Eye Without a Face film review by UK film critic Alicia Moore. Starring Dakota Shapiro, Luke Cook, Vlada Verevko, Rebecca Berg directed by Ramin Niami. HOME | FILMS | REVIEWS Eye Without a Face Film Review average rating is 1 out of 5 Critic: Alicia Moore | Posted on: Aug 8, 2021 Directed by: Ramin Niami Written by: Ramin Niami Starring: Dakota Shapiro, Luke Cook, Vlada Verevko, Rebecca Berg “An agoraphobic young man named Henry (Dakota Shapiro,) living with Youtuber and struggling actor Eric (Luke Cook,) hacks the webcams of young women. He begins to suspect that one of them is a serial killer and cannibal.” When writing reviews, I want to open with something that will make others feel intrigued enough to read and explore more of the text. However, there is no comparison between a three minute read and a nearly two hours long film – it is imperative to gasp viewers almost immediately in film. Eye Without a Face unfortunately leaves you wondering if there will ever be a moment of true intensity; one weighted enough for you to become part of the horror story that is strenuously unfolding. Eye Without a Face progresses very slowly, in both the storyline and visually through cinematography. The story doesn’t expand at all and eventually just becomes predictable. Not predictable in a familiar ‘well, at least I can expect any sudden terrors now’ type of way, it feels more disappointing that you can instantly guess where the story is leading and how it will conclude. As well as this, there are elements of backstory introduced that aren’t expanded upon efficiently either. My guess is that such a painful backstory given to Henry was to make viewers feel conflicted within themselves; to feel empathy and sympathy for someone who is, simply put, a criminal. But because of the lack of further explanation it doesn’t have that effect. I felt a bit like Henry as I was watching the film – stuck in a dimly lit room in front of my computer, surrounded by unnerving silence that made me squirm in my seat. Maybe that was the intent, to make viewers feel as if they are part of Henry and his troubles, but if that was the intent then it definitely could have been executed better. I wish I was squirming like a fish out of water because I felt compelled by the horror in front of me but I was simply flapping around in hopes that the silence would collapse in on itself sooner or later. There are some wonderful shots to pinpoint throughout the film. There are many repeated sequences used throughout too which does add some good context to Henry’s surroundings and the outside environment that he struggles with, but there’s only so much repeating you can let your eyes take in. These up-close, computer screen sequences could have made a huge impact if they were rapidly used within the first quarter of the film. This would have given audiences a wider insight into the characters’ lives before the focus of blood and knives decide to ensue. Dismissing the repetitive aspect though, one of my favourite shots throughout Eye Without a Face is the long running introduction to Henry’s house window. The suspense this scene in particular gives at the start of the film is amazing; I just wish camera work like this was used more often and more appropriately throughout the film to better build on atmosphere. The acting is alright overall — most of the written dialogue can make it extremely hard at times to either take some characters seriously or to not recoil in discomfort at their choice of words. I do have to commend Dakota Shapiro for his portrayal of Henry; especially in the ending climax. It would be incredible to see him work on another character with deeper, disturbed emotions since his great understanding of this side of acting and how he can use his tone of voice, volume and body language to portray these emotions almost felt wasted here. Eye without a Face takes an interestingly modern approach to horror through the use of technology while also incorporating the dangers of social media. It may not be as ‘chilling’ as other films in a similar category, Unfriended immediately comes to mind here, but it will make you want to tape up all of your webcams for sure… so if you want a striking addition to any paranoia on this subject, give it a watch. Eye Without a Face will be on digital 23 August 2021. Buy UKFR Banner Space About the Film Critic Alicia Moore Digital / DVD Release < All Reviews Next Film Review >

Swallow Your Dreams film review by UK film critic William Hemingway. Starring Paul McGann, Amy Bailey directed by Dan Sloan. HOME | FILMS | REVIEWS Swallow Your Dreams Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 11, 2022 Directed by: Dan Sloan Written by: Dan Sloan Starring: Paul McGann, Amy Bailey There is a long standing debate which has never been fully resolved as to whether, for the artist, the taking of drugs and stimulants is beneficial, even necessary, or if in the end it is always a stifling hindrance. There is a certain level of creative genius which seems to go hand-in-hand with addiction and the image of the tortured artist trying to smoke, drink or snort themselves out of the melancholia of life is still one which exists today. The modern generation, however, may never become familiar with the antics of Oliver Reed, Peter Cook or Alex Higgins and would perhaps only feel anxiety, embarrassment or disgust at behaviour that for those who witnessed it first hand produced joy and delight – the infamous appearance of Ollie on Aspel being a case in point. Van Gogh had his Green Fairy, Thomas De Quincy had opium, Bob Marley had weed and William S. Burroughs had morphine – perhaps the reason that most art, TV, music and film today is sterilised, stale and unimaginatively similar is because those producing it can't risk any backlash for fear of being cancelled and have therefore become constrained into being dull as dishwater. In his new short film, Swallow Your Dreams , writer/director Dan Sloan tackles this debate, somewhat with kid gloves, through the world of Classical music and the idea of reaching for a dream. James, played in a piece of clever casting by Withnail and I's Paul McGann, is a concert pianist who believes he has something more to offer. He's recently taken to popping a couple of undesignated pills at night and he's been dreaming of a symphony which he just can't seem to get a grasp of in his waking life. James has been becoming increasingly distant, keeping his wife in the dark about his drug taking and bunking off work to keep his concentration on the beautiful music in his head. He's been spending lots of time in the recording studio and keeps on returning to put his hands on the keys, but as yet nothing's happening and people are starting to get worried. James' wife, Olivia (Amy Bailey) is angry about the deception and she recognises the beginnings of the vice-like grip of addiction seeping into James' behaviour. She confronts him, hoping to get him to see the irrationality of his actions, as well as how he's hurting those around him, but her intervention falls on deaf ears. The perfect, elusive piece of music is all that matters to James now and the drugs are the only way he sees in being able to access it. Production-wise, Swallow Your Dreams is outstanding. The placement and movement of the camera, the colouring, the lighting, the backdrop of the studio and the concert hall, are all beautiful to watch and perfectly encapsulate the loneliness and yearning of the journey that James is on. Both leads, too, are excellent in their roles, with McGann perfecting his fifty yard stare as he looks right through his wife in their scenes together. Then, of course, the music by Benjamin Woodgates is suitably evocative and urgent, playing us continually through the story as we feel the ups and downs of James' search for himself through his unfinished symphony. It is telling though, that Sloan's film is a product of its time, as he gently encourages us to look in on James' predicament without fully exploring it. The drugs are presented not as illegal narcotics garnered from a criminal underworld but as a prescription based pill of which his dosage is 'only what it says to take'. Similarly, Olivia only responds with anger, judgement and condescension, blaming James for his bad choices rather than offering up any understanding or support, much like the cancel culture of today. It is clear that the issues being raised in the film aren't being dealt with in any depth and therefore it lacks any real punch in getting to the heart of the matter. This is a shame as there is real merit to the basis of the story and the characterisation as well as the quality of the production being so strong. Who knows? Perhaps a trip to the Amazon for a wee ayahuasca holiday might do Sloan's storytelling the power of good; but then again The Verve were most probably right when they said, 'The Drugs Don't Work'. Just Say No, kids. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Crumb Catcher film review by UK film critic Hope Madden. Starring John Speredakos, Ella Rae Peck, Rigo Garay directed by Chris Stotchdopole. HOME | FILMS | REVIEWS Crumb Catcher Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jul 17, 2024 Directed by: Chris Stotchdopole Written by: Chris Skotchdopole, Larry Fessenden, Rigo Garay Starring: John Speredakos, Ella Rae Peck, Rigo Garay You want to see a nice evening unravel quickly? Chris Skotchdopole takes an intriguing premise—groom gets too drunk on his wedding night and can’t quite remember what happened—and layers on something hypnotically, catastrophically banal. Leah (Ella Rae Peck) and Shane (Rigo Garay) have not started their marriage off on the best foot. Last night was a bust, but maybe a quiet honeymoon at Leah’s boss’s gorgeous, art-bedecked cabin will right things. Garay and Peck develop a believable antagonism, Skotchdople’s first sleight of hand. Because the performers and the writing (penned by the director along with Garay and Larry Fessenden) slowly deepen and tenderize the relationship so that you buy them as a couple, and hope for their best. And then. Most couples contain one person who cannot bear to be rude to someone no matter how obliviously, insistently annoying that person is. The other member of the couple can’t decide who to be angrier with, the annoying stranger or their own placating partner. John (the magnificently deranged John Speredakos) is that annoying creature, and you have absolutely met this guy before: doesn’t pick up on hints, aggressively friendly, needy and clearly has an agenda. So it is with much contention that the newlyweds greet John late on their first night together at the cabin. What follows is a bold mix of home invasion horror, comedy of manners, and absurdist timeshare nightmare. Skotchdopole’s feature debut benefits from his years behind the camera, including shooting Fessenden’s 2019 Frankenstein analogy, Depraved . Crumb Catcher ’s disorienting camera emphasizes its chaotic, freakshow quality and visually represents the rising anxiety of the hellish social trap. Garay delivers an often internal, tender performance nicely offset by Peck’s droll sarcasm. Lorraine Farris turns in strong support work as well, but Speredakos owns this show. His display of desperation and entitlement turned delusional would be hilarious were it not so unsettling. Skotchdopole’s managed a tightwire of tones, delivering a tense and compelling thriller that turns banality into a weirdly funny nightmare. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Countryman film review by UK film critic Alasdair MacRae. Starring Andy Kastelic, Marie Wagenman, Vic Browder directed by Andy Kastelic. HOME | FILMS | REVIEWS The Countryman Film Review average rating is 3 out of 5 Critic: Alasdair MacRae | Posted on: Jan 14, 2023 Directed by: Andy Kastelic Written by: Andy Kastelic Starring: Andy Kastelic, Marie Wagenman, Vic Browder Envisioned as a slice of post-war rural Americana, and captured in crisp black-and-white cinematography, The Countryman is an unconventional and strained Christian allegory. A dramatic murder opens the film, a farmer (Jack Forcinito) slain before his granddaughter’s eyes, pitchforked by a neighbour and rival (Vic Browder). A stylish shot of the pitchfork swinging like a bell tolling sets the mood. As the young girl rushes to his side, the victim’s spirit rises up and takes the place of the film’s narrator. He wanders the open landscape delivering a fast-paced walk-and-talk-to-camera spiel, “We all got dirt in our pockets – you, me, even Clark Gable – difference is we farming folk make the most of it”. An obscure interlude of tonal whiplash as what is possibly an excerpt from an ad for cranberry juice rolls into a story of poverty and hardship breeding desperation, betrayals, and bitter feuds amongst a farming community, leading up until the moment a fair-faced, open-hearted stranger (Andy Kastelic) strolls into town offering cash in exchange for the townspeople’s hatred. After an early hesitance to believe in the stranger’s unusual proposition most of the villagers are willing to accept it after a demonstration. Most, save a twelve-year-old girl (Marie Wagenman), the granddaughter of the murdered farmer. A darkness seems to preclude her from accepting in the stranger’s salvation, which haunts not only her, but her opposite number in the murderer. Paradoxically she keeps the stranger close but refuses to relinquish her hatred. As the battle between love and hate persists an indulgence in the pathetic fallacy of storm clouds rolling in is too hard to resist. The contrast in the monochromatic images increases and the blacks darken, the atmosphere of the film gets sucked into the storm, setting up a chiaroscuro climactic confrontation. Whilst the tone of The Countryman may be inconsistent, and it may have an unfortunate tendency to lean into cliché whether it be in its representation of a farmer’s life, or its decision to revolve around a young girl and a Christ-like figure, there is great beauty to be found in such an operatic tale. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

The Goose That Laid the Golden Egg film review by UK film critic James Learoyd. Starring Andy Evans, Hannah Fierman, David de Vries directed by Doug Bremner. HOME | FILMS | REVIEWS The Goose That Laid the Golden Egg Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jul 7, 2026 Directed by: Doug Bremner Written by: Doug Bremner Starring: Andy Evans, Hannah Fierman, David de Vries The Goose That Laid the Golden Egg is a new courtroom drama, written and directed by Doug Bremner. Apparently inspired by a true-life case, the film begins with a mother (Hannah Fierman) and son. The son has acne and is taking a drug called carinaderm to treat it. A truly harrowing and uncomfortable scene then follows in which the mother discovers that her son has committed suicide. She then seeks out any kind of evidence that may explain what caused this tragic event. Andy Evans stars as the psychiatrist Jack Forteo who brings the case to the fore, following the research proposal by Fierman’s character, and whose research into the effects of the drug on teenagers serves as the main dramatic crux of the story. This is an ambitious movie with a great many strong elements, but it doesn’t always succeed in being the hard-hitting docudrama it perhaps sets out to be. Taken in full, this is a successful piece of storytelling, and one which is also visually and audibly refined. However, the opening scene I’ve just described is one of a couple examples of scenes whose dramatic intentions outreach the film’s tonal ability. To explain, most of this film is a conventional talky movie, with a mainstream feel and slightly heightened characters (despite the based-on-real-life preface). This unfortunately means that the traumatic opening and deeply serious subject-matter lacks the required grounded feel; or, at the very least, then clashes with scenes that are relatively playful. Just to get the other negatives out the way before we delve into the positives, there is a surplus of drone shots and generic-sounding electronic background music. These things sadly pull the work down into modern TV-movie territory and, again, this demonstrates a slight inconsistency of tone. As I alluded to earlier, the cinematography and sound is sturdy and operating at a high level. In terms of the visual arrangements, there’s a really pleasing usage of dolly shots which an audience is bound to find both stylistically immersive and technically impressive for a relatively low-budget production. The director of photography also showcases great control over the imagery in terms of lighting and movement. Nothing is especially showy or colourful, but it does have that slightly cold, omniscient Fincher-esque look about it which suits the narrative well for the most part. And the audio recording is as good as it gets; it’s simply the choice and placing of the music that this critic takes issue with. The performances are all incredibly enjoyable, and all of a fairly similar register which is a sign of good direction as well as good actors. Although, the performances are slightly unusual for this kind of story, for they have lighter aspects, cartoonish accents, and are heavily made up to look like their characters. Yet, it all adds to the richness of the film, and maybe the characters need to be more fun to diffuse the intense tension of the plot. Very much evoking and drawing heavily from many of this critic’s favourite films of all time – specifically The Insider and Dark Waters – we're certainly reminded of how involving a good legal drama can be when directed by someone who truly cares about the genre. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Lola Dust film review by UK film critic Patrick Foley. Starring Jade Pattenden, Hugo Raymundo, Leonard Reese directed by Dom Cutrupi. HOME | FILMS | REVIEWS Lola Dust Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 27, 2024 Directed by: Dom Cutrupi Written by: Dom Cutrupi Starring: Jade Pattenden, Hugo Raymundo, Leonard Reese AI and deepfakes already present a troubling conundrum for democracy in their relative infancy. The next decade and beyond could mean a breakdown in the trust of our own eyes and ears at best and the outright manipulation of reality by malicious actors at worst. Lola Dust is Dom Cutrupi’s dark interpretation of this possible future: a flawed film but one with a disturbingly realised vision. Nadia (Jade Pattenden) is an aspiring actress who takes a mysterious audition that stands out from the rest of her experiences in the dehumanising film industry. All feels normal at first, but when manipulated footage appears of her on the news under a new alias – Lola Dust – announcing an affair with the UK’s controversial Home Secretary (Alex J. Campbell), she realises she has signed over her likeness to an elusive organisation, and legally agreed not to reveal her true identity. But when ‘Lola Dust’ becomes a firebrand celebrity for her extreme views, Nadia has to find the truth behind her alter-ego before her whole life is consumed by a lie. Lola Dust is a captivating drama about the world of behaviour influence, manipulation and malicious electioneering. Set a short leap into the future, its dystopian story is one that is scarily contemplatable. Similar to Black Mirror’s haunting 2013 episode The Waldo Moment , it features a generated viral character being thrust to the forefront of culture, and being used by forces to spread chaos and fear into a political bloodstream. Nadia represents the truth in the story – but as the adage goes, a lie can spread around the world before the truth gets its shoes on. The film feels relevant and pertinent in 2024 – a year of elections in which social media has played a crucial part. Fears of AI being used to attempt last minute interventions were unfounded this time, but given that the unhinged head of one of the world’s largest social media companies is now being invited to The White House, it shows how important defining truth in people’s minds can be. Lola Dust addresses this through the popularisation of an influential character that causes a breakdown in a society – with a message that division can sometimes be the most powerful weapon to those looking to undermine the truth. The film’s dialogue is clunky and at times struggles to maintain authenticity for a story that is meant to be set in the not-so-distant future. Awkward references around the news reporting of the Home Secretary’s sex scandal don’t flow well, particularly to audience members who are likely to be attuned with politics. There are also plot holes or story beats that do not receive a satisfying explanation, such as why Nadia doesn’t make her own video explaining her situation – particularly once it becomes clear her faceless adversaries are operating outside the law and that the contract she has signed surely cannot be enforced. The filmmakers do try and address these points, but their efforts are underbaked. The film is well-produced with solid visuals and a strong double performance from Jade Pattenden, who effortlessly switches from hopelessly romantic actress Nadia to the ferocious bigot Lola Dust. The poor narrative is outperformed by the production, and the themes the film explores, whilst verging into science-fiction, are interesting and relevant enough for Lola Dust to work as both an engaging thriller and foreboding prediction of the near-future. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Top Gun: Maverick film review by UK film critic Hope Madden, George Wolf. Starring Tom Cruise, Miles Teller, Jennifer Connelly directed by Joseph Kosinski. HOME | FILMS | REVIEWS Top Gun: Maverick Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 25, 2022 Directed by: Joseph Kosinski Written by: Erin Kruger, Eric Warren Singer, Christopher McQuarrie Starring: Tom Cruise, Miles Teller, Jennifer Connelly Sentimental, button-pushing and formulaic, as predictable as it is visceral, Top Gun: Maverick stays laser-focused on its objective. Attract crowd. Thrill crowd. Please crowd. Expect bullseyes on all three fronts, as star Tom Cruise and director Joseph Kosinski take a couple cues from the Star Wars franchise in reconnecting with friends and re-packaging feelings. After all these years in the Navy, Pete Mitchell’s “Maverick” tendencies have kept him from advancing past the rank of Captain. And when Pete blatantly shows up Admiral Cain (Ed Harris), he’s in danger of being grounded until Admiral “Iceman” (Val Kilmer) rescues him with orders to return to Top Gun and whip some new flyboys and girls into shape for a secret mission. One of those young guns is “Rooster” (Miles Teller), son of “Goose,” who resents Maverick for more than just coming home alive when his father did not. Against the wishes of Admiral “Cyclone” (Jon Hamm), it is Maverick who will train the 12 Top Gun pilots, and then pick 6 to take out a newly discovered uranium plant that poses a clear and present threat to the U.S. Who’s doing the threatening? We never know. Does it matter? Not in Maverick ‘s world. The screenplay-by-committee doesn’t stretch anybody’s imagination or talent, with early hotshot dialog so phony it feels like a spoof. But nobody came for banter. We came for nostalgia, flight action, and – god help us – Tom Cruise. He delivers, in his inimitable movie star way. He cries on cue, runs like his hair’s on fire, and burns charisma. What more do you want? Romance? Here’s old flame Penny (Jennifer Connelly), who now runs that famous San Diego beachfront bar and just happens to be a single mother who might be looking for someone as ridiculously good-looking as she is. As both characters and actors, they click. Cruise’s chemistry with a mainly underused Teller – who really looks like a chip off the old Goose – finally gets to show itself late in the film, exposing both tenderness and humor in its wake. And once we’re in the air, get in front of the biggest screen you can and hang on. Kosinski’s airborne action sequences are often downright breathtaking, every moment in the danger zone moving us closer to that Goose/Rooster/Maverick moment that has no business working as well as it does. It’s emotional manipulation, but not nearly as garish an act as Val Kilmer’s thankless role. Still, Cruise and Kosinski know it’s nostalgia that flies this plane, and Iceman is part of the plan that starts right from that original Kenny Loggins tune heard in the opening minutes. From manufactured rivalries to shirtless team building to the entrance of a surprise Top Gun instructor from last night at the bar, Maverick sells us back what we first bought back in 1986. And dammit, it feels even better this time. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Neram Nallaruku film review by UK film critic Jason Knight. Starring Arivazhagann Abel, Sivakumar Meenashre, Prabu Kirubaahgara, Rifath Mohamed directed by Arivazhagann Abel. HOME | FILMS | REVIEWS Neram Nallaruku Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 8, 2026 Directed by: Arivazhagann Abel Written by: Arivazhagann Abel, Mridul Samrat, Meenashre Sivakumar, Akram Mohammad Starring: Arivazhagann Abel, Sivakumar Meenashre, Prabu Kirubaahgara, Rifath Mohamed A short crime comedy from Singapore, written by Arivazhagann Abel, Mridul Samrat, Sivakumar Meenashre and Akram Mohammad, directed by Abel and starring himself, Meenashre, Prabu Kirubaahgara and Rifath Mohamed. Just explaining that the English translation for ''Neram Nallaruku'' is ''Time is Good''. A kidnapping is taking place and the people involved are not sure how to deal with it. The two abductees are Varun (Arivazhagann), an insecure young man who suffers from panic disorder and Pavithra (Meenashre), the woman he intends to propose to with the discreet help of his friend, Akash (Nachiappan S). However, before he is able to find the courage to do so, the two of them are snatched by Kaali (Kirubaahgara), a criminal who intends to use them threaten Pavithra's gangster brother, Rudhra (Mohamed) for ransom. The film begins with a humorous title card explaining the meaning of panic disorder, indicating that this is not going to be a serious viewing and it is not. Following an intended marriage proposal that does not occur, the criminals enter the scene, and they are not very efficient, leading to a series of awkward events that include a phone conversation about ransom that ends up full of misunderstandings and an inprisoned Varun calling Akash and asking for life-saving advice while the latter gives it by chilling in front of the TV. A story filled with misunderstandings and clumsiness and the comedic atmosphere is supported by Surya Sahish's amusing music. The acting is not convincing, however it is still entertaining, with the cast making the characters come across as naive in the face of life-threatening situations. Varun is mostly serious or perhaps oblivious to his situation, not knowing how to handle things. Pavithra is rebellious and as for Rudhra and Kaali, well, they appear to be inexperienced when it comes to kidnappings. But utilising an abduction concept, this short tells a story about naivety, deception, misunderstanding and mortal danger. Additionally, it also manages to be a commentary about romance and self-esteem. This is just twenty minutes of fun, watching a kidnapping having unexpected complications to comical effect. And the animation during the credits deserves commendations. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

A Dishonourable Death: at Twenty-Seven Minutes Past Six film review by UK film critic Jason Knight. Starring Christos Lawton, David Fulton, Roger Thomson, Claire Rafferty directed by BLOK. HOME | FILMS | REVIEWS A Dishonourable Death: at Twenty-Seven Minutes Past Six Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Mar 5, 2023 Directed by: BLOK Written by: BLOK Starring: Christos Lawton, David Fulton, Roger Thomson, Claire Rafferty A duel is taking place in 19th century England. The location is Aylesbury, the year is 1837 and a carriage is traveling in the countryside. Inside are two gentlemen, George (Lawton) and Thompson (Fulton). They are on their way to meet a Chinese man for a duel between him and George. George believes that the Chinese man insulted his wife and he wants to get even. However, when they arrive at the arranged location, instead of the Chinaman, they encounter a family of travellers, consisting of Seamus (Thomson), his wife Catherine (Rafferty) and their young daughter. Things quickly get complicated and out of hand, resulting in terrible consequences. From start to finish, this short dark comedy drama never ceases to impress, whether it is thanks to the entertaining and well-written dialogue, the terrific performances, the impressive mise-en-scene or the wonderful score. Regarding the screenplay, the story is comical and kind of dark. Beginning with a quote by acclaimed English writer Samuel Johnson, the film then moves on to its rather sinister narrative involving revenge, murder, racism, social class conflict and...a special cane. There is plenty of dark humour, clever dialogue and some rather shocking and dramatic moments. The outstanding cinematography BLOK is one of the best aspects of the film. There is a fun sequence where the film turns into an advert about a multi-purpose cane, which utilises creative cinematography, making the image look scratched and damaged. This sequence stands out significantly due to the creativity and Fulton's performance. The characters are eccentric and all cast deliver dynamic and entertaining performances. Lawton's character is the main one, more of an anti-hero actually and he is an angry man determined to seek justice for his reputation. The mise-en-scene is another area where this film succeeds immensely and this is thanks to Aartthie Mahakuperan. The costumes, carriage and pistols look genuine and effectively bring the viewer back to that time period. Composer Pete Blyth is another person who makes a superb contribution. The music is rather creative and creates a sort of comedic and extraordinary atmosphere. The film is separated into chapters, each of which begins with a title card that contains the chapter's number and a quote by one of the characters. The title cards are also accompanied by the sound of a large bell and the ticking of a clock and praise also goes to these sound effects. This short is approximately ten minutes long, yet thanks to creativity and massive effort, it has the production value of a mainstream feature. Directing duo BLOK have made an enjoyable and dark film that offers a memorable experience and it is exciting to think about what they will achieve in the future. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Cheaper By the Dozen film review by UK film critic George Wolf. Starring Gabrielle Union, Zach Braf directed by Gail Lerner. HOME | FILMS | REVIEWS Cheaper By the Dozen Film Review average rating is 2 out of 5 Critic: George Wolf | Posted on: Mar 18, 2022 Directed by: Gail Lerner Written by: Kenya Barris, Jenifer Rice-Genzuk, Craig Titley Starring: Gabrielle Union, Zach Braf By now, you’re probably pretty familiar with the premise of Cheaper by the Dozen. But really, the best way for adults to enjoy this new Disney version is by using it as a way to gently introduce small children to more grown up issues. Otherwise, it’s pretty insufferable. This time, the heads of the blended brood are Zoey and Paul Baker (Gabrielle Union and Zach Braff), who first meet cute at the L.A. breakfast joint he owns. Their marriage and eventual offspring create a blended family full of diverse and seriously precocious siblings, step-siblings, and later a wayward cousin in need of some guidance. Throw in two ex-spouses (Erika Christensen and Timon Kyle Durrett) who are never far from the shenanigans, and that’s the way they become the Baker bunch. Director Gail Lerner and the writing team of Kenya Barris, Jenifer Rice-Genzuk and Craig Titley all have extensive credits in series television, which would be a good reason why everything about this film screams “TV sitcom.” Plot points are hastily introduced and heavily contrived, while any conflicts are soft-peddled and quickly worked through with barely a bad mood or sass mouth in sight. One thing you will see is some surprisingly modest set design (especially for those high school basketball games, yikes) that too often seems fit for an afterschool special. The Bakers get a corporate offer to franchise the diner and market Paul’s special cooking sauce, so the gang moves on up to a sprawling house in Calabasas that requires just one afternoon to completely move into. But settling into a new home brings some challenges for everyone. There’s bullying, peer pressure, and dating drama for the kids, while the parents face bless-your-heart prejudices and questions about mixed-race parenting. Union and Braff are both likable actors, and that’s all they are asked to be, because no one in the film comes anywhere close to resembling a real person. And much like these characters, all the worthy issues raised are treated with a “we got 23 minutes minus commercials” mindset and wedged in between telegraphed attempts at humor and constant mugging. The PG rating is a bit surprising, because despite the warning of “thematic elements, suggestive material, and language,” everything here is as sanitized as a freshly minted urinal cake. Cheaper by the Dozen , yes. And you get what you pay for. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Fall On Me film review by UK film critic Jason Knight. Starring Francis C. Edemobi, Ashley Fuller directed by Isaac F. Davis. HOME | FILMS | REVIEWS Fall On Me Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 4, 2022 Directed by: Isaac F. Davis Written by: Isaac F. Davis Starring: Francis C. Edemobi, Ashley Fuller A New York City couple struggle to determine whether they are right for each other. This is a romantic drama about Atticus (Edemobi) and Ava (Fuller), who have been in a relationship for several months and things between them begin to fall apart as they each try to understand their emotions and find out whether they have found the love of their life. This emotional story is split into three chapters, each with its own title. The screenplay reveals the tender and loving relationship of the couple and the feelings they have for each other and themselves. The two of them have deep conversations about how things are going between them, they walk around New York and generally seem happy together. There are scenes that are imaginative and bring the viewer into the mind of the two protagonists. These scenes are quite dramatic and show how the person is feeling and the inner struggles that they deal with. Both Fuller and Edemobi do a fantastic job with their moving performances, playing a couple whose relationship is taking a dramatic turn due to uncertainty regarding who they are and what they want. The two of them also provide dramatic voice-over. As the director, Davis does a great job and creates wonderful establishing shots of New York City, capturing some of its most famous locations, including Times Square and the Statue of Liberty. Davis also worked on the editing and develops methodical montage sequences. There is also effective use of slow motion that helps generate drama. Shiro Sagisu makes a remarkable contribution with the outstanding score. The music is powerful and dynamic at times, at others it is gentle and romantic. With beautiful piano and violin melodies, it builds up a great deal of emotions. As the director of photography, Luis Hernandez develops terrific cinematography and there are some rather creative lighting techniques. This romantic and poignant short film explores themes of romance, self-worth, inner struggles, honesty and self-discovery. It is very well made, has strong acting and looks into issues that many people who are in a relationship will probably identify with. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Black as Night film review by UK film critic George Wolf. Starring Asjha Cooper, Keith David, Fabrizio Guido directed by Maritte Lee Go. HOME | FILMS | REVIEWS Black as Night Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Sep 30, 2021 Directed by: Maritte Lee Go Written by: Sherman Payne Starring: Asjha Cooper, Keith David, Fabrizio Guido “That was the summer I got breasts and fought vampires.” Yes, a lot is happening in Shawna’s life, but Black As Night never loses that matter-of-fact teenage perspective even as it broaches some plenty familiar horror terrain. Shawna (Asjha Cooper) and her BFF Pedro (Fabrizio Guido) uncover a ring of vampires in their New Orleans precinct, and it’s going to take some help from the hunky Chris (Mason Beauchamp) and a privileged Twilight fan (Abbie Gayle) to track down the lead bloodsucker and take him out. Black As Night is part of 2021’s “Welcome to the Blumhouse” collaboration with Amazon, and it continues last season’s focus on films by and about women and/or people of color. Director Maritte Lee Go and writer Sherman Payne mix Candyman ‘s themes of gentrification and disposable populations with the surface level adventures of Buffy and The Lost Boys for a vampire tale that is most noteworthy for its fresh cultural lens. The message isn’t unique or particularly subtle, production values can be shaky and there’s a hearty helping of exposition shortcuts, but these kids have spunk. Cooper makes Shawna’s journey from insecure wallflower to confident vampire killer an endearing one, and Keith David is here to lend his always welcome gravitas. And though it often feels like Black As Night is content to just jump on a crowded ride, it consistently finds small moments to call its own. Plus, large numbers of vampires to kill! So, how was your summer? Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >