Search Results

Trust Me film review by UK film critic Jason Knight. Starring Lydia Hopgood, Fraser Adams, Maeve O'Haire directed by Marc-Antoine Turcotte. HOME | FILMS | REVIEWS Trust Me Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 10, 2025 Directed by: Marc-Antoine Turcotte Written by: Lydia Hopgood Starring: Lydia Hopgood, Fraser Adams, Maeve O'Haire A short psychological drama directed by Marc-Antoine Turcotte, written by Lydia Hopgood and starring Hopgood, Fraser Adams and Maeve O'Haire. Emma (Hopgood) and Matty (Adams) are a young couple living together in a smart house by themselves. For a while they have been trying for a baby, however, so far, they have been unsuccessful. As Emma becomes distraught by her apparent inability to conceive, she discovers that her partner might be up to something sinister. This story begins as a drama about having a baby and later turns into a thriller about betrayal. The primary focus is Emma, how the struggle that she is facing in her efforts to become pregnant is affecting her psychology and creating waves in her relationship with Matty. The screenplay is heavy regarding drama and the life-changing discovery brings the atmosphere to a whole other level. Talking about the discovery, without any spoilers, although it appears that it will lead to a major confrontation, the ending is not very conclusive, leaving question marks and some might find that disappointing. Emma is a sort of tragic figure. Even though she lives in a nice, big house, with a partner who ostensibly cares deeply for her and they plan to have children, due to not being able to conceive, her life has taken a wrong turn, leading her to a situation where she feels miserable and alienated as she is keen on becoming a mother. The presence of the song Captive emphasises the isolation that Emma is feeling and the fact that it is sung by Hopgood provides more depth to her character. Matty is physician and seems to be a supportive partner but also gives the impression that he is man who might not understand when he is wrong. Chris (O'Haire) has the role of Emma's bestie, a person who is there for her and willing to listen to her problems. Self-reflection, anxiety, self-esteem, control and betrayal all play a key role in this story. Perhaps more heavily though, this film explores the subject of having a desire to become a parent, how it could affect people's mental health. Moreover, it is indicated that individuals who work in the medical sector could take advantage of their knowledge in order to manipulate others. This is a dramatic film, one that relies on the perspective of a young woman in order to tell a story and explore its themes and it does so effectively. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Read music video reviews by film critics at UK Film Review. Submit your music video for review by clicking Get Reviewed at the top of the website. Music Video Reviews One of the most exciting sub-genres our critics review is music videos. They are often incredible pieces of storytelling, either in their own right or aligned with the song playing over them. On this page you will find a great selection of music video reviews from the team of critics at UK Film Review. If you are a filmmaker or artist who would like us to review your music video, submit your film here . When it comes to reviewing a music video, the process differs slightly from perhaps a narrative short film or documentary. The music has to be explored far more intimately than if it were a soundtrack because that's where the story originates from rather than being added further down the line. Music videos do conform to genres but these are often musical genres rather than film categories, for example pop, folk, rock, rap etc. So this will also influence the music video review our critics write because the target audience is going to be considered. Music videos may take a variety of forms or even combine different aspects to create a different effect on the viewer. For example, it is common for a music video to contain a small narrative, as well as live performance footage. Top filmmakers making music videos will be able to immerse you into the song and story without leaving you feeling like you have just watched a promo piece. Choreography is also a common trait in music videos, with dance sequences and flash mobs recurring - often in pop music videos. Editors of music videos will have their work cut out to ensure the choreography looks tight and engaging without it feeling staged or lifeless. Hopefully the array of music video reviews you see below will include some gems for you to peruse. Don't forget to scroll to the bottom of the article, as we often include the actual music video so you can watch it for yourself. CATACLYSM William Curzon Psiblingz - Till We're Found William Curzon Mammoth: Adventures In Gnomeman's Land William Hemingway Flesh Wanting Blood William Hemingway Lovin' You James Learoyd To Be Frank Chris Olson The Wanderer Matt Trapp The Sanctity of Faith Patrick Foley 2024 Patrick Foley Bitter Cherry – Hunger Short Film Review alexjames96 Jun 3 2 min read Ain’t my Vibe Short Music Video Review alexjames96 Jun 6, 2024 2 min read Cinerama (Music Video) Short Film Review alexjames96 Mar 17, 2024 2 min read Homecoming (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min read Sheep F-cked In the Head Short Film Review alexjames96 Nov 16, 2023 2 min read Service for The King short film review Theo Aug 1, 2022 2 min read More Film Reviews

Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. FILM REVIEWS UK UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. We even review short and independent films on the podcast. Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Get Reviewed On Our Podcast Film Reviews from UK film critics LATEST REVIEWS Trust Me average rating is 3 out of 5 The Caretaker average rating is 4 out of 5 Essentially Amy average rating is 3 out of 5 Lampros average rating is 4 out of 5 Lunavom average rating is 1 out of 5 Forever Young average rating is 4 out of 5 Roadman: The Pilot average rating is 4 out of 5 Armstrong: Dark Secrets average rating is 3 out of 5 Tripping Beneath The Spring Clouds average rating is 3 out of 5 Eraserheads: Combo on the Run average rating is 4 out of 5 Jake & Pete’s Christmas Special average rating is 3 out of 5 Merrily We Roll Along average rating is 3 out of 5 The Latest Film Trailers MOVIE TRAILERS Mother Mary Ready Or Not 2: Here I Come Shelter People We Meet On Vacation Doctor Plague Wake Up Dead Man: A Knives Out Mystery Filmmaker Interviews INTERVIEWS

Film Feature by Chris Olson The arrival of a major feature film directorial debut is always an event worthy of attention on the British cinematic calendar, but when that debut comes from an actor of Kristen Stewart’s unique trajectory, it demands closer inspection. On January 9th, UK audiences will finally have the opportunity to engage with her powerful new picture, The Chronology of Water . Adapted by Stewart herself from the unflinching 2011 memoir by Lidia Yuknavitch, the film is a deeply personal, impressionistic, and often confrontational exploration of trauma, survival, and the cathartic transformation of anguish into art. This is not a star slumming it; this is a serious artist launching herself fully into the realm of auteur cinema. Stewart’s career in the public eye has been one of fascinating evolution and constant self-redefinition. For millions, she will forever be known as Bella Swan, the human heroine of the multi-billion-dollar Twilight Saga  franchise. Yet, to focus solely on that juggernaut of popular culture is to miss the far more compelling narrative of her post-fame choices. Long before the vampires and werewolves, Stewart demonstrated her remarkable ability for nuanced, intense performance in films like David Fincher’s Panic Room  and Sean Penn’s Into the Wild . The years following the end of Twilight  saw her deliberately pivot away from Hollywood’s relentless machinery, favouring collaboration with distinctive auteurs from across the globe. She became the first American actress to win a prestigious César Award (the French equivalent of an Oscar) for her magnetic turn in Olivier Assayas’s Clouds of Sils Maria . She cemented her status as a critical darling with Assayas again in the spectral thriller Personal Shopper , before delivering a career-defining performance as Diana, Princess of Wales, in Pablo Larraín’s surreal biographical drama Spencer , earning her an Academy Award nomination. This remarkable filmography—a catalogue of challenging roles and fearless artistic alliances—makes her move to the director’s chair feel less like a whim and more like an inevitable and welcome next stage. The film trailer for Kristen Stewart’s directorial debut, The Chronology of Water , offers a potent and deliberately disorienting glimpse into the film’s unique approach to Lidia Yuknavitch’s memoir. Far from a conventional theatrical preview, this footage immediately confirms that Stewart is pursuing a deeply aesthetic and psychological vision, much as her impressive acting career suggested she would. This is not a film that will hold the viewer's hand. The overriding mood is one of fractured memory and intense emotionality, set against a backdrop of grainy, tactile 16mm cinematography. We hear Lidia (Imogen Poots) state early on, "that's not how I remember it, it's all a series of fragments," a line that acts as a mission statement for the trailer itself. The visuals are intimate, often unsettling, flicking between moments of self-destruction and the serene, blue escape found in competitive swimming. The element of water is central, shown not just as a physical refuge but as a symbolic, emotional space where Lidia can "surface with great force." The trailer highlights Imogen Poots' raw and commanding performance, which grounds the film’s more experimental flourishes. She portrays the protagonist’s vulnerability and her defiance with equal measure, promising the kind of physically and emotionally demanding turn that defines an actor's year. We see fleeting cuts of key supporting players, including the welcome sight of Jim Belushi, who plays the legendary counter-culture figure Ken Kesey. What the trailer excels at is establishing the thematic core: the transformation of painful history into narrative. We witness the protagonist's journey from a young woman haunted by her past—the voiceover observes that "no one is big enough to hold what happens to us"—to an artist capable of commanding her own story. The concluding voiceover is perhaps the most resonant: "memories are stories, so you better come up with one you can live with." This is a powerful, uncompromising piece of marketing that sells the film’s artistic ambition, not its star power. It suggests that on January 9th, audiences will be treated not just to a drama, but a lyrical, visual poem on survival. It is a bold statement from a first-time director, demonstrating a confidence that should thrill any serious cinephile.

Film Feature by Chris Olson The rumour mill has been churning for months, but a new, deliberately understated poster for Kristoffer Borgli’s 2026 feature, The Drama, has finally given us something tangible to sink our teeth into. And, as expected from an A24 production helmed by the singular talent behind Dream Scenario, the first piece of publicity is far from conventional. It’s an intimate, grainy photograph that speaks volumes about the star power and potentially unsettling tone awaiting us when the film lands on April 3. The poster itself immediately establishes a certain aesthetic. It’s styled like a vintage Polaroid, complete with the slight blurring and warm, saturated colours typical of an old photograph. It’s an immediate signal that this is not a sweeping epic or a glossy blockbuster. It suggests a certain observational intimacy, perhaps a character study, a window into a private life. Front and centre are the two colossal talents the entire project hangs on: Zendaya and Robert Pattinson. Pattinson, sporting a pair of thick-rimmed spectacles and a slightly dishevelled look, leans into the camera with an expression that is half-smirk, half-surprise. He has entirely shed the brooding gothic cape of his early career, having expertly navigated a transition into the world of challenging, auteur-driven cinema. The glasses alone suggest a shift away from physical action towards something more cerebral, perhaps a writer or an academic caught up in the titular conflict. Positioned close behind him is Zendaya, her arm looped around his neck, her hand resting on his chest, a distinctive ring catching the light. She gazes directly at the viewer with a measured, knowing look that is utterly magnetic. The chemistry, even in this static image, is palpable—a mixture of comfort and co-dependence that hints at a complex relationship at the film’s core. It is the kind of image that raises a flurry of questions: Are they a couple? What is the ‘drama’ they are facing? Is the invitation “cordially invited to” an invitation into their private turmoil? Sick of Myself Official Trailer The involvement of Kristoffer Borgli is arguably as exciting as the pairing of the lead actors. Borgli has an established flair for dark satire and the anxieties of the modern age. His previous works, such as Sick of Myself, demonstrate a willingness to dissect the uncomfortable facets of ambition and ego with a surgical precision wrapped in bleak comedy. Knowing this, the seemingly benign intimacy of the poster takes on a subtly unsettling edge. We can expect The Drama to be a far cry from a typical romantic comedy; instead, it is likely to be a darkly comedic dissection of a contemporary relationship under pressure. With the formidable backing of A24, a studio synonymous with distinctive, uncompromising filmmaking, and a director who thrives on boundary-pushing narrative, The Drama instantly vaults into must-see territory for 2026. The new poster is a masterclass in minimalist publicity, achieving maximum buzz through quiet confidence. It doesn't need explosions or a lengthy synopsis; the image of its two brilliant leads, framed so intimately, accompanied only by the director's name and the promise of a date—April 3—is more than enough to have the entire UK critical establishment counting down the days until release.

Star rating: 5/5 Writer: Joe Burden Director: Joe Burden Starring: Ken Ogborn and Paige Kimberley This political, unapologetic film is a strong, thought-provoking and piece. It’s a good moment to reveal to our readers one of my unpopular opinions: brutalist architecture is amazing, and beautiful. The British iteration of the brutalist movement brought with it the concept of ‘neighbourhoods in the sky’, first proposed by Peter and Alison Smithson in the 1960s. The aesthetic result of this idea was immortalised, for example, in the cover of The Beatles’ first album. The Brutalist bring this spirit to life fully. The main character in the film, a middle-aged photographer, rages against the iPhone when a photography enthusiast approaches him and takes pictures with her phone. We discover that he is working on a documentary about brutalist architecture, its functionalities, vision and spirit. He tells the viewers about the social architecture approach, and how the movement considered lived spaces, for ordinary people. There is, we are told, a sharp difference in how society developed in the decades following, a shift that culminated in neo-liberalism and an abandonment of the communal ideas that Brutalism embraced- the Thatcherite turn, we might call it. The film showcases beautiful and imposing shots of a Leicester landmark, the Lee Circle Car Park, opened in 1961, which was the first of its kind in Europe. The photographer manages to make the space the main character; low-angle close ups, wide shots, all bring the huge structure to life. The cinematography of the night-time scene it ends with adds to the film’s message and spirit. The Brutalist is a must-watch for anyone with a particular love for locations, which always include built heritage, and their role in film as an art form. ‘People get what they deserve’, says our photographer. Perhaps, although I would look at it from a different angle: people don’t get what they don’t ask for. The unapologetic energy and far-reaching view of art which The Brutalist expresses is deeply inspiring.