Leathanach Deiridh film review by UK film critic Swati Verma . Starring Veronica Henley, Deirbhile Lee, Joanne McCall directed by Michael Antonio Keane. HOME | FILMS | REVIEWS Leathanach Deiridh Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 6, 2023 Directed by: Michael Antonio Keane Written by: Michael Antonio Keane, Saorlaith Ni Shuibhne Starring: Veronica Henley, Deirbhile Lee, Joanne McCall The director Michael Antonio Keane and writer Saorlaith Ni Shuibhne give their audience an intricate script to handle a story woven around a true event so subtly being respectful towards every person involved with it through this narrative featuring a mother and a daughter duo Dr. Aine (Veronica Henley) and Dearbhla (Deirbhile Lee). The plot of Leathanach Deiridh revolves around true events. Unfortunate circumstances prompt a young woman to recount her story, from her birth at a mother-baby home to a life spent wondering about her lost family. The film opens with a series of Mid-shots and close-up shots of a doctor of a mother and baby home to provide minute details of the conversations that took place to establish the subject matter of the film and also give the viewers a chance to build an emotional connection with the content of the movie. The camera refocuses itself as it pans into the patient to showcase the pain, and the suffering the past has inflicted upon her to not break the emotional appeal and the audience continues to feel involved with it up until the climax of the dramatic piece. The filmmakers create a flashback with just sounds that give a new twist in the form of a subplot that makes the audience wait for the culmination of the cinematic piece. The white-bluish colour pallet, the hospital setting along with natural lighting, emotional background sound, dialogues, costume, hair, and, makeup complement the sensitive topic adding elements of realism and relatability to it. The inclusion of real facts at the end of the movie assists the makers to ensure that Leathanach Deiridh stays with the audience after they have finished watching. In terms of performance, Deirbhile Lee plays Dearbhla who is busy searching for her identity within herself and also the whereabouts of a family that she aspires to be with for the time left on this earth. Lee has portrayed a range of emotions and also shows the urge to continuously fight for survival and not give up inspiring the audience to learn from Dearbhla many valuable life lessons. Veronica Henley plays the role of Dr. Aine mother of Dearbhla who is reunited with her daughter but she faces a new set of challenges and hesitates to reveal her reality to Dearbhla. Henley wonderfully depicts the love and concern as she visits her long-lost offspring but Aine is also fearful of being confronted and rejected by the young lady. The senior actress utilises body language, voice modulation, facial expression, and eyes to communicate the pain and helplessness of a mother who has to stay away from her child for reasons best known to Aine. Leathanach Deiridh talks about the importance of the relationship between a mother and her children and even any number of problems or years gone by cannot alter the essence of the emotional bond between them. The short film reiterates the fact that seeking help and sharing life experiences and issues with one’s loved ones is necessary to feel better within. Hope, positivity, and happiness are crucial for giving a fresh outlook to life each time negativity surrounds people. The creative piece appeals to its audience to exercise mutual understanding between the parents as well as children so that no stranger can affect the bond in any possible way. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Out Stretched Hands film review by UK film critic Patrick Foley. Starring Devon Grevious, Quan Moore, Conor Lucey directed by Nate Reynolds. HOME | FILMS | REVIEWS Out Stretched Hands Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 18, 2025 Directed by: Nate Reynolds Written by: Tayvon Bradford Starring: Devon Grevious, Quan Moore, Conor Lucey Out Stretched Hands imagines a sadly common altercation, in the United States. Its soft immersion into the normal night of two friends leads to a painful tragedy, which will haunt viewers long after its short runtime ends. Caleb (Devon Grevious) and Junior (Quan Moore) and old friends embarking on a normal night. Both have ties to the local drug trade, but their conversations revolve around family, friends, hopes and dreams. They notice a car following them, and prepare for a confrontation with rivals. But when it is revealed that it is a police officer (Conor Lucey), both understand that a different threat now exists. The entanglement of police violence and racism in the US is a societal blight. So often it is the innocent actions or pleads from victims that become rallying cries – ‘he can’t breath’ in the aftermath of George Floyd’s murder or ‘Hands up, don’t shoot’ in Michael Brown’s. ‘Out Stretched Hands’ echoes such phrases, as a demonstration of how police bigotry is an inherent cause of such events. Caleb and Junior are not portrayed in this film as squeaky-clean, but their efforts to comply and negate threat are met in response with fear, anger and suspicion – leading to an avoidable and intentional tragedy. Tayvon Bradford’s script comes with a hard edge. Caleb and Junior’s bond is established quickly and convincingly through their vulgar banter. The effortless injection of their personal lives within the dialogue quickly details their background and the complexities of their relationship, such as Caleb’s admiration for Junior’s sister and each’s opinion on whether the risks that come with their lifestyle are worthwhile. Similarly authentic are Nate Reynolds’ direction and Chris Rivera’s cinematography, which immerse the audience in dark and foreboding city streets, in which the pair’s car is the only source of light. The red lights of the cop car that illuminate the vehicles interior are the first signs of warning, and Caleb’s decision to leave the car is what proves to be a sadly fateful one. Grevious and Moore demonstrate a playful bond that gives room for moments of both drama and comedy in the film’s opening. They each bring their own shade of cool, both able to give and take jokes at their expense, but touch on deeper questions about their characters’ lives. It quickly builds their profiles and relates the pair to the viewer. This is of course essential to deliver the blow of the finale, in which an interaction with a police officer escalates to devastating results. The tension in this scene in built well, and viewers will be shaken by the outcome. If there is one major mark against the film, it is in the flat response of Moore’s character to the officer’s actions – which falls short of the emotional stakes and pulls the audience out of the immersion at the worst possible time. Out Stretched Hands is powerful short that asks familiar questions of its viewers. Its power comes from its protagonist's imperfections – by building real people with real lives it counters any narratives that the reactive and violent actions of people are justifiable. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Coming to You film review by UK film critic Christie Robb. Starring Eunae "Nabi" Jeong, Sunhwa "Vivian" Kang, Yejoon Joung, Hankyeol Lee directed by Gyuri Byun. HOME | FILMS | REVIEWS Coming to You Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Mar 19, 2024 Directed by: Gyuri Byun Written by: Gyuri Byun Starring: Eunae "Nabi" Jeong, Sunhwa "Vivian" Kang, Yejoon Joung, Hankyeol Lee Writer/director Gyuri Byun’s Coming to You is a monument to the love and support families can provide for their children even if it takes the older generation a minute to get there. The Korean documentary follows Hankyeol, a person who is gender-fluid, but pursuing a legal identification change from female to male. This requires the partnership of his mom, Nabi. (In Korea, up until 2019, this process required filling out 18 different legal documents—including parental approval regardless of the child’s age. So, even if you’re an adult in your 30s.) Sharing the spotlight is Yejoon, a gay man, and his mom, Vivian. Initially, Vivian thought Yejoon would be better off living abroad for the rest of his life rather than living in a homeland that lacks same-sex marriage rights. Right now Korea isn’t a super-friendly space for the LGBTQ+ community. But PFLAG (an international organization dedicated to support, education, and advocacy for LGBTQ+ people and their loved ones) and other groups are working to change that. Coming to You , a documentary years in the making, illustrates the challenges and struggles of parents in a conservative society when they find out their kid doesn’t fit society’s expectations for who they are and/or how they behave. A society that can be hostile and violent. Homophobic. Transphobic. A society where suicide is the leading cause of death of people aged 10-39 (BBC ). But, it’s not all struggle. There’s hope and joy here, too—changes in the legal system, evolving attitudes after challenging conversations, fierce love and devotion. Support. Allyship. Love. Centered on the mothers’ journeys to acceptance, the film could have benefitted from a deeper exploration of the children’s experiences. A few more interviews with them would have really strengthened the project. But the moms are raw and honest, flawed but trying. And the extent they are willing to listen, love, and change to support their kids is just beautiful. Buy UKFR Banner Space About the Film Critic Christie Robb Digital / DVD Release, LGBTQ+, World Cinema, Documentary < All Reviews Next Film Review >

Off the Beat film review by UK film critic Swati Verma. Starring Amani Kojo, Aaron Smallwood Jr. directed by Jahleel Hills. HOME | FILMS | REVIEWS Off the Beat Film Review average rating is 5 out of 5 Critic: Swati Verma | Posted on: Jun 24, 2024 Directed by: Jahleel Hills Written by: Jahleel Hills Starring: Amani Kojo, Aaron Smallwood Jr. The writer-director Jahleel Hills works on his script and builds an intriguing storyline establishing the subject matter with conflict as its core idea therefore increasing the degree of audience engagement with the content. Amani Kojo (Vaughn) and Aaron Smallwood Jr. (Ray) along with the supporting cast help Hills to depict the narrative with realism and relatability. The plot of Off the Beat revolves around Vaughn who gets stopped and frisked and has to explain this to his older brother who is an officer. The short film begins with a black screen and followed by Vaughn dancing to the beat of the drums played by his friend. The eerie background music creates a sense of suspicion in the minds of viewers related to his ways of making money as well as the people he hangs out with from the very start. The set design, colour pallet, dim lighting, camera angles, dialogues, music, sound, costume, hair, makeup, and props are kept natural to elevate and provide depth as well as mystery/thrill to the screenplay and also maintain continuity in the flow so that the audience does not lose interest in the movie. In the performance department, Amani Kojo plays Vaughn is young lad who wants to enjoy life also make a lot of money while concentrating on his family ties with his elder brother Ray. Kojo beautifully expresses the physical as well as the emotional challenges a young person goes through while keeping up with the challenges as well as expectations coming from the society. The voice modulation, body language, facial expressions, and eyes are very aptly utilised to communicate what the character feels by the actor. Aaron Smallwood Jr. plays Ray the elder brother of Vaughn who loves him and wants to protect Vaughn at any cost but he is also tied to his loyalties towards his job as a cop. Smallwood Jr. has taken the audience on a roller coaster ride through his portrayal of Ray. He adds a lot of layers to his character making it interesting for the viewers to interpret Ray. Smallwood’s depiction of Ray inspires the audiences to strike a similar balance between work and personal life. Off the Beat talks about the discrimination black people have to face and how situations tend to become so serious that they tend to affect families in the long term as well. The short film also reiterates the importance of building strong bonds between loved ones, friends, and communities so that they can stay with someone who needs help in trying times. The creative piece also highlights choosing the right bunch of friends to be around also becomes very crucial as friends can either positively or negatively impact one’s life. The creative piece also talks about the need to listen to one’s heart and make a difficult decision because sometimes it is likely to be more beneficial/ fruitful for all the people involved. The dramatic piece tells its audience about the significance of being a law-abiding person because doing something always gets one in trouble. To conclude, I would like to appreciate the makers for giving Off the Beat an open-ended closure giving the audience freedom to interpret it as they want to making it an interactive experience for them. Secondly, I loved the way the writer- director Jahleel Hills wrote the brotherly bond between Vaughn and Ray making it real and relatable from the very beginning. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Sorority film review by UK film critic Jason Knight. Starring Sophie Kennedy Clark, Emily Haigh, Kate Dickie, Sam Gittins, Hannah Lee directed by James Webber. HOME | FILMS | REVIEWS Sorority Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 8, 2022 Directed by: James Webber Written by: James Webber Starring: Sophie Kennedy Clark, Emily Haigh, Kate Dickie, Sam Gittins, Hannah Lee An emotional story about the lives of two sisters. Harriet (Clark) and Sarah (Haigh) are siblings who have reached a point in their lives where there are going to be dramatic changes. Harriet has decided to move to Manchester and Sarah has been accepted to university. Although both are happy with their decisions, there are also complications as Harriet breaks up with her long-time boyfriend Andrew (Gittins) and Sarah ends up having to find another place to live. This is a moving drama that deals with themes of sisterhood, family, loss, regrets, tragedies, support and reconciliation. The screenplay follows the joys, struggles and challenges the two sisters go through and acknowledges that the bond between them is very strong. Sarah and Harriet spend a great deal of time together, enjoying themselves, discussing their lives, their past, their future, helping each other and they end up crossing paths with their estranged mother (Dickie). The narrative takes place over the course of a weekend, indicating that a great deal can take place over a short period of time. There are scenes of happiness, scenes of confrontation and scenes of forgiveness. Clark and Haigh deliver great performances as two sisters who grew up together and care deeply for each other and are now facing significant changes in their lives. Gittins plays his part very well as Harriet's partner, who is quite upset about their break-up and who also shares a traumatic experience with her that took place in the past. Dickie is also great as the mother who made mistakes in the past and is willing to make up for them. The protagonists are individuals who each have their own challenges to face and the performances are dramatic and emotional. Webber does a superb job with the directing and the use of slow motion is beautiful. The voice-over creates drama and the cinematography by Lorenzo Levrini is wonderful. The dramatic score by Derek Kirkup is a significant contribution. This feature is a coming-of-age story about self-discovery, about coming to terms with the past and moving on to better things. The acting is terrific, the script is very heavy on drama and the viewing will most likely provide a moving experience. The film is available to watch on Amazon Prime Video: https://www.amazon.co.uk/gp/video/detail/B09QGJST4B/ref=atv_dp_share_cu_r Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Digital / DVD Release, Amazon Prime < All Reviews Next Film Review >

Groomed film review by UK film critic Patrick Foley. Starring Danielle Lyn, Angelo Reyes, Amor Owens directed by Angelo Reyes. HOME | FILMS | REVIEWS Groomed Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 18, 2023 Directed by: Angelo Reyes Written by: Mary J. Dixon, Angelo Reyes Starring: Danielle Lyn, Angelo Reyes, Amor Owens Angelo Reyes’ Groomed – a drama short based on the real-life story of trafficking survivor Tanya Street – is a difficult and daunting film that imperfectly but authentically realises the disturbing pathways many young women find themselves dragged down that lead to a life of abuse and violence. Maria (Danielle Lyn) flees home after a fallout with her parents, finding herself having to survive on her own. She falls in love with Ricardo (Reyes), an older boyfriend who manipulates her into sleeping with a friend for money in order for them to pursue a life together. But as time passes, Maria is forced into more and more acts of prostitution, until her entire sense of self and worth have been destroyed as she sees no way out of the life she feels trapped in. Groomed makes for an interesting comparison with the recently released Sound of Freedom - the Qanon and Trump supported action that also focuses on human trafficking. Both are based on true stories, but Groomed ’s portrayal of the sinister, personal and manipulative methods that faux-boyfriend types utilise to coerce trusting partners into a life of sexual slavery is a much more common and regular crisis than the supposed rings of paedophiles who act as antagonists of Alejandro Monteverde’s feature. Groomed shows that trafficking usually starts much closer to home – and this personal account of inspiration Tanya Street’s experience acts as a much more relevant and complex exploration of the issue as a result. Whilst the story itself is affecting, the film itself has some significant storytelling flaws that its powerful message cannot deflect from. The short runtime means that the relationship between Maria and Ricardo is seriously condensed, essentially acting out over the course of a single scene. This means there is no chance for any sort of chemistry to develop between the pair, and Maria’s decision to follow her supposed boyfriend’s lead to a place she does not want to go does not feel fully developed or comprehensible. As the film progresses, other issues arise – such as the finale in which Maria is able to escape her controllers with ridiculous ease. Whilst the scenes themselves are clearly meant to be symbolic of real events and a metaphor for the act of good Samaritans, the events in the film’s world fail to align with the reputation of the characters that have been created and portray Maria as someone who never thought of an easy and straightforward escape. The acting is lacklustre and below par for even a lower-budget film. The majority of the cast provide wooden and stunted delivery of their lines, and never match the required anguish, anger or intensity of the situation their characters find themselves in. Some of this is a result of scripting issues as well as the shorter runtime which never really allows proper development to take place, but the basics of delivery and performance could have been ironed out much more thoroughly. Groomed has a lot of rough edges and deficiencies, but brings to life an emotional and difficult story relatively well. Trafficking and slavery make for an incredibly difficult topic, and the director manages to portray issues and realities around this in a respectful and authentic way. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Brutal Season film review by UK film critic Jason Knight. Starring Colleen Madden, Houston Settle, Markwood Fields, Shelby Grady, James Ridge, Shuler Hensley directed by Gavin Fields. HOME | FILMS | REVIEWS Brutal Season Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Mar 14, 2024 Directed by: Gavin Fields Written by: Gavin Fields Starring: Colleen Madden, Houston Settle, Markwood Fields, Shelby Grady, James Ridge, Shuler Hensley In 1940s New York, a family's life is disrupted by the unexpected arrival of an estranged relative. A good way to start this review would be with the interesting opening of this feature, which takes place with the film-within-a-film technique or the metacinema mode. A film crew is preparing a sound stage, while a narrator briefly gives some information about the story that is about to begin. Then the protagonists are introduced one-by-one, along with their character's name and also their fictional acting name (not the actors' actual names just to be clear), stating that the viewers are watching a work of fiction within a work of fiction. This is an unusual beginning for a film and a rather clever one. Moving on to the plot now, the first half could be categorised as a period family drama and the rest as a murder-mystery thriller. The narrative takes place in Brooklyn, New York during the summer of 1948. The Trouth family live in an apartment and they consist of Gayle (Madden) and Louis (Ridge), an elderly couple and their two grown-up children, Marianne (Grady) and Charles (Fields). Generally, they are happy, although they are facing some issues as Louis is struggling to maintain a job and Marianne wants to move away. Then, from nowhere, Louis Jr. (Settle), the eldest son, appears, who had left their home twelve years ago without any notification and spend his time travelling and working around the country and Mexico. Although his mother and brother are happy to see him, his sister and father are less pleased. Louis Jr. settles in and catches up with everyone, however the drama begins when he confronts his father about the past, his drinking and gambling problems and a family inheritance. Then, a terrible event turns things upside-down and a life insurance investigator (Hensley) arrives at the apartment in order to interview the family members and determine what happened. From there, the suspense and tension rises as the investigator talks with the Trouths one by one and more and more facts are brought to life, leading to quite dramatic revelations. Watching this film feels like watching a play. Almost the entire narrative takes place inside one large room, with characters usually sitting at a table, playing cards and having conversations. Also, several shots are directed in ways that make the viewer feel The mise-en-scene is impressive and it effectively creates a 1940s environment. To begin with, the costumes look very realistic and forties, thanks to the work of Melania Brescia and Andrew Haueter and the hairstyles and furniture also belong in that time period and special mention goes to the appearance of an antique knife that plays a vital part in the story. Production designer Dex Edwards makes an outstanding contribution with the convincing sets. The fabulous music by Andrew Burke is emotional and dynamic and it seems to go with the period in which the story is set. Commendations also go to the creative lighting methods and Steven Carmona's cinematography which create a moody atmosphere. It is also worth mentioning that the hot weather that takes place in the story is obvious as the characters are often sweating. The well-structured screenplay creates interesting characters, the most intriguing arguably being Louis Jr. He stands out as he has a sort of cool attitude and he is confident and sharp and does not hesitate to express his thoughts. Louis Sr. is probably a close second, a frail old man who is trying to leave his past mistakes behind him. The investigator more or less becomes the protagonist for the second half of the film as he plays detective to uncover the truth behind a tragedy. This is a story about murder and the complications of a surprise family reunion. Through scenes of heavy drama and mystery, the feature explores family values, regrets and reconciliation. It is a journey back to the 1940s that seems to pay homage to films of that era, particularly film noir and the strong performances, well-written screenplay and forties atmosphere make this a viewing that stands out. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Loving Silence film review by UK film critic William Curzon. Starring J.J. Bozeman, Addy Marsh, Claire Bridget Martin directed by Nick Perlman. HOME | FILMS | REVIEWS Loving Silence Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 8, 2026 Directed by: Nick Perlman Written by: Nick Perlman Starring: J.J. Bozeman, Addy Marsh, Claire Bridget Martin Loving Silence follows Jerome (J.J. Bozeman), a young man who runs into his ex-partner, Luke (Addy Marsh), at a silent retreat. As they begin to reconnect through silence, their past threatens to unravel their present. Loving Silence is a self-funded short film made by a five-person production team with minimal production costs. Perhaps one of the most impressive aspects of Loving Silence is its incredibly unique and heartfelt narrative. While the film may have worked better as a feature-length narrative, the filmmakers waste no time pulling the audience into the silent retreat and introducing the two central characters. The use of voiceover works well, with brief exposition explaining how the retreat works to the central character, Jerome. Sadly, one of the biggest issues is the lack of characterisation. Despite the powerful use of silence throughout, it is hard to feel emotionally invested in Jerome’s reconnection with Luke, as the runtime and lack of context don’t give the audience enough time with either character to understand their relationship. What's not said is incredibly moving, and thankfully both J.J. Bozeman and Addy Marsh’s chemistry is magnetic. The production value is another memorable technical standout, as the retreat feels incredibly lived-in with a plethora of impressively designed cabins around the area. It's a fly-on-the-wall experience: the camera lingers on each character and captures so much emotion through each performance. Jett Cain, the film's cinematographer, does an astounding job capturing each character's emotion and the silence they have to overcome to heal their wounds. The piece primarily consists of fixed camera movement with unique framing choices such as extreme close-ups during moments of intimacy and characters in recollection. The camera also shifts to tracking the central character as he moves around the retreat, an apt choice as it places the audience firmly within his point of view. It's a beautifully edited and well-paced film; despite its brisk runtime, the narrative never feels rushed, and its themes of love and desire continue to resonate. That being said, there are some bizarre editing choices, with inserts of flashbacks integrated into pivotal scenes that feel jarring and out of place. While these flashbacks are integral to both characters' arcs, they sadly fail to resonate due to their bizarre placement in the narrative. Despite these issues, the musical score elevates the more pivotal narrative beats with some whimsical motifs that match the characters’ need for connection and comfort. Both central performances, by J.J. Bozeman and Addy Marsh as Jerome and Luke, respectively, are incredibly moving. Their performances are all the more impressive given the dialogue-free nature of the piece, with their body language conveying so much of what they feel for each other. Despite the lack of characterisation, their chemistry shines through the film's flaws, and the use of silence makes it even more compelling. While both actors are giving it their all, there ultimately isn’t enough buildup for the romance to connect emotionally. Loving Silence is a heartfelt piece of filmmaking about letting go and finding closure in oneself through silence. Despite the film’s many flaws, it tells a beautiful story, clearly crafted with its heart in the right place when it comes to its exploration of queer love and desire. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Reduced to Clear film review by UK film critic Joe Beck. Starring Edward Tidy, Simon Fisher-Becker, Winter Foenander, Dawn Butler directed by Luke Allen, Alex Yousefi. HOME | FILMS | REVIEWS Reduced to Clear Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jul 29, 2022 Directed by: Luke Allen, Alex Yousefi Written by: Luke Allen, Alex Yousefi Starring: Edward Tidy, Simon Fisher-Becker, Winter Foenander, Dawn Butler Britain has produced some of the finest comedies of all time. ‘Blackadder’, ‘Fawlty Towers’, ‘Only Fools and Horses’, ‘The Office’, ‘Spaced’, ‘Shaun of the Dead’, ‘Hot Fuzz’, ‘The IT Crowd’, ‘Fleabag’, you probably get the point. That list may seem overly long, loquacious, long-winded, garrulous, voluble, and loose-lipped, but it is merely an example of the style of humour employed in ‘Reduced to Clear’, the worst comedy to come out of Britain since Brexit. We are introduced to Mike (Edward Tidy) on his first day as a charity shop volunteer. The manager (Simon Fisher-Becker) tells him to ‘consult the rulebook’ if he’s stuck, before toddling off to god knows where. That line ‘consult the rulebook’ will surely become a very funny gag later in the film right? Wrong, it doesn’t come up again until almost the very end, and is forgotten almost as quickly as it arrives. The crux of the problem with ‘Reduced to Clear’ is it’s script, which is so mind-bogglingly awful that it’s more likely to cause someone to smash their screen in rage than roll around in laughter. It doesn’t understand the concept of setting up a gag, events merely happen with no foreplay, and we’re expect to laugh just because ‘oh look at me I’m so quirky, I’m so random’. It’s one of those scripts which feels the need to lengthen each joke to the point of exhaustion, over-explaining everything and becoming unbearably loquacious. This wouldn’t have been so bad had they done it once, then moved onto the next joke, but it seems to be the only joke in the arsenal, and occurs time and time again. The ending tries to cop out and nullify the bad script by becoming self-referential, however, that’s a further example of lazy writing, as the writers - Luke Allen and Alex Yousefi - have evidently realised the abysmal nature of their script, but rather than rewriting, have opted to try and undermine it with a ten-second gag. Allen and Yousefi’s direction is similarly lifeless, giving the setting of the charity shop no atmosphere whatsoever, whilst the framing leaves a lot to be desired. The argument that this is perhaps because it was made on a budget of £2000 budget does little to explain this - I’ve seen school productions with a greater production value. The decision to not have a score whatsoever is bizarre, though perhaps a laugh track would have made even more sense - anything to fill the vacant pauses as each actor fumbles their way around the botched script. ‘Reduced to Clear’ is not a good film, in fact, it’s almost unwatchable - though it’s one saving grace is that it doesn’t offend any proportion of society. But it did offend me, simply by having to watch it; ‘Reduced to Clear’ is an apt title for a film lacking in anything which would make it worth keeping. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Target film review by UK film critic Sam Quarton. Starring Charlie Toko, Damian Verguson, Isabel Monroe, Ajay Kalyansingh directed by Tony Mitsinga. HOME | FILMS | REVIEWS Target Film Review average rating is 4 out of 5 Critic: Sam Quarton | Posted on: Dec 24, 2021 Directed by: Tony Mitsinga Written by: Tony Mitsinga Starring: Charlie Toko, Damian Verguson, Isabel Monroe, Ajay Kalyansingh Robbery and police “stop and search” are placed cheek by jowl in Tony Mitsinga’s Target Institutional racism within the UK is indefatigable. In under two weeks, the Johnson government has set in motion the Police Bill and the Nationality and Borders Bill: the most draconian legislation observed in decades, granting governmental authority to strip a person of their citizenship without warning – disproportionately affecting millions of BAME citizens – and expanding police “stop and search” powers to unfathomable heights. But as the foulness of this state-sanctioned evil festers, it is essential to acknowledge the work of filmmakers refusing to remain taciturn in the face of racism: Tony Mitsinga’s Target is no exception. A powerful no-budget short about the frightening similarities between criminal gangs and the police, Target places these two entities cheek by jowl; their attitudes posited in the same framework of aggression: one scenario a robbery, the other a stop and search – by the end of the film’s one-minute running time, there is little to distinguish the two. And as writer-director, Mitsinga is adept at showing the mechanics of fear underpinning the speech of these violent criminals and so-called agents of the law: “oi, what are you doing in these ends, fam?”, asks one thug (Damian Verguson); “tell us where you’re coming from and where you’re going”, asks a policeman (Charlie Toko) - these intrusive questions are broken down to their intimidatory essentials, the only discernible difference is their delivery. Here, words are weapons; cruel little devices used to enforce a regime of humiliation over their victims. But of the two encounters, the police appear most terrifying. Their powers to “stop and search” – or harass and harangue – are hidden under a cloak of legitimacy; a systemic process of intimidation protected by law. Do not show fear, though. This would be admittance of guilt: “you seem nervous, are you hiding something?”. Though packed with emotional heft, these disturbing set pieces are not infallible: slipshod costume design dons the police officers in fancy dress-esque uniforms constituted by ill-fitting caps and comically large badges; venomous taunts are sometimes diluted by poor line delivery; turbulent camerawork shakes – assumingly by accident – from one end of the screen to the other. But these flaws are few too far and between to interfere with Mitsinga’s ambition. Target is an uncomfortable nay essential reminder that racism is a pervasive force: an evil found on our streets and in our homes; an evil embedded in law and upheld by its agents. Buy UKFR Banner Space About the Film Critic Sam Quarton Short Film < All Reviews Next Film Review >

Buscando Alma film review by UK film critic James Learoyd. Starring Carolina Gutierrez, Neher Jacqueline, Marc Anthony Samuel directed by Melissa Fisher. HOME | FILMS | REVIEWS Buscando Alma Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Nov 20, 2024 Directed by: Melissa Fisher Written by: Melissa Fisher, Mair Flores Starring: Carolina Gutierrez, Neher Jacqueline, Marc Anthony Samuel Buscando Alma is a heartfelt dramatic short film about a trans Honduran-American woman called Cristina trying to reconnect with her mother Alma. Having been pulled apart against their will many years ago, the two characters pray that they can find their way back to one another. This is definitely one of the better short films I’ve had the pleasure of watching this year, and it exemplifies a kind of socially conscious – yet cinematically inventive – mode of movie making which we clearly need more of, and should also be seen by many (in a perfect world). It’s a story filled with hope, filmed and constructed with great skill. So, let’s dive deeper into why it works as well as it does. Telling a sensitive and nuanced story is not such a simple task, but through sincerity and craft, this movie makes it look easy. Specifically, the way in which the film represents feelings of anxiety, and a desire for acceptance and connection, feels incredibly authentic. It's a work filled with compassion and qualities which allow the audience to engage emotionally in every moment. Viewers will be particularly impressed by the story’s subtle yet effective dual-narrative structure, in which we also get to see the life of Cristina’s mother Alma in her day-to-day life. The fact that, for instance, we get to see Alma interact casually with others and perform the day’s chores really means that we get to know the character more intimately, and thus we care even more deeply. Both characters are yearning for that wonderful connection which they’ve lost through tragedy. Cristina’s identity as a trans woman leads to complex and perceptive emotional ideas which then also relates to family and memory, so it’s a great thing to see a drama truthfully and respectfully dealing with these very human concepts (as opposed to a film exploiting that topic simply as a story device or gimmick). It’s completely organic all the way through, and technically speaking, this is also top-notch filmmaking. To tell this story – dealing very much in the realm of subjective memory, and even spiritual connection – the filmmakers opted for a soft aesthetic. While using a spherical lens makes the images feel less conventionally ‘cinematic’ and more grounded in reality (and therefore expressing some level of a real-world narrative), its luscious soft focus then achieves a unique, dreamy mood; as if while our two main characters are present in the everyday, they’re preoccupied in their heads with memories and wishes. The gentle, balanced light and diffusion additionally creates a similar effect, and is also just pleasing to witness as an audience-member. A high-end production such as this also has crisp, flawless sound, and – rather amazingly – an original score which sounds terrific, and very much fits with the tone of the piece. All of these techniques are implemented in rather sentimental fashion (something which a cynical critic might knock), but it gets away with it because of the deepness of the characters and the reality of the issues at play. One can’t help but be swept up in the emotion, especially at its cathartic end. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, LGBTQ+ < All Reviews Next Film Review >

Lost And California film review by UK film critic William Hemingway. Starring Timur Bey directed by Timur Bey. HOME | FILMS | REVIEWS Lost And California Film Review average rating is 1 out of 5 Critic: William Hemingway | Posted on: Oct 12, 2025 Directed by: Timur Bey Written by: Timur Bey Starring: Timur Bey A disgruntled consumer tries to argue his case and receive compensation for losses he incurred while purchasing a new vehicle which was not delivered to specifications. Timur Bey has bought himself a Tesla. In fact, as an ‘entrepreneur’ he bought it for his new business venture in vehicle rentals, all the way down in Miami, Florida. For some reason he seems to have bought the car from a dealership right across the country in California, and now that the car is found not to be up to specifications, he’s looking for a replacement, or compensation, or some resolution to the arrangement from the dealer. Bey alleges that the dealer had fiddled with the odometer on the car, and most likely to avoid a damaging lawsuit which could blow up in the Führer’s face (CEO, Elon Musk), the dealer says he’d buy the car back, if only Bey was in California. Cue Bey taking a road trip across America, to get to California to hold the dealer to exactly what he says he will do, while trying to keep himself afloat and alive with no cash reserves and no income. We watch from the dashboard as Bey fills up at gas stations and heads out along the highways of the USA to fulfil his destiny. At the same time, we listen to his phone conversations through speakerphone or the Bluetooth connection in the cab, as he tries his best to talk to anyone who’ll listen and who’ll take his side in the multiple consumer gripes that he has going on at the same time. Around five minutes in, Bey then tries to talk to his storage company, who he also has issues with, even though he states freely that he didn’t pay his storage fees bill. These conversations continue ad nauseum as Bey witlessly wrestles with wage-slave telecoms operators who care little for his situation and cause. The thing is, that Bey seems to be a forceful participant in his own demise; not paying his fees, not doing his due process, and not having the first inkling about the business world and its many bureaucracies before diving headlong into funding his fantasy of being an ‘entrepreneur’. He reveals that he went to college for a year before dropping out (!), telling himself that it was for the reason of becoming this fabled entrepreneurial person he’d just decided he’d always dreamed of being, when really it looks like it was just a masking of his failures. At every turn, Bey shows his ignorance and incompetence as a businessman, revealing that he’d already had another failed business in holiday lets which he also believed he was scammed out of, and so it’s no wonder no-one on the phone takes him seriously, when his claims are such obvious whiny nonsense that no legal professional could possibly in good faith defend. All of this is relayed to us through the tinny speakerphone conversations we hear from inside the car, and from almost exclusively dashcam and GoPro shots of the road and Bey’s face. However, rather than creating an artistic film, or factual documentary piece, what Bey has actually filmed is substantial evidence of his many traffic violations committed whilst behind the wheel. It is astounding just how bad a driver Bey is, and just how little regard he has for his own safety and the safety of other road users, as he flouts traffic laws consistently throughout the ten-minutes we sit with him for behind the wheel. Continually throughout the piece we see Bey without his hands on the wheel, preening into his mirrors, checking his nails, drinking energy drinks, holding entire in-depth complaint and legal conversations, getting angry while doing so, using the phone hand-held, with his eyes forever flitting everywhere and anywhere but on the road. Instead of filming something that was intended to bring people onto his side, Bey may have inadvertently, yet again, been the architect of his own downfall, and shared evidence that could get him into more hot water. Lost And California is intended to be a web-series chronicling the entire tale of “survival and determination” which Bey sees himself set upon, of which this eleven-minute piece is just the first episode. However, his YouTube channel has not yet had any other episodes uploaded, and so we don’t know how he has got on, or if he eventually managed to find a resolution to this, just one of his many self-inflicted troubles. Frankly though, this is no loss to anyone, as there’s no artistic vision for anyone to be interested in here, nor any factual insight into a real industry-wide problem that is being tackled by the lone consumer underdog. Bey’s problems run far further than a boring eleven-minute video of him whining down the phone trying to fix his own mistakes, so it would likely be beneficial to everyone if he gave up on the travelogue and instead invested his time and effort into litigating his problems in court, should they actually stand up to scrutiny, rather than trying to prosecute a multi-national run by a far-right, imbecilic man-baby, in a short, inconsequential web-series. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film, Web Series, Documentary < All Reviews Next Film Review >