T.H.O.T? film review by UK film critic Joe Beck. Starring Phoenyx Rose, Adrian Marcel, Arion Johnson, Quania Jones directed by Jayson Johnson. HOME | FILMS | REVIEWS T.H.O.T? Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 24, 2023 Directed by: Jayson Johnson Written by: Sara Anders, Kareem Gedra, Jayson Johnson Starring: Phoenyx Rose, Adrian Marcel, Arion Johnson, Quania Jones The word thot is a derogatory, misogynistic term used, mainly by men, to refer to a woman whom they believe to be sexually promiscuous or engaged in multiple relationships. It’s an interesting, and apt, title choice for a film which wants to speak out against the kind of culture that frequently uses such language, and that is on the rise. Yet, the film never outright denounces the term nor the men who use it, instead tiptoeing around the issue without confronting it head-on. ’T.H.O.T?’ begins in the raunchy manner some might expect from it’s title, with a sex scene intercut with soundbites from a television in the background. We suddenly cut to a barber shop, and it becomes apparent that the sex scene was merely Kev (Arion Johnson) dreaming about how his date with Stacy (Phoenyx Rose) later that night may go. The fact that he isn’t watching the sports on the television quickly catches the attention of the other customers - clearly all members of a tightly knit community - who immediately guess the source of his distraction. They say boys will be boys, and here they very much are, childishly gossiping about Kev’s later date, confusedly trying to work out whether it’s the Stacy with kids or the Stacy without, in the process making a series of underhand misogynistic comments. Kev walks away from the barbers feeling confused as to the true intentions of his date, and it is to writers Sara Anders, Kareem Gedra and Jayson Johnson’s credit that they then cut to Stacy (without kids) as she prepares for her date. Anders, Gedra and Johnson cleverly outline the misrepresentation given to Stacy by the barbershop boys, through the concise script, which best demonstrates itself as Stacy fights off the warnings of her friend Tasha (Quania Jones). We see Stacy as an empathetic figure cast in a negative and derogative light by a group of men, and we see the result of their misguided attitudes over the course of the date, where the only comforting presence is Isiah (Adrian Marcel), who incidentally was the one man (a female barber did also) to speak out against the misogynistic attitudes of those at the barber shop. Still, ’T.H.O.T?’ doesn’t lead us to dislike Kev, feeling unfinished as he inconsequently walks away from the barbers and off the screen forever. Indeed, the film as a whole feels incomplete, missing both prior context as to Kev, who is only a fragment of a character, as well as Isiah, who is just as poorly characterised. Even Stacy lacks depth and merely acts in opposition to the dimwitted characterisations of her by men rather than as a character in her own right. Additionally, Jayson Johnson’s directing feels out of place, aiming highly but never coming close to reaching that high mark, it is more style over substance, with little of his technical camerawork adding anything to either the stories or the characters. The acting is competent, though isn’t particularly weighty, and it is hard to imagine many getting more out of a script, which while proficient and clever in its message, doesn’t lend itself particularly to exploring the talents of the films actors. ’T.H.O.T?’ isn’t a bad film, and it certainly has its heart in the right place, yet it doesn’t settle well, with its message feeling undercooked and the film as a whole feeling unfinished. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Unhuman film review by UK film critic Hope Madden. Starring Brianne Tju, Ali Gallo, Benjamin Wadsworth directed by Marcus Dunstan. HOME | FILMS | REVIEWS Unhuman Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 2, 2022 Directed by: Marcus Dunstan Written by: Marcus Dunstan, Patrick Melton Starring: Brianne Tju, Ali Gallo, Benjamin Wadsworth No one ever said high school was easy. Since the day Hollywood realized that teens spent a lot of money on movies, films have depicted high school angst. Often enough those movies offer suggestions, simple enough remedies to the woes inside those hallowed halls. A makeover, perhaps? Saturday detention? Karate lessons? Director Marcus Dunstan’s darkly comedic Unhuman thinks maybe an apocalyptic field trip could do the trick. A high school science class and one teacher who’s no better than the worst of the teens set off on an extra-credit adventure. And before you know it, you’re eyeball deep in a zombie flick, redneck menace film and John Hughes movie all rolled into one. Briannae Tju (TV’s I Know What You Did Last Summer ) plays Ever, who keeps her head down, her mouth shut and tries not to make waves. She and bestie Tamra (Ali Gallo) are having a moment—it’s that moment when the cool kids want only one of you for their clique and you pretend you aren’t both aware of it. But suddenly, after a bus crash, scary radio broadcast and a throat-biting murderous attack, Ever and Tamra must team up with those cool kids and whoever else escaped the bus to survive the field trip. Expect more than you bargain for, including solid performances from Tju, Gallo, Benjamin Wadsworth and a busload of actors finding ways to color outside the lines. This is the same writing team that launched into the horror scene with Project Greenlight winner Feast. Unhuman shares an irreverent tone with that early work. Dunstan, co-writing with longtime partner Patrick Melton, sees a darling simplicity in old-school teen movies. At one point, Randall (Wadsworth) tells us, “It’s a microcosm for life. High school doesn’t end. It spreads.” The filmmakers sell that kind of 80s influence well, but don’t assume Melton and Dunstan buy it. There’s real cynicism lying under the viscera, although the surface-level laughs and shocks help Unhuman masquerade as simple bloody levity. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The Dance film review by UK film critic Alasdair MacRae. Starring John McCullough, Lara Deam directed by Sarah Jayne Portelli. HOME | FILMS | REVIEWS The Dance Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Jun 18, 2022 Directed by: Sarah Jayne Portelli Written by: Ivan Malekin Starring: John McCullough, Lara Deam After stumbling in and catching her Dad (John McCullough) dancing clumsily as he prepares to start dating again, Emma (Laura Deam) decides to confront her father about the effect his coming out as gay has had on both her and her mother. In the opening two minutes of this short, the gentle cringe and humour of the awkward social parlance of dancing seem to be a cute parallel for finding one’s own rhythms in a new and unfamiliar social circumstance. The mild discomfort felt in observing the father, Jack, dancing continues into the small talk between him and his adult daughter. There are clearly some unresolved issues between the pair. Then, all of a sudden a non-diegetic piano piece begins to play and Emma launches into a melodramatic outburst about her father’s neglect of his family. This sledgehammers the early nuance into oblivion, and frankly, the tone never recovers. It is wholly fair that although it is a blameless situation, there may be some complicated feelings arising in Emma over the polar opposite ways her parents have reacted to her father’s coming out. Her father has the excitement of exploring a newly awakened self, although it appears to her, to be at the expense of her mother, who seems to have shrunk into isolation and despair. Whilst it is clear that her reaction is meant to be an emotional and irrational one, which she eventually recognises too, the way that it is portrayed on screen feels wholly contrived. All emotion is drained from the film the moment the forced music begins and the remaining run time is indistinguishable from an episode of Hollyoaks. The early promise of The Dance is rudely drowned out by melodrama. The difficult and complicated feelings it tries to raise are made obvious but not conveyed in a way that can be received emotionally. Buy UKFR Banner Space About the Film Critic Alasdair MacRae LGBTQ+, Short Film < All Reviews Next Film Review >

Golden Years film review by UK film critic William Hemingway. Starring Harry Dexter, Theo Athinou, Rebecca Sargent, Laura Frances Martin directed by George Carter. HOME | FILMS | REVIEWS Golden Years Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Sep 13, 2026 Directed by: George Carter Written by: George Carter and Harrison Jones Starring: Harry Dexter, Theo Athinou, Rebecca Sargent, Laura Frances Martin Within the empty rooms of his mind, a man wrestles with memories of happier times, as his wife and younger self push through from the past to light up the dark spaces of the present. Jonah (Dexter) is having trouble remembering. He’s old and lives alone, and hasn’t very much around him in terms of personal effects to keep him familiar with and full of the past. His walls are mostly bare, there’s no family photographs anywhere, and Jonah lives a typical male life of simplicity and economy, without clutter or memorabilia. What Jonah does have though, is music, and the remembrance of his wife through the tune that they would dance to when they were young and in love. Putting the record on switches some kind of light on in Jonah, too, and memories keep coming back to him about the time he spent with his wife, Alma (Sargent), in the house that seems so dark and grey to him now. As he moves through the rooms he keeps finding different snippets of their past together, remembering how she was, the conversations they had, and the loving times they had spent. He’s there, too, younger (Athinou) and so sure of himself, not realising what he had when it was all right in front of him. And then it is all gone again. These memories seem to be a blessing and a curse for Jonah, as they call back to something that he couldn’t hold onto. His life now is so empty, drab, and dreary, compared to what he had then, and it is a real wrench for Jonah to keep going through reminiscences that he’s not sure are always going to be there, with his memory failing and his age catching up to him. Much like Anthony Hopkins in The Father (2020) he’s not always so sure now what is real, what is remembered, and what is a false memory. Told with real care and attention by director and co-writer, George Carter, Golden Years invites us into Jonah’s ever decreasing world to witness the end of a story. Even in the quick ten minutes we have with him, we know Jonah, and feel with him, and understand him, as he wrestles with the images that hold so much for him. The small, single location of the house never feels restrictive, and in the hands of Carter, each new room holds a different surprise and another piece of the jigsaw, as Jonah desperately tries to fit the pieces of his life back together. With Jono Tarrant’s cinematography capturing the essence of light and dark in Jonah’s life, keeping the memories warm and cosy, and the present cold and grey, along with Elliot Iddon’s accompanying music, which fits neatly and seamlessly into the narrative, Golden Years builds a feeling and an atmosphere around Jonah that fully encapsulates his life on screen. The way the characters interact, sharing the same space but perhaps not the same time, is elegantly handled as Carter shows us the story from all angles, deciding who to put in the frame, whose emotion to capture, and showing us who is looking at who, as they all move around each other in a dance. For what is a student film on a small budget, Carter manages to build his vision through the team around him, who all pull together to bring their expertise to bear. Each element works well on screen and fits together to build the narrative that Carter is looking for, allowing us into Jonah’s story in an effective and familiar way. While the themes and scenario are fairly universal, it is how the story is told that really beings the viewer into the experience of what Jonah is going through, and with that Carter has led with his vision to create something that speaks to the audience clearly and emotionally, even if you think you can half remember seeing something similar somewhere before. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

The Lonely Crowd film review by UK film critic Chris Olson. Starring Adam Wesley, Taylor Anne Danehower directed by David St. Clair. HOME | FILMS | REVIEWS The Lonely Crowd Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Apr 10, 2026 Directed by: David St. Clair Written by: David St. Clair Starring: Adam Wesley, Taylor Anne Danehower A first date goes dangerously wrong in this feature-length romance thriller from filmmaker David St. Clair. The Lonely Crowd stars Adam Wesley as Peter, a former baseball player (now injured) whose cynicism about life and love has left him pretty bitter about everything. After being pushed into a date by his friend, he meets Ashley (Taylor Anne Danehower), whose late arrival and preempting of Peter's drink order spark hostility right away. Things get worse in the parking lot as we discover Ashley has some violent men from her past looking for her. In order to stay ahead and stay alive, the pair must work together and keep this reluctant date going. Like a begrudging buddy cop movie, these pals in transit make for a wonderful onscreen pair. The chemistry between Wesley and Danehower does a lot of heavy lifting, balancing the onscreen tension and action, with some excellent explorations of modern relationships. The audience gets to hear an honest and potent exchange from both the male and female points of view on why it’s so hard to find a compatible partner in the digital age. Ashley calls out Peter on his constant deflections, and likewise, Peter calls Ashley out for her lying. This adds a wonderful depth to the movie. The menace within the film is well-written, with the involvement of corrupt cops and a terrifying escaped prisoner (a great performance from Giancarlo Carmona); there is a formidable atmosphere of peril throughout the movie that especially lingers during Peter and Ashley’s more intimate moments. We never feel fully peaceful whilst they are on the run. Shout out to Andrew Mena for providing a brilliantly funny motel manager. Pacing is an issue within The Lonely Crowd , with a lethargic start setting up Peter’s (albeit necessary) backstory and some of the dialogue-heavy scenes needing a healthy edit; some viewers may find the momentum a little lacking at times. It’s a film that leans more into the romance side of things than the action, and if you are on board with the script (which I was), then it is a film to delve into for its character development and nuanced exploration of themes. For an indie film, an impressive array of locations is used, and the score has some beautiful moments of enhancing the emotion of the scenes. There is a particular point in the film where an acoustic guitar strikes up and highlights Peter’s melancholy perfectly. Rough around the edges, as you would expect on a budget, but engaging, well-written, and commendably performed. A film worth swiping right on (do the kids still say that?). Buy UKFR Banner Space About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Gone to Ground film review by UK film critic William Curzon. Starring Melissa De Mol, Alan Breck, Alastair Thomson Mills directed by Phil Peel. HOME | FILMS | REVIEWS Gone to Ground Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Jan 26, 2026 Directed by: Phil Peel Written by: Phil Peel Starring: Melissa De Mol, Alan Breck, Alastair Thomson Mills Gone to Ground is set around the English countryside and follows a young Polish woman, Magda (Melissa De Mol), as she is saved from a car crash by a RAF World War II veteran, Guy (Alan Breck). However, as she slowly begins to recover from the accident, her violent past comes back to haunt her as she is faced with a conflict that threatens both their lives. The piece is based on real events and dedicated to Alan Breck and in memory of Gervase Peel. What is perhaps most compelling about Gone to Ground is its ability to sweep the rug from under the viewer, at first coming across as a typical thriller from its premise alone. However, as the piece unfolds, it becomes more of a portrait of two individuals from vastly different backgrounds connecting on a deeper level for the majority of the runtime. Sadly, the central performance from Melissa De Mol in her portrayal of Magda can be a detriment to the experience, due to her line delivery being wooden, and her chemistry with Alan Breck feeling robotic and awkward to witness at first. Thankfully, as the film progresses, their chemistry gradually grows more natural and engaging. The dialogue can also suffer due to performances that convey pivotal moments of exposition in an unnatural manner. The supporting players do offer some darkly comedic dialogue in the opening; however, their presence is underutilised, and the tension in the latter half feels underwhelming due to the performances lacking the intimidation or nuance for the severity of the conflict. On the other hand, the film tackles mature themes such as PTSD, self-harm and abuse, which are suitably placed throughout the narrative and expand Magda and Guy’s characterisation more profoundly. Christopher Barnett’s musical score is evocative and builds tension immediately in the remarkable opening; however, the repetitive motifs slowly become jarring and overbearing. One of the most impressive formal decisions is the camerawork, which primarily consists of medium shots and close-ups to build a claustrophobic feel from Magda’s point of view. The point-of-view shots are enthralling and visceral to experience, as the viewer is placed in Magda’s shoes. The filmmakers utilise their budget constraints exceptionally, with some solid production value to boast. Another astounding decision from a writing standpoint is the use of flashbacks, which are effective and further tie pivotal plot points together. Unfortunately, the editing is a detriment to the film as the scene transitions feel intrusive and abruptly placed during moments of confrontation. Sadly, the film becomes overly convoluted with a plethora of twists and tonal redirects that feel shoehorned in for shock value. Unfortunately, the emotional resonance struggles to land in the conclusion, thanks to the third act feeling rushed and anticlimactic. The central issue is the upsettingly meandering pace at which it moves, and the material feels too thin to warrant a feature-length runtime. That being said, it's a mostly engaging experience when it focuses on the central characters' trauma and bonding; however, the prolonged setup feels entirely unearned due to the brief moments of tension amounting to minor. Gone to Ground is an underwhelming experience that entirely overstays its welcome due to the convoluted nature of its third act. However, the central relationship between Magda and Guy becomes far more natural throughout the latter half of the runtime, tackling some unforgettable themes that make the experience worthwhile despite its glaring flaws. Buy UKFR Banner Space About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

The Dreadful Place film review by UK film critic Nina Rawlingson. Starring Keaton McLachlan, Matt Fling, Abigail Fawn, Daved Olivencia directed by Cole Daniel Hills. HOME | FILMS | REVIEWS The Dreadful Place Film Review average rating is 3 out of 5 Critic: Nina Rawlingson | Posted on: Sep 9, 2026 Directed by: Cole Daniel Hills Written by: Cole Daniel Hills Starring: Keaton McLachlan, Matt Fling, Abigail Fawn, Daved Olivencia The Dreadful Place follows a lead named Willow (Keaton McLachlan) navigating her father’s death. Embroiled in grief, she’s trapped in a never-ending nightmare she can’t seem to escape. The premise of the film is set up early on. Willow’s father, Thomas (Matt Fling), is a famous musician with alcoholism and is involved in a traumatic car crash. This constantly haunts Willow as she is trying to piece her life back together. Along the way, we meet fellow friends and colleagues, most notably her childhood best friend, Emma (Abigail Fawn), and ex-boyfriend, Chris (Daved Olivencia). We see Willow consistently struggling with sleep and entering dream sequences, at first subtle but as we delve deeper, we have to figure out what’s real and what’s not. Tortured by this psychological journey, Willow tries to determine what it all means and who she can trust. This film is an amalgamation of grief, trauma, and self-reflection. Without going into spoilers, they cleverly use recurring characters and easter eggs that spill over into other scenes, leaving the audience in an emotional minefield just like Willow. A standout in the film is played by Cole Daniel Hills himself, who not only wrote and directed this but also stars in it as the host. He provides an uneasiness throughout but also offers comedic relief as we try to make sense of it all. The cinematography is strong throughout and the editing is important to accomplish the storyline, particularly in scenes that are ever-changing. The transitions sell the idea of a hopeless maze and how Willow has to face not only the death of her dad but herself. The use of different environments and lighting portrays the bizarre and warped reality Willow finds herself in. Generational trauma is a constant theme here. Willow doesn’t want to be like her dad and wants to break that cycle. The spotlight is figuratively and literally shone on her and how she’s losing grip on reality. In particular, the sequence when she is on a talk show and being questioned about her father, the acting really shines through in isolated moments like these. Whilst it conveys the sense of paranormal and ghostly characters, the main threat is our own inner demons and how we face them. Whilst Willow’s dad caused a lot of pain, love and empathy can co-exist here and overcoming that loss is something that we all experience. This film tries to maintain momentum throughout. At times, it feels chaotic and the run time could have been shortened to create a bigger impact. However, the deranged nature enhances the feeling of entrapment and how Willow is fighting herself. The Dreadful Place was made on a shoestring budget, which is impressive in itself. You can tell this was a passion project and was made with a labour of love from a talented cast and crew. The main cast perform convincing roles and capture the harsh world within our minds, especially Keaton McLachlan as Willow. Ultimately, learning to give yourself grace and time to heal. Buy UKFR Banner Space About the Film Critic Nina Rawlingson Indie Feature Film < All Reviews Next Film Review >

Now a new, award-winning feature documentary The Beatles and India from Silva Screen Productions and Renoir Pictures explores the lasting legacy from their ground-breaking visit to Rishikesh. . Brand new film trailers. The Beatles and India Trailer Official Trailer for The Beatles and India Released “The Beatles were tired of the west’s commercialised capitalist culture and looking for spiritual peace, but we looked upon them as exciting symbols of modern culture” Ajoy Bose, director When the world’s most famous band The Beatles made their seminal trip to India in 1968, not only did it inspire a new musical direction for the band, it paved the way for a brand new sound that still resonates across cultural and musical landscapes to this day. Now a new, award-winning feature documentary The Beatles and India from Silva Screen Productions and Renoir Pictures explores the lasting legacy from their ground-breaking visit to Rishikesh. It sheds light on how India shaped the development of the greatest ever rock band and their pioneering role in bringing together two vastly different cultures. The film is set for its UK digital release on 4 October, courtesy of 101 Films and will also screen at select Everyman Cinemas on 31 August as part of their Everyman Music Film Festival. This unique historical film chronicles the enduring love affair between The Beatles and India that began more than half a century ago. The Beatles and India follows a rarely seen, fascinating time in John, Paul, George and Ringo’s career and brings it to life with archive footage, recordings and photographs, alongside eye-witness accounts, expert comments and visually stunning location shots. In 1968 the legendary band brought their Western celebrity circus to a remote Himalayan ashram in Rishikesh in search of spiritual enlightenment. What happened next had a profound effect on the whole band… and the whole world. Inspired by Ajoy Bose’s book, Across The Universe - The Beatles In India, British Indian music entrepreneur Reynold D’Silva has taken the amazing saga further by producing Bose’s directorial debut. Bose and cultural researcher, co-director, Pete Compton, have created an audio-visual presentation that stands apart from the many documentaries on the band, delving deep into the most crucial period of their evolution from the world’s most famous pop stars into multi-faceted pioneering musical artists. The documentary won Best Film Audience Choice and Best Music in Tongues On Fire, the 2021 UK Asian Film Festival, where it premiered earlier this year. An accompanying album, Songs Inspired By The Film The Beatles And India performed by Indian artists and the score album will be released on Silva Screen Records on 29 October, along with a DVD and Blu-ray release of the film from Cherry Red. Released on digital 4 October 2021. Paper Tiger The Paper Tiger trailer suggests a searing, deeply moving examination of ambition, guilt, and the toxic pursuit of the American Dream. Ink The newly dropped trailer for Ink confirms those expectations, delivering a relentless, kinetic glimpse into Fleet Street's most disruptive era. The Social Reckoning Seeing the first teaser trailer drop for its spiritual companion piece, The Social Reckoning, sent an absolute chill down my spine. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here.

Resina - A Crooked God film review by UK film critic Swati Verma. Starring Dominic Heath, Alice Louise Beton directed by Tamas Levardi. HOME | FILMS | REVIEWS Resina - A Crooked God Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Oct 28, 2022 Directed by: Tamas Levardi Written by: Tamas Levardi Starring: Dominic Heath, Alice Louise Beton The word crooked in the name of the music video-Resina-A Crooked God means bent or twisted, out of shape or out of place, dishonest or illegal. The writer-director Tamas Levardi wants to showcase the perception people develop of god as per their convenience through the lead actors Dominic Heath and Alice Louise Beton. The plot of this creative piece revolves around a story from the early 18th century about struggle, faith, and belief. Raising questions regarding our nature: do we invent our reality? Do we create our gods and believe blindly in those creations of ours? In the opening scene, the cinematographer utilizes a long shot of the landscape along with the upbeat sound to establish the essence of the subject matter of the musical piece. The tracking shots, mid-shots and close-up shots help the audience understands and relates to the idea of the existence of god. A series of transition shots to change the landscape signifies the varied struggles as well as challenges the two protagonist face. The set design, lighting, costume, hair, and makeup are kept natural to complement the timeline the video is set in. The intensity of the background music increases the thrill, drama and mystery to keep the viewers hooked to the content. The absence of dialogue in the video makes the dramatic piece more thought proving and emotional providing a firm way to communicate the key messaging Tamas Levardi is trying to deliver to the viewers. In terms of performance, Dominic Heath and Alice Louise Beton together have come out to explore and gain knowledge about whether God is real or just a concept made by humans. Heath portrays the range of emotions with the help of body language, the facial expressions. Alice Louise Beton depicts the pain, the misery she has to go through and there is no escapism. The body language and facial expressions of Beton clearly state the weight of the questionable deeds done by her in their past life Resina-A Crooked God talks about this world being created by god or we have conceptualized almighty to look for a method to achieve our selfish goals. It reiterates that the presence of the lord is an abstract idea that symbolises faith and belief motivating one and others to push all the boundaries of desire to make everyone's life better. Superstitions and blind trust are two elements that could result in irreparable damage so people should always evaluate the pros and cons of every situation. The musical piece strongly believes in the proverb - As you sow so shall you reap which means that future consequences are inevitably shaped by present actions. The music video warns its audience against doing dishonest and illegal practices in the name of god that would hinder long-term happiness and prosperity for the betterment of the surroundings we live in. People should respect nature and not abuse it if they want to survive in harmony with the environment. I want to appreciate Tamas Levardi for the concept of the existence of god. This is important in modern times as we tend to forget to be thankful and also start taking life for granted. Buy UKFR Banner Space About the Film Critic Swati Verma Music Video < All Reviews Next Film Review >

Satoru film review by UK film critic Finn O'Toole. Starring Sarah Lambie, Kara Pearl, Andre Frey directed by Andrew Short and Veronica Orciari. HOME | FILMS | REVIEWS Satoru Film Review average rating is 4 out of 5 Critic: Finn O'Toole | Posted on: Jul 16, 2026 Directed by: Andrew Short and Veronica Orciari Written by: Andrew Short and Veronica Orciari Starring: Sarah Lambie, Kara Pearl, Andre Frey Derived from the Japanese name Satoru , roughly translating to "to know", this film of the same name follows a grieving mother, Stephanie, who longs to understand what happened to her missing daughter. When she learns of an ancient ritual called Satoru, she must decide whether to resist temptation or give into curiosity and invoke it. Directed by Andrew Short and Veronica Orciari, this surreal horror asks whether some things are better left unknown. The opening scene features Stephanie visiting Emma and Jacob, though it is unclear what the relationship is between her and the couple. It seems likely Emma is either Stephanie’s younger sister or best friend. Whether it is intentionally vague to assist the motif of ‘not knowing things’ or not, it feels like essential information that the audience should be privy to. However the main draw of this scene is the simple but effective conversational arc shared by the three, feeling more akin to theatre than film in a fantastic display of understated direction, blocking and cinematography. This scene serves to explain the plot and, despite a rather convenient and on-the-nose delivery, it manages to achieve this in a way that keeps the audience firmly engaged. Light on jump-scares, Satoru’s horror lies within the agonising tension throughout the piece. Short and Orciari achieve this through expert use of uncanny elements, such a stand-out sequence in which Stephanie pursues who she believes to be her daughter, only to discover it is someone else entirely. The representation of the Satoru creature itself also aids the tone of the film, with blink-and-you’ll-miss-it appearances sporting a surreal and simplistic design. Perhaps the most effective, albeit subtle, aspect of the tone is the wonderful score and sound design. The music composed by Haana Lee knows exactly when to ramp up the fear with a composition that evokes dread, but is mature enough to know when to let the silence speak for itself, handing over to Michael Griggs’ stellar and eerie sound design to carry the tension alone. This marriage of score and sound plays like a perfect relay race, knowing precisely when to handover to one another. With all this considered, and a simply spectacular emotional performance from lead actor Sarah Lambie, Satoru is a near-perfect horror from imaginative concept to meticulous execution. Compelling acting, a score that keeps the heart racing, and a story that makes the heart ache – this film is sure to stay with audiences long after the credits roll… Buy UKFR Banner Space About the Film Critic Finn O'Toole Short Film < All Reviews Next Film Review >

Breaking Infinity film review by UK film critic Jason Knight. Starring Neil Bishop, Zoe Cunningham, Martin Bishop, Zed Josef, Jonny Phillips directed by Marianna Dean. HOME | FILMS | REVIEWS Breaking Infinity Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 22, 2022 Directed by: Marianna Dean Written by: David Trotti Starring: Neil Bishop, Zoe Cunningham, Martin Bishop, Zed Josef, Jonny Phillips A science fiction feature about time travel and the end of the world. Following a near-fatal accident, Liam (Neil Bishop) has found himself in a research facility, with no memory of what happened and does not even seem to remember who he is. Somehow, he unwillingly and repeatedly travels through time, meeting the same characters at different time periods. All this has something to do with a device that can interact with time. As he continues his time travel journeys, he meets a mysterious elderly man (Martin Bishop) in the countryside and has terrifying visions about an explosion that ends the world. Liam must find out what is going on and save the planet from destruction. This is a time travel sci-fi mystery thriller that puts the viewer in the shoes of a time traveller who starts of knowing close to nothing about what is happening or who he is. As the story progresses, he meets more characters, including Emma (Cunningham), a doctor, Garret (Josef), a scientist and friend of Liam and Carter (Phillips), a man who holds an influential position and is involved in the time travel project. Liam learns more and more about what is taking place by picking up clues here and there while journeying through time and he develops a romance with Emma. Almost the entire story takes place inside the facility, with Liam covered in cuts and bandages, wearing a medical gown and interacting mostly with Emma or Garret, who are dressed in lab coats. Neil Bishop leads the film well as the main character who travels through time, has issues with his memory and ends up being on a mission to save the world. Cunningham is sympathetic as a caring person who becomes Liam's romantic interest. Phillips's character could be described as the antagonist, a person who prioritises goals over people's wellbeing. Then there is Martin Bishop, who plays a sort of wise man who knows what is going on. Generally, the acting is strong. Visually, the movie looks great thanks to Vince Knight's terrific cinematography and Stephen Hedley is quite creative with the editing and makes outstanding montages. There are some rather cool electricity effects and impressive CGI sequences involving space. The music by Christoph Allerstorfer is interesting and full of excitement and the sound effects are superb. Is this film enjoyable? The script effectively utilises a time travel narrative in order to tell a story. It is not an action-packed adventure, but rather a sci-fi mystery romantic drama that relies primarily on dialogue in order to get the show moving. The pace feels slow at times and the screenplay has a lot of repetition, with scenes that are almost identical appearing again and again. Fans of time travel movies might be the best audience for this feature. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Dhulo (The Scapegoat) film review by UK film critic Joe Beck. Starring Payel Rakshit, Shimli Basu, Bimal Giri, Ali Akram directed by Tathagata Ghosh. HOME | FILMS | REVIEWS Dhulo (The Scapegoat) Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Jan 3, 2023 Directed by: Tathagata Ghosh Written by: Tathagata Ghosh Starring: Payel Rakshit, Shimli Basu, Bimal Giri, Ali Akram The India we see in ‘Dhulo (The Scapegoat)’ may appear distant and unrecognisable to our western eyes, which, for the most part, thankfully see a world of religious and racial unity, where people are treated equally irrespective of gender or sexuality. As we progress towards that heady idealised society we, unforgivably, tend to ignore the fractured and prejudiced religious situation in countries such as India. ‘Dhulo (The Scapegoat)’ is a painful film to watch, but only because it does such a remarkably good job of highlighting the current climate of hostility and persecution towards Muslims in India. The film begins with a shot of a decapitated goat’s head on the ground - highlighting the central plot device in the opening frame ensures that the viewer is instantly hooked to the outcome of the story, filled with questions as to how, and why, the goat’s head lies on the ground. Perhaps even more decisively the first person we see isn’t a persecuted Muslim, rather it is Neeta Dutta (Payel Rakshit), wife to the villain of the film. Most of the film follows Neeta, as she seeks to reconcile the religious divisions with a local Muslim family, leading to boiling tensions with her abusive husband (Bimal Giri). Neeta is a likeable protagonist, good-hearted yet repressed by her husband, she nonetheless tries to help a Muslim couple, of which the woman, Topu (Shimli Basu) is pregnant. Indeed, it is Neeta who alerts the couple to the fate of their goat, and comforts Topu, offering food and support. Of course, we quickly realise that Neeta is in serious need of support herself, as her husband violently abuses her. In a country where the patriarchy is still very much upheld this is a plight that many women undoubtedly continue to find themselves in. On the radio, there is a broadcast from the Indian prime minister in which he adamantly defends the Citizenship Amendment Bill (which was passed in 2019 and has been labelled a ‘clear violation’ of ‘international human rights law’ by Amnesty International India). The PM says that the bill isn’t discriminatory and that there are no detention centres, declaring that any accusations otherwise are all a manufactured lie against his governance. That is the state of religious tensions in India, with the Hindu nationalist party in power, and enforcing ever more stringent measures against Muslims. In early 2022 the founder of the Genocide Watch group warned of an impending genocide of Muslims in India. As a rallying call for unity in the face of ever-growing tension, ‘Dhulo’ is provocative, raw, and, at times, heartfelt. 

Writer-director Tathagata Ghosh passionately addresses the issue, but doesn’t rely purely on the audience’s morals to create a moving picture. Ghosh’s direction is wonderfully effective, from close-ups of tear-stricken faces, to wider shots of the landscape. He perhaps best demonstrates his technical ability when using a handheld POV shot, though not the most significant to the plot, it exhilarates the viewer. Ghosh’s script is muscular, blending a critique of religious persecutions with an equally damning critique of the patriarchy. It is the women, repressed by their husbands in different ways, who are ultimately the central figures to the plot and the driving forces of unity. ‘Dhulo (The Scapegoat) is an illuminating film, highlighting the growing issues in India today with a technical prowess befitting a more experienced filmmaker. It is an important film, yes for its performances and direction, but more so because of the context in which it is released. As we begin a new year full of hope, we should consider that not all are afforded that same luxury. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >