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Roadman: The Pilot film review by UK film critic William Curzon. Starring Michael Momodu, Beatrice Fletcher, Lanre Danmola, Fabian Spencer directed by Damien Brewer. HOME | FILMS | REVIEWS Roadman: The Pilot Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Dec 7, 2025 Directed by: Damien Brewer Written by: Damien Brewer Starring: Michael Momodu, Beatrice Fletcher, Lanre Danmola, Fabian Spencer Roadman: The Pilot is an episodic TV Movie with the first episode titled “Go Be A Roadman Fam”, following Big M (Michael Momodu) on his journey from becoming a Roadman from the small town of Basingstoke to the streets of London. The piece is evidently inspired by the hit series Top Boy (2011-2023) and the feature film Blue Story (2019), with its suburban setting and musical elements incorporated into the narrative. One of the most endearing qualities of the pilot episode is how rapidly Michael Momodu introduces you to the world of Roadman with his deeply charismatic voiceover, which pokes fun at the audience by breaking the fourth wall. Clearly wearing its influences on its sleeve with the use of grime needle drops and a suburban backdrop, it provides the viewer with enough exposition about the area and community, as well as suitable characterisation to care about Big M’s journey. It also makes incredible use of its limited budget restraints, keeping the story grounded by utilising creative formal decisions in its editing. Stylistically, the unique narrative device of music also helps to ground the piece. An impressive feat within the direction and screenplay by Damien Brewer is how incredibly well-paced the episode feels, with frenetic energy as Big M traverses around the area to tie up all his loose ends. Damien Brewer and Bogdan Sandu’s edit feels seamless as it perfectly transitions from high octane tension to more calm and collective pieces of dialogue between characters from the town of Basingstoke. Bogdan Sandu’s camerawork is slick and engaging, consisting primarily of wides, closeups and even handheld tracking of the actors during brief sequences of tension. Big M even makes light of the way Michael Bay shot Bad Boys 2 (2003) as it utilises a 360° arc shot around him and a brief inclusion of a drone shot, which may also be an ode to Bay’s style. This particular episode is profoundly comedic with its slapstick nature, and many of the gags thankfully land. Another major standout is that the tonal shifts are incorporated well, and it never takes itself too seriously, given its silly nature. It also makes suitable use of its runtime with its quick-paced structure and never overstaying its welcome, while leaving the viewer wanting more. This is helped by the pulse-pounding musical score. Many of the performances are fantastic, in particular Michael Momodu, who carries the material on his back with his incredible screen presence and comedic timing. The supporting cast has astounding chemistry and gives the piece a sense of community; Damien Brewer (who portrays Chunks) in particular is a standout. Sadly, the conclusion to this episode loses some momentum in the back half due to retreading similar themes and narrative beats. The pacing also becomes stagnant and loses the urgency that was prevalent in the first half. While it switches up its style with the use of music within its exposition and regains some of its needed energy back, the conclusion lacks the emotional resonance it's clearly grasping for. However, the ending sets up more material while suitably concluding the pilot section with a cliffhanger ending. Roadman: The Pilot “Go Be A Roadman Fam” is a fantastic introduction to the journey of Big M, brilliantly setting up his character arc and the surrounding community that has had a profound impact on his life. While it may lose its edge towards its conclusive moments, due to a rushed execution, this thankfully still works with its episodic nature. The pilot is ultimately a great start, which’ll undoubtedly improve with its future material. About the Film Critic William Curzon Web Series < All Reviews Next Film Review >

Lunavom film review by UK film critic Patrick Foley. Starring Muthu Karthikeyan directed by Muthu Karthikeyan. HOME | FILMS | REVIEWS Lunavom Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Dec 7, 2025 Directed by: Muthu Karthikeyan Written by: Muthu Karthikeyan Starring: Muthu Karthikeyan An argument in favour of AI generation is that it could allow smaller or lone filmmakers to explore worlds and concepts that have been locked away behind million-dollar budgets since the invention of VFX. But on the basis of Lunavom, technology has a long, long way to go to bridging that gap – and a true understanding of character and human emotion will always outweigh visual spectacle: something able filmmakers ought to understand. Created by Tamil filmmaker Muthu Karthikeyan entirely with AI, the film is a sci-fi tale of a human colony based on the moon in the not-so-distant future after the collapse of humanity. A mysterious signal from Mount Kailash triggers an investigation, and a glimmer of hope emerges of a brighter future from the lessons of the past. There are important ethical questions about the use of AI in film that are far too extensive for a single review. Needless to say, many in the industry will find films like Lunavom controversial; my intent is to review this film independent of these. However, it really is impossible to separate it from the technology behind its creation. Most prominently is that for all the sci-fi spectacle, epic space sequences and photorealistic ‘actors’, the uncanny valley effect is completely overwhelming. Even 68-year-old Facebook users will be able to spot that the scenes are off, with the characters almost unanimously robotic and artificial. This is purportedly intentional, but it’s impossible to connect to their stories or invest emotionally when such a clear lack of humanity emanates from the screen. It is unlikely that Karthikeyan could have done much more to resolve this due to the technological limitations of the day, but whether the endeavour was worth proceeding with is another question due to this. The plot is based around Tamil mythologies implanted into a futuristic imagined world where humanity has nearly perished. It is an admirable idea to proceed with – one that will be unfamiliar to many Western audiences and one that may not otherwise be supported by large studios. It is these types of stories where an argument for AI use exists – that filmmakers who otherwise would be ignored can punch through the ceiling of financial restriction. But Lumavom does a poor job of explaining its quite complicated story aspects and concepts. Perhaps to those with prior familiarity with the culture, this will have more of an impact, but otherwise comes across as difficult to interact with. It also seems particularly galling to mention humanity forgoing real human experiences in place of the artificial as one of the film’s themes. If an appetite for fully AI films even exists, it is unlikely to be satisfied by Lunavom. The film is the definition of artificial and is utterly shallow despite occasional photorealism. There are far more interesting and fulfilling ways in which such a story could have been told, and whilst the questions around the benefits that the technology can have for small-scale films ought to still be pondered, AI superiority is still, thankfully, a long way off. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema, Animation < All Reviews Next Film Review >

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 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 Hamnet average rating is 5 out of 5 Far From Water average rating is 3 out of 5 Just the Usual average rating is 4 out of 5 The Latest Film Trailers MOVIE TRAILERS Ready Or Not 2: Here I Come Shelter People We Meet On Vacation Doctor Plague Wake Up Dead Man: A Knives Out Mystery Michael Filmmaker Interviews INTERVIEWS

Star rating: 5/5 Writer: Sophie- Dominique Parea Director: Sophie- Dominique Parea Starring: Ana Parvu, Damian Reyes- Fox This beautiful romantic drama written by Sophie- Dominique Parea asks the audience, softly: what do they think love is? Play Pretend is an incisive, wonderfully simple portrait of true emotional intimacy. This is done with a cast of two. Charlie and an unnamed female character (this is a problem) are our characters: two twenty-somethings who have been friends for some time and share their thoughts about navigating today’s dating world in a city, possibly London. They are the only characters in this sparse, thoughtful and precise script, in which we see the characters go through a huge, puzzling change in their bond. When an energy shifts in a deep relationship, it is hard to grasp and inhabit. Play Pretend portrays this fact of love and life really powerfully. ‘Relationships are trial and error’, says Charlie. The point is whether those errors can be surmounted. Our female character, on the other hand, does not believe in 'happily ever after' and is more about bottling perfect but ephemeral moments if she could. What will they conclude as they chat for a long time over wine, before she goes on a date? Ana Parvu and Damian Reyes-Fox give us brilliant, paced, get-under-your-skin performances to take us on this journey. In a humorous, original scene, the characters start mixing English with the languages of their heritage- in which they say things that are not contrary to but go even deeper than what they are saying to each other in this dialogue. Brilliant, original writing that makes sense as Charlie and his friend know each other since young and are therefore familiar with but cannot fully understand or speak each other’s ancestral languages. Technically, Play Pretend showcases brilliant simplicity- this is a less is more approach. It features an eye-catching full length shot of Charlie smoking outside his front door, and this is brought full circle in the final scene. The locations are homely, fully in tune with the script’s intimacy: Charlie’s front door, his kitchen and his living room, and the cinematography is warm. The film also features inspired use of sound at the very end, almost as the credits roll, to suggest the real conclusion to the conversation we have been witnessing between our characters. A word also on the choice of title- which creatively poses the question, what are our characters pretending? To love, or not to love? In any case, that is always the question.

Star rating: 5/5 Writer: Sam Winterton Director: Sam Winterton Starring: Sam Winterton, Helen Regan and Anthony Wright Duskman is a superhero film with a difference. Jim, an ordinary lad with a job he doesn’t very much enjoy and doesn’t pay well, and a music side-hustle, finds relief within his imagination- what his counsellor would describe as ‘a coping mechanism’ in the face of trauma. From the opening scene, which features a cartoon- style animation of a city sweetly reminiscent of Townsville from Powerpuff Girls, the viewer is gripped and entertained. ‘Sometimes I need the city more than it needs me’, says Duskman- Jim’s superhero alter-ego. The superhero’s love for his town and its people is a principle in every story of the genre, but in Jim’s case it is different, because he seems to need to re-assess his relationship with the place he lives, a place where, according to one of the villains, ‘bad things happen all the time’. Duskman features a brilliant cast playing really memorable characters. It’s delightful to see two really well defined and strong female characters, Jim’s friend Ellen, and his counsellor. They are the ones he seems to trust the most, who are truly present. There is a lovely scene between Jim and Ellen portraying a spontaneity that is unusual between friends in 2025. These female characters are also really well brought out by a wonderfully dynamic, rhythmical script. Duskman is written in such a way that the characters’ struggles and imagination are consistently interwoven, bringing their stories to life with a huge level of creativity. Technically this is a brilliant film, seamlessly switching between cinematic, drama genre style and the superhero genre style of shots and lighting, giving it a genuinely original voice. Added to this technical attention is the inspired choice of locations: alleyways, Jim’s unloved work office, time-worn redbrick buildings, railway bridges, walls covered in colourful, meaningful graffiti art. The contrast between this unmistakably British town setting- Leicester to be precise- and the Townsville of Jim’s imagination is attention- grabbing in a brilliant, almost comic-like way and makes this a really atmospheric film. The costume and make up departments deserve a huge shout out, especially for the superhero scenes- they are imaginative and bold and blend consistently in with the locations. A word also about the great original score. Both musically and lyrically they make real justice to the film. In today’s world, we really need humorurs, sincere and genuinely entertaining films like Duskman.

Star rating: 5/5 Writer: Marshall Malone Director: Marshall Malone Starring: Jaron Wallace, Aimee Ortiz and Jas Abramowitz ‘That’s what family does’ is the resounding phrase of this warm, giggly short comedy narrated in the ‘mockumentary’ format. Mockumentary is a brave choice of genre, having such a rich comedic heritage including The Office and This Country, but this film is beautifully done. Starring Jaron Wallace as the weighed-down protagonist, and Aimee Ortiz and Jas Abramowitz as his burdened family, The Weight is a comedy for our times exploring mental health and emotional responsibility. Family is a lot of things, above all the group of people who knows us inside out, the light and the shade, and this is brilliantly showcased in this piece which features funny, sincere performances by its whole cast. Aimee’s performance expressing uncertainty and affection in equal measure is particularly brilliant, accessible work. Internal turmoil, fear, mental health challenges, experienced by so many people but understood seemingly by very few, is explored here not in a dramatic way, but from a more ordinary, even mundane point of view: the way it erupts on the everyday, on routines, on ways of living, and the way it disrupts assumptions about the home, and shared spaced more generally, and ultimately makes us see the world differently than we otherwise might. ‘Normally I would just let it go to voicemail’ is a usual response from people to those suffering with a mental health crisis when they call. But in The Weight, a change occurs. The audience gets taken through The Problem, the Reaction, and the Solution. We see clear cinematic influence here in the use of a narrative structure reminiscent of the documentary. Technically the film is very dynamic, with great close-up and birds-eye-view shots we might see in documentaries, making it a coherent piece. The family home, including the garden, is the only location of the film, as this is a great set up in which to tell this story- we are being ‘let in’, the way documentaries let us into knowledge and experience. ‘Knowledge is your ally’, the protagonist is told by his brother. In the real world, which art and film aim to reflect, it is increasingly more evident that connection with our physical surroundings, being present in each moment, and belonging to a community are key tools to surmounting crises, of almost any kind- including emotional and psychological. Because certain situations in life turn out like a film, but some turn out like the bloopers at the end of this particular one which are a delightful addition. Hooray for heartwarming, tender films like The Weight.