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Blood Star film review by UK film critic Chris Buick. Starring Britni Camacho, John Schwab, Sydney Brumfield, Travis Lincoln Cox directed by Lawrence Jacomelli. HOME | FILMS | REVIEWS Blood Star Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Mar 11, 2025 Directed by: Lawrence Jacomelli Written by: Hayden Bownds, Lawrence Jacomelli, George Kelly Starring: Britni Camacho, John Schwab, Sydney Brumfield, Travis Lincoln Cox In British filmmaker Lawrence Jacomelli’s debut Blood Star , after a strong cold open to set us up nicely, we meet Bobbi (Camacho), currently putting mile after mile behind her cruising along the New Mexico black-top, driving her way back home to her abusive boyfriend, despite her sister’s desperate pleas over the phone to see sense. But Bobbi is undeterred and carries on, stopping briefly only to fill up the car where she encounters, for the first but certainly not the last time, Sherriff Bilstein (Schwab). And that first gas station encounter is when Jacomelli begins to tighten the vice on his audience, as slowly but surely Bobbi’s initial run in with the law escalates into a full-on fight for survival as the sheriff proceeds to relentlessly pursue and terrorize poor Bobbi across the state. In its first hour, Blood Star is this incredibly tense, dramatic, engaging and damn entertaining cat-and-mouse thriller that hardly puts a foot wrong. Exploring a number of themes such as violent misogyny and abuse of authoritative power, Blood Star blends a lot of good ideas with interesting characters and great visuals. Special kudos to cinematographer Pascal Combes-Knoke, the desert setting vistas in particular utilized to the fullest in capturing Bobbi’s complete isolation and helplessness as Bilstein’s maniacal and sadistic power trip refuses to let up. Strong leads are key here as well, and while Bobbi isn’t exactly the most likeable protagonist, not having your typical clean-cut victim in the driver’s seat as it were, adds a different layer to the film that gives Bobbi more authenticity, and Camacho does a stellar job in showing great depth not just in Bobbi’s moments of vulnerability but also of defiant strength and resilience. A hard-to-like heroine may be a bone of contention for some, but because Schwab’s terrifying Sheriff Bilstein is almost always the epitome of an unsettling calm, control and cold, calculated psychopath, Bobbi can afford to be imperfect and still has us very much rooting for her against Schwab’s perfectly measured and highly unsettling villain with a badge and a gun. However, where the film loses its way is right around that hour mark, where certain creative choices on how far to push the violence and gore undercut a lot of what the film is trying to talk about and the great, hard work that makes the previous sixty minutes so enjoyable. Sheriff Bilstein’s motivations and reasonings lack originality and the subsequent gruesome and uncomfortable scenes that follow take the film to a place it didn’t need to go and struggles to come back from, which is a real shame because the first hour shows that the film can be and is so much smarter than that. Blood Star is a very smart, very well put together film that due to certain choices starts to trip over itself up towards the end. Despite that, it still manages to make it home and provide quite the entertaining thrill ride along the way. Now watch Chris's Video Film Review on our YouTube Channel. Watch Blood Star Review About the Film Critic Chris Buick Indie Feature Film, Digital / DVD Release, Amazon Prime < All Reviews Next Film Review >

Scratched Nail film review by UK film critic William Hemingway. Starring James Learoyd directed by James Learoyd. HOME | FILMS | REVIEWS Scratched Nail Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Mar 9, 2025 Directed by: James Learoyd Written by: James Learoyd Starring: James Learoyd A man tries to deal with the mess he has created for himself in his life but only ends up making things worse. In writer/director, James Learoyd’s new short film, Scratched Nail , we follow the goings on of a lonely, paranoid man as he busies himself about the house. Something has happened not so long before we get there, but we are never party to what that is. Instead we watch the aftermath, as the man (Learoyd himself) peeks out from behind the blinds to see if anyone is onto him. As he’s fingering the metal blinds, he catches a nail on the sharp edge of one of the slats and it begins to bleed, offering us our thematic linchpin of the blood that stains, as well as the basis for the title of the movie. Learoyd’s film is told to us in black-and-white, alongside some prominent and essential sound design, but with no dialogue, which gives the seven-and-a-half minutes of Scratched Nail the definite feel of an arthouse movie. As the man goes about his business, cleaning his hands, cleaning the glass on the windows, and cleaning the floor of a lot more blood than could possibly have come from one finger, we get introduced to some imagery which supports the backstory of what might have happened before we got there. This is interspersed with some outdoor shots of local flora, but even that takes on a slightly sinister nature, especially as the black-and-white camerawork encourages us to look deep into the shadows between the leaves and the stalks of grass. Everything is up-close and in your face in Scratched Nail , with the sound of everything echoing in the foreground as the narrative takes shape. The washing machine ramps up the tension, the running tap never seems to stop, and the rustling of the paper towels being used to mop up the blood constantly rankles in your ear. All this, along with the sparse but well-placed score, serves to unnerve the viewer and put us on edge as we continue to watch and try to understand just what has happened to this person. Eventually, we get to a scene down by the beach which seems to solidify what the imagery has been suggesting to us up until now. The paranoia this man feels may well be thoroughly justifiable, but from this point on it looks as if it’s going to be something that he will never escape from. The feelings engendered by Learoyd’s camerawork, imagery, and soundscape, are palpable and the paranoia leaks out from the screen and the speakers in every frame. For what is a short film with no colour, no dialogue, and no real story, Learoyd has managed to tie everything together through his imagery and sound design. The themes are extremely clear and everything fits into place as it should to create the atmosphere desired by the filmmaker. There are shades of Persona (1966) and Eraserhead (1977) in Scratched Nail and Learoyd has shown that he understands the language of film well enough to tell his story without the need to rely on the spoken word. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Forest 779 film review by UK film critic Patrick Foley. Starring Dean Barnett, Faye Mead, Sidney Man directed by Steve Barnett. HOME | FILMS | REVIEWS Forest 779 Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 7, 2025 Directed by: Steve Barnett Written by: Steve Barnett Starring: Dean Barnett, Faye Mead, Sidney Man Past and present, wilderness and civilisation collide in Forest 779 , Steve Barnett’s sci-fi short in which a man of a different time comes into contact with a modern world that doesn’t understand him. Frustrated lab worker Vicky (Faye Mead) is walking through the woods when she comes into contact with a mysterious dishevelled man (Dean Barnett) sharpening a deer antler. Speaking in a strange tongue, the man goes from threat to friend as Vicky offers him food. She takes him back to her laboratory where its owner Dr. Wu (Sidney Man) takes particular interest in the stranger. Vicky and researcher Derek (Lee Barnett) run tests and examine strange runes that reveal some of the stranger’s background, but duelling threats begin to emerge… The small budget of Forest 779 means there is a homemade quality – for better and for worse. Steve Barnett’s ambitions are big, and to give his creation credit, it handles some of its sci-fi/fantasy elements well. The span of the forest is established well in the film’s opening overhead shots, and the laboratory that makes up much of the second half of the film is similarly well realised, convincing viewers of the struggles the Dragon Lab faces and why Dr. Wu would take such an interest in his startling new discovery. Costume design also excels with the forest dweller – his furs and leathers giving early hint to his true background. However, the film creaks under its own narrative – with too many plot points raised and underexplored within the short to keep a comprehensive track of. Without spoilers, it is clear the film will be the first of a series that will presumably develop on some of these points further. However, the exploration within these opening 30 minutes does little to engage, with some baffling developments to get from A to B, not least the revelation around a phrase the mysterious man repeats that comes from the placement of a piece of paper. There is also bizarre dissonance between humorous scenes showing the Forest Man’s inability to connect to the modern world and a sinister backing soundtrack, which really throws off the tone of the film. The performances of the cast are largely dull and uninspiring. Zero chemistry exists between Faye Mead’s Vicky and Dean Barnett’s forest-man, with hints of a romance best left on the drawing room floor. Sidney Man carries no threat whatsoever in an uninspired turn as the antagonist – his menace falling completely flat. Dean Barnett at least gives a solid turn as a savage man from another time, bringing physicality to his performance and maintaining a mysterious aura as he tries to learn how to communicate with the new world. Whilst one cannot expect total professionalism in grassroots filmmaking, there is a real lack of energy in the rest of the cast or real sense of drive in their characters. Whilst there is much to admire in the production of Forest 779 , it ultimately falls flat as an engaging story despite efforts to construct an ambitious sci-fi mystery. The forest sequences are its strongest, but failure to maintain a tone, poor performances from its cast and a hole-ridden plot spell its downfall. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Chris Olson is a movie critic and Founder of UK Film Review. Learn more about his career in film journalism and being Editor-in-Chief. Chris Olson Founder / Editor-in-Chief Having spent a lot of time watching films during my time at the University of Plymouth, I decided to become a film critic - a job that offers no pay, no luxury, and no guarantee of meeting famous people...At least it doesn't come with a uniform. You can see my Plymouth University Alumni Page here . I started writing for a London cultural magazine about events going on in the city. Soon after I was made the Editor of the film section. Eventually, the mag went bust and I decided to use my connections and start UK Film Review. The result being what you see here - a platform to help filmmakers, actors, writers and indeed film critics achieve cyber glory. My reviewing style is probably more optimistic than most, especially as I try to find the good in what everyone does...except Michael Bay. My favourite films are, in no particular order, About Time (2013), Glengarry Glen Ross (1992), Fight Club (1999), 12 Angry Men (1957), Adam Sandler's early movies ("Hey Waterboy, durrr") and anything directed by Christopher Nolan. Outside of film reviewing I also release music as a recording artist and provide UK sync music for film & TV. Follow me on Twitter and LinkedIn using the icons below and drop me a line if you are interested in becoming a film critic or having your film reviewed. Or watch some of my video film reviews below and click the button underneath to read some of my movie reviews . Read My Reviews

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The Forest film review by UK film critic Chris Buick. Starring Simone Neethling, Ruan Wessels, Roderick Jaftha, Charlie Bouguenon directed by Hendrik Cronje, Mari Molefe van Heerden. HOME | FILMS | REVIEWS The Forest Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Mar 5, 2025 Directed by: Hendrik Cronje, Mari Molefe van Heerden Written by: Reine Swart Starring: Simone Neethling, Ruan Wessels, Roderick Jaftha, Charlie Bouguenon Directors Hendrik Cronje and Mari Molefe van Heerden‘s brilliantly shot post-apocalyptic drama The Forest takes place seven years after a terrible nuclear war. In it, we meet Heinrich (Wessels), a survivor travelling alone through the seemingly deserted world he now finds himself in. Moving through the wilderness, foraging, gathering and otherwise surviving day by day, Heinrich has not seen another living soul in over four years. That is until he spots Em, (Neethling) a young woman who has been following Heinrich for a while now. Mute and extremely distrustful, Em initially keeps her distance but eventually, those barriers come down, and Em and Heinrich begin to grow closer and closer in their newfound companionship. This opening twenty minutes or so are certainly when and where the film is at its strongest, when the relationship between Em and Heinrich is allowed space to blossom and shine, resulting in a deep, touching story of human connection brought to life by two great acting turns from Wessels and Neethling, the latter in particular turning in the standout performance, fully capturing the veritable fear, distrust and desperation of Em’s situation. And the reason for this wariness becomes clear soon enough. Em, it turns out has magical abilities and is being pursued by Sam (Jaftha), the leader of a group of unstable bandits looking to recapture her and use her powers for their own means. From there the film changes shape, the soft emotion built up in the beginning is now ripped away and replaced with a looming sense of peril and drama, adding a new exciting dynamic to carry us right on through the rest of the film. Unfortunately, after enjoying the brilliant chemistry between Wessels and Neethling in the opening third, our newly introduced group of slightly exaggerated one-note characters (with the exception of Jaftha who does excel in moments, especially in the film's surprisingly emotional finale) don’t seem to meet the same marks with their otherwise fine performances. The film also lacks slightly in terms of its believability in its premise, the lush forest surroundings and pretty clean-cut characters not exactly selling the idea of a post-nuclear war annihilated landscape. But the film's writing and pacing are strong and steady enough to see everything through smoothly, not to mention managing to look great the whole time as well. While there are hints as to the particulars of the war and its goings on, Cronje, van Heerden and co. are quite right to not get too bogged down in needless backstory and exposition, instead choosing to focus not on what has happened before, but what is happening now, knowing the details as to why the world is in the mess it’s in is far less important than telling human stories still living on. An ambitious film that manages to blend elements of survival, mystery, tension, drama and even love, The Forest is a thoroughly enjoyable film that presents itself very well across the board. About the Film Critic Chris Buick Indie Feature Film < All Reviews Next Film Review >

The Rule of Jenny Pen film review by UK film critic Hope Madden. Starring Geoffrey Rush, John Lithgow directed by James Ashcroft. HOME | FILMS | REVIEWS The Rule of Jenny Pen Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Mar 5, 2025 Directed by: James Ashcroft Written by: James Ashcroft, Eli Kent, Owen Marshall Starring: Geoffrey Rush, John Lithgow In 2021, Kiwi filmmaker James Ashcroft made his feature debut with the lean and unforgiving thriller Coming Home in the Dark . While his follow up discards the taut terror of a road picture in favor of lunacy and a hand puppet, The Rule of Jenny Pen mines similar tensions. Vulnerability, institutional ignorance, helplessness, bullying—Jenny Pen comes at it from a different angle, but the damage done bears a tragic resemblance. The great Geoffrey Rush is Judge Stefan Mortensen, a self-righteous ass who finds himself institutionalized after a stroke. But as soon as he’s better, he’ll be out of there. In the meantime, he will berate and belittle staff and patients alike—even his kind roommate, Sonny (Nathaniel Lees). But Dave Creely (John Lithgow, never creepier) doesn’t think the judge is going anywhere. He doesn’t think he’s such a much, if you want to know the truth, and he looks forward to pressing every vulnerability the judge has, terrorizing him until he breaks him. Just as Dave has broken every other patient at the home—with the help of his bald little hand puppet, Jenny Pen. Back in the Sixties, hagsploitation (or psycho-biddie films) featured middle aged women with likely mental health concerns that led to various kinds of horror: What Ever Happened to Baby Jane?; Hush, Hush Sweet Charlotte; Strait-Jacket . The women’s age was what made them suspect, the films reveling in the grotesquerie of their images. Lately, though, filmmakers are realizing that the more powerful horror mines our own fears by empathizing with the aged characters, forcing us to see through their eyes. Relic, Bingo Hell, The Taking of Deborah Logan, The Demon Disorder and Bubba Ho-Tep all focus on the inevitable and terrifying vulnerabilities of aging. The Rule of Jenny Pen fits neatly into this real estate. Ashcroft’s direction situates the sadistic within the well-meaning. Hospital staff, visiting musicians, family members—all genuinely hope to make the world better for these patients. But this is a world Dave knows well, and he exploits every opportunity to wield his and Jenny’s sadistic power. Lithgow’s a maniac, making the most of his substantial physical presence among the fragile patients and delivering the most unseemly moments with relish. And Rush is his absolute equal. The veteran broadcasts pomposity with rigid authenticity that only lends power to the judge’s most helpless moments. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Code Red: Spain film review by UK film critic Jason Knight. Starring Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez, Ismael Abadal directed by Jason Figgis. HOME | FILMS | REVIEWS Code Red: Spain Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 5, 2025 Directed by: Jason Figgis Written by: Jason Figgis Starring: Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez, Ismael Abadal An action crime thriller written and directed by Jason Figgis and starring Francesca Kingdon, Peter M. Smith, Paul Sparkes, Ariel Rodriguez and Ismael Abadal. There is trouble in Spain. Crime boss Eduardo Sanchez (Arnau Redorta) has been killed after murdering a couple and their son. Now, his widow, Estelle (Kingdon) has decided to become an informant and enter a witness protection program. While she and her son, Ari (Rodriguez) await to be transferred from their home to a safe location, two Ex-Special Forces soldiers, Solomon (Smith) and Thomas (Sparkes) are assigned by their former Commanding Officer, Frank (Ian Burfield) to watch over them. Meanwhile, a ruthless and dangerous gangster named Cortes (Abadal) is determined to silence Estelle and Ari. This film has an intriguing plot: two tough, ex-military men having to stay at a large house and protect two people from potential lethal dangers. The protagonists are interesting characters and the screenplay does a decent job in exploring them and in creating suspense and drama. There are plenty of guns and the cool action sequences involve shooting and hand-to-hand combat. Regarding the soundtrack, there is suspenseful music and Spanish music and some great tracks. Commendations also go to the animation during the opening and closing credits and to the impressive aerial shots that capture the beauty of the landscapes. This feature is marketed as an action film, however, the action arrives during the third act and it arrives in buckets. Those who are hoping for an action-packed experience might be disappointed, nevertheless, the fact that this is not an action-filled story does not destroy the film, as instead of shooting and punching, the majority of the narrative focuses on character development and exploring the relationship between Estelle and Ari and the rapport they end up building with Solomon and Thomas. Regarding the performances, Kingdon is very dramatic as a woman who has gone through terrible times after being married to a criminal. However, she is strong and wants to start a new life for herself and her son, away from danger. Rodriguez is sympathetic as a frightened youth who does not feel comfortable being near the two combat experts. As for the two combat experts, they dislike each other and have a history together, yet, both are proficient in their line of work. Solomon is a no-nonsense guy, while Thomas (who is quite good with a sniper rifle) is more relaxed and easy-going. Abadal is the bad guy, a murderous fiend who will stop at nothing to get what he wants. Survival is a major theme in this story. So is mother-and-son relationships and reminiscing the past. This feature is also a commentary about isolation, self-reflection and inner strength. An enjoyable viewing with a good story, well-explored characters and great dialogue that includes film references. It may not really be an action film, instead, it is strong as a crime thriller with suspense and drama. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Changing Tune film review by UK film critic William Hemingway. Starring Olivia Dowd, Freddy Goymer, Maya Pillay, Barry Smith directed by Nick Fuller. HOME | FILMS | REVIEWS Changing Tune Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Mar 4, 2025 Directed by: Nick Fuller Written by: Nick Fuller Starring: Olivia Dowd, Freddy Goymer, Maya Pillay, Barry Smith A couple facing difficulties in their relationship hash it out at the kitchen table in order to reset the boundaries and lay bare the unfairly weighted imbalance within. Phil (Goymer) is a musician. At least that’s what he calls himself, even if he doesn’t have a recording contract or seemingly play his songs live. When we meet Phil, he has just crashed his car, shown to us by some pretty basic shaky-cam footage to suggest the impact. We later find out that the only thing Phil was interested in after the crash was his external hard drive which he had kept beside him on the front seat. This was because his hard drive had everything on it relating to his music, including videos and other media he had paid for, because he was trying to get his music out there by himself. A flashback scene then gives us the lowdown on why Phil finds himself in the situation he’s in, as we watch a cringe inducing interview that he has with a testy record company exec. This bruising interview was never going to get anywhere as the exec (Smith) has no time for Phil or his music, and in his best Alan Sugar manner, the exec says pretty much everything derogatory that he could say apart from the immortal words, ‘You’re Fired.’ To top it all off, Phil’s partner Becky (Dowd) has just been informed by the bank that he’s spent all of their money, well actually, all of her money, and she wants to know just what the hell has been going on. So, for the large part of writer/director Nick Fuller’s, Changing Tune we sit down with Phil and Becky and get into the nuts and bolts of their relationship. Then, half way through the focus shifts, and we get another point of view as Becky shares some wine with her best friend, Melanie (Pillay) and the two of them talk it out together, still at the kitchen table. This two-handed narrative gives us important information from both Phil and Becky’s perspectives and helps us dig down into the feelings that underpinned their relationship in the first place. Unfortunately though, this is as far as we go, and none of the story ever moves very far away from that kitchen table. The location is set, the lighting is placed, the camera moves to its designated positions, and the dialogue is spoken, just with a change of character half way through. The dialogue, also, just like the eerily spotless kitchen, comes across as very clinical at times, even as the characters express what are supposed to be deep seated emotions. They say the words, but there’s very little feeling behind them, as though they’re trotting out standard lines which we would expect any troubled partners to say to each other, before moving on to the next part of their conversation. This is not to say that the performances are not good, because they are, and both Freddy Goymer and Olivia Dowd do their characters justice in their presentation of the narrative. It’s just that’s there’s not a lot of depth behind the words they are saying and the surface level conversation is as far as things go. This also gets evidenced in the denouement of the story, where an ending is offered that seems to buck the trend of the direction of travel, and most of what was discussed is seemingly thrown in the bin. While Changing Tune has its moments and is a well put together short film, it never really takes off in terms of its narrative and the inner turmoil of the characters is never really explored. Writer/director, Nick Fuller has obviously also intended the piece to be a showcase for his own musical talents, as he wrote or co-wrote almost all of the songs which appear in the film. However, the music doesn’t play as big a role in the film as you might expect, and judging by what’s on offer, it’s no real surprise that Phil wasn’t getting any traction with what he was producing. For its thirteen-minute runtime, Changing Tune offers a brief insight into a broken relationship, and by swapping out Phil’s passion for music for something else, many people will be able to relate to the scenario displayed on screen. Sadly, there’s not much else going on beneath the surface and the characters and scenario could have benefitted from a more orchestral background rather than the one-man band that we get. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

EFC film review by UK film critic Patrick Foley. Starring Karlee Jones, Kathryn Aboya, Avaah Blackwell directed by Jaze Bordeaux, Wayne Wells. HOME | FILMS | REVIEWS EFC Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Mar 3, 2025 Directed by: Jaze Bordeaux, Wayne Wells Written by: Jaze Boreaux, Greg Jackson, Ilham Aragrag Starring: Karlee Jones, Kathryn Aboya, Avaah Blackwell A bitter rivalry, vicious brawls and suspensions – and yet somehow Jaze Bordeaux’s EFC has nothing to do with the latest Merseyside derby. This feature length drama is a gloriously corny cage-fighting spectacle – which lands its biggest punches with brutally realistic fight sequences but lacks the ground game of a coherent plot. Rivals Cassady Jones (Karlee Rose) and Alexa Star (Kathryn Aboya) are two of the biggest stars in women’s combat sports – but when a title fight turns sour, a tournament is announced to crown a new queen of the cage. Whilst the fighters duke it out, the behind-the-scenes business dealings turn just as brutal – as the soul and future of the sport is on the line. Inspired by the tumultuous early years of the UFC as well as the breakout of women’s superstars like Ronda Rousey, EFC is a sequence of bone-crunching cage fights with a semblance of a plot tacked on. Jaze Bordeaux’s appreciation for MMA as a sport and the usage of real cage fighters in the film’s creation pays dividends for the quality of the fight scenes that make up a large part of the film’s running time – which are an impressive realisation of what MMA fights actually look like. Sure - there’s the blood and broken bones that fans pay admission for, but the grappling, ground and pound and flow of real fights also comes through to make for a pretty authentic representation. Outstanding sound design, which adds an extra layer to the violence, is the icing on the cake. If the fights are title contenders, the actual storyline around them carries a losing record. The background drama around the competition’s future is scarcely believable, and the central rivalry between Star and Jones is so cheesy that it feels more pro wrestling than pro fighting. It’s a world away from Gavin O’Connor’s seminal Warrior, that brings the intensity of the fight scene whilst maintaining a gripping story throughout – EFC’ s story is soap opera in comparison. There is an element of charm to the cheesiness, with a cast of stereotype characters from the explosive mob boss looking to take charge of the company to the stony executive with a secret heart of gold. If one can look past the expletives, the dialogue is pure narmy goodness – over the top but never boring. It is an interesting inverse of the gritty fight scenes which are as real as can be. One gets the sense that it is in the combat where the filmmaker’s true interest lies – the background drama really just there to act as a driver based loosely on real events. There is fun to be had with EFC, which succeeds entirely on the back of electrifying fight sequences where every punch lands. The script and performances are featherweight in comparison, but these scenes (as well as its female-focused plot) just about bring this fight to a decision. About the Film Critic Patrick Foley Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >