The Damned film review by UK film critic Chris Buick. Starring Odessa Young, Joe Cole, Rory Kinnear, Siobhan Finneran, Francis Magee directed by Thordur Palsson. HOME | FILMS | REVIEWS The Damned Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Dec 31, 2024 Directed by: Thordur Palsson Written by: Thordur Palsson, Jamie Hannigan Starring: Odessa Young, Joe Cole, Rory Kinnear, Siobhan Finneran, Francis Magee Eva (played wonderfully by a near-impeccable Odessa Young), is a 19th century-widow who, following the tragic death of her husband some years prior, now finds herself in charge of a fishing vessel and its crew of men as they work an especially harsh winter in an isolated and unforgiving Icelandic landscape. A sufficiently bleak and despairing setup already in its own right, but with The Damned , writer/director Thordur Palsson then proceeds to torment us (in a good way) with a folklore horror that relentlessly builds up genuine dread, tension and discomfort from start to finish. Already facing the harshest of elements and coming to terms with the possibility that they might not make it through the winter, Eva and her crew spot another shipwrecked just off the coast near their station. Now, Eva is faced with an impossible choice; save the survivors or abandon them to ensure the survival of her men. That choice sets the tone for what becomes a harrowing tale of guilt and consequence, and their power to corrupt the human mind. It’s at this early moment of the film where Palsson’s and the film's path is set, slowly tightening itself around the viewer without ever once letting up that feeling of unease, hitting its big moments at the right times all of which are elevated by Stephen McKeon’s chilling soundtrack. The perfect Icelandic setting, as utterly stunning as it is unforgivingly brutal, itself needs mention here as an essential character doing as much heavy lifting for this film as anything else to really sell that feeling of sheer isolation. Most should agree and feel everything the film intends, but how much each viewer ultimately gets from The Damned by not just how it proceeds from there but indeed culminates could vary. It’s a slow-paced film for sure, not glacial thankfully but definitely takes its time stepping forward, which most should also agree is its strength rather than its flaw. It earns its payoffs in the scarier moments through that hard work and patience, rather than relying upon a relentless barrage of diminishing returns. Where it could ultimately be most divisive however is in its ending. It isn’t one that doesn’t satisfy necessarily, but rather leaves you with more questions than it really answers, so while the overall ride over the film's almost ninety-minute runtime is stellar, the final landing seems a bit shaky. The ending does however, play fantastically well with the film’s overall themes of guilt and superstition, all of it is driven and truly put across by a fantastic cast. Stalwart performers such Siobhan Finneran and Francis Magee deliver at every turn, as does of course Rory Kinnear’s (Game of Thrones) brief but substantial appearance as the crew’s helmsmen, another fine entry by the always entertaining actor. But it’s Joe Cole’s (Peaky Blinders, Gangs of London) and Odessa Young’s (The Staircase, The Stand) that steal the show, Cole’s affectionate and caring second-in-command who hope clings to shines, but it’s Young, who really has the whole weight of the film on her shoulders, has to and succeeds with aplomb in driving the emotion and trauma of the film in a performance so captivating you can’t not watch her. As far as directorial debuts go, Palsson probably couldn’t ask for better, and for fans of the genre, The Damned is a must-see. Buy UKFR Banner Space About the Film Critic Chris Buick Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

McEnroe film review by UK film critic Brian Penn. Starring John McEnroe, Bjorn Borg, Billie Jean King, Patti Smyth directed by Barney Douglas . HOME | FILMS | REVIEWS McEnroe Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 17, 2022 Directed by: Barney Douglas Written by: Barney Douglas Starring: John McEnroe, Bjorn Borg, Billie Jean King, Patti Smyth The run of bad boy Nick Kyrgios all the way to this year's Wimbledon singles final brought inevitable comparisons with the equally temperamental John McEnroe. They both railed against the tennis establishment with its inherent snobbery and elitism, but other similarities are more difficult to pin down. This new film by Barney Douglas throws more light on the kid who so spectacularly burst onto the scene as an 18-year-old. The original enfant terrible transformed tennis in the late 1970s with the rarest of talents. Quickly dubbed 'Superbrat' he was a gift to comedy writers far and wide. No comedy sketch or routine was complete without that familiar mop of curly hair and red headband. But for all his volatility and comic strip persona John McEnroe was a gifted left-hander and arguably, the greatest serve and volley player of all time. As the frames start to roll on this engrossing film, we begin to understand what a deeply complex man John McEnroe is. His wife Patti Smyth makes the most telling observation early on. She read John's report from first grade as a six-year-old. His teacher noted 'John is very harsh on himself'’. It betrays an obsession with perfection even at a very young age. His blow-ups on court were highly amusing and endeared him to many. Such antics were reminiscent of people playing tennis in the park on a Sunday afternoon as they argued over every point lost. But for McEnroe it was symptomatic of a deep rooted insecurity; failure was always attributed to circumstances beyond his control. His intense rivalry with Bjorn Borg is well documented. McEnroe broke the Swede's five year run of Wimbledon singles titles in 1981. With only three years between them McEnroe expected an ongoing duel but Borg was to all intents and purposes retired at 25. How could McEnroe prove he was the world's greatest tennis player if Borg wasn't around to beat on a regular basis? Again the quest for perfection looms large in McEnroe's life and a continual need to prove himself. The effect of Borg's absence cannot be underestimated. McEnroe's last grand slam titles were in 1984, by which time he had embarked on a toxic relationship with Tatum O'Neal. His subsequent divorce and later marriage to Patti Smyth gave him the stability he craved. However, it’s still difficult to draw conclusions from a remarkable life. The documentary cleverly links the narrative with film of McEnroe walking through deserted New York streets; another passage pictures him walking through a bleak desert that suddenly clouds over into a thunderstorm; all of which feels symbolic of a quest for answers and peace of mind. But this remains a frank and disarming portrait of a most charismatic sporting icon. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release, Documentary < All Reviews Next Film Review >

Ghostbusters: Afterlife film review by UK film critic George Wolf. Starring McKenna Grace, Finn Wolfhard, Paul Rudd directed by Jason Reitman. HOME | FILMS | REVIEWS Ghostbusters: Afterlife Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Nov 18, 2021 Directed by: Jason Reitman Written by: Gil Kenan, Jason Reitman Starring: McKenna Grace, Finn Wolfhard, Paul Rudd Have you tried to branch out, only to end up with a revolt on your hands? Perhaps fan service is right for you! In other words, if 2016’s Ghostbusters was The Last Jedi , Afterlife is The Rise of Skywalker . With a side of Goonies . That doesn’t mean it’s not a fun trip down memory lane. Director/co-writer Jason Reitman picks up the 1984 baton from dad Ivan, crafting a new adventure that casually ignores the 1989 sequel. Egon Spengler’s long-estranged daughter Callie (Carrie Coon) is being evicted from her Chicago apartment, so she takes daughter Phoebe (Mckenna Grace – just terrific in a completely heroic arc) and son Trevor (Finn Wolfhard) to the only thing Dad left her when he died: a dilapidated farmhouse in small-town Oklahoma. Ah, but this farm holds secrets, and it isn’t long before science whiz Phoebe is getting familiar with proton packs and Trevor is checking to see if the ECTO-1’s engine might actually turn over. Good timing, too, because Phoebe’s teacher Mr. Grooberson (Paul Rudd) has been noticing some serious seismic activity in town that he cannot explain. Turns out the Sexiest Teacher Alive is also a big fan of the original Ghostbusters, and he clues in Phoebe and her conspiracy-happy friend “Podcast” (a charming Logan Kim) about Grandpa’s heroics back in the day. Once Trevor’s crush Lucky (Celeste O’Connor from Freaky ) makes it a quartet, it’s up to the kids to figure out the real reason Egon abandoned the GB’s all those years ago, what’s brewing under the farmhouse, and just how to wrangle a stage 5 apparition. This is a film so steeped in the nostalgia for its source material that you cannot imagine it existing on its own. Is that a direct result of the savagery that greeted the female (and for what it’s worth, underrated) reboot or a natural reaction by a son following in his father’s footsteps? Either way, the benchmark callbacks come early and often, with Reitman frequently holding the shot an extra beat just to make sure you pick up what he left for you. And while the Bill Murray zany-ness is replaced by Paul Rudd sarcasm and wisecracking from a cast of wonderful young actors, there is humor here, enough to justify the “comedy” label (which honestly, the original trailer had me questioning). But is it fun? Oh yeah, with some slick CGI and high points that are zuuler than the other side of the pillow. You’ll want to stay through the credits for two extra scenes, but there’s a good chance you’ll still be thinking about all that Reitman has in store during that finale. It’s plenty – maybe even enough for your eyes to stay as pufty as a certain marshmallow man. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

When I Consume You film review by UK film critic Hope Madden. Starring Libby Ewing, Evan Dumouchel, MacLeod Andrews directed by Perry Blackshear. HOME | FILMS | REVIEWS When I Consume You Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Aug 15, 2022 Directed by: Perry Blackshear Written by: Perry Blackshear Starring: Libby Ewing, Evan Dumouchel, MacLeod Andrews Perry Blackshear wants to break your heart. His understated, excruciatingly tender 2015 horror They Look Like People certainly succeeds. And with his latest, When I Consume You , the filmmaker is at it again. Both films delicately explore mental illness—in this case, the lingering horror of childhood trauma. Blackshear works with his regular troupe of actors: Evan Dumouchel, MacLeod Andrews and Margaret Ying Drake. Libby Ewing joins the gang as Daphne, big sister to Wilson (Dumouchel). The siblings are struggling to defeat a demon. The film moves slowly and takes on an improvisational feel as Wilson ambles through life best he can, often landing on Daphne’s doorstep at 3 am so she can talk him through a panic attack. Blackshear never specifies the kind of childhood these two must have endured to leave them this scarred. Then again, the filmmaker doesn’t specify much. This movie offers mostly atmosphere, situations that give the sense of the characters’ mental and emotional space. Blackshear also mimics the cycle of depression and anxiety with visual and audio callbacks: Daphne’s under the bed, later Wilson’s under the bed; Wilson’s on the sidewalk; later Daphne’s on the sidewalk. And there is the recurring audio cue: Get up. This mostly works, creating a film that echoes with haunting attempts to break a cycle. Flashbacks are also employed, although they offer little to the narrative and only hinder a film already lacking forward momentum. Dumouchel’s heartbreaking performance matches well with Ewing’s resigned turn. Blackshear’s cinematography emphasizes their intimacy, as well as their emotional incoherence, and the pair delivers a lived-in chemistry appropriate to two siblings who’ve been through the wringer. Andrews is a volatile surprise I’m sorry we didn’t meet earlier in the film. He injects the movie with needed energy, but he also triggers a shift into more overt metaphor. While the film required some kind of structure, this tidy figurative direction feels false and forced. They Look Like People possessed a deceptively loose narrative that, in fact, led inevitably to one of the tensest climaxes on record. When I Consume You feels like it’s trying to obscure its far more obvious framework. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

The Stranger I Love film review by UK film critic James Learoyd. Starring Theresa Godly, Leon Ung, Christian Greenway directed by Theresa Godly, Martin Gooch. HOME | FILMS | REVIEWS The Stranger I Love Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Aug 19, 2024 Directed by: Theresa Godly, Martin Gooch Written by: Theresa Godly Starring: Theresa Godly, Leon Ung, Christian Greenway The Stranger I Love is the distressing new drama from directors Theresa Godly - who also writes and stars in the piece - and Martin Gooch. It’s one of the most authentic and disturbing portrayals of parental alienation I’ve seen, and this is partly due to the subjective style of filmmaking the artists have opted for. We follow the character of Nina who is excitedly preparing for her son (Ezrah) to return from spending three weeks with his father, Mark. However, things take a dramatic and shocking turn when the boy refuses to acknowledge his mum. What makes this twist so effective is the tonal shift of the short’s style in tandem with the story. Through its expressive use of cinematography and sound design, the spectator experiences the traumatised headspace of our protagonist, and, in turn, considers deeply the complex scenario at play. It’s an impactful and high-quality film with an important message. What the picture showcases visually are some bold and fascinating camera techniques. Specifically, the use of a kind of split diopter lens effect which distorts the multiple planes of focus within the frame. This tool, however, is not used randomly; it’s implemented only for the shots containing the main character – while coverage of Mark and Ezrah consists of a conventional clarity. By innovating in this way, the filmmakers create a wholly disruptive, upsetting atmosphere – one in which the protagonist can’t comprehend why this terrible thing is happening, and thus feels powerless. As the focus warps, as does Nina’s psychological being. It’s fantastic to see such an intelligent use of camera technique being utilised for narrative purposes; as a means of guiding the audience’s perspective. The juxtaposition of the smooth steady-cam with the instability of handheld is another filmic idea which is so well implemented: you can fully sense how powerless Nina feels in the face of Mark’s manipulation, just from the motion of the camera. Our story comes to its conclusion when Nina, feeling that she has no other option, decides to phone a helpline. That’s where the narrative ends. However, the last of the runtime is spent acknowledging the real-world issue of parental alienation and individuals being estranged from their children. The end-goal of the piece is to spread awareness of the situation; and so, we’re shown an emotional montage of parents experiencing that very thing and for how long they’ve been without their loved ones. You could argue that the open-ended conclusion of the film’s story perhaps lessens our engagement with the character’s arc; however, what this ambiguity does spark is the viewer’s questioning of the issue itself – turning what was at first fiction into a dark reality. We are confronted with the real people, and, therefore, the real danger of a parent manipulating a vulnerable child and hurting the other parent. It’s a very important discussion, and as an example of social cinema, it’s most thought-provoking and well-executed. Audiences will admire how effectively the artists have used cinema to bring light to this issue. I wholeheartedly recommend this ambitious, emotionally intelligent drama. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Read the film podcast transcript from the episode titled UK Film Club #006 - Mission Impossible, Elemental, Bird Box: Barcelona and Jaws on UK Film Club part of the UK Film Review Podcast. < Back UK Film Club #006 - Mission Impossible, Elemental, Bird Box: Barcelona and Jaws Listen to This Episode UK Film Club TRANSCRIPT MISSING The UK Film Club Podcast is back with episode 6! Film critics Chris Olson and Brian Penn cover a range of latest releases, including:- Mission Impossible: Dead Reckoning Part 1- Indiana Jones and the Dial of Destiny- Elemental- No Hard Feelings- Ziggy Stardust (rerelease) For our top streaming film review, we cover Bird Box: Barcelona from Netflix. Our Indie Film reviews are for The Reaper Man and Phea. And our Nostalgia Pick is the classic shark horror film, Jaws.For more details about our film podcast and how you can get involved, visit https://www.ukfilmreview.co.uk/podcast Previous Next

Arena Wars film review by UK film critic William Curzon. Starring Michael Madsen, Eric Roberts, Robert LaSardo directed by Brandon Slagle. HOME | FILMS | REVIEWS Arena Wars Film Review average rating is 2 out of 5 Critic: William Curzon | Posted on: Oct 27, 2025 Directed by: Brandon Slagle Written by: Brandon Slagle, Michael Mahal, Sonny Mahal Starring: Michael Madsen, Eric Roberts, Robert LaSardo Arena Wars is set in 2045, following convicted criminals who are offered an opportunity to compete in the world’s #1 televised sporting event, Arena Wars. All the convicts must survive 7 rooms and 7 of the most brutal killers in the country. If they win the event, they regain their freedom. Following a more action than horror route, and derivative of titles such as The Running Man (1987), Battle Royale (2000) and even The Suicide Squad (2021), the piece wears its influences on its sleeve with its conceptually intriguing premise. Unfortunately, despite having a gnarly and pulse-pounding opening sequence, the piece quickly goes downhill as the narrative becomes increasingly dull with a severe lack of tension and action, given the premise. The chemistry-laden team of prisoners are fun to watch as they scheme their survival plans, and there is a unique showcase of costuming and props, heavily reminiscent of Twisted Metal (2023) and Mad Max: Fury Road (2015). However, the film sadly fails to deliver on its premise, thanks to there being no real direction of where the narrative is heading and suffering from a litany of issues, such as lethargic pacing and profoundly unengaging set pieces. Thankfully, the film does, however, make suitable use of its minimal budget, as the VFX and make-up are astounding, creating grotesque imagery, which adds to the campy feel stylistically; it is just a shame the camera seems to cut away from any particularly gruesome visuals. The editing is frenetic within hand-to-hand combat; however, the action feels stilted and frequently cuts away to oddly inserted segments of crowd reactions to the event. The characterisation is profoundly paper-thin for the protagonist and the supporting cast, with a brief placement of exposition explaining their backstory, which feels uninspired and bland, completely derivative of other protagonists placed in dystopian life-or-death scenarios. The ensemble performances across the board are fine, not helped by their lack of personality or depth; however, Michael Madsen does chew up the scenery as one of the hosts commenting on the sporting event, making dialogue outside of the prison group fun to witness. Sadly, there is frequent use of cringe-inducing one-liners within action set pieces, and the supporting characters feel like an afterthought when it is all said and done. Overall, the poor dialogue and characterisation means the narrative amounts to shockingly minor, with no real excitement or satisfaction in the culmination of the central character’s arc. The narrative also concludes abruptly with no real sense of direction for what follows after the credits roll, which makes the whole experience feel wasteful and a complete misuse of the talent involved, especially in the technical department. While each room the characters are placed in presents something unique and fun conceptually and visually, the piece fails to elicit any tension or feverish nature for the audience to witness. This is honestly the most disappointing aspect of the entire runtime, considering what the premise suggests. If anything, the opening credits convey more fun and creativity than the rest of the piece, thanks to some electrifying music and visually stunning displays of the titular Arena Wars. Arena Wars is a disappointing display of a conceptually derivative concept of better pieces of visual media, with some solid production value, given the minimal budget. Unfortunately, the narrative is consistently monotonous, with a complete lack of ferocity in the set pieces, stilted direction and baffling editing choices. Accompanied by uninspired characterisation, and with no clear direction of where the story is going, the narrative leads to a grinding halt and an unsatisfying conclusion lacking depth or memorability to boast. Buy UKFR Banner Space About the Film Critic William Curzon Digital / DVD Release < All Reviews Next Film Review >

Gladiator II film review by UK film critic Hope Madden. Starring Paul Mescal, Denzel Washington, Connie Nielsen directed by Ridley Scott. HOME | FILMS | REVIEWS Gladiator II Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Nov 20, 2024 Directed by: Ridley Scott Written by: David Scarpa, Peter Craig, David Franzoni Starring: Paul Mescal, Denzel Washington, Connie Nielsen Ridley Scott knows how to stage an epic. At 87, he’s lost none of his flair with massive battles on land or sea, nor with the brutal intimacy of hand-to-hand combat. And he still knows how to cast a movie. His narrative skills have taken a step back, but his eye has rarely been sharper. It’s been 24 years since Scott’s Oscar-bedecked Gladiator cemented its position as the best sword-and-sandal film, but in the age of Caesars, only 14 years have passed. Scott opens Gladiator II with a lovely animated sequence honoring the fallen Maximux, as well as many of the filmmaker’s most iconic images. And then we land on the film’s present-day African coast, a battle with a Roman navy led by Acacius (Pedro Pascal), a nation subdued, and a grieving widower (Paul Mescal) claimed as prisoner of war. But we know he’s no ordinary prisoner. For the next 2+ hours, Scott toys with “echoes through eternity” as he undermines much of the rebellious political nature of his original in favor of a returning king parable. That, a few wobbly accents, a couple of narrative dead spots, and a really poor decision involving sharks weaken the sequel. But a good gladiator can’t be stopped, and Mescal is a really good gladiator. Russell Crow layered righteous rage with tenderness. Mescal replaces that tenderness with a vulnerability that only makes the rage more unruly. A touch of mischievous good humor humanizes the character and compels attention. As does Denzel Washington. I dare you to take your eyes off him. Vain but wise, calculating and saucy, Washington’s Macrinus proves a much more complicated foe than the original’s wholly dishonorable, incestuous crybaby Commodus. But the simplicity of good v evil clarified Gladiator ’s appeal. Macrinus is harder to hate. Joseph Quinn and Fred Hechinger supply the syphilitic excess this go-round as twin Emperors Geta and Caracalla. Connie Nielsen returns, regal as ever, though no more skilled at staging coups. The balance of the cast is uniformly solid if not entirely memorable. Gladiator II delivers an often exhilarating, mainly gorgeous spectacle populated by enigmatic characters performed admirably. It does not live up to Gladiator . But what could? Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

No More Inner Voice film review by UK film critic Julian Gaskell. Starring André LeMire, Rob Lundholm, Robin Bargo directed by Jozef Raiche . HOME | FILMS | REVIEWS No More Inner Voice Film Review average rating is 4 out of 5 Critic: Julian Gaskell | Posted on: Jun 13, 2022 Directed by: Jozef Raiche Written by: Jozef Raiche Starring: André LeMire, Rob Lundholm, Robin Bargo A short film about a young boy Nathan (André LeMire) working in a local store for a horrible boss (Rob Lundholm) to save money to help his sick grandfather (Robin Bargo) whose savings are taken by his brother (Isaac Aderman). Nathan then ends up grappling with his inner voice to decide how he is going to get more money quickly in order to buy the medical equipment his grandfather needs. Written and directed by Jozef Raiche it’s a clever depiction of life in reality versus what is going on in the inner consciousness. By combining colour with black and white cinematography he creates two separate worlds. In colour we see the world as it is and in black and white we see his inner voice being played out in conversation with a friend in the neighbourhood. Switching between serene neighbourhood landscapes to more frantic arguments we see how he and his consciousness respond to the changing circumstances. It is nicely directed using plenty of variety of framing and movement, cutting quickly between shots to good effect. The camera follows the actor from location to location not worrying about getting a perfectly framed shot each time, which gives a dynamic feel of being there in the person's shoes, here following Nathan around his suburban neighbourhood, at his mundane job, caring for his sick grandpa and having a difficult time with his boss and brother. For me the music doesn’t quite match as a means of building tension with an overly creepy slow organ keyboard sound more in tune with an eerie futuristic horror than a psychological drama. On the flip side the dialogue and wild tracking is clear and adds to the sense of being there with Nathan as we see him battling his reality and consciousness. The actors put in good ordinary folk performances that manage to pull off this microcosm of a quaint neighbourhood consisting of Nathan’s boss, his grandpa, his brother and his consciousness friend. Josef Raiche himself plays Nathan’s consciousness and brings a friendly normality as the local neighbourhood Matrix like guide and the neighbourhood gives an extra feel of being inside someone’s consciousness by being unusually deserted in the shots. Nathan’s disillusionment with his inner voice is most powerful when he considers how he has got to this point, but it quickly escalates into trouble when he chooses to ignore it. It’s a smartly put together short that explores the internal activity of the mind by trying to visually show its emotions vis à vis what is happening in reality. It would be interesting to see if it would be successful in a longer format … but you probably don’t need me to tell you that. Buy UKFR Banner Space About the Film Critic Julian Gaskell Short Film < All Reviews Next Film Review >

One Nighters film review by UK film critic Swati Verma. Starring Jay Leno, Dan Friedman, Phil Perrier, Judy Tenuta directed by David Oyster. HOME | FILMS | REVIEWS One Nighters Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 20, 2022 Directed by: David Oyster Written by: Phil Perrier Starring: Jay Leno, Dan Friedman, Phil Perrier, Judy Tenuta The title of the short film- "One Nighters" chosen by the makers of this creative piece suits the genre and the theme of the movie. The fancy name given helps attract a large audience and fans to the movie posted on YouTube. The director David Oyster and the Editor Jason Rouse work together to discuss and decide on the approach and the medium of presenting the cinematic piece in front of the viewers. The use of regular people in the movie is a good move to keep it real. The short-film takes the form of a one-to-one interview and looks like a video-tape. The smooth transition from one scene to another creates a nostalgic feeling for the masses. The plot of the film revolves around the lives of stand-up comedians and explores various experiences that lead them to the path of success in this career choice they made. It also showcases life on the road in the USA. It gives full insight into the profession and will be a convenient method to learn for the people wanting to choose the same occupation. The inclusion of interviews from Tim Wilson, Jay Leno, Billy Gardell, and Judy Tenuta educate the viewers about the importance of what works with the crowd, being serious about what choices one has made yet enjoying the same. The clips from the standup comedy shows are also added to instill a sense of realism into the Indie feature film. The camera work by Dan Aguar exquisitely captures the beautiful landscapes and infrastructure America has to offer. He also uses various camera angles to cover the night-life as well as the Dears and Bisons. This makes the content more relatable to the masses thus assisting in increasing the popularity of the documentary. The set design, lights, costume, hair, and makeup departments are coordinating with each other to match with the approach and the vibe the creative team of the short film has put together. The dialogues and conversations is kept straight forward so that the masses can understand the real-life account of various comedy giants and get inspired by them. Everyone knows making people laugh is the most difficult part of this profession yet evoking laughter from a bunch of strangers sitting in the hall is the most rewarding thing for a professional entertainer. A comedian with each tour also gets to learn and discover a new trait of his/her personality and improve his skills as a performer. With being a humorist comes various challenges about planning little gigs carefully, maintaining own personality/style, and writing good material for the shows is the key to aiming for continuous growth in the entertainment industry. Being an ardent viewer of various short films I came across a few flaws in the movie. A few scenes appear to be cluttered because of low picture quality. The filmmaker David Oyster should have included subtitles as the dialogue delivery isn’t on point in some scenes and it becomes difficult for the audience to follow the same. Buy UKFR Banner Space About the Film Critic Swati Verma Indie Feature Film < All Reviews Next Film Review >

Saccharine film review by UK film critic Hope Madden. Starring Midori Francis, Madeleine, Madden, Danielle Macdonald directed by Natalie Erika James. HOME | FILMS | REVIEWS Saccharine Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: May 21, 2026 Directed by: Natalie Erika James Written by: Natalie Erika James Starring: Midori Francis, Madeleine, Madden, Danielle Macdonald Body image, binge behavior, shame, and desire fuel Natalie Erika James’s (Relic ) third feature, Saccharine . From its fascinating opening sequence, you’ll be glad if you don’t buy popcorn. That opening, scored with sensual moaning, cuts between extreme close ups of various body parts of a lithe woman on an elliptical, and extreme close ups of binge eating, but in reverse. As if the eater is removing those sloppy snacks rather than inhaling them. Hana (Midori Francis) is the eater. She’s also the person eyeing the woman on the elliptical, Alanya (Madeleine Madden), a trainer who invites Hana to join her 12-week diet and exercise program. Profoundly self-conscious but smitten, Hana agrees. Then she runs into old high school classmate Melissa (Annie Shapero), unrecognizable thanks to weight loss brought about by a technically illegal supplement called grey. What Melissa doesn’t know but med student Hana figures out is that the supplement is human ash. Hana takes it anyway, loses weight, but the side effects are hardly what she bargained for. In the Ozempic era, the idea that someone might swallow pills of human ash to lose weight without regard to consequences feels right. There’s a fetishistic quality to many of the film’s sequences. These become the sticky residue holding together a ghost story, a tale of generational and cultural identity crisis, and some serious body horror. That’s an awful lot for James to pack into her 112-minute run time. Though she doesn’t resolve everything, it’s the surprises and loose ends that are most intriguing. Francis impresses as the fractured main character, driven and yet unable to control her binging, however hard she tries. James expertly uses the sympathetic, believable central figure to wind viewers through startling sensual indulgences punctuated by family drama. It would feel overpacked were it not for Francis’s grounded, compelling turn, supported nicely by the film’s small ensemble (Madden, Danielle Macdonald, Showko Showfukutel). Just when it looks like the family drama horror trope has won out, James surprises again, and the film leaves you stunned and wondering. Objectification, internalized beautify standards, and the fetishistic nature of consumption drive Hana’s behavior and James’s film. Art over the post credits amplifies an aesthetic that James might have used to better effect throughout the movie. Still, Saccharine delivers something intimate and disturbing—too unsettling to be solved with Pepto Bismol. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Rage Against the Dying film review by UK film critic Jason Knight. Starring Rajat Arora, Akanksha Srivastava directed by Saurabh Arora. HOME | FILMS | REVIEWS Rage Against the Dying Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 24, 2024 Directed by: Saurabh Arora Written by: Saurabh Arora Starring: Rajat Arora, Akanksha Srivastava A couple are tormented by an ancient curse. A short horror film from India that explores the suffering that is being done to a young married couple by supernatural forces, in this case a family curse that has been pursuing the family for generations, forcing the members to be away from each other. The couple that is currently being targeted by the curse is Arif ( Rajat Arora) and Rachna (Srivastava) and having endured the menace fore ages, they seem to have reached the end of their tether as they have repeatedly moved residences in the hope of avoiding the curse, however it always follows them. Now, in their apartment, the couple have a disagreement regarding whether they should move again or try to face the threat. Arguably, the highlights are the parts where the paranormal entities (spirits or ghosts) affect the family, tormenting them with vile sounds of people screaming or being in terrible agony and commendations go to Anup Rupanwar for the sound design. It is implied that these forces also have the ability to perform physical actions, as a massive animal-like scratches are seen on sheets. However, the real terror occurs with the appearance of demonic-looking hands approaching the unfortunate characters. All this is accompanied by Karl Casey's sinister score, making the experience even more frightening. Yes, there are spine-tingling moments. However, if these are taken away, this short does not have much. When the couple are not been menaced, they have a minor argument and then they stay in separate room in their household and communicate via their mobile phones. While this takes place, they send sentimentaal text messages to each other, ignoring the curse, making the viewer forget that this is supposed to be a horror story. While the text bubbles are well-designed, this part feels dull and feels more like a commentary about how mobile phones isolate people, making them communicate via technology than face-to-face. The film opens with a title card showing the title of the poem Do not go gentle into that good night by Welsh poet Dylan Thomas. Interestingly, the film's title is part of that poem, which is repeated several times in the poem. Following the title card, the film moves to a voice-over accompanied by a montage. The narrator (an unknown male voice) tells the story of the curse, while a series of black-and-white shots (seemingly archive footage) that include buildings burning and people boarding a train. The narration is relevant to the narrative, however how the visuals mentioned fit in is not clear. This supernatural horror film does have its positives, including decent performances, an interesting plot and the tense moments mentioned above. Ultimately, it appears to be a story about love and courage. Unfortunately, it almost certainly could had done without the lengthy, speech-free parts with the mobile phones because they slow the narrative down and divert it away from the plot. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >