The Weird Kidz film review by UK film critic Hope Madden. Starring Tess Passero, Ellar Coltrane, Sydney Wharton directed by Zach Passero. HOME | FILMS | REVIEWS The Weird Kidz Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 27, 2026 Directed by: Zach Passero Written by: Zach Passero Starring: Tess Passero, Ellar Coltrane, Sydney Wharton Let’s say you just watched Wildwood , and you need more animation. I’m going to be honest, The Weird Kidz would be an odd choice. But not a bad one. Writer/director Zach Passero’s animation style bends a little closer to a decidedly white trash version of South Park, but the visuals perfectly suit the film’s low-fi, late 80s vibe. Somewhere in the New Mexico desert, sixth grader Dug (Tess Passero) and his buddies Fatt (Brian Ceely) and Mel (Glenn Bolton) head out for a cool camping weekend with Dug’s high school senior brother, Wyatt (Ellar Coltrane) and his very cool girlfriend, Mary (Sydney Wharton). Yes, Wyatt needles his little brother and calls all the boys “scrote.” Indeed, he may not be a great choice to keep an eye on a gaggle of middle schoolers, especially once the murderous monster emerges. But Passero’s writing is full of genuine fondness for these characters, and they for each other, no matter what dangerously idiotic things they may do. Hand-drawn over eight years, Passero’s film is an obvious labor of love, a crudely drawn but not inaccurate remembrance of a time when children went unsupervised. Youngsters were free to waste hours on end at a convenience store racking up an arcade game high score and eyeing the covers of porn magazines. Adults would look the other way as pre-teens shoplifted beers and headed, seatbelt free, out to the desert. You could just walk around with BB guns. The delightfully crude animation fits right in. As does the violence, because dangerously idiotic choices often lead to bad places. Passero never gives up on his kids, and I don’t mean that in a traditionally wholesome way. Mary’s been in the back seat of a squad car before. None of them have much of a future, and Passero presents them without judgment. The way his characters—dumbasses, all—care for each other is probably my favorite part of the film. The Weird Kidz turns from sweetly raunchy comedy to horror comedy with little difficulty and without losing any of the unapologetic authenticity of its Gen X childhood vibe. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Animation < All Reviews Next Film Review >

Key of Bones: Curse of the Ghost Pirate film review by UK film critic Jason Knight. Starring Gina Vitori, Melissa Chick, Jeremy King, Chad Newman directed by Tony Armer. HOME | FILMS | REVIEWS Key of Bones: Curse of the Ghost Pirate Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Oct 27, 2026 Directed by: Tony Armer Written by: Tony Armer Starring: Gina Vitori, Melissa Chick, Jeremy King, Chad Newman A supernatural horror comedy feature written and directed by Tony Armer and starring Gina Vitori, Melissa Chick, Jeremy King and Chad Newman. Centuries ago, pirate Anne Bonny (Chick) and her accomplice, Mary Read were hunted down by authorities. Now, in Key West, Florida, several old coins are found throughout the area, resulting in Anne's resurrection and she begins her deadly journey to retrieve all the coins and be reunited with Mary, who has been reincarnated as Mary (Vitori), a young waitress. This film is not to be taken seriously. The acting is poor, the special effects are unrealistic and the screenplay is just ridiculous. Speaking of the script, the plot sesembles the 1999 action fantasy adventure The Mummy . The main focus is on Anne as she searches for her lost associate and the coins, killing everyone who gets in her way, while Mary teams up with Christie (King), a man she meets at her workplace and Dave (Newman), an expert on all-things supernatural regarding Key West. Anne acquired her own allies too, a resurrected African slave (Ty Spann) and a transvestite. Oh, and there is also Barbara (Kitty Clements), the ghost of a lighthouse keeper who joins forces with the good guys. Evidently, this is intended to be a brainless adventure, with cheeky humour, adult humour and fight scenes. However, the killings are quite gory, placing the film's content towards more serious standards. Arguably, Chick is the one who steals the show as a resurrected pirate, the antagonist. Dressed in pirate clothing and wielding a sword, she moves from one victim to the next. With an angry attitude, and the voice to go with it, she is determined to complete her goals. Vitori's character is the heroine, a simple, carefree woman who finds herself having to deal with an otherwordly threat. Easygoing Christie is just a visitor who happened to get involved in this conflict, while Newman adds significant comedic qualities as a bubbly ghost-tour guide. What is this fantasy tale about then? It is a Good vs Evil story about revenge and about being united and being strong during challenging times. A silly pirate story for adults. A bad film that can be fun if the viewer forgets about logic and just enjoys. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

FREUD film review by UK film critic Madeleine Lavers. Starring Eva Marlen Hirschburger, Shahin Shehata, Lena Bodewein directed by Ruben Leander Bühring. HOME | FILMS | REVIEWS FREUD Film Review average rating is 3 out of 5 Critic: Madeleine Lavers | Posted on: Oct 26, 2026 Directed by: Ruben Leander Bühring Written by: Ruben Leander Bühring Starring: Eva Marlen Hirschburger, Shahin Shehata, Lena Bodewein FREUD (2025) is a German student-led project written and directed by Ruben Leander Bühring. The psychological drama follows Maya, a young girl struggling with her mental health; she is seen discussing ‘the voices’ in a therapy session. This storyline intercuts with another: a court hearing in which charges are brought against a therapy provider. It is revealed that the therapy provider (FREUD) is an AI database that predicted from Maya’s behaviour that she may commit a crime. In an attempt to protect others, the company gives Maya a fatal pill, killing her almost immediately. The predictions of the machine have severe consequences and can prompt the audience to reflect on just how much responsibility AI will have in the future. The idea behind this film was unique and interesting. It definitely gets you thinking about how the protection of others can sacrifice another. It is a complex play on very engaging questions such as: can we trust machines to play God? The links between the two narratives gain more and more clarity throughout, with the court scenes almost providing narration for the entirety of the film. This helps make the tale much easier to understand for viewers. Without underestimating the time and budget restrictions of a student short film, I would have liked more backstory for the main character, Maya (played by Eva Marlen Hirschburger). Her demise was quick and not emotional at all because the audience did not get to know her. Small details to make her seem more human (like seeing her in more positive moments or seeing the people who care about her) would have increased empathy after her death and promoted more connection from viewers to the story. I also think adding more human elements would have created an even deeper battle between society and machines (emotion vs analytics). The stark contrast between the red and black colours used on the title card and credits was very aesthetically pleasing and fitting for the narrative of the film. I also appreciated the fisheye effect and thought this was used perfectly. The music worked in unison with the ebbs and flows of the tension curated in the project. I also appreciated the sound effect timed with protagonist Maya opening her eyes; the small details added so much atmosphere. Overall, the production value was high, with clean and professional cinematography, beautiful shot compositions and an array of confident actors. The narrative touched on a multitude of themes and asked captivating questions of the audience. I would have loved to have seen the conclusion of the court and I think this idea has the potential to be reworked to fit a longer format. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Short Film < All Reviews Next Film Review >

The Idea film review by UK film critic Chris Olson. Starring Melora Walters, Dar Dixon, Jill Galbraith, Nolan Jones directed by Henry Chastain. HOME | FILMS | REVIEWS The Idea Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Oct 26, 2026 Directed by: Henry Chastain Written by: Raymond Carver Starring: Melora Walters, Dar Dixon, Jill Galbraith, Nolan Jones Voyeurism in the modern age is a lot easier. Personal devices have made it incredibly easy to spy on people. Short film The Idea revisits classic voyeurism, however, exploring the intrusive nature of a couple spying on their younger neighbours and how this impacts their own mental states. Directed by Henry Chastain and adapted from the original short story by Raymond Carver, The Idea feels immediately perverse and uncomfortable for the viewer. Our couple (played brilliantly by Melora Walters and Dar Dixon) sit by their window in the dark and watch as a man across the street peers in and watches a woman get undressed. Voyeurs watching a voyeur, then, the movie moves on to display how angered Walters’ character is at the woman across the street. She seems completely put out by the neighbour and threatens to confront her in public. What’s immediately arresting about The Idea is the routine nature of what’s going on. The fact that this couple can regularly sit by their window and observe their (younger) neighbours going about an odd and intimate habit stirs something disquieting for the viewer. The layered voyeurism seems frankly bizarre when watched as a dramatised short film, and yet this type of behaviour is commonplace, nay, encouraged, on social media. Seeing the impact on the central character also makes for uneasy viewing. She seems a little off-kilter, and the one-sided hatred that festers within her towards her unsuspecting neighbour is, again, an incredibly powerful parallel of our modern tendencies. The film version of the story is set in the 1990s (a wonderful pre-smartphone era), and the mise-en-scene is beautifully rendered to immerse the audience in the time period. The couple’s home feels like every sitcom from that era you watched, and yet the tense atmosphere created feels far more akin to a psychological thriller. This wonderful juxtaposition creates a lasting impression on viewers. Melora Walters (whose credits include Boogie Nights, Magnolia, and Dead Poets Society) delivers a powerhouse performance and does the majority of the heavy lifting for The Idea. Her character experiences emotional migration from mild curiosity through to full-on paranoia in a short space of time, and Walters executes this beautifully in her performance. Dar Dixon also provides a nice counterbalance to the proceedings, offering an aloof co-conspirator whose grasp on his wife’s mental state is tenuous. The third act of the film suffers from a pacing issue, and the story doesn’t really serve up the gut-punch the audience may think is coming. Whilst the connotations linger, it’s a shame something more cinematic and exciting isn’t brought in. That being said, The Idea focuses more on the internal struggle for our characters and how their viewing habits have shaped their emotional states. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Clayface film review by UK film critic Callum Ewing. Starring Tom Rhys Harries, Ruby Sear, Naomi Ackie directed by James Watkins. HOME | FILMS | REVIEWS Clayface Film Review average rating is 3 out of 5 Critic: Callum Ewing | Posted on: Oct 26, 2026 Directed by: James Watkins Written by: Mike Flanagan, Hossein Amini Starring: Tom Rhys Harries, Ruby Sear, Naomi Ackie Clayface is the newest entry into the DC Universe and is one of the most unique entries into the comic book film world, filled with visceral body horror and convincing performances that overcome a frustrating script. As a self-professed Batman nerd, the idea of doing a Clayface film struck a positive chord with me more than the general audience that either had never heard of the character or questioned why one of the earliest films in the embryonic DC Universe would be a film about a secondary Batman villain. However, knowing that the pitch for this was a low-budget David Cronenberg -esque body horror with a partial script from Mike Flanagan and taking inspiration from one of the most beloved Batman: The Animated Series episodes, “Feat of Clay” and Sam Raimi's Darkman, this was certainly a film I was excited about. Clayface follows Matt Hagen (Tom Rhys Harries), a rising actor who is on the cusp of making it to the peak of his career, but after being targeted by a section of the Gotham mob, his face is cut to shreds, ruining his career. He seeks out help and becomes entangled with Dr Caitlyn Corr (Naomi Ackie) before realising this choice goes down a very dark path. Rounding out the cast are Max Minghella as Caitlyn’s lover and a GCPD cop, David Dencik as the mob boss Markos Szabo, and Eddie Marsan as Frank Fitzpatrick, Matt Hagen's manager. Clayface has had various incarnations with various backstories, but the one that has stuck with comic readers and the audience is that of an actor whose face is disfigured and relies on an experimental drug to save his career. It is a tragic backstory and one that has the potential to be an amazing character study involving themes of celebrity culture, societal pressures of appearance, addiction, and self-harm, and how there is a monster inside us all. The film’s greatest strength is its body horror and gore. Not for the faint-hearted, it feels more like a horror film than a comic book adaptation and is one of the few comic book films rated 18 by the BBFC in the UK. Its influences include The Fly, The Thing and Brian Yuzna’s films. Made for 30 million, it uses practical effects to convincing effect, while the CGI for Clayface’s final form holds up well given the budget. Clever camerawork and editing showcase his shapeshifting abilities, culminating in the film’s standout sequence: a phenomenal nightclub fight. The third act takes the film up a gear as Matt’s skin and mind truly melt into Clayface. Matt Hagen’s characterisation is another strength. His initial charm makes his disfigurement and unravelling life sympathetic, but the film gradually reveals that he is no anti-hero: he is an outright villain. Solo films about villains often recast them as anti-heroes or misunderstood heroes. Clayface avoids that approach, and I admire its commitment to the character. We can sympathise with Matt while recognising that he will eventually need to be stopped. The script keeps the film from greatness. Its dialogue is blunt and basic, its villain cartoonish and one-dimensional, and its revenge plot predictable. These elements work, but their simplicity prevents the film from becoming a compelling character study. It touches on celebrity culture and the pressures of appearance in society and Hollywood, yet prioritises revenge over exploring those themes. A powerful story about acceptance lies beneath the surface but never fully emerges. The first act needed more time to establish Matt Hagen’s success and the scale of his loss, giving us reasons to sympathise beyond his desire for revenge. I wonder what the film might have been had it been delayed to allow Mike Flanagan to direct and contribute more to the script. At times, it also feels as though scenes have been cut to shorten the film. Clayface is a breath of fresh air in the comic book genre with fantastic body horror and a great character in Matt Hagen that delivers a pulpy revenge story. However, a more focused script and longer runtime could have made this film a brilliant character study. Buy UKFR Banner Space About the Film Critic Callum Ewing Theatrical Release < All Reviews Next Film Review >

Bigfoot, I Love You film review by UK film critic Charlie Robinson. Starring Nikko Austen Smith, Alan Starzinski, Teri Gamble, Ryan McCallister directed by Marcus Nash. HOME | FILMS | REVIEWS Bigfoot, I Love You Film Review average rating is 2 out of 5 Critic: Charlie Robinson | Posted on: Oct 25, 2026 Directed by: Marcus Nash Written by: Marcus Nash Starring: Nikko Austen Smith, Alan Starzinski, Teri Gamble, Ryan McCallister Rumour has it a mysterious creature lives somewhere in the forests of northern France, near Normandy, to be precise. The creature is large, hairy, hard to photograph, loves opera, and may have telepathic abilities. This creature is of course ‘Le Grand Pied’ (or the anglicised ‘Bigfoot’), and is at the centre of the new irreverent Marcus Nash comedy Bigfoot, I Love You , a film which works as often as it doesn’t. Zadie (Nikko Austen Smith) is a documentarian in Los Angeles. Her father has recently died, shot by a mysterious figure in those very same French forests, and she is trying to move on with her life. But it is difficult. Especially so when Zadie receives a distress call from Le Grand Pied. After some encouragement from her eccentric Uncle Shizzle (Ryan McCallister), Zadie and her Austrian cinematographer, Kaya (Alan Starzinski), head to France to uncover what resides amongst its woods. But when Zadie and Kaya arrive, they meet something far stranger than any cryptozoological beast: the local residents of Normandy. There are a lot of characters in Bigfoot . Too many, perhaps. Much of the film’s brief runtime is spent introducing an assortment of eccentric locals: the uppity mayor and her reclusive sister, the gruff farmer, the Ace of Base-loving bartender, the sage-smoking pop singer, and so on. Some encounters are genuinely funny, such as a brief exchange with a feederist clog maker who has a proposition for Kaya, but many fall flat. The characterisations are often too cursory to sustain a joke, resulting in a series of mundane encounters spiked with a little Brooks-ian wackiness that always stops just short of fully embracing the ridiculous. There are some standouts within this expansive cast, though. Presumably real-life sisters Juliet and Madeleine Robb as the warring mayoral siblings strike the perfectly zany tone, while McCallister steals every scene as the rambunctious Uncle Shizzle. Austen Smith holds her own as both the only sane person on screen and a reliable foil for everyone around her. And while Starzinski’s deadpan drawl occasionally lands, Kaya remains frustratingly ill-defined, shifting into whatever character the moment requires. Visually, however, the film is consistently assured, with a vibrancy that suits its outlandish story. The editing is similarly effective, maintaining a brisk pace without rushing its strongest comic moments. Where Bigfoot stumbles is in its script, which never quite fulfils its lofty ambitions. After a promising opening, the film settles into a repetitive rhythm that grows tiresome, while its finale offers little justification for the time spent introducing its vast array of characters. So while it has its moments of brilliance, thanks to some excellent performances, Bigfoot, I Love You is ultimately less memorable than one would hope. For a film about a creature that is supposedly impossible to pin down, its comedy proves frustratingly easy to anticipate. Buy UKFR Banner Space About the Film Critic Charlie Robinson Digital / DVD Release < All Reviews Next Film Review >

Dating Audrey film review by UK film critic Nina Rawlingson. Starring Edmund C. Short, Kendal Brenneman, Géraldine Lavie directed by Dan Hertzog. HOME | FILMS | REVIEWS Dating Audrey Film Review average rating is 3 out of 5 Critic: Nina Rawlingson | Posted on: Oct 24, 2026 Directed by: Dan Hertzog Written by: Dan Hertzog, Kendal Brenneman Starring: Edmund C. Short, Kendal Brenneman, Géraldine Lavie We step into Pete’s (Edmund C. Short) tumultuous world. After the loss of his mother and infidelity from his fiancé, we follow Pete’s isolation and wallowing. Until a figment of his imagination begins to spark joy and meaning once again. Pete is trying to find his feet amidst the chaos in his life. We find out about his mother’s passing as he rifles through boxes he is still yet to unpack. After watching through his mother’s Audrey Hepburn film collection, he wakes up to find Audrey (Kendal Brenneman) in his house. Understandably feeling confused and no longer sane, Pete tries to get a grip on his life. The film touches on a variety of emotions: grief, self-pity, and the idea of having your life on hold. Audrey acts as Pete’s escapism from the real world, helping to unpack his feelings and life moving forward. When in actual fact, it’s Pete trying to help himself. It’s a relatable experience for most in terms of feeling stuck and being uncertain of the future. It’s done in a palatable way, verging on a romantic comedy. Both of the leads bounce off each other in a playful, comedic way. The standout performance is by Kendal Brenneman; it feels as though she’s studied Audrey’s mannerisms, vocal inflections, and little quirks. That, paired with the extensive wardrobe and accurate hair and makeup, make for a believable portrayal. For such a big icon, Kendal takes on this beast with grace and elegance. The standout aspects of the film come from the artistic direction and aesthetics. Set against a stunning Paris backdrop as the pair wander around, everything feels clean, refreshing, and mirrors Pete’s new lease on life since Audrey appears. The costume department really nails the signature looks of Audrey and throws us right back in time. Any old-school cinema lover will love the look and feel of this short. Time is what Pete is so hung up about, living in feelings of the past, and whilst nostalgia is fun to relive, it’s a lesson in trying to progress towards a future. It’s evident in a scene between them both where Audrey states ‘if you don’t eat your ice cream, it’s going to melt away’ whilst she means it literally and in a comedic sense; Pete sees it as a metaphor for his own life. A playful quote that we can all take into our own lives. Overall, the short captures the melancholy and sentimentality of time passing by. With a short run time, it doesn’t manage to grip the audience any deeper than surface level. That being said, it works as a short, fun-filled comedy and is an entertaining watch. Just for the costume changes alone, the visual elements are striking and fulfil each scene. Dating Audrey has picked up 19 wins and 14 nominations, including Best Comedy at the 27th Annual FirstGlance Film Festival in Philadelphia. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Short Film < All Reviews Next Film Review >

Night Games (Nattlekar) film review by UK film critic My Nguyen. Starring Dylan Kjellin, Simon Mezhar, Josefine Wistedt directed by Emil T. Jonsson . HOME | FILMS | REVIEWS Night Games (Nattlekar) Film Review average rating is 5 out of 5 Critic: My Nguyen | Posted on: Oct 24, 2026 Directed by: Emil T. Jonsson Written by: Bjorn Bostrom and Stig Dagerman Starring: Dylan Kjellin, Simon Mezhar, Josefine Wistedt Night Games opens up to a scene where the protagonist, Samir (Dylan Kjellin), is playing with his action figures. The hero just so happens to represent himself, and Samir carries this action figure wherever he goes. The film follows Samir throughout the course of one night of his life. His alcoholic and gambling addict father, Farhad (Simon Mezher), hasn’t come home, and his mother, Zara (Josefine Wistedt) is waiting for him in bed. A shot of Samir outside his parents’ bedroom, looking in as his mother wrestles with her emotions, is a poignant turning point. When she tells him to close the door, he obeys her. But that doesn’t stop him from taking matters into his own hands. What is a young boy to do when his addict father hasn’t come home, and his mother is sobbing in bed waiting for her husband? He uses his imagination. The devices used in this film are simple, but their implications are deep and very moving. With the flourish of a makeshift cape, Samir is now a superhero, on a mission to rescue his father from the “bad guys” and bring him home. While the cape represents Samir’s superhero status, it has also given him the superpower of invisibility, which he uses to manipulate first his father into getting on a bicycle to come home, then his mother to try and get her not to take what is assumed to be sleeping pills. His mother swallowing the pills anyway despite his attempts to stop her, is another vital turning point in the short film. Samir is left with no other choice but to brandish his secret weapon: a bread knife. With the power of his imagination, the bread knife transforms into a samurai sword, and he uses it to slay all the villains keeping his father away. When his father does come home in real life, it is not quite the homecoming Samir is expecting. As his parents fight, he throws a tantrum and tosses his action figurines around the room. Then he goes to bed, and it seems like he has given up on his superhero shenanigans entirely. Dylan Kjellin, who plays Samir, does a wonderful job of portraying a young boy with an overactive imagination. The way he plays a precocious child, who is willing to stop at nothing to bring his father home, shows just how talented this young actor is. When he discovers a bus pass in his father's coat pocket, Samir is happy that his ‘night games’ were able to successfully bring his father home. The film ends on a happy note despite the dark themes of abuse, addiction, and violence running throughout. Petter Bulling, the Director of Photography, does a remarkable job with the cinematography. Close-up shots of the actors’ faces show their wide range of emotions. Through the powerful lens of the cinematographer, the story unfolds and is shaped by the striking camera angles and shots that convey a young boy’s desire to bring his addict father back home and into his mother’s arms. Together with the help of the actors and an amazing crew, director Emil T. Jonsson’s vision is realized. The 2024 Swedish film is based on a short story by Stig Dagerman and is inspired by the director’s own childhood. Winner of multiple awards, Night Games stands out as an emotional tour de force with its incredible cinematography and fantastic storytelling. Told through the lens of an innocent, the high-stakes and driving force of the drama will surely leave viewers feeling sated by the end of the film. Buy UKFR Banner Space About the Film Critic My Nguyen World Cinema < All Reviews Next Film Review >

The Transaction film review by UK film critic Lewis McLeod. Starring Audrey Coletti, Thomas Gipson, Patrick Eichner directed by Patrick Eichner. HOME | FILMS | REVIEWS The Transaction Film Review average rating is 4 out of 5 Critic: Lewis Mcleod | Posted on: Oct 24, 2026 Directed by: Patrick Eichner Written by: George Firewalker Carlson Starring: Audrey Coletti, Thomas Gipson, Patrick Eichner Patrick Eichner’s “The Transaction”, created in 2020, follows Jane (Audrey Coletti), a sex worker, as she struggles to navigate her current lifestyle working under her abusive partner/pimp, John (Thomas Gipson). Amidst this personal barrier, one particular client (a cameo from Patrick Eichner himself) engages in a conversational transaction with John in a cafe, who contains more in store than John’s run-of-the-mill purchasers. The short, through one 18-minute anecdote, compacts numerous horrific normalities of this industry explored between these three characters. John’s aggressive behaviour and language towards Jane provides a commentary on the pressure typically placed upon these workers and the power perceived of those who work above them (mostly manipulative men who make unlikely promises, as John does here). These two match the gender stereotypes that divide the labor efforts here; men should be the “muscle” as John and his blade make clear, and women should be the promiscuous “prize”, reinforced by the staring and catcalling Jane receives in the opening scene. The ignorance against Jane’s wishes to level up their scheme by forming a more personal connection with clients also reflects a common desire to level up at the expense of worker’s mental and physical health. It is not uncommon for these clients to breach the agreed dealing, hence the “frisk” carried out by John on the current client for anything suspicious and Jane’s direct reference to a previous incident involving non-consensual choking. Jane’s drug usage also explores a common issue prevalent in sex workers as they are often a cheap mental escape from the trauma that can be faced during work, however, this in turn creates more abuse and a pressure to get sober for the sake of higher income. Whilst the client appears to be a cliché white collar middle aged worker desperate for an easy satisfaction outlet, however his true intentions lead to a shocking twist. This ending ultimately represents how lots of these transactions in the real world can end: with damaged relationships, people getting hurt, but also (ironically), a sense of relief for at least one person involved. The short film underwent a successful festival circuit across 2020/21, permitting Thomas Gipson to win best drama actor at the 2021 Brightside Tavern Film Festival, New Jersey. Alongside his director role, Patrick Eichner also produced and edited the project. Writer and cinematographer George Firewalker Carlson’s company, Firewalker’s Dreams & Images, also oversaw production of the film. Outside shots are unapologetically dark and grungy, foiled by the warm and inviting setting of the cafe, suggesting that at face value, customers are in for a good time without ever having to look behind the nightmarish curtain. This short is no doubt a difficult watch and a caution should be given to those who may be able to relate or triggered by the subject material. That being said, the content provides a detailed view into what lies beneath the surface of a what attempts to mask as a strictly pleasurable industry. If it were only possible to apply the key underlying message of “The Transaction” globally, thousands of workers, or those close enough to soak in the effects, could be saved from the inflictive demand created in the world of sex work. Buy UKFR Banner Space About the Film Critic Lewis Mcleod Short Film, Film Festival < All Reviews Next Film Review >

Such A Pretty Girl film review by UK film critic Finn O'Toole. Starring Sarah Drew, Cole Moreno & Harry Groener directed by Deborah Puette. HOME | FILMS | REVIEWS Such A Pretty Girl Film Review average rating is 4 out of 5 Critic: Finn O'Toole | Posted on: Oct 24, 2026 Directed by: Deborah Puette Written by: Deborah Puette Starring: Sarah Drew, Cole Moreno & Harry Groener Written and directed by Deborah Puette, Such A Pretty Girl follows Meg having returned to her childhood home to care for her elderly father. Meg faces an impossible choice when her 12 year old child, Finn, discovers a long-buried relic from her past. With mere moments to decide, Meg must choose between protecting her father’s comfort and supporting her child. The short opens to soft imagery and a cozy soundscape. It’s pleasant. Maybe too pleasant. These suspicions are confirmed when the almost infantile music is jarringly interrupted by Meg’s entrance, whereupon she finds Finn wearing her old dress. This is an excellent showcase of subversion straight off the bat. Within the first 6 (long) seconds of Meg stepping in, unfolds a wordless interaction that could fill an entire short-film of its own, with Meg visibly scrambling to figure out how to react and Finn feeling caught in the act. This moment will surely be a point of universal relatability, even if not the specifics, then the identifiable feelings of not knowing how to handle an unexpected situation with a loved one. The tone is captured remarkably by director of photography Katharine White, who chooses the sophisticated approach by letting the camera linger on each moment, electing for sparse yet meticulously composed shots as opposed to fast-paced visual flourishes. With a 4:3 aspect ratio, White and Puette box us into the claustrophobic emotional situation along with the characters. Speaking of the characters, not only are all three central performances from Sarah Drew (Meg) , Harry Groener (Frank) and Cole Moreno (Finn) sensitively conveyed, but the material in which they are given speaks to each character without explicitly stating anything out of the ordinary, subtly weaving invisible exposition into the dialogue. Through this, we are provided reasoning to the social pressures both Meg and Finn may be experiencing. Whether it be Frank making gender-conforming remarks such as “men wear ties” , or the inference that they come from a traditional religious family. Furthermore each character is represented with an empathetic innocence from Puette. Even Frank who represents the majority of the conflict throughout the piece is presented as ignorant rather than purposefully cruel. Despite the high quality of the film in its entirety, the ending feels just a little bit too neat and easy, almost coming off like the definitive end of this situation rather than an optimistic start on a long road of trials for Finn. However, even with this, it is hard to deny that the ending is heartwarming. Viewers will also be endeared to know that this film was created from the writer’s first hand experience of watching her own daughter’s journey through transitioning, a fact that deepens the emotional effect of this tale. There are no villains here. Such A Pretty Girl is drawn straight from the heart with a refreshing empathy and unwavering grace with its mature writing style that leaves the audience alone, allowing the brilliant central performances to do the emotional storytelling. This short acts as a proof of concept for an upcoming feature version. Writer/ director Deborah Puette offers this work “in honor of all the incredible Finns in the world for their deep bravery and commitment to being truly themselves.” Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

I Had A Fall film review by UK film critic William Hemingway. Starring Nadia Javed, Laurence Hezili Perry, Martyna Skorupa, El Rashid directed by Jobe Wolf. HOME | FILMS | REVIEWS I Had A Fall Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Oct 23, 2026 Directed by: Jobe Wolf Written by: Sybelle Cheesman and Jobe Wolf Starring: Nadia Javed, Laurence Hezili Perry, Martyna Skorupa, El Rashid An entrepreneurial young woman experiences first-hand the nightmarish pain of being in an abusive relationship. Skyrim (Javed) is in fashion. She’s directing a photoshoot, handling things as the flashbulbs pop, and she looks great. Her friend and colleague, Barbara (Skorupa), is also there, doing fashion, and she also looks great, except for maybe a bit too much make-up today, around one eye. It was just a clumsy accident, Barbara says, ‘I Had A Fall.’ Except that Sybelle Cheesman and Jobe Wolf’s new short film isn’t just about how Barbara is living with the painful truth behind her black-eye. ‘I Had A Fall’ is about every one of the 1 in 4 women in the UK who experience some form of domestic abuse, and it’s Skyrim who’s going to tell us her story. Back at home, Skyrim is not the fashion star that she is at work. Her partner, Clive (Perry) is more interested in hanging out with his work buddy Steve, than he is in staying at home with her. Steve just so happens to be Barbara’s man, and he’s been giving Clive pointers recently about how to keep his relationship just the way he likes it, with no drama. Skyrim tries her best to love her man, but he’s too caught up on the train of toxic masculinity to see anything in front of him but red. In an all too familiar story, we find that the lessons of the Manosphere, and the pervasive sociopathic practices of the Tate brothers and other low-life PUA’s, offer Clive a grasping at control that he thought he might never have. In Cheesman and Wolf’s script, we are faced with some very bare dialogue which cuts right to the bone, and which scars quickly. The tension and the aggression are palpable in every scene, but ever so mildly guarded, to keep Skyrim believing that she is in a loving relationship that just needs some help, and we are brought along with her, all the way to the end. The violence is shocking, as it should be, and the direction from Wolf puts us right where the words and actions have the most impact. In every moment we see how she loves him, and in every moment together we see how he convinces himself to hate her. We are close in with the couple throughout the film, and the intimate spaces keep us with the characters to feel every bite in every word, and every sting in every touch. As the foreboding increases, Wolf chooses certain moments to ratchet up the stakes, and we are thrust from safe and comfortable, to survival, very quickly, as Clive’s behaviour deteriorates. The sound design is used effectively to mark out these moments, with El Rashid’s score underlining the danger and the gut-wrenching that comes with the breakdown of security in a relationship, while Nadia Javed and Laurence Hezili Perry’s strong performances ground the characters as very real people. ‘I Had A Fall’ is not a film for those who are afraid to face up to hard truths. If 1 in 4 women are experiencing domestic abuse, then both Skyrim and Barbara’s stories are true, as well as countless others. Here we are shown in intimate detail how that comes about, and how traumatic it is when it happens. Cheesman and Wolf do not shy away from dealing with the realities of very difficult situations, and in so doing, encourage the audience to raise their awareness of the women in their lives, too. ‘I Had A Fall’ stands strong as testament to what women live every day in the UK, and worse the world over, and makes a point of making you look at what you don’t want to see, when you know that statistically, you’re probably seeing it at some point in some of the people around you. There’s a strong message, and a strong call for solidarity through watching this film, for anyone who might turn up one day to say, ‘I Had A Fall.’ Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

3 Dream Problem film review by UK film critic Lee Sinden. Starring Jorge Villacorta directed by Jorge Villacorta. HOME | FILMS | REVIEWS 3 Dream Problem Film Review average rating is 1 out of 5 Critic: Lee Sinden | Posted on: Oct 23, 2026 Directed by: Jorge Villacorta Written by: Jorge Villacorta Starring: Jorge Villacorta Lots of people love to study their dreams and work out what they mean. Some people don’t remember their dreams, and others can only recall small parts that make little sense. This film is about a man who wants to discuss his dreams and has the unique ability to recall them. He recounts these dreams to a dream researcher who encourages him to immerse himself in them. As the title suggests, there are three dreams in total. This is an uncomfortable watch, particularly during the dream sequences. The strobing psychedelic lightning and split-screen editing make it very difficult to focus on what is happening. It is not clear whether these effects are part of the dream or whether they are being used to differentiate between reality and the dream. The sound is often crackly, which really affects the film's quality. It again takes the focus away from what is happening. The constant music is grating and sounds like someone holding down random keys on a church organ. I appreciate that the director is trying to create the confusion of dreaming, and on some level, it succeeds. I think for many in the audience it may just be too much. The plot is very simplistic, and there is very little action. The problem is that very little happens in these dreams. There are long sequences where the dreamer is sitting in the back of a car. The dreamer also has many scenes where they are just staring into space. There are times when the focus is solely on the dreamer’s face. There are some nice images that look like a Peruvian town, but the constant flashing light makes it hard to see. Jorge Villacorta plays the dreamer and dream researcher, with the main focus being on the dreamer. The researcher is dressed in a surgical gown, scarf and goggles, which makes for a very odd appearance. The dialogue was originally in Spanish, and I think it would have been better to keep it that way. Much of the English dialogue is mumbled and hard to hear. This makes it difficult to follow what is being said. Jorge Villacorta is also the writer and director. He is a film student who studied art and film in his native Peru. Jorge Villacorta admired and studied filmmaker Leonidas Zegarra, which may explain the film's unconventional approach. He clearly experimented with colour, sound, and imagery. He may have seen it as an artistic project rather than a film with a detailed plot. The lack of a storyline will make it hard for the audience to engage. If the audience views this film as experimental cinema, they may appreciate it more. I think it was created as a piece of art rather than a film with a plot or character development. This could be seen as a project that displays multiple techniques in filmmaking. It uses overlapping imagery, strobe lighting, a mixture of colours, and split-screen. Outside of this, very little works, which makes it difficult to watch. This is a dream that makes very little sense. I would certainly warn the audience about the strobe lighting before viewing. Buy UKFR Banner Space About the Film Critic Lee Sinden Indie Feature Film < All Reviews Next Film Review >