Eternals film review by UK film critic Brandon Thomas. Starring Salma Hayak, Angelina Jolie, Brian Tyree Henry, Richard Madden, Gemma Chan, Kit Harington, Kumail Nanjiani directed by Chloe Zhao. HOME | FILMS | REVIEWS Eternals Film Review average rating is 2 out of 5 Critic: Brandon Thomas | Posted on: Nov 3, 2021 Directed by: Chloe Zhao Written by: Chloe Zhao, Patrick Burleigh, Ryan Firpo Starring: Salma Hayak, Angelina Jolie, Brian Tyree Henry, Richard Madden, Gemma Chan, Kit Harington, Kumail Nanjiani The Marvel formula continues to chug along 13 years after the Marvel Cinematic Universe was born in 2008’s Iron Man . The popular studio has had some major highs with The Avengers , Guardians of the Galaxy and Black Panther , and some major lows with Iron Man 2 , Thor: The Dark World , and Black Widow . How does Marvel’s latest, Eternals, stack up with the rest of their catalog? Well, it might be time for Kevin Fiege and company to go back to the drawing board when it comes to their origin stories. Eternals is a sweeping, millennia crossing story that follows a group of immortal beings sent to Earth to protect it from the Deviants. After spending thousands of years fighting the Deviants – and finally destroying them – the group goes their own way until the time comes for their return home. As present-day arrives, an old enemy begins stalking the group one by one, and they must reunite for a final battle. Eternals is Marvel going full cosmic. The story is big – one that stretches over space and time – and seeks to be the most grandiose MCU movie to date. However, the film stumbles over itself time and time again with a story that never really knows where it wants to go. Eternals spends too much time reuniting characters we barely know. It’s difficult to become invested in the overall struggle when our heroes haven’t even made an impression. Director Chloe Zhao was an interesting choice for Eternals . Her films have always felt especially grounded and personal. Characters have always been her focus with the story a distant second. And those quieter moments in Eternals are the ones that work best. The large cast is more than game to bounce off one another with the ridiculous dialogue, and those become the moments where Zhao’s work feels most prominent, along with the gorgeous cinematography that has become a staple of her films. Speaking of the cast – wow, there’s plenty to speak of, including Angelina Jolie, Salma Hayek, Brian Tyree Henry, Kumail Nanjiani and Richard Madden. At 2 hours and 37 minutes, most of them get time to shine even if those moments feel like they came out of half a dozen previous Marvel movies. There’s no real breakout star the way Downey, Pratt, Hemsworth or Bosman were. Even the spectacle ends up disappointing. Marvel has a bumpy track record with the action in their film ranging from great (Captain America: The Winter Soldier ) to downright boring (Thor: The Dark World). The action sequences here feel emotionless and lack even an ounce of excitement. It’s hard to get invested in what feels like a bunch of pixels bouncing off one another. I remember when it was exciting to see lauded filmmakers like Sam Raimi or James Gunn get a shot at one of these giant franchise movies. Now, when a respected filmmaker like Chloe Zhao gets thrown into the comic book movie mix, I can’t help but wince at what the final product might be. Buy UKFR Banner Space About the Film Critic Brandon Thomas Theatrical Release < All Reviews Next Film Review >

Beautiful, Pam film review by UK film critic Jason Knight. Starring Tom Ciorciari, Peter Konsevitch, Bec Fordyce, Cadence Meier directed by J.R. Stokes. HOME | FILMS | REVIEWS Beautiful, Pam Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 14, 2026 Directed by: J.R. Stokes Written by: J.R. Stokes Starring: Tom Ciorciari, Peter Konsevitch, Bec Fordyce, Cadence Meier A poignant drama written and directed by J.R. Stokes and starring Tom Ciorciari, Peter Konsevitch, Bec Fordyce and Cadence Meier. Pam (Ciorciari), formerly known as Richard, is a trans sex worker, who is HIV-positive and a sex addict and a drug addict. Currently living in a motel room, he feels suicidal and lonely. His son Paul's (Randall Krauss) 18th birthday is coming up and Pam hopes that this will be an opportunity to reconnect with his estranged child. This hard-hitting film concentrates mostly on character exploration rather than storytelling. The main focus is Pam as he works nights as a prostitute, as he desperately tries to convince his ex-wife, Lauren (Fordyce) to allow him to attend his son's birthday party and as he builds a rapport with Rose (Meier), another trans that he met in the support group meetings that he attends. The main thing these occurrences reveal is the dead-end life that he has ended up with after his marriage collapsed. A sort of subplot is in effect with Pam's friend, Beetle (Konsevitch), an obnoxious drug addict. The atmosphere is quite despondent and enhanced by a moody cinematography. Ciorciari delivers a heartbreaking performance as a man who seems to have lost everything due to his past mistakes. He longs for a better life and is desperate to be with his son, however he is unable to overcome his addiction and his demons. He is an outcast and a broken person. Fordyce plays his former partner, who understands his sorrow and his desire to see his boy but is also aware that having him near her and their child will do no good. Meier's character serves as a means of comfort for Pam. Like Pam, Rose is trans and that makes it easier to identify with each other and Rose proves to be kind-hearted and concerned about Pam's well-being. Konsevitch portrays a despicable guy. His character is a drug user with a tragic backstory who hangs out with his friend, Lance the Crown (Kevin Leonard), living a pointless life and being utterly inconsiderate regarding other people. Although this feature is one hour long, it carries a great deal of subjects, most of which concern major struggles in life, such as melancholy, suicidal tendencies, drug addiction, loneliness, isolation, regrets and prostitution. It also acts as a commentary about trans people being marginalised. Very heavy content. From a more positive perspective, the significance of family, support, connection and self-reflection are also acknowledged. A sad story about a sad man seeking happiness and redemption. This is a difficult film but also a strong one. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

20 Euros film review by UK film critic William Curzon. Starring Anthi Kasinou, Constantinos Tsitsios, George Avraam directed by Alexander Machlouzarides-Shalit. HOME | FILMS | REVIEWS 20 Euros Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Apr 5, 2026 Directed by: Alexander Machlouzarides-Shalit Written by: Alexander Machlouzarides-Shalit Starring: Anthi Kasinou, Constantinos Tsitsios, George Avraam 20 Euros follows a couple, Eleni (Anthi Kasinou) and Nick (Constantinos Tsitsios), on a night out as they are interrupted by a man in a parking lot, who challenges their perceptions of modern-day masculinity. The film is an exploration of the absurd nature of toxic masculinity and relationships alongside a satirical take on violence. One of the most refreshing aspects of the piece is its topical discussion of toxic masculinity, presented from both female and male perspectives, within an incredibly brisk runtime. The blend of satire and darkness keeps the film's themes engaging and deeply provocative. It prompts the viewer to sit with questions, such as what it means to be a man, and leaves the debates open for discussion long after the credits roll. The filmmakers put the viewer in a state of tension and manage to sustain that propulsive nature throughout the duration of the runtime. The subversion of tonal shifts works incredibly well as a grounded blend of both violence and satire. Both Anthi Kasinou in her portrayal of Eleni and Constantinos Tsitsios’ portrayal of Nick are incredibly endearing thanks to their magnetic chemistry. It's deeply engaging to witness their relationship, particularly through their complex discussions on modern-day masculinity, and hearing both their perspectives keeps the themes of the film remarkably nuanced. Nick conveys a calmer and more collected feeling on how violence isn't always the answer to conflict unless it's self-defence. Eleni argues that women need to feel safe and protected by their partner in moments of conflict. Seeing both sides of the relationship’s perspectives feed off one another is incredibly gripping, and its social commentary leaves room for debate by not picking sides on the subject matter. The camerawork primarily consists of over-the-shoulder framing within the car and the camera rigged in front of the vehicle to always keep both Eleni and Nick at the centre of the frame. Stephen Metzner, serving as the film's cinematographer, utilises these unique ways of framing both characters so the viewer never loses sight of the central characters' emotive performances. The use of music also complements the moments of conflict and tension astoundingly with its visceral motifs. However, during the acts of violence, the editing can appear choppy, making it difficult to comprehend what is occurring on screen. While this may be an intentional choice to convey the brutality and number of characters present, it's incredibly jarring and incomprehensible at times. The use of slow motion during the acts of violence is another questionable formal decision; however, it somewhat works due to the satirical nature of the narrative. The film seamlessly blends the more intimate moments of discussion and conflict, creating an incredibly engaging experience for the viewer. While the conclusion to the narrative is somewhat open-ended, leaving room for debate, it prompts the viewer to reflect on the concepts of masculinity and the cycle of peer pressure that perpetuates toxic masculinity. 20 Euros is a thought-provoking and deeply nuanced exploration of modern-day masculinity that skillfully blends satire with the severity of the topic. Assisted by two terrific performances from Anthi Kasinou and Constantinos Tsitsios, the film will likely spark discussion on the male and female perspectives on violence and masculinity. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Dress Code film review by UK film critic Patrick Foley. Starring Gerard Garilli, Nicholas Giordano, Freddie Maas directed by Joseph Pupello. HOME | FILMS | REVIEWS Dress Code Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Feb 23, 2023 Directed by: Joseph Pupello Written by: Peter Panagos Starring: Gerard Garilli, Nicholas Giordano, Freddie Maas Doing something somewhat original within the gangster genre is an accomplishment within itself in 2023. Points already on the board for Dress Code, a film otherwise drenched in mobster cliches yet maintains a sincerity and intrigue. Bobby Russo (Nicholas Giordano/Gerard Garilli) is the son of feared mob boss Dominic Russo (Freddie Maas). Spending his youth with his best friend Chris (Aden Dixon/Kevin Williamson), Bobby struggles to hide his fascination with women’s clothing. His mother Joyce’s (Alex Di Trolio) discovery of his secret leads to Bobby hiding his identity deep down. As he grows older, and becomes more entwined with the mob, Bobby’s secret life threatens to place him in great danger… There’s plenty of problems with Dress Code. Its script is filled with more mob-movie cliché dialogue than you can throw a plate of gabagool at. It’s clunky in moments – such as quite literally stating its own setting as ‘1990s New Jersey’. It’s overlong. And it’s plot is confusing at times and driven far too often by coincidence and chance. And its closing monologue is so corny it wouldn’t look out of place on a lower-end ABC teen-drama And yet this feature from first-time director Joseph Pupello still manages to invoke incredible tension, develop gripping characters filled with considerable depth, and handle its protagonist’s sexuality and gender identity with sensitivity, sympathy and responsibility. Bobby’s crossdressing is presented as an integral part of his character, yet one that only fundamentally defines his life because of the lack of acceptance and threat the world around him would react with. Bobby is not a character that easily fits any box or lives up to the stereotypes often seen on screen. His damage and trauma are the result of the hypermasculine world he was born into, and not his refusal to apply society’s expectation of gender to his preferred way to live. Viewers are left to form their own conclusions around the person Bobby may be in a different life, and this intrigue stems from the director and writer’s careful and considered construction of the character. The film boldly sets its story across two timelines, covering Bobby’s youth and adulthood in the gang. What could have caused the story to collapse under its own weight instead gives the filmmakers opportunities to weave further complexity into the characters and integrate a proper origin for the protagonist. Bobby’s key relationships – with his tyrant father Dominic, troubled best friend Chris, and conflicted uncle Rocco (Frank Osso) benefit from the enhanced development and unexpected turns that come from the time leap. And whilst the size of the cast is considerable, the family ties and focus enhance the personal stakes and keep the story largely legible – though some plotlines are clearly for padding and end up spiralling to nowhere. The energy and dynamism of the cast help keep audiences engaged too. Outside of Bobby’s complex personal life, the characters are walking caricatures of mob-movie staples (with Bobby’s father Dom practically dressed as Tony Soprano). Yet the likes of Freddie Maas, Frank Osso and Edward Socienski (who plays loose-cannon Alphonse Moretti) throw themselves fully into the characters, and give joyously hammy performances. But this is really Gerard Garilli and Nicholas Giordano’s film. The depth of Bobby as a character gives both actors the opportunity to demonstrate their acting ability – with Giordano particularly special in exploring Bobby’s confusing youth. Even with some fundamental flaws, Dress Code is a fascinating and engaging film that finds a unique angle in a crowded genre and introduces engaging and empathetic characters to turn what could have been a cliché-packed forgettable drag into something truly memorable and enjoyable. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Theatrical Release < All Reviews Next Film Review >

Hi, I'm Growing Up film review by UK film critic Patrick Foley. Starring Funmi Adetola, Dipo Adetola, Ejibunmi Adetola directed by Funmi Adetola. HOME | FILMS | REVIEWS Hi, I'm Growing Up Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 6, 2023 Directed by: Funmi Adetola Written by: Funmi Adetola Starring: Funmi Adetola, Dipo Adetola, Ejibunmi Adetola An introspective high school student contemplates the changes his life is about to undergo in Hi, I’m Growing Up – a microbudget feature from director and star Funmi Adetola that creatively tells a personal story with filmmaking that outperforms its limitations. Over the course of a single day, Mike (Funmi Adetola) tries to come to terms with graduation from high school, and moving away from his home and his family. His mother (Ejibunmi Adetola) and father (Motunrayo Adetola) remain their typically overbearing selves, and Mike relies on his sister Ayo (Dipo Adetola) to feed back on his introspections. Among daydreams and drug trips, Mike aims to put his feelings into words in the form of a goodbye speech. A homemade project shot exclusively on an iPhone 7 and starring the director’s friends and family, Hi, I’m Growing Up is an impressive, creative and profound character study that despite some hits and misses, stands up as a fine piece of filmmaking – and not just in comparison to its shoestring budget. The film is a charming, touching, funny and consistently engaging story of growing up. Funmi Adetola strings his relatively straightforward plot together with amusing interludes which establish Mike as a young man searching for direction. His interactions with family further develop and demonstrate his personality – creating empathy in viewers who will no doubt have experienced the confusing, painful and awkward time in life when it becomes necessary to divorce oneself from their childhood. Adetola has a brilliant grasp of Mike’s character (likely down to the personal nature of the project) and brings so much to the role as both the film’s writer and star. Mike’s philosophical musings and indulgent broodings brilliantly walk along that tightrope of individual agency and lack of real-life experience – capturing the sense of late-teen angst in a manner more powerful and authentic than plenty of bigger-budgeted contemporaries. Mike’s speech, which ends up addressed to his family, results in a genuinely moving conclusion to the film that brings his drifting character full circle. The film’s iPhone-captured production necessitates largely fixed shot scenes. Adetola keeps these invigorating for the most part with fast cuts and creative visuals, but there are moments where this limitation does hinder conversation exchanges resulting in some disjointedness. Rough edges are on display – some of these forgivable such as minor shaky cam, and others less so such as a few violations of the 180-degree camera rule. But for any of these mishaps, it should be noted that the film’s creative circumstances are impossible to separate from its production results – with much of its successful charm emanating from the sincerity that drives a smaller-scale feature. Any such mishaps thankfully do not impact on the personality that is imbued or the extent to which character building is achieved – which are the film’s primary accomplishments. There are some experimental creative risks as well which are of mixed success. A short transition into anime early in the film falls flat, and adds little to the plot or Mike’s character, and sits at odds with the film’s tone. But a drug-fuelled hallucinogenic conversation with a teddy bear ends up as both a pivotal development for Mike’s character and one of the film’s funniest scenes. The license for creativity is fully embraced by the director, and adds to the uniqueness of the work when it is successful, as well as when it is not. So despite some clunky production and creative misfires, Hi, I’m Growing Up is a relatable and endearing story that exudes personality and a sense of director-driven vision. It firmly punches above its weight by championing a story about growing up, and is evidence to aspiring directors that the potential for great film-making exists with just a camera and a great story. Buy UKFR Banner Space About the Film Critic Patrick Foley Indie Feature Film < All Reviews Next Film Review >

anyone lived in a pretty how town film review by UK film critic William Curzon. Starring Jane Goodall directed by Daniel Kreizberg. HOME | FILMS | REVIEWS anyone lived in a pretty how town Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: May 12, 2026 Directed by: Daniel Kreizberg Written by: E.E. Cummings Starring: Jane Goodall anyone lived in a pretty how town is an illustration of the titular poem by E.E. Cummings, narrated by the late Jane Goodall. The piece follows a man named “anyone” and a woman named “no one” as they develop a profound love connection within their bucolic but incredibly alienated town. Digitally hand-drawn with thousands of Cel illustrations and dedicated to the late Jane Goodall, E.E. Cummings, and the director’s father, Yakov Kreizberg, the poem is a song of life, love, and death. The beautiful hand-drawn animation is wonderfully illustrated and keeps the narrative engrossing, accompanied by a lovely narration from Jane Goodall. As the piece is dedicated to the late Yakov Kreizberg, who conducted the music featured throughout, the music is whimsical and pervades the narrative's uplifting spirit. While the premise is fairly simple, the narrative is an incredibly poignant tale of the power of love and connection between two individuals. The poetry paired with the animation can make it difficult to decipher specific narrative threads due to the complexity of its ideas and themes. Alongside this, the brisk pacing of the narrative structure can also be overwhelming to process; however, the narration ensures that the viewer is provided with enough context to understand the story’s implications at the surface level. One of the most profound formal decisions is the use of visual storytelling to convey dreaming through illustration. The changing of seasons is another delightful illustration which is executed wonderfully. Its surreal and dream-like presentation may linger on viewers' minds long after the credits roll. The story and themes which the piece tackles are clearly made with a distinct love for the work of the artists involved and the source material. While it may be difficult to stay entirely on board with its dense material and overwhelming pace, it's a profound piece of filmmaking, delicately constructed. It's a beautiful interpretation of the poetry, thanks to its evocative themes paired with the text, which fit together perfectly to deliver a dense and unforgettable illustration. While the story is emotionally overwhelming at times, it can be difficult to be wrapped up in its emotional power due to how quickly the piece concludes. This is an issue, however, which would be difficult to avoid when adapting a piece of poetry due to the length of the source material. That being said, the visuals and musical score still make the experience worthwhile despite its blistering pace and condensed runtime. The evocative themes the piece briefly explores, such as life, love, and death, are tied to the central characters' arcs, bringing nuance and complexity to their journeys within the story. These themes may well resonate with the audience due to their prevalence in the human spirit, and the piece never alienates the viewer despite its vast and surreal presentation. anyone lived in a pretty how town is a visually stunning piece, which pairs wonderful narration by Jane Goodall with gorgeous imagery to present a flawless illustration of a piece of poetry. Paying homage to a plethora of incredibly inspiring artists, the piece is anchored by its evocative themes and whimsical and heart-warming musical score. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Hope Madden writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Hope Madden Hope “Madd at the Movies” Madden, a graduate of The Ohio State University, is a freelance writer and co-founder of maddwolf.com. In addition to 12 years at the award-winning independent weekly newspaper The Other Paper, Hope has written for Columbus Monthly Magazine, The Ohio State University Alumni Magazine, is a published poet and fiction writer. She also currently writes for Columbus Underground, Screen Fervor and the UK Film Review. She also contributes to Directed By Women. Hope’s an official Tomatometer film critic as well as a member of the Columbus Film Critics Association and the Women’s Film Critic Circle. She co-hosts the weekly movie review podcast The Screening Room and the bi-weekly horror film podcast, Fright Club. In Columbus, Ohio, you can catch Hope on TV every Friday morning on ABC6/Fox28’s Good Day Columbus. Contact Hope at maddwolf95@gmail.com and follow her on Twitter @maddwolf and @frightclubpod. Read Latest Film Reviews Practical Magic 2 Read Film Reviews Hope Madden Buddy Read Film Reviews Hope Madden Coyote vs. Acme Read Film Reviews Hope Madden Don't Say Good Luck Read Film Reviews Hope Madden Ice Cream Man Read Film Reviews Hope Madden The Dink Read Film Reviews Hope Madden Camp Read Film Reviews Hope Madden Carolina Caroline Read Film Reviews Hope Madden Obsession Read Film Reviews Hope Madden Lee Cronin's The Mummy Read Film Reviews Hope Madden Alpha Read Film Reviews Hope Madden 1000 Women in Horror Read Film Reviews Hope Madden Hoppers Read Film Reviews Hope Madden Dolly Read Film Reviews Hope Madden The Last Sacrifice Read Film Reviews Hope Madden Good Luck, Have Fun, Don't Die Read Film Reviews Hope Madden Untitled Home Invasion Romance Read Film Reviews Hope Madden Magellan Read Film Reviews Hope Madden Night Patrol Read Film Reviews Hope Madden Is This Thing On? 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Operation Fortune: Ruse de Guerre film review by UK film critic Hope Madden. Starring Jason Statham, Aubrey Plaza, Hugh Grant directed by Guy Ritchie. HOME | FILMS | REVIEWS Operation Fortune: Ruse de Guerre Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Mar 1, 2023 Directed by: Guy Ritchie Written by: Ivan Atkinson, Marn Davies, Guy Ritchie Starring: Jason Statham, Aubrey Plaza, Hugh Grant Guy Ritchie’s latest, Operation Fortune: Ruse de Guerre , is neither the crisscrossing schemery of 2019’s The Gentlemen , nor the dour action plodder of 2021’s Wrath of Man . Although it has elements of both. Like the former, the film delivers an incredibly talky tale of flippant action shenanigans undertaken by varying teams at cross purposes and boasts a delightful turn from Hugh Grant. Like the latter, it’s not very good and stars Jason Statham. Statham plays Orson Fortune, a cantankerous special agent whose skillset is the only thing standing between some unknown item recently stolen and, you know, whatever it might do to the world. That is the fun part. Fancy lad Nathan Jasmine (Cary Elwes) pieces together the team tasked with finding and returning the missing “handle” although no one knows what it is, so determining that bit will be useful as well. Figuring out who took it, why they took it and what they mean to do with it, then stopping them from doing it, whatever it is, represents the balance of the job. Who’s to help Mr. Fortune? Bugzy Malone (rapper and regular Ritchie contributor) and Aubrey Plaza (the only truly new flavor in Ritchie’s crockpot of leftover ideas). Plaza contributes that uncomfortable comedy she does so well, although it sometimes feels like she’s actually performing in a different film that has somehow broken into Ritchie’s movie. Still, she’s at least a lively and amusing distraction, although I can’t say she has real chemistry with anyone onscreen besides Grant. Grant’s a hoot no matter whose scenes he is stealing, and Josh Hartnett surprises in a comedic role that would be more fun if it didn’t feel borrowed directly from (the entirely superior) The Unbearable Weight of Massive Talent . There are a few laugh-out-loud moments, and some scenes that push the film toward parody, although Ritchie and crew cannot land on a tone. Everything feels more like a brainstorming session than a finished film. Nobody gels, nothing hangs together. The action is just this side of exciting, the humor lands about 40% of the time, and one scene pulls directly from Team America: World Police . Mainly Operation Fortune: Ruse de Guerre just made me wish I was watching Team America . Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Halaahal film review by UK film critic Chris Olson. Starring Priyanshu Raj, Mohan Chandra, Sonali Pandey directed by Saurabh Arora. HOME | FILMS | REVIEWS Halaahal Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Jul 30, 2024 Directed by: Saurabh Arora Written by: Saurabh Arora Starring: Priyanshu Raj, Mohan Chandra, Sonali Pandey Familial drama in this short film from filmmaker Saurabh Arora, Halaahal (meaning Poison) is a striking tragedy soaked in emotional performances and pulsing tension. Asif (Priyanshu Raj) and Pritha (Sonali Pandey) are falling deeply in love but a formidable shadow prevents them from bringing their relationship into the light in the form of Pritha’s brother Arjun (Mohan Chandra). The latter, whilst a childhood friend of Asif, would not take kindly to finding out the two of them are in a romantic relationship due to deep-seated prejudices. Pritha passionately begs Asif to speak to her brother so they can proceed with their partnership but as the moment nears, Asif has an unspeakable decision to make. Halaahal showcases a significant amount of filmmaking strengths from Sarabh Arora. His previous film Pulse impressed us greatly, and here we see a similarly engrossing short film. It plays upon dramatic devices well to immerse the audience in the growing tension between the characters but also plays with the timelines. Scenes of Asif early on in the film give an indication of what’s to come and this vamps up the brooding atmosphere as we watch on. Clever angles are also utilised to ensure the space is being used well, allowing the viewer to feel like a fly on the wall in this unfolding drama. The performances are good, in particular Priyanshu Raj as the conflicted best friend/boyfriend. There are moments where all three actors give in to melodrama that may irk some viewers. The strongest scene is where Asif and Arjun face on across a table of tea, the incredible tension that has been build is a phenomenal experience for audiences, enhanced by a terrific musical score. Some of the scenes felt repetitive, there are numerous scenes where Pritha pesters Asif about speaking to Arjun and because of the non-linear timeline, these become slightly confusing and irksome. Instead, audiences may have benefitted from more of the happier moments between the pair, showcasing their blossoming relationship in a more positive light, making the drama and tragedy that ensues more potent. That being said, Halaahal is a powerful and poignant tale of star-crossed lovers for the modern age. The regretfully enduring pockets of prejudice and racism that still exist within our communities feels as dangerous as it has ever done and the unfortunate consequences this has for young love is equally as tragic. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

The Bob's Burgers Movie film review by UK film critic George Wolf. Starring H. Jon Benjamin, Kristen Schaal, Dan Mintz, John Roberts directed by Loren Bouchard, Bernard Derriman. HOME | FILMS | REVIEWS The Bob's Burgers Movie Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 25, 2022 Directed by: Loren Bouchard, Bernard Derriman Written by: Nora Smith, Loren Bouchard, Jim Dauterive Starring: H. Jon Benjamin, Kristen Schaal, Dan Mintz, John Roberts Some fifteen years ago (!), at a critics' screening for the movie version of Strangers With Candy , I laughed early and often. I was a fan of the TV show and its particular brand of humor, and I thought the film was hilarious. And then I realized something. I was the only one laughing. At the recent critics' screening for The Bob’s Burgers Movie , a similar thing happened. Only one person was laughing. It wasn’t me. Series creator Loren Bouchard brings his baby to the big screen as co-writer and co-director, and he promptly puts the Belcher burger joint in jeopardy. The family has just seven days to make a loan payment to the bank, and business isn’t exactly booming. And that was before a big sinkhole formed directly outside the front entrance! Meanwhile, the Belcher kids stumble onto a mystery involving the obnoxiously rich Calvin and Felix Fischoeder (voiced by Kevin Kline and Zach Galifianakis) that could reveal a way out of the whole mess. Bouchard and his regular cast of voice actors (including H. Jon Benjamin, Kristen Schaal, Dan Mintz, Eugene Mirman and John Roberts) have been at this for over a decade, and their move to the multiplex shows no signs of re-inventing a formula that has clearly worked for years. It just doesn’t work for me. The songs are spirited, the animation well-crafted, and the dialogue often rapid-fire. But it leans on a style of humor that’s often obvious and repetitive, in a cartoon world where nearly every single business has to have a corny name like “It’s Your Funeral Home,” “Sprain Sprain Go Away” and “Weight Weight Don’t Tell Me.” But to its credit, The Bob’s Burgers Movie is here to super-serve the regulars. There may be too much fatty in the patty to attract many new converts, but if you’ve already memorized the specials, belly up for a deluxe portion. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, Animation < All Reviews Next Film Review >

Return To The End (Regresar al Final) film review by UK film critic William Hemingway. Starring Mario Olivares, Daniel Contesse, Paula Edwards, Ricardo Herrera, Paula Leoncini directed by Gustavo Letelier. HOME | FILMS | REVIEWS Return To The End (Regresar al Final) Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jun 10, 2022 Directed by: Gustavo Letelier Written by: Gustavo Letelier Starring: Mario Olivares, Daniel Contesse, Paula Edwards, Ricardo Herrera, Paula Leoncini In Chile a family is devastated throughout the lockdown and beyond. Writer/director Gustavo Leterier's film Regresar al Final (Return to the End) tells the story of Esteban (Olivares) and the strained relationships he has with the rest of his family. There is a common distance between each family member, grown from things which have happened in the past, things which some have held onto tightly, and things which some have let go of all too easily. Everybody now lives very separate lives and a gulf has opened up between Esteban and the rest of his family. This distance only gets extended when the Covid-19 outbreak begins to take hold and lockdown is enforced onto people's lives. Following the death of his mother in 2018 from what was an apparent suicide, Esteban blames his father for not being there, and for showing a perceived favouritism towards his sister. This leads to Esteban leaving home and setting out by himself to build his own future. It seems, however, that even his new relationships aren't always built on the most solid ground and Esteban struggles to say the right things or consider his partner's feelings when he finds a new boyfriend. Fast forward a couple of years and Esteban now truly finds himself alone as the global pandemic makes travel and meeting people exponentially more difficult. He still hasn't repaired his relationship with his sister (Edwards) or his father (Herrera), he never calls his Aunt Mercedes (Leoncini) and even his boyfriend Daniel (Contesse) has gone back to America to try and find out what has happened to his parents. This all leaves everyone very disparate and hard to communicate with as one by one the ghosts of the family's past come back to haunt them into the new dystopian future. Return To The End then, is a standard lockdown story, with everyone trying to come to terms with the distance between them. The metaphor of the pandemic is basic, substituting one barrier to communication and reconciliation for myriad others that have already come before. Letelier does his best to imbue his film with heavy emotions and deep running themes but in the end there's not enough to lift Esteban's story from being just another lockdown analogy. Mostly this comes down to the restrictions set on the film-maker by the overarching scenario. Once more characters are separated from interacting with one another and most of the film is played out over Zoom or other face-time mediums. This means everyone is acting in isolation for most of the film, as well as acting into the camera rather than for the camera. In addition, the restrictiveness of the premise means that the direction is taken mostly out of the director's hands and a lot of the scenes we witness are people sitting in rooms with sparse walls behind them and no camera movement. In Return To The End this is especially disappointing as the few scenes which are cut into the story and interspersed throughout the film; those that are set outside the confines of a Zoom call; are actually very well shot and stunning to look at. With such skill and eye for the frame, it is a shame that Letelier chooses to restrict himself and throttle the film's creativity just to make another lockdown story. There is plenty to grab onto in Return To The End , and some may find the family dynamics and personal struggles enough to keep them interested through to the conclusion. There are some nice pieces in amongst all of the bland backgrounds and the production, including the score from Pablo Avila Champin, shows that care and attention has been put into the making of the film. Ultimately though, it feels as though there have been too many self-imposed restrictions keeping the story and the filming flat and there's nothing to lift it from being a tired metaphor for a feeling we're all tired of by now. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, World Cinema, LGBTQ+ < All Reviews Next Film Review >

Not A Funny Thing 3 film review by UK film critic Swati Verma. Starring Jorge Luis Villacorta Santamato directed by Jorge Luis Villacorta Santamato. HOME | FILMS | REVIEWS Not A Funny Thing 3 Film Review average rating is 2 out of 5 Critic: Swati Verma | Posted on: Sep 28, 2022 Directed by: Jorge Luis Villacorta Santamato Written by: Jorge Luis Villacorta Santamato Starring: Jorge Luis Villacorta Santamato The title of the feature film-Not A Funny Thing creates a contrast with the name so that the movie keeps the audience hooked to it and they get a surprise with the right mix of comedy, drama, and fantasy along with crime, and mystery. The writer-director and actor Jorge Luis Villacorta Santamato attempts to underline everything he has to bear in his work life in an entertaining manner to emotionally connect with the viewers. The plot of this 2022 film revolves around Intellectual who works hard. He grades papers and exercises at work just a bit to keep his body and mind in great shape. The lame chores take a toll. His guilt is too much for him. The third installment of the cinematic piece follows a similar pattern in the department of Cinematography as the first and second one. The white and grey colour palette, and the office setup remain the same to give the audience a sense of relatability and continuity while watching the film. The black colour suit/ costume highlights the dull mood of the protagonist Jorge Luis Villacorta Santamato. The makeup is simple as the film hugely depends on his expressions for the smooth flow of the narrative. The DOP uses a combination of mid shots and close-up shots to capture the body language of the central character closely as there are no dialogues in the cinematic piece. The slightly tilted camera angle helps the audience to understand the chaotic and cluttered lifestyle of the main-lead. In terms of performance, Jorge Luis Villacorta Santamato plays the role of Intellectual who portrays all the problems and emotional turmoil he experiences while doing his professional duties at his office. Santamato bears all the responsibilities of bringing various ideas regarding the creative piece to the screens for the viewers. Not A Funny thing 3 reiterates the fact about managing and handling all kinds of work pressures without comprising on health and incorporating courage, happy life as well as control the anger to find the right balance between the personal and professional life which is very much necessary for well-being of self and others around. The cinematic piece teaches its audience to make sure that people should be smart to keep their work separate from their family time. The comic drama tells the viewers that comedy and drama films are slowly proving useful to combat the bad times during the pandemic and post-pandemic. This fantasy movie also likes the idea of cinema therapy and the benefits of the same for healing and wants to work towards it to attract as many viewers to their content. To conclude, I like to say that this is a good movie, but it becomes very hard to sit through all three films. The filmmaker should have done some minor changes in the presentation of the cinematic piece to provide a fresh approach to the execution to make it more appealing in the eyes of the audience. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >