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The Man In The White Van film review by UK film critic James Learoyd. Starring Sean Astin, Madison Wolfe, Brec Bassinger directed by Warren Skeels. HOME | FILMS | REVIEWS The Man In The White Van Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Sep 21, 2025 Directed by: Warren Skeels Written by: Warren Skeels, Sharon Y. Cobb Starring: Sean Astin, Madison Wolfe, Brec Bassinger Warren Skeels’ The Man In The White Van tells the story of a series of grisly murders taking place in Florida in the 1970s. This plot actually serves more as the backdrop to an effective portrayal of a family’s domestic life, and the kids’ school life. We have two parents (Sean Astin and Ali Larter) and three children (Madison Wolfe, Brec Bassinger and Gavin Warren). Between these quaint family dialogues, we see glimpses of ruthless murders as the impending titular horror gets ever closer to our main characters and their home. Many an audience member are sure to compare this movie to Fincher’s singular masterpiece Zodiac (2007). This is not only due to screenplay (by Skeels and Sharon Y. Cobb) and its similarities in subject-matter, place and time; but also because of the deliberate steps this movie takes to replicate Zodiac ’s aesthetic – even down to the font of the opening credits. Yet what impressed this critic was how the filmmakers took the Fincher aesthetic – which has so often been overused and technically misunderstood as simply having a ‘desaturated colour palette’ – and applied its deeper nuances to the tale being told. For instance, one Fincher attribute which works well is the use of subtle camera adjustments so as to mimic a character’s physicality. And, thankfully, this film has a gorgeous, varied palette, consisting of pastel colours and vibrant sunsets. This is a sturdy looking movie with incredible production values. Outside of impeccable technical consistencies – such as the precision of the focus-pulling or wonderful balance of the lighting – some of the most impressive and immersive moments of cinematography involve scenes in cars, shots attached to the outside of cars, or even the camera dollying around a car to reveal more visual information whilst in transit. There must be a lot of greenscreen at play, but the fact that it goes unnoticed is honestly astonishing. Something that won’t go down so well with viewers is the sound. Now, I’m not referring to the sound recording (which is perfect) or even the foley work (which is also fantastic); I’m referring specifically to the criminal overuse of sinister musical cues. There are so many threatening sequences in this movie which could benefit massively from the pure terror of absolute silence – allowing the horror to unfold before us without manipulation. There’s a certain sense of spoon-feeding present in the constant violin screeching at any sight of the white van, which, after the opening scene, we get. But its worst sin is having these screeches take place during moments of false-threat – like the little brother making our protagonist jump. For a film without an outrageous, blockbuster budget, the proper realisation of the period-setting should be considered a genuine achievement on a level of set and costume design. The family home feels authentic, the vintage cars are lovely to look at, and much of the budget has even gone to playing some classic tracks. All of this is illustrative of an attention to detail, as well as an intelligent use of budget, to enable some truly convincing world-building. The Man In The White Van will be available on DVD & Digital from 29th September About the Film Critic James Learoyd Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Joyride film review by UK film critic Christie Robb. Starring Olivia Colman, Charlie Reid directed by Emer Reynolds. HOME | FILMS | REVIEWS Joyride Film Review average rating is 3 out of 5 Critic: Christie Robb | Posted on: Dec 22, 2022 Directed by: Emer Reynolds Written by: Ailbhe Koegan Starring: Olivia Colman, Charlie Reid A cozy story of mutual self-discovery, director Emer Reynolds and writer Ailbhe Keogan’s Joyride delivers a series of poignant moments but unfortunately not enough of them to result in a believable conclusion. The excellent Olivia Colman plays Joy, a solicitor that has recently given birth to a late-in-life baby that she wishes to give away to a childhood friend. The delightful Charlie Reid plays Mully, a teenager who has recently lost his mom to cancer and is left with a scumbag dad who wants him to steal money from a hospice fundraiser to clear his debts. Their lives intersect when the two try to use the same stolen taxi. The transitional nature of a road trip during a transitional period in both of their lives provides the opportunity for each of the two to learn things they never knew about themselves and to grow and mature as individuals. They are doing this while rolling through the Irish countryside, which is quite a pleasurable backdrop. The two leads are very talented and their banter is written naturally enough to be believable. However, the plot at times veers into the ridiculous, ignoring so much of the way the actual world works as to leave you wondering if you accidentally got the genre wrong and you are watching a fantasy. It’s a world in which you can evade the police by simply turning into the first driveway on the side of the road and 13 year-old-boys can function as effective lactation consultants. But, if you are looking for a movie to attempt to give you heart-expanding holiday feelings without the Hallmark tinsel explosion, Joyride might be the movie for you. About the Film Critic Christie Robb Theatrical Release < All Reviews Next Film Review >

Speak No Evil film review by UK film critic William Hemingway. Starring Teni Osho directed by Shayaan. HOME | FILMS | REVIEWS Speak No Evil Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Jul 28, 2024 Directed by: Shayaan Written by: Shayaan Starring: Teni Osho In the interests of avoiding confusion, it may be worthwhile mentioning that at this point in time, production studio Blumhouse are releasing their newest film, starring James McAvoy, called Speak No Evil . It is a remake of the Danish horror film of the same name which was released two years ago, and as you might expect, has nothing to do with the film we are reviewing today. So, today’s offering from WM Productions, writer/director Shayaan, and co-writer Kieran Rees, is a four-minute short containing only one character and a short TV cameo from Boris Johnson. We follow our unnamed protagonist (Osho) as he gets himself jazzed up, ready for a night of low-level terrorism; dancing around his kitchen, pointing finger guns at himself in the mirror, and putting on his faintly creepy Phantom of the Opera mask as he heads out onto the streets of the city. Boris has been on the telly lying to the public and the Home Affairs Select Committee, and we see him bumbling over his words as our guy flits past in a pirouette as he’s warming himself up for the night ahead. The first scene plays a lot like a music video, with some wild and winsome tones getting us all in the mood while our guy throws some shapes on the kitchen dancefloor. With no dialogue forthcoming it looks as though this might be all we get – and that in itself would have been no bad thing – but soon the mood shifts, the music takes a much more sinister tone, and the visuals show us that our man may not be the happy-go-lucky optimist that he first seemed. There is a great attention to lighting throughout the whole of Speak No Evil , which Shayaan uses to fill their frames and highlight their character. Similarly, the sound design creates a real sense of atmosphere and plays a large part in expressing the intentions of the main character to the audience. It’s just unfortunate that there are no credits from which to reference the skilled workers behind these technical aspects, and if it so happens that Shayaan did all the work behind the scenes theirself – in what was a one day shoot and five hours of post-production – then they should be commended greatly for the level of outcome achieved. It’s not so easy to determine a message or a moral from Speak No Evil ’s denouement, ending as it does on a bit of an arthouse note. The title obviously alludes to the theme of the film, but still it’s hard to figure just who or what is being aimed at, even if the only spoken words in the film are “Fuck Boris”. It is unclear whether Shayaan is suggesting we take the law into our own hands, or that we should speak truth to power through demonstrable acts, or if those in power should speak truth to the people lest they suffer the consequences, or what. There is a slight niggling sensation that Speak No Evil could be glamourising or endorsing terrorist acts, but to be honest everything is so low-key and vague that anything expressed is unlikely to have any impact at all. Still, the film looks good and the music’s great, so even if you don’t agree with the sentiment, or the message gets lost along the way, there’s still lots to like in this four-minute short. About the Film Critic William Hemingway Short Film, Digital / DVD Release < All Reviews Next Film Review >

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Mary film review by UK film critic Joe Beck. Starring Juliette Regnier, Logan Cutler-Smith directed by Jo Rou, Dan Riordan. HOME | FILMS | REVIEWS Mary Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Oct 25, 2022 Directed by: Jo Rou, Dan Riordan Written by: Justin Lazor Starring: Juliette Regnier, Logan Cutler-Smith Loss is difficult for everyone, especially the loss of a parent. They are the people who we always, whether consciously or subconsciously look towards for help and guidance, who helped to shape our being. As we ourselves grow older and forge our own lives, separate from those of our parents, we often come to appreciate them all the more, making their death, though we understand it to be inevitable, all the more profound. Most of us grieve for a short period of time, carrying that burden on our shoulders, making our lives just a little bit heavier. However, we still mourn the loss each day, merely in different ways - there is a wonderful quote from Keanu Reeves: “Grief changes shape, but it never ends” - and occasionally it’ll come to the surface, whether that be in tears, anger, or even terror. ‘Mary’ details the last of those three, as Rich (an impressive Logan Cutler Smith), a by-the-books insurance salesman, makes a house call on an elderly woman, Mary (Juliette Regnier), a year after his mother’s passing. What begins as an ordinary visit becomes an exercise in coming to terms with his sense of responsibility for his mother’s death, and the wide range of emotions that in itself ensues. Rich begins to see parallels between Mary and his deceased mother - their tastes in ornaments and the way in which they bake their brownies, not to mention the mannerisms inherent in any sweet, old lady. The parallels are unnerving, amplified by the continued confusion by both characters in referencing each other as ‘mother’ and ‘son’, but the film doesn’t become terrifying until Mary lists, in excruciatingly long fashion, the ways in which Rich feels responsible for his mother’s death, and tensions reach their boiling point. Elderly women have long had the ability to terrify us. Think of Mrs Bates in Psycho, or the rotting old woman in the bathtub in ‘The Shining’ - both of those women are terrifying not through words but through actions, however. Mary is more like the Blind Medium in ‘The Others’, save for the fact that she possesses the sweet voice of a woman her age rather than the uncanny voice of a child. She is hidden in the shadows for the first half of the short, as directors Jo Rou and Dan Riordan build up suspense through words and darkness alone. Juliette Regnier is excellent as the unsettling title character, each word manifests terror the second it leaves her lips, and her eyes have that air of decrepitude about them, which just suggests that something is off. In fact, were it not for the fact that the script, penned by Justin Lazor, is a little too obvious, then Regnier’s performance would be all the more convincing. Unfortunately, the script fails to cajole the viewer into falling for Mary’s initial charm - lines like ‘difficult to find…difficult to leave’ make it plain that there’s something off about her - and similarly weakens the suspense created through Rou and Riordan’s crafty direction. The film is shot with an artistic flourish and feels like an 80s B-Movie with modern-day editing, as the directors insert deeper layers into a film which is, at times, and particularly towards the end, a bit of fun. Whereas normally you would deem that to be out of touch with the otherwise serious tone of the film, throughout ‘Mary’ is embedded with an undercurrent of the absurd, and that is briefly let loose in its climax. As such, ‘Mary’ is an amalgamation of three words which don’t usually go together - ‘loss’, ‘terror’, and ‘fun’. Make of that what you will, but if nothing else, after watching ‘Mary’ maybe you’ll think twice before accepting the next brownie you’re offered. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Cursed Memory film review by UK film critic William Hemingway. Starring Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna directed by Ranga Bandaranayake. HOME | FILMS | REVIEWS Cursed Memory Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 15, 2025 Directed by: Ranga Bandaranayake Written by: Chamara Prasanna Kodithuwakku Starring: Deepani Silva, Wasanthi Ranwala, Indika Wickramarachchi, Manaya Senevirathna In a moment of crisis, a woman loses her faith and writes a letter to Jesus, pleading for a miracle. Melinona is a survivor of the Easter Sunday Bomb Attacks, which took place in Sri Lanka on 21st April 2019. She carries mental scars of that day, when her Christian centre of worship was targeted by ISIS backed radicals, although she has always kept her belief – until now. In a letter, she explains to Jesus why she is putting him in a box and stuffing him under the sink, and how she has come to the realisation that she may have been wasting her time talking to him in the first place. Melinona has got herself into a bit of a pickle, you see. She’s been lending out the money her son has been sending her from his faraway job, lifting iron in a cold country, and she’s not been asking for any interest on it. She doesn’t know what she’ll do when her son comes home and finds out that she doesn’t have the money, and so it’s JC’s fault for abandoning her in this time of need. She tells of her woes in this letter, never intending for it to be read by anyone but Jesus, but somehow it becomes a firelighter for the family’s shame, as it falls into the wrong hands and gets distributed far wider than anyone had imagined. Over the course of twenty-seven minutes, we are treated to Melinona’s troubles and her Cursed Memory . The letter seems cursed, too, as it takes on a life of its own, passing between hands, being read through different mouths and in different voices. Director, Ranga Bandaranayake, appears to have a clear vision of how Melinona’s story should be told, and this comes through in how well thought out every scene is, with the writing from, Chamara Prasanna Kodithuwakku, giving plenty of characterisation and context to work with on screen. When matched up with some strong production value, the solid writing and impressive direction help Cursed Memory to stand out as a well put together piece of film. From the full-on three-minute credits sequence, to the haunting melodic tones of Lahiru Madiwila’s music, to the casting choices and background detail in the scenes, there’s been a lot of thought and production behind getting Cursed Memory to be just the way it is – and it has paid off. Melinona’s journey is one of trauma and of recovery, and it weaves its way through the lives of everyone around her, bringing us with along with it too, until we are invested in her story as much as her son, or daughter-in-law, or priest. The filmmakers certainly know how to put a film together, and show a real understanding of how to use visual language to tell a story, making Cursed Memory a little more memorable than the rest. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Answer Your Phone film review by UK film critic Jason Knight. Starring Oliver Midson directed by Benji Wragg. HOME | FILMS | REVIEWS Answer Your Phone Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jan 4, 2024 Directed by: Benji Wragg Written by: Benji Wragg Starring: Oliver Midson A young man is being pursued by something sinister, while someone is attempting to contact him via his mobile phone. This spooky and tense short horror film from Australia tells a story that follows the concept of a person being stalked by a menacing force. It is night-time and an unnamed youth (Midson) is walking home. He enters a deserted car park and begins to feel uneasy. He also receives texts from someone named Nancy (apparently his partner), who wants to know his whereabouts. The man repeatedly looks around him, as if he believes that someone (or something) is after him. As Nancy tries calling him, he proceeds to run home, however will he be safe there? This short horror film wastes no time in announcing that this is going to be a scary experience, with the opening letters that make up the title being red and stylised and accompanied by a sinister score. And the tension and suspense remain firm during the five-minute duration, with the viewer wondering what the protagonist is running from (if he is running from anything). And that is an interesting thing here because the screenplay does not make it clear whether the hero is actually being targeted by some entity or if it is all just in his head. He never speaks and his frantic behaviour gives the impression that he is terrified that something bad will happen to him. Furthermore, no entity of any kind is seen, making it seem that it is the messages and missed calls that are troubling him. Interestingly, since his mobile phone appears to be menacing him, this film could also be viewed as a commentary about how mobile phones have profoundly become part of people's lives today, how callers always expect the other person to answer them and the main character could be considered a victim who is desperately trying to break free from this psychological prison. Going to the technical now, the ominous and tense music mentioned above is a great plus and contributes significantly in developing the right atmosphere thanks to the efforts by Drew Handcock. Also regarding the audio, the song Despair by In Vanity was a great choice to close the film with. The creativity involving the camerawork and editing deserves commendations, with the filmmakers utilising camera techniques that include shaky P.O.V. cam, arc shot and Scott David Lister's editing that makes a very effective fast cutting sequence. And all of these filmmaking techniques are supported by Darby Maxwell's moody cinematography. This is a frightening psychological horror short that has quite an effect thanks to the suspenseful and dark atmosphere, Midson's performance and the music. By the way, the protagonist is wearing a top that has the word 'NOPE'. Would that be a reference to the 2022 sci-fi horror feature? It would be rather cool if that was the case. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Capitalist Decency stood the pro-Communist Party sympathizer up twice film review by UK film critic Finn O'Toole. Starring Jorge Villacorta directed by Jorge Villacorta. HOME | FILMS | REVIEWS Capitalist Decency stood the pro-Communist Party sympathizer up twice Film Review average rating is 2 out of 5 Critic: Finn O'Toole | Posted on: Jul 9, 2026 Directed by: Jorge Villacorta Written by: Jorge Villacorta Starring: Jorge Villacorta Written, directed, produced, scored, edited, costumed, lit, supervised and solely starring Jorge Villacorta, Capitalist Decency stood the pro-Communist Party sympathizer up twice (a name which functions as both a title and a complete synopsis) is unquestionably an oddity, which seems to have been the intention… This surreal feature film follows Villacorta, playing a pro-communist party sympathiser, who is phoning and trying to meet up with what is inferred to be a personification of ‘capitalist decency’ in the form of a woman. This tale can be broken down into three very simple and distinct acts despite its hour and ten-minute runtime: ACT ONE: A twenty-minute introduction in which our protagonist talks to capitalist decency in a one-sided conversation over the phone. We never hear her voice, only his responses. ACT TWO: He heads out into capitalist society and explores the city, shops, and pleasures of modern life, getting stood up by capitalist decency. This takes up another twenty minutes of runtime. ACT THREE: This act uses the remaining length of the film to show him crawling around inside a huge liminal space within a tumble dryer looking for her. As the title would suggest, he is stood up yet again. And that’s the entire plot in a nutshell. This drawn-out and meandering tale serves to put the viewer in the shoes of the protagonist. The repeated rejection from his arranged date will likely leave the audience feeling a similar frustration as the central character. While the sheer length of the film could be seen as unnecessary, I would invite any fellow-watchers to consider if this slow pace is meant to provide a potential arthouse feel, evoking emotions over conveying plot. To further justify the presence of this experimental intention, one could point to the uncanny music. With no soothing melody or pleasing chord progression, the score adds a profoundly uncanny atmosphere that can be felt throughout. However, that is as much praise as can be given for the audio, with most of the dialogue rendered unintelligible due to the low quality of the sound recording. Unfortunately, the obscuration of most dialogue proves critical in a piece such as this that features long stretches of one man talking to himself. As a result, it may be challenging for viewers to understand the filmmakers' stance on the presented political themes, if indeed they have one. Nevertheless, the absolute joy that Jorge Villacorta exudes while making this is hard to ignore. Rambling seemingly unscripted dialogue, jaunting through the city streets, and crawling around under furniture – Villacorta’s playfulness is infectious, and clearly he was having a blast in making this. This bizarre, eccentric, curious, undefinable film will leave viewers scratching their heads in a dazed and delighted confusion. What is this film trying to say? Maybe it isn’t for us to know. About the Film Critic Finn O'Toole Indie Feature Film < All Reviews Next Film Review >

Boss of the Ballet film review by UK film critic James Learoyd. Starring Hank Frazier, Pasquale Gaeta, Roslyn Ziff directed by Lindley Farley. HOME | FILMS | REVIEWS Boss of the Ballet Film Review average rating is 5 out of 5 Critic: James Learoyd | Posted on: Jun 16, 2026 Directed by: Lindley Farley Written by: Lindley Farley Starring: Hank Frazier, Pasquale Gaeta, Roslyn Ziff Boss of the Ballet is another resurrected, 80s-produced, New York-based project by writer-director Lindley Farley. The previous film, directed by Farley, reviewed on this website was The Bulls’ Night Out which told a disturbing story of violent cop vigilantism (a film that this critic admired very much). Our film in discussion is, unlike the film just mentioned, a short – and a comedy; it stars Hank Frazier and Pasquale Gaeta as two sanitation workers who, after one of them reveals a love of ballet, set out on preparing a performance for the sanitation talent show. But they’re missing one thing: a musical instrument for accompaniment (Roslyn Ziff portrays the wife who divulges that she gave their oboe away to one of the neighbour's children). As the film progresses ever further into farcical crime-comedy territory, the lengths to which our protagonists will go to retrieve their oboe results in genuine hilarity, and a truly fantastic piece of filmmaking. Beginning with the piece’s formal attributes, the most obvious drawing point (especially for today’s viewers, perhaps discovering Boss of the Ballet on the internet) is the analogue videotape, 16mm, 4:3 format. This, of course, was by necessity. No movies would be produced using any digital cameras for another decade. And yet, despite it being the default mode of presentation, the gritty texture and feel of these sounds and images completely lend themselves (much like Scorsese’s work for instance) to the New York, on-location film scene. Not only this, but the approach to the direction and cinematography is also of an incredibly high quality – especially on a level of blocking. ‘Less is more’ is not always the case; but here it certainly is. Farley knew that the best way to experience the comedic behaviours of these talented performers was to do so in expertly composed wide 2-shots and medium shots. With both on screen at once – without the camera drawing attention to its own, unbroken existence through movement or obtrusive angles – the screenplay can truly flourish. And yet it’s not in any way stagey! This is a cinematic, artistically detailed piece. In thematic terms, what this movie shares with The Bulls’ Night Out is an uncompromising depiction of social situations and working life in the big city. All the political tensions which are so explicitly defined in the cop-drama are also very present in this – but used, rather intelligently, more as background set-decoration so as to enrich the lives of these characters and give the humorous narrative some grounding. This actually makes the comedy far funnier, because it almost feels as if you’re laughing at/with a friend, as opposed to some simulated, theatrical display of perfect comic timing. It was already exciting to discover the other piece, but to have been sent another outstanding, forgotten work of art by the same director is quite riveting. It makes you wonder just how much quality we’ve missed or neglected over the years; and the fact that it’s arguably just as important to be searching for and reevaluating older unseen shorts as it is the contemporary. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

A Little Glass of Rum film review by UK film critic Joe Beck. Starring Stuart Ford, Nick Mitchell, Kurt Shaw directed by Carah Chafin. HOME | FILMS | REVIEWS A Little Glass of Rum Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Jan 5, 2024 Directed by: Carah Chafin Written by: Lauren Keller Starring: Stuart Ford, Nick Mitchell, Kurt Shaw What happens when your life falls apart? How do you react with the very world that you have created for yourself crumbling at your feet? That’s as much the question ‘A Little Glass of Rum’ wants to ask adjacently to its probing of morality, the virtues of revenge, and, whether some humans are born evil, or nurtured that way through their path of life. Whilst the thriller is engaging in how it evokes all these thoughts and questions in the audience, it is less engaging in the story that it is telling, which is largely obvious and feels uninspired in its direction. ‘A Little Glass of Rum’ begins basked in all-too rosy light and a smarmy upbeat tune as a happy family shoot great beaming smiles at one another in their all-too large garden next to their all-too large house. The son takes photos of his parents shooting looks of love at each other before his father, Stan Ailor (played by Stuart Ford) heads to his work as a prison guard. From that moment forth the film is notably more cold in it’s colour gradient, with hues of grey replacing the white, optimism of the opening. That night, we presume whilst Stan is at work, his wife and son are murdered brutally. This scene should be shocking and horrifying to the audience, and to an extent it is purely because of the content it displays, yet the juxtaposition of this scene and the previous one of optimism is perhaps too sharp. The happiness before feels overdone, and consequently the trauma that follows feels undercooked. 
Naturally, three years later Stan is still feeling the pain of losing his family so brutally and so suddenly, it’s something that will live inside of him until the day that he dies. The killer, Kenneth (Nick Mitchell) is being held on death row at Stan’s prison, and, as Kenneth approaches his date of execution, the prison warden Dawson (Kurt Shaw) has granted that he share his last meal with the bereaved Stan. Though there is tension between the two as they sit down for dinner, this feels more circumstantial as a result of what the audience knows has happened rather than any sleight of hand by either director Carah Chafin. Indeed, the directing feels uninspired throughout, failing to add any sort of emotion to what is on screen, and instead appearing cold and distant, yet lacking the precision necessary to justify such a directorial style. On the other hand, the script, written by Lauren Keller, is often thoughtful, evoking the biblical story of Cain and Abel, and asking theologically whether there is a higher power that guides our actions. Whilst Keller’s script examines Kenneth more plainly, it is how it slyly questions the psyche of Stan that actually makes the script intelligent, with the subtext of it all showing how Stan thinks now that his world has fallen apart. It is a shame, therefore, that neither Stuart Ford as Stan nor Nick Mitchell as Kenneth, deliver their lines in a way that would a) give the slightest impression of any chemistry between them, and b) give their characters the edge that the audience needs to care about any of it all, and which the script is trying to give them. It is a good script let down by blank performances. Therefore, whilst ‘A Little Glass of Rum’ is well-written, with some good ideas philosophically, it does not come to form a good film, nor a good story, with the performances and directing notably lacking the same level of thought. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Merah film review by UK film critic Swati Verma. Starring Dilakonkan Oleh, Charlene Jane, Herlea Titieanna directed by Wan Dinnie. HOME | FILMS | REVIEWS Merah Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Aug 27, 2021 Directed by: Wan Dinnie Written by: Wan Dinnie Starring: Dilakonkan Oleh, Charlene Jane, Herlea Titieanna The short film Merah has a black and white theme to it. The color pallet used in the cinematic piece helps highlight the "red" used to depict bullying. The red color holds connotations of evil and danger. The film deals with the issue of bullying. It has a strong messaging incorporated in the plot that can get the audience to act against bullying. It also showcases the need to protect and fight for the physical and mental well -being by standing up with honesty. The story is about a female student who is bullied at school by two girls. The lead character is left crying each time they harass her. The little girl finds peace and solace in the art of sketching. This time the girl she drew on paper comes out of it to help the central character stand up against the bullies. It pushes one of the bullies and slaps her for the wrongdoings against the lead. Both the trouble makers run away while they ask for forgiveness. The main character sees blood on her hand and realizes that she has slapped the girl. The girl who stood by her side all this long was just her imagination. The girl coming out of the drawing could signify the inner soul of the student. It wants her to be strong and fight against this societal evil that children of all ages are experiencing daily. No one from the cast and crew of this movie supports or promotes violence. The slap towards the close of the film indicates that the director wants to illustrate that the lead character did not have any option but to resort to the extreme step to teach bullies a lesson. The director Wan Dinnie uses visual storytelling in a segment when the young woman comes out of the drawing. He has used Rotoscope animation to make the sketch come to reality in the film. This skill is used in the script so that the viewers believe in the character for the running time of the film. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Currently slated for a UK release of December 15th, Spider-Man fans across the world were rocked with this official trailer for Spider-Man: No Way Home (2021). . Brand new film trailers. Spider-Man: No Way Home Official Trailer Currently slated for a UK release of December 15th, Spider-Man fans across the world were rocked with this official trailer for Spider-Man: No Way Home (2021). Tom Holland is back as Spider-Man and the trailer shows Benedict Cumberbatch will be appearing in his role of Dr Strange, teaming up to defeat some - very interesting - foes. The official trailer was released by Sony Pictures and we hope you enjoy it immensely. If you enjoyed this, please remember to share with your friends and foes from all galaxies. Focker-in-Law If the film can sustain the frantic, competitive energy displayed in this preview, Focker-In-Law might just be the rarest of cinematic beasts: a comedy sequel that actually manages to justify its own existence. We are officially on high alert. Heart of the Beast Heart of the Beast looks like a gripping, tear-jerking cinematic triumph that will resonate with action fans and animal lovers alike. We will definitely be front and centre with our popcorn when this one hits the big screen! Klara and the Sun Klara and the Sun looks like a heart-wrenching, beautifully acted triumph that will linger in the mind long after the curtains close. Power Ballad What has us incredibly excited about Power Ballad is the dynamic friction between its two leads. Paul Rudd seems perfectly cast as the rugged, everyday musician who just wanted a shot at the big time, acknowledging with a heavy heart that having his name on a song of that magnitude would have completely changed his life. The Debut UK Film Review hasn't yet seen the final curtain rise on this one, but if the film matches the sheer dramatic potency of its trailer, The Debut is set to be a staggering, must-see cinematic triumph. One Night Only One Night Only looks to be a sharp, subversively funny, and emotionally resonant look at how we connect when time is running out. It takes a wild, satirical premise and uses it to explore a timeless question: Who would you choose if you only had one night? Supergirl As we look toward the 2026 release, Supergirl: Woman of Tomorrow stands as a testament to the new direction of DC Studios. Masters of the Universe With the arrival of the first trailer for the 2026 reboot of Masters of the Universe, the cinematic landscape prepares for a collision of sword, sorcery, and surprisingly, suburban Earth. Wild Foxes Dune: Part Three Picking up roughly seventeen years after the seismic events of Part Two, the trailer immediately signals a shift in tone. While the first film was an act of world-building and the second a visceral war epic, Dune: Part Three—an adaptation of Frank Herbert’s Dune Messiah—looks to be a far more claustrophobic and tense affair. In The Grey Scary Movie 6 The horror-comedy world is officially being turned upside down as the first trailer for Scary Movie 6 has finally arrived, marking a monumental return for the franchise that defined a generation of parody cinema. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession.