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The Foreboding: Fractured film review by UK film critic Madeleine Lavers. Starring Olivia Bennett, Eve Kathryn Oliver, Sienna Shih directed by Kemal Yildirim. HOME | FILMS | REVIEWS The Foreboding: Fractured Film Review average rating is 3 out of 5 Critic: Madeleine Lavers | Posted on: Aug 10, 2026 Directed by: Kemal Yildirim Written by: Alexander Staunton-Hill Starring: Olivia Bennett, Eve Kathryn Oliver, Sienna Shih The Foreboding: Fractured (2024) is a short horror film written by Alexander Staunton-Hill. Alexander also plays one of the students named Connor that this story follows. The group of four goes for a hike in the English countryside, laughing and joking, revealing their year-long friendships that began at the start of their university studies. When they settle around the campfire in the woods, character Abigail (played by Eve Kathryn Oliver) entertains the group with a scary story set in the same woods they are huddled in. The story highlights a ghost looking for her deceased brother who drowned in the nearby lake, with the cabin the siblings stayed in also a stone's throw away. When the group splits in an attempt for Aaron to rekindle an old spark with Amy, Connor and Abigail collect some firewood before they hear the whispers of the ghost from the story. The ghost shows Connor a vision of his friends dead. To stop the proposed events unfolding, the group search for safety and a way to prevent the curse continuing. The narrative of this film is easy to follow, compelling and full of fast-paced action. The horror aspects of the ‘ghost girl’ are strong. The costume, hair and makeup of the supernatural are uneasy and remarkably effective. The banter presented between the four friends was realistic and enjoyable to watch. It would have been nice to understand the characters more so that audiences could empathise with them. Without knowing or caring much about the characters, the stakes did not feel high. There was also some confusion with the relationship between Connor and Abigail, at times romance was alluded to, but this was not clear. An unmistakable connection between the pair might have sparked more emotion from the audience when the characters do comfort each other throughout their trauma. The visuals of the film were of high quality and professional, from the cinematography down to smaller details like the opening credits. Unfortunately, I do not think the performances were as strong. A high skill level is needed to pull off a performance of grief and immense distress and I do not think that the performances were convincing of this. I understand the difficulties of fitting a more complex narrative into a shorter production, but there were some holes in the plot and elements that were not clear. During one of the final scenes, Abigail stabs what seems to be a dark fabric. I assume this could be the remnants of the drowned brother in the cabin, mentioned previously in the story, but this was not apparent. The reasoning behind the curse and why it involves the teenagers is also not known. Overall, this film has a strong narrative with high production value. Some enhancements to the script for a deeper story with more character building would improve it. It was an enjoyable watch with the horror genre being served well. Buy UKFR Banner Space About the Film Critic Madeleine Lavers Short Film < All Reviews Next Film 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. LATEST MOVIE REVIEWS 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 The Foreboding: Fractured average rating is 3 out of 5 Rhythmic Exercise with Priadi average rating is 4 out of 5 Chum average rating is 1 out of 5 Shhhhh average rating is 4 out of 5 Mintrix and the Elven Figurine average rating is 3 out of 5 Swallows of a Damned Spring average rating is 3 out of 5 As You Wish average rating is 4 out of 5 The Circle average rating is 3 out of 5 Big Baby average rating is 2 out of 5 The Yeti average rating is 3 out of 5 Tinsman Road average rating is 3 out of 5 Cookie Queens average rating is 4 out of 5 Featured Film News FILM NEWS The Latest Film Trailers MOVIE TRAILERS Focker-in-Law Heart of the Beast Klara and the Sun Power Ballad The Debut One Night Only Filmmaker Interviews INTERVIEWS

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. Peekaboo James Learoyd Ghosts Madeleine Lavers It's Not Goodbye - December Fades Official Music Video Chris Buick Return to Elenore Matt Trapp TELEPROMPTER - Late Night Television Matt Trapp Lennington Evening-Blooming Cellar Jason Knight Ethereal Matt Trapp Blooming Cellar-Tuesday Jason Knight Train Ride Jason Knight Bitter Cherry – Hunger Short Film Review alexjames96 Jun 3, 2025 2 min read Ain’t my Vibe Short Music Video Review alexjames96 Jun 6, 2024 2 min read Cinerama (Music Video) Short Film Review alexjames96 Mar 17, 2024 2 min read Homecoming (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min read Sheep F-cked In the Head Short Film Review alexjames96 Nov 16, 2023 2 min read Service for The King short film review Theo Aug 1, 2022 2 min read More Film Reviews

Harbinger (2026) Directed by: James Crow Written by: Harry Boxley, Simon Cluett Starring: Peter Woodward, Jeanine Nerissa Sothcott, Nick Nevern Film Review by: Holly Baker ⭐⭐⭐⭐ Harbinger (2026) is a thrilling, feature-length supernatural horror film. The film is directed by experienced horror writer and director James Crow. Crow has exclusively worked within this gory genre, with previous works such as the Christmas scarer Nightmare on 34th Street (2023) and the folk horror/mystery thriller Curse of the Witching Tree (2015) gaining a fair amount of traction and critical praise. Harbinger continues his legacy, with a gripping original story and striking visuals, and fresh, talented faces, adding marvellously to the continuously growing genre. Horror is certainly having its moment on the cinema stage now in 2026. Films like Curry Barker’s Obsession (2025) and Kane Parson’s Backrooms (2026) are huge successes, both putting an original spin on the genre, using it to provoke ideas, and playing on our biggest fears. Similarly to Backrooms and Obsession, Harbinger uses themes like desire and identity to create fear, warping relationships, family, and intimacy to elicit discomfort. The aspect of identity has always been a huge influence in the horror genre. This is seen in the emergence of the gothic genre, which had creatures of the night, Vampires who would walk among the rest of humanity, their evil nature undetectable and therefore all the more sinister. Harbinger plays excellently on that deep-rooted fear in all of us, that people we know are not who they say they are- starting with our protagonist's husband, Decker. Harbinger Official Film Trailer We are introduced abruptly to the disturbing truth behind Julia and Decker’s relationship ending. The couple had been happily married before Julia discovered Decker's gruesome habit of demon worship and serial femicide. This is all revealed in the film’s brutal opening segment, in which Julia almost reaches her own fatal end, but fights back just long enough before authorities can shoot him down. This satisfying scene sets the story into motion, establishing Julia as a heroic and refreshing final girl character, breaking casting stereotypes, notably by being an older woman. Following this traumatic attack, Julia suffers from PTSD and is struggling to get her life back together. She is approached by keen showrunners of a ghost hunting TV show who ask for her involvement in their investigation of the house she shared with him. She reluctantly agrees, hoping to face her demons and be finally free of the hold Decker’s memory has on her. However, their evening of filming does not quite go to plan, as something truly evil seems to reside within the home that the crew are no match for… Like Obsession, with its infamous “One Wish Willow”, Harbinger brings in traditional folk horror aesthetics of the divine supernatural. In the house, the crew stumbles across a fortune-telling Harbinger, which is fantastically horrifying in its playful yet sinister nature. The costume design in Harbinger is excellently fearful, with the use of practical effects, make-up, and masks which are incredibly creepy yet simple. In this simplicity, the film has a very British, Dr Who-esque feel to it, giving it a nostalgic and homely feel, solidifying its place within the British horror landscape. By utilising the darkness of the house, combined with neon lighting, particularly the focus on sharp contrasts between blue and red, Harbinger is bursting with colourful character. The fearful atmosphere is buzzing with visual style, similar in look to Halina Reins’s brilliant satire comedy horror Bodies Bodies Bodies (2022), giving the film a smoky, fluorescent edge, and highlighting the dark shadows fabulously. The choice of containing the action within one space is always at the risk of the film becoming visually repetitive. However, the set design in Harbinger, with its intricate incorporation of the bedroom and bathroom spaces containing vulgar scares, certainly makes this risk pay off. This is all brought home by the cast and their brilliant performances. In typical British, Dr Who-like fashion, the most gruelling sequences are not so over the top, with the performances remaining committed, but wholly naturalistic as the story goes on. Though only featured briefly, Peter Woodward AKA Decker is fantastically vibrant in his villainous role. Decker’s evil is conveyed alluringly, charming and intriguing viewers into his darkness. Most notably, Jeanine Nerissa Sothcott is thrilling, and Julia is Harbinger’s final girl. Viewers can get a strong sense of her trauma and impressive bravery as she faces what she fears most. Overall, Harbinger excellently incorporates traditional horror tropes in original ways to convey a modern take on the genre. The film contains several striking visuals through honourable practical effects and lighting choices. Sothcott and Woodward carry the film’s most poignant moments through their naturalistic performances, with the support of a fully committed ensemble. Fans of contemporary horror such as Ready or Not (2019) will find the film satisfying, and a healthy amount of both scary and fun. Viewers may look forward to James Crow’s upcoming work, The Wicker Children, also on its way to be released in 2026 along with several other horror features and shorts. Harbinger is on UK digital 10 August and US digital 11 August from Miracle Media

Film Feature by Chris Olson There are certain casting announcements that instantly grab your attention and demand space on your calendar. When you pair two absolute titans of screen acting together in a pressure-cooker genre piece, anticipation levels inevitably hit the roof. That is precisely why audiences (and I) are counting down the weeks until writer and director Padraic McKinley’s acclaimed feature debut, The Weight, arrives in UK and Irish cinemas on Friday, October 2nd, courtesy of Vertical. Ethan Hawke is a performer of immense versatility, but he has always held a special place in cinematic hearts for his sheer intensity. His blistering, Oscar-nominated turn opposite Denzel Washington in Training Day remains a high-water mark for crime cinema, while his grounded, nerve-shredding performance in the original The Purge proved he can anchor a high-concept survival thriller better than almost anyone in the business. Opposite him stands Russell Crowe, an actor whose screen presence commands immediate respect. Whether he is delivering iconic, towering gravitas in Gladiator or sinking his teeth into complex, heavyweight historical drama in Nuremberg, Crowe brings an undeniable power to every frame he inhabits. Seeing these two heavyweights share the screen for the first time in a tense, atmospheric period crime drama is the kind of cinema pairing movie lovers dream of. Set during the Depression era in 1933, The Weight follows Samuel (played by Hawke), a man cruelly torn away from his young daughter and thrown into a brutal prison camp. His only lifeline comes from Warden Clancy (Crowe), who presents him with a high-stakes deal: smuggle stolen gold out of a remote mine alongside a dangerous crew of fellow convicts, and he will earn his freedom. However, as the group treks into the unforgiving wilderness, the harsh terrain quickly becomes the least of their worries. Surrounded by paranoia, greed, and impending violence, betrayal begins to fester within their own ranks, forcing Samuel to risk everything to survive and reunite with his child. Drawing inspiration from the introspective, character-driven action cinema of the 1970s, McKinley’s film promises to balance gritty survivalist set pieces with intelligent dialogue and razor-sharp tension. The visual language is brought to life by Matteo Cocco’s vivid cinematography and a harrowing score from brothers Latham and Shelby Gaines. Alongside the lead duo, the film boasts what Screen Daily hailed as a "formidable ensemble," including Julia Jones, who brings dignity and defiance to her role as Anna, the sole woman in the group, as well as Austin Amelio, Avi Nash, and Sam Hazeldine. The early word on the film has been exceptionally strong. Following its world premiere at the Sundance Film Festival, Variety praised the production, noting that "Hawke is a classical hero" delivering a muscular, resourceful performance as a man pushed to his absolute limits, while Crowe provides a quietly menacing foil as the calculated warden. With its blend of period grit, survivalist tension, and world-class acting, The Weight looks set to be one of the autumn’s absolute highlights.

Film Feature by Jason Knight (amended Apr 2026 to include William Curzon's review) #8 - The Last Laugh (review by William Curzon) ★★★ Directed by: Spencer Anderson Written by: Zachary Coleman Starring: Zachary Coleman, Samuel Lawrence The Last Laugh is a short piece that follows a police officer (Samuel Lawrence) apprehending a clown (Zachary Coleman) with their two opposing ideals at odds. Despite the film's incredibly brisk runtime, it wastes no time building tension and executing its ideas almost immediately. While there isn't much material to sustain a feature-length runtime, the filmmakers clearly intended to execute their distinct vision as depicted on screen. The most impressive aspect of The Last Laugh is its camerawork and fluid editing choices, which are on display. Dan Abrams, serving as both cinematographer and editor for the piece, utilises unique framing choices, including extreme close-ups during moments of severe conflict, and switches to wide framing to give the viewer a sense of the surrounding area. It's an incredibly visceral experience that doesn't let up until its final moments. However, without any prior context to the arising conflict between the two central characters, it's difficult to comprehend what is actually occurring, as the narrative throws the viewer in the deep end, requiring them to decipher what has led to this confrontation. It's a deeply frustrating aspect of the piece due to the lack of character development or thematic purpose, aside from the brief exploration of crime themes. The brief use of music is incredibly impactful and accompanies the severity of the conflict extremely well. Going into the film blind is genuinely a rewarding experience as it's a rather unique piece of indie filmmaking that relies only on a single dispute between two opposing ideologies. While the narrative isn’t fleshed out much, it's extremely refreshing to see an uncompromised vision executed to this level of absurdity. Despite the film having fairly sparse material to work with, the filmmakers do their best to convey their talent with such raw production value. Its absurd nature is commendable, and the narrative does sweep the rug from under the viewer with a shocking twist. #7 - Line of Sight ★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown Starring: Bertie Taylor Smith, Holly Ashman A lonely man is obsessed with a young woman. Francis (Smith) is a socially awkward young man who appears to fancy Erica (Ashman), a friendly girl who works at a cinema. He follows her around and takes pictures of her without her knowing. Finally, he decides to approach her, however, things will take a dramatic turn. This short is kind of a stalker thriller that is seen from the perspective of an unusual individual. Initially, it is not clear whether he is a good or a bad person. He secretly follows and photographs a person, yet his intentions appear to be harmless, as he seems to want to be in a relationship with her. Smith delivers a convincing performance as an isolated individual who has difficulties socialising. His love for photography appears to be a way for him to view and experience the world. Ashman is great in her role as a cheerful cinema worker. The filmmakers make effective use of slow motion and the dramatic music helps create the appropriate atmosphere. This is a dramatic story and one that explores themes of obsession and loneliness. It raises awareness of autism and presents challenges that people with social difficulties have to face. #6 - April ★★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown, Spencer Anderson Starring: Ruby Rae, Oscar King, Cara Kealy In a hostile, post-apocalyptic world, a man escorts his daughter to a place called 'The Vale'. This short science fiction drama introduces the viewer to a world where danger seems to be constant. The story is told from the perspective of a family, whose members are forced to try to survive in that place. These people are Jordan, the father (King), Natalie, the mother (Kealy) and April, the daughter (Rae), who possesses extraordinary abilities. The three of them live in a hidden location in the wilderness and one day, Jordan and April set off to locate a group of people, who will hopefully be able to help April control her powers. Although the screenplay does a decent job in terms of setting up a post-apocalyptic world, it does not explain how it happened, which is not a bad thing, however, it would have helped if there was some form of explanation. The main focus is the relationship between the father and his daughter. The two of them have their differences, however, it becomes obvious that they care deeply for each other. The performances are great, and the three protagonists are convincing in their roles as good-hearted individuals attempting to survive in a harsh world. The film benefits from a beautiful and sentimental score and a special mention goes to Renato Solca for the visual effects. This short is a post-apocalyptic sci-fi that is a story about a journey that is filled with emotion and explores themes of parenting, survival and self-discovery. #5 - As You Wish ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Elliot Cable, Gillian Broderick, Natasha Robinson Spencer Anderson writes, produces, edits, and directs this short psychological drama, starring Elliot Cable, Gillian Broderick, and Natasha Robinson. The plot: World War II is taking place, and a young soldier named Peter (Cable) is at a carnival, where he visits Helen (Broderick), a fortune teller, hoping that she can reveal news regarding Sheila (Robinson), his beloved partner. Helen will do so, bringing to the surface revelations that will deeply distress Peter. This relatively short story manages to explore a number of significant themes and they include war trauma, desperation, comfort, regrets, and painful revelations. A World War II story. A romance. A tense and emotional film about a soldier battling with himself as he faces unexpected discoveries. #4 - Super-Being ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson, Dale Dandridge, Jamie B-Brown, Moyo Taylor Starring: Zachary Coleman, Juke Hardy, Nate Barker, Issie Caird An individual who has supernatural powers is being pursued by sinister people. This science-fiction thriller explores the life of a person with otherworldly abilities. The nonlinear narrative travels through time between scenes that show the protagonist as a young man and scenes that show him as a child. The audience sees the passing of his mother, his attempts to live a normal life and the efforts he makes in order to deal with the people who are after him. There is drama, shooting, life-threatening situations and the sense of an individual who is lost, who seems to be unable to find peace. Much of the story is accompanied by narration by the main character, as he talks about his life and his words are emotional and sound philosophical. Jermaine Wills and Filipas Proskurinas do an amazing job with the cinematography and the atmospheric score is a big plus. Although this is interesting viewing, it might have benefited if the hero's powers were explained more effectively. Nevertheless, this short is an emotional and tense ride about loss and self-discovery. #3 - Satellites ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Tamzin Murray An astronaut is by herself, on another planet. This beautiful and emotional short focuses on a young woman (Murray), who has found herself on an uncharted planet and attempts to navigate through it on foot. The mise-en-scene in this drama effectively brings the viewer into the science fiction genre. The protagonist wears a spacesuit, there is a spaceship and she is on a distant, unknown planet. Regarding the narrative, there is not much of that and it is the images and narration that keep the audience engaged. The viewer observes the woman as she walks through the planet, wearing her spacesuit. She is the only person in the film and there is a strong feeling of isolation. Her voice-over refers to issues about life and the meaning of existence and listening to her is quite thought-provoking. Ben Hardy worked on the cinematography and editing and does a great job. The decision to utilise the track Surrender It by Delectatio was excellent as it is a wonderful and very calming peace that creates a peaceful atmosphere. This is a story that focuses on one person's philosophical perspective regarding life. On the surface it is a sci-fi, however it is more than that and explores themes of isolation and self-discovery. #2 - Rock-a-Bye ★★★★ Directed by: Spencer Anderson Written by: Jamie Bhagwat-Brown, Spencer Anderson Starring: Yazzmin Newell, Samuel Lawrence A young woman makes a crucial decision on the day she and her partner are about to commit a crime. An intriguing short film that works as a crime thriller and also as a story about self-reflection. As a crime film, it has a plot that revolves around the idea of a couple being outlaws. According to director Anderson, this short was made with Western-era influences that involve films such as Blood Simple and Badlands and that is evident considering the storyline and atmosphere. Plus, part of the filming was done at the Burnout BBQ Diner in Summertown, Oxford, giving the film a sort of Americanised look. What is going on is not clear from the beginning, making the viewer to put the pieces together as the story unfolds and what is discovered is that the couple are about to do something very vile. As a film about self-reflection, that theme is explored through Carla (a great performance by Newell), who makes a vital last-minute discovery and makes a crucial decision. Newell is terrific in her role; however Lawrence is arguably the one who steals the show as Clay, Carla's partner, an aggressive and controlling man. With his sixth short, Anderson creates an expertly directed film that contains a great deal of suspense and with terrific performances by the two leads, a dramatic and tense score by Reg Length and beautiful cinematography by Jermaine Wills, this is an achievement that deserves recognition. #1 - Fallen ★★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Zachary Coleman, Michael Watts This short drama was inspired by the reminiscences of Gilbert Bradley, who was a British soldier who exchanged letters with his male partner while he was fighting World War II. Through a nonlinear narrative, this emotional war film tells the story of a forbidden romantic relationship and how these two people tried to keep in touch during the war. Approximately the first half consists of the reading of a letter that was written by one man and addressed to the other and the second half is the opposite. Both contents of the letters are told through a voice-over that comes from the one who wrote it. Their words are passionate and full of emotion, clearly indicating the love that they feel for each other. The narration is accompanied by many brief scenes that depict the lives of the two partners, including one man in a library, reading a letter, scenes of combat, a bonfire and the two men together. The scenes and the voice-over make it all a rather moving watch. With its narrative structure, the film almost feels like a ten-minute-long trailer, which is not a negative element but a rather interesting storytelling technique. Jermaine Will provides wonderful cinematography and the emotional score goes very well with the scenes and voice-over. The mise-en-scene also deserves a lot of praise as it effectively creates a Second World War atmosphere. This is an emotional ride that is very heavy on emotions and explores a romance that is being torn apart by war. It is a beautiful story about love, separation and war and it deserves recognition. #JasonKnight