Alien Love: With Neil Doncaster film review by UK film critic William Curzon. Starring Jason Glaze, Luke Skinner, Andrew Fripp directed by Andrew Fripp. HOME | FILMS | REVIEWS Alien Love: With Neil Doncaster Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Sep 23, 2025 Directed by: Andrew Fripp Written by: Andrew Fripp Starring: Jason Glaze, Luke Skinner, Andrew Fripp Alien Love: With Neil Doncaster presents an absurdist look through a mockumentary lens at the relationship between a man from Walsall and an alien who crash landed in his neighbourhood. The film explores the complications of their relationship and the impact this has had on their lifestyle and the community surrounding them, told from the point of view of Neil Doncaster. An experienced documentary filmmaker, he delves into the depths of love and explores how transcendent it can be between two individuals who are vastly different. From the opening moments, the musical score is captivating due to its high pulse energy, immediately investing you in the extraterrestrial nature of the subject matter. At the same time, the narrative is pretty grounded in its Walsall setting. Neil Doncaster consistently exhibits a level of self-confidence that is evident throughout the entire piece, which complements the comedic elements of the dialogue effectively. The extraterrestrial elements can make specific sequences feel otherworldly. Its use of reconstruction in its exposition is effective even with its minimal budget, and the visuals are incredibly arresting. Most of the formal elements of the piece are effective. The use of handheld cinematography can become jarring at times due to shaky cam, and the audio can become distorted, making it unclear to hear dialogue at times. Although, it does work well within the context of the mockumentary-esque style it's going for. What is most surprising about the piece is how well the comedic dialogue complements the bizarre narrative at times. The central relationship between Jason and Zorag is genuinely compelling and heartfelt, thanks to their unbelievable chemistry and engaging, straightforward lifestyle that unfolds before the viewer. It's a fly-on-the-wall-like experience as it is shot as a documentary, and it feels astoundingly raw in its presentation. The use of voiceover is another formal choice that is incredibly endearing within the context of specific scenes of dialogue as the supporting characters are introduced. The primary focus, of course, is Zorag and Jason’s relationship; however, the supporting cast is also terrific and delivers some of the funniest gags. Even if many of the gags feel scripted, some of them still come across as genuine and improvised, which plays well into the documentary style of filmmaking. It can lose some momentum towards the middle portion due to repetitive dialogue, and the overall narrative feels stagnant due to the lack of character growth; however, it does pick up again and becomes profoundly engaging in its conclusive moments. Even with the peculiar narrative, it is hard not to care for the central characters and their problems due to how likeable and unique their relationship feels. The conclusion to the narrative is undeniably emotionally resonant and heartwarming thanks to how well both characters have achieved inner fulfilment in such a short span of time. Neil Doncaster can come across as a self-absorbed character; however, he genuinely conveys a profound message about love which knows no boundaries between two individuals, and the power love can have to push us forward, even in the face of our problems. Alien Love: With Neil Doncaster is a compelling mockumentary that features an engaging cast of characters, making the experience feel grounded, despite its absurd narrative. While the piece may suffer from a couple of pacing issues and some technical flaws, it consistently tugs at the heartstrings and delivers a profound message about the power of love being the genesis of everything. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Scrambled film review by UK film critic George Wolf. Starring Leah McKendrick, Clancy Brown directed by Leah McKendrick. HOME | FILMS | REVIEWS Scrambled Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jan 31, 2024 Directed by: Leah McKendrick Written by: Leah McKendrick Starring: Leah McKendrick, Clancy Brown There’s an old adage about comedians making up jokes to hide real pain. It’s clear that for writer/director/star Leah McKendrick, there’s a very real struggle at the heart of Scrambled, and her film is better for not letting us forget that. McKendrick plays Nellie, a 34 year-old perennial bridesmaid who clings to the “single bitches 4 life!” mantra, even as more members of her crew (including SNL’s Ego Nwodim and the always welcome June Diane Raphael) start settling down and getting pregnant. Nellie has to face up to some harsh biological facts. Her mind and body can remain ready to mingle – but her fertility has a shelf life and the clock is ticking. So while she auditions a string of suitors from “The Nice Guy” to “The Prom King” to simply “Nope,” Nellie consults a amusingly deadpan doctor (Feodor Chin) about freezing her eggs. Or, as Nellie’s Dad (a priceless Clancy Brown) calls it, “millennial feminist voodoo.” McKendrick scores some big laughs with the family’s reaction to Nellie’s family planning, but this is an an issue that is very real for the first time feature director, and plenty of women like her. And beneath the jokes about Nellie’s dating habits and her parents’ longing for the return of her ex, McKendrick makes sure we see Nellie in fully formed terms. She’s a grown ass woman choosing when and how she may want to have children. And in doing so, Nellie’s forced to navigate the social, physical, and financial barriers that can leave her feeling punished for embracing her own journey. But Nellie moves forward – with both smiles and middle fingers. McKendrick’s recipe for Scrambled finds a nice balance of flavors, and we get a full-flavored dish of empowering humor. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Regressions film review by UK film critic Jason Knight. Starring Rebecca Hickey, Peter Coonan, Barry John Kinsella, Caoilfhionn McDonnell directed by Rebecca Hickey. HOME | FILMS | REVIEWS Regressions Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 16, 2026 Directed by: Rebecca Hickey Written by: Rebecca Hickey Starring: Rebecca Hickey, Peter Coonan, Barry John Kinsella, Caoilfhionn McDonnell Coming from Ireland, this short drama is written and directed by Rebecca Hickey, who also stars, alongside acclaimed actors Peter Coonan, Barry John Kinsella and Caoilfhionn McDonnell. An elderly man has just passed away in Northern Ireland and his daughter, Claire (Hickey) has arrived from London, currently staying in her late father's home. It is now nighttime and Claire is in the house, sitting at a table with her two siblings, Michael (Coonan) and Patrick (Kinsella). Their mother (McDonnell) is sleeping upstairs and there is a baby camera monitor on the table. They have just finished eating and are having a late-night chat, which ends up being a dramatic one. The narrative takes place in real time and in one room, that being the dining room, with the two brothers sitting next to one another and their sister opposite them. The concept revolves around the meaningful conversation they have between them, which involves life-changing matters such as Claire separating from her partner, the brothers trying to convince her to move back so that their mother can have someone to look after her and for Claire to potentially meet a guy. All this is not perceived well by the sister, who angrily refuses to comply to her sibling's suggestions, ensuing in an argument and criticism. The tension is high at times and there is occasional humour and dialogue keeps things intriguing by concentrating on the characters' point of view regarding the various topics of discussion. This film gains a lot from the contributions of two acclaimed artists, those being multi-award-winning cinematographer Jass Foley and Northern Ireland composer Anthony Eve. As Claire, Hickey plays a young woman who knows what she wants, is determined to stand her ground and not let others decide what she is to do. Coonan and Kinsella portray the brothers as well-meaning individuals, who also come across as a bit selfish or maybe too naive to comprehend that family responsibilities should not be limited to one person. Although her appearance is brief in this thirteen-minute-long short, McDonnell provides a performance that establishes her character as caring and understanding. Hickey's screenplay is basically a dramatic conversation that deals with a variety of heavy themes. The dialogue between the three siblings is about self-reflection, family values, about people having the right to make their own choices and about family commitments and expectations, about what one is expected to for their family. Furthermore, the story covers feminism, sexism and appears to be anti-male to a degree. A short family drama about three siblings having a conversation that reflects on their lives. A very well-made film with strong acting that ends up a thoughtful viewing experience due to the subjects that it recognises. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Spoken Movement Family Honour film review by UK film critic Jason Knight. Starring Kwame Asafo-Adjei, Catrina Nisbett directed by Daniel Gurton. HOME | FILMS | REVIEWS Spoken Movement Family Honour Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 21, 2025 Directed by: Daniel Gurton Written by: N/A Starring: Kwame Asafo-Adjei, Catrina Nisbett A short dance film directed by Daniel Gurton and starring Kwame Asafo-Adjei and Catrina Nisbett. Two people. A lot of dancing. A lot of drama. This 9-minute-long film takes place in a large room and it begins with two individuals sitting on a chair at opposite sides of the table, facing each other. They are British Ghanaians, a man (Asafo-Adjei) and his daughter (Nisbett). Both are unnamed. There is silence and stillness and then, suddenly, the two of them proceed to perform swift hand movements that appear to be directed towards each other. From there, these movements and a variety of others continue both on and of the table, creating tension and telling a story. What stands out the most is the dancing, which consists of the rapid and violent movements that seem to serve as a form of communication in this short. Asafo-Adjei is also the choreogapher and his work is rather interesting as it results in a show made out of well-executed and precise movements that himself and Nisbett perform impressively. The dancing involves the two performers executing the movements simultaneously, giving the impression that they are having an argument. Dancing does dominate the vast majority of this film, however, there are various sections where it abrutly ends and the two characters either remain still, or they speak few words. The speech parts could more accurately be described as short monologues and they seem to be about parental disapproval, reminiscing the past and religion. Speech ia actually present throughout, with the protagonists uttering sharp sounds (almost shouting) as they dance, adding significance to their actions. Gurton's methodical directing is another plus, with the camera moving with the characters, capturing their movements and creating quite a spectacle. And Henry Gill's moody cinematography further enhances the viewing experience, developing an atmosphere that feels downbeat. Asafo-Adjei and Nisbett are superb. Their performances are a show with impressively choreographed movements and dramatic face expressions. The story that is told is a father-and-daughter story and it is evidently not a happy one. It seems to be about an abusive father and the suffering he has caused to his child. As the story progresses, it also acknowledges self-reflection, self-esteem, self-expression and religion. Viewers will most likely be impressed by the well-executed choreography and be moved by the themes. A surreal, energetic and dramatic experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Pulcinella film review by UK film critic Jason Knight. Starring Niamh James, Amanda Doherty, Jaime Winstone, Todd Bell, Julian Glover directed by Danny Patrick. HOME | FILMS | REVIEWS Pulcinella Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 2, 2023 Directed by: Danny Patrick Written by: Danny Patrick Starring: Niamh James, Amanda Doherty, Jaime Winstone, Todd Bell, Julian Glover A story about the complications surrounding a schoolgirl and the people around her. Aine (James) is a teenage schoolgirl in Portrush, Northern Ireland and her life is facing complications. She is pregnant and she is keeping it a secret. She lives with her mother (Doherty) and her grandmother (Kathy Deehan), who is terminally ill. At school, she is taking part in a play, along with her friend and fellow student Leo (Bell). As her pregnancy progresses, Aine must make serious decisions about her future, while simultaneously try to deal with issues involving individuals close to her. This comedy drama contains plenty of characters and various storylines. The main focus is Aine's life, how her pregnancy is affecting her and how she interacts with those around her, seeking comfort in her grandmother, her drama teacher Ellie (Winstone) and Father Reitel (Glover). Leo's matters are a big part of the story. He has a lead role in the school play and he fancies a girl he is acting with, although she does not feel the same way for him. On top of that, his troublesome brother (Black) and his no-good friends are planning to rob a poker game and are dragging Leo into their scheme. Meanwhile, Aine's mother is having trouble at the bar where she works, with a businessman and his adopted and deaf daughter making things difficult and Ellie begins a relationship with the school's caretaker. Although there are humorous moments, this feature is primarily a drama with rather emotional scenes. As the main character, Aine is a teenager who is facing huge challenges for her young age and she is played outstandingly by James. She is a character who has suicidal thoughts and her state of mind and thoughts are explored by visions that she has of her being at a funfair or encountering a man who may or may not be Jesus. She tries hard to figure out what is the best way to handle her pregnancy and move on with her life. Leo is her close friend, a charismatic boy, yet also naive and a troublemaker. Her mother, grandmother, Ellie and Father Reitel serve as characters who attempt to comfort her and give her good advice. Patrick does an amazing job with the directing and creates some terrific aerial shots. The atmospheric music by Paul Casey is another strong feature and praise also goes to Tatiana Eikosidyou and Ema Saric for the wonderful work on the design and animation during the opening and closing credits. This film is a coming-of-age story that follows people facing the hardships of life and it looks into many themes, including self-discovery, teenage angst, teenage pregnancy, parenthood, friendship, religion, abortion and school life. It is a moving and thoughtful viewing that is supported by a strong screenplay, great acting, an exceptional score and the presence of acclaimed actor Julian Glover. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Plunder Quest film review by UK film critic Brian Penn. Starring Jake Fallon, Katherine Flannery, Eric Rosenberg directed by Kalani Hubbard. HOME | FILMS | REVIEWS Plunder Quest Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Feb 16, 2022 Directed by: Kalani Hubbard Written by: Kalani Hubbard Starring: Jake Fallon, Katherine Flannery, Eric Rosenberg The indomitable hero has long been a recurring film character, and provides a welcome change from the shiny power laden superhero. This type is human, deeply flawed but impossible to defeat. John McClane from Die Hard springs to mind; Rambo would stake a muscle bound claim and of course Indiana Jones, the eponymous hero of the unforgettable adventure franchise. We now have a young pretender as the Adventures of Thomas Walters unfold before our very eyes. Thomas Walters (Jake Fallon) is a small time con man who has never knowingly sold an authentic item in his life. However, when he sells two prohibition whiskey bottles he learns of the rum running trade; a tale that fires his imagination, but more importantly provides a means of making money. He ropes in waitress and love interest Amber (Katherine Flannery) as they plot the recovery of plundered whiskey from the prohibition era. Their quest leads them to Bannerman’s Castle atop an island on the Hudson River in New York. Rum running was rife as alcohol was smuggled across waterways to avoid prevailing laws. ‘Rum Row’ was a line of ships located offshore who would transfer cargoes to smaller craft. The pair are convinced that Bannerman’s Castle was used as a stop-off point and go in search of a courier to take them there. They approach the dubious Vane Briscoe (Eric Rosenberg), who looks like he just walked off the set of Pirates of the Caribbean. He sets Thomas and Amber a number of tasks before agreeing to take them. They duly weigh anchor and set off for Bannerman’s Castle. Once there they discover an island full of mystery and intrigue. But have they picked up enough clues on the way to find the treasure they seek? Plunder Quest is eminently watchable and nicely put together. However, it makes no attempt to hide its inspiration as Indiana Jones looms at every possible turn. Walters wears a brown leather jacket and satchel thrown over his shoulder just like Indy. The soundtrack is also reminiscent of John Williams’ score for the Indy movies. None of which is a bad thing; all films carry influences from others, but Walters as a character needs to find a stronger, more distinctive identity. His line in wisecracks also needs beefing up if he aspires to his predecessors’ status. But among the familiar characters and plotline is an intriguing history lesson in Americana. The rum running trade around New York is fascinating and will be new to many viewers. The bottom line must always be entertainment value, and this film ticks that particular box with relative ease. Buy UKFR Banner Space About the Film Critic Brian Penn Indie Feature Film < All Reviews Next Film Review >

The Vortex film review by UK film critic Jason Knight. Starring Billy Gardell, Emily Alabi, Christopher Titus, Jeremy Luke, Nick Gracer, Jamie McShane directed by Richard Zelniker. HOME | FILMS | REVIEWS The Vortex Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 15, 2025 Directed by: Richard Zelniker Written by: Steven Barr, Richard Zelniker Starring: Billy Gardell, Emily Alabi, Christopher Titus, Jeremy Luke, Nick Gracer, Jamie McShane A feature-length drama directed by Richard Zelniker, written by Zelniker and Steven Barr and starring Billy Gardell, Jaina Lee Ortiz, Emily Alabi and Jeremy Luke. This film is currently streaming on Amazon Prime and is scheduled to be released in the UK in September via Tubi. To begin, the title card that opens the feature is a bit misleading. The text describes the devastating fire that occurred at the MGM Grand Hotel and Casino in Las Vegas on the 21st of November 1980 and (following dramatic opening credits) it is stated that the events in the story take place a few hours before the fire. These clues might give the impression that this is going to be a survival thriller, with people trapped inside a burning building, trying desperately to get to safety. This is not the plot. What is the plot then? It centres on Pete Finnegan (Gardell) a stand-up comedian. He is currently in the MGM Grand Hotel doing his comedy gigs and the narrative starts after he finishes his latest one and retires to a room with slot machines, where he sits down and uses one of them to play some poker. While he is there, a variety of people he is familiar with keep paying him a visit. These individuals include Jackie (Alabi), a cleaner, Johnnie (Luke), a musician, Ginny (Ortiz) and Jimmy (Titus) and Louie (Gracer), two loan sharks as Pete has gotten himself into serious debt. The vast majority of the narrative takes place in the slot machine room, with Pete interacting with other characters, listening to their stories and giving them advice, while at the same time trying his luck on one of the machines. So, no, this is not a feature about a burning building (although the fire does play a part in the story), however, that is not a bad thing. This is a drama and a dark comedy and (to a certain degree) also a thriller. Some of the strengths are the colourful characters that are explored effectively thanks to the well-written screenplay that also contains great dialogue. Additionally, there is composer Asdru Sierra's contribution, that being a jazz score that is accompanied by a great deal of drumming. Zelniker gets quite creative with the filmmaking techniques, creating a feature that consists of many long takes with a hand-held camera, a process that is accompanied by Justin Richards' moody cinematography. As he is a stand-up comedian in real life, Gardell appears to have no issues bringing his comedic qualities on the screen, creating a seasoned comedian who means well, yet his clumsy actions have gotten him into deep trouble with criminals. Regarding the criminals, they are the two debt collectors who are after Pete and the menace that they both generate thanks to the performances of Titus and Gracer, makes them perhaps the most intriguing persons who interact with Pete. So all these people having discussions with Pete reflect what? Self-reflection and misfortunes are present themess, with the characters describing experiences and issues. Moreover, stand-up comedy and money issues are also acknowledged. The main thing that viewers will see here will be a man sitting at a slot machine and talking to other people. This might seem kind of dull, but actually, it is a viewing that is filled with numerous interesting stories, impressive camerawork and some decent jokes. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Amazon Prime, Digital / DVD Release < All Reviews Next Film Review >

A Tale of Tragedy film review by UK film critic Jason Knight. Starring Noelle Clarke, Megan McArthur, Anna Tomilova directed by Tim Lyons. HOME | FILMS | REVIEWS A Tale of Tragedy Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 10, 2022 Directed by: Tim Lyons Written by: Tim Lyons Starring: Noelle Clarke, Megan McArthur, Anna Tomilova Bad things are happening at an isolated monastery. The peaceful and disciplined lifestyle is disturbed for a group of nuns after members begin dying under mysterious circumstances. The terrible events cause tension in the abbey and the abbess tries to maintain order. However, it becomes apparent that the threat might be within the community. This dramatic dark psychological horror film has an interesting plot and it is rather intriguing that the protagonists are nuns. The screenplay explores the life of a nun and also looks at themes regarding religion and emotional support. The main focus is the emotional effect that the deaths have on the nuns, spreading fear among them and making some of them reconsider the way they live their life. The head of the nuns is the only one who makes efforts to keep it together, although that seems hopeless. The narrative begins with suspense and heavy drama and gradually moves towards the supernatural. The acting is very strong and Clarke does a rather convincing job as the strong, undeterred superior of the nuns. McArthur and Tomilova are emotional as the nuns who are internally disintegrating. The majority of the story takes place inside the worship hall and the mise-en-scene there looks great. Praise also goes to the clothing, which is the result of work by Alma Conway and Clara Gelston. James Taylor provides wonderful cinematography and there are creative lighting techniques. The soundtrack consists of songs by various artists, all of which successfully create a dramatic and dreadful atmosphere. This is a short horror film that is very well acted and directed and the script includes well-written dialogue and interesting vocabulary. The general atmosphere is downbeat, with little hope that things will change for the better. It is a dark and frightening story which finishes with a bang thanks to a heart-stopping final. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Bergman Island film review by UK film critic Hope Madden. Starring Vicky Krieps, Tim Roth directed by Mia Hansen-Løve. HOME | FILMS | REVIEWS Bergman Island Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 14, 2021 Directed by: Mia Hansen-Løve Written by: Mia Hansen-Løve Starring: Vicky Krieps, Tim Roth A lot can go wrong when a filmmaker toys with meta-filmmaking. The movie can become cloyingly clever, it can lose the audience in its self-indulgence, it can become more of a trick than a film. While Mia Hansen-Løve’s Bergman Island is arguably as self-indulgent a film as you will find, she risks all these trappings but falls to none. Her movie follows two filmmakers, Chris (Vicky Krieps) and Tony (Tim Roth), who leave their daughter with Chris’s mom so they can devote themselves to some solid writing time. They travel to Fårö island, where Ingmar Bergman lived, worked and shot some of his most famous films. Bergman Island feels extremely personal in the way that it mirrors, to what degree it’s hard to know, Hansen-Løve’s real-life relationship with filmmaker Olivier Assayas and their devotion to the work of Bergman. There’s also a very intimate sense of the way one filmmaker’s inspiration from the same source can look so very different from another’s. And, of course, there is a kind of dreamy link between generations of filmmakers. Most importantly, though, this is the story of a couple. Casting is one of Hansen-Løve’s greatest strengths here because, without the committed and vulnerable performances she draws from Krieps and Roth, the film could easily have folded in on itself. It does not, not for a moment. Roth’s distance as a partner speaks not only to Tony’s ego and insecurity but to his support and understanding – Tony recognizes that this process will be prickly and leaves as much room as he thinks his partner may need to create. This subtlety becomes a sly maneuver, as you begin to understand the story Chris works on. The entire tale unfolds on the breathtaking island, where Chris’s stories — her real-life story with Tony, as well as the story within a story she writes — benefit from the windswept beauty of the island. Bergman Island tells you a lot but leaves it to you to decide what it’s saying. Whatever tale you decipher, your time on the island is well spent. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Searching for Lily film review by UK film critic Joe Beck. Starring Maisie Preston, Nia Trussler Jones, Michelle Collins directed by Alexander Williams. HOME | FILMS | REVIEWS Searching for Lily Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 8, 2023 Directed by: Alexander Williams Written by: Alexander Williams Starring: Maisie Preston, Nia Trussler Jones, Michelle Collins On paper, ‘Searching for Lily’ should work as an intimate character study of a fraught with troubles and with the whole world set against her. In reality, it ends up rather shallow, with too much left unsaid by a screenplay which lacks any drive or vigour, and crucially any narrative thrust. Excellently played by Maisie Preston, we’re first introduced to Lily as she lays flat on a bed, ‘servicing’ her client. The vulnerable, unsatisfied gaze in her eyes makes it obvious that she doesn’t enjoy her business. She’s only recently turned eighteen and should be in college, living her life, but instead she’s saddled with a crippling, and looming, debt, and a weak mother in need of her care. In the position she’s in, it’s easy to empathise with Lily for turning to sex to make money, after all it pays more than her retail job, and sees cash paid in hand. Still, the debts mount up, as does the alcohol, and Lily’s sense of despair only heightens as she continues to dehumanise herself and the relationship between her and her mother (Nia Trussler Jones) deteriorates. Again, Lily’s frustrations are understandable - she’s sacrificing both her future and her dignity in order to care for her mother, all to receive limited gratification. Her clients, both old and young, appear genial enough, yet all carry a sinister edge as they take advantage of Lily’s troubles in using her body. There’s solace for Lily in her budding friendship with the older, more experienced sex worker, Queenie (Michelle Collins), who evidently cares for Lily, and doesn’t want to see her follow a similar path to the one which she’s taken. Whilst she’s an interesting case study, it never really feels as though Lily is a real woman or anything at all more than a character in a film. The events which befall her throughout the film just happen - there’s no set up or narrative drive, they just occur and we are forced to accept that as she responds to a fresh set of problems. This means that when, for example, Lily’s mum discovers how Lily has been spending her time, it is unceremoniously thrust upon us, detracting from the drama of the situation as writer-director Alexander Williams fails to imbue the scene with tension of any sort. This is indicative of a screenplay which doesn’t hold a candle to Williams’ direction, which is competent, and occasionally great. The writing on the other hand, in particular the dialogue, feels forced for large parts, with characters presented too broadly, and wedged into one-dimensional roles that suite Lily’s perception of them. She believes that her mother is dragging her down, so we don’t see another side to her; she sees Queenie as a mentor figure, so that’s how she’s portrayed; her clients are merely transactional, so they are only vehicles in the plot to enhance her frustration. Though in some respects, and in greater films, this works to ensure a fully fleshed out, and intimate portrayal of a central character, in ‘Searching for Lily’, it is instead a failed, missed opportunity. The trouble with ‘Searching for Lily’ is that in its attempts to probe deeper into its central characters it instead ends up going nowhere inventive with its story, and therefore, the character isn’t allowed to develop naturally. The film never succeeds in its search for Lily, and the result is a sometimes well-crafted, and definitely well-acted, film, but one which is massively underwhelming. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

While Time is Away film review by UK film critic Jason Knight. Starring Tirion Healy, Catrin Jones, Nadeem Shakir directed by Anthony Hett. HOME | FILMS | REVIEWS While Time is Away Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 23, 2022 Directed by: Anthony Hett Written by: Miriam Jarvis Starring: Tirion Healy, Catrin Jones, Nadeem Shakir Two young women meet at a restaurant after a friend commits suicide. Cerys (Jones) is sitting by herself at a table in a restaurant. Soon, she is joined by Bethan (Healy). The two of them used to be friends at school, however, they have not seen each other for years. Harry (Shakir), a young man that both of them used to know, has recently taken his own life and Bethan has returned for the funeral. The two women talk about what has happened and try to come to terms with it. This is quite a moving short drama with a plot that focuses on the aftermath of a suicide. Almost the entire narrative consists of the conversation between Bethan and Cerys at the restaurant. During their calm and dramatic discussion, they reminisce about the past, mourne Harry and Bethan makes a revelation about him that makes her feel regrets. Since the main subject of this film is suicide, the mood is rather melancholic throughout, with a lot of attention placed on how a young man's passing has affected two people who knew him. Since the conversation between the two female leads makes up almost the entire film, their performances are vital in order for this short to have an effect and they both pull it off remarkably. They are both very convincing as estranged friends who are reunited after the death of a person they cared about and they both show that they have been deeply affected by the tragic event. There are brief and dramatic flashbacks about Harry that reveal more about his character and the sound of a passing train is significant in this film as it indicates that he took his own life by jumping in front of a moving train. A lot of praise goes to Caia Buckeridge for the beautiful and sentimental score and the song Every Five Minutes by IMOGEN was a great choice. This short is an emotional drama that explores distressing themes that involve suicide, grief and regrets. It also looks into uplifting subjects that include friendship, support and finding the strength to move on. It also raises awareness of suicide and urges people to seek help if they are feeling suicidal. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Just A Girl film review by UK film critic Patrick Foley. Starring Lydia Fitzwilliams, Olly Bassi, Patrick Mckenzie directed by Kieran Freemantle. HOME | FILMS | REVIEWS Just A Girl Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 16, 2023 Directed by: Kieran Freemantle Written by: Kieran Freemantle Starring: Lydia Fitzwilliams, Olly Bassi, Patrick Mckenzie It was only a matter of time before the ‘hairy, grizzled and bereaved dad-meets-surrogate, hunted daughter in distress’ genre crossed over from video games into film. Just A Girl is a solid, action-packed example, which makes up for a lack of originality with substantial and well-realised storytelling packed into its brief 20-minute runtime. After escaping from a sinister birthing facility in a world where most women have been wiped out by a mystery plague, teenager Katie (Lydia Fitzwilliams) is rescued by Jack (Olly Bassi), a hermit farmer mourning the loss of his family. As someone expected to repopulate the human race, Katie is wanted by the government, but Jack promises to help her reunite with her family. There’s one problem: the pair meet on the Shetland Isles – with access to the mainland closely monitored. The pair face a dangerous race to meet a smuggler who promises them safe passage. Just A Girl walks on a similar post-apocalyptic path that Pedro Pascal paved in this years’ The Last of Us . At its heart is the relationship between Jack and Katie – developing through the film from initial fear and uncertainty on Katie’s part, towards an embrace as the pair begin to reflect on one another. Katie sees firsthand the need for violence and sacrifice to survive in the new world. And Jack finds a purpose in protecting Katie after abandoning hope. It’s well-worn storytelling, but the character development is clear to see in each of the main leads – though the short runtime does demand that this occurs at a rapid pace that can seem unnatural. The plot elects to focus on the relationship of Jack and Katie rather than elaborate sci-fi worldbuilding – and this is a wise decision on behalf of director and writer Kieran Freemantle. Enough is given to the audience to construe their own image of a world haunted by a virus that has wiped out the female population, and the dangerous and sexist society that has emerged as a result. However, despite opening with Katie and her predicament being the driving force of the story, it often feels like it is Jack’s actions and motivations that drive events. It is Jack’s yearning to do right by his lost family that triggers the journey to the mainland, Jack’s idea to use the smuggler and Jack who acts to escape soldiers at a checkpoint. Without giving plot spoilers away, it is also Jack’s fulfilment that is the beat on which the story ends. Beyond her initial escape, Katie is a bystander in the film’s events – which for a film with prominent themes of gender and misogyny, feels like something of an unfortunate oversight. The drama and action are well delivered, with both leads given opportunity to demonstrate their talent. Lydia Fitzwilliams sets the tone of the film brilliantly in the opening facility scene, with her fear key to unfolding the horror of the film’s world. Olly Bassi’s Jack is framed as both welcoming and suspicious – to realise Katie’s uncertainty around his motives. The Shetland Isles setting is shot beautifully as well, with some striking drone images demonstrating the isolation the pair have to overcome. Though for a world that has fallen victim to a terrible disaster, there is a lack of disrepair or degradation to the land or Jack’s home that does detract from the immersion. There’s a lot to admire in Just A Girl, which outperforms its smaller scale production with some serious ambition and intelligent focus on key story and character elements. Whilst lacking in originality, it is bound to speak to the protective, nurturing and parental senses of its viewers. Pedro would be proud. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >