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 Aurora Read Review average rating is 3 out of 5 Leviticus Read Review average rating is 4 out of 5 Teenage Sex and Death at Camp Miasma Read Review average rating is 3 out of 5 Bury the Devil Read Review average rating is 4 out of 5 Tony Read Review average rating is 2 out of 5 The Defectors Read Review average rating is 4 out of 5 The Legend of Juan Jose Mundo Read Review average rating is 4 out of 5 The Rivals of Amziah King Read Review average rating is 4 out of 5 Union County Read Review average rating is 1 out of 5 Chum Read Review average rating is 3 out of 5 Mintrix and the Elven Figurine Read Review average rating is 2 out of 5 Big Baby 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. 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 Lennington Evening-Blooming Cellar Jason Knight Ethereal Matt Trapp Blooming Cellar-Tuesday Jason Knight 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

Short film reviews from some of the best movies in the UK. Read reviews from some of the best short film critics. Short Film Reviews Welcome to the UK Film Review page for short film reviews . Here you will find some of the best and brightest sparks in a sea of cinema. Filmmakers from across the globe submit their short films to us to be reviewed, and our Contributors lovingly dissect them. If you would like one of our team to write a film review of your short film, please use the form on our Submit Your Film page Our short film reviews are written by passionate film critics across the UK and aim to highlight and promote terrific filmmaking when we find it. We are always honest with our reviews, so if you are looking to submit your short film for review, please do so knowing that we will not alter what we have said because you don't like it. There is a wealth of amazing talent in the short film industry, and we hope by writing film reviews about this underexposed creativity we can get your movies to a new audience...but we need your help. Please join in the chatter on our social media channels so that we can grow our community and share the joy. Use the buttons in the footer to Like us on Facebook, Follow us on Twitter, and Subscribe to us on YouTube #supportindiefilm. The selection of short film reviews you see below are mostly for films submitted to us. In this instance, the filmmaker has requested us to watch and provide a short film review. Alternatively, visit our Latest Short Film Reviews page . Get Your Short Film Reviewed More Film Reviews Aurora William Hemingway Whisper Of The Ink Charlotte spark Doggerland: The Dead & The Lonely William Curzon All Dogs Go To Heaven Nina Rawlingson Rogue Elements Lee Sinden Regressions Jason Knight The Defectors William Hemingway A Life, or Two Nina Rawlingson The Foreboding: Fractured Madeleine Lavers Rhythmic Exercise with Priadi William Curzon Shhhhh Charlotte Spark Mintrix and the Elven Figurine Patrick Foley Swallows of a Damned Spring Chris Buick As You Wish Jason Knight The Circle Lee Sinden Peekaboo James Learoyd The Chronicles Of The Struggling Actor William Hemingway The Date William Curzon Paintbox Jason Knight AVALUDAN Matt Trapp Questionable Matt Trapp Bobby Matt Trapp Dead Air William Curzon The Quiet Ocean William Curzon Swiped James Learoyd Load More Reviews What is a short film review? A short film review is often written by a movie critic and it's their opinion on a film that is less than sixty minutes long. Short film reviews still explore every aspect of a movie. How do I write a short film review? Writing a short film review needs to cover multiple aspects of the movie. Including the script, the characters, performances, cinematography, score & sound design, editing and so on. Sometimes we consider the piece only as a short film; whether it works in that format, other times we may think of it as a "proof of concept" for something longer, or perhaps a piece of a web series/TV show. These can be important to consider when writing a short film review. How long should a film review be? A film review should be as long as the house style. Some publications provide lengthier reviews than others. A general minimum word count would be 500. This may be also for SEO reasons, as short film reviews that are longer may be more likely to rank higher on Google. The important thing to remember is that the review should be well-structured, not full of bloated points to fill up the word count. How much money do film critics make? Film critic salaries depend massively on their publication. Many film critics are freelancers, meaning they get paid per review and sometimes this is based on word count. Making money through film reviews can be challenging. Video Short Film Reviews Below you will find a selection of short film reviews in video form! This is where one of the UK Film Review Critics records their review and we upload it to our YouTube channel (as well as TikTok and Meta Reels in some cases). A Place to Fall Down Short Film Review by Chris Olson A short film about coping with loss and grief, film critic Chris Olson gave A Place to Fall Down 4 stars. Watch his video short film review here to here from the man himself about his thoughts and feelings. OK/NOTOK Short Film Review by Patrick Foley In this short film review from Patrick Foley, he gives us his opinion of the brilliant movie OK/NOTOK. Set in a futuristic world where AI robots are available as companions (as long as you can afford the subscription), it's a riveting piece. Betrayed Short Film Review by Chris Buick Film critic Chris Buick offers up a fantastic video short film review for Betrayed. A movie about a girl with special powers who, with the help of her protective father, must elude those who would use her for nefarious means.

Filmmaker Interview by Chris Olson You are back with a new film, Noblestone. What's it about, and what made you want to return to the quirky caretaker character of Karen, and how did you approach evolving her story this time around? Noblestone is about an eccentric housemaid who is hired to live with a self-absorbed artist. The film features the return of ‘Karen’ the housemaid, who played a very similar role in my last feature, and had appeared before then in a few short films. I suppose Karen is less deranged here. Previously, she was much closer to a traditional horror villain. Here, she remains as creepy and extraterrestrial as ever, but there is far greater ambiguity surrounding both characters. Your sister, Lucia Goya-Betts, is back playing two characters. What were the technical and creative challenges of directing the same actor in both leading roles? It’s certainly time-consuming, as every scene must be shot twice in order to capture each side of the conversation. This also makes the editing process, particularly in terms of audio, much less enjoyable. Of course, the main frustrations come from rarely being able to have the two in the same shot, meaning that during certain moments I had to either stand in as Karen myself, or mask the two together in post. The story also had to be developed with this limitation in mind - meaning I couldn't go as far with the physical violence as I would have liked. At the same time, the one-actress thing works perfectly alongside Noblestone’s themes. I also think she does an outstanding job in both roles, and the radical difference between the two characters adds to the absurdity of their interactions. How do you balance the contrasting tones of absurdity and psychological suspense in the writing process? What is your writing process? The humour won't work for everyone, and some viewers may feel that it completely mismatches the tone of the rest of the picture. That wasn't something I thought about too much while writing. I wanted Noblestone to feel like a dream, and dreams are often absurd, terrifying, and beautiful at the same time. The jokes aren't incidental either; they're another language through which the film creates meaning. As for the writing process, the first few months consisted of mapping out the structure and storyboarding each scene. Once I had a visual blueprint, I could begin writing. I was particularly impressed with the cinematography in the film. What was your approach to this and how pleased are you with the final execution? I am generally pleased with it. I wanted the film to linger in the mind after viewing, much like a dream, and I think there are enough memorable images for that to be the case. A still from Noblestone the film However, the visual detail is richest during the first hour of the film, as shooting in my own home afforded me fewer constraints and more freedom. The material shot in Spain in my grandparents' house relies more on the use of space and colour to tell the story. While I like the cinematography overall, there is one conversation scene around the midpoint of the film that was shot horribly, and briefly detracts from the viewing experience. Were there specific classic thriller or horror cinema influences you were referencing, both in terms of visual storytelling and your choice of score? In terms of visual storytelling, Hitchcock and Kubrick are the gold standard, and their influence remains prevalent throughout Noblestone. Outside of horror, certain slow-cinema directors such as Tsai Ming-liang or Apichatpong Weerasethakul - the latter being one of my greatest filmmaking inspirations - have taught me a great deal about how to capture dreams on screen. My approach to music is largely inspired by the Golden Age of Hollywood, as well as twentieth-century European cinema, both of which utilise their scores in ways that seem almost non-existent these days. Noblestone was filmed in Spain and London. How did the natural beauty and light of the Spanish landscape influence the mood of the film compared to the interior, warmer domestic settings? Once again, I wanted Noblestone to feel like a dream, and that’s done through atmosphere. The film is filled with pillow shots, used to develop a strange psychogeography that isolates the characters and gives the impression that the story exists in some alternate reality. It's an approach I expect to continue in my future work. What central themes or questions were you most passionate about exploring through the interactions between the two main characters? Well, most of the thematic weight is carried by the visuals. The film is like a puzzle, and you attempt to solve it by paying attention to everything happening outside the immediate action and dialogue between the characters. The script is a fairly literal demonstration of the film's main themes playing out. The concept of determinism runs throughout the picture - the idea that every human choice is the result of internal and external factors beyond that person's control. With that as its backbone, Noblestone becomes an explosion of ideas, some more apparent than others, and those ideas are for the audience to experience. As a teenage filmmaker producing feature-length, highly distinct indie films under zero-budget constraints, what has the journey of stepping from Lady Governess (and your work as Tito Wiley) to Noblestone taught you about your evolving identity as a director? My old stage name was something I came up with when I was 11, so naturally I didn't want to be using it for the rest of my life. But I think the name change is appropriate alongside the completion of the new film. I like Noblestone because it's more consistent and complete than anything I’ve made before, and it contains a number of scenes and ideas that hint at the kinds of pictures I'd like to make in the future. What's next for you? Aside from some musical projects, I will be starting my next feature shortly. This time with a bigger cast, bigger crew, and bigger locations. It's a project I've had planned since I was making Noblestone, and I am looking forward to finally getting it made.

Directed by: Oliver Cox Written by: Oliver Cox Starring: Reece Henderson, Gregory Fung, Ka-Yee Chan Film Review by: Holly Baker ⭐⭐⭐⭐⭐ 49 Miles More is a wholesome comedy drama, centred around insurance salesman Max, who, along with his university friends, is about to embark on their yearly endeavour to Orford. Each year, they make this journey and gather together to honour their late friend. This is Oliver Cox’s second directorial feature, after Lure, a horror film, which was released earlier in 2026 and received a mixed reception. In contrast, 49 Miles More is a brilliant film; it is full of tender moments and a strong testament to friendship and loss. With various laugh-out-loud comedic moments, viewers will feel transfixed by Max and Doug’s bonding, as their journey to Orford goes awry when Max’s tyre gets punctured. We are introduced to Max in the world of soulless corporate doom, as he is bluntly told by his manager that his unsuccessful sales record will lead to restrictions on his holiday. Viewers quickly get a glimpse into Max’s misery; he lives alone, and his life seems to lack much excitement or enjoyment. Gradually, as his journey with best friend Doug unravels, Max’s adventurous nature comes to light, particularly when encouraged by the fun-loving, free-spirited, adorable character of Doug. When Max’s journey begins, we sense his reluctance to engage with Doug. His inability to be quiet and allow Max any peace comes across as irritating, but in a way that you can’t help but love him. Reece Henderson, who plays Max, fantastically conveys his irritation along with the soft spot he clearly has for Doug. After his car is deemed unfit for use, and their 2-hour road trip becomes a tremendous hike through the wilderness, Max’s wall slowly breaks down, and we see the two men bond most beautifully. Their chemistry is dazzling to watch, magnified by their naturalistic performances and dialogue; viewers feel as though they’re watching real people. Throughout their journey through the woods, long, still takes are heavily incorporated, skillfully allowing Henderson and Fung (AKA Doug) to charm the screen. In true Hunt For The Wilderpeople (2016) fashion, the pair quickly become lost and must adapt to their environment. The gorgeous British countryside landscape works fantastically in highlighting the two men’s freedom and ability to express themselves without any external pressures, marvellously contrasting the grim corporate hell of Max’s everyday life and the claustrophobic nature of Doug’s home life, where his mother is starkly against Doug leaving the house. There is a lot that feels incredibly original to this film. On the one hand, 49 Miles More has many similarities to other filmmakers’ dedications to male friendship, and the role of nature in that. For instance, this is seen in the already mentioned Wilderpeople, Rob Reiner’s classic Stand by Me (1987), and the cult favourite Dead Poets Society (1989), particularly in the way that the natural environment evokes freedom of expression, allowing men to become truly vulnerable. What stands out particularly in this film is its handling of shared grief, and the way that this impacts friendships. Max and his friends have not lost their humorous side, particularly when dealing with the topic of their late friend, and they can simultaneously grieve him and express their sadness whilst making lighthearted jokes. This charming, realistic, very British way of handling difficult events makes the characters feel all the more real, and gives the emotional scenes a stronger impact in their heartwarming relatability. The film has a very small ensemble, with Max and Doug as the main characters, and viewers are only introduced to the side characters briefly. However, each character contributes memorably, as they are all written and performed with great care, providing great additions and perspectives to Max and Doug’s story. This is especially so for the character of an older lady, a stranger to Max and Doug, whose kind gesture of help to the pair adds a delightful, hopeful feeling to the film. There is a subtle sense that her assisting Max and Doug had a great impact on her as well as it did them, bringing forth a warm message about the importance of helping each other when in need. As the film closes with the nostalgic, beloved inclusion of a blooper reel, those who watch will find themselves fulfilled on all emotional levels. 49 Miles More is a tender story, with strong comedy and very careful handling of difficult themes. It’s rare for a depiction of male friendship to hit all the marks whilst avoiding cliches, or tropes derived from toxic masculinity, yet this film does so marvellously. In this way, 49 Miles More feels incredibly fresh and full of love, and unlike Max’s career as an insurance salesman, it is a great success! 49 Miles More is on UK digital 17 August from Reel2Reel Films

★★★ Directed by: Bart Simpson Written by: Harvey Kurtzman et al. Starring: Harvey Kurtzman, Adele Kurtzman, Denis Kitchen, Terry Gilliam, Robert Crumb Film review by: William Hemingway Harvey Kurtzman, along with his closest family members and colleagues, take us through the history of his illustrations and his publishing career, from the highs of creating MAD Magazine in the 1950’s all the way through to his final days as a lecturer in New York. Harvey Kurtzman (1924-1993) has been considered by some to be more important than Ken Kesey, Timothy Leary, Woodstock, Flower Power, or LSD ever were in the counterculture movements leading from the 50’s into the 60’s and beyond. Despite being quite an introverted figure in his home life, he instead got all of his feelings, concerns, and criticisms out onto the page in cartoon form from a very early age. Drawing and writing about all the things that bothered him in the real world, Kurtzman lanced, lampooned, lambasted and satirically lynched those in power and authority, desperate to get the word out to the people that those in the establishment were lying to them – and lying to them every day in a big way. From his early college days, drawing cartoons and comic strips for his fellow class members to pore over on noticeboards and the like, Kurtzman joined the team at Timely Comics, which eventually became Marvel Comics, and was set to work by the editor, a man by the name of Stan Lee. After a few years of producing the strip, Hey Look!, and getting close to his future wife, Adele Hassan, whom he emancipated from her relationship with his sometime business partner, Will Elder, Kurtzman swivelled towards EC Comics and began to get more and more work from there. These comics focused more on the harsh realities of the world and Kurtzman was enlisted to draw strips about subjects such as contracting syphilis, and the ever-present theatre of war. Kurtzman’s work brought comics into a new age and a new realm as they dealt with these everyday, serious subjects, and treated them more with reverence, respect, and realism than the fantastical fantasies that were the backbone of comic books and comic book stories at the time. Through this he eventually created the comic book, MAD in 1952, scripting every story in the first twenty-three issues, and having them fleshed out and drawn in by his team of artists which included his old friend, Will Elder. The rest, as they say, is history. In The Mad World Of Harvey Kurtzman, we are invited into some of the small, out of the way spaces that he inhabited, and in which a lot of his drawings and work still reside. His youngest daughter, Nellie, takes us to his old partner and cartoonist, Denis Kitchen’s place, where he manages what’s left of the estate, and we are then drawn into the story of how Harvey managed to create the world, or worlds, that he drew for everyone else. Along the way we are treated to many interviews of the time, with such figures as Stan Lee himself, as well as lots of the illustrators and publishers that Harvey worked with during these periods. We also get to hear contemporary testimony from those still alive who loved and worked with Harvey, including Terry Gilliam, Robert Crumb and Matt Groening. These talking heads are all interspersed with many reams of paper evidence and video contextualisation, as we see invoices, memos, telegrams, sketches and whatever else to help build the story around what the people are saying. Every so often Harvey pops up in some wide-ranging interview to tell us himself about how he feels about his work, and so we are carefully led through his story by an intricate pattern of memory, nostalgia, anecdotes, and physical evidence, that is as fastidious about the facts and history of Kurtzman’s work as he was himself in producing it. With MAD only being one in a long line of publications that Kurtzman created or worked for, the documentary takes time to remind us of all the other things that Harvey did once he left the contemporary cornerstone he’d helped create. In a full ninety-minute feature we get a near birth to death storyline that can only realistically serve as a highlight reel, or a best-of anthology, that skims us through all the relevant bits of his work and a little bit of his private life. While the documentary is explicit in what it does tell us, there are many other things that are necessarily left out for the sake of time, or fluency, or narrative structure, that could be construed as ‘holes in the plot’. While this does not impinge on the information or the enjoyment of what we see, the audience is however aware of the fact that we are missing parts of the story. For what is a quick and light documentary about the man and his work, The Mad World Of Harvey Kurtzman will no doubt appeal to fans and to a new generation of comic book nerds who need to brush up on the origin story of the true comic genius of his time. For those who are looking for a more in-depth look into the feelings and motivations behind the scenes, they may very well be disappointed, as may those who are being inducted into Kurtzman’s work for the first time and would prefer a more theatrical, cinema friendly film to do that, as a lot of it still remains quite dry. While there are no revelations or big reveals to speak of, The Mad World Of Harvey Kurtzman is a good way to become initiated and informed about his work, which is told with care and attention by those who knew him best. The World Premiere of ‘The MAD World of Harvey Kurtzman’ at Edinburgh International Film Festival took place on Sunday 16th August