Touch Me film review by UK film critic Hope Madden. Starring Olivia Taylor Dudley, Lou Taylor Pucci, Jordan Gavaris directed by Addison Heimann. HOME | FILMS | REVIEWS Touch Me Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 29, 2026 Directed by: Addison Heimann Written by: Addison Heimann Starring: Olivia Taylor Dudley, Lou Taylor Pucci, Jordan Gavaris About a decade ago, filmmaker Amat Escalante made a movie about sexual frustration, bad decisions and tentacle sex. The Untamed grounded the fantasy in a profoundly ordinary and relatable human drama, limiting the absurdity and amplifying the horror. Addison Heimann leans far more absurd with his tentacle sex horror Touch Me , a potent drug metaphor that speaks to a modern malaise. In a lengthy and surprisingly effective opening monologue, Joey (Olivia Taylor Dudley, exceptional) explains her situation to her psychiatrist. A weirdly good-looking alien in a tracksuit (Lou Taylor Pucci) came to save the planet from climate change and convinced Joey to have cross-species intercourse. His touch made her mind go quiet for the first time in her life, but she fled because she nearly died. Still the lure of a quiet mind proves too much and soon Joey and her best friend Craig (Jordan Gavaris) cave into temptation and find themselves hooked. Which doesn’t sound funny, but Heimann’s delightfully accepting glimpse at modern slackerism paired with Pucci’s wide-eyed narcissism and hip hop moves keep things light despite a lot of truly dark turns. At its core, Touch Me is about deeply damaged people struggling to face a reality that cannot make them happy and the incessant temptation of hard drugs to silence that anxiety. For that reason, the silliness sometimes seems tone deaf. That, or the dramatic turns seem maudlin. But only briefly, mainly because of the commitment of Heimann’s small but talented cast. Dudley and Gavaris affect a believable co-dependence, their banter a familiar and humorous cadence of self-loathing and support. Dudley is particularly impressive in a role that holds the metaphor, horror and silliness together. And Pucci hits a perfect tone for oblivious track-suited narcissist. The writing does not always serve the actors as well as they serve it. There are holes in logic that Touch Me laughs off by pointing them out—a fun tactic, but not a solution. And the whole feels slight given the deeper ideas sewn throughout. But the film is an enjoyable, sloppy, relatable mess with insight and fun to spare. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Wuhan Driver film review by UK film critic Jason Knight. Starring Wayne Chang directed by Tiger Ji. HOME | FILMS | REVIEWS Wuhan Driver Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 23, 2022 Directed by: Tiger Ji Written by: Tiger Ji Starring: Wayne Chang A look into the life of a Chinese taxi driver in the United States as he deals with one difficult passenger after another. It is the coronavirus pandemic and Zhang (Chang) has moved from China to the U.S. and is now working as a taxi driver. He provides rides to people who are often rude, racist and disrespectful towards him and he listens to voice messages from his family back in Wuhan. COVID-19 seems to be bringing hostility towards him because of his Chinese nationality and he does his best to cope. This poignant short drama was executive produced by Academy Award-winning producer Jonathan Sanger and it focuses on an individual who has found himself in a society that is hostile towards him and ignores him and as a result, he has become an outcast and feels lonely and isolated. The audience observes him as he interacts with various passengers that include two young women who are very rude to him, a woman with a baby who ignores him and a young man who refuses to get into the taxi once he realises that Zhang is Chinese. The viewer cannot help but feel sorry for the hero because he comes across as a good-hearted person who does his best to be polite and helpful and all he appears to get in return is the cold shoulder. People's indifference is also shown as Zhang always wears a mask while he drives passengers to their destination, while none of them ever wear one. Although poor Zhang constantly has to deal with bad behaviour and racism, there is temporary solace when he interacts with a kind priest but at the same time he also confesses that he is in a very bad emotional state. This scene is rather dramatic and offers a rather informative insight into the mind of the protagonist. The acting is very good and all the people playing supporting characters do a great job. Chang is rather convincing as a good individual, who has a heart condition and misses his family and is brought to his knees by cruelty and indifference. His emotional performance makes the audience feel for him. Ji directs very well and the script contains well-written dialogue. Stefan Nachmann provides beautiful cinematography. This is a moving and downbeat story about a person who are in a place where they are suffering due the behaviour of the people around them. The narrative explores themes of loneliness, sadness and indifference and suggests how people's perspective towards the Chinese has changed due to the pandemic. It is a dramatic and emotional journey and the ending is heartbreaking. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Dreams film review by UK film critic Hope Madden. Starring Jessica Chastain, Isaac Hernández directed by Michel Franco. HOME | FILMS | REVIEWS Dreams Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 26, 2026 Directed by: Michel Franco Written by: Michel Franco Starring: Jessica Chastain, Isaac Hernández Early in Dreams , Michel Franco’s latest, a wealthy white guy at a board meeting says, “Why Mexicans? Isn’t there anybody here we can help?” It’s a pristine boardroom, just the questioning Jake McCarthy (Rupert Friend), speaking to his benevolent father (Marshall Bell), and his philanthropic sister, Jennifer (Jessica Chastain). She gives him a playfully annoyed shake of the head, hands him a dossier to sign, and promises her “little projects” are all tax write offs. She and her father share a “what are we going to do with this guy?” smile and roll of the eyes. Franco’s film is not subtle. Chastain cuts an elegant figure, Franco’s cinematographer Yves Cape lingering over every meticulous ensemble, fetishizing each pair of impossible heels. She never smiles. There’s a hand ready to help her out of every vehicle as its door opens for her. She has never a hair out of place. Except when she’s having energetic sex with Fernando (Isaac Hernández), the talented ballet dancer who’s just crossed the border and most of the US on his own to be with her. The erotic thriller’s psychosexual politics are eye-catchingly surface level, with a heavy-handed examination of the American Dream driving the action. The role reversal—that the wealthy philanthropist is a woman and the beautiful ballet dancer in distress is a man—allows Franco provocative opportunities. One of the most interesting things about Franco’s films, including Memory , also starring Chastaine, and 2022’s Sundown , is that, at just past the halfway mark, each becomes an entirely different film. Dreams follows that path as well, although with less satisfying results. Like Memory , Dreams considers power and consent in sexual relationships, and again, the latter film comes up shorter. Dreams seems more obviously built to provoke, more relentlessly opposed to choosing a side. That feels less provocative and more irresponsible here. Whether, in the final image on the screen, we are expected to see the evil of privilege or the righteous glare of vengeance, what’s important to note is that no white men were harmed in the making of this film. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Mermaid Beach film review by UK film critic William Curzon. Starring Ellie Bindman, Georgia Grace, Marie Wilson directed by Sam P. Green, Becca Hirani. HOME | FILMS | REVIEWS Mermaid Beach Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Apr 16, 2026 Directed by: Sam P. Green, Becca Hirani Written by: Christopher Jolley Starring: Ellie Bindman, Georgia Grace, Marie Wilson Mermaid Beach follows two sisters, Lily (Ellie Bindman) and Sophie (Georgia Grace), as they move with their mother and stepdad to a new town by the sea. As they begin to get accustomed to their new home, they make a startling discovery that changes their lives forever. Going into Mermaid Beach blind is one of the most rewarding aspects of the piece, as it offers a sense of awe and subverts expectations from a regular coming-of-age narrative feature. As the film was made in Carmarthenshire, West Wales, the filmmakers make the most of the environmental aspects, showcasing gorgeous drone photography overlooking the wonderful landscapes of the area. The sound of the ocean and the waves is a primary focus of the sensory aspect and feels thematically present in the film's ideas. Building on this, the musical score is whimsical and upbeat, matching the waves and wholesome tone of the narrative. Raffaele Nocerino, serving as the film's cinematographer, primarily shoots most scenes with a plethora of wides and switches to close-ups during more intimate character moments. The use of underwater photography is astounding and feels incredibly visceral through the use of point-of-view camerawork. Despite the film's budget constraints, the make-up and costuming are commendable and feel effective during the fantasy elements of the narrative. Adrian Abbott, serving as the film's editor, ensures the pace flows incredibly well, considering the substantial amount of material covered throughout the runtime. The pacing is steady as the narrative unfolds slowly, revealing aspects of the protagonist’s identity as they come to fruition, and the film flows remarkably. However, despite the editing flowing well throughout, the film suffers from a prolonged conclusion that feels like it is going to end multiple times before it eventually does. The film also explores themes of grief and self-discovery, two core aspects of the central character’s arc throughout the narrative. While the family dynamic at the core of the story is somewhat derivative of other family films with the daughter attempting to fit into a new life, the performances and fantasy elements elevate the material. The emotional resonance is another effective aspect of the family dynamic that works incredibly well to elevate the piece. The filmmakers also employ a heart-warming environmental message about protecting the ocean, which is highly pivotal given the film's subject matter and emphasis on the ocean. Despite the first two acts of the film being slower and more focused on Lily’s character development, aspects of the third act are incredibly thrilling with a minor jarring tonal shift. All the central performances are wonderful, particularly Ellie Bindman's portrayal of Lily, as her character evokes a great level of warmth and care in the narrative. Georgia Grace's portrayal of Sophie is another standout performance, as her innocence and love for her older sister are poignant and at the heart of the film's central themes. Mermaid Beach is a wholesome family feature that blends a wonderfully grounded coming-of-age narrative with fantasy elements. While the conclusion may drag a little too long with false conclusions, it's a worthwhile effort that boasts some terrific performances and a well-paced narrative structure. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Minnesota Tiger Man film review by UK film critic William Hemingway. Starring Grant Oly, Allison Asher, Ron Hiker, Tammy Quist directed by Grant Osum. HOME | FILMS | REVIEWS Minnesota Tiger Man Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Aug 3, 2022 Directed by: Grant Osum Written by: Grant Osum Starring: Grant Oly, Allison Asher, Ron Hiker, Tammy Quist By now most of us have probably already seen Tiger King (2020) – the exploits of Joe Exotic being water cooler fuel the world over, making him the pre-eminent figure of big cat ownership in the USA, after Siegfried and Roy of course. What the Netflix series did though, probably quite rightly, was to focus more on the man himself and his ridiculously self-serving character traits which he developed to create his mawkishly morbid car-crash of a personality, rather than on the big cats he was supposedly looking after. Grant Osum, the director/producer of Minnesota Tiger Man , has stated that he started putting together his film before the Netflix phenomenon had first aired, but nonetheless it seems he came across the same structuring dilemmas – that even though the tigers are the big draw for the audience, the story is still with the man/personality who has taken it upon themselves to be their saviour. Osum has more than a passing interest in telling the story of Grant Oly – said Minnesota Tiger Man – as he is the latter's nephew and remembers a time when his uncle used to keep the tigers on his property in the Minnesota hills. At the time, Oly was vilified in the press and the media, painted as a dangerous kook who bred the animals for personal gain and who was so deficient in his duties that the surrounding community was in danger of being eaten alive by escaped tigers. Now Osum wants to give a more balanced view, having the benefit of time, distance and hindsight to enhance his objectivity, and in no way does he want to take sides. Some of the scenes where his uncle tells his version of the story might suggest why. The story is told, much like Tiger King , through retrospective interviews with the interested parties. There are plenty of newsreels, home videos, paper cuttings and highlighted legal documents interspersed throughout to give context, credence and cross-reference to what's being said and everything is knitted together very well by editor/producer Sam Ruesink. The documentary plays as a high quality affair and its technical aspects stand it out as a professional production. Of course, the most interesting segments are the ones with Oly himself and he gets a fair shake at the tree to tell his story his way, on multiple occasions and in different locations. Everybody involved with the 'Tiger Zone' habitat defends Oly and what he was doing, and unanimously feel he was badly treated by the authorities. The authorities, obviously, don't see it that way. Spending time with Oly, listening to him talk about his tigers in his habitat, might be you'd think, the best way to cut through the noise and get to the heart of the matter – but as with all men of his disposition, who feel they have a calling and are right about every decision they make, the more he talks the more he lets himself down and the more the mask slips. Osum begins the film with an advisory warning, stating that viewer discretion is advised, but this seems to be a deliberate attempt at over-egging the pudding. There are a couple of rough handling scenes of the tigers, but nothing traumatic, and some of Oly's ire comes out at certain (female) individuals with a running undercurrent of sexism, but there's nothing that should turn the viewer off. Osum's aim was to tell his uncle's story in a new light, with all the relevant information and an objectivity that wasn't present at the time. He does an excellent job of rounding out the story and presenting as much of the evidence as possible, on both sides, to give a fair and balanced representation of the salient arguments. However, through all of this what he doesn't manage to do, is remain unbiased. Whatever your thoughts and feelings on private owners being able to keep big cats on their property, Osum definitely has his views on whether his uncle was a good keeper/protector of the animals or not. The editing together of certain audio and video pieces reinforces this and it's clear to see what the film-maker thinks without him stating it outwardly. For what is otherwise a fair and balanced documentary this is a shame, not least because Osum doesn't fully achieve what he was aiming for. For the time investment that you would put into one episode of Tiger King , you can watch here a full film with a beginning, middle and end. You get all the elements you're looking for – tigers, conflict, media hype, maulings (or lickings depending on if you're in denial or not), and an eccentric, slightly delusional main character. On all this Minnesota Tiger Man delivers, just don't expect the director to be looking fully straight down the camera while he shows you. Buy UKFR Banner Space About the Film Critic William Hemingway Documentary < All Reviews Next Film Review >

Noblestone film review by UK film critic Chris Olson. Starring Lucia Goya-Betts directed by Albert Goya. HOME | FILMS | REVIEWS Noblestone Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jul 29, 2026 Directed by: Albert Goya Written by: Albert Goya Starring: Lucia Goya-Betts The quirky caretaker is back in this somewhat sequel to Lady Governess , a humble indie feature from Tito Wiley, now penning and directing as Albert Goya. The sibling dynamic is back, with the filmmaker’s sister Lucia Goya-Betts playing both onscreen roles (albeit with some cinematic sleight-of-hand to keep us guessing). In Noblestone, Karen (Goya-Betts) takes another job helping a lonely woman as a housemaid. Her new employer (also Goya-Betts) is a frustrated artist whose anxiety over her lack of drive and being able to finish paintings makes her the perfect companion to our otherworldly Karen - who sports her signature brightly coloured wig and shrieking voice. As the pair engage in a fairly affable initial friendship, the atmosphere in the house becomes increasingly tense as the relationship develops. There is something offbeat and unsettling about Goya’s latest film that is oddly compelling, as well as having a whimsical charm during its moments of comedy. A particular highlight of Noblestone is how comically bad the woman’s paintings are; imagine toddler attempts, and you are somewhere in the right ballpark. But Goya and Goya-Betts are not content in simply delivering slapstick gags and outlandish antics (of which there are many); there are tender moments of character connection, as well as a few sparkling moments of poignancy. A scene whereby Karen plays an artistic composition of her own on the piano whilst the camera stays on her employer is absolutely breathtaking and totally unexpected. Cinematically, Noblestone peppers its zero-budget aesthetic with some cracking shots (such as the image above). Filmed in both London and Spain, the wonderful landscape of the latter utterly soaks the screen in natural beauty, whereas the interior shots are laden with warm beauty. The opening sequence of the film felt downright Hitchcockian in its tonal splendour, a perfectly entrancing way of pulling the audience into this strange story. The music is brilliantly used to enhance the piece, often capturing a classic cinema aura that transcends the period it’s been made in. Where Noblestone struggles is its languishing pace at times and the dialogue that often tries to be too profound for its own good. Overlong scenes of the pair waxing lyrical about everything from art to the human condition become repetitive and threaten the tension being built between the two characters. It also feels all too familiar for anyone who has seen Lady Governess, a spiritual twin in almost every aspect. That being said, much like critic Joe Beck’s previous praise for Lady Governess, the fact that Goya is still a teenager makes Noblestone an incredible feat. Very few indie filmmakers (of any age) can produce a feature-length film as unique and curiously compelling as this. Noblestone takes some important steps into the horror/thriller genre for Goya, this being a fractionally darker and more sinister tale that belies its humble budget, sustaining and executing a worthy piece of original cinema (albeit not original if you have seen its predecessor). Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Bury Your Gays film review by UK film critic Holly Baker. Starring Jude Mack, T’Nia Miller, Harry Trevaldwyn directed by Charlotte Serena Cooper. HOME | FILMS | REVIEWS Bury Your Gays Film Review average rating is 5 out of 5 Critic: Holly Baker | Posted on: Nov 11, 2025 Directed by: Charlotte Serena Cooper Written by: Charlotte Serena Cooper Starring: Jude Mack, T’Nia Miller, Harry Trevaldwyn This short film, directed and written by Charlotte Serena Cooper, is not only an enjoyable story but also an encapsulation of an important queer struggle conveyed masterfully. Following queer actress Grace, Bury Your Gays is a terrific satire narrating her inability to survive in her queer roles. Time after time, characters she plays are killed off. In a constant battle against her directors and producers, she has become increasingly frustrated. Why do her queer roles never get happy endings? In fact, why don’t any queer stories seem to end with a fulfilling romantic outcome? Grace questions the harshness of the Bury Your Gays trope, just as many viewers, authors and critics of film and TV have, as it has been increasingly investigated in recent years. The film grounds itself within queer culture, depicting a clear awareness of the evolution of queer cinema, from the New Queer Cinema wave of the 1990s to the later queer classics. The film presents its cultural awareness through humorous, ironic references, such as a direct callback to Brokeback Mountain, to intensify the film’s point that queer characters are doomed to have tragic endings (we all know how that one ends). The opening to Bury Your Gays is skilfully gripping. After suffering one of her on-screen deaths, which is convincing as a story within a story, Grace enters a peculiar void inhabited by a captivating agent played by T’Nia Miller. Miller’s character is a personification of the way viewers perceive the Bury Your Gays trope. The Agent offers hope to queer actors, just as audiences have hope in the queer characters they see on screen, only to hit them with an ‘Oh well, try again next time!’ when the characters reach their eventual demise. This brings to life the constant struggle of queer viewership, as audiences fall in love with characters and ships, only to have their happy ending taken away from them, yet they continuously view queer stories in the hope that this will change. Grace is given nine lives and is told by the agent she must find a role in which she does not die. She travels to each role through a fantastical portal within the void. Each storyline is brief and vague; however, they are full of contextual cues that viewers can easily immerse themselves in each world that is created, and the punchline at the end of them never loses its impact. As Bury Your Gays highlights, the film industry for years has excluded queer stories due to the Hayes Code, and as representation has increased, queer characters continuously end up dying off. This short film, by enacting this trope, actually manages to subvert it by taking the tragedy out of the deaths. By using comedy, Bury Your Gays invents a new mechanism of killing queer characters, highlighting the injustice this poses. Whilst being very on the nose, Bury Your Gays still works due to its reliance on satire and breaking of the fourth wall. It is a film about infuriating queer tropes in films, with these exact tropes involved in the story, whilst also offering its own story of progression and abandonment of stereotypes. Bury Your Gays marks the start of a new era. Recently, queer films such as Bottoms and Red, White and Royal Blue have struck the film industry with a new kind of queer storytelling, depicting queer joy rather than, as has been continuously done so beforehand, queer suffering. Although these happier, optimistic films are unfathomably outnumbered by their tragic predecessors, Bury Your Gays presents an outlook which provides queer characters the option of being happy, whilst acknowledging and honouring the past. All the while, the film never misses a beat. Bury Your Gays is full of comedic twists, well-rounded characters and an engaging script. As well as this, the film’s use of several different settings and costumes brings an exciting, satisfying look to the film, one which encapsulates viewers as they follow along a touching, uplifting, and critical story. Buy UKFR Banner Space About the Film Critic Holly Baker Short Film, LGBTQ+ < All Reviews Next Film Review >

Influencers film review by UK film critic George Wolf. Starring Cassandra Naud, Emily Tennant, Jonathan Whitesell directed by Kurtis David Harder. HOME | FILMS | REVIEWS Influencers Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Dec 11, 2025 Directed by: Kurtis David Harder Written by: Kurtis David Harder Starring: Cassandra Naud, Emily Tennant, Jonathan Whitesell If you saw Influencer three years ago, no doubt you noticed that little smile from CW (Cassandra Naud) in the final shot. If, like me, you were hoping that meant she’d find a way to stir up more social media mischief, it’s a merry Christmas for both of us. CW has quieted down a bit since we left her on that island, settling down enough with girlfriend Diane (Lisa Delamar) to let her guard down and actually pose for photos. But an encounter with a travel influencer (Georgina Campbell) lures CW back to her old ways, and it isn’t long before she has more bloody tracks to cover. Again, writer/director Kurtis David Harder has good instincts for knowing what questions we’re asking as this world wide web gets more tangled, and for keeping the beats relevant to the changing landscape of social media. The introduction of toxic bro blogger Jacob (Jonathan Whitesell) feels right on time, as does the re-introduction of Madison (Emily Tennant), who now has even more scores to settle with old frenemy CW. Naud gives another terrific performance, as CW remains a smart, slippery and ever intriguing mystery girl. Dancing in and around more gorgeously framed locales, CW makes it fun to try and guess what she’ll do next. What’s even more fun? The fact that we’re not prepared for just how batshit things get in act three. Harder’s observational nature about social media never feels like finger-wagging, and the continually rising stakes of mystery, mayhem and fun land Influencers as another lethal blast of engagement. Smash those like and follow buttons! Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Escape from Extinction film review by UK film critic Isabelle Ryan. Starring Helen Mirren directed by Matthew R. Brady. HOME | FILMS | REVIEWS Escape from Extinction Film Review average rating is 2 out of 5 Critic: Isabelle Ryan | Posted on: Oct 7, 2021 Directed by: Matthew R. Brady Written by: Peter Meadows, Alex Blumberg Starring: Helen Mirren Produced by American Humane, Escape from Extinction is a documentary about conservation. It is supposed to be a call to action, but the lack of focus and shallow messaging leave a bad taste in the mouth. The film is technically proficient. Helen Mirren collects a paycheque for her serviceable narration, and Catherine Yang’s music is fine if forgettable. Sad piano pieces played over footage of animals in distress hit the nail a little too squarely on the head. The end credits feature an incongruous, saccharine song by Lisa Loeb whose lyrics have little to do with the preceding film. On the positive side, the editing is slick, though the film lacks focus, and the decision to cover general, universal conservation makes for a shallow product. The documentary touches on how the media affects people’s views of certain animals and, by extension, how those animals are treated. Sharks in particular fall victim to this, and Steven Spielberg’s Jaws is specifically mentioned. However, the filmmakers blame young children for being afraid of the film. What they don’t mention is how beach attendance dropped in the 1970s, and how the film allegedly inspired men to hunt sharks en masse. In fact, Peter Benchley, the author of the original novel, later said that had he known how sharks really acted in the wild, he never would have written it. Of course, the documentary mentions none of this. In fact, throughout the film, protestors are presented as victims of propaganda, not as having valid concerns. In the section on SeaWorld, animal rights activists are interviewed and, as they were unprepared for questioning, their hesitations are presented as foolishness and ignorance, juxtaposed with the well-spoken, educated conservationists. Joe Exotic and PETA are briefly (and rightfully) featured in a negative light, as are the protestors whose campaigns resulted in the preventable, tragic death of Keiko, the whale from Free Willy. Unfortunately, Escape from Extinction casts everyone who has reservations about zoos and aquariums and other organisations in a negative light, leaving no room for nuance. The film also lacks historical context, glossing over important information. For example, William Hornaday’s work to revitalise the bison population in the American West forms a sizeable section of the film, but the reason for the mass slaughter is not mentioned. Railroad construction is partially blamed, but in reality, white Americans systematically culled bison in a racist, genocidal move to force Indigenous people into submission and surrender. The filmmakers ignore the racist white men responsible for killing the bison, and instead focus on the heroic white man who saved them. They also fail to mention the impact this government-sanctioned slaughter had on Indigenous people. Often, animals such as the wolves in the Yellowstone National Park are referred to as ‘keystone species’ – that is, species that affect biodiversity as a whole. Thanks to these wolves, there are more beavers and birds, and fewer coyotes. However, in only one section do we hear about the positive impact conversation has on people. Indeed, apart from the conservationists themselves, people are generally presented as ignorant or downright stupid. Of course, anyone looks heroic when juxtaposed with Joe Exotic. Contrary to popular belief, documentaries do not have to tell the truth. Escape from Extinction lies by omission. Historical context and moral concerns are glossed over in favour of essentially advertising zoos, aquariums, and even controversial theme parks like SeaWorld. The film focuses too much on these organisations, and not enough on the animals themselves. Despite some powerful stories and legitimate criticism of certain groups, in the end, the film is essentially propaganda. Buy UKFR Banner Space About the Film Critic Isabelle Ryan Documentary < All Reviews Next Film Review >

Dead Mail film review by UK film critic Hope Madden. Starring John Fleck, Sterling Macer Jr., Tomas Boykin directed by Joe DeBoer, Kyle McConaghy. HOME | FILMS | REVIEWS Dead Mail Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 16, 2025 Directed by: Joe DeBoer, Kyle McConaghy Written by: Joe DeBoer, Kyle McConaghy Starring: John Fleck, Sterling Macer Jr., Tomas Boykin Welcome to Peoria, IL sometime in the mid-1980s. A little mystery has taken hold of the post office. Letter sorters found a necklace in an envelope with the wrong address on it. It looks valuable, so that means Jasper (Tomas Boykin) will put his skills to the test to try to sleuth out who the jewelry belongs to and return it to its rightful owner. There’s also this torn, bloody piece of paper about a kidnapping. Filmmakers Joe DeBoer and Kyle McConaghy’s thriller Dead Mail builds on a wildly unrealistic concept: smalltown post offices with super-secure back rooms where pains are taken and spies may be accessed to solve mysteries behind lost mail. And yet, their analog approach to this period piece gives it a true crime feel you never fully shake. The authenticity is not just in the lo-fi look—although the set design, costumes and hair are spot on. The wholly convincing performances, especially from two of the cast mates, pull you in. Boykin’s low key, unflappable turn as the dead letter investigator quietly anchors the film—so quietly that the machinations around him are more likely to draw a “huh, I had no idea the Peoria post office went to such pains to track down lost mail” than they really should. But the bulk of the film is carried on John Fleck’s shoulders. As Trent, the seemingly harmless organ enthusiast who has a man trapped in his basement, Fleck’s delivers magnificent work. There’s a beautiful loneliness in his performance that makes Trent irredeemably sympathetic. DeBoer and McConaghy (Sheep’s Clothing ), who co-write and co-direct, invest in character development enough to complicate your emotions. You’re genuinely sorry to see what happens to some of these characters, and yet, you just can’t hate Trent. A couple of characters are there more for comic relief than anything, but even they are somewhat delicately drawn. And though the premise on its face is outlandish, every detail in the film convinces you you’re watching nonfiction. Filmmaker and cast investment pays off. Dead Mail is clever, intriguing and wholly satisfying little thriller. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Higher Knowledge film review by UK film critic Patrick Foley. Starring Jose Antonio Otero, Devin Hite, Jaden Besteda directed by Elijah Bigler. HOME | FILMS | REVIEWS Higher Knowledge Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 21, 2025 Directed by: Elijah Bigler Written by: Elijah Bigler Starring: Jose Antonio Otero, Devin Hite, Jaden Besteda Writer and director Elijah Bigler cites John Carpenter’s films as the central influence behind Higher Knowledge , and it is clear to see how the legendary horror auteur’s legacy has left its mark. This college-set sci-fi short punches above a student budget to deliver a film that is fun, atmospheric and eye-grabbing. Graduate students Ray (Jaden Besteda), Howard (Devin Hite) and Eric (Jose Antonio Otero) spend much of their time pondering research, but a run-in with their professor Jonathan Dante (Jon Schaffer) opens their eyes to scientific potential that they never even dreamed of. When it turns out a creature has taken possession of the man they look up to and left a strange equation on his chalkboard, it is up to the trio to figure out the power it hides – and to decide if it belongs in this world. Passion and inspiration are always evident in a film, and Higher Power has both in spades. Bigler and co. were clearly having a blast in this short’s production, injecting loving references to John Carpenter’s work and experimenting with how far they can push their budget into the sci-fi/horror sphere. The eccentric performance of Jon Schaffer is something of a summation of this work – just teetering on the edge of over-the-top but staying grounded enough to balance out the otherworldliness. That is until a gloriously gory sequence of disembowelment that will stun audiences out of any malaise. There is a retro ambiance to the film that sits nicely with the story, another clear influence of Carpenter’s work. Warm, wide shots in the college halls act as a calm before the storm, before the lecture hall begins to close in on the trio as the gravity of their discovery becomes clear. It is in these sequences that the characters are really fleshed out and the film builds substance as well as style. Bigler’s eye for a shot keeps momentum during these sequences as the sci-fi story beats are baked further into the narrative. There are a couple of moments where viewer immersion gets broken such as a distracting red visual effect that flashes on the screen when a knife is used, but these are few and far between. Jaden Besteda, Devin Hite and Jose Antonio Otero feel right at home as the three leads, with Otero in particular standing out with a strong performance as the inquisitive but cautious Eric. Each performance feels distinct and deliberate, approaching the equation from different angles in order to keep audiences on their toes. Higher Knowledge is a really entertaining short – a snippet of a larger story in reality but one that leaves audiences longing for more. Elijah Bigler’s sense for atmosphere is its biggest asset, and having characters that stand out is not far behind. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Are You Ready? film review by UK film critic Jason Knight. Starring Jack Riley-Jones directed by Dylan Guard. HOME | FILMS | REVIEWS Are You Ready? Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 23, 2023 Directed by: Dylan Guard Written by: Dylan Guard Starring: Jack Riley-Jones A young man sits in a garden and describes the events that took place the night before to a stranger. Taylor (Jones) is sitting in the back garden of a friend, following a night of hard partying. With him is a mysterious person who he has never seen before and Taylor proceeds to explain to the stranger the events that occurred the previous night. Taylor's friend had a party that was attended by a lot of people and alcohol and drugs were involved. Taylor reluctantly took drugs and passed out in the back garden. However, the final outcome was much more severe than he initially thought. Shot in black-and-white, this short is basically the aftermath of a drug-fuelled night, beginning with the recollection of a hangover and moving on towards much more sinister themes. The screenplay consists almost entirely of Taylor's monologue, describing the events during the party. For a while, what he describes seems quite straightforward and it is when the plot twist arrives that the atmosphere of the short film changes dramatically. The figure in the garden with Taylor, who listens to his story, is quite intriguing due to their appearance. By wearing a coat, a hat, gloves and with the face covered by a cloth, the gender cannot be identified and since Taylor does not know him/her, their presence is a mystery until the end, where it is revealed who it actually is. The decision to film in black-and-white works effectively, considering the subjects in the story and particularly the shocking finale. The dramatic music by H. Sin significantly supports the sinister atmosphere of Are You Ready? and commendations also go to the stylised letters during the closing credits. This short film tells a tragic story and places the viewer in a position where they might already know what the hero's current situation is and the plot twist changes that. It is a rather dramatic story, it carries a powerful anti-drug message and the addition of Jones's strong performance makes this an impressive and thoughtful viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >