Vole film review by UK film critic Jason Knight. Starring Paul Dewdney, Gabriel Okafor directed by Ewan Thomas. HOME | FILMS | REVIEWS Vole Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 12, 2024 Directed by: Ewan Thomas Written by: Ewan Thomas, Harrison Tate Starring: Paul Dewdney, Gabriel Okafor An elderly man and a youngster are in the middle of a forest. Alone and trapped. An old man (Dewdney) is in the isolated countryside. There is no building of any sort to be seen and he appears to be by himself. As he walks around collecting wood, he spots an unconscious young man (Okafor) lying on the ground. He is wearing a business suit and has a wound on his head. Eventually, he regains consciousness and demands to know what is going on. The aged man claims that he does not know what is happening and while the two of them spend time in the wilderness together, dramatic conversations regarding the values of life and humanity occur. An obvious element that makes this short intriguing is the mystery. What is going on? Why are two people trapped in the woods, unable to leave? How did they end up there? As the youth makes a run for it, he discovers that no matter how far he travels, there is no sign of civilisation. The wildnerness seems to be endless. So where are they then? Are they in a supernatural world? And what about the elderly man? How long has he been in the woods, all by himself? At the beginning he is seen doing a hitchhike hand sign by a road and keeping some sort of record. Why is he doing these? Certainly, these are questions that the viewer would like to know the answers for. In some ways, the film feels like a psychological survival horror story. Two people trapped in an isolated place where escape seems impossible. However, the deepest core is reveiled when the old man expresses his opinion regarding people. He believes that humans rely on objects in order to feel complete and that they are slaves to those who have authority. Generally, he suggests that without possessions, people are no different than animals. The youngster is a character that represents the contradiction to that belief: a businessman, a person who firmly believes in society, who owns a lot of things and wants more. The fact that these two men are now in nature seems to signify that they now have nothing apart from themselves and in certain ways have become animals, forced to live out of whatever nature has to offer and at the same time, they are free, away from society's complications. The atmospheric and sinister score by Magnus Fielding is a big plus and Kimia Modaressi Chahrdehi and Thomas Wright do a good job with the editing, especially when utilising fast cutting. The lighting techniques also stand out, particularly during night-time, when the two protagonists are sitting next to a campfire and sound designer Ava Doyle also deserves commendations for the effective sound effects. This is a tale of survival and isolation and it offers a rather negative point of view regarding humanity. The performances are strong and the old man makes an interesting character. Although the plot is successful in drawing attention, the viewer might be disappointed by the questions that remain unanswered. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Not a Funny Thing 2 film review by UK film critic Swati Verma. Starring Jorge Luis Villacorta Santamato directed by Jorge Luis Villacorta Santamato. HOME | FILMS | REVIEWS Not a Funny Thing 2 Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Aug 10, 2022 Directed by: Jorge Luis Villacorta Santamato Written by: Jorge Luis Villacorta Santamato Starring: Jorge Luis Villacorta Santamato The red colour used for the title of the film- Not a funny thing 2 symbolises vigor which means strength or energy. The writer-director Jorge Luis Villacorta Santamato utilizes the comedy genre to highlight the mundane routine of the protagonist (Jorge Villacorta Santamato) effectively to engage its audience with the content of the film. The plot of the cinematic piece revolves around a man that grades papers. Doing a lame chore is too much for him as the luck factor isn’t favouring him too. The distractions threaten the result so a wise effort is needed to get the desired goal. The method he has chosen to take seems to be the best one for completing the job at hand. The feature film opens up with a long shot of an office set-up with a light yet peppy background music to establish the subject matter of the movie to the viewers. The slightly tilted camera angle followed by refocusing it on the central character indicates the change in the scene. The editing of the crime drama ensures that the narrative flows smoothly without breaking the continuity of the storyline. The colour palette, set design, lighting, costume, and makeup assists the filmmaker along with the creative team to give the movie a dull vibe so that the comedy and drama elements can uplift the entertainment part of the deal for the audience. The one-room drama does not have any dialogues in it but the movie demands the full attention of the audience from the very start as the cinematic piece beautifully portrays the minor detailing of the film which is very crucial for understanding the same at the core level. In terms of performance, Jorge Luis Villacorta Santamato plays the role of the intellectual who wants to look for ways to tackle the monotonous nature of his professional life. Jorge Luis Villacorta Santamato switches his comic gear as he uses the body language, facial expressions, and eyes to pick up the nuances of the character as per the requirement of the script. Not a funny thing 2 advises its audience regarding dealing with life situations in ways that are best suited for their well-being as well as their loved ones. The cinematic piece also talks about people being capable enough to take responsibility for their happiness and a peaceful mind which is of utmost importance in times of the pandemic. The fantasy film tells us that life should have the right balance of every emotion and an excess amount of any sentiment can prove detrimental to a healthy lifestyle. To conclude, I would like to say that the writer-director Jorge Luis Villacorta Santamato of the film-Not a funny thing 2 has successfully clubbed multiple genres like comedy, crime, and drama to showcase how one can multitask and bring out the piece of cinema that is full of inspiration and full of key messages that are super retable and helps the masses to enhance the very essential life skills crucial for survival. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

Horror Noire film review by UK film critic Hope Madden. Starring Tony Todd, Erica Ash, Rachel True, Peter Stormare directed by Rob Greenlea, Kimani Ray Smith, Julian Christian Lutz, Robin Givens, Zandashé Brown. HOME | FILMS | REVIEWS Horror Noire Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 27, 2021 Directed by: Rob Greenlea, Kimani Ray Smith, Julian Christian Lutz, Robin Givens, Zandashé Brown Written by: Tananarive Due, Steven Barnes, Ezra Claytan Daniels Starring: Tony Todd, Erica Ash, Rachel True, Peter Stormare Remember Shudder’s 2019 documentary Horror Noire: A History of Black Horror from director Xavier Burgin? It was great, wasn’t it? And if you thought to yourself that you’d love a sequel, you should know that this week’s Shudder premiere Horror Noire is not that. Not exactly. Instead, it is an anthology of six horror shorts made by Black filmmakers. Writers, directors, performers, ideas, perspectives, points of view — everything the documentary made us realize we were not getting – are delivered by the anthology. Production values and performances in every film are solid. Familiar faces of veteran talent elevate the individual pieces. Tony Todd, Malcolm Barrett, Rachel True, Peter Stormare, Lenora Crichlow and others turn in memorable performances in creature features, Gothic horrors, psychological horrors and comedies. Todd, True and Barrett star as a married couple pulled apart by a cult in one of the strongest entries, Rob Greenlea’s Fugue State , a sly comment on a common problem. Kimani Ray Smith’s Sundown is a fun reimagining of horror tropes led by Stormare’s characteristic weirdness and the action hero stylings of Erica Ash. Julian Christian Lutz’s Brand of Evil reworks familiar ideas, turning them into an unexpected creature feature that’s both savvy and strangely touching. Other shorts are a little less successful. Robin Givens’s Daddy digs into parental horror but can’t balance build-up with payoff. Zandashé Brown’s The Bride Before You brims with insight and style, but an overreliance on voiceover narration keeps the film from developing the kind of atmosphere it hopes for. Joe West’s The Lake also falls just short of keeping you interested and guessing, although a fuzzy backstory allows for a more thought-provoking lead character than you might expect. The full stash runs two and a half hours and might have played better as a short series. It’s a long commitment, and every film has weak spots, which makes the time really feel like a commitment. But there’s much to enjoy with each episode. Taken as a whole, there’s variety enough in style and substance to promise something for everyone. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Stitch Head film review by UK film critic Hope Madden. Starring Asa Butterfield, Joel Fry directed by Steve Hudson. HOME | FILMS | REVIEWS Stitch Head Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 28, 2025 Directed by: Steve Hudson Written by: Guy Bass, Steve Hudson Starring: Asa Butterfield, Joel Fry Is there anything more delightful than an animated tale suitable for Halloween? A Nightmare Before Christmas, ParaNorman, Frankenweenie, The Corpse Bride, Wendell & Wild, Coraline, Mad Monster Party —each one is a fun way to get spooky, with the kids or without. Steve Hudson extends that list with Stitch Head , a delightful, animated story about embracing your inner and outer monster. Stitch Head (Asa Butterfield) was the first of the Mad Scientist’s creations. But the creator’s ADHD gets the better of him pretty quickly, and Castle Grotteskew is soon full to brimming with monsters. These include today’s beast, Creature (Joel Fry). Stitch Head’s taken on the eldest child duties around the castle, which includes helping each new beastie adjust their monstrous natures to avoid upsetting the townsfolk below. Don’t draw attention to yourself and you can avoid the angry mob. “Welcome to almost life,” Stitch Head tells each new monster. “Patent pending.” The film, especially Nick Urata’s music, certainly conjures Tim Burton. The songs Are You Ready for Monsters and Make ‘em Scream are both dancy fun, but neither are Elfman level memorable. Stitch Head lacks that macabre flavor of a Burton. Castle Grotteskew’s residents feel more akin to the working stiffs of Monsters, Inc. They’re nothing to be afraid of, they’re just different. Which is the point. There’s also a bit of Pinocchio as Stitch Head, seeking the love he’s not receiving from his negligent parent, leaves the castle in favor of the circus, and finds—as we all must—that capitalism blows. Butterfield’s delivery and Hudson’s animation create a tender central figure you root for. Fry’s big-hearted performance—plus Creature’s zany design—balance the delicate, tightly wound Stitch Head to create a sweetly peculiar odd couple. Based on Pete Williamson and Guy Bass’s series of kids’ books, written for the screen by Hudson, Stitch Head delivers fun, eccentric characters, a warm adventure, and genuine lessons about the joys—even the necessity—of nonconformity. “Just be whoever you’d be if you weren’t afraid.” Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

Pick Me Up film review by UK film critic Chris Buick. Starring Luke Hunter, Annie Knox, Ben Delaney directed by Jack Archer. HOME | FILMS | REVIEWS Pick Me Up Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: May 31, 2023 Directed by: Jack Archer Written by: Jack Archer Starring: Luke Hunter, Annie Knox, Ben Delaney For Mark (Hunter), his crippling anxiety and complete lack of confidence is hampering his ability to function in every-day social situations, particularly when it comes to interactions with the opposite sex and even when paying the likes of Lexi (Knox) for her services. In a desperate attempt to finally learn some self-belief and find some nerve to even look a woman in the eye, he turns to a self-professed 'pick up artist' (Delaney) who tells Mark he can give him all the answers, for a small fee of course. Pick Me Up sees award-winning and very talented filmmakers Jack Archer and his brother Joseph collaborating once more, this time Joseph taking up a producing role and Jack not only on writing duties as with their previous works but also taking to the director's chair solo this time round. And although the roles might have changed slightly this time round, it's clear that both are comfortable enough wearing any hat required to consistently produce good examples of efficient and effective filmmaking. What the film, and in particular the script does well is find a good balance between the lighter and darker shades of its topic, Jack Archer once again shows an innate talent behind the proverbial pen, allowing the viewer the chance to both laugh at the ridiculousness of the male psyche through its distinctive characters but also managing to find the profound of the moment as well, most importantly never making light of its overall subject matter for the sake of a joke. And while that central theme might be one we’ve seen numerous variations of in the wake of the #MeToo movement, its skewering of both the unfortunately still relevant misogynistic male attitude towards women and the masculine pre-conception that being an arse is the only way to succeed is well addressed and well executed, although perhaps slightly lacking in something that could have pushed that particular envelope a bit more and maybe given the film that bit more bite to stand out. Speaking of standing out, Hunter’s is no doubt the best performance here, his sincerity in portraying bag of nerves Mark really is the key to selling the premise in the end, with the right amount of endearing to counter the chauvinist persona of Delaney’s Julius, who although seems to be working with some broad strokes at times communicates the right essence of the character. Annie Knox’s Lexi also hits all the right marks at all the right times, but it’s Hunter that finds all the gears here, especially in his spot-on delivery of the films important closing monologue, allowing us the biggest connection to any of the characters throughout and spoken with such genuine emotion and poignancy that it is entirely captivating, elevates and nicely rounds off the entire piece. It might not hit all the same highs as previous offerings such as On In 15 or The Mean Spirited , but Pick Me Up is a film that does what it sets out to do and does it well, getting its point across as it should while ticking a lot of other important boxes along the way. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Into the Unknown film review by UK film critic James Learoyd. Starring Matthew Thomas Ross directed by Matthew Thomas Ross. HOME | FILMS | REVIEWS Into the Unknown Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Nov 8, 2024 Directed by: Matthew Thomas Ross Written by: *N/A Starring: Matthew Thomas Ross When filmmaker Matthew Thomas Ross was diagnosed with cancer, he decided to use his art to chronicle the battle. What results is an overwhelmingly beautiful documentary about life, memory, and perseverance. The pain which Matthew has been forced to reckon with is truly heartbreaking, and the film’s deeply personal tone and approach means that the viewer gets a deep insight into the fears and processes those battling cancer face. However, what makes this doc so moving is how this individual is able to use his optimism, love for life, and passion for cinema to create such a profound and poetic expression of time – “past, present and future”. There’s no other movie quite like it. In the film, it’s discussed how Into the Unknown was originally meant to be a short, but because of the extended period of chemotherapy, it eventually turned into this all-encompassing, almost impressionistic feature piece. One can really tell that this is made by someone who’s not only a talented storyteller on the technical level, but who also understands art as an outlet for complicated and turbulent periods of living – a kind of personal craft which many have turned to as a way of making sense of the chaos. It’s wonderful to witness such a handmade sentiment, and its overall tactility can also be attributed to the picture’s exciting format... Matthew Thomas Ross is clearly in love with film stock, and he even talks about its metaphorical implications as a physical mode a capturing the world. It’s an incredibly hypnotic-looking work. Its fluctuating mediums range from 8mm to 16mm and then splicing in some old home videos, and all of it feels overwhelmingly vibrant and nostalgic. It simply wouldn’t be as unique and immersive without this additional layer. Film’s historic aesthetics are operating in tandem with the themes and ideas at the core of Matthew’s inspiring journey; his personality as a film enthusiast shining through in every moment. In addition to the shooting, it’s the construction through the editing which transforms the visuals into something with transcendent, sensory meaning. Some of the film reminds me of Agnès Varda’s best work in how techniques are openly discussed verbally and through the form itself – we even see the timeline of the edit. He says how, as a filmmaker, he tends to focus on the story and its plot mechanics; but here, he bravely allows the work to take on a more fluid temperament. It’s a very honest way of making a documentary. In summation, this is outstanding work. A vulnerable doc which toes the line between being unwatchably sad and stunningly hopeful. When considering the fact that this was made by someone having to face things that nobody ever should, it’s amazing that he’s managed to use his struggle, courage and artistry to produce such a perfect expression. I would absolutely recommend everyone seek this movie out when it gets its release, and I sincerely hope that it finds its audience. Experimental and touching from beginning to end, this is essential viewing. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film, Documentary < All Reviews Next Film Review >

Dangerous Animals film review by UK film critic George Wolf. Starring Jai Courtney, Hassie Harrison, Josh Heuston directed by Sean Byrne. HOME | FILMS | REVIEWS Dangerous Animals Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jun 4, 2025 Directed by: Sean Byrne Written by: Sean Byrne Starring: Jai Courtney, Hassie Harrison, Josh Heuston When are they going to run out of ideas for new shark movies? Well, not today. Dangerous Animals – director Sean Byrne’s first film in a decade – rises above the glut of silly sharksploitation yarns by aggressively hunting an adventure thriller of abduction and survival. Jai Courtney stuffs his own jaws full of scenery as Tucker, a bawdy and boisterous boat captain in Australia who takes tourists out for shark encounters. But Tucker is always on the lookout for those visitors who may be alone and not easily tracked. And when Tucker identifies his prey, he pounces, hooking them up to a harness and slowly feeding them to the sharks while he records it all on VHS. Free vegemite with any blank VHS tape purchase! But when Tucker abducts American surfer Zephyr (Hassie Harrison) on the beach one very early morning, he quickly realizes he’s hooked “a Marlin,” a real fighter. Tucker loves a fight, and Zephyr is going to give it to him. Byrne (The Loved One s, The Devil’s Candy ) shows a pretty firm hand juggling the sharky business with other genres and influences. You’ll see clear nods to The Silence of the Lambs and Hounds of Love , and Byrne is able to draw some tense, terrifying moments out of fairly standard tropes and the obligatory nonsensical choices made by potential victims. Nick Lepard’s script falters most by wedging in a potential love story between Zephyr and local dude Moses (Josh Heuston). The narrative need to have someone miss Zephyr when she’s gone is understandable, but the thread lands as forced, contrived, and a heavy weight that drags the film down. Courtney has never been better. His Tucker is a hammy hoot, and Courtney leans into a Mad Aussie physicality that makes the heavy handed predator metaphors more entertaining. Harrison sells the defiant grit that makes Zephyr a worthy adversary, and the two trade blows in a power struggle that keeps you engaged on the way to a finale that you’ve already guessed. Byrne makes sure the shark footage is occasionally thrilling and always competent. But he also finds plenty of ways to make this more than just another preposterous fin story, and Dangerous Animals is better for it. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Pure Gold film review by UK film critic Swati Verma. Starring Edwin Mullane, Aoife Honohan, Kieran Cotter directed by Rik Gordon. HOME | FILMS | REVIEWS Pure Gold Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: May 10, 2023 Directed by: Rik Gordon Written by: Rik Gordon Starring: Edwin Mullane, Aoife Honohan, Kieran Cotter The writer-director Rik Gordon sheds light on the extreme lows in the farming industry of Ireland in 1864. Edwin Mullane, Aoife Honohan, and Kieran Cotter represent all hardships they are facing because of the given situation beautifully and all of them have managed to emotionally grip the audience from the very start of the narrative. The plot of Pure Gold revolves around a farmer who is hit by Famine and must provide for his starving family; however, his desperation is exploited by a mischievous being that tempts him with something special. The film opens with a black screen with the facts about the potato blight in the white font to establish the subject matter demanding an instant emotional connection with the content. The DOP Thomas McKeown utilises the long shot to capture the beautiful landscape of Ireland just a perfect setting for introducing the male protagonist. The camera quickly switches to a close-up shot of his face of John to showcase his utter disappointment with the potato crop and sadness for breaking the hopes of the family every time. The set design, lighting, music, dialogues, costume, hair, makeup, and props complement the elements of drama and fantasy while dealing with a serious issue to maintain the interest of the viewers. In terms of performance, Edwin Mullane plays John who wants to earn money from what he gets out of his farming skills to pay rent and also get food for his starving family. Mullane aptly depicts the helplessness and disappointment and emotional trauma with body language, voice modulation, facial expressions and eyes. The actor’s portrayal of his character is full of realism making it relatable allowing the audience to learn from John. Aoife Honohan plays the role of Marry who knows her duties both as a wife and a mother and wants to give the much-required emotional support to John as well as Patrick to combat the difficulties thrown at them. Honohan effectively strikes a balance between being strong and being emotional as per the demand of the script. The young actress understands the nuances and multiple layers of Marry and assists the viewers in not losing interest in the storyline. Kieran Cotter as Patrick is a treat to watch as he gives us some light moments as the film continues with a serious note picking up the pace to quickly reach the climax. The child artist is very talented to portray the loving relationship of the father and son duo and what changes this equation go through as the story moves forward. Pure Gold warns the audience regarding the cons of choosing the path of greed and also talks about the shortcuts never working out to achieve a certain goal in life so hard work is the only way. The short film reiterates that trusting the right person is very crucial in life or it can prove to be detrimental to the well-being of self and people around. The cinematic piece also highlights the importance of taking care of loved ones individually by understanding one’s duties and responsibilities rather than depending on strangers to help them out. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

La Danza film review by UK film critic Jason Knight. Starring Valentina Sarracini, Margie Newton directed by Philip Brocklehurst, Valentina Sarracini. HOME | FILMS | REVIEWS La Danza Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 21, 2023 Directed by: Philip Brocklehurst, Valentina Sarracini Written by: N/A Starring: Valentina Sarracini, Margie Newton An entertaining short video with music and dancing. The title refers to a Puerto Rican music genre that is associated with ballroom dancing and it is quite an appropriate title. Two women (Sarracini and Newton) film themselves dancing, using a smartphone camera or a webcam. The camera is constantly static and the location appears to be a large living room. The two dancers are always looking at the camera and smiling and never speak. Both are rather close to the camera, although one is further back and to the front dancer's left. The video begins with both of them waving at the viewer, while part of the song Good Morning Tokyo by Tokyo's Revenge plays. Then, the dancing begins. Brocklehurst's creative editing is one of the key elements that make this short a rather amusing experience. Once the women begin to dance, the repeat cut technique is put into use over and over again, beginning with a shot that shows the women dancing for about a second, then the same shot is repeatedly shown, countless of times, with the editing becoming faster and faster, giving the impression that they are dancing impossibly rapidly and also makes the music sound like an intensely repetitive beat. This technique is utilised for quite a large part of the film and the result is entertainingly awkward and funny. Other techniues include a sequence where the normal image repeatedly alternates with an upside-down image of the same shot, hence showing the dancers dancing upside-down, adding to the fun. There is also brief black-and-white cinematography and the use of slow motion makes the dancing look different. At the bottom right corner of the screen, the name of the video-sharing social media platform 'TikTok' is visible, promoting the company and making this short a positive statement on social media by revealing how sharing videos online can help spread joy. The obvious purpose of this one-and-a-half-minute long music video is to provide amusement and it succeeds. The atmosphere that is developed thanks to the editing, along with the dance moves and smiles, will most likely put a smile on the viewer's face. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Music Video < All Reviews Next Film Review >

The Hollow Men film review by UK film critic Joe Beck. Starring Rhys Anderson, Ryan Stoddart, Mackenzie Paterson directed by Daniel Bingham. HOME | FILMS | REVIEWS The Hollow Men Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Feb 18, 2023 Directed by: Daniel Bingham Written by: Daniel Bingham Starring: Rhys Anderson, Ryan Stoddart, Mackenzie Paterson Daniel Bingham’s ‘The Hollow Men’ is a taut Scottish thriller, one which juxtaposes humanity against pure evil to pose sincere moral questions around an exhilaratingly tense depiction of violence. There’s almost an air of Michael Mann’s excellent ‘Collateral’ in its juxtaposition of two sides of man and its probing of the human condition, replacing the shining lights of Los Angeles for the solitude of the Scottish landscape. Bingham’s impressive direction immediately creates a heightened sense of tension, as we are introduced to Ellis (Rhys Anderson), eyes focused on the road and sat in silence as he listens to Kane’s (Ryan Stoddart) story of a memorably gruesome murder which he carried out. At first we assume that Ellis is but a harmless driver, his meek eyes and nervous face certainly suggest that, and compared to Kane he certainly appears innocent. Kane’s story is chilling and perfect in establishing the coldness of his character, as he describes killing a family as though it were merely an everyday chore. Nevertheless, as the two reach their destination we discover that Ellis is also a paid killer himself, and it is he who is approaching a reckoning with his target, Sonny (Mackenzie Paterson). Ellis’ doubts get the better of him as he approaches Sonny, giving Sonny the opportunity to dash away as Ellis slips on the rocks. When he wakes he finds himself captive and with Sonny pointing a gun at his head. However, Sonny shows humanity to Ellis’ troubled soul, offering food - a guttered fish in an obvious comparison to Kane’s description of ruthlessly guttering a woman like a fish. Where Kane is pure evil, a merciless killer intent solely on causing the death of others, Sonny is compassionate, despite a troubled past, and demonstrates to Ellis the errors of his ways, providing a path for redemption. Bingham’s directing is wonderful in filling each scene with tension, and each shot is framed pitch-perfectly. He understands the troubled mind of Ellis and though the characterisation of Kane and Sonny may be broad, it is nonetheless effective in reflecting the warring thoughts in Ellis’ mind. Each line of dialogue is laced with subtext effectively and aids the performances of the entire cast, who all impress with the subtleties in their performances. Anderson in particular is excellent, conveying Ellis’ confusion through just the slight changes in his face and the movement of his eyes. Similarly, Mackenzie Paterson is endearingly warm as the softly spoken Sonny, given some of the film’s finest lines of dialogue in his conversation with Ellis. Ryan Stoddart has a very different task as the overconfident murderer Kane, yet is a formidable and chilling cold presence throughout who takes over the screen whenever he’s on camera. The icing on the cake of ‘The Hollow Men’ is its conclusion, which is decidedly excellent in its coldness. It is a fine finish to a wonderfully refreshing thriller. High on tension and posing a searching philosophical question, the film acts as a showcase for Daniel Bingham’s immense talent both directing and screenwriting. Though its title may proclaim to be hollow, ‘The Hollow Man’ is anything but. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Chevalier film review by UK film critic Brian Penn. Starring Kelvin Harrison Jr, Lucy Boynton, Samara Weaving directed by Stephen Williams. HOME | FILMS | REVIEWS Chevalier Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jun 19, 2023 Directed by: Stephen Williams Written by: Stefani Robinson Starring: Kelvin Harrison Jr, Lucy Boynton, Samara Weaving Aside from making the cash registers ring, filmmakers have a responsibility to uncover new or forgotten stories. Great deeds are out there waiting to be discovered and introduced to an appreciative audience. Chevalier is a luxurious period drama that tells the true story of Joseph Bologne, the illegitimate son of an African slave and a plantation owner. He gradually rose through the ranks of French society and became a brilliant violinist, composer and champion fencer. If that wasn’t sufficient to fill a crowded CV Bologne was also dubbed Chevalier de Saint-Georges (the French equivalent to a knighthood) by Marie Antoinette. This gripping tale begins with an exciting face-off between Bologne and Wolfgang Amadeus Mozart; two brilliant musicians locked in combat before an enraptured audience. It’s a stunning sequence that’s beautifully crafted with a perfect blend of sound and visuals. Although they were contemporaries, there is no documentary evidence they actually performed together. Nevertheless, it’s a cleverly imagined meeting of the minds and sets the scene for a remarkable life in pre-revolutionary France. Bologne begins as a child prodigy who rapidly excels in a number of disciplines. By adulthood he is an expert swordsman and clearly has a gift for music. Bologne (Kelvin Harrison Jr) charms the court of Marie Antoinette (Lucy Boynton), but catches the eye of aspiring singer Marie-Josephine (Samara Weaving). Bologne has aspirations to lead the Paris Opera House and must produce an opera to secure the position. He wants Marie-Josephine to play a leading role in the opera. However, their ambitions and desire are thwarted by her cold and controlling husband Marquis De Montalembert (Marton Csokas). The sense of political intrigue on the eve of revolution is depicted with vibrant cinematography. The attention to detail, from the costumes to the fencing sequences are impeccable. The close and clammy atmosphere is almost palpable and indicative of a nation on the cusp of change. Kelvin Harrison Jr is superb in the title role and benefits from a wonderfully spikey turn from Lucy Boynton as Marie Antoinette. Bologne’s achievements as a man of colour in the 18th Century is nothing short of astonishing. It’s shameful that it’s taken this long for his endeavours to be properly recognised. There is even potential for a sequel as Bologne’s exploits after the revolution are just as enthralling. No one could have lived a life less ordinary. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Cassandro film review by UK film critic Hope Madden. Starring Gael García Bernal, Roberta Colindrez, Perla De La Rosa directed by Roger Ross Williams. HOME | FILMS | REVIEWS Cassandro Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 14, 2023 Directed by: Roger Ross Williams Written by: Davie Teague, Roger Ross Williams Starring: Gael García Bernal, Roberta Colindrez, Perla De La Rosa There’s rarely a good reason to miss a performance from Gael García Bernal. Even when the material around him doesn’t exactly work, he always does. His performances tend to be marked with a quietly observant, charming resilience. In Cassandro , the narrative feature debut from documentarian Roger Ross Williams, Bernal amplifies that charm and resilience with an energy and magnetism that dares you to look away. Bernal plays Saúl Armendáriz, a real life El Paso amateur lucha librador. Saúl loves wrestling, loves his mother, quietly loves another closeted librador, but wants more. Because of his size, he’s been pegged a “runt” which means, in the pre-determined and choreographed matches, he must always lose. He doesn’t want to lose. What Williams and Bernal channel is lucha libre – this unusual and rarely represented world – as a microcosm for society. The odds are stacked against Saúl. He cannot win. It’s not allowed. It’s not the role he gets to play. So, he decides 1) to find a really good trainer (Roberta Colindrez, understated and excellent), and 2) play the “exotico” – that is, a wrestler who performs in drag. Exoticos never, ever get to win. And yet, the persona allows Saúl to be a little bolder, a little louder, a more vivid version of himself. It’s empowering. Cassandro still has to lose to the likes of El Gigántico because “lucha libre is a fairy tale and good must always triumph over evil.” But as his skill and charisma earn him fans, suddenly that old fairy tale feels less important to the promoters who decide match outcomes. Ross’s documentarian instincts serve the film beautifully, as the world of lucha libre is never treated as a sideshow. There’s humor here, but we laugh with characters rather than at them. And though Cassandro hits the beats you’d expect from a dramatic biopic journey, moments feel authentic rather than manipulated for dramatic effect. The entire ensemble shines, but Bernal owns the screen, his ever present smile a heartbreaking and beautiful image of the resilience and determination that fueled an icon of wrestling and LGBTQ culture. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, LGBTQ+, World Cinema < All Reviews Next Film Review >