The Secret Assistants film review by UK film critic William Curzon. Starring Camille Rutherford, Richard Hope directed by Katey Lee Carson. HOME | FILMS | REVIEWS The Secret Assistants Film Review average rating is 5 out of 5 Critic: William Curzon | Posted on: Oct 24, 2025 Directed by: Katey Lee Carson Written by: Katey Lee Carson Starring: Camille Rutherford, Richard Hope The Secret Assistants follows Sophie (Camille Rutherford), an ambitious novice in the film industry, as she navigates a tightrope when her interview with a titan of the industry, Henry Mann (Richard Hope), descends into an intense power play. The piece tackles a razor-sharp social commentary on the current state of the film industry and the class issue that consumes power-hungry producers preying on fresh talent. One of the most striking things formally about the film is the visceral camerawork that almost immediately hooks you in as a viewer. Employing a mix of extreme close-ups and wides showcases the anxiety that echoes throughout the room where the interview takes place and undeniably gets under your skin. The pacing is frenetic and rarely lets up, allowing revealing conversations to reach a breaking point when tensions brew between Sophie and Henry. Pieces of dialogue remain engaging and propulsive as allegations swirl around Henry’s actions towards female talent in the industry. The discourse and politics that the piece attempts to explore are current, and it's refreshing to have a new voice in indie filmmaking use their talent to tackle these ideas through a visual medium. The piece is certainly unsubtle thematically, shining a light on the greed of industry titans, with the antagonist Henry Mann perhaps being based on Harvey Weinstein. This is an insightful and thought-provoking narrative that evokes discussion surrounding the power play in the film industry. All the performances across the board are sensational. Camille Rutherford displays a profound level of nuance and restraint whilst her character attempts to unearth the corrupt nature of Henry Mann. Richard Hope portrays Henry Mann as despicable, and his performance portrays the character as a manipulative individual who’ll do what he can to stay at the very top, as he believes he has control over the younger talent. The supporting cast is also astounding in their minimal screentime and keeps the narrative raw and engrossing. Katey Lee Carson’s direction is truly impressive, with a profound level of prowess behind the camera, showcasing her raw talent as a writer/director. The use of blocking is incredibly engaging as a viewer, always maintaining a focus on the central character’s dialogue that feels intrusive to witness. The choice to shoot anamorphically makes each frame feel tight and intimate, with both Henry and Sophie always being at the centre of attention. Cyrielle Thélot’s edit also keeps the flow of the narrative pulse-pounding as it rapidly cuts from scenes of discomfort to extreme close-ups of Sophie’s point of view. While the pacing and runtime are suitably well constructed, a prolonged runtime could have fleshed out the themes more eloquently to further spark discourse and conversation long after the credits roll. The conclusion to the narrative is ambiguous and leaves the viewer grasping for more resolution; however, it feels satisfying enough as a viewer, thanks to its ambitious and daring attempt at exposing the industry's wrongdoings. It also leaves the audience with a powerful message about the working class being dismissed by capitalism and the upper class favouring privileged individuals with more opportunities to soar in the industry. The Secret Assistants is a scathing indictment of the film industry and how it continuously exploits underprivileged artists and the class issue. This has been prevalent for many years now, and the piece portrays why this needs to change. Led by two terrific performances from Richard Hope and Camille Rutherford, the film is complemented by a plethora of outstanding formal decisions which elevate the material to impressive heights. Katey Lee Carson sublimely tackles these themes to reach out to a broader audience, who may be unaware of the sins the industry sweeps under the rug, and exposes the corporations that need to be held accountable for their actions. Buy UKFR Banner Space About the Film Critic William Curzon Short Film, Film Festival < All Reviews Next Film Review >

A Fox in The Night film review by UK film critic Jason Knight. Starring Keeran Anwar Blessie, Korey Ryan directed by Keeran Anwar Blessie. HOME | FILMS | REVIEWS A Fox in The Night Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 14, 2023 Directed by: Keeran Anwar Blessie Written by: Keeran Anwar Blessie Starring: Keeran Anwar Blessie, Korey Ryan A chance encounter might end up being life-changing for two men. After agreing to purchase illegal drugs for a friend, Lewis (Blessie), a homosexual, nervously arrives at the arranged location. Initially, things go as planned, with the drugs being bought, then Lewis calls for a taxi and the drug dealer (Ryan) invites him to wait inside his property. The two of them go to the balcony for a smoke and a chat and end up taking an interest in each other's appearance. With his first short film, Blessie tells a story about two individuals who meet under unusual circumstances and develop a rapport. The vast majority of the narrative revolves around the conversation that the two young individuals have on the balcony. At first there does not seem to be a connection between them, then, (through the dealer's initiation) things get friendlier between them, they begin to flirt with each other and it is strongly indicated that they like each other and that a romantic relationship might be beginning. Blessie's character is a gay man who finds himself in a situation he does not want to be in. Yet, as he gets more comfortable with the dealer, he starts to realise that he might have found a special person. Self-discovery is one of the themes that are explored in this film and Ryan's character seems to be the one who experiences that, as his encounter with Lewis appears to make him realise that he is a homosexual himself. The film's title is a saying that involves one accepting changes in their life and that is partially what this short drama is about: change. It is also a story about romance, self-discovery and about meeting someone new. The acting is good and the screenplay is well-written and the viewing experience provides a dramatic and intriguing story. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

M film review by UK film critic Swati Verma. Starring Bo Bowra, Jack Caulfield, Elias Crow directed by Victor De Almeida. HOME | FILMS | REVIEWS M Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 6, 2022 Directed by: Victor De Almeida Written by: Victor De Almeida Starring: Bo Bowra, Jack Caulfield, Elias Crow The title of the short film "M" opens the cinematic piece to various interpretations and connotations the audience may relate to. Despite the film having a short run time, the director-writer Victor De Almeida has managed to construct a very gripping narrative and at the same time maintained the combination of horror and mystery, the genres chosen by the filmmaker to work with. The camera department is handled by Alexander Nikolaou. The camera angles, like a close mid-shot of the main character, help the viewers to straight away dive into the storyline. The sound effects and music by Tony Rusch complement the genre of the film. It also provides the necessary boost to the mood of the movie and increases the sense of involvement of the audience with the film. The makeup artist Phoebe Menges keeps the makeup light to suit all the other elements of the film and to ensure that the audience can give their undivided attention to the subject matter of the film. The black and white suit worn by the main lead has connotations of combinations of the various characteristics he possesses. The huge size of the shadow of the main character shown in the film can have connotations of ego, self-pride, and dominance. The plot of this horror short film deals with a young gentleman who suffers from a mental breakdown after a string of murders. Will he be able to control what is happening to him or fall prey to his mind in the long term is the question the movie raises? Victor De Almeida has written the movie so brilliantly; the script does not disclose the suspense element of the movie up until the end. The audience gets surprised and the film tends to stay with them. The key to the popularity of the film is its simplicity and to-the-point approach taken by the creative team of the cinematic piece. The editor Emily Russell works on each scene and places them in such a way that the flow of the plot is smooth and does not lose its continuity. The wall bricks, the stairs, the tube light, and the mirror are included in the set design. It helps in establishing the genre as well as the storyline of the film. The masks, bloody knife used in the movie aid the film to move towards the much awaited conclusion of the film. The choice of the actor by the makers for the role of a young person suffering from a mental breakdown is so aptly done. The dialogue delivery, voice modulation the expressions, the way he picks up each every aspect of the character is truly remarkable. The character arc of the protagonist gets the audience to be a part of his journey and at the same time the viewers tends to get scared of him at some point of in the story. As an audience I feel the addition of subtitles in few interactions between the characters in the film is necessary to enhance the impact of the film on the viewers. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Totally Killer film review by UK film critic George Wolf. Starring Kiernan Shipka, Olivia Holt directed by Nahnatchka Khan. HOME | FILMS | REVIEWS Totally Killer Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 5, 2023 Directed by: Nahnatchka Khan Written by: David Matalon, Sasha Perl-Raver, Jen D'Angelo Starring: Kiernan Shipka, Olivia Holt The quickest description is Back to the Future meets a mash of Scream and Happy Death Day. But Totally Killer offers a funhouse full of other genre wink-winks in a violent, raunchy, rollicking good time that often works in spite of itself. Director Nahnatchka Khan and a writing team relatively new to features riffs on everything from the Disney Channel to Sixteen Candles to Ace Ventura and beyond as a terrific Kiernan Shipka leads us on a life-saving mission back to the late 80s. Shipka is Jamie Hughes (natch), a high school junior who is completely dismissive of her mom Pam’s (Julie Bowen) plea for caution on Halloween night. See, back in late October 1987, three of Pam’s friends were murdered, each stabbed 16 times by a still-unknown masked assailant dubbed the “Sweet 16 Killer.” A true crime podcast host (Jonathan Potts) clues us in on the details, and the reasons why Pam is still skittish this time of year. But Mom is one of the many townsfolk Jamie scoffs at, until her best friend Amelia’s (Kelcey Mawema) photo booth time machine turns out to actually work! So Jamie steps out of it and into ’87, where she’ll try to infiltrate her teen Mom’s (Olivia Holt) clique “The Mollys” (in tribute to Ringwald) and prevent those infamous murders from ever taking place. And then, of course, she’s got to get back to…that place that is forward in time. “I hate time travel movies. They never make any sense!’ So says the 80s sheriff (Randall Park) when Jamie tries to explain her predicament via Michael J. Fox, kicking off a self-aware string of consistently clever gags. And the veteran Shipka (Mad Men, The Blackcoat’s Daughter, Chilling Adventures of Sabrina) proves charmingly adept at navigating the two generations with determined sass. Jamie’s got a mission and she won’t be distracted by these oversexed heathens and their lack of boundaries! “Hey, inappropriate touching!” “This mean girl schtick is really outdated.” And don’t even get her started on the lack of wifi or having to watch her future parents get handsy! Shipka is irresistible, and she goes a long way toward keeping this mix of blood, sex, nostalgia, a Mandela effect discussion and F-bombs on the rails whenever it flirts with flying off. And there’s plenty of flirting. But even when things get stabby, Khan brings a bright and shiny touch. There are helpful reminders about who these oblivious teens are young versions of, and some earnest explanations about what Marty McFly got wrong about time travel. Totally Killer wants to play by its own rules of inspiration, tell you about it in advance and then yell “high five!” when it all works out. Don’t leave ’em hanging. It’s a bloody fun time. Buy UKFR Banner Space About the Film Critic George Wolf Amazon Prime < All Reviews Next Film Review >

Ms Green and Other Lovely Beasts film review by UK film critic William Curzon. Starring Lauren Koster, Rohan Singh, Mark Keegan directed by Lucy Joan Barnes. HOME | FILMS | REVIEWS Ms Green and Other Lovely Beasts Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Feb 12, 2026 Directed by: Lucy Joan Barnes Written by: Nick Thomson Starring: Lauren Koster, Rohan Singh, Mark Keegan Ms Green and Other Lovely Beasts explores a pet memorialist, Elnora Green (Lauren Koster), as she seduces her business partner, Parker Flynn (Rohan Singh), revealing her need for devotion and control. Both Elnora and Parker devote their time to preserving the legacies of famous animals, and these animals mirror Elnora’s concealed compulsions for desire and something far more sinister. Despite its absurd and fantastical elements, the piece almost has a documentary-like feel to it, due to the emphasis on questioning Elnora’s inner feelings of devotion and its grounded opening. The filmmakers employ some incredibly creative formalism, such as a point of view from a cat’s perspective, which is a visceral and effective tool to put the viewer in an animalistic portrayal of seeing the world from their eyes. It also explores eye-opening themes such as loneliness and using lust for control as a coping mechanism to numb the pain of isolation. Lucy Joan Barnes, serving as the director for the most part, makes incredible use of the brisk runtime to touch briefly on intriguing character dynamics, introducing each character with unique perspectives. The switch to more gothic elements, with the use of black and white photography, can be jarring; however, the use of music and distortion in the audio is incredibly creative. Despite the shocking tonal redirects, it's an interesting stylistic choice to convey the imaginary side of Elnora’s personality. The experience is greatly enhanced by its evocative formalism, and the filmmakers clearly have their heart in the right place. Lauren Koster, in her portrayal of Elnora Green, is terrific and deeply nuanced in her exploration of sexual dynamics as she craves control and seduction. This is enriched by the supporting players, such as Rohan Singh’s portrayal of Parker Flynn, playing off her seduction in a delightful fashion with magnetic chemistry that feels natural and profoundly engaging. While Mark Keegan’s role as Ed Gein is brief, he leaves a memorable impression, keeping the narrative appealing. Despite the film's budget constraints, the visuals feel incredibly dynamic as it rapidly switches from scenes in colour to the surreal black and white sequences, emphasising Elnora’s inner thoughts. It's truly a testament to the filmmakers' sheer ambitious filmmaking techniques and the excellent performances that make the more absurd elements work. Thankfully, most of the gags land tremendously, and the brief romantic aspects incorporated into the screenplay feel endearing. Sadly, due to the film’s brisk runtime, it only briefly explores specific themes and character dynamics, and it's a shame because with an extended runtime, these elements could have been delved into more to anchor Elnora’s characterisation. The film also suffers from episodic editing choices and an anticlimactic ending that feels rushed and unsatisfactory. Despite these issues, the unique formal decisions and fantastic central performances keep the piece memorable and worthy of its efforts. Ms Green and Other Lovely Beasts is a unique short piece, with an evident, distinct passion for the material that shines through its flaws. As a second collaboration from Lucy Joan Barnes, Nick Thomson, and Ali Causon, this is an impressive effort, anchored by a terrific lead performance from Lauren Koster, which explores a thematically rich narrative. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Hoodwinkers film review by UK film critic Swati Verma. Starring Michael Antonio Keane, Ciara Kirby, Sarah Horgan directed by Michael Antonio Keane . HOME | FILMS | REVIEWS Hoodwinkers Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 28, 2022 Directed by: Michael Antonio Keane Written by: Michael Antonio Keane Starring: Michael Antonio Keane, Ciara Kirby, Sarah Horgan The title of the short film-Hoodwinkers refers to people who deceive or trick people. The writer-director Michael Antonio Keane has worked on the script with a right mix of comedy, drama, and suspense. This classroom drama grips its audience from the very start of the film. The storyline of this creative piece revolves around a study session that transforms into a crazy party and now the students need to devise a method to pass their exams The tracking shot and the mid-shot used by the cameraman along with the sound effect suggest the intensity of the opening scene. The filmmaker has used lighting effectively to create a contrast between the student and the interviewer to showcase the mental makeup of both the characters in the film. The inclusion of flashbacks is a smart tool to introduce subplots in the narrative. The use of voice modulation by both the characters builds up the tension in the scene. The set design, costume, hair, makeup, and jewelry all give a youthful vibe to the cinematic piece. The conversations that take place in the movie seem natural and effortless. It does not break the continuity of the plot. A shaky camera technique utilized during the party showcases the nervousness the students experience after they suddenly get a reality check. The young director Keane has explored and represented the relationship between MS Belle (Sarah Horgan) and Mr. Doyle (Dominic MacHale) in the story. In terms of performance, Ciara Kirby plays the role of Peggy who is usually a teacher's pet but handles the situation quite maturely when put to test. The audience likes this change in Peggy's character arc. Niamh Cremin is aptly suited to the character of Regina. She is like a group leader. She is a strong woman and knows how to be popular among people. The young actress Niamh Cremin exudes confidence through her body language. Dominic MacHale plays Mr. Doyle in the story. He is very charming, supportive yet a strict teacher. Mr. Doyle is everyone's favorite student and teacher alike. MacHale effortlessly gets into the skin of the character. Dominic MacHale has a very powerful screen presence he tends to grab all the attention of the viewers. Sarah Horgan as MS Belle is excellent with her comic timing. She adds the much-needed fun element to keep the mood of the audience happy and cheerful all through the film. Hoodwinker transports the audience back to their school days. The film teaches us to be smart while having fun. It also prepares the viewers to not be afraid of the problems life throws at them. The short film shows the audience how one can strike a balance between studies and partying. Hoodwinkers also talks about the importance of taking individual decisions rather than following the majority of the students blindly. This movie has added the outtakes just before the credits roll in. This move from the creative team of the film helps increase the degree of audience engagement with the film. I only feel that Michael Antonio Keane should have worked on the subtitle for the Irish audio piece. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Highest Brasil film review by UK film critic Chris Olson. Starring Ger Staunton, Jennifer Breslin, Stephen Doring, Tanja Karita directed by Jeremy Curl. HOME | FILMS | REVIEWS The Highest Brasil Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Aug 2, 2024 Directed by: Jeremy Curl Written by: Jeremy Curl Starring: Ger Staunton, Jennifer Breslin, Stephen Doring, Tanja Karita Dark and absurdist, filmmaker Jeremy Curl’s indie feature film The Highest Brasil navigates a bizarre and enthralling tale full of colourful characters and unique introspection. Ger Staunton plays Seamus, a down-on-his-luck fisherman (or Sea Captain of One) whose faltering relationship with partner Kathleen (Jennifer Breslin) and career waywardness, have left him bereft of any hope. His humdrum life gets interrupted, however, when he finds a flyer promoting the services of Brendan (Stephen Doring). After meeting Brendan and his misfit acolytes in an abandoned shopping mall, Seamus signs up to the group’s unorthodox rituals and ambition to find a hidden island just off the coast of Ireland, known as The Highest Brasil . Exploring the concepts of manipulation, sex, discontent, and more, Curl’s feature film bursts at the seams with thematic depth. The Highest Brasil feels like a movie perfect for fans of Yorgos Lanthimos, with its dry characters and deadpan humour injected in the sharpest manner. Whilst the “wackiness” is enough to alienate a mainstream audience, those who stay will get to witness an incredible tale of humanity and a reflection of our struggle to find purpose in life when we all want to scream “Is this it?!”. Staunton is phenomenal in the lead role, often delivering with his physical presence more than any dialogue. Numerous scenes where we see his superstitions causing him to engage in ridiculous behaviour, such as turning his clothes inside out or holding his collarbone, cause the audience to emotionally embrace him as a character, one which could just have easily heightened our irritation. Breslin is powerful as the long-suffering partner and is also given plenty of scope to flesh out her character. Kathleen’s job sees her working with a mental health patient, and a particularly nasty one at that. It’s Doring, however, who steals most of the scenes as the enigmatic cult leader in a fluorescent 80s bomber jacket. His passionate sermons and unpredictable behaviour make him a tour-de-force on screen and Doring expertly leans into this. High praise should also be given to the supporting cast of group members, many of whom contribute painfully funny moments, or the more dramatic ones provided by Tanja Karita as Tilda who brilliantly opens the film. One aspect of The Highest Brasil which is brilliantly executed is the timeline. It’s a slow-burner but one that explains aspects in perfect time. For example, Seamus’s getting changed outside of his car is only explained later in the film but when this hole gets filled in, it’s an enriching experience for the viewer. Music is also brilliantly used in the movie, with “Track 4” of Brandan’s CD being used numerous times to excellent comic effect. The locations used are also beautiful, with many coastline settings used to represent the isolation of these characters but also the “new beginning” they may be able to find if they could just let go. Intelligent, at times poetic, and containing just as much light as dark, The Highest Brasil is a journey well worth the immigration fee. Now, where are my maidens? Want to watch our Video Film Review of this film? Click Here . Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Las Nogas film review by UK film critic Jason Knight. Starring Clarissa Jacobson, Misty Lee, Alessandra Levy, John McBride, Phil Miler directed by Catya Plate. HOME | FILMS | REVIEWS Las Nogas Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 5, 2023 Directed by: Catya Plate Written by: Catya Plate, Joe Bratcher Starring: Clarissa Jacobson, Misty Lee, Alessandra Levy, John McBride, Phil Miler It is a post-apocalyptic world and there is trouble during an important operation which requires the help of an expert. A stop-motion animated film with bizarre characters and an effort to save the world. The story takes place in a future where humans have put an end to their own existence due to their constant destruction of the environment and animals (and insects) are the ones left to try and maintain life on Earth. The characters are anthropomorphised (apart from the human characters), wearing clothing, speaking and using machinery. A female potion expert named Alma, whose appearance resembles a turkey, receives a frantic letter from Hitch, a nearby scientist who has a similar appearance. The scientist informs her that the large device that is supposed to create rain has failed due to the humanlike entities who are referred to as 'Homeys', whose blood is utilised in order to create rain. Alma must quickly find a way to resolve the situation and save everyone. The messages of this short are obvious and important. It is the third and final installment in an short animated trilogy that concerns global warming and this apparent in the story. With a plot that involves a race-against-the-clock-to-prevent-a-disaster scenario, the film touches on themes that involve the consequences of damaging the environemnt such as illness, allergy and the lack of that substance that is so important to life: water. Although it is an animated film, it is a rather serious one due to the subject matter and some scenes are upsetting, such as the Homies becoming ill and having their blood inserted into a vast machine via tubes. Therefore, it should be mentioned that it probably wouldn't be appropriate for young children, instead more mature viewers who understand important environmental issues. The story itself is dark as it is set in a world where humanity has destroyed itself, and the remains of humans were harvested in order to create the Homeys. Moving to the visuals now, the stop-motion and claymstion is impressive. The characters themselves are basically puppets and although they look like what they are supposed to be, the creativity that was applied to them is not The Nightmare Before Christmas standards and it is unclear whether that was intentional. They just do not look appealing. The characters include the two birds mentioned above, a beaver as a climatologist, humanlike bees (rather big ones actually) and the Homeys ones, some of which have two faces. The surroundings gives the impression of a place that is suffering from the effects of environmental catastrophies, as the place looks like a desert. Was it mentioned that this short is also a musical? It is to an extent as it does include two amusing numbers in its twenty-minute duration and Antoni Mairate deserves credit for the entertaining and dramatic score. This short was clearly not made with the main intention to amuse people, but rather to raise awareness of the damage that is being done to Earth by people's inconsiderate actions. With this in mind, it is a viewing that should be recognised significantly. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Animation < All Reviews Next Film Review >

Honeyjoon film review by UK film critic William Curzon. Starring Ayden Mayeri, Amira Casar, José Condessa directed by Lilian T. Mehrel. HOME | FILMS | REVIEWS Honeyjoon Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Dec 18, 2025 Directed by: Lilian T. Mehrel Written by: Lilian T. Mehrel Starring: Ayden Mayeri, Amira Casar, José Condessa Honeyjoon follows Lela (Amira Casar) and her daughter June (Ayden Mayeri) as they embark on a trip to the Azores after a recent loss, both with polar opposite views on why they have come. They both attempt to grapple with their differences in how they cope with grief and how to navigate their lives after loss. A philosophical tour guide, João (José Condessa), helps them accept their differences in an attempt to find each other. The mother-daughter dynamic between Amira Casar and Ayden Mayeri is mesmerising, thanks to their magnetic and relatable onscreen chemistry. Tinged with a melancholic theme of loss and grief, both women display a profound sense of warmth and love despite their inner pain. While their life experiences don't align, the trip prompts them to acknowledge their differences and grow in navigating their grief. Their performances play so well off each other as June has a youthful and sensual spirit, while Lela is more grief-stricken and comedic in her attempt to grasp why they have both come to the Azores. Amira Casar, in particular, is absolutely incredible and deserves more opportunities, as this is easily her best work since Call Me by Your Name (2017). Ayden Mayeri, on the other hand, is a revelation, bringing so much joy and heart to their relationship. José Condessa, who portrays João, the tour guide, is a standout among the supporting players, conveying so much humanity by seeing the difference in others. Lilian T. Mehrel’s direction is steady and complements the meditative pacing and tonal balance. The screenplay perfectly handles the comedic and dramatic beats incredibly well in an attempt to flesh out the mother-daughter dynamic and their personality differences. While the pacing is steady in its opening moments, the second half drastically picks up, and the brisk runtime never overstays its welcome. Retail Space’s musical score suitably fits the lighthearted and feel-good tone with synth themes utilised throughout a sequence of sexual tension. The use of voiceover to narrate a text conversation is also a unique narrative device that is rarely utilised within cinema. Inés Gowland’s camerawork is breathtaking and never feels intrusive on the characters as they reflect on their pain. Gowland shoots the ocean and the Azores as almost its own character with stunning wides and drone photography overlooking the gorgeous landscapes; it's visually stunning and a sight to behold. Unfortunately, the freedom movement subplot detracts from the experience and feels shoehorned in for extensive social commentary that doesn't fully land. That being said, the narrative comes full circle in the third act and wraps up both Lela and June’s character arcs in a satisfying manner. It's a hilarious and relatable experience of how we cope with pain and love despite our differences in age or personality by tackling profound themes such as depression and navigating the pursuit of happiness. One of the most beautiful aspects of the film is how the filmmakers allow scenes to play out in moments of stillness and reflection, in order for the characters to feel and grieve in their own way, and that is profoundly moving. Honeyjoon is a love letter to the beauty of life and appreciating what you have to move forward and heal. The film deserves to be seen by a wider audience due to its emotional resonance, which could potentially appeal to anyone, as it perfectly captures the complexities of a mother-daughter relationship. Anchored by two terrific central performances from Amira Casar and Ayden Mayeri, and Lilian T. Mehrel’s stunning direction, it's an emotionally overwhelming experience that’ll probably make you want to call your mother after the credits roll. Honeyjoon will screen at the 2026 Palm Springs Film Festival on January 6th, 7th, and 11th. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film, Film Festival < All Reviews Next Film Review >

Vaarwell - Quarter Life Crisis - EP Campaign film review by UK film critic Patrick Foley. Starring Vaarwell directed by Taha Ismail. HOME | FILMS | REVIEWS Vaarwell - Quarter Life Crisis - EP Campaign Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Jun 8, 2023 Directed by: Taha Ismail Written by: Taha Ismail Starring: Vaarwell Ahead of London-based electro-pop duo Vaarwell’s upcoming EP Quarter Life Crisis, they have produced a series of music videos to capture the themes, emotions and mindscapes that power their ethereal and atmospheric music. In W/U, a couple sit in a car transfixed by the actions of a pair of doppelgangers representing their ideal selves in each other’s eyes. In DLAM (Don’t Look At Me) the duo transverse a city late at night with their faces obscured by blurring lights. Finally in Sellout, the pair are frozen in place at a busy and vibrant fairground, ignorant of the enjoyment and excitement around them as they consider the burden of life’s responsibilities. Vaarwell’s music videos/visualizers are interlinked by shared ingredients such as blurring and hypnotising lighting effects, introspective examinations of growth and adulthood (matching the EP’s subject – a ‘quarter life crisis’) and through its focus on the band as unwitting actors in a rapidly shifting world. The ultimate aim of the videos is to match the song they accompany thematically and amplify the band’s music. The setting of a city at night accomplishes this brilliantly, giving director Taha Ismail a canvas to create wonderous and airy imagery that viewers will find a treat. W/U is the highlight of the trio – presenting a discomforting mini plot about a couple viewing each other’s personas from the backseat of a car. The unreachable standards the pair hold each other too are highlighted, and the message that our true selves taking a back seat to the personas we create can result in difficulties communicating is impressively portrayed through the video. DLAM is more of a lucid experience, without an obvious storyline beyond the pair taking a trip through a city. The director’s concealing of the artists’ faces throughout the video creates an air of mystery, as well as a theme that people lose who they are in the madness of everyday life. Sellout is a simple visualiser, and unfortunately there is not a lot to say about what is ultimately a repeated frame. A sense of burden and disconnect is evident in the video’s construction, but this one feels far emptier than the other productions. This series of videos for Quarter-Life Crisis are solid and complimentary of Vaarwell’s unique and established music style. Whilst there is a limit to what they accomplish in terms of a story or plot, they do effectively match the music and create a visual experience to match the sonic one provided by the record. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Music Video < All Reviews Next Film Review >

Broken Castles film review by UK film critic Jason Knight. Starring Kevin Manteaw, Ryan Napier directed by Ginevra Gentili. HOME | FILMS | REVIEWS Broken Castles Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 28, 2023 Directed by: Ginevra Gentili Written by: Ryan Napier Starring: Kevin Manteaw, Ryan Napier Two young men reside in a large castle, living a seemingly peaceful life. However, danger appears to be nearby. This short is mysterious. Filmed at Sudeley Castle in Gloucestershire, England, the story follows two men (Napier and Manteaw), who live together in a vast castle, but some sort of sinister force is preventing them from leaving the castle premises. The two men seem to be close. Are they relatives? Long-time friends? How long have they lived there for? They appear have been at that place for quite some time as they seem to have made a decent life there for themselves. They playfully wrestle with each other, they do work around the building, including gardening and they attend the castle's worship area to say their prayers. Considering the clothing they are wearing (great work by costume designer Ella Hackett) and the fact that there seems to be no electricity, it appears that the story takes place a few centuries ago. As mentioned, the two heroes are unable to leave the castle premises and that is arguably the most intriguing part of this film. If they approach the wall that separates the castle and its land from the countryside that surrounds it, some ominous and unseen power seems to mentally attack them and cause them to feel terrified and even feel physical pain and apparently tying a handkerchief around their head will help resist. The presence of this threat is indicated by eldritch sounds of whispering, accompanied by an ominous, tense score and fast cutting. All these aspects create a threatening atmosphere thanks to the creativity of sound designer Michalianna Theofanopoulou and composer Rebecca Doherty and the strong acting by Napier and Manteaw. The two protagonists appear to be the same age and on the surface they are more or less the same, having fun, working and praying together. However, there are differences between them, as Manteaw's character seems eager to leave the castle area, regardless of the danger. Repetition occurs often in this short, both visually and in the audio. The fast cutting happens more than once and while it takes place, the same images are seen again and again and so is the shot of a large bird flying in the sky. Regarding the audio, certain words of a prayer are repeatedly recited. This short could be categorised as a period drama with elements of horror, after all the plot concerns people trapped in a place by some evil force. It is kind of like a fairy tale. As mentioned, it is a mystery, with multiple questions unanswered regarding the two protagonists and the strange power that is preventing them from leaving the castle. To add to the mystery, the ending is a cliffhanger. Whether being left in the dark is a positive aspect for this film that is something that will depend on the viewer. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Girl And The Tide film review by UK film critic William Hemingway. Starring Emma-Kate Barry directed by Harvey John. HOME | FILMS | REVIEWS The Girl And The Tide Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Aug 26, 2022 Directed by: Harvey John Written by: Harvey John Starring: Emma-Kate Barry Strings and drowning – these are the artistic impressions which let you know you're living in a post-modern 21st Century world. A girl (Barry) sits on the beach and ponders her existence at twenty-three, stuck already in the machine of melancholia that we like to call everyday life. She knows nothing, she says; she can't figure it out at all and she's already falling behind her friends in the life-affirming stakes of reaching arbitrary markers that supposedly signify achievement. Along with her on this journey is The Tide – a constant companion through the long, slow days – who takes the form of a ghost, a tangible apparition who hovers over her shoulder as a reminder of the existential weight of the world which is bearing down upon her. She can feel The Tide lapping at her feet, every moment of every day, and knows that it won't stop, inching ever closer to her foundation, so that one day it may wash her away completely. How will she ever be able to escape something so inevitable? The story of The Girl And The Tide is told to us in voice-over as she relates the details of her existence. The words pour over the images like rain, deepening the darkness of the girl's feeling and keeping the shadow of the future overcast with cloud. They are given to us like poetry, a recital of the spoken word which would not seem out of place in a volume of philosophical musings, and we see the worry on her face as the understanding builds of just what the words mean. The ghost is always there – hovering, helping, hindering – made visible like a bedsheet with eye-holes a-la David Lowery's A Ghost Story (2017). The parallel is sometimes too strong to shift and at times stresses the tone of the girl's story to points where it doesn't quite fit. Fully copying another's conceit is rarely a good idea but writer/director Harvey John holds his nerve to firmly commit to the concept all the way through to the end, making it work how he wants it to. The cinematography pulls us into the girl's world and makes it real for us as she acts out the menial parts of her existence. Meanwhile, the classical music plays, almost above and apart, as it reminds us of the complexity and beauty of life, even in the dreariest of machinations. The words, the music and the images weave together to complete the girl's story as she relates to us how she feels, hoping that someone, somewhere will admit to feeling that same way, too. The Girl And The Tide is a eulogy to youth and to innocence; the world has changed; the kids aren't alright. Harvey John's modern fairy-tale sings the siren's song that so many Gen-Z'ers are familiar with – anxiety; depression; existential dread – and yet it shines a beacon of hope that may allow us in some way to turn back the tide, or at least give us time to shore-up our flood defences. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >