The Dreamer film review by UK film critic India Gwyn-Williams. Starring Nicole, Clyde, Elli, Sam, Drew directed by Muhammed N Alumneer. HOME | FILMS | REVIEWS The Dreamer Film Review average rating is 2 out of 5 Critic: India Gwyn-Williams | Posted on: Mar 23, 2026 Directed by: Muhammed N Alumneer Written by: Mohammed N Almuneer Starring: Nicole, Clyde, Elli, Sam, Drew The Dreamer by Mohammed Alumneer is an animated short film, depicting three different stories emanating from the character Alex William. Our protagonist communicates the importance of self-belief and empowerment against those who discourage others and the world, which in its natural course can be an obstacle to one’s dreams or success. The direct narrative from Alex William is poetic and passionate, using powerful metaphors and similes to describe the pull of his destiny and the struggle to adhere to it. The dialogue possesses a certain rhythm which engages the audience while also grounding each of the stories that follow. Despite starting with a vigorous, impressive dialogue, such an introduction is met with a disappointingly linear initial story. ‘Back To School Good Student’ lacked intricacy and narrative prowess - it delivers a more passive, impersonal plot. Although the delivery falters, the story itself is satisfying in its course of hardship being met with eventual reward. This offers themes of perseverance, morality, and fate. Fate is an unceasingly captivating concept, rooted in otherworldly mystery - its place in the first story is therefore a point of intrigue for the audience to ruminate on. The following stories spring from the success of the one prior, and their styles differ in animation as well as storytelling. They explore different types of adversity, increasing the variety of the film but remaining constant in the theme of perseverance despite it. The storytelling aspect is improved by the voices given to the characters, as it adds a layer of depth and ultimately favours the viewing experience. Audiences are particularly impacted with the final story, which shares a conversation on self-belief. Though it takes place in a classroom of young children, the lesson on its importance applies to anyone who watches. What is presented as a new concept to children is simultaneously a reminder to those already aware of its existence, but in need of a reminder. The short film excels in the central theme of empowerment which runs through each narrative and the character Alex William. He not only oversees each story's inception, but simultaneously offers his own story of perseverance and determination which sews the trilogy together, making an entertaining viewing journey. The narrative of the stories are however flawed in their shallow, straight-forward nature, coming across as unegaging. Arguably the quality of animation, depth of the stories and narration are not equal to the significance of its themes - empowerment and self-belief. Such topics deserve an intricate portrayal to fully communicate their power and importance. Buy UKFR Banner Space About the Film Critic India Gwyn-Williams Animation < All Reviews Next Film Review >

No Man of God, a darkly disturbing new feature that’s set for its UK Premiere at FrightFest 2021, followed by its digital release on 13 September and on DVD and Special Edition Blu-ray on 25 October 2021.. Brand new film trailers. No Man of God UK Trailer No Man of God First UK Trailer Delve into the dark and twisted mind of one of America’s most notorious serial killers – Ted Bundy – in No Man of God, a darkly disturbing new feature that’s set for its UK Premiere at FrightFest 2021, followed by its digital release on 13 September and on DVD and Special Edition Blu-ray on 25 October 2021. The film follows a rarely seen moment in criminal history, after Bundy was sentenced to death and waited to meet his maker, the FBI sent in one of their top analysts to interrogate the murderer to try and find out the full extent of his crimes, his motives and to find answers for his heinous crimes to help the victims’ families. Directed by Amber Sealey (How to Cheat) and penned by C. Robert Cargill (Doctor Strange) based on actual interview transcripts, the critically acclaimed film features outstanding performances from a stellar cast that sees Elijah Wood as FBI analyst Bill Hagmaier, the man tasked by FBI boss (Robert Patrick) to get inside the mind of the infamous killer, Ted Bundy played in an unnervingly convincing turn by Luke Kirby. Bundy’s (Luke Kirby – The Marvelous Mrs. Maisel, Halloween: Resurrection) reign of terror – that saw him kidnap, rape and murder many young women and girls, across numerous states and many years – ended with multiple death sentences, with the full extent of his crimes still to be realised. Bill Hagmaier (Elijah Wood – The Lord of the Rings, Eternal Sunshine of the Spotless Mind) was tasked with understanding how truly dangerous Bundy was and to give solace to victims’ families. Taken from real-life transcripts and revolving around a singular interrogation room, the mind of Bundy is explored in a lesser known period of his life on death row, from 1984 to the day of his execution in 1989. With time running out before the serial killer is given the chair, will Hagmaier be able to get closure for the families searching for answers? See the real face of evil in No Man of God, a truly terrifying real-crime horror. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Lucia & Nicole film review by UK film critic Chris Buick. Starring Romance Suarez, Claudia Levis, Lissette Nichols directed by Marlene Emilia Rios. HOME | FILMS | REVIEWS Lucia & Nicole Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Jan 27, 2025 Directed by: Marlene Emilia Rios Written by: Marlene Emilia Rios Starring: Romance Suarez, Claudia Levis, Lissette Nichols When Lucia (Suarez) discovers her childhood friend Nicole (Levis) living on the streets because her mother has forced her out of the house after Nicole’s coming out, Lucia’s mother Ximena (Nichols) allows Nicole to stay with them for the time being. However, Nicole’s re-appearance into their lives brings about questions and indeed realisations as to her own daughter’s identity and the truth behind her relationship with Nicole. Lucia and Nicole offers a welcome addition to queer cinema that focuses not primarily on the intricacies of a specific relationship, but rather on how those who orbit that relationship come to face truths that they had previously hidden from themselves, as well as the way they choose to move forward thereafter. So, while Lucia and Nicole may be the titular characters, and of course, the story does get across the depth of their relationship to a degree, here it’s Ximena as the heedful mother that pulls the narrative focus, as the film looks to explore the idea of acceptance, of choosing love over all else. There isn’t much of a deep dive into the backstory of everything going on here, but given that Lucia and Nicole ’s mission is to tell the story of the now and after rather than the before of these character’s lives, that’s completely fine. It’s quite a lean, subdued film, with not many bells and whistles or heavy drama going on here, but its directness means that its message and sentiment can cut through clear as day. It moves to show that despite perhaps evolving and growing acceptance of individuality, situations such as Nicole’s are still commonplace, and the repercussions of that lack of acceptance can destroy lives and relationships irreparably. We learn throughout the film’s ten minutes everything we need to to make the narrative take complete shape in our heads, having been granted a short window into these people’s lives which writer/director Marlene Emilia Rios makes sure is more than enough to connect, understand and at the end, hope nothing for the best for these characters going forward, an impressive achievement in such a short time frame. Was Ximena indeed so unaware of the true nature of Lucia and Nicole’s relationship, or is a certain sense of denial simply eroding away? The film leaves it unclear, but its real aim is to show that Ximena now in fact faces a pivotal moment in how to proceed. It’s a short filled with poignancy and message, brought to life through concise yet powerful storytelling and a dependable cast bringing it all home. A quite contained and minimal short, but nonetheless succinct and affecting as it achieves what it sets out to do, Lucia and Nicole is a wonderful addition to queer cinema. Buy UKFR Banner Space About the Film Critic Chris Buick LGBTQ+, Short Film < All Reviews Next Film Review >

Cow film review by UK film critic Matt Weiner. Starring Lin Gallagher directed by Andrea Arnold. HOME | FILMS | REVIEWS Cow Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: Apr 7, 2022 Directed by: Andrea Arnold Written by: Andrea Arnold Starring: Lin Gallagher There’s nothing in the rulebook that says a cow can’t be nominated for Best Actress, right? Because Luma, the bovine star of Andrea Arnold’s mesmerizing new documentary, deserves to be the most improbable frontrunner of awards season. The filming for Cow took place over about four years at a British dairy farm. There is no voiceover, no reassuring David Attenborough nature narration… Just an unsparing look at Luma and the daily existence for cattle on a modern farm. For Luma, that means a life built around providing milk through high-tech milkers. In one of the film’s more arresting images, Arnold shows Luma entering what the industry whimsically calls a milk carousel—but takes on the foreboding look of a milk panopticon each time Luma trudges into place. Arnold and her director of photography Magda Kowalczyk capture everything through Luma and the cattle. When farm workers appear, their presence is in the background, guiding the animals or performing routine examinations but never the focus of the action. It’s a powerful effect that lays bare our relationship to modern farming without being proscriptive. Cow shows just how much these animals do for us—Luma cannot even nurse her calves. Instead, it’s right back to the milk carousel so no sellable product goes to waste. And this truly seems like one of the more favorable options for modern farms. The cows get some seasonal pasture time, although the sense of calm it provides them makes the limited time outside the pen all the more depressing. Luma may not have a voice, but Arnold’s masterful direction makes her as complex and compelling as any Arnold protagonist. Luma deals with birth, sex, sadness, grief. Arnold makes the case that we are connected to these animals. These animals may not have any agency beyond capitalist utility in life, but Cow demands that we at least take the time to reflect on this relationship and what we might owe the things in life that give us so much. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release, Documentary < All Reviews Next Film Review >

Cin-E-Rama film review by UK film critic Jason Knight. Starring Syed Saad Farrukh, Maria Jawed, Maria Ahmed, Haris Asif, RJ Imran Khan directed by Misrah Fatima Nizami. HOME | FILMS | REVIEWS Cin-E-Rama Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 23, 2025 Directed by: Misrah Fatima Nizami Written by: Misrah Fatima Nizami Starring: Syed Saad Farrukh, Maria Jawed, Maria Ahmed, Haris Asif, RJ Imran Khan A short fantasy comedy-drama from Pakistan, written and directed by Misrah Fatima Nizami and starring Syed Saad Farrukh, Maria Jawed, Maria Ahmed, Haris Asif and RJ Imran Khan. Sabeel (Farrukh), a Pakistani film critic is assigned to write a review about Cin-E-Rama, a film theatre that is about to close its doors permanently and also write about the final film to be shown there. He reluctantly agrees and arrives at the location on the business's last day of operations. After meeting the projectionist (Hassan Malik), Sabeel enters the auditorium and he is soon joined by a man named Ifthikar (Khan), who claims to be the owner of the theatre. Following a brief conversation, Ifthikar offers to show the critic some aspects of what cinema has to offer. What follows is a journey involving the beauty and influence of motion pictures. With a screenplay that includes English and Urdu, this half-an-hour short tells an amusing, emotional and thoughtful story. To begin with, it starts interestingly and pleasantly, with Farrukh introducing himself by breaking the fourth wall. Then, approximately halfway through, the narrative escapes from normality and enters a world about the history of cinema and the positive effects it has on the world. This is primarily explored through a young woman and a young man (Ahmed and Asif), who meet in an auditorium while watching a film and Maujza (Jawed), a famous actress. Special mention goes to the creativity during this sequence, especially the part where two characters travel through film history, as it contains splendid cinematography by Shahzaib Ali. There is a part where the film turns into a music video where two characters suddenly proceed to dance while the song Girlfriend is Better by Talking Heads is played. Although it is an enjoyable scene and it demonstrates how joyful cinema can be, having it appear almost out of nowhere feels awkward. Back in 2020, the writer of this review had the pleasure of reviewing Elo , another short film starring Farrukh and once again, he proves his strong acting abilities. This time, he portrays an experienced film critic who appears to have lost his passion following the effects COVID-19 had on the industry. Regarding the supporting characters, Jawed stands out the most as a well-known and acclaimed performer who has also had negative experiences through her profession. As for Ahmed and Asif, they do well as two youths with a passion for cinema who build a rapport between them and Khan is a knowledgeable theatre owner with a unique perspective on the significance of films. This story provides an insight into what it is like working as a film critic and the challenges that COVID-19 created for the film industry. Moreover, it works as a commentary about self-discovery and having a passion. And, quite evidently, it explores the joy that motion pictures bring. It is obvious that an intention of this project was to pay homage to the film world, embracing its history, the people who contributed to it and those who continue to contribute. It will most likely appeal not just to film fans but to those who appreciate an intriguing and thoughtful story. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

The Legend of Juan Jose Mundo film review by UK film critic Rachel Willis. Starring Anna Mirodin, Alexandro Byrd directed by Michael Walker. HOME | FILMS | REVIEWS The Legend of Juan Jose Mundo Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Aug 13, 2026 Directed by: Michael Walker Written by: Michael Walker, Susan Gomes Starring: Anna Mirodin, Alexandro Byrd Do you remember what it’s like to be in high school and to be desperately in love with someone who doesn’t see you that way? Writer/director Michael Walker and his co-writer Susan Gomes sure do. What’s even better about their film The Legend of Juan Jose Mundo is that they remember being young and in love in the glamorous 1980s. High school junior Julie (Anna Miroden) is upset when she finds out the Spanish exchange student she was expecting is being replaced by a boy named Juan (Alexandro Byrd). It’s not too hard to anticipate that Julie’s discomfort will give way to youthful lust. But of course, as easy as she seems to hit it off with Juan, he only has eyes for seemingly every other girl in school. The formula might be familiar, but the film itself is a gem. Miroden is the perfect every girl. She’s the ideal balance of cute and insecure. Even when boys do like her, she freezes before anything can happen. She also has the conundrum of wanting the boys to like her, but only the “right” boys. When those boys don’t like her, it feels like none of them do, even when several show her how untrue that is. As a perfect mirror to Julie’s insecurity, Juan is the model of confidence. He flirts and hooks up with countless girls. His legend grows within the school, and even Julie’s best friend Suzanne (a fantastic Hannah Kepple) is swept up in his wake. But despite any mistakes or poor decisions the characters make, it’s impossible not to like them. Each one brings a level of realism that has you rooting for them to make better choices and figure out how to navigate the choppy waters of adolescence. There isn’t a dud among the cast, and the writing gives even ancillary characters enough to bring them to life. This film has a lot of heart and puts many teen comedies from the 80s to shame. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Amazon Prime, Indie Feature Film < All Reviews Next Film Review >

Sleep film review by UK film critic Hope Madden. Starring Jung Yu-mi, Lee Sun-kyun directed by Jason Yu. HOME | FILMS | REVIEWS Sleep Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 24, 2024 Directed by: Jason Yu Written by: Jason Yu Starring: Jung Yu-mi, Lee Sun-kyun “Marriage is about tackling problems together.” So says the hand-carved display in the small but cozy living room of Hyun-su (Lee Sun-kyun) and Soo-jin’s (Jung Yu-mi) apartment. What the struggling actor and his rising executive/very pregnant wife don’t know yet is that they’re about to have a hell of a problem to tackle. Writer/director Jason Yu’s Sleep is a smartly scripted, playfully wearying horror with tension rooted firmly in how very much you like Hyun-su and Soo-jin. At some point in Soo-jin’s ninth month, Hyun-su begins to talk in his sleep. “Something’s inside.” And then he walks in his sleep. Eats. Claws at his own face. This, obviously, becomes somewhat frightening, but the couple aims to tackle this thing together. Of course, soon enough there will be three of them. Yu slowly cranks up tension as Soo-jin struggles between a maternal desire to protect her baby and a deep-rooted commitment to working through every marital problem with her husband. One of the anxieties Yu toys with is that bone-deep exhaustion of a new parent, amplified for Soo-jin by her wakeful watch to make sure her husband doesn’t do harm to the baby in his sleep. You’re exhausted for her, and when she seems to start making rash, even insane decisions, well, who could blame her? The way Yu manipulates tone is a thing of wonder. The more desperate and bleary eyed the film becomes, the funnier it is, and that dark humor is both at home and wildly startling. But there is a sweetness to it, and a camaraderie between Jung and Lee (who died tragically last year) that insists on your investment in the outcome of their story. The third act is almost brazenly unhinged, and Sleep is all the better for it. It’s a tricky tale meticulously crafted, but it has a sweetness at its heart and that’s what makes it memorable. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Watch Chapel of Rest at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. Chapel of Rest Listen to our review on the film podcast What our film review said: READ FULL REVIEW The theme of death is clear from the opening of the film, with the setting and general atmosphere but Cash goes deeper than just writing a film about death. He explores complex issues such as the scandal of child abuse in the Catholic church and what it means to protect family members all while telling a dramatic and exciting story. Proudly supporting MediCinema for our 2022 film festival.

Rosaline film review by UK film critic Hope Madden. Starring Kaitlyn Dever, Isabela Merced, Sean Teale directed by Karen Maine. HOME | FILMS | REVIEWS Rosaline Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 13, 2022 Directed by: Karen Maine Written by: Scott Neustadter, Michael H. Weber Starring: Kaitlyn Dever, Isabela Merced, Sean Teale Sometimes it’s fun to reconsider a Shakespearean story from the perspective of a side character. Rosencrantz and Guildenstern got their own play. Juliet’s nurse got her own book. So why not Romeo’s first love, Rosaline ? Director Karen Maine takes Rebecca Serle’s YA novel When You Were Mine back to Verona for a savvy, fun if slight reimagining of the Bard’s tragic love story. Kaitlyn Dever (who also produces) stars in a comedy that pokes holes in old-fashioned concepts of romance. Devers is Rosaline, beloved of Romeo (Kyle Allen, your future He-Man, here sporting an eerily Heath Ledger look). He climbs her balcony at night, brings her roses, speaks such poetry – so when he finally tells her he loves her, why does she freeze? It doesn’t matter. She’ll make it up to him at the masquerade ball, where Montagues and Capulets can dance together without anyone ever knowing. Brilliant! But she’s held up by one of her dad’s stupid suitors, Dario (Sean Teale, of the strong jawline and perfect teeth). By the time she gets to the ball, everyone’s gone. Romeo is long, long gone. But soon enough she realizes it’s her young cousin Juliet (Isabela Merced) he’s fallen for. So, Rosaline takes Juliet under her wing in an attempt to undermine the new romance, to comedic ends. The best bits come by way of Rosaline’s nurse, played with droll perfection by Minnie Driver, but the entire supporting cast is rock solid. Bradley Whitford is a charmingly befuddled father, Nico Hiraga gives good reason that Steve the Courier never seems to deliver packages properly, and Spencer Stevenson gets off a couple of chuckles as Paris. Anachronistic dialog fits the fun. Maine’s film, written for the screen by Scott Neustradter and Michael H. Weber (who together penned The Spectacular Now , 500 Days of Summer , The Fault in Our Stars ), is intentional in the way it dismantles damaging tropes of romance. Classic romantic stories pit women against women. And the best-known romance of all time ends with two youngsters making the dumbest decisions ever put to paper. Rosaline recognizes this and makes light entertainment of it all. Dever is more than strong enough to carry the comedy. Her heroine offers stubbornly wrong-headed reasons for resilience and it’s hard to root against her. There’s nothing profound here, but it’s a breezy bit of fun. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The Last Joke film review by UK film critic Matt Trapp. Starring Tasos Batsoulis directed by Vasilis Kalemos. HOME | FILMS | REVIEWS The Last Joke Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Nov 13, 2025 Directed by: Vasilis Kalemos Written by: Vasilis Kalemos, Tasos Batsoulis Starring: Tasos Batsoulis While the sudden end of humanity is a scenario that would bring to mind images of horror in most, there are some who see the comedic potential in such an apocalypse. Vasilis Kalemos and Tasos Batsoulis are two such people - the writers of 2020’s The Last Joke . While the film lacks some polish, the creative gags and sharp dialogue help make up for some of its storytelling deficiencies. Tasos Batsoulis stars as Avgeris, the last man on earth, having survived a quiet and sudden apocalypse in which every single human has vanished overnight. It’s a thoroughly quiet affair for such a morbid premise, and Batsoulis plays the role as earth’s sole human survivor humorously straight. There’s little time to wallow in misery in his deadpan performance; he would much rather sit at home watching Internet videos and largely sticking to his old routine. Batsoulis carries a heavy burden in The Last Joke, appearing as the only member of the cast for almost all of the runtime. It’s fortunate that his performance is so charming considering he has few other characters to bounce off, and it’s his childlike and endearing performance that will earn many of the film’s deserved laughs. A particular highlight features Avgeris playing football on his own, diving to the ground and rolling around clutching his knee one moment, and the next, switching to the referee blowing his whistle. The film wisely doesn’t waste time languishing in the horror of the situation - this isn’t an episode of The Twilight Zone . Instead, the audience are treated to an absurdist rendition of the ‘last man alive’ trope, where our protagonist is extraordinarily ordinary and largely unwilling to confront the reality of his new situation. While Batsoulis’ performance is easy to praise, it’s hard not to think that a lot of comedic potential is missed in what is ultimately a constraining premise. The film lacks a strong narrative throughline, and while the comedy mostly hits, The Last Joke may fail to hold an audience’s attention for its 80 minute runtime. Occasionally the film breaks from reality, indulging in non-sequiter dream sequences that parody other film genres. It’s undeniable that these moments stand out, allowing Kalemos and Batsoulis to momentarily escape the restrictive corner they’ve painted themselves into. Sadly though, these moments are soon over, and the audience are returned to the empty, desolate reality of the postapocalypse. There’s not enough narrative structure in the film to support the comedy; each scene of Avgeris navigating an empty world feels as though the writers are spinning the wheels until the next joke, iterating on this unoriginal concept in scenes assembled haphazardly. Comedy is a broad genre, and it doesn’t need to always follow the rules of conventional storytelling. However, The Last Joke needed just a little more narrative complexity, some sense of rising and falling tension, to keep the audience more invested between the jokes. Judging by the film’s release date, it’s easy to see that The Last Joke ’s depiction of torturous boredom in a world suddenly uninhabited by neighbours or strangers was made in response to the Covid-19 pandemic. It’s laudable that the filmmakers took their opportunity to film The Last Joke during this period, and they do succeed in capturing the zeitgeist. There’s an unmistakable resemblance to the quiet streets of national lockdowns, and Avgeris’ obsession with escapism is a sentiment familiar to that which characterised 2020. The Last Joke benefits from this historical context, giving it the quality of a cinematic time-capsule. While watching The Last Joke , I was reminded of the Fox TV series The Last Man on Earth starring Will Forte. It’s no surprise that this show introduced new supporting characters at the end of the first episode, since the premise of a world empty but for one unremarkable man is fairly limited. Make no mistake: there are glimmers of brilliance in Kalemos and Batsoulis’ film. However, the vehicle is too lumbering and unrefined to stand with confidence. Perhaps their brand of absurd comedy would play better in shorter form media, rather than a feature length film. There is an awful lot to admire about The Last Joke, and it’s doubtless that with some refinement, an exciting comedic duo could emerge from this admirable project. Buy UKFR Banner Space About the Film Critic Matt Trapp Indie Feature Film < All Reviews Next Film Review >

You Turn Me into a Monster film review by UK film critic James Learoyd. Starring N/A* directed by Diana Galimzyanova. HOME | FILMS | REVIEWS You Turn Me into a Monster Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jul 29, 2024 Directed by: Diana Galimzyanova Written by: N/A* Starring: N/A* You Turn Me into a Monster is a new short film / music piece which is difficult to reckon with, both in terms of its content and how it was produced. It’s two minutes in length and was produced using AI; the audio which accompanies the AI imagery of distorting monsters, blood and ghouls is of a very serious nature: statements spoken by perpetrators in abusive relationships -- I’m sure many readers are already feeling apprehensive. Having been collated by the filmmaker via an anonymous form and turned into a metal sounding musical piece by the sound artist, the visuals are supposed to add to the viscera of the already disturbing statements, and perhaps transform the testimony into an abstract expression of trauma; however, it’s not successful as far as the overall viewing experience goes. It’s an unpleasant watch on a multitude of levels (purposefully so), but the work leaves the spectator conflicted as to its intentions. Primarily my issue is that, no matter where you position yourself on the political issue of artificial intelligence's use within art (I’m attempting to not allow my own opinions to get in the way), the fact of the matter is that – more often than not – it looks plasticy and textureless. Despite this, You Turn Me into a Monster is most certainly one of the more inventive ways in which I’ve seen AI be utilised, and how impactful the imagery is will really depend on the audience member. You could even argue that the uncanny sensibility of AI imagery is what adds to the film being unnerving, although it would take quite a lot to convince me. The inclusion of recounted verbal manipulation and abuse is undeniably impactful however. In the abstract, it’s a strong idea and the music is executed with a high level of skill, creating a horribly oppressive atmosphere. You can also really admire the intention to give victims a voice within video art – it's the manner in which this voice manifests (in relation to the emblematic imagery on screen) wherein issues potentially arise. For instance, I do seriously question how much involvement those who submitted the quotes had in the piece, and specifically whether they were aware it would be turned into what it's been turned into. This has absolutely nothing to do with the quality of the product itself which is to stand on its own, but you can’t help but wonder the reaction to the words being accompanied by AI imagery... whether they feel that their trauma has been properly represented and used for good. It is up to them and not me, and I’d be interested to know more. The video art is incredibly provocative and that’s definitely something to admire in and of itself. The serious subject matter it contains is also something that should very much be explored through artistic expression, either to simply represent the experience or provide solace in some way to those who have experienced it. But what this short film proves to be is a difficult and polarising piece, yet one which holds potential ideas for something even more powerful. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Strawberry Mansion film review by UK film critic Hope Madden. Starring Kentucker Audley, Penny Fuller, Grace Glowiski directed by Kentucker Audley, Albert Birney. HOME | FILMS | REVIEWS Strawberry Mansion Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 18, 2022 Directed by: Kentucker Audley, Albert Birney Written by: Kentucker Audley, Albert Birney Starring: Kentucker Audley, Penny Fuller, Grace Glowiski Smart, whimsical and decidedly analog, Kentucker Audley and Albert Birney’s Strawberry Mansion turns dystopian dreamscape into retro children’s television. Audley and Birney co-write, co-direct and co-star in this pop-surrealist romance. Audley plays James Preble, mild-mannered government employee. Preble is an auditor for the agency that taxes dreams. Let’s say there’s a buffalo in your dream. A dream buffalo apparently runs about 5k, which costs around a nickel in taxes. Likewise, a hot air balloon, a flower, a nice view—all of it taxable. But somehow Arabella Isadora (Penny Fuller) managed never to turn in any dream taxes, compelling Prebel to pay her a visit in her titular abode. Once there, Prebel must work his way through thousands of VHS tapes of Bella’s dreams (rather than the digital downloads that were made legal requirements years ago) to assess back taxes. Strawberry Mansion tells a story of government overreach, corporate greed and capitalist dystopia. But it spins this yarn of a near-future surveillance state within a weird and charming, vivid dreamscape. It’s Philip K. Dick meets H.R. Pufnstuf. Nostalgia becomes the filmmakers’ escape. The dream sequences are unpretentious, jubilant nonsense that develop a parallel plotline. Tyler Davis’s cinematography of saturated colors celebrates the childlike tactile quality of the set design and creature design, which are both handcrafted magnificence. Dan Deacon’s evocative score meshes with the directors’ vision to blur the lines between dream and reality, life with death. There’s a toad waiter, rat sailors, and more buckets of Cap’n Kelly’s Fried Chicken than a person could reasonably consume. Strawberry Mansion ’s cynicism butts up against a wholesome romantic nature in one of many ways that the filmmakers’ form perfectly matches their purpose. Prebel treads in others’ dreams, a voyeur in a nonsense world where nothing makes logical sense, but everything feels weirdly accurate. The same experience waits for the film’s audience. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >