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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 Take from Me average rating is 3 out of 5 The Axe Forgets average rating is 5 out of 5 Frankenstein average rating is 2 out of 5 Bugonia average rating is 4 out of 5 Lovin' You average rating is 3 out of 5 Borderline average rating is 4 out of 5 The Roses average rating is 3 out of 5 Caught Stealing average rating is 4 out of 5 The Toxic Avenger average rating is 4 out of 5 For the Lives of Others average rating is 3 out of 5 213 Bones average rating is 2 out of 5 Pig Hill average rating is 2 out of 5

Take from Me film review by UK film critic Jason Knight. Starring Ethan McDowell, Kyla Diane Kennedy, Dwayne A. Thomas directed by West Eldredge. HOME | FILMS | REVIEWS Take from Me Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 31, 2025 Directed by: West Eldredge Written by: West Eldredge Starring: Ethan McDowell, Kyla Diane Kennedy, Dwayne A. Thomas A feature horror film written and directed by West Eldredge and starring Ethan McDowell, Kyla Diane Kennedy and Dwayne A. Thomas. Something sinister is taking place in a small town in the United States. After a young woman named Elizabeth (Kenendy) arrives and moves into an isolated house, a man disappears. John (McDowell), a handyman who used to live in this house, begins to suspect that there is more to this newcomer than meets the eye. Meanwhile, Abe (Thomas), the head of the local police, investigates the disappearance and gets closer and closer to uncovering the truth. Filming was completed for less than 90k, however the level of creativity gives the impression that the budget was much higher. Eldredge does such an amazing job as the director that it would be hard to believe that this is his directorial debut. The film is beautifully shot and the visuals look fantastic thanks to Kenneth Keeler's cinematography. Plus, the acting is very strong, but more about that later. Regarding the plot, it is a sort of mystery and romance, with much attention being directed towards the rapport that builds between Elizabeth and John and Abe's investigations. The atmopshere is dark, dramatic and suspenseful and murder does occur. A man discovers that the new woman is town is hiding very dark secrets and the two of them develop a relationship. As intriguing as this plot is, the screenplay does not succeed in being constantly gripping, spending a great deal of time exploring the characters, instead of moving the story forward. Of course, character exploration is crucial for a good story (which this one certainly is), nevertheless, spending so much time on the character makes the pace too slow and this feature overlong. The three protagonists (Elizabeth, John and Abe) are all suffering from a tragic past. Played brilliantly by Kennedy, Elizabeth is arguably the one who stands out the most, primarily due to what she actually is and because she claims that she does not mean anyone any harm but feels that she has no choice. John is an alcoholic who is dealing with loss and has spend years taking care of Elizabeth's house, as he used to live there with his wife and child. Meeting Elizabeth appears to be giving him a new purpose. Abe is a family man and recovering alcoholic who has had his own misfortunes. Self-reflection plays a major part in this story, as does trauma, loss and alcoholism. Additionally, the significance of support and finding a soulmate are also acknowledged. It would be fair to state that this horror film is slow-paced and overlong. Regardless of this, this feature deserves commendations for the acting, the plot, the atmosphere and for the technical aspects. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

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

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 5 out of 5 The Axe Forgets Read Review average rating is 2 out of 5 Frankenstein Read Review average rating is 4 out of 5 Bugonia Read Review average rating is 3 out of 5 The Roses Read Review average rating is 4 out of 5 Caught Stealing Read Review average rating is 4 out of 5 The Toxic Avenger Read Review average rating is 2 out of 5 213 Bones Read Review average rating is 1 out of 5 Your Host Read Review average rating is 3 out of 5 Eden Read Review average rating is 3 out of 5 Honey Don't Read Review average rating is 4 out of 5 Eenie Meanie Read Review average rating is 3 out of 5 We're Not Safe Here 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. Lovin' You James Learoyd To Be Frank Chris Olson The Wanderer Matt Trapp The Sanctity of Faith Patrick Foley 2024 Patrick Foley The Road Back Patrick Foley It Feels Good Jason Knight All My Life Jason Knight Unspoken by LT Jason Knight Bitter Cherry – Hunger Short Film Review alexjames96 Jun 3 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 The Axe Forgets Patrick Foley The Healer James Learoyd All Eyes On You Jason Knight Inheritors Chris Buick Safe Jason Knight Won't Be Long Now William Hemingway Holo James Learoyd As Easy as Closing Your Eyes James Learoyd What's Your Poison? Jason Knight Something Wicked Dwells Matt Trapp Space Goblins Patrick Foley The Mourning Of - 2025 William Hemingway Gold Hearts of Hot Rod County Chris Buick Broken Bastion Jason Knight The Sanctity of Faith Patrick Foley Namaste Jason Knight The Discoverer of the Discoverers Jason Knight Bread Winners Patrick Foley Seen Jason Knight Kreaster James Learoyd Rant Chris Buick Guava Express James Learoyd Rite of Way Jason Knight Up/Down James Learoyd Love Is Real William Hemingway 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.

Reviews from the latest movies, short films, indie features and more. Check out the UK Film Review Reviews section. Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! We do receive payment from PR companies and other filmmakers for services such as promoting their film, or skipping to queue, but this has nothing to do with the movie review itself. Whilst you will see our latest movie reviews here you should also follow UK Film Review on our social media profiles, as well as subscribe to our popular film podcast. This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 3 out of 5 Take from Me Read Review average rating is 5 out of 5 The Axe Forgets Read Review average rating is 2 out of 5 Frankenstein Read Review average rating is 4 out of 5 Bugonia Read Review average rating is 3 out of 5 Lovin' You Read Review average rating is 4 out of 5 Borderline Read Review average rating is 3 out of 5 The Roses Read Review average rating is 4 out of 5 Caught Stealing Read Review average rating is 4 out of 5 The Toxic Avenger Read Review average rating is 3 out of 5 For the Lives of Others Read Review average rating is 2 out of 5 213 Bones Read Review average rating is 2 out of 5 Pig Hill Read Review average rating is 4 out of 5 The Healer Read Review average rating is 1 out of 5 Your Host Read Review average rating is 4 out of 5 Satu - Year of the Rabbit Read Review average rating is 3 out of 5 Eden Read Review average rating is 3 out of 5 Honey Don't Read Review average rating is 4 out of 5 Eenie Meanie Read Review average rating is 3 out of 5 We're Not Safe Here Read Review average rating is 4 out of 5 Relay Read Review average rating is 2 out of 5 That Alien, Sound Read Review average rating is 4 out of 5 All Eyes On You Read Review average rating is 3 out of 5 Inheritors Read Review average rating is 5 out of 5 Safe Read Review average rating is 4 out of 5 Won't Be Long Now Read Review average rating is 3 out of 5 The Seeding Read Review average rating is 4 out of 5 The Vortex Read Review average rating is 4 out of 5 Holo Read Review average rating is 3 out of 5 Descendent Read Review average rating is 3 out of 5 The Knife Read Review average rating is 4 out of 5 To Be Frank Read Review average rating is 3 out of 5 Went Up the Hill Read Review average rating is 4 out of 5 As Easy as Closing Your Eyes Read Review average rating is 4 out of 5 What's Your Poison? Read Review average rating is 4 out of 5 Boys Go to Jupiter Read Review average rating is 3 out of 5 Jimmy and Stiggs Read Review average rating is 1 out of 5 Suseteer: The Movie Read Review average rating is 4 out of 5 The Wanderer Read Review average rating is 2 out of 5 Something Wicked Dwells Read Review average rating is 3 out of 5 Strange Days Diary NYC Read Review average rating is 3 out of 5 Space Goblins Read Review average rating is 3 out of 5 The Mourning Of - 2025 Read Review average rating is 4 out of 5 Gold Hearts of Hot Rod County Read Review average rating is 3 out of 5 Broken Bastion Read Review average rating is 4 out of 5 The Bulls' Night Out Read Review average rating is 3 out of 5 Animale Read Review average rating is 2 out of 5 Ebony & Ivory Read Review average rating is 3 out of 5 Strange Harvest Read Review average rating is 4 out of 5 A Road To A Village Read Review average rating is 3 out of 5 The Sanctity of Faith Read Review average rating is 3 out of 5 The Last Of The Pretty Boys Read Review average rating is 4 out of 5 Namaste Read Review average rating is 3 out of 5 Waiting For The Drop: Rise of the Superstar DJs Read Review average rating is 4 out of 5 Folktales Read Review average rating is 4 out of 5 Pieces of Us Read Review average rating is 3 out of 5 The Bad Guys 2 Read Review average rating is 3 out of 5 Goliath Read Review average rating is 4 out of 5 Cloud Read Review average rating is 4 out of 5 She Rides Shotgun Read Review average rating is 4 out of 5 The Discoverer of the Discoverers Read Review average rating is 3 out of 5 Sketch Read Review average rating is 4 out of 5 Together Read Review average rating is 4 out of 5 Bread Winners Read Review average rating is 4 out of 5 Seen Read Review average rating is 3 out of 5 Snorkeling Read Review average rating is 3 out of 5 Kreaster Read Review average rating is 4 out of 5 Rant Read Review average rating is 3 out of 5 Avant-Drag! Read Review average rating is 2 out of 5 The Home Read Review average rating is 3 out of 5 Monster Island Read Review average rating is 2 out of 5 House on Eden Read Review average rating is 3 out of 5 Guava Express Read Review average rating is 3 out of 5 The Chocolate Club Read Review average rating is 4 out of 5 Rite of Way Read Review average rating is 4 out of 5 Nyctophobia Read Review average rating is 1 out of 5 Cleaner Read Review average rating is 3 out of 5 Something About You Read Review average rating is 4 out of 5 The Days Ahead Read Review average rating is 4 out of 5 Up/Down Read Review average rating is 3 out of 5 Love Is Real Read Review average rating is 2 out of 5 Lost Hills, Ca. Read Review average rating is 4 out of 5 Migrating Fears Read Review average rating is 5 out of 5 Harvey Greenfield is Running Late Read Review average rating is 3 out of 5 Ireke: Rise of the Maroons Read Review average rating is 4 out of 5 Marlee Matlin: Not Alone Anymore Read Review average rating is 4 out of 5 Tether Read Review average rating is 2 out of 5 The Desperate End Read Review average rating is 3 out of 5 The Lines in Their Faces Read Review average rating is 3 out of 5 Stuck on the Corner of Hope Read Review average rating is 2 out of 5 The Worst Film Festival Ever Read Review average rating is 3 out of 5 Monsters of California Read Review average rating is 3 out of 5 40 Acres Read Review average rating is 5 out of 5 Good Luck Fuck Face Read Review average rating is 4 out of 5 Witness Read Review average rating is 2 out of 5 The Shrowdinger Read Review average rating is 3 out of 5 Tiny Little Voices Read Review average rating is 3 out of 5 The G Read Review average rating is 2 out of 5 Standing On The Edge Read Review average rating is 4 out of 5 Q&A Read Review average rating is 4 out of 5 The Music We Call Country Read Review

The Axe Forgets film review by UK film critic Patrick Foley. Starring Harry Butler, Aine Collier, Bosco Hogan directed by John Christopher. HOME | FILMS | REVIEWS The Axe Forgets Film Review average rating is 5 out of 5 Critic: Patrick Foley | Posted on: Aug 31, 2025 Directed by: John Christopher Written by: John Christopher Starring: Harry Butler, Aine Collier, Bosco Hogan “The tree remembers what the axe forgets”… so goes an ancient African proverb that decries those who cause pain and destruction but move on and forget as though their actions leave no stain. As John Christopher’s short The Axe Forgets shows, some acts are impossible to run from. In 1888, James S. Jameson (Harry Butler) has recently returned to Ireland from an expedition in the Congo. As heir to the Jameson whiskey fortune, he lives a life of indulgence in a grand manor served by his butler (Bosco Hogan) and partner Kate (Aine Collier). But James’ actions in Africa in service of a colonialist cause have left him with trauma that cannot be contained, and karmic hauntings plague his home life. The Axe Forgets shines a fascinating light on the Irish role in empire. With a protagonist baring the name of an iconic Irish export, it implicitly links the role of Irish elite to the subjugation and terror of colonialism, even as part of a subjugated and colonialised country. James S. Jameson is a willing participant in the brutalisation of those he deems beneath him. Whilst it is not explicitly stated, anyone with an appreciation of history will know that British attitudes to the Irish were not far from Jameson’s attitude to the Congolese. It is an uncomfortable, confronting film in this context – one that does not batter its audience over the head with its themes but asks them to reflect on them, especially when Jameson loses his family, respectability and moral centre. Gothic horror is the framing through which Jameson’s torment is explored. Visions in the night turn into shadows in his home, and sharp jump shocks will catch the viewer out as much as the protagonist. However these visions are not of supernatural beasts or masked killers, but mainly of Jameson’s own memories or off innocent people who were unlucky enough to come across him. A representation of PTSD of sorts, but in the form of an earned curse, or ghosts that now haunt the lavishness he has retreated to. Jameson himself is a villain, but colonialism is the monster, and the ‘rewards’ of riches and status can’t free him from its jaws anymore than those he has terrorised in its service. Harry Butler’s leading performance is piercing. The impenetrable stoicism of empirical upper classes sheds away as his own trauma makes him its vessel. Butler embodies a man unequipped to deal with the haunting he is now cursed with, through pulsating rants that drive away his wife or vigorous, disturbing handwashing in a river to try and clean never-ending blood away (a heavy-handed visual metaphor if there ever was one). History and horror fans alike will find An Axe Forgets fascinating. Its original examination of the after-effects of colonialism make for discomforting but unforgettable viewing, and complex questions it asks of its audience on the emotional level elevate it to a special experience. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Frankenstein film review by UK film critic Jack Salvadori. Starring Oscar Isaac, Jacob Elordi, Mia Goth directed by Guillermo del Toro. HOME | FILMS | REVIEWS Frankenstein Film Review average rating is 2 out of 5 Critic: Jack Salvadori | Posted on: Aug 30, 2025 Directed by: Guillermo del Toro Written by: Guillermo del Toro Starring: Oscar Isaac, Jacob Elordi, Mia Goth Guillermo del Toro’s Frankenstein is the cinematic equivalent of watching a child let loose in a toy shop: you can’t deny the glee, but you can question whether he actually needed all the toys. This is clearly his passion project, his gothic playground, his shrine to Mary Shelley. And while it’s undeniable that he adores the aesthetics (he probably stuffed his living room with most the props), perhaps one shouldn’t play so lovingly with one’s heroes. Sometimes devotion smothers invention. The film is slavishly faithful to the book, at least at first, quoting Shelley verbatim like a student too nervous to paraphrase. But in its eagerness to cram the entire novel into two and a half dense hours, the film never gets the chance to breathe. The protagonists, played by Oscar Isaac as the mad scientist and Jacob Elordi as his revitalised creature, speak in solemn Victorian maxims that clang on screen like museum plaques. And that leads to a vast, creaking cliché, strangely devoid of original touch. We have the classic, as well as countless remakes… did we really need yet another version that has nothing to add? Worse still, del Toro snips out one of the novel’s most vital beats: the creature’s murder of a child. Not for pacing, not for brevity, but seemingly out of reluctance to stain his beloved monster. While the trick worked with arguably all his previous works, the dedication to sympathise with the monster is, quite frankly, redundant in Frankenstein. Without that act of brutality, the creature loses his contradictions, his tragic duality. He becomes a simplistic hollow statue of sorrow, robbed of the layers Shelley carved into him. So what we’re left with is just stuffed flesh: a lifeless, decomposed work, dead at birth. A Frankenstein film so interested in the aesthetics of thunderstorms and steampunk mechanics that, ironically, forgets to spark itself alive. About the Film Critic Jack Salvadori Theatrical Release < All Reviews Next Film Review >

Bugonia film review by UK film critic Jack Salvadori. Starring Emma Stone, Jesse Plemons directed by Yorgos Lanthimos. HOME | FILMS | REVIEWS Bugonia Film Review average rating is 4 out of 5 Critic: Jack Salvadori | Posted on: Aug 29, 2025 Directed by: Yorgos Lanthimos Written by: Will Tracy Starring: Emma Stone, Jesse Plemons After the deliriously brilliant Poor Things and the unnecessarily indulgent Kinds of Kindness , Yorgos Lanthimos is already back at it with Bugonia . A remake of the cult 2003 Korean oddity Save the Green Planet! , scripted here by Succession ’s Will Tracy bringing his trademark “eat-the-rich satire”, it’s Lanthimos back in his natural habitat: a sandbox of paranoia and bodily fluids. Lanthimos has reunited with his beloved stock thespians. Jesse Plemons stars as a tinfoil-hat conspiracy theorist who ropes in his confused, mentally impaired cousin to kidnap a Big Pharma CEO (Emma Stone, obviously- at this point she should probably just move to Athens). But there’s no ransom note: he’s convinced she’s an alien plotting to exterminate bees, and therefore humanity. His plan to save the world? Interrogation by way of torture, while Stone fires back in passive aggressive corporate HR jargon. What follows is part chamber drama, part torture chamber, which, at two hours, does occasionally sag and feel long. Think of the suffocating tension of Dogtooth , that house as a prison of dread; Bugonia flirts with that claustrophobia but never quite bolts the doors shut. But surprisingly, the tighter scale works in Lanthimos’ favour. It’s claustrophobic, nasty, and mercifully less obsessed with fish-eye lenses and mannequin-style deadpan. He lets his actors snarl and chew, and the result is often electric. And no, Lanthimos hasn’t gone soft. The man still marinates his stories in bleakness and cruelty like a chef who only owns one spice jar labelled “hopelessness.” The audience collectively hissed multiple times, proof that he can still make a room squirm with glee. In short: Bugonia is what happens when you mash Succession , alien paranoia, and Lanthimos’ fuckdupness into a blender and pour it into your eyes. It’s messy and funny, and it absolutely has nothing to say- just how we like it. About the Film Critic Jack Salvadori Theatrical Release < All Reviews Next Film Review >

Lovin' You film review by UK film critic James Learoyd. Starring Carolina Medina directed by Leah Nicole. HOME | FILMS | REVIEWS Lovin' You Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 29, 2025 Directed by: Leah Nicole Written by: Minnie Riperton (original lyrics) Starring: Carolina Medina Lovin’ You is a high-energy music video. A brand-new cover of the classic romantic ballad by Minnie Riperton, now performed by singer Carolina Medina – the video is directed by Leah Nicole. Within the video, we see star Medina placed in various superficial locations and scenarios. These include the following: sat outside some European café; in a blank space with rhythmic flashing lights; and most prominently, and most authentic, a bar or club. We also get to see Medina experiment with her outfits and wear a range of costumes. According to the filmmakers, it was captured for the most part in the star’s living room, with the exception being these sequences in the club. It’s a successful enough showcase of confidence, charisma, and overall stage-presence. But unfortunately, there’s something inherently lacking in the overall production and delivery. This is not a polished piece; however, it is consistent, and it is enjoyable viewing for three minutes. Carolina Medina exudes a positive feeling and is incredibly likeable. Updating the song electronically makes the overall tone feel slightly repetitive as opposed to the soul characteristic of the original. But, then again, it certainly suits the club scene of the modern age; it’s catchy, fun and indicates a party attitude. To pinpoint perhaps the most damning issue with the video, it would have to be the inaccurate lip-syncing. It’s difficult to know exactly how this would have happened, and while it only takes place a couple times, it does significantly disrupt the musical illusion. But as stated, the arrangement of the piece feels consistent overall. The editing is most competent and definitely lends the video much of its energy and tone – despite a few of the anachronistic digital transitions. From an objective standpoint, here would be my main piece of advice when it comes to next making a music video: go outside! Whilst the fake background stuff is actually pretty amusing and successful in a cheesy sort of way, what this work severely lacks is engagement with any sort of dynamic, colourful environment. I can imagine this star’s style of performance really working surrounded by nature or even a cityscape – just something that holds cinematic depth and movement. It would also make the director’s job a lot easier when it came to making shots appear engaging to an audience. It’s entertaining to see her in a bar, flirting with a guy and bouncing off her very supportive and winning friends. But we need more of her interacting with her environment, otherwise it only solidifies the feeling that this was shot in some strange – albeit charming and welcoming – bubble. In three minutes, singer Medina and director Nicole craft a fun time for their viewers. For a lower-budget production of a music video, it’s great to see what they managed to achieve since it does feel like a music video. It’s poppy, it’s romantic, and it evokes a lovely sense of celebration. It’s almost a shame that one needs to formally deconstruct it as a piece of filmmaking, since it can simply stand alone as cool, fun thing that some creatively inspired people felt they wanted to make – and this critic is glad they did. About the Film Critic James Learoyd Music Video < All Reviews Next Film Review >

Borderline film review by UK film critic Jason Knight. Starring Samara Weaving, Ray Nicholson, Eric Dane, Jimmie Fails directed by Jimmy Warden. HOME | FILMS | REVIEWS Borderline Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 29, 2025 Directed by: Jimmy Warden Written by: Jimmy Warden Starring: Samara Weaving, Ray Nicholson, Eric Dane, Jimmie Fails A dark comedy thriller feature film written and directed by Jimmy Warden in his directorial debut and starring Samara Weaving, Ray Nicholson, Erc Dane and Jimmie Fails. The time is the 90s', the place is Los Angeles and one disturbed man has a plan: he is going to break into the house of a famous actress and singer and marry her. The man is Paul (Nicholson) and in order to execute his plan, he needs the help of two associates: Penny (Alba Baptista), a young French woman and Calhoun (Patrick Cox), a single-eyed guy. The unfortunate celebrity is Sofia (Weaving), who lives in a large mansion and whose partner is DeVante (Fails), a professional basketball player. So, on the day of the event, the three culprits put their plan in motion by abducting a pastor and Bell (Dane), Sofia's bodyguard, along with his daughter, Abby (Yasmeen Kelters) and her aunt, Eleanor (Catherine Lough Haggquist). They then bring these people to the mansion, where more bad things ensue. A trio of more or less lunatics execute an outrageous plan and along the way they commit a some brutal murders and assaults. The plot is quite interesting and it is the three criminals that steal the show, with their wild and shocking behaviour and actions that results in scenes filled with dread, tension and madness. There as much brutality as there is dark humour in this story that is born by a mentally ill man's dream. The soundtrack adds great value to the film as it consists of tracks by artists including The Cardigans, Annie Lennox, The Flaming Lips and Nicola Cruz. The screenplay is less interested in moving the plot forward, focusing instead primarily in character exploration and the highlights are the bad guys and the chaotic scenes and a couple of weird scenes that involve a policeman singing and dancing and two women singing together. Generally, the story moves slowly and it is the characters and drama that get the spotlight. As mentioned, it is the three kidnappers that get the most attention, especially Paul and Penny. Paul is a disillusioned person who imagines that a specific person is actually someone else. Furthermore, he is also a psychopath and capable of murder. Just like his legendary father, Ray Nicholson is terrific in portraying his character very convincingly, who in this case is a character who constanly grins as he lives in his own world and vividly expresses his thoughts. Penny is equally dangerous and deranged, played very vividly by Baptista. Her character is a woman who enjoys violence and (like Paul) seems to live in her own world too and both Baptista and NicholsonUnlike, these two, Calhoun is quieter. As for the rest of the protagonists, they are simple people who are trying to deal with and survive the unbelievable situation that is unfolding. Through Paul and Penny, this feature explores mental health, particulary borderline personality disorder and violent tendencies. Additionally, obsession is a major theme, particularly fan obsession. Moreover, this is also a story about self-expression, finding happiness and having a soulmate. A dark comedy. A crime thriller with murder, kidnapping and home invasion. The intriguing plot is a key feature that makes this film worth seeking out and Nicholson's and Baptista's performances are the aspect that stands out the most. Borderline will be available on Digital Download from 8th September 2025. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >