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Read the latest short film reviews at UK Film Review. Our house critics give reviews to short films from across the world submitted by independent filmmakers. Latest Short Film Reviews On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page. Lady Mushroom's Lover Lady Mushroom’s Lover , the latest short offering from experimental Russian filmmaker Diana Galimzyanova, tells the story of a wealthy humanoid mushroom heiress under increasing pressure from her affluent parents to marry, and to marry well. However, Lady Mushroom’s heart and affections are instead captured by a man of much lower status, the charming John, who we soon find out has secret machinations of his own. Purveyors of Galimzyanova’s previous works will no doubt be aware of the highly experimental approach this imaginative writer/director likes to employ in their storytelling. This time, with the help of and openly crediting ChatGPT as their co-writer, Galimzyanova looks to push the limits and showcase the advances of artificial intelligence and its applications towards filmmaking, blending neural-network AI models with live-action filming. The findings? There is still a long way to go. For aficionados of the weird and wonderful side of cinema, Lady Mushroom’s Lover could be something to admire. Points can be scored here for its attempts to do something bold and unique, and Galimzyanova is no stranger to finding new and interesting ways to tell a story, as evident in the likes of Murder Girl: A True Story or You Turn Me into a Monster . But this short lacks any of the provocative edge or purpose of those previous works, and for those who are more into the art of storytelling, the film will likely just infuriate them instead. The story itself is unoriginal, which would be fine if the film made any real attempt to reimagine its well-worn plot in some way. But even with its crazy, fungal premise, that effort is completely missing. It never seems to know what setting it wants to play in, and the performances of its two live leads do little to add any positives either, never managing to match the emotion or drama each scene needed to bring the film alive. The movie's biggest letdown, though, is unfortunately the very thing it's trying to put front and centre: the generative AI sequences. The barrage of increasingly dizzying and incoherent visuals is a constant, jarring distraction, too disjointed and mismatched against the live action, meaning the whole thing simply doesn't work. While it might be a success if the aim was simply to prompt an AI model and see what it spits out, it fails as a coherent, storytelling project. Despite undeniably offering up something you've never seen before, with a story that lacks any kind of intrigue or originality, performances that lack passion and commitment, and a jarring use of AI that lacks any kind of cohesion, Lady Mushroom’s Lover falls quite short of the mark. VIEW REVIEW The Axe Forgets “The tree remembers what the axe forgets”… so goes an ancient African proverb that decries those who cause pain and destruction but move on and forget as though their actions leave no stain. As John Christopher’s short The Axe Forgets shows, some acts are impossible to run from. In 1888, James S. Jameson (Harry Butler) has recently returned to Ireland from an expedition in the Congo. As heir to the Jameson whiskey fortune, he lives a life of indulgence in a grand manor served by his butler (Bosco Hogan) and partner Kate (Aine Collier). But James’ actions in Africa in service of a colonialist cause have left him with trauma that cannot be contained, and karmic hauntings plague his home life. The Axe Forgets shines a fascinating light on the Irish role in empire. With a protagonist baring the name of an iconic Irish export, it implicitly links the role of Irish elite to the subjugation and terror of colonialism, even as part of a subjugated and colonialised country. James S. Jameson is a willing participant in the brutalisation of those he deems beneath him. Whilst it is not explicitly stated, anyone with an appreciation of history will know that British attitudes to the Irish were not far from Jameson’s attitude to the Congolese. It is an uncomfortable, confronting film in this context – one that does not batter its audience over the head with its themes but asks them to reflect on them, especially when Jameson loses his family, respectability and moral centre. Gothic horror is the framing through which Jameson’s torment is explored. Visions in the night turn into shadows in his home, and sharp jump shocks will catch the viewer out as much as the protagonist. However these visions are not of supernatural beasts or masked killers, but mainly of Jameson’s own memories or off innocent people who were unlucky enough to come across him. A representation of PTSD of sorts, but in the form of an earned curse, or ghosts that now haunt the lavishness he has retreated to. Jameson himself is a villain, but colonialism is the monster, and the ‘rewards’ of riches and status can’t free him from its jaws anymore than those he has terrorised in its service. Harry Butler’s leading performance is piercing. The impenetrable stoicism of empirical upper classes sheds away as his own trauma makes him its vessel. Butler embodies a man unequipped to deal with the haunting he is now cursed with, through pulsating rants that drive away his wife or vigorous, disturbing handwashing in a river to try and clean never-ending blood away (a heavy-handed visual metaphor if there ever was one). History and horror fans alike will find An Axe Forgets fascinating. Its original examination of the after-effects of colonialism make for discomforting but unforgettable viewing, and complex questions it asks of its audience on the emotional level elevate it to a special experience. VIEW REVIEW The Healer The Healer deals with some incredibly heavy topics. From discussion of attempted suicide to misplaced guilt and depression, it’s safe to say that our tragic but deeply sympathetic (at least by the halfway point) protagonist goes through a lot over the course of this almost half-an-hour short. The audience, too, experiences a great deal through the tortured young character – a credit to both the strength of the performance by Jason Buda, and of the exemplary technical craft surrounding our central figure. This is a truly wonderful script from writer Trudy Williams that understands the complexities of the healing progress, and feelings of disillusionment in young people. We follow a tormented teenager who recently got into an ugly fight. His mother, worried sick, therefore takes him to a therapeutic farm of sorts; an area in which he’ll be expected to hopefully connect with and take care of a white horse. The audience is quickly let in on the fact that it’s because of his father’s sudden death that these self-destructive behaviours have manifested. He must be taught to conquer his anxiety, let go of everything weighing him down, and engage with a practice seemingly simple, natural, noiseless – and in that way, incredibly challenging. This is a superbly edited film from a dramatic point of view. Every interaction is expressed beautifully through the pace of the cutting and clarity of the sequencing. But one element that maybe feels inconsistent with the specific look of the movie is the use of fades as they slightly bring you out of the movie. Now, if the film had adopted a more vintage, static look, these fades might work perfectly – but right now it doesn’t completely gel with this modern, handheld grit feel. Otherwise, a perfectly cut and arranged movie. Aesthetically, the light and camerawork manages to hit the perfect balance of gritty and poetic. The handheld, subjective cinematography reminds one of the works of Andrea Arnold, and yet – like Arnold – the filmmakers often chose to move away from that domestic mode and draw our attention to the natural world, the colour of the sunset, and the beauty of a quiet moment... much like the journey Buda’s character ultimately takes. The horse is very much the most significant, and most evocative image in the movie. A semiotic device implemented ingeniously as metaphor to reflect on the mental progress and stumbling blocks of the protagonist. The hostility shown at the beginning is reflected in equal measure by this handsome yet slightly intimidating animal; but we witness the healing process of him becoming more gentle and more open, so the horse embraces these behaviours. Any moment in The Healer which involves comparative editing between boy and horse is so inherently emotional, and cinematically dynamic, that it elevates what could be a relatively conventional story of trauma to an expertly crafted tale of what it means to relate to the things around you. It’s a true testament to director William Jewell and the rest of the crew that these images of an animal can end up signifying so much so clearly. VIEW REVIEW All Eyes On You A short mystery horror film written and directed by Ted Clarke and starring Laura Nock, Callum Parker, Tammy Heath, Barry Smith. Filmed in four days, in Market Bosworth, this project was produced by Apollo Productions, which is a team of DMU (De Montfort University) film students and graduates. Young couple Claire (Nock) and Adam (Parker) arrive at a small village, where Adam has inherited a house from his late aunt. Soon after they arrive, strange things begin to happen that involve the locals such as super-friendly neighbours, a postman walking into their home, a suspicious black car and a photographer seemingly taking pictures of them. What is going on? The anxious couple tries to figure that out while simultaneously reflecting on their dramatic past. The plot is a what-on-earth-is-going-on type and that is arguably the primary element that makes this short so watchable, with a creepy atmosphere and characters behaving like they came out of a David Lynch film. The couple keep on encountering these peculiar people one after the other and begin to suspect that some sort of sinister force is moving against them. The suspense and the drama fill the place, effectively accompanied by Thomas Pearce's music that can be either sentimental or sinister. The film ends on a rather dramatic and surreal note, one that could also be described as a cliffhanger. It is a memorable ending, however, it does not provide any clear answers regarding what is going on in the village, why the residents are behaving the way they doo. And this is not necessarily a negative quality, as sometimes, ending a story with mystery can make it intriguing. Concentrating on the performances now, it is Parker who steals the show as a quick-tempered youngster who becomes increasingly agitated by all the bizarre occurrences. Nock plays his sensible partner, who is deeply affected by his behaviour and also by the odd events. The rest of the cast consists of the actors portraying the unusual and sort of nosy habitants, Heath and Smith being the ones who stand out the most as the extremely friendly neighbours. The screenplay creates a suspenseful and tense story that is filled with paranoia, dread and to some extent, xenophobia as well. The film is also about starting over but also about facing the past. Moreover, domestic abuse is also explored. A creepy story with strange characters. Viewers will most likely appreciate this short due to the suspenseful atmosphere and the mystery, however, they might be divided by the inconclusive ending. VIEW REVIEW Inheritors Inheritors , directed by Justine Ellen Chen and co-written by Morgan Chen, is a powerful examination of how ideals, opinions, and attitudes towards subjects such as mental health and responsibility can be so disparately informed not just by culture, but also by generational divide. When the youngest sister, Jordan, is hospitalised after a suicide attempt, three generations of a Chinese American immigrant family are forced to confront this traumatic event, and each other, when visiting Jordan’s home. First to enter is Alex (Angie Lin), Jordan’s older sister, followed shortly thereafter by her mother May (Savoy) and grandmother (Lau) and from here we begin to see how each of their distinct coping mechanisms will clash with the others, as well as the profound disconnects that exist between them emotionally. Inheritors does everything possible to strike just the right mood required to respect the seriousness of its topic and depict that proverbial distance between each of its characters, each element put in place to try and evoke a great sense of melancholy that seeps throughout the film from beginning to end. The chaos that is Jordan’s apartment, for example, the multiple overflowing trash bags, dirty dishes and minimal lighting, is quite the manifestation of her apparent depression, making that desolate feeling land like an anvil from the very first scene, the film’s contained, almost claustrophobic setting also making the viewer extremely sensitive to that. While the films’ dialogue may be sparse and rather unextraordinary, in some ways that is to the benefit of not just the film and the story it’s telling, but to its cast as well. What is being said is often not as important as what isn’t. More is conveyed simply through awkward body language and long silences than any words might say, and each of the cast fit their respective moulds admirably. Savoy’s stoicism as the mother, May, embodies the generation who, while unable to dismiss the situation entirely as they might prefer, is keen and quick to play it all down as less serious than it is, ridiculous even, even highlighting that Jordan “always makes a big deal out of nothing”. Lau’s grandmother then epitomises the generation that would rather plead ignorance completely, instead preferring to busy her thoughts with other things. But Lin’s is perhaps the defining performance, because Alex seems to be the only one outwardly struggling, and Lin can convey confusion, fear, anger and distress all in equal measure, portraying perhaps a more Westernised mindset around such matters that we then see wrestle with the more traditional attitudes of her elders, all the while still proffering respect to them her heritage would expect. Inheritors , while brief and minimal in its approach, is a compelling family drama that manages to find the right mood, showcases some solid performances and succeeds by showing, not telling. VIEW REVIEW Safe A powerful short drama directed by Govind Chandran, written by Chandran and Kelsey Cooke and starring Cooke, Fran St Clair and Olivia D'Lima. Through the eyes of a helpline counsellor, this film acknowledges very important issues. The work-from-home counsellor is Iris (Cooke) and one day she receives a call from a young woman named Sophie (Clair). Initially, this appears to be a calling for support regarding problems in the likes of career aspirations and self-esteem. However, it is not long before Iris begins to suspect that Clair might be trapped in an abusive relationship. A very dramatic story about domestic abuse. From one perspective, this film can be perceived as a drama and psychological thriller that also does a great job in developing mystery and suspense, with Iris piecing together all the clues that she gets from Clair's phone call and concluding that there is something very serious going on and Benjamin Doherty's sentimental music being a terrifc assistance in creating a dramatic atmosphere. Another way to look at this short is through the themes that it explores. Rather evidently, domestic abuse is at the centre, although no violence is shown, as the whole story takes place inside Iris' home and Sophie is never seen, her presence being solely her voice. The screenplay brings attention to the signs that indicate an abusive relationship, including Sophie's anxious and sad voice and her call being abruptly interrupted, probably by her partner. Additionally, this story also points out the importance of reaching out for help, even discreetly and strongly supports the message that victims of domestic violence are not alone and that help can always be reached. It is also revealed that sometimes, when cases involving domestic abuse are not dealt, it could be because the warning signs are not treated as such. Since Cooke is the only person visually present in this short, her performance is vital in order for the film to work and she succeeds brilliantly in her portrayal of an experienced and caring counsellor and Chandran's decision to combine close-ups of her face and long takes reveal her impressive acting abilities. Praise also goes to Clair's performance, as although it is only through her voice that her character is present, she establishes a person who is suffering from an abusive relationship. Interestingly, occasionally the film cuts to brief scenes of shots of the beach, with waves crashing on rocks. While these shots are beautiful, it is not clear what purpose they serve. This short film raises awareness of domestic abuse and urges people who are being affected by it to seek help and this makes this project worthy of significant attention and massive commendations. VIEW REVIEW Won't Be Long Now A new father tries to deal with manifestations of the anxiety and paranoia he feels at having to be responsible for a whole new life, descending into madness as he faces up to his responsibilities and his own childhood trauma. In William Nawrocki’s short film, Won’t Be Long Now , he plays the Father, a regular man, somewhere in his early thirties, who has just welcomed a new baby into the family. This life-changing circumstance is now all he can think about, and everything he does is now for the benefit of this new life he and his wife have created. It doesn’t take long, however, for the reality of responsibility to kick in, and soon he is having nightmares, sometimes waking ones, where his daughter is in danger and he can’t do anything to save her. Made almost entirely by Nawrocki himself, taking on many roles including writer, director, cinematographer, editor and star, Won’t Be Long Now was built from the ground up, piece by piece, until everything fit together in the way he envisioned. What started out as a treatment for a three-minute short grew and grew until we finally got the film we have before us today, constructed with short, quick scenes and cut intermittently with thematic visuals. Nawrocki knew that he didn’t have a lot to work with but that seems to have focused him to take what he did have and make the best of it at every turn. Every shot, every lighting choice, every cut, and every sound is carefully chosen and measured for what it can bring to the narrative and Nawrocki brings them all together to create a genuinely unsettling atmosphere around the Father and his small family. When the shadowy visitor starts turning up in the Father’s thoughts, then in the distance, and even in old family home videos, we are caught just like he is, staring in fear at something that haunts us, but which we may never be able to confront or overcome. His fears become a reality, even though nobody else can see them, and they actively terrify character and audience alike as they come to life on the screen. Assisted ably by some truly creepy sounds in Adrianna Krikl’s score, and a rich, vivid grading from colourist Nigel Tadyanehondo, Nawrocki ensures that we get the best out of every scene as we watch the Father slip further and further into madness. He builds his narrative well and keeps the pacing nice and quick throughout, allowing us just enough time to try and see if we can find the horrors for ourselves, but without lingering and making everything too obvious. Rather than opt for jump scares and outright horror, Nawrocki instead let’s things burn and build, throwing in thematic symbols along with the approaching ‘monster’ to round out the threat that the Father feels he is facing. All of this creates a palpable tension which is hard to resist, as it unsettles you and leaves you on the edge of your seat. Won’t Be Long Now is a remarkable achievement for mostly just one man to produce, and it shows in the best light what can be done with small beginnings and humble resources if there is someone behind the project with heart and vision like William Nawrocki. The film takes on some truly dark subject matter and treats it with respect and dignity, using visual language to express feelings which may not easily be expressed otherwise. Nawrocki’s talent as a filmmaker, and as a visual creative, should be applauded in what he has managed to achieve with Won’t Be Long Now , and it can only be hoped that he keeps just as much passion and drive for whatever project he embarks upon next. VIEW REVIEW Holo It may serve as a concept short for a potential eight-part miniseries, yet Holo stands apart from any further serialisation as a superbly crafted work of short sci-fi storytelling. The film follows two characters – one is the consumer and one assists in providing said consumer an unusual service. Claire enters a room divided in half by a special kind of glass; she will then come face to face with what looks to be her dead ex, who we come to realise was abusive. This figure she’s interacting with is but a superficial image portrayed by an actor wearing what we might recognise as a mocap suit. It’s from here that the conversation escalates. There are a couple complex layers at play: for one, it’s already fascinating enough to witness a confrontational dialogue between an individual and their abuser; but additionally, the artifice of this interaction – like watching a play within a play – gives the audience a great deal to consider. It’s ethically murky territory, but also enjoyable to think about this being somebody’s job. If anything, this short could have done with a little more of the actor’s perspective. There are moments that slightly lack explanation which could have been remedied through depiction of process. For example, how much does either character know about the nature of this service? Onto the technical, everything from the light and colour to the set and prop design demonstrates an inspiring level of creative care. There’s a softness to the cinematography which complements the film’s mise-en-scène of clean, modernist glass structures and decorative architecture. In that way, there’s a visual conversation taking place between form and content which is very effective. Almost every shot is gorgeously layered from a perspective of light and depth. The interior we see at the beginning is seemingly lit entirely with diffused light which, in this futuristic world, is also practical. An absolute achievement from a design standpoint. There is clear potential here for an eight-part series. The reason being that the high-concept on display is not only interesting from an abstract standpoint, but it also asks implicit moral questions regarding the reality the film is presenting. Plenty to chew on over eight episodes. The only realistic complaint may be that audiences have seen stories like this before, and while the manner in which the conceit is delivered feels original, the base idea is not. However, more significant is the craft at hand in every department, in addition to the tensions and contradictions present in these characters. Therefore, the scenario might feel familiar, but the drama feels authentically new and rich. Holo is a beautifully captured, engagingly written, well-performed piece about the influence of technology on an individual’s mourning and trauma. The windowed room in the story was designed to fulfil any person’s emotional needs – at least, on its surface. Presumably the show will go on to explore either how exploitative the process is, or, something will go wrong, exposing the true nature of this fictional system. And either way, this critic is all here for it. Now Watch James' Video Film Review of Holo on our YouTube Channel. VIEW REVIEW As Easy as Closing Your Eyes As Easy as Closing Your Eyes is so deeply heartbreaking that it’s almost difficult to think about. It tells a personal story, and yet it’s set, either in the future, or in some parallel world in which technology has advanced enough to provide consumers a drug with which you can bring back a dead loved one for a short time. The film begins with what appears to be an AA meeting, but with further context, we come to realise it’s in fact a rehabilitation group for those addicted to this sci-fi drug. Here we’re introduced to our protagonist: a woman who has recently lost her son. There are some interesting parallels between this film and other classic movies. Arguably the main inspiration (or, at least, closest film in terms of content) is Steven Spielberg’s A.I. Artificial Intelligence . But Parker Croft’s short intelligently flips that concept in its head, where it is the mother who becomes addicted to this ephemeral, superficial experience with her lost son. If there’s one reason to watch this already technically competent, emotionally arresting movie over any other, it would be the utterly transfixing performances given by both Laura Coover and – in the film’s rug-pulling dénouement – Sean Marquette. Coover, in particular, plays the main character Lila, and I can’t remember being this affected by a performance for some time. She feels so emotionally vulnerable, yet completely in control of how she’s reading on camera. She manages to evoke genuine loss and joy without it ever seeming as if she’s reaching for the feeling. Both Coover and Marquette bring an authenticity to their roles which could move a viewer to tears. Without delving in to explicit spoiler territory, I’d like to address the piece’s final moments. It’s a gut punch – a well-constructed one – which leaves us feeling completely empty inside. Yet as well-constructed as it is, this reviewer questions whether this story needs it. Were As Easy as Closing Your Eyes to end optimistically, it would not deter from the overall darkness that’s been so effectively conveyed. The current ending, while technically sound and honestly mind-blowing, could be compared in ways to a Black Mirror ending. This is better than Black Mirror ; it reaches higher and achieves more with less. The famously divisive ending of A.I. (which this reviewer believes to be genius) better evokes the kind of melancholy ambiguity that may have pushed this movie into 5-star territory. But right now, I’m almost less inclined to think too hard about the ending because it is just so cynical and terrifying; - and in the long run, one might be more inclined to block it out of one’s memory instead of revisiting and pondering on this already haunting story. The narrative and performances are so fascinating that one almost neglects to discuss the technical... This is a well-lensed picture undoubtedly. Arguably, it could be slightly more dynamic colour-wise, but the stunning photography on show already possesses a strength of depth. A highlight would have to come during Lila’s fantasy, when she sits amongst the hills with her son at dusk. This sequence – and the short film as a whole – serves as an astonishing work of film craft. VIEW REVIEW What's Your Poison? A short folk horror film written and directed by Alice Dieli and starring Rachel Harrison, Ronnie Vigh, Dina Gronbeck and Matthew Steven-James, created as a student project and in collaboration with the School of Film and Television at Falmouth University. The screenplay alternates between present time and a few centuries in the past and the protagonist is a witch named Nimue (Harrison). The scenes that take place in the past are set in the countryside, where Nimue performs sinister activities involving witchcraft, along with a man (Vigh) and a confrontation arises between them. The present events find Nimue working at a Rock'n'Roll cocktail bar, where she appears to be living a double life, disguising herself as a bartender, while secretly practising her witchcraft. A dark story about witchcraft. The intriguing plot is one of the film's biggest strengths, with the dark atmosphere being another great plus. Unsurprisingly, there are plenty of occurrences involving witchcraft, some of which are Nimue preparing potions, working on dark magic in the woods with the strange and sinister man and the mise-en-scene contains quite a few elements to establish a sinister environment, including gore, magic potions, severed body parts hanging here and there and chanting. And the clothing in the period scenes deserves recognition and so do the creative lighting techniques. A bit regarding the character played by Vigh. His performance is great as a menacing man, who is probably some sort of evil wizard with bad intentions. The only downside is that not much is revealed about him, which does not damage the viewing as keeping his identity mysterious makes him an even darker character, nevertheless, some information regarding who he is and his past might have made him even more interesting. With her portrayal of Nimue, Harrison creates a character who is a survivor and appears to be alone in the world, an outsider. As the centuries have passed by (Nimue is a witch and therefore probably immortal), she has built a life for herself, where she discreetly uses her supernatural powers to affect people. Perhaps most evidently, this short explores the occult and it does that very vividly. In order to look into other themes, it should be explained that in the film Nimue uses her magic to make a customer (Gronbeck) stand up to her partner (Steven-James), taking this under consideration, self-esteem is acknowledged. To a certain degree, this short also examines masculinity and men appear to be represented in negative ways, with Steven-James' character being obnoxious, inconsiderate and controlling and Vigh playing a murderous and treacherous man. A rather ominous film that takes its dark subject matter rather seriously. The sinister atmosphere, the frightful scenes and the characters portrayed by Harrison and Vigh make this project a worthy addition to the horror genre. VIEW REVIEW

Strangers Invitation film review by UK film critic Jason Knight. Starring Joseph B. Augustin, Kathy Morales, Amber Robinson, Jayda King directed by Teddy Joseph. HOME | FILMS | REVIEWS Strangers Invitation Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Sep 3, 2025 Directed by: Teddy Joseph Written by: Teddy Joseph Starring: Joseph B. Augustin, Kathy Morales, Amber Robinson, Jayda King A vampire horror feature written and directed by Teddy Joseph (who also produced, edited, and did the sound for the film - funding the project to boot) and starring Joseph B. Augustin, Kathy Morales, Jayda King and Amber Robinson. African American vampires are wreaking havoc in Miami. The story begins during the French Revolution, and Damien (Augustin) is a slave whose master is a vampire. His master decides to turn Damien into a Vampire, and centuries later, he ends up in present-day Miami. There, he decides the time is right to have some company and, one after the other, he turns three young women, Vanessa (Morales), Amber (Robinson) and Sasha (King) into vampires and the four of them prey on the people of Miami, leaving dead bodies everywhere. Meanwhile, the police are getting hot on their tail. The plot is intriguing: vampires stalk the streets of Miami at night, killing whoever they come across. As one might expect in a film about vampires, there is plenty of biting going on, a lot of gore, and the supernatural creatures have fangs and red eyes. Many people get killed. Although this is a blood-soaked horror story, it has major flaws. One thing is the acting, which is not very convincing, to say the least. Another negative aspect is that the low production value is evident, with unrealistic gore and poor special effects and there is awkward editing. Moreover, the duration is close to two hours, and the screenplay does not justify this length of time, focusing primarily on violence and unnecessary scenes, instead of moving the story forward. The performances are unrealistic, yet Augustin manages to bring some life into his character, portraying as a person (if vampires can be described as persons) who embraces the sinister and deadly being that he has become. Although Sasha seems content to have become a creature of the night, Amber and Vanessa have different perspectives, questioning the joys of such an existence. Joshua Germain and Frank Ronoti play two capable detectives who are trying to solve the mystery of the multiple slayings. Since this is a vampire story, immortality is one of its themes and the screenplay also explores the life of a vampire, presenting it as being an existence motivated by a thirst for blood. Additionally, the film also investigates loyalty and freedom. Strangers Invitation tries to take itself seriously and fails. Could this feature be acknowledged as a decent addition to the vampire genre? Even this genre's biggest fans will most likely find it hard to enjoy a film that is overlong, has poor acting and flawed special effects. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

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Hello, cinephiles, and welcome back to the silver screen, where the popcorn is hot, the seats are comfortable, and the magic is about to unfold. Autumn is officially upon us, and as the nights draw in, there’s no better time to get lost in the dark of a cinema. October 2025 is shaping up to be a cracker, with a movie line-up that’s more varied and exciting than a game of cinematic bingo. So, without further ado, grab your tickets and settle in, because here's what you absolutely must see this month. Tron: Ares First up, we have the long-awaited return to a digital landscape with Tron: Ares . It’s been a long time coming, but the buzz surrounding this sci-fi spectacle is deafening. With a stellar cast and what promises to be jaw-dropping visuals, this isn't just a sequel; it's a re-imagining of a cult classic for a new generation. Will it live up to the hype? Only time will tell, but I, for one, will be there on opening night with my 3D glasses firmly in place. The Black Phone 2 For those of you who enjoy a bit of a fright with your film, October is, of course, the month of spooks, and this year delivers in spades. The much-anticipated The Black Phone 2 is set to haunt our dreams with a sequel to the terrifying original. Scott Derrickson returns to the director's chair, and if the first film is anything to go by, we can expect a chilling, character-driven horror that will leave you on the edge of your seat. And if that's not enough to satisfy your craving for dread, look no further than Bugonia. Yorgos Lanthimos's latest is a pitch-black comedy about alien conspiracy theorists that promises to be as delightfully bizarre as his previous works. The Smashing Machine But it’s not all scares and sci-fi. For a dose of gritty, real-world drama, we have The Smashing Machine. A biopic about MMA fighter Mark Kerr, starring none other than Dwayne "The Rock" Johnson. This role is a genuine departure for Johnson and a chance to show off his serious acting chops. I’m utterly fascinated to see if he can truly embody the vulnerability and ferocity of a real-life champion battling his demons. If he pulls it off, we could be looking at a serious awards contender. Springsteen: Deliver Me From Nowhere And speaking of awards, the musical biopic Springsteen: Deliver Me From Nowhere looks like it could be a major player. Following the creation of Bruce Springsteen's iconic Nebraska album, this film has a rawness and intimacy that's already getting critics talking. Starring Jeremy Allen White as The Boss, this could be the definitive rock-and-roll film of the year. Mortal Kombat II For the gaming audience, there's Mortal Kombat II . This sequel to the video-game adaptation promises more visceral, fantastical fight choreography and fan-favourite characters. It's pure, unadulterated fun, and sometimes, that's exactly what you need. After the Hunt Finally, October brings a handful of films that I’m particularly excited about for their unique perspectives. After the Hunt, starring the incomparable Julia Roberts, is a thriller that delves into a university professor's world after a student's accusation. It sounds like a taut, suspenseful drama that will keep you guessing. Meanwhile, Roofman stars Channing Tatum as a real-life thief, a quirky, off-beat story that could be a sleeper hit. So there you have it, folks. A smorgasbord of cinematic delights to see you through the autumn. From big-budget spectacles to intimate dramas and nerve-shredding horrors, October 2025 has something for everyone. Get ready to lose yourself in the magic of the movies. I’ll see you at the concessions stand.

Film Feature by Chris Olson August's episode of the UK Film Club Podcast was packed tighter than a can of sardines, crammed with the latest movie reviews, short film reviews, and indie feature films. It was a pleasure, as always, to join my co-host Brian and cover some of the best movies out right now. As always, Brian gives his coveted "Film of the Month" award to one of the cinema releases, and this month it was for the new Stephen King adaptation, The Life of Chuck . Directed by Mike Flanagan and starring Tom Hiddleston, Jacob Tremblay and more, the film was co-written by Flanagan and King. The storyline goes: A life-affirming, genre-bending story about three chapters in the life of an ordinary man named Charles Krantz. Listen to Brian's review using the Apple Podcasts embed below: If you don't have Apple Podcasts, you can also check out Episode 30 of the UK Film Club Podcast on other platforms such as Spotify, Pocket Casts and more. Short Film Reviews on the Podcast Whilst we love covering the newest movies in UK cinemas, UK Film Club also takes time to appreciate indie filmmakers from around the world and in Episode 30 we covered 3 excellent short films: Kreaster : A proof-of-concept piece with impressive sci-fi stylings. Bread Winners : A startling and expertly crafted drama. Gold Hearts of Hot Rod County : An 80s-inspired coming-of-age film with excellent aesthetics. Indie Film Reviews on the Podcast We don't shy away from covering feature-length indie films on our movie podcast either, and in August's episode we were lucky enough to cover 2 excellent movies: The Bulls' Night Out : A 90s crime film crammed with New York accents. A Road to a Village : A Nepalese drama about the impact of progress in rural communities.

★★★★★ Starring: #GenevieveChenneour, #AdamFrith, #AlfieNoble, #MiaRodgers Directed by: #CarolineHajny Short Film Review by: Alexandra James Directed by Caroline Jajny, Diary of a Ghost  focuses on the theme of grief and loneliness, more specifically prolonged grief. No one can truly determine how long it is ‘acceptable’ to grieve someone close to you, however, it is difficult to place a time limit on something that can affect people so differently. For protagonist Sage, this grief feels like the weight of the world over the loss of her boyfriend, Riley. This deep sadness brings forth a lot of other emotions and forces Sage to isolate herself and remain rooted in the past, unable to escape the dark and terrifying memories. Instead of reliving the happy moments, she becomes fixated on his death and begins to lean into this trauma further by religiously writing in a grief journal as some form of comfort. A very real and powerful story that not only is touching but delves into a very important subject that many of us experience and yet perhaps are afraid to discuss. The complexities of grief are so vast, and Diary of a Ghost  explores just how much it can overwhelm many aspects of your life. We are introduced to Sage Evans, a stranger knocks on her grandmother’s door to check the meter, however, we quickly learn that her grandmother is now in a hospice leaving Sage alone in her house with nothing but her thoughts. Trying to distract herself, she meets with an old friend, but it was clear her mind was elsewhere. Their interaction inevitably leads to speaking of the past and in turn causes the flooding back of memories of her partner. Her friend assumes that she should be moving on at this point, given that it had been a year since the incident. But time almost stands still when faced with a traumatic loss and its as if everything around Sage is insignificant and she cannot find pleasure in anything anymore, even having a few drinks at the pub with friends. Actress Genevieve Chenneour conveys this feeling of heartache in a very realistic and moving way, there is a strong understanding of what it means to be stuck in this deep emotional pit, her commitment to the role is apparent and extremely moving. Diary of a Ghost  is a creative and honest representation of prolonged grief and focuses on the individual and often how difficult it is to convey to others how painful and consuming grief can be. This narrative shows that not everyone can pull themselves out of this emotion so easily and very much remain in the past, unable to see a light at the end of the tunnel. Instead, many people unfortunately dwell and surrender to this emotion. For Sage, this diary kept her very much stuck in one place and the seclusion only pushed her further into this inescapable pain. A film that many can relate to, as it highlights the dangers of just what can happen when trapped in a state of despair.