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Rupture film review by UK film critic Jason Knight. Starring Mark Strange, David Lamont, James Bryhan, Shally Tria-Amanda, Nisaro Karim directed by Ranjeet S. Marwa. HOME | FILMS | REVIEWS Rupture Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 15, 2023 Directed by: Ranjeet S. Marwa Written by: Daniel White, Ranjeet S. Marwa Starring: Mark Strange, David Lamont, James Bryhan, Shally Tria-Amanda, Nisaro Karim An ex-con sets out to take revenge on the people who wronged him. It is the near future, and Raven (Strange) is a criminal and he is planning to do a highly-paid illegal job with his associates. The act gets him arrested and imprisoned, leaving his pregnant partner Amanda (Tria-Amanda) in a vulnerable situation as Raven's gangster friends refuse to help. Amanda decides to continue her life without him and when he is released a few years later, he sets off to settle the score with his former colleagues and he will do so rather viciously. Vengeance and betrayal are the main themes in this action thriller, with an angry and emotionally damaged man going after the people who wronged him and destroyed his life. Beginning with Raven murdering three of the ones who double-crossed him, a flashback reveals the events that led to the protagonist's current vengeful status. In comparison to the second half, the first half is a bit slow, focusing on introducing the characters and revealing the magnitude of what Raven lost due to his imprisonment. Later on, things get quite exciting as he proceeds to eliminate the bad guys, taking out a lot of them, with cool action scenes taking place in a variety of places, including a club and a bar. Arguably, the action sequences are the highlight of the feature, with Raven tearing through his foes like a one-man army, shooting them, stabbing them or beating them. These scenes are directed in a way that resembles the John Wick movies, making them look rather cool and the hand-to-hand combat contains great choreography. The mise-en-scene is interesting, containing several gadgets that look futuristic, including glasses and computer chips that seem to be attached to people's heads. Unsurprisingly, there are plenty of guns and a fair amount of blood. Raven makes an interesting anti-hero and as an individual who is willing to resort to violence and whose actions cause great pain to Amanda, he is hardly likeable, with Strange's voice-over providing an insight into his damaged mind. Although Coby (Karim) is a loyal friend to him, Amanda appears to be the only person in his life who is truly decent and Tria-Amanda plays the part very well. Lamont is Smoke, the leader of the crooks, a drug user with a Mohawk haircut and Sanford (Bryhan) stands out due to his not-very-handsome appearance. Sometimes the acting is weak, however it does not ruin the experience. The feature contains interesting lighting techniques and the filmmakers make effective use of slow motion. The soundtrack is enjoyable and includes electronic music and special mention goes to the animation during the opening and closing credits. This is a futuristic revenge action thriller with criminals, plenty of profanity and a great deal of shooting and physical fighting. The story, characters and tense action provide an amusing experience, however this is not just a brainless action film, as it also has heavy drama and points out the consequences of turning to crime. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

No Bears film review by UK film critic George Wolf. Starring Jafar Panahi, Naser Hashemi, Vahid Mobasheri directed by Jafar Panahi. HOME | FILMS | REVIEWS No Bears Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 8, 2023 Directed by: Jafar Panahi Written by: Jafar Panahi Starring: Jafar Panahi, Naser Hashemi, Vahid Mobasheri Even of you know nothing of acclaimed Iranian filmmaker Jafar Panahi, No Bears (Khers nist) should be an absorbing and compelling experience. But when you consider that Panahi (This Is Not a Film , Taxi, Closed Curtain ) not only shot the film in secret, but currently sits in a Tehran prison, and is barred from writing, directing, giving interviews or traveling outside Iran until 2030, his continued commitment to agitation through artistic expression grows immeasurably inspirational. With No Bears , Panahi uses the parallel lives of two Iranian couples to comment on the struggles of that expression, and on the powerful forces that conspire to restrict free will. Panahi plays himself, arriving at a small village near the Turkish border to set up a base where he can direct his latest film remotely, joining the set through internet connection. While two actors in his cast (Mina Kavani and Bakhtiyar Panjeei) are trying desperately to land fake passports and flee Iran, Panahi quickly becomes a person of interest in the village. Word has spread that Panahi may have unwittingly snapped a photo of a young Iranian woman (Darya Alei) with a man (Amir Davari) other than the one who has “claimed” her. Villagers are demanding the photo as proof of a grave misdeed, while the woman in question fears the bloodshed that will come from the photo’s existence. Despite numerous reassurances to Panahi about “honorable” intent, the pressure from the villagers only increases, much like the desperation of his actors looking to start a new life. Panahi films in a style that is understandably guerilla, but stands in sharp contrast to the dense, and thrillingly complex storytelling at work. He is deftly calling out both the oppressors and the enablers, while he weighs the rippling effect of his own choices amid a deeply ingrained bureaucracy of fundamentalism and fear, superstition and gossip. No Bears is a brave and bold blurring of fact and fiction, with Panahi embracing the gritty authenticity of the most urgent first-person documentary and the layered storylines of a political page-turner. It may be his most daring project to date, accentuated by a defiant final shot that teeters on the line between ending and beginning. About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Film Festival Partners A selection of the Film Festivals that UK Film Review is a Media Partner for. Soho London Independent Film Festival Shining a light on stories that matter Soho London Independent Film Festival (SohoLIFF) is a ‘short film’ festival based in the heart of Soho, in London’s West End. We love films that could make a difference, that give a voice to those who have been marginalised. We simply love great films that are engaging, from the dark and gritty to the eccentric and flamboyant. We welcome all genres and have a particular interest in films with a social and environmental message, films that matter. SohoLIFF Thurs 25th – Sun 28th of January 2024 75 Dean Street, Soho, London W1D 3SQ SohoLIFF features live screenings, panel discussions and workshops over four consecutive days, culminating in a gala-night award ceremony to celebrate all the festival’s films! Our Audience Choice Award, voted for by the public, brings with it an amazing opportunity for the winner to have their film poster displayed across Storm’s huge digital billboards in prominent London locations, all thanks to our wonderful Soho neighbours, Clear Channel. Throughout the year we host our ‘Soho Spotlights’ which provide advice and insights for filmmakers – from industry professionals, covering subject matters ranging from finance to distribution. We also host panels and masterclasses featuring industry experts, which are free to our filmmakers. Filmmakers have an opportunity to be interviewed for our Soho Spotlights in the run-up to our festival and awards night as well. Run by a group of passionate professionals and enthusiastic newcomers, this is one not to be missed. More Screen and Story Film Festival The Screen and Story Film Festival is an open global festival giving filmmakers a platform to showcase their stories to diverse audiences across the world. Our first edition opened as a result of the pandemic in 2020 with our first virtual edition featuring 21 shorts from 10 countries. This year we are expanding our film programme to screenings of shorts, features and documentaries. The 2021 festival edition will bring its inaugural screenwriting competition to celebrate the power of storytelling combined with a full range of industry-leading events. All screenings, events and talks will be held virtually. Our 2021 edition sees a global open call for submissions that encourages all filmmakers to submit their work. With no submission or ticket fees, the festival focuses on one common mission: to enhance and empower worldwide filmmaking, providing a platform to all regardless of location, race, sexuality, gender identity, faith, disability or socio-economic background, with no exceptions. The Screen and Story Film Festival is run by likeminded volunteers from different sectors of the professional film community all working towards one common mission. We exist to enhance and empower global filmmakers and writers around the world, giving a platform to all in-discriminative of location, race, sexuality, gender, religion, disability or socio-economic background, with no exceptions. Our Values are to: - To find, develop and promote undiscovered international filmmaking talent, encouraging them to showcase their films and let their voices be heard in an engaging and inspiring atmosphere where creativity and powerful storytelling abounds. - To level the playing field for filmmakers, always providing equal opportunities to all through a broad open call free from theme at least once a year. - To create an all-encompassing support network of filmmakers for the filmmakers. Fostering connection for collaboration, encouragement and advice. - To give independent film a diverse and worldwide audience and reach a wide range of communities with films they may not generally have access to. - To be nomadic and take the festival to interesting and unexplored territories. - To be accessible to everyone, everywhere, regardless of location. More Yellowstone International Film Festival In the city of culture, art, and heritage. Yellowstone International Film Festival is dedicated to celebrating the world-class cinema. Yellowstone International Film festival is home to independent cinema from around the world. YIFF puts filmmakers first and provides the opportunity for recognition and publicity for quality films and documentaries. Our aim is to be an advocate for filmmakers with a unique vision and to promote their work by showcasing it to a large audience. which is why our mission is to carefully consider and select a wide range of films to promote to the indie film-loving crowd. YIFF will be a global adventure of the premiere, screenings, nightly red carpets, daring documentaries, eye-opening short films, We also focus films under special categories such as LGBTQ films, Women Empowerment films, environmental films, Students Films. More Cheap Cuts Documentary Film Festival Cheap Cuts Documentary Film Festival is the only UK festival dedicated exclusively to short documentary. Cheap Cuts showcases the best of British and international short documentary talent. We strongly believe in content over form and are interested in the stories you have to tell and not the equipment or budget used to do so. Cheap Cuts is committed to helping promote equality within film and every year at least 50% of our programme is formed of short documentaries directed by women. Our programme offers a variety of filmmaking styles; including experimental, animation and observational documentary and there are some great appearances from films that really push the boundaries of documentary. More Little Wing Film Festival Little Wing Film Festival takes place in August / September in London. Now in its second year, the LWFF will play host to a selection of fantastic short films from UK filmmakers, as well as some exciting workshops hosted by the Little Wing Film Festival organisers. Little Wing Film Festival Facebook - @littlewingevents Twitter - @LittleWingFF Instagram - @littlewingfilmfestival More Fringe Queer Film Fest Since 2011, Fringe! Queer Film & Arts Fest has been an entirely volunteer-run organisation rooted in London's queer creative scene. In Novembers, and throughout the year, we showcase an eclectic mix of films, arts and events celebrating LGBTIQA+ stories from around the world, welcoming everybody. Fringe! Queer Film Fest started in 2011 as a community response to arts cuts carnage, and since then we’ve ‘expanded exponentially to become one of the most innovative and exciting festivals on the circuit.’(Londonist) From feature films to experimental installations, workshops and lively debates to wild parties, Fringe! hosts a multitude of diverse events to tickle every one of the senses. You'll see us flooding East London's cinemas, art galleries, pop-up venues and basement clubs with the powerful, provocative and strange. As we continue to develop and our Fringe! Queer Film Fest family continues to grow, some things stay the same: a lot of our screenings and events are free or affordable, we remain open to new voices and ideas, and we’ll always be queer: celebratory but critical as hell. More Beeston Film Festival THE BIGGEST INTERNATIONAL SHORT FILM FESTIVAL IN THE MIDLANDS is the Beeston Film Festival. It is now open for its SIXTH year and now ranks in the top 100 Best Reviewed Festivals from the 8,000 festivals registered worldwide. The festival takes place over five days across several venues and screens over 120 films from 35 countries, creating a truly international cinematic experience. It will take place late March 2020. The Beeston Oscar, or B’Oscar, is presented to the best film in the following categories - Drama, Horror, Comedy, Documentary, Animation, Crime, Science Fiction and Student. Further prizes include Best Director, Best Script, Best Cinematography, Best Acting Performance, Best Soundtrack & Sound Design, Women’s Voices and an Audience award, too. The selection process includes review by a team of local Beestonians who select the film accepted into the festival and determine the B’Oscar nomination shortlists. Our B’Oscar award jury comprises of film professionals from across the globe including UK, US, Belgium, France, India, and Taiwan. More High Peak Indie Film Festival High Peak Independent Film Festival is a not-for-profit film festival that celebrates shorts and feature films from some of the best filmmakers around the world. The festival showcases up and coming talent from independent filmmakers across a four-day event of film, events and networking parties. Set in the beautiful town of New Mills, the festival takes place at the old theatre, New Mills Art Theatre, an almost hidden five hundred seater venue that takes you back to the past when you walk in. New Mills, only 45 minutes away from Manchester and Sheffield, is an easy commute and is worth the visit just to see the rolling hills that surround the village. It’s also known for making the famous Swizzles Matlow sweets! In the festival’s inaugural year back in 2017, the festival hit off with a bang and received great reviews from filmmakers, film lovers and those who just heard about it through word of mouth. It showed 51 films across a three and a half day event. In its second year, the festival will showcase 60 films (56 shorts, 4 features), amongst hosting an array of events and networking opportunities for filmmakers and festival goers alike. Programmes at this year's festival include our dedicated Young Filmmakers Shorts that include a selection of short films by young filmmakers aged 13-18-year-olds from around the world, a category that is always free for entry to those of that age. There is also a Women in Film programme that is dedicated to the outstanding work of female filmmakers in the independent film industry and our Best of the North which celebrates the best of local talent. As well as many other shorts programmes, we are showcasing four feature films, including holding two UK Premieres for Sarah Barker’s ‘The Subject’ and Christophe Leclaire’s ‘Le Portrait’. Our events for this year include our prestigious awards ceremony which comes jam-packed with entertainment and a live set from local artists, James Holt, and our returning movie-themed brass band night, which really is something not to be missed! We also have our free 10-hour filmmaking challenge on the Thursday and panels on Saturday and Sunday too. More Barnes Film Festival Barnes Film Festival is now planning its fourth film festival, taking place in Barnes in September 2019. The festival showcases filmmaking talent from across the UK, workshops and panel talks, together with award-winning films from around the world. Barnes Film Festival celebrates diversity, passion and creativity, and connects all filmmakers – and anybody interested in film – with industry professionals. As well as our Filmmaking Competition, the Festival will host inspiring film events for all, including workshops, discussions, screenings and gatherings, with leading figures from the film, documentary and animation industries. Whether you’re a filmmaker, or a film fan looking to discover something new, there’s something at Barnes Film Festival for you! Come along to our next Festival and be part of something fantastic. More British Urban Film Festival The British Urban Film Festival was founded in July 2005 to showcase urban independent cinema in the absence of any such state-sponsored activity in the UK (at the time). To date, the festival has screened over 500 films, securing broadcast platforms for a majority of Black and urban independent writers, actors, actresses, producers and directors on the BBC i-player, Channel 4, Community Channel (now Together TV), Showcase TV and London Live. In February 2018, BUFF Originals was launched to act as the production and distribution arm of the British Urban Film Festival. Its' debut feature - No Shade - was released in UK cinemas in November 2018, making director Clare Anyiam-Osigwe the 6th Black British female director (to date) to secure theatrical distribution in over 120 years. Emmanuel Anyiam-Osigwe is the founder and Chairman of the British Urban Film Festival and officially, one of the 100 most powerful and influential figures in independent film, according to a list published by the UK Power 100 in June 2019. For his work as executive producer of 'No Shade' (BUFF's first, fully funded and independently released feature film), Emmanuel was also listed as 1 of 5 standout inductees by the UK Power 100. More London Independent Film Festival Due to come to London in April/May 2020, the London Independent Film Festival is a particularly important event in the cinematic calendar. Mostly because it provides a fantastic stepping stone for new filmmakers, and a great festival to be part of. LIFF (London Independent Film Festival) puts on a selection of fantastic screenings, events, and workshops that attract big fans across the capital. Filmmakers who are looking to submit their film to a London Film Festival should seriously consider the LIFF. It has a strong pedigree amongst the industry and can provide exposure to some of the movie-making community's big players. For instance, at the London Independent Film Festival 2020, there will be a special event hosted by our Editor-in-Chief, Chris Olson, on film marketing. This is a fantastic partnership that is sure to benefit all who are able to attend. We are hoping to add a few more entries to this page as we review films that will be appearing in the LIFF lineup. You can also check out special features that have been provided by the festival organisers, or exclusive interviews. One such interview can be found between UK Film Review and Festival Director Natasha Marburger - so be sure to check it out. More Grimmfest Film Festival Grimmfest is one of the UK's leading festivals of horror, sci-fi, fantasy & cult cinema, taking place every year in Manchester. This truly independent genre film festival is dedicated to sharing the best new short and feature films from both emerging and established filmmakers, hosting a wealth of World, European, UK and Northern premieres across the 4-day event. Previous Grimmfest highlights range from international successes What We Do in the Shadows, The Babadook, Train to Busan, The Woman and American Mary, to those made closer to home such as Howl, Grabbers, Before Dawn, Let Us Prey and Colin. Over the years they've welcomed a vast number of guests, including horror mainstays Robin Hardy (The Wicker Man), Ken Foree (Dawn of the Dead, From Beyond), Brian Yuzna (Re-Animator, From Beyond) and Italian soundtrack maestros Goblin, alongside Britain's own Ross Noble (Stitches), Alice Lowe (Sightseers, Prevenge) and Liam Cunningham (Game of Thrones, Dog Soldiers). The 2017 edition attracted thousands of genre film fans, press and industry guests to the city, with highlights including World Premieres of gritty Manchester-set horror film Habit and stunning animated documentary Borley Rectory, featuring the voice talents of Reece Shearsmith, Nicholas Vince and Julian Sands. Ted Geoghegan's Mohawk and Rob Grant's Fake Blood had their first European outings, alongside UK premieres of the WW1-set Trench 11, Fantasia favourite Poor Agnes and Russian supernatural thriller The Bride. The Francesca Eastwood-starring M.F.A., Sitges-selected Rabbit and festival favourite Dave Made a Maze also had their first UK screenings at the festival. Northern Premieres included Better Watch Out, Replace, Game of Death, Killing Ground, Still/Born, 68 Kill, Ruin Me, Double Date, Freehold (Two Pigeons), Leatherface and Attack of the Adult Babies. 2017 Q&As and special guests included filmmakers and stars from Habit, Borley Rectory, Fake Blood, Trench 11, Double Date and Attack of the Adult Babies. The Festival's 9th edition proved once again that Grimmfest is one of the most welcoming genre film festivals in the world. "In all respects I can honestly say 'Grimmfest did me proud'! I've attended film premieres before but I've never felt such a warm atmosphere or watched cast and crew members be so well looked after, myself included" - Sara Dee (Actress - Borley Rectory) "We were honoured to have our UK premiere at Grimmfest. They did a great job of promoting the film, and their efforts led to a slew of great press; their PR people are really on top of it and we are forever grateful. It really helped establish an audience for our movie in the UK" - Bill Watterson (Director - Dave Made a Maze) "All the films looked and sounded amazing. Talking with the fans and filmmakers at the fest was a blast. I loved everything about Grimmfest. I very much look forward to screening another film there" - Matt Stuertz (Director - Tonight She Comes) More

Cursed Memory film review by UK film critic William Hemingway. Starring Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS Cursed Memory Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 15, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna In a moment of crisis, a woman loses her faith and writes a letter to Jesus, pleading for a miracle. Melinona is a survivor of the Easter Sunday Bomb Attacks, which took place in Sri Lanka on 21st April 2019. She carries mental scars of that day, when her Christian centre of worship was targeted by ISIS backed radicals, although she has always kept her belief – until now. In a letter, she explains to Jesus why she is putting him in a box and stuffing him under the sink, and how she has come to the realisation that she may have been wasting her time talking to him in the first place. Melinona has got herself into a bit of a pickle, you see. She’s been lending out the money her son has been sending her from his faraway job, lifting iron in a cold country, and she’s not been asking for any interest on it. She doesn’t know what she’ll do when her son comes home and finds out that she doesn’t have the money, and so it’s JC’s fault for abandoning her in this time of need. She tells of her woes in this letter, never intending for it to be read by anyone but Jesus, but somehow it becomes a firelighter for the family’s shame, as it falls into the wrong hands and gets distributed far wider than anyone had imagined. Over the course of twenty-seven minutes, we are treated to Melinona’s troubles and her Cursed Memory . The letter seems cursed, too, as it takes on a life of its own, passing between hands, being read through different mouths and in different voices. Director, Ranga Bandaranayake, appears to have a clear vision of how Melinona’s story should be told, and this comes through in how well thought out every scene is, with the writing from, Chamara Prasanna Kodithuwakku, giving plenty of characterisation and context to work with on screen. When matched up with some strong production value, the solid writing and impressive direction help Cursed Memory to stand out as a well put together piece of film. From the full-on three-minute credits sequence, to the haunting melodic tones of Lahiru Madiwila’s music, to the casting choices and background detail in the scenes, there’s been a lot of thought and production behind getting Cursed Memory to be just the way it is – and it has paid off. Melinona’s journey is one of trauma and of recovery, and it weaves its way through the lives of everyone around her, bringing us with along with it too, until we are invested in her story as much as her son, or daughter-in-law, or priest. The filmmakers certainly know how to put a film together, and show a real understanding of how to use visual language to tell a story, making Cursed Memory a little more memorable than the rest. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

The Man In The White Van film review by UK film critic James Learoyd. Starring Sean Astin, Madison Wolfe, Brec Bassinger directed by Warren Skeels. HOME | FILMS | REVIEWS The Man In The White Van Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 21, 2025 Directed by: Warren Skeels Written by: Warren Skeels, Sharon Y. Cobb Starring: Sean Astin, Madison Wolfe, Brec Bassinger Warren Skeels’ The Man In The White Van tells the story of a series of grisly murders taking place in Florida in the 1970s. This plot actually serves more as the backdrop to an effective portrayal of a family’s domestic life, and the kids’ school life. We have two parents (Sean Astin and Ali Larter) and three children (Madison Wolfe, Brec Bassinger and Gavin Warren). Between these quaint family dialogues, we see glimpses of ruthless murders as the impending titular horror gets ever closer to our main characters and their home. Many an audience member are sure to compare this movie to Fincher’s singular masterpiece Zodiac (2007). This is not only due to screenplay (by Skeels and Sharon Y. Cobb) and its similarities in subject-matter, place and time; but also because of the deliberate steps this movie takes to replicate Zodiac ’s aesthetic – even down to the font of the opening credits. Yet what impressed this critic was how the filmmakers took the Fincher aesthetic – which has so often been overused and technically misunderstood as simply having a ‘desaturated colour palette’ – and applied its deeper nuances to the tale being told. For instance, one Fincher attribute which works well is the use of subtle camera adjustments so as to mimic a character’s physicality. And, thankfully, this film has a gorgeous, varied palette, consisting of pastel colours and vibrant sunsets. This is a sturdy looking movie with incredible production values. Outside of impeccable technical consistencies – such as the precision of the focus-pulling or wonderful balance of the lighting – some of the most impressive and immersive moments of cinematography involve scenes in cars, shots attached to the outside of cars, or even the camera dollying around a car to reveal more visual information whilst in transit. There must be a lot of greenscreen at play, but the fact that it goes unnoticed is honestly astonishing. Something that won’t go down so well with viewers is the sound. Now, I’m not referring to the sound recording (which is perfect) or even the foley work (which is also fantastic); I’m referring specifically to the criminal overuse of sinister musical cues. There are so many threatening sequences in this movie which could benefit massively from the pure terror of absolute silence – allowing the horror to unfold before us without manipulation. There’s a certain sense of spoon-feeding present in the constant violin screeching at any sight of the white van, which, after the opening scene, we get. But its worst sin is having these screeches take place during moments of false-threat – like the little brother making our protagonist jump. For a film without an outrageous, blockbuster budget, the proper realisation of the period-setting should be considered a genuine achievement on a level of set and costume design. The family home feels authentic, the vintage cars are lovely to look at, and much of the budget has even gone to playing some classic tracks. All of this is illustrative of an attention to detail, as well as an intelligent use of budget, to enable some truly convincing world-building. The Man In The White Van will be available on DVD & Digital from 29th September About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Film Trailers Supergirl More Masters of the Universe More Wild Foxes More Dune: Part Three More In The Grey More Scary Movie 6 More Empire of Lies More Undertone More The Moment More The Land of Sometimes More Avengers: Doomsday More Greenland 2: Migration 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 >

Critically Acclaimed film review by UK film critic Joe Beck. Starring Thomas Loone, Mia Mills directed by Thomas Loone. HOME | FILMS | REVIEWS Critically Acclaimed Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Sep 5, 2022 Directed by: Thomas Loone Written by: Thomas Loone Starring: Thomas Loone, Mia Mills Imagine a gritty British drama, set in the dark, urban environment of Scotland - a far cry from the picturesque view many have of the area. It sounds a lot like ‘Trainspotting’, but imagine ‘Trainspotting’ through the veins of Ken Loach, Mike Leigh or Jim Sheridan. That’s the film which ‘Critically Acclaimed’ tantalisingly taunts you with in the beginning, and although you know that it must end, you don’t want it to. The good thing is that ‘Critically Acclaimed’ doesn’t dramatically nosedive after an exhilarating opening, instead gently plateauing over the remainder of its runtime into an effective commentary on the other side of fame. The star at the forefront of the piece is Jim (played by Thomas Loone, who also directed and wrote the short), who has just delivered an impressive performance in an upcoming film, and has been heralded as the ‘next Fassbender’ in overwhelmingly positive early critic reviews. Life seems to be on the up for Jim, he’s been paid a lot for the film, and is garnering the attention of the press - doing interviews for all your daytime TV shows. There’s another side to fame, however, and it’s a side that many fail to adapt to. The false niceties of the interviewee, Cassandra Higgins (played by Mia Mills), who hasn’t even seen the film, and the onslaught of inane questions turn out to be the straw which breaks the camel’s back and brings out Jim’s anxieties. Jim’s already become alienated from his friends due to his newfound fame, and is struggling to adapt to the spotlight. With a pressing agent, who clearly doesn’t have Jim’s best interests at heart, he’s slowly finding himself falling in on himself, and seeing the rough side of his new career. Perhaps the best thing about ‘Critically Acclaimed’ is the fact that were this short to do well, and Thomas Loone’s fabulous performance to be recognised, it wouldn’t be too difficult to imagine him in the same situation a couple of years from now. It certainly deserves to do well, and Loone certainly deserves the recognition his performance is controlled and measured, showing us the panic in his mind as he’s scared of how people will judge him for the interview answers, with the tell-tell sign being in his eyes, which are scared and constantly flickering upwards. In the film-within-a-film he’s a more engaging character - confident and decisive - but he easily switches mannerisms to the quiet, toned-down Jim. Loone’s direction is strong and steady, though is the weakest of his three roles as the writing far excels it - delivering a clear, concise, to-the-point screenplay, the kind Jim’s PR would be very fond of. The only stumbling block for the film is in some disappointing supporting performances and a slight tail-off towards its conclusion, which feels out of character with the rest of the film, and doesn’t quite deliver the sharp message which the rest of ‘Critically Acclaimed’ so wonderfully sets up. Nevertheless, it is a film which, like the film it features, should have critics gushing, especially over its central performance, and should propel Thomas Loone onto a path similar to his character. About the Film Critic Joe Beck Short Film < 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 >

Anora film review by UK film critic Matt Weiner. Starring Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov directed by Sean Baker. HOME | FILMS | REVIEWS Anora Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: Oct 31, 2024 Directed by: Sean Baker Written by: Sean Baker Starring: Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov Sean Baker doesn’t shy away from seamy subcultures, and the worthiness of people trying to get by outside of conformity. Yet it hasn’t been until his Palme d’Or winner Anora that he has found one group without any redeeming qualities. This shocking and depraved group of people is, in this case, the jet-setting global elite. Anora “Ani” Mikheeva (Mikey Madison) is no stranger to high rollers at her luxe Manhattan strip club. But there’s wealthy, and then there’s wealthy . When a party of Russians ask for a dancer who speaks their language, Ani becomes an object of desire to Ivan “Vanya” Zakharov (Mark Eydelshteyn, pitch perfect as a manic boychild whose naivete can turn on a dime from charming to something nearing sociopathic disinterest). Vanya has taken up residence in his Russian oligarch parents’ Brighton Beach mansion. He is in America to study, but spends his days playing video games and his nights partying into oblivion—anything to avoid being sent back to Russia to join the family business. His relationship with Ani quickly escalates, from sex work outside the club to becoming an exclusive escort to an impromptu Vegas marriage. This being a Baker fairytale, Ani’s whirlwind rags-to-riches marriage is only the beginning of her Cinderella story. What follows is a comically grotesque odyssey through the Russian-dominant Brighton Beach, as Vanya eludes his new bride and a superb supporting cast of family fixers and toughs sent to get the marriage annulled before more shame is brought on the Zakharov family. With the callow Vanya on the run, Baker instead focuses on the chaos and damage (both physical and emotional) left in his wake. And while this is a deserved star turn for Madison, who is electric and enthralling, she is just one of the victims of Vanya’s selfishness. She joins—or rather is dragooned into—the evening’s hunt for Vanya by a trio of Russian and Armenian strongmen, led by the beleaguered Orthodox priest Toros (Karren Karagulian, a Baker mainstay in his best role yet). For much of their night together, Baker pulls off a risky balance between outright comedy and what is, essentially, the kidnapping of a sex worker by three large, powerfully connected men. None of this would work without Baker’s characteristic empathy for everyone. And it certainly wouldn’t feel so easy-going were it not for the relationship between Ani and the silent strongman Igor, played by Yura Borisov with a standout turn that nearly rivals Madison’s. Baker’s most memorable characters are often wrestling with the American dream, and Baker himself seems like a Rorschach test for your own baggage: both pointed critic and secret optimist. Even at his most hopeful, though, there’s always a catch. Save the very few who can buy their way to hedonic bliss, carving your own real-life fairytale ending won’t look like it does in a Disney movie. About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

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Video Dreams: A VHS Massacre Story film review by UK film critic William Curzon. Starring Thomas Edward Seymour, Tim Kulig, Debbie Rochon directed by Thomas Edward Seymour. HOME | FILMS | REVIEWS Video Dreams: A VHS Massacre Story Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Apr 28, 2026 Directed by: Thomas Edward Seymour Written by: Thomas Edward Seymour Starring: Thomas Edward Seymour, Tim Kulig, Debbie Rochon Video Dreams: A VHS Massacre Story is a documentary feature that follows a filmmaker’s thirty-year odyssey to get his work on the shelves of Blockbuster Video and beyond. The piece is a nostalgic exploration of the struggles of making it in the independent film industry and the decline of home video stores. Serving as technically the third instalment in the VHS Massacre series, this documentary is also a love letter to indie filmmaking and making an impact in the film industry. The documentary almost plays out as a retrospective of the dream of indie filmmaking, as it showcases the central figures' work over the span of thirty years. The mix of archival footage and VHS tapes is mostly apt, as it gives the viewer a sense of what led to the central figure's love of filmmaking and his deeply urgent aspiration to keep physical media accessible. It's a deeply warm and nostalgic look at the value of independent filmmaking and the difficulty many people face with the rise of streaming and distribution. It also serves as an origin story-type documentary, due to its prolonged exploration of Thomas Edward Seymour’s life and how he persevered despite financial struggles. The heavy focus on nostalgia is a mostly endearing factor of the piece, as the archival footage showcasing the communal feeling of video stores is incredibly heartfelt to witness, especially for a lover of physical media, given that Blockbuster Video was such an iconic aspect of renting films or games. Preserving physical media and the decline of the video store is a pivotal aspect of the piece, and it may well connect to audiences who share the same sentiment. Thomas Edward Seymour also explains the difficulty of shooting on 16mm film and how distributors often rejected him due to the decline of VHS. It's deeply frustrating as a viewer to witness the decline of VHS and home video stores, and the documentary doesn't shy away from how this impacted the central figure's life as an aspiring filmmaker. Unfortunately, the documentary presents itself more like a sizzle reel of Thomas Edward Seymour’s filmography, leading to the conclusion of his thirty-year odyssey. Due to the lack of on-screen interviews and heavy focus on his work, it sadly fails to remain engaging throughout. The piece also feels rushed as it switches between different time periods rapidly, making it difficult to process each event, despite its eighty-two-minute runtime. This is primarily due to the editing, jarringly cutting to another scene during moments of heavy voiceover. It sadly doesn't really explore the life of Thomas Edward Seymour beyond its surface level, making it difficult to remain invested. While the sheer passion and creativity of the central figures' talents shine through each frame, the piece begins to feel somewhat repetitive and exhausting by its conclusion. However, in spite of these pitfalls, the documentary showcases how far the central figure has come in his struggles, and it's mostly endearing thanks to its heart being in the right place. Video Dreams: A VHS Massacre Story is a loving reminder of the importance of home video stores and the sheer creativity of the independent film industry. The documentary is an inspirational and educational exploration of the decline of home video stores and the difficulty of finding your singular voice in indie filmmaking. About the Film Critic William Curzon Documentary < All Reviews Next Film Review >