Howling Village film review by UK film critic Brandon Thomas. Starring Ayaka Miyoshi, Ryota Bando directed by Takashi Shimizu. HOME | FILMS | REVIEWS Howling Village Film Review average rating is 3 out of 5 Critic: Brandon Thomas | Posted on: Aug 11, 2021 Directed by: Takashi Shimizu Written by: Daisuke Hosaka, Takashi Shimizu Starring: Ayaka Miyoshi, Ryota Bando Takashi Shimizu is J-horror (Japanese horror) royalty. His Grudge series of films were just as influential and important as Ringu, Dark Water and Pulse . Shimizu has earned his bona fides, and while the Howling Village doesn’t quite reach the heights of his earlier work, it’s still an effective entry into the ghost story realm. Anika (Rinka Otani) and her boyfriend, Yuma (Ryoto Bando), enter the “Howling Village” late at night to witness the mysterious village for themselves. After a harrowing encounter, Anika seemingly ends her own life even though she died on land with water in her lungs. A distraught Yuma disappears into the Howling Village once more, this time with his younger brother at his side. As Yuma’s older sister, Kanata (Ayaka Miyoshi), begins to piece together the mystery around her brothers’ disappearance, the forces around the Howling Village, and Kanata’s family, rise up to stop her. Early on, Howling Village sets the stage for a complicated mystery between Kanata’s family and the village itself. These types of ghost stories love to mix family drama and tradition with the supernatural. The ones that do it well (Hereditary , The Changeling ) do it extremely well, while those at the other end of the spectrum usually end up adding one too many layers that weigh the story down. The film’s mix of mystery and horror would’ve worked better had Shimizu ironed out the details with more precision The narrative becomes contrived and confusing – often bouncing around to different characters and plots without finishing the thought of those individual scenes. Howling Village is a film that wants to comment on prejudice, greed, and how those two things end up coalescing into one heinous act. The script just never quite manages to do anything more than make a superficial comment on either topic. All is not lost though. There are a few successful scares that are right up there with the best of J-horror. Shimizu’s fantastic grip on the tonal dread throughout the film is really the saving grace. Sure, the mystery bogs things down, and some of the rules don’t make a lick of sense, but the super creepy visuals and situations make up for the shortcomings. Howling Village takes some big swings at the story it tries, but ultimately fails, to hit. The major narrative surprises may fall flat, but the film manages to make up some ground through solid scares and atmosphere. Buy UKFR Banner Space About the Film Critic Brandon Thomas Theatrical Release, Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

Blood in the Snow film review by UK film critic Matt Trapp. Starring Sam Teague, Kai Turner directed by Joseph Jeavons & Sam Teague. HOME | FILMS | REVIEWS Blood in the Snow Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Jan 28, 2026 Directed by: Joseph Jeavons & Sam Teague Written by: Joseph Jeavons, Sam Teague, Owen Swift Starring: Sam Teague, Kai Turner A charming throwback to teenage awkwardness in the mid 2000s, Blood in the Snow stars Sam Teague and Kai Turner as Wilhelm and Pluto, two school friends who take on a case to investigate reports of a shapeshifter in the wilderness. The film has an eccentric energy and is often very funny. While it’s very clear that it’s the directorial debut of Teague and Joseph Jeavons, Blood in the Snow is an admirable effort. The filmmaking is crude and the pace occasionally drags, but overall there’s a unique and immensely likeable quality to the film that audiences may be won over by. Blood in the Snow has a sharp script where the comedy really shines. It’s helped in great part thanks to the great chemistry between Teague and Turner who bounce off each other with ease. Turner especially has an enormous amount of charisma as Pluto who is equal parts endearing and sincere. He plays second fiddle to Wilhelm who takes on a pretty overbearing role as the de facto leader of the two friends. The dynamic between the two characters is reminiscent of the character dynamics found in Wes Anderson’s filmography, Wilhelm feeling particularly inspired by Jason Schwartzman’s Max Fischer in Rushmore . The two are somewhat socially ostracized from their peers, and they appear to spend most of their time socializing with the local eccentrics. The sillier side characters such as Keith (Bobby Bye) didn’t always feel cohesive in the world, and while it should be clear to audiences what their narrative purpose is, the comedy feels less confident when the reins are taken away from Teague and Turner. Blood in the Snow is at its most interesting and comfortable when Wilhelm and Pluto are navigating the usual pitfalls of teenage boys at school, playing into the awkwardness of being the ‘weird kids’, as well as the challenge of girls driving a wedge between them. While the performances and the script are generally solid, Blood in the Snow could have used more dynamic filmmaking methods to keep audiences invested. Some scenes drag on without a cut for far too long, the handheld camera floating with uncertainty between two characters. It can sometimes create a lethargic pace which doesn’t compliment the punchy, staccato back and forth between the characters. It’s a shame because the script is really begging for the filmmaking to keep up, and it creates a tonal dissonance. The result is that the film looks to be lacking in energy. Audiences would do well to remember that this is the directorial debut of 19 year old university students, but it must be said that the filmmaking lacks youthful vigor. Jeavons and Teague have done well to capture the mood of 2005 in their film, intelligently using their limited budget to create a real sense of time and place. Blood in the Snow is ultimately a heartwarming narrative of awkward friendships and being an outsider at a tender time of life. It’s a respectable effort for the most part. The ending arguably undercuts the main themes, and audiences may find it jars with the rest of the film. Having said that, the film is genuinely funny, and the feeling that the filmmakers had a blast making Blood in the Snow really shines through. Buy UKFR Banner Space About the Film Critic Matt Trapp Indie Feature Film < All Reviews Next Film Review >

Are We Doing This? film review by UK film critic Patrick Foley. Starring Owen Frost, Jessica Lundholm, Liam Harkins directed by Harvey Puttock. HOME | FILMS | REVIEWS Are We Doing This? Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: May 21, 2023 Directed by: Harvey Puttock Written by: Harvey Puttock Starring: Owen Frost, Jessica Lundholm, Liam Harkins A comedy short about a new couple seemingly thrust unwittingly into a sex party, Are We Doing This? unfortunately is no orgy of laughs. This brand of comedy may win over the BBC three crowd, but a lack of real wit makes it ultimately forgettable. Mia (Jessica Lundholm) and Jeff (Owen Frost) are a new couple attending a party thrown by Mia’s boss Victoria (Claire Johnson). Mia sees the party as a chance to leave a good impression that might secure her a promotion. But upon arrival, they are greeted by a bowl of keys, a blow-up doll, and their ‘partners’ for the evening. The pair are faced with learning much more about each other than they bargained for, though something about the party suggests not is all as it seems… Are We Doing This? is a classic redirection comedy – driven by a premise that feels about as old as the genre itself. Viewers will be able to map out the plot blindfolded, though lack of originality is not always a millstone for such films if the jokes land. Unfortunately, there are more misses than hits here, more polite chuckles than guffaws. It at least manages to be sex-positive without being puerile, and innuendo thankfully never gets too Carry On. But the plot twist that the gags encircle, that ought to be the film’s moment of maximum hilarity, is ultimately undercut by the overall lack of shame, embarrassment or awkwardness of the two protagonists. Mia and Jeff shrug off what should be a mortifying scenario with the effusiveness of a Marvel character, and never seem challenged or tested by their situations, or the situations their partner may be in. Without any obstacles to overcome or truths to confront about themselves, it’s difficult for viewers to both become invested in the characters and the relationship, or find real humour in their predicament. The gags themselves are too direct – to the point audiences will lose any sense that these are real people in a real situation. Mia’s party partner Dominic (Joseph Emms) would require the patience of a saint not to query why someone he has just met is so eager to discuss places she has had sex with him. Meanwhile Jeff’s confusion at why his ‘best moves’ aren’t working makes little sense considering the massage he had just been receiving from Owen (Liam Harkins) – who seems to have made the same mistake as the couple until it stops being convenient for the story. And word to filmmakers – the term ‘Butt-stuff’ stops being funny in of itself around the time you turn 16 (my own snicker to myself upon typing it out just now notwithstanding). Jessica Lundholm and Owen Frost do convincingly portray the awkwardness of a newer couple exploring each other’s personalities and boundaries, though neither demonstrate particularly effective comic timing – which may be as much a consequence of poor writing as their acting ability. The film’s funniest moments ultimately come courtesy of editing rather than the script or line delivery. It’s strangely impressive (though not complimentary…) that a film about sex parties is so inoffensively forgettable. Underdeveloped characters, jokes and concepts make Are We Doing This? as limp as… well, you get the gist. In answer to that title: No, we’re not. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

ANIMALS film review by UK film critic Finn O'Toole. Starring Serine Sianosian, Rachel Alig directed by Maya Gray. HOME | FILMS | REVIEWS ANIMALS Film Review average rating is 5 out of 5 Critic: Finn O'Toole | Posted on: Jun 8, 2026 Directed by: Maya Gray Written by: Maya Gray Starring: Serine Sianosian, Rachel Alig Following her mother’s passing, Zoya invites a stranger, Amelia, to stay in her family home after an Airbnb mixup. What begins as an innocent-seeming mistake gradually transforms into a hostile takeover. ‘Animals ’, by filmmaker Maya Gray, will take audiences on a wild, unpredictable and disturbing ride that will have you hanging on every word. The highlight of the film by far is the excellent central performances. Serine Sianosian brings Zoya to life with a deeply complex performance – limiting her grief and turmoil to subtle micro-expressions. This adds a striking sense of naturalism which ensures viewers’ suspension of disbelief. Rachel Alig, as Amelia, brings an entirely different energy to the piece. At first seeming harmless and naive, Alig crafts a performance that slowly peels back layers over the film’s runtime to eventually reveal a character that is hostile and cunning to the most malevolent extent. The shifting power dynamics between these two characters, who mask so much of their true emotions and intentions, lies emphatically at the heart of the narrative. Despite the spectacle of the central performances, praise should also be given to Gray’s expert direction and understated cinematography by Olugbenga Osikomaiya. The cold colour grading that makes the house feel barren, high visual contrast, tight frames, and cluttered set design all help to provide a palpable feeling of claustrophobia. These things may go unnoticed to the untrained eye, but these choices are essential to the uneasy atmosphere of the piece – whether audiences pick up on it or not. A key reading that one may take away from this story is the very striking parallels to colonialism. This is expressed nowhere better than in the sequence titles throughout the film: Preparation | This is where Amelia lays her foundations. She uses pity and coercive tactics to convince Zoya to let her stay overnight, before gently pushing boundaries and converging on her personal space by sleeping in her bed – much like colonial incursions where access is gained gradually under the guise of cooperation or necessity. Persecution | Echoing how colonial powers often frame expansion as benevolent while extracting further concessions, Amelia then manipulates Zoya by performing a “kind” act (making breakfast). At the moment of delivering this “gift”, she then springs the unreasonable question of moving in permanently, leveraging the breakfast against Zoya and portraying her as the unreasonable party. Hunger | This is where the key mechanism of control comes in, becoming the gatekeeper of Zoya’s sustenance, therefore making herself essential while maintaining all the power in the dynamic. Execution | Taking the first sign of resistance as an excuse, Amelia then brutalises Zoya and disposes of her – a feature of colonial campaigns throughout history which is even present in current world events. Denial | The final step; denying anything ever happened and offering trivial compensation, such as naming the new dog after Zoya, to anyone who speaks out about it. These factors, and the motif of Amelia grotesquely guzzling down water with an unquenchable thirst for more, perfectly portray this theme in a unique and eye opening manner – paralleling procedures used to enter, replace and colonise various cultures throughout history. ‘Animals’ is a slowly unravelling farce of power and control. Gray outlines pertinent themes of colonialism on a scale more easily digestible for viewers by localising it in the conflict between two characters, resulting in a visceral drama that doesn’t waste a single beat. With such a high level of artistry on display, I eagerly await what Maya Gray and company decide to create next… Animals is screening at the 2026 Raindance Film Festival. Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

Watch Boomslang 2: The Dinner at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. Boomslang 2: The Dinner Listen to our review on the film podcast What our film review said: READ FULL REVIEW This short is an entertaining experience with well-written dialogue, interesting characters and performances that succeed in being quite a joy to watch. Throughout its twelve-minute duration it never loses its ability to be comical and it will most likely provide the audience with a good laugh. Proudly supporting MediCinema for our 2022 film festival.

Flirting with Darkness film review by UK film critic Jason Knight. Starring Valtteri Toivanen, Hanna Ukkonen directed by Valtteri Toivanen. HOME | FILMS | REVIEWS Flirting with Darkness Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 19, 2024 Directed by: Valtteri Toivanen Written by: Valtteri Toivanen Starring: Valtteri Toivanen, Hanna Ukkonen An experimental, surreal short horror film written and directed by Valterri Toivanen and starring himself and Hanna Ukkonen. This short is about an unnamed young man (Toivanen) as goes on a journey on foot, by himself. He appears to be all alone, no other human to be seen. Beginning from a beach, he walks through the woods, before reaching what appears to be an abandoned factory. Throughout his journey, he will encounter a variety of strange and sinister objects such as a mask, a book on the occult, a candlestick holder and a statue of an angel. All these seem to be guiding the man somewhere. Where though? And why? Filming was executed in black-and-white, which helps create a sinister atmosphere, an atmosphere that is further supported by an ominous score that includes sounds of a pipe organ. There are no spoken words, instead texts and title cards are utilised in order to provide hints regarding the story and to create some dialogue. The film is separated into chapters by the animated appearance of tarot cards, each symbolising the chapter's title that has names such as 'Faith' and 'Judgement'. The creative sound effects are another element that adds to the dark atmosphere and they include static sounds and a sinister laughter. Acknowledgement also goes to the way the filmmakers make a flame appear in colour. If one wants to comprehend what they see here, what exactly is going on and what the meaning is regarding the occurrences and the objects, then they might struggle. The man's indentity is a mystery and the significance of the objects is not explained, which is not a bad thing, as it gives the viewer the opportunity to make their own conclusions. Toivanen's character is a guy who appears to be confused and angry and to be searching for something. Dressed in black and with black makeup under his eyes, he resembles a Goth person. As he does not speak, understanding him can only be done through his actions, as he interacts with the objects that he encountersand the title cards that provide clues regarding his feelings. Toivanen's performance is light, with limited emotion. The themes in this film are hardly joyful. The film contains quotes from Divine Comedy by Dante Alighieri, a poem that deals with death and hell and death appears to be part of this short in the form of a woman (Ukkonen) and the journey that the man embarks on could be representing hell due to the objects that are encountered and the sinister events that take place. The feelings of isolation and desperation are present and religion is also part of this film. Those who appreciate experimental and surreal films are the ones who are most likely to be the biggest fans of this short. Those who expect a coherent narrative and messages that are clearly evident might not find this film to their liking. Overall, this is an interesting achievement. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Flux Gourmet film review by UK film critic Hope Madden. Starring Fatma Mohamed, Gwendoline Christie, Asa Butterfield, Makis Papadimitriou directed by Peter Strickland. HOME | FILMS | REVIEWS Flux Gourmet Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 21, 2022 Directed by: Peter Strickland Written by: Peter Strickland Starring: Fatma Mohamed, Gwendoline Christie, Asa Butterfield, Makis Papadimitriou There is something so delightfully confounding about trying to review a Peter Strickland film. Even summarizing the plot is a walk into absurdity. For example, Strickland’s latest, Flux Gourmet , takes us inside a culinary collective institute. Here, sonic caterers and a man documenting them struggle with artistic authenticity. What are sonic caterers, you ask? Maybe you didn’t, but I did. They are sort of performance artists whose medium is food. Elle (Strickland regular Fatma Mohamed), Lamina (Ariane Labed, The Lobster , The Souvenir ) and Billy (Asa Butterfield, Hugo ) are the collective who’ve earned this year’s residency. Jan Stevens (Gwendoline Christie) oversees the institute. Stones (Makis Papadimitriou) documents. Stones also narrates the film, and while his voiceover does help to articulate the plot of the film, his main focus is his own humiliating and painful flatulence problem. The film often plays a bit like Strickland’s 2012 treasure Berberian Sound Studio , where an amiable outsider — a normal, nice guy — finds himself trapped with hedonistic, narcissistic artist types. Can he escape with his goodness intact? Both films fixate on sound design, but Flux Gourmet settles into lighter, more clearly comic territory. And, at the risk of trying to read too much into Strickland’s absurdities, the film seems to say a lot about filmmaking as art versus commerce—the vulgar act of consuming and producing. Which brings us back to poor Stones. Papadimitriou’s sympathetic performance delivers a nicely human counterpoint to the narcissistic, shallow characters that surround him. Christie, lavishly costumed and made up, is especially entertaining. Her patronizing sparks with Mohamed’s dictatorial Elle create absurd comic gold, only outdone by the self-impressed in-house medic, Dr. Glock (Richard Bremmer). Strickland’s carved himself a recognizable niche in modern absurdist filmmaking with his precise, eclectic visual instincts. Funnier than Yorgos Lanthimos, more biting than Quentin Dupieux, more accessible than Leos Carax, Strickland wallows in his own very specific preoccupations. But he does so with such panache that it’s tough not to let him convert you. This story feels somewhat slight compared to the complicated plotlines of Strickland’s earlier films, especially his 2018 horror treasure In Fabric . But Flux Gourmet is the filmmaker’s funniest feature. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Look At Me film review by UK film critic Joe Beck. Starring Javier Bardem, Chris Rock directed by Sally Potter. HOME | FILMS | REVIEWS Look At Me Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Nov 7, 2022 Directed by: Sally Potter Written by: Sally Potter Starring: Javier Bardem, Chris Rock Hollywood has an obsession with ‘what could have been’. It’s a question which haunts many of its finest films, from ‘La La Land’ to ‘Sunset Boulevard'. However, it is perhaps ‘A Star Is Born’ - that eternal Hollywood fairytale - to which ‘Look at Me’ is most similar. Similar, but also distinctly its own short, ‘Look at Me’ takes the best parts of Hollywood classics, but is also inventive, and creates its own story. Directed by Sally Potter, whose previous credits include ‘Orlando’ and ‘Ginger and Rosa’, ‘Look at Me’ is a stunning examination of the pressures of work, and providing for others. Potter imbues each scene with a sense of emptiness - from a sparsely populated warehouse to an expansive rooftop - illustrating the isolation felt by Leo (Javier Bardem reprising his role in the underrated 2020 film ‘The Roads Not Taken’) and his boss, and partner, who is played by Chris Rock. Leo is a drummer, that much would be clear just from his long, grungy hair, although the fact that he’s sat behind the drums is perhaps a better indicator. He’s been hired by Rock to play the beat for a dancer at a fundraising gala for the unjustly incarcerated. In what appears to be a cage, Leo plays his drums, with intrinsic close-ups of his face, as Rock watches on disapprovingly, eventually pulling the rehearsal to a stop with the belief that ‘simpler would be better.’ So it goes on, and Rock continues stripping away parts of Leo’s drum kit and in turn the creativity from his performance. Understandably, tensions rise, as Leo sees a man with no understanding of his art, stripping away any creativity in order to produce a monotone, corporate sound. As tempers flare we come to understand the complexities of their relationship - partners both publicly and privately - and the performance becomes a battleground for their relationship. Basked in fluorescent lights, Potter masterfully sets up the dynamic between the two, and creates an ethereal, yet nonetheless grounded, setting of glorious blues, reds and greens. Working with cinematographer Robbie Ryan (Oscar-nominated for ‘The Favourite’) the short looks more beautiful than most feature films. The gala itself is lit by glowing candles, with an almost medieval sense further illustrating the conflict within their relationship. Bardem and Rock give nuanced performances and have chemistry which softens the rougher aspects of Potter’s script, which sometimes lacks guile or subtlety in its message. Bardem is quite restrained, with blunt line delivery and hopeless eyes, he perfectly paints the picture of a man jaded from both his love and passion. Rock gives a performance which reminds you of how versatile an actor he is, as adept at drama as at comedy, and able to carry an otherwise lacking screenplay. Though its message is at times a little too on the nose - satirising rich liberals, who mean well but often fail to see their own hypocrisy - ‘Look At Me’ is a reminder of Sally Potter’s immense talents, which have long been undervalued in Hollywood, and her wonderful storytelling ability, whilst giving Javier Bardem and Chris Rock the chance to shine once again. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Lautir film review by UK film critic Joe Beck. Starring Georgia Conlan, Jason Ward directed by Georgia Conlan, Martin Hardwick. HOME | FILMS | REVIEWS Lautir Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Feb 16, 2023 Directed by: Georgia Conlan, Martin Hardwick Written by: Georgia Conlan Starring: Georgia Conlan, Jason Ward You’ll see a lot of complaints these days about a lack of creativity in the industry. Studios will say that they can’t risk spending their money on big-budget original films, and will instead prioritise franchises to rake in the big bucks. ‘Lautir’ is the counter to this - a film not lacking in creativity or scale, yet made with a measly £50 budget. For that alone, the film deserves its plaudits, but it does so much more to deserve them. ‘Lautir’ depicts the fairylike tale of two young girls, twins Milly and June, who are sent to perform a ritual which will supposedly rid their village of the demon that has been preying on sinners annually for the last two-hundred years. The girls, naive, yet not lacking courage, journey deep into the forest where they must complete the ritual. The plot itself becomes arbitrary, and in all truth rather plodding, yet somehow never completely loses its focus, reeling the viewer in just as they’re about to be lost. Had the plot been more engaging throughout, rather than just the opening and the conclusion, then ‘Lautir’ would have been more than a minor miracle, it would have been an impossible phenomenon. Nevertheless, in spite of a sometimes meandering plot, especially disappointing given that much of it derives from a Galadriel-esque voiceover narration to introduce the story, ‘Lautir’ engages through the sheer force of it’s writer, director, and star Georgia Conlan. Conlan’s direction, alongside Martin Hardwick, is awe-inspiring, defying it’s budget with grand swathes of natural beauty and luscious hues of green. The forest is allowed to become its own character, brought to life by Conlan’s eloquent lens. It’s truly impressive stuff, and further adds to the twisted fairytale atmosphere of the film, which initially stems from the opening narration, detailing curses and beasts, but grows through the innocence conveyed through the screen. There’s a sense that these girls might be truly pure, in a way which could only be true in a whimsical fairytale, and that is heightened by their intimacy with nature and the world around them. Conlan the actor shares the same eyes as Conlan the director, and those eyes look upon poppy fields and sombre oaks with both curiosity and respect in equal proportions. As a performance, Conlan’s is magnificent, playing both the twin sisters, as well as voicing the narration and the girl’s mother, and holds the screen with an earnestness and conviction. She seamlessly morphs into both younger-looking role, and at no stage does it appear awkward acting against herself. It’s a fine performance piece for Conlan, demonstrating versatility and capability to captivate the audience. Fifty pounds doesn’t get you a long way these days, but it does get you a film like ‘Lautier’, which demonstrates enough creativity to get by with a sluggish script. If Georgia Conlan’s script is sluggish, then her directing and acting is anything but, and the film works as a pure demonstration of her talent, capturing nature and purity both behind and in front of the camera. All with a meagre budget of fifty pounds. Take note Hollywood. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Blazing World film review by UK film critic Hope Madden. Starring Carlson Young, Udo Kier, Vinessa Shaw directed by Carlson Young. HOME | FILMS | REVIEWS The Blazing World Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 14, 2021 Directed by: Carlson Young Written by: Carlson Young Starring: Carlson Young, Udo Kier, Vinessa Shaw Creepy twin stuff, Udo Kier, alternate realities—yes, The Blazing World . I am in. Co-writer/director/star Carlson Young takes us on a strange journey as Margaret Winter, haunted twin who lost her sister ten years ago. Struggling to get by, she relents and visits her needy mother (Vinessa Shaw) and difficult father (Dermot Mulroney), who are packing up Margaret’s childhood home for sale. And that is the last normal thing that happens. Working with cinematographer Shane F. Kelly (Boyhood ), Carlson conjures a beautifully melancholic world, one that almost seems like our world but only if you squint. The colors and music suggest a vibrant but eerie dreamscape, the ideal spot for Margaret to lose herself – and maybe find her sister. The title suggests Margaret Cavendish’s 17th Century feminist utopia, but Young’s script (co-written with Pierce Brown) takes only the loosest inspiration. Rather than the tale of a woman learning to lead in another realm, this The Blazing World reimagines one life’s greatest traumas as fantastical games to be overcome. Carlson herself does a solid job of shouldering heroine duties, and she surrounds herself with talent. While Shaw and Mulroney deliver wild and eerie performances, it is Udo Kier you’ll remember best. Of course it is! As gamesman, devil and guide, he charms in his wearily creepy way. Young’s writing can’t quite keep up with her knack for casting, though. While several scenes in and of themselves stand out spectacularly, and the weaving together of the various images creates a strange and intoxicating flavor, the underlying story is just too slight and the metaphors somewhat tortured. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

A Moral Man film review by UK film critic Alasdair MacRae. Starring Toby Jones, Claudie Blakley directed by Paul Wade & Simon Wade. HOME | FILMS | REVIEWS A Moral Man Film Review average rating is 5 out of 5 Critic: Alasdair MacRae | Posted on: Jun 7, 2022 Directed by: Paul Wade & Simon Wade Written by: Paul Wade & Simon Wade Starring: Toby Jones, Claudie Blakley A priest (Toby Jones) arrives at a cancer-stricken patient’s (Claudie Blakley) house to assist in euthanasia, however, there are complications. In A Moral Man writer-directors Paul and Simon Wade are not afraid to ask the big questions. The particular ethical quandary thrown up in the middle of this short is one that many would not dare to touch. It is a dark and necessary look into our society and an issue where a fair and measured answer might not even exist. One thing that can be said for certain is, cast Toby Jones and you shall reap the rewards of your excellent decision. When is he ever anything less than magnificent? A recent appearance in Kelly Reichardt’s First Cow as a scene stealing, clafoutis ordering landowner all but confirmed that the actor makes everything he is in markedly better. For this short he is a priest and a firm believer in the right-to-die movement. The titular ‘Moral Man’, a kind albeit burdened soul. It is clear that he desires to comfort his patient, and that he feels righteous in his path. He claims to have had first-hand experience of the euphoric sensation of an afterlife following a near-death-experience as a child. Nonetheless, the weight of the absolute nature of death seems too large for him to fully conceal. Claudie Blakley stars opposite him as a patient who has prepared thoroughly for this moment, but even then that is not enough. She may have packed up her house and labelled her belongings with whom she wishes to take them after she has passed on, but her glassy eyes lay bare her reservations. A Moral Man grapples with death and the decision to die on a grand philosophical plane, whilst also recognising that death is an everyday reality and will in fact be a part of all of our lives. The ordinary can be seen in the dim grey light of overcast British skies occupying the windows of the semi-detached house. It can be felt in the comfort of the outdated furnishings and a modest last meal of beans on toast. But as the film reaches its most contentious point the lighting then becomes more motivated, close ups, particularly of Jones, are striking and the film eventually graduates to a rich climactic tableau worthy of the themes discussed. Another exemplary Toby Jones performance enhances this moving and controversial short film. A Moral Man is an accomplished feat from writer-directors Paul and Simon Wade as they attempt to sincerely raise a difficult ethical question. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Wanton Want film review by UK film critic Isaac Parkinson. Starring Nicholas Brendon, Jackie Moore, Phillip Andre Botello, Shoshana Wilder directed by Joston Ramon Theney. HOME | FILMS | REVIEWS Wanton Want Film Review average rating is 2 out of 5 Critic: Isaac Parkinson | Posted on: Jun 21, 2022 Directed by: Joston Ramon Theney Written by: Joston Ramon Theney Starring: Nicholas Brendon, Jackie Moore, Phillip Andre Botello, Shoshana Wilder A suspenseful mumblecore that plays with destabilised reality to induce insecure masculine paranoia. “We used to come up here as a place to escape everything,” Douglas says. Now, it’s more like hiding. A car drives through winding hills into the wilderness. Douglas and Veronica, an unhappily married couple arrive at the remote cabin in the hopes of inspiring both his stalled script and their passionless marriage. On the way they try to have sex in the car, but his impotence removes any chance of the latter. The surrounding environment is made to look beautiful, with hot sun beating down on lush greenery and sweltering tarmac of the roads. With them are their friends Dan and Pia, also a married couple. Dan and Douglas used to work together in the fast-paced business world before Douglas left to live the quiet life of a writer. There is clear animosity between the two, with Douglas’ resentment bubbling barely below the surface as Dan continues to prod him with insulting comments crudely intended as jokes. Douglas may have left that world of toxic masculinity behind, but does it still linger in him? Brendon plays this tension well, if at times frenetically. His scruffy beard, graying ponytail and rough, paint-covered hands suggest a more rugged routine which doesn’t require the superficial comforts of his former life of luxury. At times he almost vibrates with a kind of obsessive panic. Visions enter his head of Veronica and Dan together, only corroborated with his possibly imagined conversations which confirm their infidelity. A hazy glow takes over these scenes, with sudden flares of light flashing across his face, causing him to twitch. Beginning as relatively innocent jealousy, his obsession only grows, fixated on the idea that his wife is unhappy with him and wants more with someone like Dan, who has already proven himself dominant by emasculating Douglas. The subtle jabs and teasing in conversation amount to something much crueler, pushing him further and further towards an outburst. Clearly his old self is still very present, confirmed by his aggression and barrage of swear words, punctuated by taking Dan’s food off his plate. In tandem with his decreasingly stable mental state, is a growing desire towards Pia, who he views as acting seductively towards him. Little glances and touches are reinterpreted as absolute consent, leading Douglas to force himself on her. In trying to find justification for this act, he slips further and further into a complete dream state. A dead friend returns to provide him with absolution and Pia returns again to re-express her desire for him. The implicit forgiveness from this is evidently internal, as he sits and continues writing his script. How much of what we’ve seen has been real, and what has been penned by Douglas himself? The authorial nature of the film blurs these lines. Douglas sees parallels between his fiction and his reality, and tries to apply his fantasies to the people around him. The suspense of the film is never delivered on, showing only a more confused script both within and without the film. All we are left with is the image of a sad, cruel man without any sense of self. Buy UKFR Banner Space About the Film Critic Isaac Parkinson Digital / DVD Release < All Reviews Next Film Review >