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Chris Olson is a movie critic and Founder of UK Film Review. Learn more about his career in film journalism and being Editor-in-Chief. Chris Olson Founder / Editor-in-Chief Having spent a lot of time watching films during my time at the University of Plymouth, I decided to become a film critic - a job that offers no pay, no luxury, and no guarantee of meeting famous people...At least it doesn't come with a uniform. You can see my Plymouth University Alumni Page here . I started writing for a London cultural magazine about events going on in the city. Soon after I was made the Editor of the film section. Eventually, the mag went bust and I decided to use my connections and start UK Film Review. The result being what you see here - a platform to help filmmakers, actors, writers and indeed film critics achieve cyber glory. My reviewing style is probably more optimistic than most, especially as I try to find the good in what everyone does...except Michael Bay. My favourite films are, in no particular order, About Time (2013), Glengarry Glen Ross (1992), Fight Club (1999), 12 Angry Men (1957), Adam Sandler's early movies ("Hey Waterboy, durrr") and anything directed by Christopher Nolan. Outside of film reviewing I also release music as a recording artist and provide UK sync music for film & TV. Follow me on Twitter and LinkedIn using the icons below and drop me a line if you are interested in becoming a film critic or having your film reviewed. Or watch some of my video film reviews below and click the button underneath to read some of my movie reviews . Read My Reviews

The Thin Black Line film review by UK film critic James Learoyd. Starring Captain Lee Peters III, Lieutenant Deuntay Diggs, Sergeant Carol Burgess directed by Jim Klock. HOME | FILMS | REVIEWS The Thin Black Line Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: May 7, 2024 Directed by: Jim Klock Written by: *N/A Starring: Captain Lee Peters III, Lieutenant Deuntay Diggs, Sergeant Carol Burgess Bill Nichols famously posed that there are six ‘modes’ of documentary based on varying levels of spectatorship, tone, and the documentarian’s active or inactive participation; The Thin Black Line would serve as a challenging study to Nichols’ celebrated rubric, for the way it’s constructed may leave the viewer uncertain about the intentions of specific moments. It really begs the question, is it possible to judge purely the formal craft of a documentary without considering its social content? - I suspect the answer is no . This feature doc is about American law enforcement following the recent political unrest regarding police brutality; - specifically, it focuses its attention on the African American individuals working as officers and their complicated relationship to the prevalent issues about discrimination. It’s quite fascinating, and heartbreaking, to hear first-hand testimony concerning the impossible position people of colour working in the force are put in; however, the overall tone, structure and singular message of the piece often feels slightly manipulative. Specifically, I’m trying to address the following clash of issues that this film creates: for one, it certainly feels like a movie made wholly in support of the police – it is constructed as such to guide that narrative and make its ‘argument’. This can, at points, feel icky – for lack of a better term – particularly when, for example, one white officer featured in just a short fragment of an interview reveals himself to be socially uneducated in terms of racial prejudice (although this really only happens once or twice... but you feel it). With the rhythm of the editing and the music playing, one can revulse at the idea that the audience is supposed to agree with the testimony. On the other hand, (and this is very important) the most valuable element of the film comes from the continual attention paid to the voices of black officers. Their stories, perspectives – no matter how they’ve been structured in the documentary’s making – are important to hear. There are some perceptive things said, some harsh truths spoken; and agree with them or not, their purpose is to be thought-provoking. It’s disturbing to hear, for example, the ways in which an African American individual – when choosing to work in law – experiences a sense of individual alienation. They discuss a deeply upsetting questioning of identity, and how the world views them with scepticism more so than others within the profession. So -- the picture, as intriguing and valid as it often is, holds problems which are difficult to overlook; and most of this is due to the way the film is made as opposed to the content itself. To circle back to Bill Nichols, arguably a solution to this cognitive dissonance would be to have the piece be purely observational... Were it a series of extended interviews of a politically confrontational (even persuasive) nature – without any music, expressive transitions, or provocative B-roll – then we could view the film without any concern that we’re being manipulated by technique. Present is the potential for great documentary filmmaking for it contains all the pieces of an incredible social document. About the Film Critic James Learoyd Documentary, Indie Feature Film < All Reviews Next Film Review >

Reclaiming the Night film review by UK film critic Joyce Cowan. Starring NA directed by Daniel Benjamin Wheeler. HOME | FILMS | REVIEWS Reclaiming the Night Film Review average rating is 5 out of 5 Critic: Joyce Cowan | Posted on: Jan 9, 2024 Directed by: Daniel Benjamin Wheeler Written by: Daniel Benjamin Wheeler Starring: NA A disarmingly genuine and knowledgeable case for humanitarianism. In these days of global war and escalating violence and hate, the feeling that arguing for peace is a modern definition of madness rather than a simple human attitude comes often. It is usually culture, including but not limited to film, that reminds me that this is not always true. There is still humanity out there if we care to look. ‘Reclaiming the Night’ is a case in point. This documentary is a brilliant mix of academic exposition and humanitarian witness statement. Technically, it is of an understatedly high quality. Beginning by setting its academic tone with beautiful stills of the University building, from which we get views of the Artic landscape, and footage of an educational psychology class in Norway, then setting the humanitarian theme, and ending with the most powerful statement one could make: ‘I am not afraid’. In times when we are wrongly told that people ‘have had enough of experts’ (credit a certain shameless UK government minister a few years ago), I say thank the Universe for studious people. And where they use that knowledge to help others, times that by a million. Reclaiming the Night engages deeply with the essence of its subject matter, referencing the seminal work on childhood trauma on which the documentary’s lead, Professor Schultz, has largely based his work, ‘Too Scared to Cry’, by American psychiatrist Lenor Terr. Much like the title of the book references the physicality of trauma, the extreme cases in which the body is not even able to relieve itself through the process of weeping, the documentary’s brilliant title points to one of the essentials of psychiatric health and, ultimately, survival: sleep. And the documentary illuminates what the Professor’s work is truly about: to help the victims of extreme trauma to dream again. He means, and does this, both literally- helping victims reduce or stop their nightmares and bringing back their ability to sleep well- and figuratively, in the sense of regaining the ability to dream of the future again, to reclaim their faith in being alive. No easy task. The Professor’s brilliant work is done with the support of the Norwegian Refugee Council. I am a historian by training, so allow me, dear reader, to point to the origins of this organisation. Founded in 1946, the Council is a staple of the post- Second World War human rights consensus. A consensus that is currently being ripped to pieces by the global far-right. This makes works of film like Reclaiming the Night all the more necessary, urgent and essential to who we are as humans and our ability to face destruction with creation. About the Film Critic Joyce Cowan Documentary, Short Film < All Reviews Next Film Review >

Bloody Romeo film review by UK film critic Patrick Foley. Starring Mukesh Asopa, Akshay Asopa. Natalie DP directed by Mukesh Asopa. HOME | FILMS | REVIEWS Bloody Romeo Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 2, 2022 Directed by: Mukesh Asopa Written by: Mukesh Asopa, Anushree Deshpande Starring: Mukesh Asopa, Akshay Asopa. Natalie DP For all the takes on Romeo and Juliet we’ve been subjected to since Shakespeare’s day, there have been none quite like Mukesh Asopa’s Bloody Romeo – a stylish and original film but one which fails to live up to early intrigue. The film follows Romeo (Mukesh Asopa), a young man who lives a lonely life in a city beset by a spate of mysterious female suicides. Meeting Layla (Natalie DP) brings an excitement to his life. But her work at a women’s centre puts her in the middle of a potential scandal relating to a non-profit who claim to possess the ability to stop the suicide wave. Romeo must confront his past, as well as his present, as he decides whether he will take a role in the betterment of the city. Bloody Romeo is an ambitious, feature-length drama directed by and starring Mukesh Asopa which unfortunately fails to juggle its multiple storylines or tell them in a manner that engages viewers. The film starts well, with dynamic and striking portrayals of people struggling with suicidal thoughts – establishing the harrowing consequences of the story’s premise. But these are gradually reduced in favour of boardroom meeting scenes and unconvincing discussions around the suicide epidemic, which lack anywhere near the same impact. Similarly, viewers never get much of a sense that the relationship between Romeo and Layla is the life-changing courtship we are told it is. The sombre tone of the film overtakes what should be positive and livening scenes between the two. None of this is helped either by a confusing plot which fails to fully explain and establish the character’s relationships or roles, despite an abundance of expository dialogue. The poorly defined aims of the antagonistic and sinister non-profit organisation which much of the film’s drama revolves around is just one example of the plot’s opaqueness, and the introduction of fantastical elements such as mass hypnosis muddies this even further. The film does excel when it focuses on its core characters – particularly Romeo, who is presented as a conflicted and complex character confronted with morally difficult decisions throughout the film. The film also demonstrates Layla’s passion for helping others, and the director is successful at demonstrating why this would rub off on Romeo even if other elements of their relationship are left unexplored. It is a shame that the film does not place more emphasis on the character development, especially given its unnecessary 2-hour runtime. Acting is largely wooden and there is little chemistry amongst the cast. Mukesh Asopa succeeds as the dark and broody Romeo, but beyond this there are far too many awkward deliveries of the clunky and expository dialogue which break audience immersion. The cast lack the ability to portray the bonds their characters are meant to share, such as the close friendship between Romeo and Orion (Richard Cole) or the central love story between Romeo and Layla. The film is well-framed and includes some impressive staging of set-pieces, particularly in its closing scenes. Unfortunately, too much of the story is told in a manner that is inherently visually uninteresting – and no amount of production can make endless phone calls and boardroom discussions engaging to the audience. The soundtrack is nice and creates an intense atmosphere, although there are some noticeable drops in sound quality for the dialogue. For what could have been an interesting twist on a time-worn tale, Bloody Romeo is filled with too many tiresome scenes and bloated plot to really get its teeth into the good stuff. It has its moments, but a significant edit would have allowed these to shine so much more. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film, World Cinema, Film Festival < All Reviews Next Film Review >

In a Violent Nature film review by UK film critic Hope Madden. Starring Ry Barrett, Andrea Pavlovic, Lauren-Marie Taylor directed by Chris Nash. HOME | FILMS | REVIEWS In a Violent Nature Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: May 29, 2024 Directed by: Chris Nash Written by: Chris Nash Starring: Ry Barrett, Andrea Pavlovic, Lauren-Marie Taylor When a filmmaker upends slasher tropes, the result often takes a comedic turn. Scream benefitted simultaneously from the audience’s effortless acceptance of genre staples and Wes Craven’s wicked sense of humor. Likewise, the absolute treasure of a meta-slasher Behind the Mask: The Rise of Leslie Vernon zeroes in on slasher cliches to generate fear and horror, laughter and empathy. Chris Nash is not doing that. After years making horror shorts, Nash writes and directs his first feature. Though In a Violent Nature builds its unstated plot on your knowledge of slashers, the filmmaker is not in it for laughs. In a Violent Nature is unapologetically a slasher. A handful of young adults gathers in a secluded national park to camp. They are vaguely horny, annoying, drunk. One mourns some kind of recent tragedy. The fact that we will never get to know these characters by name seems fitting, since slasher characters are one-dimensional by nature. Why do we return to Crystal Lake year after year, sequel after sequel? It’s not for the campers. We hear their inane chatter, their campfire stories, their bickering and flirtations, but just barely because we’re at a safe distance. We’re far enough from the fire that they can’t see us. In fact, it isn’t until the third act that we finally find ourselves more than a few feet away from the unstoppable killing machine whose point of view defines our story. And even then, at the end, how far away could he be? What Nash does with his retake on the slasher—utterly minimalistic except for the carnage, which is generally inspired—is both a deconstruction and loving ode. This movie loves slashers. It does not mock them, doesn’t wink and nod at what we accept when we watch them. Nor does it add any depth to them. People watch slashers to see characters you don’t care about meet inventive, bloody death in a beautiful landscape. We watch slashers because death is comeuppance, it is coming no matter what, and it’s coming in the form of a hulking, horrifying mass with a tragic backstory. The practical fx are glorious. The storytelling is clever in that the story tells you nothing, but Nash’s thoughtful direction is enough. If you don’t like slashers, you won’t like In a Violent Nature . If you sincerely do, though, this film is not to be missed. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Good Old Friends film review by UK film critic Jason Knight. Starring Andrej Vickers, Peter Kondra, Mikael Schallock directed by Peter Kondra, Mikael Schallock. HOME | FILMS | REVIEWS Good Old Friends Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 4, 2022 Directed by: Peter Kondra, Mikael Schallock Written by: Peter Kondra Starring: Andrej Vickers, Peter Kondra, Mikael Schallock Three friends get together in Berlin to have some fun and catch up on things. However, a terrible event changes everything. Mike (Schallock) is a film actor who has just arrived in Berlin in order to meet up and spend time with two friends who he has not seen in a while. These friends are Marc (Vickers) and Pete (Kondra), who is a drug dealer. They have a good time together and talk about their lives. Then something happens that abruptly ends their fun. This amusing feature has a narrative that changes half-way through. The first half is a dark comedy that takes place primarily inside Marc's apartment and focuses on the three friends as they enjoy themselves by drinking, taking drugs and discussing the ups and downs of their lives. Things take a sharp left turn after the tragedy, turning the movie into a road movie thriller, as two characters drive around the city, trying to figure out how to dispose of a dead body. Still, the film maintains its dark humour throughout. Although, the free buddies are living different lives, Mike and Pete have quite a few things in common when it comes to enjoying life and forgetting about their worries. On the other hand, Marc stands out because he works a lot and has trouble getting away from his laptop even when he is at home. The acting is not very good, nevertheless, this does not prevent the performances from being entertaining. The directing is creative and includes wonderful aerial shots that capture the beauty of Berlin and the filmmakers make effective use of slow motion and lighting techniques. The movie also gains from an enjoyable soundtrack. This is a crime dark comedy that offers a good time during its one-and-a-half-hour duration. It has plenty of dark humour, interesting protagonists, well-written dialogue and creates good suspense too. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Film news - Rise of the Footsoldier Origins UK Cinema Release. Find out more at UK Film Review. Rise of the Footsoldier Origins UK Cinema Release Chris Olson Tuesday, July 27, 2021 at 10:57:23 AM UTC VINNIE JONES STARS AS REAL-LIFE HARDMAN AND THE ULTIMATE GANGSTER IN BRITISH TRUE CRIME THRILLER RISE OF THE FOOTSOLDIER: ORIGINS Only in cinemas September 3rd . Courtesy of Signature Entertainment. The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Lock, Stock and Snatch superstar Vinnie Jones teams up with premiere acting veteran Keith Allen (Kingsman, Shallow Grave) for British true-crime thriller RISE OF THE FOOTSOLDIER: ORIGINS, a brutal account of how real-life, hard-as-nails Falklands War veteran Tony Tucker came to be involved in one of the most notorious gangland murders in British history. As well as Jones, outstanding as fearsome doorman Bernard O'Mahoney, and Allen as formidable nightclub owner Dave Simms, the film features some of the cream of the crop of home-grown actors including Craig Fairbrass (Muscle) – returning as notorious drug-dealer Pat Tate - P.H.Moriarty from The Long Good Friday, Billy Murray (Eastenders), Michelle Collins (Eastenders), George Russo (Top Dog), the brilliant Roland Manookian (RocknRolla), a genius cameos from reality TV royalty Chris Hughes and the late and great Heavy D. Directed by Nick Nevern (director and star of The Hooligan Factory and star of popular BBC comedy series Motherland), who co-wrote the script with producer Andrew Loveday, this is a blisteringly good thriller, set against a superbly realised backdrop of the late 80s rave scene, with a pulsing soundtrack featuring the likes of New Order and Ultravox. A future Brit gangster classic that gives the likes of Layer Cake, The Gentlemen and Legend a run for their money. Jam-packed with foul-mouthed and often hilarious dialogue, explosive moments of violence, and a gripping plot that tells it like it happened, RISE OF THE FOOTSOLDIER: ORIGINS is a must-see for anyone after an authentic crime biopic that hits like a knuckle-duster polished to a high shine. This is Blow, Essex style, and it will knock your socks off. Get your tickets front and centre now and prepare to get blasted. RISE OF THE FOOTSOLDIER: ORIGINS is showing ONLY in cinemas from 3rd September, released by Signature Entertainment Watch Rise of the Footsoldier Free Online. The King's Man UK Home Release Date Announced The Latest King’s Man Film Will be Available on Digital February 9 and 4K Ultra HD™, Blu-ray™ and DVD on February 21. Read Now BFI Future Film Festival announces 2022 Awards Jury and full programme Find out who the jury is for the 2022 BFI Future Film Festival. Read Now The Wonderful: Stories From The Space Station UK Release Date The Wonderful: Stories from the Space Station is a Dog Star Films production in association with Fisheye Films. Directed by Clare Lewins (I Am Ali, Kareem: Minority of One, The Lost Tapes of Memphis.). Read Now Redemption of a Rogue UK Cinema Release Date Read Now Cryptozoo Coming to Mubi This October Having made a splash at the 2021 Sundance Film Festival, filmmaker Dash Shaw's upcoming fantasy animation Cryptozoo is a highly anticipated film coming to Mubi later this year. Read Now Another Round UK DVD And Blu-Ray Release Date Announced Following its acclaimed cinema release, STUDIOCANAL are excited to announce the release of Thomas Vinterberg’s intoxicating Oscar winner, ANOTHER ROUND, starring Mads Mikkelsen, on early EST 24th September 2021 and DVD, Blu-ray and Digital on 27th September 2021. Read Now Marvel Studios Announces Black Widow DVD and Blu-Ray UK Release Date Marvel Studios Announces Black Widow To Land Early On Digital (August 10th) and 4K, Blu-Ray and DVD September 13th. Read Now My Little Sister Gets October UK Release Date My Little Sister is due for a cinema release in the UK, on Friday 8th October 2021. Read Now Grimmfest Reveals Line-Up for 2021 Film Festival After a year of “home invasions” in the form of virtual screenings and online events, this October sees Grimmfest returning to the cinema at last. Read Now Helen Mirren Narrates Powerful Documentary Escape From Extinction Kaleidoscope Entertainment presents Escape From Extinction, a powerful feature documentary narrated by Academy Award winner Dame Helen Mirren, coming to selected cinemas from 17th September celebrating ‘Great Big Green Week’ (18-26 September). Read Now Supernova UK DVD and Blu-Ray Release Date Following critical acclaim and standout performances, STUDIOCANAL are excited to announce the release of the heartbreaking British love story SUPERNOVA, arriving on EST 24th September 2021 and DVD and Blu-ray on 27th September 2021. Read Now The Djinn UK Release Date The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Read Now Come Play UK Digital Release Date Jacob Chase’s directorial debut feature COME PLAY tells the story of Oliver, a solitary autistic boy who comes across a creepy children’s story on his new tablet. Read Now 15m Giant Starfish in Leicester Square Ahead of UK Release of The Suicide Squad British actor Peter Capaldi (BBC’s Doctor Who, World War Z) ‒ who stars in THE SUICIDE SQUAD alongside Margot Robbie, Idris Elba and John Cena as genius scientist ‘Thinker’, was bravely photographed with the imposing creature Starro in London’s Leicester Square earlier today in celebration of the film’s UK release this coming Friday. Read Now West Side Story In Cinemas December 2021 From acclaimed director Steven Spielberg, the 2021 remake of West Side Story will be coming to cinemas in December 2021. Read Now The Last Job UK Digital and DVD Release Date Screen icon Richard Dreyfuss takes on The Last Job in a brand new, all-action thriller, that stars Modern Family’s Mira Sorvino as his daughter. This rip-roaring gangster movie hits the UK on DVD and digital this August from 101 Films. Read Now Rise of the Footsoldier Origins UK Cinema Release The eagerly-awaited RISE OF THE FOOTSOLDIER: ORIGINS, starring legendary leading man Vinnie Jones, is showing exclusively in cinemas from September 3, courtesy of Signature Entertainment. Read Now Random Acts of Violence UK DVD and Blu-ray Release Date Jay Baruchel writes, directs and stars in his horror debut Random Acts of Violence, which makes its UK Blu-ray debut from Acorn Media International in conjunction with Shudder, following its success on the streaming service. Read Now Spirited Away 20th Anniversary Special Edition SPIRITED AWAY COLLECTOR’S BOXSET WITH DVD & BLU-RAY DOUBLEPLAY AVAILABLE 27 SEPTEMBER 2021 Read Now A New World Order Premieres in UK 23 August Black Mirror meets A Quiet Place in gripping sci-fi thriller A New World Order from director Daniel Raboldt in his feature debut, which gets its UK premiere on DVD and digital 23 August 2021 from Reel 2 Reel Films. Read Now

I Don't Know Where, but Together film review by UK film critic Patrick Foley. Starring Federico Cesari, Francesco Cicconetti, Naomi Oke directed by Luca Finotti. HOME | FILMS | REVIEWS I Don't Know Where, but Together Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 28, 2021 Directed by: Luca Finotti Written by: Luca Finotti Starring: Federico Cesari, Francesco Cicconetti, Naomi Oke Fashion, colour and vibrancy are the themes that summarise I Don’t Know Where, But Together (Non So Dove, Ma Insieme) , an Italian production from the fashion viral-video director Luca Finotti in a collaboration with Italian label MSGM. The short commercial film is filled with enthusiasm and optimism, and very much a product of its time following a brutal and difficult year. The youthful cast venture around the sunny streets of Milan making the most of their freedom, whilst of course decked out in the latest outfits curated by the fashion brand funding the whole venture. Relationships are established and teased throughout, as the 6 friends converge on a late-night outdoor party. Whilst I Don’t Know Where, But Together is clearly a commercial film designed to advertise the products of the MSGM fashion label, it at least features a creative storyline and striking cinematography that makes it a succulent, sugar-rush of a watch. Perhaps vivacious production was to be expected given the purpose of the film, and it being a creation of fashion-video specialist Luca Finotti – but it makes a welcome shift from the overly pretentious melodramatic style the genre is known for. Rather than present an unobtainable standard that works to entice viewers through desire to be a part of something exclusionary, the diverse and carefree group presented will remind audiences of their own loves and friendships – eliciting positivity and enthusiasm. The film imitates pop music videos – to such a degree viewers would be forgiven for wondering whether this was the pieces’ actual purpose. The synchronisation of music and imagery works in the film’s favour, effectively amplifying the sense of fun and excitement the film exudes. No dialogue is featured in the piece, with Finotti instead allowing his cast to tell their story through emotions and actions alone – a wise choice considering his casting call went out over Instagram and intentionally focused on non-actors. Ultimately the film is limited in that it is primarily an advert for a brand, and whilst clearly creative and original, is ultimately designed to sell clothes. The values it presents are progressive, inclusive and positive – but you can’t shake the feeling that they would be cast aside in a second for MSGM to add a zero onto their bank balance. You can’t blame Finotti, the cast, or the label to be fair to them, for commercialism. But not matter how enthusiastic or hopeful the film, there’ll always be a hint of cynicism where big money is involved. About the Film Critic Patrick Foley Short Film, Digital / DVD Release, LGBTQ+, World Cinema < All Reviews Next Film Review >

Nakam film review by UK film critic William Hemingway. Starring Anton Krymskiy, Jevgenij Sitochin, Peter Miklusz directed by Andreas Kessler. HOME | FILMS | REVIEWS Nakam Film Review average rating is 5 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2022 Directed by: Andreas Kessler Written by: Fabien Virayie Starring: Anton Krymskiy, Jevgenij Sitochin, Peter Miklusz In today's world climate it may be difficult to think that not so long ago those of us in the West had no real idea about the story of Ukraine. Usually bundled in under the purview of the Soviet Union, the real life stories of the land and its people have tended to be overlooked, forgotten or just never been told. During the Second World War, Ukraine was no different to other European countries in the treatment of its people by the Nazis. As a land of farmers and workers it was easy for the occupying forces to breeze through the small settlements and villages re-educating, reducing and relocating the people as they went – this treatment obviously being infinitely more so for Ukrainian Jews. In 2002, Jonathan Safran Foer shone a light on just how terrifying this treatment was as he investigated the total annihilation of Trachimbrod, a Jewish shtetl where his grandfather had lived, through his excellent novel, Everything Is Illuminated. This was then turned into a watered down, broad brush strokes film version in 2005. Now, in Nakam , from film-maker Andreas Kessler we are party to another famous story from this time, of which most of us will likely still never have heard. Nakam , in Hebrew, means revenge. It was also the name of a paramilitary organisation formed after the end of the war by around fifty Holocaust survivors who determined to set the balance of the scales right again by plotting to murder six million Germans – a plot which ultimately failed. Kessler instead chooses to focus on a much smaller, more intimate enactment of revenge told through the real life story of Mordechai 'Motele' Schlein, a young teenage boy who was known to play violin at an eatery frequented by Nazi officers. In Kessler's film, the young violinist is Mitka (Krymskiy), who has found his way recently to a new village since losing his home and his parents to the Nazi occupation. He plays every day alongside Yegor (Sitochin), a kindly old man who plays the piano and who has taken Mitka under his wing, as they make music for the guests of the tavern in return for something to eat for themselves. However, neither Yegor nor anyone else knows that Mitka is Jewish and that he has fallen in with a partisan group of resistance fighters who are determined to take revenge upon the occupying forces. When SS officer Seegler (Miklusz) takes an interest in Mitka and his playing, then resolves to bring more of his SS colleagues to the tavern for an evening of light entertainment and the further plotting of genocide, the resistance decides that it's time to spring the trap and bomb the building with all of the Nazis inside. Mitka is all ready to go along with this but suddenly he's having doubts. What if Yegor is also caught in the blast? What of the tavern owner and his daughter? Can he really count them as collateral damage in this overt act of revenge? Do the ends actually justify the means? What is immediately striking about Nakam is the attention to detail that is used to tell the story. From the costumes, to the setting, to the ways the characters talk and interact, switching from Russian to German to Yiddish, everything is placed and used for maximum authenticity. It is clear that Kessler wanted to do the story justice and took painstaking efforts to ensure that the audience felt transported back to a particular time and place. The acting, too, seems to come from a very personal space with cast and crew sharing family stories on set to inform and enhance the performances we see on screen. The three main leads each do an outstanding job of portraying their characters, these being archetypes which could be multiplied and recognised the whole country over, but who are fleshed out and performed with nuance and humanity to stand them out as individuals in a singular situation. Yegor is the everyday layman, rolled-over and resigned to his new fate while still doing what he can to survive; Untersturmfuhrer Seegler is the amiable SS officer who offers a smile and a friendly hand while also organising the submission and extermination of anyone who gets in his way; and Mitka is the hot-headed youth ready to see justice done and revenge meted out without being fully able to account for the atrocities of war nor truly count the cost of a single victory. Anton Krymskiy in particular delivers here a mature and accomplished performance as the conflicted Mitka. It is a testament to the skill and understanding of Fabien Virayie's script and Andreas Kessler's direction that so much is able to be given to the viewer within a thirty minute runtime. There is so much to unpack from each character – their inner conflict, old world view and reaction to the new order – as well as from the overarching scenario, that it is easy to be affected or overwhelmed by the events playing out on screen. There are certain moments which cut deep to the core of what it is to be human and which strike a chord across countries and decades without reaching for an answer to it all or offering a judgement on what is right – which is, of course, how it should be. It is an indictment of the fallibility of humanity and the current world order that we should again be facing the same atrocities being carried out upon the same people in their own land, just with different aggressors in different uniforms. If a film like Nakam can tell us anything it's that we should have learned from what has gone before – but to do that we must first hear the stories of those who have been silenced for so long. About the Film Critic William Hemingway Short Film, World Cinema < All Reviews Next Film Review >

Chapel of Rest film review by UK film critic Sophie. Starring Kyle Brookes, Sidney Kean directed by Iain Cash. HOME | FILMS | REVIEWS Chapel of Rest Film Review average rating is 4 out of 5 Critic: Sophie Price | Posted on: Feb 18, 2022 Directed by: Iain Cash Written by: Iain Cash Starring: Kyle Brookes, Sidney Kean Who would have thought that a cup of tea and a vengeful murder could happen all at once? Iain Cash’s new short film 'Chapel of Rest' takes on the meaning of simple but divinely executed, with a whirlwind of emotions and plot twists neatly packed into a fourteen minute short about avenging the unjust death of loved ones. From a director who’s previous films have won multiple awards such as Cash’s earlier film 'Dear John', ‘Chapel of Rest’ will live up to and exceed expectations of audiences with stellar writing and performances. The beginning of the film has a theatre-like feel, with the drama placed in the casual dialogue between funeral director Niel (Kyle Brookes) and priest Father Jones (Sidney Kean) sitting in an empty church accompanied by a single coffin. The pair spend time discussing their lives as both a funeral director and priest, as well as what happened to the deceased over a nice cup of tea Niel prepared for Father Jones. Even cracking jokes about the lives of a priest and funeral director amongst a global pandemic in a post-covid world of film. What truly makes the plot of this film standout however is the daringly simple plot twist that audiences will know in hindsight they should have seen coming, but nonetheless was surprising and elegantly executed. Niel tells Father Jones about how the deceased is a widower who died of old age after his wife and son both died from suicide, which in itself is a heavy concept but what Cash cleverly does with this information is slowly scatter clues in the middle and latter portion of the film about the truth: the family spoken about is actually Niel’s family, who’s brother died of suicide after being sexually abused by a preist by the name of Father Jones. Of course nothing in a film happens for no reason, even something as small as a cup of tea the priest drinks at the start which lo and behold contains a dose of poison given by Niel’s brother, just enough to paralyse and eventually kill Father Jones as a punishment for his crimes. What’s interesting about the plot is it leaves audiences lingering, waiting for action then it all comes at once as the pieces of the puzzle fit together smoothly. The penny drops for the priest along with the audience as the moments of realisation come to light. One could argue that the film’s build up dialogue took slightly too long for the purpose of the film to be revealed, however it is this build up that makes the twist that much more shocking. Kyle Brookes gives audiences an excellent portrayal of a surface level “average joe” with a myriad of malice inside. As both a stage and screen actor Brookes brings a variety of skills to his performance of the most important part of this film: the dialogue. Maintaining his cover as just another funeral director, no one would suspect the real reason he came to meet Father Joe until they catch on to the hints he is dropping halfway through the film. However once the truth is revealed his anger is evident but his face remains calm. This makes his emotions even more terrifying as he could erupt in violent outbursts but instead his character sneakily gets the revenge he’s sought for so long with a smile. Sidney Kean embodies the character of Father Jones with a similar depth to Brookes as both characters slowly but surely lose their outer facade of innocence as the film develops, the difference being Father Jones is guilty of the unimaginable and is caught in a well thought out trap laid by Niel and his family. As his frail elderly man demeanour wears off it’s clear Father Jones is only upset about being caught rather than for his actions themselves, which Kean shows well as an unsympathetic character about to meet his demise. Photography director Tim Follin does well at wrapping the film in grey cold tones to set the atmosphere from the opening shot, as well as cleverly placing the coffin mostly out of sight until it is opened and found to be empty. An interesting gem of cinematography in this film however is the end credits that roll over the backdrop of CCTV footage where the three brothers finish ending Jones’ life, which answers some audience questions that could be lingering from the final shot. Sound mixer and composer Nicolás Iaconis provides chilling pieces of music over the opening and closing credits of the film, but also makes use of quiet. If we consider silence a type of sound then Iaconis uses quiet not just because the scene is set in an almost empty church, but also forces audiences to focus on interactions between characters and makes the film all the more suspenseful. All of the above pieces of the film go towards its main themes of death, family, religion and revenge. The theme of death is clear from the opening of the film, with the setting and general atmosphere but Cash goes deeper than just writing a film about death. He explores complex issues such as the scandal of child abuse in the Catholic church and what it means to protect family members all while telling a dramatic and exciting story. Overall, audiences will be shocked and intrigued by ‘Chapel of Rest’. It might not be an easy or uplifting watch, but the dark issues Cash takes on are real issues facing our world. The film is one of high quality all around, from the plot to the script as well as performances and technical aspects. Short, not so sweet but entertaining is the recipe of this film, one that is well worth a watch with a nice cup of tea. About the Film Critic Sophie Price Short Film < All Reviews Next Film Review >

The Long Walk film review by UK film critic Hope Madden. Starring Cooper Hoffman, David Jonsson, Mark Hamill directed by Francis Lawrence. HOME | FILMS | REVIEWS The Long Walk Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 9, 2025 Directed by: Francis Lawrence Written by: JT Mollner, Stephen King Starring: Cooper Hoffman, David Jonsson, Mark Hamill How fitting that Stephen King’s capitalist dystopian nightmare The Long Walk has finally been brought to the screen by director Francis Lawrence. Having helmed four Hunger Games films, including the most recent prequel, The Hunger Games: Ballad of Sonbirds & Snakes , he knows his way around these battles for what crumbs the wealthy deign to throw. Based on King’s 1979 novel, the film follows a group of young men, each of whom signed up for and were chosen to participate in a last man standing competition: one road, one winner, no finish line. Walk until there’s no one else walking. The catch is that you can’t quit. Hell, you can’t even slow down. You walk until you die, either of exhaustion or by bullet spray (should you break the rules). Lawrence has gathered a talented cast for these characters, beginning with everybody’s nemesis, the condescending voice of support and doom bellowing from the megaphone. Mark Hamill plays The Major with the perfect combination of swagger and benevolence to be contemptible without veering into caricature. As Ray, our hero, Cooper Hoffman impresses, even when he’s saddled with King’s unfortunately quaint dialog. The camaraderie among the “four musketeers”— Ray, Pete (David Jonsson), Arthur (Tut Nyuot), and Hank (Ben Wang)—feels contrived from the beginning, Still, Cooper and Jonsson (so impressive in Alien: Romulus ) share genuine chemistry, each elevating scenes with a glance, a shrug, a change in tone. Hoffman, in particular, plays nimbly with each of the other marchers, always delivering exactly the tone needed to keep someone’s head on straight and feet moving forward. Unsurprisingly, his moments with the invaluable Judy Greer (as Ray’s mother) are tender and heartbreaking. This is a story most have deemed unfilmable given the utterly straightforward narrative. Cinematically, there’s not a lot you can do besides walk alongside 50 or so actors as they dwindle in number. There’s little opportunity to show rather than tell. Characters are defined by their dialog, and often, they’re narrowly etched. But JT Mollner (Strange Darling ) finds sly opportunities to broaden what is essentially a war metaphor—soldiers walking side by side, friendly enough but each hoping he’s the one who survives. Mollner and Lawrence subtly draw attention to the dystopian capitalist spectacle of boys walking themselves into an early grave, all so the rest of the country can watch and learn to be good, hard workers. The Long Walk , as is always the case, will upset King purists because of its handful of plot changes. But when it comes to delivering a cinematic experience with an unfilmable novel, the movie’s a winner. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Waiting For The Drop: Rise of the Superstar DJs film review by UK film critic James Learoyd. Starring Carl Cox, Kaskade, Paul Oakenfold directed by Alexei Barrionuevo. HOME | FILMS | REVIEWS Waiting For The Drop: Rise of the Superstar DJs Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 2, 2025 Directed by: Alexei Barrionuevo Written by: N/A Starring: Carl Cox, Kaskade, Paul Oakenfold Waiting For the Drop is a new music documentary about the contemporary world of DJ-ing and electronic music culture. The result of over a decade’s worth of venue footage and talking-head interviews is an engaging – yet not always well-articulated – story with a multitude of moving parts. Director and producer Alexei Barrionuevo is very much making a film about the industry for those interested in the industry... which is not to suggest that it is inaccessible to the average non-house-music-obsessed viewer, for instance. This is simply a case of a documentary’s rich content and contexts outweighing the piece’s overall craft and spectatorial consistency. All audience-members will engage in fascinating areas of discussion. For instance, the movie touches on how, once big business caught on to how lucrative the scene was becoming, they attempted to commercialise the movement without knowing what about it appealed to the masses. The invasion of capitalistic intent within art will not only speak to music-lovers but to film-lovers as well, since we’re living in this age of great division between the biggest, most superficial products of cinema and the most tiny, perceptive works from independent creatives. It’s a film which expertly explores the fine line between what’s cool and what isn’t, and the external forces which have a bearing on that dichotomy. Throughout the feature’s runtime, we get valuable insights into the perspectives of some celebrated professionals. These interview snippets are golden; fascinating for their confidence, candour and occasional contradictions. You’re almost left wishing that the film had taken its time a little more to remain with these personages and their stories. Because if there’s a definite problem in Waiting For the Drop , it’s the sense that this is a most by-the-books, general overview of such a vast range of topics. After a while, the viewer will realise that we’re simply viewing footage of crowds in arenas, put to music and informative voiceover, with fragmentary testimony sprinkled in. In this way, the film lacks any kind of cinematic punctuation. It’s a phenomenal piece of research, yes, and some of the images are impressive; but it struggles to maintain a structure and therefore momentum. One way in which to fix this would be to focus in on a single subject or sequence – for instance, seeing what a day in the life of a DJ is like; the practical pressures and processes they must go through every night. Ideally, I’d like to follow them on that journey. One can safely say that, through watching this 95-minute film, this reviewer has learnt more and comprehended further the workings of an industry which I heretofore had little to no awareness of – in addition to now understanding the appeal of such a genre and such a movement. Alexei Barrionuevo and the rest of the production team should be proud of what they’ve accomplished, for on a level purely of accumulation and arrangement, this is a formally competent, well researched, well organised document. Despite complaints that this movie fails to be quite as experiential and emotionally immersive as one might hope, Waiting For the Drop is sure to educate a great many viewers when it comes to the history and culture of authentic electronic music. About the Film Critic James Learoyd Indie Feature Film, Documentary < All Reviews Next Film Review >