The SZN Movie film review by UK film critic William Hemingway. Starring Malcolm Dwain Carter, Dakarai Akil, Sean A. Burns, Reyna Janelle, Roc Living directed by Malcolm Dwain Carter. HOME | FILMS | REVIEWS The SZN Movie Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Jul 18, 2023 Directed by: Malcolm Dwain Carter Written by: Malcolm Dwain Carter Starring: Malcolm Dwain Carter, Dakarai Akil, Sean A. Burns, Reyna Janelle, Roc Living The Urban Dictionary tells us that in the common parlance of the yoof of today the word SZN is not actually an acronym for anything but is in fact one of those modern text speak abbreviations where they miss out all the vowels for some reason. So the word SZN is pronounced and actually means the same thing as the already long established actual word in the Oxford English Dictionary, season – as in a collection of related episodes of a TV series which are produced in and run for the duration of a few months at a time. Therefore, what we get with The SZN Movie is an attempt at making a production in the shape of a film that's just about ninety minutes long but which plays like an entire season of a TV show – in this case a daytime TV soap opera – a really bad daytime TV soap opera. The 'plot', if we can call it that, revolves around the (apparently) notorious Perry family, a dynasty of movie moguls who exert a lot of pressure and influence, sometimes through nefarious means. Our main protagonist is Roman Perry, played by director, writer, editor, executive producer and star, Malcolm Dwain Carter who in a not very intriguing twist of fate is lying to his colleagues about who he is, telling them that his family died in a horrific car crash. This seems to be the character's only plot line for the first twenty minutes and forms the worst, most feeble, big lie ever attempted to be concealed by a daytime soap character. Along the way other characters are introduced, not very convincingly, with certain people we've never seen before just popping up in scenes with the main characters and hanging around until they become part of the scenery. This happens in true SZN fashion with a new character getting lobbed into the mix every ten minutes or so throughout the film. Eventually we have to contend with Avarice Perry (Akil), Roman's gangster like brother who's into some shady shenanigans involving the theft of some money; then there's Clyde Gilbert (Burns), a regular businessman who tries to do the right thing but who keeps getting caught up in the Perry's machinations; London Perry (Janelle), a feisty, fast-talking powerhouse, and Roman's sister who's always on hand to dispense good advice; and of course, the daddy of them all, Seymour Raphael Perry (Living), the cut-throat media mogul himself. There are other things going on on the sidelines with relationships and things but none of it really matters as the whole scenario makes very little sense in the first place. Just as in other daytime TV soaps, all of the drama (or forced melodrama) in The SZN Movie is assumed and has no real basis in any substance of backstory or characterisation. The entire film is made up of back to back closed room scenes where two or three characters face off against each other and have a lot of tense conversations without any gravity behind what they're saying. It's true mindless junk. Thankfully, The SZN Movie has some kind of production value to it and the scenes come across as crisp and clear and even colourful when need be. The audio is uneven at times but not enough to ruin the feel of the film but the rest of the technical aspects run smoothly and really help the viewer to think they're watching bad daytime TV. The actors all put their full weight behind their characters and commit to them completely, which would be great if all of their characters weren't just a bunch of overblown posturing idiots. There's not much to recommend The SZN Movie as it is vacuous and empty and oh-so badly dramatised. The only reason to watch this would be if you actually enjoyed bad daytime TV because that's all that it is. If you do actually like that sort of thing, you're in luck, as there's a four episode mini web series of The SZN to go along with the movie, as well as an offshoot film focusing on the naughty brother, Avarice – but honestly, none of these, including this film, are worth any amount of your time. Buy UKFR Banner Space About the Film Critic William Hemingway Digital / DVD Release, Indie Feature Film, Web Series < All Reviews Next Film Review >

Sesh Porjonto film review by UK film critic Isabelle Ryan. Starring Debaprasad Halder, Biswarup Chakraborty, Nilanjana Rudra directed by Satyajit Das. HOME | FILMS | REVIEWS Sesh Porjonto Film Review average rating is 1 out of 5 Critic: Isabelle Ryan | Posted on: Oct 11, 2021 Directed by: Satyajit Das Written by: Nilanjana Rudra, Satyajit Das Starring: Debaprasad Halder, Biswarup Chakraborty, Nilanjana Rudra Satyajit Das’ short film Sesh Porjonto follows Poroma (Nilanjana Rudra), whose lazy afternoon is rudely interrupted by the arrival of Sumanta (Biswarup Chakraborty). He has come from the Home Ministry Office to inform her that her ex-husband, who was an officer in the merchant Navy and has long been presumed dead, was in fact arrested by Iraqi soldiers and held captive for 20 years. Now, he is on the way to visit his wife and, perhaps, disrupt her peaceful existence. This ostensibly simple plot is made impossible to follow by both the editing and the sound design. The opening conversation between Sumanta and Poroma is a mess. For one thing, the scene is either very poorly lit, or it was shot in front of a green screen (although why this would be necessary when we can clearly see that they filmed on location is anyone’s guess). On top of this, the camera cuts rapidly between the characters, often in the middle of a line, which ruins any flow the scene could have. Elsewhere, Das employs long takes arbitrarily, and never to emphasise an important moment. Perhaps most frustrating, however, is the sound design: every line of dialogue seems to have been dubbed over, and even then it can be almost impossible to hear what is being said under the score. The sound mixing in general is frustrating; dialogue, sound effects and music play at the same volume, and often at the same time. To put it mildly, this is incredibly distracting. One positive (and in isolation it is a big positive) is the soundtrack’s inclusion of songs performed by Manidipa Chakraborty. At the opening of the film and again towards the end, passionate ballads effectively set the tone and introduce the themes. It is a shame, then, that these beautiful songs do not exist within a better film. Worse, instead of ending the story where it would have made sense – with that second song playing us out – Das includes a twist (along with a ridiculous sound effect and editing choice) that, while unexpected, is far from original and results in a rather silly denouement. The film’s title can be translated to “In the end,” and unfortunately the end of the film compounds the issues that came before. Still, even without the unnecessary twist, the technical problems are too many to ignore, and interfere with a story that should have been handled with grace. Buy UKFR Banner Space About the Film Critic Isabelle Ryan Short Film, World Cinema < All Reviews Next Film Review >

Honey Don't! film review by UK film critic Jack Salvadori. Starring Margaret Qualley, Aubrey Plaza, Chris Evans directed by Ethan Coen, Tricia Cooke. HOME | FILMS | REVIEWS Honey Don't! Film Review average rating is 1 out of 5 Critic: Jack Salvadori | Posted on: May 27, 2025 Directed by: Ethan Coen, Tricia Cooke Written by: Ethan Coen, Tricia Cooke Starring: Margaret Qualley, Aubrey Plaza, Chris Evans “People like shit,” mutters Ethan Coen, quoting Miles Davis from a hotel room overlooking the French Riviera. Slouched in his chair, somewhere between bemused and beaten, he lets his wife and creative partner, Tricia Cooke, do most of the talking. They’re in Cannes with their new film, Honey Don’t! , out of competition and on the midnight fringes. It’s difficult to reconcile this Ethan Coen with the one— well, half of the duo— who redefined American cinema with Fargo , The Big Lebowski , and No Country for Old Men . Those films bent genre, turned banter into poetry, and irony into philosophy. They didn’t just become cult classics, but sometimes proper religions (Dudeism). Honey Don’t , by contrast, feels like the ghost of a once-brilliant voice: stripped of style, drained of substance, and devoid of spark. The virtuoso camera work is gone. So are the quirky compositions and signature rhythms. In their place: flat centre-framing, a generic ad-like aesthetic, and a joyless attempt at pulp pastiche. It’s a B-movie without bite. This marks Ethan’s second outing with Cooke after the spectacularly limp Drive-Away Dolls . Once teased as part of a “lesbian road movie trilogy,” the series now seems more like a vague notion than a cohesive vision. There are hopes for a third chapter, but no concrete plans. “Then you need to go and do the third movie,” Coen shrugs. “We need to go figure out what it is.” Margaret Qualley leads Honey Don’t as a hyper-feminine, rockabilly private eye, equal parts Lauren Bacall and cartoon pin-up, swaggering through the story with arched eyebrows and hard-boiled flair. Aubrey Plaza plays her love interest with deadpan cool, while Chris Evans appears as a dodgy cult leader who preaches in baffling macaroni metaphors. The film aims to queer up the traditionally macho noir template; a noble ambition, but one that never truly takes root. The subversion is surface-level, and the genre commentary lands with a shrug. Robert Altman’s The Long Goodbye is cited as a key influence, though the resemblance feels aspirational at best. Where Altman’s film swayed with jazz-inflected melancholy and sly revisionism, Honey Don’t! flails in tonal confusion. It never quite commits to noir, comedy, or camp, instead floating awkwardly in a limbo of cringe. “It’s a detective story,” Cooke offers plainly. “It’s serious.” Coen adds: “If people laugh, that doesn’t make it a comedy. But if they laugh, at least it’s working somehow.” Offscreen, the creative ambivalence lingers. “It’s getting harder and harder to get the money to make a new project unless you’re doing a studio movie,” Coen laments. “In the ’90s, the movie business could afford to flush money to fringe characters like us. Now it’s changed.” The remark hangs in the air like a weary sigh—a quiet concession that their era of creative carte blanche may be behind them. And yet, Cooke remains animated. She handles the press with assurance, defending their shared vision. “The credits are artificial,” she says. “It was always collaborative.” Coen nods in agreement. “It’s very similar to how I worked with Joel.” It takes two to tango... but choose the wrong partner, and you’ll be dancing in circles. Speaking of Joel— yes, they’re still close. A new script they wrote together is apparently ready and waiting. “We want to do it,” Ethan says. “But he’s tied to something else right now. It’d be stimulating to reunite.” For now, though, Honey Don’t! stands as a strange detour. “It’s escapism,” Coen shrugs. “Movies are fun to watch. They lift you out of reality. And we’re not trying to make a social commentary here.” And maybe that’s the point. Honey Don’t! doesn’t strive to say anything. It just... exists. Whether it works or not? Well, as Coen reminds us: “People like shit.” Buy UKFR Banner Space About the Film Critic Jack Salvadori Theatrical Release, Film Festival < All Reviews Next Film Review >

TheTank film review by UK film critic Daniel Baldwin. Starring Luciane Buchanan directed by Scott Walker. HOME | FILMS | REVIEWS TheTank Film Review average rating is 3 out of 5 Critic: Daniel Baldwin | Posted on: Apr 25, 2023 Directed by: Scott Walker Written by: Scott Walker Starring: Luciane Buchanan Picture this: a loved one has passed away and you inherit a piece of property from them that they’ve never mentioned. You’ve been handed a house along the coast that comes with its own private beach. We’re talking beautiful, untouched land. An absolute dream come true, with no catch in sight. Well, except for that weird water tank that’s hidden underground on the property. A tank that may or may not contain an ancient beast that loves to run amok when unleashed. That right, you didn’t just inherit your dream home. You inherited a horror movie as well. Congratulations! Scott Walker’s New Zealand creature feature The Tank knows its tropes and revels in them constantly. If you’re rolling up to this coastal oasis of terror looking for heaps of originality, you’re going to swim away disappointed. However, if you’re the type that loves a good meat & potatoes monster movie, then you will find quite a bit to enjoy here. There are two true stars of this bestial B-movie endeavor, with the first being the practical monster effects work on display from WETA Workshop. Their efforts here are just as good as you’d expect coming from the imaginative minds that brought forth the cinematic beasties on display in The Lord of the Rings trilogy, 30 Days of Night , District 9 , and the cult classic Black Sheep . Richard Taylor and his team are in fine form, serving up a cool monster and delivering delicious creature carnage. The other star is actress Lucianne Buchanan. While the other performances in the film are fine, Buchanan stands tall above the rest, gifting us with a new horror heroine to root for in family matriarch, Jules. Between her turn in this and her leading role on the recent hit Netflix action series The Night Agent , Buchanan is one to keep your eye on. The Tank does have its issues. The pacing in the first two acts can be sluggish at times, the color palette can get a bit monotonous, and the family drama subplots don’t really amount to much. Of course, that’s not what we’re here for. The Tank promises you some lean, mean, and low budget monster escapism. For the most part, it delivers on that promise, so if this type of movie is up your alley, give it a look. Buy UKFR Banner Space About the Film Critic Daniel Baldwin Digital / DVD Release < All Reviews Next Film Review >

My Name Is Moe film review by UK film critic Swati Verma. Starring Kabir McNeely, Brandon Leland, Geoffrey Kostal directed by Kabir McNeely. HOME | FILMS | REVIEWS My Name Is Moe Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Aug 25, 2022 Directed by: Kabir McNeely Written by: Kabir McNeely Starring: Kabir McNeely, Brandon Leland, Geoffrey Kostal The title of the short film-My Name Is Moe has the connotation of the continuous search for his identity and self-worth by the protagonist Moe (Kabir McNeely). The writer-director Kabir McNeely handles social issues like eating disorders, anxiety, and depression very cautiously making the content real and relatable to the audience. The plot of the cinematic piece revolves around a lonely teenage boy Moe who longs for acceptance and suffers from a crippling eating disorder, social anxiety and must face his biggest fear. In the opening scene, the cinematographer Max Gutierrez establishes the character of Moe by utilizing the combination of close-up and mid-shots followed by a long shot to build up a perception of other people regarding Moe which also assists the filmmaker in further strengthening the emotional connect of the viewers with the film. The long shot of the gym provides an insight into the daily struggles and internal as well as external challenges that the central character goes through to survive. The white and grey colour palette, set design, lighting, costume, hair, makeup, and dialogues are carefully designed to complement Moe's world so that the audience can understand as well as relate to his journey towards making the quality of life better for himself and his loved ones. Kabir McNeely plays the titular role of Moe the first-year student who battles both academic as well as social concerns in his life looking for a strong support system with whom he can speak his heart out. Kabir McNeely uses body language, and the tone of the dialogue delivery to convey the physical and mental status of his character. McNeely has done a brilliant job with the emotionally heavy scenes as he knows that the main character has to be the hook for the audience as the key messaging in the movie revolves around Moe and it has to be delivered to the viewers effectively so that they can learn from this project. Brandon Leland plays Coach Skip who is a friend and philosopher guide to Moe. Leland makes the character of Skip very charming and lovable in the eyes of the audience by balancing between being soft and firm with his students in the creative piece. Brandon Leland understands the nuances of his character to predominantly highlight the characteristics of Skip that are needed to elevate the script. My Name Is Moe talks about the importance of self-acceptance and self-love. The short film also tells us that love, patience, time, and emotional support become crucial to help children like Moe to fight every situation and emerge victorious. The cinematic piece warns its audience against being judgmental about anything as it can be detrimental to everyone around them. The drama also educates the public regarding the do's and don'ts 'of parenting when taking care of teenagers. Parents should always encourage and inspire their children to bring out the best in them. Kabir McNeely also discusses how negative emotions like fear, anxiety, and failure can affect the mental makeup of people and lead to even bigger problems like depression. To conclude I would appreciate the understanding and subtle treatment of various sensitive issues by the young and talented director Kabir McNeely and effectively communicating the same to the audience is commendable. Buy UKFR Banner Space About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

A Mind Full film review by UK film critic William Hemingway. Starring Daniel Boyd, Reis Daniel, Susan Harrison directed by Steve Whiteley. HOME | FILMS | REVIEWS A Mind Full Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Dec 27, 2023 Directed by: Steve Whiteley Written by: Steve Whiteley Starring: Daniel Boyd, Reis Daniel, Susan Harrison We all know what it’s like. The modern world is a tough place to exist, let alone live your best life, and it can be hard to feel as though you’re making good progress or taking arms against the slings and arrows of outrageous fortune with a smile on your face, especially when everyone on social media seems to be doing it so much better than you. Zander (Boyd), however, might be someone who you’d think would be better than most at facing the constant pressures of daily life, being as he is a mindfulness and wellness coach who is coming to the end of his training course and is about to be certified. Unfortunately for Zander though, this may not actually be the case. We are introduced to Zander as he is on his way to his final session and find, that like the rest of us, he has to deal with difficult conversations with family members as well as the finicky Kafkaesque mechanics of paying remotely for parking. He’s late for his session and obviously flustered but for the life of him he’s trying his best not to show it. It also doesn’t help that Zander’s forgotten about the fact that his final session is going to be live-streamed and he needs to be mic’d up for the duration. Once in front of the class, with Remi (Harrison) the Zen Retreat’s resident expert sitting in to take notes, Zander settles down and begins his lesson, immediately making the rookie mistake of asking if any of the students have any questions about mindfulness practice before they start proper. Cue Steve (Daniel), the lackadaisical layabout for whom meditation isn’t working and who finds the whole business of mindfulness a bit of a put on. Steve’s difficult questions and refusal to take platitudinal answers as gospel only serves to irk Zander some more and it’s taking all of his strength to keep calm and focus his energies on acceptance and inclusivity. If only he can reason his beliefs to himself and to Steve and find his own headspace, Zander is sure that he’ll soar through the rest of the lesson and everyone will realise just what an enlightened individual he is – because he really is, isn’t he? The beauty then of writer/director Steve Whiteley’s new short film, A Mind Full is that the focus is most definitely on the human aspects of the characters. Nobody is perfect, everyone is flawed and we all have moments of weakness where things get too much for us and we either want to curl up into a ball and sob or put somebody’s head through a window to make ourselves feel better. For all of his posturing we are encouraged to remember that Zander is just learning too, much like the rest of us as we navigate our way through life, with a lot of the comedy and insight of the short film tied up in the fact that any of us could easily identify with either Zander or Steve, or even both. The direction is handled confidently by Whiteley, making sure to give each character, as well as the rest of the class, the time and space they need to be themselves as each of them either retires into their own self or starts to come out of their shell as the session goes on. Cinematographer Adrian Marciante does an interesting job of blurring the edges of some frames to show where the focus currently lies while also managing to fill the shots with plenty of colour and light. There is some good music which helps set the scene and keep the audience engaged, and the acting from everyone involved is always convincing and natural. Daniel Boyd does an excellent job of expressing Zander’s inner turmoil through small gestures and facial expressions, managing through no small feat to keep him as a sympathetic, identifiable figure, while Reis Daniel is perfect as the incorrigible fly in the ointment who nevertheless has some good points to make. All in all it’s the wit, heart and humanity that shines through in A Mind Full with its ability to encompass the whole of the human spirit, no matter how down and dirty it gets despite its high and mighty ideals. We can all find ourselves somewhere in this joyous little film and even if we can’t get on board with the spiritual namby-pambyness of it all, everyone will at least get the message that it’s best to enjoy the time that we have to the best of our ability. Namaste. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Nr. 10 film review by UK film critic Brandon Thomas. Starring Tom Dewispelaere directed by Alex van Warmerdam. HOME | FILMS | REVIEWS Nr. 10 Film Review average rating is 4 out of 5 Critic: Brandon Thomas | Posted on: Dec 9, 2022 Directed by: Alex van Warmerdam Written by: Alex van Warmerdam Starring: Tom Dewispelaere We all wonder why we are the way we are. As teens, we blame our parents. In early adulthood we blame society. Then as we reach middle age, we blame our parents again. It’s a vicious cycle that most of us never grow out of nor get a satisfactory answer to. In Nr. 10 , filmmaker Alex van Warmerdam (Borgman ) suggests the ultimate nature vs. nurture question set against the absurdity of local theater. What’s the question you might ask? Well, that would be giving away far too much. Gunter (Tom Dewispelaere) is a member of a local Dutch acting troupe. On the surface, Gunter has what looks to be a good life. He’s a respected member of the troupe, he has a close – albeit complicated – relationship with his daughter, and he’s in a passionate relationship with a woman who just so happens to be the theater director’s wife. Things quickly begin to change for Gunter when a stranger approaches him and whispers a single word into his ear. Nr. 10 is a difficult movie to discuss because getting too far into the weeds would potentially ruin any and all surprises the movie has. The surprises within the movie don’t necessarily make or break it, but they do constitute such a seismic shift that spoiling them might make future viewers feel cheated. I do feel comfortable saying that Nr. 10 comes across as almost two separate movies. The first half is a deeply funny portrait of local theater and its idiosyncratic nature. The shallowness and vanity of actors are on full display as Gunter and a colleague squabble over the meaning of their characters and whether they would stick up for themselves when challenged. The antics of the theater and its culture never become the full focus – just a jumping-off point for Gunter and the other fabulous set of characters. As the focus on the theater begins to wear off, the strangeness of what’s going on around Gunter begins to take hold. Well-dressed older men watch Gunter’s home and his day-to-day activities and report back to several high-ranking Catholic clergymen. Part of me didn’t want the eventual explanation of what was happening. The peculiarity of these scenes was just askew enough of reality to feel right at home in a David Lynch movie. The eventual narrative shift toward the end of the film is a bit awkwardly handled but still leads to a satisfying back-half. The absurdity of the stage and its inhabitants is traded for an almost equally mind-boggling reveal of Gunter’s early life. The inclusion of a completely different genre shouldn’t work, but Warmerdam’s commitment to keeping the tone in check allows the film to barrel forward and not lose the audience in its wake. Dewispelaere does a terrific job anchoring the film with his central performance. As Gunter’s early confidence withers away, Dewispelaere dances back and forth between helplessness and bewilderment at what is unfolding before him. It’s a performance that could’ve gone too big, and Dewispelaere wisely keeps things subdued even as the story gets wilder and more unbelievable. Nr. 10 stumbles in trying to fasten together two separate narratives, yet the emphasis on dark comedy and character keeps the premise feeling fresh and fun the entire time. Buy UKFR Banner Space About the Film Critic Brandon Thomas Digital / DVD Release < All Reviews Next Film Review >

Little Brother film review by UK film critic William Curzon. Starring Frankie Wilson, Théodore Sylvain, Catie Ridewood directed by Jack Sambrook. HOME | FILMS | REVIEWS Little Brother Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jan 29, 2026 Directed by: Jack Sambrook Written by: Jack Sambrook Starring: Frankie Wilson, Théodore Sylvain, Catie Ridewood Little Brother follows Mark (Frankie Wilson), a loving husband to his wife, Sarah (Catie Ridewood), as they struggle to conceive a child. Alongside their own struggles, Mark is reunited with his brother Lee (Théodore Sylvain), who has just been released from prison and is trying to reconnect with Mark and find intent in his life. The piece is a raw depiction of brotherhood with stunning direction from writer/director Jack Sambrook. While the viewer is provided with a slight context for why Lee was in prison, the chemistry between Frankie Wilson and Théodore Sylvain is incredibly magnetic, allowing the audience to connect with their estranged relationship. Both central performances are undoubtedly well nuanced, and the dramatic beats completely land thanks to their screen presence, accompanied by an evocative musical score by Simon Pitt. The musical score not only elevates the material, but it also never feels intrusive or overbearing in the dialogue-heavy sequences, making the experience more visceral. Rowan Bahçeli Holford’s cinematography is captivating, as most of the runtime is condensed to Mark and Lee in a car; the use of close-ups is mostly effective, capturing their complex relationship and Mark’s attempt to see beyond Lee’s flaws. The use of visual storytelling is another astounding formal decision that pays off beautifully within its haunting and emotionally striking conclusion. Despite its tight runtime and a lack of exposition, Jack Sambrook’s screenplay does an incredible job of establishing the central three characters and their struggles to a suitable degree. The dialogue is captivating and never loses sight of its themes, balancing the comedic and dramatic beats astoundingly. The film flows remarkably well, never overstaying its welcome and conveying its message and thematic elements eloquently in its limited duration. However, the scene transitions feel episodic as they cut jarringly to black for a brief moment before cutting to the next scene. An extended runtime could’ve potentially enhanced the characterisation of Mark and Lee more profoundly; however, the lack of expository dialogue is refreshing and a unique way to tell this story. The performances across the board are phenomenal, particularly Catie Ridewood’s portrayal of Sarah, as she conveys the inner turmoil and emotional support for Mark as they both struggle to conceive a child. One of the only minor gripes with the piece is its lack of staying power after the credits; despite its meditative conclusion, there is rarely anything to latch onto outside of the performances and central theme of forgiveness. That being said, the filmmakers accomplished a rare feat of maintaining an engaging narrative that uses subtle formal decisions to enrapture the viewer and suitably conclude without feeling rushed or anticlimactic. While the filmmakers could’ve implemented more context to Mark and Lee’s relationship before his prison sentence, both performances from Frankie Wilson and Théodore Sylvain elevate the material, allowing the audience to sympathise with their misunderstanding of one another's differences. Little Brother is a masterful depiction of two brothers learning to grapple with forgiveness and self-purpose. Despite flaws in the episodic nature of the editing, the piece is anchored by three incredible performances from Frankie Wilson, Théodore Sylvain and Catie Ridewood, and is a powerful piece of work that concludes wonderfully. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Indlala film review by UK film critic Jason Knight. Starring Jessie Nkosi, Llengiwe Nkosi, Thabile Khumalo, Yakima Waner directed by Yakima Waner. HOME | FILMS | REVIEWS Indlala Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jun 21, 2022 Directed by: Yakima Waner Written by: N/A Starring: Jessie Nkosi, Llengiwe Nkosi, Thabile Khumalo, Yakima Waner An account on the efforts of an organisation to provide help to people in South Africa during the COVID-19 pandemic. This intriguing short documentary was filmed primarily using mobile phones and includes archive footage. Basically, the film shows how a group of samaritans worked very hard to assist people in Plastic City and Brakpan Town, when the pandemic arrived and the lockdown followed. A great deal of the film involves Waner filming with her phone, usually looking into the camera and explaining the situation, what she and her colleagues are up to and what they plan to do next. Her footage contains a lot of South African people, particularly children being assisted. There is also news footage about the pandemic and the consequences of the lockdown, which is causing hunger. The documentary effectively reveals how individuals came together in order to help others in need. Watching this is emotional and inspiring. It reveals the awful conditions that the residents of those areas have to live in, the poverty that surrounds them and it is moving observing others as they provide them with food, water and masks. Considerable emphasis is placed on the children and it is heartbreaking seeing the conditions they live in and it is hearwarming watching them receive valuable assistance and being entertained. Waner also edited the film and utilises split screen techniques to great effect and there is a lot of fast motion going on, which makes the viewing more interesting. The soundtrack contains some amusing music and beautiful chorus. Although this documentary is about underprivileged individuals in underprivileged areas receiving valuable help, there is actually more to it. 'Indlala' means 'hunger' in Zulu and the film points out that lack of food is a 'pandemic' that has been present in certain parts of the world since way before COVID-19. The film raises awareness of problems regarding famine and poverty and also shows how helpful and supportive people can be towards those who live harsh lives. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

Self+Tape film review by UK film critic Jason Knight. Starring Boo Jackson, Pippa Moss, Cheska Hill-Wood directed by James Cleave. HOME | FILMS | REVIEWS Self+Tape Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 4, 2026 Directed by: James Cleave Written by: James Cleave Starring: Boo Jackson, Pippa Moss, Cheska Hill-Wood A short comedy written and directed by James Cleave and starring Boo Jackson, Pippa Moss and Cheska Hill-Wood. Recruitment is taking place for a lead role in a major British romantic comedy and three ambitious actresses have applied and they are now home, where they need to do their audition online, via webcam. These women are Jessica (Jackson), Grace (Moss) and Isabelle (Hill-Wood) and they are determined to get the part. However, their supposedly serious efforts turn out to be childish, resulting in awkward moments. Shot in one day, on a £1,000 budget and with only one week preparation, this short is viewed through the perspective of three webcams, one for each of the candidate's computer and the narrative alternates between the three of them, with the camera being constantly stationary. Since the technical issues are the current subject, this would be an opportunity to acknowledge the work of Christopher Dean, for the creative use of editing, particularly the split screen techniques. And praise also goes to the creativity during the closing credits. So the three actresses begin their audition and, although they apprently had little time to prepare, their performances come across as far from professional and it does not help that they are auditioning from their home, as they get distracted and seem too relaxed, too at ease. The result is three auditions that might be more suitable for a slapstick comedy than a romantic comedy. The biggest strength of this film is the performances of the three leads. Jackson, Moss and Hill-Wood are quite entertaining in portraying actresses who are pursuing a role and a screenplay that they do not entirely comprehend and they end up delivering auditions that are, well...unsuitable, filled with their complaints and frustations and there are interruptions too. This humorous story involves the world of acting and auditions and generally filmmaking. It is about aspirations, self-reflection and self-esteem and utilises clumsiness and naivety as a means of entertainment. The film also appears to be questioning whether attempting to achieve something from the convenience of one's own home is as effective as being out there instead. A short story about three actresses behaving childishly. Ten minutes of fun. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Pivot film review by UK film critic Patrick Foley. Starring - directed by Ana Gusson. HOME | FILMS | REVIEWS Pivot Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Aug 28, 2023 Directed by: Ana Gusson Written by: Robyn Campbell Starring: - Familiar themes of growth, independence and finding yourself are beautifully realised in animated short Pivot, a film that dines at the table Pixar made with its story of a mother-daughter relationship and how a schism in each’s expectations impacts on their lives. Ashley is a tomboyish 12-year-old growing up and exploring her passion for basketball. When her mother presents her with a gaudy dress for her to wear, it triggers an identity crisis in the youngster with her anxieties taking on a monstrous form that threaten to swallow her whole. Ashley is forced to confront truths about herself and her relationship with her mother – and communicate who she wants to be. Pivot has many of the hallmarks of a classic pre-feature short. Using stylish, crisp and original animation to explore family dynamics – particularly parental relationships – is hardly untread territory. Pivot does an effective job with this assignment, creating touching emotional (if predictable) beats. Where it stands out from the pack is its genuinely scary and disturbing second act. In a sequence that would not look out of place in a cartoon adaption of Stranger Things, Ashley is chased by a nightmarish beastly manifestation that acts as a symbolic representation of her fears and doubts about herself. It’s a chance for the animators to really let loose and introduce an unexpected edge to the film. Whilst managing to just stay on the side of being friendly to youngers viewers, it is a great example of daring in a genre that sometimes plays things a little too safe. The filmmakers deserve credit – as does director Ana Gusson for bringing writer Robyn Campbell’s authentic vision to life. The vibrant animation is indeed at the heart of the film’s impressive storytelling, with subtle uses of lilacs and purples to represent the mother’s vision, a darker palette for Ashley’s nightmarish journey, followed by a notable prominence for Ashley’s chosen green when conciliation is attained between the pair. The filmmakers do a great job of experimenting with unconventional styles and nailing Ashley’s emotional state down, such as representing her anxieties with unnerving, glaring eyeballs. Pivot’s influences are clear to see and outside of its bold nightmare sequence, it does follow a predictable lead that short films such as Bao or Out have realised in similar situations. However it is still charming and uplifting, offering a positive message without compromising the vision of its writer and director. Buy UKFR Banner Space About the Film Critic Patrick Foley Short Film, Digital / DVD Release, Animation < All Reviews Next Film Review >

Borrelia Borealis film review by UK film critic Joe Beck. Starring Kathryne Isabelle Easton, Anthony Goes directed by Kathryne Isabelle Easton. HOME | FILMS | REVIEWS Borrelia Borealis Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Sep 18, 2022 Directed by: Kathryne Isabelle Easton Written by: Kathryne Isabelle Easton Starring: Kathryne Isabelle Easton, Anthony Goes We all have our own experiences of the pandemic. Our own memories. Our own traumas. No matter your whereabouts in the world, no matter your financial situation, and no matter the level of your health, everyone endured a level of hardship over those painful two years. Some are still going through that to this day. ‘Borrelia Borealis’ is just one of a number of films made during the pandemic and set during that traumatic time, making use of fruitful story opportunities and limited filming capacity. Most of these films are, in the nicest possible way, simply not that good. They suffer from abject writing and a lack of distinction between each other to the point where they all blend into one after seeing just a few. ‘Borrelia Borealis’ subverts these standards, and goes far beyond your standard ‘pandemic film’, all without ever doing anything particularly special. If the pandemic was hard on people with no health conditions, one can only imagine how much more difficult it must have been for those with conditions such as Lyme disease. That’s the disease which gives the film the first half of its name - ‘borrelia’ is the primary bacteria that causes the disease, usually by a tick bite - as the film makes sure to point out. It’s also the disease that the film's central character Beth (Kathryne Isabelle Easton) suffers from, and has suffered from since the age of 10, though that is barely scratching the surface of her trauma. Beth is initially far too overbearing, and hyper for us to form any meaningful connection to - she first comes across as rude and intoxicating. However, as we see her bond with Eddie (Anthony Goes) - a suave, sweater-wearing fisherman’ over a series of video calls, and we discover more about her distressing past, we begin to empathise with her. Helmed by a powerful performance by Easton, we see Beth transition from an Amy Schumer character to an Anna Kendrick character, from overly loud and obnoxious, to overly loud but charming. Easton also wrote and directed the film, to varying degrees of success. The writing doesn’t quite hold itself to the same standards as her performance - she ironically gives herself more work to do in the acting department due to some clunky dialogue - and at a certain stage it begins to feel like trauma-baiting, going way overboard in exploring the depths of hardships one person can through. On the flip side, it is Easton’s flashy direction which gives the film the second half of its name - ‘Borealis’ is usually associated with the Northern Lights, and their dreamy-like quality takes shape in some of the more psychedelic montages in this tale of unexpected love. 
Perhaps it’s merely because of the other turgid films in this already tired genre that ‘Borrelia Borealis’ strikes a chord. It is by no means a perfect film, it may not even be a very good one, but it still manages to pry at that little patch on the heart - the part which swoons at melodramatic romance, the part which doesn’t listen to the brain’s weary complaints, the part which we can’t understand. And in a way that figures with everyone’s own perspective of the pandemic - we won’t ever understand some of the things we did during that time, and that might just be for the best. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >