The Last Joke film review by UK film critic Matt Trapp. Starring Tasos Batsoulis directed by Vasilis Kalemos. HOME | FILMS | REVIEWS The Last Joke Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Nov 13, 2025 Directed by: Vasilis Kalemos Written by: Vasilis Kalemos, Tasos Batsoulis Starring: Tasos Batsoulis While the sudden end of humanity is a scenario that would bring to mind images of horror in most, there are some who see the comedic potential in such an apocalypse. Vasilis Kalemos and Tasos Batsoulis are two such people - the writers of 2020’s The Last Joke . While the film lacks some polish, the creative gags and sharp dialogue help make up for some of its storytelling deficiencies. Tasos Batsoulis stars as Avgeris, the last man on earth, having survived a quiet and sudden apocalypse in which every single human has vanished overnight. It’s a thoroughly quiet affair for such a morbid premise, and Batsoulis plays the role as earth’s sole human survivor humorously straight. There’s little time to wallow in misery in his deadpan performance; he would much rather sit at home watching Internet videos and largely sticking to his old routine. Batsoulis carries a heavy burden in The Last Joke, appearing as the only member of the cast for almost all of the runtime. It’s fortunate that his performance is so charming considering he has few other characters to bounce off, and it’s his childlike and endearing performance that will earn many of the film’s deserved laughs. A particular highlight features Avgeris playing football on his own, diving to the ground and rolling around clutching his knee one moment, and the next, switching to the referee blowing his whistle. The film wisely doesn’t waste time languishing in the horror of the situation - this isn’t an episode of The Twilight Zone . Instead, the audience are treated to an absurdist rendition of the ‘last man alive’ trope, where our protagonist is extraordinarily ordinary and largely unwilling to confront the reality of his new situation. While Batsoulis’ performance is easy to praise, it’s hard not to think that a lot of comedic potential is missed in what is ultimately a constraining premise. The film lacks a strong narrative throughline, and while the comedy mostly hits, The Last Joke may fail to hold an audience’s attention for its 80 minute runtime. Occasionally the film breaks from reality, indulging in non-sequiter dream sequences that parody other film genres. It’s undeniable that these moments stand out, allowing Kalemos and Batsoulis to momentarily escape the restrictive corner they’ve painted themselves into. Sadly though, these moments are soon over, and the audience are returned to the empty, desolate reality of the postapocalypse. There’s not enough narrative structure in the film to support the comedy; each scene of Avgeris navigating an empty world feels as though the writers are spinning the wheels until the next joke, iterating on this unoriginal concept in scenes assembled haphazardly. Comedy is a broad genre, and it doesn’t need to always follow the rules of conventional storytelling. However, The Last Joke needed just a little more narrative complexity, some sense of rising and falling tension, to keep the audience more invested between the jokes. Judging by the film’s release date, it’s easy to see that The Last Joke ’s depiction of torturous boredom in a world suddenly uninhabited by neighbours or strangers was made in response to the Covid-19 pandemic. It’s laudable that the filmmakers took their opportunity to film The Last Joke during this period, and they do succeed in capturing the zeitgeist. There’s an unmistakable resemblance to the quiet streets of national lockdowns, and Avgeris’ obsession with escapism is a sentiment familiar to that which characterised 2020. The Last Joke benefits from this historical context, giving it the quality of a cinematic time-capsule. While watching The Last Joke , I was reminded of the Fox TV series The Last Man on Earth starring Will Forte. It’s no surprise that this show introduced new supporting characters at the end of the first episode, since the premise of a world empty but for one unremarkable man is fairly limited. Make no mistake: there are glimmers of brilliance in Kalemos and Batsoulis’ film. However, the vehicle is too lumbering and unrefined to stand with confidence. Perhaps their brand of absurd comedy would play better in shorter form media, rather than a feature length film. There is an awful lot to admire about The Last Joke, and it’s doubtless that with some refinement, an exciting comedic duo could emerge from this admirable project. Buy UKFR Banner Space About the Film Critic Matt Trapp Indie Feature Film < All Reviews Next Film Review >

You Turn Me into a Monster film review by UK film critic James Learoyd. Starring N/A* directed by Diana Galimzyanova. HOME | FILMS | REVIEWS You Turn Me into a Monster Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Jul 29, 2024 Directed by: Diana Galimzyanova Written by: N/A* Starring: N/A* You Turn Me into a Monster is a new short film / music piece which is difficult to reckon with, both in terms of its content and how it was produced. It’s two minutes in length and was produced using AI; the audio which accompanies the AI imagery of distorting monsters, blood and ghouls is of a very serious nature: statements spoken by perpetrators in abusive relationships -- I’m sure many readers are already feeling apprehensive. Having been collated by the filmmaker via an anonymous form and turned into a metal sounding musical piece by the sound artist, the visuals are supposed to add to the viscera of the already disturbing statements, and perhaps transform the testimony into an abstract expression of trauma; however, it’s not successful as far as the overall viewing experience goes. It’s an unpleasant watch on a multitude of levels (purposefully so), but the work leaves the spectator conflicted as to its intentions. Primarily my issue is that, no matter where you position yourself on the political issue of artificial intelligence's use within art (I’m attempting to not allow my own opinions to get in the way), the fact of the matter is that – more often than not – it looks plasticy and textureless. Despite this, You Turn Me into a Monster is most certainly one of the more inventive ways in which I’ve seen AI be utilised, and how impactful the imagery is will really depend on the audience member. You could even argue that the uncanny sensibility of AI imagery is what adds to the film being unnerving, although it would take quite a lot to convince me. The inclusion of recounted verbal manipulation and abuse is undeniably impactful however. In the abstract, it’s a strong idea and the music is executed with a high level of skill, creating a horribly oppressive atmosphere. You can also really admire the intention to give victims a voice within video art – it's the manner in which this voice manifests (in relation to the emblematic imagery on screen) wherein issues potentially arise. For instance, I do seriously question how much involvement those who submitted the quotes had in the piece, and specifically whether they were aware it would be turned into what it's been turned into. This has absolutely nothing to do with the quality of the product itself which is to stand on its own, but you can’t help but wonder the reaction to the words being accompanied by AI imagery... whether they feel that their trauma has been properly represented and used for good. It is up to them and not me, and I’d be interested to know more. The video art is incredibly provocative and that’s definitely something to admire in and of itself. The serious subject matter it contains is also something that should very much be explored through artistic expression, either to simply represent the experience or provide solace in some way to those who have experienced it. But what this short film proves to be is a difficult and polarising piece, yet one which holds potential ideas for something even more powerful. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Strawberry Mansion film review by UK film critic Hope Madden. Starring Kentucker Audley, Penny Fuller, Grace Glowiski directed by Kentucker Audley, Albert Birney. HOME | FILMS | REVIEWS Strawberry Mansion Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 18, 2022 Directed by: Kentucker Audley, Albert Birney Written by: Kentucker Audley, Albert Birney Starring: Kentucker Audley, Penny Fuller, Grace Glowiski Smart, whimsical and decidedly analog, Kentucker Audley and Albert Birney’s Strawberry Mansion turns dystopian dreamscape into retro children’s television. Audley and Birney co-write, co-direct and co-star in this pop-surrealist romance. Audley plays James Preble, mild-mannered government employee. Preble is an auditor for the agency that taxes dreams. Let’s say there’s a buffalo in your dream. A dream buffalo apparently runs about 5k, which costs around a nickel in taxes. Likewise, a hot air balloon, a flower, a nice view—all of it taxable. But somehow Arabella Isadora (Penny Fuller) managed never to turn in any dream taxes, compelling Prebel to pay her a visit in her titular abode. Once there, Prebel must work his way through thousands of VHS tapes of Bella’s dreams (rather than the digital downloads that were made legal requirements years ago) to assess back taxes. Strawberry Mansion tells a story of government overreach, corporate greed and capitalist dystopia. But it spins this yarn of a near-future surveillance state within a weird and charming, vivid dreamscape. It’s Philip K. Dick meets H.R. Pufnstuf. Nostalgia becomes the filmmakers’ escape. The dream sequences are unpretentious, jubilant nonsense that develop a parallel plotline. Tyler Davis’s cinematography of saturated colors celebrates the childlike tactile quality of the set design and creature design, which are both handcrafted magnificence. Dan Deacon’s evocative score meshes with the directors’ vision to blur the lines between dream and reality, life with death. There’s a toad waiter, rat sailors, and more buckets of Cap’n Kelly’s Fried Chicken than a person could reasonably consume. Strawberry Mansion ’s cynicism butts up against a wholesome romantic nature in one of many ways that the filmmakers’ form perfectly matches their purpose. Prebel treads in others’ dreams, a voyeur in a nonsense world where nothing makes logical sense, but everything feels weirdly accurate. The same experience waits for the film’s audience. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release, Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Endling film review by UK film critic Jason Knight. Starring Dennis Dun, Ava Capri directed by Kelly Yu. HOME | FILMS | REVIEWS Endling Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 1, 2024 Directed by: Kelly Yu Written by: Kelly Yu Starring: Dennis Dun, Ava Capri A warm-hearted man is looking after the world's last surviving goldfish. The golfish has become an endangered species and the last one, a female named Pao Pao has been taken to the Endling House of Assisted Living, which is a facility that accommodates and protects the last one of each species. There, she is looked after by Richard (Dun), a kind, Eastern Asian elderly gentleman, who has been doing so for the last three years. This short is presented as a documentary, with a film crew documenting primarily Richard as he responsibly takes care of the precious fish. As it is his duty to see to Pao Pao's well-being all day everyday, he is rather committed, fixing up the room she lives in with joyful colours, as well as arranging all the other things the fish requires in order to live inside a fish tank and even making attempts to entertain Pao Pao. Richard comes across as very friendly, cheerful and polite and his presence is arguably one of the best aspects of this film. Worth mentioning is a stunt he performs dressed as a goldfish. The film crew also concentrate on the scientists at the facility, whose goal is to study Pao Pao for the benefit of humanity. By interviewing Bat Zenilman (Capri), a goldfish ichthyologist, it is indicated that the future of goldfish is not taken under much consideration, a theory that is also evident in a news report. Interestingly (or maybe bizarrely), other endangered entities in the facility such as a penguin, a wolf and a zebra are seen, however not alive, instead appear to be statues or stuffed. Considering that this is a place that protects animals, it would seem unethical that such things would be there. However, from another perspective, their presence could be to address a factor that leads to animal extinction, that eliminating animals in order to stuff them is a reason why they become extinct. The opening animated sequence is one of the film's highlights, thanks to the creative work by design and production studio Fifth Atrium. The animation contains a great mix of colours and looks beautiful and it tells the fictionalised story about how the first ever goldfish came to be. To make things even better, it is narrated by Dun. Evidently, the film is a commentary about species extinction and to some extent, it points out people's indifference regarding this issue. For instance, Capri's character appears to be epitomising people's lack of care regarding endangered species. On the other hand, Richard represents quite the opposite, which is the undivided support that can be provided. This short serves as a reminder that animal extinction is an issue that must be dealt with and (more optimistically) that there are people who are determined to support the animals. The film carries an important message and it makes itself rather viewable thanks to Dun's amiable character and Alex Mansour's light-hearted and melancholic music. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Bloody Romeo film review by UK film critic Patrick Foley. Starring Mukesh Asopa, Akshay Asopa. Natalie DP directed by Mukesh Asopa. HOME | FILMS | REVIEWS Bloody Romeo Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 2, 2022 Directed by: Mukesh Asopa Written by: Mukesh Asopa, Anushree Deshpande Starring: Mukesh Asopa, Akshay Asopa. Natalie DP For all the takes on Romeo and Juliet we’ve been subjected to since Shakespeare’s day, there have been none quite like Mukesh Asopa’s Bloody Romeo – a stylish and original film but one which fails to live up to early intrigue. The film follows Romeo (Mukesh Asopa), a young man who lives a lonely life in a city beset by a spate of mysterious female suicides. Meeting Layla (Natalie DP) brings an excitement to his life. But her work at a women’s centre puts her in the middle of a potential scandal relating to a non-profit who claim to possess the ability to stop the suicide wave. Romeo must confront his past, as well as his present, as he decides whether he will take a role in the betterment of the city. Bloody Romeo is an ambitious, feature-length drama directed by and starring Mukesh Asopa which unfortunately fails to juggle its multiple storylines or tell them in a manner that engages viewers. The film starts well, with dynamic and striking portrayals of people struggling with suicidal thoughts – establishing the harrowing consequences of the story’s premise. But these are gradually reduced in favour of boardroom meeting scenes and unconvincing discussions around the suicide epidemic, which lack anywhere near the same impact. Similarly, viewers never get much of a sense that the relationship between Romeo and Layla is the life-changing courtship we are told it is. The sombre tone of the film overtakes what should be positive and livening scenes between the two. None of this is helped either by a confusing plot which fails to fully explain and establish the character’s relationships or roles, despite an abundance of expository dialogue. The poorly defined aims of the antagonistic and sinister non-profit organisation which much of the film’s drama revolves around is just one example of the plot’s opaqueness, and the introduction of fantastical elements such as mass hypnosis muddies this even further. The film does excel when it focuses on its core characters – particularly Romeo, who is presented as a conflicted and complex character confronted with morally difficult decisions throughout the film. The film also demonstrates Layla’s passion for helping others, and the director is successful at demonstrating why this would rub off on Romeo even if other elements of their relationship are left unexplored. It is a shame that the film does not place more emphasis on the character development, especially given its unnecessary 2-hour runtime. Acting is largely wooden and there is little chemistry amongst the cast. Mukesh Asopa succeeds as the dark and broody Romeo, but beyond this there are far too many awkward deliveries of the clunky and expository dialogue which break audience immersion. The cast lack the ability to portray the bonds their characters are meant to share, such as the close friendship between Romeo and Orion (Richard Cole) or the central love story between Romeo and Layla. The film is well-framed and includes some impressive staging of set-pieces, particularly in its closing scenes. Unfortunately, too much of the story is told in a manner that is inherently visually uninteresting – and no amount of production can make endless phone calls and boardroom discussions engaging to the audience. The soundtrack is nice and creates an intense atmosphere, although there are some noticeable drops in sound quality for the dialogue. For what could have been an interesting twist on a time-worn tale, Bloody Romeo is filled with too many tiresome scenes and bloated plot to really get its teeth into the good stuff. It has its moments, but a significant edit would have allowed these to shine so much more. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, World Cinema, Film Festival < All Reviews Next Film Review >

Frannie film review by UK film critic Jason Knight. Starring Emily Brolin, Dawn Brolin, Eli O'Brien, Bryant Daugherty, Marvin Novogrodski directed by Alan Cameron. HOME | FILMS | REVIEWS Frannie Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 14, 2022 Directed by: Alan Cameron Written by: Alan Cameron Starring: Emily Brolin, Dawn Brolin, Eli O'Brien, Bryant Daugherty, Marvin Novogrodski A young woman returns to her family home after a long absence and deals with her dysfunctional relatives. After spending several years away from her family, Frannie (Emily Brolin) is asked to come back and help her mother (Dawn Brolin), who is going through difficult times. Frannie dislikes her relatives and is eager to leave. However, as time passes, she gets to know them better and begins to appreciate them more. And she also starts a relationship with Luke (Daugherty), a friendly neighbour. This comedy drama takes a look into family values and the idea of finding a purpose in life. Frannie has unconventional family that includes her mother whose emotional state has gone downhill after her husband left a few months ago, her clumsy brother Teddy (O'Brien) and her uncle Rob (Novogrodski), who is a heavy drinker and spends a great deal of time on a sofa, on the house's lawn. As the story progresses, Frannie interacts more and more with her relatives and, although they have their differences, things between them improve as they begin to care for each other. The screenplay has funny and awkward moments, some adult humour, revelations and there are moving scenes and scenes of confrontation and reconciliation. As the titular character, Emily Brolin delivers a strong performance a woman in her twenties who is estranged from her family and is at a point in her life where she does not know which would be the best choices for her. Her character is intelligent and strong and goes through significant character development throughout the story. Dawn Brolin also does a great job as her mother, who uses a megaphone as a means to let her emotions out. Arnaud Drieu makes a wonderful contribution by developing music that is beautiful and dramatic and accompanies the scenes very effectively. This feature is an emotional and humorous story that deals with family, reconciliation and self-discovery. It reveals the significance of having a caring family and the joys that come with that. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Rock Paper Scissors film review by UK film critic Chris Olson. Starring Oleksandr Rudynskyi, Sergey Kalantay directed by Franz Böhm. HOME | FILMS | REVIEWS Rock Paper Scissors Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Aug 9, 2024 Directed by: Franz Böhm Written by: Franz Böhm, Ivan Starring: Oleksandr Rudynskyi, Sergey Kalantay Intense and unnerving, 2024 short film Rock, Paper, Scissors is based on the true story of Ivan (Oleksandr Rudynskyi) who helped his father (Sergey Kalantay) run a makeshift hospital during the current conflict between Russia and Ukraine. After their plans to move the hospital go awry thanks to their getaway transport being bombed by a Russian aircraft, their peril increases when a group of Russian soldiers are seen scouring the hill looking for their bunker. Ivan, who has made the decision to take on the soldiers after an impromptu sniper rifle lesson from one of the patients, finds himself in over his head when the original estimate of two Russian soldiers turns out to be disastrously incorrect. Fiercely filmed and absolutely devastating to watch, Rock, Paper, Scissors is an incredible war film. The director, Franz Böhm, knows exactly how to arrest his viewers and by the final scenes of the movie the atmosphere he creates is like a stranglehold on the audience. There are numerous aspects of the filmmaking used to unsettle us, from the emotional plea from one of the hospital’s children to Ivan to play another game of the titular Rock, Paper, Scissors , to the stark colour contrast of Ivan’s orange sniper rifle against the dull grey rock of the mountainside. The use of the sniper rifle’s scope as a frame for us to witness the oncoming of the soldiers is an effective, if familiar, one. Locations are also brilliantly used, the bunker feels warm if claustrophobic, heightening the sense of the peril those inside face, whilst Ivan’s contrasting venture outside feels stark, cold, and lifeless. It’s one of those short films honed to perfection. Oleksandr Rudynskyi’s lead performance as Ivan is a showstopper. His panic and concern is palpable, as is his distressed heroism. Navigating this type of role and being able to deliver at such high stakes is commendable and awards-worthy. The supporting cast are also a talented ensemble, particularly the Russian soldiers who give off a distinct air of menace. Movies that emerge about a war whilst the conflict is still ongoing are always brave. To serve the memory of someone like Ivan through this short film is a noble pursuit and everyone can breathe a sigh of relief that this film is worthy. Audiences will undoubtedly fully engage with the story and be left completely moved by his deeds, especially at such a young age. Fans of the war genre can rest assured this is most definitely worth their time and Böhm as a director is a filmmaker to watch out for. Watch our Video Film Review of Rock, Paper, Scissors on our YouTube channel. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, Video Review < All Reviews Next Film Review >

The Last Supper film review by UK film critic Rob Jones. Starring Jennifer Bulcock, Damien McNeilly directed by Anh Do. HOME | FILMS | REVIEWS The Last Supper Film Review average rating is 4 out of 5 Critic: Rob Jones | Posted on: Mar 6, 2023 Directed by: Anh Do Written by: Jennifer Bulcock Starring: Jennifer Bulcock, Damien McNeilly The Last Supper is, by all intents and purposes, a horror film. There aren't any jump scares, and there isn't a single genre trope present, but the atmosphere of dread is palpable from the moment it starts. We're presented with a small family, a couple with a newborn baby, living in a cramped flat. There must have been a loving relationship in there at some point, but where we meet them is at a point where that's given way to unidirectional contempt and domestic abuse. The horror is that we’re put into a position where we know something that two vulnerable characters (a baby and their mother) don’t, so immediately we’re in a position where we have information that we could do something with. What’s so excruciating is experiencing the mental torture that starts with a character not having the information that we have in real-time. It's impossible to resist the question of whether we should do more to help. A series of instincts are triggered by the subject matter that we physically aren’t able to act on, and that makes it a deeply upsetting experience. As it should be. Something that The Last Supper does very well, is that it reframes elements of a typically happy life as harbingers of doom. For example, a baby’s dinner tray which is manufactured to look as happy and as cheerful as a dinner tray possibly can becomes an ominous symbol that always seems to be in shot when the worst is about to happen, even when it looks like the worst has already happened. This actually makes a second so much more unsettling and profoundly uncomfortable, especially when we’re already asking how and where we should’ve done more. There’s a voyeuristic quality to it all that appeals to our own morality. In watching The Last Supper, we’re in the position of a bystander who can see exactly what’s happening, but the discomfort comes from the feeling of helplessness to change anything. What’s so impressive here, though, is that it isn’t afraid to manipulate that feeling to its absolute extremes. Although this is a position that we’re uncomfortable in, it’s ultimately one where we don’t have any accountability towards what’s going on, so there’s a detachment from it all. That detachment is completely shattered in a bleak moment where our position as the helpless bystander is drawn into question. It’s perhaps one of the scariest moments of complete mundaneness that’s ever been captured on film. By creating a film that’s so rich in conjuring complex feelings in us, the hammer blow is then delivered in such a shocking yet gentle way. It feels wrong to call this a wonderful film, but it is. It’s completely miserable and it’s a horrible experience, but that’s a complement to the craft of the filmmakers. The Last Supper manages to do something incredible in the way it plays with our feelings. It exists in the space between morality and experience, and it presents us with something that isn’t uncommon or extraordinary, but rather so normal that we can’t help but relate to it. On one hand, it forces us to experience the fear inherent in the abuse it shows, and on the other, it forces us into a feeling of helplessness as we watch it. Two feelings that it exploits to their absolute fullest potential to create something that we can learn from, and that introspection makes this a very important short film. Buy UKFR Banner Space About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

Top Secret Report on the War in Italy and Spain film review by UK film critic Swati Verma. Starring Jorge Luis Villacorta Santamato directed by Jorge Luis Villacorta Santamato. HOME | FILMS | REVIEWS Top Secret Report on the War in Italy and Spain Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 27, 2023 Directed by: Jorge Luis Villacorta Santamato Written by: Jorge Luis Villacorta Santamato Starring: Jorge Luis Villacorta Santamato The writer-director Jorge Luis Villacorta Santamato is a Peruvian film director, actor, professor, and researcher who likes to explore and experiment with certain topics and share his findings through cinema with the viewers, therefore, increasing the degree of audience engagement with the content. The plot of the film-Top Secret Report on the War in Italy and Spain 2017 revolves around the time after World War II, when Pax Americana demanded continuous underground wars everywhere on Earth. American Intelligence Officers disguised as tourists travel around the world reporting on any conceivable subjects. They look at things as fierce warriors who must protect the US empire from a myriad of mysterious and faceless enemies. Several classified reports on Italy and Spain 2017 leaked by unknown forces show us how one of the officers (Jorge Luis Villacorta Santamato) recruited for the program thinks. The makers of the crime drama decided to use a hand-held slightly shaking camera to provide an insight into the war situation quickly establishing the subject matter it deals with. Villacorta reports from various places in Rome, Spain, and Italy to showcase what has been the aftermath of the 2017 war. The cameraman captures beautiful churches and many other places of cultural significance before panning out with the close up of the face of Santamato leaving the viewers eager for what is in store for them as the narrative moves forward. The set design, colour palette, lighting, sound, dialogues, costume, hair, makeup, and inclusion of normal people elevate the topic adding elements of realism as well as relatability. The transitions from one scene to another are very smooth and maintaining continuity is essential to keep the interest of the audience intact due to the length of the dramatic piece. In terms of performance, Jorge Luis Villacorta Santamato plays the role of an Intelligence officer. The multi-talented man portrays the range he possesses as an actor as well as director aiming to continuously improve with each of his projects. Villacorta thoroughly prepares himself by adopting body language, voice modulation, costumes, hair, makeup, and gestures to completely get into the skin of the character. Top Secret Report on the war in Italy and Spain pays homage to the soldiers who selflessly are busy with their duties to protect us every day. The short film also sheds light on the hard- work of the journalists who risk their lives to bring in the news for the common people so that we are always updated with current affairs. The cinematic piece reiterates the importance of preserving the beautiful monuments and structures that flaunt the cultural relevance of the country and also boosts the business of tourism. The film teaches the audience that self-belief and willingness to do work can get them through every challenging situation and ultimately achieve any goals one has set in terms of professional or personal life. To Conclude, I will like to say that Top Secret Report on the War in Italy and Spain hits the chord on an emotional level in minds of the audience with the conceptualisation of the film but I feel the execution could have been better. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Malum film review by UK film critic Hope Madden. Starring Jessica Sula directed by Anthony DiBlasi. HOME | FILMS | REVIEWS Malum Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 28, 2023 Directed by: Anthony DiBlasi Written by: Anthony DiBlasi, Scott Poiley Starring: Jessica Sula Equal parts Assault on Precinct 13 and The Shining by way of Charles Manson, Anthony DiBlasi’s Malum is a quick, mean, mad look into the abyss. Jessica Sula stars as a rookie cop whose first night on the job is a babysitting gig, so to speak. The new station is up and running and all she has to do is sit tight at the old station, redirect anyone who stops by, and wait for morning. So far, so Carpenter. Jessica (her character’s name, as well) actually requested this stint because her dad, a hero, ended his career in this very building and she just wants the two careers to overlap, if only for one shift. But the cult that her father put an end to one year ago tonight has designs on Jessica. DiBlasi is reimagining his own 2014 flick Last Shift , although it feels more like a riff on Carpenter’s 1976 Precinct 13 than anything. Regardless, what the filmmaker does is confine the audience along with our hero in a funhouse. As the film wears on its nightmarish vibe intensifies. Weird characters and genuinely unsettling scenarios play out, some of them predictable but most of them surprises. The jump scares work, the gore plays, and the creature effects are top notch. Inspired supporting turns from Natalie Victoria, Sam Brooks and Kevin Wayne keep the bizarre tensions building and Sula’s grounded, understated hero holds the mayhem together well. Malum gets nuts, exactly as it should. Though it never feels genuinely unique, it manages to avoid feeling derivative because of DiBlasi’s commitment to the grisly madness afoot. The result is a solid, blood soaked bit of genre entertainment fully worthy of your 92 minutes. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Fly Me To The Moon film review by UK film critic Brian Penn. Starring Scarlett Johansson, Channing Tatum, Woody Harrelson directed by Greg Berlanti. HOME | FILMS | REVIEWS Fly Me To The Moon Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 13, 2024 Directed by: Greg Berlanti Written by: Keenan Flynn, Bill Kirstein, Rose Gilroy Starring: Scarlett Johansson, Channing Tatum, Woody Harrelson The 1960s gave birth to the modern world, and nothing was more emblematic than the Apollo 11 mission landing a man on the moon for the first time. It capped an extraordinary decade that saw tumultuous change both politically and socially. Anything was now possible in the white heat of new technology. Fly me to the Moon perfectly captures the mood and spirit of a unique era. NASA is slowly cranking up to the launch of Apollo 11 in July 1969. Flight director Cole Davis (Channing Tatum) is frantically fighting fires, but still haunted by the memory of three astronauts who perished when Apollo 1 was being tested. Slippery government agent Moe Berkus (Woody Harrelson) must sell the mission to a sceptical American public. The project depends on adequate funding to strengthen a shoestring budget. So Berkus turns to Kelly Jones (Scarlett Johansson), a marketing whizz kid with a dubious past. She soon sweeps through the NASA geek pool and puts the mission on everyone’s lips. However, Kelly and Cole clash on organisation and methods as lift-off approaches. Scarlett Johansson steals the film with a smart and sassy portrayal of Kelly Jones. Styled very much like Marilyn Monroe she looks amazing as the camera instantly falls in love with her. Channing Tatum is essentially the straight man; the earnest lantern jawed all-American boy drawn to Kelly’s charms. Woody Harrelson delivers a useful cameo as the duplicitous Moe Berkus and adds to the storyline’s comedic value. The film itself builds on the established facts of Apollo 11 but also offers a nifty line in the ‘what if’ scenario. The political dimensions are well documented as local dignitaries are schmoozed to the point of distraction. One or two conspiracy theories are aired to great effect and mix nicely with the truth. A brilliant soundtrack complements a visual palette of colours to create a handsome looking film. In retrospect the space race was really about getting to the moon first. It was the Americans and not the Russians who made it and secured bragging rights for generations to come. But the film also shows what a remarkable achievement the moon landings were. To perch three men on the end of a glorified firework, and get them to the moon and back without a scratch was a stroke of genius. Amidst the froth their courage and ingenuity still shines through. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Depression Is A Beast film review by UK film critic William Hemingway. Starring Jenna Kanell directed by Courtney Dixon. HOME | FILMS | REVIEWS Depression Is A Beast Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: May 14, 2024 Directed by: Courtney Dixon Written by: Courtney Dixon Starring: Jenna Kanell For those of you who like your films scary, it’s likely that you’ll need no introduction to Jenna Kanell. Breaking through as Tara Heyes in Terrifier (2016), then cementing her place in the Horror annals as Kim Hansen in The Bye Bye Man (2017), Jenna has also collected credits from a whole bunch of other work along the way, including her turn as Carol in recent Nic Cage vampire thriller, Renfield (2023). A quick scout of her IMDb page will tell you that Jenna Kanell is one of the hardest working young talents in the industry today, not just in front of the camera as actress and full-on stuntwoman, but also behind the scenes as writer, director and producer on several different projects. Picking through her back catalogue though, one thing jumps out at you, one genre that comes up again and again and which dominates the film choices that Jenna has made throughout her career – the Horror. Sadly, Jenna has felt that she has carried her own horror around with her for most of her life – the spectre of depression – and it is this which has pushed her to find a creative outlet in film, just preferably film with blood, teeth and jump scares. In Depression Is A Beast , director Courtney Dixon sits down with Jenna to discuss what life has been like for her growing up with this constant shadow always hovering in the background, helping to show us with some of her own horror imagery how Jenna’s feelings have been transferred through film. Employing a whole host of visual effects and variety of narrative threads, including animation and home video, Dixon takes the words of Jenna Kanell and runs them through the wringer, squeezing and distilling every drop of horror contained within them until only the imagery remains. The constantly switching visual style along with multiple camera viewpoints, from Super-8, to VHS, to digital and even from Jenna’s major films, all adds to the sense of unease as the viewer listens to Jenna’s story. Plenty of horror themes and tropes are visited in the ever shifting seas of the imagery, but each one hits its mark in conveying what is being said or shared, and none of them ever feel wasted or overused. There’s a very smooth feel behind the production of Depression Is A Beast . Jenna Kanell is a very exciting and engaging focus and she holds the attention of the documentary well, but it’s the production design, visual effects and hard-fire editing which tell you that somebody’s taking this subject seriously. In fact, three different production companies were responsible for each of these elements – with Sequitur Cinema in charge of filming, Mingle taking on post-production and Coat Of Arms creating the VFX – ensuring that the specialists played to their strengths and the best outcome was achieved. Throughout everything though, Courtney Dixon’s vision climbs out of the darkness, through the front of your TV and onto your lap, as she helps you get to grips with the same horror that so many of us carry around. Both Courtney’s and Jenna’s ability to translate their feelings into images allows for a common understanding to be shared in a way that will feel familiar to many and even if horror films are not your bag, Depression Is A Beast will help show you there is nothing to fear. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Documentary, LGBTQ+ < All Reviews Next Film Review >