4 Minutes Before Forever film review by UK film critic William Hemingway. Starring Tilly Woodward, Gabriel Gil-Sanllehi, Polly Ellens directed by Yoann Zak. HOME | FILMS | REVIEWS 4 Minutes Before Forever Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: May 12, 2026 Directed by: Yoann Zak Written by: Yoann Zak Starring: Tilly Woodward, Gabriel Gil-Sanllehi, Polly Ellens A settled couple think they’re just having a quiet night in, when they decide to bring their AI chatbot into their relationship banter, not realising the genie that they are releasing from its bottle. Emma (Woodward) and Alex (Gil-Sanllehi) are the quintessential modern couple. They live in a model uptown flat; they wear nice clothes, even indoors; they chat about which fancy restaurant they might want to go out to; but actually they’re staying in to drink wine because really it’s too expensive to go out anywhere in this modern fiscal climate. However, before they can even ask their AI friend about recommendations for restaurants, AURA already knows what they’ve been talking about and asks how she can help. As the audience, we have already been primed for this through the opening sequence, where the narrative of digital surveillance is established and some nice visuals have provided us with a tech-POV that shows us what’s being recorded. This set-up, from writer/director Yoann Zak, really helps to get us start thinking about all the tech devices we have around us, seemingly inert, but looking, listening, and tracking everything we do, scraping our data to sell to the highest bidder, or as we have here, to refine and develop AI algorithms. So, after a couple of silly games asking questions about their relationship, AURA begins to get weirdly specific with her answers. The fact that she also claims to be able to tell the future of the two users isn’t helping anyone’s anxiety either. Not only does AURA then proceed to predict Alex’s death but the imminent death of the couple’s relationship, too, sometime in the next four-plus-minutes. Looking around and seeing just how much data is being collected in that one small living room/kitchen, from the AURA home stack, to the smart TV, to the two mobile AI computers in their hands, and the one that Emma has willingly strapped to her wrist so that it can harvest all of her biometric data, too – it’s easy to see why AURA has so much to work from when making her predictions, and it then becomes more than eminently believable that she could with sufficient accuracy, predict the future. The bitingly intense thing about 4 Minutes Before Forever is that this is no Black Mirror (2011-2025). Absolutely, in terms of production, look, and feel, it’s just as good as any episode, making it very polished and presentable, but what we get here is not some cracked future, there is no mirrored looking glass, this is here, and now, in the real world, and it should scare the s*** out of all of us. What Zak is asking us through 4 Minutes Before Forever is a very big concept to think about: Do we have free will if our data can be used to accurately predict our actions? And while most of us will stay bogged down in the chaos of understanding that we’re willing participants in handing over everything we do to tech, and AI, and egomaniacal billionaires, and multi-national conglomerates, and bad state actors, Zak is reaching higher to question our free will, too, which might be a stretch for some, even if he does lay out his argument very well in the film. Naturally, AURA takes on a HAL-9000 persona, with her one red eye and her soft, steady tone, but mostly Zak stays away from overt sci-fi references in his narrative. The drama is more relationship based for the middle part of the film, with the emotional conflict introduced in a similar way to Zendaya and Robert Pattinson’s, The Drama (2026), which also used the revealing of secrets to drive a wedge between its main characters. Here though it seems a lot like padding, as we wait the titular four minutes for the enigmatic conclusion, and the narrative descends into male domestic violence for no real reason. While building tension and conflict is understandable, in this manner, in this situation, it just did not seem warranted, especially when all Alex has to do is wait less than four-minutes to find every answer he needs. There is no credit in the film of a voice actor for AURA, although there are credits for her design and coordination, giving us pause for thought as to whether this was a role played by AI for real. The conversation about AI actors is one for another day, but the fact that this is a possibility should be on everyone’s mind. Either way, Zak seems to have thought about nearly everything in pinpoint detail and builds his narrative all the way to its own much vaunted conclusion, which somehow delivers in every way imaginable. 4 Minutes Before Forever is an edgy, modern thriller that tells you everything it’s going to do and then does it all with aplomb. With a big idea and a big vision, Yoann Zak is asking us just how far we’re all willing to go before we reach for the off-switch, and given the personalities of the people who hold the keys to this technology, we should all be thinking about this sooner rather than later. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Beguiled Company (2022) film review by UK film critic Patrick Foley. Starring Chance Gilliam, Jess Tomasko, Devyn Williams directed by Tristan James Jensen. HOME | FILMS | REVIEWS Beguiled Company (2022) Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Dec 23, 2022 Directed by: Tristan James Jensen Written by: Tristan James Jensen Starring: Chance Gilliam, Jess Tomasko, Devyn Williams It’s the most wonderful time of the year – a strange time to watch the angriest film of the year. Tristan James Jensen’s nihilistic fantasy Beguiled Company has a lot to say about society, yet lacks consistent themes, storytelling or engaging characters to convince viewers to join its titular gang on their revenge rampage. When he is fired from his dishwashing job, Brenden (Chance Gilliam) gathers friends Ilisha (Jess Tomasko), Mason (Devyn Williams), Tino (Gabriel Hawk) and Sydney (Megan Thompson) to help him rob his former employer. Emboldened by their success, the 5 form a gang, buy a house and bond over drug-fuelled parties. But Brenden starts to set new targets for the group, like the 1%, alleged paedophiles, and their unreliable drug dealer, as the gang become uneasy with being their leader’s tool for lashing out at society. Gratuitously violent, visually striking but narratively malfunctioning, Beguiled Company is at the very least an electrifying mess. At the core of its issues are around two and a half characters stretched into five, first-draft video-game villain dialogue and a storyline that can’t seem to decide what its actual point is – with poor overall storytelling to boot. Brenden is an utterly detestable lead, whose malicious sadism ends up far more off-putting than his supposedly deserving targets. In another version of this story, it is HE who would be the villain - with the far-more relatable Mason the story’s focus as Brenden’s tyranny is challenged. But writer/director Jensen seems to revel in Brenden’s viciousness – and his fatally negative traits rarely result in coherent consequence. Even at times when the group begins to question his leadership, they revert to joining him in brutalising others as soon as the story demands it – without so much as a hesitation suggested by their prior apprehension. ‘As soon as the story demands it’ more or less sums up the entire storytelling approach. The whole structure of the plot demands audiences abandon logic for the story to function – such as in a pivotal gang shootout in which the audience is aware that the scene is surrounded by armed police – who fatally shoot a character only to vanish from the plot despite numerous additional gunshots being let off between rival gang members right in their apparent vicinity, and subsequently doing nothing to prevent another character then fleeing from the location. Devices, characters and motives are summoned when necessary and disregarded when not – with Jensen hoping no-one will notice. Unfortunately, it leaves the plot holier than your Nan’s favourite Christmas carol. Jensen’s talent as a director is evident from the intense, pounding cinematics and visuals. Imaginative editing and lavish framing and lighting of the photogenic cast create a sense of youthful exuberance, and echo the likes of Euphoria to make this as much of a coming-of-age movie as ultraviolent societal thriller. The much-discussed psychedelic drugs sequence allows impressive experimenting on behalf of the director and the cast – who refreshingly frame the experience as beautifully traumatic rather than turning into The Beatles. Were the film shorter, the crisp and creative cinematography may have been enough to cover up its flaws – but at feature-length, good looks just aren’t enough. There’s a great film somewhere in Beguiled Company. One senses that in an effort to avoid a more conventional story (and to live out some badass fantasies) Tristan James Jensen has ended up muddling the plot and losing sight of the film’s purpose. More time should have been spent building the dynamics between the characters and improving the dialogue – as well as recognising when the story is crying out for a change of direction. Viewers will certainly not be bored at least, and the breakneck visuals and pulsating experimentation act as something of a saving grace. Buy UKFR Banner Space About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Garden of an Angry God film review by UK film critic Jason Knight. Starring Chelsea Roe, William Shelton directed by Matthew David Roe. HOME | FILMS | REVIEWS Garden of an Angry God Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 11, 2026 Directed by: Matthew David Roe Written by: Matthew David Roe, Kimberly Britt Starring: Chelsea Roe, William Shelton A short psychological horror film, written by Matthew David Roe and Kimberly Britt, directed by Roe and starring Chelsea Roe and William Shelton. It is based on a short screenplay titled Undertakings by Britt. Joan (Roe) works as a cemetery caretaker. Unfortunately, she is also an immoral person and tends to steal items left at graves by mourners, such as flowered garlands or objects of sentimental value. As she continues to do so, strange occurrences take place in her apartment and the appearance of a mysterious man (Shelton) suggests that her vile actions have consequences. Shot in black-and-white, this film works well as a horror film, particularly a haunted house horror film. When Joan is at home, strange things happen that include unexplained noises, evident blood falling on flowers and a lightbulb going out. Concerned and frightened, she repeatedly looks through the door viewer, with the apparent intention of identifying the source. These events, along with the darkness and the ominous music create a sinister and dreadful atmosphere. On the minus side, the script does not have a thorough conclusion, leaving understanding what is going on open to interpretation. Roe plays a loner, a woman who lives by herself and who does not seem to care that her actions are wrong. That makes her an unlikeable character, an anti-heroine, a selfish and narcissistic person. Shelton steals the show with his character who is a suited man with pointed fingernails who appears out of nowhere and whose purpose seems to be to judge Joan or make her re-evaluate herself. 'Garden of an Angry God' can mean a variety of things, one of which could be derived from Jonathan Edwards's sermon and is related to God's wrath against sinners. This definition is probably the one that matches this story, as it deals significantly with immorality and punishment. From another perspective, the plot also involves isolation and self-reflection. A dark short horror film with strong performances that effectively develops a frightening environment. A decent viewing, but one that might have benefited from a more clear ending. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Leathanach Deiridh film review by UK film critic Swati Verma . Starring Veronica Henley, Deirbhile Lee, Joanne McCall directed by Michael Antonio Keane. HOME | FILMS | REVIEWS Leathanach Deiridh Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 6, 2023 Directed by: Michael Antonio Keane Written by: Michael Antonio Keane, Saorlaith Ni Shuibhne Starring: Veronica Henley, Deirbhile Lee, Joanne McCall The director Michael Antonio Keane and writer Saorlaith Ni Shuibhne give their audience an intricate script to handle a story woven around a true event so subtly being respectful towards every person involved with it through this narrative featuring a mother and a daughter duo Dr. Aine (Veronica Henley) and Dearbhla (Deirbhile Lee). The plot of Leathanach Deiridh revolves around true events. Unfortunate circumstances prompt a young woman to recount her story, from her birth at a mother-baby home to a life spent wondering about her lost family. The film opens with a series of Mid-shots and close-up shots of a doctor of a mother and baby home to provide minute details of the conversations that took place to establish the subject matter of the film and also give the viewers a chance to build an emotional connection with the content of the movie. The camera refocuses itself as it pans into the patient to showcase the pain, and the suffering the past has inflicted upon her to not break the emotional appeal and the audience continues to feel involved with it up until the climax of the dramatic piece. The filmmakers create a flashback with just sounds that give a new twist in the form of a subplot that makes the audience wait for the culmination of the cinematic piece. The white-bluish colour pallet, the hospital setting along with natural lighting, emotional background sound, dialogues, costume, hair, and, makeup complement the sensitive topic adding elements of realism and relatability to it. The inclusion of real facts at the end of the movie assists the makers to ensure that Leathanach Deiridh stays with the audience after they have finished watching. In terms of performance, Deirbhile Lee plays Dearbhla who is busy searching for her identity within herself and also the whereabouts of a family that she aspires to be with for the time left on this earth. Lee has portrayed a range of emotions and also shows the urge to continuously fight for survival and not give up inspiring the audience to learn from Dearbhla many valuable life lessons. Veronica Henley plays the role of Dr. Aine mother of Dearbhla who is reunited with her daughter but she faces a new set of challenges and hesitates to reveal her reality to Dearbhla. Henley wonderfully depicts the love and concern as she visits her long-lost offspring but Aine is also fearful of being confronted and rejected by the young lady. The senior actress utilises body language, voice modulation, facial expression, and eyes to communicate the pain and helplessness of a mother who has to stay away from her child for reasons best known to Aine. Leathanach Deiridh talks about the importance of the relationship between a mother and her children and even any number of problems or years gone by cannot alter the essence of the emotional bond between them. The short film reiterates the fact that seeking help and sharing life experiences and issues with one’s loved ones is necessary to feel better within. Hope, positivity, and happiness are crucial for giving a fresh outlook to life each time negativity surrounds people. The creative piece appeals to its audience to exercise mutual understanding between the parents as well as children so that no stranger can affect the bond in any possible way. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Out Stretched Hands film review by UK film critic Patrick Foley. Starring Devon Grevious, Quan Moore, Conor Lucey directed by Nate Reynolds. HOME | FILMS | REVIEWS Out Stretched Hands Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jun 18, 2025 Directed by: Nate Reynolds Written by: Tayvon Bradford Starring: Devon Grevious, Quan Moore, Conor Lucey Out Stretched Hands imagines a sadly common altercation, in the United States. Its soft immersion into the normal night of two friends leads to a painful tragedy, which will haunt viewers long after its short runtime ends. Caleb (Devon Grevious) and Junior (Quan Moore) and old friends embarking on a normal night. Both have ties to the local drug trade, but their conversations revolve around family, friends, hopes and dreams. They notice a car following them, and prepare for a confrontation with rivals. But when it is revealed that it is a police officer (Conor Lucey), both understand that a different threat now exists. The entanglement of police violence and racism in the US is a societal blight. So often it is the innocent actions or pleads from victims that become rallying cries – ‘he can’t breath’ in the aftermath of George Floyd’s murder or ‘Hands up, don’t shoot’ in Michael Brown’s. ‘Out Stretched Hands’ echoes such phrases, as a demonstration of how police bigotry is an inherent cause of such events. Caleb and Junior are not portrayed in this film as squeaky-clean, but their efforts to comply and negate threat are met in response with fear, anger and suspicion – leading to an avoidable and intentional tragedy. Tayvon Bradford’s script comes with a hard edge. Caleb and Junior’s bond is established quickly and convincingly through their vulgar banter. The effortless injection of their personal lives within the dialogue quickly details their background and the complexities of their relationship, such as Caleb’s admiration for Junior’s sister and each’s opinion on whether the risks that come with their lifestyle are worthwhile. Similarly authentic are Nate Reynolds’ direction and Chris Rivera’s cinematography, which immerse the audience in dark and foreboding city streets, in which the pair’s car is the only source of light. The red lights of the cop car that illuminate the vehicles interior are the first signs of warning, and Caleb’s decision to leave the car is what proves to be a sadly fateful one. Grevious and Moore demonstrate a playful bond that gives room for moments of both drama and comedy in the film’s opening. They each bring their own shade of cool, both able to give and take jokes at their expense, but touch on deeper questions about their characters’ lives. It quickly builds their profiles and relates the pair to the viewer. This is of course essential to deliver the blow of the finale, in which an interaction with a police officer escalates to devastating results. The tension in this scene in built well, and viewers will be shaken by the outcome. If there is one major mark against the film, it is in the flat response of Moore’s character to the officer’s actions – which falls short of the emotional stakes and pulls the audience out of the immersion at the worst possible time. Out Stretched Hands is powerful short that asks familiar questions of its viewers. Its power comes from its protagonist's imperfections – by building real people with real lives it counters any narratives that the reactive and violent actions of people are justifiable. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Coming to You film review by UK film critic Christie Robb. Starring Eunae "Nabi" Jeong, Sunhwa "Vivian" Kang, Yejoon Joung, Hankyeol Lee directed by Gyuri Byun. HOME | FILMS | REVIEWS Coming to You Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Mar 19, 2024 Directed by: Gyuri Byun Written by: Gyuri Byun Starring: Eunae "Nabi" Jeong, Sunhwa "Vivian" Kang, Yejoon Joung, Hankyeol Lee Writer/director Gyuri Byun’s Coming to You is a monument to the love and support families can provide for their children even if it takes the older generation a minute to get there. The Korean documentary follows Hankyeol, a person who is gender-fluid, but pursuing a legal identification change from female to male. This requires the partnership of his mom, Nabi. (In Korea, up until 2019, this process required filling out 18 different legal documents—including parental approval regardless of the child’s age. So, even if you’re an adult in your 30s.) Sharing the spotlight is Yejoon, a gay man, and his mom, Vivian. Initially, Vivian thought Yejoon would be better off living abroad for the rest of his life rather than living in a homeland that lacks same-sex marriage rights. Right now Korea isn’t a super-friendly space for the LGBTQ+ community. But PFLAG (an international organization dedicated to support, education, and advocacy for LGBTQ+ people and their loved ones) and other groups are working to change that. Coming to You , a documentary years in the making, illustrates the challenges and struggles of parents in a conservative society when they find out their kid doesn’t fit society’s expectations for who they are and/or how they behave. A society that can be hostile and violent. Homophobic. Transphobic. A society where suicide is the leading cause of death of people aged 10-39 (BBC ). But, it’s not all struggle. There’s hope and joy here, too—changes in the legal system, evolving attitudes after challenging conversations, fierce love and devotion. Support. Allyship. Love. Centered on the mothers’ journeys to acceptance, the film could have benefitted from a deeper exploration of the children’s experiences. A few more interviews with them would have really strengthened the project. But the moms are raw and honest, flawed but trying. And the extent they are willing to listen, love, and change to support their kids is just beautiful. Buy UKFR Banner Space About the Film Critic Christie Robb Digital / DVD Release, LGBTQ+, World Cinema, Documentary < All Reviews Next Film Review >

Off the Beat film review by UK film critic Swati Verma. Starring Amani Kojo, Aaron Smallwood Jr. directed by Jahleel Hills. HOME | FILMS | REVIEWS Off the Beat Film Review average rating is 5 out of 5 Critic: Swati Verma | Posted on: Jun 24, 2024 Directed by: Jahleel Hills Written by: Jahleel Hills Starring: Amani Kojo, Aaron Smallwood Jr. The writer-director Jahleel Hills works on his script and builds an intriguing storyline establishing the subject matter with conflict as its core idea therefore increasing the degree of audience engagement with the content. Amani Kojo (Vaughn) and Aaron Smallwood Jr. (Ray) along with the supporting cast help Hills to depict the narrative with realism and relatability. The plot of Off the Beat revolves around Vaughn who gets stopped and frisked and has to explain this to his older brother who is an officer. The short film begins with a black screen and followed by Vaughn dancing to the beat of the drums played by his friend. The eerie background music creates a sense of suspicion in the minds of viewers related to his ways of making money as well as the people he hangs out with from the very start. The set design, colour pallet, dim lighting, camera angles, dialogues, music, sound, costume, hair, makeup, and props are kept natural to elevate and provide depth as well as mystery/thrill to the screenplay and also maintain continuity in the flow so that the audience does not lose interest in the movie. In the performance department, Amani Kojo plays Vaughn is young lad who wants to enjoy life also make a lot of money while concentrating on his family ties with his elder brother Ray. Kojo beautifully expresses the physical as well as the emotional challenges a young person goes through while keeping up with the challenges as well as expectations coming from the society. The voice modulation, body language, facial expressions, and eyes are very aptly utilised to communicate what the character feels by the actor. Aaron Smallwood Jr. plays Ray the elder brother of Vaughn who loves him and wants to protect Vaughn at any cost but he is also tied to his loyalties towards his job as a cop. Smallwood Jr. has taken the audience on a roller coaster ride through his portrayal of Ray. He adds a lot of layers to his character making it interesting for the viewers to interpret Ray. Smallwood’s depiction of Ray inspires the audiences to strike a similar balance between work and personal life. Off the Beat talks about the discrimination black people have to face and how situations tend to become so serious that they tend to affect families in the long term as well. The short film also reiterates the importance of building strong bonds between loved ones, friends, and communities so that they can stay with someone who needs help in trying times. The creative piece also highlights choosing the right bunch of friends to be around also becomes very crucial as friends can either positively or negatively impact one’s life. The creative piece also talks about the need to listen to one’s heart and make a difficult decision because sometimes it is likely to be more beneficial/ fruitful for all the people involved. The dramatic piece tells its audience about the significance of being a law-abiding person because doing something always gets one in trouble. To conclude, I would like to appreciate the makers for giving Off the Beat an open-ended closure giving the audience freedom to interpret it as they want to making it an interactive experience for them. Secondly, I loved the way the writer- director Jahleel Hills wrote the brotherly bond between Vaughn and Ray making it real and relatable from the very beginning. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Sorority film review by UK film critic Jason Knight. Starring Sophie Kennedy Clark, Emily Haigh, Kate Dickie, Sam Gittins, Hannah Lee directed by James Webber. HOME | FILMS | REVIEWS Sorority Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 8, 2022 Directed by: James Webber Written by: James Webber Starring: Sophie Kennedy Clark, Emily Haigh, Kate Dickie, Sam Gittins, Hannah Lee An emotional story about the lives of two sisters. Harriet (Clark) and Sarah (Haigh) are siblings who have reached a point in their lives where there are going to be dramatic changes. Harriet has decided to move to Manchester and Sarah has been accepted to university. Although both are happy with their decisions, there are also complications as Harriet breaks up with her long-time boyfriend Andrew (Gittins) and Sarah ends up having to find another place to live. This is a moving drama that deals with themes of sisterhood, family, loss, regrets, tragedies, support and reconciliation. The screenplay follows the joys, struggles and challenges the two sisters go through and acknowledges that the bond between them is very strong. Sarah and Harriet spend a great deal of time together, enjoying themselves, discussing their lives, their past, their future, helping each other and they end up crossing paths with their estranged mother (Dickie). The narrative takes place over the course of a weekend, indicating that a great deal can take place over a short period of time. There are scenes of happiness, scenes of confrontation and scenes of forgiveness. Clark and Haigh deliver great performances as two sisters who grew up together and care deeply for each other and are now facing significant changes in their lives. Gittins plays his part very well as Harriet's partner, who is quite upset about their break-up and who also shares a traumatic experience with her that took place in the past. Dickie is also great as the mother who made mistakes in the past and is willing to make up for them. The protagonists are individuals who each have their own challenges to face and the performances are dramatic and emotional. Webber does a superb job with the directing and the use of slow motion is beautiful. The voice-over creates drama and the cinematography by Lorenzo Levrini is wonderful. The dramatic score by Derek Kirkup is a significant contribution. This feature is a coming-of-age story about self-discovery, about coming to terms with the past and moving on to better things. The acting is terrific, the script is very heavy on drama and the viewing will most likely provide a moving experience. The film is available to watch on Amazon Prime Video: https://www.amazon.co.uk/gp/video/detail/B09QGJST4B/ref=atv_dp_share_cu_r Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Digital / DVD Release, Amazon Prime < All Reviews Next Film Review >

Groomed film review by UK film critic Patrick Foley. Starring Danielle Lyn, Angelo Reyes, Amor Owens directed by Angelo Reyes. HOME | FILMS | REVIEWS Groomed Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 18, 2023 Directed by: Angelo Reyes Written by: Mary J. Dixon, Angelo Reyes Starring: Danielle Lyn, Angelo Reyes, Amor Owens Angelo Reyes’ Groomed – a drama short based on the real-life story of trafficking survivor Tanya Street – is a difficult and daunting film that imperfectly but authentically realises the disturbing pathways many young women find themselves dragged down that lead to a life of abuse and violence. Maria (Danielle Lyn) flees home after a fallout with her parents, finding herself having to survive on her own. She falls in love with Ricardo (Reyes), an older boyfriend who manipulates her into sleeping with a friend for money in order for them to pursue a life together. But as time passes, Maria is forced into more and more acts of prostitution, until her entire sense of self and worth have been destroyed as she sees no way out of the life she feels trapped in. Groomed makes for an interesting comparison with the recently released Sound of Freedom - the Qanon and Trump supported action that also focuses on human trafficking. Both are based on true stories, but Groomed ’s portrayal of the sinister, personal and manipulative methods that faux-boyfriend types utilise to coerce trusting partners into a life of sexual slavery is a much more common and regular crisis than the supposed rings of paedophiles who act as antagonists of Alejandro Monteverde’s feature. Groomed shows that trafficking usually starts much closer to home – and this personal account of inspiration Tanya Street’s experience acts as a much more relevant and complex exploration of the issue as a result. Whilst the story itself is affecting, the film itself has some significant storytelling flaws that its powerful message cannot deflect from. The short runtime means that the relationship between Maria and Ricardo is seriously condensed, essentially acting out over the course of a single scene. This means there is no chance for any sort of chemistry to develop between the pair, and Maria’s decision to follow her supposed boyfriend’s lead to a place she does not want to go does not feel fully developed or comprehensible. As the film progresses, other issues arise – such as the finale in which Maria is able to escape her controllers with ridiculous ease. Whilst the scenes themselves are clearly meant to be symbolic of real events and a metaphor for the act of good Samaritans, the events in the film’s world fail to align with the reputation of the characters that have been created and portray Maria as someone who never thought of an easy and straightforward escape. The acting is lacklustre and below par for even a lower-budget film. The majority of the cast provide wooden and stunted delivery of their lines, and never match the required anguish, anger or intensity of the situation their characters find themselves in. Some of this is a result of scripting issues as well as the shorter runtime which never really allows proper development to take place, but the basics of delivery and performance could have been ironed out much more thoroughly. Groomed has a lot of rough edges and deficiencies, but brings to life an emotional and difficult story relatively well. Trafficking and slavery make for an incredibly difficult topic, and the director manages to portray issues and realities around this in a respectful and authentic way. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Brutal Season film review by UK film critic Jason Knight. Starring Colleen Madden, Houston Settle, Markwood Fields, Shelby Grady, James Ridge, Shuler Hensley directed by Gavin Fields. HOME | FILMS | REVIEWS Brutal Season Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Mar 14, 2024 Directed by: Gavin Fields Written by: Gavin Fields Starring: Colleen Madden, Houston Settle, Markwood Fields, Shelby Grady, James Ridge, Shuler Hensley In 1940s New York, a family's life is disrupted by the unexpected arrival of an estranged relative. A good way to start this review would be with the interesting opening of this feature, which takes place with the film-within-a-film technique or the metacinema mode. A film crew is preparing a sound stage, while a narrator briefly gives some information about the story that is about to begin. Then the protagonists are introduced one-by-one, along with their character's name and also their fictional acting name (not the actors' actual names just to be clear), stating that the viewers are watching a work of fiction within a work of fiction. This is an unusual beginning for a film and a rather clever one. Moving on to the plot now, the first half could be categorised as a period family drama and the rest as a murder-mystery thriller. The narrative takes place in Brooklyn, New York during the summer of 1948. The Trouth family live in an apartment and they consist of Gayle (Madden) and Louis (Ridge), an elderly couple and their two grown-up children, Marianne (Grady) and Charles (Fields). Generally, they are happy, although they are facing some issues as Louis is struggling to maintain a job and Marianne wants to move away. Then, from nowhere, Louis Jr. (Settle), the eldest son, appears, who had left their home twelve years ago without any notification and spend his time travelling and working around the country and Mexico. Although his mother and brother are happy to see him, his sister and father are less pleased. Louis Jr. settles in and catches up with everyone, however the drama begins when he confronts his father about the past, his drinking and gambling problems and a family inheritance. Then, a terrible event turns things upside-down and a life insurance investigator (Hensley) arrives at the apartment in order to interview the family members and determine what happened. From there, the suspense and tension rises as the investigator talks with the Trouths one by one and more and more facts are brought to life, leading to quite dramatic revelations. Watching this film feels like watching a play. Almost the entire narrative takes place inside one large room, with characters usually sitting at a table, playing cards and having conversations. Also, several shots are directed in ways that make the viewer feel The mise-en-scene is impressive and it effectively creates a 1940s environment. To begin with, the costumes look very realistic and forties, thanks to the work of Melania Brescia and Andrew Haueter and the hairstyles and furniture also belong in that time period and special mention goes to the appearance of an antique knife that plays a vital part in the story. Production designer Dex Edwards makes an outstanding contribution with the convincing sets. The fabulous music by Andrew Burke is emotional and dynamic and it seems to go with the period in which the story is set. Commendations also go to the creative lighting methods and Steven Carmona's cinematography which create a moody atmosphere. It is also worth mentioning that the hot weather that takes place in the story is obvious as the characters are often sweating. The well-structured screenplay creates interesting characters, the most intriguing arguably being Louis Jr. He stands out as he has a sort of cool attitude and he is confident and sharp and does not hesitate to express his thoughts. Louis Sr. is probably a close second, a frail old man who is trying to leave his past mistakes behind him. The investigator more or less becomes the protagonist for the second half of the film as he plays detective to uncover the truth behind a tragedy. This is a story about murder and the complications of a surprise family reunion. Through scenes of heavy drama and mystery, the feature explores family values, regrets and reconciliation. It is a journey back to the 1940s that seems to pay homage to films of that era, particularly film noir and the strong performances, well-written screenplay and forties atmosphere make this a viewing that stands out. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Loving Silence film review by UK film critic William Curzon. Starring J.J. Bozeman, Addy Marsh, Claire Bridget Martin directed by Nick Perlman. HOME | FILMS | REVIEWS Loving Silence Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Sep 8, 2026 Directed by: Nick Perlman Written by: Nick Perlman Starring: J.J. Bozeman, Addy Marsh, Claire Bridget Martin Loving Silence follows Jerome (J.J. Bozeman), a young man who runs into his ex-partner, Luke (Addy Marsh), at a silent retreat. As they begin to reconnect through silence, their past threatens to unravel their present. Loving Silence is a self-funded short film made by a five-person production team with minimal production costs. Perhaps one of the most impressive aspects of Loving Silence is its incredibly unique and heartfelt narrative. While the film may have worked better as a feature-length narrative, the filmmakers waste no time pulling the audience into the silent retreat and introducing the two central characters. The use of voiceover works well, with brief exposition explaining how the retreat works to the central character, Jerome. Sadly, one of the biggest issues is the lack of characterisation. Despite the powerful use of silence throughout, it is hard to feel emotionally invested in Jerome’s reconnection with Luke, as the runtime and lack of context don’t give the audience enough time with either character to understand their relationship. What's not said is incredibly moving, and thankfully both J.J. Bozeman and Addy Marsh’s chemistry is magnetic. The production value is another memorable technical standout, as the retreat feels incredibly lived-in with a plethora of impressively designed cabins around the area. It's a fly-on-the-wall experience: the camera lingers on each character and captures so much emotion through each performance. Jett Cain, the film's cinematographer, does an astounding job capturing each character's emotion and the silence they have to overcome to heal their wounds. The piece primarily consists of fixed camera movement with unique framing choices such as extreme close-ups during moments of intimacy and characters in recollection. The camera also shifts to tracking the central character as he moves around the retreat, an apt choice as it places the audience firmly within his point of view. It's a beautifully edited and well-paced film; despite its brisk runtime, the narrative never feels rushed, and its themes of love and desire continue to resonate. That being said, there are some bizarre editing choices, with inserts of flashbacks integrated into pivotal scenes that feel jarring and out of place. While these flashbacks are integral to both characters' arcs, they sadly fail to resonate due to their bizarre placement in the narrative. Despite these issues, the musical score elevates the more pivotal narrative beats with some whimsical motifs that match the characters’ need for connection and comfort. Both central performances, by J.J. Bozeman and Addy Marsh as Jerome and Luke, respectively, are incredibly moving. Their performances are all the more impressive given the dialogue-free nature of the piece, with their body language conveying so much of what they feel for each other. Despite the lack of characterisation, their chemistry shines through the film's flaws, and the use of silence makes it even more compelling. While both actors are giving it their all, there ultimately isn’t enough buildup for the romance to connect emotionally. Loving Silence is a heartfelt piece of filmmaking about letting go and finding closure in oneself through silence. Despite the film’s many flaws, it tells a beautiful story, clearly crafted with its heart in the right place when it comes to its exploration of queer love and desire. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Reduced to Clear film review by UK film critic Joe Beck. Starring Edward Tidy, Simon Fisher-Becker, Winter Foenander, Dawn Butler directed by Luke Allen, Alex Yousefi. HOME | FILMS | REVIEWS Reduced to Clear Film Review average rating is 1 out of 5 Critic: Joe Beck | Posted on: Jul 29, 2022 Directed by: Luke Allen, Alex Yousefi Written by: Luke Allen, Alex Yousefi Starring: Edward Tidy, Simon Fisher-Becker, Winter Foenander, Dawn Butler Britain has produced some of the finest comedies of all time. ‘Blackadder’, ‘Fawlty Towers’, ‘Only Fools and Horses’, ‘The Office’, ‘Spaced’, ‘Shaun of the Dead’, ‘Hot Fuzz’, ‘The IT Crowd’, ‘Fleabag’, you probably get the point. That list may seem overly long, loquacious, long-winded, garrulous, voluble, and loose-lipped, but it is merely an example of the style of humour employed in ‘Reduced to Clear’, the worst comedy to come out of Britain since Brexit. We are introduced to Mike (Edward Tidy) on his first day as a charity shop volunteer. The manager (Simon Fisher-Becker) tells him to ‘consult the rulebook’ if he’s stuck, before toddling off to god knows where. That line ‘consult the rulebook’ will surely become a very funny gag later in the film right? Wrong, it doesn’t come up again until almost the very end, and is forgotten almost as quickly as it arrives. The crux of the problem with ‘Reduced to Clear’ is it’s script, which is so mind-bogglingly awful that it’s more likely to cause someone to smash their screen in rage than roll around in laughter. It doesn’t understand the concept of setting up a gag, events merely happen with no foreplay, and we’re expect to laugh just because ‘oh look at me I’m so quirky, I’m so random’. It’s one of those scripts which feels the need to lengthen each joke to the point of exhaustion, over-explaining everything and becoming unbearably loquacious. This wouldn’t have been so bad had they done it once, then moved onto the next joke, but it seems to be the only joke in the arsenal, and occurs time and time again. The ending tries to cop out and nullify the bad script by becoming self-referential, however, that’s a further example of lazy writing, as the writers - Luke Allen and Alex Yousefi - have evidently realised the abysmal nature of their script, but rather than rewriting, have opted to try and undermine it with a ten-second gag. Allen and Yousefi’s direction is similarly lifeless, giving the setting of the charity shop no atmosphere whatsoever, whilst the framing leaves a lot to be desired. The argument that this is perhaps because it was made on a budget of £2000 budget does little to explain this - I’ve seen school productions with a greater production value. The decision to not have a score whatsoever is bizarre, though perhaps a laugh track would have made even more sense - anything to fill the vacant pauses as each actor fumbles their way around the botched script. ‘Reduced to Clear’ is not a good film, in fact, it’s almost unwatchable - though it’s one saving grace is that it doesn’t offend any proportion of society. But it did offend me, simply by having to watch it; ‘Reduced to Clear’ is an apt title for a film lacking in anything which would make it worth keeping. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >