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Where Fireflies Dance film review by UK film critic William Curzon. Starring Billie D. Merritt, Brady McInnes, Amber Burroughs directed by Grayson Berry. HOME | FILMS | REVIEWS Where Fireflies Dance Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Jul 13, 2026 Directed by: Grayson Berry Written by: Grayson Berry Starring: Billie D. Merritt, Brady McInnes, Amber Burroughs Where Fireflies Dance follows Sadie Leggett (Billie D. Merritt), a talented but quietly grieving school teacher and artist, as she takes a detour through her hometown due to a grounded flight and reconnects with her old high school sweetheart, Jack (Brady McInnes). The piece is a heartwarming journey through Sadie’s reconnection with a home town she thought she’d left behind. One of the film's greatest aspects is its wholesome, uplifting vibe, which it maintains for most of the runtime. It boasts unique, natural character introductions that complement its upbeat tone, and it keeps the narrative delightful despite some of its pitfalls. While many of the musical choices feel out of place and cringe-inducing because of its overreliance on country music, the central character and its quirky tone keep the film from derailing. Despite how meandering the first half of the narrative feels, it takes its time to flesh out Sadie’s characterisation and the profound impact of her grief on her life. It may struggle to find its footing initially, but the final third of the narrative feels rewarding and makes the prolonged build-up worthwhile. Ted Ramasola, who serves as the film’s editor, unfortunately fails to give the narrative a fluid structure, as its episodic nature results in jarring transitions between sequences. It's by no means a poorly edited film; it just feels structured more like a television show rather than a feature-length narrative. Also serving as the film's cinematographer, Ted Ramasola employs distinctive framing choices, relying primarily on static wide shots and occasionally shifting to point-of-view shots from a camera mounted on the car's exterior. The camera also shifts to close-ups during more intimate scenes, allowing the actors’ performances to resonate more deeply. It's a commendable choice, as the piece feels grand in scope while maintaining a sense of intimacy. Sadie is an endearing central character, and the screenplay makes it easy to root for her. The piece wouldn't work without her delightful screen presence, and the characterisation is mostly commendable. She's a grief-stricken character who lacks closure in her life, and it's engaging to witness her reconnect with an old flame. In her portrayal of Sadie, Billie D. Merritt is incredibly endearing with a compelling screen presence that conveys warmth throughout the narrative. She portrays Sadie’s grief profoundly and is easily the most compelling aspect of the piece. Sadly, the supporting characters feel less fleshed out, and it's a major issue, as many of the dramatic beats fail to resonate as a result. Sadly, Brady McInnes' portrayal of Jack is largely underwhelming. While Jack is given enough characterisation to flesh out his previous relationship with Sadie, his screen presence is lacking due to his lack of chemistry with the supporting players, and the central romance fails to connect. In particular, the central romance between Sadie and Jack feels unnatural due to a lack of chemistry and some bizarre needle drops that feel incredibly obnoxious. Thankfully, the narrative wraps up in an emotionally satisfying manner, with Sadie’s character arc fleshed out profoundly, while maintaining its fun and uplifting tonal focus. While it doesn't possess the most engaging romance, it’s a satisfying journey through Sadie’s reconnection with her past life. Where Fireflies Dance is a mostly heartfelt experience thanks to its upbeat tone and satisfying central character arc. Despite its flaws, it's a well-made piece of indie filmmaking that boasts a sensational lead performance and enticing camerawork. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

The Thoughts She Left Behind film review by UK film critic William Curzon. Starring Fitim DeStena, Weronika Twardowska directed by Ameya Bhagwat. HOME | FILMS | REVIEWS The Thoughts She Left Behind Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jul 4, 2026 Directed by: Ameya Bhagwat Written by: Ameya Bhagwat Starring: Fitim DeStena, Weronika Twardowska The Thoughts She Left Behind is a low-budget short film, written and directed by Ameya Bhagwat, that explores a heartfelt journey through imagination, emotions, and unspoken connections between two individuals. Set against the backdrop of a serene park, the piece follows Joseph (Fitim DeStena) and Emily (Weronika Twardowska). Emily is an artist who sketches her thoughts, and Joseph discovers her work through a forgotten sketchbook. The piece explores their journey through the power of creativity and fleeting moments. The most impressive aspect of the piece is how unique it feels, thanks to its framing devices that set it apart from a typical three-act structure. While its brisk runtime and budget limitations may hold it back from reaching its full potential, the filmmakers do their best with limited resources to deliver a compelling narrative. The piece presents interesting ideas about imagination and how individuals create worlds as a coping mechanism to explore their pain as artists. It's a profound story of unspoken connections, and its themes and ideas are thought-provoking and may resonate with audiences. Witnessing both characters' points of view offers an interesting sense of perspective, making the narrative more compelling for the viewer. Many of the film's technical elements soar, including its camerawork. Anurag Joshi, serving as the film's cinematographer, primarily frames each scene with fixed wide shots with both characters always at the centre of the frame. It's a compelling choice because the narrative is presented entirely from both characters’ perspectives throughout, preserving an intimate connection. The musical choices throughout are equally inspired, with whimsical motifs that gently draw the audience into the film’s emotional journey and tender relationships. Each musical choice feels incredibly emotionally resonant with the film's thematic purpose. The editing throughout is incredibly seamless, blurring the line between reality and imagination; it's an incredibly engaging experience that rarely puts a foot wrong. Unfortunately, some of the dialogue is drowned out at times due to poor sound mixing; whilst this is largely a minor issue, it can be distracting during dialogue-heavy scenes. That said, the production design is commendable, with the filmmakers doing a terrific job of presenting the shift between reality and imagination. Both central performances from Fitim DeStena and Weronika Twardowska in their portrayals of Joseph and Emily, respectively, are terrific and carry much of the material on their backs. Both performances convey nuance and warmth, and it's one of the most compelling aspects of the piece. Despite their limited characterisation, both characters possess vivid imaginations, which makes their longing for human connection and determination to seize every opportunity deeply relatable and helps these ideas linger in viewers’ minds. The fourth-wall breaking helps bridge the gap between the characters and the viewer. This is a surprising but apt choice, which makes the experience wholly unique for the viewer. Although the film concludes rather abruptly, it leaves a profound impression with its uplifting, emotionally resonant message about the power of human connection, choosing to embrace the positives rather than its darker aspects. The Thoughts She Left Behind is a wonderful piece of indie filmmaking, evidently crafted to spread a message of hope. Anchored by two terrific central performances and incredible musical choices, it's a delightful experience that grants the viewer warmth and comfort. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Pretty film review by UK film critic Chris Buick. Starring Melisa Kihtir, Sara Duren, Omer Gursoy, Iclal Aykac, Kayra Dogan directed by Metecan Duren. HOME | FILMS | REVIEWS Pretty Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Jul 12, 2026 Directed by: Metecan Duren Written by: Metecan Duren Starring: Melisa Kihtir, Sara Duren, Omer Gursoy, Iclal Aykac, Kayra Dogan Horror films are often a fantastic jumping-off point for new and upcoming filmmakers to show what they’re all about. They’re often relatively cheap to make, they can draw on an amazing catalogue of old and modern classics for inspiration, and have an avid fanbase that would rival, if not beat out, most other genres. But it’s easy to copy and paste the hits. To truly stand out, one needs to take a big swing. And although it’s not without its issues, Pretty from writer and director Metecan Duren swings hard and true. While walking home with her friend Tom (Gursoy), our protagonist, Pretty (Kihtir), is drawn to a nearby building by a woman’s faint voice. Tom hears nothing, and while Pretty herself can’t see this entity either, she can certainly feel and hear her just beyond the door, trapped somewhere in the space in between life and death. Eventually pulled away by Tom, they arrive home to be greeted at the door by Pretty’s big sister Emma (Sara Duren), who instantly questions their closeness. Later, Emma cruelly derides Pretty for her fancies about a relationship with Tom, or anyone, for that matter. No one could ever, or will ever, love her. So, when a mysterious stranger begins messaging Pretty, despite all the warning signs, she is drawn straight in by the attention. But as their relationship grows, Pretty starts to be haunted by strange rabbit-masked figures, dangerous killers and an obsession as to how it all connects to what happened to the girl behind the door. Pretty presents a complex and compelling concept, mixing a mystery thriller with supernatural elements and some masked-killer slasher fare for good measure, at times going places you don’t expect. However, in trying to keep the audience on its toes, it does convolute itself into a bit of a muddle at times, though it always seems to right itself again eventually. There are continuity errors, lighting flits between day and night in the same scene many times, and while one can always keep up with the general narrative, there are a few moments of “Wait...what? How did we get here?”. But Duren films the absolute hell out of this; from a visual and technical perspective, the film is almost completely flawless. Almost every single frame is given the utmost care, effort, time and composure, giving the film a consistently brilliant atmosphere and a fair few genuinely tense and scary moments it deserves. It is truly beautiful to watch, and at just nineteen years old, it proves that Duren just has it when it comes to cinematography. Moving forward, however, stronger direction in performances is a must, as Pretty suffers greatly from flat performances almost entirely across the board. The dialogue itself seems sound on the page, but with the exception of Sara Duren, who actually manages to inject some real life into Emma, the rest of the cast is rarely able to truly act the moment. Granted, these aren’t actors per se, but a film like this can often live or die on its cast. If this film were about thirty minutes shorter, which it probably could and should be, it might have been able to pass by more unnoticed, but at over two hours, these often-numb characters get harder and harder to connect with or root for. Despite its performance, pacing and continuity issues, things that can of course be tightened up with time, Pretty ultimately lands right side up, and overall, there is definitely more than enough exceptional talent and execution of ideas in other areas of the film to make it worth your while. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

The HeartSmith film review by UK film critic Charlotte Spark . Starring Imogen Storm, Aniq Durar, Sylvester McCoy directed by Scott McQuaid . HOME | FILMS | REVIEWS The HeartSmith Film Review average rating is 4 out of 5 Critic: Charlotte Spark | Posted on: Jul 12, 2026 Directed by: Scott McQuaid Written by: Scott McQuaid Starring: Imogen Storm, Aniq Durar, Sylvester McCoy The Heartsmith written and directed by Scott McQuaid which is his second full-length feature film. Starring Imogen Storm, Aniq Durar and Sylvester McCoy. The Heartsmith delves into a whimsical captivating fable relished in steampunk. Reading as an untold tale full of childlike wonder and also glimpses of grit and thrills. The Heartsmith who is played by Aniq Durar fixes peoples broken hearts, healing them from their traumas and sorrow. Putting the pieces back together, but he himself is filled with melancholy. Helped by the mysterious umbrella man played by Sylvester McCoy (who you may recognise as he played the seventh doctor) they hide in the shadows wanting to draw no attention to their cause of fixing hearts. But when cold blooded crime lord Mr Cross played by Diego Cresta discovers he is dying from having a blackened heart. He stumbles across local waitress Sundae played by Imogen Storm who has a heart of gold, filled with kindness. He then sets his hitman Dr D played by Zhang Quan onto finding her and stealing her heart to cure him. When the Heartsmith uncovers this plan, he and Sundae set out on a journey to save her and their world. Imogen Storm really shines as Sundae whenever she is on screen. Her performance reminded me of the old Alice In Wonderland animation with her tone of voice, movements and her characters actions. Which is also a lot to do with the screenplay as all the innocence Sundae has the audience really falls in love with her. The onscreen relationship between her and Aniq as the heartsmith was heartwarming feeling straight out of a fairy tale. On the other hand audiences might find it jarring when we cut to Dr D and the crime lord Mr Cross as their performances are over the top that it feels like a different film entirely. With it being more action packed focused on using guns, martial arts and some cringe dialogue especially when they talk over the phone. It takes you out of the worldbuilding of The Heartsmith. Whilst I appreciate they were going for a modern twist I think it actually harms the story. The use of an almost dreamlike haze over the camera feels nostalgic; you can tell they have plucked inspiration from classics such as The Dark Crystal and Labyrinth. But with that being said unfortunately whenever Sylvester McCoy was onscreen it was very evident he had filmed his scenes separately and wasn't with the main cast. When the editing keeps cutting back and forth it's too noticeable to not fixate on it and it becomes uncanny. Some scenes almost felt irrelevant to the story and were added just to fill runtime. I think it would confuse audiences with a sudden switch in tone or added characters who aren't fleshed out or explained. The Heartsmith is a tale about healing our broken hearts with time and love, that good always triumphs evil. Despite its flaws The Heartsmith shows that even with a low budget you can really achieve something grand and successfully build a fantasy you could dive into. About the Film Critic Charlotte Spark Indie Feature Film < All Reviews Next Film Review >

The Sanctuary film review by UK film critic Finn O'Toole. Starring Maynard Bagang, Jasmin Davis, Aria Isabella Yeung and Isabella Martinez. directed by Maynard Bagang. HOME | FILMS | REVIEWS The Sanctuary Film Review average rating is 3 out of 5 Critic: Finn O'Toole | Posted on: Jul 11, 2026 Directed by: Maynard Bagang Written by: Maynard Bagang Starring: Maynard Bagang, Jasmin Davis, Aria Isabella Yeung and Isabella Martinez. Written, directed and produced by Maynard Bagang, The Sanctuary tells the raw tale of Isabella and her two children who, after being kicked out of their residence due to their status as undocumented immigrants, must survive the cruel streets with no money and little hope. That is until a kind stranger, James, offers a helping hand. The subject matter alone makes for a captivating viewing experience given its stark relevance in today’s world, tackling themes of immigration, grief and homelessness. Nothing elevates this feature film more than the powerful central performances. Also starring in the film, Maynard Bagang delivers an emotionally connected performance as the grieving former doctor: James, with many scenes showcasing his deep vulnerability as an actor. Commendations should also be awarded to Jasmin Davis who instills Isabella with the stoicism of a mother trying to hold herself together for her children, combined with tasteful glimpses into her inner psychological life. Most impressive of all however, is the magnificent emotive display of Mara from child-actor Aria Isabella Yeung. At such a young age, tackling such complicated subjects as those on display here, Yeung gifts the audience an honest and effective portrayal of empathy – perhaps resulting in the single best performance of the film. Unfortunately, the stellar work by this company of actors is often in spite of the material, with on-the-nose dialogue, an unfocussed screenplay and some curious mixed messaging. Sticking out like a sore thumb, characters in this story often say exactly what they’re feeling at every instance, articulating their thoughts to an almost robotic clarity. One such example is when the family comes into conflict with Tony, a young homeless man. After a short argument he implores them not to judge him, to which Mara concludes “maybe we’re not so different from him” . This was obviously the moral of the scene, but having it spelled out so blatantly in such an unnatural fashion assumes the viewers to be unintelligent. The variety of different themes on show also leaves the narrative feeling unfocussed, with James and Isabella’s stories feeling like two different films, one being a quiet meditation on grief, and the other an unflinching depiction of the treatment of immigrants – the latter of which features some unfortunate mixed messaging that seems unintended. In multiple scenes we are shown the perspective of the ICE agents hunting the family. In one instance they share a discussion of hunting homeless people being “too far” . This suggests that to them, being an illegal immigrant is immoral but being a homeless illegal immigrant is cause for sympathy, which is an odd distinction for these otherwise unsympathetic characters to make with little justification. Despite its sudden and fanciful ending, The Sanctuary presents a brave and brutal story calling attention to the struggle of undocumented immigrants. Although not a nuanced take by any means, the film’s simple message of kindness and empathy is a breath of fresh air in such a divided world. I truly hope Bagang and company continue to develop their commentary on this subject, as well as persisting in calling attention to such profound social themes in future projects. About the Film Critic Finn O'Toole Amazon Prime < All Reviews Next Film Review >

All That Glitters film review by UK film critic Madeleine Lavers. Starring Jack Welshons, Monterio Caldwell, Samantha Ipema directed by Noah Meister. HOME | FILMS | REVIEWS All That Glitters Film Review average rating is 3 out of 5 Critic: Madeleine Lavers | Posted on: Jun 17, 2026 Directed by: Noah Meister Written by: Noah Meister Starring: Jack Welshons, Monterio Caldwell, Samantha Ipema All That Glitters is a beautiful film with a strong, narrative-driven story that relishes a common on-screen theme (drug culture) while challenging it from a different angle. The story follows timid protagonist Christopher as he is thrown into a world of drugs that exist within his American High School. The film, written and directed by Noah Meister, comments on a multitude of important social issues that are frequent yet new and profound for Christopher. This format allows audiences to be exposed to unfamiliar surroundings at the same time as the main character, providing viewers an opportunity to connect with Christopher and root for his success. Upon his sudden and unexpected involvement in the selling of a large amount of cocaine, Christopher asks for the help of Mack, another student. Their quest forms a friendship that flourishes across a reciprocated network of support, adding humane and heartwarming elements. The secondary characters also carry lots of emotional weight, with the relationship issues of Sarah and Dominic creating tension that heightens during scenes set at the party. It is satisfying to see how multiple storylines connect as these characters link directly to the chaotic plans of Christopher and Mack, eventually catapulting into a messy and complex situation. The stark contrast between characters who are heavily involved in drugs and others who are not ensures the film represents different perspectives of realistic experiences, whilst drawing upon other crazy circumstances that create an engaging watch for viewers. For a debut feature film, the production levels are strong, with potent cinematography and the originally composed score being prominent features. The performance of Christopher, played by Jack Welshons, is extremely rewarding and believable. His on-screen presence is large and has the ability to capture audiences wonderfully throughout. The character arcs develop notably, with each of the characters carrying a firm awareness of their flaws that become prominent as the events of the story unfold. A small detail audiences will appreciate is the repeated visualisation of Christopher being in his underwear. Despite this also providing comedic relief, it symbolises the progression of the main character. The film begins with a dream sequence where Christopher turns up to class in his boxers (a dream most of us have experienced). His embarrassment transforms into self-assurance as he stands somewhat confidently in his underwear during the party towards the end of the film. Overall, the film and story in particular are strong, with traditional narrative elements being utilised assertively. The anxious nature of Christopher begins as a captivating equilibrium, before his call to action and sudden participation in a drug deal provide him with the opportunity to build new relationships and learn many valuable lessons, overall amplifying his clear character development. This film deserves to reach more audiences and enlighten them about drug culture issues that may be surrounding different communities, unbeknownst to them. About the Film Critic Madeleine Lavers Indie Feature Film < All Reviews Next Film Review >

Carmen film review by UK film critic George Wolf. Starring Melissa Barrera, Paul Mescal directed by Benjamin Millepied. HOME | FILMS | REVIEWS Carmen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 17, 2023 Directed by: Benjamin Millepied Written by: Loic Barrere, Alexander Dinelaris, Lisa Loomer Starring: Melissa Barrera, Paul Mescal For this latest reimagining of the classic story, director Benjamin Millepied credits inspiration from Prosper Mérimée’s original novella from 1845, and Alexander Pushkin’s poem “The Gypsies” from 1824. Flashing more modern vibrancy through culturally rich music and dance, this new Carmen arrives as a wonder of visionary composition that struggles to find an equally compelling connection to its characters. The writing team of Loic Barrere, Alexander Dinelaris and Lisa Loomer crafts a surface-level tale of lovers on the run. Aidan (Paul Mescal) is a troubled Marine veteran volunteering on a night patrol along the Mexican border, while Carmen (Melissa Barrera) is trying to cross after the death of her mother. A violent altercation leads to casualties, and the two are soon trying to stay one step ahead of authorities. Millepied (choreographer and co-star of Black Swan ) knows his way around a dance number, getting an assist from flamenco specialist Marina Tamayo for sequences that sport some thrilling fluidity. The acclaimed talents of cinematographer Jörg Widmer (The Tree of Life, V for Vendetta ) and composer Nicholas Britell (Moonlight, If Beale Street Could Talk ) are also on full display, rounding out a veteran stable of technical skill that consistently lifts the film’s imagery and scope. Mescal (Aftersun ) continues to show a gift for quiet nuance, Barrera (In the Heights, Scream , Scream VI ) finally breaks out of her reliance on posing, and the veteran Rossy de Palma (various Almodóvar projects) steals scenes as a savvy nightclub owner, but the script seems content to keep depth at a distance. Pushkin’s centuries-old themes of noble savages and the tragedy of life are too often given a heavy hand, needing a rescue by the visual poetry on display. This Carmen tells us “dancing will you heal you.” Indeed, it’s one of the cures for what ails a less than passionate romance. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The film critics behind some of your favourite movie reviews. Meet the UK Film Review team. UK Film Review Movie Critics The people behind your favourite movie reviews . Madeleine Lavers Read More Callum Ewing Read More Charlotte Spark Read More Finn O'Toole Read More India Gwyn-Williams Read More Holly Baker Read More William Curzon Read More Nina Romain Read More Matt Trapp Read More Rohan Kaushal Read More Jack Salvadori Read More James Learoyd Read More Joyce Cowan Read More Rob Jones Read More Tori Hanes Read More Daniel Baldwin Read More John McKeown Read More Ahmed Abbas Read More Oliver Weir Read More Michael Brennan Read More Isaac Parkinson Read More Joshua Boulton Read More Joe Beck Read More Graham Blair Read More Megan Deacon Read More Sophie Price Read More Alasdair MacRae Read More Kieran Freemantle Read More Amelia Eilertsen Read More William Baines Read More Evie Brudenall Read More Alex Crisp Read More Tallulah Denyer Read More Helen Samuels Read More Julian Gaskell Read More Swati Verma Read More Sam Quarton Read More Isabelle Ryan Read More Patrick Foley Read More William Hemingway Read More Chris Olson Read More Corey Bulloch Read More Chris Rose Read More Alfie Kaye Read More Albert Sowerby-Davies Read More Kirsty Asher Read More Ieuan Walker Read More Bruna Foletto Lucas Read More Amber Jackson Read More Will Girling Read More Nathanial Eker Read More Brady Clark Read More Brandon Thomas Read More Jasmine Holly Bullock Read More Charlotte Little Read More Sarah Smeaton Read More Alexandra James Read More Shrubaboti Bose Read More Christie Robb Read More Cat McAlpine Read More Matt Weiner Read More Rachel Willis Read More George Wolf Read More Hope Madden Read More Hannah Sayer Read More Brian Penn Read More Rachel P Read More Taryll Baker Read More Benjamin Schofield Read More Andrew Young Read More Jack Bottomley Read More Darren Tilby Read More Chris Buick Read More Connor Slatkoff Sharpe Read More Seth Troyer Read More Joshua Calladine Read More Robert Stayte Read More Rochelle McLaren Read More Lucy Clarke Read More Tom Wilmot Read More Jason Knight Read More Lisa Ogunmayin Read More Ian Lunny Read More Lawrence Bennie Read More Tom Jay Read More Alexander Erting-Haynes Read More Alicia Moore Read More Christopher Hart Read More Aaron Gillingham Read More

Street Trash film review by UK film critic Chris Buick. Starring Sean Cameron Michael, Donna Cormack-Thomson, Joe Vaz, Gary Green, Warrick Grier, Shuraigh Meyer, Lloyd Martinez Newkirk directed by Ryan Kruger. HOME | FILMS | REVIEWS Street Trash Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Jan 5, 2025 Directed by: Ryan Kruger Written by: Ryan Kruger, James C. Williamson Starring: Sean Cameron Michael, Donna Cormack-Thomson, Joe Vaz, Gary Green, Warrick Grier, Shuraigh Meyer, Lloyd Martinez Newkirk After taking fellow vagabond Alex (Cormack-Thomson) under their wing, a group of individuals living rough on the streets of Cape Town uncover a government plot to do away with the homeless community permanently through the use of a gruesome chemical weapon known as “V". With their very existence on the line, Ronald (Michael) and his gang must form unstable alliances and risk everything to make sure they don’t become nothing. Street Trash , a sequel of sorts to the 1987 cult film of the same name, is writer & director Ryan Kruger’s follow-up from his deservedly multi-award nominated and winning comedic sci-fi horror Fried Barry . There are a few returning faces here, both Gary Green, who played the titular Barry, and Sean Cameron Michael returning as Ronald, swap roles here with Michael taking the lead of this band of displaced misfits and Green’s 2-Bit helping fill out a cast of vibrant, eccentric and shall we say, rather colorful characters. Ronald is the affable leader, who recruits Alex to show her the ropes and the glue that holds them all together. There’s Chef (Vaz, also returning as part of the Fried Barry alum), the sage elder of the group with unmatched street-life know-how and a unique perspective on fairy-tale morality and message. Rounding off, we have the aforementioned Green as 2-Bit, mostly silent but always accompanied by his foul-mouthed imaginary friend Sockle as well as twins Pap (Meyer) and Wors (Newkirk) and the mostly off-screen (bar a hand or two) Offley (Kruger). Each one much like the film, is as crazy and out there as the next, but with all clearly having an immensely good time and giving no less than one hundred percent. It’s this band of brothers and sisters that must come together to take down the over-tanned and downright despicable Mayor Mostert (Grier, themselves fully committed to the cause), a bubbling cesspit of vitriol and hate who will stop at nothing to wipe them all out once and for all. And, as fans of Fried Barry might expect, Street Trash is a crazy film and, as its opening moments will very much prove, not one for the faint-hearted. You would very quickly lose track trying to keep count of how many body parts pop or squelch or are indeed pulled/chopped/snapped off in-between all the crude knob gags, and although it does end up eventually repeating its tricks somewhat, its impressive array of practical effects is just exactly the sort of thing fans of the gross-out, body-horror genre will lap up, especially so in the finale. Also surprisingly, it's a film that actually says a lot, class divides, civil unrest and over-policing are all tackled here to create a film that ultimately culminates in a messy affair that keeps you rooting for the underdogs. Definitely not to everyone's taste, but for those with the appetite for cranked-up body horror, in Street Trash a buffet of delights awaits. About the Film Critic Chris Buick Indie Feature Film, Theatrical Release < All Reviews Next Film Review >

Genocidium film review by UK film critic Alasdair MacRae. Starring Eva Langlet, Alexandre David Lejuez directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Genocidium Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Jul 14, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Eva Langlet, Alexandre David Lejuez CONTENT WARNING: Rape, Suicide. When Angèle (Eva Langlet) leaves the house one day without a face mask she is kidnapped by a killer known as The Dictator (Alexandre David Lejuez). Once held captive in his dingy loft The Dictator then forces a mask onto her and proceeds to torture and rape her. In the intervals between torture, Angèle fantasizes about her death, be it by her own hand or by her captor. What director Alexandre David Lejuez presents here is anti-mask, anti-vax rhetoric in a wrapping of misogynistic violence. He seems to conflate the needs of the public health system with genocide, religious persecution, and martyrdom. The film opens with a quote from political philosopher and Holocaust survivor Hannah Arendt, as if the Holocaust and wearing a face mask are comparable!? From there Lejuez, fittingly both playing The Dictator and being the film’s director, forces Angèle to be sick in her own mask, beats her repeatedly, and engages in a prolonged rape scene that lasts for five whole minutes. Then after seeing Angèle die many violent deaths we are left with the closing image of Christ on the cross. Staggering. To be clear Genocidium is not challenging or culturally significant like the films associated with New French Extremity. Nor does it have the constructs of a Lars Von Trier or Michael Haneke film. And it does not meet the grade of lo-fi pulp that is associated with Rob Zombie. It is simply a flimsy and insulting allegory shot mostly at a Dutch angle and accompanied by classical music in order to disguise itself as being capable of containing a credible idea. Watch the trailer here . About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

Tomorrow film review by UK film critic William Hemingway. Starring N/A directed by Aryasb Feiz. HOME | FILMS | REVIEWS Tomorrow Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2024 Directed by: Aryasb Feiz Written by: Aryasb Feiz Starring: N/A A young boy and his new found friend must face down the wrath of an angry shopkeeper in order to acquire some much needed medicine. In writer/director Aryasb Feiz’s short film animation, Tomorrow , we meet an unnamed young boy as he travels the streets of the city. We find out in the opening shots of the film that he is a thief, stealing from a street cart as he cuts about his business and finds somewhere to loiter. The boy’s favourite perch is by a tree which looks onto a small road containing an antique shop. He witnesses a small exchange between the owner and a customer and has an idea, however, the purloined food which he still has in his hands has now earned him a new furry companion. Distracting the dog with the food, the young boy heads into the antique store for a little light robbery. He seems to know where the stash is hidden and heads straight for the small ampoules of liquid stored on the underside of the chair. It’s no surprise that the burly shopkeeper catches him and gives him what for, but then the boy’s new friend comes along to help save the day. The two of them run away home, until the boy gives the poor dog the slip and it has to use its nose to find him again. Once they are reunited, we find out what the whole commotion was about and we see that the boy’s father needs the medicine to stay alive. Sadly, one ampoule only gives relief for a day and the next morning the young boy is back outside the antique shop looking for a way to get in and get some more medicine. This constant worry of only having enough for today, and needing to keep repeating the cycle in order to survive, is what leads Feiz to ask the question – What about Tomorrow ? Throughout the story there’s a lot of minor threat and a smattering of intrigue, with the medicine not always being in the same place and the dog getting caught in the basement and other comic capers going on. The animation itself is cutesy and endearing, helping to invest the viewer in the relationship between the boy and the dog, with there being shades of Dug from Up (2009) coming through as well as a ‘Disneyfied’ feel to the whole film. However, there’s a lot to be played for going on in the background, and the sombre yet beautiful music from Fereydoun Bahrami keeps the tone of the film where it needs to be. There’s plenty to enjoy as the narrative runs through the scenario, but strangely it never feels as though we’re getting anywhere. Despite there being three storywriters involved with the project, it seems that neither of them got around to introducing a theme or a moral or a message to the film. There’s the odd situation that an antique dealer seems to have a stranglehold on the supply of medicine instead of chemists or clinics or hospitals, and it’s unclear by the end of the film whether we should be on the boy’s side or not, as he is an obvious thief. Getting a message across is also hindered by Feiz’s decision to film without any dialogue. What must have been a conscious choice to try and save the universality of the film, has ended up costing the filmmakers in terms of truly delivering what they wanted to say. There is so much muddied in with the story of Tomorrow that it seems Feiz and his friends forgot to take a stance. There’s nothing else there apart from the immediate storyline and by the end of the film everything is back to square one. Whilst this may in fact be Feiz’s main idea, nothing has been learnt upon the way, and the reoccurrence of every Tomorrow is only because nobody moves on – so what’s the point? As it stands though, the one-time story from Tomorrow is fun while it lasts and the immediate relationship between the dog and the boy is entertaining enough for the seventeen minutes that we’re watching for. If some of the action wasn’t so obviously violent, and the guiding principle was better expressed, Tomorrow looks as though it could be an intro animation shown before a Disney feature film. However, there needs to be more underneath the story to really give this animation something worth talking about. About the Film Critic William Hemingway Short Film, World Cinema, Animation < All Reviews Next Film Review >

Emily film review by UK film critic Hope Madden. Starring Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead directed by Frances O'Connor. HOME | FILMS | REVIEWS Emily Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2023 Directed by: Frances O'Connor Written by: Frances O'Connor Starring: Emma Mackey, Oliver Jackson-Cohen, Fionn Whitehead Wuthering Heights was always a conundrum of Gothic literature. It is mean, its tragedies ugly, its heroes selfish and boorish. It’s a dark and misanthropic piece of fiction often mistaken as romance. Lucky for all of us, Frances O’Connor appreciates the twisted nastiness of the novel and suggests a vividly unusual inner life for its author in her feature debut, Emily. Emma Mackey stars with an understated but authentic weirdness as the misfit Brontë sister. Emily doesn’t seem suited for teaching, or for much of anything. The stories she tells are childish and they embarrass her sisters, and she won’t let anyone read what she’s writing. She seems to disappoint everyone around her except her brother, Branwell (Fionn Whitehead). In O’Connor’s loose biopic, Emily finds the space to explore once her sisters are gone off to teach and she is alone with Branwell. The filmmaker slyly inserts memorable scenes from Brontë’s novel as moments, here more innocent, between brother and sister. These moments work on many levels, but mainly because writers draw from their own lives. The dynamic complicates and Emily’s transformation deepens as an unexpected, almost involuntary suiter comes into the picture. Untethered by the judgments of her sisters, Emily is free to determine her own course and the journey is intoxicating to witness. Mackey glows as her character slowly, finally comes into her own, giving us a dimensional, tender and delicately genius young woman you yearn to know better. Whitehead charms in a slightly underwritten but nonetheless poignant role. Oliver Jackson-Cohen – so different than the unrelenting narcissist of The Invisible Man – delivers the greatest arc of any character as assistant parson William. His performance is never showy, but moments of vulnerability give the film its heartbeat and heartbreak. O’Connor breathes life with all its chaos, misery and joy into the Brontës’ 19th century. Emily feels less like the vision of a newcomer than the product of a passionate kindred spirit. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >