Ninety-Five Senses film review by UK film critic Patrick Foley. Starring Tim Blake Nelson directed by Jared Hess & Jerusha Hess. HOME | FILMS | REVIEWS Ninety-Five Senses Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Oct 4, 2023 Directed by: Jared Hess & Jerusha Hess Written by: Chris Bowman & Hubbel Palmer Starring: Tim Blake Nelson Jared & Jerusha Hess’ Ninety-Five Senses is an astonishing and emotional animated short that brilliantly visualises the wonderous ways we experience the world, whilst constructing a devastating story about the fragility of life and the tragedy of unrecognised possibility. Coy (Tim Blake Nelson), an elderly and storied self-described hillbilly, ponders on the wonder of the five human senses. He states to have never used a cell phone that damages the eyes and to have yearned for stronger senses of smell and hearing – having arrived at a point in life in which he is fully appreciative of all the abilities humans possess to comprehend the world. But Coy’s time with which he can enjoy such gifts grows short – and a shocking revelation about his life explains his hope that another chance in another life may be possible. Ninety-Five Senses is a brilliant slow-burner, best enjoyed with as little knowledge going in as possible. Coy’s ruminations on the important things in life and how we are gifted with the facilities with which to enjoy them are intriguing enough (if a little like something your grandmother may share on Facebook), and the film’s animation style makes the film an enjoyable and stimulating watch from the off. But as Coy reveals more about his life, circumstances and how his situation came to be, the film ascends from intriguing to mesmerising. One particular revelation about his past is truly shocking, and hits the viewer like a ton of bricks as they comprehend what has already been established about the narrator, and what they have just learned. The subsequent re-assessment of Coy’s words, thoughts and life lessons is fascinating, morbid, and the film’s finest achievement. It asks real questions of the audience, who will go into a beautiful and contemplative finale with mixed emotions. The film mixes animation stylings as it explores the five different senses. All manage to fit together well and this choice never comes across as gimmicky or experimental. The animator’s abilities to envisage things like smell and touch is impressively, well, sensual – imaginative whilst still holding back when required. At the heart of it all is of course Coy, a lonely figure whose grey hairs and push-broom moustache convey wisdom, even despite his own protests. Yet an overriding sense of regret is evident in his design, even though acceptance of his own actions comes from his body language as well. Tim Blake Nelson is on naturally fine form, savouring every syllable of southern twang as Coy’s reminiscent ramblings roll over the vibrant imagery. Coy’s voice and delivery is key to making him a sympathetic character, and one whom the viewer still wishes to engage with regardless of what they learn about him. Similarly, enough hints of wisdom and tenderness make his own account of his life credible – another essential quality in attaining empathy from the audience. Ninety-Five Senses is a visual treat for the eyesight, a hair-raising emotional rollercoaster for the touch, engaging story for the ears, and leaves a great metaphorical taste in the mouth (alright, alright, I’ll stop.) Use your common sense, and give this one a watch. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film, Animation < All Reviews Next Film Review >

I Feel Lonely film review by UK film critic Holly Baker. Starring Diana Kostova, Kristian Kristen directed by Alexander Tomov - junior. HOME | FILMS | REVIEWS I Feel Lonely Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Mar 20, 2026 Directed by: Alexander Tomov - junior Written by: Alexander Tomov - junior Starring: Diana Kostova, Kristian Kristen I Feel Lonely , directed by Alexander Tomov-Junior, is a short Bulgarian horror thriller following a young solitary woman who appears to be suffering a mental decline. The film opens with atmospheric, moody shots of motorways and other liminal spaces to establish an eerie sense of dread and displacement. The settings are combined well to highlight empty spaces, building up to introducing the film’s protagonist, the viewer is already familiar with the isolation they will see her endure. After a crime thriller-esque opening, viewers are placed inside the protagonist's home. This is a sparsely decorated, coldly sterile apartment which swallows her form. She appears small and insignificant within this sea of dull space, highlighting her vulnerability and weakness. The choice of costuming her in juvenile pyjamas and having her undergo her nightly routine conveys the idea that she is in a private space where she should feel comforted, yet lacks this sense of security due to the depraved nature of the setting. Quickly, the woman’s space is invaded by a force worse than cold isolation. She begins to hear voices from her sink drain, repeating ‘I feel lonely’. Perhaps a fantastical being is taunting her, or maybe it is her mind playing tricks on her, the film does an excellent job in blurring these possibilities, neither of which is any way more comforting than the other. Throughout the film, sound is used effectively to create an atmosphere of dread. Silence is heavily incorporated to add to the horror, with intervals of a musical score, building up to enhance suspense. There is minimal dialogue, making the viewer constantly aware of each small movement and minuscule sound, keeping us on edge. By depriving the viewer of stimulation, an atmosphere of isolation and directionlessness is created, and every action is highlighted as we too look for answers in the strangest of places, descending into our own insanity as we search. The setting shifts briefly from the woman’s apartment to the more communal areas of her residential building. Shaky handled camera work immerses the viewer within the space as if they were playing a video game, allowing the camera’s point of view to explore and observe the area. When outside her apartment, there is one conversation which takes place between the woman and a suspicious caretaker, and their interactions lack humanity in their uncanny tonelessness and their cold demeanours. Effectively so, despite this external stimulus, the viewer is never released from the eerie grasp that the space holds them in. As the film comes to a close, a strong sense of unease and uncertainty is maintained. Viewers may find themselves unsure how to feel sympathy for the protagonist, as well as fear for her, and perhaps their own minds may surface. Overall, I Feel Lonely is an unsettling short horror film which stands out through its strong use of sound to unnerve, as well as skilled camera work which subtly controls the viewer's gaze and attention. The film is well crafted and strongly succeeds in creating suspense, and a notably talented performance from Diana Kostova, who excellently plays the film’s protagonist, aptly unnerving to encapsulate both the film's message about mental illness, and its ability to engage the viewer through a well-conveyed storyline. Buy UKFR Banner Space About the Film Critic Holly Baker Short Film, Horror < All Reviews Next Film Review >

Santi film review by UK film critic Jason Knight. Starring Jon Gutierrez, Zulekha Chaka, Holly Cattle, Kieran Slade directed by Harry Richards. HOME | FILMS | REVIEWS Santi Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 3, 2021 Directed by: Harry Richards Written by: Harry Richards Starring: Jon Gutierrez, Zulekha Chaka, Holly Cattle, Kieran Slade During a house party, a young student from Colombia receives a voice message from his family and interacts with other guests while attempting to listen to it. Santi (Gutierrez) is a young Colombian student who is attending a social gathering at a house with his girlfriend Violet (Chaka). The home is filled with young people having a good time. Santi receives a message notification on his mobile phone, which is from his mother back in his home country. He excuses himself and tries to find a quiet place to listen to it. While doing so, he ends up talking to several other people. This short drama is a proof for concept for a feature film writer and director Richards plans to make in the future. The narrative deals with a man who seems to stand out of the crowd because he is a foreigner. He is nice and polite person and it is indicated that he is very close to his relatives. The story explores themes of cultural differences, family and relationships. As the main character, Gutierrez is convincing as a foreign student and his character is well-explored, showing that he is a decent man although he does not seem to get along very well with others. His reaction to the voicemail suggests that he cares deeply for his family. The relatives' voices on the voicemail give the impression that they are friendly and love Santi very much. The rest of the cast also do a good job. For the majority of the film, the atmosphere is kind of downbeat, with Santi being a bit awkward and not interacting well with others. Things become more uplifting when he finally getes to hear his message and a warm smile appears on his face. Director of photography Oscar McNab delivers wonderful cinematography and there are interesting lighting techniques. Composer Tom Little creates a score that is gentle and mesmerizing. This short film is a character study that focuses on a young man who has found himself in an environment he does not fully understand and as a result he does not feel comfortable being there. It is an example of some of the challenges people face when they are in foreign countries. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Io Capitno film review by UK film critic George Wolf. Starring Seydou Sarr, Moustapha Fall, Ndeye Khady Sy directed by Matteo Garrone. HOME | FILMS | REVIEWS Io Capitno Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 29, 2024 Directed by: Matteo Garrone Written by: Matteo Garrone, Massimo Ceccherini, MassimoGaudioso Starring: Seydou Sarr, Moustapha Fall, Ndeye Khady Sy The destination may be Italy, but the Oscar-nominated Io Capitano unfolds like a classic Greek fable. Director and co-writer Matteo Garrone crafts a stirring and often gut-wrenching modern Homeric tale, with a young African refugee enduring multiple hardships while refusing to surrender his character or humanity. 16 year-old Seydou (Seydou Sarr) and his cousin Moussa (Moustapha Fall) have been planning for months to leave their home in Senegal for the hope of a better life in Europe. The locals warn against the dangerous trip, and Seydou’s mother (Ndeye Khady Sy) forbids it, but the boys take the stash of money they’ve been saving and head out in secret. The journey will not be kind. From Niger to Libya to the unforgiving Sahara (presented with breathtaking scope) and beyond, the boys will face shakedowns, bribes, arrest and torture, while subtle twists of fate conspire with glimpses of human kindness to keep them moving forward. Sarr is absolutely terrific in a highly emotional and physical role, allowing Garrone (Dogman. Gomorrah ) to strategically build empathy for the young man and his mission. With brutality all around him, Seydou must ultimately defend his humanity with stirring defiance, cementing his standing as a true and just wanderer. But though Seydou’s odyssey may have a classic structure, the subtext here is never in doubt. Io Capitano succeeds on both fronts, bringing stark intimacy to the global refugee crisis, along with realization that stories can often speak so much more clearly than statistics. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Easy Sell film review by UK film critic William Hemingway. Starring Divian Ladwa, Paul Casar directed by Ken Abalos and Ash Meshkati. HOME | FILMS | REVIEWS Easy Sell Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 5, 2026 Directed by: Ken Abalos and Ash Meshkati Written by: Ken Abalos and Ash Meshkati Starring: Divian Ladwa, Paul Casar An unsuspecting charity shop customer becomes embroiled in a deadly game of fate and chance, as they find out that the only way to leave, may be with more than they bargained for. It’s a lazy afternoon in the charity shop. Outside, the sun is shining, but on the inside it’s unseasonably dark and gloomy. Baz (Casar) has only just come in for a shoe-horn. After quickly finding something that’ll sort him out, Baz eventually finds that he’s the only one in the shop – he can’t even find the shopkeeper. There’s something not quite right about this little charity shop. There’s something eerie going on. In fact, the charity it’s funding might as well be called the Mogwai Protection League. It seems the enigmatic shopkeeper (Ladwa) has been hiding under the desk all along, and after quickly popping up to serve Baz, he becomes very shifty and suspect in his manner. Suddenly, the centrepiece wedding dress in the middle of the store becomes the topic of interest, and the shopkeeper seems very insistent that it’s just the very thing for Baz to take away with him. Subterfuge and intrigue are scattered around to widen the narrative a little, along with the hint of a voyeuristic dementor who’s in charge of the whole affair. Now Baz must think on his feet, fight for his life, and channel his inner bride, if he’s to get out of the charity shop alive. Told in a short seven-minutes, Easy Sell is a one-shot chamber-piece dramedy that’s a bit of throwaway fun. It runs through its set pieces nice and quick, and even if we’re only moving from the counter to the middle of the shop, we feel each new scene as separate from the last, with each having its own point of view and dialogue setup, as though it were a three-act play. The intrigue gets exposed and expands in a typical way, with no surprises coming from the scenario or the dialogue, all the way up to the glaringly obvious twist at the end. The humour that sits alongside the drama keeps things light and entertaining, with both leads doing a good job of playing things for laughs, even if they are genuinely few and far between. The music from Sean Fitzgerald also keeps things light and jaunty, with its kitschy muzak tones contrasting with spooky piano and strings during the darker moments. The direction, too, from co-writers and directors, Ken Abalos and Ash Meshkati, is solid but fun, getting the right angles to create an off-kilter feel, while also making sure to capture the comedy moments from the actors. As a quick comedy sketch, Easy Sell is just that. It’s quick and easy and not hard to recommend for a little bit of fun. It’s well made, and well played, and even if you only watch it once before punting it onto someone else, Easy Sell is well worth the price you pay for it on YouTube. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Ti Amo, Mr. Nibbles film review by UK film critic Jason Knight. Starring Kelsey Cooke, Emily Kontu directed by Govind Chandran. HOME | FILMS | REVIEWS Ti Amo, Mr. Nibbles Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 1, 2024 Directed by: Govind Chandran Written by: Govind Chandran Starring: Kelsey Cooke, Emily Kontu A young woman struggles to communicate her feelings to her partner. Prolific filmmaker Govind Chandran teams up again with frequent collaborators to tell a story about expressing emotions in relationships, particularly saying the phrase 'I love you'. This story concerns two youths, Casey (Cooke) and Mia (Kontu) and a stuff toy named Mr. Nibbles. Mia is Italian and Casey is English and they live together and they are in a romantic relationship. However, Casey has a problem: she does not know how to tell Mia that she loves her. Eventually, one day she believes that she can finally say it to her. Or can she? The whole narrative takes place inside the protagonist's bedroom, with the two of them having meaningful conversations. The conflict in this short drama consists of Casey's hesitation to announce the major words to her girlfriend and Mia being unwilling to listen. Mia comes across as a cheerful and carefree person and she does not seem to want drama in her life and therefore, she avoids Casey when she attempts to talk about serious things, utilising Mr.Nibbles, a stuff hamster toy as a shield or distraction much to Casey's annoyance. Now might be a good time to mention that regarding the title, 'ti amo' means 'I love you' in Italian. The screenplay centers on the words 'I love you', exploring their content and value when they are used in romantic relationships. The film pretty much enquires regarding when the time is right to make that statement and whether it is even necessary to do so at all, as being happy together and enjoying each other's company proves that love is present. As mentioned above, Chandran reunited with several people for this project, one of them being Cooke. Others include director of photography Jamie Laxton, who develops moody cinematography and composer Benjamin Doherty, who creates a beautiful and emotional score. Perhaps the strongest aspect of this film is examining whether 'I love you' does actually have a real use in romantic relationships. Does it need to be said or are actions enough to 'say' that statement? It is said that actions speak louder than words, nevertheless the answer might depend on a person's perspective. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Halloween Obsessed: Haunted Attractions film review by UK film critic Jason Knight. Starring Lisa Morton, Teresa Griffin, Jim Schopf directed by Linda Palmer. HOME | FILMS | REVIEWS Halloween Obsessed: Haunted Attractions Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 9, 2022 Directed by: Linda Palmer Written by: N/A Starring: Lisa Morton, Teresa Griffin, Jim Schopf An enjoyable, informative and spooky documentary about people in the United States who make a living by creating and running haunted attractions. This forty-minute-long film is an episode of the docuseries Halloween Obsessed, which is a series that explores multiple areas of Halloween and this one explores the passion that people have for horror-themed entertainment locations and yard haunts. Accompanied by narration from Antonio D. Charity, the audience is introduced to several places that have been converted into awesome horror attractions thanks to hard-working, dedicated, creative and equally awesome individuals with a passion for a good scare. There are numerous interviewees and they include author Lisa Morton and the founders of several attractions that are explored in the documentary. The interviewees share their knowledge and experience and explain why they do what they do, what motivated them to create these attractions and how they did it. The documentary also explains the history of haunted attractions, how it began and how it ended up becoming as popular as it is today. The creative (and terrifying) attractions that are seen here are various and some of them are the Field of Screams, the Wraith House and The Enchanted Parlour. They all look fantastic and clearly had a great deal of work and creativity put into them. There are plenty of horror-related elements to be seen, including the interior of darkened, creepy buildings, fake graves, fake body parts and jack-o'-lanterns. The attractions are also supported by lighting effects that aim to develop a scary atmosphere. Props and constructed scenery aside, these places benefit significantly by the actors who dress up as horror monsters of all sorts and make sure that the visitors have an exciting and frightening experience. Dressed in torn, bloodstained clothing and wearing makeup, the actors impersonate murderous lunatics and there are many of them to be seen. The score that Chris Wirsig provides sounds creepy and frightening and it is quite appropriate and a great addition to the film. This is an interesting and entertaining documentary that offers an intriguing insight into the world of haunted attractions and the people who manage to make a living by operating them. It is an experience that will most likely appeal to individuals who enjoy haunted attractions, Halloween and spooky stuff in general. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

I am the Wanderer: Director's Cut film review by UK film critic Jason Knight. Starring Jonathan Skye-O' Brien, Zuzana Spacirova, Marie Browne directed by Philip Brocklehurst. HOME | FILMS | REVIEWS I am the Wanderer: Director's Cut Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Apr 14, 2024 Directed by: Philip Brocklehurst Written by: Bradford N. Smith Starring: Jonathan Skye-O' Brien, Zuzana Spacirova, Marie Browne A surreal short film by prolific independent filmmaker Philip Brocklehurst. The author of this review has reviewed numerous short films by Brocklehurst and would like to take this opportunity to mention that this is the first one (from the reviewed ones) that does not include the director as an actor. Like the title suggests, this project is about an unnamed young man (O' Brien) who seems to be lost. To describe the narrative a bit, it begins with him lying on the ground, near a tree, sleeping. A young woman in a lovely flowery dress (Spacirova) approaches him and lies beside him. The man then wakes up (was that a dream?) and arrives at a busy road and attempts to hitch-hike, before the same woman appears and this time she walks away. The man continues his journey. As mentioned, surrealism is present in this film, with no speech and no diegetic sounds and a story with occurrences whose meaning is probably open to interpretation. One example would be another unnamed woman (Browne) who is driving a car. What is the significance of her presence? The narrative does not identify the characters by name and leaves a bunch of question marks: Who are these people? Why is the man wondering around? The fact that there are no aswers is not a negative thing as that way this short can be appreciated as a surreal experience. An experience with mystery, romance and apparently danger too. The music is the work of Stephan Ortlepp, a frequent collaborator of Brocklehurst and his contribution is one of the strongest aspects of this film. The score includes beautiful piano melodies and dynamic drumming and they create an emotional and dramatic atmosphere. The final shot of the film should also be acknowledged as it is quite a powerful moment thanks to Brocklehurst's direction and the music that accompanies it. What is going on in this short arguably depends on the viewer's perspective. This is a surreal drama. It is partially a love story, about two people finding each other and partially a story about being lost and being rescued. The heart-warming ending appears to suggest that love is the best treatment. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

One For All: The DJ Chris Villa Story film review by UK film critic Patrick Foley. Starring Chris Villa, Terra Villa, Katherine Villa directed by Jeremy A. Lopez. HOME | FILMS | REVIEWS One For All: The DJ Chris Villa Story Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 27, 2023 Directed by: Jeremy A. Lopez Written by: Jeremy A. Lopez Starring: Chris Villa, Terra Villa, Katherine Villa One For All: The DJ Chris Villa Story is, unsurprisingly, the story of DJ Chris Villa. This feature length documentary from director Jeremy Lopez explores the duality of a humble, introverted father of two who possesses the power to electrify even the most raucous of crowds – and his journey to be recognised as one of America’s top DJs. The film features a mixture of interviews with Villa himself, as well as his friends and family, with archive footage of his journey from a junior DJing prodigy, to developing his skills at radio stations, all the way to playing for packed out raves. Villa’s humble and quiet nature is explored as being at odds with the lifestyle of chaos and partying that DJing as a profession is intertwined with, and his dream of competing in the ‘3style’ world championship looms large over the young man’s career. Live footage of his entry overtakes the final third of the film – as the art of DJing takes centre stage. Much like its starring subject, One For All: The DJ Chris Villa Story is a likeable and honest documentary that is intensely and unapologetically fixated on the art, lifestyle and culture of DJing. So much so that the film does regularly fall foul of the old adage that a great documentary can make viewers with no knowledge of its topic invested. One For All is really ‘One for the DJing fans’ – given its extended scenes of Villa and Co’s freestyling performances which can end up feeling overlong to viewers without a prior passion. Artistry and complexity is brilliantly demonstrated in such scenes – but for a feature length film to spend so much of its runtime relying on the performance footage, those primarily invested in Villa’s actual life and story are at risk of tuning out. The length of some of the earlier, archival scenes also end up being slightly detrimental to the epic closing set that forms the film’s conclusion, and undermine the viewer’s appreciation for Villa at his best – given that patience with long scenes of mixing may have already been expended. Villa himself is a conundrum, and the documentary certainly succeeds in capturing the dichotomy that sits at the heart of his life. His savant-like mixing skills and adulation of peers who embrace the debauchery DJing offers are presented hand in hand with friends and family who glowingly praise a quiet, family man from humble beginnings. That is not to say Villa’s life lacks drama, and the film carefully peels back his layers to maximise the audience’s investment and empathy in his goal – to represent the US at the world DJing championships. A particularly touching scene – in which Villa freestyles an epic, club level mix whilst his daughter crawls mischievously in his eyeline – is just one example of the innovative and engaging manner in which the heart of the film is represented. Whilst some of the archival footage is overlong, it is lovingly and impressively presented and realised to look modern and crisp, whilst maintaining a sense that it is a glimpse into a past world – for both Villa and the DJing scene. Family footage of Villa and his brothers draws viewers closer into the family and Villa’s story. And Villa’s momentous performance that crescendos the film manages to capture the energy of live music as best as can be imagined – no small task for a music genre that benefits enormously from live performances. A more stringent edit of One For All would probably have landed it in that sweet spot of brilliance and wide appeal. As it is, some overlong performance scenes do somewhat drag down what is otherwise an engaging and uplifting film. For fans of DJing however? A must-see. And you can probably end the conversation for soundtrack of the year right now too. Watch the official trailer here . Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Documentary < All Reviews Next Film Review >

Les Ruches film review by UK film critic William Hemingway. Starring Charlotte Dupré, M & G Dupré directed by Charlotte Dupré. HOME | FILMS | REVIEWS Les Ruches Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 21, 2022 Directed by: Charlotte Dupré Written by: Charlotte Dupré Starring: Charlotte Dupré, M & G Dupré In May of 2020, during lockdown, cinematographer Charlotte Dupré travelled with their grandparents to their out of the way holiday retreat in Les Ruches, near Ardèche in Southern France. The smallholding seemed like the perfect getaway from the busy, germ infested streets of the city – somewhere with space to roam, land to farm and nature to enjoy – and Charlotte spent two weeks there helping their grandparents to get things set up. Being a film-maker, Charlotte also wanted to record the occasion, as they spent time with their family and created lasting memories. All they had on them though, was their iPhone, and so what we get is an extended home video, cut together to form a narrative, shot and presented in portrait mode, and seemingly designed to be watched on your mobile phone, too. Charlotte's film begins as their grandparents prepare for departure and then travel to Les Ruches . Once there the Duprés realise that there are plenty of jobs that need done before they can even think about getting started on the real work of planting food to eat. The garden needs tidied, the grass needs cut, the weeds need pulled and many other things that are outside the domain of the regular urban city-dweller need doing. Charlotte gets stuck in though, under the tutelage of their grandfather, and has a go at anything that will help. This tends to mean that the camera/phone is placed in one spot while the action takes place and a lot of the film is shot in this way, along with the butt shots, falling audio and half filled frames that this can bring. When Charlotte takes the camera/phone in hand, they try to interview their grandparents, getting them to relate how they're feeling, along with explaining what they're trying to do and why they're doing it. Even though they aren't sure of the camera, or indeed of the whole process, Charlotte's grandparents stay relaxed and natural and try to answer the questions as best they can, revealing some nice, heartfelt, touching moments as the bond between them grows. It is perhaps this connection, reaching over generations, that saves the film from being a navel gazing exercise, and allows a measure of relatability to creep in. Being a cinematographer, Charlotte manages to use the iPhone to its best advantage and thinks carefully about how she is framing her shots when she is not in them. The farming scenes give off a feel of the French classic Jean de Florette/ Manon des Sources (1986) and it's easy for the viewer to switch off from the world and become lost in another time and place. For what is essentially a home movie and an obviously very personal film, Charlotte works hard to make everything fit together so that the story reaches beyond the sum of its parts. From the Candide quotation at the beginning of the film, to the 80's computer game soundtrack by Super Warmech, which plays Vivaldi's Winter in 8-bit, and therefore lends a baroque feel to the proceedings, while linking in to the main conversation of the film about programming on a Commodore 64 – everything builds towards a communication across ages; learning something from our forebears which may otherwise be lost; teaching them something about the new world in return; feeling the connection with the past by connecting with those who lived it – and it is this which stands Les Ruches out from what it might otherwise have been. It could be easy to dismiss Les Ruches as an uninteresting snapshot of family life in one family alone, and therefore not worth exploring. However, given a little bit of time, an eye for detail and a belief in waiting for something to grow, it will reveal its pleasures to the audience and maybe even teach us something along the way. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Documentary < All Reviews Next Film Review >

Dead Silence film review by UK film critic Patrick Foley. Starring Duane D'Souza, Michael Jerome, Roby George Roy directed by Duane D'Souza. HOME | FILMS | REVIEWS Dead Silence Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Dec 9, 2021 Directed by: Duane D'Souza Written by: Duane D'Souza Starring: Duane D'Souza, Michael Jerome, Roby George Roy Opaqueness in filmmaking is an important tool for telling an effective story – and some of the best films of all time refuse to bare their inner meanings and themes just for clarities sake. However, it is vital that the film remains legible enough for viewers to actually WANT to ponder wider truths. Dead Silence fails to keep this in mind, and ends up confusing and difficult to understand. A young man (Duane D’Souza) begins to have dreams about a mysterious graveyard, and an imposing figure raking leaves within it. The next day, a local newspaper covers a similar story, and hints that the burial ground could be linked to multiple disappearances. He sets out to investigate, and uncovers unnerving truths about his own connection to the area. Dead Silence is a short centred around a disturbing mystery. However, its plot fails to adequately explore the questions it raises, or energise audience intrigue around these to keep viewers on the edge of their seats as its protagonist sets out to uncover the truth. It is not scary enough to be a horror, and not coherent enough to be a thriller – and ends up floundering between the two. The film fails to adequately explain key character elements, such as dynamics, backgrounds and relationships left entirely absent – and therefore leaving important plot developments meaningless and empty to viewers. A level of exposition would have been welcome, even at the cost of awkward dialogue, just to ensure the audience had enough information to come on board with the story. Director (and star) Duane D’Souza seeps the film in sepia, with a flickering camera effect imposed throughout. This is a particularly unwanted distraction during the opening credits, but thankfully eases off during the story. The effect conjures thoughts of traditional horror techniques, and does add a level of unease and fear to the film (though little would have been lost in toning it down somewhat). As a lower-budget production however, some imperfections may have been ironed out with the addition. Beyond the above there is little about the film that truly stands out. Performances are ‘meh’, and there is little in the way of innovative camera work or visual storytelling to write home about. Editing is slightly shoddy, with some awkward and amateurish cuts at moments which unfortunately stand out. It should be kept in mind that this is a small-scale production when pointing out these flaws, but when they are going to apparent, it is vital that the basics are in place. Unfortunately, it cannot be said to be the case. It is unlikely that Dead Silence will make much of an impression with audiences. The film does not take enough care when setting up or exploring its plot, and fails to develop characters anywhere near the level required. As a smaller production, its flaws can be forgiven to an extent – however many other similar scale films have accomplished much more with less. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Killers of the Flower Moon film review by UK film critic George Wolf. Starring Leonardo DiCaprio, Lily Gladstone, Robert De Niro directed by Martin Scorsese. HOME | FILMS | REVIEWS Killers of the Flower Moon Film Review average rating is 5 out of 5 Critic: George Wolf | Posted on: Oct 18, 2023 Directed by: Martin Scorsese Written by: Eric Roth, MartinScorsese, David Grann Starring: Leonardo DiCaprio, Lily Gladstone, Robert De Niro “Can you find the wolves in this picture?” The question comes from a book on Osage Indian history that Ernest Burkhart is perusing, and it’s one that lingers throughout Martin Scorsese’s triumphant epic Killers of the Flower Moon . After serving as a cook in WWI, Ernest (Leonardo DiCaprio) has come home to work for his uncle William “King” Hale (Robert De Niro) on an Oklahoma ranch. But while King is a wealthy powerbroker in the town of Fairfax, he laments that his “cattle money” is nothing next to the oil money of the Osage tribe, at that time the richest people per capita on the face of the Earth. The Osage natives are worried, too, about the price of assimilation, the dangers that come with the comforts of wealth, and the white men eager to marry into their money. King assigns Ernest a job driving for the reserved, pensive Mollie (Lily Gladstone). And when the couple marries, King calmly explains to Ernest how much closer the legal union puts them to the oil shares in Mollie’s family. But Ernest has trouble “finding the wolves,” and as unsolved murders of the Osage people begin to mount, Ernest is drawn into a quagmire of lies and killings that eventually brings federal investigator Tom White (Jesse Plemons) and his team to Fairfax. Scorsese and co-writer Eric Roth adapt David Grann’s nonfiction book with an engrossing mix of true crime fact-finding, slow burning thrills and devastating heartbreak. The characters are rich in culture and in shades of human grey, each one caught in an infamous crossfire of American envy, arrogance, bigotry and greed. Expect multiple notices in the coming awards season. Editing from three time Oscar-winner Thelma Schoonmaker is subtle and patient, every frame buoyed by a mesmerizing, evocative score that is sure to land the legendary Robbie Robertson posthumous nominations, right beside those of an acting ensemble that is don’t-forget-to-breathe tremendous. De Niro makes King a scheming sociopath hiding in plain sight, with his kindest words saved for those he is most gaslighting. DiCaprio has never been better, as the simple Ernest’s journey from war hero to murder suspect is both a singular character study and a broad personification of confident ignorance. Every member of the cast, from familiar faces such as Plemons, John Lithgow and Brendan Fraser to lesser known actors like Jason Isbell, Cara Jade Myers and William Belleau, brings limited roles to wonderfully realized fruition. But it is Lily Gladstone who carries the very soul of this film. Mollie is a woman very aware of the daggers that are out for her people. She wants desperately to trust in her husband and their future, and the deeply held emotion that Gladstone (Certain Woman, First Cow) is able to communicate – often with her eyes alone – is a masterful thing to behold. Scorsese and cinematographer Rodrigo Prieto (Barbie, The Irishman, Brokeback Mountain, Silence ) find beauty in the expanse of the landscape, intimacy in moments of violence and betrayal, and a purposeful sense of history in the way numerous snapshots are held for an extra beat. Still, not one moment of the film’s three hours and twenty-six minutes feels like filler. This is majestic, vital storytelling, from a legendary filmmaker who has not lost the drive to push himself. Beyond his clickbait comments about superhero franchises, here is proof that Scorsese still finds plenty on the big screen that inspires him. He has given credit to Ari Aster for Flower Moon ‘s committed pacing, while the film’s surprising finale feels directly influenced by Spike Lee’s success with connecting past and present via bold and challenging choices. Like Lee, Scorsese is out to document American history while pointing out why so many look to bury it. The correct answer isn’t that there are no wolves in the picture, and Killers of the Flower Moon is a searing reminder that we can’t move forward together until we’re brave enough to confront where we’ve been. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >