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Torn Hearts film review by UK film critic Hope Madden. Starring Katey Sagal, Abby Quinn, Alexxis Lemire directed by Brea Grant. HOME | FILMS | REVIEWS Torn Hearts Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: May 19, 2022 Directed by: Brea Grant Written by: Rachel Koller Croft Starring: Katey Sagal, Abby Quinn, Alexxis Lemire Heartbreak, hardship, hard living and broken dreams — that sounds like a country song. How well does it work for a horror movie? Director Brea Grant (12 Hour Shift ) finds out, with an assist from effortless badass Katey Sagal in the Music City thriller Torn Hearts . Sagal plays Harper Dutchess, country music legend and what remains of the Dutchess sisters, a duo that made it big in the 90s, before tragedy hit. Now a recluse in her Nashville mansion, Harper is none too happy to see upstarts Jordan (Abby Quinn) and Leigh (Alexxis Lemire) show up at her door hoping to record a song with her that will put them on the path to stardom. Screenwriter Rachel Koller Croft stumbled into something fresh with the country music angle. Horror is no stranger to rock music, disco, techno, metal, punk, but country? That’s new. Unfortunately, she repackages a lot of familiar ideas inside that Western fringe. But Grant finds ways to keep things interesting. An authentic soundtrack of music penned by Brittany Allen grounds Torn Hearts in authenticity, while Yaron Levy’s cinematography works the creepy Dutchess mansion for all its gothic, garish Nashville weirdness. Both Lemire and Quinn fit their roles well. As Harper picks away at the young duo’s insecurities, each performer gets the chance to show some range, both physically and emotionally. Sagal steals the show, though. The picture of hard living, Harper manipulates the young musicians with sometimes sadistic ease. Sagal relishes the contempt, crafting a formidable central figure and ensuring rapt attention, no matter what weaknesses the film has in store. Torn Hearts layers its somewhat rote plot points with context about the harsh misogyny of country music, points Sagal’s performance drives home. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Fields film review by UK film critic Joe Beck . Starring Kemi Lofinmakin, Stephen Odubola, Malcolm Kamulete, Hope Ikpotu Jnr directed by Charlene Wango . HOME | FILMS | REVIEWS Fields Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 15, 2022 Directed by: Charlene Wango Written by: Charlene Wango Starring: Kemi Lofinmakin, Stephen Odubola, Malcolm Kamulete, Hope Ikpotu Jnr Pastor Mimi Asher is a legend. She selflessly brings gang members into their home and rehabilitates them, steering them away from a life of violence. Operating on the Myatts Housing Estate in 2000s, Pastor Mimi transformed the lives of many young, black men in Lambeth, where the crime rate continues to be 10% higher than London’s average. Using her Christian faith and spreading the word of God, Pastor Mimi’s impact cannot be understated, and therefore ‘Fields’, a short biopic of sorts is a must-watch. One night, Mimi wakes up at 1AM, having a premonition that her son will suffer a terrible tragedy. In these first ten seconds the directorial skill of Charlene Wango is apparent - creating an unsettling and deeply disturbing atmosphere immediately. The first ten seconds also demonstrate Kemi Lofinmakin’s astonishing acting ability - immediately connecting Pastor Mimi with us through the steady assured tone of voice, which breaks into cries of passion whenever she sense danger for any of the troubled youths in her neighbourhood. Although Lofinmakin doesn’t particularly resemble Pastor Mimi in terms of appearance, that is instantly forgotten as you become taken in by this force of a performance, which oozes class every moment she’s on screen. The supporting cast of Stephen Odubola, Malcolm Kamulete and Hope Ikpoku Jnr are all impressive too, each playing their characters well. Fans of ‘Blue Story’ and ‘Top Boy’ will be intrigued to see a raft of actors in the two appear here, with all of the cast having been involved in either of the aforementioned projects in some way. With Malcolm Kamulete and Hope Ikpoku Jnr we get the Ra’Nell - Aaron link up we never knew we needed. At times the film does suffer from some extremely forced and unrealistic dialogue - one conversation in particular between Pastor Mimi and a young woman is almost unbearable, thankfully it doesn’t last too long. However, that is by and large the films only drawback, an incredibly impressive feat from a directorial short debut. The film focuses on that glimmer of light in the darkness, the one beacon of hope in an otherwise bleak environment of poverty and violence. Wango’s camera knows this, and guides us towards that light, so that by the end we are gravitating towards Pastor Mimi in a manner not entirely of our own doing. The message is simple - many of London’s young, black men are forced into a life of crime which leads them to an early grave, what are you doing to stop it? How can it be right that the onus is on one woman to carry out what she calls ‘God’s promise’ to save them all? Surely we can all do better. It would be hard for Charlene Wango to do much better with ‘Fields’, a short which undoubtedly deserves a feature length adaptation. A few torrid pieces of dialogue aside, this is a staggering piece of work from the director and cast alike - in particular Kemi Lofinmakin who is outstanding as the enigmatic Pastor Mimi. Most importantly, it’s a short which does Pastor Mimi justice and tells the story of a true hero that doesn’t get the recognition from the wider world that she deserves. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Hey Bro film review by UK film critic Rob Jones. Starring Terry Blackburn, Lauren Lehosky, Josh Rutgers directed by Josh Rutgers. HOME | FILMS | REVIEWS Hey Bro Film Review average rating is 1 out of 5 Critic: Rob Jones | Posted on: Apr 13, 2023 Directed by: Josh Rutgers Written by: Terry Blackburn, Lauren Lehosky, Josh Rutgers Starring: Terry Blackburn, Lauren Lehosky, Josh Rutgers There’s something to be said for a filmmaker who manages to make what they want without any budget and nothing but a smartphone as a camera setup. From that point of view, Josh Rutgers is doing something quite respectable with Hey Bro . The DIY attitude of just going ahead and making something with nothing is something that tends to be a bit rarer in film than it is in other art forms, and for all its faults this carries a level of charm with it because of that. Although this is just a ten-minute sequence from a feature film, it’s already clear to see exactly what kind of film this will be. It’s no surprise that this is mostly improvised, as it comes across as completely random for a good chunk of its runtime. The first half is centred around a confrontation that initially wouldn’t look out of place as part of a backyard wrestling promotion’s home video release. As the confrontation develops it really just ends up looking and sounding like the kind of playfighting that we’ve all been a part of at school. Nothing seems all that consequential or that well thought out, and there aren’t any payoffs that come from it. Even more confusing than its narrative, however, is how it’s edited. During the central confrontation, there are multiple points where lines of dialogue are cut off just to be repeated, almost like an action replay but without any action to replay. There’s a feeling that this is a film that only exists because someone fancied making a film, and there is a space for that. With modern technology, the process of making a film is more accessible than it’s ever been. That’s something that should be celebrated and encouraged. It is a shame though that in this case there appears to be little in the way of any thought going into it. About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Existere film review by UK film critic Swati Verma. Starring Alexandre David Lejuez directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Existere Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 29, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Alexandre David Lejuez The title of the short film-"Existere "has connotations of existence, life. It gives the audience an idea about the subject matter of the short film. The writer-director Alexandre David Lejuez opens the cinematic piece with a quote about life by Abraham Lincoln to get the viewers to think about the creative piece from the very beginning of the movie. The genre of the film is Fantasy where Alexandre builds the script to explore the concept of a few sections of life flashing before our eyes at the time of death. The white font of the title is used to indicate the peaceful state of mind and the red hue around suggests that the brain is preoccupied with the thought of the theory the makers want us to consider. The combination of yellow and red colour palette, lighting, set design, costume design along with background music complements the topic of the film. The camera tracks the protagonist followed by a mix of mid and close-up shots to capture every reaction of the main lead in the movie. The narrative of the film is from the point of view of Angelo who becomes a medium through which the director gets a chance to express his attraction towards the afterlife, souls, and the hidden memories related to it. The storyline of the movie is about a man Angelo in his thirties who sees a few fragments of his life flashing before his eyes in a strange dream. It would be interesting to find out whether he can find answers to the question this weird dream has compelled him to ask? Alexandre David Lejuez steps into the actors shoes himself for this movie. He makes the one-room drama more intriguing for the audience by using the flashes and editing skills to showcase the dreams Angelo is experiencing. He wants the audience to relate to the central character. The director wants the viewers to be convinced about his experiment. The audience feels that they are an active part of Angelo's journey through the abstract dream but whether the director is successful with influencing the viewers would be known later. There are no dialogues in the film to intensify the impression of traveling into the parallel world created by the director along with the creative team. The director Lejuez has given the film an open- ended closure so that it can be interpreted according to the understanding of the crucial aspect of life at an individual level. The theme the film is highlighting cannot mean the same for everyone and can vary depending on their experiences. This short film is a sense of involvement that consumes the audience fully. It talks about the importance of gaining knowledge about what happens after death? By achieving this insight struggles of losing a loved one at hands of death can be a little less painful. Existere attempts to tell us that the assumptions made in the film can be the harsh reality of life that no human can deny. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Directed by Andy Serkis, screenplay by Kelly Marcel, and story by Tom Hardy. Venom: Let There Be Carnage is due to release in cinemas September 15th 2021. . Brand new film trailers. Venom Let There Be Carnage Trailer Venom: Let There By Carnage Official Trailer Tom Hardy returns to the big screen as the lethal protector Venom, one of MARVEL's greatest and most complex characters. Directed by Andy Serkis, the film also stars Michelle Williams, Naomie Harris and Woody Harrelson, in the role of the villain Cletus Kasady/Carnage. Directed by Andy Serkis, screenplay by Kelly Marcel, and story by Tom Hardy. Venom: Let There Be Carnage is due to release in cinemas September 15th 2021. Read our Venom film review to find out what we thought of the first film. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September.

Amy and I film review by UK film critic Chris Buick. Starring Sytse Faber, Eline Havenaar directed by Bastian Rook. HOME | FILMS | REVIEWS Amy and I Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Jun 17, 2023 Directed by: Bastian Rook Written by: Martijn Daamen Starring: Sytse Faber, Eline Havenaar Captivating Dutch film Amy and I invites us to dinner with Amy and her ex-partner John. What starts as happily catching up with John over old times soon reveals a lot more, with Amy clearly struggling to move fully beyond the relationship, before the evening transforms into a situation that is much more serious. There is little more to want to say about the films story to be honest without ruining the experience entirely. Suffice it to say that Amy and I is a film that will surprise many when all is said and done, especially those unprepared. What must be said however, is that both director Bastian Rook and writer Martijn Daamen combine what are clearly enormous talents to present their narrative with pinpoint precision, with a tight but extremely well-thought-out script driving all other aspects of a fully accomplished film that grips from beginning to end, unafraid to explore darker themes and push buttons. To put it simply, in terms of pure filmmaking, it’s a real triumph. It’s one-take presentation might not be the newest trick in cinema these days but the way in which such a method is used here seems not only fresh but integral to the telling of this story, it’s clear to see that this piece simply wouldn’t be the same without it. The positioning of the camera angle, starting just over the shoulder of this private conversation works wonders, making us feel like we’re actually eavesdropping on our characters from the next table. The way the camera then moves perspective as it progresses emphasises the shift in tone as the tension builds, slowing edging the audience in closer until they become almost complicit in the proceedings, punished for listening in in the first place. It's simply top-drawer cinematography. Again, it shows there’s a meticulousness, an attention to detail here that elevates this entire project to a whole other level. Everything aligns here, the discordant score hits at the subconscious, working the tension into the viewer the whole way through. The light and shade from both Havenaar and Faber’s performances give the film an authenticity and an integrity that makes such simple yet elegantly characters so compelling. But ultimately, it’s the wonderfully crafted and purposefully unreliable narrative that will keep you glued to the screen to try and get any sort of handle on what is going to happen here. Amy and I delivers a punch to the gut in its final moments that you will not see coming even if you are one for guessing how a story might end up playing out. Beautifully set, beautifully shot and beautifully thought out, Amy and I is an enthralling six-and-a-half-minute watch that delivers delightfully in every way you’d want it to. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Wheels Of Fortune film review by UK film critic William Hemingway. Starring Darren Hill, James Graeme, Georgy Pleece directed by George Pack. HOME | FILMS | REVIEWS Wheels Of Fortune Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Sep 4, 2023 Directed by: George Pack Written by: Milo Hickey Starring: Darren Hill, James Graeme, Georgy Pleece Wheels Of Fortune is actually a pretty decent name for a mobility scooter shop and in George Pack’s ten-minute debut short he uses one such establishment to tell the story of his main character, Eddie (Hill). Having taken over after his father’s (semi-)retirement, Eddie now finds himself in charge of the shop and all the burdens and responsibilities which that entails. He’s not finding it easy to keep things afloat, what with a couple of his hair-brained schemes coming to nothing and the shop-guy, Fred (Pleece) being as much use as a chocolate fireguard when it comes to dealing with customers. So, Eddie has hit on the idea of advertising – TV advertising specifically – and if he can just squeeze the money from his father (Graeme) to pay for a film crew he knows that he can get the business off the ground and make a success of the whole thing. So, through the course of Wheels Of Fortune we watch as Eddie makes phone calls, picks up his dry-cleaning, visits his father in the nursing home and gets himself ready for his big close-up, as all the while he becomes increasingly frantic and begins to fall apart due to the pressure. Darren Hill does a very solid job of expressing Eddie’s ineptitude and nervousness, managing to come across as a self-centred, egotistical prick of a manager whilst also conveying the deep seated worry and weight that he carries around with him. Unfortunately Hill tends to stand out as a bit of a one-man show as he is not so ably supported by those around him. James Graeme tends to miss a few beats as the disgruntled, disappointed patriarch, never really finding the tone of his character, while Georgy Pleece stumbles around in the background never really catching the audience’s eye as Fred. Any extra characters don’t have much about them at all and the scene in the launderette comes across as especially cringeworthy as the acting drops off a cliff during its runtime. Partly to blame may well be the script from Milo Hickey which uses one-sided conversations to tell a lot of its story. While a major theme of the film may well be miscommunication, especially between generations, there is a genuine feeling of disconnect not just between the characters of the story, but also between the scenes of the film and this serves to bring a level of miscommunication between the film-makers and the audience, as it’s not always clear what the actual point to the story is. Thankfully the work behind the camera is better handled and all technical aspects hold the production together well. Pack selects his shots with a good eye and thinks clearly about how each one will be achieved, with DoP Evan Bridges providing a good mix of static and dynamic placements which capture Eddie’s state of mind. The editing and sound design both fit seamlessly into Wheels Of Fortune , keeping the frantic, erratic nature of Eddie foremost in the viewer’s thoughts while also keeping the story moving at a good pace, enough to keep the runtime down to around ten minutes. There is a definite feel of the gameshow around Wheels Of Fortune as the pressure, tempo and craziness all get ramped up towards the climax. The ‘here’s what you could’ve won’ final scene smacks of early evening Saturday entertainment, especially that which was interspersed with local, low-budget advertising, and there are shades (very, very light shades) of Rupert Pupkin as The King Of Comedy (1982) which come through. For a debut short at such a young age, Pack has created something which isn’t quite right and a bit rough around the edges but definitely something which benefits from repeat viewing and which is a very solid jumping off point for whatever he and his team decide to do next. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

The Drowned film review by UK film critic William Curzon. Starring Alan Calton, Lara Lemon, Lily Catalifo directed by Samuel Clemens. HOME | FILMS | REVIEWS The Drowned Film Review average rating is 1 out of 5 Critic: William Curzon | Posted on: Sep 22, 2025 Directed by: Samuel Clemens Written by: Samuel Clemens Starring: Alan Calton, Lara Lemon, Lily Catalifo The Drowned follows a group of men after stealing a piece of expensive art, arriving at a safe house in a secluded area. They discover the fourth accomplice to be missing, and a game of deception and lust comes among them as they wonder if one of them is responsible or if there is an ancient myth present in their inner thoughts at the water’s edge. While the premise of the film and the marketing suggest horror as the obvious focus, the overall narrative feels more character-driven and dystopian throughout its entirety. The lack of dialogue and the ambiguous flow of the narrative actually make for a riveting promise to the audience. Utilising a mix of overhead drone shots and tracking the actors with its use of visual storytelling is a risky formal choice, but it pays off within the first quarter of the piece. Unfortunately, once the characters reach the safe house, the overall intrigue lessens, and the experience becomes profoundly unengaging from a viewer’s perspective. While there is intrigue brewing between the characters, the single set location actually hurts the flow of the pace; the dialogue is uninteresting and stagnant due to a lack of characterisation and chemistry between the actors. While the performances are serviceable, the script becomes increasingly dull due to the lack of conflict and tension. On the other hand, the piece is impressive from a formal standpoint. The use of low-key lighting within the safe house is effective, and it can be visually striking with its use of POV shots, evidently inspired by Sam Raimi’s Evil Dead series. These sequences effectively create tension and elevate the scenes of terror. Also, the use of black and white cinematography within scenes of surrealism is impactful and a unique formal choice. However, the musical score can become repetitive as the central theme is overused, although it is used effectively in the opening, and some viewers may find this incredibly unsettling. What is perhaps most impressive about the piece is that writer and director Samuel Clemens wrote and completed the production within two months, which is an astounding feat in itself, considering a significantly smaller budget. It makes incredible use of its restricted budget, featuring fantastic VFX and makeup. While the pacing can stagnate frequently, the middle segment of the film does pick up as more characters are introduced, and its themes of lust and greed are explored. The character’s motivations are questionable in their decisions for survival, and this makes it difficult to resonate. There sadly isn't much mystery, and the themes present feel very surface-level in their execution, and the overall payoff amounts to very little. Samuel Clemens is clearly trying to convey an enigmatic narrative that tries way too hard to be more layered and nuanced than it actually is. Grasping for depth, it never reaches. While ambiguity is welcome, this becomes too convoluted to a fault, and more leeway for the viewer could have made the overall experience less daunting. Although the conclusion to the piece is disappointing and lacks emotional resonance, the imagery evokes discomfort and may haunt viewers in its conclusion. The Drowned has an intriguing premise and a plethora of engrossing ideas, but sadly, the execution comes off too heavy-handed in its jumbled themes, monotonous narrative and uneven pacing. While the formal choices and direction are impressive, the screenplay can never quite keep up with its technical prowess. The Drowned will be available on Digital Download from 6th October in the UK. About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

Far Out film review by UK film critic William Hemingway. Starring Moe Golkar, James Sirois, Anant Khehra, Nathan Ozee, Lamont James Brown directed by Bijan Karim. HOME | FILMS | REVIEWS Far Out Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Feb 10, 2023 Directed by: Bijan Karim Written by: Bijan Karim Starring: Moe Golkar, James Sirois, Anant Khehra, Nathan Ozee, Lamont James Brown Who knows what is taught in AV clubs across North America these days? What is given to these young, supple, teenage minds to showcase the intricacies and opportunities that film and cinema has to offer? If Far Out from Canadian film-maker Bijan Karim and his team is anything to go by it seems like it is still and only the domain of one man – Quentin Tarantino. Time and again we, the audience, are subjected to endless references of Reservoir Dogs (1992) and Pulp Fiction (1994) from younger film-makers and it can feel that most of these fit on a sliding scale from nods and sly winks to full-on rip-offs that would make even JK Rowling blush. Far Out lands somewhere upwards of the middle on this sliding scale, mixing brash gangster storylines with extended criminal dialogue, overt misogyny and the crashing together of Sound and Vision helped along by a tub-thumping soundtrack. Moe Golkar is The Filmmaker, a nerdy, drip of a guy who used to produce his own amateur movies but who was also finding it hard to get funding. In a strange twist of plotting and characterisation he then let loose his alter-ego, aptly named Action Star, who pushed him to get involved in scenarios filled with crazy danger in order that he could secure the money he needed to produce his films. Following so far? So now, with his reputation at peak levels within the criminal and justice communities, he is approached by the cops to infiltrate and take down the mob's 'Golden Jew', Goldberg (Sirois) in order for him to show whose side he's on and have previous charges against him dropped. Naturally, Goldberg is suspicious of the offer of allegiance from such a prodigious criminal talent as The Filmmaker and he constructs three trials for the sleeper agent to perform to prove he's on the level. Such is the premise for this QT-lite film. So off we go on a shenanigans based runaround filled with guns, violence, blood spatter, bare minimum marginalised female involvement and the occasional line of coke. It's all a lot of fun, supposedly, and despite the convoluted plotting structure you don't have to engage your brain too much while all the tropes, markers and slow-mo walking scenes play out on screen. Despite being deliberately fractured and chaotic, Karim's direction is fairly solid throughout shifting between film-noir, Bollywood and other such influences for certain scenes while always following the theme of Tarantino in between. There are some really nice shots from cinematographer, Jason Roberts who uses colour really well and who creates some semblance of professionalism, although not entirely consistently. Unfortunately the whole thing is headed by Golkar, who is no leading man, in fact he's no actor at all. The Filmmaker is of course a fish out of water and a certain level of naivety is to be expected from his character, but not so much that his delivery is always flat and he can't move with the other actors in the scene. Thankfully he's buffeted by others around him, especially Anant Khehra as the suited goon, Lawrence and Lamont James Brown as rival mob boss, Barry Levenstein who both raise the level of engagement alongside Sirois' gleefully anarchic Goldberg. For what is very much an amateur production, Far Out does hold itself together fairly well and shows flashes of brilliance which owe nothing of their existence to the auspices of Tarantino. The whole thing is helped immeasurably by a soundtrack which includes easily recognisable floor-fillers from the likes of Howlin' Wolf, Pink Floyd, The Doors, The Who and even The Beatles. The attainment of all the licences from the producers for each of these isn't entirely transparent, especially when they remain uncredited, which does diminish the achievement somewhat. We could all make fast-paced action thrillers with a banging soundtrack if we didn't have to pay our dues. Otherwise Far Out is fine. About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

Urban Vengeance film review by UK film critic Jason Knight. Starring Will Martin, Kelvin Girdy, Gabe Shebesta, Victoria Lydia Rodriguez, Carson Goldsmith directed by Will Martin. HOME | FILMS | REVIEWS Urban Vengeance Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 5, 2025 Directed by: Will Martin Written by: Will Martin Starring: Will Martin, Kelvin Girdy, Gabe Shebesta, Victoria Lydia Rodriguez, Carson Goldsmith A dark comedy action feature written and directed by Will Martin and starring himself and Gabe Shebesta, Victoria Lydia Rodriguez, Kelvin Girdy and Carson Goldsmith. Jack Urban (Martin) is a high-school student living in Austin, texas and he also fights crime like some sort of vigilante. And he tends to do so with his skateboard. The city that he lives in is being torn apart by crime and his sister (Goldsmith) was murdered by a local gang leader known as The King (Girdy). Now, along with his friend, Blind (Shebesta) and a girl named Dorothy (Rodriguez), Jack must battle crime and corruption and put an end to The King's illegal activities and avenge his sister. A teenaged boy who uses his skateboard to fight criminals. Cool concept. And it certainly is fun watching him as he hits bad guys with his skateboard and sometimes shoots them with guns. There are plenty of action scenes, be it hand-to-hand combat, firing guns, car chases, motorcycle chases and (of course) skateboard chases. It is quite a ride. Apart from the action, the screenplay focuses on exploring the characters and developing the story. The cinematography by Chad Treanor and the electronic music by Derlis A. Gonzalez create an atmosphere that generates a sort of 70's or early 80's feeling, which is intriguing. The production quality indicates that the budget was low and the acting in general is not very convincing. Plus, the script is unrealistic, particularly regarding the action scenes, where, for instance one character fights off multiple rivals and a youngster going up against dangerous criminals is not a plot that can be taken seriously. Nevertheless, these aspects do not really damage the film as this is not a viewing that needs to be taken seriously and rather, enjoyed as an action/revenge story. The characters are interesting. Jack is the hero. A brave, tough young guy who dislikes school. His mission is to take down the one responsible for his sister's death, however, he is also a bit of a loner and has negative perspectives regarding the world. Girdy plays the antagonist, a ruthless criminal, the typical action movie bad guy. Dorothy is a tough girl, whose role is that of an ally to Jack, while Blind could be described as Jack's eccentric sidekick. Primarily, this is a story about crime, especially gang activities and corruption. Through Jack's character, the film also explores revenge, loss, alienation and fighting for justice. A low-budget feature filled with action and criminals. Arguably, the action scenes are the highlight, but the plot and the characters contribute significantly in making this an amusing viewing. Overall, this is a fun action film that is likely to appeal to those who like fight scenes, chases and skateboards. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Fck’n Nuts film review by UK film critic Chris Buick. Starring Maddie Nichols, Vincent Stalba, William E. Harris, Michele Rossi directed by Sam Fox. HOME | FILMS | REVIEWS Fck’n Nuts Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Feb 24, 2024 Directed by: Sam Fox Written by: Sam Fox Starring: Maddie Nichols, Vincent Stalba, William E. Harris, Michele Rossi Hapless Dan is hopelessly in love with the helpless Sandy, who for reasons yet unclear, is desperate to warn Dan away from wanting to be with her. But Dan is convinced that it’s true love, and unexpectedly turns up at her house to declare it so, and so Sandy finally accedes to his pleading and allows Dan to come inside the house and meet her parents. Fck’n Nuts is a beautifully batshit film made with clear affection for its genre and by a team with a desire to create brilliantly entertaining movies. The film absolutely nails its authentic 80s B movie horror vibes, firstly with its wonderful aesthetic that pops effortlessly right from the off and then couples that with Scratch Massive’s perfectly placed synth score; it’s single opening shot alone generates not just genuine excitement for what’s about to come but makes us fearful of it as well thanks to a very insidious eeriness that settles deep in your soul almost immediately. And then once it has you, Fck’n Nuts slowly and surely drags you deeper and deeper into this increasingly unsettling but entirely captivating homage to B horror. Every step and note and line (shout out to the one about wine that is so subtle yet killer) has purpose which is to hammer home that unsettling feeling more and more as you attempt to figure out where you might be being led to, some of it is misdirection, some of it’s just for vibes, and for some the end might be obvious (the clues are all there) but whether you know or not doesn’t matter, the culmination of all the shining hard work done here will definitely pay off for most if not everyone. Both Nichols and Stalba also deserve special mention for not just their commitment, but in also giving this crazy premise some grounding in a sense of realism, rounding off these well-written characters to make them feel truly complete and believable despite the ridiculous circumstances with their highly commendable performances. And for the body horror fans, you’re in luck, because Fck’n Nuts has got you covered. It seems like the idea here was to push limits and really gross out in its big set piece and it does, and while it looks great and feels impactful for sure, for those of a bit more sensitive disposition, it might actually be a wee bit too much as it’s a sequence that maybe goes on just a tad longer than it needs to, those few minutes feeling a bit like a rollercoaster that has stopped being fun and you just want to get off. But that’s more a matter of taste than a criticism per se, more of a pre-warning perhaps than anything else. With a handful of well-deserved awards to its name, Fck’n Nuts is a truly fun watch that showcases not just the immense talent of writer/director Sam Fox, but pretty much the gamut of everyone involved in its production. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Always Amber film review by UK film critic Amber Jackson. Starring Amber Mastracci directed by Hannah Reinikainen Bergenman & Lia Hietala. HOME | FILMS | REVIEWS Always Amber Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Aug 16, 2022 Directed by: Hannah Reinikainen Bergenman & Lia Hietala Written by: Hannah Reinikainen Bergenman & Lia Hietala Starring: Amber Mastracci “Amber belongs to a queer generation which no longer wants society to dictate their identity. The teenagers proudly inhabit a spectrum of fluid identities and master their first loves and losses.” Released in 2020 and with support from the Swedish Film Institute, Always Amber is a courageous, pure-of-heart documentary situating Amber, a non-binary teenager seeking to find their place in Swedish society today. Filmed between 2016 and 2019, the film charts Amber’s coming-of-age and their transition into adulthood as well as their true self. This documentary provides a refreshing narrative that pushes binaries and boundaries as it follows Amber and their friends and loved ones making their own definitions of what it means to be alive. The documentary begins with discussions concerning Amber’s transition journey, as they explore their options to match their physical appearance with how they feel on the inside. We get an insight into the medical perspective of Amber’s feelings as they speak with a nurse about their gender dysphoria, alongside the emotional aspects of Amber’s gender identity. Conversations on camera are always handled sensitively and in an empathetic way by the directors, highlighting their willingness to allow Amber to tell their own story. As conversations had are often up close and personal, the directors have allowed Amber to really take a front seat with production, as they are able to film themselves and their friends in a more private way and thereby the content is at their discretion and their choice. Amber explains the camera to people by saying “two girls are making a film about my life,” which shows how much of their own voice is included within the seventy minute piece. It is an innovative way to create a documentary and this should be commended. As much of the film’s content comes directly from Amber, there is a focus on real-life teenage drama and experiences, but from a queer perspective of those within the film seeking to reject patriarchal social convention. Amber provides a close personal insight into their everyday life, alongside videos from their childhood, where they explain the loss of their father. It is emotional and is a testament to the familial support that Amber receives from their mother as she worries for her child’s happiness and gender transition, alongside Amber not wanting to upset a parent. The complexities and imperfections of life are handled wonderfully all by Amber, who just wants to show the audience how simply trying to live as a queer person can be. Emotions run freely and without censorship as Amber muses on their long-term friendship with Sebastian and the viewer gets to watch them live in a very open way as they guide each other through the difficulties of their trans/non-binary identities. This fraternal relationship and what stems from that provides a powerful insight into growing up, as lessons on love and heartbreak are learned. Relationships and honestly and anxieties are powerful when examined under a young queer lens, especially in this modern day with the force of social media for teenagers (ie. Snapchat). The film strikes a chord when Amber must confront those in their life that they care about the most and decide what is best for themselves – proving again that this film has all of the markings of a moving coming-of-age story. Amongst the heartache, we also get to see many positive and fluid relationships and friendships, of all sexualities and genders, and the safe spaces that young queer people inhabit and can fully be themselves in. Although they have had to adapt massively to their surroundings, there is an acknowledgement that things are improving too. As the film draws to a close, Amber surmises: “How much should I change myself just because society doesn’t change fast enough” – and this is such a takeaway statement. Always Amber is a beautifully raw film that provides just one of many real and heartfelt experiences that young queer teenagers have whilst trying to find their place in the world. The vulnerability and trust that Amber puts in the camera and the viewer is empowering and well worth a watch for all film lovers. Watch Always Amber online now. About the Film Critic Amber Jackson Documentary, LGBTQ+, Amazon Prime < All Reviews Next Film Review >