It Takes Three film review by UK film critic Rachel Willis. Starring Jared Gilman, David Gridley, Aurora Perrineau, Mikey Madison directed by Scott Coffey. HOME | FILMS | REVIEWS It Takes Three Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Aug 31, 2021 Directed by: Scott Coffey Written by: Logan Burdick, Blair Mastbaum Starring: Jared Gilman, David Gridley, Aurora Perrineau, Mikey Madison The time seems apt for another modern adaptation of Cyrano de Bergerac. But throw in a few social media-obsessed teens, and you might wonder if It Takes Three isn’t exactly what Edmond Rostand had in mind when he wrote his play. That’s giving the film a little too much credit for its cute update to a classic work. Director Scott Coffey, working from a script penned by Blair Mastbaum and Logan Burdick, uses our current social media reality to craft a film one part Cyrano and one part every other teenage rom-com. Today’s world, where people painstakingly craft the perfect online persona, lends itself well to the story of a man (in this case, teen) who uses the words of another to woo his lady love. Chris (David Gridley) – star of the internet sensation HiYA! – is enamored with feminist art lover, Roxy (Aurora Perrineau). Realizing his action star/ bro persona doesn’t mesh with Roxy’s, Chris offers to pay awkward teen, Cy (Jared Gillman) to create a new, “nerd” online persona for him. Cy wants the money for plastic surgery (though the filmmakers chose not to affix any kind of embarrassing nose to Cy’s face), so he agrees. Predictable hijinks ensue as the real Chris tries to reconcile who he is with who Cy has created online. The scenes where he spends time with Roxy offer some awkward hilarity. But this isn’t merely Cyrano retold, and we spend plenty of time with Cy, who, when he isn’t pretending to be someone else, spends his time with best friend, Kat (Mikey Madison). But as Cy falls deeper into his role as Chris’s online ego, he loses track of who he really is. Because of so many elements, the movie spreads itself too thin. Cy’s moms have quite a bit of screen time during the film’s first half (mostly to reassure Cy that his face is perfect), but then they are gone. Coffey relies on numerous teen rom-com tropes, which is good for a chuckle or two, but leaves the audience following characters never given much depth. Perhaps it’s a commentary on the unreality of modern teenage life, but more likely it’s just an oversight. Still, there’s a sweetness to the characters, and you find yourself hoping they’ll figure out how to embrace who they are in a world obsessed with perfection. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release < All Reviews Next Film Review >

My Biggest Mistake Was Winning This Race film review by UK film critic Rob Jones. Starring Bobby Cohoat, Kyra Radomsky, David Malone directed by David Malone. HOME | FILMS | REVIEWS My Biggest Mistake Was Winning This Race Film Review average rating is 3 out of 5 Critic: Rob Jones | Posted on: Apr 10, 2023 Directed by: David Malone Written by: David Malone Starring: Bobby Cohoat, Kyra Radomsky, David Malone There’s something that feels familiar about My Biggest Mistake Was Winning This Race . It doesn’t quite fit the adult-orientated absurdist themes that it explores, but it’s almost like Inside Out . It takes a look at the inner workings of the human body in order to draw humour and life lessons from a personification of what’s going on inside us, but in this case, it’s a bunch of sperms on their way to inseminate an ovarian egg. It starts as it means to go on. The first scene we see is a series of visual gags that present the inner walls of a vagina as if they’re a metropolitan underpass. As the sperm travel, there are graffiti-like markings from past partners and STIs. Much like the markings, the sperm that are there all have a personality of their own, and they’re all competing with one another to become the one that can form a new life. The humour is essentially a high school take on how babies are made, but that isn’t to say it feels immature. It achieves what it’s aiming for mostly, and that’s just a slacker-style comedy about sperm. Some of the characterisations of the sperms can be a bit too on the nose. There are conversations about future jobs and the impact that they’ll have on the world, as if the sperms have been sentient members of society before arriving here. It isn't that it misses the point of looking at things from the perspective of something that isn't, but it's something that could've been a bit more purposeful. It would’ve perhaps been a bit more pertinent if they were loveably naive rather than being presented as all-knowing before birth. Where there could have been some really interesting opportunities for meaningful thoughts on what it means to be alive, this is really just a loose look at what’s going on in modern society. With a charming art style and a concept that will raise a smile, it’s certainly okay. Where it comes short in becoming anything more weighty, it comfortably manages to give us a few minutes of cheap humour, and sometimes that’s all that needs to be delivered. It could have been more, but it doesn’t necessarily need to be. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Monkey King Reborn film review by UK film critic Matt Weiner. Starring Jiang Bian, Shangqing Su directed by Yunfei Wang. HOME | FILMS | REVIEWS Monkey King Reborn Film Review average rating is 3 out of 5 Critic: Matt Weiner | Posted on: Dec 9, 2021 Directed by: Yunfei Wang Written by: Yunfei Wang, Xiaoyu Wu Starring: Jiang Bian, Shangqing Su Stories of Sun Wukong the Monkey King have been a rich source of adaptations for centuries in China. With no shortage of options to choose from, The Monkey King: Reborn isn’t the worst place for Western audiences to start—but be prepared for an uneven journey. The animated film directed by Yunfei Wang and written by Wang and Xiaoyu Wu introduces the immortal trickster Sun Wukong (Jiang Bian) as he accompanies his master, the monk Tang Sanzang (Shangqing Su), along with some comedic relief from fellow disciples Bajie and Yuandi (He Zhang and Lei Zhang). Sun Wukong’s mischief sets off a chain of events that brings him into conflict with the all-powerful first demon, with the fate of the world on the line. But as far as motivation and character backstories go, there’s a lot left unexplained for a kid’s cartoon movie. Which is perfectly understandable for a familiar audience, but that coupled with the occasional adult language in the subtitled version makes the target age for The Monkey King: Reborn tough to pin down. Once the battles get going and Sun Wukong’s puckishness gives way to (ever so slight) growth as a character, it’s a lot easier to go along for the ride. Even with the action, though, the movie is often hampered by the CGI animation. It’s a style that usually has two modes: alarmingly smooth or video game cutscene. Everything is bright, but the vivid coloring can’t mask a flatness that all the characters share. It’s an unfortunate mismatch for Sun Wukong’s elastic portrayal in the story. The film does offer a deeply emotional third act, with an emphasis on sacrifice, death and rebirth that might make even Pixar think twice. It’s a shame that we got to know Wukong and friends so little within the confines of the film, or else these moments could have made even more of an impact rather than feeling bolted on. Of course, it wouldn’t be a parable without these teachable moments, so it might as well be in the form of a knockdown CGI fight. Sure, it’s entertainment with a heavy-handed message. But it’s entertaining enough. Buy UKFR Banner Space About the Film Critic Matt Weiner World Cinema, Animation, Digital / DVD Release < All Reviews Next Film Review >

The Lost Leonardo film review by UK film critic George Wolf. Starring Gary Salts, Martin Kemp, Doug Pattison directed by Andreas Koefoed. HOME | FILMS | REVIEWS The Lost Leonardo Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Sep 1, 2021 Directed by: Andreas Koefoed Written by: Andreas Koefoed, Andreas Dalsgaard, Christian Kirk Muff Starring: Gary Salts, Martin Kemp, Doug Pattison In 2005, a “sleeper hunter” looking for undervalued art made a pretty good call when he bought a work at a New Orleans auction for $1,175. Twelve years later, that painting sold for a record-setting $450 million. What happened in between is a real-world mystery, one that The Last Leonardo unveils like a globe-trotting thriller to deliver a completely spellbinding ride. Full of amazing discoveries, dangerous despots, faith, doubt, economics and greed, it’s a behind-the-brush account of “the most improbable story in the art market.” Only 15 Da Vinci works were known to exist before that Louisiana find, and none had been discovered for over a century. Could that Big Easy bargain actually be the 16th, an early 1500s work entitled Salvator Mundi (Savior of the World) ? Plenty of important voices in the art world say yes. Others say there’s a better chance of finding aliens landing in your front yard. And some can’t make up their minds about the painting. Oh, and nobody seems to know where it went. Director and co-writer Andreas Koefoed weaves the layers of this tale together with a damn fine sense of artistry himself. He quickly shapes the backstory with a hook irresistible to even an art history novice, then keeps a steady pace of twists and revelations to rival the most delicious true-crime sensations. Koefoed mixes first-person interviews with jet-setting locales, and stylish art restoration technology with political intrigue. His sense of timing is sharp as well, knowing just when to spotlight the accusation that with a question this large and an answer so potentially valuable, “opinions matter more than facts.” Because by the time the film enters its third act, Koefoed’s meticulous approach – paired with the refreshing honesty of many of the players involved – has seamlessly shown how the process moves past art, and even commerce, to settle comfortably on power. And much like the treasures waiting beneath centuries of brushstrokes, the brisk 96 minutes of The Lost Leonardo also manage to transcend the galleries and auction houses to speak more universally on how this global brokerage network flourishes largely out of the spotlight. But don’t be scared off by the whiff of stuffy art house pretension, this is also a damn fine piece of entertainment. I mean, all due respect to GD National Treasure Tom Hanks, but here’s a Da Vinci mystery that’s suitable for framing. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Documentary < 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. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Hangover Food: Vampire Influencer film review by UK film critic Chris Buick. Starring Craig McDonald-Kelly, David Hepburn directed by Ross McGowan. HOME | FILMS | REVIEWS Hangover Food: Vampire Influencer Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Jul 8, 2023 Directed by: Ross McGowan Written by: Craig McDonald-Kelly Starring: Craig McDonald-Kelly, David Hepburn If you haven’t seen Deadline Films 2019 short Hangover Food , the comedic brainchild of filmmakers and performers Ross McGowan, David Hepburn and Craig McDonald-Kelly, you absolutely should. In it, Lee (Hepburn) wakes up with the mother of all hangovers, which might be related to the fact that he was made a vampire the night before. Luckily, he has the support of best friend Bruce (McDonald-Kelly), fully equipped with Guatemalan cave coffee and pizza to see him through. But now, the Hangover Food Cinematic Universe is expanding. While a feature length adaptation of the aforementioned short is currently in production (did I mention you should see it?), Deadline Films now brings us Hangover Food: Vampire Influencer , a five-part series of shorts that, frankly not soon enough, brings us back to the HFCU which is thankfully still full of the same joyous ridiculousness, quick-pans and quick-wits that made the original so great. In episode one, we are given a succinct recap of the original short for both returning viewers and the uninitiated before then settling us back in with how Bruce and Lee have been getting on for the last few months since that fateful day. Answer, not great. Lee is lonely, unable to enjoy the sun or any of the other daytime delights he used to. In an effort to make something of his situation, Lee asks Bruce to help him embrace the world of social media and become the world’s first vampire influencer. What follows over the subsequent four episodes is a hilarious yet touching journey of two best mates traversing the infinite pitfalls of the internet, trolls and non-believers, while also trying to redefine their own relationship under these crazy new circumstances. Four years on from the original short, everything here is now a bit bigger and a bit bolder, as can be expected when time, experience and presumably bigger budgets take hold. One might fear that this would result in a loss of the charm, the ‘lighting in a bottle’ magic that the original managed to capture. But no, they’ve still got it. Not only is everything bigger and bolder, but it’s tighter and sharper too. It looks great, it plays great, this sickeningly talented bunch of filmmakers have simply upped their game, somehow managing to find that follow-up holy grail of same but different that audiences crave and all without ever really wavering across all five episodes. And that’s no mean feat, especially when you are swimming in the waters of vampire comedy, a genre that most would immediately look to What We Do in the Shadows for as their main reference. But these guys are adamant to make their own mark on it and doing a damn good job as well, only ever interested in telling a complete story, not just aiming for low hanging for laughs but also trying to hit all the emotional ebbs and flows that come from a unique bromance story such as this. All this before we even get to the dream duo of Hepburn and MacDonald-Kelly, two fine actors giving performances that you not only believe in, but root for. Award-winning production house Deadline Films just can’t seem to make bad films, it’s almost annoying. If you like comedy horror mixed with absurdity, look no further. There is a lot more that could have been explored here, but all that means is that these guys have no excuse but to come back and give it to us. We’ll be waiting. You can enjoy Hangover Food and Hangover Food: Vampire Influence now over on Klipist. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film, Web Series < All Reviews Next Film Review >

Rwd Fwd film review by UK film critic Swati Verma . Starring Percelle Ascott, Joivan Wade, Mandeep Gill directed by Teddy Nygh. HOME | FILMS | REVIEWS Rwd Fwd Film Review average rating is 5 out of 5 Critic: Swati Verma | Posted on: Apr 1, 2024 Directed by: Teddy Nygh Written by: Stephen Laughton Starring: Percelle Ascott, Joivan Wade, Mandeep Gill The director Teddy Nygh and the writer Stephen Laughton showcase the complex situations in life that one has to deal with in the intricate storytelling. Percelle Ascott as well as Joivan Wade fit perfectly into the mould of Alex and Jay respectively to effectively communicate important messages the film wants to deliver to its audience. The plot of Rwd Fwd revolves around the involvement of love that leads to an argument between two old friends that can further escalate quickly with painful consequences. The short film begins with a long shot of the street followed by a combination of mid-closeup shots to lead up to some flashback shots of the incident the two male protagonists are trying hard to move forward from. Rwd Fwd follows a nonlinear technique for the narrative to progress and is a good way to increase audience engagement with the content as it depicts the point of view of all the characters in the film. The set design, the white, grey, red, and black colours for the colour pallet, lighting, sound, dialogues, costume, hair, makeup, and props have been carefully designed to elevate the intensity of the story as well as to pick up the pace when required so that the viewers can enjoy it and also learn lessons and try incorporating the same in their lives. In terms of performance, Percelle Ascott plays Alex a protective and caring boyfriend and faithful friend but a certain misunderstanding creeps up between him and his friend Jay that needs to be sorted out. Ascott brilliantly balances between portraying a range of emotions Alex feels starting with trauma, anger, love, care, grief, remorse, and repentance. Joivan Wade plays the role of Jay who is an emotional and possessive friend of Alex, he is unable to deal with the thought of losing a friend like Alex, especially in the trying time he is going through. Wade beautifully utilises anger, and frustration to express his love, fear, and guilt as per the situation in the screenplay. Mandeep Gill as Charlie (Alex’s girlfriend) is a treat to watch. She is a strong and independent girl who makes decisions by being more practical and also protects her loved ones no matter what the scenario. Gill portrays various shades of Charlie’s character arc through body language, voice modulation, facial expressions, and eyes. Charlie proves to be a true inspiration for every female in the audience watching the movie and they can learn from her to include the same into their lives in the long run. Rwd Fwd talks about the freedom of every individual to choose a suitable partner when it comes to romantic relationships because love happens naturally it should not be forced on someone. The short film reiterates anger and many more negative emotions throwing one into deeper problems coming out of which seem nearly impossible. The best option is to avoid such situations and be surrounded by people who can help one grow as well as prosper in every way. The cinematic piece highlights that sometimes the only way to move forward from a tragic incident in life is to face it heal and restart the same for a better future with their family and friends. The creative piece also advises its audience that people shouldn’t shy away from seeking help rather than suffering alone. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Novelist film review by UK film critic Jason Knight. Starring Ashley Rios, Amber Miller Moore, Paul Cottman directed by Harold Jackson. HOME | FILMS | REVIEWS The Novelist Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 30, 2023 Directed by: Harold Jackson Written by: Harold Jackson Starring: Ashley Rios, Amber Miller Moore, Paul Cottman The consequences of a woman's decision to gain by committing murder. Alex (Rios) is a struggling author who decides that the way for her career to reach high standards would be to kill successful novelist Arthur (Jossan Robinson), steal his manuscript and present it as her own. She does so and becomes famous and wealthy, now living in Washington DC. However, her heinous crime has repercussions that she probably was not expecting. One thing is Lawrence (Cottman), the deceased man's estranged son who returns in order to find out what happened to his late father's inheritance, as he left everything to his widow and two children and apparently left Lawrence nothing. Soon, Lawrence discovers a hidden camera in his father's home that shows Alex killing him. Meanwhile, Reese (Moore), a podcaster, suspects that Alex is a fraud and sets out to uncover the truth. Basically, this feature explores the aftermath of a crime, following Lawrence and Alex as they pursue the perpetrator and Alex's attempts to keep it together as the tension around her builds up. It could be categorised as a murder thriller with elements of vigilantism. Lawrence ruthlessly blackmails Alex for money and is willing to resort to violence in order to accomplice his goals. Reese is determined to prove that Alex is a cheater, questioning her and people who know her. The film has murder, deception, confrontations and a few beatings, however it also has quite a lot of drama as the plot also looks into self-reflection, regrets and neglect. The protagonists are interesting and the screenplay effectively explores them. Alex is an egocentric who desires fame and fortune and shows no remorse for the killing. She is determined to remain strong and not give in to Lawrence's threats or let Reese make her confess. Lawrence is a no-nonsense man who wants what he believes is rightfully his and his path is the most adventurous one, as he beats up people and goes after Alex. Reese is obsessed with revealing the truth about Alex and her obsession threatens to damage her relationship with her partner Marlon (Michael J. Patterson). This is a story about murder, blackmail and the search for the truth. It is a film with strong performances and a script that never fails to be gripping thanks to the suspense, drama and tense moments and the addition of Corey Spriggs' beautiful cinematography and a soundtrack that has collection of good songs contribute in making this a viewing that is worth experiencing. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Scheme of It film review by UK film critic Jason Knight. Starring Faith Kharshiing, Ardent Syngkon directed by Babatdor Dkhar. HOME | FILMS | REVIEWS The Scheme of It Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 27, 2025 Directed by: Babatdor Dkhar Written by: Babatdor Dkhar Starring: Faith Kharshiing, Ardent Syngkon A short drama thriller written and directed by Babatdor Dkhar and starring Faith Kharshiing and Ardent Syngkon. The story takes place in Shillong, in the north-east of India and a young woman (Kharshiing) has been invited to attend a job interview. She arrives at the office and is greeted by a man (Syngkon). Almost immediately, it becomes evident that this meeting is not what she anticipated. The narrative is intriguing, working primarily as a thriller, with the man having intentions that are clearly not good, winking at the woman, asking her if she likes to party and then things move on to the so-called job, which turns out to be some sort of illegal pyramid scheme. The atmosphere is quite suspenseful and sinister and supported by an ominous score. The addition of the song Prism by Theatre of Delays was an interesting choice that adds value to this short. The entirety of the story takes place inside the office and Kharshiing and Syngkon's characters are the only two people seen. Kharshiing's character is a simple, nice young person, who is also cautious regarding what is going on, as she instantly feels uncomfortable and questions the nature of the 'job' that is being discussed. Syngkon's character is the bad guy in this story, a dishonest and creepy guy who is trying to get people involved in some sort of hustle and seems to regard women in sexual ways. By utilising point-of-view shots of him, viewers can feel the uneasiness that the woman if going through while she is alone with him. The film begins with a statement that this is probably a true story as it was inspired by events that take place all around the world. This might be misinterpreted by some viewers, it might give the wrong message. This short was clearly made with the intention of being a commentary about illegal schemes that people are being manipulated to get involved in and the manipulator can be either a man or a woman (or both). However, to some, it might misrepresent men, giving the impression that men tend to look at women with sexual thoughts. Hopefully, people will not misunderstand the messages that this film is attempting to communicate. This is an intriguing viewing that raises awareness of events that involve people being tricked into commititng fraud through fake job interviews and for that it deserves attention. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Amsterdam film review by UK film critic George Wolf. Starring Christian Bale, John David Washington, Margot Robbie directed by David O. Russell. HOME | FILMS | REVIEWS Amsterdam Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Oct 5, 2022 Directed by: David O. Russell Written by: David O. Russell Starring: Christian Bale, John David Washington, Margot Robbie Holy Schnikes, look at this cast. From the leads to small supporting roles, Amsterdam is loaded with Oscar winners, Oscar nominees, living legends, critical darlings and even one of biggest pop stars in the world. And while Taylor Swift equates herself just fine, it’s the endless stream of veteran screen talent that keeps David O. Russell’s historical dramedy from collapsing much earlier than it actually does. In the 1930s, Doctor Burt Berendsen (Christian Bale) and attorney Harold Woodman (John David Washington) are sad to hear of the passing of their former Army CO, General Bill Meekins (Ed Begley, Jr.). But Liz Meekins (Swift) is suspicious of her father’s death, and she pleads with Burt for the quick, secretive autopsy that ends up suggesting murder. And that leads to an actual murder, with Burt and Harold on the run as the prime suspects, until Burt’s voiceover narration takes us back to 1918, when the two friends first met in the war that was supposed to end all wars. Both men suffered disfiguring injuries, and treatment from feisty nurse Valerie (Margot Robbie) spawns a deep friendship that fate rekindles in the 30s. While Burt and Harold try to stay one step ahead of two detectives on their case (Matthias Schoenaerts and Alessandro Nivola), Valerie helps them try to connect the many dots that point to a shocking and dangerous conspiracy, This is writer/director Russel’s first feature since 2015’s Joy, and it’s pretty clear the in last 7 years he’s developed a healthy respect for both Wes Anderson and Rian Johnson. Russell builds the whodunnit with criss-crossing layers of intrigue that recall Knives Out , and populates it with a sea of characters sporting detailed, Anderson-esque eccentricities. And from Bale, Robbie and Washington, to Michael Shannon, Anya Taylor-Joy, Rami Malek, Andrea Riseborough, Timothy Olyphant, Zoe Saldana and more, the sheer fun of watching these marvelous actors dig in keeps you invested until you realize this should all be headed somewhere, shouldn’t it? It should, and it eventually does, as Robert DeNiro’s General Gil Dillenbeck pulls the film into a retelling of the “Business Plot” conspiracy of 1933. And that’s when the levee of heavy-handedness breaks. Russell impressed with a series of tonally assured films (Three Kings, I Heart Huckabees, Silver Linings Playbook, American Hustle ) before the gimmickry of Joy . While the narration here is less distracting, once Russell pairs it with DeNiro’s speechifying, the lack of restraint is disappointing. There are valid points to be made about history repeating itself, but Russell doesn’t trust us to figure them out for ourselves. Regardless of how much you already know about the Business Plot conspiracy, Amsterdam will give you an interesting history lesson. And if you laugh at the way your drunk uncle fills a straightforward story with rambling anecdotes after Thanksgiving dinner, then it will be an entertaining one, too. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Materialists film review by UK film critic Hope Madden. Starring Dakota Johnson, Pedro Pascal, Chris Evans directed by Celine Song. HOME | FILMS | REVIEWS Materialists Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 12, 2025 Directed by: Celine Song Written by: Celine Song Starring: Dakota Johnson, Pedro Pascal, Chris Evans Just two years ago, filmmaker Celine Song produced a breathtakingly original romance movies in Past Lives . With that film, she delivered a love triangle of sorts where no character felt cliched, no choice felt obvious, and every moment felt achingly true. Now she sets her sights on something decidedly more mainstream, but that only makes her instinct for inverting cinematic cliché in search of authenticity that much more impressive. Lucy (Dakota Johnson) is a skilled matchmaker at a high-end Manhattan boutique. When she attends the wedding of clients she introduced, she runs into her ex, John (Chris Evans). He’s handsome, thoughtful, clearly into her, and he’s catering. Actually, he’s a waiter working for the caterer. Lucy also meets the groom’s brother, Harry (Pedro Pascal). In the parlance of Lucy’s profession, Harry is a unicorn: handsome, wealthy, smart, and single. Immediately, we know this movie. Lucy’s job is to broker relationships. Check boxes. Create partnerships. And the film is going to teach her that a good match can’t hold a candle to the unruly nature of love. It has been done to death. But the path Song takes to get there, and the insights and realities she explores along the route, never cease to fascinate. Characters use the words value and risk a lot, terms that have a specific meaning in business but actually mean something quite different in the human setting. It’s interesting, in a society where women have agency and financial means, how different the vocabulary of love can be. Listening to women turn men into commodities, ordering as if from a buffet or build-a-bear, is simultaneously funny and horrifying. Of course, Lucy has men for clients, too, and Song is quick to remind us of the entrenched language of objectification and conquest. And the different definitions of risk. She also never asks us to root against anyone. Harry’s a gem. John’s a good dude. The one person whose flaws are explored is Lucy, and Johnson’s reflective, quiet delivery is characteristically on point, allowing those flaws to draw us closer to the character. Materialists isn’t perfect, and to a degree, Song submits too much to formula. But the way she works within those confines is often magical. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

With love from a killer film review by UK film critic Swati Verma. Starring Nishant Kumar, Akansha Kumar, Nitisha Mondol directed by Ashwini Rajan. HOME | FILMS | REVIEWS With love from a killer Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jul 26, 2022 Directed by: Ashwini Rajan Written by: Ashwini Rajan , Rinku Sharma Starring: Nishant Kumar, Akansha Kumar, Nitisha Mondol The writer-director Ashwini Ranjan attempts to showcase how deeply rooted Patriarchy is in the Indian Culture. Ranjan also wants to depict its long-term effect on people and their loved ones through the central character Mayur (Nishant Kumar). The storyline revolves around Mayur a small-town man who now has a white-collar job in the city. He is obsessed with the notion of Patriarchy and therefore can't take orders from females. This has already transformed him into a killer and as the story progresses psychoanalysis of a sick and dark mind is revealed. The short film- With love from a killer opens with a long shot of the city in the evening while the voice-over plays in the background highlighting the typical mindset of a male- dominated society. The title of the cinematic piece appears to be etched on the wall and the searchlight hovers on it. This is done by the filmmaker along with the creative team to give a rough and brutal feel to the psychological thriller. The DOP Jayesh Prakash Sen pans the camera into the warehouse so that the audience feels involved and also gets a chance to explore the character of Mayur further. The messy set design, dim lighting, sound effects, and costume instill the sense of fear and gruesomeness to establish the subject matter of the film. The mid-close shot of the lighted-up brain twirling around used by Sen indicates the complexities of the mind. The makers of the cinematic piece want to keep the suspense intact for the viewers so that they are completely hooked to the content till the very end. Nishant Kumar plays Mayur who believes in the idea of male dominance and so he is unable to accept working women in urban areas ready to take revenge from them. Kumar utilizes swear words, weird laughter, and anger to portray the nuances of the dark side of Mayur. He (Mayur) thinks he is a victim at hands of the financially independent ladies in the city and Kumar justifies the same with his acting skills. Nitisha Mondal is in the role of Poonam/Bulbul who fights for the rights of women as the society is busy favouring the boys instead of protecting the girls. Mondal illustrates both the vulnerable as well as strong sides of Poonam's personality effortlessly. The psychological thriller talks about the theory of every action having an equal and opposite reaction; therefore we need to be very careful regarding our karma in life. The movie teaches its audience that equal treatment of a man and a woman in the community will lead to the well-being of every member in the long run. With love from the killer also discusses the importance of a good upbringing for children to stop the emergence of criminals like Mayur. Many flaws need to be addressed by the director Ashwini Ranjan. The concept of the film is very good but it loses its grip on the viewers at the time of the execution, especially the latter half. In the modern times the film portrays men supporting and glorifying Mayur's act openly is unacceptable to the viewers. The audience could not build an emotional connection to the cinematic piece as it leaves the back story of Mayur with a vague starting point at the beginning of the narrative. Another point is that the film tries to compare Mayur to a lion to justify his actions stating the rule of jungle is the wrong approach. In my opinion, Ashwini Ranjan needed a strong base to make this thriller instantly appeal to the audience presently the viewers tend to become more confused rather than relating to the movie. Ashwini should be unbiased towards both the parties and let the audience decide what they want to conclude and learn from the film. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >