Orphan film review by UK film critic Chris Olson. Starring Bojtorján Barabas, Andrea Waskovics, Grégory Gadebois directed by László Nemes. HOME | FILMS | REVIEWS Orphan Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: May 13, 2026 Directed by: László Nemes Written by: László Nemes, Clara Royer Starring: Bojtorján Barabas, Andrea Waskovics, Grégory Gadebois Set in post-war Hungary, a boy named Andor (Bojtorján Barabas) struggles to reconcile his identity when his long-held belief in a father figure called Hirsch is thrown into question by the arrival of a brutish man known as The Butcher (Grégory Gadebois), who claims to be his real father. Orphan, directed by László Nemes, who co-writes here with Clara Royer, is a largely bleak tale, and Andor’s rage dominates the atmosphere throughout, making the piece a slow-burning drama that can feel exhausting at times. We journey with Andor through his rudderless childhood, often entering into situations far more dangerous than someone his age should have to endure, as he attempts to stay connected with his father figure (often talking to a boiler) and rid him and his long-suffering mother (Andrea Waskovics) of The Butcher, whose mysterious involvement becomes more pronounced as the film goes on. The period recreation is seamless, and Nemes transports us back into this turbulent period in Hungary’s history. The Soviet presence in the streets and the antisemitic rhetoric make for a threatening landscape for the events to play out in. There is a mystery surrounding the past, which Nemes is playing on brilliantly, keeping the audience entranced in the dark secrets that seem to go unspoken yet fill the air around these characters, not least The Butcher, whose formidable presence (even on a motorcycle with a sidecar) creates a ghoulish entity on screen. In an effort to capture the stark realism of the era, the film overstays its welcome at many points. Drawn-out scenes of Andor’s tearaway antics could certainly have been shortened, and the desire to depict the harsh climate the people were living in sacrifices some of the momentum for the viewer. It is Andor’s desperation to know his real father, and the excellent performance by Bojtorján Barabas, however, that will give audiences the most memorable experience from watching the movie. The enduring themes of identity, lineage, and family are explored with devastating effect in this powerful, if long, Hungarian feature film. Buy UKFR Banner Space About the Film Critic Chris Olson Digital Release, World Cinema < All Reviews Next Film Review >

Tony film review by UK film critic George Wolf. Starring Dominic Sessa, Antonio Banderas, Emilia Jones directed by Matt Johnson. HOME | FILMS | REVIEWS Tony Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Aug 18, 2026 Directed by: Matt Johnson Written by: Todd Bartels, Lou Howe, Matt Johnson Starring: Dominic Sessa, Antonio Banderas, Emilia Jones Among other things, Tony is another reminder that we’d all be better off if everyone’s first job was in a restaurant. It certainly altered the course of Anthony Bourdain’s life, and director/co-writer Matt Johnson makes the most of focusing his biopic squarely in that one eventful summer of 1975. “Tony” was 19 then, and by his own admission decades later in the Kitchen Confidential memoir, a narcissistic lout in need of a “good ass kicking.” The story of that BTA wakeup call makes for an entertaining coming-of-age tale full of humor, humanity and one righteous clambake. Dominic Sessa is exceptional as the young Bourdain, who is so caught up in his future writing genius that he lies to everyone about the huge Vassar fellowship that he didn’t get. Following his crush Nancy (Emila Jones) to Provincetown, Mass., Tony is forced to earn his keep by washing dishes at The Flagship restaurant and sleeping in Chef’s (Antonio Banderas) hammock out back. And so the education begins. While co-worker Sal (Tuner ‘s Leo Woodall) schools him on the local women and party life, Chef’s gentle and patient influence nudges Tony to stop pretending and follow his passions. Sessa, with his frantic hair and brooding intensity, makes the gradual transition frustrating, relatable and heartfelt. His chemistry with Banderas (in a performance perfectly suited for an Oscar nod) is warm and real, providing the film a reliable anchor that does not disappoint. Johnson (Blackberry, Nirvana the Band the Show the Movie ) has been clear that he came to the project with little knowledge of the Bourdain brand. That helps the film avoid undue reverence, and lets Tony’s future accomplishments hang bittersweetly in the air, an unspoken but understood step in this character arc from lout to legend. Because in the summer of 1975, Bourdain’s future could have taken many different paths. Though the end was tragic, Tony finds a messy, inspiration joy in the beginning, and in the subtle twists of fate that can change lives forever. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Out of Darkness film review by UK film critic Hope Madden. Starring Chuku Modu, Safia Oakley-Green, Kit Young directed by Andrew Cumming. HOME | FILMS | REVIEWS Out of Darkness Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 9, 2024 Directed by: Andrew Cumming Written by: Ruth Greenberg Starring: Chuku Modu, Safia Oakley-Green, Kit Young Some 45,000 years ago, Adem (Chuku Modu) and his mate Ave (Iola Evans), his heir (Luna Mwezi), his brother (Kit Young), the elder (Arno Lüning), and a stray (Safia Oakley-Green) left their hunter-gatherer community and crossed the water, looking for the paradise Adem had heard tell of in the old lands. We know this because the little group spins yarns around a campfire to stave off starvation, and wise Odal (Lüning) is entertaining. He’s also owning the narrative, a concept writer Ruth Greenberg and director Andrew Cumming returns to often as he contemplates early human history with his stone age thriller, Out of Darkness. Adem, confident of his godlike abilities and his entitlement, believes he will establish his own paradise in this land. But there is no food in sight, and pregnant Ave may die or lose another baby if he does not find food soon. And yet, starvation may be the least of the little band’s worries. Gathered around the fire at night, they feel movement in the shadows, hear unearthly shrieking. Have they angered demons? Will they become prey? An imposing Scottish landscape lends the film immeasurable production value, and the invented language adds authenticity. Each performance is solid. Modu, as the steely alpha, is pitiless and selfish. Lüning delivers a conniving turn, and Oakley-Green, as the underdog hero, mines a primitive spirit for complexity. The film itself treads somewhat familiar ground–a little bit Prey , a touch Quest for Fire , maybe a little Bone Tomahawk . The film expertly plays with audience expectations. A “brains trump brute force” evolution tale, a la One Million B.C.? A feminist reimagining of prehistory? A pioneering story, or one of invasion? Is it a man versus nature ordeal, or is it a horror movie? Out of Darkness asks more questions than it answers. That’s not to say there are plot holes–the script is airtight. But what Cumming is out to communicate about our humble beginnings or what that has to say about humanity is a little tougher to decipher. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Where the noise ends film review by UK film critic Swati Verma. Starring Daniel J Mullan directed by Lee D Barnes . HOME | FILMS | REVIEWS Where the noise ends Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 23, 2022 Directed by: Lee D Barnes Written by: Lee D Barnes Starring: Daniel J Mullan The title of the short film "Where the noise ends" has connotations of continuously trying to find peace within, battling the fears of coping with the outside world. The use of elements like water, music to establish the subject matter of the cinematic piece. The white font used for the name of the film symbolizes innocence, hope, and peace. The writer-director Lee D Barnes has kept the script uncomplicated yet emotionally appealing to the audience. He ensures that the viewers are engaged with the film throughout the run time of the creative piece. The camera work is also handled by Lee D Barnes. The combination of mid shots and close-up shots helps the audience to interact with the two central characters and relate to the storyline and the protagonists. The set design, lighting, costume makeup all the elements are kept simple so that the message of the short film is loud and clear to the viewers. The premise of the short film revolves around two strangers who are determined to make changes in their lives. What effect will these modifications have on their individual lives as well as the other person is something to watch out for? Both the actors Daniel J Mullan and Jessica Kewley have played their parts beautifully complementing each other assisting the flow of the screenplay as desired by the director. For me, Daniel J Mullan gives an emotionally gripping performance. The facial expressions, the body language of the actor communicates the mental hardships the character is facing. The struggle of finding one's self-worth is visible. The makers of the film have shown a shadow on one side of the face of the woman and sunlight on the other. This can have connotations that she is giving a tough fight to beat all the darkness and slowly trying to move towards the light. The editor has cleverly used hands to signify the society or internal demons who want these two people to give in to the pressures of life. The clearing of mist from the glass by the male lead to see his face could indicate that he is exhibiting his identity to the outside world without being fearful about the consequences of the same. The sound of the loud heart-beat, tears, and scribbling on the paper is used to symbolize the fear and pain which elevates the intensity of the subject matter of the film. The short film highlights the topic of mental health. It motivates the audience to go ahead and talk about it and not treat it as taboo. It also tells the viewers how important basic things like love and support from friends and family become to combat mental illness. It teaches us the valuable lesson of cherishing life and how essential selflessness can be in life. The conclusion of the film is in open ended format. The interpretation of the film has been left on the individual understanding of the movie as it covers such a sensitive topic. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

The Chasers of Tornado Alley: Touching the Sky film review by UK film critic Jason Knight. Starring Robert Prentice, Martin Lisius, Chuck Doswell, Carson Eads directed by Martin Lisius. HOME | FILMS | REVIEWS The Chasers of Tornado Alley: Touching the Sky Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Aug 7, 2024 Directed by: Martin Lisius Written by: Martin Lisius Starring: Robert Prentice, Martin Lisius, Chuck Doswell, Carson Eads A documentary about tornadoes in the United States and the people who study them. Through the experiences and knowledge of storm spotters, this gripping film reveals the dangerous and fascinating world of tornadoes in the U.S., concentrating particularly on the Tornado Alley, an area that affects several states at the centre of the country, including Nebraska, Kansas, Texas and Oklahoma and is the area where tornadoes are most likely to occur. Storm spotters are volunteers who were trained by the National Weather Service in order to understand where and when massive storms are about to take place and take the necessary steps to help worn the public. Separated into chapters and narrated by Rich Summers, the documentary contains interviews from a variety of individuals who have a great deal of knowledge and experience regarding this weather phenomenons. Some of the interviewees include Meteorologist Robert Prentice, Severe Storm Researcher Chuck Doswell, Veteran Storm Chaser and Spotter Carson Eads and Warning Coordination Meteorologist Jennifer Dunn. Having these experts share their experiences and knowledge and having all the information in one documentary makes quite a fascinating experience. Since this is a film about tornadoes, it should come as no surprise that there is plenty of footage of these vortexes moving across fields or causing destruction in inhabited areas. Martin Lisius (who is also one of the interviewees) creates many terrific shots of landscapes and the sky, which are edited by himself with great expertise and occasionally include fast motion. It should be mentioned that Lisius is also a storm chaser (a person who studies storms for a number of reasons including amusement or research) and it is quite evident that this documentary was made by someone who has a great deal of enthusiasm for tornadoes, due to the immense filmmaking creativity that is clear throughout. What is learned by viewing this film? First of all, a lot about tornadoes, how they form, what types of tornadoes exist, how they move and more dramatically, what they are capable of. Another lesson are the vital actions that must be followed if one is unfortunate enough to find themself in the middle of a vortex. Speaking of safety, the Above Ground Shelters manufactured by the Debris Impact Facility are rather intriguing. Arguably, what stands out the most is seeing the tornadoes themselves, how big they are and how destructive they can be and the documentary reveals three significant tornado occurrences that took place over the course of three consecutive days. And of course, the viewer will also gain an insight regarding how storm chasers operate and the equipment that they utilise. Visually the film has plenty to look at and the soundtrack is rich, containing several wonderful pieces including Wondrous Love by Arr. B. Bertaux, Night on Bald Mountain by Modest Mussorgsky, Enchanted Kingdoms by Joel S and Rise of a Hero by David Harold Steiner. This is an informative, shocking and fascinating short documentary about tornadoes. Viewers will gain an understanding regarding what tornadoes are and how to be safe from them and they will learn about the individuals who are dedicated to the study of them. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

What Tomorrow Brings film review by UK film critic James Learoyd. Starring Joely Engelbert, Phoebe Engelbert, Grace Bydalek directed by Matt Engelbert. HOME | FILMS | REVIEWS What Tomorrow Brings Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 2, 2025 Directed by: Matt Engelbert Written by: Matt Engelbert, Joely Engelbert, Phoebe Engelbert Starring: Joely Engelbert, Phoebe Engelbert, Grace Bydalek What Tomorrow Brings is a feature-length drama that will divide opinion. But this critic will argue that within its 97-minute runtime, Matt Engelbert’s family-made tale of two sisters gives the audience enough to think about – not to mention characters to genuinely care for – and so more than justifies its existence. What will risk alienating audiences, however, is the disconcerting hybrid of tones – in addition to issues with its technical construction. Even still, this is a film with some beautiful moments and gorgeous scenes. The picture tells a story which, on its surface, is simple and sweet – but behind its bubbly veneer, it could not be more probing and emotionally complex. We follow a teenage girl, Clara, whose father has recently passed, and whose mother has never been the same since. Her mother leaves because, according to her, she has found a place that will make her better. Clara is then left to take care of her younger sister who is around ten years old. Clara, by adopting a kind of maternal responsibility, faces both hardships and great joys in spending time with her sister, whom she is attempting to keep safe from the dark truths of their home life. Two thirds of the way through the film, a humongous plot-twist takes place, leaving the audience in shock. The twist is of an incredibly disturbing, almost sickening, nature; and in the moment, the viewer is fully transfixed on the character of Clara and this chilling reveal. But then, the third act takes place. The feeling implemented in the final twenty minutes could not be happier, more feel-good; almost fantastically optimistic. Audiences may very well flinch at this jarring change of tone and approach the filmmakers are taking – and in terms of overall tone, you could argue that it’s a twist upon a twist. The visual construction of the piece is quite intriguing, with the most common variety of shot being this digital-looking, wide-angle, steadycam type setup wherein the camera moves between each character talking as opposed to cutting. A significant technical issue, however, is the flat lighting for interior sequences. But then again, almost every exterior shot looks quite wonderful: there are shots in the snow shot with high shutter-speeds, accompanied by a vibrant blueish hue. These shots are most successful. For a viewer who is only used to the biggest budgeted Hollywood productions, the audio here may pose a problem; it’s quite tinny, and one can tell that the dialogue was recorded via the in-built camera microphone itself. Without a doubt, the strongest aspect of the film is the screenplay, the dialogue and the deep themes in discussion. It is more the manner in which these contrasting ideas are conveyed which may risk alienating some viewers. But plaudits should most certainly go to the script and the juxtaposing light and darkness it successfully deals with. Clara and her little sister especially feel as if well-rounded characters. And Clara especially has such a grounded personality, and the sincerity yet darkness of her motivations makes this feature a fascinating work. Buy UKFR Banner Space About the Film Critic James Learoyd Indie Feature Film < All Reviews Next Film Review >

Settling Down film review by UK film critic Jason Knight. Starring Christine Copley, Johnny Greenlaw, Azadeh Hashemkhani, Tom Rizzuto directed by Tom Rizzuto. HOME | FILMS | REVIEWS Settling Down Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 27, 2024 Directed by: Tom Rizzuto Written by: Tom Rizzuto Starring: Christine Copley, Johnny Greenlaw, Azadeh Hashemkhani, Tom Rizzuto A woman faces the consequences after she unwittingly has her husband killed by bad people. This feature is a dark comedy with eccentric characters and awkward situations. Faith (Copley) is married to Mike (Greenlaw), who wears an oxygen mask while he sleeps. There are issues between them, as Faith wants to sell their house, while he does not. Eventually, she ends up getting in touch with Huma (Hashemkhani), a well-known estate agent and she asks for her help to convince Mike to sell their property. Unfortunately, Huma is a criminal who murders homeowners after collaborating with people who want them dead and she has Mike killed. Now Faith has found herself in a very bad situation as the police suspect her of murder and she must deal with Huma. As mentioned, there are unusual individuals here, two of which are the sarcastic, naive and obnoxious Detective Caltabellotta (Rizzuto) and his assistant, the childish Uzi (Daniel Koren), who are assigned to work on the case of Mike's death. These two are the ones who add the most humour to the film, with their sarcastic behaviour and inconsideration regarding the serious events they deal with. Another strange one would be a British guy who is a sort of hitman (Ed Zed), who kills homeowners on behalf of Huma, who is a cold and manipulative person. Faith is an unfortunate heroine, a victim to an evil scheme and occasionally she imagines that she is playing cards with a group of people or riding an escalator with a woman from the early twentieth century. As mentioned, there are bizarre scenes in this feature and they include a part in a restaurant where food is eaten from a man's torso while he is lying on a table, the hitman attempting to kill a detective by utilising a rather outrageous method and himself engaging in an S&M act with Huma. This film is a crime comedy that is more likely to appeal to viewers who enjoy dark and adult humour. The plot itself is interesting enough, the dialogue is amusing and overall, it offers a fun viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Seductress from Hell film review by UK film critic Jason Knight. Starring Rocio Scotto, Jason Faunt, Raj Jawa, Kylie Rohrer, James Hyde directed by Andrew de Burgh. HOME | FILMS | REVIEWS The Seductress from Hell Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 21, 2024 Directed by: Andrew de Burgh Written by: Andrew de Burgh Starring: Rocio Scotto, Jason Faunt, Raj Jawa, Kylie Rohrer, James Hyde Following a lengthy period of torment, a young woman resorts to murder. Zara (Scotto) is an aspiring actress living in Los Angeles with her husband, Robert (Faunt). Unfortunately, things are not good as the couple is facing financial difficulties. To make matters worse, Robert is an abusive partner and Zara is the victim of his controlling and violent behaviour. Eventually, she reaches breaking point and decides that she is not going to take it anymore and kills him. However, her murderous actions will not stop there, as she proceeds to target other individuals, while her acquaintances Derek (Jawa) and Maya (Rohrer) become suspicious. A slow-paced psychological horror feature that centers on a woman being pushed over the edge by abuse and turning into a vengeful monster. Zara's character goes through significant development as she turns from a quiet, frightened youth who is (from various perspectives) being held prisoner by her domineering spouse, into a cold-blooded and methodical killer. Her transformation does not occur overnight, but has being building up over time, as suggested by a notebook with contents about satanism that she keeps hidden. What changes mostly inside her (apart from becoming a murderer) is confidence. Rebelling against her spouse and the world in general seems to have given her a great deal of self-esteem, which she uses in order to become independent. It could be argued that to some degree, this film contains elements of misandry. This might be indicated by the fact that some male characters are presented in a negative light. For instance, there is Robert, a double-faced, abusive husband. Then, there is Jeffrey (Hyde), the film producer Zara meets, who seems to view women primarily as sexual objects. And there is also a disrespectful police officer (Andy Lauer). By having these male characters containing such negative traits, it would be hard not to perceive that the film is exposing the dark side of men. Arguably, the highlights are the numerous times when Zara has one of her victims bound, completely at her mercy. The feeling of dread is heavy as she torments them ansd tells them the nasty things she intends to do to them, but so is the drama, as she explains herself, revealing the torment she went through and her rather dark perspectives regarding the world. She believes that she is punishing bad people and she takes pleasure in doing so. There is creative use of lighting and the director utilises unconventional camera angles and frequent long takes. The sinister score by Elezeid helps create a dark atmosphere throughout. On the surface, this is a psychological horror film that also dwells into the slasher genre. Looking further, it is a story about abuse, revenge and rebellion that also looks into domestic violence and dishonesty. Sometimes the acting is unconvincing and some viewers are likely to find the slow pace frustrating. Nevertheless, this is an intriguing feature that gains a lot of quality thanks to the sinister atmosphere and Scotto's dramatic performance. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Ride film review by UK film critic Rachel Willis. Starring C. Thomas Howll, Annabeth Gish, Jake Allyn directed by Jake Allyn. HOME | FILMS | REVIEWS Ride Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Jun 11, 2024 Directed by: Jake Allyn Written by: Jake Allyn, Josh Plasse Starring: C. Thomas Howll, Annabeth Gish, Jake Allyn Modern-day cowboys are the focus of director Jake Allyn’s film, Ride . Co-writing with Josh Plasse, Allyn has crafted an aching drama that explores the complicated relationships within a family struggling with several demons. With his daughter ill, John Hawkins (C. Thomas Howell) engages in a desperate struggle to raise money to pay for treatments. His patience is thin as he fights with bureaucrats, hospital policy, and the outrageous amount of money needed to get his daughter the care she needs. On top of the looming tragedy, Hawkins’s eldest son, Pete (Allyn, again, doing triple duty), has recently been released from prison. We’re given not-so-subtle hints as to what landed Pete in jail, but it’s compelling. Rounding out the family is the glorious Annabeth Gish, as the Hawkins’s family matriarch, Monica, who is also the town sheriff. A backdrop to the family’s personal struggles is the rodeo. The Hawkins family has a history in the sport, which offers us a glimpse into what a contemporary cowboy does in this world. This is a tightly constructed film that has only one or two faults. Some of the drama treads too close to things we’ve seen before, but for the most part, things are handled in ways that speak to the rawness of a family in crisis. It’s hard not to sympathize with John’s desperation. The money he needs is a crushing amount; that any family would be on the hook for such large sums to save a child is despicable. It’s not hard to understand the lengths a person will go to in their desire to do right by their family. How far would you go to support your family? To save a child? It can be hard to imagine making some of the choices John makes, maybe impossible to imagine it. However, it’s not hard to imagine the desperation that leads a parent to make terrible choices. It’s often crises that drive a family apart. Allyn skillfully raises the tension as Ride progresses. At times, the dialogue falters as we careen toward the climax, but it’s impossible not to be drawn in to this compelling, heartbreaking story of a family struggling to survive in a ruthless world. Buy UKFR Banner Space About the Film Critic Rachel Willis Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Autumn Road film review by UK film critic Cat McAlpine. Starring Riley Cusick, Lorelei Linklater directed by Riley Cusick. HOME | FILMS | REVIEWS Autumn Road Film Review average rating is 3 out of 5 Critic: Cat McAlpine | Posted on: Nov 22, 2021 Directed by: Riley Cusick Written by: Riley Cusick Starring: Riley Cusick, Lorelei Linklater Riley Cusick does it all. He is the writer, director, and plays two leads in Halloween-themed horror Autumn Road . The film focuses on twin brothers Charlie and Vincent (Cusick), running a haunted house in their small hometown, and struggling actress Laura (Lorelei Linklater, Boyhood ), who returns home for the anniversary of her sister’s disappearance. Cusick establishes a wonderfully quiet but chaotic tone for his film. As a director, he has a great eye for establishing his shots, wonderfully capturing a small town filled with lonely people. A long shot of a spinning cup of cocoa. A lingering look at a dark parking lot. A masked man sprinting down a sunny highway. Cusick leaves a strong visual mark painted in warm tones. It’s a good feature film debut done on the indie scale. But there’s room for growth. The script is weak, resulting in unrealistic dialogue that performs poorly paired with a handful of mostly wooden performances. Meanwhile, Cusick’s owl theme is haunting but heavy-handed. Autumn Road still shines though, mostly when Cusick allows himself to become a little unhinged or when his monologues have time to ramp up into the insane. One such moment is when Vincent holds auditions for the haunted house. The scene is just the right mix of silly, campy, and genuinely disturbing. Linklater does best with the more realistic dialogue, which allows her to be vulnerable and broken. She glows in a flashback scene with her sister. But she’s often saddled with difficult moments like suddenly mentioning her roommate’s recent death while making it about herself. “I’ve got bad luck in my bones. It follows me around like a dark cloud.” She says, conflating the disappearance of her sister with her roommate’s violent end. Despite the genre, the violence of Cusick’s film is always shocking. Much of that violence never meets a resolution. In fact, most of the tension in the film remains unresolved, both painting a bleak picture and leaving the watcher unsatisfied. There seem to be no real-world consequences for the actions in Autumn Road . Ultimately, Cusick’s feature-length debut is a fine effort. But his future endeavors may be best served if he dedicates his focus to a single role. Buy UKFR Banner Space About the Film Critic Cat McAlpine Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Christy film review by UK film critic George Wolf. Starring Sydney Sweeney, Ben Foster directed by David Michôd. HOME | FILMS | REVIEWS Christy Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Nov 4, 2025 Directed by: David Michôd Written by: Mirrah Foulkes, Katherine Fugate, David Michôd Starring: Sydney Sweeney, Ben Foster No matter what you think of Sydney Sweeney the celebrity glamour girl, you’ve got to give her props for not resting on her sexy laurels. I’m not saying her turn in the bikini-friendly Anyone But You didn’t show fine comic timing, but in five of her last seven films, Sweeney has chosen roles that downplayed her curves and provided the chance to challenge herself as an actress. Okay, so Echo Valley, Eden, American, Immaculate and Reality didn’t make the box office buzz, but Christy continues Sweeney’s ambitious trend. And right on the cusp of awards season, she doesn’t waste the opportunity to impress, leading a stellar ensemble in giving some well-deserved flowers to a trailblazer in women’s sports. In 1989, Christy Salters was a bored girl from West Virginian who played a very physical brand of basketball and bristled when her mother (Merritt Weaver) obsessed over the whispers about Christy’s relationship with girlfriend Rosie (Jess Gabor). After winning $300 in a local Toughman contest, Christy is introduced to boxing trainer/future husband Jim Martin (Ben Foster), who guides her, exploits her and violently abuses her on Christy’s path toward becoming Don King’s “Coal Miner’s Daughter,” the first woman to headline a PPV undercard. Boxing films may carry the most inherent cliches of all sports stories and director/co-writer David Michôd can only steer Christy around them about half the time. As Christy’s fame and fortune grew, the level of abuse she suffered only intensified, to a level that will surprise many. And when Michôd (Animal Kingdom, The Rover ) finds small moments to accentuate with a dramatic camera angle or well-timed edit, the performances from Sweeney and Martin find resonant depth. We’re used to exemplary work from Foster, and here he makes Jim Martin a slippery, violent gas-lighter with just enough relatable edges to avoid caricature. Sweeney responds with committed grit, and Christy’s battles both in and out of the ring elicit sympathy, respect and admiration. Even so, the biggest challenge to telling a story so personal is the temptation of throwing too many formulaic haymakers. When Christy can do that, it becomes a film worthy of Martin’s fight. Winner by split decision. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Naughties film review by UK film critic Joe Beck. Starring Olivia D'Lima, Nalân Burgess, Conor Tahir directed by Olivia D'Lima. HOME | FILMS | REVIEWS Naughties Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Nov 30, 2023 Directed by: Olivia D'Lima Written by: Olivia D'Lima Starring: Olivia D'Lima, Nalân Burgess, Conor Tahir Humans have a tendency to look back at the past with hazy eyes that remember it as a far better time than it actually was. This is because it is a safe place, no matter the hardships, one which has passed and in which we can revel in the memories of a supposedly glorious yesterday. Each generation tends to have their own nostalgic lens through which they view the age in which they were adolescents, and this in turn permeates the cultural zeitgeist, bringing ideas thought to be lost to the bowels of time back to the forefront of popular culture. ‘Naughties’, is, as the title suggest, a nostalgic view of the 2000s, though in truth, it falls flat in depicting the period, let down by an overall lack of focus in its writing. In recent years, jettisoned by the seismic impact of ‘Stranger Things’, nostalgic romanticism has largely focused on the 1980s, with films such as ‘It’, ‘Everybody Wants Some’, and ‘Top Gun: Maverick’, following suit and taking us back in time. To a lesser, but nonetheless growing extent, both the 90s and the 00s have enjoyed similar revivals in popular culture, as those who grew up and matured in those decades have come to an age in which they can significantly alter what is popular in wider society. The revival of flip phones (albeit at a much higher level of technology), pleated skirts and cargo pants point to the comeback of 2000s trends, and ‘Naughties’, a web series - itself an extremely 2000s concept - reflects that. ‘Naughties’ follow teenage girl Olivia (Olivia D’Lima) across six mini episodes that depict her fairly exciting life growing up in the 2000s. Nothing, extraordinary happens during these six episodes, but for a school age teenager, these are definitely some of the cherry picked memorable best moments. Throughout these six episodes, Olivia goes through something of a journey of self discovery around herself and her body, with episode one beginning with her engaged in a web chat with a man on the Internet, who wants to webcam and see her naked. There’s also insecurities over the size of her breasts, questions over the legitimacy of female masturbation, and mixed feelings over what she’s attracted too. All this with plenty of shouting at her mother, normally over her barging into her room, as parents are bound to do. Whilst such a narrative through line across the six episodes is good and helps the viewer associate to a greater extent with Olivia as a character, it only has an impact on three episodes of the narrative - the first, last, and an episode in the middle - and thus the other episodes feel like filler, which you should not have in a six episode web series in which episodes are three minutes, and are irrelevant towards Olivia’s overall arc. Nevertheless, Olivia D’Lima’s directing shows moments of creativity that outstrip the ability of her writing and makes a scene in which she is pretending to drink and smoke, just about tolerable enough to get through. ‘Naughties’ is a glimpse into the past through rose-tinted glasses, a nostalgia burst which shows promise in some areas, but is otherwise let down by both its format, which was left in the era in which it is set for a reason, and by inconsistent writing. Buy UKFR Banner Space About the Film Critic Joe Beck Web Series < All Reviews Next Film Review >