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

The Death of the Centurion film review by UK film critic James Learoyd. Starring Cristian Ciomaga, Tudor Urea, Florin Nicula directed by Octavian Repede. HOME | FILMS | REVIEWS The Death of the Centurion Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Nov 12, 2025 Directed by: Octavian Repede Written by: Octavian Repede Starring: Cristian Ciomaga, Tudor Urea, Florin Nicula The Death of the Centurion is an astoundingly unusual historical drama meets docu-form testimony. Based around figures and events in Roman history, this 26-minute movie – told entirely through voiceover, with visuals simply accompanying – tells the tale of a centurion, Cassius Liberius (played by Cristian Ciomaga), who falls victim to his own sense of will, ego and superstition. The film also stars Tudor Urea and Florin Nicula. This is in no way your conventional docudrama; from its idiosyncratic mix of media in terms of cinematic craft, to the jarring atmosphere formed from the narration, audiences are sure to be left fascinated, certainly, but also slightly confused as a result of this unique tone. I’d briefly like to get the film’s main issue out the way: the narration – whilst flowery in its description and entertaining enough for its vocal performance – hinders the film’s ability to properly tell the story it wishes to tell. To demonstrate this, I’ll provide an example. During perhaps the dramatic turning point of the script, a deeply significant conversation takes place between a few Romans at a tavern of some kind. However, instead of allowing this conversation to take place as you would see in any other media, we’re relayed the conversation in the third person by the narration. We can still see the characters’ lips moving, and the camera draws our attention to the faces of these actors. This creates a slightly unwatchable characteristic of cognitive dissonance and leaves one wondering what the testimony is meant to be adding besides the aesthetic quality of ‘someone writing a letter, recounting a story’. This unfortunate decision is hardly worth dwelling upon, however, as there’s so much else to enjoy about the machinery and intentionality of the craft... The shooting on location, in forests and the general wilderness, provides the mise-en-scene a scintillating sense of authenticity. For instance, if the viewer was not interested in the story or its manner of telling, they would still have these gorgeous yet ruthless landscapes – shot very strikingly – to gaze upon. In terms of the cinematography specifically, this critic was a massive fan of how long focal-lengths and fast shutter-speeds were implemented to emphasise motion and drama – much like in the legendary works of Akira Kurosawa. This picture also provides us a wide range of enjoyable locations and scenarios, with era-appropriate costumes and set-dressing to hammer it home. These filmmakers are clearly talented historians, and you can clearly feel that passion through their artistry as well. Epic in scope and ambitious, yet polarising in its bizarre technical execution, there becomes much to both celebrate and lament regarding The Death of the Centurion . Its form only goes so far as to inform and intellectually stimulate; but not necessarily so far as to immerse or emotionally activate. Nevertheless, this is a piece which admirably attempts to juggle a multitude of ideas and aesthetics – much of which, one must admit, is accomplished with grace and cinematic aptitude. So, even though it might not quite reach the level of execution which writer-director Octavian Repede undoubtedly embarked upon, it remains a thoughtful and epic work of short form filmmaking. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Angle film review by UK film critic Jason Knight. Starring Kurt Angle, Giovanna Angle, David Angle, Johnny Angle directed by Alex Perry. HOME | FILMS | REVIEWS Angle Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 21, 2023 Directed by: Alex Perry Written by: N/A Starring: Kurt Angle, Giovanna Angle, David Angle, Johnny Angle A dramatic documentary about American professional wrestler Kurt Steven Angle. Through a rich collection of family footage, photographs, interviews and television news, this powerful and moving feature documents the personal life and remarkable career of a man who struggled a great deal in order to fulfil his dreams. The documentary covers all sorts of events from his life, beginning with his childhood in Pennsylvania and ending with his current situation. In between these two, the audience becomes familiar with his upbringing with his siblings and difficult father and follows his exciting and challenging wrestling career. In particular, regarding his career, the film looks into his humble start as a beginner, before competing in championships and finally competing in the 1996 Summer Olympics in Atlanta, Georgia. Followings this, things take a different direction when Angle decides to enter the World Wrestling Entertainment and excelling in that promotion, competing against such legends as Brock Lesnar and Dwayne Johnson. However, it is not all about success, as personal tragedies are also part of the story, including the death of his father and sister, the murder of his coach Dave Schultz by John Eleuthere du Pont, his career-threatening neck injury and his addiction to painkillers. Kurt Angle is the main interviewee, and he tells his story with enthusiasm and gets emotional at times. Other interviewees include his brothers Johnny, Eric and Matt, his wife Giovanna, professional wrestlers and coaches and some well-known celebrities such as Hollywood actor and former wrestler Dwayne Johnson and former UFC champions Randy Couture and Ronda Rousey. There is plenty of footage throughout that covers Angle's wrestling career from his time as a child, all the way to WWE, revealing his outstanding abilities and his struggles. There is also news footage, home videos of his relatives and plenty of photographs of family members and of Angle in action. Director Perry creates some impressive aerial shots and Ian Wittenber does a great job with the editing. Matthew David Chavez's cinematography deserves special mention and Kevin Riepl's music is melancholic or dynamic, adding drama to the viewing experience. This documentary tells a moving and inspiring story that could motivate people to follow their dreams. It offers an insight into the world of wrestling and the massive work that is required in order to succeed in that sport. Fans of wrestling will most likely be the film's main audience, however those who appreciate quality filmmaking and an individual's intriguing life story are also likely to appreciate it. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

Dinner With Gov film review by UK film critic Jason Knight. Starring Adrian Abel Amador, Alyssa Heinemann, John Ennis, Milena Crowley directed by Josh Yellin-Flaherty. HOME | FILMS | REVIEWS Dinner With Gov Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 3, 2022 Directed by: Josh Yellin-Flaherty Written by: Josh Yellin-Flaherty Starring: Adrian Abel Amador, Alyssa Heinemann, John Ennis, Milena Crowley A young man confesses to his girlfriend that he has an imaginary friend. Rob (Amador) and Rebecca (Heinemann) are a couple and they are having dinner at a fancy restaurant. They plan to move in together in the near future and Rebecca is rather excited about this. Rob is less so as he has something he wants her to know, so that they can move on with their relationship. He has a friend named Gov (Ennis), problem is he claims that he is the only one that can see Gov. This extraordinary news shocks Rebecca and Rob attempts to convince her that Gov actually exists, even after she starts seeing him herself. This is a clever, amusing story with a rather intriguing plot. The narrative starts of with normality and after Rob makes the revelation, things get more and more awkward and appear to move towards the supernatural. The main aspect is Rebecca's reaction to Rob's revelation and it is entertaining watching her trying to find out whether Gov is real or whether she is losing her mind. The plot twist at the end will most likely take the viewer by surprise. Heinemann's performance is vital in making this film work as her character is the one who receives the news. She is very convincing as a joyful and optimistic person whose world is turned upside-down after learning about her boyfriend's 'friend'. Ennis has a rather interesting role as an imaginative individual, who comes across as laid-back and turns out to be demanding as he reveals that when he moves in with the couple, he will be needing his own bedroom and office. Caleb Yellin-Flaherty worked on the editing and cinematography and did a great job in both areas. The viewer will have the pleasure of listening to gentle classical music throughout. This is a ten-minute-long story with great acting, well-written dialogue and a plot that will probably keep the audience guessing until the end. It has humour and drama and the main message seems to be that sometimes people are not ready to move on to the next stage in their relationship. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Maiken film review by UK film critic William Hemingway. Starring Michelle J. Wright, Daniella Michieli, Johanna K. Lumi, Nicholas Pople, Tristan Pretty directed by Howard Perry. HOME | FILMS | REVIEWS Maiken Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: May 10, 2024 Directed by: Howard Perry Written by: Howard Perry Starring: Michelle J. Wright, Daniella Michieli, Johanna K. Lumi, Nicholas Pople, Tristan Pretty In Old Norse mythology the Hulder were a race of seductive forest spirits, usually female, who lured unsuspecting travellers into the trees to have their way with them. Anyone found not living up to the standards expected by a single Huldra were usually killed and never heard from again, and often the Hulder were also blamed for stealing infant children, replacing them with their own ugly little changelings. In the old texts, Huldra tended to be beautiful and naked with long hair, but also with a hollow back like that of an old dead tree, and a tail which could either look like that of a fox’s or a cow’s. In the short film Maiken , from writer and director Howard Perry, the Huldra take on a slightly different aspect, this time being able to take the form of a female human (without tail) and with the abilities of being able to switch bodies and drain a person’s lifeforce to rejuvenate her own. Maiken (Wright) herself is the eldest of three sisters who are the last of their kind and are right now being hunted by none other than the All-Father, Odin. Odin (Pretty) has a seemingly irrational hatred of Huldra and wants them eradicated from the forests. There’s never really any explanation given as to why Odin wants to go to the trouble of hunting down every last one of these forest elves, but to be fair the old texts are apparently a little bit sketchy on the detail of this, too. It does, however, rob the film of a decent amount of motivation for the entire scenario and we’re just left to accept it as one of those things that Odin does. So, as is his wont, Odin directs the champion of his hunt, Elvind (Pople) to take his men and root out the scourge of the three remaining Huldra. Maiken won’t just take this lying down, though. So she rallies her sisters, Thyra (Michieli) and Lisbet (Lumi) to action, asking them to follow a sketch of a plan to make an alliance with some trolls. The fact that Maiken’s new form is that of Astrid, who just so happens to be Elvind’s betrothed, also throws a spanner in the works of just how the sisters are going to escape. For a twenty-four minute short there’s an awful lot of set-up to help get the viewer into the story; so much in fact that the whole of Maiken merely feels like Act I of a much bigger play. For around twenty of those minutes there’s a lot of ‘sistering’ around in the woods, as this is almost exclusively how they refer to one another in nearly every line of dialogue. There’s plenty of ‘sister this’ and ‘sister that’ and a whole bunch of other grammatical turns which are supposed to suggest that we are in ‘Ye Olde’ times, but when it comes down to it, other than an untidy brawl from a bunch of LARPers and a quick kidnapping, there’s not too much going on. It’s not until the final shots of the film that any sort of real progression takes place but by then it’s too late and it’s all over. It’s obvious that Howard Perry is trying to give us an expansive fantasy tale, in a long established fantasy realm, all on a tight budget. His characters are all archetypes who don’t need an awful lot of subtlety, yet somehow they still manage to come across as bargain basement versions, with the simple costuming to match. The special effects are also pretty basic but are at least used sparingly enough for it not to really matter, although the vocoder that is used on Odin’s voice is terribly distracting. In fairness to Perry there are plenty of fantasy realm films out there, whether aping an established canon like Lord Of The Rings or otherwise, that look, feel and run a lot worse than what he has managed to produce in Maiken . There’s a lot to be said for the cinematography from Frank Hammond, who manages to keep everything crisp and clean, especially around so much green, and Perry is no slouch in the director’s chair either. Some of the sets and locations offer up a genuine Old Norse feel to provide some authenticity and while Perry doesn’t quite manage to pull off a cinematic feel to the production he seems to be doing a lot of things right. With a tightening up of the dialogue and scenario, along with a proper soundtrack and a few acting lessons, Maiken could easily entice the casual viewer to enter another land for a short half-hour. However, as it is, it may only be the hardcore fantasy dwellers, along with LARPing enthusiasts, who will get anything meaningful out of it. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Midnight Rot film review by UK film critic William Hemingway. Starring Jacob John Wood, Lewis Thomas, J.T. Miller directed by Seth Fenter. HOME | FILMS | REVIEWS Midnight Rot Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Aug 30, 2026 Directed by: Seth Fenter Written by: Seth Fenter Starring: Jacob John Wood, Lewis Thomas, J.T. Miller A young musician is finding it hard to sell his music or to make anything that matters, until one night he falls into a strange slumber and meets a shadowy figure at a crossroads. At seventeen years old, Seth Fenter has decided he wants to be a filmmaker. As writer, director, cinematographer, editor, and producer on Midnight Rot , he’s taking that decision very seriously indeed. He and his friends over at Small Shot Pictures made a few films about a year or so ago, which were varying degrees of interesting but all very amateur, however, there appears to have been nothing since. Perhaps the quality of Midnight Rot might provide an explanation for that. Unlike most of his buddies, and considering the roster of tasks he already felt compelled to take on during this project, Fenter decided not to star in Midnight Rot , but instead gave that honour to his similarly adolescent friend, Jacob John Wood, who rather optimistically is credited as ‘The Man’. This anonymous guy stands in the dark in his bedroom, in what seems to be his mum’s house, with his curtains open, but with absolutely zero light coming in to illuminate the scene. He’s on the phone mumbling like a teenager about not getting his music sold, or it not being the right fit for the current production. He’s at a bit of a crossroads in terms of what to do about breaking out and making his music sound better to the world. That’s when, like in a lot of gloomy teenage bedrooms these days, the computer screen speaks to him and hypnotises him into a macabre dream. The musician then meets a hooded figure at a crossroads, in the dark, at night, with no light anywhere to illuminate the scene, and they mumble together in some sort of backwards language to strike a deal. Waking to find that he still has no real talent, there is instead a gift of songs for the musician, the first half of a bargain, but of course the price always has to be paid, and the reaper will always come calling. On the whole, what Fenter has managed to do is create a strong visual narrative around a very well tried and tested storyline. His characters are automatically archetypal, and the themes resonate with everyone, so all he’s really got to do is get the storytelling right, and for what he appears to have wanted to achieve, he’s done that. His decision to film in almost total darkness is a strange one, as it doesn’t help the viewer when they can’t see what’s going on, but it does make sense that these themes and these scenarios would most likely take place in the absence of any light. It’s just not very cinematic. There’s obvious issues with the sound and the dialogue, but when you can’t always see what they’re being matched to it doesn’t really matter so much. The music from Cryptic Scenery works well and is a nice accompaniment to the narrative, and Fenter does choose his shots nicely to create a feeling of continuity throughout his film. It’s just never clear if we really get anywhere in the whole twenty-four minutes of Midnight Rot , or that we ever get away even slightly from the central action of the selling of his soul. While Midnight Rot is definitely atmospheric and visual in its narrative, too much of it is hidden away in darkness for too much of the time, and almost no technical skill is attended in the making of the film. Fenter shows real promise as a director, but in taking on every role himself he has let his own production down by not getting the best people for the job. After a year to think about it, maybe it’s time to get out there and make another one, just with a stronger, wider story to it, and maybe some light thrown in there as well. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Reflected Self film review by UK film critic William Hemingway. Starring Barney Jones, Marielle Clare, Daisie Boyes directed by Kelvin Richards. HOME | FILMS | REVIEWS The Reflected Self Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Aug 7, 2024 Directed by: Kelvin Richards Written by: Kelvin Richards Starring: Barney Jones, Marielle Clare, Daisie Boyes The Reflected Self , from writer, director and producer Kelvin Richards, based on his own book of the same name, initially presents itself as a regular ‘isolated cabin’ thriller, when Dion (Jones) and Nia (Boyes) burst through the door of an old cottage, into their new lives. The boxes are barely in through the door before Dion is the subject of some sort of demonic possession, where the requisite long-haired scary lady pops up, with her eyes all glassy, to let us know there’s some malignant presence hanging around. Richards takes all the time in the world to show us round the cottage; lingering in all the rooms, languidly ascending the staircase, lounging in the sunlight from the windows; and it’s something we’d better get used to, as this will be the only location for almost the entirety of the film. As the narrative moves along a little, we can tell that there’s a lot of love between Dion and Nia, it just not quite clear which form that takes. Eventually we get to realise that Nia is Dion’s sister, and that they’ve shared a tragedy in which they lost their parents to a house fire. They have moved to the cottage to start again, but now the scary lady won’t leave Dion alone, and just who is that woman in the old photograph anyway? So, with the bare bones of a cabin thriller in place, and everything from The Evil Dead (1981), to The Cabin in the Woods (2011), to The Shining (1980) available for reference, you’d think we’d be getting on with digging up some history and maybe a couple of graves, and start finding out just what’s behind the dark force in the cottage. Not so for The Reflected Self , which then reveals its true face as a psychological thriller, as Dion suffers a break in reality and new character, Aria (Clare) turns up unannounced, looking suspiciously like the scary lady with glassy eyes. From here on in, The Reflected Self takes its own path and tries to sell you its own story, keeping the characters in more of a grounded reality, and frankly forgetting about the supernatural element altogether. It seems that Richards was intent on making something a little more Lynchian, with characters switching places and names and alternating narratives being thrown at the viewer, however, it is not something that he really succeeds at. The lines between Dion’s realities are kept clear with some nice lighting and beard continuity going on, but there’s nothing in the characters to make us care that they can be fluid in their backgrounds and their motives. Despite an apparent desire to emulate David Lynch, especially pieces of Mulholland Drive (2001), along with parts of Mr Robot (2015-2019) and Shutter Island (2010), The Reflected Self misses on all counts. There is no drama on the screen to keep us interested and any conflict or drama from the characters is only assumed. Everything is talked about rather than shown, but instead what we do get are long, drawn-out shots that are quiet and slow and dull and grey and don’t know when to finish. Luca Fagagnini simply throwing some chords around to try and deepen the atmosphere doesn’t really help either. In the end The Reflected Self probably suffered from budget restraints which severely hindered its narrative ability. Understandably the film was all shot in one location, but would it honestly have taken so much to get some imagery of engulfing flames, or a facial memory of Dion’s parents going on? The fact that all we get are the same rooms, many times, slowly, just isn’t enough to satisfy a visual narrative nor a hundred-minute runtime. In fairness to Kelvin Richards, the story he laid out all makes sense and comes together well towards the end. Knowing how it finishes also allows us to see why certain decisions were made and how certain dialogue was scripted earlier on so that it was in keeping with the overarching narrative. This is all to Richards’ credit, and he should be happy with the story of The Reflected Self , but in transferring it to film perhaps it could have benefited from a more concise telling and a lot more attention to visual style, in order for it to really connect with a viewing audience. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

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Once Upon a Time in Uganda film review by UK film critic Rachel Willis. Starring Isaac Nabwana, Alan Hofmanis directed by Cathryne Czubek. HOME | FILMS | REVIEWS Once Upon a Time in Uganda Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Jul 14, 2023 Directed by: Cathryne Czubek Written by: Cathryne Czubek, Amanda Hughes Starring: Isaac Nabwana, Alan Hofmanis Cathryne Czubek’s film Once Upon a Time in Uganda might be the most fun you’ll have watching a documentary. Centering her film around Ugandan filmmaker Isaac Nabwana (styling himself as Nabwana IGG), Czubek has fun bringing Isaac’s world to life for her audience. Thrown into the mix is Alan Hofmanis, a New Yorker who became so enamored with Isaac’s work that he abandoned his life in New York (primarily a cat he left with his mom) and moved to Uganda. The two struck up a partnership of sorts. Alan focuses on bringing international attention to Isaac’s films. Isaac focuses on the Ugandan side of the equation. Once Upon a Time in Uganda’ s only flaw is that it’s not sure where to fit Alan into the narrative. Though his role in Isaac’s success can’t be ignored, he has an overblown view of himself regarding Isaac’s creative process. The documentary places too much weight on Alan when this should be almost entirely Isaac’s story. And what a story it is. A brick maker in Wakaliga, Kampala (restyled Wakaliwood by Isaac), Isaac’s dream is making action movies. The times we see Isaac behind the camera or at his computer in his living room working on special effects are a joy. His films are a community event. With a budget of $85 to $200, everyone, from the actors to the crew, volunteers to create action movies that are laugh-out-loud funny. Also due to the low budget, the team works with what they have, welding prop guns and camera tracking arms whenever they need them. It’s a process unlike anything you’d see on a U.S. movie set, but the camaraderie of Isaac’s crew is what makes watching the documentary such a delight. It’s all hands on deck, and everyone is having a good time. That’s not to say Isaac doesn’t have problems. Issues around money crop up from time to time. Even though it seems Isaac comes across some level of success, it isn’t monetary success. When he accepts a TV deal to create a series for Uganda’s largest media empire, it leads to strife with not only his crew, but with Alan as well. But you will find yourself rooting for Isaac the entire time. Even if low-budget action movies aren’t your thing, Isaac’s enthusiasm for movie making is palpable. It makes Czubek’s documentary stand as one of the finest send ups to the joy that is movie making. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, Indie Feature Film, Documentary, World Cinema < All Reviews Next Film Review >

The Innocents film review by UK film critic Hope Madden. Starring Rakel Lenora Flottum, Alva Brynsmo Ramstad, Sam Ashraf directed by Eskil Vogt. HOME | FILMS | REVIEWS The Innocents Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Aug 17, 2022 Directed by: Eskil Vogt Written by: Eskil Vogt Starring: Rakel Lenora Flottum, Alva Brynsmo Ramstad, Sam Ashraf Sixty years ago, Jack Clayton and Henry James mined supernatural terror with little more than the austere atmosphere built in one spooky location and the unnerving creepiness of children. Sure, the youngsters in writer/director Eskil Vogt’s new Norwegian horror The Innocents look more like the icy blondes of Village of the Damned , but his film shares much more than just a title with Clayton’s masterpiece. Vogt’s first triumph is his casting. Rakel Lenora Fløttum is Ida, a cherubic blonde 9-year-old idly wandering the tower block of her family’s new apartment. She doesn’t know anyone yet and doesn’t really want to play with her older sister Anna (Alva Brynsmo Ramstad), whose nonspeaking Autism keeps Ida from seeing her as truly human. As Ida explores the area and the looming forest just beyond, Vogt’s observant camera builds atmosphere and dread. The tower block itself is a menacing presence forever in the background, the trees on all sides penning in these children on the loose. Unnerving cinematography from Sturla Brandeth Grøvlen (Another Round ) makes tiny children appear like playthings in the foreground of towering, watching buildings. Aerials of children on bicycles, their shadows seeming to be moving the bikes, unnerve and beguile. Slowly, Vogt unveils the reality of the situation. We learn as the children learn, and we take on their curiosity and logic as we do so. Because there are several children in this complex who have some unexpected powers. Anna discovers hers through a little neighbor girl (Mina Yasmi Bremseth Asheim) who can read her thoughts. Ida learns that her own new friend Ben (Sam Ashraf) may not have the right temperament for his gifts. What unfolds is an observant and often terrifying origin story of sorts. The Innocents plays like a superhero story told with none of the drama, though an awful lot of horror. These children first thrill as their abilities blossom with camaraderie and commonality. Then comes the tricky test of good and evil. On display with unblinking eye is the casual brutality of childhood. The Innocents is a film that sneaks up on you, rattles you, and sticks around for a while after the credits roll. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, World Cinema < All Reviews Next Film Review >

The Last Showgirl film review by UK film critic George Wolf. Starring Pamela Anderson, Brenda Song, Kiernan Shipka directed by Gia Coppola. HOME | FILMS | REVIEWS The Last Showgirl Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 8, 2025 Directed by: Gia Coppola Written by: Kate Gersten Starring: Pamela Anderson, Brenda Song, Kiernan Shipka They may be a universe of genres apart, but Coralie Fargeat’s The Substance and Gia Coppola’s The Last Showgirl breathe plenty of the same air, both on the screen and on the red carpet. Like fellow 90s icon Demi Moore, Pamela Anderson squeezes every dramatic ounce from the role of her lifetime, reigniting her career with a performance steeped in the personal experience of hard truths her character is suddenly forced to confront. Anderson is Shelly, a longtime showgirl at the Le Razzle Dazzle revue in Las Vegas. Shelly finds purpose in the garish glamour of feathers, sequins and skin, and in her small circle of backstage friends. Dismissing the labels of just another “nudie show,” Shelly will not be denied the dignity she brings to each performance. But after a three-decade run, the show’s producers announce plans to shut it down, leaving cast and crew to ponder what comes next. The question hits hardest for Shelly, who will soon be left to navigate Las Vegas without the leverage of youthful beauty. And as the days tick down to that final curtain, Shelly is also juggling a strained relationship with her daughter Hannah (Billie Lourd), mother figure advances from young cast member Jodie (Kiernan Shipka), and a complicated past with Eddie (Dave Bautista), the show’s stage manager. In her feature debut, screenwriter Kate Gersten provides important moments of authenticity that are doubtlessly rooted in her research time spent with real showgirls in Vegas. Coppola (Palo Alto, Mainstream ) showcases it all with subtlety and respect, letting each character-driven moment (including a priceless cameo from Jamie Lee Curtis) personify a longing to savor something that is already gone. But like Moore’s desperate Elisabeth in The Substance , it is Anderson herself who provides this film’s most authentic layer. She has lived a life celebrated for her face and body, but often mocked when she tried to offer anything else. That hard-won wisdom grounds Anderson’s performance, and makes Shelly’s steadfast defense of her chosen art form anything but laughable. Coppola’s camera comes in close, and Anderson does not flinch, letting every line on her face tell a story. She hits enough levels of honesty to prove just as vital to her film as Moore is to hers, bringing a clear-eyed engagement that gives The Last Showgirl its – yes I’ll say it – substance, and her career its own reason to be re-born. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

The Charitable Sisterhood of the Second Trinity Victory Church film review by UK film critic Chris Olson. Starring Kathryn Hartman, Libby Fleming, Helen Kim, Kelly Monisse, Dilroop Khangura directed by Dean Owen-Sims. HOME | FILMS | REVIEWS The Charitable Sisterhood of the Second Trinity Victory Church Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Mar 18, 2026 Directed by: Dean Owen-Sims Written by: Bo Wilson, Dean Owen-Sims Starring: Kathryn Hartman, Libby Fleming, Helen Kim, Kelly Monisse, Dilroop Khangura Based on a play of the same name by Bo Wilson, and adapted for the screen/directed by Dean Owen-Sims, The Charitable Sisterhood of the Second Trinity Victory Church finds a heartfelt balance between comedic jibing and poignant drama through its sensational cast of five extraordinary female characters. Set in 1977 in small-town Virginia, we witness a charity drive run by a selection of devoted women. Because of a raging storm, only a few local gals have responded to the flyers put out by Bea (Kathryn Hartman), whose standing as the local pastor’s wife and penchant for exactness make her a formidable leader in the group. We meet first, however, Lorraine (Libby Fleming), a mother of nine (yes, nine! And one hamster) and newcomer Tina (Helen Kim), who strike up a friendly banter until the rest of the characters arrive. Later, we meet the fabulously dressed Janet (Kelly Monisse) and the timid Riley (Dilroop Khangura), completing the gaggle of do-gooders. As the friendly banter and pointed gossiping progress, more than a few secrets get unearthed, with potentially life-changing ramifications. The duration of the feature-length film is set in one room, creating a palpably theatrical atmosphere. Characters enter and leave sporadically, but the ensemble is generally in front of several cameras throughout. This setup may immediately distress some viewers, but for those of us who like contained drama and stories, director Dean Owen-Sims proves to be a safe pair of hands. Razor-sharp, rapid dialogue and fantastic performances all round make this a compelling watch. This gets elevated by the powerful themes that are subtly explored, such as religion, friendship, sexism, and power plays disguised as altruism. Whilst it would be tempting (and ironic) for viewers to dismiss the film’s content of ladies nattering, they would miss the stark realizations coalescing about society and, in particular, the female experience. An incredible aesthetic is created in The Charitable Sisterhood of the Second Trinity Victory Church , which feels undoubtedly seventies. Recreating this period transports the viewer into a bygone time where these characters were both pinnacles of the community and also shackled to its injustice, without feeling soaked in argumentative division that a modern tale could have fallen foul of. Minor criticism lies in the slightly underwhelming plot that, whilst moving, fails to leave a lasting impression, and the moments where the dialogue (whilst generally great) feels contrived - a difficult pothole to miss when adapting a play and filming it like one. That being said, faith-based comedy dramas are rare, and this one is a powerful statement on the capacity for movies (and theatre) to deliver something potent without feeling the need to “thrill” us every other frame with a new location or arbitrary distraction. We get treated to an intelligent, vigorous dissection of womanhood and morality in Western society that is as compelling as it is tragically relevant in 2026. The film will be released in theaters later this year in the UK, US, and Australia (limited theatrical release). Afterwhich the movie will live on in streaming at ee.watch/sisterhood Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >