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

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

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

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

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

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

Revenge Ride film review by UK film critic Patrick Foley. Starring Serinda Swan, Vanessa Dubasso, Pollyanna McIntosh directed by Melanie Aitkenhead. HOME | FILMS | REVIEWS Revenge Ride Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Feb 9, 2023 Directed by: Melanie Aitkenhead Written by: Timothy Durham Starring: Serinda Swan, Vanessa Dubasso, Pollyanna McIntosh A revenge fantasy in ‘Daughters of Anarchy’ dressing, Revenge Ride fails to draw interest or depth to its ultraviolence and anger aimed at toxic masculinity. After she is spiked and violently assaulted at a college frat party, Mary (Vanessa Dubasso) contacts her cousin Maggie (Serinda Swan) for help when she concludes the police won’t deliver justice. Maggie is a member of the Dark Moon – an all-woman biker gang led by the ferocious Trigga (Pollyanna McIntosh). The gang plot vengeance against the men who attacked Mary, but when Maggie falls in love with college student Brian (Diego Boneta), she is set on a collision course with Trigga’s unrelenting thirst for retribution. Revenge Ride feels like it was made for a different era, where a film focusing on an all-woman biker gang enacting payback would have felt bullish and defiant. But in a new age of unapologetic and layered female protagonists like House of the Dragon ’s Rhaenyra Targaryen or Black Panther’s Shuri and Okoye, throwing a leather jacket and tattoos on a character and having them drop the F word into every other sentence really isn’t sufficient to engender any relatability or intrigue in a character. And where Promising Young Woman demonstrated that revenge flicks can make genuine, heart-breaking commentary on the world’s disregard of women’s safety, films like Revenge Ride feel like total trite in comparison, despite their shared serious subject matter. That’s not to say this film would be a masterpiece yesteryear. The film never really demonstrates why the gang is so important to the women in it. Hints at past traumas and broad strokes of a sisterhood never really capture why Trigga is able to command such rabid loyalty. The one character whose attraction to the group does not need stating is Mary – but the film’s decision to make Maggie the protagonist diverts what would appear to be a straightforward theme of how reclaiming power and agency is attractive, but how the same power can corrupt. Mary instead becomes a secondary player in what feels like her own story – and without that establishment of the gang’s significance, the growing divide between Maggie and Trigga that threatens its future fails to entice as a plot. The film does touch on some interesting elements, but these are largely left unexplored – such as the college’s sporting institution stepping in to protect Mary’s attackers thanks to their football ability, or the police’s refusal to investigate Mary’s attack. Revenge fantasies against evil frat boys are fine and all, but further opportunity for skewering the factors that allow such people to exist and be protected in the real world feels wasted in favour of the flat ‘gang warfare’ structure. Dialogue is cringeworthy throughout – with aforementioned F words seemingly making up half the script to demonstrate how badass everyone is. The rest of the story is told through lazy cliches and soundbites. No one really expects Shakespeare from a Biker revenge film, but more defining and distinctive characterisation is desperately needed. This is unfortunately not found from the cast either, with Pollyanna McIntosh autopiloting her Walking Dead character and Vanessa Dubasso failing to convincingly bring out Mary’s fury. Serinda Swan benefits from a softer side of her character to sink her teeth into, but its far from sufficient to justify her character’s protagonist status. The visuals are crisp and feature some interesting scene composition, but there’s little else really redeeming about Revenge Ride. Where once the film may have worked as a cheesy b-movie or gory bloodbath, a brutal and sadly pertinent inciting incident and subject matter in 2023 demands a defter, more considered touch with more developed and critical ideas powering its story. WATCH THE OFFICIAL REVENGE RIDE TRAILER HERE . About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Heartland film review by UK film critic William Baines. Starring Maxine Goynes, Haskell Vaughn Anderson III directed by Jahmil Eady. HOME | FILMS | REVIEWS Heartland Film Review average rating is 5 out of 5 Critic: William Baines | Posted on: Aug 18, 2021 Directed by: Jahmil Eady Written by: Jahmil Eady Starring: Maxine Goynes, Haskell Vaughn Anderson III Heartland is an absorbing and thought-provoking short film that follows Jackie (played by Maxine Goyes) attempting to immortalize her dying Grandfather (played by Haskell Vaughn Anderson III) using new technology that records the two together and stores their memories. However, Jackie’s focus soon shifts from enjoying the last moments with her Grandfather to an obsession with the new tech as she begins to miss the last real memories. Jahmil Eady’s storyline is excellent. Powerful, thought-provoking and relentlessly entertaining. In a way, it acts as an examination of the modern world and how our attempts to immortalize our memories and loved ones through technology can harm our connections and enjoyment of everything. For me, I thought about what happens at events such as concerts today. A crowd of people going to see a band live, yet so many view it through the lens of their phone. It is another attempt to immortalize a memory by sacrificing making that memory in the first place. Eady takes this idea that we see so often in the modern world and shows us the risk of emotional damage that misusing technology can do. The cinematography of the film complements the storyline perfectly. Much of it is simplistic, but effective. The film is not necessarily an excessive exercise in the Directors style, (as so often seen by new filmmakers) but driven by a powerful storyline that is complemented by the graceful and subdued cinematography. An outstanding needle drop of Bill Wither’s ‘Lovely Day’ really ties together the sweet, beautiful images that Eady creates and makes us pray that Jackie does not miss the last beautiful memories that are unfolding in front of her. Maxine Goynes’ performance as Jackie is genuine, meaningful and always believable. Sharing the screen with the subdued yet outstanding performance by Haskell Vaughn Anderson III lead to a sweet relationship created. A relationship that a viewer fears could end bitterly and with regret. Overall, I cannot fault Heartland. It is a bold and meaningful storyline that acts as a warning for a trap that we can all fall into. Outstanding performances by Anderson and Goynes form a relationship on-screen that I am sure Eady aimed to create. The Directing style of Eady is faultless, too. Avoiding the over-the-top exercise in style trap that many new filmmakers fall into. Instead, making every shot count to what she really wanted to create. A short film with meaning, beauty and a message that you are unlikely to forget. About the Film Critic William Baines Short Film < All Reviews Next Film Review >

The Animal Kingdom film review by UK film critic Brandon Thomas. Starring Romain Duris, Paul Kircher directed by Thomas Cailley. HOME | FILMS | REVIEWS The Animal Kingdom Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Mar 14, 2024 Directed by: Thomas Cailley Written by: Thomas Cailley, Pauline Munier Starring: Romain Duris, Paul Kircher The relationship between Francois (Roman Duris) and his son Emile (Paul Kircher) isn’t just strained, it’s virtually broken. A mutation has swept the planet causing some people to transform into human-animal hybrids and Emile’s mother sits in a hospital as one of those affected. As Francois obsesses over treatment for his wife, he fails to notice the significant transformations occurring in his own son. The Animal Kingdom surprises from the start with a focus squarely on the characters and their relationships, not the genre elements. What easily could have been typical genre fodder (and there’s nothing wrong with that from time to time) instead grapples with complex emotions and real-world metaphors. While the elements surrounding the mutations are visually impressive and interesting, Francois and Emile’s relationship anchors the film. Speaking of the visuals, the make-up and added CG effects on the mutated are outstanding. The emphasis is placed more on the practical work, but the almost seamless blending of the two styles makes for an incredible final product. Not only do the character designs have an intriguing originality to them, but they also allow the characters’ humanity to bleed through. It’s an approach to visual effects that is unfortunately not the norm for these types of films. The Animal Kingdom ’s commentary on real-world events is presented front and center, but not in an overly heavy-handed way. Writer/Director Thomas Cailley and co-writer Pauline Munier have crafted a story that works on an emotional and visceral level, but also as a broader comment on newer diseases and the fear that it brings to the surface. It never feels like Cailley is preaching to the audience even when the film’s point is hard to miss. Audiences looking for more emotional genre fare will be quite pleased with The Animal Kingdom and its emphasis on character. About the Film Critic Brandon Thomas Theatrical Release < All Reviews Next Film Review >

Trunk film review by UK film critic George Wolf. Starring Sina Martens directed by Marc Schießer. HOME | FILMS | REVIEWS Trunk Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 25, 2023 Directed by: Marc Schießer Written by: Marc Schießer Starring: Sina Martens You get the sense early on that the German thriller Trunk may have some pleasant surprises in store. Malina (Sina Martens, terrific in a physically demanding role) wakes up to find herself badly injured and confined to the trunk of a car. The trunk is ajar, and before the driver returns to shut her inside, Malina is able to retrieve her cell phone. And lemme guess, the phone’s almost dead, right? FULL POWER. Okay, then, here we go! Dialing a series of well-chosen contacts, Malina has to 1) stay alive, and 2) piece together what’s happening while she looks for an escape route. Writer/director Marc Schießer proves a solid triple threat here, also handling the editing duties with a deft hand and solid instincts for pacing and tension. The cinematography is on point, as well. And while this particular trunk seems unusually roomy, Schießer consistently lands precisely the type of claustrophobic camera angles and POV shots that Liam Nesson’s recent car-centric thriller Retribution tried in vain to achieve. You may send up sniffing out some the mystery at play, but even so, Schießer’s crowd-pleasing finale will be no less satisfying. Trunk is a taut and well-constructed thriller, one that adds enough detours to a well-traveled road until it’s fun again. So climb in, and enjoy the ride. About the Film Critic George Wolf Indie Feature Film, Film Festival < All Reviews Next Film Review >

Somnium film review by UK film critic William Curzon. Starring Chloë Levine, Grace Van Dien, Johnathon Schaech, Will Peltz directed by Racheal Cain. HOME | FILMS | REVIEWS Somnium Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 8, 2025 Directed by: Racheal Cain Written by: Racheal Cain Starring: Chloë Levine, Grace Van Dien, Johnathon Schaech, Will Peltz Somnium follows Gemma, an aspiring actress who moves to LA. She gets a job working a night shift at an experimental sleep clinic that promises to make its clients’ dreams come true. The longer Gemma spends there, she realises it is not all what it seems as mysterious events begin to unravel around her. While the premise of the piece feels somewhat formulaic at first, with the Hollywood cautionary tale approach, although, in terms of tone, it feels much more like a psychological science fiction drama than a horror. While its moments of horror are visceral and grotesque, akin to David Cronenberg’s signature style, the focus seems to be primarily on the inner turmoil the protagonist faces throughout. The characterisation can feel sadly restrained at times and reduced to brief flashbacks with a coming-of-age tonal shift, although the ambiguity almost makes it more intriguing to uncover more around Gemma’s past and present ambition. The main standout of the piece is Chloë Levine’s performance as Gemma; she is utterly terrific and elevates a lot of the screenplay due to her commanding screen presence and nuance as the protagonist. The supporting cast, including Grace Van Dien, Johnathon Schaech, and Will Peltz, was also solid; their characters portray helping parts of Gemma’s journey positively and negatively as she navigates fame; however, most of the narrative primarily focuses on Gemma throughout the majority of the runtime. Another major standout of the piece is Racheal Cain’s direction. As a debut feature, the production design and camera work were incredibly impressive, deftly directed by Cain with a keen eye for suspense and horror. Even with the film's budget constraints, the VFX are astounding for a smaller feature with a mix of practical and visual effects; some viewers may find certain imagery thoroughly unsettling due to this. The visual style of the film at times felt neon-drenched with its use of intense saturated colours in the interior scenes within the sleep clinic, with a synth-heavy musical score to accompany the tone stylistically. Scenes set around the sleep clinic tend to be presented within minimal space, almost claustrophobic with its use of tight corners and low-key neon lighting to create greater tension within sequences of terror. While these scenes are remarkable due to their formal prowess, they're sadly underutilised, and some viewers may find this disappointing due to the marketing and premise heavily suggesting scares being the main focus. The tonal balance between psychological drama and horror can feel jarring at times; however, the piece does tend to focus more heavily on the slower characterisation than spectacle. Cain was potentially more interested in utilising horror as a backdrop for a deeper character study. Thematically, the focus is set around the misfortunes of the Hollywood dream as an aspiring actress. There are perhaps allegories to escapism, such as the dream state within the sleep clinic being a coping mechanism for Gemma, to make her dreams real, even with all the pain she’s suffered from within the nightmare and reality. Similar to the way in which Hollywood is presented, where your dreams come true initially, but in reality, that's not always the case. While the pacing may meander at times with a lack of threat consistently looming over Gemma, the final moments of the piece do wrap up her journey in a satisfying manner that makes the slower moments feel earned in the end. Somnium is an impressive debut feature from Racheal Cain with an incredible central performance from Chloë Levine at the centre of it all, that prioritises character focus over spectacle-heavy horror set pieces with a unique plethora of technical standouts. While it may suffer from a couple of pacing issues and perhaps a lack of consistent engagement, Cain takes creative risks in making a slow-burning approach to the narrative structure. The piece undeniably wears its influences on its sleeve while being an original force of nature in genre filmmaking. Somnium will be available on Digital Download from 8th September. About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

Film news - Another Round UK DVD And Blu-Ray Release Date Announced. Find out more at UK Film Review. Another Round UK DVD And Blu-Ray Release Date Announced Chris Olson Tuesday, August 10, 2021 at 3:41:10 PM UTC ANOTHER ROUND ON EST FROM 24 SEPTEMBER 2021 & DVD, BLU-RAY and DIGITAL FROM 27 SEPTEMBER 2021 Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. ANOTHER ROUND is a darkly funny drama which unfolds from a group of weary middle-aged teachers, led by Mads Mikkelsen, who embark on an experiment to see if being in a state of slight and constant intoxication will improve their outlook on life. While results initially seem positive, the experiment quickly begins to spiral out of control with dire consequences. There’s a theory that we should be born with a small amount of alcohol in our blood, and that modest inebriation opens our minds to the world around us, diminishing our problems and increasing our creativity. Heartened by that theory, Martin (Mads Mikkelsen) and three of his friends, all weary high school teachers, embark on an experiment to maintain a constant level of intoxication throughout the workday. If Churchill won WW2 in a heavy daze of alcohol, who knows what a few drops might do for them and their students? Initial results are positive, and the teachers’ little project turns into a genuine academic study. Both their classes and their results continue to improve, and the group feels alive again! As the units are knocked back, some of the participants see further improvement and others start to go off the rails. It becomes increasingly clear that while alcohol may have fuelled great results in world history, some bold acts carry consequences. With a BAFTA nominated performance from Mads Mikkelsen at its centre, Thomas Vinterberg’s ANOTHER ROUND is a must-see dramatic comedy for all film fans everywhere. Extras Interview with Mads Mikkelsen & Thomas Vinterberg at the Festival de Cannes 2020 ANOTHER ROUND is released on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read our Another Round film review . The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). 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Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now