Vermiglio film review by UK film critic Matt Weiner. Starring Giuseppe De Domenico, Anna Thaler, Martina Scrinzi, Rachele Potrich directed by Maura Delpero. HOME | FILMS | REVIEWS Vermiglio Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Jan 10, 2025 Directed by: Maura Delpero Written by: Maura Delpero Starring: Giuseppe De Domenico, Anna Thaler, Martina Scrinzi, Rachele Potrich Way up north in the Italian town of Vermiglio, everything feels more remote. As World War II lurches toward its end in Europe, the fighting is far away but the trauma of war haunts the town and its men of fighting age. But it’s the women who face the more implacable enemy, as a region—and an entire country—finds their traditional (and deeply patriarchal) ways of life coming into conflict with a modernity struggling to be born. In Vermiglio , the new feature from writer-director Maura Delpero and Italy’s entry for this year’s Academy Awards, the lives of three women are forever changed when the town shelters Pietro (Giuseppe De Domenico), a deserter from Sicily. The women are three of many children from local schoolteacher Cesare (Tommaso Ragno) and his wife Adele (Roberta Rovelli), who spends most of the movie either pregnant or newly with child. Adele’s life of tradition and respectability—and suffering—foretells what Cesare’s daughters might hope to get out of life. Or would have, had it not been for the destructive chaos of the war. Lucia (Martina Scrinzi) is the oldest and expected to land a fine husband. Flavia (Anna Thaler), the youngest, is also a keen student, and so Cesare selects her as the only one he can afford to send away to boarding school. Then there is Ada (Rachele Potrich), wayward middle child among the tight-knit trio. Delpero eases us into the languorous seasons of Vermiglio, both metaphorically and literally, with Cesare’s precious Vivaldi record of the Four Seasons as a constant companion on the soundtrack. So soothing are these lush mountain vistas, untouched by a war coming to a close anyway, that it’s a remarkable sleight of hand from Delpero when these rhythms fall apart and the women are left to pick up the pieces and create what lives they can when their options are so limited. Whether it’s the scandal that erupts from Lucia’s entanglement with Pietro, the unfulfilled longing that Ada must confront, or Flavia’s budding sense that even her “advancement” is decided at the whims of their imperious father, Vermiglio is less about the consequences of actions and more about an uncanny (and very much contemporary) feeling of not even being in control to make those choices in the first place. But along with the oppressiveness, Delpero offers a sense of something that, if not hope, is at least a reminder that the seasons do change. Her daring women can’t escape when they were born, but their fates aren’t fixed either. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release, World Cinema < All Reviews Next Film Review >

Summer After film review by UK film critic Swati Verma. Starring Andrea Granera, Deepti Menon, Mateo Correa directed by Josh Cox. HOME | FILMS | REVIEWS Summer After Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Nov 30, 2022 Directed by: Josh Cox Written by: Josh Cox Starring: Andrea Granera, Deepti Menon, Mateo Correa The writer-director Josh Cox attempts to showcase the emotional journey of the 3 protagonists Mesa (Andrea Granera), Emily (Deepti Menon), and Leo (Mateo Correa) where all of them are trying to constantly discover themselves so that they can be satisfied with the lifestyle they lead in the future. The plot of the short film revolves around one summer after an impassioned romance with a girl from out of town 17-year-old Mesa yearns to better understand herself and reconcile with her past on the peninsula of cape cod. In the opening sequence of the movie long shot of a lunar eclipse is shown followed by the name of the film appearing on the screen. The white colour signifies purity and simplicity a trait essential for that is the art of self-discovery. The pinkish-white and bluish-black colour palette provide freshness to the subject matter it deals with. The soft music, natural lightings uplift the romance in the storyline. The film follows a nonlinear narrative and adds thrill and suspense to keep the audience hooked to the content. The extreme close-up shots, close-up shots help the viewers to understand the basic makeup of each character in the film. The set design, lighting, dialogues, costume, hair and makeup has been kept natural to complement the topic of the cinematic piece. In terms of performance, Andrea Granera plays Messa who is lost, confused, and tied up in her emotions and desperately wants to peacefully coexist with other people around but her past is not letting her move on. Granera portrays the varied emotions efficiently through her voice modulation, body language, eyes, and facial expression allowing the audience to connect with her character and wish that Messa becomes both emotionally and physically stronger by the end of the film. Deepti Menon as Emily is a treat to watch. She has also lost a loved one who was very dear to her but she understands the theories of life and maintains her calm and composure. Despite all the suffering, she has not lost her belief in the existence of real love and friendship. Mateo Correa in the role of Leo is amazing. Leo effectively balances his love life and his duties when it comes to friendship. Correa understands the nuances of Leo the multi-layer character analysing the right mix of emotions, strength, and humour to build up an interesting character. Summer After talks to its audience that the existence of darkness is temporary and there is hope and positivity that light always brings with it so we shouldn’t be disappointed with life. It also possesses a lot of colours with the ability to provide a better and brighter future. The short-film reiterates that love is the basis of life on Earth and it has different forms therefore it shouldn’t be judged. A romantic relationship and all the decisions related should only depend on the choices made by the duo involved in it. Emotions and Memories make- up important elements but living in the past is hard so one should cherish both elements to the fullest for healthy lifestyle dealing with the situation at hand is the best option for both the individual and the loved ones. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film, LGBTQ+ < All Reviews Next Film Review >

Diamond Heat film review by UK film critic Jason Knight. Starring Dan Frigolette, Sally Ann Hall, Joe Larson, Laz Rivero, Dusty York, Anna Bianco, Gus Constantellis directed by Dusty York. HOME | FILMS | REVIEWS Diamond Heat Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 10, 2022 Directed by: Dusty York Written by: Dusty York Starring: Dan Frigolette, Sally Ann Hall, Joe Larson, Laz Rivero, Dusty York, Anna Bianco, Gus Constantellis The collaborators on a well-known soap opera are interviewed regarding their experiences while making the show. These collaborators are puppets. Filmed like a documentary, this feature is made out primarily of scenes that show the protagonists and crew being interviewed about a popular television show called 'Diamond Heat'. The show is said to have been created in 1985 by producer Blandley (Frigolette) with the intention of bringing to the world the most successful daytime tevevision show ever. Interviewees include cast members, some of which are Ron Reginald (Larson), Jane Johnson (Hall) and Samantha Singleton (York), Blandley and production assistant Abbey Allison (Constantellis). They all talk about their time working on the show, the ups and downs and about their past. Through dark and adult humour, they recount a great deal of misfortunes and awkward situations. Regarding the puppets, it would be fair to say that they are not exactly superb quality. The lot of them are basically socks that have cartoonish eyes, lips and hair glued on them and an off-screen person has their hand inside, making them move and they are voiced by actors. Since this is a comedy, the fact that the puppets do not look professionally made can add to the humour. Watching these puppets pretending to be real people has its funny side. To describe a few, there is the famous and naive actor Reginald, Mexican star Gabriel Gonzalez Gonzalez (Rivero) and ex-convict Steve Starkley (York), who tends to move off-screen and ride away on his motorcycle. Each character has their own personality and the screenplay and voice acting succeeds in making them entertaining. The interviews are alternated with brief scenes from several episodes of the show and clips showing a puppet being outdoors at a location that is significant and talking about their past. The image during the soap opera scenes looks old, giving the impression that they were filmed in the eighties. The outdoor scenes also show real people, which feels a bit awkward, making one wonder whether puppets and people co-exist in that film's universe. Basically, this is a mockumentary puppet show dark comedy about a bunch of puppets talking about a soap opera. In order to enjoy it, one should not take it seriously and have fun watching the silly puppets as they try to act like real people and tell jokes. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Meat Locker film review by UK film critic Jason Knight. Starring Daniel Illes directed by Mark G. Lakatos. HOME | FILMS | REVIEWS Meat Locker Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 18, 2026 Directed by: Mark G. Lakatos Written by: Balazs Harangozo Starring: Daniel Illes A short low-budget Hungarian body horror film that pays homage to grindhouse cinema and Rod Serlings's The Twilight Zone . Directed by Mark G. Lakatos, written by Balazs Harangozo and starring Daniel Illes. The film begins inside a restaurant's kitchen, where a dead pig is being prepared to be served. Then, a couple are sitting at a table in the restaurant, eating the pig and having a discussion about the morality of eating baby animals. Suddenly, the woman realises that she is about to give birth and she is rushed to the hospital, while her partner waits outside. It is then when the horror starts. This short's main strength, what makes it stand out the most is the sequence at the hospital. The atmosphere is agonising and dreadful. The woman is tied to the hospital bed and the three medical staff behave like deranged lunatics, saying outrageous things and committing unspeakable acts. The creative practical effects look gory and nasty and the whole thing is hard to watch. Additionally, Armin Rethly's black-and-white cinematography makes the atmosphere feel even darker. Of course, the rest of the film has its own positive standards, especially during the conversation about animals being eaten. Interestingly, Illes plays both characters that constitute the couple. The man accuses his partner of being two-faced as she is OK with eating meat but claims that she disapproves of eating infant animals, even though she eats foods like eggs and veal. Having the same actor portray the couple feels surreal and having a male play a woman in some ways makes the character both male and female and this is effective because it communicates the message that both men and women can make the awkward statement that they do not eat baby meat while they actually do. With his performance, Illes succeeds in creating a couple, however, it is during the harrowing hospital section that he shows what he can do, vividly bringing to life feelings of extreme agony and terror. This story (especially if one takes the unexpected ending under consideration) paints a negative picture of humanity and it is even misanthropic. It appears to be pointing out that animal rights are not being valued, that people are dishonest and that by eating meat, they are cannibals. Generally, it seems to be carrying the message that humans are no-good in general or that they can be very awful at times. A dark horror film with dark messages. A tense and terrifying ride that is not for sensitive viewers. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Moana 2 film review by UK film critic Hope Madden. Starring Auli'i Cravalho, Dwayne Johnson directed by David G. Derrick Jr., Jason Hand, Dana Ledoux Miller. HOME | FILMS | REVIEWS Moana 2 Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 26, 2024 Directed by: David G. Derrick Jr., Jason Hand, Dana Ledoux Miller Written by: Jared Bush, Dana Ledoux Miller, Bek Smith Starring: Auli'i Cravalho, Dwayne Johnson Eight years ago, Disney took us to ancient Polynesia for a visually stunning journey of self-realization with an adolescent wayfinder and a narcissistic demi-god. Not a lot has changed in nearly a decade. Moana (Auli’i Cravalho) is called by her ancestors to face a challenge she believes is too big for her. A god put a curse on an island to keep the people of the sea separated. She’ll need Maui (Dwayne Johnson) to help her. Literally, that’s the same premise as Moana . Some of the elements Moana 2 shares in common with the original benefit the film. The animation still looks dazzling, with gorgeous ocean colors, star-bedecked skies and the best hair in any Disney franchise. Songs are fun, and Cravalho’s voice remains as stirring as ever. Johnson’s voice has not improved, but the film makes that work. “Beyond” is likely to be the song most remembered, but “Get Lost” is a fun one as well. And though the sentiment becomes important to the plot, the character attached to that piece of advice appears and disappears without any real attachment to the film. She’s a needless add on, someone who controls bats in the middle of the ocean. There’s more goop in the sequel. Lots of slimy, oozy, day-glow goop. Everything else seems like less. Moana’s high sea adventure involves more help—an actual crew this time—and fewer problems. There are not as many foes, fewer episodes of danger, the quest feels less imperative, stakes seem lower, and characters grow less. It’s like a nice color copy of the original—still pretty, very similar, just not as compelling. It is good to see some familiar faces, even if those faces are drawn on coconuts, and Khaleesi Lambert-Tsuda’s sweet performance and endearing voice bring little sister Simea adorably to life. Kids’ tales that mine fresh cultural perspectives are always welcome and animated stories aimed at little girls that do not end in marriage are always needed. Moana 2 won’t bore anyone looking for a colorful time waster this holiday season. You’re just not likely to remember it into January. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Kotsuage film review by UK film critic Patrick Foley. Starring Logan Noguchi, Len Fujinaka, Noelle Yoza directed by Alex K. E. Ching, Devan Yukio Fujinaka. HOME | FILMS | REVIEWS Kotsuage Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Jul 3, 2024 Directed by: Alex K. E. Ching, Devan Yukio Fujinaka Written by: Devan Yukio Fujinaka Starring: Logan Noguchi, Len Fujinaka, Noelle Yoza Kotsuage is the latest short film from directors Alex K.E. Ching and Devan Yukio Fujinaka that handles difficult and disturbing issues of childhood trauma and neglect, and considers how such an environment can define a life – and what one must do to overcome such traumas to be better than those who raised them. The film follows a young, nameless protagonist (Logan Noguchi) who is raised in a home with a domineering, abusive father (Len Fujinaka) and mother who is the subject of his wrath (Noelle Yoza). Told from the Boy’s perspective, we see how even in silent discipline, his father’s terrorising of his family leaves lasting scars – with the future narration provided by the mournful, reeling voice of Ko Tanaka. As a man, it is up to the Boy to forge his own path, as he is determined to live a different life to his father. Kotsuage is a gorgeous, sorrow-filled short Japanese-language film that succeeds as a fine example of how to realise trauma and regret on screen. Structured like a fractured series of memories, Ching and Fujinaka brilliantly capture how tiny moments in a child’s life can have lifelong consequence. The film’s most shocking scene in which the father strikes the mother is a particular highlight – freezing as the strike connects in a manner that mirrors the Boy’s inability to truly confront his past. Other moments, such as stories the boy has been told as a child playing out in front of artwork or silently consuming rice his mother has made after the aforementioned strike play out in front of a still and sombre shot that seems to symbolise how one cannot choose their environment or surroundings, and must learn how to manipulate them themselves. Ching’s cinematography is ever considered, combining the simple with radiancy to paint the images with a caring light that successfully replicates the idea of the past. The boy’s childhood feels like a foreign land, somewhere unwelcoming that senses his presence. This is at great contrast to an indetermined time at the film’s conclusion where the sun shines on a grown man as he feels a freedom that is not present elsewhere in the movie. The film’s title refers to a Japanese cremation ritual. Despite no such event taking place in the film, the reliving of memories many years in the future suggests the protagonist’s reflections may occur after a death. The ‘Kotsuage’ therefore could be as much for the past or for the impact of the father on the son as it is literal. Ko Tanaka’s conflicted narration – part bitter, part dignified – possesses additional meaning in this interpretation. Ching and Fujinaka will no doubt hear many other takeaways from Kotsuage, given that their film leaves plenty for its audience to ruminate on. But you can be sure that almost all will equally rave about this film’s quality and thought. It is well worth adding yourself to those who will no doubt be moved by this short. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Da Block film review by UK film critic Joe Beck. Starring Lladel Bryant, Jay Connor, Velton Lishke, Brad Nicholson directed by Velton Lishke. HOME | FILMS | REVIEWS Da Block Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Aug 16, 2023 Directed by: Velton Lishke Written by: Jay Connor, Velton Lishke Starring: Lladel Bryant, Jay Connor, Velton Lishke, Brad Nicholson Dildos are enjoying their moment in the spotlight in cinema at the moment. After featuring prominently in a now legendary scene in last years Oscar winning ‘Everything Everywhere All At Once’, they make a reappearance in the British comedy short ‘Da Block’. Similarly used in a fight scene, ‘Da Block’s use of the strap-on is perhaps reflective of the film as a whole. Being too farfetched and consciously erratic that the humour of such an inappropriate toy is largely lost, with the joke itself the story, rather than being a part of the story as it should be. We follow Mikey (Lladel Bryant) and Sully (Jay Connor), as they face off to take control of ‘Da Block’. The two characters, as the film is at pains to make clear, are named after the central duo of Pixar’s iconic ‘Monsters Inc.’, even reflecting those characters in a way that could almost have Pixar and Disney’s lawyers on the phone for copyright infringement. Mikey is the more organised, streetwise of the pair, whilst Sully is a bit of a putz, making up for his lack of brains with his supposedly loveable demeanour and personality, though this does not translate to the audience. Their battle for ‘Da Block’ against the middle-aged duo of Razor (Velton Lishke) and Bullethead (Brad Nicholson) is promised to be legendary, with antagonism between the two pairs supposedly through the roof. Instead they appear more friends than sworn enemies, with actors even smiling as they are beaten by one another. The script by Jay Connor and Velton Lishke does not create enough tension between the two groups to properly feel the relief of the unserious stand off, and so instead we are left sighing at a set up clear from the outset plays out as expected, and is far too long and repetitive. Velton Lishke’s direction fails to add anything to the film, and feels extremely basic, relying too often on numerous cuts and failing to hold a shot. Another issue with the script is the humour. It’s not that the jokes are lacking, its that they aren’t well written, and are often, like the strap-on joke, repeated to the point that they become incessantly annoying rather than entertaining. They lose the element of surprise very quickly, and when the lines aren’t being delivered well by the actors, that surprise is critical to keep people laughing. Poorly delivered, bland, repetitive lines lose the interest of the audience, and thus they become less invested in a story that is already difficult to enjoy. There’s an element of the sitcom ‘Man Like Mobeen’ about ‘Da Block’, but it’s as though every character is Nate, a fish out of water on the streets, losing the authenticity of the film, as it lacks any dramatic grounding to allow its comedic elements to truly soar. ‘Da Block’ is a film that fails to understand that in order to have successful comedy it must inherently be dramatic as well, and as such quickly becomes irritating through its incessant zaniness and lack of engaging story. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Lucy Clarke writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Lucy Clarke Lucy is a big costume drama fan, but she loves watching films from every genre. At the moment, one of her favourite films is Barbara, directed by Christian Petzold. When she's not watching films, she's hoarding houseplants instead. Read Latest Film Reviews The Gossip Read Film Reviews Lucy Clarke Repent Read Film Reviews Lucy Clarke Purgatory Read Film Reviews Lucy Clarke Don't Look Now Read Film Reviews Lucy Clarke Triangle Read Film Reviews Lucy Clarke To Catch a Thief Read Film Reviews Lucy Clarke Veto Read Film Reviews Lucy Clarke

Bud film review by UK film critic Graham Blair. Starring Shaun Fagan, Radek Derlatka directed by Jack McLoughlin. HOME | FILMS | REVIEWS Bud Film Review average rating is 4 out of 5 Critic: Graham Blair | Posted on: Feb 3, 2022 Directed by: Jack McLoughlin Written by: Jack McLoughlin Starring: Shaun Fagan, Radek Derlatka Bud gives its audience a harrowing look into one mans unfortunate phone call to his son before heading into his court date. Father and son relationships are a big part of the cinematic landscape, whether it be The Pursuit of Happyness (2006), Big Fish (2003) or more recently, Chef (2014). There is a true back and forth connection with their audience through shared experience and relatability, Bud is a definite example of relatability within hardship. In its 4-minute runtime Bud , directed by Jack McLoughlin (Kate & Jake ) brings its audience into the world of an unnamed man trying to tell his son that he won’t be seeing him for an undisclosed amount of time before his court hearing. Even though the plot here is very thin, an immense performance by Shaun Fagan (Kate & Jake, Needs Must ) gives this short film all the life it needs to succeed. From what the audience sees the story is more in Fagan’s eyes than on the page here, showing the pure turmoil of having to tell the most important person in his life that he will not be around for the foreseeable future. Constantly referring to his inevitable stay at prison as ‘working away’ and that he’ll call his son when he gets to ‘the hotel’ is fantastic writing on the part of McLoughlin as well, showing this man’s true character as a caring father and compassionate figure in his sons’ life. Overall, taking full advantage of the material and the emotional centre of the character, Fagan does a stellar job here. Technically this film is again, quite simplistic with its long take, single shot format of storytelling. However, it compounds the great qualities of the films plot and message; the audience is an on looker, a third party just as the man’s jury will be. This gives us as the watcher a privileged position of judgement and ultimately understanding of a very harsh and cruel situation. However simple the film making is, it showcases the true unrest within our lead characters eyes, showing this third-party perspective even more, never being able to look away from tragedy but taking it all in. To not mention the score would be egregious as well, entering the narrative at the opportune time this very subtle yet powerful musical piece extenuates the story being told here. It gives gravitas to an already emotional moment between father and son, and it works perfectly. Any film does come with its pitfalls in the end, but for this short those pitfalls are quite shallow. The absence of closure is a big part of what makes this short film work but I can’t help but long for a conclusion, I want to see more of the relationship formed between viewer and family within our short time looking in. Overall, Bud is a breath of fresh air when it comes to dramatic shorts. It never treats its audience as anything more than a capable listener and active observer, leaving me as a reviewer to want more. A definite must watch for your next short film-athon. Buy UKFR Banner Space About the Film Critic Graham Blair Short Film < All Reviews Next Film Review >

Vax film review by UK film critic Patrick Foley. Starring Cade Carradine, Ricco Ross, Marguerite Wheatley directed by Barak Shpiez. HOME | FILMS | REVIEWS Vax Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Apr 25, 2023 Directed by: Barak Shpiez Written by: Barak Shpiez Starring: Cade Carradine, Ricco Ross, Marguerite Wheatley No prizes if you predicted that ‘Big Pharma’ might be an increasingly villainous presence in movies in the coming years. Barak Shpiez’ short thriller Vax provides conspiratorial drama that brings to life the fears many hold of private industry control over healthcare. In the early 2000s, a research team working on a Malaria vaccine make an astonishing breakthrough that means millions of lives across the world may be saved. But excited and impassioned Geoff (Cade Carradine) has suspicions that his colleague Eric (Ricco Ross) may have other plans for their development. Fearing that private interests may wish to scupper the project, Geoff breaks protocol to reveal it to his partner Rachel (Marguerite Wheatley) to help him decide whether drastic action is needed to protect the future. Provocative and political right down to its very title, Vax is perhaps a much more traditional thriller than many viewers may expect. From its fictionalised-though-truth-based news report opening which highlights the hypocrisy of the Bush-era obsession with the threat of Iraq over countless other security threats, to the implications that both private corporations and governments are more welcoming of treatments for diseases rather than preventions or cures, the film clearly errs on the critical side when it comes to big business – though thankfully without ever going full-on tinfoil, ‘GB News host’ levels of conspiracy theory. The film is clear in demonstrating a belief in the benefits of vaccines, and through the character of Geoff demonstrates that hardworking, moral people who work in the pharmaceutical industry commit their lives to the betterment of mankind. By instead skewering the money-men and their robot-like facilitators, the majority of viewers will feel comfortable with the film’s message. And this is a relief, as the short itself is very well-realised and constructed. Director Barak Shpiez conjures an impressive sense of stress and tension, as the viewer joins Geoff in trying to figure out Eric’s true intentions. The scenes in the laboratory demonstrate the unease that exists between the pair, and Geoff’s frantic revealing of the secret to Rachel feels more understandable given the chemistry that is built between the pair. The biggest issue is that the film ultimately feels like a middle without a beginning or end. Both Geoff and Rachel are placed in great danger in order to transpose an element of personal threat alongside the moral and global impact that destroying the vaccine would have. But viewers have precious little time to get to really know either character, particularly Rachel, and without a real sense of scale being established beyond the initial news reports, the stakes therefore never really reach their potential. Similarly, the film’s cliff-hanger ending feels sudden and jarring rather than enticing, due to the aforementioned shortcomings in building the viewers’ interest in Geoff and Rachel. There is plenty to like in Vax, which builds tension well and features good (if a little hammy) performances from its small cast. It’s a shame it begins and ends too abruptly, as 5 extra minutes either side of the story we get would likely be sufficient to address the primary issues – which relate to character development and worldbuilding. Given the impressive work the director puts into this finished film, it’s safe to say more fleshing out would be similarly successful. Let’s just hope Big Pharma didn’t find their way into the editing room. Watch the official trailer for Vax here . Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

A Coffin of Stars film review by UK film critic Patrick Foley. Starring Matthew Ewald, Eileen Dietz, John Johnson directed by Matthew Ewald. HOME | FILMS | REVIEWS A Coffin of Stars Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Dec 1, 2023 Directed by: Matthew Ewald Written by: Matthew Ewald Starring: Matthew Ewald, Eileen Dietz, John Johnson Alright, there’s not much romance in it – but that is pretty much the only genre not mixed into the insane melting pot that is A Coffin of Stars. A sci-fi, drama, horror, action, conspiracy thriller and more all in one, it’s an impressive act to balance the multitude of elements into something entertaining and coherent, if imperfect and technically messy. Former army ranger Liam Bishop (director Matthew Ewald) notices strange, extraterrestrial occurrences haunting his home deep in rural Virginia. Met with scepticism over his beliefs, Bishop sets out to investigate the phenomenon himself. But as he delves deeper into his alien conspiracy, he finds that the otherworldly attackers have not chosen Virginia at random… A Coffin of Stars shoots for the, well, stars – and Matthew Ewald’s ambitious vision drives what an at-times rip-roaring B-movie spectacular that grips with intense action and an engaging central conspiracy-style plotline. Ewald has a true talent for building tension, and scenes in which Bishop tentatively hunts down clues for what is terrorising his home are really fantastic. Obviously interrupted by jump-scares, these do not have a gimmicky or reliant feel that burden poor horror movies, but instead feel earned, natural and informing of the threat that Bishop faces. Intense doesn’t do it justice. The highs really are high. Unfortunately, the lows are low, and a convoluted plot means that tension and mystery only take things so far. A powerful, emotive conclusion that brings the story around is lacking, and even with a relatively shorter length for a feature, the story drags on in between action sequences. Technically the film is a mess, and whilst cheaper visual effects add to the B-movie charm, dreadful disparity in sound levels that mean scenes switching from illegibly quiet to eardrum-rupturing loud is a less acceptable or understandable flaw. The film is complicated enough without having to strain to hear crucial dialogue, and it’s a shame that this will be a major takeaway for many viewers. Ewald himself demonstrates real talent in his performance in the leading role, bringing a sadness, trauma and intensity to Liam Bishop that prevents the character from becoming a clichéd ex-army hoarder figure. There’s an emotion behind the eyes that Ewald maintains throughout the film, of a man who has lived through too many tragedies – but can’t drag himself away from plunging into another. His relationship with daughter Evie (Adelai Love) provides additional emotional beat, but frustratingly feels underexplored and underdeveloped by the film’s end. Brilliant and intense action scenes and a captivating exploration of an alien plot mean A Coffin of Stars is well-worth checking out despite its flaws. The film combines and experiments with genres and feels genuinely experimental and fresh, though its strengths lie in the basics of a strong leading character, engaging set-pieces and strong visual storytelling. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Ghostbusters: Frozen Empire film review by UK film critic Brian Penn. Starring Paul Rudd, Carrie Coon, Dan Aykroyd, Finn Wolfhard, Mckenna Grace directed by Gil Kenan. HOME | FILMS | REVIEWS Ghostbusters: Frozen Empire Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Apr 20, 2024 Directed by: Gil Kenan Written by: Gil Kenan , Jason Reitman Starring: Paul Rudd, Carrie Coon, Dan Aykroyd, Finn Wolfhard, Mckenna Grace The 1980s gave birth to the movie franchise as we know it today. Indiana Jones, Die Hard, Lethal Weapon and Rambo all first appeared during this tumultuous decade. In 1984 Ghostbusters also made its debut; an irresistible mix of comedy, action and visual effects, it had the annoyingly catchy theme song performed by Ray Parker jnr. After all 'if there's something strange and it don't good' who are you going to call?! A less successful sequel followed in 1989 with an all-female version appearing twenty seven years later. The brand was refreshed with the hugely entertaining revival subtitled 'Afterlife' in 2021. This latest instalment directed by Gil Kenan takes the story back to its origins. The next generation of ghostbusters are now operating from their historic base in a New York fire station. The team consists of seismologist Gary Grooberson (Paul Rudd); his girlfriend Callie Spengler (Carrie Coon) and her children Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace). The off spring of Egon Spengler have inherited his ghostbusting genes as they cause mayhem in Hell’s Kitchen. However, the wrath of Mayor Peck forces Phoebe off active duty until she becomes a legal adult. She seeks solace in a game of chess and encounters the ghostly apparition of Melody, another chess player who died in a fire. Meanwhile founding father Ray Stantz (Dan Aykroyd) begins collecting cursed objects for examination. Nadeem Razmaadi sells him a mysterious brass orb left to him by his grandmother. It soon unleashes terrifying powers and spirits from the past. ‘Frozen Empire’ is undoubtedly a spectacular visual treat that carries forward the original technology in a twenty first century makeover. This provides continuity in the type of ghosts encountered in the first film. There are some welcome cameos that remind the audience of the brand’s lineage. Fusing past with present is pulled off with aplomb and gives the narrative proper structure. However, there’s a sneaking suspicion it veers too far away from its true purpose. There are scenes reminiscent of ‘Ghost’ and sections of the plot feel like they’ve been lifted from an Indiana Jones script. Not there’s anything wrong with that but doesn’t have to borrow from other films in quite such an obvious way. Parts of the film are also quite scary and branches into the horror genre. But even so ‘busting’ will still make you feel good. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >