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20 Euros film review by UK film critic William Curzon. Starring Anthi Kasinou, Constantinos Tsitsios, George Avraam directed by Alexander Machlouzarides-Shalit. HOME | FILMS | REVIEWS 20 Euros Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Apr 5, 2026 Directed by: Alexander Machlouzarides-Shalit Written by: Alexander Machlouzarides-Shalit Starring: Anthi Kasinou, Constantinos Tsitsios, George Avraam 20 Euros follows a couple, Eleni (Anthi Kasinou) and Nick (Constantinos Tsitsios), on a night out as they are interrupted by a man in a parking lot, who challenges their perceptions of modern-day masculinity. The film is an exploration of the absurd nature of toxic masculinity and relationships alongside a satirical take on violence. One of the most refreshing aspects of the piece is its topical discussion of toxic masculinity, presented from both female and male perspectives, within an incredibly brisk runtime. The blend of satire and darkness keeps the film's themes engaging and deeply provocative. It prompts the viewer to sit with questions, such as what it means to be a man, and leaves the debates open for discussion long after the credits roll. The filmmakers put the viewer in a state of tension and manage to sustain that propulsive nature throughout the duration of the runtime. The subversion of tonal shifts works incredibly well as a grounded blend of both violence and satire. Both Anthi Kasinou in her portrayal of Eleni and Constantinos Tsitsios’ portrayal of Nick are incredibly endearing thanks to their magnetic chemistry. It's deeply engaging to witness their relationship, particularly through their complex discussions on modern-day masculinity, and hearing both their perspectives keeps the themes of the film remarkably nuanced. Nick conveys a calmer and more collected feeling on how violence isn't always the answer to conflict unless it's self-defence. Eleni argues that women need to feel safe and protected by their partner in moments of conflict. Seeing both sides of the relationship’s perspectives feed off one another is incredibly gripping, and its social commentary leaves room for debate by not picking sides on the subject matter. The camerawork primarily consists of over-the-shoulder framing within the car and the camera rigged in front of the vehicle to always keep both Eleni and Nick at the centre of the frame. Stephen Metzner, serving as the film's cinematographer, utilises these unique ways of framing both characters so the viewer never loses sight of the central characters' emotive performances. The use of music also complements the moments of conflict and tension astoundingly with its visceral motifs. However, during the acts of violence, the editing can appear choppy, making it difficult to comprehend what is occurring on screen. While this may be an intentional choice to convey the brutality and number of characters present, it's incredibly jarring and incomprehensible at times. The use of slow motion during the acts of violence is another questionable formal decision; however, it somewhat works due to the satirical nature of the narrative. The film seamlessly blends the more intimate moments of discussion and conflict, creating an incredibly engaging experience for the viewer. While the conclusion to the narrative is somewhat open-ended, leaving room for debate, it prompts the viewer to reflect on the concepts of masculinity and the cycle of peer pressure that perpetuates toxic masculinity. 20 Euros is a thought-provoking and deeply nuanced exploration of modern-day masculinity that skillfully blends satire with the severity of the topic. Assisted by two terrific performances from Anthi Kasinou and Constantinos Tsitsios, the film will likely spark discussion on the male and female perspectives on violence and masculinity. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Cheers film review by UK film critic India Gwyn-Williams. Starring Vinod Madhavan, Anoop Manghat, Jain Andrews, Rijimohanan directed by Sandeep V. HOME | FILMS | REVIEWS Cheers Film Review average rating is 2 out of 5 Critic: India Gwyn-Williams | Posted on: Apr 5, 2026 Directed by: Sandeep V Written by: Sandeep V Starring: Vinod Madhavan, Anoop Manghat, Jain Andrews, Rijimohanan Cheers, a short film written and directed by Sandeep V, presents a meet up between four friends. The setting is expected to provide a casual and light-hearted atmosphere, but this social situation is in fact charged with an undercurrent of anger and controversy. As the dialogue develops it becomes clear that one of the friends, Annesh, has been somewhat isolated due to his differing opinion on a mutual friend of the group. The character Bobby, who often stands up for him, comes to represent a moral middle ground. Through the subject of a mutual friend’s actions towards his wife, the conversation reveals the character’s ideological stances. There is a contrasting dynamic between the two who are more conservative, versus the two who express a far more liberal and understanding mindset. The film becomes an exploration into differing beliefs within the confines of a friendship. Not only are there clashing ideals of marriage and gender roles, but the loyalty and emotions within the friendship they share draws in further strain. As a result the interaction and in fact the whole film carries a very charged atmosphere. The cinematography performs well in establishing the group dynamic. The opening shot of the friends presents three of them standing in an enclosed triangle, while Aneesh is left to occupy his own frame. When they are shown to make a toast with their drinks the camera reveals only three glasses meeting in the air before revealing that one of them never joined in, to communicate the grudge against him. It has a certain cyclical element also, as the first and last shot is of a buddha painting on the wall, though its colouring changes. This cinematic choice is potent in communicating the lack of resolution, despite the weighted interaction. This could perhaps be a message of the film, that one's personal ideologies or beliefs are rooted in identity - not immune to change but certainly unfamiliar with it. This is an easily identifiable observation of the piece, but overall it lacks contextual foregrounding. The exploration into contrasting ideologies through the circumstance of their mutual friend is a context very personal to the characters but one the audience cannot relate to, meaning the strong intention of the film is somewhat lost. However this may be a conscious choice from the director. By keeping the audience at a contextual distance, the storytelling is complicated. It means that any observations made are prone to change as the dialogue continues to reveal external factors charging the conversation. The characters remain set in their ways despite the friendship they share, unlike the audience who have an advantage of being emotionally detached. Viewers are thus able to build their own opinion on the situation and ultimately reach their own ideological conclusion. About the Film Critic India Gwyn-Williams Short Film < All Reviews Next Film Review >

Self+Tape film review by UK film critic Jason Knight. Starring Boo Jackson, Pippa Moss, Cheska Hill-Wood directed by James Cleave. HOME | FILMS | REVIEWS Self+Tape Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 4, 2026 Directed by: James Cleave Written by: James Cleave Starring: Boo Jackson, Pippa Moss, Cheska Hill-Wood A short comedy written and directed by James Cleave and starring Boo Jackson, Pippa Moss and Cheska Hill-Wood. Recruitment is taking place for a lead role in a major British romantic comedy and three ambitious actresses have applied and they are now home, where they need to do their audition online, via webcam. These women are Jessica (Jackson), Grace (Moss) and Isabelle (Hill-Wood) and they are determined to get the part. However, their supposedly serious efforts turn out to be childish, resulting in awkward moments. Shot in one day, on a £1,000 budget and with only one week preparation, this short is viewed through the perspective of three webcams, one for each of the candidate's computer and the narrative alternates between the three of them, with the camera being constantly stationary. Since the technical issues are the current subject, this would be an opportunity to acknowledge the work of Christopher Dean, for the creative use of editing, particularly the split screen techniques. And praise also goes to the creativity during the closing credits. So the three actresses begin their audition and, although they apprently had little time to prepare, their performances come across as far from professional and it does not help that they are auditioning from their home, as they get distracted and seem too relaxed, too at ease. The result is three auditions that might be more suitable for a slapstick comedy than a romantic comedy. The biggest strength of this film is the performances of the three leads. Jackson, Moss and Hill-Wood are quite entertaining in portraying actresses who are pursuing a role and a screenplay that they do not entirely comprehend and they end up delivering auditions that are, well...unsuitable, filled with their complaints and frustations and there are interruptions too. This humorous story involves the world of acting and auditions and generally filmmaking. It is about aspirations, self-reflection and self-esteem and utilises clumsiness and naivety as a means of entertainment. The film also appears to be questioning whether attempting to achieve something from the convenience of one's own home is as effective as being out there instead. A short story about three actresses behaving childishly. Ten minutes of fun. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

G(l)ory Days film review by UK film critic William Hemingway. Starring Sari Sanchez, Tait Fletcher, Guy Van Swearingen, Missy Fierro, Jett Jansen Fernandez directed by Cory DeMeyers. HOME | FILMS | REVIEWS G(l)ory Days Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Apr 2, 2026 Directed by: Cory DeMeyers Written by: Adam Pasen and Sammy Horowitz Starring: Sari Sanchez, Tait Fletcher, Guy Van Swearingen, Missy Fierro, Jett Jansen Fernandez A couple of retired, over the hill, serial killers, take some time out in their lake house, when some young, fresh, naïve girls come camping in the area, giving them the opportunity to prove once and for all who the most prolific killer is. Hulk (Fletcher) and Turtleneck (Van Swearingen) are past it. Their glory days are behind them and they’ve retired into old age disgracefully. Inside their lake house, however, old trophies and mounts of parts of their previous victims are hanging on the wall. The nearby lake was also the scene of one of Hulk’s most famous massacres, which was never solved despite the fact that one victim got away, and the two of them now enjoy hiding out at the scene of the old crime. Into this remote scenario plops the insufferable influencer/YouTuber/star in her own head, Lane (Fierro), and her girlfriend, Heather (Sanchez), whose mum turns out to be the one that got away all those years ago. The girls are there to get some sort of closure from the eventual recent death of Heather’s mom, and to slay some personal demons while they’re at it. Little do they know, however, that there’s a bet on concerning the taking of their lives, and that Hulk is going to get himself another bite of the cherry, that is if Turtleneck doesn’t beat him to it. So, after a short nap for the elderly serial killers, and a small introduction to the ineffectual local police force (Fernandez) for the would-be victims, everybody is rounded up ready for a little bit of slashing to begin. It doesn’t take long for the blood to start flying, along with several body parts, too, and we are all party to an enjoyable chase around the woods and the lakeside, as the elderly homicidal maniacs try to get their kills. Presented as a comedy horror, G(l)ory Days owes more of its humour to the slapstick, infantile jokes of Scary Movie 1-6 (2000-2026), than to the tongue-in-cheek satire of Scream 1-7 (1996-2026). The comedy is definitely the driving force of this near half-hour film, more so than the horror or the gore, which does get equal billing, but which is still presented in a humorous way. Written by Adam Pasen and Sammy Horowitz, we are given all the necessary introductions and backstory to the characters as we go along, keeping us invested in their story, and somewhat scared for their lives, as the killing spree begins. While there may not be too much to go on, and a few inconsistencies and questionable plot points along the way, there’s more than enough for the story we are witnessing, and for the fun gory bits to make sense. Behaving an awful lot like Roald Dahl’s, The Twits , in the way they deal with each other and try to nobble each others’ chances, G(l)ory Days has to go some way to not let its characters descend into total farce as it goes along. Thankfully, the direction from Cory DeMeyers, as well as the editing from Jeff McEvoy, keeps everything moving at a good pace and ramps up the tension in the exciting moments, while Alex Weinstein’s score keeps things bright and lively and fun, even when the killing begins. DeMeyers’ experience as a stunt performer allows him to get a certain measure of movement and flexibility from the characters, as they hack and slash, or evade the oncoming blows, and there is a definite level of panache that comes through from the killing that might not have been available otherwise. G(l)ory Days comes through as a solid comedy horror that does exactly what it says on the tin. With an impressive level of production behind them, including a brilliant animated title sequence and some truly fabulous gore, the filmmakers seem to have gotten exactly what they wanted from the film, meaning that the audience gets to enjoy it all along with them, even if we have seen something like it a few times before. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Filicide-as a Means of Revenge Against a Partner film review by UK film critic Jason Knight. Starring Nina Dobranovic, Bartul Marusic, Vjekoslava Hodonj, Katica Gasparovic, Davorka Hadjina directed by Bartul Marusic. HOME | FILMS | REVIEWS Filicide-as a Means of Revenge Against a Partner Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 1, 2026 Directed by: Bartul Marusic Written by: Bartul Marusic Starring: Nina Dobranovic, Bartul Marusic, Vjekoslava Hodonj, Katica Gasparovic, Davorka Hadjina A feature-length documentary from Croatia about a very dark subject: filicide, a parent killing their own child. This film is written and directed by Bartul Marusic. Via news reports, interviews and a variety of other methods, this feature looks into the tragic and sinister world of filicide, investigating the statistics and asking why people around the world would commit such heinous acts. The devastating reality of these terrible occurrences is harshly brought to light by the news reports of numerous parents who committed felicide, including Tranyelle Harshman, an American woman. who shot her four daughters, Harald Kopitz, an Austrian who murdered his three children and Susan Smith, a woman convicted of murdering her two sons in South Carolina. The documentary tries hard to comprehend the causes that drive people to commit such unspeakable acts, which seem to take place globally. As the title suggests, revenge appears to be a common motive, one that can be sparked by a number of reasons, including adultery. Divorce is another possible cause and so is mental health issues. The film contains eerie music and a selection of good songs. There are clips from Minority Report and Liar Liar , with the evident intention of emphasising a point. Generally, the quality of the image looks poor and that affecrs the viewing negatively. There are sections where things turn into a music video, such as a sequence involving computer animation depicting dancing babies and a black-and-white part with people singing. These parts seem awkward and unnecessary, making the viewing overlong. Due to its subject matter, this documentary is not for everyone. It is an ominous and poignant viewing experience and its biggest strength is the fact that it raises awareness of filicide. About the Film Critic Jason Knight Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

Beyond the Sea film review by UK film critic Patrick Foley. Starring Nathan Golo, Tim McGill, Abigail Louise directed by Abigail Louise. HOME | FILMS | REVIEWS Beyond the Sea Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 31, 2026 Directed by: Abigail Louise Written by: Abigail Louise Starring: Nathan Golo, Tim McGill, Abigail Louise Abigail Louise’s debut short Beyond the Sea is the touching story of a man trying to overcome fear, set on the scenic Cornish coast. It’s a thoughtful short film with touching moments and stunning scenery that fixates the drama on the tragedy and hope that comes with the lost potential of a life sidelined by obstacles. Marcus (Nathan Golo) is a young man whose life is upended by trauma. Having developed aquaphobia in the aftermath of a life-altering event, he feels distant and out of place in his life on the coast, and uncomfortable in surroundings that used to provide solace. Working with his therapist Dr Newman (Tim Mcgill) and his childhood friend Leah (Abigail Louise), he tries to come to terms with his past and overcome the fear of the water that surrounds him. For a debut, Beyond the Sea shows impressive composure, patience and emotional complexity from its director Abigail Louise. The film is at its best in understated moments: Marcus contemplating his paralysed life on the beach, quiet reflections between Marcus and Dr Newman, and the powerful, building conclusion that pays off the toiling and touching strife shared between the characters. The director shows the wisdom of a filmmaker far beyond her experience level in knowing exactly when to stick and twist with her characters, when to push emotional boundaries or allow silence to linger in the air and accentuate the drama of the story. It is moments like this that make individual stories, low stakes in their inherent nature, feel like an emotional rollercoaster. There are rough edges to the film that sneak through. Nathan Golo is brilliant when portraying Marcus in moments of quiet reflection or conveying his battle to Dr Newman or his friends. He is less effective when acting out scenes of stress and fear for Marcus. The shaking hands come across less as uncontrollable than melodramatic and inauthentic, damaging the believability of an otherwise strong performance. Some of the dialogue also feels over scripted and stagey, relying on tropes and formulaic phrases in some of the scenes with Dr Newman. These are forgivable cosmetic imperfections that aren’t significant enough to detract from the drive or cornerstones of the film’s power that lies in the emotional journey of Marcus. A word is warranted for the staging of the film which benefits from impressive production given the size of the project, as well as the natural beauty of the Cornish coast. It is refreshing for the filmmakers to embrace colourful locations given the heft of the content, which is not just restricted to scenes set on the beach. Dr Newman’s office (as well as his sock choice!) create a vibrancy, which also extends to a pivotal scene at a swimming pool that similarly reaches out to the viewer. It creates a powerful dynamic whereby Marcus’ depression about his phobia contrasts with colour and liveliness around him – demonstrating how something that excites some people can become a challenge for others that can’t easily be countered. Beyond the Sea excels in no small part due to the skill and evident passion of its director. It is a layered and bold film that exceeds the sum of its parts and makes the story of its protagonist one that people of all creeds can relate to. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Hamza Ali Helps People film review by UK film critic William Curzon. Starring Abishek Nair, Katy Trevor directed by Hysum Ismail. HOME | FILMS | REVIEWS Hamza Ali Helps People Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Mar 31, 2026 Directed by: Hysum Ismail Written by: Hysum Ismail Starring: Abishek Nair, Katy Trevor Hamza Ali Helps People follows the titular character (Abishek Nair) during a lonely night shift at a crisis hotline as a volunteer. His unwavering kindness is put to the test by a call that refuses to stay simple, and he is left conflicted by how to handle the situation. The narrative takes place in London; however, the filmmakers shot the film in Dubai just days before regional tensions grew larger, and this gave the central themes more purpose as a reflection of the wider world. One of the most impressive aspects of the piece is its consistently enthralling narrative. The central themes of the film genuinely fill the viewer with a sense of dread and urgency as Hamza is pushed to the edge by his empathy towards others. The lack of music throughout is isolating and ultimately makes the experience more visceral and gut-wrenching to witness. At the same time, the brief inclusion of a musical score is uplifting for the more hopeful aspects of the narrative. The use of distorted audio is another outstanding use of sound, making the more harrowing themes of the piece more nail-biting. While the runtime is incredibly brisk and there's fairly minor material to chew on, the filmmakers make the most of the screenplay to leave the viewer on the edge of their seat consistently. Mo Azmi, serving as the film's cinematographer, shoots the central conflict with a sense of urgency, utilising visceral camera movement that constantly pits Hamza at the centre of the frame with extreme close-ups and over-the-shoulder framing. The one location setting is utilised to the fullest, and the camerawork anchors the severity of the situation Hamza is in. It's ultimately an astounding edit without a dull moment, which makes the experience feel incredibly fluid and raw in its presentation. The central performance from Abishek Nair in his portrayal of Hamza Ali is exceptionally raw and nuanced, conveying the sheer isolation and dread that Hamza experiences. He communicates so much complexity with so little, as the narrative is focused entirely on him in a single room, on a crisis hotline. Abishek Nair carries the weight of the film on his back, and the experience would not have worked without his commanding screen presence. The supporting cast, including Katy Trevor in her portrayal of Vicky, is also commendable. She delivers a performance which leaves the viewer questioning the character’s intentions and integrity. The film sheds a heavy light on individuals struggling with mental health issues and expresses how important it is to reach out to others despite how cruel and unforgiving the world can be. It's a powerful and unflinching depiction of daring to reach out to another before it's too late. The piece concludes abruptly, leaving no easy answers or resolution to empathy, and ultimately, the viewer is left wanting more. Hamza Ali Helps People is a raw and insightful showcase of how one's empathy can be pushed to the limit. Anchored by a powerful central performance from Abishek Nair and writer/director Hysum Ismail’s formalism, the film is a wonderful achievement in indie filmmaking and a harrowing reminder of fear in the wider world today. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Vacation Plantation film review by UK film critic Holly Baker. Starring Jo Banner, Raymond Berthelot, Lauren Cudmore directed by Alex Bezeau. HOME | FILMS | REVIEWS Vacation Plantation Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Mar 30, 2026 Directed by: Alex Bezeau Written by: Alex Bezeau Starring: Jo Banner, Raymond Berthelot, Lauren Cudmore Vacation Plantation (2024), directed by Alex Bezeau, is an American documentary presenting parallel perspectives on the use of Plantations as business models for tourism. Through interviews conducted by Lauren Cudmore, an in-depth investigation is conducted to convey a rich picture of the way racism operates within modern-day spaces of Black ancestry. On the one hand, Kevin Kelly, a traditional white southerner and plantation owner, argues that the ‘beautiful’ aspects of the plantation are marketable and should therefore be used to make a profit. He is alarmingly unknowledgeable about American history, unable to recall the name Aaron Burr, and stating that tourists enjoy seeing history for the aesthetics, the architecture, and the artwork, and that these supposedly beautiful estates are great vessels for this. On the other hand, there is the owner of Rosedown Plantation who insists that he is purely focused on presenting facts to tourists, however, he is unbothered about providing any context to what is on display and appears to hold no firm opinions on the politics behind displaying harmful content. The documentary switches between interviews of these two plantation owners, merging clips with interviews with black activists and academics, notably Jo Banner and Joseph McGill, taking place at and on the outskirts of the plantations. These are insightful, from a place of experience of the racism that still exists, as well as relation to ancestors who were victims of slavery, and in-depth historical knowledge which is left out of school curricula despite its importance and relevance to how things are today. Blended in with these are clips and images from conservative American film and TV, showing a sanitised version of American history, highlighting the way that slave owners have been shaped by mainstream narratives to be idealised figures. The documentary excellently highlights the issues posed by plantations being used as tourist attractions and the way this contributes to a whitewashed version of history, honouring a traumatic past. These plantations and their twisted history, through ignorance towards the black community, made these landmarks into spaces characterised by whiteness and ‘southern hospitality’ rather than the racial violence which built them. Many aspects of Vacation Plantation are disturbing to see, such as when we hear from Kelly, whose racial aggressions come through in several modes- particularly humour, as he compares himself to Mickey Mouse, and rage as he rants about ‘woke’ ideologies surrounding the harm caused by displaying white supremacy. He is also alarmingly misinformed and spouts dangerous lies about history which paint a completely false, racist retelling of slavery which makes white people innocent. Meanwhile, Cudmore painfully nods along, unable to express any distaste towards his words in order for the documentary to organically capture his thoughts and opinions, she simply allows him to speak through remaining silent. This is highly effective in shocking the viewer, as well as importantly demonstrating how real the struggles are that the black activists are discussing intelligently in parallel. The film presents a perfect irony in the shape of a tourist plantation. Overall, Vacation Plantation importantly highlights that slavery is the story behind Plantations. The vital truth behind the so-called ‘beauty’ and Southern American history is the violence that created it. The documentary is an important revitalisation of twisted truths, as well as a highly interesting and engaging in-depth look at the phenomenon of Plantation tourism. About the Film Critic Holly Baker Indie Feature Film, Documentary < All Reviews Next Film Review >

No Ordinary Heist film review by UK film critic India Gwyn-Williams. Starring Eddie Marsan, Eanna Hardwicke, Michelle Fairley, Eva Birthistle, Andrea Irvine directed by Colin McIvor. HOME | FILMS | REVIEWS No Ordinary Heist Film Review average rating is 2 out of 5 Critic: India Gwyn-Williams | Posted on: Mar 30, 2026 Directed by: Colin McIvor Written by: Colin McIvor and Aisling Corristine Starring: Eddie Marsan, Eanna Hardwicke, Michelle Fairley, Eva Birthistle, Andrea Irvine No Ordinary Heist tells the true story of a bank robbery that occurred in Belfast in the year 2004. Though this a true event, certain plotlines and concepts such as the protagonists Richard Murray (Eddie Marsan) and Barry McKenna (Eanna Hardwicke), have been dramatised. Arguably, the leading point of interest for films based on actual events is the very fact that what is seen in a cinematic world can apply to real people. For some films this can stand as the only point of interest. However, it is possible for them to be further engaging through other aspects of the storytelling, meaning the film’s value does not only lie with its origins. This dramatisation succeeds in such through the detailed grounding of the lives and environment of our protagonists. The film spans over a matter of days, while the majority of the action takes place within a few hours. Confined in its short timeline, No Ordinary Heist still manages to offer valuable insight into the lives of Richard and Barry, providing them with meaningful motives that explain their involvement and invoke a sympathetic response. Not only are their personal lives foregrounded, but more importantly their lives at work. The differences in their character offer an interesting, odd professional dynamic that accentuates the strange nature of their circumstance and provides some of the entertainment aspect. The cinematography honours the origins of the film by offering a naturalistic, grounded viewing experience and a muted colour palette. However, this makes what may not be an ordinary heist a very ordinary film. The imagined aspects were not particularly defining - the audience have a limited time with the protagonists before they become involved with the criminal activity. The details of their characters are lost to their fear and stress, which makes them not particularly relatable or in-depth. It also erases their character differences identifiable in the beginning, which spurred an engaging dynamic. Without this, their interactions become a vehicle in communicating the intense situation, rather than a catalyst for the storyline and the audience engagement. Though such aspects may be down to the confines of the story it is retelling, the film leaves little room for the viewers to know, care for or sympathise with the protagonists and the sideline characters who are involved. The naturalistic cinematography grounds the story and shows the value of realism from the director, rather than an over-dramatised viewing experience that comes off as insincere. However it simultaneously ensures that the film’s point of interest lies in the fact it truly happened, rather than the cinematic elements used to tell it. In UK Cinemas Friday 27th March 2026 About the Film Critic India Gwyn-Williams Theatrical Release < All Reviews Next Film Review >

15 Days: The Real Story of America's Pandemic School Closures film review by UK film critic Jason Knight. Starring Natalya Murakhver, Jay Bhattacharya, Scott Atlas, Stephanie Edmonds directed by Natalya Murakhver. HOME | FILMS | REVIEWS 15 Days: The Real Story of America's Pandemic School Closures Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 29, 2026 Directed by: Natalya Murakhver Written by: N/A Starring: Natalya Murakhver, Jay Bhattacharya, Scott Atlas, Stephanie Edmonds An informative and shocking documentary about the overlong closing of schools in the United States during the COVID-19 Pandemic and its consequences, directed by Natalya Murakhver. Following the closure of schools across the U.S. due to this global outbreak, during the first quarter of 2020, mother Murakhver joined thousands of other parents in an effort to reopen them. This led to her making this feature-length documentary, which she also presents. The title refers to the government's initial statement that American schools will be closed for fifteen days in the hope of preventing the virus from spreading, which resulted in educational institutions being closed for much longer. Through archival footage of news reports and interviews, this film discloses the struggles that children and people in general faced because of schools being closed and seeks answers regarding why it took so long for schools to reopen again. There is plenty of footage of politicians giving speeches, including Donald Trump and some of the interviewees include radiologist, political commentator and health care policy advisor Dr Scott Atlas, Jay Bhattacharya, Professor of Health Policy, Psychologist Nicholas Kardaras and Professor of Medicine Monica Gandhi. This feature explores how the lockdown affected the children and their relatives by having interviews of multiple families across the U.S., who share their experiences during the time the schools were closed. What they state is that they found online learning ineffective, with teachers being inefficient and many families not owning computers. Several of the government's flaws are pointed out regarding the decision to keep schools closed and one is that it is indicated that certain people in influential positions decided to take advantage of the lockdown in favour of a variety of reasons, including the promotion of technology, such as virtual learning. The film further condemns the refusal to let children attend school by referencing the way things were handled during the Spanish Flu and the protests that occurred following the death of George Floyd. The actions of the American Federation of Teachers are also questioned. Furthermore, it is disclosed that other countries had schools reopened much earlier. This documentary aims to criticise the American government's decision to keep schools closed during this pandemic and to reveal the negative effects this had on the students and their relatives and it does so quite dramatically. About the Film Critic Jason Knight Indie Feature Film, Documentary, Digital / DVD Release < All Reviews Next Film Review >

Bitter Tides film review by UK film critic William Curzon. Starring Jade-Olivia Patrick, Duane C Tucker directed by Ned Wakeley. HOME | FILMS | REVIEWS Bitter Tides Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Mar 27, 2026 Directed by: Ned Wakeley Written by: Jade-Olivia Patrick, Ned Wakeley Starring: Jade-Olivia Patrick, Duane C Tucker Bitter Tides follows a grieving mother, Anna (Jade-Olivia Patrick), as she meets a taxi driver (Duane C Tucker), who changes her course in ways she never expected. The piece is a devastating depiction of the damage grief can cause and how you learn to carry it, as it never leaves you. The film is deeply rooted in isolation and stillness as Anna attempts to grapple with her grief, and the screenplay tackles themes of memory, loss and self-forgiveness. One of the most powerful tools the filmmakers employ is the frequent use of visual storytelling in the film's opening, which conveys Anna’s deep suffering and inner turmoil. Jade-Olivia Patrick, in her portrayal of Anna, is terrific as she conveys her grief in a harrowing way, and it's emotionally devastating to witness. While it may be a challenging viewing experience, it's an essential watch to understand the impacts grief can have on individuals. Duane C Tucker, in his portrayal of the taxi driver, complements this by offering a helping hand of empathy to Anna, helping her understand and carry her grief. From the opening frame to the last, the film sinks its teeth into the viewer and may linger in their mind long after the credits roll. The lack of dialogue in the opening of the piece allows for some frenetic editing choices that are harrowing in their attempt to showcase Anna’s nightmarish thoughts. While the visual storytelling does a lot of the heavy lifting, it's ultimately the performances that anchor the heart and soul of the film's themes. Epidemic Sound, serving as the music and sound department for the film, delivers a deeply haunting and hypnotic musical score that enhances the more isolating moments of stillness. The score can be overbearing at times; however, it's an intentional artistic choice to convey Anna’s pain. Sound is an essential aspect of the film, as evident in its title, where the tides of the sea influence the noises in the more intimate scenes. Unfortunately, some of the ADR is rough, making certain pieces of dialogue indistinct, and is a detriment to some of the most pivotal scenes. That being said, the dialogue is deeply provocative and offers different perspectives on human nature and grief. Ned Wakeley, serving as the film's cinematographer, primarily shoots wide shots as Anna crosses the beach and switches to close-ups when she is in anguish. This choice effectively makes the more heart-wrenching scenes more visceral as the viewer is placed in her point of view. The use of flashbacks is another formal decision that pays off beautifully, particularly with the dynamic camerawork that tracks Anna in her moments of happiness. These moments help to unpack Anna’s grief through their surreal and haunting nature. It's a deeply moving and hugely affecting piece of filmmaking that doesn't shy away from the sheer isolation of grief and loss. Bitter Tides is an emotionally overwhelming experience that shows how certain encounters can have an impact on how you navigate life after loss. Assisted by two tremendous central performances from Jade-Olivia Patrick and Duane C Tucker, and despite some questionable ADR, Bitter Tides is a deeply haunting and mesmerising piece of work. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Dreamcrasher film review by UK film critic Jason Knight. Starring Lyud Hristov, Adie Mueller, Charlie Smith directed by Joseph Ringland. HOME | FILMS | REVIEWS Dreamcrasher Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 27, 2026 Directed by: Joseph Ringland Written by: Joseph Ringland Starring: Lyud Hristov, Adie Mueller, Charlie Smith A short horror film written and directed by Joseph Ringland and starring Lyud Hristov, Adie Mueller and Charlie Smith. Things are not going well for young Norman (Hristov). He is being regularly plagued during night-time by some otherwordly supernatural and sinister-looking figure that magically appears in his bedroom. Not knowing whether this entity is real or not, he seeks the help of Dr Thorne (Mueller) in an effort to find a way to deal with this. This short starts as a supernatural psychological horror story, before getting into comedy and finally into heavy drama. The narrative alternates between Norman being tormented by the mysterious apparition and attending his therapy sessions with Dr Thorne. Things take an unexpected turn when he proceeds to develop a friendly rapport with the frequent and unwanted visitor. Clues appear here and there and they include the time three thirty-three in the morning, which seems to be significant and related to a fateful past event that severely impacted Norman's life. It is worth acknowledging the horror DVDs and posters, whose presence is probably to highlight the fact that this is a horror film. Arguably, the highlights occur when the humanlike creature appears (although it is not indicated in the film, this could be the titular Dreamcrasher). Dressed in what appears to be a hooded black robe, this being has a monstrous appearance, with branched horns on the head, a deer-like skull for a face and glowing white eyes. It does not speak and moves slowly. Are its intentions good or bad? Its presence is often accompanied by unsettling and ominous music by Thomas Pearce, who also provides dramatic music at times. The creativity involving the sinister sound of a clock ticking is also worth noting and so is Ringland's use of unconventional camera angles. As the main character, Norman is a tormented young man. Trying to secure himself a job, he is unable to do so due to the trouble that he is going through because of the entity. He is quite distressed and believes he might be losing his mind. However, it becomes evident that he is suffering the effects of a devastating experience. Mueller is sympathetic as a supportive and concerned therapist. The screenplay contains a variety of themes that involve mental health, including high anxiety, paranoia, having nightmares and insomnia. Mainly though, this is a story that deals with loss, trauma and grief and it is rather apparent that it aims to communicate the message that people must try to come to terms with their misfortunes and move on. A horror film that is frightening and also very emotional. On one hand it is about things that go bump in the night and on the other it concerns a terrible loss that has not been reconciled and it is the latter that gives this short the highest quality. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >