Why We Are Unhappy in Cities film review by UK film critic Jason Knight. Starring Cheng Hao, Wang Xiaoxiao, Sanming Han directed by Gang Zhao. HOME | FILMS | REVIEWS Why We Are Unhappy in Cities Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 13, 2021 Directed by: Gang Zhao Written by: Gang Zhao Starring: Cheng Hao, Wang Xiaoxiao, Sanming Han A young man is really attached to his lighter. This man (Hao) is of to work one day and once he goes through the front door, he realises that he had forgotten his lighter and asks his girlfriend (Xiaoxiao) to toss it to him from the balcony and as she does so, he fails to catch it and it lands on the ground, getting damaged, not producing a flame anymore. He is deeply annoyed by this and seems to make it his life's mission to have it repaired and not replaced. Meanwhile, his partner leaves him and wanders the streets aimlessly with a suitcase. This short story from China is filled with awkward and surreal moments and has drama as well. An example of the film's strangeness occurs when the girl briefly becomes a model in the blink of an eye, after she is spoted sitting outside a clothing shop by the manager. There is also a part where the film concentrates on two unknown individuals dancing in the street. The script basically consists of two storylines: the man repeatedly trying to find someone who will get his precious lighter fixed and the woman as she walks in the city by herself, not knowing where to go or what to do. One rather interesting technique here involves an unseen person who approaches first the woman then the boy and interacts with them, talking to them, giving them money and lighting a cigarette for them. This person speaks with a male voice, appears to know a great deal about them and seems to be concerned about their well-being. Both sequences are filmed from the stranger's point of view and his identity remains a mystery and could be open to interpretation. Is he their conscience? Is he some sort of guardian looking out for them? Hao is convincing as an eccentric, antisocial young man, whose main priority is to get his lighter working again. He treats anyone who is unable to help him with disrespect and the shocking ending suggests that he might even be out of his mind. Xiaoxiao delivers an emotional performance as the girlfriend who is annoyed and hurt by her partner's behaviour. First-time director Zhao does a great job, creating wonderful establishing shots and fast motion and slow motion techniques are utilized effectively. There are also interesting sequences during which music is used as sound over, while the diegetic sounds are muted. This film appears to explore how people can become fixated to objects and how that can affect their lives and the way they are treated by the ones around them. It is an intriguing achievement and worthy of attention. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Beneath A Mother's Feet film review by UK film critic Patrick Foley. Starring Nisrine Adam, Hamid Sabek, Fatiha Zouine directed by Elias Suhail. HOME | FILMS | REVIEWS Beneath A Mother's Feet Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Mar 12, 2024 Directed by: Elias Suhail Written by: Elias Suhail Starring: Nisrine Adam, Hamid Sabek, Fatiha Zouine A raw and personal short drama, Beneath a Mother’s Feet is a British-Moroccan production that beautifully and heartbreakingly reflects on an impossible choice inspired by true events in director Elias Suhail’s life. Single mother Wedad (Nisrine Adam) lives a distressed life as she does her best to raise her child in the suburbs of Morocco. She tries to cope with her doubts, fears and anxieties to make it through her everyday life, but the stresses of unbearable turmoil lead her to considering an impossible decision – one which she knows will reverberate through both her own life, and the life of her children. Beneath a Mother’s Feet is a bold, bare and daring film that appropriately conveys the emotional magnitude of its pivotal event in a respectful, contemplative and empathetic manner. At the story’s heart is Wedad, brilliantly brought to life by Nisrine Adam, whose mental state is slowly crumbling around her as she tries to balance responsible motherhood with outright survival. The world she inhabits is beautifully shot but quietly hostile – with wonderous city landscapes and yearning long shots partnered with mind-bending, horror-adjacent scenes to portray her life as truly unsettling. Adam herself is fantastic in the role, unwilling for so long to accept her struggle and dishevelment until it is too late. Her face tells much of the story, with pain and strife scratching at the surface. External demonstrations of motherhood amplify her self-doubt, until the film’s devastating ending. Suhail gives proper respect to his audience in coming to their own conclusions on Wedad’s actions – evidently confident thanks to Adam’s performance that viewers will have come to an understanding of the complexity that has come to be integral in Wedad’s life that has led her to the road she takes. The themes of self-determination, rationalisation, discovery and the weight of one’s actions on others weave constantly through the narrative. Elias Suhail has openly stated that the film is inspired by his mother’s own actions – ones which he has endeavoured to comprehend and reconcile since. As a tool to reflect on his own life, the film is healing vehicle and an emotional juggernaut. But brilliantly it can also be received by any viewer as a reflection on their own life, for events that we ourselves struggle to ever come to peace with. Wedad’s decision is an unthinkable one. But not taking it threatens to consume her. Anyone presented with a similar dilemma in their own life will find at least some kinship with Wedad thanks to the film’s clever and innovative construction of turmoil. Beneath a Mother’s Feet is a true accomplishment and a demonstration of the emotional depth short films can pack. The true-life motivation of the filmmaker adds to the film’s weight, but even free of its context, the layers of the film which underpin its central premise mean viewers will be left experiencing the reverberations of the film’s finale – in a deliberate way to mimic those of the all-too-real consequences of our own decisions. Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

St. Augustine film review by UK film critic Jason Knight. Starring Julia Lee Romero, Andy Kastelic directed by Andy Kastelic. HOME | FILMS | REVIEWS St. Augustine Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Jan 13, 2022 Directed by: Andy Kastelic Written by: Andy Kastelic Starring: Julia Lee Romero, Andy Kastelic A dark and moving tale about a vampire couple who attempt to track down the child they gave away. This short film has a nonlinear narrative, constantly cutting back and forth through time. The main characters are Abraham (Kastelic), who is a vampire and Lottie (Romero), a young woman who is turned into a vampire by Abraham. The narrative moves fast and covers a great deal in fourteen minutes. Some events include the two leads meeting for the first time at a carnival where Abraham performs, Lottie requesting that she becomes a vampire, Lottie giving birth, Abraham locating a person who knows the whereabouts of their child and a man being killed in a motel. This short could be described as a love story, a horror film, a drama and a road movie. It is a journey about love, support, desperation, about wanting to feel complete. The audience follows the struggles the two protagonists go through that involve Lottie becoming a vampire, deciding that she wants her child back and her and Abraham travelling by car to their child's location. The atmosphere is almost constantly melancholic and there are distressing and brutal scenes that involve gore. Generally, the viewer is given the impression that being a vampire is a bleak and lonely life filled with death and danger. Dialogue is limited and the audience relies mostly on the performer's expressions in order to understand their feelings and both protagonists deliver great performances. Romero is very convincing as she brings to life the emotions that her character is going through and she effectively portrays Lottie as fragile and dangerous. Kastelic is terrific as a seasoned vampire who supports Lottie and both him and Romero provide voice-over. Regarding the music, it consists of dramatic tracks from a variety of artists and their addition provides significant power to the scenes. Director of photography Jannis Schelenz does an amazing job and creates wonderful cinematography. Aleka Kastelic is responsible for the makeup, hair and costume design, all of which looks great. Particular acknowledgement goes to the eyes of the vampires that occasionally turn black. Andy Kastelic does a great job with the directing and develops wonderful establishing shots and scenes that involve slow motion. This is a short film that had a lot of hard work put into it and the result shows that. It presents an emotional and brutal story, depicting vampires as savage creatures but also vulnerable. With stunning visuals, superb acting and an intriguing plot, this achievement has the viewer's attention from start to finish and offers a rather memorable experience. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Soundproof film review by UK film critic Jason Knight. Starring Georgina Rich, Ellie Bindman, Jonny Phillips, Kayla Meikle directed by Mark Hayman, Margaret Rogerson. HOME | FILMS | REVIEWS Soundproof Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 27, 2023 Directed by: Mark Hayman, Margaret Rogerson Written by: Mark Hayman, Margaret Rogerson Starring: Georgina Rich, Ellie Bindman, Jonny Phillips, Kayla Meikle Following a murder, a woman and her children go on the run and are pursued by a dangerous man. Jo (Rich) is in an abusive relationship with an aggressive man and she is the mother to two teenagers: Izzy (Bindman) and Dylan (Gabe Robinson). One night, her partner is vicious towards her and Izzy intervenes, resulting in his death. Jo phones her friend Milan (Meikle) for help and she advices her to seek refuge at her uncle's caravan in the countryside. Jo does that and along the way, she and her offspring encounter a drifter named Tom (Craig Russell), who joins them at the caravan. Meanwhile, the brother of the deceased man, Pete (Phillips) is determined to track them down. This psychological thriller drama has interesting characters and a rather intriguing plot. After an exciting start, the pace slows down and pays more emphasis on the characters than the plot, which is not a negative thing. The screenplay alternates between two storylines, one being the family of three hiding at the caravan, with Tom keeping them company and the other involving Pete trying to find them, along with Milan, who he has kidnapped. Both storylines are extraordinary situations and each has its own tensions and conflicts. The part at the caravan focuses primarily on Tom's interactions with the family, as he turns out to be an unstable individual and possibly harmful. However, the four of them find some sort of solace while they are there and separated from the rest of the world and Tom gets to know them and assists them. Going to the Pete and Milan part, that involves him driving her around and threatening her, however Milan is a strong person and attempts to talk some sense into him. The film does a good job in exploring the characters and creating tense and dramatic scenes and it ends up telling a story about family, crime, post-traumatic stress disorder, support and trust. It could be said that there is no main character, with several taking the lead part. Jo is a mother who has unwillingly found herself in a desperate situation and does her best to keep herself and her loved ones safe. Regarding her children, Dylan spends a great deal of time listening to music and it is Izzy who stands out the most, a troubled youth who is apprehensive about Tom's behaviour. Tom is a damaged individual, a loner who suffers from panic attacks, has set up a kind of hideout near the caravan and owns a rifle and a crossbow. Although he comes across as friendly and helpful, he has deep emotional wounds, making him unpredictable and his presence is what creates tension in the family storyline. And then there is Pete, who could be classified as the antagonist, a violent and deranged individual who carries a handgun and is willing to resort to violence in order to get his way. Paul Fuller and Matt Foxley do a great job with the cinematography and regarding the audio, there are creative sound techniques and commendations go to Craig Brown and Leon Dixon-Goulden for the dramatic score. Content such as murder, kidnapping, PTSD, violent people and a dysfunctional family make this a dark feature. However, the story also explores the significance of support, family values and unity. It is a very well acted thriller about redemption that looks into the bad and good side of humanity. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Neither Donkey Nor Horse film review by UK film critic Chris Olson. Starring Chris Pang, Jim Lau, Michael Monasterio, Andy Sun directed by Robin Wang. HOME | FILMS | REVIEWS Neither Donkey Nor Horse Film Review average rating is 5 out of 5 Critic: Chris Olson | Posted on: Nov 16, 2024 Directed by: Robin Wang Written by: Jesse Parker Aultman, Robin Wang Starring: Chris Pang, Jim Lau, Michael Monasterio, Andy Sun Robin Wang’s powerful and moving short film, Neither Donkey Nor Horse , evokes a bleak sense of ignorance dominating the upper echelons of society who would rather maintain their status than accept change and truth. Based on the real-life scientist Dr. Wu Lien-teh (brilliantly played in this short film by Chris Pang), whose incredible research into airborne disease during the Great Manchurian Plague of 1910 saw him face strong opposition from both Chinese and Western scientific communities. Through his dedication and perseverance, however, he not only became a Nobel Prize-nominated scientist but also became the father of the masks we use to this day to prevent airborne diseases from spreading. The phrase “Neither Donkey Nor Horse ” is often used to refer to the blending of Western medicine and traditional Chinese medicine - suggesting that someone is an impure hybrid. One of Dr Wu’s critics uses it on our protagonist during the movie and it is meant as a severe insult. It is this considerable anger and upset which becomes Dr Wu’s additional challenge in the film (the first being the terrible plague killing thousands of people which he needs to cure, or at least prevent spreading). The Westerners, led by the egotistical Dr Gerald Mesny (also brilliantly played by Michael Monasterio) currently believe the disease is being spread by rats and are focusing largely on methods to stop the rats from travelling around and giving it to more of the population. Dr Wu feels that if he could only perform a post-mortem operation (something seen as a wicked act in China at the time) on someone who has recently died of the illness, he could learn more about the disease and find a way to properly prevent it. A biographical film like this has potent relevance to a modern audience. Our current society has just been through one of the worst pandemics in centuries and the struggle for modern science to prevail in a post-truth culture where anyone and everyone can spout “medical opinions” with a keyboard and an internet connection has left us in a state not that dissimilar to China in 1910 as we might have hoped. Being doomed to experience vast amounts of preventable pain and death for fear of being “wrong” by those in charge is the true horror we witness in this short film and it is woefully relatable. The film itself looks incredible, with a stunning mise-en-scène, brooding atmosphere in every scene, and strong chemistry between the performers. Wang’s direction is fierce, knowing exactly when to pull us into the political discourse and when to blindside us with human tragedy. Thirty minutes feels dangerously short in this instance, and if this is a proof of concept for something much more substantial, sign us up quicker than we can strap a face mask on. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >

Die My Love film review by UK film critic Jack Salvadori. Starring Jennifer Lawrence, Robert Pattinson, Sissy Spacek directed by Lynne Ramsay. HOME | FILMS | REVIEWS Die My Love Film Review average rating is 5 out of 5 Critic: Jack Salvadori | Posted on: May 19, 2025 Directed by: Lynne Ramsay Written by: Lynne Ramsay Starring: Jennifer Lawrence, Robert Pattinson, Sissy Spacek Lynne Ramsay comes in swinging with a jagged, intoxicating fever dream that grabs you by the throat and refuses to let go. Die My Love is a razor-sharp portrait of postpartum despair, psychological free-fall, and the quiet, daily violence of domestic life. Bold and uncompromising, it’s hard to believe that it’s adapted from Ariana Harwicz’s 2012 novel, as you’d swear it was born on celluloid. This isn’t just a film about going mad: it’s one that feels like going mad. Jennifer Lawrence gives a career-best performance as Grace, a young mother exiled to a remote Montana countryside home with her partner Jackson (Robert Pattinson). The film opens in a blaze of erotic energy, only to pull away the rug right after. The sex dies. A baby arrives. And suddenly, Grace is left alone with a screaming infant. Lawrence plays her like a woman dancing on the edge of a razor blade, a magnetic ticking bomb as feral as terrifyingly alive. Ramsay, the undisputed poet of maternal chaos, constructs the film like a slow-boiling panic attack. Every choice, from the oppressive sound design to the jagged, staccato editing, works to keep you trapped inside the labyrinth of Grace’s disintegrating psyche, delivering one of, if not the, strongest films of the year. And Ramsay never stoops to cliché. Her direction is brutal and beautiful in equal measure, without ever condescending to predictable, overdramatised scenes No hand-holding. No melodrama. Just raw, sustained tension. It’s hyperrealistic like an intimate documentary, like a mirror to our own demons, yet dripping with cinematic flair. And we need to talk about music: from offbeat lullabies to needle drops that feel like emotional grenades, the soundtrack slaps hard, deepening the dread and twisting the knife. Every frame feels dangerous. A primal scream in cinematic form. Not for the faint-hearted, nor the TikTok-scrolling casual. Also: Lynne Ramsay definitely hates children. Confirmed. Buy UKFR Banner Space About the Film Critic Jack Salvadori Theatrical Release, Film Festival < All Reviews Next Film Review >

The Killing Moon film review by UK film critic Charlotte Spark. Starring Ryan Caraway , Victoria Diamond , Matthew Leone directed by Daniel Bogran. HOME | FILMS | REVIEWS The Killing Moon Film Review average rating is 4 out of 5 Critic: Charlotte Spark | Posted on: Jun 12, 2026 Directed by: Daniel Bogran Written by: Daniel Bogran Starring: Ryan Caraway , Victoria Diamond , Matthew Leone Indulge yourself into the thrilling and suspenseful world of The Killing Moon (2025) from young Director, Writer and Editor Daniel Bogran as his first feature film debut. With its international premiere held at Raindance Film Festival this year. Gaining traction in its circuit with award nominations and outstanding performances. The Killing Moon is definitely one to add to your watchlist. A wealthy couple escapes the chaos of the city to a remote getaway when an injured stranger knocks at the door. Leading to a wild, tense and seductive power play. Whiplashing you into second guessing true intentions. With clean Cinematography that feels like fresh air transporting you into the centre of nature, holding hands with a tense score which has you white knuckle. The Killing Moon is truly an immersive experience. We meet our protagonists Elliot (Ryan Caraway) and Olivia (Victoria Diamond) and immediately the audience gains an understanding that this marriage is teetering on the edge. When they quickly begin a sharp back and forth of taking snippy jabs at each other. You begin to almost itch in your own seat feeling uncomfortable, which is an absolute credit to both actors. By the time Rory (Matthew Leone) , our injured stranger, enters the mix, the tone changes when jealousy truly manifests, as a fight of masculinity between the two males begin. It is very evident Elliot is keeping Rory around to push Olivia to give in to her own imperfect desires. When Rory seems to be sticking around for an awkward amount of time, you really have no idea of who is the villain of this story. Where is it all going to lead? A thunderous amount of tension tells your gut something is just around the corner. With an ending that has you questioning your own morals, coming full circle I was totally taken by surprise. My own criticism was as we entered the third act we introduced broad backstories which are only really drip fed to us. With a longer runtime things could have been fleshed out a bit more, although taking away from the tension. More context to how we get to the ending would have been helpful to understanding characters' reasonings and decisions. With it being such an intimate film with only having our main three actors on screen for most of the film, it is already a challenge where you need to really hold the viewers attention. That is a lot to carry on your back as an actor. But nevertheless our lead actors make the almost 90 minute runtime fly by as I was totally engrossed. Personally My stand out performance came from Rory (Matthew Leone) who is someone to definitely keep an eye on. On screen he captivates with a compelling performance and an interesting character arc. You won't be disappointed with Director Daniel Bogran’s The Killing Moon making waves in the festival circuit, it is definitely well earnt. A seductive thriller that leaves you wanting more at its core it really is the breakdown of a not so perfect marriage. Buy UKFR Banner Space About the Film Critic Charlotte Spark Film Festival < All Reviews Next Film Review >

The Faceless Man film review by UK film critic Jason Knight. Starring Sophie Thurling, Lucas Pittaway, Andy McPhee, Albert Goikhman, Lorin Kauffeld directed by James Di Martino. HOME | FILMS | REVIEWS The Faceless Man Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 19, 2021 Directed by: James Di Martino Written by: James Di Martino Starring: Sophie Thurling, Lucas Pittaway, Andy McPhee, Albert Goikhman, Lorin Kauffeld A story filled with drugs, violence, murder, awkward characters, danger, sinister people wearing masks and a terrifying monstrous figure. Cancer survivor Emily (Thurling) is trying to get her life back on track and after attending a party, she decides to go for a holiday at a rented house along with a group of friends. However, they bring with them a suitcase that contains a large amount of cocaine, which was stolen by one of the guests at the party. This makes them a target by a vicious gangster named Viktor (Goikhman), who will stop at nothing to get it back. Meanwhile, the group find themselves surrounded by unfriendly locals, masked people appear and Emily keeps having visions that involve a faceless demonic humanlike entity with long, sharp nails. Things go from bad to worse as gore and killings become more and more frequent. This feature is a dark comedy horror film with elements of slasher films, home invasion, gangster films and the nightmare sequences might make one think of Jacob's Ladder . It begins with a dramatic scene that reveals the sad relationship between Emily and her estranged father and moves on to the world of criminals, otherwordly creatures and people who are not happy with the group of friends who have arrived at their town. The body count rises as Viktor and his henchmen search for the suitcase and someone proceeds to stalk and murder the individuals inside the house. The characters are interesting and Thurling plays her part well as a troubled young woman who appears to be losing her grip on reality. Goikhman is arguably the one who steals the show as the menacing crime boss who will stop at nothing in order to get what he wants. As mentioned, there is a great deal of brutality here, with unfortunate people getting beaten, shot, stabbed and generally having very nasty things happening to them with a variety of weapons, including guns and blades. Makeup effects artist Emma Rose deserves a lot of praise for the work done for this film. The injuries look vicious and realistic. Martino does a good job as director, creating wonderful establishing shots and well-structured long takes. The soundtrack contains pieces from various great artists, including Beethoven, Yanivi and Alek Angelov and composer Bart Walus makes a great contribution with a score that is dramatic, tense and frightening. Credit also goes to director of photography Rhys Sherring for the beautiful cinematography. The Faceless Man is entertaining enough. The story is interesting, with plot twists and the suspense and tension grow as things proceed to spiral out of control. It may not be something special, however it is worth the experience. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

I'll Be Frank film review by UK film critic Jason Knight. Starring Jake Doyle, Helena Bereen, Bernadette Brown, James Devlin, Eimear Bailie directed by Carleton Rodgers. HOME | FILMS | REVIEWS I'll Be Frank Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 4, 2024 Directed by: Carleton Rodgers Written by: Carleton Rodgers Starring: Jake Doyle, Helena Bereen, Bernadette Brown, James Devlin, Eimear Bailie A short comedy drama from Northern Ireland written and directed by Carleton Rodgers and starring Jake Doyle, Helena Bereen and Bernadette Brown. Teenager Danny (Doyle) lives in Northern Ireland and is a massive fan of American singer and actor Frank Sinatra, having decorated his bedroom with photographs and newpaper articles about the celebrity and listening to and singing his hits. However, he keeps his admiration a secret from others, especially his friends. Then, the boiler in his home needs to be replaced and his family cannot afford a new one. When his grandmother (Bereen) informs him that his school is organising a talent show that offers prize money to the winner, a reluctant Danny must decide whether he can overcome his personal issues and perform and win so that they can buy a new boiler. A feel-good story with a likeable protagonist and supporting characters. Since the plot involves Sinatra, it should come as no surprise that the soundtrack includes some of the singer's hits such as It All Depends on You , It Had to Be You and Someone to Watch Over Me , making the audible experience quite pleasant and even more pleasant thanks to the contributions from composer James Everett and The Belfast Jazz Swing Orchestra. As good as the audio is, the screenplay is also to be commended as it is intriguing and inspiring, focusing on a youth who has a big passion, yet is does not seem to have the courage to share it with the world because he thinks low of himself. The overall atmopshere is uplifting, with humour, heart-warming moments and plenty of singing. Although the film has a good script, perhaps the characters of Danny' mother (Brown) and Hannah (Bailie), Danny's love interest, could had been explored in more depth with the intention of adding more quality to these two characters. Doyle delivers a sympathetic performance as Danny, a nice, well-meaning guy who adores Sinatra and sadly lacks the self-esteem to reveal it to others as he is worried about what other people will think of him. Bereen stands out as Danny's grandmother, an optimistic and cheerful elderly woman who also likes Sinatra. She believes in her grandson and encourages him to share his passion with the world. Unfortunately, his mother thinks otherwise. The group of boys that serve as Danny's friends are different than him, as they are loud and a bit unruly and are led by Ciaran (Devlin), who is wild but a good guy. Through Danny's character the film explores low self-esteem, having an idol and a passion. His grandmother represents the significance of support and the idea that one should not be afraid to be who they really are and that by doing so, good things happen. Furthermore, the story explores financial difficulties, that money does not matter and that great joy is to be found when a person reveals their passion. And of course, the happiness that can be found in singing is present and the film pays homage to Frank Sinatra. What is there to gain by viewing this short? Experiencing an uplifting and moving story about sharing one's passion with others. Fans of Sinatra will most likely enjoy it and so will people who appreciate a story about being oneself and pursuing what makes them happy. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Super Duper film review by UK film critic Lee Sinden. Starring Anri, Aris, Mary, L.V and Miro directed by Wataru LINDA Igarashi. HOME | FILMS | REVIEWS Super Duper Film Review average rating is 2 out of 5 Critic: Lee Sinden | Posted on: Aug 11, 2026 Directed by: Wataru LINDA Igarashi Written by: Butterfly Starring: Anri, Aris, Mary, L.V and Miro This is a video for the J Pop group Black Diamond and this is their debut single “Super Duper”. This single was released in March 2023 and had iTunes chart success in many Asian countries as well as the UK and USA. The audience won’t need to be fluent in Japanese to enjoy this video as the song is very catchy and will no doubt stay in your head for many days. There is a mixture of English and Japanese lyrics through out, with most of the English lyrics being the hook to get the audience singing along. The dance beat will get your body moving and this is a good fun introduction to Japanese music. The main lyric, which you’d expect is “Super Duper” and this is followed by “Super Sugar” which shows the sweet and fun nature of the song. The video is great fun and it is clear that the artists are enjoying their performance and making the most of it. The video briefly starts in black and white before exploding into bright colours of Pink, Silver and Purple. The set appears to be very simplistic, meaning that the focus is on the band members. The 5 members are all dressed in 2 piece costumes which dazzle with sparkly sequins, silver chains, large hoop earrings and long blue knee length boots. The costumes really fit the fun ambience that the video is trying to achieve. In the second part of the video there is a scene and costume change. The audience are brought out to the streets. They can see road signs and a background video of a moving highway and modern skyscrapers. There is an image of a large diamond above the buildings which almost appears to be spaceship like. The costume change is effective and reflects the move to the streets at night. The viewers can see each member in black leather although each member has their own unique style. This really looks to reflect the character of each individual and their place in the band. Diamonds are prominent throughout the video. The costumes overall reflect the lyrics and the message that these women are bold and irresistible. This being a dance video the audience can expect a dance routine and they won’t be disappointed. Although I do not believe the bands full talents are on show, the choreography Is fairly simple but effective and in good time. The camera focuses on the individual and the group. This being a debut single it is clear that the director is using the camera to introduce each member to it’s audience. No doubt fans will have their favourite. Overall this is a fun video which achieves its aim to get the audience to have fun and dance and sing along with group. The lyrics are fun and sexy and this is reflected in the video and the costumes that each member is wearing. The bright colours really draw the viewer in and it’s a great introduction to Japanese music and culture. The direction allows for the focus to be on the band, who should be the most important part of the video. The simplistic nature of the video doesn’t detract from the song and if anything it promotes the music to centre stage. Buy UKFR Banner Space About the Film Critic Lee Sinden Music Video < All Reviews Next Film Review >

The Nun II film review by UK film critic Hope Madden. Starring Taissa Farmiga, Storm Reid, Jonas Bloquet, Bonnie Aarons directed by Michael Chaves. HOME | FILMS | REVIEWS The Nun II Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 8, 2023 Directed by: Michael Chaves Written by: Ian Goldberg, Richard Naing, Akela Cooper Starring: Taissa Farmiga, Storm Reid, Jonas Bloquet, Bonnie Aarons The Nun II has at least one thing going for it. If someone could figure out what to do with her, that villain is creepy as hell. Why? Partly because no one cuts a terrifying figure quite like Bonnie Aarons. And partly because, let’s be honest, nuns are scary. Like clowns. It’s just true. We first ran into this Bad Habit in James Wan’s adequate 2016 sequel The Conjuring 2 , but the film divided its villains up: old coot in a rocking chair (“I’m Bill Wilkins!”), the Crooked Man and – well, best not to say her name. But her screentime was very limited. Then there was the tease in another middling sequel, Annabelle: Creation (a mediocre film, but miles better than the first in that particular franchise). She finally got her own story in 2018, with Corin Hardy’s wildly mediocre The Nun. Can this excellent idea for a villain be put to good use, finally, with Michael Chaves’s sequel, The Nun II ? Meh. It’s fine. It’s rated R, so that’s a start, although I’m not certain how it was deemed so problematic as to deserve the “keep the kids away” rating. There are a few creative deaths, almost elegantly macabre. Sister Irene (Taissa Farmiga) is back on the trail of the demon nun after a series of disturbing deaths. Most of our time is spent in a monastery-turned-winery-turned-boarding school where Sister’s Irene’s old friend Maurice (Jonas Bloquet) has a job as a handyman and a crush on a teacher. And, if memory serves, an inverted cross seared into the back of his neck. That smells like trouble (and burnt skin). The setting is spooky, stagey and often quite atmospheric. Several of the set pieces are designed gorgeously. Bloquet continues to charm, and we not only get a nun this time but a very alarming goat-man. Nice! The perversion of religious imagery continues to be the downfall of the series. It’s hard to take seriously, of course, because the Catholic church has a history of doing that itself. (The diocese of Syracuse claimed bankruptcy this summer due to the $100 million it owes to victims of sexual abuse.) This series would be more effective if the evil nun represented the decay within the church rather than a rogue demon weakened by an emissary of the Vatican. Alas, Chaves settles for a bit of theoretical silliness bolstered by a nice touch of feminism, which feels delightfully heretical. So at least there’s that. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Improviser film review by UK film critic William Hemingway. Starring Anthony Giordano, Zach Garner, Malorie Bryant, Jessica Ritacco directed by Daniel Florio. HOME | FILMS | REVIEWS The Improviser Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Aug 15, 2022 Directed by: Daniel Florio Written by: Daniel Florio Starring: Anthony Giordano, Zach Garner, Malorie Bryant, Jessica Ritacco If you've ever taken a wander around the Edinburgh Fringe and popped your head into a few of the free shows you will more than likely know already that comedy is not always about the laughs. Lower down, towards the business end of things, away from the bright lights, big stages and clued-up audiences are the raw performers – the ones who use comedy as their own personal therapy session, who want to rant and rave about their own pet peeves, air their dirty linen, and who mostly just want to get in front of an audience (no matter how small) and be accepted. There is a lot of darkness which surrounds the comedy world, so where better to set a new, modern, edgy psychological thriller than the New York comedy scene? In his new feature The Improviser , writer/director Daniel Florio introduces us to Brett Sugarman (Giordano), a struggling comedian nearing his 30's who's been trying for years to make a name for himself. He's been taking plenty of classes in Improv and has even managed to get himself accepted as part of a troupe, The Gigglypuffs, although they still do not have a residency at any of the clubs or theatres. Frustrated at his lack of work and perceived lack of talent in the rest of the troupe, Brett has also started up his own podcast which he calls Damn Funny. Now all he has to do is actually come up with some material and content for the show and convince someone/anyone to appear as a special guest. Naturally, this is not so easy for young Brett as his social awkwardness and overbearing behaviour isn't helpful in making him any friends. Shot in HD and adopting a Dogme 95 style of filming, the audience is invited to view The Improviser as if they were at a live event. Everything is fresh and raw as we watch the actors rehearse and perform, and the resulting improv shows display all the missed beats, insecurities and cringeworthiness that these events can bring. Being so close to the action, and so embedded in the scenes being shown, makes it easy for the viewer to be carried away by the characters, who seem for all intents and purposes to be real live people, and to be affected by the dark turns which inevitably come. It is an incredible trick of direction and cinematography that as Brett releases more of his frustration and ire and becomes more of who he really is that the film takes on more of a cinematic feel. It is almost as if we feel Brett's star rising within him the more he becomes infamous for the things which are not his comedy, and we see along with him how his perception is shifting as the world begins to point their gaze in his direction. It is clear that Daniel Florio and co-director Chris Sciacco are familiar with the world they are portraying on screen, giving us an insight into the green rooms, backstages and inner workings of some of the New York comedy clubs. Things will feel very familiar to anybody who has watched any number of comedy specials on streaming services and the tension is palpable as the relationship between the audience and performers becomes strained. There are plenty of references to famous comedy performers and as you may expect from a film that looks and plays much like an episode of Louie (2010-2015) – the ghost of Louis C.K. still hangs heavy over the New York comedy scene. With this in mind it should be stated that certain scenes and behaviours in The Improviser are extremely disturbing and should be approached with caution by the casual viewer. Brett is dealing with barely contained issues relating to homophobia and misogyny and watching these play out in what feels like a hyper-real environment, so close that you feel like you can touch it, isn't an easy or comfortable watch. Taking most of its beats from Joker (2019) or its infinitely superior predecessor The King Of Comedy (1982), as well as from real life, The Improviser won't win any awards for originality. However, its style, presentation and narrative have all been tweaked to update the story for a modern generation. It is at turns bitingly funny, unflinchingly real and supremely dark which all come together to make it a valuable commentary on a murky, underground world which attracts more than its fair share of misanthropes. Just don't ask for your money back if you don't quite get the show you were looking for. Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, Digital / DVD Release < All Reviews Next Film Review >