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 Easy Way Out The Easy Way Out follows Ted (Charlie Hiscock) as he returns to his hometown to find his big brother, Jim (Sam Swainsbury), at his breaking point. The short film explores Ted’s attempt to save Jim before it's too late. The Easy Way Out is based on writer/director Ben Bovington-Key’s own personal lived experiences with bereavement by suicide and is a deeply personal piece of work in that respect. One of the film's most impactful aspects is its blend of dramatic and comedic charm. Despite its sensitive subject matter, it strikes a stunning balance between the dark humour and depiction of brotherhood. It's an emotionally charged experience as the film explores how an individual would respond in such a gut-wrenching situation. The film immediately thrusts the viewer into the distressing setup, cutting seamlessly between Jim at his breaking point and Ted trying to save him. While it may be triggering for some viewers, the personal lens and the captivating chemistry between the two leads make it impactful and hopeful despite the harrowing subject matter. The film handles its grim subject matter elegantly, keeping both central characters at the centre of focus while taking time to explore their anger and struggles with the world. Despite the lack of characterisation, the script manages to instantly connect the audience with both characters and sympathise with their struggles. The balance between the comedic and dramatic beats never feels too heavy-handed, and it knows when to utilise the darker humour to represent the characters' personalities. It may leave audiences hopeful and encourage them to reach out to their close friends and family, as this is such an important aspect of life that the filmmakers clearly intended to convey through the material. While the film primarily takes place in a single location, the use of flashbacks is wonderfully interwoven into the narrative and briefly explores both Ted and Jim’s childhoods. This aspect of the narrative resonates deeply. Writer/director Ben Bovington-Key does a tremendous job framing each sequence to ensure it’s a deeply intimate exploration of brotherhood and the importance of discussion. Wouter Verheul serves as the film’s director of photography and primarily utilises close-up shots between Ted and Jim to cement the personal, intimate bond the brothers share. It's an incredibly raw and uncompromising vision anchored by its technical aspects. Charlie Hiscock and Sam Swainsbury’s portrayals of Ted and Jim, respectively, are astounding. Sam Swainsbury in particular manages to strike a balance that is both deeply harrowing and comedic in his character's struggles. Charlie Hiscock’s turn as Ted, by contrast, is deeply empathetic, as he conveys his love and frustration with Jim to persuade him to see the world differently. The bond between both characters is profoundly moving and easily the strongest aspect of the experience. The Easy Way Out is a deeply harrowing yet life-affirming exploration of two relatable characters and their struggles with the world. While it may be a tough watch for some viewers, the film is an empathetic depiction of brotherhood and encourages the audience to reach out to others in need. VIEW REVIEW Black Cab Black Cab is the new short film from director and writer James Arden that explores a near future dystopian world in a very grounded realist setting. It follows Harry (Jay Simpson), a black cab driver, as he struggles to find business in a world of autonomous taxis. The film is set in February 2027, mere months away as of writing this, and it’s a testament to Arden’s writing that this world feels incredibly familiar while incorporating elements of a futuristic society. People appear to be obsessed by autonomous taxis called Ridars which have just been legalised and the number of black cab drivers are dwindling. This feels like a clear comparison to the rise in Uber/Waymo and the tensions that have risen from this particularly with black cab drivers in London. Harry is very much the core of this film and Simpson (a familiar face from Black Mirror, Chernobyl, etc.) gives a very strong performance in the lead. The film balances Harry’s work life with his family life and Arden illustrates how the rise of Ridars and loss of work is impacting his relationship with his own family. Emma (Gemma Dyllen), Harry’s wife, is a strong character that represents Harry’s family life as she raises their troublesome son and looks to work herself. The division and fracturing of their relationship throughout the film is shown through the distance of facetiming and Harry and Emma not sharing any screentime together. Arden has spent over two years carefully researching and developing this film which can be seen through the setting of these Ridars and the feel of the black cab environment. It does at times feel like it falls into cliches with Harry as a cab driver but it feels very real. The smaller characters, however, all feel incredibly one dimensional and are simply there to show how big of an impact Ridar is having and to fuel Harry’s stresses and impending breakdown. While a short film naturally doesn’t have the time to explore these characters as much as a feature length film does, it would have been nice to see a few more instances of depth to these characters. This, for example, is done very well with the café scene where the other black cab drivers are talking with Harry and the chef. Indeed, as the film progresses, it’s clear that Black Cab isn’t just concerned with the anxieties surrounding Harry’s job future but rather it analyses Harry’s character through family dynamics. This is a man that is consumed with pride to the point that it reaches a breaking point with his family and Harry is unable to see beyond the feud he has with Ridar. The fact that Harry and Emma do not share any screen time, is evidence of this. Black Cab feels incredibly relevant to today. Not only with the conversation surrounding Uber and autonomous taxis but also with the rise of AI. It’s a topic that has defined the past couple of years and Arden weighs in on this with a human centred film that highlights the pressures and stresses this new world can cause. The film ends in rather a bleak way but it serves as a warning to where our world can be heading and the importance to avoid it. VIEW REVIEW Sloppy Sunday Sloppy Sunday, written and directed by Cristoff LeBlanc, is an unapologetically sharp about exploitation, misogyny and excruciating choices women face. We hear before we see. Off screen, a male voice screams ‘I got you those heels so you can walk faster, not just look pretty’. Then, we meet Sweetheart (an objectifying non-name that really suits this story) where she works- on the road, as a prostitute. On this sloppy Sunday afternoon, a client approaches, and after a thought-provoking conversation, she decides to refuse him, which triggers the chain of events we see. This turning point scene gives the audience a glimpse into Sweetheart’s real mindset. Played skilfully by Ali Dusinberre, Sweetheart is young, trying to make ends meet. The question is will she go all the way in standing up for herself and her integrity? Sloppy Sunday is a deeply American film- visually, narratively, and even its soundtrack- a scintillating selection of blues songs. Guns are unsurprisingly ubiquitous, almost characters unto themselves. They are noticeable props within great performances that are almost theatrical in how they drive the story, in particular Kris Salvi's unapologetic portrayal of Skinny, who is Sweethearts' boss. This short crime thriller asks deep questions in regards to oppression, misogyny and life chances of today's young generally, in a sharp yet non-dramatic tone. Artistically, pulling off a story like this in short form, in the crime genre is a huge challenge, and it's one Sloppy Sunday rises to fully. VIEW REVIEW Aditya A short drama written by Abhi Kandlakunta and Arpith Kandlakunta, directed by Arpith Kandlakunta and starring Abhi Kandlakunta, Leesha Sarayu Kolapalli and Ankith Kandlakunta. Aditya (Abhi Kandlakunta) is a young cricketer living in London, whose girlfriend, Meera (Kolapalli) has moved away in order to pursue her studies. So, the two of them maintain connection via phone and online chatting...at least for a while because as time goes by, Aditya becomes frustrated with the situation, putting his relationship and his own well-being at risk. With the addition of several montages and dramatic music, this film examines the romance between Aditya and Meera, its gradual deterioration, along with the psychological damage that Aditya goes through as a result of the break-up. As the story is experienced through his perspective, his reactions towards everything is the main focus, particularly his feelings regarding his disconnection with his partner that also ends up affecting his performance in cricket and his relationship with his friend, Kaushik (Ankith Kandlakunta). As the main and titular character, Aditya goes through signifcant emotions, be it anger, frustration, disappointment and sadness. Although he is a youngster who means well, he is unable to comprehend himself, unable to control his anger, resulting in him becoming isolated. Meera is a sensible person who refuses to tolerate her partner's erratic behaviour and decides that there is no future for their relationship. Kaushik, radio show host, serves as Aditya's source of support and as a sort of mentor, helping him understand his actions. To a degree, this short explores the world of cricket and radio shows. From another perspective, it covers how long-distance relationships work and the significance of commitments and perhaps more crucially, it builds a picture of self-redemption and analyses the effects that a break-up can have on a person, especially if they fail to acknowledge that they are the one to blame. A story about the ending of a romance and the consequences. The final message might be that people need to accept what happens and move on. VIEW REVIEW Vincent Bram Stoker’s Dracula has been a cornerstone of popular culture since its 1897 debut. The novel has been adapted directly (or indirectly, under the title Nosferatu ) since the silent film era, with an updated version appearing every few years. Beyond film, Dracula has inspired stage plays, operas, and ballets, while the titular character has appeared in so many other fictional works that Stoker’s original creation has been subwhat subsumed by these multi-textual interpretations. Vincent is the latest short film to join this tradition, as filmmaking duo Tyrone Bruinsma and J’Ma update the tale to modern-day Australia, to middling results. In some respects, Vincent is a faithful adaptation of Dracula, particularly in its approach to storytelling. The novel’s epistolary nature is modernised by presenting the story as a series of vlogs hosted by Ashley (username CutiePie95), played by J’Ma. We meet Ashley right after her first run-in with the mysterious, blue-eyed ‘Vincent’ at her local coffee shop. Immediately enamoured with the stranger, Ashley decides to go on a date with him, and ends up spending an amnestic night at his place. The next morning, Ashley begins to notice some bodily changes. Vincent ’s purpose is immediately made clear through an epigraph about intimate partner homicide, framing itself as a call to action against violence towards women. Although the intertitles are overused, didactically reappearing at the end, J’Ma’s performance sells us on this filmic statement. Ashley’s dawning realisation about what happened that night at Vincent's house is written across J’Ma’s face, as her polished, influencer demeanour fades away to reveal the fear underneath. Unfortunately, the film around J’Ma can’t quite match her weathered intensity. Almost the entire film is presented through front-facing videos as Ashley narrates to her audience. This lack of visual variety leaves the storytelling stagnant, doing little to build suspense as Ashley’s condition worsens. The abrupt insertion of an American news report from the 1980s is particularly jarring, breaking the film’s contemporary setting and undermining its established rhythm. More than simply a confusing detour, the report highlights the film’s broader lack of polish, from grammatical errors in the intertitles to the uneven editing of the vlogs themselves. Condensing Dracula into a short film is no easy feat, particularly when trying to translate it into a contemporary setting. Despite Bruinsma and J’Ma’s valiant efforts, Vincent drains the life from a promising premise, with clumsy execution undermining both its horror and its message. VIEW REVIEW Smile, Smile, Smile! A marching drumbeat sets the tone for the opening scene as an unidentified prisoner is being dragged into the frame. Two soldiers salute their commanding officer, who is sharply dressed in a beret and shiny black boots. After the screaming prisoner is led outside to be tortured, Jacob Kay and Aiden Clark, who both play the anonymous soldiers, enter a conversation about everything under the sun – from the mechanics of their salute just moments earlier to the pros and cons of becoming vegetarian, and whether pigs can even have depression. Most of this conversation happens while the second soldier is playing a game on his phone, which further enhances the farce-like and satirical tone. Everything about Smile, Smile, Smile! is mysterious. From the secret facility where this operation is held, which looks like an abandoned warehouse, to the unnamed soldiers and the organization, an enigmatic layer surrounds this short. We are pretty much left in the dark about these things, and as the short continues, we realize that it’s not necessary to have everything spelled out to us in order to enjoy the film. As we are kept in the dark figuratively, this short is actually literally filmed in near-total darkness. This made it difficult to tell one actor from another and which character was speaking. Better lighting in general could help give the film a better sense of direction, since mostly all the actors were dressed in dark clothes, and this made differentiating them in the dim lighting hard. But if the dimness was there to keep the film mysterious, viewers might be able to see that this could be a directorial choice and let it pass. Since this short was pretty much entirely filmed in what seemed to be an abandoned warehouse, audience members might chalk it up to the acoustics of such a venue lending to the reverb that could be heard throughout the film. However, this became rather distracting over time. Due to the excessive reverb, the syncing of the movement of the actors’ lips with the dialogue was slightly delayed. For better immersion purposes, perhaps editing out the reverb would be a good choice. A clever technique that the director Oliver Griffiths employs is utilizing the sound effects to serve the film’s purpose better. For the most part, the prisoner is tortured off-screen, or outside the warehouse where we can’t see him. Sound effects of buzzing jigsaws and screams effectively convey that the prisoner is being brutalized. This technique is used more than once over the course of the film. And it demonstrates Griffiths’s good directorial instincts in keeping the violence and gore to a tasteful minimum so as not to alienate general audiences and keep the film accessible. Griffiths even makes a cameo appearance in the film as Dave, a fellow soldier in a bloody hazmat suit. Dave is instrumental to the scene where the main characters are performing a card trick. He is asked to bring over a bag, from which Kay’s character produces the card that Clark’s character had drawn previously, right out of said bag. The comedy continues when, as Dave wheels out the latest prisoner casualty, Kay’s character requests a coffee. Clark’s character even asks for one (“No sugars in mine”), further offsetting the dark humor of this moment. For the most part, the short is filmed in one single unbroken shot, with the two unnamed soldiers shooting the breeze, while all this dark stuff is happening around them. The irony couldn’t be missed on viewers, as the deadpan humor both in the written dialogue and the action creates some very much-needed comedic relief in this bleak setting. With that being said, the script is very clever. Lines bordering on black humor and philosophical outtakes punctuate the script and create lasting impressions on the viewer. Written by Jacob Kay and Josef Duncan in 2019, Smile, Smile, Smile! was the semi-finalist for Best Short Comedy at the 2025 Lit Laughs International Comedy Festival. Sadly, Duncan passed away in late 2019. Kay and Director Oliver Griffiths collaborated together and made the film in dedication to Duncan. At times, mixing dark humor with situational comedy, the short successfully delivers as a black satire with themes of real human interactions and camaraderie. Viewers will be pleasantly surprised to find it is a 14-minute philosophical romp through comedic territory, offering thought-provoking insights based off the actors’ on-point performances and impeccable comedic timing. Centered around two soldiers and their casual conversation as they stand guard inside a secret facility, at its core, this is a film about human connections. Have you ever imagined what could possibly pass off as small talk between two soldiers during a special-ops mission? Smile, Smile, Smile! satisfies your curiosity and so much more. VIEW REVIEW It’s Not What It Looks Like It’s Not What It Looks Like (2026) is a British black comedy written by Suman Hanif and Nasim Akhtar, and directed by Ganesh Sharma. This short film is currently in post-production and runs 16 minutes. The film centres around a 19-year-old woman named Asma Ali Hussain, played by Ayushi Jain. Asma is an actress who has honed her career by creating satirical self-tapes on YouTube, where she plays an extremist. These videos have been brought to the attention of two small-town cops, Bob and Patrick, who before doing any research into Asma or anything else at all it seems, mistake her persona as a genuine threat and conduct a shambolic police interview in order to gather the evidence they need to convict Asma in court. This comedy is set in the current era of the 2020s, a time when extremism and terrorism are a huge topic of conversation, particularly in politics. Polarising individuals such as Nigel Farage have committed themselves to perpetuating the idea that the threat of terrorism comes from the migration of individuals across borders, causing fear-mongering amongst the less educated. This misinformation leads to severe cases of racism, seen in the case of Tommy Robinson’s popularity, as more and more people are swayed by prejudiced arguments rather than researching important political topics and history. It’s Not What It Looks Like plays well on this reality of far-right political mindsets, as it is clear that Bob and Patrick have no curiosity about Asma’s life. They do not investigate the reasons she may have made these videos, and lack any critical thinking. They do not even lend Asma the courtesy of listening to her; they simply make their assumptions and ignore anything to the contrary. Fans of The Drama (2026), directed by Kristoffer Borgli, will appreciate the dark humour at play here. Whilst Asma is, of course, not a terrorist, the character she plays online is playing into the stereotype of one. The tone is completely satirical throughout the film, similarly to The Drama which remains comedic despite dealing with dark topics. However, both films importantly keep their entertainment without making light of the key issue at hand. Asma is not a victim of radical grooming; however, the influence of far-right speech on the internet is an extremely prevalent one. Public figures like Andrew Tate’s gaining a platform have a strong, non-coincidental correlation with the rise of incel culture and violence committed by young men. This film, like the drama, importantly raises awareness of the nonsensical discourse surrounding these issues, such as through the police jumping to conclusions, and incorporates a microcosmic example of cancel culture, without taking away from the seriousness of terrorism. All of the performances in the film are worth noting. Ayushi Jain brilliantly conveys the frustration of being a racially profiled woman, stuck between two ignorant men who refuse to hear her voice. Bob and Patrick make comedically wild assumptions about her daily activities, often mistaking one thing for something completely different- for instance, they believe her camping trip to the Lake District was in fact in Syria, and they think a pregnancy test is a COVID test. These obvious, gruelling mistakes demonstrate not only Asma's struggles of being a victim of racism, but also of misogyny, and of being subject to a corrupt authority. It’s Not What It Looks Like (2026) is an entertaining and important short film. Whilst a vital plot twist towards the end of the third act provides some optimism towards UK authorities, it is nowhere near enough, keeping attention on the police force’s constant failures. Bob and Patrick are the main antagonists of the film; however, they are still good fun to watch as the chaos unfolds in the interview room. This film is an excellent example of how to present political messaging whilst maintaining itself as engaging. Viewers will find themselves excited about Ganesh Sharma’s platform as they continue to grow as a filmmaker. VIEW REVIEW Calamity Wayne Calamity Wayne is a short piece set in 1960s Belfast and follows a young boy, Wayne (Seamus Brady), named after Western star John Wayne, as he struggles to fit in at school. To win the affection of his crush Annette (Zoe Gribbon), he must confront his bully in a High Noon movie-theatre showdown. Calamity Wayne is a love letter to the writer/director Carleton Rodgers’ grandmother, Annette, and that personal lens resonates deeply. The film's depiction of childhood imagination and nostalgia is personal, instantly transporting the audience back to the 1960s with its distinct feel for the era. It's an inventive formal experience; the filmmakers use 1960s Belfast as a backdrop, making the film feel incredibly lived-in. Despite its brisk runtime, the narrative introduces the central characters seamlessly so it never feels rushed. That said, better characterisation of supporting characters like Annette and Tim would have made the experience more engaging overall. It's an emotionally charged experience that depicts an outsider struggling to fit in at school and makes the audience sympathise with Wayne’s identity struggles. One of the most profound aspects of Wayne’s characterisation is how he uses his love of the western genre to cope with his pain, which plays perfectly into the childhood-wonder lens. Its uplifting tone and 1960s western throwback are a delight, and it's easy to see why any film fanatic would appreciate its nostalgic look at that era. Despite the film's budget constraints, the filmmakers’ creativity in framing and staging each sequence never falters. The production design is wonderful, weaving the grounded and outlandish depictions of imagination together perfectly. Another understated strength is its whimsical musical score, which elevates the emotional nuance. The most surprising and impressive aspects of Calamity Wayne are its technical offerings. Writer/director Carleton Rodgers also serves as the editor of the film and does a terrific job seamlessly cutting between each sequence. The quick-paced editing works profoundly in the sequences of conflict that depict Wayne’s imagination from the point of view of a quick draw between him and his friends Annette and Tim. It's a wonderful sequence that pays homage to American Western films of the era while feeling deeply original in the context of the film's narrative. Carl Quinn serves as the film’s director of photography and does a splendid job framing each sequence. The mix of establishing shots and wider framing in the scenes that take place in Wayne’s imagination is jaw-dropping to witness. All three central performances from Seamus Brady, Zoe Gribbon and Memphis Oniru in their portrayals of Wayne, Annette and Tim, respectively, are incredibly moving. It's easily three of the most memorable child performances in recent memory. Despite Memphis Oniru and Zoe Gribbon’s brief screen time, they breathe so much energy and heart into the material. The trio’s chemistry sings and is the heart and soul of the film's narrative. Calamity Wayne is a whimsical and uplifting depiction of childhood nostalgia that wears its influences on its sleeve. The film is a profound and personal experience held together by its wonderful trio and formal prowess. VIEW REVIEW Top Shagger A short comedy drama written and directed by Ken Abalos, Ash Meshkati and starring Ewan Guthrie, Kelsey Cooke and Paul Casar. Shot over a period of two days in East London, this film follows teenager Jack (Guthrie), who has his birthday and his father (Casar), who is separated from his son's mother, has a surprise for him: he is taking him to a brotherl so he can lose his virginity. There, they are introduced to Megan (Cooke), a sex worker who will be showing Jack a good time, while his dad has his own fun with another one. However, once Jack and Megan are alone in a room and on a bed, Jack panics when the big moment arrives, leading to a meeting that goes very differently than planned. A father-and-son story and an encounter for intercourse that unexpectedly turns into something more meaningful and life-changing. There are laughs and there is serious drama as Jack and Megan develop a rapport about his issues, his struggles with romantic relationships and his relationship with his father and involving Megan's view regarding her life. Guthrie delivers the most entertaining performance as an insecure, nervous and virginal teen who evidently need help in comprehending himself and those around him. Casar's character comes across as confident and knowledgeable man, although it is later revealed that he too has insecurities and worries. Cooke plays a rather interesting part, that of a sex worker who turns out to be a rather wise individual who possesses a deep understanding about how the world works and ends up acting as a sort of mentor for Jack. From one perspective, this short explores the world of sex workers and via Guthrie's character, it recognises the significance of support, of understanding others and helping them with their problems. This film is supported by Progressive Masculinity, which is an organisation that reshapes the understanding of masculinity to boys and men and the themes involving masculinity are primarily associated with the Jack character, those being self-esteem, self-reflection and intercourse. Through Casar's character, the film also examines parenting. An encounter that ends up changing people's lives for the better. An uplifting story that also offers some good laughs. VIEW REVIEW A Personal Errand This is a short film set in post-Civil War America. The Story follows Henry Sullivan (Jacob Kay), a bounty hunter and former Civil War soldier wandering across America. He is on a mission to track down a wanted man by the name of Sylvester Reed (Johnathan Butler). As he travels on this personal errand, we hear the voice of his sister, Jessica Sullivan (Felicity Donnelly), reading aloud the letters that she has sent him since his return from the war. The audience hears about their estranged relationship and how he has battled to come to terms with his war experience. Henry’s work as a bounty hunter has taken him away from his family and into a life of solitude. The fact that the budget for this film was only £250 makes the finished product even more impressive, especially since it was filmed in only 3 days. The aesthetics of the piece are well polished and make for good viewing, and the musical score adds a great deal to the action. The music is able to convey sadness and solitude as Henry goes in search of this outlaw. The locations are well chosen and give the viewer the idea that Henry is travelling through American western civilisation. The writer and director Oliver Griffiths clearly has an interest in this period of American history, having made the film Enemies prior to making this. That too concentrated on the time of the American Civil War. This knowledge adds to the visuals of the film, with a good use of locations and costumes to represent the period. This is not a dialogue-heavy script, which is expected considering a large part of the film centres on Henry being on his own. The use of a voice-over from his sister throughout is very effective and gives background to what has occurred before Henry’s travels. The director uses the camera to really encapsulate the landscapes and to convey the great wilderness. He clearly has an eye for picturesque scenery and the sounds of the wild. Jacob Ray holds the screen well, an accomplishment given the lack of dialogue and action for the most part. The camera focuses on the small details of what Henry is doing, and we, the audience, can see his thoughts in the expression on his face. When there is dialogue, Jacob Ray uses his voice to convey the pain he is feeling to great effect. Johnathan Butler adds menace to his scenes and portrays the cold emotion of his character. The scenes between the two characters stand out and are realistic. The British actors successfully take on the American accent throughout. Overall, this is a really good short film, well written and directed. The actors bring their characters to life, and the landscape is stunning. The story will hold the audience’s interest, and there is enough action despite the film being only 17 minutes long. The plot is well thought out, and the ending pieces everything together. Fans of the western genre will get the most out of this, but it’s not essential to have prior knowledge of the period. The film was selected for numerous film festivals throughout 2022 and 2023, including being screened in competition at the 2022 Almería Western Film Festival. VIEW REVIEW

The Easy Way Out film review by UK film critic William Curzon. Starring Sam Swainsbury, Charlie Hiscock, Tomi Egbowon-Ogunjobi directed by Ben Bovington-Key. HOME | FILMS | REVIEWS The Easy Way Out Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Oct 22, 2026 Directed by: Ben Bovington-Key Written by: Ben Bovington-Key Starring: Sam Swainsbury, Charlie Hiscock, Tomi Egbowon-Ogunjobi The Easy Way Out follows Ted (Charlie Hiscock) as he returns to his hometown to find his big brother, Jim (Sam Swainsbury), at his breaking point. The short film explores Ted’s attempt to save Jim before it's too late. The Easy Way Out is based on writer/director Ben Bovington-Key’s own personal lived experiences with bereavement by suicide and is a deeply personal piece of work in that respect. One of the film's most impactful aspects is its blend of dramatic and comedic charm. Despite its sensitive subject matter, it strikes a stunning balance between the dark humour and depiction of brotherhood. It's an emotionally charged experience as the film explores how an individual would respond in such a gut-wrenching situation. The film immediately thrusts the viewer into the distressing setup, cutting seamlessly between Jim at his breaking point and Ted trying to save him. While it may be triggering for some viewers, the personal lens and the captivating chemistry between the two leads make it impactful and hopeful despite the harrowing subject matter. The film handles its grim subject matter elegantly, keeping both central characters at the centre of focus while taking time to explore their anger and struggles with the world. Despite the lack of characterisation, the script manages to instantly connect the audience with both characters and sympathise with their struggles. The balance between the comedic and dramatic beats never feels too heavy-handed, and it knows when to utilise the darker humour to represent the characters' personalities. It may leave audiences hopeful and encourage them to reach out to their close friends and family, as this is such an important aspect of life that the filmmakers clearly intended to convey through the material. While the film primarily takes place in a single location, the use of flashbacks is wonderfully interwoven into the narrative and briefly explores both Ted and Jim’s childhoods. This aspect of the narrative resonates deeply. Writer/director Ben Bovington-Key does a tremendous job framing each sequence to ensure it’s a deeply intimate exploration of brotherhood and the importance of discussion. Wouter Verheul serves as the film’s director of photography and primarily utilises close-up shots between Ted and Jim to cement the personal, intimate bond the brothers share. It's an incredibly raw and uncompromising vision anchored by its technical aspects. Charlie Hiscock and Sam Swainsbury’s portrayals of Ted and Jim, respectively, are astounding. Sam Swainsbury in particular manages to strike a balance that is both deeply harrowing and comedic in his character's struggles. Charlie Hiscock’s turn as Ted, by contrast, is deeply empathetic, as he conveys his love and frustration with Jim to persuade him to see the world differently. The bond between both characters is profoundly moving and easily the strongest aspect of the experience. The Easy Way Out is a deeply harrowing yet life-affirming exploration of two relatable characters and their struggles with the world. While it may be a tough watch for some viewers, the film is an empathetic depiction of brotherhood and encourages the audience to reach out to others in need. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film 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 3 out of 5 Terrestrial Read Review average rating is 5 out of 5 All of a Sudden Read Review average rating is 2 out of 5 Bad Day at the Office Read Review average rating is 2 out of 5 All Over Again Read Review average rating is 4 out of 5 Plucked Read Review average rating is 4 out of 5 Artificial Read Review average rating is 4 out of 5 The Sweater (2024) Read Review average rating is 5 out of 5 The Devils Read Review average rating is 3 out of 5 City of Masks Read Review average rating is 4 out of 5 Paper Tiger Read Review average rating is 1 out of 5 Echoes (2025) Read Review average rating is 4 out of 5 Godzilla Minus Zero 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.

Directed by: James Denton, Richard Oakes Written by: James Denton Starring: Alyssa Haymor, James Denton, Saffron Spearman Film Review by: Chris Buick ★★★★ After managing to survive and escape a brutal kidnapping, Grace (Haymor) wakes up in a hospital bed, battered, beaten, and bruised, with no recollection whatsoever of how she got there, what happened to her, or even who she is. For now, Grace is placed into witness protection, and the detective assigned to her case, Isaac (Denton), is desperate to help catch her abuser, but how? How do you catch a violent criminal when you don't know who you're looking for? Forgoing sleep and hygiene, and acting against the desperate advice of his friend and superior, Amanda (Spearman), Isaac puts everything into helping Grace recover. Slowly, the pieces of Grace’s mind and past begin to fall into place, and the bleak truth starts to reveal itself. Remembrance works due to the simple fact that it has a clearly talented team behind it. Starting at the top, Denton is a gifted filmmaker and performer, seemingly able to turn their hand to any aspect of the filmmaking process they wish to. Taking on the role of writer and co-director alongside Richard Oakes, not to mention also starring as the film's lead detective Isaac, they never seem to put a foot wrong in any area. The script they've written, while not wholly original, is nonetheless compelling, authentic, and highly entertaining, doing more than enough to hopefully set itself apart from others bloating the genre. Remembrance Official Film Trailer It helps that the film maintains a perfectly moody atmosphere throughout. Oakes more than pulls his weight on cinematography duties by beautifully matching the visual composition to the characters' mental states. We feel Grace’s struggle through a hazy, fuzzy lens, which contrasts sharply with the frantic, jumpy editing used to mirror Isaac’s intense frustration. Everything is shot with immaculate purpose to serve the story, rather than just for show. And special mention must go as well to Benjamin Symons' score, which is always on point to complement and augment all these ideas into something really great. Spearman also adds a great balance to the proceedings. Her authoritarian logic acts as a counterweight to Isaac's darkening emotions as he loses himself more and more in the case, allowing her the opportunity to play between the lines of no-nonsense boss and concerned friend. However, the trickiest role to navigate belongs to Haymor. By never resorting to melodrama or overwrought emotion, Haymor allows Grace to grow from a helpless victim into a picture of strength and courage. A strong and tense thriller, Remembrance could be a dark horse to watch out for when it hits streaming. Remembrance is on UK digital 19 October from Reel2ReelFilms.

Directed by: Teodora Ana Mitai Written by: Isabelle Darras, Lode Desmet, Hans Everaert Starring: Matteo Simoni, Violet Braeckman Film Review by: Thomas Manning ★★★★ Heysel 85 is a Belgian film that follows the Heysel stadium disaster in 1985 which led to the deaths of 39 spectators and several hundred more injured after a wall collapsed crushing a section of the stadium. The film mixes real life footage of the disaster with a dramatization of the events that captures the 80s aesthetic particularly well. At its heart, Heysel 85 is a film about incompetency, the refusal to take responsibility and the sexism in football culture. It follows two distinct storylines that frequently overlap, the first with Luca (Matteo Simoni) who is an Italian journalist searching for his brother who is in the stands and the second with Marie (Violet Braeckman) who is the daughter to the mayor and his press attaché that is at the centre of the disaster. The tension of the impending disaster is carefully constructed by director Teodora Ana Mitai who switches between the two perspectives to show the unrest forming and the inability to properly prepare for the European Cup final between Liverpool and Juventus. This tension reaches its peak in a horrifying scene where the camera follows Marie through the corridors of the dressing rooms beneath the stands as the audience can hear the carnage. The corridor quickly becomes filled with panicked spectators that frequently block the camera and add to the anxiety and tension that Mitai creates. Violet Braeckman’s performance throughout is fantastic but it’s in a scene with a child, where the scale of the disaster becomes apparent, that is a clear standout. One of the most depressing yet sobering aspects of the film is the response from the authorities to the disaster. Responsibility is juggled around and nobody is willing to accept accountability. This is most clearly seen with the mayor who becomes increasingly drunk as the film progresses and attempts to avoid the gravity of the situation. Instead of taking responsibility, he hides behind his daughter who merely an hour ago was being sent on errands to retrieve more alcohol. Mitai demonstrates the sexism of the 80s powerfully. Whether it’s the jeering of the Liverpool players in the dressing room towards Marie or the constant shutting down of Marie when it’s clear that she’s one of the few people that still has a moral conscience, Marie is never truly taken seriously. Indeed, she is one of the only characters in the film to have a heart and exercise morality in the situation. Heysel 85 Official Film Trailer Indeed, this leans towards one of the criticisms I have of Heysel 85. The character of Marie feels fleshed out and complex as she battles her position as the mayor’s daughter and press attaché with her own morality, yet, Luca’s character is solely defined by this search for his brother. It would have been worth extending the runtime to sit with this character a little more and dive into the questions of being a journalist in a disaster, especially surrounding exploitation, which are only ever touched upon lightly. An extended runtime would also allow the audience to witness the consequences of the authorities’ actions. Altogether, Heysel 85 is an important, powerful film that exposes the dangerous effects of cutting corners and the shirking of responsibility from those in charge. Director Mitai delicately unveils the tragedy, ensuring to centre the victims of the disaster. While this will naturally interests fans of football, it should also catch the interest of fans of Chernobyl when it comes to the deeper themes of accountability. Heysel 85 had its UK premiere at the 70th BFI London Film Festival on 15 October, ahead of its UK theatrical release on 20 November 2026.

Interview by Chris Olson Thanks for coming back and speaking with us again following our 2022 interview. How has your perspective on the industry evolved? A lot has changed since we last spoke. In 2022, I was very focused on making my own independent work and trying to create opportunities wherever I could. I still have that mindset, but working on productions connected with Sky, Film4, the BFI and Pulse Films has given me a much broader understanding of the industry. One thing I’ve realised is that, regardless of the size of the production, filmmaking still comes down to people. You can have a much larger crew, more resources and a bigger platform, but you still need good communication, trust and people who care about what they’re making. It has also taught me that a career in this industry isn't a straight line. You can play a lead role in one production and then find yourself fighting for the next opportunity. That can be difficult, but it has made me even more determined to keep creating my own opportunities and hopefully, at the same time, create opportunities for others. I think I understand the business side much more now as well. Having a good script is only one part of it. You need the right people, packaging, relationships, finance, timing, and sometimes a great deal of patience. How does acting in other filmmakers' work influence your own writing and directing? It helps enormously. As an actor, you experience very quickly what works and what doesn't. You know when dialogue feels natural and when you're fighting against something that nobody would actually say. You also learn how much a director can help an actor simply by creating the right environment. Playing Russell King was particularly interesting because I was portraying a real person rather than creating somebody entirely from imagination. There is a responsibility that comes with that. You have to understand the character, but you can't just turn them into a caricature. When I'm writing now, I think much more about what I'm actually asking an actor to do with a scene. Is there something underneath the dialogue? Is the character behaving like a real person rather than simply delivering information? And when I direct, I don't want actors to feel like pieces being moved around a set. I want them to understand what their character wants and then have enough freedom to find something truthful within the scene. How do you balance the heavy themes of Second Half with warmth and humour? That balance is absolutely essential. If Second Half were an hour and a half of people talking about depression, grief and suicide, I don't think it would connect with people in the way I want it to. The walking football environment itself gave me part of the answer. You can have people from completely different walks of life together, having banter with one another, arguing about whether something was a foul, laughing, having a cup of tea afterwards, and at the same time there can be people within that group dealing with very serious things. That's life. People don't stop laughing because they're struggling. So, Second Half deals directly with grief, loneliness, suicidal thoughts, and men struggling to talk, but it also has friendship, football, banter, embarrassing moments, and people winding each other up. The hope is important too. I'm not interested in making a film that tells people everything magically becomes perfect. I want it to show that sometimes having somewhere to turn up, somebody who notices you haven't turned up, and people who genuinely care whether you're there can make an enormous difference. How important are grassroots and mission-aligned partners like West Ham United Foundation? For Second Half, I think authenticity matters far more than simply having a recognisable name attached. My connection with the West Ham United Foundation came through actually playing walking football with them. That experience helped inspire the idea behind the film, so approaching them felt completely natural. I'm not asking them to finance the film. What I would love is their endorsement and support for what the film is trying to say about football, community, and mental health. For an independent filmmaker, I think partnerships like that can be incredibly important because they connect the film to people who actually understand the subject. If you're making something about a community, I think you should listen to that community. And if Second Half eventually encourages somebody who is struggling to join a football session, speak to somebody, or simply realise they're not as alone as they thought they were, that means considerably more to me than having a logo on a poster. How are you approaching character development in Oscar Drive? I've always loved horror, but the horror films that stay with me are usually the ones where I care about the people before everything starts going wrong. You can create the greatest jump scare in the world, but if I don't care what happens to the person walking down that corridor, the effect disappears very quickly. With Oscar Drive, I want the supernatural elements to be genuinely frightening, but I also want the fear to come through the characters and their relationships. I like the idea that the audience starts questioning things alongside them. Is something actually happening? Is this character reliable? Is somebody hiding something? Why does this place affect people differently? James Wan has been an influence because he understands suspense and knows how to make an audience look into the corner of a frame expecting something to be there. But ultimately, I want Oscar Drive to have its own identity. I want people frightened by what's happening, but emotionally invested enough that when the characters are in danger, it actually matters. What makes Empire of Vice different from standard British gangster stories? I love British crime drama, but I don't want Empire of Vice to become another story where everybody wears an expensive suit, drives a Range Rover and spends the whole time trying to prove they're the hardest person in London. The criminal world interests me, but so do the people around it. I want to explore the people being exploited, the families, the people laundering the money, the corrupt professionals, the people trying to escape, and the people who tell themselves they're not really criminals because they're one step removed from the violence. That’s where Empire of Vice becomes interesting to me. It's about power and the systems that allow people to abuse it. There will absolutely be violence and criminal characters, but I don't want to romanticise everything. Actions need consequences. I want audiences to understand why somebody entered that world without necessarily approving of what they've become. What does developing several independent features actually look like day to day? A lot less glamorous than people probably imagine! There are days when you're rewriting scenes, then you're emailing a producer, looking at possible funding routes, speaking to actors, putting together a pitch deck, checking locations, researching something for another screenplay, and then wondering why somebody you emailed three weeks ago hasn't replied. That is probably the biggest challenge. Writing the screenplay is the enjoyable part. Moving a screenplay from your laptop towards an actual production is an entirely different job. I've spoken with directors who wanted to be paid before becoming involved, and producers who effectively wanted me to do the producing myself or pay them upfront. Experiences like that teach you to be very careful about who you bring into a project. I'm learning to concentrate more on people who actually bring something to the table and genuinely want to build something. Having several projects also helps because they aren't all competing for the same opportunity. Second Half, Oscar Drive and Empire of Vice are completely different propositions. But I am also learning that sometimes you have to stop trying to push twenty things simultaneously and decide which project has the best chance of moving now. What lesson would you pass on to filmmakers trying to balance acting with their own projects? Don't allow somebody else's silence to determine how you feel about your career. That's something I'm still learning myself. You can have somebody tell you they love your work, ask for your screenplay or showreel, and then hear nothing. You can have what feels like a massive step forward followed by months where nothing seems to happen. If you emotionally depend on every email becoming an opportunity, this industry will destroy your confidence. So, I think the lesson I've learned is to keep building. Take the acting job. Write the screenplay. Make the short. Meet people. Learn another part of production. Help somebody else with their film. And don't be ashamed to ask for help. I've had moments when I've genuinely felt like I've taken one step forward and twelve backwards. But when I actually look at where I was when I was interviewed in 2022 compared with where I am now, there has been a lot of progress. Sometimes you're simply too close to it to see it. What's next for you? Hopefully, quite a lot. I'm continuing to develop Second Half and having conversations around how we can move that towards production. I'd particularly like to continue the dialogue with the West Ham United Foundation and hopefully secure their endorsement of the film and its message. I'm developing Oscar Drive as a supernatural horror feature and continuing to build Empire of Vice, which is a much bigger crime world that I think has considerable potential. On the acting side, I'm attached to play Vinnie, the crew's hacker, in the feature film Bullion. Mason Antonio Fardowe is playing Diamond, the team leader, and I'm really looking forward to working with him on that; he’s a great actor. And I want to continue acting in other people's productions as well. Playing Russell King in King of Lies reminded me how much I enjoy being able to concentrate purely on performing and somebody else's vision rather than worrying about every part of the production. Ultimately, I don't want to choose between being an actor, writer or director. I want to keep doing all three. And hopefully when I’m interviewed again in future, there’ll be even more to talk about.