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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. Help Me Patrick Foley Everything I Hate About You Matt Trapp Dead City Punx Chris Olson RAUNCHADELIC Matt Trapp CATACLYSM William Curzon Psiblingz - Till We're Found William Curzon Mammoth: Adventures In Gnomeman's Land William Hemingway Flesh Wanting Blood William Hemingway Lovin' You James Learoyd 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

Immaterial film review by UK film critic Patrick Foley. Starring Holly Higbee, Samuel Greco, Veronica Rose directed by Alexandra Healy. HOME | FILMS | REVIEWS Immaterial Film Review average rating is 2 out of 5 Critic: Patrick Foley | Posted on: Apr 24, 2026 Directed by: Alexandra Healy Written by: Alexandra Healy Starring: Holly Higbee, Samuel Greco, Veronica Rose Alexandra Healy’s Immaterial is a bleak short that takes a look at cycles of grief and addiction. A strong leading performance guarantees viewer investment, but clunky dialogue and lack of conclusion will make the harrowing watch a difficult one for some. Naomi (Holly Higbee) lives a lonely existence on a London council estate. As her mother battles a serious illness, Naomi battles a drug addiction that prevents her from being by her side. Unrequited longing for ex-girlfriend Lily (Verona Rose) leads her to selling herself for drugs to Jack (Samuel Greco), and old traumas start to spill out as she hits rock bottom. Immaterial ’s presentation of trauma cycles that inextricably link to poverty is a powerful mirror to endless true stories that push people to the brink. It cleverly links Naomi’s battles to demonstrate how impossible it can be to escape from destructive patterns. Her drug abuse prevents her being close to her ill mother, which in turn pushes her towards toxic people, which could have been prevented were she not distant from her religion due to her sexuality. A powerful throughline of important people being removed from her life ties isolation into these factors also – and a late revelation shows how malicious individuals have used this to destroy her self-worth from years before. It shows that those struggling with addiction rarely end up in the battle without reasons outside of their control. The story structure is strong; yet the delivery is lacking in finesse. Holly Higbee’s performance is moving and vulnerable, packed with nuance and silent indicators of defeat. However, even she struggles in moments with the script, which demands lines of blunt exposition be handling gracefully in a manner which feels impossible. Lines of vulgarity also feel forced, as though they have been included to emphasise Naomi’s working-class credentials or provide a semblance of grit and edge. Instead, they land awkwardly and feel included for their own sake. The movie is at its best when it is tender and understated, allowing silence or words unsaid to stand out amidst the dialogue. Audiences looking for an uplift from the film or lesson to be learned from the anguish of Naomi’s story will also be left longing. An authentic portrayal of poverty cycles would include many a story without a happy ending, granted. But this film’s depressing journey for its protagonist borders on nihilism, offering little in the way of light or salvation. A 15-minute story of a woman being met by closed doors, manipulators and a descent into darkness was never going to be a barrel of laughs, but viewers will expect a greater meaning or purpose behind such a feature. It’s not immediately obvious what this is beyond evidencing the factors that come into play that derail lives. It’s a story told many a time, but a deeper layer is really required to make such an experience tolerable or insightful. The lack of this in Immaterial means audiences will come away questioning how they are really meant to process the film’s events. There is undoubtable power in Immaterial , stemming from Holly Higbee’s strong showing and Alexandra Healy’s talent at direction which forms a strong bond between viewer and protagonist. More refined dialogue and a grander purpose to Naomi’s story would have allowed this short to truly thrive, and without it instead it feels deeply cynical and pessimistic – without the depth necessary to make such a story sufficiently perceptive. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

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 Koko Suzanne Jason Knight Julius William Curzon Last Notification William Hemingway ASKING4IT Chris Olson The Last Laugh William Curzon I Like It Rough Jason Knight Back to 20-21 Jason Knight Proxy William Hemingway Hierophany William Curzon The Liars of Black Mountain Road Matt Trapp A Maze in Truth Jason Knight Astraea India Gwyn-Williams Breaking and Entering and Humping James Learoyd Molly Jason Knight Behind The Reflection William Hemingway Jujuman William Curzon Who Are You, Nanu? Jason Knight Michael Solace James Learoyd 20 Euros William Curzon Cheers India Gwyn-Williams Self+Tape Jason Knight G(l)ory Days William Hemingway Beyond the Sea Patrick Foley Hamza Ali Helps People William Curzon Bitter Tides William Curzon 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.

Star Rating: 5/5 Directed by: Valery Carnoy Written by: Jacques Akchoti, Valery Carnoy Starring: Samuel Kircher, Faycal Anaflous, Anna Heckel Film Review by: Joyce Cowan Wild Foxes (or Le Danse de Renards ) is a thoughtful, articulate French coming-of-age story. The story is set in semi-rural France in a secondary school where the students get amazing sporting and music education, and high-level performance opportunities. Camille (Samuel Kircher), our protagonist, is a brilliant boxer who his coach and headteacher are nurturing to compete an international level. But when his chance to compete is threatened and Camille’s outlook on his life changes, leaving both his friends and the adults who look after him perplexed, the story unfolds in unexpected ways. Wild Foxes is really elegantly written, even containing symbolism: foxes, which Camille is a fan of, appear throughout the film as part of the ecology of the school grounds, at one point being hunted due to neighbour complaints. The symbolism is hard to miss, as in various cultures, foxes represent cunning and cleverness as well as adaptability and creativity, which are the attributes Camille needs for sporting success. Throughout the story, he is engulfed by crisis: in his performance, his friendships (which at various points turn violent), and his own understanding of what he really wants, in what is an incisive portrayal of the struggles of sporting potential and high performance at an extremely young age when the personal sacrifice may be too high a cost to pay- this is the cross roads we find our character in. In particular, the presence of Yas (Anna Heckel), a student in the same school who is both sporty and musical, and the only female character, harmonises brilliantly across the story, giving Camille a sense of perspective. Technically, the film is graceful and almost understated. Containing brilliant moving shots in the boxing and dressing room scenes, serene wide shots of the school woods, incisive close-ups, and one particular extreme wide shot of Camille and Yas on a rooftop as he films Yas for an audition to an orchestra as a trumpet player, which I would highlight. "You succeed, I succeed, it’s the same thing." Matteo (Faycal Anaflous), Camille’s best friend, tells him at the start of the film as they train together. The strength of their bond is tested to the limits throughout the film, but this phrase encapsulates nicely what Wild Foxes is about: friendships, the first romantic feelings, personal ambition, and our own emotional health as we reach the end of childhood. How we balance these, and the support we get from the adults in our lives, sets us up for life and defines how far we can keep the danger of self-sabotage. Wild Foxes handles this premise with depth and consideration. WILD FOXES is in cinemas 1 May 2026.

Star rating: 4/5 Writer: William Grunnill Director: William Grunnill Starring: Andy Edwards, Dave Brown, Martin McAleese, Liam Boss, Bethany Murray and Rachel Pennington. Meat is a striking metaphorical representation of social power and impunity. Written and directed by William Grunnill his story is set in a restaurant being visited by a VIP customer, The MP, and it starts deceitfully simply, though we can sense the tension.  As this important customer gets his condescending service, a shocking truth is revealed when he gives the chef his commendations after having just a stake and some red wine.  The self absorbed and arrogant MP is powerfully portrayed by Andy Edwards, who gives a a strong, absorbing performance.  Where this piece could be much stronger is in the technical aspects, including framing of the shots, but this does not detract from the powerful narrative to any significant extent.  The bloodcurdling reveal of the end is particularly striking in the current context of a misogynistic backlash and the manosphere's increasing reach.  It feels like an urgent as well as deeply evocative piece.

Star rating: 5/5 Director: Steffen Hou Face of Hate is a documentary film about human redemption where deep trauma transformed into hate, is retransformed into love and consciousness. Directed by Steffen Hou, this piece presents to us the story of Jason Baker, a man from Michigan, United States, who when still a child was exposed to the white supremacist movement, which he formally joined when young to become a domestic terrorist. Steffen, whose family suffered the consequences of 20th century fascism in Denmark, meets Jason at the height of his hateful approach to life, explicit support for Nazism and white supremacist activities, including shooting practice, and begins to interview him. In the process he builds a personal relationship of quite honest and deep communication with Jason, who seems comfortable to share his lifestyle and hateful views with Steffen.  The director expresses that, in all his career as a documentary maker, Jason is ‘the most complicated and hateful person I have ever met’. The film is structured in a deeply illuminating way, and we get to see Jason’s context: his brother, his daughter, and some of his friends- who to begin with are also part of the white supremacist movement. The juxtaposition between the way he physically lives- in the Michigan countryside, raising pigs, with plenty of space to roam and a slow pace to his life, and his other experiences, of extreme violence and time in prison, makes this a gripping and politically significant, as well as educative story. Empathy is the key to how we should approach Face of Hate, not least because it actually demonstrates to us empathy in action: from Steffen, and ultimately from Jason himself, his brother Nathan and in particular Jason’s daughters, who perhaps could have their own stories told. Face of Hate asks us to grapple with trust, cynicism and deal with the seemingly ample evidence that human beings do not learn and do not change. The glaring point here is that, with support to deal with his unusually traumatic experiences as a child, in other words had his own country looked after him, Jason would not have led the life he led for many years. Documentaries like Face of Hate show the urgent need for systemic social and political change in how society supports its traumatised fellow humans, which saves them pain but also crucially avoids further pain by neutralising hateful trajectories. This cannot happen soon enough.