Search Results

A Fighting Legacy film review by UK film critic Patrick Foley. Starring Angela Bahr, Jody Brincks, Julie Cohen directed by Adam Wagner. HOME | FILMS | REVIEWS A Fighting Legacy Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 9, 2025 Directed by: Adam Wagner Written by: Adam Wagner Starring: Angela Bahr, Jody Brincks, Julie Cohen The long-stretching heritage of Muay Thai is explored in great detail in Adam Wagner’s documentary A Fighting Legacy . Focused on the sport’s presence in the heartlands of America, fighters, trainers and fans all describe how ‘the art of eight limbs’ has come to shape combat sports all over the world. The documentary centres around the TBA tournament – an annual Thai Boxing event that attracts worldwide competitors. Amidst live footage of fights, the history of how Muay Thai made its way to the US is storied, whilst its influence in shaping the all-conquering MMA craze that exploded in the 1990s is laid bare. A Fighting Legacy is defined by both detail and decoration. Whilst it is structured around a wide-ranging history of Muay Thai, the film really isn’t one that is suited to newcomers. This is not for a lack of explanation. The interviewees – many of them fighters themselves – provide excellent analysis of what fights consist of as well as where the sport originates from. Their testimonies are inviting and viewers will be confident of their expertise. However the documentary itself meanders too often, featuring long stretches of uninterrupted interview footage overlayed with a forgettable generic backing track. After a while, the words themselves begin to lose meaning as audiences yearn for more visual stimulation. This isn’t the pace of the entire film, but the incidences where it is notable suggests that a harsher edit is needed. Director Adam Wagner does an impressive job of establishing the context of Muay Thai in America, telling a coherent and relevant story of where it came from and how it has shaped sport – most notably MMA and its largest promotion, the UFC. However, Wagner goes to lengths to demonstrate that Muay Thai is its own art – and an independent sport from its superstar borrower. The TBA competition and its competitors are at pains to show the practices and traditions that surround Muay Thai that stretch back to its Thai origins – such as the presence of music during fights. It is a film that shows respect to its subject and the community immersed in it, and Wagner’s framing allows the viewer to understand why the largest Muay Thai competition in the western hemisphere is of both huge significance and the result of a decades long effort to spread the sport’s reach. It is fair to say that those familiar with the feel of a stiff gym mat, bruised shins and a tight headband will get more from A Fighting Legacy than the average viewer. It is strong on the technical detail, and filled with informed analysis from fighters whose footage will engage those with an appreciation for combat. Others may find themselves zoning out amidst the intense focus, and might face a fight of their own to keep on track. But for a grassroots project set in an underreported sporting world that has influence stretching all the way to a million-dollar MMA industry, this is an admirable first foray into the ring. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, Documentary < All Reviews Next Film Review >

L'Aube Dorée film review by UK film critic William Hemingway. Starring Quentin Marline, Regis Bequier, Orlane Simon, Nicolas Bohn directed by Nicolas Lenerand. HOME | FILMS | REVIEWS L'Aube Dorée Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 7, 2025 Directed by: Nicolas Lenerand Written by: Nicolas Lenerand and Melinda Martinho Starring: Quentin Marline, Regis Bequier, Orlane Simon, Nicolas Bohn Back in the late 19th Century a new secret society was formed in the back-streets of London, where members learned about occult rituals, took part in strange initiation ceremonies, and practiced enhancing their magical or supernatural powers – this cult was known as The Golden Dawn . Over the next few decades, The Golden Dawn grew in size and popularity, expanding it’s reach and widening its member base, reaching out into the world of the arts and becoming de rigueur in certain circles, where actors, artists, and authors clambered over themselves to join. The most notorious of their members was Aleister Crowley, the man who spread the word of The Golden Dawn wider than it ever had before, who practiced its many rituals with devotion and glee, especially in their psychedelic, transcendental, and sexual aspects, who supposedly opened the gates of Hell in a small Highland cottage on the banks of Loch Ness, and who was immortalised in song by the late, great Ozzy Osbourne. Here though, in L'Aube Dorée (The Golden Dawn) , the cult has been transposed to nineteenth century France, and has taken on the mantle of deposing the King by any means possible. They work in the shadows, scheming and plotting on how to overthrow the monarchy, and use nefarious tactics, including murder, to achieve their aims. When we meet them, L'Aube Dorée are initiating their newest member, Guillaume (Marline), a teenager on the cusp of manhood, who has been schooled and prepared for this life by his father, Edouard (Bohn), who is also a member of the secret society. For his first task, and as a means of initiation, Guillaume must murder one of their sect, who is a known drunk and philanderer, and who has been running his mouth off too much to anyone who’ll listen. This person has become too much of a liability and so Guillaume must silence him for good. However, despite his ability with a sword, and his known reputation for being a skilled fighter, Guillaume’s murderous attempt goes awry when the girl that he is sweet on, Anne (Simon), witnesses him in the act and threatens to blow the whole organisation wide open. Guillaume must now make a decision, whether to honour his allegiance to his father and his sect, or to save the girl that he loves by standing up to those he has worked so hard to be recognised by. L'Aube Dorée then, is an historical thriller which is entirely clothed in cloak and dagger. The machinations of the secret society all take place in the back-streets of the city, under the eaves of buildings, through low archways into covered cellars, and into the back-rooms of forgotten about establishments. Their meetings are conducted under the auspices of candlelight, and the society only revealed in the light of day when they make their move to kill. All of this is captured nicely by DoP, Kevin Sakac, who mostly manages to get the shots needed despite the limited light, whether that be in the candlelit cellars or the twilight of the outdoors. Director, Nicolas Lenerand, also does a solid job with his shot choices and the way he builds up his scenes, with all of the important aspects of the characters and their actions brought front and centre into the frames. The writing though, from Lenerand and writing partner Melinda Martinho, is fairly stilted and to the point. We get the idea of what’s going on, and the main motivations of the characters, but there’s not an awful lot of nuance or depth to help flesh out the story around them. This perfunctory nature to the dialogue also then feeds through into the performances, where the amateur actors sound out their words almost to the point of caricature. This over emphasis on pronunciation is actually fairly useful to the average British viewer with no background in the French language, as it’s easy to hear the words and understand them as they are translated in the subtitles, but it does not help the performances any and keeps things sounding like an amateur production. Once the action gets going, L'Aube Dorée again feels like its missing a beat, as the actors struggle to pull off any sort of believability or smoothness to their fighting. The swordplay is laughably slow, even if the choreography is actually quite good, and the audience is never really brought into the scenes with the clash of metal. The conviction and heart of all those involved, however, is enough to carry the scenes, and the story, and to an extent the performances, to allow the film to expose its themes and its drama enough that the viewer can overlook a lot of the inadequacies shown by the small production. In the end, L'Aube Dorée offers an interesting look into the machinations of a secret society in historical France, where everything is done under the darkness of hooded robes. While it is a very amateur production, it carries itself well enough to achieve its aims and for the most part to bring the audience along with it, giving us a short window into a distant world. While it won’t win any awards for acting or writing, there’s enough here for most viewers to take something away from, and the team behind it should be able to build on what they have learned for their next project. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Grima film review by UK film critic Jason Knight. Starring Monroe Cline, Lynn Allinger directed by Richie Harrington. HOME | FILMS | REVIEWS Grima Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Nov 7, 2025 Directed by: Richie Harrington Written by: Richie Harrington Starring: Monroe Cline, Lynn Allinger A short horror film written and directed by Richie Harrington and starring Monroe Cline and Lynn Allinger. Regarding the title, just explaining that ''Grima'' has a variety of meanings and one of them is a feeling of disgust that is related to the sound of nails scratching a chalkboard, which is probably the most appropriate one considering the events in the story. Sinister things are taking place inside a classroom. All the students are sitting at their desks, completely still, with their heads down. Their teacher (Allinger) is walking around, inspecting them very closely, making sure they are all obeying. One of them, Jen (Cline), is not and the teacher (Finster is her name) confronts her and viciously makes sure that the unruly girl learns her lesson by applying her nails to the blackboard and making ugly noises. Five minutes of tension and spooky moments and nails scratching a chalkboard. This is a wickedly fun film, whose main strength is arguably Allinger's character, a teacher from hell. The screenplay loses no time becoming gripping, turning towars the supernatural and bringing the viewer in an environment filled with dread, with Brendan F. Cochran's ominous music and Larry Tang's cinematography fitting in just fine. The sound effects are another plus, especially when it comes to nails being pressured against a blackboard. A lot of creativity is clearly present in the special effects, creating grotesque moments like a face disintegrating and the skin being removed from a hand. Any negative observations? That would be hard. This is a very well-made short with plenty of scares. As mentioned, Finster is a major asset and this is because it is this character that creates most of the elements that make this film a horror story. Played brilliantly by Allinger, Finster is like Cruella de Vil, a wicked and terrifying person, who might even be a witch. Cline portrays the poor schoolgirl who falls victim to Finster's attention, being emotionally tormented for failing to learn discipline. The director states that this project acknowledges the awful sound of nails on chalkboard, something that greatly annoys him and there is plenty of that happening in this story. Blackboards and nails aside, punishment, fear, cruelty, guilt and honesty are other themes that drive this story. A horror film with a nightmarish teacher and the dreaded sound of combining nails with chalkboards. According to Harrington, this short is a proof of concept for a feature film and that is something to look forward to. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Predator: Badlands film review by UK film critic Hope Madden. Starring Elle Fanning, Dimitrius Schuster-Koloamatangi directed by Dan Trachtenberg. HOME | FILMS | REVIEWS Predator: Badlands Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 6, 2025 Directed by: Dan Trachtenberg Written by: Patrick Aison, Dan Trachtenberg, Jim Thomas Starring: Elle Fanning, Dimitrius Schuster-Koloamatangi Whenever anybody ranks the Predator films—or the Alien films, for that matter—most episodes hold up moderately to well, except for those crossovers. Well, it appears filmmaker Dan Trachtenberg, who’s asked us to rethink so much about the Predator franchise, wants us to revisit that as well. And why not? In 2022, the co-writer/director of Prey brought new life to a fun action thriller series that seemed to have worn itself out. And then, as we all waited patiently for his next sequel, he dazzled us with the bloody fun animated anthology, Predator: Killer of Killers . Now Trachtenberg betrays a love of this franchise and a seemingly endless inspiration for its universe as he takes us on a trajectory begun when Paul W. S. Anderson first pitted the two most badass alien lifeforms against each other in 2004’s AVP: Alien vs. Predator. Because it was in this installment, weak as it was, that the rogue hunter learned the value of teamwork. Predator: Badlands introduces Dek (Dimitrius Schuster-Koloamatangi), runt of his Yautja clan, banished unless he can return with his trophy: the Kalisk of Genna. But do you remember when Tom Hiddleston and his band of misfits landed on Skull Island in search of Kong, only to find out that everything on the island wanted to eat them? Genna is like that, and Dek is so full of rage, daddy issues, and insecurity that all he can think to do is beat his chest and lash out. Luckily, what’s left of a synthetic being named Thia (Elle Fanning) knows the lay of the land and can help Dek survive the planet and find his trophy, so long as he carries her back to her legs. Thia’s a bit of a Chatty Cathy, a personality tic that allows Trachtenberg and his co-writers, Patrick Aison and Jim Thomas, to clue viewers in on the planet, its creatures, and her own backstory as the budding frenemy relationship develops the film’s themes. It’s fun. Fanning’s charmingly garrulous sidekick brings more lightheartedness to this installment than we’ve seen in previous episodes, but the action is fun and frequent. Expect plenty of bloodshed regardless of the PG-13 rating (it’s mostly beasties, some of them green blooded). The film is often frustratingly dark, limiting the enjoyment of many set pieces, but the score is amazing and the depth of character is an unexpected pleasure. Predator: Badlands is not the best of the franchise, nor is it as ground breaking as Prey , but it’s a ton of fun. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Odyssey film review by UK film critic William Curzon. Starring Polly Maberly, Kellie Shirley, Mikael Persbrandt directed by Gerard Johnson. HOME | FILMS | REVIEWS Odyssey Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Nov 6, 2025 Directed by: Gerard Johnson Written by: Austin Collings, Gerard Johnson Starring: Polly Maberly, Kellie Shirley, Mikael Persbrandt Odyssey, not to be mistaken with the upcoming Christopher Nolan adaptation of Homer’s The Odyssey, follows Natasha Flynn (Polly Maberly), a drug-fueled London estate agent, who hides her self-inflicted problems behind her work. When loan sharks offer cash to hide a kidnapped agent, she is dragged into the grimy underworld of London, leading to a bloody showdown. Following a riveting central performance from Natasha Flynn, the narrative is divided into days of the week as it follows a 9-to-5 in real estate, reminiscent of Uncut Gems (2019), as it tracks a deeply flawed protagonist scheming their way through an anxiety-inducing game of settling debts. You are immediately thrust into a character-driven exploration of greed, as the darkly comedic undertone and gritty backdrop of London suitably accompany the tone throughout the first act. While real estate isn't the most compelling premise, the piece does a solid job of genuinely investing the viewer, even when it's challenging to sympathise with Natasha’s insufferable behaviour towards others. Matt Johnson’s synth musical score works incredibly well with the sleek and stylish look of the film; however, the washed-out colour grading is a distracting choice that becomes a detriment to the solid framing and blocking. There are interesting and stylish ideas at play as it makes fantastic use of its limited budget with neon-drenched nightclub sequences edited erratically from the point of view of Natasha in a drug-induced state. An incredibly visceral formal decision, as Gerard Johnson’s direction is urgent and engaging, exploring the streets of London with its primary theme of excess. The inclusion of a split diopter shot is another incredible choice that makes the piece stand out in its technical prowess. After an appealing first act, the narrative aimlessly meanders into a tonal redirect with the filmmakers seemingly unsure of where to take the story from there. Is it a real estate drama or a crime thriller? A tighter and focused plot primarily set around Natasha and the real estate agency would’ve kept the piece far more compelling, as the stakes feel less significant when it jarringly switches to an action-oriented experience. The use of gore feels entirely forced for the sake of shock value, and the narrative loses its edge thanks to a plethora of bland supporting players, turning into an action film in vain of the John Wick series. While the action sequences are indeed well-choreographed and framed, it is a baffling choice and comes out of nowhere. The conclusion also feels rushed and monotonous, almost ruining the entire experience and making the prolonged set-up feel ultimately unearned and pointless. A further exploration into Natasha’s past life would have made her characterisation more profound and given the piece the thematic flair to deepen the viewers’ emotional resonance towards her. It is simply challenging to truly stay on board with her horrid personality as the narrative gets deeper into the third act. A prolonged runtime really doesn't help the pacing issues within the second half, and trimming the piece down to a tighter runtime could have made the final cut much more engaging. Odyssey is a mixed bag of some astounding ideas on paper; however, the execution is uneven and leads to a jarring tonal shift and identity crisis in its genre sensibilities. It's competently shot and edited, and led by a terrific performance from Polly Maberly. Sadly, the final film is a waste of the incredible talent involved and an unfortunate misstep in Gerard Johnson’s filmography thus far. Icon Film Distribution presents Odyssey in UK cinemas from 7 November 2025. About the Film Critic William Curzon Theatrical Release < All Reviews Next Film Review >

Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting.. Brand new film trailers. Michael The global anticipation surrounding the Michael Jackson biopic, simply titled Michael , has reached a fever pitch, and the release of the first official teaser trailer has finally offered us a glimpse into the ambitious project. Directed by the formidable Antoine Fuqua and penned by the acclaimed John Logan, this is not just another music film; it’s being pitched as the definitive cinematic examination of one of the world's most complex and celebrated figures. The teaser itself is a masterclass in atmosphere, trading quick cuts for a sense of dramatic weight and rising tension. What we see and hear suggests a focus not just on the spectacle, but on the relentless pressure and meticulous preparation that defined the man. Voices are heard setting the stage: "I know you've been waiting a long time for this. The tracks are made, the songs are ready," a line that speaks both to the audience's thirst for this story and Jackson’s own commitment to his craft. The trailer captures the controlled environment of a professional studio or rehearsal space, hinting at the perfectionist beneath the sequins and glove. A particularly telling moment is the instruction, "Q, can you lower the lights for me please... but remember in here, keep those feet still, my man," which suggests the contrast between the private, grounded individual and the visionary who would go on to electrify stadiums. The creative pedigree attached to Michael is formidable. With Fuqua, the director of Training Day , at the helm and Oscar-winning producer Graham King (The Departed , Bohemian Rhapsody ) overseeing the production, audiences can expect a drama with significant cinematic scope and an unflinching eye. Logan's screenplay promises to trace Jackson's journey from the childhood prodigy leading the Jackson Five to the creative force who redefined global entertainment. The film promises a front-row seat to his life "beyond the music," balancing the legendary, iconic performances with an insight into his life off-stage. However, the real focus of the conversation surrounding this film has always been the casting of Michael’s own nephew, Jaafar Jackson, in his feature film debut. The decision is a fascinating move, suggesting a deep commitment to capturing the spirit and movement of the King of Pop. The teaser allows only a hint of his transformation, but the familial connection adds an immediate layer of authenticity and tremendous pressure to the performance. Jaafar is joined by an impressive ensemble, including two-time Academy Award nominee Colman Domingo and Miles Teller, signalling that this is a serious character study with heavy-hitting dramatic talent involved. While the film’s narrative is clear—it’s the story of his life, tracing his "extraordinary talent" and "relentless pursuit to become the biggest entertainer in the world"—the teaser trailer cleverly maintains its mystery. It leaves us with the feeling of a story about to begin, a massive undertaking that aims to honour the past while embracing a future where Jackson’s legacy is re-examined through a powerful, cinematic lens. Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up. Springsteen: Deliver Me From Nowhere The first official trailer for Springsteen: Deliver Me From Nowhere, the biopic chronicling the turbulent creation of the 1982 masterpiece Nebraska, has landed. The Bride The latest tease for The Bride, the highly anticipated 2026 offering from Maggie Gyllenhaal, has dropped, and if this brief glimpse is anything to go by, British cinema-goers should prepare themselves for a truly spectacular and unsettling cinematic experience. A Tooth Fairy Tale Overall, the trailer for A Tooth Fairy Tale delivers exactly what it needs to: a clear premise, an exciting quest, and the promise of high-quality vocal performances. Delivery Run From the first stark frames of the trailer for Delivery Run, it is immediately clear that this is a thriller operating under pressure. In Your Dreams "In Your Dreams," a new animated comedy set to enchant audiences. This delightful film, co-directed by Alex Woo and Erik Benson, promises a fantastical journey into the boundless landscape of dreams, arriving on November 14, 2025. A House of Dynamite A House of Dynamite, a gripping new thriller that plunges audiences into a high-stakes global crisis. The trailer for Bigelow's latest offering paints a chilling picture of a world on the brink, arriving in select UK cinemas on October 3rd The Man in My Basement With an intense psychological trailer that leaves you with more questions than answers, Andscape’s new film The Man in My Basement is poised to be a must-watch for UK and Ireland audiences, arriving on Disney+ on Friday, 26th September. Wicked: For Good The final trailer for Wicked: For Good has finally landed, promising an electrifying and emotional conclusion to the untold story of the Witches of Oz. Time Travel Is Dangerous The moment we clapped eyes on the first trailer for Time Travel Is Dangerous, we knew we were in for something special. Blending the charming, grounded sensibility of a classic British comedy with the mind-bending chaos of a high-concept sci-fi flick, this film promises a riotous journey through time and space. Game The trailer for the film GAME, set for release in November 2025, falls squarely into that last category. It's a two-minute masterclass in tension, leaving you with more questions than answers and a palpable sense of unease. The Super Mario Galaxy Movie Don Q Don Q will be available on digital platforms in the UK on 15 September, thanks to Reel2Reel Films. John Candy: I Like Me The new documentary, John Candy: I Like Me, directed by Colin Hanks and produced by Ryan Reynolds, offers a poignant and intimate look at the man behind the memorable characters. Eschewing the typical celebratory retrospective, the film embarks on a journey to humanise an icon, exploring his personal struggles, deep-seated anxieties, and the profound impact he had on those who knew him best.

Good Friday film review by UK film critic Holly Baker. Starring Jason Mendoza, Christian Echeverria directed by Jason Mendoza. HOME | FILMS | REVIEWS Good Friday Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Nov 4, 2025 Directed by: Jason Mendoza Written by: Jason Mendoza Starring: Jason Mendoza, Christian Echeverria Good Friday is a one-hour gem of a film. It portrays two young men fighting the battles that life has thrown at them. Full of comedy, action, and drama, this film proves its absolute commitment to creating a vibrant and touching work of art that is non-stop in its pacing throughout. Directed and starring the dazzling up-and-coming Jason Mendoza, the film begins as highly artful and raw. Viewers are introduced to Niño, a young, troubled man who suffers from leukaemia and is dealing with poverty. His mother, played by Luceny Gonzalez, is in denial about Niño’s illness and places her efforts into encouraging him to work and buy himself a new pair of shoes for Church, so that he is not perceived as a sick poor boy. In an effortlessly emotional one-shot take, Niño is well established and understood, as is his mother, and thus our story begins as Niño seeks to fulfil his mother’s wishes and acquire a pair of new shoes. Very similar to the film Good Time (2017) starring Robert Pattinson and directed by the Safdie brothers, Good Friday plays out like a side quest gone horrifically wrong. Like Good Time, the film leans on continuous comedy and spontaneity in its storyline, followed by an emotional gut punch at its closure. Alike to the estranged partnership between Robert Pattinson’s character, Connie, and his brother Benny, Niño is joined by sidekick Dee, played by Christian Echeverria, both with deep-set motivations leading them to carry out a dangerous heist. Niño and Dee were once the closest of friends but have since fallen apart. Good Friday presents their desperation bringing them back together, despite their separation certainly having put a strain on their friendship. This film is full of riveting drama and action sequences, with convincing special effects and a gritty sound design providing a necessary element of disturbance to the gory violence the characters endure. Good Friday involves several effective montage sequences enhanced with erratic camera work which excellently build tension during the film’s most frantic, panic-filled moments. At some points, the film feels overstimulating due to its constant colour-grading shifts, as well as its variation in tone throughout. While the film’s constant change in direction, mood, and depth may be jarring for some viewers, Jason Mendoza relies on this to captivate and maintain the story’s unpredictability and panicked feel. Weaknesses in Good Friday lie in its unfortunately confused sound design. The dialogue in its outdoor scenes occasionally comes across as unnaturally dubbed over, therefore the film loses its impact slightly at these points. However, this does not overshadow some of the film’s most wonderfully executed scenes, particularly the first long take of Niño and his mother, as well as its powerful, heartfelt ending. Good Friday is a unique cancer story in which the cancer itself is only mentioned for a few minutes. The characters themselves carry the story, and the direction and editing complete the piece, resulting in an exciting and emotionally fulfilling film about several different types of challenges, all adding in their own way to the overall storyline. Consistently gripping and engaging, the passion both for filmmaking and for telling a loving story about a real-life chronic illness shines through this film marvellously. About the Film Critic Holly Baker Indie Feature Film < All Reviews Next Film Review >

Lost & Found in Cleveland film review by UK film critic Hope Madden. Starring June Squibb, Stacy Keach, Dennis Haysbert directed by Keith Gerchak, Marisa Guterman. HOME | FILMS | REVIEWS Lost & Found in Cleveland Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Nov 6, 2025 Directed by: Keith Gerchak, Marisa Guterman Written by: Keith Gerchak, Marisa Guterman Starring: June Squibb, Stacy Keach, Dennis Haysbert Tennessee Williams once said, “America has only three cities: New York, San Francisco, and New Orleans. Everything else is Cleveland.” The indie charmer Lost & Found in Cleveland wisely opens with that text on the screen, both signaling the film’s deeply midwestern sense of self-deprecating humor, and the universality of its set of small stories. Filmmakers Keith Gerchak and Marisa Guterman spin intersecting tales of a handful of Clevelanders whose paths cross when the Antiques Road Show inspired program Lost & Found comes to town. Nine-year-old Charlie (Benjamin Steinhauser), struggling to come to terms with his dad’s death and his mom’s new boyfriend, is desperate to authenticate a hand-written letter from President William McKinley. Mr. and Mrs. Sokolowski (Stacy Keach and June Squibb) have some plates to appraise. Mail carrier Marty (Dennis Haysbert) collects vases and longs to open a high-end restaurant in remembrance of his mother. Nouveau riche Sophie Mathers (Liza Weil) cannot wait until her newly acquired piece, an enormous sculpture of the goddess Juno, is belle of the Lost & Found ball. And Gary (Santino Fontana) needs to come to terms with the enormous and mortifying Aunt Jemima collection his Nana Noni left him. Tennessee Williams may not have thought much of it, but Gerchak and Guterman clearly love Cleveland. You’ll recognize some landmarks from Superman , but this film isn’t pretending The Arcade or the Hope Memorial Bridge belong anywhere other than The Land. With equal parts humility and humor, the film glories in everything that makes the town so very Cleveland. This roots the tales in authenticity, while performances and storylines allow each a bit of zaniness. Sometimes the writing crosses the line to sit-com simplicity, and not every performance convinces. And one dance sequence is a real head scratcher. But with talent like Squibb, Keach and Haysbert, plus supporting comedic gold from Dot-Marie Jones, it’s tough to hang on to any hard feelings. Somehow the amateurish moments feel right. Accepting them is like accepting every burning river, horrendous sports season, missed opportunity and freak snowstorm. Anything more polished just wouldn’t be Cleveland. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Major Tom film review by UK film critic James Learoyd. Starring Anthony Kleinhans, Jessy Erndt, Nadir Laamri-Amine directed by Kévin Sakac. HOME | FILMS | REVIEWS Major Tom Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Nov 5, 2025 Directed by: Kévin Sakac Written by: Kévin Sakac Starring: Anthony Kleinhans, Jessy Erndt, Nadir Laamri-Amine Major Tom is a conspiratorial action film which boasts both intrigue and spectacle. But clocking in at over thirty minutes, the short sometimes lacks the kind of clarity and taut storytelling that would allow this story to operate at its full potential. In terms of plot, this is quite the unique work; combining real cold-war scenarios centering around the Cuban missile crisis, with the lyrics of David Bowie’s Space Oddity , and some Kennedy assassination speculation sprinkled in from the outset. What an unusual setup! The film begins with a title card which effectively establishes that what you’re about to see is both based on true events and yet is in no way fact – and therefore cannot be considered true in any way. To this critic, this feels like the ‘legal definition’ version of having your cake and eating it too. Yet nevertheless, once the film takes its full shape as the exciting shoot-em-up romp it is, it’s unlikely that the viewer will ever be thinking of ‘the real characters’ upon whom this piece is seemingly based. Let’s begin with what Major Tom does well... First and foremost, this is a most successful example of action filmmaking. From the cinematography and sound, right down to the editing, every aspect of cinematic construction seems to be in service of the action set-pieces taking place from beginning to end. This critic especially admired the use of fast shutter-speeds during extended long takes, allowing the camera to simultaneously flow freely and uninterrupted, whilst also implementing filmically choppy technical flare which always complements fast movement and disorienting physicality. All of the gun fights are properly thought through and choreographed to a pleasing degree. However, there is a slight issue with the specific style of violence this movie engages with: what may begin as entertaining, suspenseful conflict occasionally delves into quite unpleasant, awkward hand-to-hand combat territory. It would have helped if the filmmakers kept to a consistent tone here, because – whether intentional or not – you may very well have audiences pumping their fists at the quite Hollywoody gunfights, but then not knowing how to respond during slow, agonising death scenes. Were this piece to implement a more sober, documentary-esque aesthetic (without the energising Bond-reminiscent soundtrack) then the viewer would know not to be pumping their fist and instead be encouraged to consider this waste of human life. Having said that, the action is one of the picture’s strongest assets; so, on the flip side, it may help this movie to dispose of the real-world correlations and allow the audience to simply enjoy some turn-your-brain-off thrills. As you can tell, this is a film of conflicting elements, styles and ideas. But before I conclude, I’d like to cite one filmmaker whose work this film feels especially indebted to (in the very best way). And that filmmaker is Michael Mann – particularly in regard to his early work, Thief and Manhunter . There are some incredibly operatic shots of sea water and sunsets, placed in contrast with a synthy score. Beautiful moments such as these provide both the viewer, and the protagonist’s psyche, much needed respite from the bombardment of hostility. About the Film Critic James Learoyd Short Film, World Cinema < All Reviews Next Film Review >

Guillotine film review by UK film critic Patrick Foley. Starring Sean Young, Laurent Andruet, Owen Bonito directed by Ray Izad-Mehr. HOME | FILMS | REVIEWS Guillotine Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Nov 3, 2025 Directed by: Ray Izad-Mehr Written by: Nabor Cabanillas, Ray Izad-Mehr, Lisa Molenda, Melinda Molenda, Sara Vahabi Starring: Sean Young, Laurent Andruet, Owen Bonito As protagonists go, a 17th century execution apparatus is a unique one. But it really would be accurate to say that the biggest star in Guillotine – a five-part anthology feature – is the titular killing machine that, as the film shows, features as the instrument of some of the most notorious monsters and regimes throughout history. The film is broken into 5 phases, each focusing on seminal moments in the history of the guillotine, from its concept and creation in France under the reign of Louis XVI, through utilisation as weapon of terror in Nazi Germany, all the way to an instrument of torture at the hands of Saddam Hussein’s maniacal children during the fall of Iraq. At each stage the presence of the guillotine exists to torment and terrify, but it is the hand of the people in charge of it that represent its true evil. Guillotine is an original concept for a film that is unfocused but never short of entertaining. Narrated by Sean Young, this whistle-stop tour of some of history’s most infamous moments is lively, energetic, bloody and even quite comedic in moments. Historical accuracy be damned, this is anything but a dour rundown, but one more akin to a macabre and twisted edition of Horrible Histories – and definitely not for the kids. The highlight is the film’s opening in France, where Laurent Andruet’s Dr. Guillotin designs his eponymous machine as a cleaner way of executing dissidents. He is none too pleased when it comes to share his name, after John Fantasia’s unhinged Louis XVI is convinced that putting his own royal seal on the new head-chopping method of choice may not endear him to his subjects, despite his eagerness to begin its use. Fantasia’s performance stands out in a film that is packed with strong individual showings, and is a fine example of filmmakers knowing that sometimes the most important ingredient in bringing history to life is fun. Conversely the final segment in Iraq is a misfire. Perhaps Uday and Qusay Hussein are too contemporary for figures to really extract much fun from, but both tonally and visually the scenes set in their torture chamber are dark, depressing and void of the drama that permeates elsewhere in the film’s 5 acts. The resolution of this scene steers into fan-fiction, as US troops arrive to dish out justice the American way, and ends on a note so cheesy it belongs in the French portion of the film. The film looks fantastic outside of the final segment – each of the prior four acts carry their own visual style that makes the whole film a treat to watch and remain engaged with. It is paced to perfection, with no segment outstaying its welcome and abiding by the principle of less being more. And the guillotine’s presence itself is handled uniquely across the film, acting as a horrifying tower of destruction in some moments and a tool at the hands of evil in others. A selective history of the guillotine may feel like a flimsy spine for a feature length film, but Guillotine largely makes up for it through energetic pacing, memorable performances and decisive desire to make history exciting. It probably isn’t getting cited in any history books anytime soon, but the fun audiences will have means that even historians won’t be losing their head over that. Guillotine is currently available on VOD on Amazon Prime in the USA/UK/Ireland. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Take Off film review by UK film critic Jason Knight. Starring Jiang Qiming, Li Xueqin, Dong baoshi, Jeang Wu directed by Peng Fei. HOME | FILMS | REVIEWS Take Off Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 5, 2025 Directed by: Peng Fei Written by: Peng Fei, Xu Yizhou, Shuang Xuetao Starring: Jiang Qiming, Li Xueqin, Dong baoshi, Jeang Wu An adventure drama feature directed by Peng Fei, written by Fei, Xu Yizhou and Shuang Xuetao and starring Jiang Qiming, Li Xueqin, Dong baoshi and Jeang Wu. This film is based on Xuetao's novella The Aeronaut . The story takes place in Northeast China and the central character is Mingqi (Qiming), a man who loves being up in the sky, just like his late father, whether it involves a hot air balloon or a parachute (or both). Mingqi is in a relationship with Yufang (Xueqin), daughter of Likuan (Wu) and sister of Xuguang (baoshi). Mingqi and Yafeng marry and circumstances will have them running a Zorro-themed dance hall, with Mingqi having to abandon his passion of being up in the sky. However, complications will bring conflict and drama. The plot begins during the seventies and moves through the decades, following the family's activities as they try to progress in a country that is going through major economic evolution. There is great character development and drama develops due to a terrible injury suffered by Xuguang, the challenges of managing the dance floor and a medical crisis. The highlights are the scenes that are up in the air, with hot air balloons and parachutes and a part involving a jet pack. These scenes are expertly filmed and the addition of Suzuki Keiichi music is a big plus. The duration might be an issue. With a duration that approaches two hours, this film feels overlong. A great deal of events take place in the narrative, nevertheless, their presence does not support such a lengthy duration. As the main protagonist, Mingqi is a man who gets caught up between family, running a dance hall and his passion for experiencing the wonders of the sky. Yafeng is a caring person who wants things to go well and everyone to get along. Xuguang is an unfortunate guy who struggles to keep his life in order following a life-changing injury. World War Two veteran Likuan is an intriguing character, a lively guy with an eye patch. Clearly, having a passion is a key theme here and in this case, it is about the magic of being in the skies and experiencing the world from up above. This film is also about family, about running a business and about moving up in the world. It also serves as a commentary about China's economy from the nineteen seventies onwards. Perhaps a bit overlong, this is a moving and inspiring story with great performances. About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Christy film review by UK film critic George Wolf. Starring Sydney Sweeney, Ben Foster directed by David Michôd. HOME | FILMS | REVIEWS Christy Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Nov 4, 2025 Directed by: David Michôd Written by: Mirrah Foulkes, Katherine Fugate, David Michôd Starring: Sydney Sweeney, Ben Foster No matter what you think of Sydney Sweeney the celebrity glamour girl, you’ve got to give her props for not resting on her sexy laurels. I’m not saying her turn in the bikini-friendly Anyone But You didn’t show fine comic timing, but in five of her last seven films, Sweeney has chosen roles that downplayed her curves and provided the chance to challenge herself as an actress. Okay, so Echo Valley, Eden, American, Immaculate and Reality didn’t make the box office buzz, but Christy continues Sweeney’s ambitious trend. And right on the cusp of awards season, she doesn’t waste the opportunity to impress, leading a stellar ensemble in giving some well-deserved flowers to a trailblazer in women’s sports. In 1989, Christy Salters was a bored girl from West Virginian who played a very physical brand of basketball and bristled when her mother (Merritt Weaver) obsessed over the whispers about Christy’s relationship with girlfriend Rosie (Jess Gabor). After winning $300 in a local Toughman contest, Christy is introduced to boxing trainer/future husband Jim Martin (Ben Foster), who guides her, exploits her and violently abuses her on Christy’s path toward becoming Don King’s “Coal Miner’s Daughter,” the first woman to headline a PPV undercard. Boxing films may carry the most inherent cliches of all sports stories and director/co-writer David Michôd can only steer Christy around them about half the time. As Christy’s fame and fortune grew, the level of abuse she suffered only intensified, to a level that will surprise many. And when Michôd (Animal Kingdom, The Rover ) finds small moments to accentuate with a dramatic camera angle or well-timed edit, the performances from Sweeney and Martin find resonant depth. We’re used to exemplary work from Foster, and here he makes Jim Martin a slippery, violent gas-lighter with just enough relatable edges to avoid caricature. Sweeney responds with committed grit, and Christy’s battles both in and out of the ring elicit sympathy, respect and admiration. Even so, the biggest challenge to telling a story so personal is the temptation of throwing too many formulaic haymakers. When Christy can do that, it becomes a film worthy of Martin’s fight. Winner by split decision. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >