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Aporia film review by UK film critic Brandon Thomas. Starring Judy Greer, Edi Gathegi, Payman Maadi directed by Jared Moshe. HOME | FILMS | REVIEWS Aporia Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Sep 11, 2023 Directed by: Jared Moshe Written by: Jared Moshe Starring: Judy Greer, Edi Gathegi, Payman Maadi Most time travel movies don’t get into ethical dilemmas that going into the past – or future – might cause. The plot is usually too confusing anyway so adding moral problems to the mix might send audiences screaming from the theaters. With Aporia , director Jared Moshe makes the ethics of time travel the centerpiece of the movie and to riveting results. It’s been 8 months since Sophie (Judy Greer of 13 Going on 30 , Ant-Man , and 2018’s Halloween ) lost her husband, Mal (Edi Gathegi of X-Men: First Class and Gone Baby Gone ) to a drunk driver. Mal’s loss has had a devastating impact on Sophie and her daughter Riley (Faithe Herman). As the two try to pick up the pieces of their shattered lives, Mal’s close friend Jabir (Payman Maadi) confides in Sophie that he has been working on a device that could potentially bring Mal back but that it would involve killing someone else in the past. Aporia slowly reveals its cards, or genre trappings, if you will. Stylistically the film skews closer to an indie drama than it does sci-fi. This is also the film’s greatest strength. As Sophie and Jabir’s changes to the past take form in the present, it’s not through fancy CGI set-pieces. Clever changes in production design or the cast’s appearance are utilized to showcase the ripple effect in time. These easy gags help keep the film grounded. Moshe refuses to get lost in the complex mechanics of the story, instead leaning into the characters and the roller coaster of emotions they ride through the film. The deeper Aporia questions the ethics of changing time, the more interesting the film becomes. Using these characters to ask complex questions about grief and responsibility was clearly where Moshe felt most inspired when making the film. Movies use the scenario of going back in time to kill baby Hitler as the ultimate moral time travel question. Aporia theorizes that this question – and many like it – doesn’t always have simple answers or solutions. Greer continues to show that she deserves to be seen as more than “Hey, that girl!” Her relatability and charm help keep the character lighter than the subject matter might have allowed. Like the character of Sophie herself, Greer delicately dances between emotions – sometimes in the same scene. Given the small size of the cast, the chemistry between the core three is important and both Gathegi and Maadi also bring a natural gravitas to the film. Aporia asks a lot of interesting and important questions but it’s the kind of film that isn’t necessarily interested in following through with answers. Here that isn’t a detriment as the journey through asking those questions makes for one of the smartest time travel films in recent memory. About the Film Critic Brandon Thomas Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Mabaw film review by UK film critic Swati Verma. Starring Daniel Makatuwid, Simone Dalisay, Angelo Michael Amorsolo directed by Patricia De Jesus. HOME | FILMS | REVIEWS Mabaw Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 12, 2023 Directed by: Patricia De Jesus Written by: Philip Ines Starring: Daniel Makatuwid, Simone Dalisay, Angelo Michael Amorsolo The director Patricia De Jesus along with the writer Philip Ines utilises the Mockumentary style of filmmaking to showcase the various complications in the lives of the male protagonist Miko (Daniel Makatuwid) and how he deals with his emotions as he discovers something new about himself. The plot of Mabaw revolves around a Mockumentary on the filming process of BL (Boy Love) movie that stars non LGBTQIA cast. The yellow colour font utilised for the title of the film-Mabaw has the connotation of anxiety adding multiple layers to the narrative increasing the degree of audience engagement with the content of the film as well as the source material Deep Waters. The short film Mabaw opens with a long shot of a school building and the sound of the bell ringing in the background. The camera quickly pans into the first scene of the movie utilising a series of long shots, Mid-shots, close-up shots, and tracking shots to establish the subject matter of the film. The long shot of the actors introducing the characters they play with the various filmmaking equipments in the background allows the audience a sneak peek into a detailed process. The set design, black white colour tone, camera angles, lighting, dialogues, costume, hair, makeup, and props help complement and add realism and relatability to Mabaw paying tribute to the book Deep Waters and its author. In terms of performance, Angelo Michael Amorsolo is consultant/ author of Deep Waters draws a parallel between the book Deep waters and its cinematic adaption Mabaw. Amorsolo talks about the emotional journey of a complex love story and a lot of ups and downs in the lives of LGBTQIA youth. It is a continuous search for identity to fit into society and feel loved without being judged for their sexual orientation. Daniel Makatuwid plays the role of Miko Angeles. The actor feels privileged to bag such an important role and also expresses his gratitude towards the makers for choosing him to become the voice of many youngsters from the LGBTQIA group. Miko is an open-minded and carefree person and wants to be happy despite all the difficulties he has to face due to the choices he made in life. Makatuwid with his acting skills as well as the interviews included keeps the audience eagerly waiting for the climax. He also inspires the viewers to learn from him in real life. Simone Dalisay plays Elijah Santos the love interest of Miko Angeles. Dalisay portrays the sweet and supportive partner who wants to become the anchor to show the right path with the help of body language, voice modulation, facial expressions, and eyes. Mabaw talks about the importance of self-love and staying true to one’s personality without worrying about what people will say. The short film reiterates the significance of a more loving and accepting relationship between the parents and their children so that they can be comfortable with each other in every way and lead a peaceful life. The cinematic piece attempts to shed light on the dynamics between the LGBTQIA group and society and how voices are being raised to fight for acceptance despite all the prejudices that still exist. About the Film Critic Swati Verma Short Film, LGBTQ+ < All Reviews Next Film Review >

A Deadly Beautiful Date film review by UK film critic Swati Verma . Starring Deniz Sodal Gulsen, Naja Julie Jensen, Tore Dokkedahl directed by Emrah Caso Ljucic . HOME | FILMS | REVIEWS A Deadly Beautiful Date Film Review average rating is 4 out of 5 Critic: Swati Verma | Posted on: Jun 19, 2025 Directed by: Emrah Caso Ljucic Written by: Emrah Caso Ljucic Starring: Deniz Sodal Gulsen, Naja Julie Jensen, Tore Dokkedahl The writer-director Emrah Caso Ljucic enjoys exploring mysteries of the human mind. Ljucic intermingled thrill, perceptions, and drama to create cinema that showcases the complexities of the human experience that resonate long after the credits roll leaving the audience inspired intrigued and eager asking for more. Deniz Sodal Gulsen, Naja Julie Jensen, and Tore Dokkedahl understand Ljucic’s vision delve into psychological thrillers blurring the lines between reality and Illusion. The plot of the short film revolves around a celebrity’s captivating and deadly beautiful date that escalates into a surreal nightmare. As tensions mount shocking revelations push the boundaries of sanity leaving the audience gripped on the edge of their seats yearning for answers. A Deadly Beautiful Date utilises various cartoons along with the opening credits and music to establish the subject matter of the movie engaging with the film’s content from the very beginning. The long shot of the male protagonist sitting alone in a lavish restaurant in a bad mood intensifies the narrative slowly picking up pace. The set design, the black, golden, and blue colour pallet exude elegance, and luxury but with hidden coldness/sadness, dim lighting, camera angles, sound, music, dialogues, costume, hair, makeup, and props complementing the storyline to depict authenticity, drama suspense, and emotions on a profound level. In terms of performance, Deniz Sodal Gulsen plays the male protagonist Deniz who likes to show off his luxurious life but he is running out of emotions in his day-to-day life. He is waiting for his date to arrive completely unaware of what the future holds for him. The young actor effortlessly portrays a dominant demeaner in major part of A Deadly Beautiful Date but is gradually forced to change his behaviour due to the situation that gets worse. Naja Julie Jensen plays the role of Mia Sofia a well-educated strong and charming lady who comes to meet Deniz challenging his thought process and standing against everything that she thinks is wrong. Jensen depicts all the qualities that inspire people and they can learn incorporating them in their lives. Phillip Bogh plays Dr. Nullermann who agrees to help the owner/ the waiter of the restaurant with an illegal activity for the sake of money. Bogh with his acting skills, body language, voice modulation, makeup, and facial expressions immerses himself completely in the negativity of the character arc. A Deadly Beautiful Date talks about the unconditional love of parents becoming our shield when something unforeseen happens that can turn life-threatening as well. The short film reiterates that society has given certain gender roles that’s need to be broken or altered to let people move on with the dynamic nature of time. The dramatic piece warns the viewers that choosing the illegal/wrong path may seem to lure them to take an easy solution for their problem but actually it comes with long term sadness, suffering for themselves and others around them. The creative piece also highlights that value people, relationships, and happy times spend it with the right mind-set because the time that goes by doesn’t come again and one is left with only regrets. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Burnt Toast and Cigarettes film review by UK film critic Jason Knight. Starring Becky Lindsay, Rhiannon Jones, Ellie Bindman, Craig Conway directed by Paul Stainthorpe. HOME | FILMS | REVIEWS Burnt Toast and Cigarettes Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 9, 2022 Directed by: Paul Stainthorpe Written by: Paul Stainthorpe, Simon Jefferson Starring: Becky Lindsay, Rhiannon Jones, Ellie Bindman, Craig Conway A troubled teenager struggles to get her life in order and keeps getting into confrontations. After getting expelled from school over a conflict, Abi (Lindsay) finds herself in a position where she needs to deal with her problems and come to terms with everything if she is to move on with her life. She refuses the support from her father (Conway) and dance teacher (Jones) and holds a serious grudge against a schoolgirl named Chloe (Bindman). This short drama focuses on the life of a young girl who is facing inner issues and explores how her behaviour affects her life and those around her and it is not good. She alienates herself from everybody and hurts those who want to help her. Her aggressive attitude often gets the best of her, resulting in violent behaviour, arguments and drama. There are scenes of nasty confrontation and heartwarming scenes that make the viewing a rather emotional experience. The protagonists deliver strong and dramatic performances. Lindsay is superb as a teenager who experiences what many people her age tend to go through: alienation, anger, sadness, jealousy. Her negative emotions are preventing her from being the good person that she really is. Conway is her father and only parent who cares deeply for his daughter and is torn apart because of the lack of communication between them. Jones is Abi's dance teacher who disapproves of her aggressive behaviour but recognises her potential and Bindman is the fragile girl who falls victim to Abi's temper. Stainthorpe does a great job with the directing and the cinematography by James Alexander looks beautiful and includes brief moments of black-and-white and red-and-black. Composer Marco Belloni develops music that is dramatic and gentle and Eleanor Fielding is creative with the editing and utilises fast cutting effectively. This short is a hard-hitting coming-of-age film that explores themes of self-destruction and teenage anger and alienation. It is a character study that shows how a person's actions can affect their life and points out the importance of support and forgiveness. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

From the humans who brought you the Academy Award-winning Spider-Man: Into The Spider-Verse. Brand new film trailers. The Mitchells vs. The Machines Trailer The Mitchells vs. The Machines: Coming to Netflix 30 April 2021 Director : Mike Rianda Writers : Mike Rianda, Jeff Rowe Producers : Phil Lord, Christopher Miller, Kurt Albrecht Voice Cast : Abbi Jacobson, Danny McBride, Maya Rudolph, Mike Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend, Charlyne Yi, Blake Griffin, Conan O'Brien, Doug the Pug, Sasheer Zamata, Elle Mills, Alex Hirsch, Jay Pharoah Synopsis: From the humans who brought you the Academy Award-winning Spider-Man: Into The Spider-Verse and The LEGO Movie comes The Mitchells vs. The Machines, an animated action-comedy about an ordinary family who find themselves in the middle of their biggest family challenge yet…saving the world from the robot apocalypse. No big deal, right? It all starts when creative outsider Katie Mitchell is accepted into the film school of her dreams and is eager to leave home and find “her people,” when her nature-loving dad insists on having the whole family drive her to school and bond during one last totally-not-awkward-or-forced road trip. But just when the trip can’t get any worse, the family suddenly finds itself in the middle of the robot uprising! Everything from smart phones, to roombas, to evil Furbys are employed to capture every human on the planet. Now it’s up to the Mitchells, including upbeat mom Linda, quirky little brother Aaron, their squishy pug, Monchi, and two friendly, but simple-minded robots to save humanity. We hope you enjoyed The Mitchells Vs. The Machines Trailer. The film is coming soon to Netflix. Read more of our Netflix Film Reviews . Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September.

Give Me Your Hand film review by UK film critic James Learoyd. Starring Jérémie Agbessi, Kévin Sakac, Melinda Martinho directed by Kévin Sakac. HOME | FILMS | REVIEWS Give Me Your Hand Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 4, 2025 Directed by: Kévin Sakac Written by: Kévin Sakac Starring: Jérémie Agbessi, Kévin Sakac, Melinda Martinho Give Me Your Hand is one of the more unusual films out there, and I say that as a compliment. This bonkers French-language sci-fi fantasy is, to put it in the simplest terms, a film about letting go of the past. But then again, this film doesn’t work in simple terms. In addition to being an incredibly abstract, multidimensional adventure which is constantly jumping through time and versions of reality, this movie clocks in at an unapologetic 169 minutes long – meaning that to get something out of the viewing experience, one needs to be in a pretty specific mood. Yet if you’re in the right frame of mind, and can lock into the picture’s unique mode of nonsense, it ends up being a ridiculously entertaining exercise in genre storytelling. The narrative tracks a combination of characters whose fates, minds and souls seem to intersect; with the main focus being the dynamic between Adam (Jérémie Agbessi) and William (Kévin Sakac -- also the film’s writer-director). Following a disastrous car crash, Adam wakes in a different plane of existence – one with its own rules, an intangible logic. Neither he nor William have any memory of who they are or why they are. All they know is that they’re being hunted by ‘entities’. Eventually, like a murder-mystery, the quest becomes finding their memories, and putting all the pieces together. What we see can effectively be interpreted as the physical manifestation of a traumatised mind (or minds), and the battles that take place within the psyche. Allow us to address the fact that the film is gibberish and makes no sense. As opposed to viewing this as a criticism or indication of quality, it would be more useful to consider it a creative choice from which this three-hour fever dream gets its formless style. Its constant-action, constant-exposition approach, bizarrely enough, makes the runtime fly by. Nothing else is paced like this! Although, having said that, as great as the random logic might be, the rules of how the characters are to navigate the world and defeat the creatures aren't clear. So, as the film gets deeper into the fantasy, objective-based dialogue, it becomes difficult for the audience to remain excited about everything that’s happening. The most amazing thing this movie has going for it is its sense of genuine fun. We’re talking knights in armor riding horses, sword fights in pretty much every other scene past the half-an-hour mark, and weird mini music video intervals which feel in conversation with how Twin Peaks: The Return separates its episodes. There’s an entire act of this movie devoted to Lancelot and King Arthur! -- and if you’re not enjoying the film at that point, I don’t know what more you want. It’s a wonderful thing to witness a work consistently out-do itself through increasingly absurd set-pieces. If you happen to have three hours to spare upon this film’s release, and are incredibly open-minded, I would recommend you give Give Me Your Hand a go. You’ll find that you can’t help but fall in love with this sincere, nonsensical action-fest. About the Film Critic James Learoyd Indie Feature Film, World Cinema < All Reviews Next Film Review >

A Journey film review by UK film critic Swati Verma. Starring Vignesh Kumar, Y Satyanarayana directed by Vignesh Kumar. HOME | FILMS | REVIEWS A Journey Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 25, 2022 Directed by: Vignesh Kumar Written by: Vignesh Kumar Starring: Vignesh Kumar, Y Satyanarayana The word journey in the title of the short film- "A Journey" has the connotation of the path of life that everyone has to travel on. This journey consists of various stages of life between youth and maturity which has been brilliantly depicted by Y Sathyanarayana and Vignesh Kumar in the movie. The plot of the cinematic piece revolves around the emotions of an old man as he packs and gets ready to permanently move out of the house he lived his whole in, but with a hidden meaning to it. The writer/director Vignesh Kumar uses the black and white colour palette to effectively highlight the true essence of life. The creative piece establishes the subject matter of the short film by utilizing a series of close-up shots and mid-shots. The set design, lighting, costume, and makeup have been kept natural to complement the colour palette of the drama. There is no dialogue in the film so that the audience can concentrate on the narrative and understand the key messages and valuable lessons it communicates. The background music of the movie assists to make the emotional connection of the audience stronger with its content. A journey appeals to its viewers and increases the degree of engagement as the narrative unfolds. In terms of performance, Y Sathyanarayana plays the role of a grandfather who wants to move out permanently from his house as he feels lonely and left out. Sathyanarayana portrays the sadness and the pain of leaving his house which has memories of the moments spent in it. He does not want to walk away from his family but he is helpless. The helplessness and uncertainty on his face also give the audience a reality check and make the situation in the film relatable as they were reminded of the hardships during the lockdown. Vignesh Kumar plays the grandson in the film. Kumar showcases the love and guilt of not being able to stop his grandfather from leaving the house. Kumar with his acting skills understands the nuances of character and portrays the emotional side so effectively. A journey talks to its audience about the set path life follows that starts from a cradle and ends with a coffin/cremation. Emotions and relationships are of immense importance and functioning without these two would become very difficult. This dramatic piece attempts to bridge the gap between two generations by understanding each other and coexisting happily and peacefully to ultimately discover a very different perspective on life together. The cinematic piece reiterates the fact that one needs to survive through various circumstances like pleasure, pain, sunshine, and rain. A journey reminds the viewers about the significance of expression and communication in life as the time one has is limited and it is better to say what you want to loved ones instead of regretting it later. As an ardent viewer of the short film, I would like to say thank you to the filmmaker for reminding us the major life lessons that we tend not to think about daily. I would also like to appreciate that Vignesh Kumar could give the audience an emotionally gripping short film even with the limited resources available during the pandemic. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Oppenheimer film review by UK film critic George Wolf. Starring Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey, Jr. directed by Christopher Nolan. HOME | FILMS | REVIEWS Oppenheimer Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Jul 20, 2023 Directed by: Christopher Nolan Written by: Christopher Nolan, Kai Bird, Martin Sherwin Starring: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey, Jr. I love that “Barbenheimer” has become a thing. Why are people so excited that two films open in theaters on the same weekend? The polar contrast of tones is certainly a fun mashup, but it’s also the confidence we have in two uniquely visionary filmmakers. Christopher Nolan reportedly became invested in making a film about “the father of the atomic bomb” when Robert Pattinson gave Nolan a collection of J. Robert Oppenheimer’s speeches. In adapting two source books, writer/director Nolan gives Oppenheimer an engrossing IMAX treatment that serves up history lesson, character study and mystery thriller during three unforgettable hours. Cillian Murphy is simply mesmerizing and absolutely award-worthy as Oppenheimer, who – years after his Manhattan Project delivered the bomb that ended WWII – is facing the possible loss of his security clearance and thus, career. With his wife Kitty (Emily Blunt) seated nearby, Oppenheimer endures grueling interrogation on his past associates and activities from an Atomic Energy Commission security board led by Roger Robb (Jason Clarke) and Gordon Gray (Tony Goldwyn). In the film’s first two acts, Nolan uses this questioning as the anchor to chart Oppenheimer’s rise through academia to become not “just self important, but actually important.” On the campus of Berkeley, he embraces revolution in both physics and the world, enthralling his students, supporting “left wing causes” and carrying on an intense affair with avowed communist Jean Tatlock (Florence Pugh) before being hand-picked by no-nonsense General Leslie Groves (Matt Damon) to lead the team tasked with inventing a nuclear weapon before the Nazis do. From the outset, Nolan and Murphy craft Oppenheimer as an endlessly fascinating creature, a man unable to turn off his mind from constantly questioning beyond this world. Murphy never shrinks from the close-ups that pierce Oppenheimer’s soul, and his body language and manner are often awkward and brusk, revealing an intellectually tireless man with little regard for alienating those not on his level, including AEC Chairman Lewis Strauss (Robert Downey, Jr., never better). But Oppenheimer’s commitment is total, as is Nolan’s. With strategic use of black and white (an IMAX film stock developed exclusively for the film) to contrast cinematographer Hoyt Van Hoytema’s eye-popping detail, Nolan utilizes impeccable visual storytelling that enhances his script’s ambition without overshadowing it. Ludwig Göransson’s score dances beautifully with production design from Ruth De Jong, totally immersing us in the manufactured town of Los Alamos, where three years of development finally led to a successful bomb test (a breathless sequence that alone should land sound designer Randy Torres an Oscar nod). For two hours, the historical tale is assembled through precision and care by a master craftsman with the finest tools at his disposal (including a spotless ensemble that also includes Kenneth Branagh, Rami Malek, Casey Affleck, Tom Conti, Matthew Modine, Olivia Thirlby, David Dastmalchian, James Remar and Benny Safdie), and then Nolan digs into the human failings, moral ambiguities and philosophical grappling that surround a man and his mission. As Oppenheimer realizes that “genius is no guarantee of wisdom,” and his superiors only want to expand America’s nuclear arsenal, the film’s final act becomes a dizzying mix of JFK , Amadeus and The Tell Tale Heart . Haunted by the devastation the bomb brought to both the “just and unjust,” Oppenheimer ignores his wife’s pleas to fight back as his character is assassinated, and a naive senate aide (Alden Ehrenreich) starts to piece together the puzzle about who is pulling the strings. As the film races toward a tense and satisfying reveal, some of the dialogue does flirt with needless explanation, but these sensational actors never let a word of it land as completely false. Much like any film of this nature, Oppenheimer takes its liberties and leaves room for further study. But Nolan takes you inside the personal journey of one of the most important men in history, with resonant and challenging lessons on hubris, envy, blind faith and the search for redemption. And by the end of hour three, he leaves you drained but thankful for the experience. There’s no Barbie here, but you will find a cinematic dream world with so very much to offer. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Do Not Open film review by UK film critic Swati Verma. Starring Adam Deary, Josh Sinclair Evans, Leah Rogers directed by Samuel T MCNally. HOME | FILMS | REVIEWS Do Not Open Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 30, 2025 Directed by: Samuel T MCNally Written by: Samuel T MCNally Starring: Adam Deary, Josh Sinclair Evans, Leah Rogers The writer-director Samuel T MCNally along with cinematographer Trace Robbins decide to keep the font of the film’s name blinking in addition to an eerier streaky sound to establish the horror element initially and add in the thrill part of it as the narrative progresses. Richard Adam Deary, Josh Sinclair Evans, and Leah Rogers understand the director’s vision, balancing between the two genres to keep the viewers hooked on to the content throughout the film’s running time. The plot of Do Not Open revolves around three friends who drive out to a lonely country side house for a big weekend away only to realise far too late that the house has a fourth guest stalking them throughout their trip, a creature that can only be seen when it wants to be. Do Not Open begins with a series of mid-shots of a car ride toward the countryside followed by long shots to capture the beauty of the location as well as the excitement of three friends enjoying the trip. The director of photography Trace Robbins utilises the disorientation of the camera and the constant presence of the monster is depicted by scratching celluloid with a knife as well as the magnifying glass to give a sense of fright therefore enhancing the degree of audience engagement. The set design, lighting, sound, camera angles, dialogues, costume, hair, makeup, and props are kept natural to elevate elements of mystery, realism, and relatability in the storyline. The makers include internal jokes in the conversation between friends to keep the approach to climax light hearted but not lose the impact for the same. In terms of performance, Adam Deary plays Richard Laura’s boyfriend who seems to be the most adventurous yet protective of his friends. He wants to make the best use of time out of the monotonous routine. Deary’s reaction to a particular situation in several subplots or emotions is aptly conveyed to gradually build a emotional connection with the viewers. Josh Sinclair Evans plays David an explorer and starts to record everything when they reach the lonely house in the country side. David is a happy soul but the changes in his character arc surprises the audiences. The young actor effortlessly switches the tone in terms of body language, voice modulation, style of dialogue delivery, and facial expressions. Leah Rogers plays the role of Lauren (Richard’s girlfriend) who has come on this mini holiday to make memories spend quality time with the two boys. Rogers with her acting skills makes Lauren very relatable with the viewers. Do Not Open warns us about being private regarding certain things because it can cause trouble that is uncalled for. The short film reiterates the importance of having friends who would stand with him/her in both good times as well as bad times. The cinematic piece points at the unpredictable nature of life so we should make sure of spending as much time as we can with our loved ones. The creative piece highlights that taking care of ones physical or mental health is their responsibility. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Thor: Love and Thunder film review by UK film critic Hope Madden. Starring Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson directed by Taika Waititi, Jennifer Kaytin Robinson, Stan Lee. HOME | FILMS | REVIEWS Thor: Love and Thunder Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 6, 2022 Directed by: Taika Waititi, Jennifer Kaytin Robinson, Stan Lee Written by: Taika Waititi Starring: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson Filmmaker Taika Waititi hit a gleefully discordant note with his first venture into the Marvel Cinematic Universe. His Thor: Ragnarok was silly. It held no particular reverence for superheroes, even its own. Who knew it would be such a welcome change of pace, and so very suited to Chris Hemsworth’s comic talent? Of course, Thor still had Loki (Tom Hiddleston) to play with, plus the great Cate Blanchette as a goth goddess Hela. Hell yes. Thor: Love and Thunder does not benefit from the previous installment’s villainous one-two punch. But Christian Bale is no slouch. Bale plays Gorr the God Butcher. The name alone gives you a sense of why Thor is in trouble. The weird thing is, though Bale’s performance intrigues, it’s as if he’s in an entirely different movie. In Thor’s corner of this fight is the formidable Valkyrie (Tessa Thompson), as well as another familiar face. Natalie Portman returns as Thor’s ex, Dr. Jane Foster, who now commands the Hammer of the Gods herself. But after fighting his own flesh and blood to save his entire people and culture in the last episode, crushing on his ex while protecting his own skin feels pretty superficial. It’s a slight premise with weak stakes. Even Waititi seems to think so. Thor and company visit the secret assembly of the gods to ask for help in defeating this new menace. The way Waititi (who co-writes Jennifer Kaytin Robinson) stages the whole bacchanal makes it hard to argue Gorr the God Butcher’s logic. An interesting act of subversion or wishy-washy storytelling? Hard to say. Waititi’s focus on the film’s aesthetic is clearer, though. Thor: Love and Thunder evokes a Saturday morning kids’ show, complete with hokey costumes and props. Here Waititi revels in the superficial, the kitschy and commercial. He’s a filmmaker who balances cynicism and goofiness as few can. He hits a couple of clever gags with a jealous Stormbreaker, too. So, it’s fun. But it’s by no means the inspired fun of Ragnarok. None of the jokes land as well, and the action never approaches the same level of swagger and panache. And it just keeps getting harder to root against Marvel’s villains. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Corpse Fishing film review by UK film critic Joe Beck. Starring Harmonie He, Jizhong Zhang directed by Jean Liu. HOME | FILMS | REVIEWS Corpse Fishing Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Aug 5, 2024 Directed by: Jean Liu Written by: Jean Liu Starring: Harmonie He, Jizhong Zhang There are some very strange jobs out there. From ethical hackers to people that line up in queues for a living, there are even professional sleepers, you wonder how people in those professions ever found out about those jobs and decided it was a career that they wanted to pursue. Perhaps the strangest job of all is featured in ‘Corpse Fishing’, and if not the weirdest then definitely the most morbid. Yet though the film is morbid, it is nonetheless touching and emotional in parts, and ultimately probes deep topics with tenderness and beauty. The film follows Yan (who is played by Harmonie Yen), a young woman who runs a karaoke stand on the beach, and seems fairly miserable with her surroundings. She lives in the Hubei Province in central China, and her existence seems to trundle on monotonously until one dark night a man named Old Bo (who is played by Jizhong Zhang) turns up, disturbing her karaoke stand with his pungent smell. Old Bo owns a boat and seems to live there. He’s no ordinary fisherman however, instead of catching fish he instead catches corpses of those that have found their way into the sea. He sells them back to the families, who are all desperately seeking solace and the return of their missing loved ones. Yan just happens to be missing her father, and, with some desperate haggling and convincing, manages to find her way onto the boat, where she is confronted by the grim reality of Old Bo’s job. Old Bo is almost certainly mad - how could you not be in a job like that - naming all his corpses and seeming to relish their company, yet at the same time he strikes a sympathetic figure. He lives more with the dead than with the living, and the the toll that that has taken on his mental health is plain to see. The film follows Yan (who is played by Harmonie Yen), a young woman who runs a karaoke stand on the beach, and seems fairly miserable with her surroundings. She lives in the Hubei Province in central China, and her existence seems to trundle on monotonously until one dark night a man named Old Bo (who is played by Jizhong Zhang) turns up, disturbing her karaoke stand with his pungent smell. Old Bo owns a boat and seems to live there. He’s no ordinary fisherman however, instead of catching fish he instead catches corpses of those that have found their way into the sea. He sells them back to the families, who are all desperately seeking solace and the return of their missing loved ones. Yan just happens to be missing her father, and, with some desperate haggling and convincing, manages to find her way onto the boat, where she is confronted by the grim reality of Old Bo’s job. Old Bo is almost certainly mad - how could you not be in a job like that - naming all his corpses and seeming to relish their company, yet at the same time he strikes a sympathetic figure. He lives more with the dead than with the living, and the the toll that that has taken on his mental health is plain to see. Writer-director Jean Liu paints both her characters in full colour, giving them the perfect balance of depth and an enigmatic, mysterious background. They feel real and fleshed out, and their conversations are beautifully written to contain meaningful questions about mortality and loss, and yet they never seem to be pontificating. Nevertheless, ‘Corpse Fishing’ is a captivating film by Jean Liu, with an interesting, unique narrative and bond between its two main characters, that leaves you thinking long after it has drawn to a close. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

The Amateur film review by UK film critic Kieran Freemantle. Starring Rami Malek, Rachel Brosnahan, Laurence Fishburne, Caitríona Balfe, Holt McCallany directed by James Hawes. HOME | FILMS | REVIEWS The Amateur Film Review average rating is 3 out of 5 Critic: Kieran Freemantle | Posted on: Apr 15, 2025 Directed by: James Hawes Written by: Ken Nolan, Gary Spinelli, Robert Littell (novel) Starring: Rami Malek, Rachel Brosnahan, Laurence Fishburne, Caitríona Balfe, Holt McCallany Based on the novel by Robert Littell, the 2025 version of The Amateur is the second adaptation, following an unlikely man on a mission of vengeance. Charlie Heller (Rami Malek) is a CIA cryptographer who’s happily married to Sarah (Rachel Brosnahan). Charlie’s world shatters when Sarah is murdered during a terrorist attack in London. Charlie seeks revenge and blackmails his superiors to give him training so he can hunt his wife’s killers. However, Charlie has made himself a target for bad actors in the CIA as he travels across Europe. The Amateur was a nut-and-bolts thriller: it wasn’t fancy and far from revolutionary, but it gets the job done. It came out after the release of Black Bag, and both films appealed to a similar audience of slightly older cinema-goers. The Amateur was helmed by James Hawes, a seasoned TV director, including episodes of Slow Horses, so he knows how to craft a spy-thriller. Although, as an action director, Hawes has a long way to go since it was obvious when stunt doubles were used for the fight scenes. The Amateur did feel like a throwback to thrillers from the early-to-mid noughties, whilst modernising certain aspects. The original novel was published in 1980, so the new film had to update the politics and technology. Charlie was a computing genius who communicated through encrypted devices, could hack into any system like security cameras, and used modern technology like 3D modelling. The Amateur felt like a cross between The Recruit and The Bourne Trilogy. The Recruit was a workmanlike thriller from 2003 that showed a young man training to be a CIA agent. The Bourne comparison came about due to the corrupt elements within the CIA, and Holt McCallany was in the same role as Chris Cooper, Brian Cox, and David Strathairn, men hunting a rogue agent. Like the Bourne films, there was a lot of monitor watching and searching everywhere Charlie has visited for clues. Scott Z. Burns, one of the writers of The Bourne Ultimatum, did uncredited rewrites for The Amateur. The Amateur was a slow burn. It took its time as it showed Charlie being trained, the CIA investigation, and Charlie going on his manhunt. The film made a point that Charlie was not a superspy like James Bond, Jason Bourne, or Ethan Hunt. There was a scene like Skyfall that showed that Charlie couldn’t aim a gun no matter how much he tried. Charlie’s first fight was with a woman having an asthma attack, in a scene that would annoy the Critical Drinker. Charlie had to use his knowledge, invention, and creativity to carry out his assassinations, acting like Agent 47 from the Hitman games. Charlie had to do this to emotionally distance himself so he could kill other people, and there was an emphasis on Charlie’s psychological torment. Rami Malik has proven himself as an actor on film and TV and earned acclaim and awards for it. In The Amateur, Malek played his role as someone who might be on the spectrum. Charlie was an intelligent, if socially awkward man who said he liked solving puzzles and was determined and focused. He was able to maintain relationships, as shown by him being happily married, and he has a sense of empathy as shown through his interactions with a character in Istanbul. Charlie didn’t fall into the savant trap that has appeared in other films. Laurence Fishbourne was also a highlight in the film as Charlie’s mentor who developed a begrudging respect for the computer programmer. For fans of spy-thrillers, The Amateur does scratch an itch. It was a competently made film that had been lacking for adults, even if it's an overly familiar story and plot points. About the Film Critic Kieran Freemantle Theatrical Release < All Reviews Next Film Review >