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Emily film review by UK film critic Hope Madden. Starring Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead directed by Frances O'Connor. HOME | FILMS | REVIEWS Emily Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2023 Directed by: Frances O'Connor Written by: Frances O'Connor Starring: Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead Wuthering Heights was always a conundrum of Gothic literature. It is mean, its tragedies ugly, its heroes selfish and boorish. It’s a dark and misanthropic piece of fiction often mistaken as romance. Lucky for all of us, Frances O’Connor appreciates the twisted nastiness of the novel and suggests a vividly unusual inner life for its author in her feature debut, Emily. Emma Mackey stars with an understated but authentic weirdness as the misfit Brontë sister. Emily doesn’t seem suited for teaching, or for much of anything. The stories she tells are childish and they embarrass her sisters, and she won’t let anyone read what she’s writing. She seems to disappoint everyone around her except her brother, Branwell (Fionn Whitehead). In O’Connor’s loose biopic, Emily finds the space to explore once her sisters are gone off to teach and she is alone with Branwell. The filmmaker slyly inserts memorable scenes from Brontë’s novel as moments, here more innocent, between brother and sister. These moments work on many levels, but mainly because writers draw from their own lives. The dynamic complicates and Emily’s transformation deepens as an unexpected, almost involuntary suiter comes into the picture. Untethered by the judgments of her sisters, Emily is free to determine her own course and the journey is intoxicating to witness. Mackey glows as her character slowly, finally comes into her own, giving us a dimensional, tender and delicately genius young woman you yearn to know better. Whitehead charms in a slightly underwritten but nonetheless poignant role. Oliver Jackson-Cohen – so different than the unrelenting narcissist of The Invisible Man – delivers the greatest arc of any character as assistant parson William. His performance is never showy, but moments of vulnerability give the film its heartbeat and heartbreak. O’Connor breathes life with all its chaos, misery and joy into the Brontës’ 19th century. Emily feels less like the vision of a newcomer than the product of a passionate kindred spirit. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

For You, The Disappeared film review by UK film critic Jason Knight. Starring Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS For You, The Disappeared Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 12, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara A short documentary about people disappearing in Sri Lanka, directed by Ranga Bandaranayake and written by Chamara Prasanna Kodithuwakku. For decades, countless of citizens of Sri Lanka have vanished without a trace. This twenty-minute-long film aims to acknowledge this. Via a large selection of dramatic photographs and several interviews, viewers will become aware of the tremendous suffering that has been caused due to people losing their loved ones and that this situation is continuing today. They will also be informed of the Monument of the Disappeared, a structure built in order to serve as a place of mourning and to honor those who vanished and of the Dabindu Collective, an organisation that protects the rights of women labourers in the free trade zone. The photographs are quite vivid. They consist of people protesting, individuals holding pictures of lost loved ones and devastating results of brutal conflict. All this is superbly edited by Vishwa Ranga Surendra and the visuals are accompanied by dramatic music thanks to the contribution of Nadika Weligodapola and voice-over by Dhammika Bandara and Nishadi Bandaranayake. The interviewees are Basil Fernando, a Human Rights activist, Samanmali Hettiarachchi, the Director of Dabindu Collective, Brito Fernando, a Human Rights activist and Professor Chandraguptha Thenuwara. Listening to them paints a picture of the dark side of Sri Lanka. The filmmakers utilise an intertesting technique with the obvious intention of creating drama. This involves numerous sequences that begin with the photo of two to five people. Then the film cuts to a lit candle that goes out and when it does, the image turns black-and-white and there is a loud noise that resembles a gunshot. It then cuts back to the photo, where one person is suddenly replaced by a photo frame and inside it is a dark silhouette of a person, apparently of the one who is not present in the picture with the others. This method is a way of visualising a disappearance and acknowledging the emptiness that it causes to their loved ones. This film emphasises a very serious issue that has affected many people in Sri Lanka, points out corruption and supports fight for justice. This documentary is an informative, shocking and poignant viewing. It raises awareness of the disappearances that are taking place in Sri Lanka and pays tribute to the ones who vanished and this makes it a viewing worthy of attention. About the Film Critic Jason Knight Short Film, Documentary, World Cinema < All Reviews Next Film Review >

English Rose film review by UK film critic Patrick Foley. Starring Adam Houghton, Katie Benbow, Peter O'Connor directed by Alexander Bather. HOME | FILMS | REVIEWS English Rose Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 4, 2024 Directed by: Alexander Bather Written by: Alexander Bather, Adam Houghton Starring: Adam Houghton, Katie Benbow, Peter O'Connor The ‘Bonnie & Clyde’ model has been explored by everyone from Oliver Stone to Bruce Springsteen – there’s just something about a young couple, crazy in love, leaving a bloody trail of destruction behind them that gets the creative pulses racing. English Rose is a British take on the structure, and Alexander Bather’s short makes sure to push it to the excess. Shortly after killing her husband, ‘Butterfly’ (Katie Benbow) is picked up on the road by Adam (Adam Boughton). Initially horrified by her actions, Adam reveals he has his own deadly tendencies. The terrible twosome embarks on a combined crime wave that leads them to a violent confrontation with the law. English Rose is a thrill-ride, promising and delivering violence, chaos, twists and turns that make for an entertaining, if mindless 15 minutes. The film wrenches the attention of the viewer – making absolutely certain that one is engaged through its stylistic vibrance. If you’re expecting a typical bloody road trip film, turn everything up a degree and slap British accents all over the place – that is English Rose. It’s over-the-top and a little corny, but still grounded in bloody realism that makes its brutality really pop. It’s perhaps not a surprise that Bather isn’t aiming for prestige drama status with his short. Dialogue is cliched and exposition-heavy, though still carries charm given the film’s cards are laid clearly on the table from the get-go. Where the film raises some themes of desperation, abuse, isolation and the delusional state love can leave one in, these are only explored at surface level. Tender moments with the couple in the car could have been expanded upon a little with more of a background provided for the leads, which in turn would have added to the impact of their actions and consequences thereof. There is simmering chemistry between Katie Benbow and Adam Boughton, a metaphorically corrosive kind in the film’s case. Their performances precisely capture the sense that their meeting is a spark that sets of a fire – an unfortunately ideal pairing for a uniquely destructive rampage. The confidence each character gains from the other is underlined by each’s uncertainty before they come clean to one another about their nature. Elsewhere Peter O’Connor gives a remarkable short showing as unfortunate cashier John What – whose terror is a heartbreaking reminder of the real-life consequences of the couple’s deadly actions. English Rose excels in excess. Impressively cinematic in its presentation and vibrancy, the short is well-worthy of a bigger screen – delivering explosive action and a colourful leading pair. There is not a whole lot of depth – not wholly a problem but a shame given the unexplored layers hinted at for the leading characters. But for a stylish roller coaster of a film, it does not disappoint. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Baked Beans film review by UK film critic James Learoyd. Starring Shelby Lattany, Kahmal Sealey directed by Remone Jones. HOME | FILMS | REVIEWS Baked Beans Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 9, 2025 Directed by: Remone Jones Written by: Remone Jones Starring: Shelby Lattany, Kahmal Sealey What if you had to rush the consumption of your beans on toast? And what if your boyfriend seemingly forgot about your birthday? But most importantly, what if these two unrelated occurrences coincided with gastronomically disastrous results?! These are some of the amusing questions which Remone Jones’ new five-minute comedy Baked Beans poses to its audience. The film tells a simple story of one woman’s unfortunate encounter with circumstance. We begin with the appearance of the titular beans on toast – a meal which our protagonist Tameka slightly begrudges, because she should be doing something sweet with her boyfriend Liam on her birthday. But it’s not as simple as that – her boyfriend, in fact, has not failed to remember, and has something planned for the special day. The beans, however, pose an obstacle. It’s a tonne of fun and incredibly watchable; a well-formed comic piece. The performances featured in the short are absolutely terrific due to the confidence of the actors. For how heightened and humorous the movie is, the characters are completely believable. Oddly it’s through their big, expressive use of vocal expression that brings the performances both a hilarity and a realism – we believe in our protagonist’s annoyance in her boyfriend, and, in turn, her embarrassment come the film’s payoff. I’d also like to mention the authenticity of the opening conversation between our main character and her friend. The dialogue is funny in a satirical sort of way; you can feel that the scene is being used not only to convey information but to establish the silly but endearing tone. The cinematography is strong, and also demonstrates a similar sense of amusement. Specifically, the opening shot – that of a perspective shot from inside the can of beans – shows a high level of inventiveness. Then again, in terms of the negative, one might question the use of the widescreen format. When viewing the camerawork and direction, it almost feels as if the compositions might have been even more interesting were it to adopt a more conventional 1.85:1 format. This kind of visual style doesn’t require an extended frame, and prioritises clarity over complexity; so, the black bars are just cutting off visual information as opposed to adding to the aesthetic. For clarification, though, this is a really well thought-through movie in terms of its look, even if a couple of choices don’t entirely translate. The best thing about the audio and music is its consistency. An intelligent use of sound design comes towards the story’s end when the main character is given noise-cancelling earmuffs to wear by her boyfriend while he sets up the surprise. A wonderful attention to detail is how the sound itself becomes muffled as well, and then fades back to being clear and sharp when the earmuffs are removed. Not only does this place the audience in the sensory perspective of the individual, but it also leads into the final joke of the film which everything has led up to. Beans on Toast is based around joke structure and elegance, and having the viewer experience a pleasingly elaborate setup before the payoff. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Iron Claw film review by UK film critic Matt Weine. Starring Zac Effron, Jeremy Allen White, H arris Dickinson directed by Sean Durkin. HOME | FILMS | REVIEWS The Iron Claw Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Dec 22, 2023 Directed by: Sean Durkin Written by: Sean Durkin Starring: Zac Effron, Jeremy Allen White, H arris Dickinson For the Von Erich professional wrestling family, success in the ring—starting in the freewheeling territory days and continuing into the present—has existed uneasily alongside the “family curse.” Writer/director Sean Durkin (Martha Marcy May Marlene and The Nest ) brings together his lifelong love of wrestling with a keen ability to heighten psychological tension to the breaking point and then see what fills the void that comes after that break. The Iron Claw charts these harrowing ups and downs starting with family patriarch Fritz (Holt McCallany), whose overbearing presence dominates every aspect of his children’s lives. The athletic Von Erich children unquestioningly glide into the path Fritz lays out for them, the family business of wrestling. The series of events that ultimately spin out of this fateful choice gives rise to the legend of the curse, which the brothers deal with in their own (mostly taciturn) ways. Kevin (Zac Efron) is the genial audience stand-in, who wants nothing more than to please his father and have fun in and out of the ring with his brothers. This includes the charismatic David (Harris Dickinson), golden boy Kerry (Jeremy Allen White) and the sensitive aspiring artist Mike (Stanley Simons). Fritz and the boys are given varying degrees of personality and dialogue that at times sacrifices depth for quick characterizations. But with so much biopic ground to cover, Durkin narrows in on Kevin as the one bearing witness to all the inexplicable tragedy. It’s a difficult role to serve, and Efron delivers a commanding performance. As the family’s Job-like suffering grinds down his stoicism and filial loyalty, he remains tethered to hope and the possibility of a different life thanks to his stalwart wife Pam (Lily James, matching Efron with a vibrant performance that elevates her otherwise dutiful lines). The result is a mesmerizing sports movie with more echoes of Malick than Aronofksy. Call it a curse or call it bad luck, but Durkin’s deft handling of these events turns public tragedy into a searing meditation on familial bonds and the limits of a certain type of masculinity. About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Joyride film review by UK film critic Christie Robb. Starring Olivia Colman, Charlie Reid directed by Emer Reynolds. HOME | FILMS | REVIEWS Joyride Film Review average rating is 3 out of 5 Critic: Christie Robb | Posted on: Dec 22, 2022 Directed by: Emer Reynolds Written by: Ailbhe Koegan Starring: Olivia Colman, Charlie Reid A cozy story of mutual self-discovery, director Emer Reynolds and writer Ailbhe Keogan’s Joyride delivers a series of poignant moments but unfortunately not enough of them to result in a believable conclusion. The excellent Olivia Colman plays Joy, a solicitor that has recently given birth to a late-in-life baby that she wishes to give away to a childhood friend. The delightful Charlie Reid plays Mully, a teenager who has recently lost his mom to cancer and is left with a scumbag dad who wants him to steal money from a hospice fundraiser to clear his debts. Their lives intersect when the two try to use the same stolen taxi. The transitional nature of a road trip during a transitional period in both of their lives provides the opportunity for each of the two to learn things they never knew about themselves and to grow and mature as individuals. They are doing this while rolling through the Irish countryside, which is quite a pleasurable backdrop. The two leads are very talented and their banter is written naturally enough to be believable. However, the plot at times veers into the ridiculous, ignoring so much of the way the actual world works as to leave you wondering if you accidentally got the genre wrong and you are watching a fantasy. It’s a world in which you can evade the police by simply turning into the first driveway on the side of the road and 13 year-old-boys can function as effective lactation consultants. But, if you are looking for a movie to attempt to give you heart-expanding holiday feelings without the Hallmark tinsel explosion, Joyride might be the movie for you. About the Film Critic Christie Robb Theatrical Release < All Reviews Next Film Review >

Bird of Paradise film review by UK film critic Joe Beck. Starring Neda Davarpanah, Jeffery Thomas Johnson, Brian Ronan Murphy, McKensie Lane directed by Reza Amidi . HOME | FILMS | REVIEWS Bird of Paradise Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: May 30, 2024 Directed by: Reza Amidi Written by: Reza Amidi Starring: Neda Davarpanah, Jeffery Thomas Johnson, Brian Ronan Murphy, McKensie Lane To many people around the world Los Angeles is the pinnacle of arts and entertainment. Reaching it is like making your way to the summit of Everest for artists in industries ranging from film, music, television, and art. It’s the City of Angels for a reason, where a miraculous big break could be just around the corner, with the fame and millions that might come with it. It’s also the City of Broken Dreams, where for every star that is born, another five people have their aspirations crushed, and are forced, reluctantly into a life they never wanted. ‘Bird of Paradise’ has its protagonist caught between the two, and after a slow start, becomes a tense and unnerving thriller. Reza Amidi’s film attempts to navigate the commentary on the shallowness of Los Angeles and the lifestyle often associated with it, alongside the mystery and thriller elements necessary to keep the story engaging. The commentary is far from tactful, and often heavy handed in it’s approach with regards to the struggles of trying to make the initial breakthrough, and then in the sinister backroom dealings that run Hollywood, which have their shadiness amped up to the max. This gives us a series of characters that are full of tropes - the dodgy talent rep, the stuck up producer, the uncaring agent - making the film seem less and less believable, which is fine for a straight thriller, but bad for a thriller that wants to depict the Hollywood system and its murkiness. The film immediately establishes its thriller elements by opening with the abduction at gunpoint of Sasha (McKensie Lane), the wife of bad comedian, and by all accounts even worse husband, Bobby Garrison (Brian Ronan Murphy). We are then thrust into the life of aspiring actor Kat (Neda Davarpanah), and her struggles to get her career off the ground when she is suddenly presented with the opportunity of a lifetime by talent rep Dominic Dunaway (Jeffery Thomas Johnson) - a supporting role in a studio film called ‘Bird of Paradise’. Kat wants to be an actress but is far from ready from the pressures that fame, celebrity, and working at the height of the film industry in Hollywood, and begins suffering a series of breakdowns, which only heighten her anxiety surrounding the disappearance of Sasha, who had previously been cast in her role. She fears deeply for her safety, and with her world turned upside down begins seeing things and having mysterious dreams, as she becomes more and more involved in the mystery behind Sasha’s disappearance and murder. Reza Amidi directs the film well, particularly in terms of building suspense and tension as the film develops, and in establishing an unnerving sense around so many otherwise ordinary interactions, and a horror film with his directing would almost certainly be an exciting watch. However, the script, also by Amidi, is lacklustre, particularly in regards to dialogue which is often one-note and devoid of any subtext, which doesn’t help the actors, whose performances lack note, and never particularly endear themselves or their characters to the audience. ‘Bird of Paradise’ thrives in building suspense and tension, however as a portrait of Hollywood and Los Angeles it feels shallow, whilst its screenplay detracts from the story, ultimately making the film feel altogether very surface-level. About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

The film critics behind some of your favourite movie reviews. Meet the UK Film Review team. UK Film Review Movie Critics The people behind your favourite movie reviews . Holly Baker Read More William Curzon Read More Nina Romain Read More Matt Trapp Read More Rohan Kaushal Read More Jack Salvadori Read More James Learoyd Read More Joyce Cowan Read More Rob Jones Read More Tori Hanes Read More Daniel Baldwin Read More John McKeown Read More Ahmed Abbas Read More Oliver Weir Read More Michael Brennan Read More Isaac Parkinson Read More Joshua Boulton Read More Joe Beck Read More Graham Blair Read More Megan Deacon Read More Sophie Price Read More Alasdair MacRae Read More Kieran Freemantle Read More Amelia Eilertsen Read More William Baines Read More Evie Brudenall Read More Alex Crisp Read More Tallulah Denyer Read More Helen Samuels Read More Julian Gaskell Read More Swati Verma Read More Sam Quarton Read More Isabelle Ryan Read More Patrick Foley Read More William Hemingway Read More Chris Olson Read More Corey Bulloch Read More Chris Rose Read More Alfie Kaye Read More Albert Sowerby-Davies Read More Kirsty Asher Read More Ieuan Walker Read More Bruna Foletto Lucas Read More Amber Jackson Read More Will Girling Read More Nathanial Eker Read More Brady Clark Read More Brandon Thomas Read More Jasmine Holly Bullock Read More Charlotte Little Read More Sarah Smeaton Read More Alexandra James Read More Shrubaboti Bose Read More Christie Robb Read More Cat McAlpine Read More Matt Weiner Read More Rachel Willis Read More George Wolf Read More Hope Madden Read More Hannah Sayer Read More Brian Penn Read More Rachel P Read More Taryll Baker Read More Benjamin Schofield Read More Andrew Young Read More Jack Bottomley Read More Darren Tilby Read More Chris Buick Read More Connor Slatkoff Sharpe Read More Seth Troyer Read More Joshua Calladine Read More Robert Stayte Read More Rochelle McLaren Read More Lucy Clarke Read More Tom Wilmot Read More Jason Knight Read More Lisa Ogunmayin Read More Ian Lunny Read More Lawrence Bennie Read More Tom Jay Read More Alexander Erting-Haynes Read More Alicia Moore Read More Christopher Hart Read More Aaron Gillingham Read More

Carmen film review by UK film critic George Wolf. Starring Melissa Barrera, Paul Mescal directed by Benjamin Millepied. HOME | FILMS | REVIEWS Carmen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 17, 2023 Directed by: Benjamin Millepied Written by: Loic Barrere, Alexander Dinelaris, Lisa Loomer Starring: Melissa Barrera, Paul Mescal For this latest reimagining of the classic story, director Benjamin Millepied credits inspiration from Prosper Mérimée’s original novella from 1845, and Alexander Pushkin’s poem “The Gypsies” from 1824. Flashing more modern vibrancy through culturally rich music and dance, this new Carmen arrives as a wonder of visionary composition that struggles to find an equally compelling connection to its characters. The writing team of Loic Barrere, Alexander Dinelaris and Lisa Loomer crafts a surface-level tale of lovers on the run. Aidan (Paul Mescal) is a troubled Marine veteran volunteering on a night patrol along the Mexican border, while Carmen (Melissa Barrera) is trying to cross after the death of her mother. A violent altercation leads to casualties, and the two are soon trying to stay one step ahead of authorities. Millepied (choreographer and co-star of Black Swan ) knows his way around a dance number, getting an assist from flamenco specialist Marina Tamayo for sequences that sport some thrilling fluidity. The acclaimed talents of cinematographer Jörg Widmer (The Tree of Life, V for Vendetta ) and composer Nicholas Britell (Moonlight, If Beale Street Could Talk ) are also on full display, rounding out a veteran stable of technical skill that consistently lifts the film’s imagery and scope. Mescal (Aftersun ) continues to show a gift for quiet nuance, Barrera (In the Heights, Scream , Scream VI ) finally breaks out of her reliance on posing, and the veteran Rossy de Palma (various Almodóvar projects) steals scenes as a savvy nightclub owner, but the script seems content to keep depth at a distance. Pushkin’s centuries-old themes of noble savages and the tragedy of life are too often given a heavy hand, needing a rescue by the visual poetry on display. This Carmen tells us “dancing will you heal you.” Indeed, it’s one of the cures for what ails a less than passionate romance. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Tomorrow film review by UK film critic William Hemingway. Starring N/A directed by Aryasb Feiz. HOME | FILMS | REVIEWS Tomorrow Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2024 Directed by: Aryasb Feiz Written by: Aryasb Feiz Starring: N/A A young boy and his new found friend must face down the wrath of an angry shopkeeper in order to acquire some much needed medicine. In writer/director Aryasb Feiz’s short film animation, Tomorrow , we meet an unnamed young boy as he travels the streets of the city. We find out in the opening shots of the film that he is a thief, stealing from a street cart as he cuts about his business and finds somewhere to loiter. The boy’s favourite perch is by a tree which looks onto a small road containing an antique shop. He witnesses a small exchange between the owner and a customer and has an idea, however, the purloined food which he still has in his hands has now earned him a new furry companion. Distracting the dog with the food, the young boy heads into the antique store for a little light robbery. He seems to know where the stash is hidden and heads straight for the small ampoules of liquid stored on the underside of the chair. It’s no surprise that the burly shopkeeper catches him and gives him what for, but then the boy’s new friend comes along to help save the day. The two of them run away home, until the boy gives the poor dog the slip and it has to use its nose to find him again. Once they are reunited, we find out what the whole commotion was about and we see that the boy’s father needs the medicine to stay alive. Sadly, one ampoule only gives relief for a day and the next morning the young boy is back outside the antique shop looking for a way to get in and get some more medicine. This constant worry of only having enough for today, and needing to keep repeating the cycle in order to survive, is what leads Feiz to ask the question – What about Tomorrow ? Throughout the story there’s a lot of minor threat and a smattering of intrigue, with the medicine not always being in the same place and the dog getting caught in the basement and other comic capers going on. The animation itself is cutesy and endearing, helping to invest the viewer in the relationship between the boy and the dog, with there being shades of Dug from Up (2009) coming through as well as a ‘Disneyfied’ feel to the whole film. However, there’s a lot to be played for going on in the background, and the sombre yet beautiful music from Fereydoun Bahrami keeps the tone of the film where it needs to be. There’s plenty to enjoy as the narrative runs through the scenario, but strangely it never feels as though we’re getting anywhere. Despite there being three storywriters involved with the project, it seems that neither of them got around to introducing a theme or a moral or a message to the film. There’s the odd situation that an antique dealer seems to have a stranglehold on the supply of medicine instead of chemists or clinics or hospitals, and it’s unclear by the end of the film whether we should be on the boy’s side or not, as he is an obvious thief. Getting a message across is also hindered by Feiz’s decision to film without any dialogue. What must have been a conscious choice to try and save the universality of the film, has ended up costing the filmmakers in terms of truly delivering what they wanted to say. There is so much muddied in with the story of Tomorrow that it seems Feiz and his friends forgot to take a stance. There’s nothing else there apart from the immediate storyline and by the end of the film everything is back to square one. Whilst this may in fact be Feiz’s main idea, nothing has been learnt upon the way, and the reoccurrence of every Tomorrow is only because nobody moves on – so what’s the point? As it stands though, the one-time story from Tomorrow is fun while it lasts and the immediate relationship between the dog and the boy is entertaining enough for the seventeen minutes that we’re watching for. If some of the action wasn’t so obviously violent, and the guiding principle was better expressed, Tomorrow looks as though it could be an intro animation shown before a Disney feature film. However, there needs to be more underneath the story to really give this animation something worth talking about. About the Film Critic William Hemingway Short Film, World Cinema, Animation < All Reviews Next Film Review >

Good Boy film review by UK film critic James Learoyd. Starring Indy, Shane Jensen, Arielle Friedman directed by Ben Leonberg. HOME | FILMS | REVIEWS Good Boy Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 30, 2025 Directed by: Ben Leonberg Written by: Alex Cannon, Ben Leonberg Starring: Indy, Shane Jensen, Arielle Friedman If you’ve seen the trailer, you know that Good Boy is a supremely inventive new supernatural horror movie, uniquely told from a dog’s perspective. As you would expect, this effect is achieved through a clever use of reaction shots, observational shots, and genuine performing from the adorable dog in question. It’s certainly an achievement in animal direction – an exciting experiment, and thoroughly watchable. And yet... you can’t help but feel that the film is slightly missing something in the visual department; some extra flourish or stylistic trait which should just seamlessly bring the whole thing together. Nevertheless, if you like dogs (as I do, and there couldn’t really be a more empathetic protagonist) and like horror (as I do), there’s very much a baseline of enjoyment this movie offers to its audience. You’re going to spend time with a cute dog, and there’s going to be a spooky atmosphere – sold. Whilst there are some very beautiful shots in the film – mostly taking place outdoors in the woods, coloured with this striking blue tinge – what may distract the well-versed cinemagoer is the frequent use of digital manipulation. We have constant artificial zooming in and out, not necessarily revealing more information but, on the surface, making the shot more active. And one can completely understand why the filmmakers opted for this digital style: when filming with animals, you want to get the clearest, widest coverage possible in case of unexpected movement or action. But the result of this is a lack of tactility, a lack of precise cinematography. This is a shame since the lighting is pretty stunning – as is the overall design and tone of the piece. What’s undeniable about the direction, however, is the fact that this movie does a lot with a little. There’s not actually too much of a plot; more a simple scenario in which the film can operate. In addition to just a single location, two characters and no extravagant budget for insane set-pieces. Taking that into account makes the watchability of this picture all the more of an achievement. But it’s just a shame that it never quite manages to go beyond that and still has that slightly unpolished student-film feel. Not to suggest that it’s incompetently done – far from it; simply that the end-product lacks that secure sense of refinement that you tend to get from a well-tailored theatrical release. What’s refreshing is that this is a truly fun horror movie. This critic’s fear going in was that the film would have this cruel sensibility, and the dog would suffer. What’s more the case is that Indy is an audience surrogate; a brave explorer who – as the classic Kuleshov effect would concur – provides other shots with emotional power and context. And perhaps the shrewdest decision on the filmmakers’ part was making the film only 72 minutes in length. This is a film designed to be short and sweet. It’s a cutsie little concept explored successfully. And I, for one, can’t wait to see what Indy does next! GOOD BOY opens in cinemas in the UK & Ireland on 10 October 2025 About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >

Back to Black film review by UK film critic George Wolf. Starring Marisa Abela, Eddie Marsan, JackO'Connell directed by Sam Taylor-Johnson. HOME | FILMS | REVIEWS Back to Black Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 16, 2024 Directed by: Sam Taylor-Johnson Written by: Matt Greenhalgh Starring: Marisa Abela, Eddie Marsan, JackO'Connell Since Walk Hard gave the music biopic genre a well-deserved skewering nearly 20 years ago, new entries have scored with ambitious fantasy (Rocketman ), pandered with crowd-pleasing safety (Bohemian Rhapsody ) and curiously turned a superstar into a one note supporting player (Elvis ). Back to Black ‘s biggest drawback is a failure to commit to one vision, rightly giving Amy Winehouse agency for her own destiny, but pulling some important punches that could have deepened the impact. Marisa Abela (Barbie ‘s “Teen Talk Barbie,” TV’s Industry ) is sensational as Amy, ably capturing the wounded soul and the defiant train wreck while laying down some impressive lip sync performances. Her chemistry with an equally terrific Jack O’Connell (as Blake Fielder-Civil) fuels the film’s best moments, as the tortured lovers navigate between heartsick devotion and toxic co-dependency, sometimes reminiscent of Sid and Nancy . Biopics usually benefit from narrowing the focus, but director Sam Taylor-Johnson and writer Matt Greenhalgh reach outside the romance for a rushed look at Amy’s journey to stardom and some seemingly sanitized takes on her relationships with Dad Mitch (Eddie Marsan) and “Nan” Cynthia (Lesley Manville). Anyone who remembers the Oscar-winning doc Amy will notice a much different treatment of Mitch Winehouse here. How much of this was required for the family blessing is unclear, but the film does benefit from a depiction of Amy that finds a balance of forgiveness and accountability. Taylor-Johnson’s hand is steady but fairly generic, with a tendency to revisit some obvious visual metaphors. And though you end up wishing Back to Black could have confidence enough to sharpen its edge, stellar performances flesh out the sad tragedy of a gifted life spiraling out of control. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >