English Rose film review by UK film critic Patrick Foley. Starring Adam Houghton, Katie Benbow, Peter O'Connor directed by Alexander Bather. HOME | FILMS | REVIEWS English Rose Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 4, 2024 Directed by: Alexander Bather Written by: Alexander Bather, Adam Houghton Starring: Adam Houghton, Katie Benbow, Peter O'Connor The ‘Bonnie & Clyde’ model has been explored by everyone from Oliver Stone to Bruce Springsteen – there’s just something about a young couple, crazy in love, leaving a bloody trail of destruction behind them that gets the creative pulses racing. English Rose is a British take on the structure, and Alexander Bather’s short makes sure to push it to the excess. Shortly after killing her husband, ‘Butterfly’ (Katie Benbow) is picked up on the road by Adam (Adam Boughton). Initially horrified by her actions, Adam reveals he has his own deadly tendencies. The terrible twosome embarks on a combined crime wave that leads them to a violent confrontation with the law. English Rose is a thrill-ride, promising and delivering violence, chaos, twists and turns that make for an entertaining, if mindless 15 minutes. The film wrenches the attention of the viewer – making absolutely certain that one is engaged through its stylistic vibrance. If you’re expecting a typical bloody road trip film, turn everything up a degree and slap British accents all over the place – that is English Rose. It’s over-the-top and a little corny, but still grounded in bloody realism that makes its brutality really pop. It’s perhaps not a surprise that Bather isn’t aiming for prestige drama status with his short. Dialogue is cliched and exposition-heavy, though still carries charm given the film’s cards are laid clearly on the table from the get-go. Where the film raises some themes of desperation, abuse, isolation and the delusional state love can leave one in, these are only explored at surface level. Tender moments with the couple in the car could have been expanded upon a little with more of a background provided for the leads, which in turn would have added to the impact of their actions and consequences thereof. There is simmering chemistry between Katie Benbow and Adam Boughton, a metaphorically corrosive kind in the film’s case. Their performances precisely capture the sense that their meeting is a spark that sets of a fire – an unfortunately ideal pairing for a uniquely destructive rampage. The confidence each character gains from the other is underlined by each’s uncertainty before they come clean to one another about their nature. Elsewhere Peter O’Connor gives a remarkable short showing as unfortunate cashier John What – whose terror is a heartbreaking reminder of the real-life consequences of the couple’s deadly actions. English Rose excels in excess. Impressively cinematic in its presentation and vibrancy, the short is well-worthy of a bigger screen – delivering explosive action and a colourful leading pair. There is not a whole lot of depth – not wholly a problem but a shame given the unexplored layers hinted at for the leading characters. But for a stylish roller coaster of a film, it does not disappoint. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Man In The White Van film review by UK film critic James Learoyd. Starring Sean Astin, Madison Wolfe, Brec Bassinger directed by Warren Skeels. HOME | FILMS | REVIEWS The Man In The White Van Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 21, 2025 Directed by: Warren Skeels Written by: Warren Skeels, Sharon Y. Cobb Starring: Sean Astin, Madison Wolfe, Brec Bassinger Warren Skeels’ The Man In The White Van tells the story of a series of grisly murders taking place in Florida in the 1970s. This plot actually serves more as the backdrop to an effective portrayal of a family’s domestic life, and the kids’ school life. We have two parents (Sean Astin and Ali Larter) and three children (Madison Wolfe, Brec Bassinger and Gavin Warren). Between these quaint family dialogues, we see glimpses of ruthless murders as the impending titular horror gets ever closer to our main characters and their home. Many an audience member are sure to compare this movie to Fincher’s singular masterpiece Zodiac (2007). This is not only due to screenplay (by Skeels and Sharon Y. Cobb) and its similarities in subject-matter, place and time; but also because of the deliberate steps this movie takes to replicate Zodiac ’s aesthetic – even down to the font of the opening credits. Yet what impressed this critic was how the filmmakers took the Fincher aesthetic – which has so often been overused and technically misunderstood as simply having a ‘desaturated colour palette’ – and applied its deeper nuances to the tale being told. For instance, one Fincher attribute which works well is the use of subtle camera adjustments so as to mimic a character’s physicality. And, thankfully, this film has a gorgeous, varied palette, consisting of pastel colours and vibrant sunsets. This is a sturdy looking movie with incredible production values. Outside of impeccable technical consistencies – such as the precision of the focus-pulling or wonderful balance of the lighting – some of the most impressive and immersive moments of cinematography involve scenes in cars, shots attached to the outside of cars, or even the camera dollying around a car to reveal more visual information whilst in transit. There must be a lot of greenscreen at play, but the fact that it goes unnoticed is honestly astonishing. Something that won’t go down so well with viewers is the sound. Now, I’m not referring to the sound recording (which is perfect) or even the foley work (which is also fantastic); I’m referring specifically to the criminal overuse of sinister musical cues. There are so many threatening sequences in this movie which could benefit massively from the pure terror of absolute silence – allowing the horror to unfold before us without manipulation. There’s a certain sense of spoon-feeding present in the constant violin screeching at any sight of the white van, which, after the opening scene, we get. But its worst sin is having these screeches take place during moments of false-threat – like the little brother making our protagonist jump. For a film without an outrageous, blockbuster budget, the proper realisation of the period-setting should be considered a genuine achievement on a level of set and costume design. The family home feels authentic, the vintage cars are lovely to look at, and much of the budget has even gone to playing some classic tracks. All of this is illustrative of an attention to detail, as well as an intelligent use of budget, to enable some truly convincing world-building. The Man In The White Van will be available on DVD & Digital from 29th September Buy UKFR Banner Space About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Joyride film review by UK film critic Christie Robb. Starring Olivia Colman, Charlie Reid directed by Emer Reynolds. HOME | FILMS | REVIEWS Joyride Film Review average rating is 3 out of 5 Critic: Christie Robb | Posted on: Dec 22, 2022 Directed by: Emer Reynolds Written by: Ailbhe Koegan Starring: Olivia Colman, Charlie Reid A cozy story of mutual self-discovery, director Emer Reynolds and writer Ailbhe Keogan’s Joyride delivers a series of poignant moments but unfortunately not enough of them to result in a believable conclusion. The excellent Olivia Colman plays Joy, a solicitor that has recently given birth to a late-in-life baby that she wishes to give away to a childhood friend. The delightful Charlie Reid plays Mully, a teenager who has recently lost his mom to cancer and is left with a scumbag dad who wants him to steal money from a hospice fundraiser to clear his debts. Their lives intersect when the two try to use the same stolen taxi. The transitional nature of a road trip during a transitional period in both of their lives provides the opportunity for each of the two to learn things they never knew about themselves and to grow and mature as individuals. They are doing this while rolling through the Irish countryside, which is quite a pleasurable backdrop. The two leads are very talented and their banter is written naturally enough to be believable. However, the plot at times veers into the ridiculous, ignoring so much of the way the actual world works as to leave you wondering if you accidentally got the genre wrong and you are watching a fantasy. It’s a world in which you can evade the police by simply turning into the first driveway on the side of the road and 13 year-old-boys can function as effective lactation consultants. But, if you are looking for a movie to attempt to give you heart-expanding holiday feelings without the Hallmark tinsel explosion, Joyride might be the movie for you. Buy UKFR Banner Space About the Film Critic Christie Robb Theatrical Release < 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 >

Mary film review by UK film critic Joe Beck. Starring Juliette Regnier, Logan Cutler-Smith directed by Jo Rou, Dan Riordan. HOME | FILMS | REVIEWS Mary Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Oct 25, 2022 Directed by: Jo Rou, Dan Riordan Written by: Justin Lazor Starring: Juliette Regnier, Logan Cutler-Smith Loss is difficult for everyone, especially the loss of a parent. They are the people who we always, whether consciously or subconsciously look towards for help and guidance, who helped to shape our being. As we ourselves grow older and forge our own lives, separate from those of our parents, we often come to appreciate them all the more, making their death, though we understand it to be inevitable, all the more profound. Most of us grieve for a short period of time, carrying that burden on our shoulders, making our lives just a little bit heavier. However, we still mourn the loss each day, merely in different ways - there is a wonderful quote from Keanu Reeves: “Grief changes shape, but it never ends” - and occasionally it’ll come to the surface, whether that be in tears, anger, or even terror. ‘Mary’ details the last of those three, as Rich (an impressive Logan Cutler Smith), a by-the-books insurance salesman, makes a house call on an elderly woman, Mary (Juliette Regnier), a year after his mother’s passing. What begins as an ordinary visit becomes an exercise in coming to terms with his sense of responsibility for his mother’s death, and the wide range of emotions that in itself ensues. Rich begins to see parallels between Mary and his deceased mother - their tastes in ornaments and the way in which they bake their brownies, not to mention the mannerisms inherent in any sweet, old lady. The parallels are unnerving, amplified by the continued confusion by both characters in referencing each other as ‘mother’ and ‘son’, but the film doesn’t become terrifying until Mary lists, in excruciatingly long fashion, the ways in which Rich feels responsible for his mother’s death, and tensions reach their boiling point. Elderly women have long had the ability to terrify us. Think of Mrs Bates in Psycho, or the rotting old woman in the bathtub in ‘The Shining’ - both of those women are terrifying not through words but through actions, however. Mary is more like the Blind Medium in ‘The Others’, save for the fact that she possesses the sweet voice of a woman her age rather than the uncanny voice of a child. She is hidden in the shadows for the first half of the short, as directors Jo Rou and Dan Riordan build up suspense through words and darkness alone. Juliette Regnier is excellent as the unsettling title character, each word manifests terror the second it leaves her lips, and her eyes have that air of decrepitude about them, which just suggests that something is off. In fact, were it not for the fact that the script, penned by Justin Lazor, is a little too obvious, then Regnier’s performance would be all the more convincing. Unfortunately, the script fails to cajole the viewer into falling for Mary’s initial charm - lines like ‘difficult to find…difficult to leave’ make it plain that there’s something off about her - and similarly weakens the suspense created through Rou and Riordan’s crafty direction. The film is shot with an artistic flourish and feels like an 80s B-Movie with modern-day editing, as the directors insert deeper layers into a film which is, at times, and particularly towards the end, a bit of fun. Whereas normally you would deem that to be out of touch with the otherwise serious tone of the film, throughout ‘Mary’ is embedded with an undercurrent of the absurd, and that is briefly let loose in its climax. As such, ‘Mary’ is an amalgamation of three words which don’t usually go together - ‘loss’, ‘terror’, and ‘fun’. Make of that what you will, but if nothing else, after watching ‘Mary’ maybe you’ll think twice before accepting the next brownie you’re offered. Buy UKFR Banner Space About the Film Critic Joe Beck Short 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

Critically Acclaimed film review by UK film critic Joe Beck. Starring Thomas Loone, Mia Mills directed by Thomas Loone. HOME | FILMS | REVIEWS Critically Acclaimed Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Sep 5, 2022 Directed by: Thomas Loone Written by: Thomas Loone Starring: Thomas Loone, Mia Mills Imagine a gritty British drama, set in the dark, urban environment of Scotland - a far cry from the picturesque view many have of the area. It sounds a lot like ‘Trainspotting’, but imagine ‘Trainspotting’ through the veins of Ken Loach, Mike Leigh or Jim Sheridan. That’s the film which ‘Critically Acclaimed’ tantalisingly taunts you with in the beginning, and although you know that it must end, you don’t want it to. The good thing is that ‘Critically Acclaimed’ doesn’t dramatically nosedive after an exhilarating opening, instead gently plateauing over the remainder of its runtime into an effective commentary on the other side of fame. The star at the forefront of the piece is Jim (played by Thomas Loone, who also directed and wrote the short), who has just delivered an impressive performance in an upcoming film, and has been heralded as the ‘next Fassbender’ in overwhelmingly positive early critic reviews. Life seems to be on the up for Jim, he’s been paid a lot for the film, and is garnering the attention of the press - doing interviews for all your daytime TV shows. There’s another side to fame, however, and it’s a side that many fail to adapt to. The false niceties of the interviewee, Cassandra Higgins (played by Mia Mills), who hasn’t even seen the film, and the onslaught of inane questions turn out to be the straw which breaks the camel’s back and brings out Jim’s anxieties. Jim’s already become alienated from his friends due to his newfound fame, and is struggling to adapt to the spotlight. With a pressing agent, who clearly doesn’t have Jim’s best interests at heart, he’s slowly finding himself falling in on himself, and seeing the rough side of his new career. Perhaps the best thing about ‘Critically Acclaimed’ is the fact that were this short to do well, and Thomas Loone’s fabulous performance to be recognised, it wouldn’t be too difficult to imagine him in the same situation a couple of years from now. It certainly deserves to do well, and Loone certainly deserves the recognition his performance is controlled and measured, showing us the panic in his mind as he’s scared of how people will judge him for the interview answers, with the tell-tell sign being in his eyes, which are scared and constantly flickering upwards. In the film-within-a-film he’s a more engaging character - confident and decisive - but he easily switches mannerisms to the quiet, toned-down Jim. Loone’s direction is strong and steady, though is the weakest of his three roles as the writing far excels it - delivering a clear, concise, to-the-point screenplay, the kind Jim’s PR would be very fond of. The only stumbling block for the film is in some disappointing supporting performances and a slight tail-off towards its conclusion, which feels out of character with the rest of the film, and doesn’t quite deliver the sharp message which the rest of ‘Critically Acclaimed’ so wonderfully sets up. Nevertheless, it is a film which, like the film it features, should have critics gushing, especially over its central performance, and should propel Thomas Loone onto a path similar to his character. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < 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. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < 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. Buy UKFR Banner Space About the Film Critic Matt Trapp Indie Feature Film < All Reviews Next Film Review >

Wicked Little Letters film review by UK film critic George Wolf. Starring Olivia Colman, Jessie Buckley, Timothy Spall directed by Thea Sharrock. HOME | FILMS | REVIEWS Wicked Little Letters Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Apr 3, 2024 Directed by: Thea Sharrock Written by: Jonny Sweet Starring: Olivia Colman, Jessie Buckley, Timothy Spall Long before you could hide behind a keyboard and avatar, a small English village was scandalized by some expert-level anonymous trolling. Wicked Little Letters tells us that story is “more true than you’d think,” and rolls out a stellar ensemble to elevate the tale at nearly every turn. It is the 1920s in Littlehampton, England, where unmarried Edith Swan (Oscar winner Olivia Colman) still lives with her parents (Timothy Spall, Gemma Jones). Edith is known to be a dutiful daughter and devout Christian, so town tongues are wagging when she begins to receive hateful and profanity-laced “poison pen” letters in the mail. Who could be behind such unwarranted vitriol? Whaddya bet it’s that filthy Irishwoman Rose Gooding (Oscar nominee Jessie Buckley)? Rose is frequently loud, drunk and vulgar. Plus, she’s a war widow (or is she ?) with a young daughter (Alisha Weir from the upcoming Abigail ), a “reputation” and a live-in boyfriend (Malachi Kirby). Throw in the recent falling-out with Edith, and that’s enough for the town Constables (Hugh Skinner, Paul Chahidi), who arrest Rose and quickly schedule a show trial. But “Woman Police Officer” Moss (Anjana Vasan) isn’t convinced, and she risks her position by continuing to investigate the letters on her own. Director Thea Sharrock (Me Before You, The One and Only Ivan ) and first-time screenwriter Jonny Sweet don’t craft a “whodunnit” as much as they do a “whoproveit” and a “whydunnit.” The real culprit is revealed fairly early on, and the film tries to balance some British wit atop heavier themes of repression, equality, and the sanctimonious crowd who are all preach no practice. It’s historically interesting and well-meaning enough, but it reveals Sweet’s TV background through a light and obvious romp that’s rescued by heavyweight talent. Colman, Buckley and Spall are all customarily splendid, each making up for the lack of nuance in their characters with some livid-in conviction and natural chemistry. Plus, Vasan stands out in the winning supporting group as the overlooked and underestimated W.P.O. Moss. So while it’s lacking in the bite needed to leave a lasting impression, think of Wicked Little Letters as an extended cat video, one just amusing enough to take your mind off of all those nasty comments from the keyboard warriors. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Perfect Days film review by UK film critic Hope Madden. Starring Koji Yakusho directed by Wim Wenders. HOME | FILMS | REVIEWS Perfect Days Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2024 Directed by: Wim Wenders Written by: Wim Wenders, Takuma Takasaki Starring: Koji Yakusho Wim Wenders is having a year. Though his epic 3D documentary Anselm somehow regrettably missed out on a Best Documentary nomination from the Academy, his unhurried slice-of-life Perfect Days caught their attention. Nominated for Best International Film, Wenders’s lovely drama tails Hirayama (Koji Yakusho, perfection) through about two weeks in his life. Hirayama doesn’t have a lot to say, but he misses nothing in his days driving from public restroom to public restroom with Tokyo Toilet written on the back of his pristine blue jumpsuit. Tools in rubber-gloved hand, Hirayama is meticulous as he works. He has a routine that suits him—brings him joy, even—and Wenders cycles us through that routine day after day after day. At a full two hours, Perfect Days begs your indulgence with this montage of minutely changing events. The cumulative effect is, at first, lulling. As days pass, some small change draws attention and we try to predict a plot—will this turn into a love story, will that create financial chaos, is a tragic backstory of abuse about to come to light? Not the goal of this movie. The film actually began as a commissioned short film meant to celebrate Tokyo’s pristine public toilets. I swear to God. It blossomed from there into a lithe, meditative character study shouldered by an impeccable Yakusho. Though there are moments in the film that feel orchestrated—today, this happens; today, this happens—but not one breath, smile or nod of Hirayama’s head betrays the fiction. His is a mainly solitary, nearly silent life that can be surmised as a middle-aged man’s intentional creation. Hirayama has left something behind, has stripped himself of something, and what remains is what he finds vital: work where you can see a result; floor to ceiling shelves of books; a tidy and enormous collection of cassette tapes; a room full of tiny plants taking root, thanks to his tender care. You could fit Hirayama’s dialog on less than a single page, and there are times when his silence feels forced and almost comedic. But Yakusho’s brilliantly nuanced, heartbreakingly felt performance makes up for any flaws in the film. Wenders punctuates scenes with joyously on-the-nose song choices—minus the cassette hiss—and the final few singalong minutes showcase one actor’s transcendent work. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Yellow film review by UK film critic Jason Knight. Starring Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas directed by Elham Ehsas. HOME | FILMS | REVIEWS Yellow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 16, 2023 Directed by: Elham Ehsas Written by: Elham Ehsas Starring: Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas In August 2021, the Taliban overtook Afghanistan. This short drama explores the aftermath. It is a busy market in Kabul and a young woman (Dehrouyeh) is looking to purchase her first chadari. He enters a clothing shop and requests one from the assistant (Ehsas). He helps her make the right choice, gives her advice and is quite helpful. She does not seem to be fond of the garment and appears to realise that her life is changing. This film is about a turning point in a woman's life, following the Taliban's conquest of Afghanistan. It is obvious that it is the first time she is wearing a chadari, as she does not know how to put it on, which highlights the change that she is going through. Through her eyes, the audience sees a procedure that many women in Afghanistan are going through: getting a chadari for the first time and entering a new stage in their life. The screenplay calmly examines the procedures that the heroine undertakes in order to obtain a chadari and thus (in some ways) go through a transformation and become another person, a person who the Taliban approve of. The film dramatically points out some of the effects of the Taliban takeover. One is the degradation of women, which is explored through Dehrouyeh's character and a television news broadcast about the strict laws applied by the Taliban regarding women wearing a chadari. Another is the banning of music, which is briefly shown through Ehsas' character. One part that stands out is a dance scene that feels almost magical thanks to slow motion and creative editing by Ehsas and Ross Leppard. Director of photography Yiannis Manolopoulos does a great job with the cinematography and commendations go to Jessica Holme for the costumes. An effective point-of-view shot places the viewer in the heroine's position, helping them feel how she feels. This film is a poignant and hard-hitting commentary about the Taliban's seizure of Afghanistan, how it affects the people of that country, particularly women. It provides an insight into the current situation, painting a bleak vision of the future. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >