L. U. N. A. film review by UK film critic Amber Jackson. Starring Fernanda Romero, Lauren DeShane, Lauren Bair directed by Blake Vaz. HOME | FILMS | REVIEWS L. U. N. A. Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Jan 25, 2022 Directed by: Blake Vaz Written by: Roman Arabia & Mike Bane Starring: Fernanda Romero, Lauren DeShane, Lauren Bair Chilling and confronting, L. U. N. A. is a short film behaving like a snapshot in time as character and viewer explore an old house with secrets hidden in its depths. Protagonist Lillian’s job is to inspect an issue with a L. U. N. A. device within the house and, in the process, accidentally discovers far more than she bargained for. The film itself has a ‘classic’ type of horror vibe to it, with the look and score reminiscent of series like Stranger Things in terms of the nostalgia that it creates. Technology aside, it feels almost old-timey to watch and the plot certainly fits this structure. Arguably, the best horror stories are the ones that keep the story simple and timeless and, as Lillian enters the creepy old house, tension is built very effectively and creates equal measures of fear and intrigue. When inside, Lillian meets an unassuming couple, Jamie and Sarah, who inherited the house from Sarah’s great-grandfather. They seem like a really friendly and loving couple, which is refreshing as it is always great to see positive queer representation especially in a genre like horror. The three women have great chemistry with each other, as they seek to discover the mystery of the L. U. N. A. device, and make the content of the film equally believable and terrifying through their performance. L. U. N. A. behaves like the fourth character in the piece as it is like a virtual technology assistant. Jamie and Sarah are both convinced that it is spookily speaking to them in Spanish without being prompted. Luckily for them, Lillian is able to act as translator and help uncover the deep unsettling aspects of the house. This idea makes the story memorable as it begs the question concerning if people should be so reliant on technology. In this instance, the device makes the women question if maybe it has its own agenda. As the film plays out, the viewer begins to question this too. Camera work around the house is excellent and observes its contents carefully and creepily without being too invasive. It does this with several tracking shots surrounding the house and therefore making it feel really three-dimensional. This compares with the different – and not always upright – angles used in the interior scenes to help to build suspense well, along with plenty of red imagery to make viewing all the more intense. Including these types of shots with jump-scares adds another thrilling layer to viewing as Blake Vaz ensures that every aspect of the film is unexpected. All things considered, L. U. N. A. feels like a film that is just beginning. It is a fantastic, well-written and adventurous watch, as well as containing some sinister moments that are unsettling, but intelligent. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film < All Reviews Next Film Review >

A Christmas Number One film review by UK film critic Chris Olson. Starring Iwan Rheon, Freida Pinto, Helena Zengel, Alfie Boe directed by Chris Cottam. HOME | FILMS | REVIEWS A Christmas Number One Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Dec 17, 2021 Directed by: Chris Cottam Written by: Keiron Self, Robert Chandler, Giles New Starring: Iwan Rheon, Freida Pinto, Helena Zengel, Alfie Boe What does every Christmas film need? Cancer. No need to check notes, this latest Sky Original movie about a plucky songwriter (Iwan Rheon) sees him trying to write a festive hit in order to bring a bit of joy to his even pluckier niece (Helena Zengel) who has been given a terminal diagnosis. Feeling festive yet? Fortunately, the bond between the two characters is expertly played by the two performers, creating a solid, emotional foundation for Chris Cottam’s direction to build from. The rest of the elements draw parallels to a slew of Christmas movies (imagine if the Bill Nighy character in Love, Actually was actually a thirty-something hard-rocker-with-a-heart and you are going in the right direction) and the film follows a familiar journey of never trusting anyone in the music industry, even at Christmas. A sugary romance plot with Freida Pinto contains all the unexpected twists and turns of a candy cane, leaving some room for her dealings with the entourage of heightened schmucks which make up the surrounding characters. None of this should work and I think the filmmakers know that. The polarising inclusion of heavy metal and Christmas songs gets no marks for originality (Rage Against the Machine were Christmas number one over a decade ago) but will certainly surprise a few viewers who click the festive film from their Sky Cinema listings and realise they have to endure the performances of a fake band called Skurve. The blend of optimism and cynicism is completely believable for a season that does divide opinion but makes for an awkward viewing experience teeming with cliches. The swearing and distortion mean A Christmas Number One fails to land in the family feel-good zone of Nativity and this isn’t bucking the trend the way Bad Santa did. It sits somewhere in the middle and is likely to get forgotten and discarded like so many Christmas presents because of it. So why four stars? It’s that central relationship between uncle and niece that makes this worth swapping out Elf for a different festive film this year. Rheon is perfectly grounded and bursting with emotional distress throughout his performance and Zengel brings so much charm it would take at least ten Hugh Grants to pin her down (that creates a rather disturbing image, doesn’t it?). This won’t be your Christmas number one film, it probably won’t break your top 20, but there is a fulfilling storyline here that may connect with some and will at least break the monotony of Netflix originals with Princess in the title. Skurve 4 Eva. Buy UKFR Banner Space About the Film Critic Chris Olson Digital / DVD Release, Christmas < All Reviews Next Film Review >

Bunnyhood film review by UK film critic William Hemingway. Starring Nina Wadia, Mansi Maheshwari directed by Mansi Maheshwari. HOME | FILMS | REVIEWS Bunnyhood Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Feb 27, 2025 Directed by: Mansi Maheshwari Written by: Anna Moore and James Davis Starring: Nina Wadia, Mansi Maheshwari A teenage girl gets hoodwinked by her mother in order to get her to hospital where she needs to have an important operation. From director and animator Mansi Maheshwari, Bunnyhood is a short animation which is based on an event which happened earlier on in her life, as well as her observations of the little white lies we tell each other that she found when she first came to Britain. As a student of the National Film and Television School, Maheshwari was able to develop her animation skills and blend them with her love of storytelling, especially in the comedy genre. Mixing a little bit of horror in with the comedy seemed like an obvious choice for Maheshwari, as she already had the outline of Bunnyhood fleshed out in her head from her own experiences, and the film was created as part of her graduation project. Bunnyhood follows the tribulations of Bobby (also Maheshwari), a teenage girl who lives her life as a lot of teenage girls do – playing video games, complaining a lot and constantly expecting food and other things to be provided instantly by her mum. On this particular day, however, Bobby’s mum (Wadia) has other designs on her mind, and a trip to the local burger joint, Big Patties, is posited as a rare treat. Unbeknownst to Bobby, Mum decides to take a little detour to the hospital and manages to use more little white lies to get Bobby inside, where a large portion of her family are already waiting. Once inside the hospital, Bobby is led through a prep room and then into the operating theatre where she is to get her appendix removed. The doctors and nurses begin to morph and transform into hairy demons which resemble the bunnies that Bobby was destroying earlier on in her video game. Under the effects of the anaesthetic, Bobby gets to meet her appendix and they have a discussion on the nature of white lies and trust, all while the operation is happening around them. Once Bobby comes out the other side she must then decide how much she can trust her mother, who tries to argue the necessity of protecting her from the truth, and how much that will affect their relationship from now on. The striking thing about Bunnyhood , is the animation style which Maheshwari has chosen to adopt to relay her story. Taking the form of what look like ballpoint scratchings, the characters and locations all emit a certain unnerving quality. Features such as the teeth and the limbs are prominent and exaggerated, and the movement of the animation sometimes feels like you’re being pushed through the middle of a fisheye lens. The whole impression that you get from watching Bunnyhood is one of a nightmarish fever dream, where nothing is quite as it seems and danger lurks around every corner. The off-kilter music provided by composer Marcin Mazurek also helps keep the viewer off balance, as a series of bangs and crashes and percussive noises are thrown around alongside the visuals. While Bunnyhood comes across as a fairly hairbrained and scattered animation, its style fits perfectly with the emotions and themes it is trying to portray. Nothing is clear for Bobby or the viewer and the feeling that anything could happen is all part of the shrouded narrative. There’s a slight resemblance of the Blue Meanies in Bobby’s appendix and Bunnyhood is not in itself a million miles away from the madcap freneticism of Yellow Submarine (1968) or some of Terry Gilliam’s work, where the audience is kept guessing as to what’s coming next. For what is obviously a personal story for Maheshwari, Bunnyhood gets across its message fairly clearly, it’s just that the manner of its delivery will not be to everyone’s taste. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Animation, Digital / DVD Release < All Reviews Next Film Review >

Mass film review by UK film critic George Wolf. Starring Martha Plimpton, Ann Dowd, Jason Isaacs directed by Frank Kranz. HOME | FILMS | REVIEWS Mass Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Oct 29, 2021 Directed by: Frank Kranz Written by: Fran Kranz Starring: Martha Plimpton, Ann Dowd, Jason Isaacs Jay and Gail (Jason Isaacs and Martha Plimpton) arrive at a local church, both uneasy about their planned meeting with Linda and Richard (Ann Dowd and Reed Birney). While the choir practices upstairs, a room has been reserved for the couples to talk. There is a small table with four chairs. There is water. And there are issues. An unthinkable tragedy has connected these four people for life, and veteran actor Fran Kranz explores their journey of healing with a gently assured filmmaking debut full of shattering emotion. Yes, you will need some of those tissues, too. But Kranz’s touch is so perfect, and the characterizations so real, that you never feel preached to, even with a large crucifix dominating the room. The four actors are raw and touching, each exploring different levels of anger, blame, guilt and forgiveness. Writer/director Kranz gives Gail the most complete journey, and Plimpton realizes it with an award-worthy turn, while Dowd finds the subtle grace in a final confession that could have easily turned overwrought. Mass is a spare chamber piece that makes sure nothing comes easy. You hang on every word, afraid to intrude on this intimate pain yet welcoming the invitation. With insightful writing, superb performances and unassuming direction, it’s a cathartic film that deconstructs an all too common tragedy with overdue honesty. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

8 Found Dead film review by UK film critic Hope Madden. Starring Rosanne Limeres, Tim Simek, Alisha Soper, Aly Trasher directed by Travis Greene. HOME | FILMS | REVIEWS 8 Found Dead Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 7, 2023 Directed by: Travis Greene Written by: Jonathan Buchanan Starring: Rosanne Limeres, Tim Simek, Alisha Soper, Aly Trasher There are a lot of important elements that come together to make a good horror movie: tension, dread, atmosphere, maybe blood and gore. But nothing is more vital than the villain. 8 Found Dead , the Airbnb etiquette horror from Travis Greene, brings the goods when it comes to villains. It seems Liz (Rosanne Limeres, splendid) and her husband Richard (real life husband Tim Simek) don’t have much to do now that their little hometown theater closed. But they can still put on a performance. Like pretending the Airbnb is double booked. Without Wi-Fi, how can anyone prove who’s really supposed to be there? Guess they’ll all just have to make the best of it. 8 Found Dead picks the same etiquette horror scabs as Speak No Evil or Funny Games – not quite as effectively, but with a macabre sense of humor that thoroughly entertains. Rather than taking a chronological approach, Jonathan Buchanan’s script uses nonlinear storylines to allow each set of victims its own performance. Why should anyone have to share Liz and Richard? Influencer Sam (Alisha Sope) and boyfriend Dwayne (William Gabriel Grier) head to an isolated Airbnb to make an announcement to Sam’s many followers. Carrie (Aly Trasher) and Ricky (Eddy Acosta) expect to join them, but they run late. Meanwhile, a 911 call brings two officers – an estranged married couple – out to investigate. Each pair could learn a thing or two about commitment from Liz and Richard. These two are in it to win it. 8 Found Dead dances around some of the obvious questions that films like Barbarian and Funny Games address head on. But it also gets points for homaging the greatest lodging horror film of all time. The opening falls to purposeless ogling – Jenny Tran’s performance deserved better – which the film struggles to overcome. But impressive editing and that shifting storyline keep Found Dead from ever getting stale. Plus, there’s the promise that we could get to know Liz and Richard even better. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Holiday Shuffle film review by UK film critic Charlotte Spark. Starring Franklin Genao, Cristal Pulgini, Valentin Moya Jr. , Lisa Tobias directed by Franklin Genao. HOME | FILMS | REVIEWS The Holiday Shuffle Film Review average rating is 2 out of 5 Critic: Charlotte Spark | Posted on: Jun 24, 2026 Directed by: Franklin Genao Written by: Zay Rodriguez Starring: Franklin Genao, Cristal Pulgini, Valentin Moya Jr. , Lisa Tobias The Holiday Shuffle is a short film focused on an office gift exchange with drama, humour and miscommunications. Directed by and also starring Franklin Genao as CEO Sergio Marquez, with a screenplay by Zay Rodriguez. The Holiday Shuffle won two awards back in 2024 for best ensemble and best comedy short at the New Jersey Film awards. Being in corporate meetings that feel like they will never end is something a lot of people can relate to. The Holiday Shuffle manages to ground itself in total realism with its environments to the characters themselves being authentic whilst also feeding into the holiday tropes. With the Christmas period being the most stressful time of year for many. The Holiday Shuffle manages to take that stress and turn it into a fun yet disastrous turn of events. With the rising concerns of a colleague messing with the secret santa seemingly being validated it all descends into chaos. A mischievous colleague decides to switch the secret Santa names, landing everyone with the wrong gift. It throws you right into the deep end without any characters fully established or without much context. Making the viewer go on a journey to piece the clues together . Which normally would harm the film but with a small cast it doesn't take long to fill in the gaps. Audiences will find that it isn't difficult to get a read on these characters, their personalities and roles. Which is a credit to the actors and their ability to sell you this story. With humor sprinkled throughout it does feel like a holiday workplace comedy. There definitely is a warming aspect to this film: the sets are well decorated and feel like a genuine office space. Unfortunately there are some flaws within this film that become very obvious to the audience. The viewer might notice the editing having some technical flow issues. Towards the end there started to be scenes where items vanished and then reappeared again. Which makes it disjointed for the story and jarring for the viewer. With a small budget you can only do so much but it was so noticeable it takes you right out of the scene and the film as your eyes seem to focus in on these items. Also for when characters were not the focal point of scenes they tended to over act with expressions. Which again is distracting to what the director is wanting us to concentrate on within the story. There is a classic holiday comedy in there but unfortunately it doesn't quite hit the mark. With some highlights within the cast are Cristal Pulgini as Ines Gomes and Valentin Moya Jr as Gabriel Alvarado. Who both deliver quip remarks and help establish themselves as frontrunners within the cast. An indie film that is definitely worth expanding on and fleshing out. With an upcoming short film titled 'The Locked Room’ which will be written, directed and edited by Franklin which is due for release this year. Maybe with a bigger budget we could see great things from Franklin Genao. You can watch The Holiday Shuffle in full on Youtube through Junito's Studios Channel. Buy UKFR Banner Space About the Film Critic Charlotte Spark Short Film < All Reviews Next Film Review >

The Art of Oppression film review by UK film critic Swati Verma. Starring Na directed by Patricia Francis. HOME | FILMS | REVIEWS The Art of Oppression Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jun 10, 2022 Directed by: Patricia Francis Written by: Patricia Francis Starring: Na The writer-director of the film Patricia Francis showcases art as a medium of expression for all the three female protagonists to raise their voices against all the injustices the male-dominated society has forced them to bear. The tile of the cinematic piece chosen by the filmmaker brings out the artistic viewpoint with a sense of realism to highlight the subject matter of the movie. The plot of the creative piece revolves around the three women who use their art skills to communicate the experience of marginalization and social injustice. They also talk about the issues that are needed to be dealt with just because of their gender. In the opening sequence, the letter O in white font with a purple tape on it signifies the lack of free speech, especially for girls. The black screen and the storyline commencing with the narration, the information that appears along with the music helps the film to keep the audience engaged with the content of the movie. The camera utilizes close-up and tracking shots to cover the detailing of the art exhibition and conversations to provide justice to the documentary/ experimental genre. The set design, costume, jewelry, hair, makeup, dialogues, and voice modulations are aptly planned to give shape to the short film according to the vision of the director. The inclusion of natural vegetation and clouds in the filming gives the movie a natural approach and allows all the ladies to dive into the emotions that need to be told to the viewers. In terms of performance, though the three women belong to very different cultures but are united by the struggles of fighting for their existence in Britain after Brexit and Covid. The first artist, the sculptor portrayed the pain and the agony of finding her real identity effectively. The second artist is an Asian woman, a poet, who has been a victim of discrimination due to her skin colour and just wants to be accepted by the people around her. The third is an African lady who struggles with problems like racism, body shaming and gender stereotypes. She is a strong woman who has learned to convey her emotional turmoil through bold paintings making all the characters relatable in the eyes of the audience. The Art of Oppression is all about resilience, hope and believing in oneself to fight for the rights given to them as a citizen irrespective of man or woman. The documentary talks about the need to accept and love self and then have expectations from others to do the same. The movie teaches the audience about the importance of being aware of one's identity and not be fearful to embrace it in any given situation. This experimental piece also tells the viewers how art, nature, and the hometown possess the power to heal the person suffering physically as well as mentally. The Art of Oppression wants to give a voice to the women of the country so that they can question the lack of opportunity and continuously the need to prove their talent despite being equally capable to their male counter parts in every field. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Zone of Interest film review by UK film critic Hope Madden. Starring Sandra Hüller, Christian Friedel directed by Jonathan Glazer. HOME | FILMS | REVIEWS The Zone of Interest Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 24, 2024 Directed by: Jonathan Glazer Written by: Martin Amis, Jonathan Glazer Starring: Sandra Hüller, Christian Friedel Jonathan Glazer takes his time between features. It’s been a full decade since his magnificent sci-fi thriller Under the Skin , which itself came 9 years after another somber piece of science fiction, 2004’s Birth. That makes the four-year span since his feature debut, the darkly ingenious Sexy Beast , seem insignificant. But there’s nothing insignificant about Glazer or his remarkable spate of compelling, surprising, thought-provoking films, capped off with his latest, The Zone of Interest. Told primarily in long shots that dwarf the characters within the larger physical context, Glazer unveils casual evil. It’s taken a few years, but Hedwig Höss (an astonishing Sandra Hüller) has built a little paradise in the home she and husband Rudolph (Christian Friedel) acquired when he was made commandant of Auschwitz. Between the house and camp is a large wall. On this side of the wall, lovely, meticulously cared for gardens, a pool, a green house, a dog frolicking here and there, and five healthy blond children. Just beyond the wall but visible in nearly every exterior shot in Glazer’s chilling film, the camp’s incinerator buildings. Though the Höss family thrives, equally oblivious and complacent concerning the boundless inhumanity that surrounds them, Glazer refuses to let the viewer miss its presence. That disconnect is the icy heart of The Zone of Interest . By setting the story within a minor family drama – Rudolph is being transferred because of the skill with which he manages Auschwitz and Hedwig is loath to leave the home she’s so painstakingly built – Glazer says more about the insurmountable horror of the Holocaust than most. He dramatizes nothing. Seeing how easily, how thoughtlessly and even eagerly human beings can benefit from incomprehensible inhumanity provides new, highly relevant perspective. Hüller stuns in a performance that’s never showy yet so deeply vile it’s hard to shake. She’s not alone. Glazer’s full ensemble excels. He adorns his tale with experimental flourishes that may be intended to cause discord, to provide the audience a moment to pause and reflect on the comfort with which human beings can carry out evil. These moments – except a late film glimpse into modern day Auschwitz – rarely achieve the same impact as the narrative. It’s a minor misstep in a film so assured and authentic. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Vortex, the Dawn of Sovereignty film review by UK film critic Jason Knight. Starring Cerise Rousseau, Emilie Rousseau, Michel Rousseau, Terence Rousseau directed by Michel Rousseau. HOME | FILMS | REVIEWS Vortex, the Dawn of Sovereignty Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Feb 8, 2022 Directed by: Michel Rousseau Written by: Michel Rousseau Starring: Cerise Rousseau, Emilie Rousseau, Michel Rousseau, Terence Rousseau A science fiction adventure filled with extraterrestrials, robots and spaceships. It is the year 2047 and the world is living in a state of dictatorship, where everyone is constantly being observed and living in fear. In Paris, a teenage girl named Serena is part of a resistance team and has found a way to travel to another dimension and that is through the use of special goggles that enable the wearer to see otherworldly portals that serve as paths to these dimensions. With the help of others, she must embark on a journey and find a way to be free. This feature wastes no time in showing the viewer that they are going to be experiencing extraordinary things throughout and it is quite a show. Right from the start the dystopian world is revealed, with vehicles of the authorities policing the streets, robot drones flying around, humanlike robots, plenty of guns and a flying gargoyle. However, things go to a whole other level when the action moves from the city and general human civilisation to space. Unsurprisingly, in space the mise-en-scene is rather different and there are spaceships, robots and all sorts of aliens, some of which look human while others look like insects. The audience follows Serena as she travels and meets a variety of characters. Michel Rousseau worked on this movie with his family. Apart from directing and writing, Michel also did voice acting for many of the characters and worked on the clothing, music and special effects. The result is quite rewarding to the eyes (and ears). The extraterrestrials and robots are all animated and so is most of the environment and vehicles. The 3D animation looks great and thanks to a great deal of imagination and creativity, the filmmakers created a world that will most likely make people think of Star Wars. There are plenty of weird characters to encounter, including an entity with a human form and a face filled with tentacles and a woman with hair that magically changes shape and colour. Although the special effects do not look very realistic, they are entertaining to watch and the movie does an OK job in mixing live action with animation. Sometimes, watching the animated scenes is like watching cutscenes from a video game. The music is one of the film's strongest aspects. It sounds dynamic and magical and it adds significant value to the scenes, creating an adventurous atmosphere. The cinematography looks beautiful and the editing makes effective use of the wipe technique. Generally, the acting is not very good and during the last twenty five minutes or so the film runs out of steam. The plot is fine, however the elements that make this sci-fi appealing belong primarily in the mise-en-scene, they are the surroundings, the animation and most of all the extraordinary characters. And as mentioned previously, there is the fantastic score. A small number of individuals collaborated in order to make this feature a reality and their efforts resulted in a movie that will most likely appeal to fans of science fiction. The story is about freedom, about being who one wants to be and Cerise Rousseau leads the film well as a character who is pursuing such goals. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Chapel of Rest film review by UK film critic Sophie. Starring Kyle Brookes, Sidney Kean directed by Iain Cash. HOME | FILMS | REVIEWS Chapel of Rest Film Review average rating is 4 out of 5 Critic: Sophie Price | Posted on: Feb 18, 2022 Directed by: Iain Cash Written by: Iain Cash Starring: Kyle Brookes, Sidney Kean Who would have thought that a cup of tea and a vengeful murder could happen all at once? Iain Cash’s new short film 'Chapel of Rest' takes on the meaning of simple but divinely executed, with a whirlwind of emotions and plot twists neatly packed into a fourteen minute short about avenging the unjust death of loved ones. From a director who’s previous films have won multiple awards such as Cash’s earlier film 'Dear John', ‘Chapel of Rest’ will live up to and exceed expectations of audiences with stellar writing and performances. The beginning of the film has a theatre-like feel, with the drama placed in the casual dialogue between funeral director Niel (Kyle Brookes) and priest Father Jones (Sidney Kean) sitting in an empty church accompanied by a single coffin. The pair spend time discussing their lives as both a funeral director and priest, as well as what happened to the deceased over a nice cup of tea Niel prepared for Father Jones. Even cracking jokes about the lives of a priest and funeral director amongst a global pandemic in a post-covid world of film. What truly makes the plot of this film standout however is the daringly simple plot twist that audiences will know in hindsight they should have seen coming, but nonetheless was surprising and elegantly executed. Niel tells Father Jones about how the deceased is a widower who died of old age after his wife and son both died from suicide, which in itself is a heavy concept but what Cash cleverly does with this information is slowly scatter clues in the middle and latter portion of the film about the truth: the family spoken about is actually Niel’s family, who’s brother died of suicide after being sexually abused by a preist by the name of Father Jones. Of course nothing in a film happens for no reason, even something as small as a cup of tea the priest drinks at the start which lo and behold contains a dose of poison given by Niel’s brother, just enough to paralyse and eventually kill Father Jones as a punishment for his crimes. What’s interesting about the plot is it leaves audiences lingering, waiting for action then it all comes at once as the pieces of the puzzle fit together smoothly. The penny drops for the priest along with the audience as the moments of realisation come to light. One could argue that the film’s build up dialogue took slightly too long for the purpose of the film to be revealed, however it is this build up that makes the twist that much more shocking. Kyle Brookes gives audiences an excellent portrayal of a surface level “average joe” with a myriad of malice inside. As both a stage and screen actor Brookes brings a variety of skills to his performance of the most important part of this film: the dialogue. Maintaining his cover as just another funeral director, no one would suspect the real reason he came to meet Father Joe until they catch on to the hints he is dropping halfway through the film. However once the truth is revealed his anger is evident but his face remains calm. This makes his emotions even more terrifying as he could erupt in violent outbursts but instead his character sneakily gets the revenge he’s sought for so long with a smile. Sidney Kean embodies the character of Father Jones with a similar depth to Brookes as both characters slowly but surely lose their outer facade of innocence as the film develops, the difference being Father Jones is guilty of the unimaginable and is caught in a well thought out trap laid by Niel and his family. As his frail elderly man demeanour wears off it’s clear Father Jones is only upset about being caught rather than for his actions themselves, which Kean shows well as an unsympathetic character about to meet his demise. Photography director Tim Follin does well at wrapping the film in grey cold tones to set the atmosphere from the opening shot, as well as cleverly placing the coffin mostly out of sight until it is opened and found to be empty. An interesting gem of cinematography in this film however is the end credits that roll over the backdrop of CCTV footage where the three brothers finish ending Jones’ life, which answers some audience questions that could be lingering from the final shot. Sound mixer and composer Nicolás Iaconis provides chilling pieces of music over the opening and closing credits of the film, but also makes use of quiet. If we consider silence a type of sound then Iaconis uses quiet not just because the scene is set in an almost empty church, but also forces audiences to focus on interactions between characters and makes the film all the more suspenseful. All of the above pieces of the film go towards its main themes of death, family, religion and revenge. The theme of death is clear from the opening of the film, with the setting and general atmosphere but Cash goes deeper than just writing a film about death. He explores complex issues such as the scandal of child abuse in the Catholic church and what it means to protect family members all while telling a dramatic and exciting story. Overall, audiences will be shocked and intrigued by ‘Chapel of Rest’. It might not be an easy or uplifting watch, but the dark issues Cash takes on are real issues facing our world. The film is one of high quality all around, from the plot to the script as well as performances and technical aspects. Short, not so sweet but entertaining is the recipe of this film, one that is well worth a watch with a nice cup of tea. Buy UKFR Banner Space About the Film Critic Sophie Price Short Film < All Reviews Next Film Review >

All Dogs Go To Heaven film review by UK film critic Nina Rawlingson. Starring Cindy Claes, Monika Valkunaite, Toro Cuenca directed by Sebastián C. Santisteban. HOME | FILMS | REVIEWS All Dogs Go To Heaven Film Review average rating is 3 out of 5 Critic: Nina Rawlingson | Posted on: Aug 18, 2026 Directed by: Sebastián C. Santisteban Written by: Gian Bonacchi, Cindy Claes Starring: Cindy Claes, Monika Valkunaite, Toro Cuenca Set in a dystopian future where an internal neural chip makes emotion void. F.1 (Cindy Claes), a government scientist, finds herself in a dilemma when a test subject, Grace (Monika Valkunaite), doesn’t take to the procedure, unearthing erased past memories and F.1 questioning her own morals and the long-term consequences. The opening sequence starts with a group of subjects explaining their experiences with the Unneurolink chip in flat, monotonous voices. All cogs in a machine. This cuts to the leading character, F.1, going into her monologue about Unneurolink and the effects it’s had on humanity. It tries to sell a positive insight to begin with, but we already get this unsettling feeling that something’s not quite right. F.1 is presented to us in an emotionless and regimented way, exactly how Unneurolink intended. Just another enforcer that gets the job done. From the beginning, the film is set in a sterile environment with a cold colour palette. It uses effective visual effects and editing to convey the future and how hope is lost for humanity. Whilst working on Grace, the only goal is to get her ‘fixed’, meaning to eradicate her emotions. Brain scans are displayed to show the activity across Grace and how it seems impossible. The tension between the two reaches a climax when Grace lashes out. F.1 begins experiencing flashbacks full of colour and joy, a dramatic moment followed by tears and heightened music. The film’s title ‘All Dogs Go To Heaven’ is stated in dialogue to portray how lost and corrupt the world has become. How humans are just pawns and emotion equals weakness. Towards the end, lighting is used to portray a sense of hope and connection between characters, using silhouettes and dialogue to create closeness. The storyline offers a thought-provoking exploration of humanity and the consequences of eradicating emotions. The opening introduction sets that premise up: a group of soulless soldiers to the system. A hierarchy of scientists to test subjects shown through the cinematography creates a constant sense of uneasiness. This is shown through shots on the table looking up, subjects feeling like they have no body autonomy. The editing immerses us into a future world whilst still feeling realistic; it is not overbearing and keeps us on track with the storyline. Overall, F.1’s character could have been fleshed out more and that may be due to pacing. The turnaround of the characters’ emotions could have benefited from a slower pace, giving space to such a switch-up, especially towards the end. The ending loses its momentum a little and could cause potential confusion with viewers. Sci-fi is hard to get right, especially on a smaller budget, but as a short film, it sends out a strong message. It is courageous but remains relevant about technology and society ever-developing. The cinematography and sound marry perfectly together, both high quality and impressive for a lower budget. They nail the intention of this film and leave us pondering on the ethics, values, and what has been lost. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Short Film < All Reviews Next Film Review >

Public Eye film review by UK film critic Jason Knight. Starring Davo Hardy, Caroline McQuade, Jason Spindlow, Richard Littlehales directed by Davo Hardy. HOME | FILMS | REVIEWS Public Eye Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 8, 2022 Directed by: Davo Hardy Written by: Davo Hardy Starring: Davo Hardy, Caroline McQuade, Jason Spindlow, Richard Littlehales A man creates an obscene video of himself online, which (much to his dissatisfaction) goes viral. Elliott (Hardy) is a happily married man who works as a presenter for a children's television programme called EduKidz. He has a good relationship with his wife Marcia (McQuade) and son Domicic (Littlehales) and he is hoping to land a starring role in a movie with an acclaimed director. Things appear to be going well for Elliott, until one day, he foolishly films himself with the webcam of his laptop as he masturbates and posts it on an adult website. Later, he (and his relatives and colleagues) is shocked to find out that the video of him is now all over the internet, has been viewed by countless of people and his identity has been disclosed. As his life proceeds to deteriorate due to public criticism and humiliation, Elliott must fight back and clear his name. This interesting and entertaining adult comedy explores how the internet and social media can affect a person's life. It shows how easily and rapidly these two factors can turn one's life upside-down and it warns that people need to be careful regarding the information they choose to put on the internet. It effectively explores how influential online social media are and reveals the negative side of the internet, including online bullies, hackers and the consequences of false information being posted online. Unsurprisingly, considering the plot, there is a great deal of adult humour and sexual content. There is a lot of sex talk and for sensitive viewers, it should be mentioned that there is very graphic nudity and sexual activities. The movie is not all about committing a disgraceful act and the internet. The narrative also explores family values, contains emotional scenes and it presents an individual's determination to stand up for themselves and set things right. Hardy is amusing as a simple guy who made a massive error and his life spirals out of control as a result. However, he is not the only victim here, as his wife also suffers from the wave of public anger and McQuade portrays that very well. Littlehales plays their teenage son, who reacts to the events in his own ways. This feature provides a comical perspective on the power of the internet and social media. Due to its content, it is not for everyone, however the plot is rather intriguing, the soundtrack is entertaining and if one fancies adult jokes, they will most likely enjoy this outrageous comedy. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >