Love in the Time of Caller ID film review by UK film critic Joe Beck. Starring Luke Engel, Peter Engel, Amber Rinehart directed by Neil Sandhoefner. HOME | FILMS | REVIEWS Love in the Time of Caller ID Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Jul 15, 2024 Directed by: Neil Sandhoefner Written by: Neil Sandhoefner Starring: Luke Engel, Peter Engel, Amber Rinehart It’s always difficult for children when their parents split apart, or, for whatever reason, are no longer together. One of the hardest stages of that process is when their parents, or parent, somewhat inevitably moves on to a new partner, taking up much of their time and attention, whilst also causing a child’s emotional state to go into turmoil. ‘Love in the Time of Caller ID’, attempts to depict that effect which such circumstances has on children, though lacks the specificity and nuance to truly grapple with the subject matter at hand in any real depth. If nothing else, the creativity of ‘Love in the Time of Caller ID’ must surely be praised. It has its own distinctive style, with characters that, until its final few moments, speak only through speak bubbles, as each frame is a different drawing. It is a unique way to present a story and to try and broach such a subject, and such a fresh approach to storytelling should be praised. At no point does this artistic style feel as though it detracts from the film, and at no point is sound, or even any conventional form of animation missed. It is a wonderful expression of craftsmanship. It’s title obviously stems from Gabriel Garcia Marquez’s seminal novel ‘Love in the Time of Cholera’, though where the novel is romantic, Neil Sandhoefner’s short film focuses on the parental love two brothers have for their mother, and vice versa, and how that is impacted by the changes of her new relationship. She’s bought an answering machine for them so that they won’t miss calls, and the film, plot wise at least, centres around the answer they’ve left on there, and their desire for their mother to call and hear it as she has gone to spend the night with her new partner, Chuck, and his family. The fundamental issue is that there is a paradox at the heart of ‘Love in the Time of Caller ID’, that can only be explained in a way that takes away from everything the film is trying to say. It is illogical that the mother would leave her two kids alone unsupervised if they are still young enough to get excited by answering machines and caller id’s, yet it is also illogical that they are older than that and cannot accept that their mother has gone away for a night. The two things don’t make sense together, and so the film’s believability starts to fall apart and it all begins to feel rather whimsical and out of touch with reality. There is the framing device of a science fiction classic that the two brothers are watching on tv, yet that fails to bring real nuance to the film, instead only convoluting the narrative. Its attempts to depict the emotional turmoil and understanding of parental love comes across as poorly thought out and lacking any firm idea of what parental love truly means. Therefore, whilst the creativity of ‘Love in the Time of Caller ID’ is admirable, it lacks any real depth and beyond its technical aspects is a largely frustrating film. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Hazard film review by UK film critic William Hemingway. Starring Nicholas G Sims, Jay Dukes, Alonzo Hester directed by Daniel Bergeson. HOME | FILMS | REVIEWS Hazard Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jun 15, 2022 Directed by: Daniel Bergeson Written by: Daniel Bergeson Starring: Nicholas G Sims, Jay Dukes, Alonzo Hester In America fewer than 2% of the people who visit national parks are black or African American. In his new short film Hazard , writer/director Daniel Bergeson suggests a few reasons why this may still be the case and offers a hopeful vision of the future where the natural splendour of the countryside is able to be enjoyed by all. Naturally, the history of Hollywood hasn't helped in showcasing the pleasures, pastimes and outdoor pursuits of the average black family. From It Happened One Night (1934) through Easy Rider (1969), to National Lampoon's Vacation (1983) and Planes, Trains and Automobiles (1987), then Road Trip (2000), Little Miss Sunshine (2006), Sex Drive (2008) and now Nomadland (2020), it's been goofball loners, stoners and moaners; families, friends and would be lovers who are the sole concern of road trip movies and all almost exclusively white. Bergeson has now tried to redress the balance a little, imagining a simple scenario of what it might be like for a black family – father, son and uncle – to take a road trip out into the countryside and try to commune with nature for a couple of days. Marcel (Sims) has bundled his tech-wired son Xavier (Hester) into the back of the car and has also roped in his brother Kevin (Dukes) to come along for the ride. The conversation seems pretty natural and true to life as they head out on the open highway, and even though not everyone is jazzed about a couple of days away from the bright lights of the big city, they all seem to want to make the best of the situation they now find themselves in. America though has different ideas. When the car suddenly cuts out, what has up to now been fun family times, immediately becomes three black males sitting in a vehicle by the side of the road. Bergeson is careful not to drift into sensationalism as the scenario plays out, managing to walk a tight line between ramping up the tension and keeping the simple humanity of the situation alive. His focus is always on the family and it is a strength to see each character work out how to be around the others so that a common love can be expressed. This theme continues throughout the rest of the film and into the campsite, where new challenges and characters are introduced. Split into a series of small discrete scenes, Hazard takes its time to round out its characters and build on its premise. The use of comedy to balance out the more serious themes works well and everything is underpinned throughout by a strong sense of togetherness. Everybody does a good job to ensure the quality of the production and it's easy to see that the message at the heart of the film is a large motivator for that. From top to bottom the characters are perfectly cast, with Jay Dukes as Kevin being a standout performer in amongst a strong group of actors. The cinematography from Bobby Peacock is eye-catching and colourful while Daniel Bergeson's direction offers us a slew of well chosen shots, ranging from a nice wide-angle, down to a frog's eye view and then somehow onto a tree trunk split screen. Hazard wins on all counts as a feel good film, and even manages to give some of the old, classic, family road trip movies – the white ones – a run for their money. It has all the right elements in all the right measure and has a subject at its heart that speaks more to a modern audience. Hazard dreams of a more inclusive America; somewhere where the margins of statistics about population and culture don't sit at 2%; and it is a very enjoyable experience to witness the imagery of that dream, if even for the little time that we get it. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

One Fine Morning film review by UK film critic Hope Madden. Starring Léa Seydoux, Pascal Greggory, Melvil Poupaud directed by Mia Hansen-Løve. HOME | FILMS | REVIEWS One Fine Morning Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 23, 2023 Directed by: Mia Hansen-Løve Written by: Mia Hansen-Løve Starring: Léa Seydoux, Pascal Greggory, Melvil Poupaud “I wait for the thing that should come and it doesn’t.” So says Georg Kienzler (Pascal Greggory, devastating), a retired philosophy scholar deteriorating under the weight of a neurodegenerative disease. His daughter Sandra understands. One Fine Morning tempts you to believe it’s a film about nothing in particular. Mia Hansen-Løve conjures Claire Denis or even Kelly Reichardt in her approach to settling into a rhythm of small, intimate moments that tell a deeper if less tidy story than more clearly structured films. She robs the tale of melodrama, of obvious beats, and replaces those trappings with slice-of-life poetry. Her poem is aided immeasurably by Léa Seydoux as Sandra, a widowed mother who’s already beginning to feel the loss of her father. An affair with an old friend complicates things by satisfying her profound longing while also leaving her vulnerable during an emotionally delicate period. There’s a lot there that begs for drama, but it’s to the film’s great benefit that Hansen-Løve chooses nuance. A low-key melancholy colors this story of a woman losing pieces of herself. The beauty in that tone is matched by the raw authenticity in Seydoux’s performance. Though she’s proven her talent a dozen times or more, this performance is a real departure for her. It’s open and vulnerable, effortlessly conveying the raw nerve this woman has become. What Hansen-Løve captures so beautifully is the day-to-day tragedy of losing someone bit by bit and of the flashes of understandable, even necessary selfishness. Sandra is sole parent to precocious 8-year-old Linn (Camille Leban Martins), contends with facility options for her father, and oversees the unenviable task of sorting through his belongings while he’s still living. The filmmaker approaches all of this with the natural, relatable quiet persistence, resigned laughter, or unexpected tears that mark the reality of this situation. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < 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 . Buy UKFR Banner Space About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

Cikgu Hana film review by UK film critic Chris Buick. Starring Charlene Jane, Herlea Titieanna directed by Wan Dinnie. HOME | FILMS | REVIEWS Cikgu Hana Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Nov 23, 2023 Directed by: Wan Dinnie Written by: Wan Dinnie Starring: Charlene Jane, Herlea Titieanna Tasked with an assignment to write about the history of their country, two students are transported back to the past where they learn all about their country’s rich history and how it has shaped their lives today. Malaysian short-film Cikgu Hana: Director’s Cut , the version that was submitted for this review, prefaces itself with an apology. It seems that in post-production many of the films production files stored on an external hard drive were lost or damaged, meaning that only ten percent of the files were recoverable. What is presented here is a re-edited version of what was salvageable with very mixed results. What we do get to enjoy in what is presented over the films six-and-a-half-minute runtime is a beautifully created visual spectacle of rotoscoping, a process animators use where live-action footage is traced over frame by frame to create some truly wonderful animated works of art that add depth and flourishes to sequences that otherwise couldn’t have been achieved. And that is where Cikgu Hana really shines. The animation here looks amazing, really bringing the whole piece alive, awash with vibrant colour and pure imagination that is a joy to watch. Much like the film's predecessor Hana , the previous offering from D-Mulsion Productions that is equally remarkable visually, Cikgu Hana is a feast for the eyes. But unfortunately, given the state of the rest of the film, this is a re-edit that is very rough around the edges and with simply way too many pieces missing. Narratively there are clear gaps, plot points jump suddenly from one to another and it becomes hard to keep a grasp on what exactly is going on, although the animation does help a lot to convey the intended story as best as it can. Editing is choppy and jarring, which is of course to be expected given so little to work with, but it does undeniably have a big impact, even hindering the fabulous artistry at times. On the positive side, the film does manage to showcase the obvious talent these filmmakers have, a fact all the more confirmed by looking at what was achieved with Hana , so it’s really frustrating and saddening to know that here there would have been definite quality, that if troubles hadn’t occurred this film could have really sang. One does sympathise of course with what must be a heartbreaking loss of a lot of quality work, especially if the aforementioned and fully completed Hana is anything to go by, but one can also only judge what they are presented. And unfortunately, this film in this state doesn’t have enough. It’s a real shame that what would have been clearly a lot of hard and considered work hasn’t been able to make it to the finished product. If Cikgu Hana can one day be fully realised as it was meant to and deserves to be, it could be something special. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

The Seeding film review by UK film critic Patrick Foley. Starring Scott Haze, Kate Lyn Sheil, Alex Montaldo directed by Barnaby Clay. HOME | FILMS | REVIEWS The Seeding Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Aug 16, 2025 Directed by: Barnaby Clay Written by: Barnaby Clay Starring: Scott Haze, Kate Lyn Sheil, Alex Montaldo Being victimised by rapid teenagers is the worst nightmare of every middle-aged man. Though getting abuse at a bus stop or eggs thrown at your window pales in comparison to The Seeding , Barnaby Clay’s unnerving folk horror set in the desert. Wyndham Stone (Scott Haze) is transversing the desert when he comes across a lost young boy. Refusing Wyndham’s offer of help, the boy runs away – and during pursuit Wyndham trips and finds himself waking up at the home of the mysterious Alina (Kate Lyn Shell). Alina seemingly lives alone in an inescapable canyon, and takes care of Wyndham whilst he recovers. But when a savage pack of boys reveal themselves living on the canyon’s overlook, Wyndham senses there is more of connection to Alina than she is willing to say. The Seeding is a folk horror that is strong in design, atmosphere and depth, but misfires a little in delivery. Its unsettling central theme is the fear of disposal and replacement, with Wyndham constantly outwitted and mocked by the younger generation he is at the mercy of. His only solace is Alina, who shows him kindness but withdraws when he asks for help. The theme of masculinity runs through their relationship, as Wyndham feels an obligation to act as Alina’s caregiver even as it slowly becomes evident to all but himself that no one could coexist with her brutal neighbours without cooperation. Wyndham is unable to extract his traditional outlook of the world he knows in one that operates under very different rules. However whilst its themes are evident, the glacial pace of the film means they unravel slowly – too slowly to satisfactorily come together in a way that feels insightful or engaging. It helps the viewer get a sense of time passing whilst Wyndham is trapped, but not always in a positive way. Long sequences between him and Alina only sparsely develop their relationship and drag, whilst confrontational interactions between Wyndham and the boys are the source of horror but end up repetitive. It doesn’t help that many viewers will quickly gain a sense of where the plot is heading and get there long before the film does. The film has fantastic production values and looks great, particularly in how it creates the ambiance of a sweltering desert setting. The heat alone is enough to make this a horror, and the reoccurring raised perspective we get of Wyndham as he contemplates escape mean we are reminded of the burning and shining sun he is at war with as much as the boys who torment him. His hair and clothing remain intact a little too long for ones liking given the time he is trapped, but this is a forgivable faux pas. Scott Haze is another strength, giving a brilliant leading performance as a man whose pride is his downfall. Wyndham feels he can win the boys around with leadership, adult authority and acts of strength – blind to the violent society they have created where brutality is the only force. He expertly portrays Wyndham’s growing madness and acceptance of this world, and excels in scenes of torment and suffering (his likeness of a certain Vice President is a little bonus for the viewer…). The Seeding is an imperfect film but one that’s strengths shine. Its themes are interesting but explored in more inventive and striking ways by contemporaries like Men, and a slow narrative means some viewers will lose interest as the film drags in its second act. But a worthy central performance and strong production stand out and make it worth checking out for fans of folk horror stylings. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Speak No Evil film review by UK film critic William Hemingway. Starring Teni Osho directed by Shayaan. HOME | FILMS | REVIEWS Speak No Evil Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 28, 2024 Directed by: Shayaan Written by: Shayaan Starring: Teni Osho In the interests of avoiding confusion, it may be worthwhile mentioning that at this point in time, production studio Blumhouse are releasing their newest film, starring James McAvoy, called Speak No Evil . It is a remake of the Danish horror film of the same name which was released two years ago, and as you might expect, has nothing to do with the film we are reviewing today. So, today’s offering from WM Productions, writer/director Shayaan, and co-writer Kieran Rees, is a four-minute short containing only one character and a short TV cameo from Boris Johnson. We follow our unnamed protagonist (Osho) as he gets himself jazzed up, ready for a night of low-level terrorism; dancing around his kitchen, pointing finger guns at himself in the mirror, and putting on his faintly creepy Phantom of the Opera mask as he heads out onto the streets of the city. Boris has been on the telly lying to the public and the Home Affairs Select Committee, and we see him bumbling over his words as our guy flits past in a pirouette as he’s warming himself up for the night ahead. The first scene plays a lot like a music video, with some wild and winsome tones getting us all in the mood while our guy throws some shapes on the kitchen dancefloor. With no dialogue forthcoming it looks as though this might be all we get – and that in itself would have been no bad thing – but soon the mood shifts, the music takes a much more sinister tone, and the visuals show us that our man may not be the happy-go-lucky optimist that he first seemed. There is a great attention to lighting throughout the whole of Speak No Evil , which Shayaan uses to fill their frames and highlight their character. Similarly, the sound design creates a real sense of atmosphere and plays a large part in expressing the intentions of the main character to the audience. It’s just unfortunate that there are no credits from which to reference the skilled workers behind these technical aspects, and if it so happens that Shayaan did all the work behind the scenes theirself – in what was a one day shoot and five hours of post-production – then they should be commended greatly for the level of outcome achieved. It’s not so easy to determine a message or a moral from Speak No Evil ’s denouement, ending as it does on a bit of an arthouse note. The title obviously alludes to the theme of the film, but still it’s hard to figure just who or what is being aimed at, even if the only spoken words in the film are “Fuck Boris”. It is unclear whether Shayaan is suggesting we take the law into our own hands, or that we should speak truth to power through demonstrable acts, or if those in power should speak truth to the people lest they suffer the consequences, or what. There is a slight niggling sensation that Speak No Evil could be glamourising or endorsing terrorist acts, but to be honest everything is so low-key and vague that anything expressed is unlikely to have any impact at all. Still, the film looks good and the music’s great, so even if you don’t agree with the sentiment, or the message gets lost along the way, there’s still lots to like in this four-minute short. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

Farewell Symphony film review by UK film critic Chris Olson. Starring Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou directed by Xiwen Miao. HOME | FILMS | REVIEWS Farewell Symphony Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 14, 2022 Directed by: Xiwen Miao Written by: Xiwen Miao Starring: Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou “Brave women always pay a higher price.” Having recently interviewed filmmaker Xiwen Miao , I jumped at the chance to watch (and review) one of her short films. Farewell Symphony is a sumptuous and aching portrayal of life’s journeys and the loyalties we have to face, and break, if we are to ever find happiness. Qunxi Wang plays the younger version of the lead role Yang Yang, a talented cellist whose family expects her to toe a life of preordained expectations. When she defies them and moves to New York to pursue her dream of playing music, we can see the sacrifice still troubling her decades later through the life of older Yang Yang (played by Joy Sung Kim). Farewell Symphony is full of beautifully short music sequences, such as younger Yang Yang furiously playing her cello after a disastrous dinner with her family, or the older version playing solo on a stage without an audience. These scenes are the true highlight of the short film, Miao seems completely capable of mesmerising her audience with a few simple ingredients. The scenes between the older Yang Yang and her partner Maria (played brilliantly by Anne Ruttencutter) are perhaps the most emotionally affecting. With Maria’s ailing health clearly provoking a multitude of buried hurts for our protagonist, it is their loving affection for each other that becomes a much-needed antidote to the cruel abandonment shown to younger Yang Yang by her parents (Yuebo Wang and Xiaolan Wang). But the crossroads that our lead finds herself in seems just as crushing as her one decades ago, whether to continue to pursue her musical career at the cost of leaving those closest to her. It’s a film that deftly touches upon expected gender roles and social conventions without ever needing to spell it out for the viewer. Yang Yang’s numerous dilemmas create instant empathy from an audience who will understand to varying degrees the expectations thrown on to them by their own family members. The migration that the central character takes is also key. The idea of uprooting one’s self to another country in order to pursue a dream is hard enough, let alone when her loved ones condemn her for it. This severed connection plays out particularly brilliantly with the Grandpa character, expertly played by Jianshe Zhou. Farewell Symphony is a subtle family drama with a rich musical tapestry that makes it engrossing for the audience throughout. There are a few bum notes along the way, such as some wooden dialogue being performed in the dinner scene but these are far and few between. Largely, Miao composes a generously engaging story and then delivers it spectacularly on the parallel stages of young life and older life. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

The Apocalypse Box film review by UK film critic Madeleine Lavers. Starring Eva Best, Russell Biles, Lori Brett directed by James Eaves. HOME | FILMS | REVIEWS The Apocalypse Box Film Review average rating is 3 out of 5 Critic: Madeleine Lavers | Posted on: Jul 27, 2026 Directed by: James Eaves Written by: James Eaves Starring: Eva Best, Russell Biles, Lori Brett The Apocalypse Box (2024) is a political horror story written and directed by James Eaves. It follows right-wing politician Piers Stonesmith, who is running for prime minister in the election. With his wife struggling to gain the public's likes and their shot of winning becoming slim, she and their public relations advisor, Ella, head to a focus group with members of the public on the eve of the election. Upon entering the focus group, six strangers are introduced to the apocalypse box, where they have the opportunity to try to fit the right key into the right keyhole. When they do, they are granted a wish with no limits; only those who make it to midnight will win a cash prize. As the night unfolds, the wishes of those in the room backfire, leading to death and murder as the box controls the beings and unleashes complete chaos and trauma. Outside of the locked room, it becomes clear that Stonesmith, along with his MPs, has curated this game in the hopes that his wife will wish for his win in the upcoming election. The story of this film was very engaging; it is fascinating to see the box's unexpected workings and to witness the interactions among the six strangers, who disagree with each other's game plans and political views yet try to save one another during the disasters that occur. Although it was no secret that the game was set up by Stonesmith himself, his motives may seem confusing. Without a thorough character backstory, it may be hard to understand his character, his thirst for power or why he would try to win the election through such a gruesome game that did not seem to have any relevance. The horrifying scenes that unfold in the so-called ‘focus group’ also raise the question of why he would want his wife in a scenario like that. Despite this criticism, the well-considered plan of his began to make sense as the narrative developed. The special effects makeup and gory details were strong and convincing; I am not sure the same can be said about all the performances, however. Considering the members of the game were witnesses to such extreme and morbid consequences, their performances never entirely reflected the deeply haunting nature of the box and its effects. The acting of the cast felt implausible when up against such a dark storyline. Technical aspects like cinematography and sound were to an incredibly high standard. Music and sound effects play such a vital role in ensuring horror aspects pay off and this was most definitely fulfilled within this film. Overall, this film follows a unique and captivating story, making note of current and relevant political issues. I think the apocalypse box has the capacity to be used in an array of additional narratives due to its strong premise. The method of failing the wishes of those in the room was cleverly scripted and the dystopian feel to the narrative was thrilling throughout. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Indie Feature Film < All Reviews Next Film Review >

For You, The Disappeared film review by UK film critic Jason Knight. Starring Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS For You, The Disappeared Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 12, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara A short documentary about people disappearing in Sri Lanka, directed by Ranga Bandaranayake and written by Chamara Prasanna Kodithuwakku. For decades, countless of citizens of Sri Lanka have vanished without a trace. This twenty-minute-long film aims to acknowledge this. Via a large selection of dramatic photographs and several interviews, viewers will become aware of the tremendous suffering that has been caused due to people losing their loved ones and that this situation is continuing today. They will also be informed of the Monument of the Disappeared, a structure built in order to serve as a place of mourning and to honor those who vanished and of the Dabindu Collective, an organisation that protects the rights of women labourers in the free trade zone. The photographs are quite vivid. They consist of people protesting, individuals holding pictures of lost loved ones and devastating results of brutal conflict. All this is superbly edited by Vishwa Ranga Surendra and the visuals are accompanied by dramatic music thanks to the contribution of Nadika Weligodapola and voice-over by Dhammika Bandara and Nishadi Bandaranayake. The interviewees are Basil Fernando, a Human Rights activist, Samanmali Hettiarachchi, the Director of Dabindu Collective, Brito Fernando, a Human Rights activist and Professor Chandraguptha Thenuwara. Listening to them paints a picture of the dark side of Sri Lanka. The filmmakers utilise an intertesting technique with the obvious intention of creating drama. This involves numerous sequences that begin with the photo of two to five people. Then the film cuts to a lit candle that goes out and when it does, the image turns black-and-white and there is a loud noise that resembles a gunshot. It then cuts back to the photo, where one person is suddenly replaced by a photo frame and inside it is a dark silhouette of a person, apparently of the one who is not present in the picture with the others. This method is a way of visualising a disappearance and acknowledging the emptiness that it causes to their loved ones. This film emphasises a very serious issue that has affected many people in Sri Lanka, points out corruption and supports fight for justice. This documentary is an informative, shocking and poignant viewing. It raises awareness of the disappearances that are taking place in Sri Lanka and pays tribute to the ones who vanished and this makes it a viewing worthy of attention. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary, World Cinema < 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. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Chum film review by UK film critic William Hemingway. Starring Alice Eve, Eric Michael Cole, Jim Klock, Elle Haymond directed by Jonathan Zuck. HOME | FILMS | REVIEWS Chum Film Review average rating is 1 out of 5 Critic: William Hemingway | Posted on: Aug 9, 2026 Directed by: Jonathan Zuck Written by: Jonathan Zuck and Joe Leone Starring: Alice Eve, Eric Michael Cole, Jim Klock, Elle Haymond A couple of unhappily married newlyweds go on a boat trip on the morning after their wedding, only for disaster to strike in the form of an overly aggressive shark and a psychotic trawler captain with an existential axe to grind. It seems odd that anyone would want to try to remake, or attempt to make their own, Jaws (1975). Perfection should be left alone. Not even Steven Spielberg wanted to have another crack at it, and this was after the unprecedented runaway success of the first one, where he had single-handedly created the phenomenon of the summer blockbuster. But of course, this is 2026, and in the intervening fifty years everything has been deemed to be up for grabs, and nobody has any shame any more, so rather than reverence and a healthy amount of distance, we instead have an entire subgenre of shark-porn which includes the endless chomping up of body parts and oceans of blood bubbling to the surface. Most of the modern shark movies tend to come in as self-referential, trying to be ironically funny, torture-porn moved to the sea, types of affairs, that know they’re bad (if not just quite how bad), but every so often one comes along that thinks it’s pure drama and takes itself seriously enough to bypass all the things that allow people to keep watching this nonsense. Chum , is one of those. With an intro scene straight-up ripped from Jaws , just with some supremely inferior editing going on, and a hammy, pseudo-philosophical voiceover instead of the iconic John Williams music, Chum sets out its stall as a cheap, less than B-movie, knock-off, that is going to make us sit through every shark trope under the sun. Lo-and-behold, what we get is eighty-six minutes of inane drivel, where a boatload of fuckwits get thrown overboard and ground into mincemeat by the sharp, pointy teeth of a fearsome, somehow sentient and overly-emotional, sea predator. In true Gen-Z style, there is only a minimal amount of setup and absolutely no characterisation involved in getting everybody onto the boat, with an ensemble of trust-fund responsibility shirkers filling out our roster of shark food. There’s this guy, and that guy, and a couple of bikini women with big, inflatable, life-buoys strapped to their chests (even sharks have to contend with their food being contaminated by micro-plastics these days), and Alice Eve, who also stumped up enough cash to be credited as a producer on this displeasure cruise. Alice and her beau hate each other, but they got married anyway, because, hey it’s 2026 and we do what we like. They’re in Malta, where the dangerous sharks don’t usually go, but by golly that’s a good time to shoehorn in some trite virtue-signalling about climate change and the changing feeding patterns of sea predators, even though the entire production overuses AI in its feeding frenzy sequences and must have swallowed up an entire island nation’s worth of potable water in generating this slop. But, you know, we’ll make the point anyway, because we can’t do our own research and even when we’re holding one opinion whilst simultaneously acting in an antithetical manner, we’ll argue about it until we die, or at least get our face onto some fascist’s debate-porn blog. So, obviously, the sailing trip goes bad, and is literally sunk to the bottom of the ocean, when a gnarly sea-captain comes along to save the day and fishes the vacuous ones from the water. He’s not the hero he makes out to be, however, and soon he’s over-expositioning everything in a dire monologue that lays everything out on the deck. He’s the one in the voiceover who lost his wife in the intro sequence, and after tracking the shark that did it, for years all over the seven seas, he’s come to the point where he’s trying live human bait to catch the anthropomorphised killer. Such is the extent of ‘story’ that we get from Chum , and then we must watch as one by one everybody gets munched on by AI sharks, and reams of AI blood are spilled into the crystal waters of the Mediterranean. Almost everything in Chum is rushed and shoddily done, from the laughable wooden acting, to the non-existent script, to the disgustingly bad continuity, to the aforementioned lack of skilled, paid work in the visual effects. Only the cinematography above the water line, of the coast and the horizon, and the rather gruesome ripping apart of bodies under the water, offers any sort of affecting moments for the audience, while everything else flounders and eventually drowns in its own incompetence. Chum is a prime example of where modern filmmaking for the TikTok generation is going. It scrapes its ideas from old classics and strips everything of value or merit from them, eschewing involved themes and storylines, or complex characterisation, for those who can no longer hold these things in their heads for any length of time, and packages it in dumbed-down bitesize chunks that have no meaning or weight behind them, just so that some torture-porn gooners can get their adrenaline fix for the hour before they go and find some other trash to consume. It would be best if films like this were never made at all, but in the modern age it seems the best we can do is stay well away from them, and resolutely refuse to pay any money to see them, so that they hopefully sink without a trace into the deep blue depths where nobody but the fishes are troubled by them. Chum will be available on Digital Download from 17th August Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >