Salvatore: Shoemaker of Dreams film review by UK film critic George Wolf. Starring SalvatoreFerragamo, Michael Stuhlbarg directed by Luca Guadagnino. HOME | FILMS | REVIEWS Salvatore: Shoemaker of Dreams Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Dec 1, 2022 Directed by: Luca Guadagnino Written by: Giuppy D'Aura, Dana Thomas Starring: SalvatoreFerragamo, Michael Stuhlbarg Have you ever seen a high-end shoe being assembled? Director Luca Guadagnino makes it an oddly transfixing experience in the opening moments of Salvatore, Shoemaker of Dreams . We watch the construction silently, priming us for Salvatore Farragamo’s proud admission. “I love feet, they talk to me.” Guadagnino (Bones and All , Call Me By Your Name , Suspiria ) may not have much audio or video of the celebrated shoemaker to help tell his story, but what he has is used wisely. Hearing from the actual Salvatore provides the needed personal insight to support the remembrances from family and friends, still photos, and narration from Michael Stuhlbarg. And even if don’t share Salvatore’s skill as a foot whisperer, his is a truly compelling story of determination, celebrity and arch support. Salvatore opened his first shop in his native Italy at the age of 12. He came to the U.S. as a teenager in 1915, settled in Santa Barbara, California and soon was outfitting the most famous feet in silent films. When the film business moved to Hollywood, so did Salvatore, also finding time to study anatomy at USC so he might understand how shoes could be made more comfortable. “Fashion with comfort, that’s what I give.” He applied for thousands of patents, got rich, went bankrupt and got rich again, forever changing society’s expectations of footwear style and comfort in the process. Guadagnino’s inclusion of Martin Scorsese in the interview parade only underscores how Salvatore’s journey unveils like a classic American drama. It becomes a sprawling family legacy built on immigration, dreams and a solemn vow to never give up. Shoemaker of Dreams is a fitting tribute to the fascinating life of a man ahead of his time. And while the focus on the earlier part of Salvatore’s story is more inherently interesting, Guadagnino crafts a sweet warmth for the film’s final act, complete with a surprise chef’s kiss. The closing moments find Guadagnino collaborating with stop-motion animator Pes for a mesmerizing “shoe ballet” that sits perfectly poles apart from the no-frills intro. These dancing shoes rival the synchronized shopping in White Noise for can’t-look-away sequence of the year, so keep your own feet right where they and don’t miss it. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

Woodlands Dark and Days Bewitched: A History of Folk Horror film review by UK film critic Hope Madden. Starring Kier-La Janisse, Kevin Kolsch, Dennis Widmyer directed by Kier-La Janisse. HOME | FILMS | REVIEWS Woodlands Dark and Days Bewitched: A History of Folk Horror Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 11, 2022 Directed by: Kier-La Janisse Written by: Kier-La Janisse Starring: Kier-La Janisse, Kevin Kolsch, Dennis Widmyer Every so often you come across a movie and think it must have been made specifically for you. In my case, that film is Kier-La Janisse’s 3-hour documentary Woodlands Dark and Days Bewitched: A History of Folk Horror. Yes, that does seem like a very big time commitment to folk horror, but Janisse’s film repays your undertaking with not only an incredibly informative documentary but an engaging, creepy and beautifully made film. Dividing her topic into chapters, Janisse portions out information theme by theme. And while this essay-style documentation is driven by expert commentary, the filmmaker surrounds the scholarly material with beguiling imagery. Every chapter has its own look and feel, each one opening with an appropriately bewitching bit of rhyme. Then it leads you through a clearly articulated and fairly comprehensive examination of certain moments in folk horror. Janisse opens on the big three, The Unholy Trinity–Blood on Satan’s Claw , Witchfinder General and The Wicker Man —as a way to ease us into the conversation by pinning major themes on well-known films. She goes on to explore TV and written tales tangentially, though her focus is always primarily on film, taking us from The Wicker Man through Midsommar . In between, she introduces dozens of underseen films and traces not only the history of folk horror but the societal anxieties that these films represent. And while many may think mainly of British films of the 1960s and 70s for this category, Janisse presents an intriguing global history that unveils universal primal preoccupations from England to Argentina, the US to Lapland and beyond. Dry as that may sound, between the snippets of the movies themselves and the fluid, often creepy presentation, Woodlands Dark and Days Bewitched becomes as transfixing a film as those it dissects. And it digs deep, into obscure titles new and old. Border ! White Reindee r! Onibaba ! Viy ! Prevenge ! Bonus: You can find a gorgeous array of folk horror streaming on Shudder this month, including The Wicker Man, Blood on Satan’s Claw and Witchfinder General . There are so many, you can’t blame even a 3-hour film for leaving some out. Here are a few masterpieces glimpsed but not discussed and well worth your time: Hagazussa November The Wailing Kill List And even then, there are some favorites not discussed at all that you might want to check out: Borgman Hex The Droving Luz: Flower of Evil Roh How can three hours of folk horror discussion not be enough? It’s a question that points to what may be the greatest strength of Janisse’s film. Like any truly strong documentary, her film not only covers its topic comprehensively, it inspires you to dig deeper on your own time. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

Then Comes The Body film review by UK film critic Joe Beck. Starring Daniel Owoseni Ajala, Precious Duru, Olamide Olawale directed by Jacob Krupnick. HOME | FILMS | REVIEWS Then Comes The Body Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: May 19, 2023 Directed by: Jacob Krupnick Written by: Jacob Krupnick Starring: Daniel Owoseni Ajala, Precious Duru, Olamide Olawale At a time in which the internet, and technology in general is hitting some very bad news with the troubling growth of AI technology, ‘Then Comes The Body’ is a beautiful reminder of how delightful the internet can be when used as a force for good. In 2020, as the world was in the midst of the pandemic, a video of young Nigerian children ballet dancing in the rain went viral. That video has improved the fortunes of Nigeria’s Leap of Dance Academy, and ‘Then Comes The Body’ slickly illustrates that newfound optimism. 
The academy is ran by Daniel Owoseni Ajala, who, inspired by the 2001 cult classic ‘Save the Last Dance’, taught himself to dance as a child, with only the internet to guide him. Ballet isn’t a particularly big thing in Nigeria, particularly amongst boys, and faces opposition from large sections of the majority christian population. Nevertheless, Daniel’s passion and perseverance has made him a talented dancer, who now gives back to other aspiring dancers in Nigeria’s most populated city of Lagos through his free program, reasoning that without price barriers there is ‘no excuse to not follow passion’. Alongside Daniel, Jacob Krupnick’s film focuses on the fledgling careers of ballet prodigies Precious Duru and Olamide Olawale. Precious tuns forty minutes to reach the academy for lessons, and at just thirteen years old has been offered a scholarship in Belgium, an opportunity that will take her away from her friends and family. Olamide is twenty one and has devoted much of her adolescence to mastering the art of ballet. Despite it being difficult for someone of her (still incredibly young) age to receive a scholarship, she has nonetheless been offered the opportunity to study in Johannesburg in South Africa. It signals the success of the Leap of Dance Academy, the selfless efforts of Daniel, the perseverance of his students, and the raised profile given to both the academy and its dancers through one viral online video. Director Jacob Krupnick translates this wonderful story into a poetic tale of optimism, resolution, and passion on screen. In just fourteen minutes he transports us to Lagos, and into the minds of Daniel, Precious, Olamide, who each deliver rallying calls to follow dreams. Krupnick directs with confidence, capturing the dancers movements with exquisite beauty, and frames each shot impeccably, in particular one involving a dancer atop some yellow buses. His direction brings the message of the title ‘Then Comes The Body’ to life, imbuing the film with a passion so that the dances can only be beautiful. Although on first glance ‘Then Comes The Body’, may suggest a morbid crime thriller, this upbeat dance documentary is anything but. It’s a story of global interconnectivity, of people who have gone through serious trials and tribulations, of art in its purest form, and most importantly it’s a story of hope and belief. How those two things can take you to unimaginable heights, and how they can guide people to reach their dreams of a better tomorrow. Directed with flair to match the art which it portrays, ‘Then Comes The Body’ is a beautiful documentary. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film, Documentary < All Reviews Next Film Review >

At the Ready film review by UK film critic Rachel Willis. Starring Maisie Crow directed by Maisie Crow. HOME | FILMS | REVIEWS At the Ready Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Oct 19, 2021 Directed by: Maisie Crow Written by: Maisie Crow Starring: Maisie Crow At Horizon High School in El Paso, Texas, students have the opportunity to learn and train for careers in law enforcement. From Border Patrol to the El Paso PD, director Maisie Crow examines the opportunities and dilemmas the students face as they follow this path in her documentary, At the Ready . The film follows three students, two seniors at Horizon and one recent graduate, keeping the focus on how these teenagers participate not only in the Law Enforcement classes, but the school’s criminal justice club. Mason, a transgender youth, joins the club because it’s portrayed as a place where a student gains a family. Indeed, we see former members of the criminal justice club returning to the school to interact with and encourage current members. A family is something Mason is desperate to find, as he is mostly on his own. With divorced parents, and a father often away for his job, Mason struggles with his loneliness, as well as his inability to reveal who he truly is to his parents, classmates and teachers. The familial aspect of the classes is conveyed through the actions of not just the students, but many of the teachers – those profiled are all retired law enforcement personnel. However, we see that for some of the teachers, there is a hypocrisy to what they teach. They struggle to convey the realities of a career in law enforcement: the stress on one’s family, the fear, and the trauma that comes with the territory. Many of the students are children of immigrants. For them, working for Border Patrol is an opportunity to not only protect the border, but to help others trying to enter the country. The reality of the situation is another focus of the film: Trump’s border policy of separating children from their families is something many of the students struggle with. Christina, a recent graduate, finds herself questioning the ethical morality of such a policy. When the border policy changes with the whims of those in D.C., it’s the people on the ground who have to deal with the fallout of inhumane regulations. Crow does a good job of keeping the focus on the subjects in the film without injecting too much bias. You’re encouraged to make up your own mind as you connect with people on screen. Many well-done documentaries will not only hold your interest, but make you think. This one does both. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Documentary < All Reviews Next Film Review >

The Light Keeper film review by UK film critic Jason Knight. Starring Alice Beton, Elizabeth Nightingale directed by Tamas Levardi. HOME | FILMS | REVIEWS The Light Keeper Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 19, 2024 Directed by: Tamas Levardi Written by: Tamas Levardi Starring: Alice Beton, Elizabeth Nightingale Tamas Levardi decided to make a short film without much planning. The result is a dynamic and fast experience with a duration of three minutes and twenty seconds. In this case, spoken words exist only in the form of voice-over and there is not much of a story to follow, which is not a bad thing. The film is heavily edited, constantly cutting back and forth in time, with each shot lasting a few seconds maximum. There is only one person present and that is a young woman (Berton) and the viewer follows her as she traverses a number of locations that are either on civilisation grounds or in the countryside. The plot point appears to be when she discovers a photographic camera inside an abandoned building. Up until that point, the scenes seem to take place in chronological order and it is after that when the narrative turns non-linear and keeps alternating rapidly between scenes that show the unnamed woman utilising the camera to take pictures on fields or inside a church or being inside a darkroom, developing her photographs. What is the plot? The events seem to show that finding the camera ignited a spark in the woman's life and she now constantly uses the device in order to view and understand the world through other perspectives. However, in numerous shots she appears to be upset, distressed and frustrated, maybe even angry as she is seen screaming. She gives the impression that she is desperate to achieve something, maybe to discover something. This is what could be interpreted by looking at the visuals. The voice-over was done by Elizabeth Nightingale and her words help understand the story further. The sound of her voice is almost a constant whisper and she talks about being a lost person, about her perspectives regarding life and that some sort of event helped her find her path. Filming was done by using natural lighting almost entirely and the film is beautifully shot with a handheld camera and Levardi takes great advantage of sunrises and sunsets to create terrific visuals. The fast cutting editing makes a tense experience, however it would not be as thrilling without the dynamic score by Michele Masin that becomes more and more powerful as the film progresses. This film could be viewed as a montage or maybe a trailer. It is certainly a captivating piece of work that stands out thanks to the creativity regarding the directing and editing, the powerful music and Beton's performance, which is impressive considering that she reportedly did not have professional acting experience when she worked on this project. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Boys in the Boat film review by UK film critic Brian Penn. Starring Joel Edgerton, Callum Turner, Hadley Robinson, Peter Guiness directed by George Clooney. HOME | FILMS | REVIEWS The Boys in the Boat Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jan 20, 2024 Directed by: George Clooney Written by: Mark L. Smith, Daniel James Brown Starring: Joel Edgerton, Callum Turner, Hadley Robinson, Peter Guiness The portrayal of sport on film is a risky venture. Actors should have the look of athletes to be half convincing. The action sequences will carry the right level of pace and not be overly exaggerated. The sense of physical drama should contrast with the emotional impact of competition. And if the story is based on true events it must be reasonably faithful to what actually happened. George Clooney's new film comfortably ticks the aforementioned boxes. The narrative picks up in the mid-30s with America in the grip of the Great Depression. Joe Rantz (Callum Turner) is trying to pay his way through college. He lives hand to mouth in little more than a shante town but opportunity soon comes knocking. Washington University are looking for rowers to fill their junior eights boat. However, to even stand a chance of selection they must satisfy a gruelling test of fitness. The lucky eight will get bed and board, but more importantly a regular wage. They might even clinch a spot representing the USA at the 1936 Berlin Olympics. The boys come under the watchful eye of Coach Al Ulbrickson (Joel Edgerton), who has to mould a team that will compete with the wealthy Ivy League universities. Joe is gently motivated by childhood sweetheart Joyce Simdars (Hadley Robinson) who senses a champion in the making. This story can be easily distilled as one of game underdogs fighting the system. Working class boys out to prove that money can't necessarily buy success. The battle lines are clearly drawn as Ulbrickson’s boys go up against privilege and self-entitlement. George Clooney does a sterling job as director in what is technically a very difficult film to make. Rowing is essentially a point-to-point race. There are no goals, tries or touchdowns to be scored; no knockout punch out on which to hang a lingering shot. Clooney brilliantly captures the angles of a long boat on water. The design and attention to detail is almost faultless. Berlin under Nazi rule is powerfully recreated as Hitler exploits the Olympics as a propaganda tool. The Boys in the Boat is a touching story of sporting excellence and a desire to be the best. It’s never corny or sentimental but tells a story of honest graft and genuine endeavour. It was a much simpler world on the cusp of global conflict. Yet these values still endure as an example of the way a good life should be lived. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Moon Garden film review by UK film critic Hope Madden. Starring Haven Lee Harris, Augie Duke, Brionne Davis directed by Ryan Stevens Harris. HOME | FILMS | REVIEWS Moon Garden Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jun 14, 2023 Directed by: Ryan Stevens Harris Written by: Ryan Stevens Harris Starring: Haven Lee Harris, Augie Duke, Brionne Davis If you are looking for a wondrously macabre fairy tale, a nightmare that’s both fanciful and terrifying, writer/director Ryan Stevens Harris has a tale to tell. Moon Garden delivers a journey through the fertile imagination of 5-year-old Emma (Haven Lee Harris). We know from Act 1 that she funnels what she picks up from the world around her into delightfully odd, even spooky fantasies for her toys to act out. So, when trouble that’s been brewing at home (and spilling into Emma’s playtime fantasies) unexpectedly puts the tot in a coma, that fantasy world drowns out reality and Emma finds herself on a very big journey indeed. Of its many successes Moon Garden can boast set design, creature design and stop motion work at the top. All are very solid, and all collaborate to evoke a big, dark, scary world where logic bends but wonder never dies. Creature design – particularly the first creature – lives up to the expectations set early when we see Emma’s toys. And the film benefits immeasurably from a charming and believable central performance by young Harris. Excellent editing helps to make her physical journey seem more plausible, but her laughter and tears never feel less than genuine. Augie Duke, playing Emma’s distraught mother, and Brionne Davis as Dad Alex are less impressive, although it may be that the artistic vision is so much stronger in the fantastical storyline that the real-world of the parents received short shrift. Other characters glimpsed briefly within the otherworldly realm are more compelling, aided by stagey old school costuming. Wisely, the filmmaker blurs lines between good and evil, giving the story itself a kind of fluidity that feels appropriate to a dreamscape and also keeps you constantly surprised. The story, and to a degree the entire film, is hokey but Moon Garden generates more than enough of the macabre in old school fairy tales to evoke a wondrous nightmare energy. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Badger! film review by UK film critic James Learoyd. Starring Stacey Daly, Nuku Wondrausch, Jonathan Noall directed by Barry Wilkinson. HOME | FILMS | REVIEWS Badger! Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Aug 19, 2024 Directed by: Barry Wilkinson Written by: Barry Wilkinson Starring: Stacey Daly, Nuku Wondrausch, Jonathan Noall Badger! is simply fantastic. It feels like the kind of movie which aims to be, from beat to beat, as consistently entertaining as possible. This thoroughly amusing horror romp is about (you guessed it) badgers! - namely, their ruthless quest for bloody revenge. There is no pretension, no dead air, and not a wasted moment in the 15-minute film. It's a tightly structured genre exercise, reminiscent of Sam Raimi's best work -- humorously vulgar; stylistically and tonally dynamic. As a horror / comedy hybrid, it opts to take a sardonic tone in terms of the screenplay and line delivery. This creative decision could, in lesser hands, become annoying; but it's not annoying, it's very funny. Not only does it encourage the actors to deliver a most unusual and challenging style of performance (one that requires a genuine understanding of aesthetics), but it's also overshadowed by the sharp pacing and impressive cinematic methods being put into practice. Meaning that even if the viewer doesn't gel with the film's sense of humour, there's still so much to admire. One of these methods is the use of POV shots from the badger's perspective. Very much evoking that Evil Dead feel, it feels like a pastiche of classic 80s horror, and yet it's also successful at building tension - all because it perfectly captures that relatively simple visual trait. These shots aptly use a wide angle lens, steadycam of some kind, and vignetting around the edges of frame. It's just clever movie making. Intentional or otherwise, another Evil Dead (or Three Stooges) reference comes when blood is splattered on a light bulb. Outside of the technical, the use of gore accomplishes that perfect balance of half shock, half hilarity. For instance, the concept of an animal chasing after you - scary; the fact that the animal is a dog wearing a badger costume - funny. It's incredible low-budget filmmaking; it turns its limitations into personality and orchestrates a unique atmosphere. It's important to recognise the performers in a film like this for knowing exactly what kind of movie they're in (which is not always such an easy task for an actor, especially when there's a mix of genres at play). Everyone in Badger! are a delight to watch. This is because they're willing to be big, theatrical and indulge in the absurdism of the scenario. Jokes are delivered in an admirably serious yet ridiculous manner. But most significant to the comedy's success is that Badger! never feels like it's making fun of horror movies or those who enjoy them - the reason being that it wholeheartedly indulges in some of its most enjoyable tropes and characteristics with great skill and flair. As I've explained, this is just one of the most consistently entertaining short films in some time. I'd love to see more movies that aren't afraid to embrace this level of cheese, fun, and invention, since it's so much of what low-budget genre filmmaking should aspire to. I can't wait to see more from these artists. Dare I say, a sequel could even hold some interesting prospects... Either way, it's a strong piece from start to end. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Secret Assistants film review by UK film critic William Curzon. Starring Camille Rutherford, Richard Hope directed by Katey Lee Carson. HOME | FILMS | REVIEWS The Secret Assistants Film Review average rating is 5 out of 5 Critic: William Curzon | Posted on: Oct 24, 2025 Directed by: Katey Lee Carson Written by: Katey Lee Carson Starring: Camille Rutherford, Richard Hope The Secret Assistants follows Sophie (Camille Rutherford), an ambitious novice in the film industry, as she navigates a tightrope when her interview with a titan of the industry, Henry Mann (Richard Hope), descends into an intense power play. The piece tackles a razor-sharp social commentary on the current state of the film industry and the class issue that consumes power-hungry producers preying on fresh talent. One of the most striking things formally about the film is the visceral camerawork that almost immediately hooks you in as a viewer. Employing a mix of extreme close-ups and wides showcases the anxiety that echoes throughout the room where the interview takes place and undeniably gets under your skin. The pacing is frenetic and rarely lets up, allowing revealing conversations to reach a breaking point when tensions brew between Sophie and Henry. Pieces of dialogue remain engaging and propulsive as allegations swirl around Henry’s actions towards female talent in the industry. The discourse and politics that the piece attempts to explore are current, and it's refreshing to have a new voice in indie filmmaking use their talent to tackle these ideas through a visual medium. The piece is certainly unsubtle thematically, shining a light on the greed of industry titans, with the antagonist Henry Mann perhaps being based on Harvey Weinstein. This is an insightful and thought-provoking narrative that evokes discussion surrounding the power play in the film industry. All the performances across the board are sensational. Camille Rutherford displays a profound level of nuance and restraint whilst her character attempts to unearth the corrupt nature of Henry Mann. Richard Hope portrays Henry Mann as despicable, and his performance portrays the character as a manipulative individual who’ll do what he can to stay at the very top, as he believes he has control over the younger talent. The supporting cast is also astounding in their minimal screentime and keeps the narrative raw and engrossing. Katey Lee Carson’s direction is truly impressive, with a profound level of prowess behind the camera, showcasing her raw talent as a writer/director. The use of blocking is incredibly engaging as a viewer, always maintaining a focus on the central character’s dialogue that feels intrusive to witness. The choice to shoot anamorphically makes each frame feel tight and intimate, with both Henry and Sophie always being at the centre of attention. Cyrielle Thélot’s edit also keeps the flow of the narrative pulse-pounding as it rapidly cuts from scenes of discomfort to extreme close-ups of Sophie’s point of view. While the pacing and runtime are suitably well constructed, a prolonged runtime could have fleshed out the themes more eloquently to further spark discourse and conversation long after the credits roll. The conclusion to the narrative is ambiguous and leaves the viewer grasping for more resolution; however, it feels satisfying enough as a viewer, thanks to its ambitious and daring attempt at exposing the industry's wrongdoings. It also leaves the audience with a powerful message about the working class being dismissed by capitalism and the upper class favouring privileged individuals with more opportunities to soar in the industry. The Secret Assistants is a scathing indictment of the film industry and how it continuously exploits underprivileged artists and the class issue. This has been prevalent for many years now, and the piece portrays why this needs to change. Led by two terrific performances from Richard Hope and Camille Rutherford, the film is complemented by a plethora of outstanding formal decisions which elevate the material to impressive heights. Katey Lee Carson sublimely tackles these themes to reach out to a broader audience, who may be unaware of the sins the industry sweeps under the rug, and exposes the corporations that need to be held accountable for their actions. Buy UKFR Banner Space About the Film Critic William Curzon Short Film, Film Festival < All Reviews Next Film Review >

A Fox in The Night film review by UK film critic Jason Knight. Starring Keeran Anwar Blessie, Korey Ryan directed by Keeran Anwar Blessie. HOME | FILMS | REVIEWS A Fox in The Night Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 14, 2023 Directed by: Keeran Anwar Blessie Written by: Keeran Anwar Blessie Starring: Keeran Anwar Blessie, Korey Ryan A chance encounter might end up being life-changing for two men. After agreing to purchase illegal drugs for a friend, Lewis (Blessie), a homosexual, nervously arrives at the arranged location. Initially, things go as planned, with the drugs being bought, then Lewis calls for a taxi and the drug dealer (Ryan) invites him to wait inside his property. The two of them go to the balcony for a smoke and a chat and end up taking an interest in each other's appearance. With his first short film, Blessie tells a story about two individuals who meet under unusual circumstances and develop a rapport. The vast majority of the narrative revolves around the conversation that the two young individuals have on the balcony. At first there does not seem to be a connection between them, then, (through the dealer's initiation) things get friendlier between them, they begin to flirt with each other and it is strongly indicated that they like each other and that a romantic relationship might be beginning. Blessie's character is a gay man who finds himself in a situation he does not want to be in. Yet, as he gets more comfortable with the dealer, he starts to realise that he might have found a special person. Self-discovery is one of the themes that are explored in this film and Ryan's character seems to be the one who experiences that, as his encounter with Lewis appears to make him realise that he is a homosexual himself. The film's title is a saying that involves one accepting changes in their life and that is partially what this short drama is about: change. It is also a story about romance, self-discovery and about meeting someone new. The acting is good and the screenplay is well-written and the viewing experience provides a dramatic and intriguing story. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

M film review by UK film critic Swati Verma. Starring Bo Bowra, Jack Caulfield, Elias Crow directed by Victor De Almeida. HOME | FILMS | REVIEWS M Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 6, 2022 Directed by: Victor De Almeida Written by: Victor De Almeida Starring: Bo Bowra, Jack Caulfield, Elias Crow The title of the short film "M" opens the cinematic piece to various interpretations and connotations the audience may relate to. Despite the film having a short run time, the director-writer Victor De Almeida has managed to construct a very gripping narrative and at the same time maintained the combination of horror and mystery, the genres chosen by the filmmaker to work with. The camera department is handled by Alexander Nikolaou. The camera angles, like a close mid-shot of the main character, help the viewers to straight away dive into the storyline. The sound effects and music by Tony Rusch complement the genre of the film. It also provides the necessary boost to the mood of the movie and increases the sense of involvement of the audience with the film. The makeup artist Phoebe Menges keeps the makeup light to suit all the other elements of the film and to ensure that the audience can give their undivided attention to the subject matter of the film. The black and white suit worn by the main lead has connotations of combinations of the various characteristics he possesses. The huge size of the shadow of the main character shown in the film can have connotations of ego, self-pride, and dominance. The plot of this horror short film deals with a young gentleman who suffers from a mental breakdown after a string of murders. Will he be able to control what is happening to him or fall prey to his mind in the long term is the question the movie raises? Victor De Almeida has written the movie so brilliantly; the script does not disclose the suspense element of the movie up until the end. The audience gets surprised and the film tends to stay with them. The key to the popularity of the film is its simplicity and to-the-point approach taken by the creative team of the cinematic piece. The editor Emily Russell works on each scene and places them in such a way that the flow of the plot is smooth and does not lose its continuity. The wall bricks, the stairs, the tube light, and the mirror are included in the set design. It helps in establishing the genre as well as the storyline of the film. The masks, bloody knife used in the movie aid the film to move towards the much awaited conclusion of the film. The choice of the actor by the makers for the role of a young person suffering from a mental breakdown is so aptly done. The dialogue delivery, voice modulation the expressions, the way he picks up each every aspect of the character is truly remarkable. The character arc of the protagonist gets the audience to be a part of his journey and at the same time the viewers tends to get scared of him at some point of in the story. As an audience I feel the addition of subtitles in few interactions between the characters in the film is necessary to enhance the impact of the film on the viewers. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Totally Killer film review by UK film critic George Wolf. Starring Kiernan Shipka, Olivia Holt directed by Nahnatchka Khan. HOME | FILMS | REVIEWS Totally Killer Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 5, 2023 Directed by: Nahnatchka Khan Written by: David Matalon, Sasha Perl-Raver, Jen D'Angelo Starring: Kiernan Shipka, Olivia Holt The quickest description is Back to the Future meets a mash of Scream and Happy Death Day. But Totally Killer offers a funhouse full of other genre wink-winks in a violent, raunchy, rollicking good time that often works in spite of itself. Director Nahnatchka Khan and a writing team relatively new to features riffs on everything from the Disney Channel to Sixteen Candles to Ace Ventura and beyond as a terrific Kiernan Shipka leads us on a life-saving mission back to the late 80s. Shipka is Jamie Hughes (natch), a high school junior who is completely dismissive of her mom Pam’s (Julie Bowen) plea for caution on Halloween night. See, back in late October 1987, three of Pam’s friends were murdered, each stabbed 16 times by a still-unknown masked assailant dubbed the “Sweet 16 Killer.” A true crime podcast host (Jonathan Potts) clues us in on the details, and the reasons why Pam is still skittish this time of year. But Mom is one of the many townsfolk Jamie scoffs at, until her best friend Amelia’s (Kelcey Mawema) photo booth time machine turns out to actually work! So Jamie steps out of it and into ’87, where she’ll try to infiltrate her teen Mom’s (Olivia Holt) clique “The Mollys” (in tribute to Ringwald) and prevent those infamous murders from ever taking place. And then, of course, she’s got to get back to…that place that is forward in time. “I hate time travel movies. They never make any sense!’ So says the 80s sheriff (Randall Park) when Jamie tries to explain her predicament via Michael J. Fox, kicking off a self-aware string of consistently clever gags. And the veteran Shipka (Mad Men, The Blackcoat’s Daughter, Chilling Adventures of Sabrina) proves charmingly adept at navigating the two generations with determined sass. Jamie’s got a mission and she won’t be distracted by these oversexed heathens and their lack of boundaries! “Hey, inappropriate touching!” “This mean girl schtick is really outdated.” And don’t even get her started on the lack of wifi or having to watch her future parents get handsy! Shipka is irresistible, and she goes a long way toward keeping this mix of blood, sex, nostalgia, a Mandela effect discussion and F-bombs on the rails whenever it flirts with flying off. And there’s plenty of flirting. But even when things get stabby, Khan brings a bright and shiny touch. There are helpful reminders about who these oblivious teens are young versions of, and some earnest explanations about what Marty McFly got wrong about time travel. Totally Killer wants to play by its own rules of inspiration, tell you about it in advance and then yell “high five!” when it all works out. Don’t leave ’em hanging. It’s a bloody fun time. Buy UKFR Banner Space About the Film Critic George Wolf Amazon Prime < All Reviews Next Film Review >