The Iron Claw film review by UK film critic Matt Weine. Starring Zac Effron, Jeremy Allen White, H arris Dickinson directed by Sean Durkin. HOME | FILMS | REVIEWS The Iron Claw Film Review average rating is 4 out of 5 Critic: Matt Weiner | Posted on: Dec 22, 2023 Directed by: Sean Durkin Written by: Sean Durkin Starring: Zac Effron, Jeremy Allen White, H arris Dickinson For the Von Erich professional wrestling family, success in the ring—starting in the freewheeling territory days and continuing into the present—has existed uneasily alongside the “family curse.” Writer/director Sean Durkin (Martha Marcy May Marlene and The Nest ) brings together his lifelong love of wrestling with a keen ability to heighten psychological tension to the breaking point and then see what fills the void that comes after that break. The Iron Claw charts these harrowing ups and downs starting with family patriarch Fritz (Holt McCallany), whose overbearing presence dominates every aspect of his children’s lives. The athletic Von Erich children unquestioningly glide into the path Fritz lays out for them, the family business of wrestling. The series of events that ultimately spin out of this fateful choice gives rise to the legend of the curse, which the brothers deal with in their own (mostly taciturn) ways. Kevin (Zac Efron) is the genial audience stand-in, who wants nothing more than to please his father and have fun in and out of the ring with his brothers. This includes the charismatic David (Harris Dickinson), golden boy Kerry (Jeremy Allen White) and the sensitive aspiring artist Mike (Stanley Simons). Fritz and the boys are given varying degrees of personality and dialogue that at times sacrifices depth for quick characterizations. But with so much biopic ground to cover, Durkin narrows in on Kevin as the one bearing witness to all the inexplicable tragedy. It’s a difficult role to serve, and Efron delivers a commanding performance. As the family’s Job-like suffering grinds down his stoicism and filial loyalty, he remains tethered to hope and the possibility of a different life thanks to his stalwart wife Pam (Lily James, matching Efron with a vibrant performance that elevates her otherwise dutiful lines). The result is a mesmerizing sports movie with more echoes of Malick than Aronofksy. Call it a curse or call it bad luck, but Durkin’s deft handling of these events turns public tragedy into a searing meditation on familial bonds and the limits of a certain type of masculinity. Buy UKFR Banner Space About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Tomorrow film review by UK film critic William Hemingway. Starring N/A directed by Aryasb Feiz. HOME | FILMS | REVIEWS Tomorrow Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2024 Directed by: Aryasb Feiz Written by: Aryasb Feiz Starring: N/A A young boy and his new found friend must face down the wrath of an angry shopkeeper in order to acquire some much needed medicine. In writer/director Aryasb Feiz’s short film animation, Tomorrow , we meet an unnamed young boy as he travels the streets of the city. We find out in the opening shots of the film that he is a thief, stealing from a street cart as he cuts about his business and finds somewhere to loiter. The boy’s favourite perch is by a tree which looks onto a small road containing an antique shop. He witnesses a small exchange between the owner and a customer and has an idea, however, the purloined food which he still has in his hands has now earned him a new furry companion. Distracting the dog with the food, the young boy heads into the antique store for a little light robbery. He seems to know where the stash is hidden and heads straight for the small ampoules of liquid stored on the underside of the chair. It’s no surprise that the burly shopkeeper catches him and gives him what for, but then the boy’s new friend comes along to help save the day. The two of them run away home, until the boy gives the poor dog the slip and it has to use its nose to find him again. Once they are reunited, we find out what the whole commotion was about and we see that the boy’s father needs the medicine to stay alive. Sadly, one ampoule only gives relief for a day and the next morning the young boy is back outside the antique shop looking for a way to get in and get some more medicine. This constant worry of only having enough for today, and needing to keep repeating the cycle in order to survive, is what leads Feiz to ask the question – What about Tomorrow ? Throughout the story there’s a lot of minor threat and a smattering of intrigue, with the medicine not always being in the same place and the dog getting caught in the basement and other comic capers going on. The animation itself is cutesy and endearing, helping to invest the viewer in the relationship between the boy and the dog, with there being shades of Dug from Up (2009) coming through as well as a ‘Disneyfied’ feel to the whole film. However, there’s a lot to be played for going on in the background, and the sombre yet beautiful music from Fereydoun Bahrami keeps the tone of the film where it needs to be. There’s plenty to enjoy as the narrative runs through the scenario, but strangely it never feels as though we’re getting anywhere. Despite there being three storywriters involved with the project, it seems that neither of them got around to introducing a theme or a moral or a message to the film. There’s the odd situation that an antique dealer seems to have a stranglehold on the supply of medicine instead of chemists or clinics or hospitals, and it’s unclear by the end of the film whether we should be on the boy’s side or not, as he is an obvious thief. Getting a message across is also hindered by Feiz’s decision to film without any dialogue. What must have been a conscious choice to try and save the universality of the film, has ended up costing the filmmakers in terms of truly delivering what they wanted to say. There is so much muddied in with the story of Tomorrow that it seems Feiz and his friends forgot to take a stance. There’s nothing else there apart from the immediate storyline and by the end of the film everything is back to square one. Whilst this may in fact be Feiz’s main idea, nothing has been learnt upon the way, and the reoccurrence of every Tomorrow is only because nobody moves on – so what’s the point? As it stands though, the one-time story from Tomorrow is fun while it lasts and the immediate relationship between the dog and the boy is entertaining enough for the seventeen minutes that we’re watching for. If some of the action wasn’t so obviously violent, and the guiding principle was better expressed, Tomorrow looks as though it could be an intro animation shown before a Disney feature film. However, there needs to be more underneath the story to really give this animation something worth talking about. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film, World Cinema, Animation < All Reviews Next Film Review >

The Apocalypse Box film review by UK film critic Madeleine Lavers. Starring Eva Best, Russell Biles, Lori Brett directed by James Eaves. HOME | FILMS | REVIEWS The Apocalypse Box Film Review average rating is 3 out of 5 Critic: Madeleine Lavers | Posted on: Jul 27, 2026 Directed by: James Eaves Written by: James Eaves Starring: Eva Best, Russell Biles, Lori Brett The Apocalypse Box (2024) is a political horror story written and directed by James Eaves. It follows right-wing politician Piers Stonesmith, who is running for prime minister in the election. With his wife struggling to gain the public's likes and their shot of winning becoming slim, she and their public relations advisor, Ella, head to a focus group with members of the public on the eve of the election. Upon entering the focus group, six strangers are introduced to the apocalypse box, where they have the opportunity to try to fit the right key into the right keyhole. When they do, they are granted a wish with no limits; only those who make it to midnight will win a cash prize. As the night unfolds, the wishes of those in the room backfire, leading to death and murder as the box controls the beings and unleashes complete chaos and trauma. Outside of the locked room, it becomes clear that Stonesmith, along with his MPs, has curated this game in the hopes that his wife will wish for his win in the upcoming election. The story of this film was very engaging; it is fascinating to see the box's unexpected workings and to witness the interactions among the six strangers, who disagree with each other's game plans and political views yet try to save one another during the disasters that occur. Although it was no secret that the game was set up by Stonesmith himself, his motives may seem confusing. Without a thorough character backstory, it may be hard to understand his character, his thirst for power or why he would try to win the election through such a gruesome game that did not seem to have any relevance. The horrifying scenes that unfold in the so-called ‘focus group’ also raise the question of why he would want his wife in a scenario like that. Despite this criticism, the well-considered plan of his began to make sense as the narrative developed. The special effects makeup and gory details were strong and convincing; I am not sure the same can be said about all the performances, however. Considering the members of the game were witnesses to such extreme and morbid consequences, their performances never entirely reflected the deeply haunting nature of the box and its effects. The acting of the cast felt implausible when up against such a dark storyline. Technical aspects like cinematography and sound were to an incredibly high standard. Music and sound effects play such a vital role in ensuring horror aspects pay off and this was most definitely fulfilled within this film. Overall, this film follows a unique and captivating story, making note of current and relevant political issues. I think the apocalypse box has the capacity to be used in an array of additional narratives due to its strong premise. The method of failing the wishes of those in the room was cleverly scripted and the dystopian feel to the narrative was thrilling throughout. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Indie Feature Film < All Reviews Next Film Review >

George film review by UK film critic Patrick Foley. Starring Jack Sambrook directed by Jack Sambrook. HOME | FILMS | REVIEWS George Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 20, 2024 Directed by: Jack Sambrook Written by: Jack Sambrook Starring: Jack Sambrook Mockumentary George is quietly a smart, insightful short which follows its eponymous subject as he is freshly released from the clink, offering an amusing critique of the prison and rehabilitation system with a light touch. When a documentary team receives only one response to their requests to recently released prisoners, they spend a day following him as he navigates his new liberty. However, George (writer and director Jack Sambrook) seems to have learnt little from his time inside, reverting to his old ways of drug-dealing, drinking and unemployment. Though he believes he can easily slot back into his previous life, the world has changed around him – with unexpected consequences… Using its faux-documentary format, George manages to both entertain and provoke with its tale of a reprimanded young man who seems to have learnt or benefitted little from a system that is designed to act in a self-fulfilling cycle. George as the protagonist is quite clearly someone who takes limited interest in improving his life or living within the law, but as the film demonstrates, it seems that there is little effort being made to ensure he does so anyway. By framing the film through a ‘documentarian’s’ lenses, the viewer feels an intimate connection with the ‘subject’ – seeing that his life is allowed to drift without any significant direction. The viewer spends most of the film anticipating George’s re-arrest – effectively questioning what the whole point of the prison system is meant to be. Jack Sambrook impressively realises George – capturing a sense that despite his eccentricities, he is not a bad person at heart. George as a ‘subject’ rather than a protagonist allows the viewer to take on the ‘observer’ role that the documentary team present. Sambrook cleverly utilises this to leave a sense of uncertainty around George’s nature; sometimes presenting as mildly threatening and other times as wholesome and welcoming. It makes the viewer question their own perception of criminals and former prisoners, even as we witness George committing petty crimes. The plot does meander at points – though this is likely an intentional choice on behalf of the filmmakers to show George’s purposeless and drift. A shocking twist at the film’s conclusion is also somewhat out of sync with the film’s message, but is in line with the dark humour woven throughout the story. George leaves enough of an impression to make its audience ask questions of its setting and subject without making grandiose or dramatic statements. A shorter runtime, humour and absurd conclusion soften its critical edges somewhat, but there’s significant depth and thought in Sambrook’s film. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

One Fine Morning film review by UK film critic Hope Madden. Starring Léa Seydoux, Pascal Greggory, Melvil Poupaud directed by Mia Hansen-Løve. HOME | FILMS | REVIEWS One Fine Morning Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 23, 2023 Directed by: Mia Hansen-Løve Written by: Mia Hansen-Løve Starring: Léa Seydoux, Pascal Greggory, Melvil Poupaud “I wait for the thing that should come and it doesn’t.” So says Georg Kienzler (Pascal Greggory, devastating), a retired philosophy scholar deteriorating under the weight of a neurodegenerative disease. His daughter Sandra understands. One Fine Morning tempts you to believe it’s a film about nothing in particular. Mia Hansen-Løve conjures Claire Denis or even Kelly Reichardt in her approach to settling into a rhythm of small, intimate moments that tell a deeper if less tidy story than more clearly structured films. She robs the tale of melodrama, of obvious beats, and replaces those trappings with slice-of-life poetry. Her poem is aided immeasurably by Léa Seydoux as Sandra, a widowed mother who’s already beginning to feel the loss of her father. An affair with an old friend complicates things by satisfying her profound longing while also leaving her vulnerable during an emotionally delicate period. There’s a lot there that begs for drama, but it’s to the film’s great benefit that Hansen-Løve chooses nuance. A low-key melancholy colors this story of a woman losing pieces of herself. The beauty in that tone is matched by the raw authenticity in Seydoux’s performance. Though she’s proven her talent a dozen times or more, this performance is a real departure for her. It’s open and vulnerable, effortlessly conveying the raw nerve this woman has become. What Hansen-Løve captures so beautifully is the day-to-day tragedy of losing someone bit by bit and of the flashes of understandable, even necessary selfishness. Sandra is sole parent to precocious 8-year-old Linn (Camille Leban Martins), contends with facility options for her father, and oversees the unenviable task of sorting through his belongings while he’s still living. The filmmaker approaches all of this with the natural, relatable quiet persistence, resigned laughter, or unexpected tears that mark the reality of this situation. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Good Boy film review by UK film critic James Learoyd. Starring Indy, Shane Jensen, Arielle Friedman directed by Ben Leonberg. HOME | FILMS | REVIEWS Good Boy Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 30, 2025 Directed by: Ben Leonberg Written by: Alex Cannon, Ben Leonberg Starring: Indy, Shane Jensen, Arielle Friedman If you’ve seen the trailer, you know that Good Boy is a supremely inventive new supernatural horror movie, uniquely told from a dog’s perspective. As you would expect, this effect is achieved through a clever use of reaction shots, observational shots, and genuine performing from the adorable dog in question. It’s certainly an achievement in animal direction – an exciting experiment, and thoroughly watchable. And yet... you can’t help but feel that the film is slightly missing something in the visual department; some extra flourish or stylistic trait which should just seamlessly bring the whole thing together. Nevertheless, if you like dogs (as I do, and there couldn’t really be a more empathetic protagonist) and like horror (as I do), there’s very much a baseline of enjoyment this movie offers to its audience. You’re going to spend time with a cute dog, and there’s going to be a spooky atmosphere – sold. Whilst there are some very beautiful shots in the film – mostly taking place outdoors in the woods, coloured with this striking blue tinge – what may distract the well-versed cinemagoer is the frequent use of digital manipulation. We have constant artificial zooming in and out, not necessarily revealing more information but, on the surface, making the shot more active. And one can completely understand why the filmmakers opted for this digital style: when filming with animals, you want to get the clearest, widest coverage possible in case of unexpected movement or action. But the result of this is a lack of tactility, a lack of precise cinematography. This is a shame since the lighting is pretty stunning – as is the overall design and tone of the piece. What’s undeniable about the direction, however, is the fact that this movie does a lot with a little. There’s not actually too much of a plot; more a simple scenario in which the film can operate. In addition to just a single location, two characters and no extravagant budget for insane set-pieces. Taking that into account makes the watchability of this picture all the more of an achievement. But it’s just a shame that it never quite manages to go beyond that and still has that slightly unpolished student-film feel. Not to suggest that it’s incompetently done – far from it; simply that the end-product lacks that secure sense of refinement that you tend to get from a well-tailored theatrical release. What’s refreshing is that this is a truly fun horror movie. This critic’s fear going in was that the film would have this cruel sensibility, and the dog would suffer. What’s more the case is that Indy is an audience surrogate; a brave explorer who – as the classic Kuleshov effect would concur – provides other shots with emotional power and context. And perhaps the shrewdest decision on the filmmakers’ part was making the film only 72 minutes in length. This is a film designed to be short and sweet. It’s a cutsie little concept explored successfully. And I, for one, can’t wait to see what Indy does next! GOOD BOY opens in cinemas in the UK & Ireland on 10 October 2025 Buy UKFR Banner Space About the Film Critic James Learoyd Theatrical Release < All Reviews Next Film Review >

The Seeding film review by UK film critic Patrick Foley. Starring Scott Haze, Kate Lyn Sheil, Alex Montaldo directed by Barnaby Clay. HOME | FILMS | REVIEWS The Seeding Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Aug 16, 2025 Directed by: Barnaby Clay Written by: Barnaby Clay Starring: Scott Haze, Kate Lyn Sheil, Alex Montaldo Being victimised by rapid teenagers is the worst nightmare of every middle-aged man. Though getting abuse at a bus stop or eggs thrown at your window pales in comparison to The Seeding , Barnaby Clay’s unnerving folk horror set in the desert. Wyndham Stone (Scott Haze) is transversing the desert when he comes across a lost young boy. Refusing Wyndham’s offer of help, the boy runs away – and during pursuit Wyndham trips and finds himself waking up at the home of the mysterious Alina (Kate Lyn Shell). Alina seemingly lives alone in an inescapable canyon, and takes care of Wyndham whilst he recovers. But when a savage pack of boys reveal themselves living on the canyon’s overlook, Wyndham senses there is more of connection to Alina than she is willing to say. The Seeding is a folk horror that is strong in design, atmosphere and depth, but misfires a little in delivery. Its unsettling central theme is the fear of disposal and replacement, with Wyndham constantly outwitted and mocked by the younger generation he is at the mercy of. His only solace is Alina, who shows him kindness but withdraws when he asks for help. The theme of masculinity runs through their relationship, as Wyndham feels an obligation to act as Alina’s caregiver even as it slowly becomes evident to all but himself that no one could coexist with her brutal neighbours without cooperation. Wyndham is unable to extract his traditional outlook of the world he knows in one that operates under very different rules. However whilst its themes are evident, the glacial pace of the film means they unravel slowly – too slowly to satisfactorily come together in a way that feels insightful or engaging. It helps the viewer get a sense of time passing whilst Wyndham is trapped, but not always in a positive way. Long sequences between him and Alina only sparsely develop their relationship and drag, whilst confrontational interactions between Wyndham and the boys are the source of horror but end up repetitive. It doesn’t help that many viewers will quickly gain a sense of where the plot is heading and get there long before the film does. The film has fantastic production values and looks great, particularly in how it creates the ambiance of a sweltering desert setting. The heat alone is enough to make this a horror, and the reoccurring raised perspective we get of Wyndham as he contemplates escape mean we are reminded of the burning and shining sun he is at war with as much as the boys who torment him. His hair and clothing remain intact a little too long for ones liking given the time he is trapped, but this is a forgivable faux pas. Scott Haze is another strength, giving a brilliant leading performance as a man whose pride is his downfall. Wyndham feels he can win the boys around with leadership, adult authority and acts of strength – blind to the violent society they have created where brutality is the only force. He expertly portrays Wyndham’s growing madness and acceptance of this world, and excels in scenes of torment and suffering (his likeness of a certain Vice President is a little bonus for the viewer…). The Seeding is an imperfect film but one that’s strengths shine. Its themes are interesting but explored in more inventive and striking ways by contemporaries like Men, and a slow narrative means some viewers will lose interest as the film drags in its second act. But a worthy central performance and strong production stand out and make it worth checking out for fans of folk horror stylings. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Bardo film review by UK film critic Jason Knight. Starring Jackson Wright, Tash Morley directed by Joshua Moulinie. HOME | FILMS | REVIEWS Bardo Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 16, 2025 Directed by: Joshua Moulinie Written by: Joshua Moulinie Starring: Jackson Wright, Tash Morley A short dark comedy fantasy film written and directed by Joshua Moulinie and starring Jackson Wright and Tash Morley. The writer of this review would like to explain that (in Tibetan Buddhism) ''bardo'' is a state of existence between death and rebirth. This explanation is done with the intention of helping the reader understand the film's context. The story takes place in England and something extraordinary is taking place. A man named Frank (Wright) discovers that somehow some spiritual part of him has taken over the body of an unnamed young woman (Morley) and now there are 'two of them', two individuals that have different appearances but the same memories. Now, they must team up and find out what is going on. The plot of this forty-minute long film is one of its strongest aspects: a sort of body swap story that involves a man having two versions of himself and one is a young woman. As they set off to solve the mystery, they end up in an unknown place that resembles an abandoned building and things get more and more bizarre from there, involving a masked entity dressed in black and a quote from Dante Alighieri's The Divine Comedy . As Frank and his new friend go through their journey, the film alternates with scenes that show the woman sitting on a chair in a darkened location. There is mystery and there is plenty of cheeky and adult humour, mesmerising music, creative lighting techniques and the performances by Wright and Morley contribute massively in making this viewing enjoyable. Would there be anything that could had been improved? As far as the screenplay goes, it is never dull and although the low-budget production is evident, it does not significantly affect the viewing experience. As mentioned, the performences by the two leads are some of the strongest aspects of the film and that is because they are entertaining. Starting with Wright, his character is a man who apparently lives alone and drinks and smokes a lot. Morley's character is supposed to be the same character as Wright's (not physically that is), yet her character's personality seems to be different, more sceptical. Self-reflection plays a big part in this story, which is quite evident as two people who have the same mind explain themselves to each other and therefore are actually opening up to themselves. The narrative also involves regrets and reminiscing the past. Those who fancy a supernatural story with humour and also deep meanings should give this short a go. It is an odd and amusing journey with cheeky dialogue and an interesting plot. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Show film review by UK film critic Joe Beck. Starring Richard Rowden, Marie Everett directed by Richard Rowden. HOME | FILMS | REVIEWS The Show Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Aug 10, 2022 Directed by: Richard Rowden Written by: Richard Rowden Starring: Richard Rowden, Marie Everett As Britain swelters in yet another heatwave this summer, there will be many people looking for a getaway to some exotic foreign location. The chance to escape Britain’s heat for the inexplicably cooler heat of another country, and lounge by a pool is irresistible. So, at this time of year more than any other, we empathise with Jackie (Marie Everett) when she discovers that her partner Sam (Richard Rowden) has swapped Bali for the Lake District for a romantic time away. 
 The writings on the wall for the couple at the centre of ‘The Show’, as it becomes plain to see within a couple of minutes that they aren’t going to have their happily ever after. The undercurrent of animosity and distance between the pair grows - Sam is preoccupied with his phone, Jackie is unwilling to embrace nature, and they’re constantly undermining each other with little sarcastic digs. Therefore, the destruction of their relationship comes as no surprise, removing the majority of tension from the situation. The fact that Jackie’s sister has recently been dumped by her partner of nine years and is staying with the not-so happy couple is merely foreshadowing the impending doom of Jackie and Sam’s relationship, but the apparent seriousness of the subject matter is undermined by what can only be described as a disastrous choice of soundtrack. The arguments and crumbling of the relationship are paired with a soundtrack not too dissimilar from those old 60s comedies - with this destroying any semblance of tonal consistency. The film appears uncertain of its true identity - caught between a comedy and a drama, and ultimately ending up as neither, just a conglomeration of good parts undermined by one large bad part. That’s because everything else is good, or at least solid, with the acting from Everett and Rowden standing out the most. The two have good chemistry and appear comfortable going toe to toe with each other, trading snide remarks. The direction is also solid, capturing the picturesque beauty of the Lake District, and also surprising us with a heavily-hinted twist at the conclusion. It’s a shame, therefore, that the film lacks an identity, and is confused with what it wants to be - there are moments where you want to reach out, and gently nudge in the right direction, to guide it to a respectable four-star rating. However, that’s something no one can do, and so, despite its obvious charm and numerous good qualities, ‘The Show’ falls short of the mark, instead imprinting only its own confusion on the viewer. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Homeless film review by UK film critic Lewis McLeod. Starring Rocco the Adorabull, Blakely David, Sam van Goph, Evelyn Tran directed by Rikhiil V Bahadur. HOME | FILMS | REVIEWS Homeless Film Review average rating is 3 out of 5 Critic: Lewis Mcleod | Posted on: Sep 21, 2026 Directed by: Rikhiil V Bahadur Written by: Rikhiil V Bahadur Starring: Rocco the Adorabull, Blakely David, Sam van Goph, Evelyn Tran Homeless is a short film released in 2025, directed and written by Rikhiil V Bahadur. Throughout it’s 18 minute runtime, the short follows Roufus (Rocco the Adorabull) as he leaves his current life behind and bonds with Fred (Blakely David), a homeless man he encounters outside of a coffee shop. The heartwarming relationship formed between these two protagonists allows for a deeper, feel good approach towards the content. Exploring such topics is cleverly enhanced through the use of this canine star, shifting focus onto their raw connection rather than dialogue which provides unnecessary exposition as to how the pair feels. Theory of mind between our deuteragonist Fred and those viewers with pets will not come difficultly, as it is very easy to place yourself in his human perspective of the camaraderie. We begin with an insight into Roufus’ home life, in which he is practically shunned away for simply seeking positive affirmations from his owners, Katie (Sam van Goph) and Linda (Evelyn Tran). This instantly informs the audience that Roufus is a sympathetic and endearing character, rather than an outright disobedient dog. His home life difficulties are shown to lead to some destructive behaviour, however his owners clearly fail to see how this can be traced back to their own argumentative and dismissive behaviour. Upon partnering with Fred as he is left by his disengaged carers, Roufus instantly receives food, water, and friendly remarks - these are all rarities within his own home and is even later repaid by the dog as he find food for him and his new friend to eat. It is very clear that the duo see reflections of themselves within the other, strengthening their bond and helping them both through their trauma together. In the latter half of the short film, this teamwork is demonstrated beautifully as Fred even puts his life on the line during a robbery to ensure our main characters safety (once more, this is later reciprocated as Roufus refuses to leave Fred’s side upon his previous owner’s return). The juxtaposition between his newfound life in contrast to his previous neglect is able to subvert expectations and stereotypes for those with versus without stable housing, displaying how a truly formed attachment will prevail throughout adversity. The story ends peacefully, open-ended as to where Roufus and his mankind counterpart will be taken in the future. Only one thing is for certain: they have each other. A large portion of the production of the short was largely under the influence of Rikhiil V Bahadur, however other notable figures include co-producer and Shahchi Sharma and cinematographer Dan Barham. The visual style largely takes inspiration from the wondrous city of Vancouver, Canada and the film itself was made possible by the Vancouver Indie Film Community. One specific quote from Bahadur himself tells how the creation of Fred and Roufus were directly encouraged by a homeless man and his “beautiful dog”, alongside a comfy duvet outside the director’s apartment in the very same city. A noticeably warm colour palette mirrors the flourishing affection these two characters form throughout, whilst some scenes depict a harsher grey-ish scale to display brief moments of despair. Choosing to close up toward Roufus’ eyes in various shots, assist in humanising the character and translate his emotions as this is sometimes a simpler guide to gaze upon rather than body language. The acting of this talented pooch cannot be understated, hitting each mark and remaining eloquent throughout some tough to watch scenes as to retain Homeless’ comforting nature. Cleverly placed and quirky sound design also ensures the tone of the film remains light-hearted rather than strictly mean spirited, as that could dampen the overarching message. The short dedicates itself to animals without a permanent home with a written message after the narrative, a smart chronological choice following the engaging hypothetical viewers are met with. The zero budget short movie made a DirecTV network debut on 31st May 2025, followed by international streaming release to Amazon Prime on 1st June 2025. Overall, the serious message of Homeless is wrapped neatly and delivered carefully under layers of optimism which shine throughout. It is recommended to those who may need to reignite a feeling of deep connection within their own life as it lends out it’s positive nature. A small budget could have assisted in displaying some of the adventures our loving pair engage in following these events, perhaps in a follow up short or extended version of the original. This may have meant minor issues could have been avoided also, such as slight continuity errors and a lack of severity when dealing with Roufus’ abandonment which in turn would reinforce the relief of unity between him and Fred; these hardly hinder the message of the film, however, as it remains impactful within it’s own right. Those behind the scenes and on camera were able to come together and share an important anecdote relating to animal and human welfare alike in the absence of a true home. Even through troubling times, everybody deserves someone to form a deep-rooted and loving connection to, and this short ensures you do not leave unaware of this fact. Buy UKFR Banner Space About the Film Critic Lewis Mcleod Amazon Prime, Short Film < All Reviews Next Film Review >

Hazard film review by UK film critic William Hemingway. Starring Nicholas G Sims, Jay Dukes, Alonzo Hester directed by Daniel Bergeson. HOME | FILMS | REVIEWS Hazard Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jun 15, 2022 Directed by: Daniel Bergeson Written by: Daniel Bergeson Starring: Nicholas G Sims, Jay Dukes, Alonzo Hester In America fewer than 2% of the people who visit national parks are black or African American. In his new short film Hazard , writer/director Daniel Bergeson suggests a few reasons why this may still be the case and offers a hopeful vision of the future where the natural splendour of the countryside is able to be enjoyed by all. Naturally, the history of Hollywood hasn't helped in showcasing the pleasures, pastimes and outdoor pursuits of the average black family. From It Happened One Night (1934) through Easy Rider (1969), to National Lampoon's Vacation (1983) and Planes, Trains and Automobiles (1987), then Road Trip (2000), Little Miss Sunshine (2006), Sex Drive (2008) and now Nomadland (2020), it's been goofball loners, stoners and moaners; families, friends and would be lovers who are the sole concern of road trip movies and all almost exclusively white. Bergeson has now tried to redress the balance a little, imagining a simple scenario of what it might be like for a black family – father, son and uncle – to take a road trip out into the countryside and try to commune with nature for a couple of days. Marcel (Sims) has bundled his tech-wired son Xavier (Hester) into the back of the car and has also roped in his brother Kevin (Dukes) to come along for the ride. The conversation seems pretty natural and true to life as they head out on the open highway, and even though not everyone is jazzed about a couple of days away from the bright lights of the big city, they all seem to want to make the best of the situation they now find themselves in. America though has different ideas. When the car suddenly cuts out, what has up to now been fun family times, immediately becomes three black males sitting in a vehicle by the side of the road. Bergeson is careful not to drift into sensationalism as the scenario plays out, managing to walk a tight line between ramping up the tension and keeping the simple humanity of the situation alive. His focus is always on the family and it is a strength to see each character work out how to be around the others so that a common love can be expressed. This theme continues throughout the rest of the film and into the campsite, where new challenges and characters are introduced. Split into a series of small discrete scenes, Hazard takes its time to round out its characters and build on its premise. The use of comedy to balance out the more serious themes works well and everything is underpinned throughout by a strong sense of togetherness. Everybody does a good job to ensure the quality of the production and it's easy to see that the message at the heart of the film is a large motivator for that. From top to bottom the characters are perfectly cast, with Jay Dukes as Kevin being a standout performer in amongst a strong group of actors. The cinematography from Bobby Peacock is eye-catching and colourful while Daniel Bergeson's direction offers us a slew of well chosen shots, ranging from a nice wide-angle, down to a frog's eye view and then somehow onto a tree trunk split screen. Hazard wins on all counts as a feel good film, and even manages to give some of the old, classic, family road trip movies – the white ones – a run for their money. It has all the right elements in all the right measure and has a subject at its heart that speaks more to a modern audience. Hazard dreams of a more inclusive America; somewhere where the margins of statistics about population and culture don't sit at 2%; and it is a very enjoyable experience to witness the imagery of that dream, if even for the little time that we get it. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Genocidium film review by UK film critic Alasdair MacRae. Starring Eva Langlet, Alexandre David Lejuez directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Genocidium Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Jul 14, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Eva Langlet, Alexandre David Lejuez CONTENT WARNING: Rape, Suicide. When Angèle (Eva Langlet) leaves the house one day without a face mask she is kidnapped by a killer known as The Dictator (Alexandre David Lejuez). Once held captive in his dingy loft The Dictator then forces a mask onto her and proceeds to torture and rape her. In the intervals between torture, Angèle fantasizes about her death, be it by her own hand or by her captor. What director Alexandre David Lejuez presents here is anti-mask, anti-vax rhetoric in a wrapping of misogynistic violence. He seems to conflate the needs of the public health system with genocide, religious persecution, and martyrdom. The film opens with a quote from political philosopher and Holocaust survivor Hannah Arendt, as if the Holocaust and wearing a face mask are comparable!? From there Lejuez, fittingly both playing The Dictator and being the film’s director, forces Angèle to be sick in her own mask, beats her repeatedly, and engages in a prolonged rape scene that lasts for five whole minutes. Then after seeing Angèle die many violent deaths we are left with the closing image of Christ on the cross. Staggering. To be clear Genocidium is not challenging or culturally significant like the films associated with New French Extremity. Nor does it have the constructs of a Lars Von Trier or Michael Haneke film. And it does not meet the grade of lo-fi pulp that is associated with Rob Zombie. It is simply a flimsy and insulting allegory shot mostly at a Dutch angle and accompanied by classical music in order to disguise itself as being capable of containing a credible idea. Watch the trailer here . Buy UKFR Banner Space About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >