Trailers for movies coming out in February 2020. Watch these exciting film trailers and find out what to watch in cinemas in Feb this year. February Movie Trailers Arguably the most important month in the film calendar, these February Movie Trailers should whet the appetite of any cinemagoer looking for some essential viewing before the all-important Oscars. Often, the first couple of months of a new year are chock-a-block with movies that are shoe-ins for nominations and wins. Whilst this page might include an array of trailers of films coming out in February, they may not all be award-winning material, such is the fantastic variety of film. If you want to stay up to date with our trailers, follow us on Facebook (link in the footer) where we upload and promote them regularly. You can even leave a comment if you are feeling particularly brave/troll-y. As with all our content, any help spreading the good word is much appreciated. So if you can share this with your digital pals, and tag us wherever possible, we would be oh-so-thankful. And if you don't think February movie trailers are the kind of thing you can share with your friends, family, and followers then maybe create a brand new profile to do so. This could allow you to reinvent yourself! Create a new identity! You could give yourself that nickname you always dreamed of...think about it. Anyway, we digress, enjoy these movie trailers for films coming to cinemas in February 2020! Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn Movie Trailer Emma Movie Trailer Sonic the Hedgehog Movie Trailer Like a Boss Movie Trailer Back to MOVIE TRAILERS

Fish Out Of Water film review by UK film critic Chris Olson. Starring Amy Cotter, Alexandra Rose Wilson, Georgia Sansom directed by Jacob Melling. HOME | FILMS | REVIEWS Fish Out Of Water Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 6, 2022 Directed by: Jacob Melling Written by: Amy Cotter Starring: Amy Cotter, Alexandra Rose Wilson, Georgia Sansom Tackling the extreme anxiety of attending a birthday party may have seemed obscure pre-pandemic but filmmaker Jacob Melling’s short film Fish Out of Water (based on a poem by Amy Cotter - who also stars) manages to capture a human experience altogether more relatable and potent in its execution given the society we find ourselves in today. It’s a film that deftly explores the maelstrom of emotions that can emerge when faced with a challenge without ever sinking from the heavy load. Cotter plays the character of “Fish” - a young woman attempting to get up the energy to get ready for and attend a birthday party. The seemingly tortuous ablutions she must undergo are narrated by a delicately read poem that manages to inject brilliant moments of humour and pathos into the proceedings. Whereas the result could have been a fairly flat story of an introvert not wanting to go out, the poem elevates the piece into something far more thought-provoking and compelling. This is then accompanied by striking and moving visuals that seem to encompass the central character’s inner torment. Her gloomy leg-shaving routine in the bathtub juxtaposes expertly with her gracefully holding her hand in the wind in front of an open ocean - and herein lies the strength of Fish Out of Water as a short film. It is these moments of contrast between the insignificant stresses of life against the potentially beautiful sequences life could offer that reveal the truth at the heart of the story. The film explores the themes of isolation and being an introvert in a few ways but most centrally through the idea of water. From the main character’s name to the use of baths and oceans, the film is picking up on a quintessentially natural element and showing how it can be used to free, or indeed (metaphorically) drown a person. Are we able to keep flowing if our anxiety continually tries to pull us under? How can one really escape and fight against this tide? Music is implemented splendidly in the film, with Aaron Douglas’ composition knowing exactly when to enhance the burning rage of “Fish” and when to back off and allow her continuing contemplation. And the end song sung by Tippi McGarry was a powerful choice to finish on. Melling provides some exceptional cinematography during the film, such as the waves crashing on the beach or even the incredibly stressful shot of the kettle boiling. It could be argued the piece didn’t need to give dialogue to the external characters. Whilst this did provide additional context to the proceedings (the unaware friend trying to top trump who has had “life” harder recently, or the host ensuring she’s coming) it jolted this viewer momentarily out of what was a really powerful and personal piece. That said, this is an evocative piece of filmmaking that works on a multitude of levels that will likely touch a nerve with a huge audience. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

The Letter Men film review by UK film critic Amber Jackson. Starring Garrett Clayton and Matthew Postlethwaite directed by Andrew Vallentine. HOME | FILMS | REVIEWS The Letter Men Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Oct 26, 2022 Directed by: Andrew Vallentine Written by: Andrew Vallentine Starring: Garrett Clayton and Matthew Postlethwaite “Wouldn’t it be wonderful if all our letters could be published in the future in a more enlightened time … Then all the world could see how in love we are.” - Gordon Bowsher The Letter Men is a heart-breaking, yet beautiful, short film commemorating a powerful love story between two men during The Second World War. Gordon Bowsher and Gilbert Bradley fell in love in England just before the outbreak of war and, like many other couples, had to deal with the hardships and consequences of conflict. Except, unlike most, the two men had to keep their love and sadness about being apart a secret. That is until hundreds of Gordon’s surviving letters to Gilbert were rediscovered after he passed away in 2008 and so this film commemorates his words as both men are thrust into battles both at home and overseas. So why have we not heard stories like these? Andrew Vallentine’s film explains how surviving records of queer relationships are rare. Most letters were destroyed or hidden by individuals out of a fear of being discovered to be queer at the time. Not least because homosexuality was illegal in the UK until 1967 and being openly gay in the armed services was not permitted until 2000. The consequences of having a relationship would have been very public and terrifying for queer people, yet The Letter Men provides more positive and heart-warming confirmation of queer love being celebrated and cherished by these two men. Despite navigating their love in a painful time and being unable to acknowledge their feelings to anyone else, the tone of Gordon’s letters inspires hope and a life in the future worth living and fighting for. This is a beautifully filmed and crafted short exploring the first turbulent and passionate year of Gordon and Gilbert’s relationship. It captures the boggy brutal environment of the trenches, paired with the fearsome London Underground acting as a makeshift bunker whilst explosions rain all around both men fighting to survive. This harshness contrasts with sweeter moments where the viewer is permitted to see glimpses of Gordon and Gilbert’s lives together. The gorgeousness of their home, the sereneness of the sea where they first met and the bliss that comes with it is very emotive and a really rare example of taking a sombre theme and creating something happy with it. Vallentine has exquisitely captured Gordon and Gilbert’s love and joy in being together and depicts a very rare uplifting ending. It is moving to consider how, despite so much more work needing to be done, society has changed and progressed with regards to LGBTQ+ rights and equality since that time. Gordon’s letters are so self-aware with regards to his love for Gilbert, as well as the society that they both exist in. Amongst the battles and the brutality of their life in wartime, all they can do is look forward to better and warmer times. What a beautiful legacy. A deeply romantic and powerful true story, The Letter Men is a fantastic period piece to see on screen. Gordon’s words are raw and honest because they are real and Vallentine has brought them back to life in a sensitive and powerful way. Having premiered at Tribeca Film Festival in June 2022, it is exciting to see where this film goes next. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film, LGBTQ+ < All Reviews Next Film Review >

Polaroid film review by UK film critic Jason Knight. Starring Adam Paul Hunter, Chris Jehnert directed by Dante Aubain. HOME | FILMS | REVIEWS Polaroid Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 6, 2021 Directed by: Dante Aubain Written by: Dante Aubain Starring: Adam Paul Hunter, Chris Jehnert A man's life is interrupted by an unexpected visitor, whose arrival turns out to have sinister purposes. Arthur (Hunter) is in his apartment, getting ready for company. He answers the door, only to find a man named Sam (Jehnert) standing outside. Sam claims to have an appointment at this address with a woman named Katherine, who Arthur also knows. He invites him in and the two of them have a conversation that turns awkward and later resulting in things getting tense and sinister as it is revealed that one of them is hiding a very dark secret. This short is a very clever thriller that develops over the cat and mouse game that the two protagonists play betweeen them as they try to gain the upper hand over each other. Things begin rather normal and quickly move to discussions involving infidelity, personal loss, tragedy, murder and revenge as it becomes clear that Sam came to Arthur's property for very serious reasons. Aubain was inspired by David Fincher's Zodiac , due to its themes involving obsession and that is present in Polaroid , as it deals with a person's obsession with finding out the truth and getting even. Both actors deliver great performances. Hunter plays an individual who is calm, clever and very well mannered, but can also be menacing and dangerous. Jehnert's character is intelligent, observant and careful. As they talk more is revealed about both characters, leading to confrontation. The entire narrative takes place inside the apartment, which is well kept, with limited lighting, which helps create a sinister atmosphere. Vincenzo Senerchia makes an outstanding contribution with the wonderful cinematography. Aubain directs very well and in one shot utilizes a mirror rather effectively. The music is another strong feature, which creates feelings filled with tension, drama and danger. The thunder sound effects are quite good, adding to the dark atmosphere. This is a murder/revenge film with well-written dialogue, interesting characters and convincing acting. The story is intriguing and the plot twists will most likely keep the viewer guessing until the end. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Veto film review by UK film critic Lucy Clarke. Starring Mary Paige Snell, Guy Ventoliere, Julie Petrusak directed by Jermaine Burrowes and Julie Petrusak. HOME | FILMS | REVIEWS Veto Film Review average rating is 2 out of 5 Critic: Lucy Clarke | Posted on: Aug 29, 2021 Directed by: Jermaine Burrowes and Julie Petrusak Written by: Jermaine Burrowes, Julie Petrusak and Thor Bishopric Starring: Mary Paige Snell, Guy Ventoliere, Julie Petrusak One of the most interesting things to explore in film is something few of us can witness out in the open. A slow decay of a relationship or a marriage ending in a fiery explosion aren’t the kind of events that you just happen to witness. Perhaps it’s why films that centre on relationships lure us in. There’s always more than a hint of relatability, and we can watch something so private unfurl as if we were a fly on a wall. Veto , written and directed by Jermaine Burrowes and Julie Petrusak, is a short film dealing with exactly that. It begins as though we have just watched a car crash, and the two main characters, Mary (Mary Paige Snell) and Gary (Guy Ventoliere), seem to be consumed by shock. Gary is outside and looks tormented. Mary, meanwhile, rips off her dressing gown and screams into her bathroom mirror. The film begins like the start of an indie music video. The backing track, the sounds of a hairdryer and Gary and Mary’s exaggerated emotional outbursts all draw you in. Burrowes and Petrusak have set up the perfect stage to analyse the fallout from a decaying relationship. How did Gary and Mary’s relationship get to this point? What happened? The imaginative beginning intrigues and primes you for excellence. Unfortunately, that excellence never comes. Mary is next seen sitting down in a restaurant, and suddenly Gary is standing behind her with the end of his gun pressed into her skull. He is determined to kill her. This is where the fantastic first steps quickly fall away. Instead of a nuanced look at their crumbling marriage or even at their characters, Veto just parrots stereotypes, which is highlighted with Snell and Ventoliere’s exaggerated acting. The nuance in the script and drive to explore this relationship’s eccentricities is lacking. Why has their relationship fallen apart? Because Mary believes she is a bad person. Why? Because Gary is far too good for her that it’s suffocating. There's mention of an illness, but it fails to really go anywhere. Of course, there are hints of truth peppered in what Mary says, but when the film reaches a crescendo of screaming and crying, any tension built up in the first few moments instantly evaporates. Veto is tantalising and deeply frustrating. What was an excellent premise isn’t quite followed through in the rest of the short film. Screaming and crying might be a great emotional release but illuminating on relationships, it is not. Buy UKFR Banner Space About the Film Critic Lucy Clarke Short Film < All Reviews Next Film Review >

Good Luck Fuck Face film review by UK film critic Chris Olson. Starring Fiona Button, Leila Farzad directed by Oli Beale. HOME | FILMS | REVIEWS Good Luck Fuck Face Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Jun 30, 2025 Directed by: Oli Beale Written by: Oli Beale Starring: Fiona Button, Leila Farzad A tale of relationship revenge as two friends, Aimee (Fiona Button) and Zara (Leila Farzad), plot the downfall of the latter’s cheating husband by using his currently unlocked Twitter account (we all still refuse to call it X). Written and directed by Oli Beale, Good Luck Fuck Face taps into some powerful, contemporary themes and delivers them beautifully using a simple setup and relatable characters. Zara’s desire to besmirch the good name of her cheating husband, who happens to have a LOT of followers, draws us in as viewers. We become just as entangled in her plot as friend Aimee does, who attempts to suggest numerous ways the pair could bring him down. From dubious comments about a royal to attacking space heroes, nothing is off the table in their plotting and scheming. Beale brilliantly combines the poignant scene of two friends supporting each other through a break-up with a darkly comedic ambush on the cancel culture state we are living through. Whilst it’s clear that Zara is definitely processing the end of her marriage, she often rebukes Aimee for her outlandish suggestions with excellent comic timing. It becomes evident that the two friends are also experiencing a self-examination of their own relationship, regularly not being on the same page about how to handle this situation and even learning new things about each other along the journey. When filmmakers and storytellers are able to tap into something so relatable and surprising, it is always commendable. With Good Luck Fuck Face , there are numerous moments where we find ourselves in an ethical dilemma. This is expertly handled here by Oli Beale, reserving judgement and playing both sides of the argument to create an immersive space for the audience to squirm in. Whether you revel in revenge or seek peaceful closure, you need to experience this movie. As a piece of short filmmaking, some excellent decisions were made. Firstly, investing in such excellent performers who hold up this piece with deft skill. In less talented hands, the back-and-forth dialogue could have been lost to amateurishness, but not with Fiona Button and Leila Farzad delivering a rousing and engaging onscreen duo act that is engrossing throughout. Secondly, a one-location shot and minimal distractions keep things tight, professional, and fluid, allowing the nature of the storytelling to dominate. Other than wanting more (which, as always, is a good thing), this is perfect short filmmaking. Plaudits to the music in Good Luck Fuck Face , in particular the track playing over the end credits which was a fantastic way to conclude after that ending. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

His Mother film review by UK film critic Jason Knight. Starring Bethany Anne Lind, D.W. Moffett, Ben Irving directed by Maia Scalia. HOME | FILMS | REVIEWS His Mother Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Jul 27, 2024 Directed by: Maia Scalia Written by: Maia Scalia Starring: Bethany Anne Lind, D.W. Moffett, Ben Irving A woman frantically tries to prevent a terrible tragedy. This tense short thriller explores an issue that has been a common occurrence in the United States during recent times: mass shootings. The film's entire narrative involves a middle-aged woman (Lind) driving her car, desperately attempting to locate her teenage son, Harrison (Irving). The reason for this is because she has just viewed a disturbing email from her boy, in which he states that his life is not worth living, that the world has been cruel to him and he is going to retaliate and end it all. Her mission is to find him and convince him not to go ahead with his plans. While she drives, she makes and receives phone calls from a variety of individuals including her husband, Jason (Moffett), Harrison's psychiatrist, a police officer and Harrison himself. Before analysing the serious themes that are present in this short, the author of this review would like to point out how effectively it works as a thriller. The film does not take long to reveal what is worrying the driver, so almost from the start, the suspense has the viewer at the edge of their seat. The screenplay is a desperate race against time, with the woman trying to help the police locate her son before it is too late. As time goes by and she speaks with one person after the other via her phone, more and more clues are brought to light and it becomes clear that the danger is real and time is running out. The whole story takes place inside the car and the camera never leaves the interior, making the viewer feel like they are in the vehicle with her and thus making the viewer feel her desperation. Since the mother is the only character seen on-screen (with the exception of a couple of children), Lind's performance is vital in order for the film to work and she succeeds perfectly at making her character's emotions realistic, at creating a person who cares deeply for her son and makes every effort to prevent him from harming anyone or himself. Now, regarding the themes, as mentioned, this film revolves around a potential mass shooting and instead of gun control, it focuses mainly on what causes them, what the warning signs are, what fails to prevent them and the effects it has on the perpetrator's loved ones. From the explanation of the potential perpetrator, Harrison, it is indicated that feelings of torment and depression can lead to such vile acts. Several warning signs that are suggested include getting into trouble at school, mental health issues and expressing dark thoughts about the world. Regarding failure to notice the threat, it is implied that blame could be put on people's failure to detect warning signs, which is obvious here by Jason denying that his son might be dangerous and a welfare check on Harrison that falsely declares that there is no threat. It should be pointed out that the location where the story's crime might take place is a university, which is a common place for these kind of atrocities. Regarding the consequences it has on the people who care about the ones who commit such vile acts, Lind's powerful performance clearly reveals how much it tears them apart. The tension is supported significantly by Eli Keszler's ominous and interesting score and Matt Clegg deserves commendations for the fantastic cinematography. Scalia makes her directorial debut with a thriller that is a roller coaster ride that never loses its firm grip. It is a story about a devastating action that is about to take place and it is told through the perspective of the mother of the potential perpetrator. It is a hard-hitting film with strong messages and it is a very powerful and memorable viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Mr Burton film review by UK film critic Chris Olson. Starring Toby Jones, Harry Lawtey directed by Marc Evans. HOME | FILMS | REVIEWS Mr Burton Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 3, 2025 Directed by: Marc Evans Written by: Tom Bullough, Josh Hyams Starring: Toby Jones, Harry Lawtey An enigmatic Toby Jones and revelatory Harry Lawtey head up this enchanting biopic of an actor once coined "the natural successor to Olivier" by critic Kenneth Tynan. Set in 1942 in Port Talbot, Mr Burton navigates the story of Richard Burton CBE - Wales’ greatest star. We meet a young Rich (Lawtey) in typically humble beginnings. The son of a drunken miner, Rich lives with his doting sister (Aimee-Ffion Edwards) and her curmudgeonly husband (Aneurin Barnard), the latter of whom is desperate for Rich to either pay his way or move out. Finding inspiration and solace through the firm but fair teacher, Mr Burton (Jones), Rich quickly finds his life’s calling of becoming an actor. The Master and the Student formula works well here, not least because it’s based on a true story. Audiences will feel in familiar territory as we see the heartwarming arc of a cold yet clearly caring teacher embrace the talented yet tragic teen, nurturting him to become not just a world-famous actor but also to feel loved by someone. Whilst there are pacing issues with the film, Mr Burton has a rich and sumptuous atmosphere that beautifully captures these fascinating characters and the difficult times they lived in. Not only do they have the hardships of wartime Wales to deal with, but notes of speculation about orientation and scandalous living arrangements also play out, giving the movie a powerful subplot. It is Rich’s social disconnect that is the film’s most powerful theme; however, he wants to become an actor, play different people, and is happy to change the sound of his voice, the clothes he wears - he doesn’t feel connected to his identity. His palpable fear that no one wants him becomes cemented in a brilliant scene where Mr Burton meets Rich’s biological father (Steffan Rhodri) regarding a name change. The mise en scene is sublime, beautifully recreating the time period, as well as the enchanting music, which adds to the classical depth being explored in the film’s obvious passion for theatre, acting, and indeed Wales. The payoff is well worth the journey, if only to spend time with fantastic actors paying homage to another fantastic actor. MR BURTON WILL SCREEN ON 10 NOVEMBER 2025 AT 8PM ON BBC ONE Buy UKFR Banner Space About the Film Critic Chris Olson Digital / DVD Release < All Reviews Next Film Review >

On The Ridge film review by UK film critic Patrick Foley. Starring Robert Brave Heart, Ross Cantu, Denis Paul Circo directed by Denis Paul Circo, Ishma Yusaf Valenti. HOME | FILMS | REVIEWS On The Ridge Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 4, 2024 Directed by: Denis Paul Circo, Ishma Yusaf Valenti Written by: Denis Paul Circo, Ishma Yusaf Valenti Starring: Robert Brave Heart, Ross Cantu, Denis Paul Circo Box office success from last year’s Killers of the Flower Moon and the prominence of Marvel Studios’ Echo are just some of the recent projects which have given greater visibility to Native people in the United States. But harrowing looks at some of the darkest episodes of modern native history or superhero fantasising of the culture cannot truly represent the actual lives of Native American peoples in 2024. On The Ridge is a documentary that takes an in-depth look at the Oglala Lakota people of Pine Ridge reservation in South Dakota, following their efforts to strengthen community bonds and counter constructed prejudices. The film highlights a number of residents of the reservation and recognises the positive contributions they have made to their communities and the inspiration they have cultivated in others. From the powerful and lasting lessons of the tribes’ ancestors such as Black Elk whose lessons are maintained by the modern-day elders, or the contemporary message promoted by local musician Scotti Clifford, the film is careful to pay respects to the tribes’ history and uplift the positive stories, whilst making sure the challenges the reservation faces are also acknowledged. On The Ridge is an educational film designed to honour the Pine Ridge reservation and challenge assumptions viewers may possess about contemporary Native American life. Filmmakers Denis Paul Circo and Ishma Yusaf Valenti give a wide-ranging overview of various community projects and initiatives taking place on at Pine Ridge and allow the people who live there to detail how they mix the modern and traditional through a series of interviews and intimate footage of their lives. The film feels remarkably personal and caring, and Circo and Valenti have clearly taken considered steps to ensure their admiration of the culture is evident. From regularly referring to lessons and proverbs passed down from forefathers, to allowing the documentary subjects to tell their stories in their own time, in their own environment such as schools, respect is sewn throughout the film. Audiences in the UK are likely to be less familiar with the modern-day challenges Native American people face in the United States. The film does make reference to these issues, such as higher crime and drug addiction rates or unique dietary issues, but does not spend a great deal of time elaborating on them. This is a conscious choice for the film to be educational and celebratory, as opposed to political or historical. Given these aims, this omitted focus is understandable, and the discussions amongst the subjects are sufficient to inspire viewers to undertake their own research about the harsh realities of how and why reservation life has come to have its own identity and place in American society. It is something that is worth knowing going into the film, however. The content of the film itself is generally heartwarming and uplifting. Particular highlights are Scotti Clifford’s reflection on his life story and inspirations, and teacher Sierra Concha’s explanation of the importance of teaching the Lakota language to new generations of children. As mentioned previously the film steers away from directly tackling heavier social issues, but the emotional tales it does feature helps the filmmakers realise their admiration. Given its community focus, On The Ridge is certainly more attuned to US audiences than UK. The moving stories and inspirational people that it documents, however, will be sure to engage with viewers regardless of where they are from. It is important that filmmakers like Circo and Valenti are shining a light on the smaller and forgotten people who maintain Native culture, rather than just fading histories or mystical legends. Watch the official trailer for On The Ridge here . Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

Ten With a Flag film review by UK film critic James Learoyd. Starring Bryan Moriarty, Julie Martis, Julia Winwood, Adam Barnett directed by Vasco Alexandre. HOME | FILMS | REVIEWS Ten With a Flag Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jul 7, 2024 Directed by: Vasco Alexandre Written by: Joe Capps, Haines Joseph Paul Starring: Bryan Moriarty, Julie Martis, Julia Winwood, Adam Barnett Ten With a Flag has an undoubtedly clear vision. I don't just mean it has a high concept... its tone, mood and design all work in tandem to elevate the dystopia being depicted. With some entertaining Orwellian concepts and a genuinely frightening conclusion, this level of consistency is not always so common in low-budget science-fiction. For the most part, the performances - which hold that bizarre Yorgos Lanthimos cadence - are watchable and layered. The same can be said about the story which, despite its indulging in the classic tropes, arguably does so with skill and restraint. Based in an authoritarian/1984-type world, the film centers around a pregnant woman and her spouse who discover that their unborn child has been labeled a 'ten'. It's a starting point which leads to some interesting discussion of class, governmental oppression, monetary value - all the classics. With the help of precise pacing, we remain engaged in the story and its characters, even if we may already be privy to some of its plot conventions. In terms of cinematography, the short is operating at a competent, even high, level. Particularly admirable is the range of focal lengths implemented as well as the use of the interior spaces to craft and complement the images. However, the film's use of wide-screen is slightly troubling and not always successful. One understands the intentionality, as sci-fi definitely belongs in that aspect ratio, but the manner in which the piece was shot suggests that this may not have been the plan from the outset. This becomes noticeable when subjects' faces are composed strangely or when certain objects are jarringly cut out of frame. It's unfortunate that the wide-screen format is never used to create depth or incorporate multiple subjects onscreen (on each side of the frame, for instance). Having been filmed in 16:9 and presumably composed by the cinematographer for that aspect ratio, you can't help but feel that the black bars detract from the visual information we're receiving. This is my only real complaint and certainly the only aesthetic issue with the movie. On a narrative level, the piece is quite elegant. I would like to draw attention to the third act which is truly effective. It consists of a scene in which a character is killed; it’s not just the best moment in the film, but it’s also emblematic of how to strike terror into your audience. The magic trick in this instance is holding on the reaction shot of the individual who isn’t being attacked – the emotional intensity of their silent response gives us all we need. A work which understands its limitations - and how to stretch and manipulate them - is a sign of a strong artistic presence. The decision not to cut to the action is also a lot more unsettling and urges the viewer to fully consider the implications of what we hear offscreen. As stated, there is a lot to admire in Ten With a Flag . Not only does the short create tension, but it also takes on the great task of crafting a world with a unique internal logic. It does so successfully due to its distinctive stylistic voice; characteristics such as the monotone delivery and the ambitious set design grounds the viewer in an idiosyncratic but not all that unbelievable reality. While not without flaw, I would highly recommend this film to a science-fiction enthusiast. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Battleground film review by UK film critic James Learoyd. Starring Marc Pickering, Laura Elsworthy, directed by Alexandria Anfield. HOME | FILMS | REVIEWS Battleground Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jan 24, 2024 Directed by: Alexandria Anfield Written by: Christopher Ashman Starring: Marc Pickering, Laura Elsworthy, There is a great deal of potential and invention in Battleground (2023), but unfortunately this absurdist comedy struggles to fully realise its concept - holding it back from being the wholly entertaining romp it should be. Chronicling the bizarre internal adventures of an idiosyncratic man (Marc Pickering) and his treasured action figures, the film foregrounds the character's fears and domestic life through the lens of his own fictionalised world, exploring how the two correlate. Unfortunately, one cannot help feeling as if it lacks focus: an engaging, singular theme or idea for an audience to grasp onto. The film’s follies, in part, stem from the technical side of things (less significant; still very relevant). Notably the sound is slightly tinny; likely due to the camera’s in-built microphone being used as the primary source of audio (I, myself, have also been guilty of this). It’s the kind of error that every modern filmmaker experiences, but nevertheless is noticeable (mostly since our protagonist is often too quiet) and therefore is detrimental to the piece’s overall quality. When it came to post-production, if the mix were balanced further for the volume to remain at a steady, consistent level, then the nature of the sound would become less of an issue. It must also be said, however, that there are some skilled pieces of camerawork in Battleground - these individual moments demonstrate a high level of craft and clear understanding of film language. One example comes in the form of a dolly shot that tracks smoothly back and forth along a row of action figures while the main character gives a motivational speech. It’s a funny and effective nod to classic war-movies, affecting both in terms of style and entertainment value. In addition, the use of focus is another impressive aspect of the movie’s form: it was a clever decision to stick to using wide apertures to create a pleasant, cinematic, shallow depth of field look. This makes the moments in which a wrack-focus is implemented -- a technique often as amusing as it is dynamic -- all the more impactful. Sadly, digital noise is occasionally present in some low-light shots - a problem that can be fixed by adding an artificial film grain, making the grimy effect an element of the aesthetic. Despite this, some interesting and inventive cinematography is present. Putting all this aside, the main problem with the short comes in its story structure, bizarre implications, and lack of message. For example, there are some uncomfortable and morally confused suggestions presented to the viewer, made more unsettling by their lack of explanation or purpose. Upon getting a glimpse of the protagonist’s desktop (specifically the tabs he has open), we’re supposed to notice the icky, disturbing nature of the man’s online life; one cannot imagine it sitting well with your average audience member – yet perhaps that’s the point. You get the sense that Battleground is attempting to balance a jokey tone with more objective hints at our character’s unpleasant living conditions (he hasn’t done the washing up, for instance), in the hopes of creating a portrait of a slobby, unsavoury individual. This endeavour to be self-aware and slightly sardonic doesn’t quite shine through, leaving the viewer confused or uncomfortable. There’s still a great deal to admire about the piece: it often showcases true craft and leaves you wanting to experience more work by the creatives behind it. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Four Walls Of Charlotte Moreland film review by UK film critic William Hemingway. Starring Alison Stover, Jane Dashow, Rissa Davis directed by Joe Benedetto and Alison Stover. HOME | FILMS | REVIEWS The Four Walls Of Charlotte Moreland Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 28, 2022 Directed by: Joe Benedetto and Alison Stover Written by: Alison Stover and Joe Benedetto Starring: Alison Stover, Jane Dashow, Rissa Davis It takes a lot to talk about domestic violence. Sufferers have historically either not been listened to or (brow)beaten into silence by their abusers. The arrest rates for these types of crimes are shockingly low, and in some cases falling, with many victims never seeing their day in court. The process of prosecution can sometimes be almost as traumatic as the abuse itself and unfathomably can also include some of the most drawn out cases in the entire legal system. Something is still very wrong in the way modern society treats these crimes and their victims, while survivors are literally screaming at the system to implement change. In The Four Walls Of Charlotte Moreland writer, director, producer and star, Alison Stover is taking a stand and saying enough is enough as she shouts from the rooftops about what it means to be a survivor of domestic abuse. A survivor herself of a five year abusive relationship, Stover knows personally how it feels to be gaslit and told how worthless she is, while on the other hand still receiving praise and affection. These insidious practices are given a strong vocal airing right from the beginning of the film with voice messages from Hudson, Charlotte Moreland's ex, being played over images of her displaying her grief, naked, alone and vulnerable in the shower. There is no easy let-up from here on in, as Charlotte tries her best to come to terms with her past and the trauma she has experienced. Now suffering from agoraphobia and a disconnection to who she once was, Charlotte has stepped away from her work and finds it hard to see anyone at all. Hudson, on the other hand, has diversified his tactics and now abuses her from a distance as he stalks her and threatens her through texts and voice messages. Eventually, after getting herself buoyed up enough through medication to leave her apartment, Charlotte tries to talk things through with her therapist, as well as a few other strong women who can empathise with how she feels. This process, as Charlotte discusses with psychologist Dr Sandri (Jane Dashow), is a marathon not a sprint, and initially just being able to voice how terrible her treatment was, how she didn't ask for or deserve it, and how He was a liar, manipulator and abuser, is achievement enough in itself. As you may imagine, this twenty minute short is not an easy watch, and may trigger strong emotional responses from the viewer with its bare, open dialogue and its graphic depictions of grief. There is a sense of hope that comes through as Charlotte learns to at least live with her trauma and develops her resilience to being out in the world again, but by no means is there a resolution or a happy ending to be found. Technically the film is serviceable to the themes and the plot, with a couple of nice directorial points here and there, but not that much else which stands out. The script has its issues, with certain scenarios or characters not really ringing true, while of course the descriptions of manipulation and abuse are all on the money. Stover has a lot to do to carry the film as its main point of focus, requiring her to move from severe melancholia to righteous indignation to forced confidence through maddening desperation, and it feels like this may have been asking a bit too much. The other women in the story give good support, however when Rissa Davis' Detective Demps shares her story and endorses lethal violence as a course of action, some of the film's realism gets lost. The Four Walls Of Charlotte Moreland is truly a brave and important film, highlighting an issue which sadly gets less attention than it deserves from all corners of society. Alison Stover should be lauded for her determination to tell this/her story and for getting this film produced. Regardless of its technical aspect it's hard to think of another film which comes so close to revealing the cruelty and abomination of domestic abuse as well as the devastating affects that it causes. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >