It’s Not What It Looks Like film review by UK film critic Holly Baker. Starring Ayushi Jain, Ross Henson, Tez Ilya directed by Ganesh Sharma. HOME | FILMS | REVIEWS It’s Not What It Looks Like Film Review average rating is 4 out of 5 Critic: Holly Baker | Posted on: Oct 19, 2026 Directed by: Ganesh Sharma Written by: Suman Hanif, Nasim Akhtar Starring: Ayushi Jain, Ross Henson, Tez Ilya It’s Not What It Looks Like (2026) is a British black comedy written by Suman Hanif and Nasim Akhtar, and directed by Ganesh Sharma. This short film is currently in post-production and runs 16 minutes. The film centres around a 19-year-old woman named Asma Ali Hussain, played by Ayushi Jain. Asma is an actress who has honed her career by creating satirical self-tapes on YouTube, where she plays an extremist. These videos have been brought to the attention of two small-town cops, Bob and Patrick, who before doing any research into Asma or anything else at all it seems, mistake her persona as a genuine threat and conduct a shambolic police interview in order to gather the evidence they need to convict Asma in court. This comedy is set in the current era of the 2020s, a time when extremism and terrorism are a huge topic of conversation, particularly in politics. Polarising individuals such as Nigel Farage have committed themselves to perpetuating the idea that the threat of terrorism comes from the migration of individuals across borders, causing fear-mongering amongst the less educated. This misinformation leads to severe cases of racism, seen in the case of Tommy Robinson’s popularity, as more and more people are swayed by prejudiced arguments rather than researching important political topics and history. It’s Not What It Looks Like plays well on this reality of far-right political mindsets, as it is clear that Bob and Patrick have no curiosity about Asma’s life. They do not investigate the reasons she may have made these videos, and lack any critical thinking. They do not even lend Asma the courtesy of listening to her; they simply make their assumptions and ignore anything to the contrary. Fans of The Drama (2026), directed by Kristoffer Borgli, will appreciate the dark humour at play here. Whilst Asma is, of course, not a terrorist, the character she plays online is playing into the stereotype of one. The tone is completely satirical throughout the film, similarly to The Drama which remains comedic despite dealing with dark topics. However, both films importantly keep their entertainment without making light of the key issue at hand. Asma is not a victim of radical grooming; however, the influence of far-right speech on the internet is an extremely prevalent one. Public figures like Andrew Tate’s gaining a platform have a strong, non-coincidental correlation with the rise of incel culture and violence committed by young men. This film, like the drama, importantly raises awareness of the nonsensical discourse surrounding these issues, such as through the police jumping to conclusions, and incorporates a microcosmic example of cancel culture, without taking away from the seriousness of terrorism. All of the performances in the film are worth noting. Ayushi Jain brilliantly conveys the frustration of being a racially profiled woman, stuck between two ignorant men who refuse to hear her voice. Bob and Patrick make comedically wild assumptions about her daily activities, often mistaking one thing for something completely different- for instance, they believe her camping trip to the Lake District was in fact in Syria, and they think a pregnancy test is a COVID test. These obvious, gruelling mistakes demonstrate not only Asma's struggles of being a victim of racism, but also of misogyny, and of being subject to a corrupt authority. It’s Not What It Looks Like (2026) is an entertaining and important short film. Whilst a vital plot twist towards the end of the third act provides some optimism towards UK authorities, it is nowhere near enough, keeping attention on the police force’s constant failures. Bob and Patrick are the main antagonists of the film; however, they are still good fun to watch as the chaos unfolds in the interview room. This film is an excellent example of how to present political messaging whilst maintaining itself as engaging. Viewers will find themselves excited about Ganesh Sharma’s platform as they continue to grow as a filmmaker. Buy UKFR Banner Space About the Film Critic Holly Baker Short Film < All Reviews Next Film Review >

Calamity Wayne film review by UK film critic William Curzon. Starring Seamus Brady, Zoe Gribbon, Memphis Oniru directed by Carleton Rodgers. HOME | FILMS | REVIEWS Calamity Wayne Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Oct 18, 2026 Directed by: Carleton Rodgers Written by: Carleton Rodgers Starring: Seamus Brady, Zoe Gribbon, Memphis Oniru Calamity Wayne is a short piece set in 1960s Belfast and follows a young boy, Wayne (Seamus Brady), named after Western star John Wayne, as he struggles to fit in at school. To win the affection of his crush Annette (Zoe Gribbon), he must confront his bully in a High Noon movie-theatre showdown. Calamity Wayne is a love letter to the writer/director Carleton Rodgers’ grandmother, Annette, and that personal lens resonates deeply. The film's depiction of childhood imagination and nostalgia is personal, instantly transporting the audience back to the 1960s with its distinct feel for the era. It's an inventive formal experience; the filmmakers use 1960s Belfast as a backdrop, making the film feel incredibly lived-in. Despite its brisk runtime, the narrative introduces the central characters seamlessly so it never feels rushed. That said, better characterisation of supporting characters like Annette and Tim would have made the experience more engaging overall. It's an emotionally charged experience that depicts an outsider struggling to fit in at school and makes the audience sympathise with Wayne’s identity struggles. One of the most profound aspects of Wayne’s characterisation is how he uses his love of the western genre to cope with his pain, which plays perfectly into the childhood-wonder lens. Its uplifting tone and 1960s western throwback are a delight, and it's easy to see why any film fanatic would appreciate its nostalgic look at that era. Despite the film's budget constraints, the filmmakers’ creativity in framing and staging each sequence never falters. The production design is wonderful, weaving the grounded and outlandish depictions of imagination together perfectly. Another understated strength is its whimsical musical score, which elevates the emotional nuance. The most surprising and impressive aspects of Calamity Wayne are its technical offerings. Writer/director Carleton Rodgers also serves as the editor of the film and does a terrific job seamlessly cutting between each sequence. The quick-paced editing works profoundly in the sequences of conflict that depict Wayne’s imagination from the point of view of a quick draw between him and his friends Annette and Tim. It's a wonderful sequence that pays homage to American Western films of the era while feeling deeply original in the context of the film's narrative. Carl Quinn serves as the film’s director of photography and does a splendid job framing each sequence. The mix of establishing shots and wider framing in the scenes that take place in Wayne’s imagination is jaw-dropping to witness. All three central performances from Seamus Brady, Zoe Gribbon and Memphis Oniru in their portrayals of Wayne, Annette and Tim, respectively, are incredibly moving. It's easily three of the most memorable child performances in recent memory. Despite Memphis Oniru and Zoe Gribbon’s brief screen time, they breathe so much energy and heart into the material. The trio’s chemistry sings and is the heart and soul of the film's narrative. Calamity Wayne is a whimsical and uplifting depiction of childhood nostalgia that wears its influences on its sleeve. The film is a profound and personal experience held together by its wonderful trio and formal prowess. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Top Shagger film review by UK film critic Jason Knight. Starring Ewan Guthrie, Kelsey Cooke, Paul Casar directed by Ken Abalos, Ash Meshkati. HOME | FILMS | REVIEWS Top Shagger Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 18, 2026 Directed by: Ken Abalos, Ash Meshkati Written by: Ken Abalos, Ash Meshkati Starring: Ewan Guthrie, Kelsey Cooke, Paul Casar A short comedy drama written and directed by Ken Abalos, Ash Meshkati and starring Ewan Guthrie, Kelsey Cooke and Paul Casar. Shot over a period of two days in East London, this film follows teenager Jack (Guthrie), who has his birthday and his father (Casar), who is separated from his son's mother, has a surprise for him: he is taking him to a brotherl so he can lose his virginity. There, they are introduced to Megan (Cooke), a sex worker who will be showing Jack a good time, while his dad has his own fun with another one. However, once Jack and Megan are alone in a room and on a bed, Jack panics when the big moment arrives, leading to a meeting that goes very differently than planned. A father-and-son story and an encounter for intercourse that unexpectedly turns into something more meaningful and life-changing. There are laughs and there is serious drama as Jack and Megan develop a rapport about his issues, his struggles with romantic relationships and his relationship with his father and involving Megan's view regarding her life. Guthrie delivers the most entertaining performance as an insecure, nervous and virginal teen who evidently need help in comprehending himself and those around him. Casar's character comes across as confident and knowledgeable man, although it is later revealed that he too has insecurities and worries. Cooke plays a rather interesting part, that of a sex worker who turns out to be a rather wise individual who possesses a deep understanding about how the world works and ends up acting as a sort of mentor for Jack. From one perspective, this short explores the world of sex workers and via Guthrie's character, it recognises the significance of support, of understanding others and helping them with their problems. This film is supported by Progressive Masculinity, which is an organisation that reshapes the understanding of masculinity to boys and men and the themes involving masculinity are primarily associated with the Jack character, those being self-esteem, self-reflection and intercourse. Through Casar's character, the film also examines parenting. An encounter that ends up changing people's lives for the better. An uplifting story that also offers some good laughs. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

A Personal Errand film review by UK film critic Lee Sinden. Starring Jacob Kay, Johnathan Butler and Felicity Donnelly directed by Oliver Griffiths. HOME | FILMS | REVIEWS A Personal Errand Film Review average rating is 4 out of 5 Critic: Lee Sinden | Posted on: Oct 18, 2026 Directed by: Oliver Griffiths Written by: Oliver Griffiths Starring: Jacob Kay, Johnathan Butler and Felicity Donnelly This is a short film set in post-Civil War America. The Story follows Henry Sullivan (Jacob Kay), a bounty hunter and former Civil War soldier wandering across America. He is on a mission to track down a wanted man by the name of Sylvester Reed (Johnathan Butler). As he travels on this personal errand, we hear the voice of his sister, Jessica Sullivan (Felicity Donnelly), reading aloud the letters that she has sent him since his return from the war. The audience hears about their estranged relationship and how he has battled to come to terms with his war experience. Henry’s work as a bounty hunter has taken him away from his family and into a life of solitude. The fact that the budget for this film was only £250 makes the finished product even more impressive, especially since it was filmed in only 3 days. The aesthetics of the piece are well polished and make for good viewing, and the musical score adds a great deal to the action. The music is able to convey sadness and solitude as Henry goes in search of this outlaw. The locations are well chosen and give the viewer the idea that Henry is travelling through American western civilisation. The writer and director Oliver Griffiths clearly has an interest in this period of American history, having made the film Enemies prior to making this. That too concentrated on the time of the American Civil War. This knowledge adds to the visuals of the film, with a good use of locations and costumes to represent the period. This is not a dialogue-heavy script, which is expected considering a large part of the film centres on Henry being on his own. The use of a voice-over from his sister throughout is very effective and gives background to what has occurred before Henry’s travels. The director uses the camera to really encapsulate the landscapes and to convey the great wilderness. He clearly has an eye for picturesque scenery and the sounds of the wild. Jacob Ray holds the screen well, an accomplishment given the lack of dialogue and action for the most part. The camera focuses on the small details of what Henry is doing, and we, the audience, can see his thoughts in the expression on his face. When there is dialogue, Jacob Ray uses his voice to convey the pain he is feeling to great effect. Johnathan Butler adds menace to his scenes and portrays the cold emotion of his character. The scenes between the two characters stand out and are realistic. The British actors successfully take on the American accent throughout. Overall, this is a really good short film, well written and directed. The actors bring their characters to life, and the landscape is stunning. The story will hold the audience’s interest, and there is enough action despite the film being only 17 minutes long. The plot is well thought out, and the ending pieces everything together. Fans of the western genre will get the most out of this, but it’s not essential to have prior knowledge of the period. The film was selected for numerous film festivals throughout 2022 and 2023, including being screened in competition at the 2022 Almería Western Film Festival. Buy UKFR Banner Space About the Film Critic Lee Sinden Short Film < All Reviews Next Film Review >

To Catch A Siren film review by UK film critic Nina Rawlingson. Starring Layla Badat, Melissa Knatchbull, Jessica Johnson, Hannah Ferris directed by Raphaela Wagner. HOME | FILMS | REVIEWS To Catch A Siren Film Review average rating is 4 out of 5 Critic: Nina Rawlingson | Posted on: Oct 18, 2026 Directed by: Raphaela Wagner Written by: Harvey John, Jasmine Mohtashami Starring: Layla Badat, Melissa Knatchbull, Jessica Johnson, Hannah Ferris An orphaned refugee sets out in search of her mother. We see this from a child’s perspective as she imagines her mum to be a mermaid, lost at sea. A fairytale version of love, loss, and the devastating lives of refugees. This short follows Roya (Layla Badat), a young refugee living in an orphanage. After the loss of her mother (Burcin B. Kilic), she can’t quite comprehend the realities of her situation and lets her imagination run wild. She tells the tale to her friends of the past, when she and her mother were together roaming the ocean as mermaids and how they will inevitably find their way back to each other. It’s this very idea that never dulls Roya’s spark. It sets out to discuss a somber and very relevant topic that’s only progressively worsening. The star of the show is Roya; she portrays the innocence of a young mind trying to get a handle on real-world problems, that life is unjust and unfair. All of the young performers in this hold their own; from a variety of backgrounds, they come together and unite in their friendship. They build a boat in their childlike naivety to show their support of Roya, an act that feels touching and heartfelt in their attempt. The visual storytelling throughout is stunning, most notably the underwater shots. We feel a sense of freedom as we see life in the ocean, one that Roya and her mother have never had the privilege of experiencing, only through imagination. This film does a great job of hitting home a tragedy in a more digestible format. A format that shows the vulnerabilities of a child losing her mother and the horrors of travelling overseas dangerously for a better life. Roya still holds hope in her heart, and so do we, even though we are aware of the inevitable disappointment. We want to believe there’s a happy ending, but their lives only add to the ever-growing statistics. As of 2026, there are more than 39,000 people missing or never made it to shore, many of whom are children. Wherever you may be in the world watching this short, the compassion and awareness of this topic are so important. Raphaela Wagner, the director, compacts so much into a short runtime. From the artistic choices to the writing, we experience a film crafted from love and empathy. The cast takes a compelling story and transforms it into an unforgettable, emotional experience from start to finish. Winner of Shore Scripts 2024 Spring Short Film Fund, recipient of Hessen Film & Medien Short Film Grant and Verein Südkultur Prize, supported by Emmy-winner Karina Michel and ARRI Rentals. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Short Film < All Reviews Next Film Review >

Spooky Encounters of the Sad Kind film review by UK film critic Lewis McLeod. Starring Karen Olrich-White, Tom Lorcan directed by Jonathan Wilhelmsson. HOME | FILMS | REVIEWS Spooky Encounters of the Sad Kind Film Review average rating is 3 out of 5 Critic: Lewis Mcleod | Posted on: Oct 18, 2026 Directed by: Jonathan Wilhelmsson Written by: Jonathan Wilhelmsson Starring: Karen Olrich-White, Tom Lorcan One of Jonathan Wilhelmsson’s most recent projects, Spooky Encounters of the Sad Kind (2025), follows a not-so-spooky encounter with a friendly ghoul in London, despite its creation under the Swedish filmmaker. Throughout the span of 12 minutes, our protagonist, Liz (Karen Olrich-White), forms a rather sudden bond with the resident ghost, rhythmically named Toast (Tom Lorcan), attempting to document his story and uncover the truth of his death behind his back. However, this investigation creates tension, allowing for both characters to learn an important lesson along the way. The short takes a welcoming stature to lure the audience in, eventually unpacking existential themes such as loneliness and the human need for endorsement. A mockumentary style from the creation of Liz takes a comedic spin on the “Blair Witch” supernatural format and enhances our personal attachment to these characters with whom we spend so little time. The in-universe “phase filters” serve as an adequate and easy explanation as to how Liz is able to communicate with Toast, who’s awkward and polite personality does not match his own antics at all, or how you may picture a soul beyond this life. As Toast discovers his human companion’s research into his life, the relationship between these two reaches a boiling point - this spawns a very open and honest conversation regarding their interest. The revelation that Liz and Toast both find themselves completely isolated, despite constantly seeking the validation of others, displays how no matter how much we seek approval, it does not matter if we have no meaningful relationships to share our victories with (even in death). It is recommended that you watch the film to discover for yourself if the two can reconcile and find this comfort within each other, or potentially in others? Jonathan Wilhelmsson headed direction and writing of the film, with Wilhelm film primarily producing the venture in association with Film I Dalarna and Wänga. Currently, the film has only been screened at festivals, but is soon to be released publicly on the director’s YouTube channel on the 20th October 2026. Spooky Encounters of the Sad Kind deservingly won the Cinequest Film & Creativity Festival’s “Best Narrative Short” award, for it’s charming and offbeat nature. This short film is a prime example of how such a small twist on previously established genre norms can flip expectations of a typical ghostly encounter into a novel, friendly depiction. Ironically, whilst Toast may not be flesh and blood as we meet him, his character is used to explore such raw human behaviours such as an over-compensation of sociability to deter the truth of forlornness. Liz’s fictional documentation of this spooky encounter is a recommended watch of anybody who is in need of a laugh and drawn in by the comfortable appeal, which masks a deeper intent. Buy UKFR Banner Space About the Film Critic Lewis Mcleod Short Film, Film Festival < All Reviews Next Film Review >

All of a Sudden film review by UK film critic James Learoyd. Starring Virginie Efira, Tao Okamoto directed by Ryusuke Hamaguchi. HOME | FILMS | REVIEWS All of a Sudden Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Oct 18, 2026 Directed by: Ryusuke Hamaguchi Written by: Ryusuke Hamaguchi Starring: Virginie Efira, Tao Okamoto Not many filmmakers are making movies like Ryusuke Hamaguchi right now. The Japanese writer-director has managed to bring wild appeal to his particular brand of meditative, introspective character dramas. Drive My Car hit levels of global discussion that few probably saw coming (one of two exceptional features he released that year, the other being his anthology Wheel of Fortune and Fantasy ) and its Academy Award for Best International Feature only further solidified an already beloved name in the international film scene. His follow-up was Evil Does Not Exist in 2023; a pricklier film, and less accessible – but for my money, an even better movie than the previous ones mentioned. It’s a thing to behold, then, that his latest picture All of a Sudden is the greatest of the bunch – and miraculous that, despite its over 3-hour runtime, it feels like Hamaguchi at his most grounded. Beginning in France and remaining there for the majority, we follow the manager of a care home (Marie-Lou, played by Virginie Efira) who has been methodically implementing methods of Humanitude care, causing tensions amongst the nurses who believe that these new techniques for a personal approach are unrealistic, jeopardising the practical workings of the facility. When this conflict reaches its most unpleasant state, it’s then that our protagonist happens to fall into the world of Mari (Tao Okamoto) – a playwright with a terminal illness. They form a significant connection. They struggle to articulate what it is they each represent for one another, but they embark on seeing the world through one another’s eyes. Let’s talk about this runtime that will have everyone too scared to take a chance on this wonderful movie. Rarely has a film clocking in at 3 hours and 17 minutes (just 18 minutes longer than Drive My Car , by the way) ever flown by faster. Hamaguchi is deeply aware of a film’s rhythms; how to make scenes breathe and flow into one another, breaking or adhering to the illusion of time. The film is a lot of dialogue and a couple of beautiful locations. There are only a few characters, all of which are completely fleshed out. Not in such a way, though, wherein the film feels the need to explain every facet of a character’s life; we get insights into their pasts and how their experiences inform their respective philosophies on how to live within a broken world. But it always feels like we’re learning about each of the two characters at the same time as the other – prying slightly further, using a gentle question or response to connect that little bit deeper. On an aesthetic level, Hamaguchi is continuing to advance the form by combining digital recording methods with an approach of subtlety and restraint. His images, especially in this piece, speak for themselves in many ways – told mostly in wide shots, but occasionally (and effectively) stripping a sequence’s essence down to a face or a body part. Or, for the opposite effect, a landscape that contextualises a feeling via the natural or industrial world. It ticks all the boxes. Sad and complicated people with nice faces, talking for a long time about moral quandaries, love and regrets (obviously my kind of movie). And not since Robert Altman’s Brewster McCloud (1970) has bird poo served as such an effective storytelling device. Buy UKFR Banner Space About the Film Critic James Learoyd Film Festival, World Cinema, Theatrical Release < All Reviews Next Film Review >

Bad Day at the Office film review by UK film critic Charlie Robinson. Starring John Hannah, Radha Mitchell, Tamer Hassan, Lana Parrilla directed by Chee Keong Cheung. HOME | FILMS | REVIEWS Bad Day at the Office Film Review average rating is 2 out of 5 Critic: Charlie Robinson | Posted on: Oct 17, 2026 Directed by: Chee Keong Cheung Written by: Chee Keong Cheung, Oliver Morran Starring: John Hannah, Radha Mitchell, Tamer Hassan, Lana Parrilla Chee Keong Cheung’s Bad Day at the Office begins as many stories have before: a man wakes up in a strange place with no recollection of how he got there. What follows is a multi-perspective, first-person shoot-em-up game come to life, text boxes and kill count included. It is less a film than an experience, replacing scenes with levels and stability with carnage. The result is admirably ambitious, but too disorienting to be exciting. The man with no memory is soon revealed to be Karl (played by a very game John Hannah), and a lot of people want to kill him. Luckily, Karl soon discovers that he is more than capable of defending himself, while the plucky hotel maid Molly (Radha Mitchell) is quickly and unwittingly pulled into the action. And so begins a series of frantic action sequences across various London locales, all riddled with cartoonish bounty hunters hell-bent on Karl's demise. But as the bounty grows and truths are revealed, the film hints there may be more to this world than meets the eye. The film wears its references on its sleeve — at one point, Molly even points out the similarities to 2009’s The Hangover. The more obvious comparison is to the experimental first-person action film Hardcore Henry , with just a dash of Scott Pilgrim’s stylings. The entire film feels like a shaky VR simulator attached to a contortionist. The camera twists and turns with such frantic, kinetic energy that it is more nauseating than immersive. It is a shame, then, that the camera so often obscures Eve Finnie’s impressive production design, which is both detailed and grotesque (a nightclub bathroom is a particularly gross highlight). Hannah, in a mostly vocal role, is undeniably charming as Karl, although Cheung occasionally gives us some welcome glances at his by-turns bewildered and determined face. Mitchell is serviceable as Molly, but isn’t given nearly as much to do. The remaining cast are similarly subsumed by the film’s over-the-top style, although Tamer Hassan and Lana Parrilla rise above as energetic late additions to the ensemble. The real star of the movie is its choreography, which is often excellent, if only the film gave it time to breathe. Cheung’s continuous maximalist approach and sheer quantity of repetitive action sequences ultimately leave the film rather hollow and draining, especially at its bloated runtime. But if you are looking for a balls-to-the-wall, sensory overload of an ode to video games, complete with excessive violence and crass humour, you’d be hard-pressed to find something more suitable. A Bad Day At The Office will be in UK & Irish Cinemas from 30th October 2026. Buy UKFR Banner Space About the Film Critic Charlie Robinson Theatrical Release < All Reviews Next Film Review >

Stop Making This Hurt film review by UK film critic Jason Knight. Starring Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta directed by Susie Kimnell. HOME | FILMS | REVIEWS Stop Making This Hurt Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 13, 2022 Directed by: Susie Kimnell Written by: Susie Kimnell Starring: Joe Swift, Beth Collins, Alexander Jeremy, Elisha Mistretta A man meets his former partner in a restaurant and they discuss the past. A man (Swift) is sitting at a restaurant table by himself. Closing time is approaching and the place is quiet and a bit darkened. Eventually, he is joined by a woman (Collins), with whom he used to have a relationship. The two of them have a conversation and it becomes apparent that things between them ended up badly. The man attempts to apologise and make things better, however, it becomes evident that he did something terrible. This dark short film begins as a drama about a broken relationship and as the story progresses and more and more clues are brought to light, things move towards thriller territory. The main element is the conversation between the two protagonists, which tells a lot about their lives, particularly about the man's life, about what kind of person he is and the findings are not positive and just keep getting worse and worse. Swift delivers a chilling performance as an individual who has very dark secrets and a very sinister hidden personality. Although, he can appear charming and cheerful, it is obvious that ultimately, he is a bad person. Collins does a terrific job as a his ex-partner who was a victim to his actions and knows what he really is. The film is free from music, apart from the ending, which is where Duncan Pittock and Richard Lacy make their contribution with a sinister score that makes an effective closing. Ben Mann also deserves commendations for the work on the cinematography. This short has a very-well-structured screenplay that starts with more or less normality and revelation after revelation lead to a devastating truth. Through well-written dialogue and strong acting, this film tells a dark and memorable story. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Date film review by UK film critic William Curzon. Starring Adnan Ahmed Mullick, Gaurav Choudhary, Dumbre Aayush directed by Alden Fiel Fernandes, Vincent Kaila. HOME | FILMS | REVIEWS The Date Film Review average rating is 5 out of 5 Critic: William Curzon | Posted on: Aug 3, 2026 Directed by: Alden Fiel Fernandes, Vincent Kaila Written by: Vincent Kaila Starring: Adnan Ahmed Mullick, Gaurav Choudhary, Dumbre Aayush The Date is a coming-of-age short piece set in the vibrant streets of Mumbai. The narrative follows Vijay (Adnan Ahmed Mullick), an introverted photographer and traveller, as he meets Devi (Gaurav Choudhary), a sex worker with an uplifting spirit. Intrigued by her resilience, he asks her out on a date, wanting to connect before he leaves the city. The piece is a journey of self-discovery set against the backdrop of the bustling markets within Mumbai. The Date is an incredibly lived-in and intimate experience thanks to the two central performances and technical elements throughout. Firstly, every aspect of the piece has beautifully developed characterisation. The city of Mumbai feels like its own character, with its vibrant nightlife brought to life through its rich culture and bustling food markets. While the piece has an incredibly minimal runtime, the narrative wastes no time and fleshes out both central characters to a suitable degree without ever overstaying its welcome. Secondly, the themes of self-discovery and identity are highly universal, woven seamlessly into the narrative without ever feeling rushed or underdeveloped. It’s paced exceptionally well, without ever putting a foot wrong, with each sequence flowing seamlessly into the next thanks to apt editing choices from Bhaswan Chatterjee. The camerawork throughout the piece is tremendous, as cinematographer Hrithik S. Naudiyal frames each sequence with a delicate edge. Most of the narrative consists of close-ups with both characters always at the centre of the frame, never losing sight of the character-driven focus. It’s a commendable choice, as the audience is consistently invested in both character arcs because the experience feels so intimate. The fixed camerawork is also a highlight as it perfectly complements the steady pace of the narrative. Despite how minimal the music is throughout, it's incredibly impactful with majestic motifs that perfectly complement the tonal balance and setting. The narrative is exceptionally well-structured, and despite its runtime, the film leaves viewers deeply invested in both Vijay and Devi, thanks to their well-developed, compelling character arcs. It's a powerful and emotionally resonant experience because the filmmakers delicately tackle the themes of anxiety and grief. The themes are apt and integral to the character arcs of both Vijay and Devi. Vijay is an introverted character who expresses his feelings through photography, and the relationship he grows with Devi is delightful to experience. Devi is grappling with her identity, and the more she opens up to Vijay, the more vulnerable she becomes. Both central performances are the heart and soul of the narrative, making their chemistry one of the film’s most heartwarming qualities. Adnan Ahmed Mullick delivers a terrific performance as Vijay, convincingly capturing the character’s anxiety-ridden nature while sharing remarkable on-screen chemistry with Gaurav Choudhary as Devi. Gaurav Choudhary’s portrayal of Devi is the biggest delight of the piece as she has an incredible screen presence that exudes charm and restraint as she opens up to Vijay. The use of flashbacks is another apt choice that further fleshes out Devi’s character arc and concludes the narrative in an emotionally resonant manner. All the dramatic beats land thanks to how well developed both characters are, and the piece tackles the theme of self-acceptance exceptionally well. The Date is an astounding piece of indie filmmaking that explores coming to terms with one’s identity while thoroughly examining anxiety and grief. It’s an emotionally powerful coming-of-age story, elevated by two outstanding lead performances and an intimate, uncompromising portrayal of self-discovery. A flawless sensory experience that may stick with viewers for days after the credits roll. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Carmen film review by UK film critic George Wolf. Starring Melissa Barrera, Paul Mescal directed by Benjamin Millepied. HOME | FILMS | REVIEWS Carmen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 17, 2023 Directed by: Benjamin Millepied Written by: Loic Barrere, Alexander Dinelaris, Lisa Loomer Starring: Melissa Barrera, Paul Mescal For this latest reimagining of the classic story, director Benjamin Millepied credits inspiration from Prosper Mérimée’s original novella from 1845, and Alexander Pushkin’s poem “The Gypsies” from 1824. Flashing more modern vibrancy through culturally rich music and dance, this new Carmen arrives as a wonder of visionary composition that struggles to find an equally compelling connection to its characters. The writing team of Loic Barrere, Alexander Dinelaris and Lisa Loomer crafts a surface-level tale of lovers on the run. Aidan (Paul Mescal) is a troubled Marine veteran volunteering on a night patrol along the Mexican border, while Carmen (Melissa Barrera) is trying to cross after the death of her mother. A violent altercation leads to casualties, and the two are soon trying to stay one step ahead of authorities. Millepied (choreographer and co-star of Black Swan ) knows his way around a dance number, getting an assist from flamenco specialist Marina Tamayo for sequences that sport some thrilling fluidity. The acclaimed talents of cinematographer Jörg Widmer (The Tree of Life, V for Vendetta ) and composer Nicholas Britell (Moonlight, If Beale Street Could Talk ) are also on full display, rounding out a veteran stable of technical skill that consistently lifts the film’s imagery and scope. Mescal (Aftersun ) continues to show a gift for quiet nuance, Barrera (In the Heights, Scream , Scream VI ) finally breaks out of her reliance on posing, and the veteran Rossy de Palma (various Almodóvar projects) steals scenes as a savvy nightclub owner, but the script seems content to keep depth at a distance. Pushkin’s centuries-old themes of noble savages and the tragedy of life are too often given a heavy hand, needing a rescue by the visual poetry on display. This Carmen tells us “dancing will you heal you.” Indeed, it’s one of the cures for what ails a less than passionate romance. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < 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. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >