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The Seeding film review by UK film critic Patrick Foley. Starring Scott Haze, Kate Lyn Sheil, Alex Montaldo directed by Barnaby Clay. HOME | FILMS | REVIEWS The Seeding Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Aug 16, 2025 Directed by: Barnaby Clay Written by: Barnaby Clay Starring: Scott Haze, Kate Lyn Sheil, Alex Montaldo Being victimised by rapid teenagers is the worst nightmare of every middle-aged man. Though getting abuse at a bus stop or eggs thrown at your window pales in comparison to The Seeding , Barnaby Clay’s unnerving folk horror set in the desert. Wyndham Stone (Scott Haze) is transversing the desert when he comes across a lost young boy. Refusing Wyndham’s offer of help, the boy runs away – and during pursuit Wyndham trips and finds himself waking up at the home of the mysterious Alina (Kate Lyn Shell). Alina seemingly lives alone in an inescapable canyon, and takes care of Wyndham whilst he recovers. But when a savage pack of boys reveal themselves living on the canyon’s overlook, Wyndham senses there is more of connection to Alina than she is willing to say. The Seeding is a folk horror that is strong in design, atmosphere and depth, but misfires a little in delivery. Its unsettling central theme is the fear of disposal and replacement, with Wyndham constantly outwitted and mocked by the younger generation he is at the mercy of. His only solace is Alina, who shows him kindness but withdraws when he asks for help. The theme of masculinity runs through their relationship, as Wyndham feels an obligation to act as Alina’s caregiver even as it slowly becomes evident to all but himself that no one could coexist with her brutal neighbours without cooperation. Wyndham is unable to extract his traditional outlook of the world he knows in one that operates under very different rules. However whilst its themes are evident, the glacial pace of the film means they unravel slowly – too slowly to satisfactorily come together in a way that feels insightful or engaging. It helps the viewer get a sense of time passing whilst Wyndham is trapped, but not always in a positive way. Long sequences between him and Alina only sparsely develop their relationship and drag, whilst confrontational interactions between Wyndham and the boys are the source of horror but end up repetitive. It doesn’t help that many viewers will quickly gain a sense of where the plot is heading and get there long before the film does. The film has fantastic production values and looks great, particularly in how it creates the ambiance of a sweltering desert setting. The heat alone is enough to make this a horror, and the reoccurring raised perspective we get of Wyndham as he contemplates escape mean we are reminded of the burning and shining sun he is at war with as much as the boys who torment him. His hair and clothing remain intact a little too long for ones liking given the time he is trapped, but this is a forgivable faux pas. Scott Haze is another strength, giving a brilliant leading performance as a man whose pride is his downfall. Wyndham feels he can win the boys around with leadership, adult authority and acts of strength – blind to the violent society they have created where brutality is the only force. He expertly portrays Wyndham’s growing madness and acceptance of this world, and excels in scenes of torment and suffering (his likeness of a certain Vice President is a little bonus for the viewer…). The Seeding is an imperfect film but one that’s strengths shine. Its themes are interesting but explored in more inventive and striking ways by contemporaries like Men, and a slow narrative means some viewers will lose interest as the film drags in its second act. But a worthy central performance and strong production stand out and make it worth checking out for fans of folk horror stylings. About the Film Critic Patrick Foley Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Influenced film review by UK film critic Jason Knight. Starring Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins directed by Asad Panjwani. HOME | FILMS | REVIEWS Influenced Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 8, 2022 Directed by: Asad Panjwani Written by: Asad Panjwani Starring: Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins An online celebrity is pursued by an obsessed fan. While walking home one night, social media influencer Amber (Nikolaiets) is approached by Dane (Cochlan), a man who claims to be one of her followers. He proceeds to speak to her and offer her chocolates and refuses to leave her alone, causing her to panic and run to her house. He runs after her and enters her property by force. What follows is a nasty confrontation that goes from bad to worse. This short is a stalker thriller that explores the world of internet personalities, particularly the bad side of it. It suggests that social media celebrities can affect certain individuals the wrong way and that can have very unfortunate consequences. It also points out that sometimes influencers can be double-faced and pretend to have a certain personality, in the interest of gaining followers. The film is tense and has plenty of nail-biting moments. Dane chases Amber through a street and the two of them get into a physical confrontation inside her home. Things get more and more out of hand and become life-threatening. However, there are also comedic moments, such as when the crazed fan removes his shoes once he has entered Amber's property. It is not clear whether the story is also meant to be a dark comedy, however the comical feeling is there. The acting is not the best, but that does not spoil the film. Nikolaiets plays an internet celebrity whose job has ended up getting her more than she bargained for. Cochlan is the one who steals the show with his vivid portrayal of a disturbed individual who is obsessed with Amber. Praise goes to the dynamic, tense and sinister score, which works rather effectively during the opening, where Dane is introduced, making it clear that he has sinister intentions. Special mention also goes to fight choreographer Holly Prentice, who makes the hand-to-hand fight scenes tense and vicious. The stylised closing credits also deserve commendations. This short is definitely interesting and keeps the viewer on the edge of their seat. It is a story about obsession, mental health and the dangers of being an online celebrity. The fact that it ends on a cliffhanger may be unsatisfying for some, but may be approved by others. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Attachment film review by UK film critic Hope Madden. Starring Josephine Park, Sofie Grabol, Ellie Kendrick directed by Gabriel Bier Gislason. HOME | FILMS | REVIEWS Attachment Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 7, 2023 Directed by: Gabriel Bier Gislason Written by: Gabriel Bier Gislason Starring: Josephine Park, Sofie Grabol, Ellie Kendrick There are not nearly enough horror films based in Jewish folklore. Have you ever seen a dybbuk movie? You should. So far, I’ve seen three – Marcin Wrona’s beautiful 2016 haunting, Demon ; Keith Thomas’s 2021 horror, The Vigil ; and writer/director Gabriel Bier Gislason’s latest, Attachment . The thing about dybbuk stories is that I’ve never seen one go well for anyone. Fun! On the surface – and even just below – Attachment is an astute observation on being new to the family, particularly in a situation where the relationship itself is probably not that welcome. All families are weird, but they are weird in such individual ways. Gislason picks that scab effectively, as does his cast. Josephine Park is Maja, a Danish actress best known – really, only known – for playing Santa’s Elf in a long-defunct TV series. She literally runs into Leah (Ellie Kendrick) at a bookstore. Leah is in from London doing some research, the two fall quickly in love, and after Leah is injured during a seizure, Maja offers to return with her to London and her mother’s care. There is something quietly astute about the way Gislason sets up the dynamic: the willfully oblivious love interest, the domineering parent (Sofie Gråbøl) unwilling to be gracious, and the insecure new love unsure how to make herself fit into the family. All of it feels authentic, even if the stakes and weirdness are clearly ratcheted up a few notches. Attachment delivers slow-burn horror that repays close attention but never falls to gimmickry. Yes, the situation is absurd, but everyone behaves in a way that is rooted in real-world expectations and experiences. When the film changes its point of view, you realize where its compassion really lies. Attachment is a nightmare about parenting, about releasing your everything – your beautiful, tender baby – into a vast and brutal world. At the center of the entire nightmare is love, of course, because there is no real horror unless love is at stake. It’s that knowledge that makes the film hurt. Hug your mom. About the Film Critic Hope Madden Digital / DVD Release, LGBTQ+ < All Reviews Next Film Review >

Shelter film review by UK film critic George Wolf. Starring Jason Statham, Bodhi Rae Breathnach, Naomi Ackie, Bill Nighy directed by Ric Roman Waugh. HOME | FILMS | REVIEWS Shelter Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Jan 28, 2026 Directed by: Ric Roman Waugh Written by: Ward Parry Starring: Jason Statham, Bodhi Rae Breathnach, Naomi Ackie, Bill Nighy Just how many off-the-books groups of elite assassins are there? And does Jason Statham have expired membership cards from all of them? Apparently, quite a few. And yes. In Shelter , the secret group is called Black Kite, and Michael Mason (Statham) has been exiled and on the run since he broke a golden rule ten years ago. While hiding out at a lighthouse in the Scottish Isles, Mason’s rescue of a drowning girl named Jesse (Hamnet ‘s talented Bodhi Rae Breathnach) gets them both spotted by MI-6’s new high tech surveillance system. So now Michael’s been made, Jesse’s an orphan and they’re both on the top secret hit list. This time out, Naomi Ackie gets to be the director barking orders in front of video feeds, while Bill Nighy is the oily spymaster who crossed Statham years ago. Much like the chess pieces Mason likes to play with, director Ric Roman Waugh is just moving new pieces around the same formulaic playground. Screenwriter Ward Parry adds on the trusty child-in-danger trope, along with no shortage of cliched dialog. “You really think we can outrun what we are?” “Maybe I’m becoming like you…” “You don’t want this life.” It’s more plug-and-play action on the way to a requisite showdown, but Statham and Breathnach share decent chemistry, Waugh (the Greenland films, Angel Has Fallen ) orchestrates some effective hand-to-hand combat sequences, and he’s able to build the film with a bit more nuance than Statham’s usual fare. It ain’t Hamnet , but at least our righteous killing machine isn’t lathering up with a tube of shark repellant. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Hood Witch film review by UK film critic Hope Madden. Starring Golshifteh Farahani, Amine Zariouhi, Jérémy Ferrari directed by Saïd Belktibia. HOME | FILMS | REVIEWS Hood Witch Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2025 Directed by: Saïd Belktibia Written by: Saïd Belktibia, Louis Penicaut Starring: Golshifteh Farahani, Amine Zariouhi, Jérémy Ferrari Thou shalt not suffer a witch to live. It’s a popular sentence in the Old Testament, one used to excuse a lot of needless suffering, mainly women’s. It’s not the only spot in the Bible that condemns sorcery, divination and what not. Jesus never mentioned it, though. (He never said anything about women being submissive to their husbands, either.) Islam is no more forgiving, and Nour (Golshifteh Farahani, Paterson ) is about to run afoul of keepers of both faiths and keepers of none in Hood Witch . Co-writer/director Saïd Belktibia examines the muddy difference between a religion’s acceptable magic and harmful witchcraft. However similar the practice, the differentiator seems to be based primarily on whether a woman benefits. Nour makes a living smuggling exotic animals into Paris, mainly to be used in rituals of healing. Newly divorced and struggling financially to raise her son Amine (Amine Zariouhi), Nour is in the development stages of a new app that will link users to a variety of different healers. Nour knows it’s all smoke and mirrors. Her impressionable son is not so sure. Her abusive ex (Jérémy Ferrari, sinister) is willing to believe, as long as it’s a man of religion wielding the mirror and blowing the smoke, and as long as it’s his ex-wife who suffers. Though Hood Witch is far more a drama/thriller than an outright horror film, it does follow a longstanding genre tradition of using witchcraft to point out religions’ hypocrisy and misogyny. But the filmmaker goes further, complicating characters by implicating capitalism as being equally dangerous—particularly to the desperate and easily manipulated—as religion. Farahani delivers a fierce, passionate performance full of rage, compassion and vulnerability. Nour is sharp and not without a conscience, but when tragedy strikes it’s because of her meddling. The consequences, though, are deeply unsettling. Belktibia’s pacing and framing match Nour’s panic, and it’s impossible not to panic along with her. Hood Witch is a tough watch, as misogyny and apathy play out in the film the same way they play out every miserable day, infecting each generation like a poison. The rage that fuels Nour and the film is what feels most relatable. “People think I’m possessed by the devil. I think I’m just angry.” There are unexplored ideas and mixed messages that keep Hood Witch from becoming a great film, but it’s an angry, observant thriller and solid reflection of the time. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release, World Cinema < All Reviews Next Film Review >

Cikgu Hana film review by UK film critic Chris Buick. Starring Charlene Jane, Herlea Titieanna directed by Wan Dinnie. HOME | FILMS | REVIEWS Cikgu Hana Film Review average rating is 2 out of 5 Critic: Chris Buick | Posted on: Nov 23, 2023 Directed by: Wan Dinnie Written by: Wan Dinnie Starring: Charlene Jane, Herlea Titieanna Tasked with an assignment to write about the history of their country, two students are transported back to the past where they learn all about their country’s rich history and how it has shaped their lives today. Malaysian short-film Cikgu Hana: Director’s Cut , the version that was submitted for this review, prefaces itself with an apology. It seems that in post-production many of the films production files stored on an external hard drive were lost or damaged, meaning that only ten percent of the files were recoverable. What is presented here is a re-edited version of what was salvageable with very mixed results. What we do get to enjoy in what is presented over the films six-and-a-half-minute runtime is a beautifully created visual spectacle of rotoscoping, a process animators use where live-action footage is traced over frame by frame to create some truly wonderful animated works of art that add depth and flourishes to sequences that otherwise couldn’t have been achieved. And that is where Cikgu Hana really shines. The animation here looks amazing, really bringing the whole piece alive, awash with vibrant colour and pure imagination that is a joy to watch. Much like the film's predecessor Hana , the previous offering from D-Mulsion Productions that is equally remarkable visually, Cikgu Hana is a feast for the eyes. But unfortunately, given the state of the rest of the film, this is a re-edit that is very rough around the edges and with simply way too many pieces missing. Narratively there are clear gaps, plot points jump suddenly from one to another and it becomes hard to keep a grasp on what exactly is going on, although the animation does help a lot to convey the intended story as best as it can. Editing is choppy and jarring, which is of course to be expected given so little to work with, but it does undeniably have a big impact, even hindering the fabulous artistry at times. On the positive side, the film does manage to showcase the obvious talent these filmmakers have, a fact all the more confirmed by looking at what was achieved with Hana , so it’s really frustrating and saddening to know that here there would have been definite quality, that if troubles hadn’t occurred this film could have really sang. One does sympathise of course with what must be a heartbreaking loss of a lot of quality work, especially if the aforementioned and fully completed Hana is anything to go by, but one can also only judge what they are presented. And unfortunately, this film in this state doesn’t have enough. It’s a real shame that what would have been clearly a lot of hard and considered work hasn’t been able to make it to the finished product. If Cikgu Hana can one day be fully realised as it was meant to and deserves to be, it could be something special. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Farewell Symphony film review by UK film critic Chris Olson. Starring Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou directed by Xiwen Miao. HOME | FILMS | REVIEWS Farewell Symphony Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 14, 2022 Directed by: Xiwen Miao Written by: Xiwen Miao Starring: Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou “Brave women always pay a higher price.” Having recently interviewed filmmaker Xiwen Miao , I jumped at the chance to watch (and review) one of her short films. Farewell Symphony is a sumptuous and aching portrayal of life’s journeys and the loyalties we have to face, and break, if we are to ever find happiness. Qunxi Wang plays the younger version of the lead role Yang Yang, a talented cellist whose family expects her to toe a life of preordained expectations. When she defies them and moves to New York to pursue her dream of playing music, we can see the sacrifice still troubling her decades later through the life of older Yang Yang (played by Joy Sung Kim). Farewell Symphony is full of beautifully short music sequences, such as younger Yang Yang furiously playing her cello after a disastrous dinner with her family, or the older version playing solo on a stage without an audience. These scenes are the true highlight of the short film, Miao seems completely capable of mesmerising her audience with a few simple ingredients. The scenes between the older Yang Yang and her partner Maria (played brilliantly by Anne Ruttencutter) are perhaps the most emotionally affecting. With Maria’s ailing health clearly provoking a multitude of buried hurts for our protagonist, it is their loving affection for each other that becomes a much-needed antidote to the cruel abandonment shown to younger Yang Yang by her parents (Yuebo Wang and Xiaolan Wang). But the crossroads that our lead finds herself in seems just as crushing as her one decades ago, whether to continue to pursue her musical career at the cost of leaving those closest to her. It’s a film that deftly touches upon expected gender roles and social conventions without ever needing to spell it out for the viewer. Yang Yang’s numerous dilemmas create instant empathy from an audience who will understand to varying degrees the expectations thrown on to them by their own family members. The migration that the central character takes is also key. The idea of uprooting one’s self to another country in order to pursue a dream is hard enough, let alone when her loved ones condemn her for it. This severed connection plays out particularly brilliantly with the Grandpa character, expertly played by Jianshe Zhou. Farewell Symphony is a subtle family drama with a rich musical tapestry that makes it engrossing for the audience throughout. There are a few bum notes along the way, such as some wooden dialogue being performed in the dinner scene but these are far and few between. Largely, Miao composes a generously engaging story and then delivers it spectacularly on the parallel stages of young life and older life. About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

Close film review by UK film critic Joe Beck. Starring Marco Fausto Daidone, Gianluca Meotti directed by Lorenzo Sicuranza. HOME | FILMS | REVIEWS Close Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Dec 15, 2024 Directed by: Lorenzo Sicuranza Written by: Lorenzo Sicuranza, Francesco Teselli Starring: Marco Fausto Daidone, Gianluca Meotti What makes a relationship a close one? Is is the quantity of time spent in another’s company or the quality of that time? How quickly can you form a close relationship? In minutes or does it take hours and days? Those are the questions ‘Close’ raises, though it doesn’t necessarily explore them to a satisfactory level of nuance and depth. ‘Close’ begins with an extract from a poem by Ferdinand Freiligrath - “O love, as long as you can love! O dear, as long as you love! The hour is coming, the hour is coming; Where you stand at graves and lament!” - and the essence of those four lines is felt throughout the rest of the film as well. It’s a poem that expresses the need to love while you can love, because it may not last forever, and whilst that is effectively captured in ‘Close’, the film doesn’t spend enough time exploring the relationship between its characters to truly understand the bond that they share. Franz (played by Marco Fausto Daidone) is all alone in an unfamiliar city as he prepares for a piano competition. Alone in his hotel room he cannot get through to his mother on the phone and is left overwhelmed by his own solitude. All that changes when Andrea (played by Gianluca Meotti) bursts in looking for shelter from the police. Andrea is clearly a dangerous fugitive and angrily remonstrates on the phone to his accomplice but this doesn’t perturb Franz, and very quickly the two strike up something of a friendship. Emphasis must be put on how quickly this happens. One moment Andrea is yelling on the phone, the next he and Franz are sat at the piano playing together with a closeness and sensuality between them. It’s as though a chunk of the film were taken out between the two scenes and we are supposed to just believe that they struck up a friendship just like that. There’s connective tissue between the events and this is a pattern that continues throughout the film. It’s a fault in the screenplay by Lorenzo Sicuranza and Francesco Teselli as they fail to effectively set up any of the events of the film. You sense that had the film been perhaps longer and more able to bridge the gaps between scenes then it would have been a far more moving rumination on loneliness and the human need for closeness and relationships. As it is, Lorenzo Sicuranza’s impeccably beautiful directing is let down by the gaps in the screenplay and the film feels rather unfulfilling. ‘Close’ is a disappointing film. It’s one that is full of unfulfilled potential as it fails to properly explore the depths of its questions and themes, and instead feels rushed and incomplete. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

For You, The Disappeared film review by UK film critic Jason Knight. Starring Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS For You, The Disappeared Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 12, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Basil Fernando, Samanmali Hettiarachchi, Brito Fernando, Chandraguptha Thenuwara A short documentary about people disappearing in Sri Lanka, directed by Ranga Bandaranayake and written by Chamara Prasanna Kodithuwakku. For decades, countless of citizens of Sri Lanka have vanished without a trace. This twenty-minute-long film aims to acknowledge this. Via a large selection of dramatic photographs and several interviews, viewers will become aware of the tremendous suffering that has been caused due to people losing their loved ones and that this situation is continuing today. They will also be informed of the Monument of the Disappeared, a structure built in order to serve as a place of mourning and to honor those who vanished and of the Dabindu Collective, an organisation that protects the rights of women labourers in the free trade zone. The photographs are quite vivid. They consist of people protesting, individuals holding pictures of lost loved ones and devastating results of brutal conflict. All this is superbly edited by Vishwa Ranga Surendra and the visuals are accompanied by dramatic music thanks to the contribution of Nadika Weligodapola and voice-over by Dhammika Bandara and Nishadi Bandaranayake. The interviewees are Basil Fernando, a Human Rights activist, Samanmali Hettiarachchi, the Director of Dabindu Collective, Brito Fernando, a Human Rights activist and Professor Chandraguptha Thenuwara. Listening to them paints a picture of the dark side of Sri Lanka. The filmmakers utilise an intertesting technique with the obvious intention of creating drama. This involves numerous sequences that begin with the photo of two to five people. Then the film cuts to a lit candle that goes out and when it does, the image turns black-and-white and there is a loud noise that resembles a gunshot. It then cuts back to the photo, where one person is suddenly replaced by a photo frame and inside it is a dark silhouette of a person, apparently of the one who is not present in the picture with the others. This method is a way of visualising a disappearance and acknowledging the emptiness that it causes to their loved ones. This film emphasises a very serious issue that has affected many people in Sri Lanka, points out corruption and supports fight for justice. This documentary is an informative, shocking and poignant viewing. It raises awareness of the disappearances that are taking place in Sri Lanka and pays tribute to the ones who vanished and this makes it a viewing worthy of attention. About the Film Critic Jason Knight Short Film, Documentary, World Cinema < All Reviews Next Film Review >

Fyre Rises film review by UK film critic Matt Trapp. Starring Paul Marlon directed by Paul Knight. HOME | FILMS | REVIEWS Fyre Rises Film Review average rating is 2 out of 5 Critic: Matt Trapp | Posted on: Apr 27, 2026 Directed by: Paul Knight Written by: Paul Knight Starring: Paul Marlon Paul Knight’s Fyre Rises is a classic setup for a violent crime thriller; a retired criminal, now out of the game and living an honest life with his family, is pulled back into the life he left against his will. Unfortunately, Fyre Rises crumbles under the weight of its lofty ambitions, failing to provide much in the way of excitement and thrill and instead retreading the ground of similar and better films. While it should be lauded for attempting to create a British gangster epic, the film awkwardly lumbers its way through locations and sporadic languid action sequences, gesturing towards the drama that it never manages to sell. Richard Fyre (Paul Marlon) used to be in the business of crime, but now he’s simply a dad living in the suburbs, struggling to get by. He’s even been reduced to accepting leftovers from the local greasy spoon to feed his family. He’s soon pulled back to his mercenary ways when Priest, a religious zealot slash gangster (reminiscent of Joker by way of Temu) sends his goons to recruit Fyre for another mission. Fyre accepts the job for the sake of his struggling family, and soon finds himself not so merrily on a plane to Spain. Immediately, the film demonstrates a lack of faith in how it establishes Fyre’s justification for ‘one last job’. Not only is he compelled by Priest’s henchmen who beat him senseless, Fyre is also forced back in due to his dire financial situation. It’s clumsy, and would have been far cleaner to pick one or the other; either his family is threatened and he’s doing this job for their safety, or he’s seeking out his old employment without his family knowing so that he can ‘be a man’, and provide for them as he knows he should. It’s a messy and unconvincing inciting incident, which in turn makes Fyre feel passive as a protagonist. The opening act of Fyre Rises is reminiscent of Jonathan Glazer’s Sexy Beast , although instead of going from sunny Spain to a grey and damp United Kingdom, it’s the other way around. What Glazer nails is the careless bliss of protagonist Gal (Ray Winstone) who has retired happily in Spain, his red flesh cooking under the beating sun. Gal’s reluctance to do ‘one last job’ is reflected externally by the UK’s dismal weather. When Paul Knight takes viewers to Spain, it’s golden and sun-drenched, the score introduces a classical guitar, and it gives the impression of a careless summer holiday. Of course it’s not easy to depict Spain as miserably as the UK, but the choice to show beaches and bikini-clad sunbathers in part of a montage creates a complete tonal dissonance. Fyre should be anxious, devastated to be back in his old life which he apparently made a significant effort to escape. It creates a whiplash which could have either been avoided altogether or intentionally leaned into. Perhaps more attention could have been given to Fyre’s ironic anguish at being in a beautiful paradise, lying uncomfortable and vulnerable on a crowded beach. Knight could have incorporated the oppressive heat of the sun, cracking Fyre’s skin and burning his face, his sweat visibly and uncomfortably running down his face. Instead, we barely see Fyre outside in the daylight, and in one instance he’s sat next to the hotel pool in the shade barely looking inconvenienced. More than likely, the narrative reason for Fyre and crew taking on a job in Spain was that the production had an opportunity to shoot outside of the UK in a surface level attempt to expand the scope of the film. Fyre Rises ultimately crumbles under the weight of its ambitions, and in attempting to look and sound like an epic, it draws attention to a pervasive lack of polish. The sound mix is noticeably choppy in one scene where Fyre’s voice can be quietly heard mumbling as one of Priest’s goons confronts him. Fyre’s dialogue isn’t loud or clear enough to be understood, so it comes across as an error in the final mix. Hell, it may well have been an error, I’m not sure. The film is edited vaguely too, with many interior locations doing a poor job to establish where characters are in relation to each other. The action scenes are few and far between, which could be considered a positive considering how slapdash they’re put together. Quick cuts, close angles, and muddy lighting keep the action vague and difficult to follow. Fyre Rises could have been better served as a 40 minute short, with fewer locations, a simpler narrative, and more attention given to its few action set pieces. It feels like a project that was simply too big for the cast and crew, and at nearly two hours long, it’s an endurance test. It’s hard to know how sincerely Fyre Rises was produced. On the one hand, there’s some real enthusiasm from the cast, particularly Aaron Sidwell’s performance as Priest which should be praised for how much life he injects into the film when he’s on screen, as derivative as the character is. On the other hand, the film is not coy about Eric Roberts’ casting, who shows up remotely on a screen at the end of the film in a transparently brazen attempt to add a recognisable name to the poster. Fyre Rises misses the mark by skipping the fundamentals of good storytelling and filmmaking, instead attempting to mask its narrative failings with unremarkable spectacle. About the Film Critic Matt Trapp Indie Feature Film < All Reviews Next Film Review >

See all the films officially selected for the 2022 UK Film Review Festival. The 2022 UK Film Review Festival Supporting Toby Jones in A Moral Man Enjoy... Here are all of the officially selections films being showcased at the 2022 UK Film Review Festival. A Manchester Story Best Documentary A Moral Man Best Short Film Anonymous Best Feature Film Another Day Best Drama Baroness Best Short Film Boomslang 2: The Dinner Best Comedy Brother Troll Best Short Film Cha Best Short Film Chapel of Rest Best Short Film Clout Best Feature Film Coast Road Best Crime/Thriller Community Service Best Short Film / Best Drama, Best Drama, Best Short Film Doll Best Horror Film Fat Boy Best Short Film File Not Found Best Horror Film Finding Wilson Best Short Film For I Am Dead Best Short Film, Best LGBTQ+ Film, Best Drama Garage Best Short Film Green Lanes Best Drama Film, Best Drama Holestepper (Pisahueco) Best Short Film Hollow Best Short Film HoneyDough Best Short Film Jumpers for Goalposts Best Short Film Kowalsky Best Short Film Lactown Best Short Film

Film Festival Partners A selection of the Film Festivals that UK Film Review is a Media Partner for. Soho London Independent Film Festival Shining a light on stories that matter Soho London Independent Film Festival (SohoLIFF) is a ‘short film’ festival based in the heart of Soho, in London’s West End. We love films that could make a difference, that give a voice to those who have been marginalised. We simply love great films that are engaging, from the dark and gritty to the eccentric and flamboyant. We welcome all genres and have a particular interest in films with a social and environmental message, films that matter. SohoLIFF Thurs 25th – Sun 28th of January 2024 75 Dean Street, Soho, London W1D 3SQ SohoLIFF features live screenings, panel discussions and workshops over four consecutive days, culminating in a gala-night award ceremony to celebrate all the festival’s films! Our Audience Choice Award, voted for by the public, brings with it an amazing opportunity for the winner to have their film poster displayed across Storm’s huge digital billboards in prominent London locations, all thanks to our wonderful Soho neighbours, Clear Channel. Throughout the year we host our ‘Soho Spotlights’ which provide advice and insights for filmmakers – from industry professionals, covering subject matters ranging from finance to distribution. We also host panels and masterclasses featuring industry experts, which are free to our filmmakers. Filmmakers have an opportunity to be interviewed for our Soho Spotlights in the run-up to our festival and awards night as well. Run by a group of passionate professionals and enthusiastic newcomers, this is one not to be missed. More Screen and Story Film Festival The Screen and Story Film Festival is an open global festival giving filmmakers a platform to showcase their stories to diverse audiences across the world. Our first edition opened as a result of the pandemic in 2020 with our first virtual edition featuring 21 shorts from 10 countries. This year we are expanding our film programme to screenings of shorts, features and documentaries. The 2021 festival edition will bring its inaugural screenwriting competition to celebrate the power of storytelling combined with a full range of industry-leading events. All screenings, events and talks will be held virtually. Our 2021 edition sees a global open call for submissions that encourages all filmmakers to submit their work. With no submission or ticket fees, the festival focuses on one common mission: to enhance and empower worldwide filmmaking, providing a platform to all regardless of location, race, sexuality, gender identity, faith, disability or socio-economic background, with no exceptions. The Screen and Story Film Festival is run by likeminded volunteers from different sectors of the professional film community all working towards one common mission. We exist to enhance and empower global filmmakers and writers around the world, giving a platform to all in-discriminative of location, race, sexuality, gender, religion, disability or socio-economic background, with no exceptions. Our Values are to: - To find, develop and promote undiscovered international filmmaking talent, encouraging them to showcase their films and let their voices be heard in an engaging and inspiring atmosphere where creativity and powerful storytelling abounds. - To level the playing field for filmmakers, always providing equal opportunities to all through a broad open call free from theme at least once a year. - To create an all-encompassing support network of filmmakers for the filmmakers. Fostering connection for collaboration, encouragement and advice. - To give independent film a diverse and worldwide audience and reach a wide range of communities with films they may not generally have access to. - To be nomadic and take the festival to interesting and unexplored territories. - To be accessible to everyone, everywhere, regardless of location. More Yellowstone International Film Festival In the city of culture, art, and heritage. Yellowstone International Film Festival is dedicated to celebrating the world-class cinema. Yellowstone International Film festival is home to independent cinema from around the world. YIFF puts filmmakers first and provides the opportunity for recognition and publicity for quality films and documentaries. Our aim is to be an advocate for filmmakers with a unique vision and to promote their work by showcasing it to a large audience. which is why our mission is to carefully consider and select a wide range of films to promote to the indie film-loving crowd. YIFF will be a global adventure of the premiere, screenings, nightly red carpets, daring documentaries, eye-opening short films, We also focus films under special categories such as LGBTQ films, Women Empowerment films, environmental films, Students Films. More Cheap Cuts Documentary Film Festival Cheap Cuts Documentary Film Festival is the only UK festival dedicated exclusively to short documentary. Cheap Cuts showcases the best of British and international short documentary talent. We strongly believe in content over form and are interested in the stories you have to tell and not the equipment or budget used to do so. Cheap Cuts is committed to helping promote equality within film and every year at least 50% of our programme is formed of short documentaries directed by women. Our programme offers a variety of filmmaking styles; including experimental, animation and observational documentary and there are some great appearances from films that really push the boundaries of documentary. More Little Wing Film Festival Little Wing Film Festival takes place in August / September in London. Now in its second year, the LWFF will play host to a selection of fantastic short films from UK filmmakers, as well as some exciting workshops hosted by the Little Wing Film Festival organisers. Little Wing Film Festival Facebook - @littlewingevents Twitter - @LittleWingFF Instagram - @littlewingfilmfestival More Fringe Queer Film Fest Since 2011, Fringe! Queer Film & Arts Fest has been an entirely volunteer-run organisation rooted in London's queer creative scene. In Novembers, and throughout the year, we showcase an eclectic mix of films, arts and events celebrating LGBTIQA+ stories from around the world, welcoming everybody. Fringe! Queer Film Fest started in 2011 as a community response to arts cuts carnage, and since then we’ve ‘expanded exponentially to become one of the most innovative and exciting festivals on the circuit.’(Londonist) From feature films to experimental installations, workshops and lively debates to wild parties, Fringe! hosts a multitude of diverse events to tickle every one of the senses. You'll see us flooding East London's cinemas, art galleries, pop-up venues and basement clubs with the powerful, provocative and strange. As we continue to develop and our Fringe! Queer Film Fest family continues to grow, some things stay the same: a lot of our screenings and events are free or affordable, we remain open to new voices and ideas, and we’ll always be queer: celebratory but critical as hell. More Beeston Film Festival THE BIGGEST INTERNATIONAL SHORT FILM FESTIVAL IN THE MIDLANDS is the Beeston Film Festival. It is now open for its SIXTH year and now ranks in the top 100 Best Reviewed Festivals from the 8,000 festivals registered worldwide. The festival takes place over five days across several venues and screens over 120 films from 35 countries, creating a truly international cinematic experience. It will take place late March 2020. The Beeston Oscar, or B’Oscar, is presented to the best film in the following categories - Drama, Horror, Comedy, Documentary, Animation, Crime, Science Fiction and Student. Further prizes include Best Director, Best Script, Best Cinematography, Best Acting Performance, Best Soundtrack & Sound Design, Women’s Voices and an Audience award, too. The selection process includes review by a team of local Beestonians who select the film accepted into the festival and determine the B’Oscar nomination shortlists. Our B’Oscar award jury comprises of film professionals from across the globe including UK, US, Belgium, France, India, and Taiwan. More High Peak Indie Film Festival High Peak Independent Film Festival is a not-for-profit film festival that celebrates shorts and feature films from some of the best filmmakers around the world. The festival showcases up and coming talent from independent filmmakers across a four-day event of film, events and networking parties. Set in the beautiful town of New Mills, the festival takes place at the old theatre, New Mills Art Theatre, an almost hidden five hundred seater venue that takes you back to the past when you walk in. New Mills, only 45 minutes away from Manchester and Sheffield, is an easy commute and is worth the visit just to see the rolling hills that surround the village. It’s also known for making the famous Swizzles Matlow sweets! In the festival’s inaugural year back in 2017, the festival hit off with a bang and received great reviews from filmmakers, film lovers and those who just heard about it through word of mouth. It showed 51 films across a three and a half day event. In its second year, the festival will showcase 60 films (56 shorts, 4 features), amongst hosting an array of events and networking opportunities for filmmakers and festival goers alike. Programmes at this year's festival include our dedicated Young Filmmakers Shorts that include a selection of short films by young filmmakers aged 13-18-year-olds from around the world, a category that is always free for entry to those of that age. There is also a Women in Film programme that is dedicated to the outstanding work of female filmmakers in the independent film industry and our Best of the North which celebrates the best of local talent. As well as many other shorts programmes, we are showcasing four feature films, including holding two UK Premieres for Sarah Barker’s ‘The Subject’ and Christophe Leclaire’s ‘Le Portrait’. Our events for this year include our prestigious awards ceremony which comes jam-packed with entertainment and a live set from local artists, James Holt, and our returning movie-themed brass band night, which really is something not to be missed! We also have our free 10-hour filmmaking challenge on the Thursday and panels on Saturday and Sunday too. More Barnes Film Festival Barnes Film Festival is now planning its fourth film festival, taking place in Barnes in September 2019. The festival showcases filmmaking talent from across the UK, workshops and panel talks, together with award-winning films from around the world. Barnes Film Festival celebrates diversity, passion and creativity, and connects all filmmakers – and anybody interested in film – with industry professionals. As well as our Filmmaking Competition, the Festival will host inspiring film events for all, including workshops, discussions, screenings and gatherings, with leading figures from the film, documentary and animation industries. Whether you’re a filmmaker, or a film fan looking to discover something new, there’s something at Barnes Film Festival for you! Come along to our next Festival and be part of something fantastic. More British Urban Film Festival The British Urban Film Festival was founded in July 2005 to showcase urban independent cinema in the absence of any such state-sponsored activity in the UK (at the time). To date, the festival has screened over 500 films, securing broadcast platforms for a majority of Black and urban independent writers, actors, actresses, producers and directors on the BBC i-player, Channel 4, Community Channel (now Together TV), Showcase TV and London Live. In February 2018, BUFF Originals was launched to act as the production and distribution arm of the British Urban Film Festival. Its' debut feature - No Shade - was released in UK cinemas in November 2018, making director Clare Anyiam-Osigwe the 6th Black British female director (to date) to secure theatrical distribution in over 120 years. Emmanuel Anyiam-Osigwe is the founder and Chairman of the British Urban Film Festival and officially, one of the 100 most powerful and influential figures in independent film, according to a list published by the UK Power 100 in June 2019. For his work as executive producer of 'No Shade' (BUFF's first, fully funded and independently released feature film), Emmanuel was also listed as 1 of 5 standout inductees by the UK Power 100. More London Independent Film Festival Due to come to London in April/May 2020, the London Independent Film Festival is a particularly important event in the cinematic calendar. Mostly because it provides a fantastic stepping stone for new filmmakers, and a great festival to be part of. LIFF (London Independent Film Festival) puts on a selection of fantastic screenings, events, and workshops that attract big fans across the capital. Filmmakers who are looking to submit their film to a London Film Festival should seriously consider the LIFF. It has a strong pedigree amongst the industry and can provide exposure to some of the movie-making community's big players. For instance, at the London Independent Film Festival 2020, there will be a special event hosted by our Editor-in-Chief, Chris Olson, on film marketing. This is a fantastic partnership that is sure to benefit all who are able to attend. We are hoping to add a few more entries to this page as we review films that will be appearing in the LIFF lineup. You can also check out special features that have been provided by the festival organisers, or exclusive interviews. One such interview can be found between UK Film Review and Festival Director Natasha Marburger - so be sure to check it out. More Grimmfest Film Festival Grimmfest is one of the UK's leading festivals of horror, sci-fi, fantasy & cult cinema, taking place every year in Manchester. This truly independent genre film festival is dedicated to sharing the best new short and feature films from both emerging and established filmmakers, hosting a wealth of World, European, UK and Northern premieres across the 4-day event. Previous Grimmfest highlights range from international successes What We Do in the Shadows, The Babadook, Train to Busan, The Woman and American Mary, to those made closer to home such as Howl, Grabbers, Before Dawn, Let Us Prey and Colin. Over the years they've welcomed a vast number of guests, including horror mainstays Robin Hardy (The Wicker Man), Ken Foree (Dawn of the Dead, From Beyond), Brian Yuzna (Re-Animator, From Beyond) and Italian soundtrack maestros Goblin, alongside Britain's own Ross Noble (Stitches), Alice Lowe (Sightseers, Prevenge) and Liam Cunningham (Game of Thrones, Dog Soldiers). The 2017 edition attracted thousands of genre film fans, press and industry guests to the city, with highlights including World Premieres of gritty Manchester-set horror film Habit and stunning animated documentary Borley Rectory, featuring the voice talents of Reece Shearsmith, Nicholas Vince and Julian Sands. Ted Geoghegan's Mohawk and Rob Grant's Fake Blood had their first European outings, alongside UK premieres of the WW1-set Trench 11, Fantasia favourite Poor Agnes and Russian supernatural thriller The Bride. The Francesca Eastwood-starring M.F.A., Sitges-selected Rabbit and festival favourite Dave Made a Maze also had their first UK screenings at the festival. Northern Premieres included Better Watch Out, Replace, Game of Death, Killing Ground, Still/Born, 68 Kill, Ruin Me, Double Date, Freehold (Two Pigeons), Leatherface and Attack of the Adult Babies. 2017 Q&As and special guests included filmmakers and stars from Habit, Borley Rectory, Fake Blood, Trench 11, Double Date and Attack of the Adult Babies. The Festival's 9th edition proved once again that Grimmfest is one of the most welcoming genre film festivals in the world. "In all respects I can honestly say 'Grimmfest did me proud'! I've attended film premieres before but I've never felt such a warm atmosphere or watched cast and crew members be so well looked after, myself included" - Sara Dee (Actress - Borley Rectory) "We were honoured to have our UK premiere at Grimmfest. They did a great job of promoting the film, and their efforts led to a slew of great press; their PR people are really on top of it and we are forever grateful. It really helped establish an audience for our movie in the UK" - Bill Watterson (Director - Dave Made a Maze) "All the films looked and sounded amazing. Talking with the fans and filmmakers at the fest was a blast. I loved everything about Grimmfest. I very much look forward to screening another film there" - Matt Stuertz (Director - Tonight She Comes) More