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Blackout film review by UK film critic Jason Knight. Starring Leeanne Bauer, Mike Ferguson, Twana Barnett, Tyler James, Vu Mai directed by David M. Parks, Leeanne Bauer. HOME | FILMS | REVIEWS Blackout Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 15, 2026 Directed by: David M. Parks, Leeanne Bauer Written by: David M. Parks, Leeanne Bauer Starring: Leeanne Bauer, Mike Ferguson, Twana Barnett, Tyler James, Vu Mai David M. Parks and Leeanne Bauer team-up as directors and scriptwriters of this crime action thriller which stars Bauer, Mike Ferguson, Twana Barnett, Tyler James and Vu Mai. Very bad news: the relations between the United States and China are reaching boiling point and war appears to be imminent. People in the U.S. are been instructed to remain in their homes are prepeare for a nuclear attack and in Vista, California, storehouse owners Ella (Bauer) and Noah (James) are getting ready for this. However, if this is not bad enough, a small gang of crooks led by Atticus (Ferguson) and Aisha (Barnett) plan to break into the building in order to acquire a USB stick that contains valuable data. Furthermore, Dog (Mario Daggett), Wolf (Chetavious Davis) and Wrench (Trent James), another group of outlaws, intends to enter the storehouse for their own reasons. Heavily-tattooed criminals vs. former military people. Scenes of hand-to-hand fighting, shootings, people getting killed and plenty of guns. Bad guys invading a building during global post-apocalypse. An intriguing plot certainly and the world-changing events are seen through the eyes of the characters mentioned above, with the exception of news reports comminicated by a visibly distressed reporter. However, this is not an action-packed film with extended fighting. Rather, the main focus is on tension, drama and character exploration, the suspense regarding how the people who work in the invaded building are going to pull through, all of which is supported by Frederick Shands's dramatic music. One particular part deserves special mention. Considering that the budget was tight, the filmmakers do impressive work during the scenes where the bombs hit, creating an atmosphere of devastation. Generally, the acting is not too good but that does not ruin the viewing as the performances are decent enough to add depth to the characters. Some who stand out are Bauer as a tough woman with a military background and flashbacks reveal that she has experience in combat (along with her partner, Noah) and knows how to handle herself. Ferguson is cool as a tough outlaw who also has moral standards (along with his partner, Aisha) and Trent James is probably the one who stands out the most, as a psychopathic fiend. The plot involves global tensions that unfortunately reflect the crisis that the real world is currently going through. Nuclear missile attacks, martial law, fallout, radiation, a lot of people getting killed, all these are present and feared in the film. Global conflict aside, the narrative also deals with crime, survival, loss, morality and self-reflection. This is a low-budget feature that aims to entertain with the action scenes, to be a moving viewing with the drama and to provide a commentary about the unstable times that the world is going through. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Mouse! film review by UK film critic Jason Knight. Starring Vikash Bhai, Rakhee Thakrar, Sanish Shah, Deepak Anand directed by Max Fisher. HOME | FILMS | REVIEWS Mouse! Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 13, 2026 Directed by: Max Fisher Written by: Max Fisher Starring: Vikash Bhai, Rakhee Thakrar, Sanish Shah, Deepak Anand A short drama written and directed by Max Fisher and starring Vikash Bhai, Rakhee Thakrar, Sanish Shah and Deepak Anand. COVID-19 lockdown is taking place and a family in England is suffering the effects of the global pandemic. Taxi driver Rajiv (Bhai), his wife, Priya (Thakrar) and their young son, Moni (Shah) live together in a flat. After Rajiv's father (Anand) passes away due to the virus, the family is left grieving. Things take an unexpected turn when Moni finds a mouse wondering inside the apartment and decides to keep it as a pet. However, when his father discovers the little rodent, he is determined to destroy it. A family drama. A story about the COVID-19 pandemic. A story about a mouse. The screenplay is moving and, at times, contains some humour too. A significant part of the narrative focuses on Moni spending time with his new mammal friend, playing with it and making miniature structures for it to climb on and Rajiv looking to get rid of the rodent by purchasing mouse traps while planning his father's funeral. The miscommunication between Rajiv and Moni is the source of the plot and the mouse ends up becoming a way that reconnects them and brings the family together. This is simultaneously a father-and-son, mother-and-son and grandfather-and-grandchild story and Carson Aune's bittersweet music greatly influences the experience. The script focuses significantly on character development and the performances are strong. Rajiv is a man who, having had an estranged relationship with his father, seems to have created a similar situation between him and Moni. Although a well-meaning person, he appears to be dealing with distractions that are preventing him from bonding with his boy. Moni is a simple child, keen on having fun and not fully comprehending the severity of unfortunate events. Priya is a loving mother and wife, who is aware of the gap that is growing between Rajiv and Moni and is very concerned. To a degree, this short serves as a commentary about the pandemic and its effects on people, such as lockdown, isolation and fatality. The main centre appears to be loss and grief and lack of communication. More positively, childhood innocence, having a pet, family values and the importance of connecting with loved ones are also acknowledged. A moving and hard-hitting story about loss and the significance of family bonding. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Wuthering Heights film review by UK film critic Hope Madden. Starring Margot Robbie, Jacob Elordi, Hong Chau directed by Emerald Fennell. HOME | FILMS | REVIEWS Wuthering Heights Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 12, 2026 Directed by: Emerald Fennell Written by: Emerald Fennell, Emily Brontë Starring: Margot Robbie, Jacob Elordi, Hong Chau Remember when people saw the teaser trailer for Emerald Fennell’s “Wuthering Heights” and lost their minds? Everybody assumed Fennell had gotten in there and gone all Saltburn on the classic. She sure did. Boy howdy, did she. But let’s be honest, it’s a weird book about meanness and obsession and borderline incest and then outright incest. Plus, if you want a tame version there are about 100 other adaptations you can find. Let Fennell be Fennell. Because she does it so well! The film is gorgeous, and I don’t just mean the cast. Although there’s that. Margot Robbie is truly excellent as Cathy, spoiled and vulnerable and cruel and selfish to the core but consistently cheery about it. And who smolders as well as Jacob Elordi? As Heathcliff, he’s first a scruffy, sad boy full of longing and later, a handsome sad man full of longing. This is absolutely Robbie’s show, but he offers very solid support and their chemistry is undeniable. Hong Chau, fantastic as always, brings some bite and depth to a character who’s often a bit of a martyred throwaway. Likewise, Alison Oliver is a wild surprise as Isabella. Fennell, credited with the screenplay, streamlines Emily Brontë’s epic, losing and combining characters wisely and essentially ending the film at the book’s halfway point. It feels very much like the story a teenage girl might have wished Brontë had written, but Fennell has the talent and the cast to make a really good movie out of what is essentially fan fiction. The result is a dazzling, horny sight to see. The costumes, set design, framing, photography—all of it delivers a lush spectacle of the kind we now expect from the Saltburn director. Wuthering Heights purists might scoff and Emily Brontë might blush, but for the rest of us, it’s hard to be mad at Emerald Fennell’s latest confection. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Ms Green and Other Lovely Beasts film review by UK film critic William Curzon. Starring Lauren Koster, Rohan Singh, Mark Keegan directed by Lucy Joan Barnes. HOME | FILMS | REVIEWS Ms Green and Other Lovely Beasts Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Feb 12, 2026 Directed by: Lucy Joan Barnes Written by: Nick Thomson Starring: Lauren Koster, Rohan Singh, Mark Keegan Ms Green and Other Lovely Beasts explores a pet memorialist, Elnora Green (Lauren Koster), as she seduces her business partner, Parker Flynn (Rohan Singh), revealing her need for devotion and control. Both Elnora and Parker devote their time to preserving the legacies of famous animals, and these animals mirror Elnora’s concealed compulsions for desire and something far more sinister. Despite its absurd and fantastical elements, the piece almost has a documentary-like feel to it, due to the emphasis on questioning Elnora’s inner feelings of devotion and its grounded opening. The filmmakers employ some incredibly creative formalism, such as a point of view from a cat’s perspective, which is a visceral and effective tool to put the viewer in an animalistic portrayal of seeing the world from their eyes. It also explores eye-opening themes such as loneliness and using lust for control as a coping mechanism to numb the pain of isolation. Lucy Joan Barnes, serving as the director for the most part, makes incredible use of the brisk runtime to touch briefly on intriguing character dynamics, introducing each character with unique perspectives. The switch to more gothic elements, with the use of black and white photography, can be jarring; however, the use of music and distortion in the audio is incredibly creative. Despite the shocking tonal redirects, it's an interesting stylistic choice to convey the imaginary side of Elnora’s personality. The experience is greatly enhanced by its evocative formalism, and the filmmakers clearly have their heart in the right place. Lauren Koster, in her portrayal of Elnora Green, is terrific and deeply nuanced in her exploration of sexual dynamics as she craves control and seduction. This is enriched by the supporting players, such as Rohan Singh’s portrayal of Parker Flynn, playing off her seduction in a delightful fashion with magnetic chemistry that feels natural and profoundly engaging. While Mark Keegan’s role as Ed Gein is brief, he leaves a memorable impression, keeping the narrative appealing. Despite the film's budget constraints, the visuals feel incredibly dynamic as it rapidly switches from scenes in colour to the surreal black and white sequences, emphasising Elnora’s inner thoughts. It's truly a testament to the filmmakers' sheer ambitious filmmaking techniques and the excellent performances that make the more absurd elements work. Thankfully, most of the gags land tremendously, and the brief romantic aspects incorporated into the screenplay feel endearing. Sadly, due to the film’s brisk runtime, it only briefly explores specific themes and character dynamics, and it's a shame because with an extended runtime, these elements could have been delved into more to anchor Elnora’s characterisation. The film also suffers from episodic editing choices and an anticlimactic ending that feels rushed and unsatisfactory. Despite these issues, the unique formal decisions and fantastic central performances keep the piece memorable and worthy of its efforts. Ms Green and Other Lovely Beasts is a unique short piece, with an evident, distinct passion for the material that shines through its flaws. As a second collaboration from Lucy Joan Barnes, Nick Thomson, and Ali Causon, this is an impressive effort, anchored by a terrific lead performance from Lauren Koster, which explores a thematically rich narrative. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Sweetness film review by UK film critic Hope Madden. Starring Kate Hallett, Herman Tømmeraas, Aya Furukawa directed by Emma Higgins. HOME | FILMS | REVIEWS Sweetness Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 11, 2026 Directed by: Emma Higgins Written by: Emma Higgins Starring: Kate Hallett, Herman Tømmeraas, Aya Furukawa Back in 1982, German filmmaker Eckhart Schmidt released The Fan , a horror thriller about a teenage girl obsessed with a pop music star. It’s a wild, weird, uncomfortable technopop ride, and I admit I expected (hoped?) Emma Higgins’s Sweetness would be a kind of American update. Because The Fan is so very weird, yet somehow relatable. Higgins’s film is very different, and a touch more on the believable side. Kate Hallett (Women Talking) is Rylee, unpopular high school kid with an obsessive crush on Floorplan lead singer Payton Adler (Herman Tømmeraas). His pouty pretty face covers nearly every inch of her bedroom walls and ceiling. Her headphones are always in, his emotional vocals drowning out the mean girls in class, her father’s overly eager girlfriend (Amanda Brugel), and everything else Rylee doesn’t want to hear. When bestie Sidney (Aya Furukawa, Fall of the House of Usher ) leaves Rylee behind after a Floorplan concert, she meanders alone until being struck by a car driven by the very impaired object of her affection, Payton Adler! Totally worth it! What follows is a crooked path lined with the faulty logic of the young and the twisted imagination of a filmmaker who’s spent most of her career embedded with pop stars. Higgins has directed scads of music videos. That’s probably why the music for this film is so unnervingly authentic, exactly the kind of thing that would make a troubled teen swoon and believe her life had been saved. Even if she’d, in fact, just been run down by a car. Furukawa and Tømmeraas both shine, one as a semi-vacuous but still good friend, the other as a good-looking opportunist with a drug problem. Hallett anchors the film with a sort of wide-eyed yet world wearied performance that’s as heartbreaking as it is frustrating. Higgins never laughs at or Rylee and her youthful obsession. Though the movie doesn’t wallow in the maudlin, avoiding angst at all possible turns, the filmmaker demands that we empathize with this girl in a way that’s both moving and nightmarish. Stylish cinematography and slick production design emphasize the pop music stylings, but the film is hardly all glossy exterior. There are some telegraphed moments and a couple of convenient contrivances, and anybody seriously shocked by Rylee’s choices definitely needs to see The Fan . But there’s a twisted, broken little heart here and Higgins and Hallett want you to witness it. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Our Planet, The People, My Blood film review by UK film critic Jason Knight. Starring Alan Owen, Brian Unthank, Bo Jacobs, Claudia Peterson directed by Daniel Everitt-Lock. HOME | FILMS | REVIEWS Our Planet, The People, My Blood Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 11, 2026 Directed by: Daniel Everitt-Lock Written by: Daniel Everitt-Lock Starring: Alan Owen, Brian Unthank, Bo Jacobs, Claudia Peterson An informative and worrying documentary about global Nuclear Weapons Testing, written and directed by Daniel Everitt-Lock. This feature is currently set for release in selected cinemas in the UK from the 12th of March. This film deals with a very serious subject. Through archival footage, photographs and interviews, this documentary takes the viewer on a dramatic journey, exploring the world of nuclear testing, how it affects the environment and people and the disclosures are shocking. The contents reveal the terrible effects radiation can cause to the human body and how the detonation of such bombs can destroy the environemmt. Also included are the Radiation Exposure Compensation Act, the Nuked Blood Scandal and the atomic bombings of Hiroshima and Nagasaki. Interviewees include Alan Owen, whose father took part in the testing of nuclear explosions, Nuclear Technology Historian Bo Jacobs, several atomic veterans and Alan's wife and sister. The feature looks into the testings of nuclear bombs that occurred in a variety of places, during different times. These include the testings at Christmas Island, at the Marshall Islands and on United States soil, such as Nevada. It is revealed that people who were involved in these operations, were affected by the radiation caused by the explosions and that those who lived at and near the testing areas were forced to leave their homes. Furthermore, the individuals who were infected by radiation ended up passing the effects to other generations and this continues to this day and so does the contamination of the environment. Governments are also taken into account and the theory is that the safety of those involved in the experiments regarding the bomb detonations was not taken under significant consideration and neither was the damage caused to the environment. The film also acknowledges that goverments have also refused to compensate individuals infected by the detonations. The archival footage is quite dramatic, containing plenty of images of atomic and nuclear explosions and the horrific effects it causes to the bodies of those who were unfortunate enough to be affected by it. By viewing all this, viewers learn the horrifying consequences of nuclear testing. This feature is very thorough in pointing out the damages caused by these kind of experiments, with lives being destroyed and lost and the planet being polluted. It condemns nuclear testings and disapproves of governments being inconsiderate about people's safety and protecting the planet and of being unwilling to provide assistance to those affected by detonations. A documentary that raises awareness of the effects the testings of nuclear bombs have on humanity and the planet. It is an intriguing and shocking viewing that deserves recognition. About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

We Buy Souls film review by UK film critic William Hemingway. Starring Aisha Kumari, Colin Borden, James Donovan directed by Rohit Relan. HOME | FILMS | REVIEWS We Buy Souls Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Feb 10, 2026 Directed by: Rohit Relan Written by: Aisha Kumari Starring: Aisha Kumari, Colin Borden, James Donovan A woman approaching her mid-life feels like the romance with her long-time boyfriend has fizzled out, and she begins considering some drastic options to fix the situation when she sees an enigmatic sign outside her coffee-shop one day. Chiwa (Kumari) is getting pretty fed up with her relationship to Bradley (Borden). They’ve been seeing each other for three years but for the last few months there’s been nothing happening between the sheets. Bradley is the perfect guy, if what you’re looking for is grade-A chump, as he makes safe-for-work jokes and acts like an infantile prat as an attempt at humour. But, he’s cute, and kind, and clean, and safe, and he loves Chiwa – it’s just he doesn’t want to get down and dirty with it the way she does. Chiwa tells us all about her life and her love troubles through an internal monologue, which is relayed to us in voiceover, and which comes with all the requisite bells-and-whistles of freeze-frames, flashbacks, dream sequences, and what ifs, all jumping into the frame to push her narrative side of things. This jumbled mess of a storyline is fairly representative of Chiwa as a person, and we have to try to keep up with where she is in her narrative as she goes through the ordeal of trying to sex up her life. After seeing an ominous, ‘We Buy Souls ’ sign outside of her coffee-shop one day, she gets the idea that a guilt-free existence might well be the way forward in getting what she wants. As she goes through the motions at the clinic, Chiwa considers all the different factors in her relationship with Bradley, as well as the overt moves being put on her by work-colleague, Ben (Donovan), the milk-drinker. This all turns round in Chiwa’s brain in her own inimitable style until she finally figures out what she wants, and we are party to every notion, side-thought, existential consideration, and barking madness that seems to cross her mind as she does so. Told as a farce, We Buy Souls firmly aims its humour at the lowest common denominator and pulls out every stylistic trick in the book, several times, to help us understand the supposed comedy at play. The characters are mainly caricatures of idiots, who overtly emphasise their silliness by their mannerisms and childishness, ramping them up to the Nth degree. Sadly, none of this raises a smile, as almost all of it is too infantile and tired in its use to actually be funny in any real way. Chiwa is the only calm, sane ship, floating on a sea of madness, and even her normalcy is a screen for her plain naivety hidden underneath. Thankfully the direction, from Rohit Relan, makes everything seem fantastically real within the context of the story, with props, locations, and other background stylings, really bringing the world of We Buy Souls straight to the viewer. The clinic itself becomes strangely reminiscent of a cheap, present-day, Total Recall (1990) centre, and the ramblings of Chiwa get turned into a nostalgic Sex and the City (1998-2004) romp through her thoughts. However, none of this can really save the narrative from its one-note, misaligned, humourless stance, and any real progress that is made in character development, or any real statement about the state of modern relationships and the dating scene, is wiped out by the try-hard, bolt-on funniness that surrounds it. We Buy Souls is a nice idea, well-realised, and well put together, to make a cohesive thirteen minute short, and some will find its humour palatable enough to carry the story. However, there’s not enough drama to carry a reasoned interest, and as a comedy it fails in a lot of the jokes it tries to make, leaving it in a strange no-man’s land that stops it from being either. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

GOAT film review by UK film critic George Wolf. Starring Caleb McLaughlin, Gabrielle Union, Patton Oswalt directed by Tyree Dillihay, Adam Rosette. HOME | FILMS | REVIEWS GOAT Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Feb 10, 2026 Directed by: Tyree Dillihay, Adam Rosette Written by: Aaron Buchsbaum, Teddy Riley, Chris Tougas Starring: Caleb McLaughlin, Gabrielle Union, Patton Oswalt I’m a Cleveland Cavaliers fan, so the name Steph Curry brings up one glorious memory, and plenty of forgettable ones. But yes, fine, he is the game’s G.O.A.T. shooter and he seems like a good guy. And now he brings a bit of his own legend to the big screen as producer and supporting voice talent in GOAT , the story of a little sharpshooter with big dreams. Will Harris (Caleb McLaughlin from Stranger Things ) is an undersized goat in Vineland who is a big fan of Roarball (“Regional Organized Animal Roarball”). It’s just like basketball, if basketball was played by gigantic animals on a shape shifting court. Will loves ball, his hometown Vineland Thorns and their best player, Jett Fillmore (Gabrielle Union). But as great as Jett is, the Thorns have never won the Claw (championship) and are mired in another losing streak, much to the delight of arch rival Mane Attraction (Aaron Pierre), a trash-talking horse with an extensive grooming routine. One day at the local playground, Mane is accepting court challenges from all comers, and Will steps up. He drains a few long range threes, the footage goes viral, and Thorns owner Flo (Jenifer Lewis) decides the little guy might be just what her team needs. But how can Will prove himself if Jett and Coach Dennis (Patton Oswalt) won’t accept the league first “small” as part of the team and give him some playing time already? Nick Kroll, David Harbour, Jennifer Hudson, and Nicola Coughlan join Curry as supporting voices, as first time directors Tyree Dillihay and Adam Rosette adapt the book “Funky Dunks” with a team of four writers and a narrative that finds some fun in the familiar. Parents and grandparents will get one or two solid LOLs, plus some tried and true sports plotting seen in Major League, Semi-Pro, Bad News Bears and even the “dream big” mantra from last year’s Marty Supreme . It’s surface level, easily digestible stuff for the younger set, built with 3-D animation that’s more busy and colorful, less memorable. GOAT ‘s not exactly a championship contender, but it is a scrappy gamer, and should give young sports fans and pop culture first stringers some ninety odd minutes to hold their attention. About the Film Critic George Wolf Theatrical Release, Animation < All Reviews Next Film Review >

Good Luck, Have Fun, Don't Die film review by UK film critic Hope Madden. Starring Sam Rockwell, Haley Lu Richardson, Juno Temple directed by Gore Verbinski. HOME | FILMS | REVIEWS Good Luck, Have Fun, Don't Die Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 10, 2026 Directed by: Gore Verbinski Written by: Matthew Robinsin Starring: Sam Rockwell, Haley Lu Richardson, Juno Temple Say Sam Rockwell, ragged clothes under homemade explosives and draped in clear plastic, walks into the late-night diner where you’re eating and claims to be from the future. I mean, if anybody’s going to do it, it’ll be Sam Rockwell. The reliably loose cannon stars in Good Luck, Have Fun, Don’t Die , director Gore Verbinski’s first film since 2016’s regrettable A Cure for Wellness . The sci-fi time loop fantasy sees Rockwell as a man on a mission: find the little boy whose AI is going to destroy the world and keep him from finishing it. But it will take the perfect mix of people to help him, and he knows those people are here, in this diner, on this night. He knows about certain groupings that are not the saviors because he’s tried this exact thing many times already. Many, many times. But he’s got a weird feeling about tonight’s recruits: an unhappily married teacher couple (Zazie Beetz, Michael Peña), a mousy woman sitting alone (Juno Temple), a woman who just wanted to relax with some pie (Georgia Goodman), a tough guy (Asim Chaudhry), and a Goth princess (Haley Lu Richardson). Matthew Robinson’s script spins each recruit’s backstory with its own little chapter—because chapters are a really popular cinematic device right now—gives us not only a bit of intel on the character, but also some context. Robinson’s greatest achievement is the alarming mix of gallows humor and rainbow colored confetti. His characters race against the clock, video game like, to beat level after level of difficulties before finally entering the final layer—well, Sam’s never made it this far, so who knows what’s in there? And don’t start guessing because that basically guarantees the form of your doom. At least don’t think about Mr. Sta Puft. Speaking of Bill Murray, the film owes as much to Groundhog Day as it does Terminator , and that’s a heady mix. The imaginative side plots and character arcs feel wild and random, but the script is actually built quite solidly. And the theme—that AI cannot help but ruin human existence—may not be new, but it’s truer than ever. Thankfully, Verbinski, along with his game cast and writer, recognizes the bitter, cynical humor in the fact that this hero is probably already too late. But hey, at least he can blow himself up and start over. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Mortuary Assistant film review by UK film critic Hope Madden. Starring Willa Holland, Paul Sparks directed by Jeremiah Kipp. HOME | FILMS | REVIEWS The Mortuary Assistant Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 10, 2026 Directed by: Jeremiah Kipp Written by: Tracee Beebe, Brian Clarke Starring: Willa Holland, Paul Sparks Director Jeremiah Kipp hits the exact right tone as he opens his latest feature, The Mortuary Assistant . Based on the popular video game, the film follows Rebecca Owens (Willa Holland) through her first night on her own at the mortuary. Before she can fly unaccompanied, she completes her first solo autopsy, as the mortician (Paul Sparks) watches. The scenes are clinical, filmed in close-up, Kipp manufacturing the best combination of mundane and macabre. Soon enough, Rebecca will begin her first overnight shift, and the clients are not your run of the mill cadavers. Kipp, working from a script by Tracee Beebe, finds organic ways to give Rebecca a backstory. Flashbacks are not intrusive until they need to be, as the film warps that history into another way to really ruin Rebecca’s first night on the job. John Adams figures into Rebecca’s past. He’s a perfect choice for a loving dad and for what that pesky demon haunting the mortuary has planned for her. Holland’s great in a tough role. Rebecca carries probably 90% of the film, much of that screentime spent alone or with a lifeless (?) corpse. It’s an internal character, not an extrovert or the type who talks to herself, and the actor impresses, commanding attention and driving action. Bebee’s script adds some depth to the game storyline as well, using Rebecca’s backstory to develop a theme of addiction that suits the horror and helps to explain Rebecca’s connection to events. Sparks delivers an enjoyable performance, stiff and weird as you might expect from a mortician, certainly from this particular mortician. Supporting turns from the small ensemble (Keena Ferguson Frasier and Emily Bennett, in particular) elevate emotion, whether that emotion is heartbreak, fear, or revulsion. Plus that demon is freaky. Frequent gamers may be able to make more sense of the actual mythology—possession, demonic bindings, the minutia of morgue work. Still, The Mortuary Assistant transcends the issues that usually plague big screen game adaptations and delivers fun, creepy demonic horror. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Cutaways film review by UK film critic James Learoyd. Starring Silas Kade, Fernando, Diogo Hausen directed by Mark Schwab. HOME | FILMS | REVIEWS Cutaways Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Feb 9, 2026 Directed by: Mark Schwab Written by: Mark Schwab Starring: Silas Kade, Fernando, Diogo Hausen Cutaways is a lot of things, but one thing it is not is conventional. Were you to go into this viewing experience knowing nothing about the movie, you may very well push back against the audacious conceit, outlandish tone and maximalist moments. Yet that is also what makes this chamber-piece about one idiosyncratic director producing a porn film quite admirable; it hits the audience over the head with its extreme nature, whilst not delving headfirst into pornographic territory itself. Written, directed, produced and edited by filmmaker Mark Schwab, and starring Silas Kade, Fernando and Diogo Hausen, Cutaways is technically refined, though slightly inconsistent narratively and thematically. There is a technical production value on display in this piece, particularly from a cinematography perspective. This film has been captured using some pretty wondrous lenses – put to excellent use and opened to as wide an aperture as possible. In terms of blocking, scene coverage and general direction, the visual style here is very standard – almost televisual. However, the cinematographer makes clear that there is a specificity of craft; of light and of focus; going on behind that aesthetic consistency. The themes being explored here are intense and prescient with ideas relating to boundaries of creative intimacy and dynamics of artist-to-subject power positioning themselves at the forefront. You have got to admire any movie which attempts to tackle such subjects, but the question remains: does it go far enough? Unfortunately, the film’s interests are depicted heavy-handedly, because that is just the nature of the story. What it lacks, however, is a really tangible, unsettling undertone; a sense of questioning, of simultaneous excitement and dread. This it lacks not for any particular reason, but more due to the extreme tone of the picture as a whole. There are plenty of engaging performances throughout – characters that pop and can hold the camera. And yet, a jarring mixture of performance styles means that interactions occasionally come across as unnatural. This is by no means a prominent issue, but even still, an error in tone management. It was a massively beneficial storytelling decision to have the film take place in one day, with the chronology effectively uninterrupted throughout that runtime (much like a stage play). The main reason being is that it allows the moments to breathe, and the evolution of the scenario to feel more grounded and immersive. But then, at the halfway point there’s a huge dramatic shift as the film enters territory which is never fully resolved at all. Thankfully the natural pacing and structural fluidity means that this open-ended aspect is not too noticeable, but one does wonder if more interesting tensions could have been explored yet again. One element I have neglected to mention is the number of movie references in the movie; Paul Thomas Anderson, Sidney Lumet, Peter Bogdanovich and especially Gregg Araki (who also has some plot relevance) are just some of the filmmakers name-dropped. This could certainly appeal to cinephiles in the same way that – whist it is pornography – this is a film about filmmaking and artistic pursuits, as damaging as those pursuits sometimes prove to be. To surmise, Cutaways is admirably transgressive and technically refined. Cutaways releases this week on Amazon Prime, Fandango at Home and Vimeo OnDemand. About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film, LGBTQ+, Amazon Prime < All Reviews Next Film Review >

The Art of Telling Lies film review by UK film critic Patrick Foley. Starring Sara Hagno, Oris Erhuero, Syama Rayner directed by Pascal Payant. HOME | FILMS | REVIEWS The Art of Telling Lies Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 9, 2026 Directed by: Pascal Payant Written by: Pascal Payant Starring: Sara Hagno, Oris Erhuero, Syama Rayner Pascal Payant must not be able to believe his luck that The Art of Telling Lies is releasing right as a seemingly endless list of the rich and famous are being implicated in all kinds of horrors thanks to the release of the Epstein files. The film’s plot involves elite members of society being forced to partake in a sinister game through blackmail – a timely concept but one that derails as the story goes on. A group of strangers from high society receive invitations to a mysterious special event at a hidden castle. Rather than being met by Claudia Winkleman, they instead find themselves blackmailed by a faceless adversary – who uses their sordid history of murder, affairs, abuse and more to bend the hostages to their will. The group must decide how best to work against their predicament, whilst coming to terms to who they really are. The Art of Telling Lies is a ruthless and intense mystery thriller from the word ‘go’. The plot races into action as its protagonists are placed into a fateful roundtable where their darkest secrets are revealed, leading to all manner of fury before a full-blown conspiracy plot gets into gear. There does seem to be a desire from director Pascal Payant to ensure that the viewer can barely gather their senses before the next shocking twist or screaming monologue is unleashed. There is a darkly comedic element to the ‘Saw’- like manipulation at play in the film’s first act, and the early exploration of the concept is at its most interesting at this point in the film. The character’s differing responses to their secrets being revealed feels like the highpoint of the thematics. However, the plot begins to collapse under its own weight as it goes on. The conspiracy is at its most interesting when it is unexplored, and viewers will likely feel a little unfulfilled by its conclusion which fails to really land a statement about the nature of deception or criminality that has not been managed in more effective ways by films previous. It is invigorating and shocking on a first viewing, but unlikely to hold up on a second watch knowing the outcome, which fails to make the most of the setup. The film looks fantastic for its small budget, brilliantly portraying a modern European castle as a rich person’s paradise and an ominous prison concurrently. Pascal’s manipulation of camera work also benefits the tension, offering sly misdirects and clues that will keep audiences fixated on the character’s motivations. The paranoia, terror and self-hatred of the ensemble comes through clearly in pivotal scenes. The cast match the intensity and velocity of the plot, almost each of the principle getting the opportunity to unleash their inner ham to their heart’s content. Oris Erhuero’s Isaac and Syama Rayner’s Ester are particularly prominent in this, though far from alone. If not for the subject matter it would make for dark humour, though the otherwise seriousness and intensity of the scenes in which these occur suggest this would be unintentional. Pascal may be minded to advise his cast to tone things down just a little, particularly in the early stages where it is difficult to up stakes from. Yelling does not automatically make for great acting – and when the cast are meant to be portraying sinister, manipulative and successful people, a little more complexity would have gone a long way. There is something strangely endearing about The Art of Telling Lies , which has a strong concept and is not afraid to engage with dark territory. It’s a daring, convoluted, enjoyable mess with an impressive aesthetic, that will definitely find an audience despite its unrefined qualities. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >