Qubool film review by UK film critic Amber Jackson. Starring Abhinav Mondal, Hrivu Basu Ray, Moutali Sarkar directed by Ankit Singha. HOME | FILMS | REVIEWS Qubool Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Dec 16, 2022 Directed by: Ankit Singha Written by: Ankit Singha Starring: Abhinav Mondal, Hrivu Basu Ray, Moutali Sarkar Qubool is a Bengali-language Indian short film that sees protagonist Ahmar Ali meeting with an old friend, Soumya Adhikary. Soumya has become famous as a filmmaker and so Ahmar has a story to narrate to him in the hopes that he would make a film out of it. The conversation begins earnestly enough between the two men, as they share thoughts and ideas on humanity and how best to tackle the subject of the story on screen. However, this sweet story of two friends reuniting soon turns desperately sour. With an incredibly complex plot and characters excelling audience expectation, Ankit Singha’s film takes a dark direction as he handles these characters within an unexpected backdrop of humanism. This film looks and feels as though it has fallen out of time. Colour grading used allows the environment to feel dated in a good way and although only thirty minutes in length, watching Qubool feels as though it is paying homage to the Indian cinema that came before it. Viewers feel as though they are experiencing the journey that Ahmar and Soumya are on with them and this allows the film to feel grittier and more realistic. It feels authentic and the heat and humidity of India can be felt consistently whilst watching. Likewise, the film’s cinematography is very clever as it does not give the viewer too much, but just enough information to lull them into a false sense of security. Camerawork starts steady and becomes even shakier as it jerks around with the chaos of Ahmar’s story. Soumya’s cool demeanour and matter of fact characterisation heavily contrasts with Ahmar’s seemingly pensive personality. Their dynamic has a slow edge of mystery and intrigue that is surprisingly captivating, and Singha unpicks this deliberately on screen. Ahmar in particular is beautifully acted by Abhinav Mondal as a multi-layered man who seeks to take control of the world around him. His initially sweet demeanour becomes fascinating to watch as the film progresses, which is also a testament to the amazing work that Mondal puts into bringing the great script alive. Qubool begins to turn deeply unsettling as it makes its mark as a complicated psychological film. The film begins with gruesome and unnerving images, but the viewer is permitted to forget what they have seen and instead are lulled into a false sense of security in trusting those on screen. By the end, the story becomes increasingly uncomfortable by which point it takes the viewer completely by surprise and it is incredibly unnerving. Ankit Singha takes this short in such a fantastic direction as he interrogates preconceptions of its characters and if sympathy should be felt for them. Whilst the film becomes a disturbing insight into psychopathy, it also gently handles issues of stigma and anxiety and personal torment which are challenging themes to balance. Qubool is an intensely dark viewing experience as the plot twists in ways that are most unexpected. Yet at the same time, we should have known the direction it was going all along. It is a fantastic provocative film and well worth watching. Buy UKFR Banner Space About the Film Critic Amber Jackson Short Film, World Cinema < All Reviews Next Film Review >

Manhunt film review by UK film critic Jason Knight. Starring Adam Behan, Jordan Coombes, James McClean, Sheena Kelly, Eoin Halpin directed by Ian Adams. HOME | FILMS | REVIEWS Manhunt Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 25, 2022 Directed by: Ian Adams Written by: Ian Adams Starring: Adam Behan, Jordan Coombes, James McClean, Sheena Kelly, Eoin Halpin A group of people find themselves in the woods and pursued by a killer. Tommy (Behan) is a young man who is depressed and an alcoholic and is living a solitary life. He is invited to a house party for a boy's birthday and reluctantly agrees to attend. The boy's mother is Sarah (Coombes) and things between her and Tommy are unstable due to their past. Other guests include some of Tommy's old friends and they get together during the party and have a few drinks. The next morning, Tommy, Sarah and a few other party guests wake up, only to discover that they are in a forest. None of them knows how they got there and it is not long before an unknown person begins killing them off. This is quite a tense horror slasher survival movie that also comes with a surprise revelation. It begins with a terrifying pursuit that ends in bloodshed, then goes on to introduce the characters and their situations, before ending up in the woods, where the carnage begins. None of the protagonists know why someone is after them and they get eliminated one by one as they try to get to safety and argue with one another. The feature works pretty well as a slasher, with a group of people in an isolated location and a masked person killing them, primarily by stabbing them. There is a great deal of arguing going on, a lot of nail-biting moments and plenty of gore. However, this is more than just a slasher, as it also contains a fair amount of drama. It is a story that explores friendship, morality, infidelity, regrets, alcoholism and depression. Regarding the characters, Tommy makes an interesting protagonist and Behan effectively portrays him as an unmotivated, sad person who avoids socialising. McClean also does a good job as Tommy's friend Adam, who appears to be lacking courage. As the director of photography, Joe Reid develops cinematography that creates a downbeat atmosphere. The music by Oisin Mac Giolla Bhride is tense and sinister and goes very well with the scenes. This is an enjoyable slasher film that has suspense, nail-biting moments and dramatic plot twists. With this feature and The Lads , Adams is proving himself to be a filmmaker worthy of recognition and it is exciting to think about what he will achieve in the future. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Repair - BFI Flare film review by UK film critic Amber Jackson. Starring Joshua Griffin, Ed White, Anna Crichlow directed by Bertil Nilsson. HOME | FILMS | REVIEWS Repair - BFI Flare Film Review average rating is 5 out of 5 Critic: Amber Jackson | Posted on: Mar 29, 2023 Directed by: Bertil Nilsson Written by: Bertil Nilsson Starring: Joshua Griffin, Ed White, Anna Crichlow Repair is a UK-based short film that portrays a neurodivergent man who faces a choice after an embarrassing moment at the supermarket. Ramin, a young man with a love of design, finds it challenging to understand non-verbal communication and this short film immerses the viewer into his experiences of wanting to learn more about body language and gestures. It is an easy and gentle watch, with plenty of inner conflict and inventive production that keeps the viewing light and engaging. Ultimately, it provides a deeply sensitive portrayal of neurodiversity and the feelings of frustration that this can cause a person. The film itself is fantastically shot to convey protagonist Ramin’s thought processes as he interacts with the world around him. There is a very aesthetic atmosphere throughout, with plenty of still shots laid out in a very formulaic and particular way. There are plenty of details that cannot be overlooked in each of these shots, from the intense focus on the vegetables at the supermarket, to the glowing white light that occasionally shines down on Ramin. All of these deliberate decisions taken by writer and director Bertil Nilsson really place the viewer into Ramin’s world. We are given the visual sense when he is finding something difficult, as well as when he is able to express what he is passionate about. Each effect and focus works together to convey his feelings, particularly when he is overwhelmed, which attests to the tender intention of the short. In addition to the feel of the film, there are plenty of aesthetic choices that make it pleasing to the eye. There is a subtle colour grading throughout each frame that feels nostalgic which, combined with score and costumes, make the film itself feel timeless. As Ramin interacts with supermarket employee Mark more, viewers get the sense that this story could take place at any point in time, which makes the film feel even more accessible for a wide audience. Each encounter between both men are completely wholesome as they seek to learn more about each other. In sharing their personal knowledge and their interests, they connect in a way that embraces neurodiversity in a refreshing and unique perspective. Repair is such an intelligent and impactful short film, with the cleverness of the production extending right the way down to the end credits. It is a film that truly captures the mindset and characterisation of its main character and is a beautiful viewing experience. Buy UKFR Banner Space About the Film Critic Amber Jackson LGBTQ+, Film Festival, Short Film < All Reviews Next Film Review >

Delivery Run film review by UK film critic James Learoyd. Starring Alexander Arnold, Jussi Lampi, Liam James Collins directed by Joey Palmroos. HOME | FILMS | REVIEWS Delivery Run Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Oct 7, 2025 Directed by: Joey Palmroos Written by: Joey Palmroos, Anders Holmes Starring: Alexander Arnold, Jussi Lampi, Liam James Collins If you’re a fan of car chases, snow, and spectacle, it’s unlikely that Joey Palmroos’ new road-thriller Delivery Run could possibly let you down. Simultaneously suspenseful and amusing, this Duel-inspired action extravaganza follows the character of Lee (Alexander Arnold) – a down-on-his-luck pizza delivery person who’s up to his neck in debt and constantly fretting over the well-being of his goldfish. Things get far worse for Lee, however, when a murderous snowplow driver sets his bloodthirsty sights on our unfortunate protagonist. This is a ridiculously entertaining feature. But more than that, it’s a beautifully orchestrated, taut work of authentic action filmmaking, featuring clear spatial geography, impressive car stunts and – in addition to the agreeable sense of humour – a feeling of genuine threat. At a certain point, Palmroos also experiments with genre by entering playful, slasher territory. Thus, this is a film which can appeal to a wide range of movie-goers. The first thing to say is that this film – having been shot in Finland (but set in Minnesota) – showcases some awe-inspiring location work. And beyond the beauty of the snowy vistas, it’s also an effective storytelling tool, utilised to enhance that sense of danger and ramp up the tension at every moment. We’re immediately immersed in the elements, with the remoteness of these roads and towns making our protagonist seem all the more out of his depth. And yet, you can’t just pick a great location; you also have to know how to shoot it to get the most out of your environment. The sturdy anamorphic cinematography goes a long way to emphasise not just the surroundings but also the subjects within the frame: every headlight beams across the frame with an imposing horizontal lens-flare, causing any approaching vehicle to appear strikingly sinister. In terms of the spectacle I previously spoke of, it’s important to note just how technically admirable this film is when it comes to shooting action and car chases. These are real cars on real roads; there’s nothing superficial or Hollywood about it. Much like Duel, there’s a stripped-down filmmaking attitude at play, and one willing to get these moments captured in-camera no matter what. There are so many inferior versions of this movie – films constructed with so much digital manipulation that the vehicles and their activities lack any kind of tactility. Whilst this film does feature CGI, it’s implemented intelligently and sparingly, and almost never as a stand-in for how any one vehicle is driving on the road. Featuring a strong central performance by Alexander Arnold. We spend the entirety of the movie with our protagonist, oftentimes when he’s acting alongside nobody else but a fish. The movie, therefore, rides on the quality and engagement of such a performance, and so it’s a great pleasure that Arnold is so convincing in the role. There’s always a nervousness and a panicked humour to his persona, which keeps the viewer empathetic. We're rooting for him, even as he makes wrong decision after wrong decision. Much like Duel, the film ends on a deliciously ambiguous note. A bittersweet denouement which leaves one wondering whether there is any recovery from such an ordeal. Buy UKFR Banner Space About the Film Critic James Learoyd Digital / DVD Release < All Reviews Next Film Review >

Voyager film review by UK film critic Jason Knight. Starring Ana Barja, Neli Llado, Oscar Domenech directed by Pablo Pagan. HOME | FILMS | REVIEWS Voyager Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 15, 2024 Directed by: Pablo Pagan Written by: Adria Cerezo, Pablo Pagan Starring: Ana Barja, Neli Llado, Oscar Domenech A young woman takes some mysterious pills, leading to sinister and otherworldly events. A dark story with a nonlinear narrative that involves the afterlife. The story takes place in Barcelona and revolves around Camila (Barja), a youth who makes a living by working as a party truck driver and takes care of Carmen (Llado), an ill and elderly loved one who is in a motel room. One night, while cleaning the lorry after a party, she finds a small container and inside are some strange pills. Every time she takes one, she appears to be transported to a supernatural existence where she is maybe a ghost. Meanwhile, her dead body is found by police, who try to piece together the events that led to her death. As the narrative is nonlinear, the screenplay alternates between the authorities, particularly detectives and forensics investigating Camila's bizarre death and Camila (or is it her spirit?) as she goes through magical experiences each time she takes a pill. Camila seems to be an outsider. A lonely and sad person who is isolated from the world and does not appear to be enjoying life. The pills seem to be providing her with a way to blend in the crowd, even as an invisible version of herself as, for instance, after taking a pill she finds herself inside the lorry, in the middle of a dancing crowd who are unaware of her presence. Combining this with the police investigation, the film could be categorised as a supernatural neo-noir thriller and a character study in Camila, a quiet person whose life changes after she finds some pills. The atmosphere is an aspect that stands out. The entire story takes place during night-time, providing a dark and surreal environment. Adria Acker's tense score and the creative lighting techniques, along with Marti Cirera's cinematography add significantly in creating a sinister tone. Also, the frequent close-ups of a dead body contribute. This short is a dark ride. A journey into a nightmarish world involving death. However, the film is also about isolation and the desire to find a way to connect with people and Barja's dramatic performance is a big tool in building an emotional experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

True Colours (2022) film review by UK film critic Patrick Foley. Starring Matthew Sharpe, Megan McArthur directed by Aron Holden. HOME | FILMS | REVIEWS True Colours (2022) Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Aug 28, 2022 Directed by: Aron Holden Written by: Aron Holden Starring: Matthew Sharpe, Megan McArthur I feel we can thank Donald Trump for the popularisation of the term ‘gaslighting’ – seeing as how he’s been managing to do it to an entire country for the past 6 years. The term has gained traction as a descriptor of attempts by an individual to manipulate someone else into questioning their own perceptions – usually in efforts to deny their own abusive practices. True Colours is a short film that features a harrowing example of this behaviour in action. Upon discovery of his partner Katy’s (Megan McArthur) infidelity, Joel (Matthew Sharpe) is left devastated. As she returns home that night to discover that Joel has sniffed out her secret, she turns his fury back towards him, accusing him of paranoia and castigating him for invading her privacy. As she tries to manipulate him into questioning the incriminating evidence he has uncovered, Joel is left torn between standing up against the abuse, or allowing his insecurities to be exploited once again. True Colours is not an easy watch. Its portrayal of an abusive and unfaithful relationship may be difficult for some viewers to witness. But director Aron Holden is unflinching in laying bear the extent that troubling behaviour can reach – and in Katy and Joel’s case it is undeniable that a dangerous and toxic dynamic has developed. The slow but sinister manner in which Katy transitions the Joel’s anger back towards him, to paint herself as the victim and him as the abuser is impressively authentic. And the revelation that her cruelty is not a one-off is also handled in a way that feels natural and deserving of inclusion. The film’s opening carefully demonstrates that despite their problems, Joel retains strong feelings for his partner – setting up his primary dilemma well. Matthew Sharpe and Megan McArthur both excel as the doomed couple. Sharpe brings a sensitivity to Joel that contrasts with a masculine demeanour – an effective way of showing that anyone can be the victim of an abusive relationship that is not obnoxiously signposted. McArthur’s Katy is a tyrannical and unrepentant abuser, whose cruelty towards her partner skirts close to the line of unbelievable without ever fully crossing. The character is left a little one dimensional due to the film’s short runtime, but McArthur does a fine job of colouring her role within this. Aron Holden’s direction helps to bring the film beyond the closed in boundaries of its bedroom setting. The initial overview of scattered photos and text messages is an intriguing way of demonstrating Joel’s complex and contradictory feelings towards Katy. As the pair begin to argue, the camera closes in to the pair as tensions build and a feeling of unpredictable danger arises. The decision to contrast the lighting from the dark and opaque bedroom at the film’s conclusion can be interpreted in a number of ways – matching the film’s uncertain ending. True Colours is a worthy if sometimes uncomfortable watch – that showcases the difficult and hidden ways abusive behaviour can emerge. It’s a difficult topic to handle appropriately – but director Aron Holden rises to the challenge. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film < All Reviews Next Film Review >

Dreams of Nothingness film review by UK film critic Jason Knight. Starring Priyanka Sundriyal, Kalavati Devi, Chiya Joshi directed by Ratndeep Nautiyal. HOME | FILMS | REVIEWS Dreams of Nothingness Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Apr 1, 2023 Directed by: Ratndeep Nautiyal Written by: N/A Starring: Priyanka Sundriyal, Kalavati Devi, Chiya Joshi A story about the lives of several people living in an isolated village. This feature from India tells a quiet story about life in a village, with multiple characters and follows them as they live their lives and interact with each other. The main character is a former teacher named Chandan and others include members of his family and various acquaintances. There is not much of a narrative, with the majority of the screenplay consisting of people having conversations about a variety of everyday subjects. Storytelling arrives temporarily when a young woman arrives, in search of medicine. She meets Chandan and the two of them develop a rapport, which is basically the only form of narrative there is here. It was mentioned above that this film tells a quiet story and that means a number of things. First of all, the pace is rather slow, with the uneventful scenes gradually following one another. Secondly, there is not much excitement throughout, if any. There is no heavy drama or arguing or any significant actions taking place and the acting is realistic, meaning that people behave normally, without exaggerating. Thirdly, the characters are just normal, everyday people, getting through life, and none of them really stands out as interesting. And finally, the use of non-diegetic music is limited, although when it is present, it can be quite pleasant and there is some lovely diegetic singing to be heard. Arguably, the best element in this movie is the directing. Nautiyal creates many wonderful shots of landscapes, capturing the beauty of the area and there are also a lot of well-executed long takes with a static camera. It would be hard to state that this is an interesting feature. It is beautifully shot and it does explore some important subjects including family, support, marriage and the wish to move on to better things. Generally, it does reveal life in a peaceful village, surrounded by stunning nature. However, is this enough to save the film from an almost non-existent narrative and conversations that are mostly dull? Probably not. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

A Real Pain film review by UK film critic Hope Madden. Starring Kieran Culkin, Jesse Eisenburg directed by Jesse Eisenberg. HOME | FILMS | REVIEWS A Real Pain Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 13, 2024 Directed by: Jesse Eisenberg Written by: Jesse Eisenberg Starring: Kieran Culkin, Jesse Eisenburg “My pain is unexceptional, and I don’t feel the need to burden everybody with it.” It’s a revelation articulated by David Kaplan (Jesse Eisenberg), and just one of countless memorable insights in the screenplay Eisenberg penned for his second feature behind the camera, A Real Pain. David and cousin Benji (Kieran Culkin) are traveling together to Poland to honor their recently deceased Grandmother Dora, who’d survived the Holocaust by “a thousand little miracles” and left her grandsons funds to make the trip. David’s been busy with work and family. Benji has not. The odd couple—one reserved and polite, the other charming and wild—join a tour group and embark on their adventure. Culkin is excellent, delivering a masterful performance that oscillates between charming emotional manipulator and hard-core emotional basket case. The relationship between the cousins is lived-in and fraught. Benji plays Dave, plies him with intimate attention, prods him with tenderness then punishes him the next second. But thanks to Culkin’s raw performance, it’s hard to hold anything against Benji. Eisenberg’s performance meshes with Culkin’s, reflecting the authentic yin to his yang. In Eisenberg’s hands, Dave’s manipulation is quiet but pointed, his sympathy condescending. The two actors—much thanks to an observant script and delicate direction—carve out the recognizable patterns of family. Screenwriter Eisenberg complicates characters. The enjoyable verbal sparring between two bright, witty buddies keeps the film entertaining, but the tremendous depth of both performances unearths something surprisingly moving. Eisenberg’s work as a filmmaker here is very sharp, never taking the cheap shot. Both characters are held to account, but there’s a generosity of spirit in the film that’s equally forgiving. The result is a poignant treasure. As an actor, Eisenberg has never been better, truly, and one of his many strengths (as an actor and a filmmaker) is to just let Culkin steal this movie. Benji is recognizable and unforgettable in a film that wants badly to embrace the uncomfortable complications of family, if only it could. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

To Fly or Float film review by UK film critic Lee Sinden. Starring Talia Sokal, Ben Caplan, Charlie Bishop, Yoav Oved, Rebecca Van Klinken and Jonny Sokal directed by Charlotte Peters. HOME | FILMS | REVIEWS To Fly or Float Film Review average rating is 4 out of 5 Critic: Lee Sinden | Posted on: Aug 22, 2026 Directed by: Charlotte Peters Written by: Olivia Maiden Starring: Talia Sokal, Ben Caplan, Charlie Bishop, Yoav Oved, Rebecca Van Klinken and Jonny Sokal This is a short film exploring grief from the point of view of a child who has lost both her parents. Losing her parents means that she is taken under the wing of her uncle. It appears that this relationship is not one that has been close and so the story follows their relationship as they try to come to terms with the deaths of their loved ones. A very important aspect of their life is their faith in god. The audience is taken to 1970s Birmingham and the director is able to portray some elements of the time. The struggles of the people living through that period are shown particularly at the uncles home. The sets are dimly lit to show the mood perfectly for those working and living in this era. Each scene is edited together seamlessly and there is good use of locations throughout. The film depicts the emotions of grief with real sensitivity. The grief is calm and quiet and feels real. The audience will be completely captivated by the performances of the main character Eva played by Talia Sokal and uncle David played by Ben Caplan. This is a difficult subject matter and one that is dealt with beautifully through the actions of the child. The viewers will be encouraged to observe the relationship between uncle and niece as the film moves through each scene. You feel how uncomfortable this relationship is and the awkwardness that comes when relative strangers are being pushed together at such a difficult time. Full credit goes to the actors for making every emotion feel real. The other important relationship is between Eva and her friend Sam played by Charlie Bishop. They really encapsulate how it can be easier to talk to someone of your own age. The scenes between these two characters are really well used and pivotal to the story going forward. Charlie Bishop is able to portray empathy and compassion throughout, which is a credit to him and the writing and the direction. The film develops a childlike way of discussing death and attempting to deal with death. It does this by showing how a child would communicate with those that are gone and does this in a unique way. The writer was able to get inside the mind of the child and their response to grief. The audience will understand the message and the symbolic nature of this film. It is simple but simplicity is quite often the best way to tell a story. They were also able to show the audience how important faith is to the main characters. There are scenes that show certain elements of the Jewish faith such as Hamotzi, which are well used and add further meaning to the story. Some of the best scenes are between the uncle and niece at the uncles home. The story has a strong focus on the main characters and does not deviate from the message. This is an important film which tackles a very difficult subject but does so in a very quiet manner with no drama. It is a subtle look at grief but this does not in anyway reduce the power of the images shown. The performances are developed well and show a real understanding of the subject, which is particularly impressive considering the age of the main actors involved. This will have an effect on those who know grief first hand. Buy UKFR Banner Space About the Film Critic Lee Sinden Short Film < All Reviews Next Film Review >

Meat Raffle film review by UK film critic Chris Buick. Starring Michael Hodgson, Will Latimer, Dominic Weatherill, Julie Edwards directed by Stuart Armstrong. HOME | FILMS | REVIEWS Meat Raffle Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Jun 9, 2025 Directed by: Stuart Armstrong Written by: Stuart Armstrong Starring: Michael Hodgson, Will Latimer, Dominic Weatherill, Julie Edwards When his visiting son Jackson (Latimer) sits down with him in the local pub, hesitantly moving towards a grand revelation, closeted dad Rich (Hodgson) begins to fear that Jackson might be about to reveal himself as queer also, so hatches the perfect plan to show Jackson just what it means to be a real man; by rigging the pub raffle and snaffling the grand prize of a Christmas turkey for themselves. Armstrong’s contained and concise short Meat Raffle is as absurd as it is entertaining, filled with plenty of heart and poignancy to boot. Its singular location is used to complete effect, evoking all the right looks, sounds and very nearly smells familiar to public houses up and down the country, not to mention packed, as these kinds of places that always seem too small for the amount of frequenters they get often are, with exactly the types of patrons you would expect, the whole thing making you feel like you’ve just walked in, ordered a pint and are now stood leaning on the bar watching the entire crazy saga unfold. It’s the perfect backdrop for the kind of wild story that sounds like any tall tale you might have heard coming out of your own local. How Rich believes his ingenious plot will inform his poor progeny on what it means to be a “real man” exactly is unclear, but what is clear is that Rich isn’t exactly one for thinking things through. After a poor attempt at bribery to rig the raffle for the prize bird in his favour falls flat, Rich, it transpires, is not above a bit of petty poultry larceny. But even the best laid plans go awry, and the whole series of events plays out as quite the farce, but Armstrong has enough skill in their storytelling that the loveable silliness of the piece never gets in the way of the deeper ideas lying underneath. Because at the core of it all and outside of the craziness, lies a heartfelt story about self-acceptance, played out through this complex relationship between a father and a son, one that is strained under great expectation not just of each other but themselves, especially Rich, your quintessential Northern man seemingly the very epitome of gruff masculinity expected of working class men, who through Armstrong’s cleverly written subtleties and a deft and touching performance from Hodgson, we begin to understand has a much softer, sadder side, their words and actions towards Jackson not driven out of prejudice, but of fear, of not wanting his son to endure the life of a lie as he has, a man unable to admit to anyone, especially himself, who he truly is. In only fifteen minutes, our time in this world is briefer than we might like, but with some commanding performances and a smart blend of humour and heart, one must certainly raise a glass to Armstrong’s Meat Raffle and look forward to them getting more rounds in in the future. Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Avaak(Unsaid) film review by UK film critic Swati Verma. Starring Rakesh Ankalkoti, Madhura Tapre, Promod Kale directed by Pankaj Khanchandani . HOME | FILMS | REVIEWS Avaak(Unsaid) Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jul 20, 2023 Directed by: Pankaj Khanchandani Written by: Pankaj Khanchandani Starring: Rakesh Ankalkoti, Madhura Tapre, Promod Kale The writer-director Pankaj Khanchandani is an independent filmmaker who wants to highlight the change in dynamics of any relationship because of the lack of communication. Khanchandani has written an intricate script and talented actors like Rakesh Ankalkoti, Madhura Tapre and Promod Kale have managed to give life to the director’s imagination. The plot of Avaak (Unsaid) revolves around Suraj (Rakesh Ankalkoti) who wants to move to a different city for better career opportunities his mother Sheela does not want him to go but he leaves without seeking his mother’s permission creating an irreparable impact on their lives forever. The film opens with a long shot of a house with dim lighting where Suraj is shown leaving the house in the present followed by Avaak going back to a series of flashbacks to establish the subject matter of the movie. The carefully written day-to-day conversations between all the characters in the dramatic piece increase the degree of audience engagement with the content making it real and relatable. The white and black colour palette dim lighting, rustic set design, dialogues, sound, costume, hair, makeup, and props are kept natural to complement the mood of Avaak (Unsaid) so that it emotionally appeals to the audience. In terms of performance, Rakesh Ankalkoti plays Suraj who is a loving and responsible son to his parents with his own set of dreams relating to his career. The young actor showcases the struggle of Suraj when is in the dilemma of choosing his priorities or the professional dream. Ankalkoti understands the nuances of different situations in the screenplay and modifies his acting skills according to what is required of him. Madhura Tapre plays the role of the mother in the film. Tapre portrays various shades of her character efficiently as well as effectively right from emotional to angry. The senior actress transitions from one timeline to another in Avaak ensuring the presence of the continuity factor. Promod Kale as the loving and supportive father is a treat to watch all through the running time of the film. Kale as an actor brings the stability to the household that makes the backbone of Avaak. Kale illustrates all the qualities of an ideal father and inspires the audience with his screen time in the film. Avaak (Unsaid) talks about the role of communication in shaping any relationship, not being expressive can be detrimental to the equation between people in the future. The short film reiterates the need to fill the gap between two generations to better understand each other and work towards a lifestyle in which they can coexist happily. The cinematic piece restates the importance of maintaining their individuality as a person because one cannot fullfil any responsibilities when he or she isn’t confident and happy in their life. The creative piece also highlights the various insecurities an elderly couple face and their dependence on their offspring increases with time. Avaak also tells the audience about the significance of spending the maximum time with parents before it is too late and the only option left is to regret later. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Detention film review by UK film critic Christie Robb. Starring Gingle Wang, Meng-Po Fu, Jing-Hua Tseng directed by John Hsu. HOME | FILMS | REVIEWS Detention Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Oct 4, 2021 Directed by: John Hsu Written by: Shih-Keng Chien, Lyra Fu, John Hsu Starring: Gingle Wang, Meng-Po Fu, Jing-Hua Tseng Dead Poet’s Society meets Pan’s Labyrinth in John Hsu’s Detention , based on a 2017 2-D video game. Set in 1960s Taiwan, the state is under martial law. Reading communist and other left-leaning books is punished severely—in some cases by death. In the midst of this repression, two high school teachers start a secret book club that meets in a storeroom and introduces students to works of “subversive literature.” One of the students narcs on the group, unleashing government-sanctioned violence upon the school. The story unfolds in several parts. “Nightmare” starts with two of the students waking up in the now-empty and somewhat dilapidated school building, unaware of how they got there and what happened before they went to sleep. The students are literally haunted by their own recent past. Some of the horror tropes are familiar: long, vertigo-inducing, ill-lit hallways, creepy girls with hair hanging in front of their eyes, fairly effective jump scare. This section seems to be most heavily influenced by the videogame source material. What is particularly effective here is a literal embodiment of the repressive state that menaces the corridors. The section “The Whistleblower” shows the events that led to the outing of the book club. It takes an onion-peeling approach, showing the motivations and potential culpabilities of various participants, layer by layer. Awe-inspiring and sadly realistic how so much deplorable violence can result from the banal foibles of adolescents and their ever-so-slightly older teachers. “The Ones Who Live” establishes the thesis of the work, that it’s important for those who live on to remember and admit to mistakes made in the past. As long as there are people living, there is hope. Well-acted, with cinematography and sound design that keep us poised for scares, Detention does a wonderful job delivering a SpooOOooOOky season movie while also conveying a message about the price of freedom and liberty. Buy UKFR Banner Space About the Film Critic Christie Robb Theatrical Release, World Cinema < All Reviews Next Film Review >