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Double Walker film review by UK film critic Hope Madden. Starring Sylvie Mix directed by Colin West. HOME | FILMS | REVIEWS Double Walker Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 10, 2021 Directed by: Colin West Written by: Colin West, Sylvie Mix Starring: Sylvie Mix You know that lyric from It’s the Most Wonderful Time of the Year — “there’ll be scary ghost stories”? I was an adult before I realized Andy Williams was talking about Scrooge. Filmmaker Colin West reminds us that that story, and Christmas ghosts in general, can be pretty scary and awfully damaging in his latest, Double Walker. We open on a bloodstain, then a funeral, then a despondent mother (Maika Carter), but her grief is more complicated than it looks. From there, West’s film follows one young woman (co-writer Sylvie Mix, Poser ) who looks very cold and vulnerable on the wintery streets of Columbus, Ohio. As one nice guy after another offers aid, West toys with your preconceived notions. Is she a dangerous psychopath? A victim in the making? Is Double Walker possibly a riff on Emerald Fennell’s glorious Promising Young Woman ? Not exactly. And maybe. But not really. What the filmmakers have done is to fracture a storyline in favor of a mood, one that takes on the surreal qualities of a haunting. A meditation on trauma, Double Walker sidesteps easy summarization but never feels unmoored. Like the old Dickens story, this tale wonders at the ripple effects of behaviors, how a change here or there might yet alter the course of events. Mix is hollow, chilly melancholy as the central figure, wandering into and out of an interconnected group of lives. The almost expressionless performance through the bulk of her screentime allows the mystery to unravel around her without giveaways. It also adds weight to the rare smile and horror to her sudden movements. Not every performance is as strong, but West evokes such a poignant and dreamlike atmosphere that minor acting hiccups can be overlooked. He casts a spell with his feature debut and it’s hard not to wonder what both he and Mix might do next. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

The Starling film review by UK film critic Hope Madden. Starring Melissa McCarthy, Chris O'Dowd, Kevin Kline directed by Theodore Melfi. HOME | FILMS | REVIEWS The Starling Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Sep 22, 2021 Directed by: Theodore Melfi Written by: Matt Harris Starring: Melissa McCarthy, Chris O'Dowd, Kevin Kline A quick synopsis of The Starling , the new drama from Hidden Figures director Theodore Melfi, brims with potential, offers an appealingly messy notion. Lilly (Melissa McCarthy) and Jack (Chris O’Dowd) are suffering, silently and separately, about a year after the death of their baby girl. Jack waits out his grief in an institution while Lilly tries to tough it out on her own. Eventually she decides to plant a garden, but a territorial, dive-bombing starling makes that difficult. She turns to psychologist/veterinarian Larry (Kevin Kline) for help. That’s a lot to unpack, but when the core theme is grief, complications are welcome. Hollywood tales of grief and relief tend to be too tidy, the metaphors too clean, while the unruly emotion being presented is rarely tidy or clean in real life. A good mess is called for. Unfortunately, The Starling is not a good mess. Just a regular old mess. Matt Harris’s script never digs below the surface — not even when Lilly is gardening. Melfi relies on the score to represent emotional weight rather than leaning on his more-than-capable cast to depict that grief. An anemic comic-relief subplot at Lilly’s gig managing a grocery store feels wildly out of place and wastes real talent. (Timothy Olyphant has four lines – funny lines delivered via a character that should be on a TV sitcom, not in this movie.) O’Dowd — who was the absolute picture of grief in John Michael McDonagh’s masterful 2014 film Calvary – fares the best with the material. Even though his character’s resolution feels unearned, there is heft in the performance that allows human emotion to overcome a weakly written character. McCarthy suffers most, though. Unable to ad lib her way toward elevating a drama, she sinks beneath the unrealistic banter between Lilly and Kline’s Dr. Larry. Kline is solid, strangely aided by Harris’s weak characterization, which allows the actor to find a groove that conveys more than what’s on the page. Moments of genuine emotion punctuate the film and, while welcome, they mainly serve as a reminder of what The Starling had the potential to become. About the Film Critic Hope Madden Netflix < All Reviews Next Film Review >

Bunnyhood film review by UK film critic William Hemingway. Starring Nina Wadia, Mansi Maheshwari directed by Mansi Maheshwari. HOME | FILMS | REVIEWS Bunnyhood Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Feb 27, 2025 Directed by: Mansi Maheshwari Written by: Anna Moore and James Davis Starring: Nina Wadia, Mansi Maheshwari A teenage girl gets hoodwinked by her mother in order to get her to hospital where she needs to have an important operation. From director and animator Mansi Maheshwari, Bunnyhood is a short animation which is based on an event which happened earlier on in her life, as well as her observations of the little white lies we tell each other that she found when she first came to Britain. As a student of the National Film and Television School, Maheshwari was able to develop her animation skills and blend them with her love of storytelling, especially in the comedy genre. Mixing a little bit of horror in with the comedy seemed like an obvious choice for Maheshwari, as she already had the outline of Bunnyhood fleshed out in her head from her own experiences, and the film was created as part of her graduation project. Bunnyhood follows the tribulations of Bobby (also Maheshwari), a teenage girl who lives her life as a lot of teenage girls do – playing video games, complaining a lot and constantly expecting food and other things to be provided instantly by her mum. On this particular day, however, Bobby’s mum (Wadia) has other designs on her mind, and a trip to the local burger joint, Big Patties, is posited as a rare treat. Unbeknownst to Bobby, Mum decides to take a little detour to the hospital and manages to use more little white lies to get Bobby inside, where a large portion of her family are already waiting. Once inside the hospital, Bobby is led through a prep room and then into the operating theatre where she is to get her appendix removed. The doctors and nurses begin to morph and transform into hairy demons which resemble the bunnies that Bobby was destroying earlier on in her video game. Under the effects of the anaesthetic, Bobby gets to meet her appendix and they have a discussion on the nature of white lies and trust, all while the operation is happening around them. Once Bobby comes out the other side she must then decide how much she can trust her mother, who tries to argue the necessity of protecting her from the truth, and how much that will affect their relationship from now on. The striking thing about Bunnyhood , is the animation style which Maheshwari has chosen to adopt to relay her story. Taking the form of what look like ballpoint scratchings, the characters and locations all emit a certain unnerving quality. Features such as the teeth and the limbs are prominent and exaggerated, and the movement of the animation sometimes feels like you’re being pushed through the middle of a fisheye lens. The whole impression that you get from watching Bunnyhood is one of a nightmarish fever dream, where nothing is quite as it seems and danger lurks around every corner. The off-kilter music provided by composer Marcin Mazurek also helps keep the viewer off balance, as a series of bangs and crashes and percussive noises are thrown around alongside the visuals. While Bunnyhood comes across as a fairly hairbrained and scattered animation, its style fits perfectly with the emotions and themes it is trying to portray. Nothing is clear for Bobby or the viewer and the feeling that anything could happen is all part of the shrouded narrative. There’s a slight resemblance of the Blue Meanies in Bobby’s appendix and Bunnyhood is not in itself a million miles away from the madcap freneticism of Yellow Submarine (1968) or some of Terry Gilliam’s work, where the audience is kept guessing as to what’s coming next. For what is obviously a personal story for Maheshwari, Bunnyhood gets across its message fairly clearly, it’s just that the manner of its delivery will not be to everyone’s taste. About the Film Critic William Hemingway Short Film, Animation, Digital / DVD Release < All Reviews Next Film Review >

NADIA film review by UK film critic Joe Beck. Starring Rosa Coduri-Fulford, Richie Campbell, Ben Bailey Smith, Denise Gough directed by Teddy Nygh. HOME | FILMS | REVIEWS NADIA Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 18, 2024 Directed by: Teddy Nygh Written by: Alex Tenenbaum Starring: Rosa Coduri-Fulford, Richie Campbell, Ben Bailey Smith, Denise Gough Every year, normally around Christmas time, a slew of charities release short films or adverts both as an appeal for donations and in order to raise awareness of whatever issue they wish to put in the spotlight. These issues often range from international affairs - be it war, or famine, or the consequences of a major natural disaster - to those far closer to home - loneliness, poverty, or indeed, homelessness. ‘NADIA’ isn’t one of those adverts per se, however, it plays much like an extended version of one, both to its merit and to its detriment. ‘NADIA’ hits all the emotional beats and heartstrings that those adverts are supposed to reach. It has a likeable, if deeply troubled main protagonist, the titular Nadia, played marvellously by Rosa Coduri-Fulford, whom we connect to more as her troubles are revealed. Initially it would be simple to interpret Nadia as a bratty teenage girl, unfocused on her schoolwork and purposefully disruptive in her maths lessons, which are taught by Ben Bailey Smith, but, drawing back the curtains on her life, we come to understand the problems in her personal life. The film, directed with confidence by Teddy Nygh, promotes the issue of homelessness, particularly in young people, and outlines both the causes of this terrible problem, and the ways in which help is available. Nadia becomes homeless when kicked out of her own house by her equally troubled mother, played by Denise Gough, and is forced to live rough, spending a night on a park bench, trying to revise for her exams by her phone torch. Following the beats of the aforementioned adverts, Nadia’s aid comes in the form of one of her teachers, played charismatically by Richie Campbell, who finds her on a park bench and sets out to find her a home. Though not by any fault of Campbell’s, who is pretty good with the one-dimensional material he has to work with, it is in his character that ‘NADIA’s flaws are exposed, with the detrimental aspect of being so similar to charity adverts revealing itself. Campbell’s character exists solely to reel off lines about the depth of the homelessness problem in the UK and to demonstrate how support is out there, at one point even breaking the fourth wall to address the audience directly. The character takes the film away from being a narrative driven drama, in which the struggles of homelessness and possible solutions are demonstrated subtly, and pushes it into the realm of awareness campaign. It’s a character that works to raise awareness and push donations, but fails to elevate the film as what it is, a piece of drama. That isn’t too say that his message, and indeed the message of the film is unimportant and shouldn’t be heard. In fact, on a human level, if as a result of this film and that character a young person like Nadia is helped off the street and away from rough sleeping, then it is important and good. Whilst the lack of drama towards the film’s end is frustrating, it is understandable, and does not significantly detract from what is a well directed and especially well acted film with a poignant theme and message to get across. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

To Lucasta, Going to the Wars film review by UK film critic John McKeown. Starring Jose Enrique Moronta, Manuela Lopez Lantigna directed by Luis C. Taveras. HOME | FILMS | REVIEWS To Lucasta, Going to the Wars Film Review average rating is 3 out of 5 Critic: John McKeown | Posted on: Jul 12, 2022 Directed by: Luis C. Taveras Written by: John McKeown Starring: Jose Enrique Moronta, Manuela Lopez Lantigna Set in the comfy suburbs of some Central or Latin American city, Luis C. Taveras’ short silently acted film could be a sneaker advert. If it weren’t for the black and white filter, or the gravelly thespian voice intoning the verses of Cavalier poet Richard Lovelace’s ‘To Lucasta, Going to the Wars’. Though having said that, these days even Cavalier Poets aren’t beneath the ‘creative departments’ of sneaker companies. Comparing it to a sneaker ad isn’t to disparage it completely. It’s short and sweet, the sweetness fairly natural, and far from cloying; and though just brushing six minutes in length, it’s scenically varied enough, with a bit of tension and some evocative camera work from Arisbel Escolastico Jerez, to make it watchable. The two young actors successfully command attention, and let’s not forget that acting without words is far from easy. Lovelace’s poem is a short paean to a mistress the narrator is leaving behind for another mistress, a far more exacting one: War. But he’s an honourable man, and it’s his dedication to Honour which makes him such a faithful lover, so his mistress shouldn’t begrudge him the opportunity to sow some wild oats in the local killing fields. Taveras’ boy (Jose Enrique Moronta) isn’t off to the wars, the only blood on his hands is red paint (figuratively speaking, due to that black and white filter) but he still faces a hard choice between pursuing his artistic muse or canoodling with a real flesh and blood one. The choice is decided perhaps too quickly, even for a film as brief as this, and the rest of it shows the lovers playing cards, walking and talking earnestly in the dusk, and taking selfies (the only spots of colour). The artist’s lover (Manuela Lopez Lantigna) plays guitar and sings, though the lyrics are in Spanish, and it might’ve added interest to have the song subtitled or narrated (though not by that gravelly thespian). About the Film Critic John McKeown Short Film < All Reviews Next Film Review >

The Carer film review by UK film critic William Curzon. Starring Mario McEntee, Maria McDermottroe, Aine Ryan directed by Noel Brady. HOME | FILMS | REVIEWS The Carer Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 12, 2025 Directed by: Noel Brady Written by: Mario McEntee Starring: Mario McEntee, Maria McDermottroe, Aine Ryan The Carer follows James Donnelly, an unemployed and lonely individual dealing with the grief from the death of his mother. James then discovers a friend of his is silently grappling with a terminal illness. The piece deals with whether James can cope with all the pain and grief bottled up inside him while trying to navigate his own future ambitions as a carer. The first thing to take away from the film's presentation is its raw depiction of social realism. It grapples with loneliness and isolation within its central protagonist and themes of community within working-class and impoverished environments. The film has a fly-on-the-wall-like experience and feels incredibly lived-in as it depicts characters seeking work and connection to others. The pacing moves at a breakneck speed to represent the desperation of James’ struggles to accept the pain of losing his mother while simultaneously trying to grieve the deterioration of his close friend's illness. It can sometimes feel jarring with how fast each sequence switches to the next without giving the viewer time to process the previous scene. One of the crucial standouts of the piece is the central performance from Mario McEntee, who is deeply powerful and portrays a profound level of empathy for his close friends and loved ones. McEntee also wrote the film, which is an impressive feat in itself; both writing and performing as the lead role is pretty astounding for a low-budget short film. The rest of the supporting cast, including Austin Grehan in particular, are also fantastic and undeniably raw in their presence within each scene. While its themes and characters are remarkably presented, due to the film's minimal runtime, it is perhaps difficult as a viewer to fully resonate with the characters due to the lack of time spent with them. However, the use of flashbacks was wonderfully interwoven within the narrative and effective due to the use of black and white photography to represent James’ inner longing and grief for his mother. Another aspect of the filmmaking that stood out in its cinematography is the use of close-ups of the actors during scenes of dialogue, which almost had a documentary-esque feeling to it due to the more indistinct imagery on display. Perhaps this was due to budget limitations; however, it added to the experience and potentially served as a stylistic choice to match the tone and feeling director Noel Brady wanted to convey to the viewer. While this presentation might not work for everyone, it's perhaps a more authentic way of presenting these characters and themes of social realism. Thematically, while there isn't much to chew on due to a lack of runtime and quick-paced editing, it still does a solid job of getting across its ideas to the viewer and bringing a powerful and bittersweet conclusion in its final moments. The Carer is a solid short piece from Noel Brady with a distinct style in its representation of social realism and raw authenticity in its performances and filmmaking. It may suffer from a blistering pace, attempting to fit in as much as possible within a short span of time. This still manages to effectively conclude in an emotionally resonant resolution for James’ character growth and would likely stick with viewers long after the credits roll. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

A Fistful of Water film review by UK film critic Daniel Baldwin. Starring Jurgen Prochnow, Milena Pribak directed by Jakob Zapf. HOME | FILMS | REVIEWS A Fistful of Water Film Review average rating is 4 out of 5 Critic: Daniel Baldwin | Posted on: Apr 6, 2023 Directed by: Jakob Zapf Written by: Ashu B. A., Marcus Siebert, Jakob Zapf Starring: Jurgen Prochnow, Milena Pribak Jakob Zapf’s quiet drama A Handful of Water revolves around grieving widower Konrad Hausnick (Jurgen Prochnow) living out his days going through his usual routine in a very cold and robotic manner, with the only light in his life coming not from his adult daughter and her new family, but instead from his fish-filled basement aquarium. He is a man who has found himself unable to move beyond his sorrow, nor to find room in his heart for the joy of others. Enter Thurba Al-Sherbini (Milena Pribak). Thurba is a 12-year-old Yemeni refugee who is on the run . She set off into the world on her own when German police come knocking at her home, forcing her to leave her mother and two siblings behind. Per German law, the family cannot be deported back to Bulgaria unless all members are accounted for. If you’re guessing that Thurba manages to take up residence in Konrad’s home, you’re right on the Deutsche Mark! A young person managing to bring a bereaved aging man out of his shell is a tale as old as time. Sometimes it comes in the form of fantastical animation like Up! , a violent comic book blockbuster like Logan , or a soaring sports drama like Creed . And sometimes it arrives in a much smaller package, as it does here. This is a tried and true formula because it’s one that often sings and that holds true for this film as well. Those of you who are primarily used to seeing Prochnow vamp it up in a villainous manner across decades of genre cinema are in for a treat here, as this is a very different side of the man. Jurgen has rarely been better than he is as Konrad, and his performance is matched pound for pound by newcomer Pribak. They are the heart and soul of the film. It doesn’t matter if you can guess where things will go at almost every turn, as the flavors they add to the journey make it worthwhile. A Handful of Water might not contain very many surprises, but it also avoids the pitfalls of many dramas of this type. It’s never too on the nose with its message and it’s never too saccharine for its own good either. Zapf, Prochnow, and Pribak get the recipe right from moment one and the end result is a fine little drama. About the Film Critic Daniel Baldwin Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Rage Against the Dying film review by UK film critic Jason Knight. Starring Rajat Arora, Akanksha Srivastava directed by Saurabh Arora. HOME | FILMS | REVIEWS Rage Against the Dying Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 24, 2024 Directed by: Saurabh Arora Written by: Saurabh Arora Starring: Rajat Arora, Akanksha Srivastava A couple are tormented by an ancient curse. A short horror film from India that explores the suffering that is being done to a young married couple by supernatural forces, in this case a family curse that has been pursuing the family for generations, forcing the members to be away from each other. The couple that is currently being targeted by the curse is Arif ( Rajat Arora) and Rachna (Srivastava) and having endured the menace fore ages, they seem to have reached the end of their tether as they have repeatedly moved residences in the hope of avoiding the curse, however it always follows them. Now, in their apartment, the couple have a disagreement regarding whether they should move again or try to face the threat. Arguably, the highlights are the parts where the paranormal entities (spirits or ghosts) affect the family, tormenting them with vile sounds of people screaming or being in terrible agony and commendations go to Anup Rupanwar for the sound design. It is implied that these forces also have the ability to perform physical actions, as a massive animal-like scratches are seen on sheets. However, the real terror occurs with the appearance of demonic-looking hands approaching the unfortunate characters. All this is accompanied by Karl Casey's sinister score, making the experience even more frightening. Yes, there are spine-tingling moments. However, if these are taken away, this short does not have much. When the couple are not been menaced, they have a minor argument and then they stay in separate room in their household and communicate via their mobile phones. While this takes place, they send sentimentaal text messages to each other, ignoring the curse, making the viewer forget that this is supposed to be a horror story. While the text bubbles are well-designed, this part feels dull and feels more like a commentary about how mobile phones isolate people, making them communicate via technology than face-to-face. The film opens with a title card showing the title of the poem Do not go gentle into that good night by Welsh poet Dylan Thomas. Interestingly, the film's title is part of that poem, which is repeated several times in the poem. Following the title card, the film moves to a voice-over accompanied by a montage. The narrator (an unknown male voice) tells the story of the curse, while a series of black-and-white shots (seemingly archive footage) that include buildings burning and people boarding a train. The narration is relevant to the narrative, however how the visuals mentioned fit in is not clear. This supernatural horror film does have its positives, including decent performances, an interesting plot and the tense moments mentioned above. Ultimately, it appears to be a story about love and courage. Unfortunately, it almost certainly could had done without the lengthy, speech-free parts with the mobile phones because they slow the narrative down and divert it away from the plot. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Matt Weiner writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Matt Weiner Matt is a freelance writer and editor with a day job in corporate buzzwords. He has a soft spot for comedies, an unhealthy (and expensive) obsession with the Criterion Collection and fervently believes that in the long run every Coen Brothers movie is a documentary. Proud member of the MaddWolf pack at maddwolf.com and UK Film Review. Follow On Twitter Read My Film Reviews

The Stupid Boy film review by UK film critic Jason Knight. Starring Joshua Griffin, Derek Elroy, Ellie Piercy, Shaun Mason directed by Phil Dunn. HOME | FILMS | REVIEWS The Stupid Boy Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 19, 2022 Directed by: Phil Dunn Written by: Phil Dunn Starring: Joshua Griffin, Derek Elroy, Ellie Piercy, Shaun Mason A couple deal with their son's problems, while a troubled man plans a devastating act. Michael (Griffin) is a 16-year-old school boy, who lives in London sees the world in his own way. His loving parents Polly (Piercy) and Adio (Elroy) care for him deeply and worry about him when he faces bullying issues at school. Meanwhile, suicide bombings are taking place across the city and they are believed to be the doing of a white supremacist group and an unstable man named Stephen (Mason) intends to commit the next atrocity. During its fifteen-minute running time, this short drama explores a great deal of subjects that include terrorism, extremism, racism, religion, family and being different. The characters are interesting and the screenplay effectively reveals their lives and struggles. The narrative is divided into two storylines that alternate between them, one of which revolves around Micheal and the other concentrates on Stephen as he prepares for a suicide bombing. The story is quite emotional and tense and the heart-stopping final will most likely leave the viewer stunned. Arguably, the two most interesting characters are Michael and Stephen. Griffin delivers a strong performance as a kind-hearted young boy who behaves differently than others and who also has a passion for photography and has built himself a camera out of cardboard. Mason's character could be the antagonist, a broken man with a tragic past who is filled with anger and hatred towards foreigners and his emotional state leads him to decide to carry out a bombing. Mason plays his role with much intensity. Piercy and Elroy also do a great job as Michael's loving parents. The film gains significantly from Mario Genovese's work on the beautiful cinematography and Thomas Bell makes a very positive contribution with the music, which is dramatic, tense and emotional. The filmmakers also utilise upside down image techniques rather interestingly. This short is quite memorable and it looks into the factors that might cause people to do bad things and also appears to point out that even the unlikeliest of individuals can do the most brave and astonishing actions by reaching out with love. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Woman of the House film review by UK film critic Swati Verma. Starring Barbara Spevack , Gerard Rogan directed by William Samson. HOME | FILMS | REVIEWS Woman of the House Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 15, 2023 Directed by: William Samson Written by: Barbara Spevack Starring: Barbara Spevack , Gerard Rogan The director William Samson and writer Barbara Spevack come together to showcase the social structure of society in the 1950’s and how people were very hesitant to move on to change during the time through the character arcs of David Hamilt on(Gerard Rogan) and Lucy Carlisle(Barbara Spevack). The plot of Woman of the House revolves around a door-to- door salesman from the 1950’s who has difficulty talking to an independent and confident lady. The film opens with a long shot of the room as the camera pans in from the black screen to show David Hamilton getting ready with a slightly humorous background sound to quickly pick up pace of the narrative to establish the subject matter of Woman of the House. The makers of the cinematic piece have carefully constructed conversation between David Hamilton and Lucy Carlisle representing the mindset of each character involved allowing viewers an opportunity to understand both of them and get the freedom to interpret the creative piece as they want to. The cinematographer utilises a series of tracking shots to follow the salesman to provide the details of his day-to-day routine to increase the degree of audience engagement with content especially when the running time is approximately just 3 minutes. The set design, the white and brown colour pallet, natural lighting, camera angles, dialogue, costume, hair, makeup, and props complement perfectly the era of the 1950’s, therefore, it elevates the mood and experience of the viewers after they have finished watching it. In terms of performance, Gerard Rogan plays David Hamilton who strongly believes in the patriarchal ideas practiced by the community and happily follows the same without questioning it or being open to any sort of change that could be the very first steps towards various new developments essential for the well-being of the people around. Rogan with his body language, voice modulation, costume, eyes, and facial expressions subtly exudes the mindset of male dominance but the actor manages to keep the viewers gripped to the movie up until the climax thus allowing the audience to learn from Hamilton. Barbara Spevack plays Lucy Carlisle portraying a very contrasting viewpoint adding multiple layers to the independent lady adding the elements of realism making it relatable as this strong female protagonist tends to stay with them because the viewers want to enjoy such a progressive and inspiring character from the timeline the movie is set in. Woman of the House celebrates womanhood and also talks about the importance of roles females play in the house, and society affecting the long-term growth of the young generation as well as the set timetable brought in by a strong, talented, independent woman with a modern outlook can give her friends and family lots of love, respect, and positivity to give several reasons to live life and make it better every day. The short film reiterates the fact that change is the only constant and so men should be supportive of the fight woman are trying to win to get some sort of equality in society instead of being fussy and sticking to the old rules. To Conclude, I want to appreciate William Samson and Barbara Spevack to introduce us to an interesting topic as I feel we need to be aware of how people lived in the past as compared to the present times. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Don't Look film review by UK film critic James Learoyd. Starring Olly Rhodes, Danny Murphy, Valor Grey, Morgan Colquhoun directed by Danny Murphy. HOME | FILMS | REVIEWS Don't Look Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Sep 7, 2025 Directed by: Danny Murphy Written by: Jovita Bodamer-MacGregor Starring: Olly Rhodes, Danny Murphy, Valor Grey, Morgan Colquhoun Danny Murphy’s Don’t Look is a new horror short which is both intelligently constructed and intensely involving. It revolves around a group of young people, many of whom have hearing impairments. They approach what they presume to be an abandoned house wherein they can drink, have fun and get up to mischief. What they don’t realise is that the house is occupied by an unusual individual – who is blind – as well as a mostly unseen figure which will end up picking off the teens one by one. This is quite the slick piece of filmmaking; one with an original idea and a lot to say about the nature of its characters. Let’s start with the visual design and presentation: this is a great looking picture from multiple technical standpoints. But first and foremost, it is the lighting that provides this film that air of refinement and aesthetic polish – it's absolutely outstanding. From the beginning, the artificial yet utterly convincing moonlight announces this flourish, but by the indoor scenes situated around the table, it is the striking central white light casting shadows across the contours of faces and bouncing back from the surface which elevates the shots to a whole other level of cinematic. The camerawork then complements this cold, vivid lighting sensibility by using shallow focus – as well as a specificity of closeups within a widescreen format – to accentuate the harsh, clinical tone of the mise-en-scène. Faces are composed in some really impactful ways in this movie, particularly the closed eyes of the characters’ during the central suspense sequence. On a level of believability, one could argue that one issue with the film is the character of the main villain. It’s not a bad performance, since in terms of physical presence and look he is incredibly striking and intimidating. Though his vocal expression does not always match with his visual persona, and slightly lacks that needed gravitas that a bad guy needs. Even still, there’s so much to enjoy in every performance, and the chemistry between all the kids is authentic. I’d also like to touch on the filmmakers’ use of blood and gruesome chaos towards the narrative climax. For horror fans, there is so much to love here in terms of the effects. Eye stuff is already unpleasant enough to think about, so the makeup work is truly sickening in the best way. A fabulous achievement for a low-budget short. Some viewers may be reminded of the horror film Don’t Breathe in relation to this movie – both for its title and its focus on a disability as a gateway into a fear-based dramatic conceit. But this critic argues that Don’t Look is the superior work, even at a lower budget bracket. It’s more enjoyable, more cinematically subjective and packs an additional punch with the wonderful use of practical gore – also lending the piece that perfect handmade gooey feel which is perfect for short-form horror. Additional plaudits to screenwriter Jovita Bodamer-MacGregor: the fact that we’re immediately introduced to these individuals’ disabilities – and how it effectively plays into their dynamics as supportive friends – makes their later problem-solving all the more relevant and its dark ending all the more powerful. To surmise, this is a superbly made genre film that manages to hold the audience’s attention from minute-one. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >