ASKING4IT film review by UK film critic Chris Olson. Starring Aaron Blake, Antonia Whilans directed by Emma Jesse. HOME | FILMS | REVIEWS ASKING4IT Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Apr 21, 2026 Directed by: Emma Jesse Written by: Emma Jesse Starring: Aaron Blake, Antonia Whilans A body-swap short film, written and directed by filmmaker Emma Jesse, utilises this powerful storytelling technique to explore concerning themes of consent, sexism, and objectification. Dave (Aaron Blake - brilliant in His Hands ) wakes to a startling discovery. Looking back at him in the mirror is not the man with facial hair he is used to, but instead a “smoking hot” female (Antonia Whilans). After jiggling his chest a little and making a quick exit from the apartment he’s in (to the sounds of the female occupant calling the police, who clearly went to bed with a man the night before and woke with a woman), Dave hits the town to taste life as a woman. Whilst the benefits draw initial appeal - free savaloys and quick entry into a club - the downsides quickly become apparent. From lewd comments and unwanted attention to much worse, Dave’s journey becomes increasingly hostile and dangerous. With a strong production quality and impressive performances, ASKING4IT is a worthy short film to seek out. Blake handles the majority of the screen time, putting in a well-balanced performance that feels bold and refreshing. He handles the film’s lighter moments of comedy brilliantly, such as trying on clothes and flirting with perverts, and is more than capable when things get dark. Deliberately provocative, the idea of blame is highlighted, and the script purposely muddies the water to ensure audience debate will rage. By living out his own male fantasy, should Dave’s attempts to dress sexily and skip queues (and paying) be met with the consequences he faced? Is he indeed asking for it? Or is the culture of unsolicited sexual advances so ingrained in our lives that we have become numb to the abject horror of it? The pacing of the short film is quite frenetic. Dave steams quickly into the experiment of his body swap without questioning the reasoning behind it. The majority of ASKING4IT feels like a night out montage, and the moments of reflection and pathos are perhaps too few and far between. Had Dave as a character been explored more, in terms of his social standing and community, we could have felt a deeper connection to his female journey and how different his experience is as a woman. Overall, though, a powerful and moving short film that feels as tragically relevant as it is potent. Whilst the comment section wars continue, ASKING4IT feels like a creative and fresh perspective to offer audiences, enabling them to get a mirror held up to them, if only for 16 minutes. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

Chantilly Bridge film review by UK film critic Tori Hanes. Starring Talia Shire, Ally Sheedy, Helen Slater, JoBeth Williams, Jill Eikenberry directed by Linda Yellen. HOME | FILMS | REVIEWS Chantilly Bridge Film Review average rating is 3 out of 5 Critic: Tori Hanes | Posted on: Mar 24, 2023 Directed by: Linda Yellen Written by: Michael Leeds, Linda Yellen Starring: Talia Shire, Ally Sheedy, Helen Slater, JoBeth Williams, Jill Eikenberry ime: the paramount unreasonable force, promised to break most any sacred bond Earth has to offer. Navigation through the inevitable – birth, death, marriage, divorce, getting drunk with your friends – will be the muse of filmmakers until our rock stops spinning. Chantilly Bridge is, in so many ways, a unique viewing experience. Going in completely blind, it’ll take unfamiliar audiences a hefty portion of their viewing time and brain power (unless they constitute the aid of ol’ pal Google) to decipher that this film is a sequel. Its predecessor, Chantilly Lace , was released 30 years ago into the warm reception of television movie stardom. Director and co-writer Linda Yellen returns for Chantilly Bridge , leaning on presumed familiarity like a splintered crutch to shape her wobbly narrative. Initially enlisting confusing flashbacks to scoot forward a clunky and unimpressive premise, Bridge eventually cracks the crutch over their good knee and sprints forward toward the meat of the film: the character chemistry. The cast is loaded with veteran talent, including Talia Shire, Ally Sheedy, JoBeth Williams, Helen Slater, Jill Eikenberry and Lindsay Crouse, who all reprise their roles from ’93. The chemistry is palpable, and the film relies on improvisation to fill in the massive gaps between loose plot beats. These moments of filler snuggled within the “story” are to be savored. They’re teeming with the authenticity that makes film viewing a life affirming experience. If you’ve ever been lucky enough to find yourself intertwined in a conversation steered by women who deeply, irrevocably, unconditionally care for each other, you’ll feel Chantilly Bridge ’s genius stir the deepest cockles of your heart. What’s maddening is the production’s backward desire to hinder enjoyment. The cinematography makes the film’s made-for-tv roots obvious: intensive exposure and lighting, clinical color palettes, and jarringly un-inherent shots. Often, speakers will be out of frame for incredibly long beats while the camera lingers on a polite listener. This coincides with the clunky moments of obvious scriptedness – when Chantilly Bridge attempts to be a film, it largely fails. When it allows itself to be a vehicle for female friendship, it astounds. Through the nauseatingly winding start, an angry thought flickered: “how can a film say so much and mean nothing?” As the women on screen selflessly shared the complexities of connection and joy, the same thought reemerged in the shape of an ashamed trickle: “how could I have been so stupid?” Buy UKFR Banner Space About the Film Critic Tori Hanes Digital / DVD Release < All Reviews Next Film Review >

The Mourning Of - 2025 film review by UK film critic William Hemingway. Starring Natalia Villegas, Julio César Cedillo directed by Merced Elizondo. HOME | FILMS | REVIEWS The Mourning Of - 2025 Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Aug 9, 2025 Directed by: Merced Elizondo Written by: Merced Elizondo Starring: Natalia Villegas, Julio César Cedillo A young woman who has recently suffered the loss of her mother starts attending other people’s funerals as a way of coping with, or avoiding, her grief. Maribel (Villegas) is off to a funeral – another one. She already has the service notes from her own mother’s funeral pinned to the underside of her car’s sun visor, as well as a bunch of other service notes casually strewn across the back seat, but still she’s circling the obituaries in the newspaper like they were classified ads and underlining the details of the dead person’s life which may be useful to her when talking to the grieving family. Since her mother died five months ago, Maribel has been regularly attending the funerals of strangers, and today is no different. At the Church of the Ascension another Latino family is in mourning, with another matriarch taken too soon from those who loved her dearly. Father Tomas (Cedillo) is residing over the proceedings as usual, praising the good graces of the deceased and relaying pleasantries which are designed to soften the grief, but underneath he knows that he’s just trotting out the same old platitudes time after time. The fact that he keeps seeing Maribel in the congregation, at funeral after funeral, is something that’s started to get to him, not least for the fact that somebody is getting to see through the veil of ritualism into the banality of routine beneath. As it becomes more and more obvious what Maribel is up to, and that her transgressions are becoming increasingly brazen – attending wakes, entering into others’ houses, gate-crashing the funerals of those who know she shouldn’t be there – it is up to Father Tomas to confront her and see if he can help her move on. Unfortunately, he’s already rather frustrated and is receiving pressure from above to sort the situation out, so his advice is not all that understanding and is designed more to fix his own situation than it is to help Maribel. Throughout the fifteen-minute runtime of The Mourning Of , we follow Maribel through these grief-ridden escapades, watching her go through her own ritual and her own routine as she prepares for yet another funeral. She always looks the same, dressed as she was for her own mother’s funeral, in the same coat and even the same earrings, as she keeps the memory of her mother alive in her mind. We get up close and personal with the cinematography, and writer/director Merced Elizondo ensures that we capture the feelings, or lack thereof, on Maribel’s face at all times, while DoP Matheus Bastos busies himself with capturing the dark, oppressive atmospheres which linger in the church and the homes of the dead. The central performance from Natalia Villegas is very strong, and without the need for much dialogue she manages to convey the inner turmoil that Maribel feels whenever she is attending another event for the newly deceased. We see that even though she longs to comfort and relate to the suffering family she is stuck in her own pattern of grief which she cannot escape. It is written all over her face how much she longs for release but ultimately we see how much of her that has become dead inside. Julio César Cedillo, too, is strong as Father Tomas, however, his performance suffers from the poor characterisation that he must portray, as the priest chastises Maribel rather than comforts her and continually swears and takes the Lord’s name in vain. The Mourning Of is a very well-handled production, with everything looking and sounding great as it plays on the screen. The musical score, from René G. Boscio, uses thrumming classical violins and chiming chords on the church organ to really add to the atmosphere of the production, keeping everything in place and lending a resounding religiosity to the experience, while Elizondo places his shots with care and slots artistic visuals in where he can. Sadly, there’s not a lot of explanation for why Maribel has decided on the course of action she has taken, and without really understanding of psychology of her situation the resolution might seem to some to come from nowhere. The premise is fairly basic throughout, but nevertheless we spend too much time lingering on shots, on faces, on incidentals, on the getting there, rather than on any actual drama or driven narrative in the film. While The Mourning Of looks and sounds great, and is well put together, it ultimately lacks the drive of a full narrative, or the integrity of a fully rounded characterisation, meaning that it suffers somewhat in the impact it has on the audience. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

Magnolia Flowers film review by UK film critic William Hemingway. Starring Emma Waters, Samuel M. Vita, Alexander Carstoiu directed by Colin Charles Dale. HOME | FILMS | REVIEWS Magnolia Flowers Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 3, 2023 Directed by: Colin Charles Dale Written by: Colin Charles Dale Starring: Emma Waters, Samuel M. Vita, Alexander Carstoiu Caitlyn (Waters) is depressed. She's busy telling her therapist about how she feels and how she sometimes wishes that she wouldn't wake up in the morning. Rather strangely the therapist doesn't seem to know what's been going on with Caitlyn and what has led her to therapy (which must have been recommended as a referral after previous events), nor that Caitlyn has recently tried to kill herself. Cut back a few months to late March and Caitlyn has been picked up by her brothers, Connell (Vita) and Adam (Carstoiu) who are driving her to their parents' house to house-sit whilst they head off on holiday to Europe. The boys are on suicide watch as even at this early stage Caitlyn isn't happy and they feel they need to keep an eye on her. What was supposed to be a long weekend inexplicably turns into weeks and weeks as over a month later, as though nothing has happened in the interim, Caitlyn suggests they have a party. Suddenly, the party is in full swing and Caitlyn and Adam are waiting for Connell to show up with his mates. In the meantime, Adam gets into an altercation with an unwanted guest (unwanted for unexplained reasons) and heads off on his skateboard alone. At some point, Adam inexplicably falls off his skateboard onto the road and for unexplained reasons lays there unconscious. Just then, Connell arrives with his carload of buddies and drops his phone just as he approaches his brother in the road. Everyone watches as Adam gets run over and nobody knows what to do. And then things get really stupid. Rather than call the police on what was for all intents and purposes a genuine accident, Connell runs away into the woods and his pals lift Adam's body into the boot of the car only to dump him somewhere inconspicuous later on. Now the focus shifts to Connell's pals, bringing into question just whose story this really is, and we watch on as the inevitable fallout becomes stupider and stupider. Magnolia Flowers , which has absolutely zero in common with Paul Thomas Anderson's masterpiece Magnolia (1999), is a film that doesn't know what it's doing. The characterisation is bland and generic, the scripting is too, and the story and incidental scenarios make no sense at all. It's a slog to even get through the short one hour runtime as it's difficult to comprehend actual people making the deliriously dumb choices that drive this film, not forward, but towards its conclusion. Thankfully writer/director/producer, Colin Charles Dale is a far better director than he is writer and he is supported convincingly by DoP Ben Grant, colourist Arianna Shining Star and composers, Jack Maitra and Sean Moran. The music and the visuals really carry the film as the ensemble of actors try their best with what they've been given and actually make a pretty decent stab at it. Sadly nothing can lift Magnolia Flowers from its diabolically bad plotting and in the end the film shows itself to be a wasted opportunity. As a director and producer, Dale may actually have the chops to find himself a future but in order to do that he's going to need to leave the writing alone and give it to somebody else who actually knows what they're doing. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film < All Reviews Next Film Review >

Perform film review by UK film critic Jason Knight. Starring Jon Allen Russo, Garance Chansigaud-Fargepallet directed by Fareed Kairon. HOME | FILMS | REVIEWS Perform Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 1, 2024 Directed by: Fareed Kairon Written by: Fareed Kairon Starring: Jon Allen Russo, Garance Chansigaud-Fargepallet A short psychological thriller written and directed by Fareed Kairon and starring Jon Allen Russo and Garance Chansigaud-Fargepallet. The plot centres on Daniel (Russo) an actor who is auditioning for a part. For his audition, he is performing a dramatic scene with Jane (Fargepallet), a young actress who is also hoping get a role. Daniel deeply fancies Jane, however he does not know how to approach her. As time goes by, his mental state proceeds to deteriorate as he becomes obsessed with Jane and unhealthily influenced by the character that he plays. The intriguing plot and Russo's dramatic performance are key stengths in this film that places the viewer into the mind of a mentally troubled man. Filmed in black-and-white, this short's atmosphere feels dark and uneasy as the story follows Daniel as he nervously and desperately pursues Jane, attemtping to make a connection. What is supposed to be a simple series of auditions turns sinister due to Daniel's awkward and disturbing behaviour and the eerie atmosphere is further enhanced by Coor Brow-Obles and Dominic Cade's unsettling music. The screenplay effectively creates a story about a man's troubed state of mind and his desires, however, perhaps it would had been beneficial if the character of Jane was explored more thoroughly, just to give a better understanding regarding why Daniel likes her so much. As mentioned, Russo's performance is one of the strongest elements and it is vital in order for the film to have an effect. Russo portrays a lonely man who is a talented actor and by being attracted to Jane and not being with her, he has found himself in a situation that is tearing him apart. The audition that the two of them take part in involves a scene where Russo plays a character who is ruthless, quite the opposite to Daniel, an insecure guy who seems to lack communication skills and self-esteem. The sinister character part appears to be having serious effects on Daniel, affecting his personality and making him question who he is. Of course, commendations also go to Fargepallet for her portrayal of a cheerful and talented actress. Through Daniel, the film explores a variety of psychological subjects. Dissociative identity disorder seems to be one, as Daniel's mind appears to be intruded by the character that he plays. Additionally, themes involving insecurity, obsession self-esteem and self-expression are present. From another point of view, the film also provides an insight into the world of acting and seems to suggest that acting can influence people in negative ways. This short looks into the psychological deterioration of an actor who is suffering from being unable to be happy and from being influenced by an acting role. It is a dark commentary about mental health. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Haunted Hall film review by UK film critic Jason Knight. Starring Daniel Attrill directed by Daniel Attrill. HOME | FILMS | REVIEWS The Haunted Hall Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 8, 2022 Directed by: Daniel Attrill Written by: Daniel Attrill Starring: Daniel Attrill One night, a man finds himself trapped inside a building and pursued by a sinister force. It is late at night and Tony (Attrill), an employee at a community centre, is doing the closing procedures. After taking too long to finish up, he ends up being locked inside. It then becomes apparent that there is something else in there with him. Something evil and terrifying. This short horror film is less than ten minutes long and during that time it manages to create strong feelings of dread and isolation. The main concept is a person trapped in a place where something bad is happening, which is simple and common and not a negative thing. The audience follows Tony around, as he navigates the deserted rooms, trying to find a way out. The narrative begins with normality, then the tension rises as he is unable to get out and starts seeing creepy figures here and there. The figures that Tony sees represent the threat in this story. They look like everyday humans and when they are seen, they are standing still, with their back turned towards the protagonist. By being motionless and not revealing their faces, these beings come across as mysterious and threatening. Although the entities are scary enough, there are chilling sound effects that add to the frights. James Jarvis creates a score that is sinister and quite appropriate and the song during the closing credits is amusing and closes the film effectively. Praise also goes to the stylised letters during the opening and closing credits and to the special effects. Attrill's character is the only person (or at least the real human) seen in the film and therefore his performance is a vital aspect. Attrill pulls it off fantastically, making the viewers feel his fear and panic. This short supernatural horror film provides an experience that is frightening and agonising and it will most likely satisfy fans of this genre. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Pause film review by UK film critic William Curzon. Starring Suzy Bloom, Louise Osbourne directed by Sam Grierson. HOME | FILMS | REVIEWS The Pause Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 11, 2025 Directed by: Sam Grierson Written by: Sam Grierson Starring: Suzy Bloom, Louise Osbourne The Pause explores what happens to an individual when life suddenly stops, and how to navigate your career path during a midlife crisis. The narrative follows Charlie (Suzy Bloom) after she loses her job and the onset of menopause turns her life and body upside down, as she is forced to confront her deeper self and unravel a supernatural disturbance that looms over her. Tackling a darkly comedic undertone and satirical edge, the piece effectively boasts a meta commentary as it breaks the fourth wall, poking fun at horror tropes as Charlie tries to figure out her life amidst all the chaos. The piece immediately hooks you in, thanks to a pulse-pounding musical score from composer Katherine Evans that feels incredibly immersive, accompanied by creative opening credits that fit the tone of the film stylistically and thematically. While tonally it can feel uneven and misguided at times, the meta commentary on womanhood and being trapped inside a horror film gives the genre a fresh new take thematically. Even with how incredibly absurd it feels at times, it still manages to evoke discomfort and tension within brief displays of disturbing and gnarly imagery. The use of voiceover at times can feel eerie, as well as effectively balancing the comedic elements suitably well in its goofy nature. One of the most astounding feats of the entire runtime is how consistently engaging it feels with a brisk pace, never losing sight of its tightly managed character-focused idea narratively. Gary Rogers’ camerawork is constantly moving at a vigorous pace, tracking and utilising fixed and close-up shots of Charlie and the consistent terror that looms over her. The use of low-key lighting within the tight alleyways in the exterior sequences genuinely unsettles and sustains the tension and engagement in its atmospheric nature. Gillian Abraham’s edit is frenetic as it consistently cuts from sequences of dread to calmer and more collected discussions of the topics prevalent throughout the narrative. The supporting cast, including Sammi (Louise Osbourne), offer a plethora of comedic and dramatic flair to the more dialogue-heavy scenes of reflection, as debates are brought up regarding the comparisons to being trapped in a genre film while on the verge of a mental breakdown, and trying to figure out a midlife crisis. Unfortunately, after the tightly paced first half of the runtime, the piece loses some momentum towards the back half. It increasingly loses tension and falls into a stagnant territory as the characters reflect on their career choices and the ever-increasing impact of AI in the process of job applications. While the discussions are topical and universal themes that tie well into the thematic ideas, it slowly loses its edge with the repetitive nature of what is actually being said, which begins to feel shallow and shoehorned into the concluding chapter of the film. Sadly, the conclusion to the narrative wraps up in an underwhelming manner due to failing to fulfil Charlie’s character arc successfully, and the film ends abruptly with an unsettling nature that may leave a sour taste in your mouth. The Pause is an unconventional attempt at a character study, exploring topics such as menopause, self-discovery and the impact of losing a job in the current landscape of the job market. However, beyond the myriad of themes it attempts to employ, there's sadly not much else to offer outside of some terrific formal decisions and solid performances from Suzy Bloom and Louise Osbourne. The conclusion is abrupt, leaving it grasping for longevity after the credits roll. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

To The Victory! film review by UK film critic Jason Knight. Starring Valentyn Vasyanovych, Vladlen Odudenko, Volodymyr Kuznetsov, Hryhoriy Naumov directed by Valentyn Vasyanovych. HOME | FILMS | REVIEWS To The Victory! Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 16, 2026 Directed by: Valentyn Vasyanovych Written by: Valentyn Vasyanovych Starring: Valentyn Vasyanovych, Vladlen Odudenko, Volodymyr Kuznetsov, Hryhoriy Naumov A feature-length drama set in Ukraine after the Russo-Ukrainian War, written and directed by Valentyn Vasyanovych and starring himself, Hryhoriy Naumov, Vladlen Odudenko and Volodymyr Kuznetsov. A year has passed since the end of the Russo-Ukrainian War and filmmaker Valyk (Vasyanovych) is in Ukraine with his son, Yaroslav (Naumov), while his wife and daughter are living in Vienna. He has decided that his next project will concentrate on families being torn apart by war and with the help of acquaintances, he sets out to accomplish that, while simultaneously trying to deal with Yaroslav and support his elderly father (Kuznetsov). Arguably, what stands out the most is the way this feature was filmed. The film is made out of many long takes and Vasyanovych decides to almost constantly keep the camera still, filming characters (and himself) as they work on a film production, have a good time partying or spend quality time together. The directing is beautiful and it contains many wonderful shot that effectively capture the surroundings. Interestingly, there are several scenes that begin by giving the impression that they are part of the story and are subsequently revealed to be scenes from the film Valyk is working on. This makes a creative storytelling technique. Non-diegetic music is absent, creating a feeling of realism. This feature is primarily character-driven, focusing less on being story-oriented and that might make it struggle to find a vast audience as exploring the characters and not dedicating a great deal of time to having a narrative is something that is unlikely to appeal to a large number of viewers. Additionally, a static camera and no music do not offer much excitement and generally, the pace is slow, making the viewing feel overlong. Valyk is a well-meaning man who is struggling to live his life and fulfil his plans in a country that has been damaged by conflict. He wants to complete his career ambitions and be a good family man. His son is a university student who has his own problems, having trouble finding his place in the world. This is partly a feature about film-making and partly a family drama about aspirations, self-reflection, father-and-son relationships and life in post-war Ukraine. The directing is superb, the performances are strong and the fact that the story takes place in Ukraine after the war with Russia is intriguing. However, are these qualities enough to save this film from a slow-moving story, a duration that outstays its welcome and an abrupt and unsatisfying ending? The answer to this most likely lies within the viewer's perspective. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Empty film review by UK film critic Jason Knight. Starring Imaan Haider directed by Liam Adam Treacy. HOME | FILMS | REVIEWS The Empty Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 7, 2025 Directed by: Liam Adam Treacy Written by: Liam Adam Treacy Starring: Imaan Haider A short drama written and directed by Liam Adam Treacy and starring Imaan Haider. It is a windy night and a young woman (Haider) wearing the hijab is walking by herself in a city centre. She checks her phone and sees that she has received a reply regarding her Refugee Status Application. As she nervously hesitates to open the message, her phone's battery runs out, causing her to frantically run around the area, looking for a way to charge her device so she can find out the life-changing result. This four-minute-long short works quite well as a thriller, keeping the viewer in suspense, wondering what the decision is regarding her application, while the heroine tries desperately to find a place to recharge her phone. In some ways, the screenplay contains two storylines: one involving the character struggling to find the courage to read the message and the other concentrating on her looking for a power supply. From a technical point of view, the film fits a significant amount of creativity in its short duration. There are no spoken words and no music. What is mostly heard (diegetically) is the protagonist's heavy breathing, the traffic and her footsteps. The filmmakers are rather creative with the sound techniques, utilising the sounds of a heartbeat to create suspense and tension and extensively using a sort of ringing sound. Treacy also worked on the editing and by applying fast cutting at certain sequences, he makes the story briefly go back and forth in time, ostensibly for dramatic effect. If there is something that seems flawed, then that might be repetition. There are several shots of the protagonist's legs while she is running. Perhaps these are a bit overused, maybe there are too many of them. Aside from that, things are OK. Haider's character is the only person in the film, apart from certain people seen here and there, therefore, her performance is vital in order for the film to have an effect and she is very convincing as a worried youth who is desperate to find what the anwer is regarding her future. This short provides an insight into life as a refugee, exploring the struggles they go through with an uncertain future. It is a film about desperation, hope, courage and the struggle to succeed. From a different perspective, it is also a commentary about technology, about how much people depend on technological devices today. Since the heroine is the only person in this story (at least the only one who is not seen only from a distance), there is a feeling of isolation, like she is alone in a dark place. This is a poignant story about a person who is in a very crucial situation, about to discover what the future holds. The film does a good job in creating drama and suspense and Haider's strong performance is a big plus. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Order 27 film review by UK film critic Jason Knight. Starring Stan Morgan, Jack Waldouck directed by Thomas Wheeler. HOME | FILMS | REVIEWS Order 27 Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 20, 2022 Directed by: Thomas Wheeler Written by: Thomas Wheeler Starring: Stan Morgan, Jack Waldouck In this tense story an error might lead to a nuclear war between the United States and the Soviet Union. Inspired by the 1983 Soviet nuclear false alarm incident, the plot of this short takes place in 1983, inside a communications bunker on the coast of Siberia and follows two members of the Soviet Armed Forces as they try to prevent a nuclear conflict. The film begins with Officer Krovolov (Waldouck) and his subordinate Vlad (Morgan) as they transmit an order, order 27. which authorises the launch of missiles towards the U.S., as a Soviet radar identified missiles from the U.S. moving towards the Soviet Union. However, their superiors in Moscow contact the two men and inform them that it was a false alarm and that they must cancel the order. Unfortunately, it is too late, as the Soviet missiles have already been launched. Now Vlad and Krovolov have very little time to make the impossible possible in order to prevent a devastating conflict between the Soviet Union and the U.S. Although the narrative deals with an extremely serious and global life-threatening situation, this is actually a dark comedy and an amusing one too, thanks to a clever screenplay and the performances by Morgan and Waldouck. The audience watches the two protagonists as they desperately attempt to resolve the situation. They communicate by phone with their superiors in Moscow and with a high-ranking member of the U.S. Armed Forces in Washington, hoping to avert the disaster. As the dealine approaches, the tension rises and rises, yet the humour remains, making the atmosphere dramatic and comedic. Almost the entire story takes place inside the bunker and the mise-en-scene looks quite realistic, with a radar, computers and communication machinery. The uniforms also look great. As the only people in the story (who are visually present at least), Waldouck and Morgan do a terrific job in being entertaining and simultaneously convincing as members of the Soviet Armed Forces. A lot of praise goes to composer Mike Ellaway for the fantastic work on a score that creates a humorous atmosphere. The creative lighting techniques, along with Billy Kendall's cinematography, establish a realistic environment in the interior of a bunker. This short is a lot of things. It is a war film. It is a period piece. It is a dark comedy. It is a race-against-the-clock story. It is a satirical view on nuclear war and the relations between the United States and the Soviet Union. It is funny, yet it is also frightening, as it shows how quickly a war can break out. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Give Me Your Hand film review by UK film critic James Learoyd. Starring Jérémie Agbessi, Kévin Sakac, Melinda Martinho directed by Kévin Sakac. HOME | FILMS | REVIEWS Give Me Your Hand Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 4, 2025 Directed by: Kévin Sakac Written by: Kévin Sakac Starring: Jérémie Agbessi, Kévin Sakac, Melinda Martinho Give Me Your Hand is one of the more unusual films out there, and I say that as a compliment. This bonkers French-language sci-fi fantasy is, to put it in the simplest terms, a film about letting go of the past. But then again, this film doesn’t work in simple terms. In addition to being an incredibly abstract, multidimensional adventure which is constantly jumping through time and versions of reality, this movie clocks in at an unapologetic 169 minutes long – meaning that to get something out of the viewing experience, one needs to be in a pretty specific mood. Yet if you’re in the right frame of mind, and can lock into the picture’s unique mode of nonsense, it ends up being a ridiculously entertaining exercise in genre storytelling. The narrative tracks a combination of characters whose fates, minds and souls seem to intersect; with the main focus being the dynamic between Adam (Jérémie Agbessi) and William (Kévin Sakac -- also the film’s writer-director). Following a disastrous car crash, Adam wakes in a different plane of existence – one with its own rules, an intangible logic. Neither he nor William have any memory of who they are or why they are. All they know is that they’re being hunted by ‘entities’. Eventually, like a murder-mystery, the quest becomes finding their memories, and putting all the pieces together. What we see can effectively be interpreted as the physical manifestation of a traumatised mind (or minds), and the battles that take place within the psyche. Allow us to address the fact that the film is gibberish and makes no sense. As opposed to viewing this as a criticism or indication of quality, it would be more useful to consider it a creative choice from which this three-hour fever dream gets its formless style. Its constant-action, constant-exposition approach, bizarrely enough, makes the runtime fly by. Nothing else is paced like this! Although, having said that, as great as the random logic might be, the rules of how the characters are to navigate the world and defeat the creatures aren't clear. So, as the film gets deeper into the fantasy, objective-based dialogue, it becomes difficult for the audience to remain excited about everything that’s happening. The most amazing thing this movie has going for it is its sense of genuine fun. We’re talking knights in armor riding horses, sword fights in pretty much every other scene past the half-an-hour mark, and weird mini music video intervals which feel in conversation with how Twin Peaks: The Return separates its episodes. There’s an entire act of this movie devoted to Lancelot and King Arthur! -- and if you’re not enjoying the film at that point, I don’t know what more you want. It’s a wonderful thing to witness a work consistently out-do itself through increasingly absurd set-pieces. If you happen to have three hours to spare upon this film’s release, and are incredibly open-minded, I would recommend you give Give Me Your Hand a go. You’ll find that you can’t help but fall in love with this sincere, nonsensical action-fest. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Head Returns film review by UK film critic Chris Buick. Starring James Rolfe, Kirk Hart, Kevin Finn directed by James Rolfe. HOME | FILMS | REVIEWS The Head Returns Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Mar 8, 2024 Directed by: James Rolfe Written by: James Rolfe Starring: James Rolfe, Kirk Hart, Kevin Finn Twenty years after a malevolent floating head, commanded by a mysterious man adorned all in black, turned a psychiatric doctor’s world upside down and landed him in an asylum, that man and that head have now returned, forcing the doctor (Rolfe) to once again face his demons and his fears in an effort to finally uncover the truth and hopefully, free himself from this nightmare once and for all. To understand and fully appreciate The Head Returns , one must first look back to 1999, where actor/writer/director James Rolfe first introduced us to his crazy idea about an evil floating ventriloquist’s dummy’s head terrorising locals in The Head Incident . Then and there, a younger Rolfe’s initial offering which followed main characters Rick and Bob’s fight against evil was a clear labour of love that leaned more into the actual horror-ness of it all, setting out to make a fitting homage to B horror filled with grainy imagery, Ramones-esque wigs and, for the time and budget, decent practical and special effects. Now twenty years later, the head has returned and so has Rolfe, older, wiser and more practiced, but also with that same burning passion for movies in this genre that makes The Head Returns an enjoyable watch, even if it is a bit rough around some of the edges. The Head Incident as already stated, despite being made in 1999, had very commendable technical execution behind it for its time, so it’s clear that Rolfe’s filmmaking chops are innate. But Rolfe has clearly picked up a few more tricks since then, and it has only made him better and us luckier for it. The Head Returns offers us even better special and practical effects, better editing and better cinematography and Rolfe’s ability and clear desire to make this film look and feel as good as it can be is both applaudable and the very thing that gives it life. But although The Head Returns does nail the look and feel while marrying itself wonderfully to the original, the storytelling seemed a bit stronger first time round than it is here. The concept is a strong one for sure, Rolfe’s doctor is still struggling to comprehend the horrors he experienced while also living with the gnawing regret of disbelieving Rick all those years ago, which speaks to deeper themes of regret and takes things in a slightly different direction this time round which can be appreciated. But while the doctor’s journey for closure and forgiveness starts and ends strong enough, it lacks any significant pace or precision or purpose in the middle where the film loses a lot of steam and needed something else to keep things moving along. However, it is nice to see the same cast come back for another round, and also to see that the performances have also improved, for the most part. The Head Returns definitely shows that Rolfe has still got that passion and care to make films well worth a look. It works best when double billed with The Head Incident not just for some much-needed context, but to be able to see the beauty in a fun and silly idea brought to life with pure love and affection still have legs and purpose 20 years later. Both films are available to watch and enjoy on YouTube now Buy UKFR Banner Space About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >