The Stroll - BFI Flare Film Review film review by UK film critic Amber Jackson. Starring Kristen Lovell directed by Kristen Lovell and Zackary Drucker. HOME | FILMS | REVIEWS The Stroll - BFI Flare Film Review Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Mar 14, 2023 Directed by: Kristen Lovell and Zackary Drucker Written by: Kristen Lovell Starring: Kristen Lovell Opening 2023 BFI Flare: London LGBT Film Festival is Kristen Lovell’s The Stroll , after its successful premiere at Sundance Film Festival. The Stroll is a documentary that highlights the history of New York’s Meatpacking District and the transgender sex workers who lived and worked there. Filmmaker and co-director Kristen Lovell reunites her community of transgender and non-binary sex workers in her beautifully crafted debut film and in conversation, they recount the violence, homelessness and gentrification they overcame to continue to build a movement for transgender rights. This is the deeply personal and direct story of these transgender women of colour, including Lovell herself, in their own words. This is a New York City unseen, yet it has always been there. Society shunned and discriminated against the transgender community out of the workforce, leaving them to turn to sex work to survive. “The Stroll” itself is so-described as it is a strip of 14th Street in Lower Manhattan in the Meatpacking District where transgender sex workers lived, worked, loved and died from the 1970s until the early 2000s. Trans women of colour and trans sex workers had a pivotal role in the LGBTQ+ rights movement, particularly in the United States and these women who created history now reunite to tell their own story. Throughout the film, viewers are hit with a flush of images of a world that no longer exists, as heavy policing, violence against trans women and mass gentrification have ripped apart and rebuilt Manhattan as it is seen today. The film is an eye-opening insight into a generation lost to a lack of acceptance, but also how a community continues to come together to collaborate on a film where they can share their experiences and empower each other to embrace their history. Despite deeply moving shared stories and experiences, humour is also injected throughout the documentary as every woman’s personality shines through as the best aspect of this film. From the way that they interact with each other, to their self-confidence and powerful stories, this lost community is brought to life. Brilliant animation facilitates story retelling too in some scenes, with viewers being given a true sense of what these individuals experienced and how they were neglected by the so-described ‘ruling classes’. Despite everything that these women have been through, today they are still able to live their authentic selves and it is very emotionally raw from all angles. Many of these women have similar stories about being kicked out of their homes as teenagers, or having to run away to escape familial or religious violence. Plenty of them were also homeless, or assaulted, or imprisoned and disrespected by everyone they met. Yet, this is also a film that celebrates uniqueness and community despite difference. Despite adversity and being treated appallingly, the film shows how Kristen Lovell and her community of found family members continue to work as activists and support trans youth today. Through this, they recognise and remember the trailblazers that came before them in their history, including prominent transgender activists Marsha P. Johnson and Sylvia Rivera. These two women worked together to co-found Street Transvestite Action Revolutionaries (STAR), which helped homeless young drag queens, queer youth and trans women. The Stroll acknowledges their personal sacrifice and dedication to transgender rights in a beautiful way, as the women featured in this film still continue their work and help to house LGBTQ+ youth with a greater level of activism and financial donations. It is a beautiful legacy and testament to Marsha and Sylvia and their huge role in the transgender movement. What makes The Stroll special is Kristen Lovell’s proximity to the documentary itself, as she also shares her story in her own way. The film conveys such a sense of collaboration and camaraderie, but also care in the way that each contributor is able to take ownership of their own story. It is a fantastic film to start 2023 BFI Flare with and well worth a watch. To find out more about The Stroll and other films featured at BFI Flare 2023, see the BFI website or read more of our BFI Flare coverage at www.ukfilmreview.co.uk Buy UKFR Banner Space About the Film Critic Amber Jackson LGBTQ+, Documentary, Film Festival < All Reviews Next Film Review >

Marry Me film review by UK film critic Hope Madden. Starring Jennifer Lopez, Owen Wilson directed by Kat Coiro. HOME | FILMS | REVIEWS Marry Me Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 10, 2022 Directed by: Kat Coiro Written by: Harper Dill, John Rogers Starring: Jennifer Lopez, Owen Wilson Just two short years ago we thought Jennifer Lopez had a good shot at an Oscar nomination for her layered turn as stripper entrepreneur Ramona in Lorene Scafaria’s Hustlers . Would she, like Ben Affleck, build on that success with more complex, emotionally satisfying supporting roles? Or would she make Marry Me? Sigh. Marry Me is a Jennifer Lopez movie from the word go. Actually, director Kat Coiro’s film is even more of a JLo movie than her other countless rom coms about a wildly beautiful but down-to-earth woman who’s just a romantic at heart. Marry Me wraps a set of music videos around a peek into the world of a globally successful if under-respected musical diva who gets married a lot. So, it’s about as meta as the latest Scream . Lopez’s character name is Kat Valdez, and Kat’s new single “Marry Me” is a tribute to her love with fellow musical phenom Bastian (Maluma). They will be wed onstage in front of a sold-out NYC crowd and streamed for tens of millions of people around the globe. Until she doesn’t. She picks some kid’s dad (Owen Wilson) out of the audience and marries him instead. Premise Beach! As idiotic and contrived as that sounds—and as the trailer made it look–Marry Me delivers some charm. That has very little to do with the plot or its obvious trajectory, and it doesn’t really have much to do with the chemistry between Lopez and Wilson (which is lacking, honestly). Harper Dill and John Rogers’s screenplay, based on Bobby Crosby’s graphic novel, pulls you in by treading on Lopez’s public persona. Well-placed Jimmy Fallon cameos create a sense of what it must be like to live, succeed and fail so very publicly. Compare this to Charlie (Wilson) and his hum-drum life of a math teacher, and the two-different-worlds romance is set. Lopez’s acting is as superficial as the film requires. Wilson delivers a performance as characteristically quirky and goofy as expected. (Though he never once says wow, and let’s be honest, this character would say wow.) Supporting turns from Sarah Silverman, Chloe Coleman and John Bradley help overcome a sparsity of laughter. Is Marry Me an opportunistic music video/hit single/Valentine’s Day date bundle orchestrated by a savvy business mogul? It is. And it’s fine. Plus, if it goes well, maybe she’ll take on another really good character next time. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

2027: Finding Eros film review by UK film critic Joe Beck. Starring Ali Bana, Komal Kapoor, Priyanshu Raj, Mohan Chandra directed by Saurabh Arora. HOME | FILMS | REVIEWS 2027: Finding Eros Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Sep 30, 2023 Directed by: Saurabh Arora Written by: Saurabh Arora Starring: Ali Bana, Komal Kapoor, Priyanshu Raj, Mohan Chandra What is a world without love? It’s no world at all, at least not a world worth living in. Love is the closest thing to real magic that exists on earth, and yet it is so often dismissed or taken for granted. Often people do not think twice about having love in their life and flowing around the world, it is one of the things held in common universally. Yet a world without love is the world presented in ‘2027: Finding Eros’, Saurabh Arora’s film, which presents a dystopian future that feels refreshing despite its numerous recycled elements. We’re introduced to the scenario with imposing title cards and a slew of exposition that perhaps doesn’t quite stay on screen long enough to truly have its effects felt. Nevertheless, it presents a pretty bleak future, with one quarter of the world’s population wiped out by war and disease by 2027, presumably leading to further overcrowding of the world’s biggest cities - i.e. London, Beijing, and Mumbai. The consequences of such catastrophic events - one cannot imagine the scale of war and disease that Arora projects to occur over the next four years in order to wipe out over two billion people - have been long and far reaching. However, perhaps one of the most interesting, and no doubt significant, changes has been that people have lost the ability to love, whether that be as a result of collective depression, or a universal fear that to love is to lose, or possibly even some consequence of the catastrophic plague that affected the globe. The reason for this remains loss of love remains unclear. Eros was the Greek God of love and sexual desire, and hence a fitting name for both the title of the film, and the drug taken in this dystopian future to help people love. In a loveless world this artificially induced kind of love has unsurprisingly taken people by storm and the great mass of the world’s population is hooked, including the film’s protagonist Dan (Ali Bana), who rides around the streets of Mumbai on his Royal Enfield desperately trying to pick up a package of Eros so that he can feel love for his partner, who craves intimacy and love, once again. Dan is an interesting and complex character, just as taken to staring into the distance as he blows on his cigarette forlornly, as he is to calling his dealers with a misplaced kind of control. He retains a sort of intimidating composure throughout, not too dissimilar to Ryan Gosling’s iconic Driver in ‘Drive’, and Bana plays the part with a brooding poise throughout. Saurabh Arora’s directing is strong throughout, from the extreme close ups of Dan as he rides his motorbike, to the long shots with Dan framed centrally and solemnly. These shots in particular help to establish Dan’s forlornness, as he takes a drag of a cigarette, or looks out to sea, in flashbacks which remain rightfully ambiguous throughout. Though Arora perhaps leans to heavily on the model set out by ‘Children of Men’ through the screenplay and idea, it is nevertheless a well written piece of cinema, with a slight screenplay further echoing the bleakness of these future times. ‘2027: Finding Eros’ is a fine addition to the landscape of dystopian cinema, with the extremely near future in this case once again placed in jeopardy by mankind, and once again full of lonely people in a bleak world. Yet despite carrying tropes over, ‘2027: Finding Eros’ remains a thoughtful piece of filmmaking, one which truly realises the power of love, and the consequences of its absence. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Barbarian film review by UK film critic George Wolf. Starring Georgina Campbell, Bill Skarsgard, Justin Long directed by Zach Cregger. HOME | FILMS | REVIEWS Barbarian Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Sep 8, 2022 Directed by: Zach Cregger Written by: Zach Cregger Starring: Georgina Campbell, Bill Skarsgard, Justin Long When you see as many movies as we do – especially horror flicks – taking us places we did not see coming is much appreciated. Barbarian certainly does that, mashing horror, dark comedy and social commentary to wild and mostly satisfying ends. Tess (TV vet Georgina Campbell) is in Detroit for a job interview. She books an Airbnb in an unsavory part of town, only to find out Kieth (Bill Skarsgård) booked the same place on HomeAway. What to do? They talk, flirt a little, and Tess agrees to stay in the bedroom while Keith takes the couch. They’ll sort it out in the morning. In his feature debut, writer/director Zach Cregger (The Whitest Kids You Know ) lulls us with a competent but familiar hook. What’s really going on? Can Keith be trusted? Creeger throws in some creepy camera angles, terrific lighting maneuvers and jump scare fake-outs to build tension. Then Tess makes her way down to the basement. Yikes. But even after Tess’s startling discoveries, we’re still feeling like we have a grip on what’s ahead. And then Cregger takes us to Hollywood, where producer AJ Gilbride (Justin Long) is sacked from his latest project due to allegations of sexual misconduct. Um…what? AJ’s story suddenly crosses paths with a tale set in the same house in 1982, this one starring Richard Brake. While that’s often great news for viewers, it is rarely good news for other characters. What could start to feel disjointed and episodic instead congeals into a bizarre and brutal minefield of surprises. There are times when these surprises hang together with unrealistic decision-making, but Cregger’s sly script overcomes most of its conveniences and missteps. Not every moment works. Certain choices feel ridiculous and breaks of levity keep the film from being as disturbing as maybe it should be, given the content. But most of that is forgivable, mainly because of the surprises Cregger has for us, and the nimble way he brings them out of hiding. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

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

Thriving: A Dissociated Reverie - BFI Flare film review by UK film critic Amber Jackson. Starring Morgan Bargont, Mylene Carino, Myfanwy Charlesworth directed by Nicole Bazuin. HOME | FILMS | REVIEWS Thriving: A Dissociated Reverie - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 22, 2023 Directed by: Nicole Bazuin Written by: Nicole Bazuin, Kitoko Mai, Andrea Werhun Starring: Morgan Bargont, Mylene Carino, Myfanwy Charlesworth “On good days I’m not just surviving, I’m thriving.” First shown at Sundance Film Festival and now a part of BFI Flare , Thriving: A Dissociated Reverie is a thrilling creative exploration of Dissociative Identity Disorder based on the real lived experiences of Kitoko Mai. This is a truly aesthetically pleasing film that plays around with bold colour grading, beautiful set design and an extraordinary visual representation of mental health. Different alters (a term for people with DID to describe their alternate personalities) are introduced throughout the film and each scene explores how they interact with the world and with each other. This is a very informative short film that shares an individual life experience, but is also incredibly vibrant and colourful. Kitoko’s alters contrast heavily to each other in age, gender and ethnicity. The film flirts with different definitions of gender, asexuality/sexuality and positively affirms experiences of trauma and sex work. Each character representing an alter explores different parts of who Kitoko is based on the experiences that they have had as a Black, nonbinary, disabled artist and former sex worker. They speak to surviving the hardships of capitalism by working to survive, speaking positively about sex work. It is refreshing to have such clear authentic representations of marginalised identities, particularly with asexuality which is seldom recognised on screen. All of these alters must work together with Kitoko by communicating with each other and this is the process that is explored visually on screen in a way that is truly understandable. This is a film with fabulous production, as the camera pans through each scenario to follow every alter character on their journey. The colour grading throughout the film is wildly bold and striking and with loud block images working to create a very artistic style. As a result, the gorgeous lighting and colours adds plenty of flair to otherwise a more serious topic, which one could argue does make the film not just deeply enjoyable, but very accessible too. We are given incredible insight into who Kitoko Mai is as a person, as well as their original creativity and style. This, along with cleverly creative cartoon animation and wild fashion, compels the viewer to never take their eyes away from the screen. Ultimately, Thriving: A Dissociated Reverie is a brief and beautiful short that does not romanticise mental illness, but rather speaks on it in a way that educates and informs a wide audience. It follows a journey towards self-acceptance and empowerment as Kitoko Mai recognises that she is a survivor and embraces all their alters to work with their condition rather than against it. This is a fabulously enjoyable film with a real truth behind it. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film, Film Festival, LGBTQ+ < All Reviews Next Film Review >

Broken Bastion film review by UK film critic Jason Knight. Starring Ruggero Barlaba, Lucas Davis, Stephanie Small, Ramsey Royden directed by Jack Smith. HOME | FILMS | REVIEWS Broken Bastion Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 8, 2025 Directed by: Jack Smith Written by: Jack Smith Starring: Ruggero Barlaba, Lucas Davis, Stephanie Small, Ramsey Royden A short sci-fi thriller written and directed by Jack Smith and starring Ruggero Barlaba, Lucas Davis, Stephanie Small, Ramsey Royden. Mercury (Barlaba), Hoplite (Davis) and Icepick (Small) are a team of superheroes in Britain. When they are assigned by the government to go after a man named Grainger (Royden), Mercury and Hoplite are sceptical about it as they distrust the government and are unsure about Grainger's guilt. Nevertheless, Mercury agrees to spy on their latest target, leading to dramatic consequences. A tense and exciting story that combines the superhero genre with espionage and government issues. Interestingly, the screenplay does not rely as much on the heroes pursuing the suspected bad guy, as it does on them questioning whether he truly is guilty, whether he actually is a threat. Although this short involves characters with supernatural powers, their special abilities are seen in use only briefly. It is also worth mentioning that there is also some cool hand-to-hand fighting. However, this story unfolds mostly as a psychological suspenseful drama, focusing primarily on the protagonists's opinions regarding their current mission. Barlaba plays the main character, a young man who finds himself caught in a struggle between completing his mission and whether the person he is pursuing truly is a fiend. Davis portrays the character who is the most intriguing, a martial arts expert who (like Mercury), has doubts regarding Grainger. Icepick is different in comparison with her two colleagues as she does not share their point of view, instead she believes that they must complete their mission no matter what. During his brief appearance as the alleged villain, Royden's performance gives the impression of a harmless and innocent guy. The script appears to be examining people's disapproval towards government. The story's suspense is generated mainly by the trust and distrust that the characters are feeling towards government. Additionally, morality is another key theme, with characters questioning whether they should eliminate someone just because they were told to do so, even if their guilt is not confirmed. An interesting thriller with supernatural powers, mystery and some action that acknowledges the significance of trust and verification. And special mention goes to Dominic Cairns for the atmospheric and unsettling music that creates a moody atmosphere. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Qubool film review by UK film critic Amber Jackson. Starring Abhinav Mondal, Hrivu Basu Ray, Moutali Sarkar directed by Ankit Singha. HOME | FILMS | REVIEWS Qubool Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Dec 16, 2022 Directed by: Ankit Singha Written by: Ankit Singha Starring: Abhinav Mondal, Hrivu Basu Ray, Moutali Sarkar Qubool is a Bengali-language Indian short film that sees protagonist Ahmar Ali meeting with an old friend, Soumya Adhikary. Soumya has become famous as a filmmaker and so Ahmar has a story to narrate to him in the hopes that he would make a film out of it. The conversation begins earnestly enough between the two men, as they share thoughts and ideas on humanity and how best to tackle the subject of the story on screen. However, this sweet story of two friends reuniting soon turns desperately sour. With an incredibly complex plot and characters excelling audience expectation, Ankit Singha’s film takes a dark direction as he handles these characters within an unexpected backdrop of humanism. This film looks and feels as though it has fallen out of time. Colour grading used allows the environment to feel dated in a good way and although only thirty minutes in length, watching Qubool feels as though it is paying homage to the Indian cinema that came before it. Viewers feel as though they are experiencing the journey that Ahmar and Soumya are on with them and this allows the film to feel grittier and more realistic. It feels authentic and the heat and humidity of India can be felt consistently whilst watching. Likewise, the film’s cinematography is very clever as it does not give the viewer too much, but just enough information to lull them into a false sense of security. Camerawork starts steady and becomes even shakier as it jerks around with the chaos of Ahmar’s story. Soumya’s cool demeanour and matter of fact characterisation heavily contrasts with Ahmar’s seemingly pensive personality. Their dynamic has a slow edge of mystery and intrigue that is surprisingly captivating, and Singha unpicks this deliberately on screen. Ahmar in particular is beautifully acted by Abhinav Mondal as a multi-layered man who seeks to take control of the world around him. His initially sweet demeanour becomes fascinating to watch as the film progresses, which is also a testament to the amazing work that Mondal puts into bringing the great script alive. Qubool begins to turn deeply unsettling as it makes its mark as a complicated psychological film. The film begins with gruesome and unnerving images, but the viewer is permitted to forget what they have seen and instead are lulled into a false sense of security in trusting those on screen. By the end, the story becomes increasingly uncomfortable by which point it takes the viewer completely by surprise and it is incredibly unnerving. Ankit Singha takes this short in such a fantastic direction as he interrogates preconceptions of its characters and if sympathy should be felt for them. Whilst the film becomes a disturbing insight into psychopathy, it also gently handles issues of stigma and anxiety and personal torment which are challenging themes to balance. Qubool is an intensely dark viewing experience as the plot twists in ways that are most unexpected. Yet at the same time, we should have known the direction it was going all along. It is a fantastic provocative film and well worth watching. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film, World Cinema < All Reviews Next Film Review >

Manhunt film review by UK film critic Jason Knight. Starring Adam Behan, Jordan Coombes, James McClean, Sheena Kelly, Eoin Halpin directed by Ian Adams. HOME | FILMS | REVIEWS Manhunt Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 25, 2022 Directed by: Ian Adams Written by: Ian Adams Starring: Adam Behan, Jordan Coombes, James McClean, Sheena Kelly, Eoin Halpin A group of people find themselves in the woods and pursued by a killer. Tommy (Behan) is a young man who is depressed and an alcoholic and is living a solitary life. He is invited to a house party for a boy's birthday and reluctantly agrees to attend. The boy's mother is Sarah (Coombes) and things between her and Tommy are unstable due to their past. Other guests include some of Tommy's old friends and they get together during the party and have a few drinks. The next morning, Tommy, Sarah and a few other party guests wake up, only to discover that they are in a forest. None of them knows how they got there and it is not long before an unknown person begins killing them off. This is quite a tense horror slasher survival movie that also comes with a surprise revelation. It begins with a terrifying pursuit that ends in bloodshed, then goes on to introduce the characters and their situations, before ending up in the woods, where the carnage begins. None of the protagonists know why someone is after them and they get eliminated one by one as they try to get to safety and argue with one another. The feature works pretty well as a slasher, with a group of people in an isolated location and a masked person killing them, primarily by stabbing them. There is a great deal of arguing going on, a lot of nail-biting moments and plenty of gore. However, this is more than just a slasher, as it also contains a fair amount of drama. It is a story that explores friendship, morality, infidelity, regrets, alcoholism and depression. Regarding the characters, Tommy makes an interesting protagonist and Behan effectively portrays him as an unmotivated, sad person who avoids socialising. McClean also does a good job as Tommy's friend Adam, who appears to be lacking courage. As the director of photography, Joe Reid develops cinematography that creates a downbeat atmosphere. The music by Oisin Mac Giolla Bhride is tense and sinister and goes very well with the scenes. This is an enjoyable slasher film that has suspense, nail-biting moments and dramatic plot twists. With this feature and The Lads , Adams is proving himself to be a filmmaker worthy of recognition and it is exciting to think about what he will achieve in the future. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Repair - BFI Flare film review by UK film critic Amber Jackson. Starring Joshua Griffin, Ed White, Anna Crichlow directed by Bertil Nilsson. HOME | FILMS | REVIEWS Repair - BFI Flare Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Mar 29, 2023 Directed by: Bertil Nilsson Written by: Bertil Nilsson Starring: Joshua Griffin, Ed White, Anna Crichlow Repair is a UK-based short film that portrays a neurodivergent man who faces a choice after an embarrassing moment at the supermarket. Ramin, a young man with a love of design, finds it challenging to understand non-verbal communication and this short film immerses the viewer into his experiences of wanting to learn more about body language and gestures. It is an easy and gentle watch, with plenty of inner conflict and inventive production that keeps the viewing light and engaging. Ultimately, it provides a deeply sensitive portrayal of neurodiversity and the feelings of frustration that this can cause a person. The film itself is fantastically shot to convey protagonist Ramin’s thought processes as he interacts with the world around him. There is a very aesthetic atmosphere throughout, with plenty of still shots laid out in a very formulaic and particular way. There are plenty of details that cannot be overlooked in each of these shots, from the intense focus on the vegetables at the supermarket, to the glowing white light that occasionally shines down on Ramin. All of these deliberate decisions taken by writer and director Bertil Nilsson really place the viewer into Ramin’s world. We are given the visual sense when he is finding something difficult, as well as when he is able to express what he is passionate about. Each effect and focus works together to convey his feelings, particularly when he is overwhelmed, which attests to the tender intention of the short. In addition to the feel of the film, there are plenty of aesthetic choices that make it pleasing to the eye. There is a subtle colour grading throughout each frame that feels nostalgic which, combined with score and costumes, make the film itself feel timeless. As Ramin interacts with supermarket employee Mark more, viewers get the sense that this story could take place at any point in time, which makes the film feel even more accessible for a wide audience. Each encounter between both men are completely wholesome as they seek to learn more about each other. In sharing their personal knowledge and their interests, they connect in a way that embraces neurodiversity in a refreshing and unique perspective. Repair is such an intelligent and impactful short film, with the cleverness of the production extending right the way down to the end credits. It is a film that truly captures the mindset and characterisation of its main character and is a beautiful viewing experience. Buy UKFR Banner Space About the Film Critic Amber Jackson LGBTQ+, Film Festival, Short Film < All Reviews Next Film Review >

Delivery Run film review by UK film critic James Learoyd. Starring Alexander Arnold, Jussi Lampi, Liam James Collins directed by Joey Palmroos. HOME | FILMS | REVIEWS Delivery Run Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Oct 7, 2025 Directed by: Joey Palmroos Written by: Joey Palmroos, Anders Holmes Starring: Alexander Arnold, Jussi Lampi, Liam James Collins If you’re a fan of car chases, snow, and spectacle, it’s unlikely that Joey Palmroos’ new road-thriller Delivery Run could possibly let you down. Simultaneously suspenseful and amusing, this Duel-inspired action extravaganza follows the character of Lee (Alexander Arnold) – a down-on-his-luck pizza delivery person who’s up to his neck in debt and constantly fretting over the well-being of his goldfish. Things get far worse for Lee, however, when a murderous snowplow driver sets his bloodthirsty sights on our unfortunate protagonist. This is a ridiculously entertaining feature. But more than that, it’s a beautifully orchestrated, taut work of authentic action filmmaking, featuring clear spatial geography, impressive car stunts and – in addition to the agreeable sense of humour – a feeling of genuine threat. At a certain point, Palmroos also experiments with genre by entering playful, slasher territory. Thus, this is a film which can appeal to a wide range of movie-goers. The first thing to say is that this film – having been shot in Finland (but set in Minnesota) – showcases some awe-inspiring location work. And beyond the beauty of the snowy vistas, it’s also an effective storytelling tool, utilised to enhance that sense of danger and ramp up the tension at every moment. We’re immediately immersed in the elements, with the remoteness of these roads and towns making our protagonist seem all the more out of his depth. And yet, you can’t just pick a great location; you also have to know how to shoot it to get the most out of your environment. The sturdy anamorphic cinematography goes a long way to emphasise not just the surroundings but also the subjects within the frame: every headlight beams across the frame with an imposing horizontal lens-flare, causing any approaching vehicle to appear strikingly sinister. In terms of the spectacle I previously spoke of, it’s important to note just how technically admirable this film is when it comes to shooting action and car chases. These are real cars on real roads; there’s nothing superficial or Hollywood about it. Much like Duel, there’s a stripped-down filmmaking attitude at play, and one willing to get these moments captured in-camera no matter what. There are so many inferior versions of this movie – films constructed with so much digital manipulation that the vehicles and their activities lack any kind of tactility. Whilst this film does feature CGI, it’s implemented intelligently and sparingly, and almost never as a stand-in for how any one vehicle is driving on the road. Featuring a strong central performance by Alexander Arnold. We spend the entirety of the movie with our protagonist, oftentimes when he’s acting alongside nobody else but a fish. The movie, therefore, rides on the quality and engagement of such a performance, and so it’s a great pleasure that Arnold is so convincing in the role. There’s always a nervousness and a panicked humour to his persona, which keeps the viewer empathetic. We're rooting for him, even as he makes wrong decision after wrong decision. Much like Duel, the film ends on a deliciously ambiguous note. A bittersweet denouement which leaves one wondering whether there is any recovery from such an ordeal. Buy UKFR Banner Space About the Film Critic James Learoyd Digital / DVD Release < All Reviews Next Film Review >

Voyager film review by UK film critic Jason Knight. Starring Ana Barja, Neli Llado, Oscar Domenech directed by Pablo Pagan. HOME | FILMS | REVIEWS Voyager Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 15, 2024 Directed by: Pablo Pagan Written by: Adria Cerezo, Pablo Pagan Starring: Ana Barja, Neli Llado, Oscar Domenech A young woman takes some mysterious pills, leading to sinister and otherworldly events. A dark story with a nonlinear narrative that involves the afterlife. The story takes place in Barcelona and revolves around Camila (Barja), a youth who makes a living by working as a party truck driver and takes care of Carmen (Llado), an ill and elderly loved one who is in a motel room. One night, while cleaning the lorry after a party, she finds a small container and inside are some strange pills. Every time she takes one, she appears to be transported to a supernatural existence where she is maybe a ghost. Meanwhile, her dead body is found by police, who try to piece together the events that led to her death. As the narrative is nonlinear, the screenplay alternates between the authorities, particularly detectives and forensics investigating Camila's bizarre death and Camila (or is it her spirit?) as she goes through magical experiences each time she takes a pill. Camila seems to be an outsider. A lonely and sad person who is isolated from the world and does not appear to be enjoying life. The pills seem to be providing her with a way to blend in the crowd, even as an invisible version of herself as, for instance, after taking a pill she finds herself inside the lorry, in the middle of a dancing crowd who are unaware of her presence. Combining this with the police investigation, the film could be categorised as a supernatural neo-noir thriller and a character study in Camila, a quiet person whose life changes after she finds some pills. The atmosphere is an aspect that stands out. The entire story takes place during night-time, providing a dark and surreal environment. Adria Acker's tense score and the creative lighting techniques, along with Marti Cirera's cinematography add significantly in creating a sinister tone. Also, the frequent close-ups of a dead body contribute. This short is a dark ride. A journey into a nightmarish world involving death. However, the film is also about isolation and the desire to find a way to connect with people and Barja's dramatic performance is a big tool in building an emotional experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >