Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 4 out of 5 Godzilla Minus Zero Read Review average rating is 4 out of 5 The Social Reckoning Read Review average rating is 3 out of 5 Other Mommy Read Review average rating is 3 out of 5 Laundreams Read Review average rating is 3 out of 5 Ghost in the Cell Read Review average rating is 4 out of 5 The Last First: Winter K2 Read Review average rating is 4 out of 5 Wicker Read Review average rating is 3 out of 5 Tears Of Knowing Read Review average rating is 4 out of 5 Forgotten Island Read Review average rating is 4 out of 5 You Had to Be There Read Review average rating is 3 out of 5 The Stunt Driver Read Review average rating is 4 out of 5 The Incomer Read Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

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. Pearls - Rosscoe Frantz Finn O'Toole Ahead (Music Video) James Learoyd Postcards Nina Rawlingson Super Duper Lee Sinden Peekaboo James Learoyd Ghosts Madeleine Lavers It's Not Goodbye - December Fades Official Music Video Chris Buick Return to Elenore Matt Trapp TELEPROMPTER - Late Night Television Matt Trapp Bitter Cherry – Hunger Short Film Review alexjames96 Jun 3, 2025 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

Once Upon a Time in the Apocalypse film review by UK film critic Lewis McLeod. Starring Sérgio Godinho, Mariana Pacheco, Paulo Calatré directed by Tiago Pimentel. HOME | FILMS | REVIEWS Once Upon a Time in the Apocalypse Film Review average rating is 4 out of 5 Critic: Lewis Mcleod | Posted on: Oct 11, 2026 Directed by: Tiago Pimentel Written by: Tiago Pimentel, António Miguel Pereira Starring: Sérgio Godinho, Mariana Pacheco, Paulo Calatré “Once Upon a Time in the Apocalypse” (“Era Uma Vez no Apocalipse”), a Portuguese short film released in July 2024, follows Ernesto (Sérgio Godinho), a rebel against the totalitarian regime present in the nuclear winter set in the seemingly not so distant future following an imagined version of World War Three. We the audience observe as Ernesto attempts to retain peace and safely hide his daughter, Helena (Marian Pacheco), alongside a rescued infant, when a strict colonel (Paulo Calatré) breaches their solitary cabin. Tension rises as the colonel establishes dominance over the course of the interrogation, allowing for a gripping altercation to occur in such a short amount of time, and in one single setting. The short instantly reigns similar to media depicting Cold War confrontation: the air of recovery from a recently concluded war, authoritarian oppression and those who are psychologically breaking underneath the weight of survival; this is immediately addressed in universe with a spoken comparison. In a scary fact, the aftermath of nuclear inclusion creating this winter-adjacent atmosphere is about the only thing to differentiate what we see here to what we have been exposed to hundreds of times before (e.g. George Orwell's Nineteen Eighty-Four). Upon the colonel’s arrival, it is evident that Ernesto priorities the wellbeing of his family over that of the State. This is reinforced by his later revelation as a rebel on the run who operated during the war, fighting for freedom. Helena, now hiding in the house, is being hunted for stealing food from government warehouses; this allows for the involvement of deceptive tactics utilised by the colonel as he asks Ernesto if he may offer any confectionary (likely stolen). An unexpected Pinocchio book becomes the crux of the interrogation, a genius tool to explore the roles of our rebel and fascist ideologies. Ernesto, our “Pinocchio”, lies under positive intentions in an aim to do ultimate good, whilst the colonel (almost laughably) draws similarities between himself and Jiminy Cricket (this well-meaning cricket often serves as a conscience and moral compass for the titular character). A fascist state, whilst definitely eliminating lapses in judgement, would never hesitate in the killing of such troublemakers. “This is a strange new world,” the colonel claims, whilst only threatening the same punishment committed globally (and daily) preceding the fictional war. This irony is not hard to detect when scratching the surface of any autocratic power. The ultimate conclusion is shocking, yet telling of the cycles of war - violence will continue to fester amongst our species, even following nuclear action. I could also tell the interpretations of the surprise final twist, but a full viewing experience is definitely worth the jaw dropping disclosure. Operating under an approximate €20,000 budget, director Tiago Pimentel was able to generate almost a feature-length feel to this 21 minute runtime, almost as if this scene is a gateway into a much larger narrative, perhaps revenue generated may be channelled into future projects to explore this impending new world. This high level professionalism can be accredited to cinematographer Tomas Brice, using an Arri Alexa camera equipped with Arri Aster Anamorphic Lenses to allow for a wide, cinematic scope. The hiring of Sérgio Godinho, one of the most influential and versatile forces in Portuguese pop music, and production designer Luis Sequeira, two-time Oscar nominee for his work on The Shape of Water (2017) and Nightmare Valley (2021), certainly cement the influential nature of this production (carried out by Jângal Studios). Every detail is nailed to a tee, whether the muted tones to immerse the viewer into this post-apocalyptic milieu, the straight-edged versus bending designs of the colonels and Ernesto’s brandy glasses, or the expertly crafted dialogue of the interrogation. The film amassed a successful, multi-year festival run winning several awards such as “Best Short Film” at Gen-Con Film Festival and undergoing screenings at San Diego and New York Comic Con. It also took advantage of the San Diego Roxie Theatre’s First Looks Program in an effort to achieve Academy Award eligibility requirements. It may be safe to say that this fictional conjecture does not solely exist on the basis of creating entertaining drama - it is a sharp warning of the establishments that the harsh nuclear winters could bring following a World War Three scale catastrophe. This intriguing approach takes a bottom-up view from the perspective of these secluded fugitives, rather than a overview of the entire world state throughout this aftermath, allowing for a more personalised and relatable feel. I would easily recommend “Once Upon a Time in The Apocalypse” purely on account of latter half absurdity, however I would implore that the overarching message is taken at face value: fascist regimes are not just a thing of the past, and the end of the world may not be enough to stop them. Buy UKFR Banner Space About the Film Critic Lewis Mcleod Short Film, Film Festival < All Reviews Next Film Review >

Directed by: Federico Borgia Written by: Federico Borgia Starring: Roberto Suárez, Maitina De Marco, Esteban Bigliardi Film Review by: William Curzon ★★★ Prince follows the titular Afghan hound, whose owner is devoted to him. As Jaime (Roberto Suárez), a devoted butler, settles in with the titular dog, greedy relatives scheme to disrupt their peaceful arrangement in a ruthless custody battle. Prince is a feature-length film that explores themes of wealth, greed, and love in a darkly comedic take on domestic life. Prince opens with a unique approach, relying heavily on visual storytelling to show the audience the central characters’ opulence. It's a commendable choice, as it explores Jaime and Prince in their daily routine without overexplaining the story’s ideas and themes. It's a double-edged sword as the characters bathe in their wealth, yet their struggles with depression and self-doubt make it hard not to feel sorry for them despite their flaws. Jaime is a compelling central character, conveying his devotion to Prince profoundly, and it is engaging to watch as he deals with the supporting characters attempting to disrupt their relationship. While it takes a while to find its footing, the narrative becomes far more compelling as the central conflict begins to brew. Writer/director Federico Borgia’s script is incredibly provocative in the way it explores themes of fortune, depression and domestic life. The film balances its satirical edge with the narrative’s dramatic elements profoundly. While it may suffer from a meandering pace that detracts from the experience, the screenplay’s deep dive into Jaime’s struggle with grief makes the prolonged runtime rewarding. Despite feeling like a chore to sit through at times, the film’s final stretch ties all the narrative threads together, leading to an uncomfortable and eerie conclusion that may linger in viewers’ minds after the credits roll. Many of the film's technical aspects are incredibly impressive. Ismael Varela serves as the film's composer and delivers a melancholic score that accompanies certain scenes superbly. That said, it can become repetitive due to recurring motifs. Ramiro Gonzalez Pampillon serves as the film’s cinematographer and primarily frames each scene with wide shots to capture the wealth and splendour of the bungalow Prince lives in. The camera also shifts to tracking during an incredibly tense sequence as it follows Jaime in anguish, with the score swelling in the background. This scene in particular is a standout in the film as it is a wonderfully shot, tightly edited, and well-acted piece of filmmaking. Prince film trailer Roberto Suárez’s portrayal of Jaime is incredibly engaging throughout. He perfectly captures the character’s affluence and self-pity while also conveying the emotional nuance in the film’s final third. His chemistry with Maitina De Marco as Isabel in her brief screen time is also remarkable. Roberto Suárez’s performance shines in the film's conclusion, as his expressive body language beautifully conveys the characters' fall from grace. The supporting players are also memorable in their portrayals of despicableness as their characters work their way into Prince and Jaime’s peaceful life. Prince is a compelling depiction of prosperity, greed, and domestic life. While the film may suffer from pacing issues, its eerie conclusion makes it ultimately rewarding. Anchored by a remarkable central performance from Roberto Suárez and unique camerawork, Prince is a memorable piece of indie filmmaking.

★★★★ Directed by: Molly Manners Written by: Rose Tremain, Miriam Battye Starring: Marni Duggan, Galaxie Clear Film Review by: Chris Olson Poignant, heartfelt, and low-key, Extra Geography is the new coming-of-age comedy drama directed by Molly Manners. Based on the Rose Tremain short story, we follow Flic (Marni Duggan) and Minna (Galaxie Clear) as they navigate their tumultuous time as boarding school students on the precipice of adulthood. Initially traversing the school like they own the place, the pair set themselves the task of “falling in love” with the first person they lay eyes on (their geography teacher), Flic and Minna then begin to experience the anxiety-provoking yet inevitable growing pains that can only come from this period of life. The chemistry between the two leads feels like a real friendship, and this film lives and dies on that connection. Flic and Minna have a banter reminiscent of that of Amy and Molly in Olivia Wilde’s 2019 film of the same genre, Booksmart (which is also great!). Their penchant for dramatic bleakness gets peppered with moments of ebullient joy that can only come from people of this age, and it gets beautifully rendered on screen. “If you were happy it would probably mean you were thick”. Laden with dry wit, Extra Geography's script immerses the audience in an authentic regaling of British teenage years, sans parents, where every step taken feels crucial. Whether it’s chasing boys or wearing makeup, it’s life or death, and that atmosphere of intensity for the characters plays out amongst the scenic beauty of the school and grounds. Extra Geography Official Trailer It’s dipping into important topics such as orientation and gender roles but not in a way that smacks you over the head with the works of Jane Austen. Instead, the audience is treated maturely and asked to pay attention to the subtle manipulations we all experienced during puberty without even knowing it. The jaunty classical soundtrack creates a nice synergy with the classic literature being referenced - it’s a perfect film for the bookish, especially with the story being divided up into chapters, catering for the Netflix crowds who gorged on the likes of Sex Education and Heartstopper. It slides easily into the same league as coming-of-age movies like the aforementioned Booksmart, or the excellent 2017 Lady Bird. Just be ready to see a lot of tampons. Extra Georgaphy is in UK cinemas on October 2nd, 2026.

Directed by: Cyrus Neshvad Written by: Guillaume Levil, Cyrus Neshvad Starring: Malik Zidi, Brigitte Urhausen, Lydia Indjova Film Review by: Holly Baker ★★★★ Child (2026), directed by Cyrus Neshvad, is a disturbing thriller with striking imagery, set in rural Luxembourg. The film follows a couple, Anne and Gregg whose child is seriously ill, and pictures their journey into morally compromising methods to help their dying son. Viewers may find this couple of parents difficult to root for, as seeing the number of people they are willing to hurt along the way for the life of their son is brutal. However, those who watch, particularly can understand how strongly they care about their son, and can comprehend the horrors of what it would be like to lose a child. The film is relentless from the opening shot. We see washed-out, hopeless imagery from the outset as cinematographers do not shy away from the gloomy realities of extreme trauma and child death. Child could certainly qualify as a horror film, with its immense darkness and violence, as the couple gradually lose themselves in the dark criminal underworld. Similar to Cyrus Neshvad’s previous directorial work, which is made up of several critically acclaimed shorts, such as I Will Be Alright (2026) and The Red Suitcase (2022), Child is considerably artful in its presentation of grim subjects. The film uses largely outdoor settings allowing the natural world to characterise the screen. As well as this, there is an interesting colour contrast in the grading, particularly in the hospital segments, with their blue-grey misery evoking the atmosphere of a horror film. Child Official Film Trailer Despite the thrillingly horrific events of the film, the characters consistently feel authentic in their despair, and they pose intriguing ideas about the world around us. In this way, they feel almost Shakespearean in the way that their doom is shaped by society, but also by their own fatal errors. Gregg, for instance, is somewhat responsible for their son's tragedy, and therefore refuses to allow him to die as this guilt would kill him. Anne is, from first impressions, an empathetic, good-willed individual; however, she throws all this away at the chance to save her son. By abandoning basic moral principles, and even betraying one of their own, a fellow mother, the couple descend into a world of chaos where laws no longer apply. Viewers may find their minds drawn to “The Rime of the Ancient Mariner”, a classic Gothic poem wherein a moral boundary being broken brings a curse to a mariner's journey, tormenting him for the rest of his life. Similarly, Anna and Gregg will never escape the guilt of their actions, as Child highlights the way that small decisions lead to a lifetime of owed penance. The minimalistic. costuming and make-up in Child is incredibly effective in highlighting the shock factor of crucial moments. There is a focus on facial expression, particularly in the eyes of Anna, as viewers witness her desensitisation to the people she fails to help along the way. Both characters wear fairly nondescript outfits, underlining the idea that potentially any individual may be capable of committing immoral acts when placed in a position of absolute peril. Overall Child is a tough but worthwhile watch for viewers who are comfortable with graphic depictions of child kidnapping and organ harvesting. Though it is desperately dark in its most upsetting moments, there is an immense beauty in the careful cinematography, brilliant performances, and touching tragedy. Child will be in UK Cinemas from 2nd October