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The Stork film review by UK film critic Patrick Foley. Starring Tom Rosenthal, Siobhan Finneran, Paul Chahidi directed by Stephen Gallacher. HOME | FILMS | REVIEWS The Stork Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Mar 25, 2025 Directed by: Stephen Gallacher Written by: Ronan McCabe Starring: Tom Rosenthal, Siobhan Finneran, Paul Chahidi Situations don’t come much stickier than the story of The Stork . This short from director Stephen Gallacher and writer Ronan McCabe is not for the queasy or faint of heart, but packs in genuine laughs and raises some intriguing questions about how parents engage with their LGBT children. Courier Clive (Tom Rosenthal) has a VERY special package to deliver. Working for an online semen delivery company (and no that is not a euphemism), he is tasked with carrying a specimen for a lesbian couple trying for a baby. But when parents Ian (Paul Chahidi) and Gwenda (Siobhan Finneran) answer, a mishap leaves their parcel in a, well, mess. The three have to come up with a new plan before the couple find out, and Clive is tasked with delivering in a very different manner… The initial impression that The Stork will leave on audiences will no doubt revolve around its unflinchingly frank portrayals of insemination – including some rather graphic scenes of genetic material that many filmmakers would shy away from. But underneath this is a film that has a poignant message about how parents relate to their LGBT children – and how even in clumsiness they can show acts of love. Gwenda and Ian may not really understand the dynamics of their child’s relationship, but they are determined to do what they can so their child can experience the same happiness in parenthood that they did. As unconventional as their methods are, Ronan McCabe makes sure to establish this as his characters’ motivation from the off, and it ensures a sweetness in the film. The film does however suffer from a lack of the couple’s presence. For a film that revolves around an LGBT issue, it is strange that those individuals do not feature at any point. The ultimate driver of the plot is the aim of hiding the accident from the couple, and without their presence, this never really feels properly established or resolved. Add in some missed opportunities for humour, and it is a strange omission for the story’s themes and narrative. Siobhan Finneran is the highlight of the short as Gwenda – a well-intentioned wrecking ball of a mother determined to do right by her daughter. Her delivery of a line about a photo of Ian’s mother might be my favourite of the year. Her deference to the younger Clive about what is and isn’t politically correct is another great source of laughs, whilst also establishing her as someone self-aware enough about her lack of understanding when it comes to her daughter’s life. Paul Chahidi and Tom Rosenthal hold their own as well – and each of the three characters stands out as distinct and filled with personality. It is these performances that make The Stork and entertaining and enjoyable mishap comedy. Despite its thematic and narrative flaws that are mainly the result of omitting the couple at the centre of the farce, there are plenty of laughs for those who don’t mind a bit of grossness. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, LGBTQ+ < All Reviews Next Film Review >

Time Rewind film review by UK film critic Jason Knight. Starring Tim Cullingworth-Hudson, Anna Fraser, Oliver Mason, Jon Untersander, Steve Lewington directed by Lincoln Fenner. HOME | FILMS | REVIEWS Time Rewind Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 16, 2025 Directed by: Lincoln Fenner Written by: Lincoln Fenner Starring: Tim Cullingworth-Hudson, Anna Fraser, Oliver Mason, Jon Untersander, Steve Lewington A feature-length time-travelling mystery drama written and directed by Lincoln Fenner and starring Tim Cullingworth-Hudson, Anna Fraser, Oliver Mason, Jon Untersander and Steve Lewington. As the title suggests, this is a story that involves travelling through time and in this case, the plot constantly alternates between present-day Hampstead, London to 1989's Hampstead. After waking up on a bench at a churchyard, Sean (Cullingworth-Hudson) cannot remember how he got there. With partial amnesia and with the objects on his person including a notebook about time-travelling, a key, a necklace and a cassette, he sets out to find out what happened. Soon, he is apprehended by the police who are suspecting him of murdering his teenaged daughter, Jessica (Fraser), who has gone missing. It becomes evident this bizarre series of events is related to time-travelling back to 1989, when Sean was a teenager (Untersander). When concentrating on the positive aspects of this feature, the music by Alejandro Villanueva Medina stands out enormously. The score sounds enchanting and light-hearted and creates feelings of magic and beauty and kind of tells the viewer that they are experiencing a story full of wonders. Another great element is the creative editing by Fenner, that includes well-constructed montages thanks to fast-cutting, dissolve and wipe techniques. The plot itself is also a plus, as time-travelling is an intriguing concept and there is much more to the screenplay than the ability to move through time due to the themes that it explores, which will be analysed later. The script also does well when it comes to character development and telling a story with plot twists, drama and mystery. Where does this film go wrong? That might be during the third act that seems to drag a bit, feeling overlong. And also, regarding the montage sequences, as mentioned they are very well-made, nevetheless, they too feel overlong and appear to delay the story from moving forward. Cullingworth-Hudson is sympathetic as a concerned parent who is desperate to locate his adoptive daughter, with whom he has a somewhat unstable relationship. Fraser is quite likeable as an everyday youngster who falls for Brett (Harrison Watson), a youth who used to torment Sean when he was young. Speaking of Watson, he puts on a decent performance as a tough bully and so does Tom Plenderleith as Sean's childhood friend and time-travelling enthusiast, Rupert. Special acknowledgement goes to Lewington as Grimsby, the no-nonsense detective who interrogates Sean. Regarding Untersander, unfortunately, he does not deliver a convincing performance as the young version of Sean, who is quite a different character in comparison to grown-up Sean. The idea of travelling through time is a major theme here and, as mentioned, there are more subjects. Famly, parenting, friendship and romance themes are heavily present, as the film spends a great deal of time exploring the relationships between Sean and Jessica, the romantic relationship between Jessica and Brett, the friendship between young Sean and Rupert and the troubled situation between young Sean and Brett . Additionally, self-esteem, support, bullying, redemption and finding happiness play a part in developing this story. This is not just another feature about time-travelling. More than about that hypothetical activity and a thriller, it is a story that acknowledges the idea that people need other people and they must cherish each other. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

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The Tuvalet Bash film review by UK film critic William Hemingway. Starring Kshitiz Sharma directed by Kshitiz Sharma. HOME | FILMS | REVIEWS The Tuvalet Bash Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Mar 23, 2025 Directed by: Kshitiz Sharma Written by: Kshitiz Sharma Starring: Kshitiz Sharma After receiving zero birthday wishes across his social media platforms, a young man ruminates on what he calls this ‘shitty life’. Kshitiz (Sharma) is finding growing up in the real world to be far more disappointing than he ever envisaged. Every day seems like every other and there doesn’t seem to be anything special about any of them. Even today, his birthday, is going along like any other day, and he still has to overcome the constant battles which make up his daily life. Nobody seems interested in wishing him a happy birthday, even across the platforms which are supposed to prompt your friends to do exactly that, and Kshitiz is feeling especially dumped upon by the daily grind of the outside world. As he wakes up on this special day, Kshitiz is rudely disturbed from slumber by his roommate’s ridiculously loud alarm. Having to get out of bed to switch it off himself, as his roommate really doesn’t seem to care, he then waxes lyrical about just how ‘shitty’ this life is for him. In what then appears to be a pretty on-the-nose thematic visual, Kshitiz spends most of the rest of the nine-minute film in the cubicle of a public toilet, complete with all the disgusting accoutrements which you would expect from such a space. Kshitiz then spends his time, sitting on the pan, checking his social media, and despairing over the emptiness of recognition in his life. This is shown to us somewhat haphazardly in quick cuts and fast edits of random things which don’t necessarily link together. It seems as though these are supposed to be snapshots of what Kshitiz’s regular life might entail, but narratively everything is so messed up and banged together all over the shop that none of it really makes much sense. Images of Kshitiz supposedly with some of his pals are intermingled with wider shots of campus grounds and social environments where people gather, while over the top he continues his monologue from the crapper about how ‘shitty’ his life is. Overall, The Tuvalet Bash is a narrative mess, with images coming at you thick and fast which don’t really give anything to the main story. There’s a sense of arthouse direction going on, where that narrative is hijacked by the imagery, and the sound design plays a bigger role in establishing the narrative than anything in the dialogue or characterisation manages to do. There’s a certain energy and immediacy to the film which pushes it through its nine-minute runtime, but underneath that there’s really nothing else going on. Whatever it is that Kshitiz is trying to say about life, it gets lost in amongst the frantic visuals and the chopped-up ideas, meaning that the viewer comes out the other side wondering what on earth it was all supposed to be about. About the Film Critic William Hemingway Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

Gnome Heist film review by UK film critic Chris Buick. Starring Alice Dieli, Rosario Nicosia, Sandro Dieli directed by Alice Dieli. HOME | FILMS | REVIEWS Gnome Heist Film Review average rating is 4 out of 5 Critic: Chris Buick | Posted on: Mar 23, 2025 Directed by: Alice Dieli Written by: Alice Dieli Starring: Alice Dieli, Rosario Nicosia, Sandro Dieli Considering it was made in about a week-and-a-half to meet a competition deadline, Gnome Heist truly makes you wonder what writer, director and also star Alice Dieli, not to mention their clearly very adept crew, could do with even just double that production time. And by achieving everything it does in a runtime that barely squeaks past the four-minute mark, Gnome Heist proves the age-old adage of quality over quantity. Right away we catch up with Mia (Dieli), who clearly has had a day of it already, long leather coat dripping wet from apparent run-ins with fountains and pigeons as she strides through the blazing sunshine to finish a favour for her unique ex-boyfriend (Nicosia). Hating herself every minute along the way for agreeing to it all in the first place, Mia’s favour sees her carting a bursting suitcase all the way across town to meet him for the drop-off. The contents? Gnomes, of course. But these aren’t just any ordinary gnomes, and upon final delivery, Mia soon realises that the gnomes hold a somewhat valuable secret. Having already successfully shown off their skills within the horror genre with their previous impressive short What’s Your Poison? , Dieli proves they are just as capable with the lighter stuff here as well. Gnome Heist , bounced along by slick editing and a soundtrack of amped guitar injects a very silly premise with a lot of fun, swagger and style, and Dieli’s performance in front of the camera is just as strong as behind it, Mia striking an interesting character full of quirks and snappy quips but who is also clearly a bit of a mess, a character that could easily entertain us for much longer. Of course, at only four minutes the film does leave you yearning for a bit more, and especially at this kind of enthusiastic pace it’s all over in quite a flash, and we don’t get to explore certain characters maybe as much as we'd like, or indeed the joy of seeing Mia’s preceding debacles wrestling with pigeons and falling in fountains. But everything we need to know is conveyed quickly and effectively in what is a contained but nonetheless complete story, and actually, it says a lot more about Dieli’s ability for entertaining storytelling that even after the credits start rolling, we want to keep hanging out in this world for just a little while longer. Gnome Heist is punchy, it’s silly and it’s just plain fun, while also being sharply written and beautifully shot to boot. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

Parasocial film review by UK film critic James Learoyd. Starring Joseph Jeavons, Sam Teague, Jordan Mook directed by Joseph Jeavons. HOME | FILMS | REVIEWS Parasocial Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 22, 2025 Directed by: Joseph Jeavons Written by: Joseph Jeavons, Owen Swift, Bala Brown Starring: Joseph Jeavons, Sam Teague, Jordan Mook Parasocial is the second film by director Joseph Jeavons I’m discussing – the first being Wrists Tied – and I would argue that this is the superior of the two. As enjoyable and bonkers as Wrists Tied was, there’s a cleanness; a comic succinctness present in this one which is just outstanding. Parasocial is – and I kid you not – a laugh-a-minute comedy. This is an unashamedly dense movie, joke-wise, but it’s also not just the humour which makes this a great, low-budget short. Jeavons demonstrates a constant sense of play and chaos which really makes the whole cast feel endearing. This also lies in its structural ability to have each scene be a stimulus, or space for new jokes – as opposed to a scene meant to simply explain the plot. The film follows the character of Ricky (played by Jeavons): an innocent, easily manipulated young man who just wants to find a best friend in his roommate Dylan (Sam Teague). Dylan is a criminal investing in “illegal meats” (horse meat), stringing Ricky along for the money and the apartment. Eventually, Dylan involves Ricky in his escapades, leading to an amusing cop double-act getting involved, and an eventual shootout. Both central performances are big and fantastic and really make the movie. These performers understand comic timing; even if the jokes are simple and infantile, it still works because the viewer can clearly see how much fun they’re having. These films feature an extensive cast of performers, which is rather impressive for a no-budget work made by young people at the beginnings of their careers as filmmakers. Already they demonstrate such a willingness to collaborate with others, using film as it should be used in the early stages, a fun space in which to bounce ideas back and forth and come up with something wholly unique. Continuing with the theme of collaboration, I should also mention that Parasocial was written by three individuals: Joseph Jeavons, Owen Swift and Bala Brown. Some might argue that too many cooks spoil the broth, but quite frankly, I would say that doesn’t apply to comedy – particularly not in this instance. In the same way that Edgar Wright requires a little sprinkle of Simon Pegg to make his sensibility truly engaging, this script operates in a way that just gels together. You can tell that these jokes have been tested, for they land nicely, and with practice. For instance, one bit which is consistently funny involves Ricky turning to the camera – Malcolm in the Middle style – and saying something like “I wish Dylan was my best friend”. Dylan, of course, then hears what he says and reacts accordingly, as if Ricky’s gone mad. It’s a simple bit, and one concedes it’s been done before, but it’s great because of the rhythm, the editing, the sincerity of performance. Parasocial has a clear premise and a tight structure. Despite once again taking from the Bottle Rocket handbook of criminality = comedy, and to also endear us to the characters, this film in fact demonstrates that Jeavons has a unique vision and an artistic clarity. I’m excited to see more from these filmmakers. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Higher Knowledge film review by UK film critic Patrick Foley. Starring Jose Antonio Otero, Devin Hite, Jaden Besteda directed by Elijah Bigler. HOME | FILMS | REVIEWS Higher Knowledge Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Mar 21, 2025 Directed by: Elijah Bigler Written by: Elijah Bigler Starring: Jose Antonio Otero, Devin Hite, Jaden Besteda Writer and director Elijah Bigler cites John Carpenter’s films as the central influence behind Higher Knowledge , and it is clear to see how the legendary horror auteur’s legacy has left its mark. This college-set sci-fi short punches above a student budget to deliver a film that is fun, atmospheric and eye-grabbing. Graduate students Ray (Jaden Besteda), Howard (Devin Hite) and Eric (Jose Antonio Otero) spend much of their time pondering research, but a run-in with their professor Jonathan Dante (Jon Schaffer) opens their eyes to scientific potential that they never even dreamed of. When it turns out a creature has taken possession of the man they look up to and left a strange equation on his chalkboard, it is up to the trio to figure out the power it hides – and to decide if it belongs in this world. Passion and inspiration are always evident in a film, and Higher Power has both in spades. Bigler and co. were clearly having a blast in this short’s production, injecting loving references to John Carpenter’s work and experimenting with how far they can push their budget into the sci-fi/horror sphere. The eccentric performance of Jon Schaffer is something of a summation of this work – just teetering on the edge of over-the-top but staying grounded enough to balance out the otherworldliness. That is until a gloriously gory sequence of disembowelment that will stun audiences out of any malaise. There is a retro ambiance to the film that sits nicely with the story, another clear influence of Carpenter’s work. Warm, wide shots in the college halls act as a calm before the storm, before the lecture hall begins to close in on the trio as the gravity of their discovery becomes clear. It is in these sequences that the characters are really fleshed out and the film builds substance as well as style. Bigler’s eye for a shot keeps momentum during these sequences as the sci-fi story beats are baked further into the narrative. There are a couple of moments where viewer immersion gets broken such as a distracting red visual effect that flashes on the screen when a knife is used, but these are few and far between. Jaden Besteda, Devin Hite and Jose Antonio Otero feel right at home as the three leads, with Otero in particular standing out with a strong performance as the inquisitive but cautious Eric. Each performance feels distinct and deliberate, approaching the equation from different angles in order to keep audiences on their toes. Higher Knowledge is a really entertaining short – a snippet of a larger story in reality but one that leaves audiences longing for more. Elijah Bigler’s sense for atmosphere is its biggest asset, and having characters that stand out is not far behind. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Hidden Wounds film review by UK film critic Jason Knight. Starring Dominic Thompson directed by Toby Kearton. HOME | FILMS | REVIEWS Hidden Wounds Film Review average rating is 5 out of 5 Critic: Jason Knight | Posted on: Mar 20, 2025 Directed by: Toby Kearton Written by: Toby Kearton Starring: Dominic Thompson A short drama written and directed by Toby Kearton and starring Dominic Thompson. A war veteran (Thompson) is in his home. However, in many ways, he is still in the battlefield and all around him there is chaos. And this is not because there is actual warfare is taking place in his current location. It is because even though he is far away from where combat occurred, the memories are tormenting him and the sounds of everyday products are causing him to remember trumatic events involving his time in the war zone. Over the course of one minute, this short places the viewer in the tormented mind of a young man who is suffering from Post Traumatic Stress Disorder. The general concept is an ex-serviceman man sitting inside one of the rooms of his home and being dramatically affected by the noises of simple items, as they remind him of his experiences when he was fighting. Through creative sound techniques by Connor Ashmore, methodical editing, Kearton's detailed directing and Thompson's performance, this film develops an atmosphere filled with dread, agony and fear. To give a few examples, a fan is on and the sound of a military helicopter is heard, indicating that the noise reminds the veteran of an event involving an aircraft. Then, popcorn popping reminds him of gunfire. The crying of his baby through the baby monitor reminds him of screams of agony. All these are accompanied by his troubled face, with close-ups of his eyes filling with tears and his hands clutching together. A man is now away from actual combat, however, psychological combat is still with him and a way that it emerges is by sounds that resemble his experiences in combat. And the presence of a young boy (probably the man's son) cheerfully playing a video game suggests that people around him are oblivious to what he is going through. To state that this short is a film might be misleading. It would probably be more accurate to categorise it as a message that raises awareness of the PTSD that war veterans are living with and encourages the public to support them. And it succeeds in doing all that very significantly. This short would have such a dramatic impact without Thompson's strong performance. Constant close-ups of his face and body language reveal that he is suffering tremendously although he is now home with his loved ones. He is trapped by the horrors that he went through, living in a world of psychological torment that is not being acknowledged by those around him. Arguably, the main subject here is mental health involving war veterans, the PTSD and trauma that they experience after they have left the battlefields and how it affects them through the sounds of everyday objects. This dramatic piece of work encourages support for people who have fought. It definitely catches the viewer's attention due to the tense atmosphere and the awareness and support that it motivates. This is an achievement that should be shown on television and the internet and become known to as many people as possible. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Assessment film review by UK film critic Hope Madden. Starring Elizabeth Olsen, Alicia Vikander, Himesh Patel directed by Fleur Fortune. HOME | FILMS | REVIEWS The Assessment Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2025 Directed by: Fleur Fortune Written by: Nell Garfath Cox, Dave Thomas, John Donnelly Starring: Elizabeth Olsen, Alicia Vikander, Himesh Patel Director Fleur Fortune’s feature debut delivers an effective gut punch of a sleight of hand. What feels for quite a while like a near-spoof on our collective unpreparedness for parenting morphs slowly into something entirely else. Something more sinister, more human, and alarmingly likely. In a post-dystopian future where scientists have created an ageless but sterile dome world, it’s necessary to apply and be assessed for parenthood. Because, since no one dies anymore, and it was the strain on resources that caused the dystopia in the first place, children are not grown outside the uterus for just anybody. But Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) are ready, they’re sure of it. They just have to convince their assessor, Virginia (Alicia Vikander). Fortune’s career up to now has involved a lot of music videos and perfume advertisements, work that’s sharpened her instincts for image. The shot making in The Assessment is often stunning, but it also informs the story. There are no voiceovers or news flashes to catch you up on the dystopia, who caused what, why we are where we are. But you don’t lose track of it because of how organically Fortune fits this story in this environment with these characters. Everything serves a purpose—each costume, dinner guest, glance and line of dialog—but none of it feels forced or false. The delicate balance created in the early going, a balance the assessor destroys with manipulated childlike chaos, is thanks to meticulous direction and performances. The three leads shine, none of them blameless and yet all forgivable. Because the chaos wrought in the film becomes more and more dire as the honest-to-god strain of this kind of world slowly, authentically reveals itself. The Assessment ’s resolution unfortunately feels less sincere, landing far more obviously than the preceding scenes. There’s a predetermined tidiness that flies in the face of the disarming chaos that came before. It’s a small criticism of an insightful, frightening look at where our future may take us. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Alto Knights film review by UK film critic Hope Madden. Starring Robert De Niro, Debra Messing directed by Barry Levinson. HOME | FILMS | REVIEWS The Alto Knights Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2025 Directed by: Barry Levinson Written by: Nicholas Pileggi Starring: Robert De Niro, Debra Messing What Barry Levinson, working from a script by Goodfellas and Casino writer Nicholas Pileggi, has done is made a historical recap of a true American gangster tale enlivened by the gimmick of two De Niros. Because, obviously, one sure way to draw attention to your gangster picture is to cast Robert De Niro. Casting him twice? Ba da bing! De Niro plays the aging version of two childhood buddies, Vito Genovese and Frank Costello. Vito’s a loose canon psychopath. Frank’s a smooth operator, a diplomat. And though it was really Vito who was in charge of the five boroughs, it was Frank who brought things together in peace and prosperity while his friend was in exile waiting out a double murder rap. But now Vito’s back and he wants all he believes he has coming to him, and he lacks the patience to wait on Frank’s charity. De Niro’s Frank also narrates the story from a place of retired peace, which keeps him on the screen even more (not a bad choice) but leeches any real tension from the adventure. But a shoot-em-up thriller is not what Levinson’s after. His goal is to showcase the machinations and counter moves of two very different criminal minds. De Niro’s Frank Costello performance is understated, almost affable and he shares a lived-in chemistry with onscreen partner Debra Messing as wife, Bobbie. His Vito is a fun riff on Joe Pesci—less explosive, but stewing with the same idiosyncrasies, insecurities and wise cracks. The surrounding ensemble (including two actors doing Columbus, Ohio proud—Todd Covert and Brian Spangler) impresses, carving out memorable characters, often with limited and highly populated screen time. It’s a capably made, solid movie but there’s not much to distinguish it from a lot of other gangster pictures except that you get two times the star power from the actor who continues to prove he’s America’s greatest onscreen gangster. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Bloody Axe Wound film review by UK film critic Hope Madden. Starring Sari Arambulo, Billy Burke, Molly Brown directed by Matthew John Lawrence. HOME | FILMS | REVIEWS Bloody Axe Wound Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 20, 2025 Directed by: Matthew John Lawrence Written by: Matthew John Lawrence Starring: Sari Arambulo, Billy Burke, Molly Brown New to Shudder this week is Matthew John Lawrence’s (Peckerhead) charming dismantling of the slasher genre and insightful look at the impact of adolescence on the generations. Bloody Axe Wound stars a spunky Sari Arambulo as Abbie Bladecut. Her family video store lives and dies on the movies they package and rent, slashers starring her dad, the infamous serial killer Roger Bladecut (Billy Burke under heavy prosthetics), slashing his way through their hometown’s high school students and campers alike. But ol’ Roger’s getting old. Well, technically he died as a boy at that campground, but for decades he’s been a grown man haunting Lover’s Lane and other tropey spots, coming back from the dead whenever the adventure takes that turn. But lately, well, he doesn’t seem to be healing as quickly. He’s lost a step or two. Perfect! Because Abbie’s ready to step in. Dad reluctantly, tentatively agrees, sending her to the town high school to make minced meat of the chosen clique. But Abbie soon realizes that these kids are not so bad. The film delivers some honest moments, however comedically staged, about watching your child outgrow you, lose their need for you, see what used to be honored tradition as old fashioned nonsense in need of change. Bloody Axe Wound is sharpest when Lawrence and his game ensemble use the coming-of-age storyline to make points about horror movies, and slashers in particular. Burke and Arambulo share a delightfully begrudging chemistry, and their scenes at home and at the video store are populated with genre-loving easter eggs that suit the meta undertaking. Likewise, the cast of high school misfits—Molly Brown, Margot Anderson-Song, Taylor Watson Seupel and Eddie Leavy—create a warm friend group you can see wanting to hang out with. The kills (and near kills) are often clever and the characterizations are funny. The film’s mythology gets mushy and the story comes to a close with more of a nod to horror tropes than an acknowledgment of the internal conflicts and genuine emotion the story built, but it’s still fun. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Snow White film review by UK film critic George Wolf. Starring Rachel Zegler, Gal Gadot directed by Marc Webb. HOME | FILMS | REVIEWS Snow White Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Mar 20, 2025 Directed by: Marc Webb Written by: Erin Cressida Wilson Starring: Rachel Zegler, Gal Gadot Death, taxes…Disney live action remakes? We may not be there quite yet, but the train keeps rolling with Snow White, an update that’s consistently appealing enough to rise above an unsteady opening and one unfortunate choice. Much of that winning appeal comes from a terrific Rachel Zegler, who commands the title role with confidence and zest. Pairing Zegler with a well-cast Gal Gadot as the Evil Queen, the film dives into their royal power struggle and finds a nice sweet spot between honoring a classic and nudging it toward new sensibilities. That new attitude starts right from the “Once Upon a Time” prologue, where we get a new inspiration for the name Show White, and a quick look inside a wholesome upbringing that focused on the common good. Her stepmother’s attitude toward power is especially timely, and the Magic Mirror (in great voice thanks to Patrick Page) is quick to point out that beauty can be more than what’s seen in a simple reflection. Once Snow White is grown, with her royal father out of sight and her wicked stepmother on the throne, Director Marc Webb (500 Days of Summer, The Amazing Spider-Man 1 and 2 ) and screenwriter Erin Cressida Wilson (Secretary, Chloe, The Girl on the Train ) give us a princess who is still in peril, but is not content to wait around for a handsome prince to save her and her kingdom. In fact, there’s no handsome prince in sight. Oh, sure, she’s attracted to the rouge-ish peasant Jonathan (Andrew Burnap), but this Snow White’s not about to stay home with the dwarfs while he does all the heroic adventuring. We’ll get to those dwarfs in a minute. Songwriters Benj Pasek and Justin Paul provide original tunes, and while the style they brought to The Greatest Showman, Spirited , and Dear Evan Hansen will be instantly familiar, the songs here showcase the talent, bolster the narrative, and add a little new Disney magic. Zegler soars on “Waiting on a Wish,” and Gadot – in her best turn since Wonder Woman – seems positively giddy to vamp it up on “All Is Fair,” the Evil Queen’s defiant ode to evildoing. Burnap and Zegler both have fun with “Princess Problems,” a tongue-in-cheek framing of privilege and stereotypes, but their audience of dwarfs only calls more attention the film’s nagging question. This is a live action remake, correct? So why are the dwarfs not played by live actors? The CGI results seem to point to an attempt at making them look as much like the original cartoon characters as possible, which is curious at best. Much of the film is committed to a new vision, how did this tired one get through? The CGI animals I get – they’re cute – but man these dwarfs become such an albatross it’s even more impressive that Snow White manages to charm despite them, and the few too many opening minutes spent on exposition. But it does, and Disney’s live action scorecard earns one in the ‘plus’ column. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >