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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. Spirit Juice Spirit Juice is an animated short that follows an alien bartender in a series of misadventures. Throw in an unhinged robot scientist and the result is five minutes of bewildering chaos. While the crude animation may be charming to some, Spirit Juice’s eccentric idiosyncrasies are unlikely to be enough to keep an audience’s attention for the duration. Visually, Spirit Juice has an appealing style to it. To be blunt, the character designs are ugly, but they’re unappealing in a likeable way. The short is unique in its unrefined quality, and it certainly doesn’t lack a distinct visual identity. Unburdened by standard animation conventions, the characters are free to be ugly and idiosyncratic. My favourite example of this is a character who amusingly appears to be a clip-art fax machine, incongruous with the other characters’ visual style and bringing to mind other animated shows that play against standard design conventions like Smiling Friends. Sadly, this is where comparisons to various animated Adult Swim shows end. Spirit Juice lacks interesting or even funny writing, and each character ends up feeling fairly repetitive. There’s no narrative to speak of and fairly few funny situations that each character finds themselves in. The result is a sense of improvisation, with no rising action or destination for the short to move towards. At only five minutes in length, it’s disappointing that Spirit Juice feels so aimless. I’ve already made the comparison to Smiling Friends, a show that does a much better job of setting up the premise and direction that an episode will move towards, before diving into the pure chaos that it’s known for. Spirit Juice feels as though it’s lacking any sense of structure, resulting in an audio-visual splatter thrown at the wall. Unfortunately, this is further compounded by the amateur level of voice acting which becomes grating as the short goes on. Most character voices are one note, sounding monotonous at best and headache-inducingly difficult to listen to at worst. What comes across is a lack of faith in the writing, the actors performing their lines with far too much effort in an attempt to sound funny. The performers are more than likely not professionals, but unlike the art, this is tiring more than charming. The combination of a weak script and unconvincing vocal performances may have audiences reaching for a mute button faster than the cast intended. Animation is a challenging art form to fully realise, especially so for amateur or indie projects. Having said this, Spirit Juice is not visually compelling. The animation is disappointingly limited, the characters move around weightlessly, and each scene is poorly staged. Perhaps the short could have attempted some more ambitious shot compositions, using the limitation of the restricted animations as a strength. Dialogue could have been improved using more shot variation, perhaps making use of shot-reverse shot in the bar scenes. The short takes place entirely from the same camera angle which becomes tiresome before long. For their next project, maybe the crew could look towards South Park which does well to vary the staging of each scene even with its simple art style. What it has in Spirit, it lacks in Juice. Spirit Juice is clearly a passion project, and while that’s admirable, there will be little appeal for those unattached to the short. There’s clearly room for improvement, and I hope that the team behind Spirit Juice are more ambitious in what they try next. VIEW REVIEW Wilbert Wire Wilbert Wire follows a robot art student, the titular character portrayed by Josiah Morgan, who is tasked by his human teacher with creating a painting about love. The piece presents the tropes of the autistic experience through the lens of science fiction. Writer/director Ricky Townsend being diagnosed with autism from a young age makes the experience a raw and authentic depiction of a neurodivergent individual. One of the most relieving aspects of the piece is how the filmmakers treat the subject matter from the perspective of the neurodiverse experience. Writer/director Ricky Townsend treats the experience as delicate and raw in his depiction of Wilbert as he is tasked with creating a painting. In the wrong hands, this could've been executed in a tone-deaf manner; however, the filmmakers execute this unique concept with a profound sense of nuance. The piece is educational in teaching the audience and those around Wilbert to learn how he conveys his love; this is shown in a complex and subtle way without exaggerating or stereotyping characteristics of his autism, as is often the case in modern media. It's an incredibly visceral experience due to how the filmmakers always present the piece from Wibert’s point of view, giving the viewer a sense of the experience of autism through the lens of a robot. The sequences within Wilbert’s imagination are the most effective due to the dynamic camerawork, and the VFX are genuinely impressive despite the film's budget constraints. While the narrative is fairly grounded in its setting, the science fiction elements work surprisingly well and never detract from the experience. The film also blends humour and the heartwarming elements of the narrative incredibly well without ever feeling jarring. As Wilbert is a robot, the editing matches his point of view as he rushes with ideas for the painting in a frenetic manner. Ricky Townsend's direction and blocking make incredible use of the limited space, and Josiah Morgan’s physicality in the titular role is profoundly executed in the sequences in his imagination. John Chrisstoffels’ camerawork is truly splendid, as it primarily consists of wide shots when tracking Wilbert’s movement as he uses the environment to his advantage when expanding his ideas. Liam Reid, serving as the film's composer, delivers a nuanced and understated musical score that evokes warmth and delicacy to assist the more intimate moments of the piece. The use of music is genuinely one of the film's greater aspects and is wonderfully placed throughout as Wilbert connects with others. The central performance from Josiah Morgan in his portrayal of the titular character is wonderful, as he conveys a profound sense of empathy and heart as he tries to make his teacher and others understand that love knows no boundaries. The way he loves may differentiate from others, but it doesn't make his passion and aspirations any less important. While the piece does have an incredibly brisk runtime, it leaves the viewer wanting more with an incredibly moving conclusion that wraps up the film's themes in a satisfying manner. Wilbert Wire is a heartwarming depiction of a robot placed in a scenario where he represents his version of love and connection through art. The film is an important reminder to show empathy and understanding, and to support others who struggle to convey their love to one another. Ricky Townsend's attempts at grappling with themes of art and connection make him a distinct voice in indie filmmaking and someone to watch out for in the near future. VIEW REVIEW Marriage Unplugged Sisters Florine and Kim Nuesch write and direct this short sci-fi drama that stars Nikki Amuka-Bird, Nicholas Gleaves and Sven Ironside. Set in the near future, the story follows middle-aged, childless couple Suzanna (Amuka-Bird) and Andrew (Gleaves), whose relationship is currently unstable and they decide to purchase a sex robot, a machine with a human appearance, whose purpose is to sexually satisfy people. They end up choosing an android named James (Ironside) who has the physical appearance of a young man and they bring him (or it?) home. Things take an unexpected turn as James eventually begins to affects their lives in unanticipated ways. This film begins as an adult comedy, before moving towards much more serious territories. As James enters their lives, it becomes evident that this is an unhappy marriage, with Suzanna and Andrew being unable to connect. James is unable to satisfy either one of them, however, he manages to build a sort of father-and-son rapport with Andrew, while Suzanna becomes distant. By accident, the arrival of James has revealed the flaws in the couple's marriage and (to a degree), making them both reflect on their troubled relationship. There are awkward moments and a great deal of drama, including a heated argument that gives Suzanna and Andrew an opportunity to be honest about their emotions. The atmosphere is supported by Matthias Biermann's poignant music and Martyna Jakimowska's sombre cinematography. Suzanna and Andrew clearly are a couple that have lost meaningful connection between them and Amuka-Bird and Gleaves portray them as characters with deep wounds. Suzanna is a workaholic, the main breadwinner of the household, whose determination to focus on her job seems to have damaged her marriage. Andrew, a dental hygienist, is unhappy because he does not have something that he deeply lungs for and his interactions with James appear to be compensating for that. At least to a degree. Ironside is quite convincing as an android, with no facial axpressions, a robotic voice and often remaining motionless. As he plays a product created for sexual gratification, his character spends the majority of his screen time unclothed. Starting off as a sex machine, James subsequently seems to be expressing an interest in human activities such as shaving and playing ball games. More crucially, he unwillingly ends up disclosing the troubles in the couple's marriage. From a certain perspective, this film is about technological advancements, particularly artificial intelligence affecting people's lives. A limited part concerns sexual desires, however, the primary themes involve marriage, understanding, connections, self-reflection and regrets. A sci-fi film that mixes technology with the values and complications of marriage. It tells the story of a couple who are together in spite of having different perspectives regarding life and the result is a dramatic and thoughtful viewing. VIEW REVIEW The Runner A couple living in a small, quiet, out of the way town, have their peace broken by the arrival of a police detective, who is looking for a fugitive that might have come their way. Samuel (Cyrus) and June (Bailey) are enjoying a restful day on the sofa, quietly reading their books and resting in the silence that surrounds them. It’s snowing outside and there’s a blanket of white lying across the landscape and hanging off the trees, softening the sound further and enhancing the feeling of solitude that their quiet cabin seems to offer. Rolling up to their house, however, is Detective Martin (Medeiros), an out-of-town policeman who is looking for information and wanting to ask questions of the couple. After rapping on the door, Detective Martin is needlessly enigmatic in his introduction, evading basic questions and finding it hard to reveal why he’s at the couple’s home. With a bit of badgering and sustained inquiry, he finally lets out that he’s looking for a fugitive who might be in the area, and we can at last get into the scenario of The Runner properly. Detective Martin is invited inside and eventually gets around to telling the story of The Runner , a woman who embezzled millions of dollars from her clients in California and then killed her husband when he found out about it. Samuel and June listen to the story intently, not recognising the events or story that the detective is telling, until finally he gets around to revealing that this all happened over two years ago. Now there’s new evidence and a new lead to suggest that The Runner might be in the area and so Detective Martin has turned up to see what he can turn up in the small town of Pinewood. At just over seven minutes long, The Runner doesn’t have a lot of time to explain its plot and work through its narrative. It’s a shame then, that time is wasted with bad dialogue and phony characterisation that offers nothing to the story or those telling it. Detective Martin takes an age to get around to the point of his visit and then doesn’t reveal the timeframe of the crime until past the midpoint of the film, stretching an already extremely thin scenario to near breaking point despite the fact that the film is so short. The cinematography, too, is underwhelming and unconsidered, as the snowy background beyond the porch of the house is a blanket whitewash with zero contrast and heightened reflective glare. The focus on Detective Martin is also out as he sits on the chair opposite the couple, who are each in perfect HD focus, and this fuzziness follows him out to the car after he has completed his interview. While writer/director/producer/star, Andrew Medeiros manages to select his shots, fill his frames, and build his narrative fairly well with his direction, he is let down by a nonsense script that brings up more questions than it answers. When the killer is finally revealed, and although I won’t give it away, gee whizz it doesn’t take much to figure out just who The Runner turns out to be, we really have to ask ourselves the question as to why Detective Martin didn’t click right away. Samuel manages to figure it out within the space of a minute, so you would imagine that someone who has been on the case for two years, and has had days to look over the CCTV screenshot of the presumed killer, would be able to make the link, or to know that he might be in danger. There is no tension, no surprise, and no thrill, in this supposed thriller, with the only saving grace being that it is so short that we don’t have to sit through extended scenes of the nothing that is presented to us. The turgid monologue at the end, voiced over a black screen to begin with, is indicative of the horrible scripting throughout the piece, as The Runner tries to philosophise, or soliloquise, or romanticise, or who knows what it is she’s trying to do, as she delivers some sort of killer’s lament to us about her way of life. There is not a lot to recommend The Runner to the audience, and in the end the only running that should really be going on is in the other direction, away from watching another bad short film. VIEW REVIEW I Feel Lonely I Feel Lonely , directed by Alexander Tomov-Junior, is a short Bulgarian horror thriller following a young solitary woman who appears to be suffering a mental decline. The film opens with atmospheric, moody shots of motorways and other liminal spaces to establish an eerie sense of dread and displacement. The settings are combined well to highlight empty spaces, building up to introducing the film’s protagonist, the viewer is already familiar with the isolation they will see her endure. After a crime thriller-esque opening, viewers are placed inside the protagonist's home. This is a sparsely decorated, coldly sterile apartment which swallows her form. She appears small and insignificant within this sea of dull space, highlighting her vulnerability and weakness. The choice of costuming her in juvenile pyjamas and having her undergo her nightly routine conveys the idea that she is in a private space where she should feel comforted, yet lacks this sense of security due to the depraved nature of the setting. Quickly, the woman’s space is invaded by a force worse than cold isolation. She begins to hear voices from her sink drain, repeating ‘I feel lonely’. Perhaps a fantastical being is taunting her, or maybe it is her mind playing tricks on her, the film does an excellent job in blurring these possibilities, neither of which is any way more comforting than the other. Throughout the film, sound is used effectively to create an atmosphere of dread. Silence is heavily incorporated to add to the horror, with intervals of a musical score, building up to enhance suspense. There is minimal dialogue, making the viewer constantly aware of each small movement and minuscule sound, keeping us on edge. By depriving the viewer of stimulation, an atmosphere of isolation and directionlessness is created, and every action is highlighted as we too look for answers in the strangest of places, descending into our own insanity as we search. The setting shifts briefly from the woman’s apartment to the more communal areas of her residential building. Shaky handled camera work immerses the viewer within the space as if they were playing a video game, allowing the camera’s point of view to explore and observe the area. When outside her apartment, there is one conversation which takes place between the woman and a suspicious caretaker, and their interactions lack humanity in their uncanny tonelessness and their cold demeanours. Effectively so, despite this external stimulus, the viewer is never released from the eerie grasp that the space holds them in. As the film comes to a close, a strong sense of unease and uncertainty is maintained. Viewers may find themselves unsure how to feel sympathy for the protagonist, as well as fear for her, and perhaps their own minds may surface. Overall, I Feel Lonely is an unsettling short horror film which stands out through its strong use of sound to unnerve, as well as skilled camera work which subtly controls the viewer's gaze and attention. The film is well crafted and strongly succeeds in creating suspense, and a notably talented performance from Diana Kostova, who excellently plays the film’s protagonist, aptly unnerving to encapsulate both the film's message about mental illness, and its ability to engage the viewer through a well-conveyed storyline. VIEW REVIEW Lovely To Meet You Lovely To Meet You is Darwin Reina’s horror short that uses the manipulative tactics of pickup artists as a driver for a deceptive story filled with graphic violence and brutality. It’s a modern cautionary tale that shows you can’t always trust people you meet late at night, whose intentions may not be what they seem. Michael (Alessandro Fiorucci) is prowling the dingy bars of Barcelona to find himself a plaything to bring home for the night. He focuses on Caroline (Carmen Hoyos), and turns on the charm – weaving his way through an increasingly passionate conversation whilst dismissively ordering drinks from barmaid Maria (Ariadna Martin Esteve). But Caroline’s presence in the bar is not one of chance, and Michael is not the only one hunting in the city that night… Darwin Reina’s Lovely To Meet You is a horror short set in the dating world that gets straight to the gory stuff whilst offering a thought-provoking look at the uncertainties that come in hookup culture. It eschews a traditional narrative and framing for its central characters, twisting the expected roles for man and woman when it comes to random encounters and showing that risk is inherent when heading out alone to meet strangers. Whilst a conspiracy twist may not be a regular risk for most people, it is one that the directors and writers have fun with and use to demonstrate a darkness in human nature that can exist on both sides of an encounter. The film’s lower budget betrays it in moments. Blood effects do not convince and take away from viewer immersion, which is a shame as the film revels in its gore. Horror enthusiasts will feel a little undersold on the grisliness, which does not live up to its set-up in the bar scenes. Other action sequences similarly fail to really capture the intensity of the situations they take place in – such as a moment in which characters break down a door which looks fake and rehearsed. The bar scenes themselves are the production highlight, and where the director is able to build tension between the cast. Whilst the themes around risk purvey throughout the story, Reina never really coalesces them to focus on an overall statement or message. Instead, the final result is a mild torture fantasy with an unexpected twist, but one that doesn’t really justify its own build up. There are interesting elements here, but viewers will come away without anything that really stands out – outside of Alessandro Fiorucci’s brilliantly creepy performance and a twist that offsets the audience. VIEW REVIEW Tabby Daly Tabby Daly is set against the backdrop of rural Ireland in 1847, as the potato blight tears through a community. A charitable woman, being the titular character Tabby Daly (Andrea Kelly), helps young boys emigrate in search of a greater life. However, as doubts begin to surface within the community, questions arise about her true intentions. One of the most mesmerising aspects of the piece is the fantastic production value throughout, as it is an impactful portrait of rural Ireland during the 1800s, making the experience feel lived-in and true to its time period. The boxed-in 4:3 aspect ratio is another commendable formal decision that pays off wonderfully within the rural community at the height of the famine. David Christopher Lynch’s cinematography is striking, as the piece consists of gorgeous drone photography that gives the viewer a sense of the beautiful landscapes of Ireland, along with the shift to extreme close-ups of each character. These close-ups are impactful thanks to the intimacy in each interaction between characters, making the experience more visceral throughout. The film primarily relies on low-key lighting, achieved with candles, which is an admirable choice given its rural setting. Conor Kilkelly, serving as the film's composer, delivers an evocative musical score that creates a sense of awe and wonder between dialogue-heavy sequences and anchors the quieter aspects of the material. The piece is an audacious portrayal of a woman during this time period helping younger boys emigrate with a fully realised characterisation for the titular character that's both shocking and endearing to witness throughout. Both central performances from Andrea Kelly in her portrayal of the titular character and Declan Curran in his portrayal of Father Winters are the centrepiece within the narrative, as their dialogue is enriching and deeply provocative throughout. Each performance displays a sense of warmth and urgency during the struggles of the potato blight ravaging through the community, and it's utterly gripping to watch. Andrea Kelly, in particular, is the standout of the cast, as her actions are widely unpredictable, and this pays off heavily in its final moments, as the piece takes a shocking tonal shift. The piece tackles incredibly potent themes such as the rise of the Great Famine, a time in Ireland of mass starvation and disease, and themes of religion. While the piece takes a meandering approach in its pacing, this gives the audience enough time to connect with each character despite the film's incredibly tight runtime. The sluggish pacing also allows for the jarring tonal redirect to feel more natural, thanks to the prolonged build-up, as it explores the intentions behind the titular character's ideal motivation within the community. The brevity of the piece’s exploration of the subject matter makes the overall viewing experience worthwhile and rewarding. Whilst the piece would perhaps not have enough material to sustain a longer runtime, it certainly leaves the viewer wanting more, which is a testament to directors John Doherty and Conor Kilkelly's sheer attention to detail. Tabby Daly is a provocative exploration of the rise of the Great Famine against the titular characters' mischiefs within the community of rural Ireland. Anchored by a spellbinding central performance from Andrea Kelly, alongside John Doherty and Conor Kilkelly’s formalism, Tabby Daly is an engrossing experience. VIEW REVIEW Time to Go A short satirical feminist thriller directed by Thomas Elliott Griffiths, written by Rob Sharp and starring Pamela Mayoss and Patrick Jeffries. Megan (Mayoss) is an office worker who does not like her boss, Gavin (Jeffries). Gavin is a narcissistic and obnoxious man and Megan has been working for him for ages. She has finally had enough of his terrible behaviour and has made the decision to stop him once and for all. She is going to kill him. The concept of this amusing (in a dark way) and also quite sinister: a frustrated and angry employee wants to murder her awful boss. Although that is the plot, the film does not have a straightforward narrative. Things are seen through Megan's perspective, and she spends almost the entire duration breaking the fourth wall and addressing the audience, with her words being voice-over. The film begins with her being at her workplace and describing what a wicked person Gavin is and the rest is primarily about Megan meticulously plotting the murder describing how she is going to do it (and looking online for instructions), while two members of law enforcement investigate a crime (the murder?). There is tension and distressing scenes and the unsettling atmosphere is accompanied by Ray Badger's cool music with great drumming. Mayoss leads the film very effectively by portraying a woman determined to make the world a better place by eliminating a vile individual. She is methodical and very angry with the injustice that she is witnessing. Jeffries's character is the guy targeted by Megan, a corporate man whose lack of consideration for others is evident when it comes to firing people and he perceives women as sex objects. A very unpleasant person. Via a plot about murder and revenge, this short acts as an exploration of feminism, sexism, narcissism and hatred. To a degree, there are elements that make this viewing about misandry, a consideration that is motivated by the character of Gavin, as he is presented as utterly despicable. A film with dark humour and a lot of drama that is less keen on telling a story, focusing instead on a situation where a person has decided to commit murder. The result is an intriguing viewing that gains a lot from Mayoss's performance. VIEW REVIEW Sorry We're Closed A long-term couple struggling to keep the spark alive in their relationship decide to embark upon a night of ill-advised spontaneity, breaking into their local fish and chip shop to have themselves a late-night supper. Jacob (Muyunda) and Olivia (Bentley) have settled into coupled-up life. They understand each other really well and know each other inside out, meaning that there’s not an awful lot of surprises going on in their lives anymore. On a typical night in, Jacob has fallen asleep on the couch and Olivia is trying her best to cajole him into some sort of action by making pinpointed jokes about his energy levels and the lack of any sort of ambition in his life. She seems to think that he’s the problem without ever actually realising that she’s a miserable, hen-pecking, shrew. Trying his best to keep the peace in the face of insistent emotional abuse, Jacob listens to Olivia’s entreaties and agrees to accompany her to the local chip shop for the chance of some late-night fried food, all the while knowing it to be already shut. Lo-and-behold, as they rock up to the chippy, the door’s shut and the lights are off, meaning that fish is back off the menu. This, of course, causes another argument, where Olivia has another go at Jacob and as soon as he defends himself, gets all upset and huffy and goes off to pout by herself at the side of the road. All seems to be lost, until Jacob manages to bust the door open, and they decide to make themselves a slap-up meal without anyone else knowing. Despite the illegality of what they’re doing, Olivia brightens up when she gets what she wants, and they set about frying themselves some nice fish for their supper. Set in the town of Beeston in Nottinghamshire, in the real-world location of Gill’s Fish and Chip Shop, and presented as a comedy/drama, Sorry We’re Closed is a quintessential British story of getting yourself into difficult situations. At the constant beratement of his partner, Jacob knows that what he’s doing is wrong, but still goes through with it to make her happy, inviting us to share in their low-key crime as they try to fix the issues in their relationship. It is this excruciating extra-mile, into uncharted waters, that allows Sorry We’re Closed to aim for British classics like Only Fools and Horses , or Fawlty Towers , as we watch with one eye closed, knowing that things will never end well for our plucky, unhappy couple. Writer/director, Jonathan Hawes, keeps us up-close and personal with the couple in their more intimate moments, most of which are when they are aggravating one another, and uses hand-held motion to retain the feeling that we are walking with them along their path, as they search out their future together. We are invited into their space and their lives, with snippets of dialogue reaching into their past to furnish us with some idea of where their shared animosity might come from. This works pretty well in keeping everything grounded and low-key but also stops there from being any sort of cinematic vision that could be attributed to the scenario. The acting from both leads is fairly decent, selling enough of their character to be believable, but when Olivia is situated as such a horrible human being it’s hard to become invested in anything that she wants in the story. When the chip shop owner turns up, too, his delivery is not so great and the short scene becomes very am-dram in its aspect until the shock twist. Thankfully, the production value comes through, especially in David Rubenstein’s accompanying score, and the whole film knits together as a viable relationship drama. Unfortunately, the comedy aspect never really gets off the ground, and any jokes made by the couple are just thinly-veiled digs at one another and so don’t raise a smile from the audience, with no out-and-out humour appearing anywhere along the way. There is plenty to be said in Hawes’ scenario, about life, love, and the fragility of long-term relationships, and while we as the audience are party to the mistakes and lessons learned along the way from the bad decisions that are made, this never translates to the characters, who are oblivious to any harm done. This makes it difficult to support the couple on their journey, and in the end we’d probably rather see them get their just desserts instead of a fresh fish supper. VIEW REVIEW Neram Nallaruku A short crime comedy from Singapore, written by Arivazhagann Abel, Mridul Samrat, Sivakumar Meenashre and Akram Mohammad, directed by Abel and starring himself, Meenashre, Prabu Kirubaahgara and Rifath Mohamed. Just explaining that the English translation for ''Neram Nallaruku'' is ''Time is Good''. A kidnapping is taking place and the people involved are not sure how to deal with it. The two abductees are Varun (Arivazhagann), an insecure young man who suffers from panic disorder and Pavithra (Meenashre), the woman he intends to propose to with the discreet help of his friend, Akash (Nachiappan S). However, before he is able to find the courage to do so, the two of them are snatched by Kaali (Kirubaahgara), a criminal who intends to use them threaten Pavithra's gangster brother, Rudhra (Mohamed) for ransom. The film begins with a humorous title card explaining the meaning of panic disorder, indicating that this is not going to be a serious viewing and it is not. Following an intended marriage proposal that does not occur, the criminals enter the scene, and they are not very efficient, leading to a series of awkward events that include a phone conversation about ransom that ends up full of misunderstandings and an inprisoned Varun calling Akash and asking for life-saving advice while the latter gives it by chilling in front of the TV. A story filled with misunderstandings and clumsiness and the comedic atmosphere is supported by Surya Sahish's amusing music. The acting is not convincing, however it is still entertaining, with the cast making the characters come across as naive in the face of life-threatening situations. Varun is mostly serious or perhaps oblivious to his situation, not knowing how to handle things. Pavithra is rebellious and as for Rudhra and Kaali, well, they appear to be inexperienced when it comes to kidnappings. But utilising an abduction concept, this short tells a story about naivety, deception, misunderstanding and mortal danger. Additionally, it also manages to be a commentary about romance and self-esteem. This is just twenty minutes of fun, watching a kidnapping having unexpected complications to comical effect. And the animation during the credits deserves commendations. VIEW REVIEW

Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. FILM REVIEWS UK UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. We even review short and independent films on the podcast. Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Get Reviewed On Our Podcast Film Reviews from UK film critics LATEST REVIEWS Spirit Juice average rating is 1 out of 5 The Dreamer average rating is 2 out of 5 Wilbert Wire average rating is 4 out of 5 Marriage Unplugged average rating is 4 out of 5 The Runner average rating is 2 out of 5 I Feel Lonely average rating is 4 out of 5 Dead City Punx average rating is 5 out of 5 Ready or Not 2: Here I Come average rating is 4 out of 5 The Hay Man average rating is 3 out of 5 Dream Story average rating is 3 out of 5 1000 Women in Horror average rating is 4 out of 5 The Charitable Sisterhood of the Second Trinity Victory Church average rating is 4 out of 5 Featured Film News FILM NEWS The Latest Film Trailers MOVIE TRAILERS Dune: Part Three In The Grey Scary Movie 6 Empire of Lies Undertone The Moment Filmmaker Interviews INTERVIEWS

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 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.

Film Feature by Chris Olson There are certain titles that arrive on the desk of an Editor-in-Chief that immediately demand attention through sheer, unadulterated audacity. When word reached UK Film Review that Peccadillo Pictures had secured the distribution rights for a project titled Lesbian Space Princess , it wasn't just the evocative name that raised eyebrows. It was the pedigree trailing behind it. Fresh from a triumphant world premiere at the Berlin International Film Festival—where it secured the prestigious Teddy Award—and an Audience Award win for Best Australian Feature at the Sydney Film Festival, this animated odyssey is landing in UK and Irish cinemas on 22nd May . The prospect of a "laugh-out-loud adventure through the far reaches of queer outer space" feels like a necessary shot of adrenaline. From what I have gathered, the film is the brainchild of South Australian writers and directors Leela Varghese and Emma Hough Hobbs. Their vision appears to be a riotous, candy-coloured subversion of the space-opera genre, swapping out stoic star-captains for a narrative rooted firmly in LGBTQIA+ identity and cultural diversity. The premise alone is a delight of high-concept comedy. We are introduced to Princess Saira, the introverted daughter of the flamboyant lesbian Queens of Planet Clitopolis. In a relatable twist of terrestrial drama, Saira’s life is upended when her bounty-hunter girlfriend, Kiki, dumps her for being "too needy." However, heartbreak takes a backseat to heroism when Kiki is kidnapped by the Straight White Maliens—a group of forgotten incels of the future. The ransom? Saira’s royal labrys, the most powerful weapon known to lesbian kind. The catch? Saira doesn’t actually have it. What follows is a race against time. With only twenty-four hours to retrieve the weapon and save her ex, Saira embarks on an "inter-gay-lactic" journey of self-discovery. Along the way, she reportedly encounters a problematic spaceship and forms a bond with a gay-pop runaway named Willow. It sounds like the kind of chaotic, heart-on-its-sleeve storytelling that animation was built for, and I am genuinely intrigued to see how Varghese and Hough Hobbs balance the satirical bite with what promises to be an earnest emotional core. The voice cast is equally impressive, suggesting a film that isn't afraid to lean into its comedic strengths while maintaining high production value. We have Shabana Azeez and Bernie Van Tiel leading the charge, supported by the likes of Gemma Chua Tran and the anarchic energy of the Aunty Donna troupe. Add to that the veteran presence of Richard Roxburgh, the wit of Jordan Raskopolous, and the charisma of Kween Kong, and you have a powerhouse of talent that suggests this is far more than a niche curiosity. At UK Film Review, we often champion emerging creatives who bring fresh perspectives to the screen. To see an animated comedy that so boldly embraces queer voices both on and off-screen is refreshing. It appears to be a film that isn't asking for permission to exist; it is simply blasting off into the stratosphere with its own rules. Whether it can maintain that "riotous joy" for its full runtime remains to be seen, but as we look toward the 22nd of May, I find myself remarkably eager to board this particular spaceship. Lesbian Space Princess Official Film Trailer

Film Feature by Chris Olson We all love the tingly feeling when the house lights go down, but at Secret Cinema, the magic starts long before you ever reach your seat. In fact, for those of us who have spent the last decade chasing coordinates to abandoned warehouses and secret locations across London, the "seat" is often the last thing on our minds. From the moment I donned my robes for Star Wars , or found myself swept up in the bohemian revolution of Moulin Rouge! , I have been a devoted disciple of this immersive revolution. Now, it seems the nomadic days of our favourite cinematic subculture may be coming to an end—in the best possible way. Secret Cinema has officially set its sights on a permanent flagship home on the Greenwich Peninsula. For those of us who have braved the elements and the mystery of "where on earth are we going tonight?", the prospect of a long-term base by the Thames is nothing short of a game-changer for the UK film scene. Having attended some of their most iconic runs—most notably the sprawling Back to the Future  Hill Valley build and the high-stakes glamour of the James Bond  Casino Royale event—I’ve seen firsthand how these productions have outgrown the temporary nature of pop-up culture. The ambition has always been gargantuan. I remember the sheer scale of the Star Wars  event, where the line between audience member and Rebel pilot became delightfully blurred. To think what the team could achieve with a ten-year residency is genuinely spine-tingling. The proposed site on the Greenwich Peninsula, earmarked for development in the future but available for a decade-long stint, offers a stable canvas for the kind of world-building that Secret Cinema pioneered. Merritt Baer, the artistic director, has noted that Greenwich is the perfect location for their flagship home. I couldn't agree more. There is something about the industrial, expansive skyline of the Peninsula that feels like it’s waiting to be transformed into a dystopian cityscape or a period-correct dreamscape. For a film critic, the evolution of how we consume stories is paramount. We are moving beyond the passive experience of the multiplex. When I was at the James Bond  event, I wasn't just watching 007; I was navigating a web of espionage, ducking into corners to exchange intel, and feeling the literal heat of the action. This move to Greenwich suggests a commitment to "lasting memories and epic experiences" that temporary installations sometimes struggle to sustain. The local impact cannot be understated either. Working with local businesses and partners in Greenwich will ground these fantastical worlds in a real-world community. While the venue is still subject to planning permission, the energy surrounding the announcement is palpable. For fans like myself, who have followed the brand for eighteen years, this feels like a homecoming. As we look toward the end of the year for a potential opening, one can only wonder which world they will choose to build first in their new home. Whether we are heading back to the future or off to a galaxy far, far away, one thing is certain: the Peninsula is about to become the most exciting cinema ticket in town. Expect to see me there, in costume, ready to lose myself in the stars once again.

Star Rating: 2/5 Directed by: Nick Butler Written by: Nick Butler Starring: Noah Parker, Douglas Smith Film Review by: William Curzon Lunar Sway follows Cliff (Noah Parker), a young man living in a desert town called Mooncrest, as he struggles with his sexuality and unexpectedly connects with his estranged birth mother. After learning of his mother’s numerous secrets, he embarks on a wild adventure and a trail of secrets, while also spending time with his love interest, Stew (Douglas Smith). The piece is a coming-of-age story about self-discovery and seeking longing in a world that has treated you harshly your whole life.  The pace of the film is intentionally meandering to establish the litany of characters and setting of Mooncrest, while also setting up the central adventure Cliff is set on. Unfortunately, the pacing is beneficial during the opening of the piece. However, it becomes a detriment to the latter half, as the experience amounts to fairly minor events. While the approach to taking its time to establish Cliff and the relationship sparking with his estranged birth mother is admirable, the payoff feels incredibly underwhelming due to its prolonged setup. That being said, there is still plenty to admire about the piece from a technical standpoint. Firstly, cinematographer Dmitry Lopatin’s camerawork is enthralling, with its consistent use of wide shots presenting the expanse of the desert town. The use of close-ups is also admirable during the more intimate moments Cliff shares with his lover, Stew, and his mother.  The surreal sequences that take place within Cliff’s imagination are stunning and further enrich this characterisation, accompanied by composers Adrian Ellis and Walker Grimshaw’s hypnotic and understated musical score. Despite the film's budget constraints, these sequences are one of the standouts of the experience. The script, however, could have delved more into Cliff’s past and his further ambitions beyond his struggles with his sexuality. While the themes of self-discovery and experimentation of queer identity are briefly explored, an added context of his personality would have made his characterisation more compelling to witness.  The central performance from Noah Parker in his portrayal of Cliff is mostly admirable as he conveys a myriad of nuances whilst trying to piece together his mother’s secrets and his relationship with Stew, portrayed wonderfully by Douglas Smith. However, the standout of this ensemble is Grace Glowicki in her portrayal of Bailey, as her character’s actions catalyse the conflict during the second half of the runtime. While the film takes a while to get going, the second half is ultimately the most compelling when the adventure and mystery elements are introduced, and the viewer is forced to piece together the narrative threads. The sprawling misadventure approach is commendable; however, the piece meanders to a grinding halt in its conclusion, which is the most frustrating aspect of the experience. This is mainly due to a bizarre tonal shift that doesn't entirely land, and the mystery elements amount to minor efforts to further flesh out Cliff’s character development. Lunar Sway is a strange and surreal experience that unfortunately doesn't entirely work. While the piece presents interesting ideas and tackles universal themes, such as queer identity, its execution sadly falters due to sluggish pacing, ultimately yielding little in its conclusion.  Lunar Sway premiered at BFI Flare on March 22, 2026.