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Mother Bhumi film review by UK film critic William Curzon. Starring Bingbing Fan, Run-yin Bai, Pearlly Chua directed by Keat Aun Chong . HOME | FILMS | REVIEWS Mother Bhumi Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Nov 3, 2025 Directed by: Keat Aun Chong Written by: Keat Aun Chong Starring: Bingbing Fan, Run-yin Bai, Pearlly Chua Mother Bhumi follows a community of farmers living on the Malaysia-Thailand border and primarily focuses on the central character Hong Im (Bingbing Fan), who is a grief-stricken individual suffering from the recent loss of her husband under unknown circumstances. Hong Im uses black magic to address villagers’ everyday issues until she encounters a ghost that reveals secret revelations about her husband’s demise. The piece takes a rather unconventional approach in its ideas regarding the social commentary that it employs surrounding the socio-political strain following the Reformasi movement in Malaysia in the 90s. Three plot lines pervade the narrative involving a witch, a possessed buffalo and the changing political landscape of Malaysia during this time period. While the narrative is conceptually intriguing given the premise, the film sadly never pulls you in, thanks to an intentionally slow-burning approach that rarely feels earned and tackles themes that the filmmakers seem to be at odds with. The piece is thematically hollow and unsure of what it is even about, thanks to its muddled ideas and lethargic pacing that unfortunately meanders to a tonal redirect. There is also a severe lack of conflict brewing; however, specific sequences are unsettling, and the bleak tone makes the entire experience feel exhausting to endure by the end credits. Unfortunately, many aspects of the film leave you questioning the filmmakers’ intent of what they wanted to convey to the audience regarding the plot lines prevalent throughout. On the other hand, the film is beautifully photographed by Ming-Kai Leung, and this creates a disturbing amount of intensity during sequences of distress or visual storytelling. A mix of wides and fixed shots during the night sequences is genuinely breathtaking and a sight to behold in the stunning historical setting. Keat Aun Chong and Kah Hoe Yii’s original musical score is another major standout formally, as it accompanies more intimate scenes wonderfully and anchors prolonged sequences with an uneasy atmosphere. The central performance from Bingbing Fan is solid as she inhabits a profound level of grief coming to terms with her disparity as she questions and mourns the sudden death of her husband. The production value is staggering and makes the piece feel lived in with a timeless presentation of the Malaysian landscapes. Grasping themes such as grief and historical trauma while blending fantasy in with these ideas is an ambitious approach to take, but unfortunately, it makes the thematic aspects feel bloated and uneven. The narrative is convoluted and never truly explores the three central plot lines thoroughly, outside of representing Hong Im’s grief, perhaps reincarnating through metaphorical symbolism. The tonal redirect that takes place throughout the third act feels jarring as the film suddenly changes from a historical drama to a horror piece with a depiction of haunting and disturbing imagery. The inconsistent tone, unfortunately, leads to a conclusion that feels ultimately baffling to comprehend as a viewer. It does, however, still maintain a profound level of empathy for Hong Im thanks to Bingbing Fan’s striking performance and an emotionally draining display of a grief-stricken individual finally coming to terms with her trauma. Mother Bhumi is an unfortunate dilution of the broad array of ideas present, and sadly, fails to interrogate them thoroughly with its mix of sorcery and culturally historical aspects. Aided by a solid central performance from Bingbing Fan and sublime formal choices on display, the screenplay and atmospheric nature can never quite keep up with its technical merits, as the prolonged pacing and bloated runtime deeply affect the emotional resonance and lasting impact after the credits roll. MOTHER BHUMI screened at the Tokyo International Film Festival on October 27th at 6.30pm. About the Film Critic William Curzon Indie Feature Film, Film Festival, World Cinema < All Reviews Next Film Review >

Mr Burton film review by UK film critic Chris Olson. Starring Toby Jones, Harry Lawtey directed by Marc Evans. HOME | FILMS | REVIEWS Mr Burton Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 3, 2025 Directed by: Marc Evans Written by: Tom Bullough, Josh Hyams Starring: Toby Jones, Harry Lawtey An enigmatic Toby Jones and revelatory Harry Lawtey head up this enchanting biopic of an actor once coined "the natural successor to Olivier" by critic Kenneth Tynan. Set in 1942 in Port Talbot, Mr Burton navigates the story of Richard Burton CBE - Wales’ greatest star. We meet a young Rich (Lawtey) in typically humble beginnings. The son of a drunken miner, Rich lives with his doting sister (Aimee-Ffion Edwards) and her curmudgeonly husband (Aneurin Barnard), the latter of whom is desperate for Rich to either pay his way or move out. Finding inspiration and solace through the firm but fair teacher, Mr Burton (Jones), Rich quickly finds his life’s calling of becoming an actor. The Master and the Student formula works well here, not least because it’s based on a true story. Audiences will feel in familiar territory as we see the heartwarming arc of a cold yet clearly caring teacher embrace the talented yet tragic teen, nurturting him to become not just a world-famous actor but also to feel loved by someone. Whilst there are pacing issues with the film, Mr Burton has a rich and sumptuous atmosphere that beautifully captures these fascinating characters and the difficult times they lived in. Not only do they have the hardships of wartime Wales to deal with, but notes of speculation about orientation and scandalous living arrangements also play out, giving the movie a powerful subplot. It is Rich’s social disconnect that is the film’s most powerful theme; however, he wants to become an actor, play different people, and is happy to change the sound of his voice, the clothes he wears - he doesn’t feel connected to his identity. His palpable fear that no one wants him becomes cemented in a brilliant scene where Mr Burton meets Rich’s biological father (Steffan Rhodri) regarding a name change. The mise en scene is sublime, beautifully recreating the time period, as well as the enchanting music, which adds to the classical depth being explored in the film’s obvious passion for theatre, acting, and indeed Wales. The payoff is well worth the journey, if only to spend time with fantastic actors paying homage to another fantastic actor. MR BURTON WILL SCREEN ON 10 NOVEMBER 2025 AT 8PM ON BBC ONE About the Film Critic Chris Olson Digital / DVD Release < All Reviews Next Film Review >

La Mort Pourpre film review by UK film critic Jason Knight. Starring Kevin Sakac, Erwan Ott, Guilhem Thiel directed by Erwan Ott. HOME | FILMS | REVIEWS La Mort Pourpre Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 31, 2025 Directed by: Erwan Ott Written by: Erwan Ott, Salah Maalem Starring: Kevin Sakac, Erwan Ott, Guilhem Thiel First of all, just explaining that the title translates into English as The Crimson Death . This is a short fantasy adventure horror film directed by Erwan Ott, written by Ott and Salah Maalem and starring Ott, Kevin Sakac and Guilhem Thiel. The story takes place in France, during the Middle Ages and vampires are everywhere. Thankfully, there are people whose job is to kill these entities and they are known as monster hunters and Seth Gecko (Sakac) is one of them. Seth arrives at an isolated village during a period of heavy snow as there have been a string of murders in that location that are believed to be the acts of vampires. While investigating, Seth encounters an old acquaintance, Alucard Topes (Ott), a vampire who is an Ekon, a superior vampire who has more traits than the average ones, like having the ability to be in the presence of sunlight. The two will collaborate and track down the one responsible for the deaths. This short begins with a bang, with an animated montage consisting of terrific images that depict the history between humans and vampires throughout the centuries, accompanied by voice-over and great music by Morgan De Carvalho. Once that is over, the story begins and what a story it is, set in a medieval Europe where humans and vampires coexist, with vampires utilising their fangs to deadly effect and (unsurprisingly since the plot takes place in the Middle Ages) there is plenty of sword fighting. The screenplay plays out as a sort of murder/mystery type and a manhunt and it is quite intriguing and entertaining. The mise-en-scene is another big plus, with the weaponry, costumes and settings all looking authentic. And, of course, Sakac's contribution to the fight choreography also deserves praise. This is pretty much a buddy film, with Seth and Alucard both serving as main protagonists. Sakac's character is a seasoned vampire killer, like Van Helsing, dedicated to his profession and duties. Ott plays a vampire who has principles, who acts as what is known as a Domovoy, an entity that acts as a guardian and lives off the blood of scoundrels. Thiel portrays Orlock, the bad guy, a vampire who has gone rogue, not being able to control his thirst for blood and takes pleasure in killing. This is a Good vs. Evil tale. A story about courage, friendship, morality and striving to eliminate a deadly threat. Another addition to the vampire genre. This exciting production is an achievement that is worth seeking out. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Cake film review by UK film critic William Hemingway. Starring Anja Racic, Peter Winkelmann directed by Olivia Cade. HOME | FILMS | REVIEWS Cake Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Nov 1, 2025 Directed by: Olivia Cade Written by: Olivia Cade Starring: Anja Racic, Peter Winkelmann A suicidal woman and her distraught neighbour bond over the baking of a cake one night when they’re both feeling at their lowest ebb. Annabelle (Racic) is busy trying to hit a deadline. It’s already after ten and she’s got to get everything done by midnight. That is, she’s got to get her suicide note typed up and ready for whoever finds it, and her, after she kills herself on the stroke of the new day. The problem is that she can’t concentrate. How’s anybody supposed to find the right words for a sentimental, heartfelt, but to the point, death note when there’s a racket coming from the flat next door? So, rather than trying to ride it out for the next couple of hours until it’s all over, Annabelle goes knocking on her neighbour’s door to ask him to turn the music down. Much to her surprise, however, Jack (Winkelmann) next door is in a total state himself, blubbering away like a little baby, covered in flour and egg, and barely holding himself together in any sort of way. He explains he’s trying to bake a cake for his dead mum’s birthday, the first since she passed, and he’s making a bit of a hash of it, so against her better judgement, Annabelle agrees to help him. The majority of Cake , therefore, takes place in the single location of Jack’s flat, where he and Annabelle get to know each other as the cake is getting made. Luckily, the limited surroundings don’t diminish the story in any way, as they are captured perfectly by cinematographer Brandon Dougherty, getting the lighting right for the emotion of the scenario as well as the clarity needed to feel like we’re right in the room with the characters. This is also helped by the smart dialogue from writer/director, Olivia Cade, as Annabelle dances around Jack’s naïvely probing questions, whilst also getting to know more about him and his relationship with his mother. There are little threads which are dropped around the place for the viewer to pick up on, and which circle back into the scenario later, that nicely bring the narrative together in the end, and which allow a level of satisfaction for the audience when all is said and done. The music choices, too, add a level of depth to the story, hitting just the right notes at the right time to evoke an emotion that fits perfectly with the scenario at hand. When matched with the genuine and believable performances of the two leads, everything comes together like the ingredients of the Cake that they are baking, and in the process becomes something more than the sum of its parts. There is a magic that happens in the ‘baking’ of the film which creates a true enjoyment in the viewer, leaving our mouth watering at the slice we’ve just devoured. For what could easily have been just another misfit, antisocial, rom-com, with stock depressive characters who try to find reasons to be happy, Cake takes everything that it needs to do for the fifteen minutes that it’s in the oven for, and does it all brilliantly. While we all may have seen something like Cake before, it is guaranteed that no-one has ever had this particular flavour, and it’s the slight, delicate flavours of the ingredients which we might not expect that really pull everything together to make this a genuinely satisfying, bite-size, dish. About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

Intruder film review by UK film critic William Curzon. Starring Dana Godfrey, Iryna Scarola, D.C. Douglas directed by Christian Jude Grillo . HOME | FILMS | REVIEWS Intruder Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Oct 30, 2025 Directed by: Christian Jude Grillo Written by: Christian Jude Grillo Starring: Dana Godfrey, Iryna Scarola, D.C. Douglas Intruder follows an underground fighter, Bree (Dana Godfrey) and her estranged father as they attempt to steal a spacecraft to escape Earth, only to discover a deadly stowaway who damages their life support, forcing them to survive in the deadly and claustrophobic confines of space. A blend of sci-fi horror conceptually borrowing from the iconography of Star Wars (1977) and Alien (1979), the film visually and thematically employs social commentary on capitalist corporations within its futuristic landscape. It wears its influences on its sleeve to a fault and to the point of satire. Formally, the piece is overall competently shot and utilises a splendid use of blocking as well as unique colour grading. Visually, this is also a lot of fun, even with its lo-fi sensibilities, thanks to its limited budget and its genre-bending nature. The film almost has a B-movie feel to it and is reminiscent of the kind of films Troma Entertainment used to produce. Even though some of the VFX are inadequate, it almost adds to the feeling that director Christian Jude Grillo was attempting to create. The horror sensibilities surprisingly work well with the sci-fi elements, even with its jarring tonal shift through the midway point of the runtime. It owes a substantial amount to the films it borrows from. Dana Godfrey portrays Bree, and she gives a solid central performance balancing the comedic and more serious elements suitably well. Another standout aspect is the hand-to-hand combat, which is infrequently prevalent, with bare-knuckle fights emphasising the brutality of Bree’s MMA fighting techniques. The bloodshed on screen feels incredibly visceral to witness as a viewer. Unfortunately, outside of its technical standouts, the piece has little to offer thanks to uneven pacing, jarring edits and a severe lack of characterisation for the audience to latch onto and fear for their fate. Breaking news segments are oddly implemented into the narrative, which do, however, play well into the satirical nature thematically, but are jarring when inserted bizarrely throughout sequences of tension. While tonal shifts are admirable, both halves of the runtime feel like completely different films entirely, with no real sense of direction of where it's taking the audience. The corporation known as MICAH-TECH feels like a direct carbon copy of the Weyland-Yutani Corporation from the Alien franchise, as it embarrassingly homages other franchises to the point of unoriginality. While the survival horror elements are serviceable to the plot, the film struggles to create any claustrophobia or fear that the titles it is borrowing from did substantially better. The narrative becomes so unengaging thanks to stagnant pacing and oddly inserted flashbacks that may potentially take the audience out of the experience entirely. The tonal balance is incredibly uneven and baffling, with what the filmmakers were attempting to convey to the viewer about the greed of corporations, and the narrative concludes bafflingly with no sense of direction or thematic flair. Another major issue with the pacing is the prolonged runtime; trimming down the final edit could have potentially enhanced the overall finished piece by cutting out unnecessary scenes of exposition and exploring the deeper characterisation of other central characters. For example, further fleshing out ideas in the screenplay, such as why the director desperately wanted Bree to be an MMA fighter. Intruder is a genre-bending amalgamation of previous pieces of media with unique formal choices and a conceptually fun premise to boast. However, it feels like a chore to sit through, thanks to a baffling tonal redirect and borrowing too heavily from other pieces of pop culture, which executed their risky concepts much more earnestly. The result is an unfortunate and confusing attempt at a campy sci-fi horror piece of guerrilla filmmaking. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

Stan Ritchie film review by UK film critic Chris Olson. Starring James Serpento, Cait Moira, Hunter Phoenix, Willie Farrell directed by Thor Moreno. HOME | FILMS | REVIEWS Stan Ritchie Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Oct 29, 2025 Directed by: Thor Moreno Written by: Thor Moreno Starring: James Serpento, Cait Moira, Hunter Phoenix, Willie Farrell The pilot episode for a new show, the titular Stan Ritchie (played brilliantly by James Serpento), is a down-on-his-luck type facing a mountain of repercussions for his reckless hedonism over the years. A once prominent poker player with his face on billboards in Vegas, Stan is being hunted by violent loan sharks whom he owes many dollarbucks to. One such loan shark gives Stan a lifeline in the form of a high-stakes poker game where the prize is a cool one million dollars. Enough to clear his debts and return to his former glory. Unfortunately, Stan’s route to freedom has more than one roadblock. Filmmaker Thor Moreno (see also When Jack Came Back ) provides excellent direction here, creating a palpably tense atmosphere for Stan’s world to cave in within. The dialogue comes across as organic and far less wooden than other crime/comedy scripts with similar stories and the proceedings vamp up accordingly when they need to in order to keep a modern audience intrigued and hooked for another episode (this critic certainly was). James Serpento is doing some excellent screen work here; his character takes to desperately visiting anyone who may offer him money in his time of need and instead, most seek to rebuke him or even humiliate him. Viewers will be likely appalled at his poor life choices (cemented by a hazy “party” scene with his uncle) but will also be drawn to his “mouse caught in a cat’s grasp” antics, as well as his desire to protect his daughter, which provides a sense of poignancy to the piece. Setting up a series is always difficult, and Stan Ritchie could certainly struggle to make much of an impact with audiences who have seen this story played out before, or ones very similar. Viewers will be impressed by certain sequences in the first episode (such as a killing), however, the tone and delivery are most definitely going to feel familiar. And with recent slick movies, like Uncut Gems starring Adam Sandler , or high-end shows like The Gambler starring Mark Wahlberg, most of the success of this show is going to come down to whether you buy into the lead character, and the casting here is what will likely tempt good viewership. Knowing the calibre of film Thor Moreno can make, Stan Ritchie offers a great deal of promise and some compelling spectacle in its debut episode to show potential. However, much like the main character’s game of choice, the odds are stacked against it, especially when there are already so many great players to choose from. About the Film Critic Chris Olson Web Series, Short Film < All Reviews Next Film Review >

I Slay On Christmas film review by UK film critic William Curzon. Starring Deborah Dutch, Sean Donohue, Debbie D directed by Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Joel D. Wynkoop. HOME | FILMS | REVIEWS I Slay On Christmas Film Review average rating is 1 out of 5 Critic: William Curzon | Posted on: Oct 20, 2025 Directed by: Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Joel D. Wynkoop Written by: Derek Braasch, Debbie D, Marcelo Fabani, Phil Herman, Nina Trader, Joel D. Wynkoop Starring: Deborah Dutch, Sean Donohue, Debbie D I Slay On Christmas is a holiday horror anthology shot on video that delves into a troubled man on Christmas Eve who escapes from his stress into a nearby forest. He then comes across four pine cones. Each cone presents a Christmas terror which eventually escalates into a real-life horror. Every tale is directed by a plethora of different filmmakers, including Phil Herman, Joel D. Wynkoop, Derek Braasch, Marcelo Fabani and finally James Panetta. The opening of the piece employs indistinct imagery that pervades the visual aesthetic as it tracks the central character through the forest, feeling heavily inspired by Sam Raimi’s signature style. It feels like a homemade piece of filmmaking with its micro-budget and inaudible dialogue that is utilised inconsistently throughout, alongside a frustrating use of ADR. The shot on video (SOV) approach successfully accompanies the creepy and atmospheric tone of the piece incredibly well. One of the major highlights of the film is the pulse-pounding musical score, which creates a significant amount of tension that the rest of the feature lacks. For example, there is a sequence involving a chase directed from the point of view of the killer's weapon and the synth-heavy score is utilised astoundingly well here. Sadly, one of the substantial faults of the technical aspects of the piece is the camerawork, which feels heavily uninspired outside of minimal displays of prowess in sequences of tension. The narrative structure and premise on paper sound intriguing and ambitious in its efforts; however, it's merely reduced to days of the week, which feel like a PowerPoint presentation rather than a Christmas terror with disturbing displays of violence and sexual desire. The narrative is unfortunately overly convoluted and confused tonally, with a plethora of clashing creative ideas which just don't stick. While the atmosphere is unsettling, the sequences of violence are ultimately ineffective thanks to how spurious they feel. Although, the practical effects are fun and utilised well with the minimal budget it has to play with. All the characters are demanding to engage with, thanks to dire performances across the board, not helped by the lacklustre screenplay and how unlikable they are. There's an absurd level of sexual desire and misogyny expressed in the central characters, which just comes off as forced into the narrative for the sake of shock value. However, the supporting characters, such as Jimmy the elf, who provide some comedic relief with their silly nature, are a joy to watch at times. There is a severe lack of tension throughout, and pacing is totally uneven outside of flashes of brilliance. The narrative, unfortunately, drags to a grinding halt in its final moments. The tonal shifts present when switching from different Christmas terrors feel jarring and ultimately like a different film entirely. While the change in tone is refreshing with how repetitive the narrative starts to become, this is almost certainly thanks to having multiple filmmakers tackle the horror anthology aspect, which is a breath of fresh air but a detriment to the experience overall. The use of dream sequences is impacted by the poor use of a green screen background, and the use of live news being integrated is entirely pointless and offers nothing to the central narrative outside of the context of the relentless virus, which has spread. Finally, there is a podcast present where the screenplay attempts to employ political discourse around the current state of the United States, which feels entirely shoehorned in for depth that the piece entirely lacks. I Slay On Christmas is a profoundly underwhelming attempt at the horror anthology sub-genre, with moments of excellence sprinkled in its formal choices; however, this sadly fizzles out quickly thanks to an unengaging narrative, unlikable characters and obnoxious levels of performative shock value. While the atmospheric aesthetic the filmmakers create is commendable, showcasing their unique voices in indie filmmaking, the result is a mixed bag of clashing creative decisions. About the Film Critic William Curzon Indie Feature Film < All Reviews Next Film Review >

In Waves and War film review by UK film critic Holly Baker. Starring Marcus Capone, Matty Roberts, DJ Shipley directed by Bonni Cohen, Jon Shenk. HOME | FILMS | REVIEWS In Waves and War Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Oct 29, 2025 Directed by: Bonni Cohen, Jon Shenk Written by: NA Starring: Marcus Capone, Matty Roberts, DJ Shipley In Waves and War (2024) is an in-depth documentary on the catastrophic impact on mental health caused by PTSD in US Navy SEALs and the ways that psychedelic treatments can help them recover. Made up of a series of interviews combined with footage of the Iraq war, as well as stylised animations, this documentary provides an optimistic outlook on the medical possibilities for revolutionary drugs, which may be the answer to the disastrous PTSD which many ex-SEALs suffer from. The film introduces its ‘brain study’, and interviewers investigate the experiences of former SEAL members and how these have shaped them. They are asked graphic, detailed questions about their experiences out in the field. The interviewees’ tone is deadpan, which viewers may find disturbing. The ex-SEALs open up explicitly about what has happened to them and how they are feeling in a detached manner, highlighting their desensitisation from the horrible things they have experienced. The men’s confessions are not dramatised; they are brief and raw, serving their purpose of providing an honest depiction of what these men have been through. The interviews appear on smeared CCTV-like footage, enhancing the authenticity of the men’s voices. They confess their suicidal urges and disengagement from their identity, which is difficult to view due to the absolute raw honesty that comes through in their words. The ex-SEALs’ PTSD seems to have swallowed up many of their lives, so much so that they lack any sense of purpose. As the documentary goes on to explain, their trauma has not only affected them but has also strained their personal relationships almost beyond repair. With its 1 hour and 47 minute runtime, each moment is handled carefully, providing ample context for how these men came to join the Navy SEALs, as well as the escalation of the US-Afghanistan conflict in the early 2000s. Viewers are given an insight into the way young men were disillusioned by the feeling of belonging as part of a brotherhood, unaware of the devastating impact of what they were soon to face. Many of the ex-SEALs confess that being part of the Navy was a childhood dream for them, some of them following in their father’s footsteps. They even describe their time in the army as ‘heaven’ and admit that they felt as though they were ‘where they were supposed to be’ and were ‘hungry’ to go to Afghanistan and fight for their country following the 9/11 attacks. Providing this context is incredibly important, as it is no understatement to emphasise the role that pro-military propaganda played in the 80s and 90s. Many young men felt as though they needed to find a purpose, and they believed the army provided the most honourable one. In many cases, men did find a purpose in the military and found belonging in the meaningful friendships they made during intense training camps. Netflix recently came out with the TV series Boots. This dramedy tells the true story of a young homosexual man who followed his best friend into joining the Marines when seeking a change in his life. The show demonstrates the way he was influenced by advertisements that mythologised the glory that the Marines would provide. Boots is set in the 1990s, around the same time many of the men shown in In Waves and War would have joined the SEALs. The way the men speak about their love for one another in In Waves and War aligns with the story told in Boots of young men finding belonging in one another. Boots also displays the terrible realities and prejudices individuals would face due to the nature of the strict regime, which In Waves and War , unfortunately, never addressed. The Netflix drama also touches on the shocking turn of events, as what was once boot camp is soon to become a harsh, brutal war as the Iraq conflict escalates, and the boys must accept what being a Marine actually encompasses. This depicts a scenario very similar to the reality which the ex-SEALs had to deal with and, due to PTSD, always will. The animation sequences in In Waves and War are done through an abstract style, showing the way trauma impacts the men. The PTSD the soldiers suffer with is difficult for them to describe and is also very hard to imagine for viewers who haven’t been through anything similar, so the animations help provide a pictorial expression of what they experience, whilst being vague and surrealist in style. As the documentary comes to an end, the ex-SEALs open up about the fact that Navy trauma isn’t all they suffer from, and they describe the way their fathers were abusive towards them at a young age, leading them to see violence as a solution and their self-worth to dwindle. One interviewee states, ‘If we didn't abuse children, would we have a military?’ An insightful commentary on the way that cycles of violence reproduce in unhealthy ways, and that the system of the military relies on disturbed individuals. The documentary describes the methods of psychedelic treatments used and presents a before-and-after, as if it were a case study. Though this may be a controversial approach, the SEALs themselves see a major improvement in their sense of self, and this drastic improvement is hopeful to see. Viewers can’t help but wonder, however, whether psychedelics are the solution or if the real solution relies on the questioning of why such violence and trauma are occurring in the first place. On Netflix Monday, 3rd November 2025. About the Film Critic Holly Baker Netflix, Documentary < All Reviews Next Film Review >

Snare film review by UK film critic Patrick Foley. Starring Kit Clarke, Phoebe Sparrow, Jay Villiers directed by Sam Blakeney-Edwards. HOME | FILMS | REVIEWS Snare Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 28, 2025 Directed by: Sam Blakeney-Edwards Written by: Sam Blakeney-Edwards Starring: Kit Clarke, Phoebe Sparrow, Jay Villiers Sam Blakeney-Edwards’ Snare is an unnerving folk-horror set in the forest home of an ancient evil. One family’s fateful decision to disturb a natural slumber leads to claustrophobic horror and dread driven by a focused directorial vision. Deep in a mysterious forest, a family of hunters stalk their prey as uncomfortable rifts between them lead to personal frustrations. Father Adrian’s (Jay Villiers) domineering tendencies has created a distance between him and son James (Kit Clarke), whilst competent and ruthless daughter Harriett (Phoebe Sparrow) attempts to maintain relations. But as they stalk prey, the forest stalks them. And sentient roots that ensnare their prey are just the beginning of the horrors they face. Snare is a short, folk/gothic-flavoured horror that explores the fear of the power of nature, the unknown and a world turned against us. Framing the horror around an adult family, Sam Blakeney-Edwards places imperfect people at the whims of a perfect killing machine – powered by the natural and the supernatural. The imagery of the whip-like roots and branches that ensnare characters throughout the film are genuinely memorable and scary, capturing the sense that one is powerless to stand in the way of the world when it turns against us. The film is at its best when the forest encroaches into the hunter’s world, when it is at its most mysterious and imposing. Scenes in which a member of the family is abducted by the earth and embodied by a mysterious force allow the filmmakers to add some visual flourish and turn one member into a realised antagonist, but it does negate somewhat from the unknown terror that exists prior to the brainwashing element’s introduction into the story. The film goes from man vs. supernature to a more typical slasher/chase horror, fine for devotees but something that detracts from the overall original quality. The triangular relationship between father, son and daughter provides an emotional engine to the film that explores some engaging and unexpected dynamics. Subtleties in the performances provide unexpected hidden depths to relations that at first seem quite stereotypical. Jay Villiers’ Adrian is an archetypal hard-ass dad whose dismissal of his son’s based on perceived weaknesses is balanced with a deeply hidden care for both his children. Harriett’s adaption to their lives earns his respect, but he lacks her caring or patience for James. A late moment suggests there is much more to this than spite or bad parenting, and creates an even greater sense of peril and empathy with the troubled family’s fate. Snare ’s atmospheric horror is its biggest strength, and audiences will be entwined in its sense of sinister gothic style from the very first emergence of its twisted environmental adversary. It suffers a little as it steers more into a traditional horror approach in its second half, and seems to lose sight of the message it wants to convey about the horrors of nature. But in total this one will find, capture and ensnare its target audience. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Lost in Time film review by UK film critic Jason Knight. Starring Alexa Morden, Holly Stevens directed by Henry Colin. HOME | FILMS | REVIEWS Lost in Time Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Oct 29, 2025 Directed by: Henry Colin Written by: Henry Colin, Paul Kimball Starring: Alexa Morden, Holly Stevens A psychological drama feature directed by Henry Colin, written by Colin and Paul Kimball and starring Alexa Morden and Holly Stevens. This film is based on the play Doing Time by Kimball and Mac Tonnies. What is the plot? Well, that might be tricky to explain without spoilers, however one way to do it would be by saying that the story concentrates on a young woman, Leda (Morden), who invites her friend (Stevens) to her home during Christmas. Following some strange occurrences relating to time travel, Leda is shown inside a large room, in which she has apparently been living in for centuries. The screenplay begins as a light-hearted story about two friends getting together for the festivities and things take a sinister turn when Leda is inside an unknown, darkened room, from she cannot leave and her friend (the unnamed character played by Stevens) frequently visits her, although the situation between them is very different, with Leda not knowing what is going on, while her friend seems to be aware of the situation. The plot is quite a mystery, with Leda being inside a room that she has not left for what is suggested to be centuries and things are further complicated by a radio with static noise, other-worldly bright lights and a painting decpicting a beach. The action moves between Leda's home, covered in Christmas decorations, a beach and the bizarre room, where the vast majority of the story takes place. The script focuses on the verbal interactions between Leda and her friend, primarily Leda trying to figure out what is going on. Is the situation real or is it all in her head? The explanation is mind-blowing and moves things towards sci-fi territory. Colin utilises multiple long takes throughout and the creative use of lighting creates a mysterious and unsettling atmosphere and so does the music by Nick Piovesan. The pace is slow, however that is not a negative quality, as this film is not story-driven, but rather prioritises the themes that will be analysed below and Leda's efforts to comprehend what is happening. Leda and her friend are the only characters in this feature and both Morden and Stevens deliver strong performances. Leda appears to be lost in numerous ways. She does not know where she is or even who she is. She does not have any memories and she struggles to find out what is taking place or even if what she is experiencing (being trapped in a strange room with her friend) is actually real or just a dream. She does not know herself and desperately tries to change that. Stevens basically plays two characters: one being a friendly young woman during the Christmas holidays and the other being rather different, a calm and pretty much emotionless person who primarily serves as a listener to Leda's thoughts. The subjects in this strange story have a lot to do with things surrounding existence in general, such as what reality is and what truth is. Furthermore, self-awareness plays a key part and the screenplay also looks into humanity's flaws. While some find a story that moves slowly unappealing, this film offers a dramatic and thought-provoking experience. Beautifully shot and fantastically acted, this feature is worthy of praise. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Speak No Evil film review by UK film critic William Hemingway. Starring Teni Osho directed by Shayaan. HOME | FILMS | REVIEWS Speak No Evil Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 28, 2024 Directed by: Shayaan Written by: Shayaan Starring: Teni Osho In the interests of avoiding confusion, it may be worthwhile mentioning that at this point in time, production studio Blumhouse are releasing their newest film, starring James McAvoy, called Speak No Evil . It is a remake of the Danish horror film of the same name which was released two years ago, and as you might expect, has nothing to do with the film we are reviewing today. So, today’s offering from WM Productions, writer/director Shayaan, and co-writer Kieran Rees, is a four-minute short containing only one character and a short TV cameo from Boris Johnson. We follow our unnamed protagonist (Osho) as he gets himself jazzed up, ready for a night of low-level terrorism; dancing around his kitchen, pointing finger guns at himself in the mirror, and putting on his faintly creepy Phantom of the Opera mask as he heads out onto the streets of the city. Boris has been on the telly lying to the public and the Home Affairs Select Committee, and we see him bumbling over his words as our guy flits past in a pirouette as he’s warming himself up for the night ahead. The first scene plays a lot like a music video, with some wild and winsome tones getting us all in the mood while our guy throws some shapes on the kitchen dancefloor. With no dialogue forthcoming it looks as though this might be all we get – and that in itself would have been no bad thing – but soon the mood shifts, the music takes a much more sinister tone, and the visuals show us that our man may not be the happy-go-lucky optimist that he first seemed. There is a great attention to lighting throughout the whole of Speak No Evil , which Shayaan uses to fill their frames and highlight their character. Similarly, the sound design creates a real sense of atmosphere and plays a large part in expressing the intentions of the main character to the audience. It’s just unfortunate that there are no credits from which to reference the skilled workers behind these technical aspects, and if it so happens that Shayaan did all the work behind the scenes theirself – in what was a one day shoot and five hours of post-production – then they should be commended greatly for the level of outcome achieved. It’s not so easy to determine a message or a moral from Speak No Evil ’s denouement, ending as it does on a bit of an arthouse note. The title obviously alludes to the theme of the film, but still it’s hard to figure just who or what is being aimed at, even if the only spoken words in the film are “Fuck Boris”. It is unclear whether Shayaan is suggesting we take the law into our own hands, or that we should speak truth to power through demonstrable acts, or if those in power should speak truth to the people lest they suffer the consequences, or what. There is a slight niggling sensation that Speak No Evil could be glamourising or endorsing terrorist acts, but to be honest everything is so low-key and vague that anything expressed is unlikely to have any impact at all. Still, the film looks good and the music’s great, so even if you don’t agree with the sentiment, or the message gets lost along the way, there’s still lots to like in this four-minute short. About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

English Rose film review by UK film critic Patrick Foley. Starring Adam Houghton, Katie Benbow, Peter O'Connor directed by Alexander Bather. HOME | FILMS | REVIEWS English Rose Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Oct 4, 2024 Directed by: Alexander Bather Written by: Alexander Bather, Adam Houghton Starring: Adam Houghton, Katie Benbow, Peter O'Connor The ‘Bonnie & Clyde’ model has been explored by everyone from Oliver Stone to Bruce Springsteen – there’s just something about a young couple, crazy in love, leaving a bloody trail of destruction behind them that gets the creative pulses racing. English Rose is a British take on the structure, and Alexander Bather’s short makes sure to push it to the excess. Shortly after killing her husband, ‘Butterfly’ (Katie Benbow) is picked up on the road by Adam (Adam Boughton). Initially horrified by her actions, Adam reveals he has his own deadly tendencies. The terrible twosome embarks on a combined crime wave that leads them to a violent confrontation with the law. English Rose is a thrill-ride, promising and delivering violence, chaos, twists and turns that make for an entertaining, if mindless 15 minutes. The film wrenches the attention of the viewer – making absolutely certain that one is engaged through its stylistic vibrance. If you’re expecting a typical bloody road trip film, turn everything up a degree and slap British accents all over the place – that is English Rose. It’s over-the-top and a little corny, but still grounded in bloody realism that makes its brutality really pop. It’s perhaps not a surprise that Bather isn’t aiming for prestige drama status with his short. Dialogue is cliched and exposition-heavy, though still carries charm given the film’s cards are laid clearly on the table from the get-go. Where the film raises some themes of desperation, abuse, isolation and the delusional state love can leave one in, these are only explored at surface level. Tender moments with the couple in the car could have been expanded upon a little with more of a background provided for the leads, which in turn would have added to the impact of their actions and consequences thereof. There is simmering chemistry between Katie Benbow and Adam Boughton, a metaphorically corrosive kind in the film’s case. Their performances precisely capture the sense that their meeting is a spark that sets of a fire – an unfortunately ideal pairing for a uniquely destructive rampage. The confidence each character gains from the other is underlined by each’s uncertainty before they come clean to one another about their nature. Elsewhere Peter O’Connor gives a remarkable short showing as unfortunate cashier John What – whose terror is a heartbreaking reminder of the real-life consequences of the couple’s deadly actions. English Rose excels in excess. Impressively cinematic in its presentation and vibrancy, the short is well-worthy of a bigger screen – delivering explosive action and a colourful leading pair. There is not a whole lot of depth – not wholly a problem but a shame given the unexplored layers hinted at for the leading characters. But for a stylish roller coaster of a film, it does not disappoint. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >