Asog film review by UK film critic Brandon Thomas. Starring Rey Aclao, Arnel Pablo directed by Sean Devlin. HOME | FILMS | REVIEWS Asog Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Apr 11, 2025 Directed by: Sean Devlin Written by: Rey Aclao, Sean Devlin, Arnel Pablo Starring: Rey Aclao, Arnel Pablo Since its inception, filmmaking has given artists an outlet to explore and amplify identity. Whether it’s cultural, religious, or something more profound and oftentimes less investigated – like sexuality and gender – film has opened the door for people around the world to share who they are. Through a mix of documentary and narrative film, filmmaker Sean Devlin’s Asog puts an important spotlight on the Philippines’s queer community as well as the forgotten people of the country’s rural areas. Set in the aftermath of a destructive typhoon, Asog simultaneously tells the story of Jaya (Rey Aclao), a non-binary teacher, and the residents of the devastated island of Sicogon. As Jaya travels to a drag pageant with one of their students in tow, they cross paths with the people of Sicogon as they struggle with the destruction of their home, and the outside forces of development that seek to change the island forever. From the get-go, Asog is interesting in its stylistic choices: mainly in blending narrative and documentary type filmmaking. This kind of approach is certainly nothing new, but it does feel like a rarity in today’s IP and nostalgia-centric world of cinema. That mix of fact and fiction often happens through psychedelic realism – simultaneously putting the audience into the emotional vortex of the characters. The choice works as Devlin’s film keeps reminding the audience that a part of this story really did happen and the people are still dealing with the consequences. The heart of the film belongs to Jaya’s relationship with their student, Arnel (Arnel Pablo). The chemistry and connection between the two is raw and honest – mirroring the film’s overall form. This is all the more impressive given that both are non-traditional actors – with Arnel actually playing himself in the film. The rest of the cast is made of these kinds of actors too, with results not nearly as satisfying. There’s a clunkiness to the other performances that’s distracting and hobbles the film’s overall effectiveness. The other half of the film – the part focusing on the people of Sicogon Island, isn’t nearly as cohesive or well executed as Jaya’s story. Devlin’s intent is there – cultural identity being virtually wiped away by encroaching greedy outsiders, but it feels too siloed when put together with the sometimes very comedic and intimately personal nature of Jaya’s journey. Even if the more telegraphed “message” portion of the film doesn’t completely come together, the story of Jaya and Arnel whacks enough of an emotional wallop that most audiences won’t notice Asog ’s low points. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release, LGBTQ+, Indie Feature Film, Documentary < All Reviews Next Film Review >

Watch and love these movie trailers for films coming out April 2020. After you view a trailer or two, remember to share with the world. April Movie Trailers Spring has most definitely sprung and these April movie trailers have sprung into our lives and into our hearts. Okay, maybe UK Film Review is a little bit more excited about these trailers than the average movie fan, but we think they are fantastic! April is a difficult month in the movie calendar, especially in recent years where Marvel superhero films have dominated the box office. Take a look at this selection though and let us know what you think - via the usual channels of social media, carrier pigeon, smoke signals (please use responsibly), or shouting very loudly from the room you are already in...don't worry, we will probably hear your feedback on these 2020 movie trailers . Don't forget to check back later in the year where we will hopefully have film reviews of all these 2020 movies and more! This may be on the website or our film podcast or YouTube channel (we get everywhere). If you would like to promote your film and/or movie trailer, please use the Film Promotions page or relevant form, e.g. Film Channel, Indie Film Trailers, Short Film Trailers etc. All that 's left to say is that April is not only for sunny weather and blooming flowers, in fact, it is best to stay indoors, watch these April Movie Trailers, and get very excited about watching the films when they hit the cinemas. p.s. we apologise for any spoilers that are contained within the trailer. No Time to Die Movie Trailer Promising Young Woman Movie Trailer Back to MOVIE TRAILERS

Armand film review by UK film critic George Wolf. Starring Renate Reinsve, Ellen Dorritt Petersen directed by Halfdan Ullmann Tøndel. HOME | FILMS | REVIEWS Armand Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 13, 2025 Directed by: Halfdan Ullmann Tøndel Written by: Halfdan Ullmann Tøndel Starring: Renate Reinsve, Ellen Dorritt Petersen If you’re the parent of young children, your first reaction to troubling accusations against them is likely to be denial. There must be some mistake, right? My child would never do such a thing. It’s a catalyst that almost demands taking sides, and one that writer/director Halfdan Ullmann Tøndel explores to unique effect in Armand . The mesmerizing Renate Reinsve (The Worst Person in the World , Handling the Undead , A Different Man ) is Elisabeth, a Norwegian actress who is summoned to her son’s school for an urgent conference. Six year-old Armand has been accused of bullying his friend Jon in the boys restroom. The incident apparently involved acts of “sexual deviation.” Jon’s parents, Sarah (Ellen Dorrit Petersen) and Anders (Endre Hellestveit) are waiting at the school with two administrators and the boys’ teacher. And what begins as a calm attempt at fact-finding slowly dissolves into a fascinating unraveling of mystery, fantasy, and outright curiosity. Ullmann Tøndel and cinematographer Pål Ulvik Rokseth keep us inside the sterile school building for nearly all of the film’s two hours, puncturing the strained decorum with an array of devices. There are persistent nosebleeds, the sound of heels echoing on hard floors, moments of psychological performance art, and one alarming fit of laughter that purposely strains your patience. It all helps to distinguish the film from similarly themed dramas such as The Teacher’s Lounge or even Mass , but also threatens to keeps us detached through self indulgence. The can’t-look-away excellence from Reisve never lets it happen, and Armand – which won the Caméra d’Or, for Best First Feature last year at Cannes – rewards audience commitment with a satisfying, if not exactly revelatory, resolution in Act Three. The characters may be talking about children, but the film is talking about adults. Armand presents a challenging, but ultimately haunting take on the lingering dangers of convincing ourselves that everything is fine. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Seize The Carp film review by UK film critic Swati Verma. Starring Jane Paul Maccrron, Charles Parks directed by Jerry J White. HOME | FILMS | REVIEWS Seize The Carp Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 3, 2022 Directed by: Jerry J White Written by: Jerry J White, Jane Paul Maccrron, Charles Parks Starring: Jane Paul Maccrron, Charles Parks The name of the feature film-Seize The Carp has the connotation of holding on to an opportunity to heal and choosing the right company to be able to share the grief. The writer-director Jerry J White always opts for a character-driven style of narration so that the audience can relate to Rachel (Jane Paul Maccrron) and Casey (Charles Parks) to emotionally connect to the content of the movie. In death comes Life and it couldn’t be more real for childhood friends, Casey and Rachel. After Rachel’s brother passes away unexpectedly the two of them come together and take a road trip in his memory. Although the two have followed very different paths in life, the journey becomes the same in the end. The DOP Kenneth Keeler utilizes the mid-close-up shot to capture the sadness in the opening scene, therefore, establishing the subject matter of the film. The extreme close-up shot gives the viewers an idea about the bond Rachel and Casey share. The camera switches between a series of mid-shots and close-up shots to provide details about the lives of the two protagonists of the cinematic piece. A series of long-shots help showcase the landscape which increases the viewing experience for the audience. The set design, lighting, dialogues, costume, makeup, and hair has been kept natural to give a sense of realism and relatability and also not lose the intensity of the creative piece. Jane Paul Maccrron plays Rachel who is emotionally broken due to the passing away of her brother and is trying hard to find the strength to overcome all the problems. Maccrron understands the depth and nuances of Rachel and makes sure that she puts in the right amount of emotions as per the demand of the screenplay and the director. Charles Parks as Casey is a treat to watch. Casey becomes a strong pillar of support during the hard times of his childhood friend Rachel. Parks portrays the multiple-layered character effectively as he always wants to uplift Rachel’s mood with his antics. Park’s acting skills are put to test with all the continuous ups and downs in their individual lives in the story while holding each other closely to go through the tough times. The film- Seize The Carp talks about the importance of memories as it becomes a medium to remember friends and family and doesn’t let one forget them. The feature film also reiterates the crucial role of true friends in times of crisis. This drama tells its audience about the significance of communication for sustaining any relationship in life. The cinematic piece conveys the key message regarding the selfless love and care required to be given to people for the betterment of society as a whole. The creative piece talks to the viewers regarding spending a lot of time with the loved-ones at present and then regretting it later. It also tells us the gravity of building trust between people and it becomes beneficial for all of them involved. As an ardent viewer of feature films, I would like to say that I like the idea of pushing storytelling through collaborations and the continuous efforts by Jerry J white to keep the character first and share strong characters with the audience. I also like the fact the content holds relevance even now after two years of quarantine time away from the outside world. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

Scaring Women At Night - BFI Flare film review by UK film critic Amber Jackson. Starring Izaiah Dockery, Kavita Musty, Dashawn Lloyd Blackwood directed by Karimah Zakia Issa . HOME | FILMS | REVIEWS Scaring Women At Night - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 30, 2023 Directed by: Karimah Zakia Issa Written by: Karimah Zakia Issa & Ace Clamber Starring: Izaiah Dockery, Kavita Musty, Dashawn Lloyd Blackwood “While grappling with his own fears, moving through the world as a trans man, he does his best to navigate his new dynamic with women.” Having had its world premiere at TIFF in 2022 and part of BFI Flare’s 2023 selection, Scaring Women At Night is an impactful short film that speaks to the lived experiences of one transgender man. As he presents as masculine, he seeks to understand how he can be more approachable to women without making them fearful of him. This is particularly prevalent at night, when the film’s storyline takes place, as he is walking behind a woman who believes that he is following her. In trying to not appear threatening, this is an interesting introspective film that considers an entirely different perspective to the trans male identity and experience. Cinema has seldom considered stories and narratives in this way, and so it is refreshing to see a very contemporary issue handled in such an incredibly authentic way. The story focuses on protagonist Ash having a conversation with himself about who he is now after his transition, particularly concerning his relationships with women. As he walks home alone, he encounters a woman also walking alone, leading the film to openly confront their individual fears. Filmmaker Karimah Zakia Issa explores how Ash has lived experiences from each side and is the guiding force for audiences to see an all-too-familiar event differently. He has adapted to survive, yet is confronted by these additional societal challenges. There is a real sense of unease created that extends throughout the short, with fears that many can relate to, particularly the reality of being followed. The filming is excellent, with scenes being spliced together often with jarring jump cuts to keep the viewer alert. Placing a trans character into this action allows these fears and issues to be considered in a new way. Ash attempts to make his appearance less scary, for example, in realising that he may now be considered a threat by presenting as male. It is a truly raw inner conflict, as the resolution is unclear. Scaring Woman At Night is a fantastic beginning of a conversation that leaves the viewer wanting to learn more. As this is a pre-feature short film, it is exciting to consider how the film will be developed into a feature. It is a refreshing perspective to be considered on screen and not one to be missed. Buy UKFR Banner Space About the Film Critic Amber Jackson LGBTQ+, Short Film, Film Festival < All Reviews Next Film Review >

Betrayed film review by UK film critic Chris Buick. Starring Stefan Butler, Suzy Bastone, Caitlin Cameron directed by Ewan Gorman, Dagmar Scheibenreif. HOME | FILMS | REVIEWS Betrayed Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Oct 16, 2024 Directed by: Ewan Gorman, Dagmar Scheibenreif Written by: Caitlin Cameron, Philip Halmarack, Jay Shurey Starring: Stefan Butler, Suzy Bastone, Caitlin Cameron Determined to protect his daughter from those who would seek to utilise her unique abilities for potentially nefarious means (no spoilers as to the specifics here), Sam (Butler) hides his daughter Isobel (Cameron) away day-after-day at an undisclosed location for what he sees is her own safety. But with Isobel growing more and more tired of feeling like a prisoner, and with a gang of other interested parties led by the uncompromising Lauren (Bastone) closing in, Sam begins to feel himself backed into a corner and running out of people he can trust. A proof-of-concept short looking to present enough of itself so as to become a fully-fledged feature, Betrayed thankfully does everything it might need to in order to get itself noticed and raised to the next level. Here, we are introduced to an array of intriguing characters and teased by a number of luring backstories and half-explored relationships in a script that is tantalisingly crafted by writers Cameron, Halmarack and Shurey. Everything presented to us is deliberately kept at a very top-level, the audience never knowing too much about what is really going on and finding ourselves scrambling to put what little information we have together and yet realising there are still many pieces of this puzzle we can’t get our hands on. As more doors open into each of these characters lives and stories and circumstances, just as we’ve had our peek inside each one it is slammed back on our faces again, importantly never leaving us with frustration but rather with exciting questions we need answered. Whether all this potential can be fully realised in a feature remains to be seen, but based on what is presented here, it at the very least deserves its chance. The film can be a bit overly dramatic at times, some of the character moments a bit forced and over-exaggerated to make sure they make their point. But these moments really are few and far between. Betrayed has a cast where everyone knows their role and plays it admirably to create something bigger and better than the mere sum of their parts. The film also keeps things fresh with different storytelling techniques and a mix of themes to boot, some that it must be said need more context and prior warning for viewers i.e. a scene involving an upsetting sexual assault, but otherwise, it’s a film that’s been thought out enough to hook you right in and fully justify being given the chance offer even more. Very much like the pilot of an intriguing drama, and with apparently more to be revealed in a potentially upcoming “ISOBEL” feature, with its plethora of themes, varied characters and well-paced and balanced storytelling, Betrayed is a film that not only promises a lot more but also proves it’s likely to deliver on it. Watch our Video Film Review below. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

King Richard film review by UK film critic George Wolf. Starring Will Smith, Aunjanue Ellis, Jon Bernthal directed by Reinaldo Marcus Green. HOME | FILMS | REVIEWS King Richard Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 18, 2021 Directed by: Reinaldo Marcus Green Written by: Zach Baylin Starring: Will Smith, Aunjanue Ellis, Jon Bernthal You know how many parents are convinced their kid is destined for athletic greatness? Quite a few, and that’s just in your neighborhood. So how – and why – did Richard Williams’s predictions for daughters Venus and Serena come so incredulously true? That’s a compelling story, one that King Richard tells with enough restraint and humanity to sidestep most sports movie cliches and find layers of true inspiration. The Williams family – Richard (Will Smith), wife Brandi (Aunjanue Ellis), Venus (Saniyya Sidney), Serena (Demi Singleton), and three additional daughters from Brandi’s previous relationship – weren’t exactly welcomed into the L.A. tennis community when Richard put his master plan in motion. Tennis was a sport for the rich and the pale. They were a Black family from Compton, often dodging gang activity for a chance to practice on run down community courts. Richard was dogged in his search for a coach, first landing Paul Cohen (Tony Goldwyn) before Venus earned the entire family an invite to Rick Macci’s (Jon Bernthal, playing delightfully against type) exclusive training center in Florida. In his debut screenplay, writer Zach Baylin follows a fairly standard biopic formula, but manages to weave in necessary layers of nuance. While we see that the doubt Richard encounters about his daughters’ future greatness is understandable, the added barrier of racism is understood without an overplaying the hand. In fact, Baylin’s script (or the editing bay) occasionally downplays obstacles that the Williams’s surely encountered all too often, seemingly mindful of the film’s 138 minute running time. But director Reinaldo Marcus Green (Monsters and Men ) has a good feel for pacing, with well-placed bits of tension, humor and impressively-staged tennis sequences that never let the film feel sluggish. And while you can hardly be blamed for detecting the whiff of “Will Smith Oscar bait” in the air, don’t be surprised if he lands his third nomination. The film is an inspirational crowd pleaser that steers refreshingly clear of pandering, and Smith responds with a performance that leans into the colorful personality of Richard Williams while checking his penchant for heavy-handed mugging. It helps that Smith is constantly elevated by Sidney and Singleton, the two wonderful young actresses playing Venus and Serena, and the always amazing Ellis (Lovecraft Country, Ray, The Help ). Though Brandi’s character is often strong and silent, there are fine moments that prove just how vital she is to the Williams plan. And by the time Brandi is dressing down Richard as just another man that won’t admit he’s scared, it’s clear how vital Ellis is to the film’s resonance. Though Venus and Serena get Executive Producer credits, the film doesn’t ignore some problematic areas in Richard’s personality, and Smith makes the mix of crazy-like-a-fox determination, gentle humor and hidden scars one that -like Smith himself – is hard to dislike. As the older sister and the first to find success on the tour, it is Venus that gets much of the film’s focus. But Richard’s prediction for Serena (“the best ever”) serves as a natural pivot to send us home with a reminder about how lucky we’ve been to witness their greatness. And as the best sports movies always do, King Richard scores often enough to land its message past the fault lines. The Williams plan may have been heavy on tennis, but it’s anchored by life lessons that not only benefitted all of Richard and Brandi’s children, but would undoubtedly be an asset in any arena. So what made Richard’s vision so much clearer than every other parent in the stands? Just some unending determination and confident stubbornness. Plus two daughters with once-in-a-generation gifts, the passionate drive to excel, and the desire to make the road a little smoother for the next young phenom that isn’t white or wealthy. That helps, too. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Making Up film review by UK film critic Patrick Foley. Starring Dave Johns, Jessica Ellerby directed by Ryan Paige. HOME | FILMS | REVIEWS Making Up Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 10, 2024 Directed by: Ryan Paige Written by: Ryan Paige Starring: Dave Johns, Jessica Ellerby A gritty familial short set in the 80s East end, Making Up raises some interesting dynamics over regret, broken homes and treatment of drag culture. It lacks fluency or a defined narrative, but quieter emotional moments help it connect with viewers. Ted (Dave Johns) is a Geordie drag queen recently in receipt of difficult news. A debilitating illness has encouraged him to try and make amends with estranged daughter Cass (Jessica Ellerby) – in order to tell her that his condition may be hereditary. Cass is reluctant to open her life back to her father, failing to understand his line of work. When they attempt one last chance at reconciliation, an unexpected hurdle threatens more than their relationship. The performances of Dave Johns and Jessica Ellerby are Making Up ’s biggest asset. The heartbreaking awkwardness in their first encounter tells of a broken bond, and the intricacies in Dave John’s performance breathe life into a man at a loss of how to repair the damage. Set in the 80s, Cass’ disappointment and disgust at her father’s lifestyle is an authentic trait – though her decision to cut him out completely may feel harsh to some modern audiences. However Ted’s insistence and aloofness during the sensitive situation give heed that there are deeper issues between the pair, and make Cass’ feelings more understandable. Jessica Ellerby brilliantly weaves in distrust and disappointment in her performance ahead of anger. This diner scene in which the above takes place is a highlight, slowly unveiling the dynamic and history the pair share. Director Ryan Paige allows the scene to develop slowly and deliberately, culminating in an awkward encounter over Cass’ son. Unfortunately the rest of the plot and narrative around this scene is significantly weaker. Ted’s life-changing illness acts as a motivation for his reaching out to Cass, but ends up relatively irrelevant for the story. His drag lifestyle is clearly the reason for the rift between the pair, but it is never established quite what Cass’ actual issue is – perhaps a sign that the filmmakers were wary of risking her being too unlikable or prejudiced. And a random moment of violence ends up being a catalyst for their eventual reunion, something disconnected from the rest of the film. Where discriminatory attitudes are hinted at, a stronger sense of the hate Ted puts up with (and Cass’ new perspective of this) with would have acted as a better and more convincing case for the reparation of the relationship. It feels the filmmakers could have taken a few more risks given the grittiness and rawness of the subject matter. The film fails to really confront mortality (the outcome of Ted’s condition and implications for Cass is never directly confirmed) and discrimination (it is easy for the character literally named ‘scumbag’ (Carey Thring) to be bigoted, less so Cass). Instead it opts for melodrama and sentiment – not bad things in of themselves but lacking the depth that the films hints at otherwise. Elsewhere, 80s London is well recognised, with a typically greasy café being a meaningful place of meet for a lost, broken Ted to suggest. The direction is at its best when allowing the two leads to slowly build their characters and put the focus on their impressive acting. Other moments feel overly frantic (such as when Ted is preparing for his show) and at times fail to compliment the action on screen, such as Ted’s fall in the street at the film’s end. Making Up is moving, but lacks coherency or structure. More boldness from the filmmakers to confront the complexities of their characters and themes would also have allowed what is a touching story to become a memorable one. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Digital / DVD Release, Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

Fck’n Nuts film review by UK film critic Chris Buick. Starring Maddie Nichols, Vincent Stalba, William E. Harris, Michele Rossi directed by Sam Fox. HOME | FILMS | REVIEWS Fck’n Nuts Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Feb 24, 2024 Directed by: Sam Fox Written by: Sam Fox Starring: Maddie Nichols, Vincent Stalba, William E. Harris, Michele Rossi Hapless Dan is hopelessly in love with the helpless Sandy, who for reasons yet unclear, is desperate to warn Dan away from wanting to be with her. But Dan is convinced that it’s true love, and unexpectedly turns up at her house to declare it so, and so Sandy finally accedes to his pleading and allows Dan to come inside the house and meet her parents. Fck’n Nuts is a beautifully batshit film made with clear affection for its genre and by a team with a desire to create brilliantly entertaining movies. The film absolutely nails its authentic 80s B movie horror vibes, firstly with its wonderful aesthetic that pops effortlessly right from the off and then couples that with Scratch Massive’s perfectly placed synth score; it’s single opening shot alone generates not just genuine excitement for what’s about to come but makes us fearful of it as well thanks to a very insidious eeriness that settles deep in your soul almost immediately. And then once it has you, Fck’n Nuts slowly and surely drags you deeper and deeper into this increasingly unsettling but entirely captivating homage to B horror. Every step and note and line (shout out to the one about wine that is so subtle yet killer) has purpose which is to hammer home that unsettling feeling more and more as you attempt to figure out where you might be being led to, some of it is misdirection, some of it’s just for vibes, and for some the end might be obvious (the clues are all there) but whether you know or not doesn’t matter, the culmination of all the shining hard work done here will definitely pay off for most if not everyone. Both Nichols and Stalba also deserve special mention for not just their commitment, but in also giving this crazy premise some grounding in a sense of realism, rounding off these well-written characters to make them feel truly complete and believable despite the ridiculous circumstances with their highly commendable performances. And for the body horror fans, you’re in luck, because Fck’n Nuts has got you covered. It seems like the idea here was to push limits and really gross out in its big set piece and it does, and while it looks great and feels impactful for sure, for those of a bit more sensitive disposition, it might actually be a wee bit too much as it’s a sequence that maybe goes on just a tad longer than it needs to, those few minutes feeling a bit like a rollercoaster that has stopped being fun and you just want to get off. But that’s more a matter of taste than a criticism per se, more of a pre-warning perhaps than anything else. With a handful of well-deserved awards to its name, Fck’n Nuts is a truly fun watch that showcases not just the immense talent of writer/director Sam Fox, but pretty much the gamut of everyone involved in its production. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Teju's Tale film review by UK film critic Joe Beck. Starring Dorcas Shola Fapson, Ellis George, Susannah Harker directed by Teniola Zara King . HOME | FILMS | REVIEWS Teju's Tale Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Apr 8, 2022 Directed by: Teniola Zara King Written by: Teniola Zara King Starring: Dorcas Shola Fapson, Ellis George, Susannah Harker It’s never easy when you start studying a new subject, especially when it’s something like nursing where actual human lives are involved. That difficulty is multiplied a hundred times over when you’re moving to another country, especially if you’re black and moving to 1950s England. Nevertheless, that’s exactly what Teju (Dorcas Shola Fapson), a young Nigerian woman, did in the 1950s, making the long flight into the unknown. She’s doing it not just for herself, but also for future generations, and all those who she’s left behind - intending to return once she’s gained the proper qualifications. That’s ‘Teju’s Tale’, though the title has a double meaning which is revealed a little later. Sadly, though not unexpectedly, almost immediately Teju is greeted by the blatantly racist mindset of England’s predominantly caucasian population at the time. The matron (Susannah Harker) looks at her with suspicion, and certainly doesn’t treat her with kindness. There’s also a patient who leaps away in fright when Teju offers to help her - this, in particular, is perhaps the most disgustingly realistic portrayal of the racist attitudes which were deeply ingrained in society. Then there’s her two colleagues, Victoria and Verity (twins played by Francesca and Lily Knight), who go one step further than the disdaining looks and repeatedly harass Teju, hoping to find out whether or not she has a tail. Fortunately, she has another Nigerian migrant to keep her company, the kind-hearted Sylvia (Ellis George), but even she doesn’t think Teju will last longer than a few days. In that kind of situation, nobody would. That’s what the film does so well, creating a sensational bond with Teju in the short fifteen minutes, that it doesn’t take longer than three to be fully on her side. Of course, she’s easy to empathise due to the horrific attitudes of those around her towards her, but writer-director Teniola Zara King does something else as well to bring Teju that little bit closer to us. She’s given a clear set of characteristics at the beginning and she sticks by them throughout - we immediately see Teju as kind, with a touch of anger; passive, but not afraid to speak up, and above all committed to her values no matter what. King also directs the film with the kind of patience we expect from more experienced directors - carefully building the set up, and then unleashing a host of creative camera angles and shots at the right moment. In particular, there’s a scene in which a character has absolutely no idea what’s hit them - cue some disorientating shots that leap out of the shadows of a slow, cautious build-up. The script is not to the same high standard, with the dialogue in particular feeling forced and stretched, when what it needs is some fast stichomythia. Perhaps most disappointingly of all, however, is the ending, which doesn’t so much peter out but comes to an abrupt halt. It feels extremely rushed and leaves an otherwise great film with a sour taste of what could have been. ‘Teju’s Tale’ is an impressive short for both Teniola Zara King and her star Dorcas Shola Fapson, who shines despite a botched script, as they tell the harrowing story of Teju, or Winifred Layiwola Savage in real life, and her spell studying nursing in England. Its an important short, not only for it’s sadly realistic representation of racism, but also to see a compelling story, complete with some creative camerawork. Whilst ‘Teju’s Tale’ may not have the conclusion to make it one of those famous tales of old, it does enough to get away with it thanks to Teju’s remarkable characterisation. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Scare Package II: Rad Chad's Revenge film review by UK film critic Hope Madden. Starring Jeremy King, Zoe Graham, Kelli Maroney, Byron Brown directed by Aaron B. Koontz, Alexandra Barreto, Anthony Cousins, Jed Shepherd, Rachele Wiggins. HOME | FILMS | REVIEWS Scare Package II: Rad Chad's Revenge Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Dec 20, 2022 Directed by: Aaron B. Koontz, Alexandra Barreto, Anthony Cousins, Jed Shepherd, Rachele Wiggins Written by: Aaron B. Koontz, Cameron Burns, Alexandra Barreto, Cameron Burns, John Karsko, Jed Shepherd Starring: Jeremy King, Zoe Graham, Kelli Maroney, Byron Brown Three years ago, Aaron B. Koontz delighted die-hard horror fans with the squishy, oozy, gory mash note to the video store, Scare Package . It was an anthology of horror shorts, and those only tend to work if they have a compelling frame. In this case, each short represented a film on the shelf at Rad Chad’s Horror Emporium. For the sequel, Scare Package II: Rad Chad’s Revenge , survivors from Part I regroup for Rad Chad’s funeral. But they find themselves trapped by a sinister mastermind with deadly games they must play if they hope to make it out alive. Why do they watch the short films? That’s less clear this go-round, but the shorts they do watch are all pretty solid. Both Alexandra Barreto’s Welcome to the Nineties and Anthony Cousins’s The Night He Came Back Again! Part VI: The Night She Came Back – like Koontz’s framing story – rely on your knowledge of horror tropes to generate laughs. Barreto’s film has some of the sharpest insights via dialog as it celebrates the changing of the “final girl” guard once the grunge-and-garage era took hold. Rachele Wiggins’s We’re So Dead is a fun Aussie adventure, part Stand by Me part Re-Animator , with a wry delivery. Like all the other shorts in the program, We’re So Dead offers metacommentary without surrendering its standalone charm. For Special Edition , director Jed Shepherd sets a handful of friends in a lighthouse for the night with a one-of-a-kind video. But what is the film, exactly? As one woman obsessively rewinds, fast forwards and pauses, her friends are the ones making the big discoveries. Nods to Aliens, Black Christmas, Halloween, Friday the 13th Part 5, A Nightmare on Elm Street Part 3, Hellraiser, Saw and more flavor the product and mark its makers as bona fide fans. You may have to be a fan of Scare Package to appreciate Koontz’s framing story because it picks up not long after the first left off, without explanation. Being in on the joke, as always, makes the gag more satisfying. But that’s the basic premise of every story told in this collection. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

La Cocina film review by UK film critic Patrick Foley. Starring Raul Briones, Rooney Mara, Anna Diaz directed by Alonso Ruizpalacios. HOME | FILMS | REVIEWS La Cocina Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 13, 2025 Directed by: Alonso Ruizpalacios Written by: Alonso Ruizpalacios, Arnold Wesker Starring: Raul Briones, Rooney Mara, Anna Diaz The success of shows like ‘The Bear’ and ‘Boiling Point’ might be a message – and not just that audiences are really hungry all of a sudden. Grind culture and the unsustainable pressures placed on unappreciated employees to simply get by has led to an interest in chaotic workplaces – with fast-paced restaurants an obvious environment for filmmakers to explore what all this stress and madness means in the grand context of life itself. La Cocina is the latest feature in this mould, offering an original angle with a focus on the immigrant experience. Situated in Times Square, ‘The Grill’ is a tourist trap restaurant staffed by immigrant cooks who work on a knife edge to keep up with fast-paced orders through long, tiring days. The promise of citizenship is dangled over them by owner Rashid (Oded Fehr). Pedro (Raul Briones) is a cook who has been made such a promise, and he sees it as his way to a dream life with waitress girlfriend Julia (Rooney Mara). But floods, new staff, pregnancy and stolen money mean that life, and the future of all the workers at The Grill is at the behest of the powers that be. La Cocina’ s 2-hour runtime means it is difficult to maintain either its intensity or its philosophical edge throughout – which are its strongest features when in full effect. The frantic, macho and deafening kitchen environment will feel familiar to Bear fans, and Alonso Ruizpalacios’ interpretation is still entertaining enough to grab viewers’ attentions and raise blood pressures. One can feel their fingers getting greasier and grimier as the staff hustle to keep up with the demands from the all-powerful patrons above, kept in line by Lee Sellars’ autocratic head chef. Dehumanisation is a big theme of the film – with each character feeling increasingly broken by an uncaring system of demand, demand, demand. The energetic direction helps this land perfectly. Adapted from a 1957 stage play and modernised to reflect 2020s dynamics, the film explores race relations in the workplace and how low-income immigrants are exploited ruthlessly for labour. The largely Hispanic workforce is far from a monolith – with the Mexicans, Dominicans, Colombian and more in the kitchen all distinguishing themselves from the others. Bubbling tensions under the surface, such as doubts around Pedro’s relationship with Julia, anger at Rashid and the staff's fraught co-existence with Max (Spenser Granese) explode in a memorable and destructive conclusion that is worthy of the simmering stress levels built throughout the story. Raul Briones thrives as ill-tempered Pedro, a chauvinistic and reactive man but one who dreams big and believes in a better world most around him think is a fantasy. His relationship with pensive Julia feels doomed to failure due to their clashing personalities, though the meaningful chemistry the pair share when alone creates enough hope to validate Pedro’s dreaming. Rooney Mara feels a little underused in the role, and Julia’s traumatic decisions through the film feel underexplored. Other characters like Estela (Anna Diaz) are set up to play a larger role than they end up doing – enjoying meaningful and wonderfully crafted dialogue but ultimately lacking a larger impact on the story. La Cocina is more than just a side dish to wildly successful contemporaries serving up a similar course. It makes salient and driven points about immigrant culture and the disposable attitude towards working people. It is a little overlong and oddly structured (some key events happen earlier than it feels necessary in context of the story), but you’d definitely order from this particularly kitchen again. IN UK & IRISH CINEMAS FROM FRIDAY 28 MARCH Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >