Broken Beak - Raindance

Courtesy of Raindance

Folktales are prime subjects for horror films across the globe. Every country has stories from the past that could be used to paint an image of the present. Myths and monsters are perfect to scare and set an uneasy atmosphere, even more so if these creatures take hold of someone in reality. Broken Beak easily sets the stage for something bizarre and deeply disturbing. Though the cinematography in most places is visually compelling, and the central performance from Briar Rose is commendable, Broken Beak isn’t quite the folktale inspired horror film you expect it to be.

Full review over at Filmhounds

Watch List 2025

 

Every year is an exciting year in film, from ground-breaking animation to visionary adaptations to original horrors to dom-rom-coms, there have been some truly fantastic films being released this year.

I’ve laid out my top ten films of the year (prior to seeing Zootropolis 2, which I adored), which was submitted to Filmhounds and the OAFFC. We at Filmhounds even released a mini digital magazine with the top ten films overall in depth and the OAFFC also announced the overall winners as well. Some of these films crept up on me and I was able to view them differently from the first time, sometimes a second viewing changes all perspectives. Looking forward to 2026 and the films getting released!

1. Flow

2. Wake Up Dead Man

3. K-Pop Demon Hunters

4. Pillion

5. Sorry, Baby

6. Weapons

7. Bring Her Back

8. The Legend of Ochi

9. Frankenstein

10. Alpha

The Institute - SXSW London

 

As the most adapted author, it is no surprise that there is another adaptation of one of Stephen King’s books making its way to our screens. With The Life of Chuck dancing its way onto the big screens later this year, as well as being the closing film for SXSW London, it makes complete sense that The Institute, a series based on the novel also made its debut at the same festival. With the blessing from King himself, enough to have him on as an Executive Producer, the show already shows promise without delving into this science fiction horror story.

Full review over at Filmhounds.

Anora - London Film Festival

 

After his previous critically acclaimed films, director Sean Baker has created a very different kind of story. Still exploring and highlighting the lives of sex workers, Baker chooses to go big, really big, this time round, not only in scope but with his characters. Ani, the eponymous Anora, is the definition of a larger-than-life personality. Her energy and enthusiasm is matched by Vanya and the two of them actually make an adorable, if naïve, couple for a short magical time. But faced with problems that seem out of their control, their lust for life turns bitter. The whirlwind romance, the comedic tone all but disappears swiftly becoming something darker, still sometimes amusing, but eventually a slap in the face. The condensed ‘happy’ period in both Ani and Vanya’s lives feels like a literal dream as reality sets in. Baker managed to cram several turning points (and genres) into the story that don’t feel overcrowded, but instead feel oddly realistic as the story flows easily and steadily towards a very depressing end. 

There are many things to take away from Anora, but the glaring obvious is the disparity of privilege. The disappointment hits differently for Ani and Vanya. The latter, a spoilt overgrown child who saw the whole experience as just that, with no remorse or care for anyone else who was involved. Vanya got what he wanted and though he tried desperately to hold on to his freedom, as he sees it, ultimately it breaks and gives up. Ani, however, a genuine person from start to finish, who seems to have very little, was given a new life, a love and all was taken away within minutes. Her world was turned upside down and dis-guarded as soon as she was no longer needed, or desired. 

Anora, as a film, is a force of nature. From dramedy to romance to dark comedy to harsh realism, the story takes you on journey and doesn’t miss an opportunity to gut you, whether you’re laughing and staring, with an empty feeling at the screen. Mikey Madison has been rightly praised for her performance as Ani, which really rides the wave of emotions. There will be surprises if Anora is picked up as a real contender during awards, this film has caught people’s attention and should hopefully hold the spotlight throughout the season.

The Surfer - London Film Festival

 

Though The Surfer is quite rightly a psychological thriller, there are elements of horror that creep in and feel all too like well-trodden tropes that are used time and time again in other films of the same genre. After the event, The Surfer seems oddly placed at Cannes, where it screened earlier this year. 

When a surfer (Nicolas Cage), hoping to buy a house in the desired location, Luna Bay, has an altercation with a group of aggressive locals, his situation begins to deteriorate rapidly.

Full review over at Filmhounds.

Conclave - London Film Festival

 

When it comes to stories set in or centred around the Catholic Church, there is an expectation. Either a horror, cheap or classy or a story about faith. Conclave touches upon the crisis of faith but it is never delves too deep. Instead, and most refreshingly, Conclave is a thriller with elements of a murder mystery, except with no murder, but intense one the less. 

When the Holy Father dies, there is a vacuum left behind. Cardinals scrabble to secure votes who they believe is the right candidate. It is left to Cardinal Lawrence, the Dean of the College, to organise Conclave, where all the cardinals are summoned to choose the next Pope. But through secrets and sabotage, Lawrence discovers the favourites each have something to hide. But will it be too late to before the wrong person to chosen to be Pope. 

From the very start, there is a sense of loss and ambition in the air. As some cardinals close to the late Pope grieve, others have already rallied votes in preparation of Conclave. This very clearly establishes the tone of the film, this is not about religion, thankfully. The intrigue and suspicion is set and it is left to Lawrence, played with absolute reverence and stability by Ralph Fiennes, to investigate along with his colleague, Monsignor Raymond O’Malley to find out exactly what the cardinals are planning. Each cardinal represents a faction of the church, each vying for control, wanting change or waiting to continue the late Pope’s work. It is continuously noted by several characters, these men are not perfect, they are all flawed.

The Gutter - London Film Festival

 

It’s been a long while since we’ve had decent sports film that wasn’t about mainstream sports. When it comes to bowling films, Kingpin and The Big Lebowski comes to mind, even though the latter isn’t about the sport it only features. Always angled as an American pastime and a fun hobby or something to do with friends on a Friday night, The Gutter manages to keep this image alive as well as creating the most ridiculous and hilarious scenarios and characters that have been seen on the big screen in a long while. 

When Walt accepts a job at AlleyCatz, a dive bowling alley, he discovers he’s a naturally gifted bowler. Along with ex-pro bowler herself, Skunk, a frequent drinker at the alley’s bar, they decide to hit the road to take part in tournaments. But when legendary champion Linda Carsen hears of Walt’s success, she decides to come out of retirement and put him in his place. 

The lack of actual laugh out loud films being made and more importantly, being seen is quite low. Aside from the narrative, the most important aspect of the film is the comedy, then maybe bowling. Directors Isaiah Lester and Yassir Lester know exactly what they’re doing. Casting their friends they’ve made working on different shows and through stand up, the array of comedic and dramatic talent alike really makes this film, as well as the fantastic costumes, particularly worn by Walt. Holding the plot up with their excellent off beat chemistry, Shameik Moore as Walt (no last name) and D’Arcy Carden as Skunk are highly entertaining. Susan Sarandon is also highly affective as the cold-hearted legendary bowling champion, who scenes steals without lifting a finger. 

The comedy, no matter how ridiculous, is non-stop, literally from the opening shot to the final showdown. The Gutter is an absolutely delight, and actual breath of fresh air amongst the mediocre offerings that get left by the studios. The real gems are always found exactly where some of the jokes from the film are found and the name of the film.

The Quiet Maid - Raindance Film Festival

 

There has been many a story portrayed in film involving the classes and the issues that come with the divide, the characters end up being the defining factor to make each story stand out. Having had its UK premiere at Raindance 2024, The Quiet Maid was nominated for Best Debut Director and Best Debut Feature.  The film boasts an enticing lead, Paula Grimaldo who is captivating even when completing menial tasks. She went on to win Best Performance at Raindance. The Quiet Maid is not a thriller, nor is it a straightforward drama. An observational character study would be more accurate as with Ana herself, there is more beneath the surface than what we are presented with.

Working for an upper-class family on the north-eastern coast of Spain, quiet Colombian domestic maid Ana, balances her duties with finding ways to also enjoy the Summer.

Full review over at Filmhounds.

Everyone Loves Touda - Cannes Film Festival

 

Chasing dreams and wanting more, a better life is an age-old tale. Films such as these can feel predictable as soon as the tone is set. As an audience we become hopeful along with the dreamer of the story and even though we can guess how things will end, we still cling onto the hope that this character somehow succeeds. In Everyone Loves Touda, we enter the world of hopeful dreamer Touda and share in her journey, but we know all too well how this story ends.

Touda, is a Sheikha, a traditional Moroccan performer who are empowered by the songs of fierce female poets who lived before. Trying to carve out an existence in her rural town, performing each night in darkened bars to drunken men, Touda wants more from life. Deciding to take a chance, she moves to Casablanca, the big city, in the hope of being recognised as a true artist and securing a place for her son at a school that accommodates deaf children.

Full review over at Filmhounds.

The Royal Hotel - BFI London Film Festival

 

When we see two women with backpacks in the middle of nowhere, the assumption is that we are about to watch a horror film. With one friend lusting for adventure and the other keen too but far more cautious about their surroundings. Director and co-writer Kitty Green sets us up to both show that horror doesn’t have to be displayed on screen and steers clear of a predictable narrative. The result is a highly tense thriller that has your mind racing throughout. 

Friends Liv and Hanna run out of money while travelling in Australia. To make some cash before resuming their grand adventure, they take jobs at a remotely located bar. Quickly assessing the situation, the more than rowdy regulars and the ‘culture’ of the town, Hanna wants to leave. The more open to anything Liv however wants to stay. After one too many uncomfortable incidents and altercations, the tension that Hanna feels surrounding them, comes to a climatic breaking point.

Full review over at Filmhounds.

New Life - Fantasia Film Festival

 

With every story about a contagious disease, there’s a survivor and a pursuer. You can expect the story to one of two ways and neither has a pretty end. New Life literally breathes fresh air into this familiar set up. With a solid cast and decent central characters, there is something intriguing and terrifying to be absorbed by. Yet, the film can’t shake off its own confinements. With such a potentially big story, the film feels contained despite there being multiple locations with both main characters on the move. 

A young woman, Jessica, escapes a mysterious facility and goes on the run. Determined to get as far away as possible from those who held her captive, she meets kind strangers who help her along the way. Meanwhile, an agent, dealing with her own issues, is assigned to bring Jessica in at all costs. But as times ticks by, the stakes of the pursuit take several dark turns with devastating consequences.

Full review over at Filmhounds. 

Blackout - Fantasia Film Festival

 

We’re no strangers to the supernatural in film and we have all definitely been exposed to a typical creature feature. Trying to find a fresh new angle on a subject that has been made countless times before is a difficult task but writer, director and producer Larry Fessenden has possibly found a way to do so by way of a character study and dark self-discovery in Blackout.

Full review over at Filmhounds HERE

Talk to Me - Sundance London

 

There are simple rules you need to follow to ensnare an audience into your horror film. Start with a shock to entice them in, introduce an item that invites the horror in and give as little information about it as possible and finally, forget the jump scares, you will win your audience with prolonged terrifying moments instead. Directors Danny and Michael Philippou have followed these rules and have created something truly spine chilling with some images that stick in your mind long after the end credits roll.

Full review over at Filmhounds HERE.

BFI Film on Film Festival

 

BFI is bringing real film back to the big screen this summer, this time in the form of a festival celebrating film solely on celluloid. Just like listening to music on vinyl, watching film projected offers an entirely different look, sound and emotional impact. The festival was designed to create a unique cinema experience enabling the audience to enjoy film in all its glory. 

Full post over at Filmhounds HERE.

BFI Film on Film Festival is at BFI Southbank from 8-11 June www.bfi.org.uk/film-on-film

Club Zero - Cannes Film Festival

 

At elite school, new teacher, Miss Novak, leads her class in an unconventional series of lessons and theory that we don’t need to eat. One by one, each of her students falls under her spell and beliefs. Even after there is resistance from the students’ parents, the bond created in the classroom is strong, resulting in an event no one would have predicted. 

Jessica Hausner has a knack for creating an uncomfortable and foreboding atmosphere. It has been present in her previous films, especially in her last film, Little Joe. From the very start of Club Zero, we are introduced to Miss Novak (played to unnerving perfection by Mia Wasikowska) who comes across as someone to be vary of. Her demeanour and very soon after, her open attitude to eating and consuming food gives the impression that we are to expect unconventional and somewhat persistent behaviour from her. The slow and sinister affect she has on her students does not come as a shock but more like an eventual horror. Hausner is able to convey this sinister feeling throughout without being too overt in her intentions. We know something will happen to these students; we just don’t know what. 

Hausner clearly has a distinct style of filmmaking and particular aesthetic that compliments her storytelling. There is no indication where the film is set, the clothes all feel like a mixture of genres and the art direction is carefully curated to make one feel that this is not a story from the world we know. Within the story itself there are science fiction elements that creep in ever so slightly and its mirrored in the styles of the film. But at the root of the story is more like a cult; an enigmatic mysterious character appears and convinces a group to follow them in their beliefs, cutting them off from family and friends and eventually to giving up everything for them. 

Although the style and sinister atmosphere is intriguing to start with, the film does descend into an incoherent and somewhat frustrating narrative. There is no clear end and there is no clear or satisfying direction. Though if you are a fan of Hausner’s work, this will be a fascinating film but for anyone not familiar with her previous films may find this, overall, a tedious watch.

A Gaza Weekend - LOCO (London Comedy Film Festival)

 
Any story involving or mentioning Israel, Palestine or Gaza would usually be approached carefully, sensitively and probably at arm’s length by certain filmmakers. But thankfully, director Basil Kahlil dives head first into the genuinely funny, frustrating, observant black comedy, A Gaza Weekend. Perfectly selected to open this year’s London Comedy Film Festival, the film is a fantastic example of how to broach serious subjects, with the darkest humour possible, plus a cast who deliver every single laugh. 

Full review over at Filmhounds HERE.

London Comedy Film Festival (LOCO)

 

The world’s largest festival of funny cinema is back! LOCO has been going strong for over a decade and with this year sees new Festival Director and Artistic Director, Anna Wetherell and Benedict Morrison taking up the reins, the festival promise to deliver something special. With new and classic comedies, features and shorts all to be screened in the heart of East London, Hackney Picturehouse.  

Full preview HERE.

London Comedy Film Festival 2023 (LOCO) will take place at Hackney Picturehouse from 11-14 May 2023

How to Blow Up a Pipeline

 

Best friends Xochitl and Theo, having grown up together next to an oil refinery, have each suffered pain and loss; Xochitl’s mum dying in a heatwave and Theo being diagnosed with leukaemia. Disillusioned with the lack of action taken towards oil companies, Xochitl proposes a more radical and disruptive move. Bringing together a group of strangers, all with their own reasons for taking part, the group plan to blow up an oil pipeline in West Texas. But it isn’t long before one the members in the group is compromised.

Full review over at Filmhounds HERE.

Egghead & Twinkie - BFI Flare

 
Egghead & Twinkie is nothing ground breaking, we’ve seen these characters many times before and seen this story play out with both tragic and happy endings. However, there is something very charming and blissfully idealistic about the two best friends’ journey. But this is primarily Twinkie’s story, despite the title suggesting otherwise. Wanting to meet the girl she’s been talking to online for months, Twinkie convinces her best friend Egghead, who may still harbour feelings for her, to come with her on a last-minute road trip. Along the way truths are shared, feelings are hurt and new friends found. A ‘classic’ road trip film for the Gen Z crowd.

Egghead & Twinkie will have it's International Premiere at BFI Flare 2023.  

Full review at Filmhounds HERE. 

God's Creatures

 

In a small fishing town, Aileen, spend her days at the canary and evenings at the local pub and in between with her family. Their world is shaken by the return of their wayward son Brian who left years before and has barely kept contact. After the initial joy at his return, Aileen soon finds herself lying for her son. This lie rips apart the family, their friends and even the community and she is left deciding whether she has done the right thing and living with the consequences.

Full review is in the latest issue of Film Stories HERE.