Swiped film review by UK film critic James Learoyd. Starring Nina Tarr, Courtney Maginnis, Jenny Gorelick, Johnny Gaffney directed by Daniel Florio. HOME | FILMS | REVIEWS Swiped Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jul 27, 2026 Directed by: Daniel Florio Written by: Daniel Florio Starring: Nina Tarr, Courtney Maginnis, Jenny Gorelick, Johnny Gaffney The new short film by Daniel Florio, Swiped is very much a comedy told in two distinctive parts – each with its own style of heightened comedic tone. In the first, we witness a girls’ night transpiring with all its amusing social politics, one-upmanship and general awkwardness of a gathering of old friends. It’s an increasingly hilarious game of Whose life is better and Who has the biggest news to share, with the escalation of “new job” to “I’m pregnant” serving as some of the short’s funniest moments. The second half takes a turn into the crime genre with a development so unexpected, ridiculous yet spectatorially stimulating that you can’t help but admire the audacity of Florio’s screenplay. This latter section is more focussed on our protagonist’s boyfriend whom she’s been showing off during her girls’ night via social media pics, with the suggestion being that her Italian tinder-match is seemingly the only thing she has to brag about (I should note that characters’ superficial tendencies all play into the purposefully heightened tone of the piece). Despite the general sense of absurdism present throughout the film, perhaps its most admirable characteristic is that it is utterly relatable. Maybe not the mafia stuff; but the simple idea of exaggerating one’s life so as to impress a group of snobby old acquaintances is such a clear yet potent dramatic weapon that can so easily lead to interesting places. You may argue that it’s a concept that’s been done before, and for the film’s first half, that would be true. However, my retort is twofold: firstly, the execution of this gathering is so snappy and well-performed that there’s nothing to complain about in the watching of it; and secondly, by the time you reach the halfway mark (at around six minutes), you understand that this is someone who wants to experiment with structure – and to effectively do that in an entertaining manner, and without alienating the audience, the filmmaker needs to deliver some conventional laughs and dramatic beats in this opening section. To touch on the formal for a moment, the cinematography and sound are effective for their simplicity. Our two primary sequences are made up of very direct, central, tripod compositions which tend to place actors within an amusingly detached context – much like a Wes Anderson shot or even a shot from a Coen Brothers movie. The impact of this is subtle, especially since these are never the kinds of shots that deliver the wow-factor. But what’s intelligent about the direction and photography here is the awareness of that kind of stripped-down clarity suiting the form of an absurdist comedy perfectly. Arguably easier to praise is the practical use of lighting as well as the pointedly jazzy, sporadic nature of the music-track – implemented with great intentionality at points to match the playfulness of the filmmaking. Swiped is a hilarious, inventively structured piece by Daniel Florio. Arguably indulgent, yet makes for a short film with a fresh tone and outrageous conceit. This is punchy work, and certainly entertaining to the casual viewer. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Dangerous film review by UK film critic Hope Madden. Starring Scott Eastwood, Kevin Durand, Mel Gibson directed by David Hackl. HOME | FILMS | REVIEWS Dangerous Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Nov 3, 2021 Directed by: David Hackl Written by: Christopher Borrelli Starring: Scott Eastwood, Kevin Durand, Mel Gibson I remember watching the inexplicably popular Bad Boys for Life and marveling at the film’s narrative purpose: to convince Marcus (Martin Lawrence) that being a violent man is better than being a man who does not commit violence against others. Sure, there’s a mother/son angle, some explosions, a disco scene, but everything that happens does so to convince Marcus that his real purpose is to commit violence. It’s different than the traditional “one man against the world” action flick, where a peaceful man is forced back into violence to avenge the death of his wife/child/puppy. Those have long existed. This idea that a man who chooses not to physically harm others needs to somehow be persuaded that he prefers a life of violence, that it is his nature and should be celebrated, is kind of new. This theme is also the driving force behind the admittedly enjoyable Nobody , among others. The latest film that hates to see a man get his baser instincts under control is David Hackl’s Dangerous . Scott Eastwood leads a solitary life. He works out. He eats frozen dinners. He waters his plants. Then his mind-numbing peace is disrupted when his brother Sean’s death brings him to the remote island where Sean had been renovating an old military base into a hotel. Eastwood, who channels his father more and more these days, is now non-violent with the help of some personality-deadening drugs and call-me-whenever guidance from his therapist, played by Mel Gibson. That’s funny. Hackl’s clearly working on a shoestring here, and though the film sometimes shows a lack of funds, on the whole, it’s competently made. The humor Hackl, Gibson and Eastwood mine from Christopher Borrelli’s script delivers Dangerous ’s saving grace. Because, yes, D (Eastwood’s character) falls into ex-military, Black Op style gunplay once on the island, but first the recovering sociopath has to deal with his mom. Beyond that, the mystery is convoluted beyond measure, Tyrese Gibson and Famke Janssen are pointless, performances are forgettable. In the end, the whole mess feels like the familiar fantasy of doing right by your mother just one time and then disappearing so you can’t screw it up. Which is a better story than the one about a sociopath who decides being a decent human is just not being true to himself. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Dreaming of You: The Making of The Coral film review by UK film critic Chris Olson. Starring The Coral directed by James Slater. HOME | FILMS | REVIEWS Dreaming of You: The Making of The Coral Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Sep 1, 2025 Directed by: James Slater Written by: James Slater Starring: The Coral There’s a noticeable glut of bands harking back to their glory years these days. Whether it’s feuding brothers reuniting, anniversary tours for albums that came out in the year 2000, or cameos in the latest Netflix show, there seems to be a huge appetite when it comes to millennials looking to connect with their former selves, and these ageing bands are happy to oblige. And yet. One band that seemed to step away from the limelight before their time was up were the lads from The Coral. In this latest rockumentary, Dreaming of You: The Making of The Coral , the focus is kept solely on their glory years and audiences will be left asking the question: Why are they not the household name they should have been? Directed by James Slater and narrated by the band themselves, as well as other involved parties, the documentary takes us on a trip through the band’s early years - quite literally, using home movies - and onto their entry into the Liverpool music scene, and then onto stardom following Glastonbury and playing in the U.S. Chaotic at times, brimming with artistic flair, and deeply personal - just like the band itself - it’s a solid rockumentary that will certainly appeal to fans of the New Rock Revolution (coined by NME). There are psychedelic moments in the film, live performances, and a plethora of weed smoking and band rehearsals to make you feel you are truly immersed in the rock star life. But it is the poignant side to the story that stays with you after viewing, leaving you pondering the stars they could have been had they been a little older or a little more willing to “play the game” of the music industry. That being said, their songs shine through with vibrancy throughout, filling our eyes and ears with bursts of creativity and musical skill. They embraced their weirder side and made mad and ridiculous music to stand out and this helps the film avoid the ego-trip territory of so many rock documentaries. They are also keen to name their influences and go deep into their pure love of all music, perfect for the aficionado to appreciate. The first half of the film may feel too personal for a mainstream audience, with heavy reliance on home footage and talking about people we don’t really know (unless you are a die-hard fan) but once the live performances kick in, you can’t help but jive along. It’s a win for these seaside scallies, equal parts frantic and compelling, and, hopefully, a rather large signpost for audiences to revisit this band’s incredible catalogue of music. Buy UKFR Banner Space About the Film Critic Chris Olson Theatrical Release < All Reviews Next Film Review >

It's Always That Feeling film review by UK film critic Patrick Foley. Starring Maritza Vives, Vanessa Pottiger, Emily Dale White directed by Gigi Hozimah. HOME | FILMS | REVIEWS It's Always That Feeling Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Jun 19, 2024 Directed by: Gigi Hozimah Written by: Gigi Hozimah Starring: Maritza Vives, Vanessa Pottiger, Emily Dale White Experimental single-setting feature It’s Always That Feeling from Gigi Hozimah is a less an emotional rollercoaster and more of an emotional haunted house. This thoughtful contemplation on sorrow and grief is overflowing with raw and prominent acting, but its glacial pace and embellished performances mean the film risks being inaccessible to a majority of viewers. Former actor Harry (Steven Wright) and his wife Dahlia (Maritza Vives) are spending a night in their apartment when they are visited unexpectedly by Harry’s former lover Maya (Vanessa Pottiger). Maya’s visit uncovers unresolved feelings of grief that all three share, leading Harry to flee. The women grow closer in his absence, and a dreamlike state descends on the flat. It’s Always That Feeling is an actor’s movies first and foremost. There are long stretches of this film that feel more like experimental theatre than cinema – with each member of the cast granted moments to unleash a highlight reel of misery as their characters are subjected to torture from their past. It’s as if each has been set a task to leave any trace of joy or contentment at the door and commit to a navel-gazing onslaught of reflection. The talent of the main cast is clear to see, but the formless self-aggrandizing grows repetitive as the film trundles on. The pace really is the film’s most prominent and divisive element. Long shots of Harry and Dahlia sleepwalking through their lives feature in the film’s opening, to be replaced by the aforementioned contemplations – sometimes singular and sometimes shared – as pasts are explored. The developments are heavy – with the plot addressing truly heartbreaking histories of the cast. And the themes explored in the film are relatable. But the drawn-out, overlong manner in which the film presents them begin to feel frustrating and tiresome. The lucid, dreamlike storytelling ends up removing some of the depth from the characters as they begin to lose authenticity and feel less and less like real personalities as opposed to vessels for their actor’s soulfulness. Gigi Hozimah’s direction is unconventional, exploring the apartment space dynamically to provide interesting and engaging angles of the characters. Some of these are questionable and result in some of the actors’ performances seemingly being missed. Yet others add to the intimacy, drawing in close to the cast to capture the intricacies they bring to their characters. Martiza Vives’ concealment of her disdain, and its battle with her growing respect for Maya are amongst the film’s strongest moments thanks to the directors’ canny eye. Experiments don’t always come up with perfect results. It’s Always That Feeling is one that has more misses than hits due to its drawn-out pacing and hysterical, performance-driven emotional onslaught. Hozimah’s direction is strong and when the acting veers towards more traditional and subtle, the film is much more enjoyable. But most viewers will struggle to find the ‘feeling’ the filmmakers are going for. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Uy Hoang-The Man Single Handedly Mapping The Thames film review by UK film critic Swati Verma. Starring Uy Hoang directed by Jochnowicz. HOME | FILMS | REVIEWS Uy Hoang-The Man Single Handedly Mapping The Thames Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 30, 2023 Directed by: Jochnowicz Written by: Jochnowicz Starring: Uy Hoang The writer-director Jochnowicz attempts to highlight that few new products that have shaped our experiences of the world in modern times providing the necessary details of the same through the male protagonist Uy Hoang to increase the audience engagement with the content. The plot of the short film-Uy Hoang-The Man Single Handedly Mapping The Thames revolves around Jochnowicz going out to meet Uy Hoang, a public health researcher after he has seen his name online repeatedly on Google street-view and the former has also finished 90 % of the way through with mapping of the entirety of the Thames. In the opening scene of the film, the camera pans to the central character with the sound of wind in the background followed by the title coming on the screen is a good way to introduce the point of view narrative way of storytelling. The movie takes a form of a narration/ interview format to provide the much-needed personal touch so that viewers feel involved with the inclusion of elements of realism and relatability establishing the subject matter it deals with. The set design, the white, black, grey colour pallet, location, lighting, sound, dialogues, costume, hair, makeup, and props have been kept natural and assist in elevating the impact the key messages leave on the minds of the audience. In the performance department, Uy Hoang plays himself. He depicts passion as he speaks about Google street-view and all the features related to it and other technology friendly companies like Google and Gmail. Hoang roams around various streets enthusiastically with all his gadgets to discover several issues that require amendments to make the process of journey planning more organised and fun with continuously evolving technology. Uy Hoang-The Man Single Handedly Mapping The Thames talks about mixing technology as well as travel together to improvise both industries for the end users and it has completely changed our way of remembering the places around us ever since the launch of the Google street-view. The documentary reiterates the importance of taking the initiative to come up with a solution to a particular issue individually rather than depending on others. The movie restates that viewers can fully utilise modern mapping technologies if they have full knowledge regarding the same and help family and friends use it to make their travel plans smoother. The short film discusses the importance of preserving our water bodies that are part of cultural as well as historical significance and common people should be given access to them as human beings should be allowed to relish their beautiful surrounding without being questioned by any authority unless someone’s intention is unlawful. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film, Documentary < All Reviews Next Film Review >

Deathstalker film review by UK film critic Hope Madden. Starring Daniel Bernhardt, Patton Oswalt, Christina Orjalo directed by Steven Kostanski. HOME | FILMS | REVIEWS Deathstalker Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Oct 7, 2025 Directed by: Steven Kostanski Written by: Steven Kostanski Starring: Daniel Bernhardt, Patton Oswalt, Christina Orjalo From the Saturday morning lunacy of Psycho Goreman to the puppet chaos of Frankie Freako , Steven Kostanski has mastered the art of recreating the most ridiculous entertainments of Eighties youngsters. He wasn’t always this way. His 2016 film The Void was an outright, non-satirical horror, and it was great, kind of Halloween 2 by way of H.P. Lovecraft. But Manborg (2011) and Father’s Day (also 2011) suggested early that Kostanski’s heart is with silly, juvenile retoolings of the crap we watched as kids in the 80s. His latest, Deathstalker , is another reminder of how we wasted our mornings, middays and late nights. A loose and intentionally silly remake of the 1983 Barbi Benton vehicle, Deathstalker returns to a time when special fx were ludicrous, costumes were Spirit Halloween level authentic, and drama was high. Like any of those earnest swords and sorcery fantasies, there’s a barely clothed and begrudging hero, a magical sidekick mainly there for exposition and comic relief, and a young one to mentor and learn from. And, again, really bad masks and Halloween decorations. Our reluctant hero is the titular Deathstalker, played by longtime action character actor Daniel Bernhardt, who’s played a soldier/assassin/villainous athlete in everything from Bloodsport 2 throughand Nobody 1 & 2 . His soldiering behind him, Deathstalker contents himself with scavenging from dead knights fighting an unholy army. But an amulet he takes from one not-quite-dead knight compels him on a journey to save the universe from endless darkness and torment. Naturally, he’ll need the help of a wizard who can translate the runes on the amulet and explain long lost history and curses and what not. Doodad’s the name, voiced by Patton Oswalt and performed by Laurie Field. The diminutive wizard is a perfect ode, but two wheels is hardly enough. A brash young upstart is required, and Brisbayne (Christina Orjalo) fits the bill. Kostanski’s touch is so spot on, and his chosen subgenre is so ridiculous to begin with, that you may forget this is a spoof, or at least a fun romp. His work is too loving to be truly spoof, but there’s little room in this type of film to go over-the-top with anything. There’s no top. Even for all its wild nonsense, Deathstalker could pass for an honest reboot rather than a comedic retooling. Nothing will ever match Psycho Goreman for inspired lunacy. Deathstalker certainly doesn’t, but it definitely offers a bit of fun. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Brainwashed: Sex-Camera-Power film review by UK film critic Hope Madden. Starring Nina Menkes, Julie Dash, Eliza Hittman directed by Nina Menkes. HOME | FILMS | REVIEWS Brainwashed: Sex-Camera-Power Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 10, 2022 Directed by: Nina Menkes Written by: Nina Menkes Starring: Nina Menkes, Julie Dash, Eliza Hittman Filmmaker Nina Menkes tries to distill the effect of a century of cinema’s male gaze in her documentary Brainwashed: Sex-Camera-Power . Her focus is the way the language of film – particularly shot design, lighting and sound – subconsciously, insidiously inform how we see not just the film we’re watching, but everything we see everywhere. Menkes’s doc is essentially a Ted Talk, padded here and there with talking head footage from academics, filmmakers and actors. Their conclusion? Filmmakers can’t fall back on any of the existing language of cinema because this language was developed by men for men, with men as the subject (one who acts) and women as the object (one who is acted upon) of their interest. It’s a language of power, and is used to disempower not only women, but any person or population meant to be seen as subject to the white, heterosexual patriarchy. Intriguingly, Menkes chooses as examples mainly films universally considered masterpieces – Raging Bull, The Phantom Thread, The Hurt Locker, Do the Right Thing . Her aim is not to diminish each film on its own, but to point out that cinematic techniques that objectify women are so ingrained in filmmaking that even female filmmakers invoke them without thinking. Menkes’s expert commentary includes Laura Mulvey, who coined the term “male gaze” in her 1973 essay “Visual Pleasure and Narrative Cinema.” The incomparable Julie Dash (Daughters of the Dust) quotes Audre Lourde to explain why even Patty Jenkins and Kathryn Bigelow fall prey to the same disempowering cinematic tendencies in their films. “The master’s tools will never dismantle the master’s house.” And when women do make films, in all likelihood, we do not see them. Director Eliza Hittman (Never Rarely Sometimes , It Felt Like Love ) points to one of the many reasons we are so inundated by films awash in objectifying visuals. Men also choose which films are distributed. The film clips she chooses are often spot on, sometimes head-scratchers. (I would argue that one Phantom Thread sequence is, in fact, an example of Paul Thomas Anderson intentionally subverting a common shot sequence to give the female power.) But more troubling is an overreliance on her own footage. Menkes's brief venture into the lawsuits facing Hollywood studios is too brief. So, too, are sections about the connection between cinema’s treatment of women and Hollywood’s hiring practices, as well as global rape culture. The arguments she raises are necessary, though. It’s important for women to see how the films we love betray us in large ways and small, and perhaps even more important for all of us to see that this is a structured, intentional device that we should notice and change. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Documentary < All Reviews Next Film Review >

Steel Song film review by UK film critic Cat McAlpine. Starring Bridgette Parkison, Shoshana Shellans directed by Adrian Cicerone. HOME | FILMS | REVIEWS Steel Song Film Review average rating is 4 out of 5 Critic: Cat McAlpine | Posted on: Sep 3, 2021 Directed by: Adrian Cicerone Written by: Adrian Cicerone Starring: Bridgette Parkison, Shoshana Shellans A crowd is gathered in a concrete hall. The space might be at a fairgrounds, where animals are displayed and children show off their crafts. But not today. Today, the crowd leans over the red metal railing to watch full-suited knights absolutely wail on each other. Welcome to Medieval Armored Combat. Steel Song follows several women involved with the ancient, full-contact sport. They practice hacking away with axes. They paint and stitch personal sigils. They strap into full suits of armor and fight in combat, sword to sword. Though tournaments separate bouts by sex, director Adrian Cicerone never pits the women in his film against each other. In fact, he shows very little of their competitive results. It would be easy to compare the women to one another. The Armored Combat League (ACL) National Championship features 9 female competitors to 48 male. But Cicerone focuses his lens on the camaraderie of the community, instead, and his film is made the better for it. Steel Song doesn’t delve into the history of sword combat or how the society of steel combatants functions now. Instead, it briefly explores the lives of Bridgette Parkinson, Shoshana Shellans, and Julee Slovacek-Peterson, and discovers how armored combat is just one large part of their lives. “I keep fighting because of what I can continually prove about myself, to myself,” says Shellans. That’s the theme of the film. Cicerone doesn’t focus on the competition because every armored fighter is really fighting against themselves, for themselves. It’s an incredibly difficult sport, with bouts only lasting 3-5 minutes because of the amount of exertion required. Even covered head to toe in armor, combatants still come away bloody. They also always come away smiling, with most matches ending in a hug between competitors. Steel Song is a beautiful hour and fifteen minutes, complete with appropriate instrumentals, that relishes in the joy of being yourself. Muses one of the women, “I think everybody would be so much happier if they could just be them.” Buy UKFR Banner Space About the Film Critic Cat McAlpine Digital / DVD Release, Documentary < All Reviews Next Film Review >

Doggerland: The Dead & The Lonely film review by UK film critic William Curzon. Starring Matz Martyn, Gráinne Kelly, Charlotte Wyman directed by Adam McHattie. HOME | FILMS | REVIEWS Doggerland: The Dead & The Lonely Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Aug 19, 2026 Directed by: Adam McHattie Written by: Matz Martyn, Adam McHattie Starring: Matz Martyn, Gráinne Kelly, Charlotte Wyman Doggerland: The Dead & The Lonely is an independent short piece set in the wake of a viral outbreak that has ravaged the world. The narrative follows John (Matz Martyn), a failing survivalist who thinks he’s the last human alive, as he meets Janice (Gráinne Kelly), who forces him to confront his grief and achieve his greatest goal. Set in rural Essex, the film was made by a local community to put the town on the map. Doggerland: The Dead & The Lonely is the type of film that is better experienced without any prior knowledge of the narrative, as the less you know going in, the better. The piece balances its bleak and uplifting tones exceptionally well throughout, thanks to its technical aspects and performances. While it has a somewhat aimless narrative structure, it never loses sight of its character focus and prioritises these aspects over spectacle. The rural setting of Essex itself feels like its own character, and it's evident why the filmmakers wanted to give it more exposure. It also helps that the environment provides a perfect backdrop for the post-apocalyptic setting, with its open exterior space and run-down buildings. The piece boasts incredible production value despite its evident budget constraints. Another technical aspect that shouldn't go unrecognised is the costuming, as it is terrific and gives the central character a more singular persona among the supporting players and rural backdrop. Despite the latter half of the narrative being more dialogue-heavy, the opening of the piece is quite isolating due to its lack of dialogue and greater reliance on visual storytelling. The focus on visual storytelling is commendable, as it places the viewer in John’s isolated space and invites us to experience events from his perspective. As John reflects on his struggles and past trauma, the narrative adopts a more meandering approach, which is both a positive and a detriment to the flow of the narrative. While the meandering approach can bring the narrative to a grinding halt, the decision to delve deeper into John’s characterisation is effective, fleshing out the themes of grief and survival. This is often depicted through flashbacks, or simply by John sitting in silence, processing his feelings. Max Elliot Lovell, the film's cinematographer, makes striking use of rural Essex, capturing expansive wide shots of the surrounding open spaces before shifting to intimate close-ups during moments of recollection. The camerawork really helps ground the central character’s struggles and his exploration of self-discovery and survival. Another enticing aspect of the camerawork is the use of handheld during brief moments of tension to capture the visceral nature of violence. The sequences of tension are incredibly well executed thanks to this and its intense musical score. Both central performances from Matz Martyn and Gráinne Kelly in their portrayals of John and Janice, respectively, are incredibly compelling throughout. They balance the bleak and uplifting tones effectively while conveying the sense of isolation in the ravaged world they’re forced to live in. Despite their lack of chemistry, the dramatic beats still resonate thanks to their performances and sombre musical score. Doggerland: The Dead & The Lonely is an uncompromising tale of what it's like to live in a world in the wake of a viral outbreak, with two stunning performances to boast. While the narrative ultimately amounts to little in the end, it's a well-made film that tackles thought-provoking themes of grief and survival with an open-ended finale. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Monkey King Reborn film review by UK film critic Matt Weiner. Starring Jiang Bian, Shangqing Su directed by Yunfei Wang. HOME | FILMS | REVIEWS Monkey King Reborn Film Review average rating is 3 out of 5 Critic: Matt Weiner | Posted on: Dec 9, 2021 Directed by: Yunfei Wang Written by: Yunfei Wang, Xiaoyu Wu Starring: Jiang Bian, Shangqing Su Stories of Sun Wukong the Monkey King have been a rich source of adaptations for centuries in China. With no shortage of options to choose from, The Monkey King: Reborn isn’t the worst place for Western audiences to start—but be prepared for an uneven journey. The animated film directed by Yunfei Wang and written by Wang and Xiaoyu Wu introduces the immortal trickster Sun Wukong (Jiang Bian) as he accompanies his master, the monk Tang Sanzang (Shangqing Su), along with some comedic relief from fellow disciples Bajie and Yuandi (He Zhang and Lei Zhang). Sun Wukong’s mischief sets off a chain of events that brings him into conflict with the all-powerful first demon, with the fate of the world on the line. But as far as motivation and character backstories go, there’s a lot left unexplained for a kid’s cartoon movie. Which is perfectly understandable for a familiar audience, but that coupled with the occasional adult language in the subtitled version makes the target age for The Monkey King: Reborn tough to pin down. Once the battles get going and Sun Wukong’s puckishness gives way to (ever so slight) growth as a character, it’s a lot easier to go along for the ride. Even with the action, though, the movie is often hampered by the CGI animation. It’s a style that usually has two modes: alarmingly smooth or video game cutscene. Everything is bright, but the vivid coloring can’t mask a flatness that all the characters share. It’s an unfortunate mismatch for Sun Wukong’s elastic portrayal in the story. The film does offer a deeply emotional third act, with an emphasis on sacrifice, death and rebirth that might make even Pixar think twice. It’s a shame that we got to know Wukong and friends so little within the confines of the film, or else these moments could have made even more of an impact rather than feeling bolted on. Of course, it wouldn’t be a parable without these teachable moments, so it might as well be in the form of a knockdown CGI fight. Sure, it’s entertainment with a heavy-handed message. But it’s entertaining enough. Buy UKFR Banner Space About the Film Critic Matt Weiner World Cinema, Animation, Digital / DVD Release < All Reviews Next Film Review >

Sea Dragon film review by UK film critic Swati Verma. Starring Kiara Holley Paliano, Harvey Dean, Michael Howe directed by James Morgan. HOME | FILMS | REVIEWS Sea Dragon Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Apr 15, 2022 Directed by: James Morgan Written by: Lawrie Doran, James Morgan Starring: Kiara Holley Paliano, Harvey Dean, Michael Howe The black starry with the fossil remains in the background and the white font colour used for the title-Sea dragon as it appears onscreen give the audience an idea about the theme of the short film. The director James Morgan and writer Lawrie Doran work on the script of this period drama to give homage to Mary Anning (Kiara Holley Paliano) and her discoveries. The plot revolves around a young fossil hunter who attempts to find out more about the mysterious skull that she believed would be beneficial for knowing about the evolution of life on Earth. Sea Dragon is set in England in 1812. The set design transports the audience to the Era. The costume designer Emily Rose Yiaxis and the hair/makeup artist Simone Philcox dress each character of the narrative aptly thus increasing the degree of audience engagement with the film. The director of photography Clemens Majunke uses the long shot of the sea and the mountains followed by a combination of wide-mid shots to directly dive into the subject matter of the film. The change in lighting is done so efficiently without breaking the continuity of the scene at the time of the switch between the day and night scenes. The filmmaker cleverly uses the close-up shots and the voice modulation to intensify the confrontation between Mary Anning and Mr. Henley and create the required conflict for the smooth movement of the narrative. The dialogue delivery by the entire cast gives a sense of royalty which is in sync with the timeline the movie is set in. In terms of performance, Kiara Holley Paliano plays the role of Mary Anning is the perfect casting for the part. Kiara portrays the determination of discovering something substantial that would prove to be beneficial for people who have a keen interest in the field of science. The range of emotions calmness, angst, and happiness can be seen on her face. The viewers relate to the central character and enjoy the journey Mary wants to take us on through the film. Harvey Dean is Joseph Anning who is a very strong support system in Mary's life. The bond between Harvey and Kiara transcends onscreen as well. The contrast between the two siblings is an interesting element of the script and the same is enjoyed by the audience. Michael Howe as Mr. Henley is strong representation of society in this particular era. Mr. Henley puts hurdles at every step in the way of Mary who is trying to fulfill her dramatic need in the story. The short film talks about believing in one's dreams and following the heart to pursue the career of one's choice. The drive to achieve the set goal boosts up due to family support. The audience gets to learn a lot from the lead female character to not give-up easily to societal pressure and continuously thrive each day to make a difference in the lives of many. The cinematic piece gives a glimpse of the struggle the English paleontologist had to go through to prove their theories that made our present better. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Inventurers film review by UK film critic William Curzon. Starring Glen Sherrington, Alex Frow, Josephine James directed by Peter Frow. HOME | FILMS | REVIEWS The Inventurers Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Jun 18, 2026 Directed by: Peter Frow Written by: Peter Frow Starring: Glen Sherrington, Alex Frow, Josephine James The Inventurers follows two teenage boys, Jim (Alex Frow), who’s struggling with his parents’ divorce, and his best friend Matt (Glen Sherrington), who are obsessed with video games. One day, a power cut stops them from playing their video games, so they have to rely on their imaginations for entertainment. What is perhaps most charming about The Inventurers is its wholesome, tonally consistent vibe throughout the film. The chemistry between Glen Sherrington and Alex Frow in their portrayals of Matt and Jim, respectively, is ultimately the heart and soul of the narrative, making the experience worthwhile. As the film's composer, Peter Frow provides an energetic score with recurring motifs that effectively anchor the sequences in which Matt and Jim rely on their imagination for entertainment. In the first act, dialogue is notably sparse, with the piece relying heavily on visual storytelling and music during moments when characters try to devise a plan to prevent Jim’s parents from divorcing. It's a commendable choice complemented by camerawork which is mostly solid, consisting of fixed wide shots as the characters take part in activities in the garden. There's a shift to point-of-view photography in the second half of the piece, which is also incredibly visceral and fun to witness as a viewer. One of the film's most surprising strengths is its impressive production value; despite clear budget limitations, the filmmakers make excellent use of their resources to craft several highly entertaining set pieces. Unfortunately, these set pieces soon grow repetitive as each sequence feels overly drawn out and increasingly tedious to watch. The jarring musical choices throughout the film do little to help, further contributing to its inconsistent tonal identity. It creates a surprisingly atmospheric shift in the second act, one that feels both visually and tonally distinct from what came before. Perhaps the biggest issue with The Inventurers is its prolonged runtime, which doesn't have enough material to sustain its 92 minutes. It is largely fun and energetic tonally; however, it lacks originality in its themes and staying power due to its repetitive narrative. Once the narrative expands beyond the garden, the visuals become more imaginative, reflecting Matt and Jim through their journey through the wider world. The coming-of-age aspects are particularly effective, bolstered by the strong chemistry among the cast. The supporting cast delivers largely underwhelming performances, with stiff, robotic line delivery that makes many of the characters difficult to take seriously. While the chemistry between newcomers Alex Frow and Glen Sherrington is commendable, the supporting players are largely forgettable. As a result, the film’s dramatic moments struggle to resonate, which is particularly disappointing given how committed the child actors are. While the later half of the film becomes more enjoyable, the final act feels like a slog as the narrative loses momentum and gradually grinds to a halt. Certain subplots feel inserted to create conflict, yet they fail to resonate thematically. The narrative rarely explores the emotional impact of Jim’s parents’ divorce beyond presenting video games and his imagination as coping mechanisms. The Inventurers is a largely frustrating experience, more invested in showcasing its characters’ imaginative escapism than constructing a cohesive and engaging narrative. While the film carries a wholesome, Stand by Me (1986)-like charm, it struggles to fully embrace its coming-of-age atmosphere due to repetitive pacing that can feel grating to sit through. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >