The SnowRaven Chronicles: The Treasure of Ockra-Bane film review by UK film critic Joe Beck. Starring N/A directed by AJ Spencer. HOME | FILMS | REVIEWS The SnowRaven Chronicles: The Treasure of Ockra-Bane Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jun 23, 2023 Directed by: AJ Spencer Written by: AJ Spencer Starring: N/A Many of us will have had fun in the past, perhaps in our collective youths, making some whacko nonsense on our parents computer. Something which at the time will have seemed like a masterpiece, but to anyone with even a remotely developed brain is dull, nonsensical and plainly bad. ‘The SnowRaven Chronicles: The Treasure of Ockra-Bane’ is what happens when one of those films is presented as a film rather than as just a child messing around creatively. It is, quite simply, unwatchable for the entirety of its eleven minute runtime, and you have to wonder who on earth thought any of it was a good idea. The story - though calling it that may be a stretch - involves the heroic, eponymous Lady SnowRaven (what a dreadful name!) and her quest to claim the fabled treasure of Ockra-bane, which is supposedly hidden within the ancient remnants of a long forgotten civilisation deep in the mountains of Andorra. Unfortunately for Lady SnowRaven, and for everyone watching, the film doesn’t end there, and she must fend off a series of monsters, including a swam of vengeful Vosharian (what a Vosharian is I could not tell you), before the film can finally conclude after eleven minutes that feel like an eternity. The film is animated in a style not seen since bad video games in the early 2000s, with the archaic, computer generated images used in this film not used in nearly twenty years, and for good reason. The animation style - particularly in a world in which ‘Across the Spider-Verse’ has recently been released, ‘Toy Story’ is nearly thirty years old, and ‘Steamboat Willie’ is almost one-hundred - lacks the humanity that people have imbued into animation since the practice began. Each movement feels robotic, and each character is plainly unrealistic despite obvious attempts to make them appear real. There’s a reason this kind of animation is no longer used, and that’s because technology has progressed, hell, it had already progressed thirty years ago, and it is now almost obsolete, save for a few games, and animation tools used to teach kids. The animation style is ugly and off-putting, to say the least, but even then it is far from the worst thing about this film. No, for some inexplicable reason, ‘The SnowRaven Chronicles: The Treasure of Ockra-Bane’ is voiced not by humans, but by the cold, robotic voice of a computer. A human voice, even one completely ill-suited to the film, would have served better. The A.I. cannot form a sentence without pausing at the worst times, failing to speak a single sentence clearly, as its monotonous tone guides us through the film. A further reason to reconsider the life choices that led you to watching this film is that the computer reads out the whole screenplay, and not just the dialogue, so as an animated woman with clown paint on her face and dressed only in a loose fitting overcoat and black thong does battle with a monster we are given a step-by-step narration as to the whole process. It is abysmal viewing, and, far from merely outlining the abject quality of the screenplay, elevates the coldness surrounding the film, and reinforces the sense that it lacks a human touch. ‘The SnowRaven Chronicles: The Treasure of Ockra-Bane’ is perhaps one of the worst films this critic has ever seen. It is a total failure in creativity - with the animation so inhuman and computerised that it sinks the film to beyond woeful. It is almost as though it were made entirely by A.I., and if that’s what we’ve got to look forward to in that regard then the future of cinema is looking bleaker than we all thought. NOTE FROM FILMMAKER: There are 3 versions of this short film. One is music only (no dialogue). One is dialogue & sound fx only. And one is a mix of both styles *the first 2 versions are available on Facebook/Youtube together with an invitation to "VOTE" for a preferred version with likes/comments. *The 3rd version is currently on the film festival circuit. There are 4 SnowRaven Audio Books (and Graphic Novel Adaptions). This short film is based on the 2nd book in the series (The Vosharian figure prominently in all of them). Buy UKFR Banner Space About the Film Critic Joe Beck Animation, Short Film < All Reviews Next Film Review >

Play for Views film review by UK film critic Jason Knight. Starring Gnator8t4, Red Guy, Ellietendo, DJX5000, Mankalor directed by George Anderson. HOME | FILMS | REVIEWS Play for Views Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 14, 2023 Directed by: George Anderson Written by: N/A Starring: Gnator8t4, Red Guy, Ellietendo, DJX5000, Mankalor An intriguing documentary about the world of gaming YouTube channels. This feature-length documentary explores the stories of five individuals who have managed to achieve significant success by setting up their own online gaming channels. These bright young people are: George (whose channel name is Gnator8t4), John (Red Guy), Ellie (Ellietendo), Derrick (DJX5000) and Kevin (Mankalor). Interviewed via webcams, they each talk about how they first got into gaming, what motivated them to begin making and uploading videos, where they are now and how they do their work. Separated into chapters, the film begins by introducing the interviewees, who come across as likeable and intelligent and enthusiastic about their achievements, which include creating their channels, reviewing games, livestreaming and coming up with their channel name. The interviews intertwine between them and there is plenty of footage of the YouTubers being filmed through the webcams as they speak. Apart from the interviewees, there are also many clips of a variety of well-known video games throughout, which are accompanied by the narrator's voice-over. There is also footage of well-known video game-related YouTube channels, including Angry Video Game Nerd and The Irate Gamer . All this has been edited very methodically by Anderson. The letters that make up the titles of the chapters and credits have been stylised in a way that resembles old-school game letters and it was a very clever choice as it matches the feature's themes. The film also gains from the rich collection of songs that constitute the soundtrack. This is an inspiring documentary that introduces the world to five individuals who have managed to turn their passion into a profession. The film reveals how one can become a gaming YouTuber and how far this industry has come. It is an entertaining and informative experience and it will most likely appeal not just to gaming fans, but also to those with the ambition to become a gaming influencer. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Divine Trials film review by UK film critic Joe Beck. Starring Asad Qavi, Ahmed Effendi directed by Omar Tabanjah. HOME | FILMS | REVIEWS Divine Trials Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Oct 6, 2024 Directed by: Omar Tabanjah Written by: Omar Tabanjah, Abdullah Tabanjah, Zain Ali, Zuhayr Khan, Saad Khan, Ahmed Effendi, Shan Khan, Laith Mothafar, Asad Qavi Starring: Asad Qavi, Ahmed Effendi Religious films get a bad reputation amongst the filmmaking community. Only in the hands of a select few filmmakers is true spirituality and religious belief properly conveyed with the majesty and gravitas that it deserves. Instead, so often religious films are too full of whimsy and have a cheesy, schmalzy feel to them, playing into every trope imaginable and preaching overtly rather than in any nuanced way. They tend to preach at you, rather than progress your faith through emotion and storytelling. ‘Divine Trials’ unfortunately falls into the latter camp. Whilst it is certainly well-meaning and has its heart in the right place, it only comes across as unrealistic and incredibly cheesy. The film follows Ilyas, a devoted Muslim who follows the Quran, prays five times a day and is an all round stand up citizen. He gets high grades in school and everything seems to work well in his life, enjoying a strong relationship with his father, playing video games and having good friends. However, when things begin to take a turn for the worse, and go wrong in his life, his faith is rocked. He fails to pass a test - believing that he doesn’t need to study because he prays five times a day - and is beset with personal tragedy when his uncle dies. These lead him to question his faith and he begins to fall in with the wrong crowd, who introduce him to a host of activities, alcohol, and weed. It is a privilege to live a life in which your faith in whatever god you may believe in is forever unwavering. It will be tested throughout a person’s life, and perhaps that is the biggest issue with ‘Divine Trials’, that it feels unrealistic that a man has never had such doubt before. Ilyas’ belief that he does not need to study for exams seems especially ridiculous, as does the extent to which he strays from his faith. Furthermore, the film, which is written by several people, paints its characters simply as caricatures, rather than believable, realistic, fully fleshed out people. The crowd that influence and corrupt Ilyas are far more cult-like than the film intends to portray them, and far from any ordinary group of young men. Their intolerance towards Ilyas’ prayers and his refusal to explain what he is doing comes across as odd, as does the way Ilyas falls so easily into the trappings of this group. As a whole, it is a story that is very hard to believe, and that is a reflection of the poor quality script, that revels in schmalz and sentimentalism rather than any sense of realism or storytelling. ‘Divine Trials’ is an unfortunate case of a film that’s quality doesn’t quite measure up to the heart and good will behind it. Though it’s message is a good one it fails to convey this in any nuanced or engaging way, instead following basic genre tropes and falling into fantasy far too many times for a story that is supposed to be grounded in reality. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Surviving A Narcissist film review by UK film critic Swati Verma. Starring Jessica Mann directed by Jennifer Bulcock. HOME | FILMS | REVIEWS Surviving A Narcissist Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 18, 2023 Directed by: Jennifer Bulcock Written by: Jennifer Bulcock Starring: Jessica Mann The writer-director Jennifer Bulcock is very passionate about telling stories of woman who have survived through hard times both emotionally or physically. Bullock uses the combination of white and red font for title of short film - Surviving A Narcissist to showcase the danger looming on the female protagonist (Jessica Mann)of her past that she is trying to deal with daily. The plot of the movie revolves around a survivor of narcissistic abuse who looks back at her relationship in this poetic journey. The film opens with a very important disclaimer that adds elements of realism and makes the content even more relatable as well as the audience feels involved with the same. A series of mid-shots, close-up shots and extremely close-up shots are effectively utilised to provide the detailing to the subject matter to emotionally appeal to its viewers in the short runtime of the dramatic piece. The white and grey colour pallet, set design, dim lighting, dialogues, costume, hair, and makeup have been kept natural to shed light to the sensitive topics the movie talks about. The whitish pale colour tone of the short film maintained all through gives a sense of an attempt of destroying the purity, simplicity and innocence of the central character yet the red colour also symbolises anger as well as aggression as the woman fights back strongly. I think the filmmaker has taken an interesting decision of including poetry to communicate the narrative of the life of brave heart so that the creative piece does not bore the audience. Jessica Mann plays the role of the survivor of the domestic violence who wants to completely come out of this relationship for her wellbeing. Mann gives life to the director’s imagination by utilising the body-language, voice modulation, facial expressions and eyes to portray the physical as well as mental problems the character had to face due to trauma incurred over the years. Surviving A Narcissist talks about the bad effects of a long- term trauma, abuse, and anxiety on the mental health of the person experiencing it. The cinematic piece reiterates the importance of self believe and also listening to one’s inner conscience is crucial when taking a decision related to self or a loved one. The short film discusses the significance discovering strength a woman possesses and knowing that she shouldn’t give the right to anyone to overpower her in any given situation. Surviving A Narcissist also tells us that false hopes, fake love concerns, verbal or physical fights are some of warning signs one has to be mindful of whenever one gets into a new relationship. It restates that blind trust and overdependence on someone emotionally can give birth to self-doubt. The creative piece highlights that relationships had to be mutually valued, loved and respected and each one should be treated as equals for a happy life together. The film also talks about staying true and finding one’s identity helping females stand against the wrongdoings of the oppressor and giving out a strong message to society with regards to woman empowerment. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

All is Fine in '89 film review by UK film critic Chris Buick. Starring Dylan Hawco, Shelby Handley, Dani Romero, Adam Lupis, Tom Keat directed by Matthew Lupis. HOME | FILMS | REVIEWS All is Fine in '89 Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Mar 27, 2025 Directed by: Matthew Lupis Written by: Matthew Lupis Starring: Dylan Hawco, Shelby Handley, Dani Romero, Adam Lupis, Tom Keat With the 80s now somewhat back in vogue, there has been an influx of offerings that have looked to capitalise on the recent rebirth of love for the decade. But All is Fine in '89 transcends mere trend chasing; it’s a film that uses that period to tell enduringly relevant stories. The year is 1989. The Berlin Wall is coming down, and the world enters a period of post-Cold War optimism for the first time in decades. In one typical American high school, a group of seniors eagerly await their last-ever field party before graduation, full of hope and excitement for their futures. But for some, the night holds twists and turns that will drastically shape the rest of their lives. Writer/director Matthew Lupis and their team’s dedication to period authenticity here is impeccable. From the hairstyles and the clothing to the soundtrack and the era’s sometimes colourful but distinctive language, every detail feels as authentic and thought out as one would hope. All this meticulous attention to detail goes miles towards creating a loving and bona fide representation of that point in time, and equally creates a fitting homage to classics of the era, such as The Breakfast Club and Fast Times at Ridgemont High while also cementing itself as a future classic in its own right. Aside from that, over its near hundred-minute runtime, All is Fine in '89 manages to run the gamut on what are still incredibly pertinent topics such masculinity, sexuality, domestic abuse, sexual violence, hope and despair in equal measure, proving that the film is not just here to entertain, but to say something. But for it all to truly land, like those aforementioned classics did before it, you need a cast to get behind and ultimately believe in, and All is Fine in '89 has an ensemble teeming with great acting talent, who all together breathe new life into the character staples we’ve come to know and love from the genre. Hawco’s charismatic Dean Marino leads the bad boy rebels, only ever interested in girls and a good time, turning up to class every once in a while just to ogle over the young, hot teacher and ignored wife, Mrs. Applewood (Handley). Keat’s Cole Sullivan fills the role of the bullying jock, his constant torment of Adam’s Lupis’ Mark as well his own inner anguish are central to the films tense boiling point, all of whom are accompanied by a host of supporting characters that make this world seem as full and real as it possibly could be. However, it’s Dani Romero’s devastatingly nuanced performance as Linda that deserves top prize, effortlessly carrying what is perhaps the biggest and most demanding storyline of the film with sensitivity and emotion that hits hard. With its highly respectable investment in its period setting and patient approach in establishing characters and the complex dynamics between them, All is Fine in '89 undoubtedly delivers and entertains with all the hallmarks of a classic that keeps you guessing right until the end and completely invested in each character's destiny. Buy UKFR Banner Space About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

The Cornucopia Club film review by UK film critic Jason Knight. Starring Cathy Wippell, Christopher Mulvin, John Bristow, Abigail Rogers directed by Joseph Archer. HOME | FILMS | REVIEWS The Cornucopia Club Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 4, 2023 Directed by: Joseph Archer Written by: Cathy Wippell, Joseph Archer Starring: Cathy Wippell, Christopher Mulvin, John Bristow, Abigail Rogers A group of people get together for an annual and rather unconventional type of feast. However, this time things will be different. Several individuals are inside a large dining room, sitting around a table that is filled with bottles, candles and plates containing scraps, including the skull of a goat. The reason for the gathering is an yearly tradition that has been followed for centuries and involves participants eating all the animals in the world in one session. And now, they have done just that and only one thing remains to devour: a human body. On top of that, the party is about to be crashed by a group of animal activists. The entire narrative of this dark comedy takes place inside the dining room and the first half consists of the diners having a laugh, discussing the event that they are currently attending and having a minor argument about eating human flesh, as one of them is not so keen on it. The atmosphere changes with the sudden arrival of the activists, who threaten them with weapons and demand that they stop eating animals. What makes this an amusing viewing is the dialogue and the performances, particularly Mulvin's, who is wearing a military uniform and is the host. Other characters who stand out include a guest who seems to see the funny side in things and an activist who appears to be French. Generally, the diners come across as obnoxious and the audience will most likely side with the activists, whose aim is to protect animals. There are confrontations, betrayals and tense moments. The situation is certainly engaging: a bunch of wealthy individuals eating every animal species on Earth and about to commit cannibalism and it gets even more engaging when the activists appear. The film explores interesting issues that involve animal rights, cannibalism, social inequality and a brief reference to social media. The cinematography by Gergana Popova creates a dark atmosphere and the piano melodies establish a comical tone. This is a story about an extraordinary event and the people involved. Conflicting opinions, awkward characters and a sort of hostage situation make this short a viewing that is worth looking into. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Lost film review by UK film critic William Hemingway. Starring Aristo Mijnals, Jihane El Fahidi, Alice Varela Monteiro directed by Harvey Kadijk. HOME | FILMS | REVIEWS Lost Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Oct 11, 2023 Directed by: Harvey Kadijk Written by: Harvey Kadijk Starring: Aristo Mijnals, Jihane El Fahidi, Alice Varela Monteiro In Dutch film-maker Harvey Kadijk’s new short film, Lost it is his protagonist, Dalo (Mijnals) who can’t seem to find his way. If anything it feels as though Dalo is a little lost in time as the film follows a non-linear path to tell us his story. Waking up one morning Dalo is faced with some big news from his partner, Sarah (El Fahidi). A quick cut to how Dalo later on reacts to this news, although not much later on because he’s still in his pants and his t-shirt, lets us know that the narrative is going to be a little jumpy and that the meaning of the film will only be revealed to us once Dalo and Sarah’s relationship has been rounded out a little more. We watch as Dalo and Sarah get loved up, both in the present with some gorgeous cinematography from Jeffrey H Bakker focusing on a series of intimate close-ups, and in the past which is telegraphed by differing hairstyles and a switch to camera mode where we’re made to watch in vertical screen with about 80% of the picture given to an out of focus background like you see on the news. It’s difficult to tell whether this stylistic trick is smart or not as it most definitely adds a layer of authenticity to the flashback, keeping Dalo’s memories firmly locked in the past in the only medium with which he can access them, but it is likely to annoy purists of cinema and those who like to watch a full screen as most of what’s being shown becomes visually pointless. Luckily the flashback scenes don’t suffer too much from this stylistic choice as they are short and almost narratively pointless, too, only offering a small window into the relationship in a specific time and place, between the fluttering of ribbons where new love has sprung, almost like a much derided scene in that classic love story, Pearl Harbor (2001). Soon we find that Dalo really is lost and we get large inferences as to why that is. The way that Kadijk handles the shift in the narrative at two very distinct points is very clever and beautifully done. At all times we feel that this is Dalo’s story but never at any point do we feel that we can encompass all that he has experienced. This is again to Kadijk’s credit as we couldn’t possibly expect to understand everything that Dalo has gone through in a very short ten minutes, only that we can take in enough to share his most important thoughts, feelings and impressions which have remained with him throughout. Both Aristo Mijnals’ performance as Dalo and Jihane El Fahidi’s presentation of Sarah shine through from the screen to bring their characters to life. It is obvious that this is a fairly personal film for Kadijk and the two leads understand instinctively how to bring this across to the viewer in the short time that they have. Unfortunately though, the story just doesn’t go very far and the time wasted on supposedly getting to know the characters just isn’t time well spent. Despite being only ten minutes long and including several different time-frames, Lost seems just that as it plods along at a pedestrian pace, allowing the viewer to ask themselves if there wasn’t a more involved way to tell this very personal and inherently emotive story. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

Burros film review by UK film critic Jason Knight. Starring Amaya Juan, Zuemmy Carrillo, Virginia Patricio directed by Jefferson Stein. HOME | FILMS | REVIEWS Burros Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 20, 2021 Directed by: Jefferson Stein Written by: Jefferson Stein Starring: Amaya Juan, Zuemmy Carrillo, Virginia Patricio Two little girls meet at the Mexico-United States border and develop a friendship. One day, Elsa (Juan), an indigenous child living in Southern Arizona, on the Tohono O'odham Nation, is left by herself at her home, while her father attends to work-related matters. While wandering around in the countryside, she comes across Ena (Carrillo), a Hispanic girl who is the same age as her. Ena is all alone, having being separated from her father, while trying to cross the border. Although they do not speak each other's language, the two girls remain together and go on a long walk, during which they grab a bite to eat, play various games, visit a food shop, before ending up at the house of Elsa's grandmother. This thoughtful and moving drama tells a story about a bond between two children, under awkward and dramatic circumstances. Ena is in a devastating situation: she is just a child, alone in a foreign country and her future is very uncertain. She and Elsa are innocent and playful and are oblivious to what is happening around them, regarding the harsh realities of illegal immigration. At one point they pass by illegal immigrants being detained by the authorities and later they are near another group of illegals being escorted across the border by men with guns. Although certain things around them are bleak, the two girls have fun and enjoy each other's company, indicating that children tend to look at the bright side of things. The plot explores illegal immigration issues and the mise-en-scene shows that, with the presence of Border Patrol and illegal smugglers. Ena represents the awful consequences of attempting to cross the border illegally, which is children getting lost and finding themselves in danger. The two protagonists deliver convincing and emotional performances. Juan plays her role well as a happy, carefree child and Carrillo also does a good job as a foreign, lost child. Patricio is sympathetic as the caring grandmother. Stein creates wonderful establishing shots that capture the beauty of the surrounding countryside and makes effective use of well-executed long takes. Composer Amanda Jones develops a beautiful and dramatic score that includes violin music. This story is a hard-hitting look into illegal immigration but it also presents the kindness and generocity of people, by showing how Elsa and her grandmother help Ena. This is an emotional and very well made short that should be experienced. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

As A Joke film review by UK film critic Jason Knight. Starring Ben Xiao, Ru Gupte, Estee Poichot, Thomas Tricerri directed by Phoebe Critchlow, Natalie Hay. HOME | FILMS | REVIEWS As A Joke Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 19, 2025 Directed by: Phoebe Critchlow, Natalie Hay Written by: Natalie Hay, Bri Power Starring: Ben Xiao, Ru Gupte, Estee Poichot, Thomas Tricerri A short dark comedy written by Natalie Hay, Bri Power, directed by Phoebe Critchlow and Natalie Hay and starring Ben Xiao, Ru Gupte, Estee Poichot and Thomas Tricerri. Owen (Xiao) has found himself in quite a situation: he has just murdered his best friend (Tricerri). Apparently, there had been an altercation between them in Owen's apartment and he shoved his friend roughly, causing him to fall and die on the kitchen floor. Now owen is panicking and does not know what to do. By accident, he grabs the attention of his smart home device and proceeds to ask advice regarding getting rid of the dead body. The aftermath of a terrible incident, leading to an awkward interaction between a young man and an electronic device. The story starts off as a serious thriller, before turning into a darkly comical situation involving the disposal of a corpse. Owen desperately and repeatedly asks for the device's advice on what to do and he is given it, as he has tricked the device in to believing that he wants to learn how to get rid of a body as a joke. Dark humour, gore, drama and gruesomeness dominate this film. The narrative is intriguing and amusing (as far as dark humour goes), however it ends in a sort of cliffhanger, which is OK, still though one might think that the story could had carried on beyond that point. Xiao delivers an entertaining performance. His character is a naive (and as it turns out: bad-tempered and disturbed) guy who has suddenly found himself having to cover up his crime, all while being assisted by a device with a female voice (Gupte provides the voice for the device and it is named Mimi), like a child asking their mother for help to clean up their mess. In the blink of an eye, he turns into a killer and body mutilator. This is a story about murder and consequences, desperation and it also serves as a comedic commentary about how much people rely on technology these days. Three-and-a-half minutes of dark humour. A viewing that will most likely be amusing to those who enjoy dark comedies with very dark humour. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Retribution film review by UK film critic Corey Bulloch. Starring Nelson Pingitore, Clara Bentz, Valerie Sepulveda directed by Julia Grace Jones. HOME | FILMS | REVIEWS Retribution Film Review average rating is 2 out of 5 Critic: Corey Bulloch | Posted on: Mar 3, 2022 Directed by: Julia Grace Jones Written by: Julia Grace Jones Starring: Nelson Pingitore, Clara Bentz, Valerie Sepulveda An isolated patient handcuffed to a chair, an enigmatic voice speaking to them through a loudspeaker, conversations of punishment, hypocrisy and revenge; Julia Grace Jones’ short film Retribution definitely feels reminiscent of specific horror iconography. Though more focused on the psychological torment than physical, I’d say Jones’ script leans more towards David Slade’s Hard Candy than the brutality of Saw. A script unfortunately let down by underwhelming production design and acting as Jones’ direction can’t create a sense of dread in the patient and doctor’s game of cat and mouse. There are attempts to toy with the audience’s sympathies to make certain reveals hit harder but nothing rises above the mild tempo throughout the run time. They can all be seen a mile away and the performances do little to make them impactful. The concept behind Jones’ film is striking and would offer interesting avenues of exploration in short form and long-form storytelling. I’m not sure if Jones’ toyed with presenting the potential body horror concepts more strikingly but the social themes of the film couldn’t be more timely. Retribution without getting deep into spoilers offers a glimpse of a dystopian present where women’s reproductive rights have clearly been stripped by hard-right political actions. It’s a daunting reality, made more striking by actual actions of governments in recent months where women will be severely punished for seeking abortions. With that backdrop, Jones’ uses her three characters to explore the hypocrisy of men, sexual violence, control within patriarchy and vigilante justice. All fascinating ideological explorations which I felt were mostly handled tastefully in the context of the horror-thriller genre Jones crafts them around. It’s not all perfect as I felt some accepts of performance undercut the messaging though Nelson Pingitore’s depiction of petulant male rage was very convincing. Jones’ depiction of men’s hypocrisy towards women was my favourite element of the film and the patient’s successful “surgery” adds to that gloriously. Retribution is likely a film that would anger some audiences and have them spout off certain buzzwords and rally similar sentiments the film alludes to through its main character. Though at times the film can feel like a lecture but only because that’s how the story is presented, the doctor and patient speaking back and forth. The short film trap of two characters talking in a room which Jones can’t get out of as the danger of the scenario isn’t well captured by the filmmaking. From the obvious fake handcuffs to Pingitore’s overacting (specifically his eye movements), the themes of Jones’ script are let down by the presentation. A decent idea that could be improved by sharper writing and production, Retribution ’s potential unfortunately isn’t fully realised. Buy UKFR Banner Space About the Film Critic Corey Bulloch Short Film < All Reviews Next Film Review >

It's Not All Rock & Roll film review by UK film critic Patrick Foley. Starring Dave Doughman, Ludwig Jackson Hummer, Martin Boeters directed by Jim Burns. HOME | FILMS | REVIEWS It's Not All Rock & Roll Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 23, 2022 Directed by: Jim Burns Written by: Angela Slaven & Jim Burns Starring: Dave Doughman, Ludwig Jackson Hummer, Martin Boeters There are layers that exist below all art and all artists. Different faces of the same people that come together to create works that speak to fans and admirers who the creator may never meet. It’s Not All Rock & Roll is a classic rockumentary examining niche, Hamburg-residing indie ban Swearing At Motorists’ frontman Dave Doughman – and whilst its subject might not be throwing any TVs out of windows or engaging in all-night cocaine binges, this deconstruction of the man behind the music is an endearing examination of an artist and life on the road. The film intimately follows Doughman through his life – on stage, on the road, at home and at work. Far from the luxury rockstar lifestyle, Doughman plays most gigs at small clubs and bars, works at a dockyard to support his music, and raises his son lovingly at home. But his undeniable stage charisma is clear when performing for the band’s die-hard fans. As he performs in both Germany and his native America, the documentary is a consideration of Doughman’s dissonance – as both a rock maverick and an everyday working man. It's Not All Rock & Roll is really (ironically) for people who love rock and roll – and Swearing At Motorists especially. As Doughman himself states in the film – it’s about his lack of fame. It’s about the co-existence of a relatively normal everyday lifestyle with the pursuit of passion. However this is no sob-story about some loser who laments never hitting the big-time or being dragged kicking and screaming into obscurity – but instead about a man who on the surface at least has balanced his art and his family. That’s not to say that the film doesn’t focus on a complex individual. Doughman talks at length about his upbringing and his battles with depression, as well as his struggles in raising his own son. His affable demeanour clearly hides personal battles that he details through his music. And one scene in which he argues with a pool-player making too much noise at one of his gigs makes for an electrifying exchange in which a confrontational nature reveals itself and causes high tension on stage (although any self-respecting rockstar really ought to be drowning out the sound of a game of pool – sorry Dave). There is some sense of ‘why’ lacking from the film for those who do not follow the band or care much about the lives of musicians. There is no real dramatic thread-line to hook viewers as they watch the band’s tour get underway, and where the film clearly tries to uncover what drives Doughman to continue his unique dual-life for as long as he has, there is also the lack of a ‘Eureka’ moment to capture the heart of the man at the heart of the film. Audiences would be forgiven for feeling they still have things to uncover about the true Dave Doughman despite the length of time spent with him – though this may be down as much to Doughman’s inherent enigma rather than any fault of the filmmakers. It’s Not All Rock & Roll shows the reality of most artists and musicians who spend their lives balancing their creativity and the demands of the modern world. Whilst it is a little overlong, and a little lacking in drama, even non-music lovers should appreciate the lengths artists like Dave Doughman go to brighten up the world – even when it feels like no-one is watching. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

Hamza Ali Helps People film review by UK film critic William Curzon. Starring Abishek Nair, Katy Trevor directed by Hysum Ismail. HOME | FILMS | REVIEWS Hamza Ali Helps People Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Mar 31, 2026 Directed by: Hysum Ismail Written by: Hysum Ismail Starring: Abishek Nair, Katy Trevor Hamza Ali Helps People follows the titular character (Abishek Nair) during a lonely night shift at a crisis hotline as a volunteer. His unwavering kindness is put to the test by a call that refuses to stay simple, and he is left conflicted by how to handle the situation. The narrative takes place in London; however, the filmmakers shot the film in Dubai just days before regional tensions grew larger, and this gave the central themes more purpose as a reflection of the wider world. One of the most impressive aspects of the piece is its consistently enthralling narrative. The central themes of the film genuinely fill the viewer with a sense of dread and urgency as Hamza is pushed to the edge by his empathy towards others. The lack of music throughout is isolating and ultimately makes the experience more visceral and gut-wrenching to witness. At the same time, the brief inclusion of a musical score is uplifting for the more hopeful aspects of the narrative. The use of distorted audio is another outstanding use of sound, making the more harrowing themes of the piece more nail-biting. While the runtime is incredibly brisk and there's fairly minor material to chew on, the filmmakers make the most of the screenplay to leave the viewer on the edge of their seat consistently. Mo Azmi, serving as the film's cinematographer, shoots the central conflict with a sense of urgency, utilising visceral camera movement that constantly pits Hamza at the centre of the frame with extreme close-ups and over-the-shoulder framing. The one location setting is utilised to the fullest, and the camerawork anchors the severity of the situation Hamza is in. It's ultimately an astounding edit without a dull moment, which makes the experience feel incredibly fluid and raw in its presentation. The central performance from Abishek Nair in his portrayal of Hamza Ali is exceptionally raw and nuanced, conveying the sheer isolation and dread that Hamza experiences. He communicates so much complexity with so little, as the narrative is focused entirely on him in a single room, on a crisis hotline. Abishek Nair carries the weight of the film on his back, and the experience would not have worked without his commanding screen presence. The supporting cast, including Katy Trevor in her portrayal of Vicky, is also commendable. She delivers a performance which leaves the viewer questioning the character’s intentions and integrity. The film sheds a heavy light on individuals struggling with mental health issues and expresses how important it is to reach out to others despite how cruel and unforgiving the world can be. It's a powerful and unflinching depiction of daring to reach out to another before it's too late. The piece concludes abruptly, leaving no easy answers or resolution to empathy, and ultimately, the viewer is left wanting more. Hamza Ali Helps People is a raw and insightful showcase of how one's empathy can be pushed to the limit. Anchored by a powerful central performance from Abishek Nair and writer/director Hysum Ismail’s formalism, the film is a wonderful achievement in indie filmmaking and a harrowing reminder of fear in the wider world today. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >