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Empire of Lies arrives in UK cinemas and on digital platforms on 27th March.. Brand new film trailers. Empire of Lies The arrival of the trailer for Empire of Lies signals a compelling shift for director Matthew Hope. Known for the gritty, tactical pacing of The Veteran and All the Devil’s Men, Hope appears to have traded the high-stakes battlefield for the claustrophobic confines of an interrogation room. This first look suggests a film that is less about external conflict and more about the corrosive nature of grief and institutional distrust. Produced by Magus Films, the project marks a significant milestone as their debut UK theatrical and digital release, scheduled for 27th March. The trailer introduces us to David "Dave" Harris, portrayed by the versatile Joseph Millson. Harris is a man living on the fringes, haunted by the unresolved murder of his daughter. What begins as a standard interview quickly descends into a psychological tug-of-war. Millson, a veteran of high-octane productions like Casino Royale and The Last Kingdom, seems to be operating at a different frequency here. Matthew Hope’s signature exploration of paranoia remains intact, but the aesthetic has evolved. The trailer leans into a "two-hander" structure, focusing heavily on the dialogue and the mounting tension between Harris and his interrogator. It is a more intimate, performance-led approach that prioritises psychological depth over traditional action beats. By partnering with international sales agent Exit 44 Entertainment, Magus Films is clearly positioning this as a high-calibre independent feature with global appeal. If the trailer is any indication, Empire of Lies will be a somber, thought-provoking examination of where truth ends and self-deception begins. Empire of Lies arrives in UK cinemas and on digital platforms on 27th March 2026. Empire of Lies Empire of Lies arrives in UK cinemas and on digital platforms on 27th March. Undertone Undertone is scheduled to arrive in cinemas on Friday, March 13th, 2025. If the trailer is anything to go by, we suggest you keep the lights on and perhaps think twice before pressing play on your next favourite podcast. The Moment The Land of Sometimes Twins Alfie and Elise find a magical Wish Watch on Christmas Eve and are swept by the Wish Collector into the musical Land of Sometimes, where they learn that wishes have consequences. Avengers: Doomsday Fans are elated at the release of the first teaser trailer for Avengers: Doomsday. Set for a theatrical release on 18th December 2026, find out more here. Greenland 2: Migration Now, the first official trailer for the sequel, Greenland 2: Migration, has landed, promising to take that survivalist tension into even more treacherous territory. Looney Tunes: The Day the Earth Blew Up Looney Tunes: The Day the Earth Blew Up Official Trailer. Looney Tunes: The Day The Earth Blew Up will be in UK & Irish cinemas from 13th February 2026. Mother Mary Ultimately, the Mother Mary trailer establishes a compelling promise: a film that uses the theatricality of the music industry to explore something primal about identity and obsession. Ready Or Not 2: Here I Come In the trailer for Ready Or Not 2: Here I Come establishes a new, thrilling chapter. It’s a sequel that dares to go bigger, transforming a single family’s twisted tradition into a full-scale, world-controlling bloodsport. Shelter People We Meet On Vacation People We Meet On Vacation looks set to be a thoroughly British affair in its tone and appeal—a charming, heartfelt escape, promising both belly laughs and a good cry. Doctor Plague Wake Up Dead Man: A Knives Out Mystery This first glimpse of Wake Up Dead Man isn’t just a trailer; it’s a brilliant statement of intent. The film looks primed to be a festive treat for audiences looking for a compelling, cleverly constructed mystery. Michael Michael is set to arrive in cinemas in the UK and Ireland on the 24th of April 2026, and based on this compelling first look, the world will indeed be waiting. The Carpenter's Son We anticipate that The Carpenter's Son will be less of a retelling and more of a deeply disquieting examination of power, temptation, and the human cost of being chosen. It arrives on 21st November. Eternity Eternity looks set to be a sophisticated, imaginative film that avoids the usual genre clichés by grounding its absurd plot in stellar performances. Kontinental '25 The promotional material and critical buzz surrounding Kontinental ’25 confirm that the winner of the Silver Berlin Bear for Best Screenplay is not only back, but operating at a fever pitch of urgency and daring. Anniversary Kenny Dalglish It's rare for a documentary trailer to stir the soul quite as effectively as the first look at Kenny Dalglish, the upcoming feature focusing on the life and legacy of one of British football's most revered and complex figures. Is This Thing On? Searchlight Pictures has premiered the teaser trailer for Is This Thing On?, and it suggests we are in for a sharp, melancholic comedy that mines the humour and heartbreak of mid-life crisis through the lens of stand-up.

Film trailers and movie reviews from some of the best cinema releases in the UK. Watch film trailers and movie clips here. Film Trailers Watch the Latest Movie Trailers Here! Alongside our passionate Film Reviews , we also like to promote the biggest and best film trailers from this year's upcoming theatrical releases. Here you will find some of the most exciting clips of films, from your dramas and romantic comedies, to superhero films and biopics. Fair warning, these movie trailers may contain spoilers or give you unreasonable expectations as to the quality of the full film. UK Film Review take no responsibility as to whether these trailers are appropriate to your sensibilities. If you are looking for movies off the beaten track, check out our other movie trailers pages for short and indie films. You can find these by looking under the Film Trailers drop-down in the main navigation. There you will find some of our favourite movie trailers from filmmakers in the UK and worldwide, doing our best to support indie films. If you would like to submit your trailer, there is an option at the bottom of those pages. Don't forget to FOLLOW us on Facebook and Twitter, where we promote the latest film trailers and film reviews. Also use the YouTube button below to SUBSCRIBE to our channel, which has tons of movie trailers, vlog film reviews, and clips. All that's left to say is enjoy these trailers, share with your friends (and enemies), and come back regularly for more. Empire of Lies Undertone The Moment The Land of Sometimes Avengers: Doomsday Greenland 2: Migration Looney Tunes: The Day the Earth Blew Up 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 Michael The Carpenter's Son Eternity Kontinental '25 Anniversary Kenny Dalglish Is This Thing On? Movie Trailers to Come Looking for a reason to check back? Well, this page will promote movies for the rest of the year and we will continue to unleash them as the months progress. Many film studios release their best movie trailers near the final stages of a film's release to tie in with their marketing which builds to a crescendo, like the final third of a Marvel superhero movie! If you would like to submit a trailer for our consideration, please do so to info@ukfilmreview.co.uk . If we like what we see we may put it on one of our pages. We may also promote it on social media, because that is where people love to engage with vids and clips...but mostly of pugs. Who doesn't love pugs? Spoilers in Movie Trailers Many film lovers get in touch with us to express their outrage at firstly studios who include way too many spoilers in their marketing material, and then at us for sharing such spoilerific clips. A totally understandable and reasonable feeling, especially given the recent popularity amongst trailer makers to show footage from the final third of a film! If you think one of the movie trailers on our website contains too many spoilers, please let us know (using the usual social media platforms) and we will investigate. It may be that we grab the pitchforks and turn up at the doors of Warner Bros demanding satisfaction. It may be that we take to Twitter and bombard the film's stars with the most aggressive emojis and hashtags we can muster. Or it may be that we do absolutely nothing. Either way, you can be sure that you did your darndest to effect massive change in the world for a genuinely important cause. What is a movie trailer? A movie trailer is a promotional piece of footage compiled using scenes or sequences from a film. The movie trailer may also include additional material or music to enhance the effec for the viewer. What is the purpose of a movie trailer? Movie trailers are used to build anticipation and excitement leading up to a film's release. Often they contain elements that will particularly appeal to fans of the genre they are targeting. How long should a movie trailer be? Typical movie trailers are around 2 minutes in length. Sometimes teaser trailers are used and these can be anything from 10 seconds to 1 minute plus. How do I make a movie trailer? You will need to have the footage material from the film you are planning to make a trailer for. You should also have video editing software, music (including the licence to use it), as well as any graphics you plan to use such as intro or outro sequences.

Film Trailers Empire of Lies More Undertone More The Moment More The Land of Sometimes More Avengers: Doomsday More Greenland 2: Migration More Looney Tunes: The Day the Earth Blew Up More Mother Mary More Ready Or Not 2: Here I Come More Shelter More People We Meet On Vacation More Doctor Plague More

Film Feature by Chris Olson This February, Netflix is offering a slate that ranges from the grim reality of British true crime to the delicate nuances of South Korean romantic drama. Having already promoted several other New Movies on Netflix 2026 , I was thrilled to see a few more added to their lineup. These additional offerings are a mixed bag of emotional weights and cultural perspectives. We have a documentary that has already sparked a firestorm of ethical debate, a historical biopic from Sweden that aims to rewrite a chapter of the Second World War, and two Asian features that explore identity and connection with remarkable tenderness. It is a month for viewers who like their entertainment with a side of introspection. The Investigation of Lucy Letby The Investigation of Lucy Letby Official Trailer Released on the 4th of February, The Investigation of Lucy Letby  is perhaps the most high-profile and controversial addition to the platform this year. Produced by ITN Productions, this ninety-minute documentary arrives amidst a chorus of disapproval from Letby’s own parents, who have publicly condemned the film as an "invasion of privacy." From a filmmaking perspective, the documentary employs the kind of "unprecedented access" that has become a Netflix hallmark. It features previously unreleased footage of Letby’s arrest at her home in Chester, alongside interviews with the police officers and legal minds who navigated the complexities of Britain’s most prolific child serial killer case. What is most striking here is the shift in tone. While earlier coverage of the trial focused heavily on the horrific nature of the crimes, this film attempts to pull back the curtain on the procedural mechanics. However, one cannot ignore the ethical discomfort. By including footage of Letby in her domestic setting—the "dressing gown arrest" that has become a focal point of the family's criticism—the filmmakers tread a very thin line between public interest and sensationalism. As a critic, I find the craft of the documentary impressive, but as a viewer, there is a lingering question about whether some stones are best left unturned for the sake of the victims’ and families' dignity. This Is I This Is I Moving from the dark realities of the UK to the vibrant, neon-lit streets of Japan, This Is I  (premiering on the 10th of February) offers a much-needed emotional counterpoint. Directed by Yusaku Matsumoto, this is a biographical drama centered on Ai Haruna, a beloved Japanese transgender icon. The film is a beautiful exploration of the human spirit. It follows Kenji, a young boy with dreams of becoming an idol like Seiko Matsuda, who eventually undergoes the first gender confirmation surgery in Japan performed by the pioneering Dr. Wada. Haruki Mochizuki, an eighteen-year-old newcomer, delivers a performance of incredible vulnerability and strength as Ai. Opposite her, the esteemed Takumi Saitoh brings a grounded, compassionate energy to the role of Dr. Wada. What makes This Is I  stand out is its musicality. The film is peppered with hits from the Showa and Heisei eras, using J-pop as a narrative tool to express the protagonist’s inner joy and longing. There is a sequence where Ai steps out into the city in a red dress for the first time, choreographed by Akane, that is pure cinematic bliss. It reminds us why we watch films: to see the world through someone else’s eyes and feel their triumph as if it were our own. The Swedish Connection The Swedish Connection On the 19th of February, Netflix takes us back to the 1940s with The Swedish Connection . In the tradition of Schindler’s List  or The Imitation Game , this film seeks to illuminate the life of a forgotten hero. That hero is Gösta Engzell, a bureaucrat within the Swedish Foreign Ministry during the Second World War. Sweden’s "neutrality" during the war has long been a subject of historical scrutiny, often painted with a brush of moral ambiguity. This film challenges that narrative by focusing on Engzell’s quiet rebellion. Through bureaucratic manoeuvring and sheer moral fortitude, Engzell helped save thousands of lives from Nazi persecution. The film is a taut, intellectual thriller. It doesn’t rely on explosive set pieces but rather on the tension of the "paper war." It explores how one man, working within a rigid and often indifferent system, can become a "moral superpower." For fans of historical dramas that value nuance over melodrama, this is essential viewing. It is a sombre, well-constructed piece of cinema that asks what we owe to our fellow man when the world is falling into darkness. Pavane Pavane (2026) Finally, on the 20th of February, we have Pavane , a South Korean romantic drama directed by Lee Jong-pil. Based on the novel Pavane for a Dead Princess  by Park Min-gyu, the film is a delicate, melancholic study of beauty and perception. The story follows three individuals who have, for various reasons, retreated from the world. Mi-jung (played by Go Ah-sung) lives under the weight of society’s judgmental gaze regarding her appearance; Yo-han (Byun Yo-han) is a rock-loving free spirit; and Gyeong-rok (Moon Sang-min) is a man who has traded his dreams for the daily grind. Their lives intersect in the subterranean world of a department store car park. Lee Jong-pil has a knack for finding the extraordinary in the ordinary. Pavane  is a film of small moments—shared laughter, quiet observations, and the slow thawing of guarded hearts. It is a "melodrama" in the best sense of the word, focusing on the internal landscapes of its characters. The chemistry between the lead trio is palpable, making the central question of the film—whether one can truly love again after being hardened by life—feel deeply resonant. It is a poetic conclusion to a month of heavy hitters. February 2026 on Netflix feels like a month of confrontation. Whether it is confronting the ghosts of a criminal investigation in the UK, the rigid social structures of mid-century Europe, or the personal barriers we build around ourselves in modern-day Asia, these films demand something of the audience. As always, I encourage you to seek out the stories that challenge you. While the Letby documentary may be a difficult watch for many, the bravery shown in the narratives of This Is I  and Pavane  offers a hopeful balance.

Film Feature by Chris Olson The musical biopic has become a staple of the modern cinematic landscape, a genre that often teeters between hagiography and gritty realism. From the foot-stomping success of Bohemian Rhapsody to the psychedelic flourishes of Rocketman , audiences have proven they have a nearly bottomless appetite for the origin stories of their idols. However, none carry the cultural weight, the complexity, or the sheer visual potential of the latest subject to take centre stage. The official trailer for Michael has finally arrived, and if the first look is anything to go by, director Antoine Fuqua is aiming for nothing less than a definitive epic of the man who redefined the very concept of global stardom. Scheduled to arrive in UK and Ireland cinemas and IMAX on 24th April 2026, Michael promises to be a sprawling exploration of the King of Pop’s life and legacy. For those of us who track the trajectory of British and international film, this is the kind of project that demands attention not just for its subject matter, but for the formidable creative team assembled behind the camera. Produced by Graham King—the man who navigated the Freddy Mercury story to box office records—and written by three-time Academy Award nominee John Logan, the pedigree here is undeniable. The trailer opens with a haunting intimacy, immediately addressing the dual nature of Jackson’s existence: the immense public pressure and the internal drive for perfection. We hear voices of encouragement and demand—reminders of being "the greatest of all time" set against the harsh reality of Joe Jackson’s disciplinarian roots. "In this life, you’re either a winner or you’re a loser," bellows Colman Domingo’s Joe, grounding the film in the industrial grit of Gary, Indiana. It is a striking starting point that highlights the film’s intent to look "beyond the music," as the official synopsis suggests. The most anticipated element of this production is, of course, the lead performance. Casting a figure as physically and vocally unique as Michael Jackson is a Herculean task, yet the choice of Jaafar Jackson—Michael’s own nephew—feels like a masterstroke of both authenticity and poetic symmetry. In the footage provided, the resemblance is frequently uncanny. It isn’t just the prosthetics or the iconic costumes; it is the way he holds himself, the softness of the speaking voice, and the explosive energy of the choreography. This is Jaafar’s feature film debut, and the trailer suggests a performance of immense vulnerability and physical precision. Fuqua, known for his visceral directing style in films like Training Day and The Equalizer, seems to have traded his usual gritty palette for something more expansive and luminous. The trailer showcases a breadth of eras, from the Motown days of the Jackson Five—where Juliano Krue Valdi portrays a young Michael with startling charisma—to the solo heights of the 1980s. The cinematography captures the "magic" that Michael speaks of in the final moments of the teaser, promising a front-row seat to the creative process that birthed the visionary artist. The supporting cast is equally impressive, adding significant weight to the drama. Academy Award nominee Colman Domingo appears to be a formidable presence as Joe Jackson, while Nia Long portrays the family matriarch, Katherine Jackson, with a quiet strength that serves as the emotional anchor of the trailer. Miles Teller and Laura Harrier also feature, suggesting a film that isn't afraid to populate its world with heavy-hitting dramatic talent to match the scale of the production. What stands out most in this first look is the film’s focus on Michael’s personal philosophy. "I believe music can change the world," we hear him say, expressing a desire to spread "love, joy and peace." It is a sentiment that contrasts sharply with the glimpses of the media circus and the internal family pressures that sought to turn the Jackson name into a "brand" akin to Coca-Cola. By framing the story as a "relentless pursuit to become the biggest entertainer in the world," John Logan’s screenplay appears to be examining the cost of that ambition. For UK audiences, the promise of an IMAX release is particularly enticing. Jackson was an artist who thought in terms of grand scale—short films rather than music videos, and spectacles rather than concerts. To see these iconic performances recreated on the largest possible screen will be a nostalgic trip for long-time fans and a revelation for younger viewers who only know him through digital archives. The trailer hints at recreations of legendary stage moments that look set to benefit from the immersive power of the IMAX format. As a film critic, one is always wary of the "sanitised" biopic, particularly when family members are involved in the production. However, the involvement of John Branca and John McClain, alongside the dramatic sensibilities of Fuqua and Logan, suggests a film that aims to be a serious piece of cinema rather than a mere tribute act. It seeks to humanise a man who was often treated as a myth or a tabloid fixture, returning the focus to the "visionary artist" and the "relentless pursuit" of his craft. In the final seconds of the trailer, as the lights go down and the iconic silhouette emerges, there is a palpable sense of excitement. Whether you grew up during the height of Thriller-mania or discovered his music decades later, the influence of Michael Jackson is inescapable. Come April 2026, cinema-goers in the UK and Ireland will have the opportunity to see if Fuqua has successfully captured that lightning in a bottle. If the trailer is any indication, Michael will be the cinematic event of the year—a complex, vibrant, and deeply moving portrait of a life lived in the blinding glare of the spotlight. This is where his story begins, and on the evidence of this footage, it is a story that still has the power to captivate the world.

Star rating: 3/5 Writer: Oliver Cox Director: Oliver Cox Starring: Silvia Presente, Kit Eruso, Joe Lockhart, Paul David-Cough, Gregory Fung, Sammy Elkhatib and Reece Henderson. Lure is a convoluted, violent cinematic metaphor for searching for ‘the one’. It all starts very nicely. Tom, a young 20 something from London, is being driven by his father to a party where he will get the opportunity to find a new crowd. Or so he thinks. He arrives at a typical British country house, where he is greeted by Islay, who is supposedly hosting the party and who tells him he is the first to arrive where he asks where the others are. It turns out this is no party, and Tom is about to join the worst ‘game’ of his life, where his qualities will be tested in relation to other men’s, with a view to be the father of Islay’s ‘perfect’ future child. This ‘game’ at the centre of Lure is like a nasty version of The Traitors, the worst you’ve ever seen, and here is where the film becomes a really gratuitous piece, with near constant scenes of torture that are unpleasant to watch. The film is somewhat saved by the actor’s performances, and the set and costume design. In terms of the performances, Silvia Presente is rather brilliant as Islay, putting on an almost theatrical display. The whole cast responds with truly energetic performances- as much as performing about 60 minutes of tension and torture can be called ‘energetic’. But the quality of the cast is undeniable. The set design meanwhile is tasteful, and powerful, with an earthy though dark colour tones. These match the costume design, particularly Islay who wears a monochrome outfit that is at once beautiful but somehow also fitting the nasty occasion. Frustrated by her continued failed attempts at these games, Islay asks her mother ‘when will I find one?’. 'You cannot rush these things', is the answer given to Islay. This is a question that resonates deeply for my generation (just reached 30) who yearns for connection while on many occasions searching for it the wrong way, or in the wrong places. We are, on the whole, a violent generation. Perhaps we may even see Lure as a somewhat intelligent metaphor of the modern 'dating game', where it can go awfully wrong, be unpleasant as an experience and is taken as being all about the result, the end game (including having children), with massive disregard for feelings or actual connection. Lure has sparks of an interesting argument not just about dating but about navigating the pain and frustrations of 'searching' for a partner, and the feelings of those at the other end of our 'searching', but the gratuitous violence means I personally would not watch it again. Lure is on UK digital 2 February from Reel2Reel Films.