a small stage, where John, along with several trainee actors, viciously torments Matt with his harsh words, trying to expand his acting abilities and even gets physical. Aside from John, Matt meets a filmmaker who offers him a lead role in a movie and he develops a relationship with an actress named Shannon (Bagley). The screenplay constantly and unexpectedly moves from one scene to another and makes it hard to determine what is real and what is not, for instance, in some parts Christoforo's character has a different name and appears to be a patient in a mental institution. Matt makes an interesting protagonist, a man descending into madness and whose life and identity seem to be a mystery and Christoforo plays him with tremendous energy. John could be described as the antagonist, a ruthless acting coach whose methods turn out to be sadistic and Matt falls victim to them. Andrade delivers a chilling performance as a brutal and seemingly deranged man and his scenes are the ones that stand out the most due to their tension and content. Speaking of content, there are disturbing scenes that involve threats with knives and stabbings that sensitive viewers might find hard to watch. There are creative lighting techniques that look great thanks to Ken Willinger's cinematography and editor Eileen Slavin does an effective job with fast cutting. Commendations also go to Indy Shome for the atmospheric, sinister and dynamic music. This is not a pleasant viewing experience, rather, it is a dark, surreal and tense tale about mental health that contains threat, violence, drug use and a man who is losing his grip on reality and falls into the abyss. The scenes that include Christoforo and Andrade are the highlights of the feature and they both deliver strong performances. What is really going on might be up to the viewer to decide and it should be mentioned that the ending is not a big pay-off, however the atmosphere and tense scenes make this a memorable movie. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Tinseltown film review by UK film critic William Hemingway. Starring Harrison Emmonds, Juliette Taylor, Craig Pearson, Brad Oliver directed by Jacob Stockton. HOME | FILMS | REVIEWS Tinseltown Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 11, 2023 Directed by: Jacob Stockton Written by: Jacob Stockton Starring: Harrison Emmonds, Juliette Taylor, Craig Pearson, Brad Oliver Somewhere down in Tinseltown , Jake (Emmonds) wants to be an actor. He's got a part-time job in the local independent cinema and takes a drama class over at the theatre, although he doesn't really think he's a stage actor. Also in his drama class is Maddie (Taylor), a girl that Jake has got his eyes on, that is if he can lift them from his shoes where he feels it's safer to keep them when in social situations. Thankfully, Maddie has a bit more about her and gives Jake more than one chance to ask her on a date, which eventually he gets around to doing. If only now he can stay on his medication and keep the two imaginary interlopers, David (Pearson) and Teresa (Oliver) out of his mind and his life. Taking on the roles of a devil and an angel on Jake's shoulders – or his Id and his Superego depending on how deep you want to get – David keeps putting Jake down and tries to push him into bad decisions while Teresa tries to support and reassure him in order to boost his confidence. The pep-talks aren't really working though and in a moment of panic Jake/David makes a fatal error in what feels like a daft turn in the movie but which then sets the scene for the rest of the events to come. Writer, director and DoP, Jacob Stockton is showing us what he can do in his thirty-six minute short, Tinseltown . He's built this film from the ground up and has done his best to get what he envisioned on screen. There's an obviously amateur feel to the production; for example there's not much thought put into lighting, the character interactions remain basic, and the acting can be a bit ropey; but Stockton also shows us his skill through his direction and shot choice. Some of the establishing shots are excellent and show a good eye, while the feel and style of the film remain consistent throughout with a lot of the good times coming from the music choice and how the film is put together. It must be said that Stockton seems to be much better at directing shots than directing people and Tinseltown falls down at times due to its character driven scenes. There is a fun point where it feels like the film is falling into Weekend At Bernie's (1989) territory but what it definitely owes most to is The Voices (2014), where Ryan Reynolds keeps the talking heads of his ex-girlfriends in his fridge. There's quite a bit of fun to be had in Tinseltown and perhaps quite a lot more insight into the subconscious meanderings of Jacob Stockton than might be felt strictly necessary, so there's good and bad things to be taken away from it. If you can handle amateur cinema and a little bit of weirdness you might as well spend half an hour or so in Tinseltown . About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Truth Serum film review by UK film critic Chris Olson. Starring Olivia Vinall, Killian Coyle, Richard Gadd directed by Vika Evdokimenko. HOME | FILMS | REVIEWS Truth Serum Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jul 29, 2024 Directed by: Vika Evdokimenko Written by: Oliver Shuster Starring: Olivia Vinall, Killian Coyle, Richard Gadd Hosting the perfect house-warming party becomes damn-near impossible for couple Abbie and Matt (Olivia Vinall and Killian Coyle respectively) when their liability of a friend Jimmy (Baby Reindeer’s Richard Gadd) unknowingly spikes the ice with an illicit blue substance causing everyone who consumes it to tell the truth. Written by Oliver Shuster and directed by Vika Evdokimenko, short film Truth Serum has a lot of strengths to play to. The concept is sharp and cheeky, the cast is a plethora of excellent acting talent, and the atmosphere of reserved British chaos creates an enjoyably unpredictable, fresh experience for viewers. Sadly, the film never knows quite what to do with all these elements and punts for a haphazard and hazy affair that is still a very enjoyable romp. By using a splatter-gun approach to the honest revelations, viewers may find themselves struggling to keep up with the pace of the truth-telling. The disorder is further enhanced by numerous characters having rather intriguing backstories, such as a man who pretended he was infertile, and a woman who steals candles. There is a rush that comes from watching Truth Serum that is energising as long as you attend in good spirits. Vinall and Coyle are excellent in their leading roles and find themselves supported by a great array of performers. Gadd is electric as the coke-snorting f-boy whose trail of carnage gets upended in a poignant, if rushed, character revelation in the latter stages of the movie. Hats off to Sophy Kennedy Clark who plays Vera, best friend to Abbie, who has some of the best lines at other people’s expense, as well as her own emotional journey to confront. The music choices are terrific, leading the audience through a soft yet whimsical start and through the necessary turmoil and into an arresting calm by the final sections of the short film. One of the songs, “Truth Be Told” even had director Vika Evdokimenko’s name listed in the credits. It’s Smog’s “Truth Serum” which feels the most powerful though, a perfect addition to the movie, not least for its titular twinning. Whilst audiences are likely to come away from a viewing of Truth Serum with more questions than answers, they can’t deny the experience was refreshing. The reckless abandon to our social cues provides a fabulous arena for our true selves to be unleashed and the smorgasbord of offbeat characters cooked up by Oliver Shuster are as delicious as they are worrying. About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Funeral for Furmanski film review by UK film critic Amber Jackson. Starring Johnny Catalano, Olivia Dennis, Chad Goodwin directed by Johnny Catalano. HOME | FILMS | REVIEWS Funeral for Furmanski Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Apr 23, 2022 Directed by: Johnny Catalano Written by: Johnny Catalano Starring: Johnny Catalano, Olivia Dennis, Chad Goodwin From Ohio with love, the story of the Furmanski family is about a family from small-town Ohio retracing their routes in the most raw and uncomfortable way possible. This directorial debut of writer and director Johnny Catalano, Funeral for Furmanski, is a short film positioning siblings Steve, Emma and Chase in the same place for the first time in years after the death of their father. Connections and conflict are exhumed as each character is forced to view the past and thereby examine their present. Aesthetically, the film is very clever in breaking the short up into chapters, with jarring yet effective interludes and a pointed colour contrast. These red chapter screens almost give the piece a Kubrick-esque thriller feel in that they are designed to unsettle the viewer whilst giving the film an older, classically authentic feel. Shaky camera shots weave in and out of this and provide deliberate variation of shots that are filmed very well, indicating Catalano’s excellent direction. His admiration of Western films certainly shines through in the look and feel of the home location where the three siblings grew up. His directing is pointed, as every aesthetic decision or movement is planned and focused on the young members of a family coming together despite their annoyance for each other. Plot points draw so many questions concerning Steve’s dynamic with his two siblings and the world outside of the home setting. Whilst the acting is a bit wooden at first, it quickly warms up as a family dynamic tinged with grief centralises itself as the characters all try to behave normally despite having just buried their father. Emma and Chase have an unavoidable reason to come back from their busy lives in the big city to see their brother, Steve, still living the small-town existence that they have tried so desperately to disassociate from. Their relationships become clearer as they struggle even to make surface-level conversation and attempt to mask the fact that they do not like each other very much. Everything they say to each other sounds insulting, confirming that old saying that grief does weird things to people. You suddenly get the sense that they are estranged, and the conversations turn volatile over the course of the forty-minute film as old memories are re-hashed in a painful way. We the viewer are positioned as the fourth member of the family – sat at the table experiencing these events like we are sat in on a very uncomfortable dinner table conversation. It feels too real to simply be an observer, further displaced by the eccentric interludes between scenes that further throw the film into clever chaos. Steve’s fury at his siblings not being there whilst their father was dying battles against Chase’s ideas for their father’s house and shop. On the other hand, Emma is simply struggling with her sense of self when being in her home town, pointing to the realities of her true relationship to her family. Tracking camera shots give a sense of all of their emotions in a very up close and personal way as they struggle to confront the ultimate question: what is next? Funeral for Furmanski subverts classic expectations as each grown-up child is forced to confront who they are now that their father and connection to their childhood is dead. As they torment each other in the midst of processing their grief, there is a sense of being stuck in time as if there will be no reconciliation. All the while, Furmanski remains the absent character who is very much still in the room. This questioning of what truly matters provides a deeply-layered and poignant short film. It will be exciting to see what future filmmaking Catalano embarks upon next. About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

Maria film review by UK film critic Jack Salvadori. Starring Angelina Jolie, Pierfrancesco Favino directed by Pablo Larrain. HOME | FILMS | REVIEWS Maria Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Aug 30, 2024 Directed by: Pablo Larrain Written by: Steven Knight Starring: Angelina Jolie, Pierfrancesco Favino There is no doubt that Chilean director Pablo Larraín is the master of biopics. By developing his own formula, he specialised in depicting pragmatic figures of the 20th century, mostly female, showing only a glimpse in their life, a few days that are enough to encapsulate their essence in a condensed amount of time. In other words, not the Wikipedia page treatment that most other biographical pictures tend to follow. Last year he brought to the Lido El Conde , portraying Augusto Pinochet as a vampire. This time, in a return to form, he’s dealing with a ghost. Maria Callas, in her personal third act, lives with the spectre of her past, having lost her voice but not her ego. And if in Spencer (2021) Lady Diana was striving for privacy, here Larraìn reverses the situation, with Callas chasing the spotlight instead. Intimate and yet never accessible, close but not too close, La Callas wanders around the streets of Paris accompanied by her disillusions, reminiscing of Varda’s Cleo from 5 to 7 . But the Diva’s lost voice still echoes in her present, cutting to operatic flashbacks that remind of Forman’s Amadeus , where the now mythological Callas becomes her own Salieri. Conscious of her withering, she has not performed in over four years, and her only companions are her butler and maid with whom she shares a tender familiarity; but “there is no life away from the stage” for Maria Callas. Morphing into La Traviata’s Violetta, Maria is as moving as the great tragedies Callas played at La Scala. Elegantly shot on film, mesmerising compositions alternate with zesty dialogues written by Steven Knight, particularly with her charismatic lover, Aristotele Onassis. Angelina Jolie delivers a career defining performance, fragile in her everlasting strength and irresistible eccentricity. Her lips alone, vibrating in each aria, deserve an oscar nomination. Larrain is in perfect tune. About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >

2Late film review by UK film critic Isaac Parkinson. Starring Adam McCaffrey, Gary Wales, Beth Reader, Simon Millar, Lindsey Mitchell directed by Phil McAleavey and Gary Wales. HOME | FILMS | REVIEWS 2Late Film Review average rating is 3 out of 5 Critic: Isaac Parkinson | Posted on: Jun 18, 2022 Directed by: Phil McAleavey and Gary Wales Written by: Adam McCaffrey Starring: Adam McCaffrey, Gary Wales, Beth Reader, Simon Millar, Lindsey Mitchell An anti-bullying educational drama that plays on sentiments to reiterate ideas about bigotry that should be assumed and yet never seem to take hold. Life in a small town is difficult when you’re different from everyone around you. The pressure to conform is heightened by the homogenous social expectations and the constant exposure of an everyone-knows-everyone culture. There’s nowhere to hide who you are, but why should you have to? Sam (McCaffrey), a teenage boy, is the object of cruelty for several local bullies. Inflicting random and senseless violence on him and his best friend Reece (Wales), they have identified some difference within him and want to attack it as brutally as they can. This scene is the first instance an odd reverb on the sound, making some of their dialogue difficult to understand. The naturalistic lighting and shallow focus on a muted and subdued working class Britain has shades of Andrea Arnold’s film, such as Wasp (2003). As Reece returns, he’s confronted by his father, who doesn’t want him to be friends with Sam due to a growing reputation in the town. The pervasive homophobia of their world and increasing rumours that Sam is gay have made Reece’s father worried about how they friendship will reflect on their own family. Even in their two-degree-removed connection, he wants to protect his social reputation at all costs. This generational bigotry not only comes from his friends’ parents, but from Sam’s own family. Upon returning home with visible injuries, Sam’s family appears apathetic. His mother is unbothered by his bruises and generally depressive mood. His father is more violent. After finding texts on Sam’s phone which confirm his sexuality, his alcoholic rage leads him to hit Sam, shouting “No son of mine is gonna be a queer!” It’s implied this isn’t the first beating Sam has suffered at his father’s hands. Sam’s internal conflict is only worsened by his admission to Reece that he is both gay, and in love with him. The dependency he feels towards Reece, as the only kind and understanding friend he has, is strained by the fact that he needs more than friendship from him now. Their relationship is touching, and sold well by both performers. “I do love you, but not the way you love me,” Reece tells Sam. While this is heartbreaking, there is some comfort to the fact he is at least able to express homosocial affection. The generational difference between them and their fathers gestures towards some hope for changing attitudes. One of his bullies briefly takes pity on Sam, telling him to go home. As if there is a home to go to. But the idea of an escape to a sanctuary of safety is impossible, as the inside world is just as deadly as the outside. There is nowhere to be himself, and therefore nowhere to be. The conclusion to this tragedy is predictable, and there’s some exhaustion to seeing the same homophobic abuse and self-inflicted end come to fruition over and over again. But at the same time, these educational dramas remain unavoidable as long as they are reflective of true experiences for young LGBTQ people. About the Film Critic Isaac Parkinson Short Film < All Reviews Next Film Review >

No Man of God, a darkly disturbing new feature that’s set for its UK Premiere at FrightFest 2021, followed by its digital release on 13 September and on DVD and Special Edition Blu-ray on 25 October 2021.. Brand new film trailers. No Man of God UK Trailer No Man of God First UK Trailer Delve into the dark and twisted mind of one of America’s most notorious serial killers – Ted Bundy – in No Man of God, a darkly disturbing new feature that’s set for its UK Premiere at FrightFest 2021, followed by its digital release on 13 September and on DVD and Special Edition Blu-ray on 25 October 2021. The film follows a rarely seen moment in criminal history, after Bundy was sentenced to death and waited to meet his maker, the FBI sent in one of their top analysts to interrogate the murderer to try and find out the full extent of his crimes, his motives and to find answers for his heinous crimes to help the victims’ families. Directed by Amber Sealey (How to Cheat) and penned by C. Robert Cargill (Doctor Strange) based on actual interview transcripts, the critically acclaimed film features outstanding performances from a stellar cast that sees Elijah Wood as FBI analyst Bill Hagmaier, the man tasked by FBI boss (Robert Patrick) to get inside the mind of the infamous killer, Ted Bundy played in an unnervingly convincing turn by Luke Kirby. Bundy’s (Luke Kirby – The Marvelous Mrs. Maisel, Halloween: Resurrection) reign of terror – that saw him kidnap, rape and murder many young women and girls, across numerous states and many years – ended with multiple death sentences, with the full extent of his crimes still to be realised. Bill Hagmaier (Elijah Wood – The Lord of the Rings, Eternal Sunshine of the Spotless Mind) was tasked with understanding how truly dangerous Bundy was and to give solace to victims’ families. Taken from real-life transcripts and revolving around a singular interrogation room, the mind of Bundy is explored in a lesser known period of his life on death row, from 1984 to the day of his execution in 1989. With time running out before the serial killer is given the chair, will Hagmaier be able to get closure for the families searching for answers? See the real face of evil in No Man of God, a truly terrifying real-crime horror. 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.

Who Invited Them film review by UK film critic Hope Madden. Starring Ryan Hansen, Melissa Tang, Perry Mattfeld, Timothy Granaderos directed by Duncan Birmingham. HOME | FILMS | REVIEWS Who Invited Them Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 30, 2022 Directed by: Duncan Birmingham Written by: Duncan Birmingham Starring: Ryan Hansen, Melissa Tang, Perry Mattfeld, Timothy Granaderos Perhaps the most terrifying horror born of neighborly manners is Michael Haneke’s unnerving Funny Games (either his 1997 German-language original or his 2007 English-language remake). Writer/director Duncan Birmingham doesn’t go that far. What he does is walk a tightrope that’s a little goofier, a little less horrifying, but effective nonetheless. Margo (Melissa Tang) and Adam (Ryan Hansen) throw a housewarming party. Well, Adam throws it. Margo endures it. She doesn’t honestly know what was wrong with their old neighborhood. It doesn’t help that their 5-year-old has had nightmares every night since they arrived. Adam invites all his colleagues and bosses, hoping to impress without coming off as douchey. He’s upwardly mobile, although the house —which he got at a steal because of that nasty double homicide—might make them look a little higher up than they really are. Not that Margo and Adam are the only partiers who aren’t what they seem. That really good-looking couple—the two who look like they just came from a really hip funeral—does anyone know who they are? Maybe Sasha (Perry Mattfeld) and Tom (Timothy Granaderos) are the neighbors, as they say. But probably not. What we can say for sure is that they do not want to leave. What transpires after all the other guests have gone would be a comedy of manners except that it feels pretty clear that something awful lurks underneath the handsome couple’s evasion and gaslighting. Birmingham’s film is a mystery of sorts, although you’ll have most of that intrigue figured out pretty early. There is also a subplot about Margo’s friends who are babysitting. This goes essentially nowhere. Worse still, Birmingham rushes Act 3 and leaves you feeling short-changed. However, that 30 minutes or so that Margo and Adam and Sasha and Tom have on their own gets pretty uncomfortable. Hansen unveils surprising warmth within the needy, insecure Adam. He and Tang take the married couple in surprising and welcome directions. Mattfeld and Granaderos are drolly perfect as the home invaders masquerading as partygoers who just can’t tell it’s time to go. A tight script wastes little time and manages to surprise even if you figure out the main mysteries early. Who Invited Them isn’t flawless, but it is an anxious bit of fun. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Sister Midnight film review by UK film critic Rachel Willis. Starring Radhika Apte, Ashok Pathak directed by Karan Kandhari. HOME | FILMS | REVIEWS Sister Midnight Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Jun 5, 2025 Directed by: Karan Kandhari Written by: Karan Kandhari Starring: Radhika Apte, Ashok Pathak Watching the trailer for writer/director Karan Kandhari’s film Sister Midnight did not prepare me for the wild ride I was about to take. It is best to go into this movie knowing as little as possible, so each change in direction allows for surprise. For that reason, I will give away as little as I can. When Uma (Radhika Apte) travels into the city to marry Gopal (Ashok Pathak) in an arranged marriage, she doesn’t know exactly what to expect. She and Gopal knew each other as children, but it’s clear they no longer have any idea what makes the other one tick. We’re treated to several comedic moments as these two newlyweds navigate their shared space in one very tiny apartment on a busy street. However, the comedy quickly gives way to Uma’s despair. As her misery grows, she finds herself unable to eat, but the only thing her female neighbors seem to notice is how pale she appears. Many of them ask her which whitening cream she uses. This is one example of how deeply embedded into the culture the film lies. While most of the film’s details transcend culture, Kandhari doesn’t beat anyone over the head with extraneous information. Some things will likely go over the heads of anyone unfamiliar with India’s cultural history and background, but the audience can still identify with how Uma feels, which keeps the story relatable. Though Sister Midnight retains its humor, it’s impossible to deny the sadness that underlies it. As the film progresses, Kandhari peppers in horror elements. A couple of scenes even reminded me of Ari Aster’s Midsommar , though Sister Midnight never delves so deeply into outright terror. Apte excels as the woman whose husband is incomprehensible to her. Equally enjoyable is Pathak’s turn as the bumbling spouse who is just as perplexed by his new wife. Sister Midnight is funny, horrifying, and a little sad—a nice blend for an interesting take on surviving an unhappy marriage. About the Film Critic Rachel Willis Theatrical Release, World Cinema < All Reviews Next Film Review >

The Mummy film review by UK film critic Jason Knight. Starring Jon Jacobs, Lisa Zane, Apoorva Mitra, Siena Goines, Sheba Jade directed by Maurice Chauvet. HOME | FILMS | REVIEWS The Mummy Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 13, 2026 Directed by: Maurice Chauvet Written by: Maurice Chauvet Starring: Jon Jacobs, Lisa Zane, Apoorva Mitra, Siena Goines, Sheba Jade Another feature titled The Mummy . Filmed over the course of three years, this is one is a supernatural horror film and it is the directorial debut from writer and director Maurice Chauvet and it stars Jon Jacobs, Lisa Zane, Siena Goines, Apoorva Mittra and Sheba Jade, the last two having their screen debut. So what is the plot? Robert (Jon), a famous and controversial British Egyptologist, currently resides in New Mexico with his wife, Beth (Goines) and his teenaged daughter, Isobel (Jade). Things have not been too good lately, as Isobel (who spends the entirety of the film dressed in her school uniform) has been having long-term occasions of sleepwalking. On top of this, Charlotte (Zane), a wealthy tech entrepreneur, visits Robert at his large house, demanding that he gives her a small artifact shaped like a woman that supposedly possessess magical powers. Without intending spoilers, the title is a bit misleading. Yes, the story involves Ancient Egypt (which is seen briefly) and there are ancient artifacts to be seen. However, unlike pretty much all previous films with the word 'Mummy' in their title, this one does not have a throusand-year-old corpse rising from the dead and Ancient Egypt is only present in brief flashbacks. So what happens then that justifies the title? Well, almost the entire narrative takes place inside Robert's home, with him and Isobel being plagued by visions of a Ara (Mittra), a young woman who was sacrificed in Ancient Egypt and has now found a way to enter the current world, via the artifact mentioned above. This artifact is one of many that were placed inside the sarcophagus of a Pharaoh, with intentions related to the afterlife. When Ara enters the world of the living, she does so by taking control of people's bodies (when she does so, she is shown wearing the clothes of the person she is controlling) and her intention is to find a way to end her suffering. There are many visions and flashbacks throughout of either Robert being in a darkened place or Ara in Ancient Egypt. Perhaps all this is not enough to justify the title. This feature is primarily a psychological horror story, a thriller and a family drama. Not a film about an ancient corpse. At the end of the day, a film should not be judged by its title and there are positive aspects in this one. Sean Musaeus makes a great contribution with the atmospheric music that enhances the feelings of dread and suspense and costume designer Alyssa Katz deserves commendations for the Egyptian clothing. As the main character, Robert is an expert in Egyptology but who is also dealing with mental health issues, a condition that seems to have troubled his past relatives, due to the unwise actions of his great-grandfather. He is a well-meaning man who is concerned about people's well-being but has an unstable relationship with his daughter. Arguably, Mittra is the one who steals the show and that is not just because her character is supernatural (a spirit apparently) but due to her energetic performance. It is when she enters the picture that things get more tense. Although initially she appears sinister, she eventually comes across as a victim of terrible suffering. As for Charlotte, a calculative woman, her role appears to be that of the antagonist. From the perspective regarding horror, this story is about preventing something bad from happening, enchanted objects, desperation, danger and redemption. If one looks at things from a point of view that involves Robert and his family, it concerns family values and reconciliation. It would probably be fair to state that this film is not what the title suggests it is about. Not a story about a mummy spreading chaos in Egypt, but more of a haunted house concept and body possession. This feature seeks to have an impact via character exploration and atmosphere, not action. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Hunt film review by UK film critic Matt Weiner. Starring Lee Jung-jae, Jung Wo-sung, Heo Sung-tae directed by Lee Jung-jae. HOME | FILMS | REVIEWS Hunt Film Review average rating is 3 out of 5 Critic: Matt Weiner | Posted on: Nov 29, 2022 Directed by: Lee Jung-jae Written by: Jo Seung-Hee Starring: Lee Jung-jae, Jung Wo-sung, Heo Sung-tae If Squid Game was Lee Jung-jae’s international coming out party, his directorial debut Hunt is a confident and original statement that the engaging actor isn’t slowing down anytime soon. Loosely inspired by real-world events during the waning days of South Korea’s military dictatorship, Hunt (written by Lee and Jo Seung-Hee) follows a cat-and-mouse game between the heads of the Korean Central Intelligence Agency’s Foreign Unit, Park Pyong-ho (Lee), and the Domestic Unit, Kim Jung-do (Jung Woo-sung). The agency is grappling with a student uprising against the president, ever-present North Korean belligerence, and of course, meddling American intelligence agencies. When an assassination attempt on the South Korean president comes dangerously close to succeeding, the KCIA suspects a mole. Park and Kim are pitted against each other, and no agent is above suspicion. Lee stuffs his debut with impressive action set pieces. But this is not the most nuanced of spy thrillers. Lee tends to paint his arterial spatter with a firehose rather than a brush—and it’s a bright, busy canvas by the time Park and Kim are done rooting out the mole. And then there are the frequent (and graphic) torture sequences perpetrated by the South Korean security forces, carried out almost unthinkingly on friend and “foe” alike. While Lee doesn’t shy away from over-the-top action, he also takes care to shade his characters with enough moral ambiguity that after the umpteenth double cross it’s no longer clear which outcome anyone is rooting for—including the characters themselves. There’s not much downtime from start to finish. If anything, the story ultimately suffers from the relentless action, especially as the cold war paranoia turns hot. They might not be the quiet tragic heroes of le Carré, but Park and Kim’s deadly game plays so well that it excuses any number of absurd plot twists. Hunt sticks to the hits with its dueling double (or triple?) agents, but Lee directs with a flourish for action. There’s enough here for action fans, and it’s even more promising as the start of a new phase in Lee’s prolific career. About the Film Critic Matt Weiner Theatrical Release, Digital / DVD Release, World Cinema < All Reviews Next Film Review >