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Eric LaRue film review by UK film critic Hope Madden. Starring Judy Greer, Alexander Skarsgård, Paul Sparks directed by Michael Shannon. HOME | FILMS | REVIEWS Eric LaRue Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 2, 2025 Directed by: Michael Shannon Written by: Brett Neveu Starring: Judy Greer, Alexander Skarsgård, Paul Sparks The film Eric LaRue pairs two of modern cinema’s most talented and least appreciated actors: Judy Greer and Michael Shannon. Intriguingly, Shannon doesn’t appear onscreen. Instead, he makes his feature directorial debut with this emotionally raw drama about a mother’s spiral after her son murders three of his classmates. As we meet Janice (Greer), she’s struggling just to make it through a grocery store when she runs into Pastor Steve (Paul Sparks, pitch perfect). The dynamic these two actors and their director develop in this crucial scene sets the tone for a movie unafraid to get messy and stay there. Pastor Steve wants to help. He sincerely does. He doesn’t want to think about what happened, doesn’t want to blame anybody for anything, doesn’t want to rehash the ugliness of the incident. He wants to help this woman clean her wounds and end the infection, but definitely does not want her ripping off any scabs to get there. Likewise, across town at the more evangelical Redeemer church, Janice’s husband Ron (Alexander Skarsgård) is being wooed into an even cleaner and more complete erasure of his pain by giving his burden to Jesus. Janice is just not sure any of this helps. And even if it does, it’s not the help she wants. Shannon directs a script by Brett Neveu, the screen adaptation of his own stage play. It’s a tough story, and one that’s been covered by some outstanding indie films: Fran Kranz’s 2021 chamber piece Mass , and Lynne Ramsay’s 2011 masterpiece We Need to Talk About Kevin ranking among the best. Eric LaRue leans closer to Mass in that it examines the influence of religion on the grief, shame, and anger left after such a crime. But Shannon mines his material for a different outcome. A single moment of surreal absurdism (in a booth at Cracklin’ Jane’s restaurant) underscores the film’s cynicism concerning the good-faith efforts of religion to end suffering. Skarsgård breaks your heart as an awkward, broken man trying desperately to move past his pain. A supporting cast including Tracy Letts, Lawrence Grimm, Kate Arrington, Nation Sage Henrikson, and especially Annie Parisse, delivers precise and authentic turns. But it’s Greer whose powerful performance—full of anger, shame, regret, longing, disappointment and most of all weariness—plays across her face in ways that seem achingly real. Not everything works, but every performance is remarkable and there is bravery and power behind the message that life and death are messy things. About the Film Critic Hope Madden Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

The Ego Death of Queen Cecilia film review by UK film critic Jason Knight. Starring Jo Schaeffer, Sam Stinson, Akasha Villalobos, Holt Boggs directed by Chris Beier. HOME | FILMS | REVIEWS The Ego Death of Queen Cecilia Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 2, 2025 Directed by: Chris Beier Written by: Chris Beier, Daniel Wolfman Starring: Jo Schaeffer, Sam Stinson, Akasha Villalobos, Holt Boggs A feature-length crime thriller written by Chris Beier and Daniel Wolfman, directed by Chris Beier and starring Jo Schaeffer, Sam Stinton, Akasha Banks Villalobos and Holt Boggs. Cecilia (Schaeffer) is a former YouTube celebrity living in Texas. With her online career having gone downhill, in order to make ends meet, she now works as a delivery driver and is determined to revive her career. Having been in contact with an organisation that specialises in getting people's businesses back on track, she needs to raise a large sum of money in order to pay for the company's fee. To do that, she decides to blackmail Brad (Stinson), a former classmate who is now a drug dealer. However, things do not go in her favor. This film has an intriguing plot, interesting characters, suspense, desperation and nail-biting moments. The concept is a troubled individual attempting to make their life better and ending up in a heap of trouble, entering a world of criminals, blackmail, drugs and murder. Black-and-white flashbacks provide information regarding her past glory days and her acquaintance with Brad and the atmospheric and suspenseful music by Beier and Ryan Montavlo adds to the experience. The story comes to a slow start and it is not until the blackmail begins that things really start to pick up. This does not mean that everything prior to that is no good, as Cecilia's character and circumstances are well-explored during the first third of the film. Another element that some viewers might find negative, or perhaps puzzling, is the appearance of ants. There are several shots throughout the feature where ants are present. Ostensibly, the presence of ants symbolizes something, probalby regarding the story or Cecilia. This is just speculation, however, if the ants do represent certain things, then what could they be? It is not clear. As the main protagonist, Cecilia is more of an anti-heroine, a self-centred, quick-tempered, fame-hungry, dishonest and even criminal individual, who (among other things) tends to steal the parcels that are to be delivered. She is basically a loner who is willing to do pretty much anything in order to get what she wants and she is played brilliantly by Schaeffer. Stinson's character is a ruthless drug dealer, who is overshadowed by Matthew, played quite menacingly by Boggs. Villalobos plays the part of Abbey, Cecilia's estranged sister and perhaps the only main character who is an honest person. This is a story that involves blackmail, cybercrime and drug trafficking. Additionally, it also explores the world of online celebrities and people's desire to be famous. A crime thriller that keeps the viewer in suspense, taking them on a dark journey filled with danger. Overall, this feature offers an interesting story that is also thought-provoking. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Hell of a Summer film review by UK film critic Hope Madden. Starring Fred Hechinger, Finn Wolfhard, Billy Bryk directed by Billy Bryk, Finn Wolfhard. HOME | FILMS | REVIEWS Hell of a Summer Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Apr 1, 2025 Directed by: Billy Bryk, Finn Wolfhard Written by: Billy Bryk, Finn Wolfhard Starring: Fred Hechinger, Finn Wolfhard, Billy Bryk Finn Wolfhard and Billy Bryk are not the first to send up the summer camp slasher. They may not even be the first this year. But that fact doesn’t make Hell of a Summer any less delightful. The co-directors and co-writers are also co-stars, playing two best friends returning to their beloved Camp Pinewood for the first time as counselors rather than campers. Bryk’s Bobby is a wannabe Romeo hoping to score. Wolfhard’s Chris is a little more enlightened. “Single use plastics are the real killer.” Among the charms the writers bring to the film is the ironically unironic Gen Z humor, which can’t help but set the film apart from similarly themed comedies. The pair also invest in character. Yes, the circle of counselors looks like every other set of doomed slasher victims: horny teens making bad decisions. And while no actor is asked to shade in a lot of various grays, each character has enough screen time that their jokes feel character driven and earned. Abby Quinn shines as the grungier kid in the bunch, but it’s Fred Hechinger—who had one hell of a 2024, with roles in Thelma , The Nickel Boys , and Gladiator II — who steals this movie. The same sweet natured haplessness that fueled his turn as devoted grandson in Thelma lends power to the trope-skewering at the center of this film. Hell of a Summer ’s subversions are never heavy handed. They’re almost delicate, with quietly observed authenticity that echoes the film’s—and generation’s—underlying, if often comedic, empathy. The plot itself could have used a few more solid surprises. Hell of a Summer does not set out to reinvent the wheel, and even commits to one of the genre’s most tiresome new stereotypes. (The social media influencer has replaced the rich, popular blonde as horror’s shorthand for victim most deserving a comeuppance.) Still, it’s fun while it lasts. And Fred Hechinger is a treasure. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

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All is Fine in '89 film review by UK film critic Chris Buick. Starring Dylan Hawco, Shelby Handley, Dani Romero, Adam Lupis, Tom Keat directed by Matthew Lupis. HOME | FILMS | REVIEWS All is Fine in '89 Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Mar 27, 2025 Directed by: Matthew Lupis Written by: Matthew Lupis Starring: Dylan Hawco, Shelby Handley, Dani Romero, Adam Lupis, Tom Keat With the 80s now somewhat back in vogue, there has been an influx of offerings that have looked to capitalise on the recent rebirth of love for the decade. But All is Fine in '89 transcends mere trend chasing; it’s a film that uses that period to tell enduringly relevant stories. The year is 1989. The Berlin Wall is coming down, and the world enters a period of post-Cold War optimism for the first time in decades. In one typical American high school, a group of seniors eagerly await their last-ever field party before graduation, full of hope and excitement for their futures. But for some, the night holds twists and turns that will drastically shape the rest of their lives. Writer/director Matthew Lupis and their team’s dedication to period authenticity here is impeccable. From the hairstyles and the clothing to the soundtrack and the era’s sometimes colourful but distinctive language, every detail feels as authentic and thought out as one would hope. All this meticulous attention to detail goes miles towards creating a loving and bona fide representation of that point in time, and equally creates a fitting homage to classics of the era, such as The Breakfast Club and Fast Times at Ridgemont High while also cementing itself as a future classic in its own right. Aside from that, over its near hundred-minute runtime, All is Fine in '89 manages to run the gamut on what are still incredibly pertinent topics such masculinity, sexuality, domestic abuse, sexual violence, hope and despair in equal measure, proving that the film is not just here to entertain, but to say something. But for it all to truly land, like those aforementioned classics did before it, you need a cast to get behind and ultimately believe in, and All is Fine in '89 has an ensemble teeming with great acting talent, who all together breathe new life into the character staples we’ve come to know and love from the genre. Hawco’s charismatic Dean Marino leads the bad boy rebels, only ever interested in girls and a good time, turning up to class every once in a while just to ogle over the young, hot teacher and ignored wife, Mrs. Applewood (Handley). Keat’s Cole Sullivan fills the role of the bullying jock, his constant torment of Adam’s Lupis’ Mark as well his own inner anguish are central to the films tense boiling point, all of whom are accompanied by a host of supporting characters that make this world seem as full and real as it possibly could be. However, it’s Dani Romero’s devastatingly nuanced performance as Linda that deserves top prize, effortlessly carrying what is perhaps the biggest and most demanding storyline of the film with sensitivity and emotion that hits hard. With its highly respectable investment in its period setting and patient approach in establishing characters and the complex dynamics between them, All is Fine in '89 undoubtedly delivers and entertains with all the hallmarks of a classic that keeps you guessing right until the end and completely invested in each character's destiny. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

Whispers of Redemption film review by UK film critic James Learoyd. Starring Ansu Njai, Jenny Rowe directed by Ranw Aso-Rashid. HOME | FILMS | REVIEWS Whispers of Redemption Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 7, 2025 Directed by: Ranw Aso-Rashid Written by: Ranw Aso-Rashid Starring: Ansu Njai, Jenny Rowe Ranw Aso-Rashid's Whispers of Redemption is a sharply crafted little film with a lovely sentiment. Eric (Ansu Njai) is a young man who’s just lost his mother. With her ashes, he goes to the sea to find solace and meets Grace (Jenny Rowe) and her dog. She too has lost someone in her life, so she shares some important advice about how to keep living. There are many short films about loss, but audiences will appreciate the fact that – by the story’s end – this is far more a piece about moving on than it is about being stuck inside the pain; and the vast ocean before them serves as a lovely visual metaphor for the flowing, uncontrollable feelings our protagonist must come to accept. What we as the audience witness is simply a ten-minute, extended conversation about how we deal with mourning. It’s a deeply heartfelt piece of writing, yet it’s the filmmaking that really elevates the content... The cinematography is incredibly strong, as is the sound design. For the more technically minded viewer, the first thing you notice is how well-lit and professionally colour-graded these shots appear. All the colours complement the seascape wonderfully, with slight greens in the highlights providing a real cinematic look. The soft lens-work and impeccable composition then go a long way to draw the eye to the actors’ faces, which then too is nicely balanced in terms of light distribution. This is all high-end work, demonstrating an awareness of industry-standard aesthetics. What heightens the craft even further is the audio of the sea, birds, and even on-location sound. It’s crisp, but not too crisp. There’s an authentic, on-location feel about the sound which adds to the sense of realism and layering. When it comes to the performances, there are some interesting contrasts taking place. For instance – and it may not at all be the fault of the actors – but our two performers seem to be operating on slightly respective wavelengths. Both are, without a doubt, likeable and engaging screen-presences; however, while Njai opts for a toned-down, naturalistic mode of performance, Rowe is far more expressive and theatrical. Each performance works really well in isolation, but they don’t always gel together. I want to clarify that these are two obviously talented screen-actors who can convey genuine emotion confidently. What Whispers of Redemption offers is a peaceful, reflective viewing experience which allows one to take in the space and consider the messages being conveyed. While you could argue that the script is pretty explicit when it comes to its themes and morals – far more explicit than most screenwriters might allow – the dialogue is successful in conveying complicated emotions relating to mourning and changing in such a short space of time. In this way, the interaction is reminiscent of a short story more so than a work of film; yet the location, soundscape and colour really help to build a real sense of immersion. You’re there with the characters, observing what they’re observing, placing the emotion in a physical, textural context. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Go Fund Me film review by UK film critic Patrick Foley. Starring Itumeleng Moruakgo, Kesi Nwogwugwu, Kay Abel directed by BEZ. HOME | FILMS | REVIEWS Go Fund Me Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 28, 2025 Directed by: BEZ Written by: BEZ Starring: Itumeleng Moruakgo, Kesi Nwogwugwu, Kay Abel Go Fund Me is as grass-roots as they come, an ambitious project from filmmaker B-E-Z which has more misses than hits, but still manages to engage, entertain, and outperform a lower budget. It is a testament to filmmaking passion and creativity even when there are rough edges all over the place. The story follows Kaspa (Itumeleng Moruakgo), a gang member who has big dreams of breaking away from the streets to start a clothing empire. He confesses to his friend F1 (Kesi Nwogwugwu) that he is getting close to his dream, and with one last job for local kingpin Roman (Kay Abel) he should have enough to start chasing it. But Roman is not willing to let the pair leave so easily, and concocts a plan to indebt them for life… It should be said up front that Go Fund Me is a seriously flawed film. It’s filled with editing mishaps, errors in the sound design, repetitive and empty dialogue, plot holes and a bizarre, convenient and underwhelming resolution. Some of these such as the issues with sound levels are forgivable given the production levels of the film (if not any less distracting), but others are the result of an underbaked script that is formed from a solid base but loses itself when the conflict between Kaspa and Roman amps up. Yet despite flaws, there are still admirable qualities that the film demonstrates. Kaspa’s story and dream forms a solid connection with the viewer. B-E-Z spends enough time validating his protagonist’s personality and life story to make audiences want to back him, and scenes in which we see Kaspa facing pushback from investors create a sympathetic bond – especially when he refuses to give up. The film has some genuinely funny moments as well, particularly between Kaspa and F1 when they realise the danger they have gotten themselves into, and from the eccentricity of gang boss Roman. There is empathy at the heart of Itumeleng Moruakgo’s performance as Kaspa – who convinces as a reluctant gang member who wants to lead a straight life. Kay Abel also taps in to an unhinged nature to bring Roman to life – easily the biggest personality in the film and a character that demands eyeballs when he is on screen. Almost all of the cast have their slips however and there are a few too many times when the emotional drive isn’t really present, even in scenes of great tension or danger such as a conversation before a planned murder or a pivotal sequence in a restaurant where the fate of the cast is decided. The homemade quality of Go Fund Me is both a strength and a weakness. The film’s flaws are particularly evident and significantly detract from the overall result, damaging audience immersion and undermining the emotional drivers of the story. However it is important to note that the emotion is still there – which is more than can be said of many a film with greater resources. The filmmakers deserve credit for working with what they have to produce a 30-minute story that connects in enough ways to leave an impression. The suggested sequel (given the film’s conclusion) will hopefully receive a little more refinement, as it is clear that the ability to tell a story and build characters is present in those who brought Kaspa’s story to life. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Retreat film review by UK film critic Chris Olson. Starring Denise Wilton, Harry Walters, Izzy Kidd directed by Christopher Newberry. HOME | FILMS | REVIEWS Retreat Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Mar 26, 2025 Directed by: Christopher Newberry Written by: Christopher Newberry Starring: Denise Wilton, Harry Walters, Izzy Kidd Filmmaker Christopher Newberry’s psychologically twisted UK horror Retreat sends some weird vibrations into the ether with profoundly chilling results. Mother Jane (Denise Wilton) and her son Jamie (Harry Walters) journey to a “mindset retreat” in the hopes of finding a happier and more positive life following a family death four years earlier. Once at the retreat, Jamie meets Sophia (Izzy Kidd), the much vexed daughter of the host and the pair share an exasperated outlook on the world that’s completely at odds with the aims of everyone else in their company. Whilst escaping from an unhappy home life may have seemed idyllic, Jane’s wayward behaviour and promiscuity embarrass Jamie no end and reveal a darkness in their past, which may just come to a head in their weekend getaway. With a sinister atmosphere and emotional grounding through the central mother-son relationship, Retreat plays out on familiar territory for horror movie fans who will relish the suspenseful and macabre proceedings. The creepy daytime cult feel is reminiscent of Midsommar and yet Newberry’s piece sparks a different type of excitement in the viewer by being more focused on what baggage the guests are bringing with them than what antics the hosts have in store. The sound design is proficiently disturbing, with some fantastic acoustic and pop-rock music punctuating the film, amplifying the tension and also counteracting the seemingly dark and sometimes depressing tone of the story. Viewers are also given montage sequences and, in the latter stages of the film, some surreal imagery to keep things spicy throughout. Denise Wilton displays an impressive variety in her performance as Jane, a character plagued by familial drama but reckless in her antics, which Wilton seems to be having a ball carrying out. Harry Walters is solid as the moody teenager Jamie, bringing a believable indifference to the outlandish behaviour of his mother, the retreat’s guests, and the bizarre host. Izzy Kidd is cool and confident as Sophia, rocking a baddass attitude for most of the scenes she’s in with laudable skill. By exploring themes of positive thinking, generational trauma, and the fallout of grief, all within a “weekend away” structure, Retreat is able to inject a palpable momentum into the story which could otherwise have been spilled out over weeks and months. The fact that we, as an audience, are coming with them on this particular trip is purposeful; we are constantly looking for signs and clues to unpick the clearly odd history of this mother and son. Newberry brilliantly gets us into a state of panic where no amount of neuro linguistic programming or yoga can help. “Always be aiming… ”. Watch my Video Film Review of Retreat on TikTok . About the Film Critic Chris Olson Indie Feature Film < All Reviews Next Film Review >

Shudderbugs film review by UK film critic Rachel Willis. Starring Johanna Putnam directed by Johanna P utnam. HOME | FILMS | REVIEWS Shudderbugs Film Review average rating is 3 out of 5 Critic: Rachel Willis | Posted on: Mar 26, 2025 Directed by: Johanna P utnam Written by: Johanna Putnam Starring: Johanna Putnam The ability to dream of things that happened or will happen is part of the family mythology that permeates writer/director (and star), Johanna Putnam’s film, Shudderbugs . As we learn from Sam (Putnam), shudderbugs was what her mother, Eliza, called the eerie premonitions and feelings that allowed her to know when something was going to happen. After Eliza’s death, Sam begins having these same feelings as she explores what happened to her mom. Grief, and the whys that surround death, are the main focus of Putnam’s quiet, contemplative film. We learn through a slow unfolding that Eliza’s death was unexpected. A visit with Sam for her birthday was big on Eliza’s mind, as we see reminders throughout the house of the expected visit. The first inkling that something isn’t quite right occurs when Sam can’t find her mother’s dog. Then, the neighbor acts very strangely. The results from her mother’s autopsy require further tests. Sam’s suspicions grow as she uncovers new pieces of information while spending several days in her mother’s rural house. The setting of Putnam’s film, upstate New York, speaks to tranquility. The gorgeous surroundings make it hard to feel that something is amiss, but there are moments that unnerve: sounds from inside the creaky old house, dolls set up in cribs and highchairs around the garage attic, and the neighbor who is wonderfully “off.” It’s hard not to be sucked in to the mystery, especially as Sam starts to experience her own shudderbugs. The film starts off very strong, but it never quite pulls off the sense of dread that’s expected with such unusual circumstance. Sam carries the vast majority of the film. Unfortunately, Putnam’s talents are far better behind the camera. Her acting is fine, but not the caliber needed for such a quiet character study. However, for all the weaknesses, the film’s strengths are far more engaging. The writing is exceptional, and the unsettling questions that surround an unexpected death lend themselves well to the film. While there are some moments that stumble, the overall experience is worth the time. About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Inappropriate film review by UK film critic James Learoyd. Starring Tim Plester, Francesco Piacentini-Smith, Gill Tichborne directed by Jonathan Blagrove. HOME | FILMS | REVIEWS Inappropriate Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 26, 2025 Directed by: Jonathan Blagrove Written by: Owen Nicholls Starring: Tim Plester, Francesco Piacentini-Smith, Gill Tichborne Inappropriate is a simple but sturdy work. From director Jonathan Blagrove, it depicts a conversation between two characters, as shorts of this kind often do. The central conceit is original and fascinating: as the ‘appropriate adult’, Oscar (Tim Plester), tries to converse with a young offender, Jordan (Francesco Piacentini-Smith), we come to understand the kindred sense of dissatisfaction and alienation shared by the two personages. This is a strong base-theme which, through realistic writing, is allowed to explore engaging ideas relating to trust – or a violation of trust – and abandonment. Formally confident and technically sound, this is a truly great piece of drama. There’s a great deal of discussion to be had when it comes to the film’s visual construction. The cinematography is rather wonderful for the most part, with one of its best aspects being camera positioning. I’m talking beyond standard direction and blocking – both of which are strong already – and referring more to how the camera interacts with the physical space to really immerse the viewer. A shot early on sees the camera being raised upwards from some monitors, racking focus to the background, and capturing Oscar entering the building. There’s a satisfying flow to a shot arrangement such as this which shows off a nice bit of production-value. It does not, however, feel forced; the movement is motivated by the character, and – outside of technical curio – is relatively unnoticeable. There are many instances of shots like this in the movie, demonstrating admirable ambition as well as the achievement of multiple technical parts working in tandem, seemingly effortlessly. Part of the crisp, professional sensibility achieved through the aesthetic is a result of the fantastic lighting. While there’s an informed approach to balance and diffusion, there’s also a natural use of darkness incorporated in the frame. This provides us with a thoroughly dynamic image. The lighting style, in turn, complements the colour grade; although the colouring itself could be considered a missed opportunity for an even richer look. The technique behind the grade – meaning the professional finish and visual consistency – is flawlessly done and looks better than most high-end TV dramas. However, you wonder whether the filmmakers could have thought of something more unusual than the classic, British cold-and-dim look. While this certainly represents the emotion conveyed in the scenarios depicted, there’s potential for a more filmy, textural look which feels just out of reach. This is a criticism of a creative decision – therefore something which is purely subjective, and not a criticism of technical know-how. Audiences will enjoy the complexity of these two characters. There’s narrative layering at play, revealing different traits of their personas; their vulnerabilities and pressure points. They’re both flawed, yet there’s a tenderness to Oscar’s pain, and there’s an empathetic mischief to Jordan’s, even if this is really a defence mechanism. Other strengths left unmentioned include the audio which is perfect in that clean sort of way; the overall design which is location and character-appropriate; and the specific execution of the performances – both actors skilfully express so much through their defensive demeanours, their desperation. Inappropriate is a definite recommendation from this critic. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Better the Neville You Know film review by UK film critic James Learoyd. Starring Craig Conway, Connor Lawson, Beth Ellis, Jill Dellow directed by Paul Stainthorpe. HOME | FILMS | REVIEWS Better the Neville You Know Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Oct 23, 2024 Directed by: Paul Stainthorpe Written by: Kris Taylor, Paul Stainthorpe Starring: Craig Conway, Connor Lawson, Beth Ellis, Jill Dellow Better the Neville You Know is the latest short from director Paul Stainthorpe, and tells a riveting tale of revenge and deceit. It's a ferociously dark thriller filled with an unsettling atmosphere and topped off with a disturbing twist (I was reminded a lot of Saw ). We follow an old man who leaves his home to fulfil a mysterious deed, which the audience is not yet let in on. His position, at first, appears to be that of a victim. But as the narrative cleverly unfolds, we discover something much more shocking. Keen viewers will inevitably enjoy how the movie doesn't immediately give you all the answers; its main themes, for instance, don't truly reveal themselves until the halfway point. This encourages a far more participatory, thought-provoking level of audience engagement, and is a clear sign of a strong story. This is a really high-end piece of independent filmmaking, and absolutely deserving of your attention. Starting with the visuals, it opts for what you could describe as an 'ultra-realistic' look. Meaning to say, its images are vivid and stark whilst also possessing a natural sensibility. One notices immediately how dim and desaturated the film is - and whilst extreme shadows are incredibly expressive and in no way 'natural', the overall aesthetic goes towards immersing us in its morbid world. Some unique techniques are being used to facilitate this: such as occasionally implementing high shutter-speeds so as to create a sharp, jittery, subjective feeling... It gives the action a sense of substantial threat. The particular style of lighting - with the intention of creating a nicely contrasty, lit image with minimal colour - is also fabulously inventive. From the opening shot, we as the audience can identify a clear tone and voice. What's also immediately noticeable are the strong performances. The actors manage to skilfully ground a lot of the longer sections of dialogue in a truly organic sense of emotion. And our protagonist goes through an arc which, uniquely, is as much to do with his journey as it is to do with the spectator's awareness of the journey, and yet we're fully engaged with his persona throughout. It's an incredibly sharp piece from beginning to end. Not just due to its story and cinematography, but also because of the clarity and professionalism of the on-location sound, and audio design. A mention should also definitely go to the makeup department who play a big role in the piece's authenticity and plot progressions. While the director has brought the film an innate watchability, a lot of the film's success can be attributed to the screenplay in and of itself. Its concept and execution are pretty exemplary in terms of smaller scale thriller pictures. One of the few complaints a viewer might have is, depending on the kind of audience, its extreme violence and arguably overblown ending. However, one can view this film's structure as a ticking bomb that eventually detonates in splashes of blood and an overwhelming excess of fury. Additionally, one could argue that there is a misplaced use of music in the film. However, by the end - once its twists have been revealed - its relevance feels more apt, but still not entirely. Overall, it's a fantastic short film, and I would suggest this movie to anyone who enjoys those extremes within cinema, and to anyone willing to take a risk on some darker, more visceral subject-matter. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Close of Play film review by UK film critic Jason Knight. Starring Corey Wade, John Lee Taggart, Viv Wiggins directed by George Nelson. HOME | FILMS | REVIEWS Close of Play Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 26, 2025 Directed by: George Nelson Written by: George Nelson Starring: Corey Wade, John Lee Taggart, Viv Wiggins A short drama written and directed by George Nelson and starring Corey Wade, John Lee Taggart, Viv Wiggins. Poor Kyle (Wade) is not doing well. Having been the victim of bullying during his school years, now, as a young man, he is suffering from the after-effects of his ordeals that include depression and not being able to stand up for himself. The financial company he works for is in the process of hiring for certain positions and Kyle is shocked to discover that his boss, Liz (Wiggins) has assigned him to interview Josh (Taggart), a youngster who used to bully Kyle when they were at school. How will Kyle handle this? This dramatic and tense short places the viewer in the shoes of an individual who has been severely damaged by long-term bullying. The screenplay effectively explores the unfortunate emotional state he is in, how he feels, how he struggles daily due to the memories of his torments, which are revealed through black-and-white flashbacks. Zach North-Moore contributes to the atmosphere with the dramatic music and things get quite suspenseful and tense when Kyle interviews Josh and their conversation eventually turns into something other than a job interview. The main subject of this film are the long-lasting effects of bullying and Wade is very convincing in portraying a person who is dealing with those effects: not standing up against two muggers, not reporting them to the police, clenching his fists when he gets angry, attending therapy sessions (as indicated by a calendar) and being in a bad mental state in general. Taggart's character is Kyle's former tormentor, who now appears to be a changed person, polite and respectful. As mentioned, bullying is the principal theme in this story, which pays particular attention to the traumatic effects it has on victims a long time after their experiences, leaving them traumatised and with low self-esteem. Holding a grudge also plays a big part. This film is about bullying. About mental suffering and revenge. It is a hard-hitting commentary about psychological wounds. It can also be viewed as a drama and a thriller that centres on an unexpected and ultimately fateful encounter. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >