The Summer Book film review by UK film critic Holly Baker. Starring Emily Matthews, Glenn Close, Anders Danielsen Lie directed by Charlie McDowell. HOME | FILMS | REVIEWS The Summer Book Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Jul 16, 2026 Directed by: Charlie McDowell Written by: Robert Jones, Tove Jansson Starring: Emily Matthews, Glenn Close, Anders Danielsen Lie The Summer Book (2024) is a family drama permeated by grief, set in Finland, following the impact of Sophia’s mother’s death. The film is directed by Charlie McDowell and is based on the novel of the same title by Tove Jansson. The beautifully crafted cinematography, with a strong commitment to handheld camerawork and on-location shooting, guides viewers around the gorgeous Finnish countryside. With a strong focus on realism, the reality of Finnish Midsummer’s continuous sunlight is captured through prolonged shots of the outdoors, with an excellent use of lighting and shadows. Touchingly, there is a strong sentiment here to detail and the art of noticing. Several of the indoor segments capture beautifully designed sets with heavily decorated walls and desks. Many moments of the film linger on small objects in the background, such as several unique old paintings and ornaments. This beautifully gives the film the feeling of a memory being captured and preserved. With a small, largely unknown cast, viewers can easily immerse themselves in the story. The strong performance from award-winning actress Glenn Close, who plays the main character and Sophia's grandmother, notably stands out as marvellously convincing, with a graceful portrayal of an elderly lady who must face the decline of her cognitive abilities as she ages. Additionally, the chemistry between Close’s character and child actress Emily Matthews’s Sophia, her granddaughter, is exceptionally beautiful. The two of their journeys, Sophia’s coming of age and her grandmother’s reflection on the life she had, intertwine beautifully as viewers witness an authentically emotional dynamic play out between them The actual story itself is largely uneventful; viewers are mostly slowly observing Sophia and her grandmother’s relationship as they interact with the gorgeous Finnish landscape. The film takes its time building up the world around them, gradually letting viewers take in the marvellously varied environment.There is a strong focus on the characters’ interaction with nature, as each of the family members has their own way of connecting with the natural space around them. Whether that be through creativity, or in forms of leisure such as wild swimming, viewers can sense the strong impact that nature has had on the characters’ lives, and the way that it provides comfort for them all as they face and navigate difficult times. The writing, notably the dialogue, is certainly intriguing. The charmingly strange way the characters interact with one another brings forth an oddly unsettling tone at times, which, when paired with the slightly eerie music choices, creates something quite uncanny. This, combined with the strong theme of death and the similarities in colour scheme to Robin Hardy’s The Wicker Man (1973) and Ari Aster’s Midsommar (2019), both death cult-related psychological horror films, adds to the film’s unconventional perspective towards death. The way the film embraces the idea of death might make viewers ponder ideas about the circle of life and the inevitability of nature’s toll. It is interesting to see the idea of embracing and honouring death, often used as a horror trope, here in a familial drama. That is just one way that the film incorporates uncomfortable ideas, spinning them in an enlightening, hopeful way. The Summer Book is a film full of love and intrigue, blending cultural and generational ideas to create heartfelt stories with meaningful characters. With hypnotically gorgeous cinematography and poignant performances, the film toys cleverly with ideas surrounding death, religion and family in a satisfyingly fresh way. Much like Director Charlie McDowell’s previous work, this film is rich in its artful depictions, with heavy symbolism dotted throughout. Viewers will find themselves immersed in the beautiful world of the film, reflecting on the ideas it suggests, and touched by the narrative surrounding Sophia’s family. The Summer Book will be released in UK cinemas from 7 August 2026. Buy UKFR Banner Space About the Film Critic Holly Baker Theatrical Release < All Reviews Next Film Review >

The Nona film review by UK film critic Jason Knight. Starring Edith Fields directed by Stacey Stone. HOME | FILMS | REVIEWS The Nona Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 6, 2023 Directed by: Stacey Stone Written by: N/A Starring: Edith Fields A fascinating insight into a woman's remarkable career as an actress. This documentary explores the life and career of acclaimed American screen, television and stage actress Edith Fields, who has worked hard to follow her passion for acting for decades, resulting in an astonishing career and she is still acting now that she is in her nineties. Over the course of fifty minutes, this informative and emotional documentary covers Fields' journey, from her upbringing in Poughkeepsie, New York, right to where she is today, which is a highly-demanded actress with tons of experience and her journey is quite inspiring. Of course Fields is the star of this feature, a cheerful and down-to-earth elderly woman (and a busy one too, as she keeps on getting acting jobs), who is interviewed and talks about her life experiences and achievements, that include meeting her husband and raising a family, the play Death of a Salesman which started her interest in acting, an encounter with actress Mildred Dunnock and the numerous roles she got. As much as she concentrates on the positive events of her life, she also touches on tragic moments such as the passing of her husband and the challenging times of COVID-19 lockdown. As well as showing Fields being interviewed, the film also includes her doing a variety of activities in her home and going to the gym. There are plenty of clips from TV shows that she has appeared in, including NYPD Blue , Seinfeld , Picket Fences and Six Feet Under , in which she is seen performing. There are many photographs of her throughout her life and newspaper articles about her many acting achievements. Filming was partially done via webcams and the filmmakers also utilise creative animation techniques. This is a person's life story. A story about an individual who followed her passion and turned it into a long and rewarding career. It is a viewing that might help motivate aspiring actors and generally encourage people to go after their dreams. And the song Singin' in the Rain closes the documentary wonderfully. Buy UKFR Banner Space About the Film Critic Jason Knight Documentary, Indie Feature Film < All Reviews Next Film Review >

Marlee Matlin: Not Alone Anymore film review by UK film critic Rachel Willis. Starring Marlee Matlin directed by Shoshannah Stern. HOME | FILMS | REVIEWS Marlee Matlin: Not Alone Anymore Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Jul 9, 2025 Directed by: Shoshannah Stern Written by: Shoshannah Stern Starring: Marlee Matlin In 1986, Marlee Matlin won the Academy Award for her performance in the film Children of a Lesser God . Nearly three decades later, she remained the only Deaf actor to win an Oscar. This, as well as Matlin’s trailblazing career, is the focus of director Shoshannah Stern’s documentary, Marlee Matlin: Not Alone Anymore . Stern herself is also Deaf, and there are many wonderful moments when she and Matlin (as well as Stern with other Deaf actors) converse on screen without sound. The film makes extensive use of subtitles and closed captioning, but if a hearing audience member were to simply watch the two communicate on screen it’s a good example of how a Deaf person may feel when surrounded by hearing people who may forget to include them in conversation. This is something Matlin addresses, as she was the only Deaf member of her family. It is also a reminder that this sort of exclusion can lead to significant language deprivation for individuals with hearing impairment. This is a critical issue that the documentary touches on when speaking to Matlin about some of the situations in which she was unable to name her experiences. Like the 2000 documentary, Sound and Fury , Matlin and others are quick to point out that they are not limited in their abilities. It’s the world around them that tries to force them into a box where their “disability” is a problem to be solved not a difference to be celebrated. The bulk of the documentary focuses on Matlin’s career and role as an advocate for the Deaf community. Closed captioning, something modern audiences may take for granted, was once a rarity. Matlin’s efforts, including a hearing before Congress, ensured that closed captioning would be a given moving forward. There isn’t a dull moment in this documentary. Stern expertly weaves Matlin’s career and activism into an overall conversation about the needs of Deaf people, and the ways in which we can all do better moving forward. It’s certainly a film worth watching. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, Documentary < All Reviews Next Film Review >

Contamination film review by UK film critic Patrick Foley. Starring Neil Chase, Brandon Horth, S-Raj Kumar directed by Neil Chase, David Heacock. HOME | FILMS | REVIEWS Contamination Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 22, 2025 Directed by: Neil Chase, David Heacock Written by: Neil Chase Starring: Neil Chase, Brandon Horth, S-Raj Kumar Contamination’s visceral b-movie energy is, suitably, contagious. It is packed with macho energy and fascinating fight sequences set against the backdrop of a story revolving around an escaping rage-virus, and despite a nonsensical narrative it never forgets to entertain. When an elite black-ops unit finds themselves tasked with the destruction of a top-secret lab in the wilderness, members start to slowly experience symptoms that cause betrayal in their ranks. Foreign military involvement leads to gunfights, but the presence of an alien-electro pathogen is quickly identified as a greater threat. The virus takes control of its hosts mind, and it falls on the team to make impossible choices as their own brothers become infected – if humanity is to have any hope of survival. Contamination at its best is mindless, dumb fun. It is a testosterone-fuelled vehicle for shootouts, fight scenes and brotherhood that would make Jesse Ventura smile. And it is proudly all these things – living in embrace of its own chaos. You have to be, after all, to include a scene in which a character empties a pistol magazine by angrily shooting into the air in a post Hot-Fuzz world. The affable embrace of cheesy action is a virtue that helps the film overcome what barely passes for a plot. The skeleton structure of an escaping virus is hardly revolutionary stuff but provides a solid enough base for the action. However, viewers will be forgiven for losing track of the various strands such as the Russian military’s involvement – and how a development of such substance ends up forgotten as soon as it needs to be. The nature of the virus itself and its global consequences are pretty opaque as well – with characters undergoing a behavioural transformation but little else, to an unclear endgame. More of a consequence is the interchangeability of the soldiers themselves. None of the cast really stand out as sympathetic, amusing, endearing or outrageous. It is only by his role in the plot that viewers will relate to director Neil Chase’s role as Dallas as the protagonist – despite an overall strong performance. The film is shot well and Chase and co-director David Heacock deliver some great moments of combat. The tight corridors of the lab feel reminiscent of videogames as the soldiers stalk their enemies in dim light, whilst the outdoors hand-to-hand fight sequences are personal, brutal and thrilling. The sets themselves look great, although the cast look a little too clean whilst exploring them for a group of hardened killers. The directors deliver an impressive array of action sequences on a lower budget, including a car chase, and a shocking moment with a family that adds an unexpected question of morality into the story – one of the few narrative highlights. Contamination is an action throwback that is proud of its roots. It’s never going to win any screenwriting awards, and it does fall flat in areas around character where it fails to match the best of its inspirations. But anyone in search of pure action will want to catch this virus. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Big Scary 'S' Word film review by UK film critic Matt Weiner. Starring Lee Carter, Eric Foner directed by Yael Bridge. HOME | FILMS | REVIEWS The Big Scary 'S' Word Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Sep 2, 2021 Directed by: Yael Bridge Written by: Yael Bridge Starring: Lee Carter, Eric Foner With a list of thank you credits that acknowledge the last few decades of leftist entertainment from Michael Moore to Chapo Trap House and the Jacobin set, it’s almost a minor miracle that a documentary about socialism manages to unite so many voices on the left into a united clarion call for economic justice as the only way to save America. More surprising is that The Big Scary “S” Word , a new documentary from filmmaker Yael Bridge, manages to press its case while forgoing the more combative antics of Moore. Which isn’t a knock against Moore’s style, but Bridge’s staggering array of leftist academics, authors and politicians creates the atmosphere of a lively college course with your favorite professor. The academic-heavy roster, including professors Eric Foner, Cornel West, Vivek Chibber and Keeanga-Yamahtta Taylor, often tilts toward more education than inspiration—but it’s a compelling education. An education for which audience, though, is a trickier question. It’s hard to imagine the nation’s right-wing uncles coming together this Thanksgiving to bond with their dirtbag nieces and nephews over how everyone can get behind sewer socialism. But Bridge seems to be aiming her sights (wisely) at the MSNBC left—the well-educated, professional set that might not realize they’ve watched half a decade of “left-wing” cable news peppered with more retired generals and contrite Republican operatives than capital-s socialists. And with barely a mention of labor unions, let alone hosts making a passionate case night after night for how the history and future of labor are inseparable from a successful liberal project. Bridge provides a much-needed counterbalance to the corporate vision of liberalism, and she makes the case without the vitriol of Twitter fights. The film’s thorough focus on the history of socialism doesn’t leave as much time to go out on a practical note. (And it’s unfortunate, although not the film’s fault, that one of the main politicians they follow flamed out spectacularly in 2021.) Other times, the film’s prescriptions seem at odds with the title mission. Should the left be destigmatizing socialism, so it’s no longer the big, scary “s” word? Or should politicians focus on policies that improve people’s lives, and let the pundits argue over whether we are becoming Venezuela just because people shouldn’t face bankruptcy when they get cancer. In fairness to Bridge, the documentary doesn’t demand an all-or-nothing answer. That’s up to those who respond to the film’s message. (If you like your state-owned bank, you can keep it.) What’s not left in doubt, though, is the looming crisis of climate change. It might be a loaded question, but it’s still a fair one: Is a wholesale restructuring of society really more radical and unrealistic than continuing down our current path? It’s a question everyone will need to answer at some point, hopefully before it’s too late. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release, Documentary < All Reviews Next Film Review >

Killer Whale film review by UK film critic Jason Knight. Starring Virginia Gardner, Mel Jarnson, Mitchell Hope, Isaac Crawley directed by Jo-Anne Brechin. HOME | FILMS | REVIEWS Killer Whale Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 10, 2026 Directed by: Jo-Anne Brechin Written by: Katharine McPhee, Jo-Anne Brechin Starring: Virginia Gardner, Mel Jarnson, Mitchell Hope, Isaac Crawley A survival horror feature written by Katharine McPhee and Jo-Anne Brechin, directed by Brechin and starring Virginia Gardner, Mel Jarnson, Mitchell Hope and Isaac Crawley. As the title suggests, this film is about an orca. However, this is no Free Willy . Here, this orca kills people. Think of 47 Meters Fown and Fall combined. The plot: Maddie (Gardner) is a cellist and music student in the U.S. One fateful evening, while working a shift at a restaurant, her partner, Chad (Crawley) is gunned down during an armed robbery that also leaves Maddie with permanent hearing damage. A long time later, she now has to use hearing aids and all of a sudden, her longtime friend, Trish (Jarnson), a student and online influencer, invites Maddie to join her for a holiday in Thailand. There, they meet an Australian man named Josh (Hope) and after breaking into a water park where an orca called Ceto is being held, the three of them go jet skiing and Maddie and Trish end up stranded on an islet after the orca attacks them. There are nail-biting moments, dread, suspense and heavy drama, all of which are supported by slow motion, tense music by Angela Little and effective camerawork during underwater scenes. And the orca herself (it is stated that the whale is female) looks great, being enormous and terrifying when it goes for the kill. On the surface, this story is about a killer whale that eats people. However, not much of this actually takes place. Yes, victims find themselves in the orca's jaws, and characters swim frantically towards safety. The majority of the narrative is dedicated to character development, which is fine, however, taking under consideration the plot concerns an orca with killer instinct, one would expect more carnage, instead of a lengthy amount of time where two women are on a small rock, trying to survive, contemplating the past and facing a dramatic revelation. Gardner finds herself in a situation that is similar to her character in Fall, meaning being trapped at an isolated location with another person. Her current character is a young woman who has been damaged by a terrible incident in the past. In spite of this, she maintains her inner strength and righteousness. As the person who is standed on the islet with Maddie, Trish comes across as a confident and supportive friend. Evidently, survival is a key theme here and, as indicated by facts explained before this story's events, so is the subject of animal rights and nature getting revenge on humans. Moreover, this is a story about a number of things, positive and negative and and bad and they involve, friendship, bravery, reminiscing the past, self-reflection, loss, regrets, guilt, trauma and redemption. A decent viewing with a strong performance by Gardner. Those who are hoping for plenty of action might be disappointed. Killer Whale will be available on Digital Download from 18th May 2026. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Digital / DVD Release < All Reviews Next Film Review >

Bloody Axe Wound film review by UK film critic Hope Madden. Starring Sari Arambulo, Billy Burke, Molly Brown directed by Matthew John Lawrence. HOME | FILMS | REVIEWS Bloody Axe Wound Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2025 Directed by: Matthew John Lawrence Written by: Matthew John Lawrence Starring: Sari Arambulo, Billy Burke, Molly Brown New to Shudder this week is Matthew John Lawrence’s (Peckerhead) charming dismantling of the slasher genre and insightful look at the impact of adolescence on the generations. Bloody Axe Wound stars a spunky Sari Arambulo as Abbie Bladecut. Her family video store lives and dies on the movies they package and rent, slashers starring her dad, the infamous serial killer Roger Bladecut (Billy Burke under heavy prosthetics), slashing his way through their hometown’s high school students and campers alike. But ol’ Roger’s getting old. Well, technically he died as a boy at that campground, but for decades he’s been a grown man haunting Lover’s Lane and other tropey spots, coming back from the dead whenever the adventure takes that turn. But lately, well, he doesn’t seem to be healing as quickly. He’s lost a step or two. Perfect! Because Abbie’s ready to step in. Dad reluctantly, tentatively agrees, sending her to the town high school to make minced meat of the chosen clique. But Abbie soon realizes that these kids are not so bad. The film delivers some honest moments, however comedically staged, about watching your child outgrow you, lose their need for you, see what used to be honored tradition as old fashioned nonsense in need of change. Bloody Axe Wound is sharpest when Lawrence and his game ensemble use the coming-of-age storyline to make points about horror movies, and slashers in particular. Burke and Arambulo share a delightfully begrudging chemistry, and their scenes at home and at the video store are populated with genre-loving easter eggs that suit the meta undertaking. Likewise, the cast of high school misfits—Molly Brown, Margot Anderson-Song, Taylor Watson Seupel and Eddie Leavy—create a warm friend group you can see wanting to hang out with. The kills (and near kills) are often clever and the characterizations are funny. The film’s mythology gets mushy and the story comes to a close with more of a nod to horror tropes than an acknowledgment of the internal conflicts and genuine emotion the story built, but it’s still fun. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Clocking the T film review by UK film critic William Curzon. Starring Jana Nawartschi, Ben Hicks, Lee Simonds directed by Michael Thibault . HOME | FILMS | REVIEWS Clocking the T Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Oct 14, 2025 Directed by: Michael Thibault Written by: Michael Thibault Starring: Jana Nawartschi, Ben Hicks, Lee Simonds Clocking the T follows Dave (Ben Hicks), an internet troll who lies for a living. The narrative also follows Candace (Jana Nawartschi), a woman who works in human resources at a blood lab. In this romantic comedy, they meet through an online space and attempt to explore the possibility of a relationship forming as they embark on a journey of self-discovery. While the premise is intriguing, the piece struggles to fully engage the viewer within the absurd characterisation of Dave and how this impacts his lifestyle and the relationship that blossoms with Candace. The central performance from Ben Hicks is intentionally grating to emphasise his deceptive personality as an internet troll. On the other hand, Jane Nawartschi gives an endearing performance as Candace and is far more compelling thanks to her likeable personality and nuanced characterisation. The screenplay employs screwball dialogue between the characters, which, unfortunately, creates an awkward and stilted impression, making it demanding to engage with. Pieces of dialogue throughout can also become difficult to hear, due to distortion in the audio and baffling use of ADR. There’s a lack of cohesion in the narrative, and not much to chew on outside of the aimless endeavours the characters go through, and this can make the experience and overall conclusion feel unearned and ultimately underwhelming. Specific formal choices are commendable thanks to the unique colour grading and editing that flows incredibly well into a scene change. For example, the edit utilises the day and night cycle simultaneously, changing, and this is an impressive feat from an editor’s perspective, making the pacing flow more smoothly. The piece can suffer from lethargic pacing due to the rom-com genre being overdone to a fault, and this take on that specific genre rarely offers anything memorable outside of the filmmaking. The direction, unfortunately, feels bland with an inadequate use of blocking and struggles to elevate how unengaging the narrative becomes. However, the musical score effectively anchors the more intimate character moments, and the use of original music is another factor that aids the emotional resonance throughout. Another standout that plays well into the online dating approach is the use of text pop-ups as characters are interacting through technology. One of the substantial issues with the overall investment is the lack of chemistry between the two leads. Dialogue between the two feels stilted and awkward, making it challenging to engage with their relationship. However, as the film progresses, their chemistry does feel more natural and heartwarming to endure. The supporting cast, unfortunately, feels robotic in their performances due to a lack of character development and the way in which they oddly interact with Dave and Candace. Dave’s characterisation bafflingly amounts to relatively minor, and the overall culmination of his character arc feels like an afterthought. Thankfully, the viewer is given closure to Candace’s arc, and some emotional catharsis is received. It's just a shame the story ends abruptly, with both characters not receiving satisfying character growth. Clocking the T is unfortunately a poor attempt at reinventing the rom-com genre with a central romance that just does not land, and a slow-burning narrative with a lack of thematic flair. While the musical score is energetic and engaging, and specific editing choices are commendable, the two lead performances lack the required chemistry to captivate the audience into their struggles triumphantly, and the overall resolution fumbles the culmination of Dave’s character arc. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Vultures film review by UK film critic Patrick Foley. Starring Kai Hohman, Lainey Martin, Nick Sugarman directed by Jacob Thompson. HOME | FILMS | REVIEWS Vultures Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jun 29, 2023 Directed by: Jacob Thompson Written by: Jacob Thompson Starring: Kai Hohman, Lainey Martin, Nick Sugarman Vultures are famous for picking corpses to the bone, to salvage any bits of flesh they can to sustain themselves in barren landscapes with no semblance of life or fertility. Post-apocalyptic films conveniently feel like an appropriate metaphor given their volume. But thankfully Jacob Thompson’s Vultures does scavenge some meat from the bones to produce an entertaining horror short. A hunter (Kai Hohman) struggles to cope with a terrible loss in a dangerous world post-societal collapse. Living up in the mountains, he takes whatever steps necessary to survive whilst keeping clear of a terrible, curved-beaked terror. But when he comes across other survivors (Lainey Martin & Nick Sugarman), he is left with a moral dilemma that presents an existential risk. Both a survival and a survivalist horror, Vultures is an impressive presentation of an actual, genuinely discomforting post-apocalyptic future. Jacob Thompson’s directorial stylings make this far more than a ‘beards and hunting rifle’ zombie action dressed up as a horror. The framing of scenes that present gore and gruesomeness as well as the restraint of truly showing the titular monsters makes the film much scarier than if the film had been designed with a longer narrative or greater budget in mind. Vultures at its best is unnerving and taps into its audience’s visceral fear sensors to leave a lasting impression. Kai Hohman is impressive as the traumatised hunter – effectively capturing his warped sense of morality, loss, anger and nobility in the face of danger. A straightforward but emotional plotline for the character could have lacked punch if not for Hohman – who convincingly constructs a dangerous and capable yet still vulnerable and empathetic protagonist. Lainey Martin as the (not-entirely-progressively-named) Woman is similarly intriguing in her supporting role. Her enigmatic facials permeating a tremendous uncertainty and risk for the Hunter over whether to aid her from the dangers of the world. The dialogue is a little ropey, and the concept of the film is not entirely original (although props for finding an all-new horror monster idea). The film’s length feels like a restriction on what kind of commentary or themes the director can explore as opposed to a benefit, and whilst the result is entertaining it does lack substance. There are times when the plot feels like it takes the least interesting path that is seemingly available – and a more obtuse, challenging and morally dubious plot might have been wise given the number of moments in which the protagonist is presented with difficult challenges in such a short runtime. But the fundamentals are sound, the story is solid and the characters are engaging in an action-horror that does at least find some fun and originality in a barren cinematic setting. Vultures can last over 2 weeks without food. And whilst Vultures is no feast, it should satisfy horror and survival fans for a while. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Lost Hills, Ca. film review by UK film critic Matt Trapp. Starring Robbin Ormond, Waide Aaron Riddle directed by Waide Aaron Riddle. HOME | FILMS | REVIEWS Lost Hills, Ca. Film Review average rating is 2 out of 5 Critic: Matt Trapp | Posted on: Jul 14, 2025 Directed by: Waide Aaron Riddle Written by: Waide Aaron Riddle Starring: Robbin Ormond, Waide Aaron Riddle It’s rare to see trailer parks treated with dignity in storytelling. From the screwball comedy of Raising Arizona , to the reckless misadventures of The Trailer Park Boys , mobile homes are often used in film as shorthand for irresponsibility. Writer/director Waide Aaron Riddle attempts to challenge this in his short film Lost Hills, Ca. by depicting the trailer park as a proud community, with mixed results. The film opens with a gravelly, drawling voice (not far from Matthew McConaughey) reading a poem written by Riddle. The speaker confidently asserts that the trailer park is his home: “I’m not embarrassed or ashamed by it”. The audience catches glimpses of his home, clothes on a washing line, and a man (presumably the narrator of the poem) spending time with his mother outside. The scene is tender and human, an uneventful slice of an ordinary life. Shot in close up vignettes, attention is given to small details such as the rollers in the mother’s hair, or the smile of her son. Soon the scene shifts to a backyard party, and the camera narrows its gaze towards bottles of beer in hand and the shirtless bodies of the men gathered there. A great deal of focus is given to male physicality, not just in how their bodies are rendered with strong physicality lifting weights, but also in the gentle vulnerability of an embrace between two men. It’s a surprise to see men from a trailer park depicted unambiguously as gay, and it’s a relief that, in Riddle’s short, there’s no conflict or shame surrounding it. “Am I white trash?” asks the speaker, “Maybe, but I’m happy ”. Lost Hills, Ca. centres itself as a story celebrating community, unconditional love, and genuine human connection, deliberately set in an environment that audiences may prejudge as intolerant or hostile. Lost Hills, Ca. would fairly be described as a tone poem, but unfortunately the audio/visual experience is not one of its strengths. The focus on details and closeups gives very little sense of place in the short, which is a shame considering the setting of the trailer park feels like such an essential component. Audiences may find the imagery repetitive and unchallenging: the trailer park is depicted as fairly sanitised and idyllic, calling into question why the speaker would need to declare that they’re “not embarrassed or ashamed” . The editing feels jarring in places, failing to naturally link together the first two sequences. Coupled with the poor audio quality, the film ends up feeling amateurish, which viewers may be distracted by. Particularly noticeable was the low level background noise cutting out when the speaker finished each line of the poem. To avoid some of the repetitive sound effects in the mix, perhaps more audio could have been recorded on location.The imagery would be more interesting if it didn’t depict each line of the poem literally; some abstraction and visual contrast could have gone a long way in adding to the subtext of the film. Trailer parks are fascinating spaces that reject the typical suburban American Dream, offering a unique sense of freedom and closeness. Leaning into more varied images could enhance the themes that Riddle was gesturing towards and provide the audience with a richer, more challenging experience. Lost Hills, Ca. is an admirable effort, with an earnest quality that some viewers will resonate with. Pride feels like a relevant theme to think about with Riddle’s short: pride in one’s home, and in one’s identity. There are considerable rough edges in this film, but Riddle's attempt to capture the warmth of community is worthy of praise. With some additional polish, Lost Hills, Ca. could boldly assert itself as a touching statement on self acceptance and unconditional love. As it is, the short may leave audiences wanting something more to chew on. Buy UKFR Banner Space About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Melodrive film review by UK film critic Patrick Foley. Starring Matt Wake, Megan Alderson, Michelle Collins directed by Oscar Wenham-Hyde. HOME | FILMS | REVIEWS Melodrive Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Feb 25, 2025 Directed by: Oscar Wenham-Hyde Written by: Oscar Wenham-Hyde Starring: Matt Wake, Megan Alderson, Michelle Collins There are few experiences in life more miserable than being stuck on a long journey with someone you can’t stand, and Melodrive bottles this unpleasant essence with its story of an adulterous indie musician on a bumpy road to redemption, whose Sheeran-esque songs are the least annoying thing about him… After an affair with his wife’s friend, wannabe singer/songwriter Ethan (Matt Wake) sets off on a road trip to his hometown to find some kind of direction in a life he tanked. It is here he runs into childhood sweetheart Zoey (Megan Alderson), who he convinces to accompany him with the power of the acoustic guitar. Ethan finally starts to make some strides with his music, but the unresolved pieces of his life – his destroyed marriage, and broken relationship with his parents – are never far from throwing things off course. Melodrive’s insufferable protagonist Ethan is its original sin. A bad person by his own admission, the viewer is tasked to engage with a story where a return to one’s roots helps them become a better person. But there never comes a moment where one truly sympathises with Ethan’s actions, which end up petulantly blamed on his father’s legacy. Audiences will struggle to look past – but his whining, irritability and arrogance, such as in scenes where we are asked to look past the creepiness of drunkenly turning up at his ex’s house late at night to beg for forgiveness. Part of this is the miscasting of Matt Wake in the lead role. Both Wake and Megan Alderson who plays love-interest Zoey present as far too young to be a pair of reunited long-lost-lovers. Wake in particular fails to convince us that he carries the scars of a failed marriage, which would at least allow viewers to transpose their own heartbreaks and complex emotional journeys onto the character – making his infidelity a little more tolerable. Instead, Ethan comes across as a young, dumb, selfish idiot who cannot possibly comprehend the magnitude of his failures. It's not all Wake’s fault – it is hard to make Ethan a likeable character. Aside from the selfishness, it is truly frustrating to see so many of those around him excuse his failings or forgive his flaws seemingly because he is the protagonist of the film. There is no reason Zoey should throw her life in the air to join him on his quest – even after saying it is a mistake multiple times, just as there is no reason the woman he had an affair with would encourage him to go back to his partner, his parents put aside their feud to give him a pep-talk, or that he gets a record deal handed to him on a silver platter for getting a vibe going in a small pub. Not every protagonist has to be likeable, but we need to WANT them to succeed. All we want to see happen to Ethan is for him and his guitar to encounter Jeff Jarrett. The songs themselves (composed by director Oscar Wenham-Hyde) are solid enough, with the film regularly halting to allow their full renditions. This is distracting at first but does allow for some nice character-building moments with Ethan and Zoey which are the closest moments to making us root for the pair. Megan Alderson is charming as Zoey despite her youth, and Michelle Collins as Ethan’s mum Nora gives a moving short performance. The film is visually impressive given its budget, with nice editing and framing of Ethan’s performances. Wenham-Hyde allows uncomfortable lingering in some scenes that seem to be begging Ethan to come to a realisation. Unfortunately, the writing never really follows up. With a more appropriate and redeemable protagonist, there is a world in which Melodrive works. There is a lack of great British on-the-road movies, and the indie-musician angle feels tailor-made for a breakaway indie sleeper hit. Unfortunately, most viewers will not want to spend a minute longer with Ethan than they need to. His whimsical and carefree approach to the destruction he causes to those around him make him unlikable to the extreme. I’d rather take the melobus… Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Queen of Diamonds film review by UK film critic Patrick Foley. Starring Carlotta Banat, Omar Khan, Selorm Adonu directed by Shehroze Khan. HOME | FILMS | REVIEWS Queen of Diamonds Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 13, 2022 Directed by: Shehroze Khan Written by: Omar Khan Starring: Carlotta Banat, Omar Khan, Selorm Adonu They say breaking up is hard to do. But if you’re going to do it, the emotional and thought-provoking one presented in Queen of Diamonds certainly beats doing it by text… Paula (Carlotta Banat) and Ali (Omar Khan) meet atop of Greenwich Hill to conclude the breaking-up of their failing relationship. Together since uni, the pair have experienced the highs and lows of young love. But after noticing cracks, they have one last conversation to seek closure as the sun sets. Queen of Diamonds is a short film that focuses on the end of love, and the emotional strain put upon both halves of a relationship when things must come to a finish. Details of the break-up itself are scarce and only hinted at, with much of the conversation seen in the film focusing on relationships as a whole - and how the differences throughout can cause the slow death experienced by the protagonists as people start to grow into who they are meant to be, and who they are meant to be with. Pain and separation are therefore key themes for the film, which comes with a message that despite how difficult breakups and the ending of relationships can be, the positive experiences people receive will ultimately change us – and it is us as individuals to decide if this is for the better. Paula and Ali both reminisce over the good times as much as they are triggered by the bad, and their participation in what is made clear to be a difficult and painful conversation shows the maturity that each has gifted to the other. Shehroze Khan and writer/star Omar Khan have impressively formulated two natural and authentic characters, whose shared history pulsates from their dialogue with each other. What is at first an awkward exchange of pleasantries ignites upon the highlighting of negatives and disputes the pair share – as the film really kicks into gear and demands the audience’s attention. This gives way to true reconciliation and the begins of an understanding – for a melancholy ending that fully earns the emotions it attaches. The uncomfortable yet warming, difficult yet nostalgic exchange brilliantly captures the complexity of the subject matter – and will touch on very real feelings and memories of viewers. Both Carlotta Banat and Omar Khan perform well in the leading roles – Banat as the more sombre and serious Paula and Khan as the affable and brave-faced Ali. A sense is imbued that this is a Paula-driven break-up by her determined manner – but Banat leaves enough anguish in the character to show that this is not a decision she has taken lightly. Khan meanwhile is quick to bring some light relief to an experience that Ali may not be fully ready for – in a way that demonstrates his charm but is also shown to be a cause for why things have not worked out. The only knock on either performance is that we don’t really get a sense of time around the relationship to really emphasise how long the pair have been together – but viewers will sympathize nonetheless. For a short, lower budget concept film, Queen of Diamonds taps into some unexpectedly deep emotional territory with an incredibly simplistic and minimalist idea. Add in two strong performances and a perfect setting, and you have a very accomplished feature. Maybe just give it a miss if you’re not past the ‘eating tubs of ice-cream crying’ phase… Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >