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Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. FILM REVIEWS UK UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. We even review short and independent films on the podcast. Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Get Reviewed On Our Podcast Film Reviews from UK film critics LATEST REVIEWS The Pause average rating is 3 out of 5 Bury Your Gays average rating is 5 out of 5 Sahurda average rating is 3 out of 5 One Day This Kid average rating is 3 out of 5 A Fighting Legacy average rating is 3 out of 5 L'Aube Dorée average rating is 3 out of 5 Grima average rating is 5 out of 5 Predator: Badlands average rating is 3 out of 5 Odyssey average rating is 2 out of 5 Lost & Found in Cleveland average rating is 3 out of 5 Major Tom average rating is 3 out of 5 Take Off average rating is 3 out of 5 The Latest Film Trailers MOVIE TRAILERS Michael The Carpenter's Son Eternity Kontinental '25 Anniversary Kenny Dalglish Filmmaker Interviews INTERVIEWS

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 Pause The Pause explores what happens to an individual when life suddenly stops, and how to navigate your career path during a midlife crisis. The narrative follows Charlie (Suzy Bloom) after she loses her job and the onset of menopause turns her life and body upside down, as she is forced to confront her deeper self and unravel a supernatural disturbance that looms over her. Tackling a darkly comedic undertone and satirical edge, the piece effectively boasts a meta commentary as it breaks the fourth wall, poking fun at horror tropes as Charlie tries to figure out her life amidst all the chaos. The piece immediately hooks you in, thanks to a pulse-pounding musical score from composer Katherine Evans that feels incredibly immersive, accompanied by creative opening credits that fit the tone of the film stylistically and thematically. While tonally it can feel uneven and misguided at times, the meta commentary on womanhood and being trapped inside a horror film gives the genre a fresh new take thematically. Even with how incredibly absurd it feels at times, it still manages to evoke discomfort and tension within brief displays of disturbing and gnarly imagery. The use of voiceover at times can feel eerie, as well as effectively balancing the comedic elements suitably well in its goofy nature. One of the most astounding feats of the entire runtime is how consistently engaging it feels with a brisk pace, never losing sight of its tightly managed character-focused idea narratively. Gary Rogers’ camerawork is constantly moving at a vigorous pace, tracking and utilising fixed and close-up shots of Charlie and the consistent terror that looms over her. The use of low-key lighting within the tight alleyways in the exterior sequences genuinely unsettles and sustains the tension and engagement in its atmospheric nature. Gillian Abraham’s edit is frenetic as it consistently cuts from sequences of dread to calmer and more collected discussions of the topics prevalent throughout the narrative. The supporting cast, including Sammi (Louise Osbourne), offer a plethora of comedic and dramatic flair to the more dialogue-heavy scenes of reflection, as debates are brought up regarding the comparisons to being trapped in a genre film while on the verge of a mental breakdown, and trying to figure out a midlife crisis. Unfortunately, after the tightly paced first half of the runtime, the piece loses some momentum towards the back half. It increasingly loses tension and falls into a stagnant territory as the characters reflect on their career choices and the ever-increasing impact of AI in the process of job applications. While the discussions are topical and universal themes that tie well into the thematic ideas, it slowly loses its edge with the repetitive nature of what is actually being said, which begins to feel shallow and shoehorned into the concluding chapter of the film. Sadly, the conclusion to the narrative wraps up in an underwhelming manner due to failing to fulfil Charlie’s character arc successfully, and the film ends abruptly with an unsettling nature that may leave a sour taste in your mouth. The Pause is an unconventional attempt at a character study, exploring topics such as menopause, self-discovery and the impact of losing a job in the current landscape of the job market. However, beyond the myriad of themes it attempts to employ, there's sadly not much else to offer outside of some terrific formal decisions and solid performances from Suzy Bloom and Louise Osbourne. The conclusion is abrupt, leaving it grasping for longevity after the credits roll. VIEW REVIEW Bury Your Gays This short film, directed and written by Charlotte Serena Cooper, is not only an enjoyable story but also an encapsulation of an important queer struggle conveyed masterfully. Following queer actress Grace, Bury Your Gays is a terrific satire narrating her inability to survive in her queer roles. Time after time, characters she plays are killed off. In a constant battle against her directors and producers, she has become increasingly frustrated. Why do her queer roles never get happy endings? In fact, why don’t any queer stories seem to end with a fulfilling romantic outcome? Grace questions the harshness of the Bury Your Gays trope, just as many viewers, authors and critics of film and TV have, as it has been increasingly investigated in recent years. The film grounds itself within queer culture, depicting a clear awareness of the evolution of queer cinema, from the New Queer Cinema wave of the 1990s to the later queer classics. The film presents its cultural awareness through humorous, ironic references, such as a direct callback to Brokeback Mountain, to intensify the film’s point that queer characters are doomed to have tragic endings (we all know how that one ends). The opening to Bury Your Gays is skilfully gripping. After suffering one of her on-screen deaths, which is convincing as a story within a story, Grace enters a peculiar void inhabited by a captivating agent played by T’Nia Miller. Miller’s character is a personification of the way viewers perceive the Bury Your Gays trope. The Agent offers hope to queer actors, just as audiences have hope in the queer characters they see on screen, only to hit them with an ‘Oh well, try again next time!’ when the characters reach their eventual demise. This brings to life the constant struggle of queer viewership, as audiences fall in love with characters and ships, only to have their happy ending taken away from them, yet they continuously view queer stories in the hope that this will change. Grace is given nine lives and is told by the agent she must find a role in which she does not die. She travels to each role through a fantastical portal within the void. Each storyline is brief and vague; however, they are full of contextual cues that viewers can easily immerse themselves in each world that is created, and the punchline at the end of them never loses its impact. As Bury Your Gays highlights, the film industry for years has excluded queer stories due to the Hayes Code, and as representation has increased, queer characters continuously end up dying off. This short film, by enacting this trope, actually manages to subvert it by taking the tragedy out of the deaths. By using comedy, Bury Your Gays invents a new mechanism of killing queer characters, highlighting the injustice this poses. Whilst being very on the nose, Bury Your Gays still works due to its reliance on satire and breaking of the fourth wall. It is a film about infuriating queer tropes in films, with these exact tropes involved in the story, whilst also offering its own story of progression and abandonment of stereotypes. Bury Your Gays marks the start of a new era. Recently, queer films such as Bottoms and Red, White and Royal Blue have struck the film industry with a new kind of queer storytelling, depicting queer joy rather than, as has been continuously done so beforehand, queer suffering. Although these happier, optimistic films are unfathomably outnumbered by their tragic predecessors, Bury Your Gays presents an outlook which provides queer characters the option of being happy, whilst acknowledging and honouring the past. All the while, the film never misses a beat. Bury Your Gays is full of comedic twists, well-rounded characters and an engaging script. As well as this, the film’s use of several different settings and costumes brings an exciting, satisfying look to the film, one which encapsulates viewers as they follow along a touching, uplifting, and critical story. VIEW REVIEW Sahurda Sahurda follows Adeesha (Sasindu Randi), a postman, who dedicates his life to his work. Due to being incredibly busy with his job, he barely has time to spend with his loving wife. One day, while delivering letters to a house, he discovers a letter without an address and notices many other letters that are similar. Adeesha then goes on a journey of discovery, attempting to decipher the meaning behind the letters. The narrative was inspired by Nobel Laureate Richard Feynman, whose letters to his wife influenced the creation of the piece. The film opens with a washed-out and indistinct look, as it tracks the protagonist wandering the neighbourhood delivering letters to houses. Formally, the piece is mostly impressive with its evasive and moody atmospheric score, which pervades sequences of exploration throughout Adeesha’s routine. At the same time, the narrative feels rather aimless; however, a plethora of technical elements soar, in particular Eshan Manusanka’s camerawork, which utilises a mix of close-ups and fixed shots following Adeesha and the environments around him. On the other hand, some of the editing is jarring as it rapidly cuts from one sequence to another while bizarrely shifting aspect ratios. Audio can also be cut out at times, almost taking you out of the experience entirely, which could have potentially been thanks to its budget restraints. The central performance from Sasindu Randi is genuinely compelling as he radiates a profound level of nuance and restraint, hiding his deep melancholy behind his work. One of the most compelling aspects of the film is the relationship that is briefly depicted through scenes of flashbacks, giving the viewer a minor glimpse of the warmth that blossomed between Professor Philips Fernando (Pasan Ranaweera) and his wife and the sheer regret that looms over him by the time lost. Even with its shortcomings along the way and the minor runtime, the piece still manages to emotionally resonate as a viewer, especially given that it's based on a real letter. A deeper characterisation and exploration into their relationship with a prolonged runtime, however, could’ve potentially fleshed out the ideas the filmmakers wanted to delve into and made the finished cut more impactful. The climax is also abrupt, and tonally it feels confused and misguided at times, particularly in how sentimental it presents itself, as well as in the devastating nature of the central revelation. A bizarre use of visuals is apparent throughout the credits, which bears no resemblance to the narrative, accompanied by an oddly inserted post-credit scene, which adds nothing to the conclusion. Miyuranga Wickramasinghe’s musical score is profound and understated, effectively anchoring moments of stillness while Professor Philips reflects on the past and present. Thematically, the screenplay draws comparisons to quantum computing when discussing the unpredictability of uncontrollable impulses within complex problems, particularly in younger individuals. The supporting cast is terrific, especially Pasan Ranaweera, who, in his portrayal of Professor Philips, displays an incredible degree of confidence and nuance, balancing the more dialogue-heavy sequences when discussing the intricacies of quantum computing and the more intimate moments of reflection. Sahurda is a profoundly moving depiction of regret and grief over the time lost between two individuals, with its heart in the right place. It may suffer from minor technical issues and baffling tonal redirects visually, and it does not have much to chew on thematically either. However, the two lead performances from Pasan Ranaweera and Sasindu Randi are astounding in their dual characterisation, both in search of closure in their respective arcs. VIEW REVIEW One Day This Kid Inspired by David Wojnarowicz's ''Untitled (One Day This Kid...)'', this short drama won the 2025 Iris Prize and the Jury Prize at SXSW and is currently being considered for the For Your Consideration campaign for Best Live Action Short Film at the Academy Awards. The screenwriter and director is Alexander Farah and the main cast includes Massey Ahmar, Roohafza Hazrat and Aydin Malekooti. This film centers on the life of Hamed, an Afghan Canadian living in Canada and it follows him as he develops from early childhood to an adult. The main subject is his homosexualtiy, how he begins to perceive himself as a homosexual and proceeds to live his life. However, as time has gone by, he seems to have been estranged from his disapproving father. This short is not narrative-focused. The screenplay consists of many brief scenes, all of which are presented in chronological order, beginning with Hamed as a little boy, before moving to his teen years and eventually his adult years. There is hardly a narrative, instead the film observes him as he gradually comes to terms with his homosexuality and as he deals with his father's disapproval. There is no non-diegetic music and to a significant degree, the film does not rely much on spoken words in order to explore Hamed's emotions. The fact that it ends on a sort of cliffhanger might be disappointing to some as a proper conclusion would had probably added more depth, making the film more meaningful. On the surface, Hamed is a simple person, having a happy childhood, playing with friends,socialising and attending religious ceremonies. However, deep down he is a troubled character, an individual who discovers that he is gay and conceals it in order to avoid the consequences. Quiely discovering his homosexuality through the years, he becomes an adult who finds happiness with accepting who he is. His father is the character who represents the condemnation that he fears if his homosexuality was to be brought to light. This film concerns self-discovery, family, religion, parenting, romance and coming-of-age. Primarily, it addresses homosexuality and more specifically, the forbiddenness of this characteristic in countries such as Afghanistan. This is a moving and thought-provoking story with great performances. It should probably not be acknowledged mostly as a story but rather as an exploration of the themes mentioned above. VIEW REVIEW L'Aube Dorée Back in the late 19th Century a new secret society was formed in the back-streets of London, where members learned about occult rituals, took part in strange initiation ceremonies, and practiced enhancing their magical or supernatural powers – this cult was known as The Golden Dawn . Over the next few decades, The Golden Dawn grew in size and popularity, expanding it’s reach and widening its member base, reaching out into the world of the arts and becoming de rigueur in certain circles, where actors, artists, and authors clambered over themselves to join. The most notorious of their members was Aleister Crowley, the man who spread the word of The Golden Dawn wider than it ever had before, who practiced its many rituals with devotion and glee, especially in their psychedelic, transcendental, and sexual aspects, who supposedly opened the gates of Hell in a small Highland cottage on the banks of Loch Ness, and who was immortalised in song by the late, great Ozzy Osbourne. Here though, in L'Aube Dorée (The Golden Dawn) , the cult has been transposed to nineteenth century France, and has taken on the mantle of deposing the King by any means possible. They work in the shadows, scheming and plotting on how to overthrow the monarchy, and use nefarious tactics, including murder, to achieve their aims. When we meet them, L'Aube Dorée are initiating their newest member, Guillaume (Marline), a teenager on the cusp of manhood, who has been schooled and prepared for this life by his father, Edouard (Bohn), who is also a member of the secret society. For his first task, and as a means of initiation, Guillaume must murder one of their sect, who is a known drunk and philanderer, and who has been running his mouth off too much to anyone who’ll listen. This person has become too much of a liability and so Guillaume must silence him for good. However, despite his ability with a sword, and his known reputation for being a skilled fighter, Guillaume’s murderous attempt goes awry when the girl that he is sweet on, Anne (Simon), witnesses him in the act and threatens to blow the whole organisation wide open. Guillaume must now make a decision, whether to honour his allegiance to his father and his sect, or to save the girl that he loves by standing up to those he has worked so hard to be recognised by. L'Aube Dorée then, is an historical thriller which is entirely clothed in cloak and dagger. The machinations of the secret society all take place in the back-streets of the city, under the eaves of buildings, through low archways into covered cellars, and into the back-rooms of forgotten about establishments. Their meetings are conducted under the auspices of candlelight, and the society only revealed in the light of day when they make their move to kill. All of this is captured nicely by DoP, Kevin Sakac, who mostly manages to get the shots needed despite the limited light, whether that be in the candlelit cellars or the twilight of the outdoors. Director, Nicolas Lenerand, also does a solid job with his shot choices and the way he builds up his scenes, with all of the important aspects of the characters and their actions brought front and centre into the frames. The writing though, from Lenerand and writing partner Melinda Martinho, is fairly stilted and to the point. We get the idea of what’s going on, and the main motivations of the characters, but there’s not an awful lot of nuance or depth to help flesh out the story around them. This perfunctory nature to the dialogue also then feeds through into the performances, where the amateur actors sound out their words almost to the point of caricature. This over emphasis on pronunciation is actually fairly useful to the average British viewer with no background in the French language, as it’s easy to hear the words and understand them as they are translated in the subtitles, but it does not help the performances any and keeps things sounding like an amateur production. Once the action gets going, L'Aube Dorée again feels like its missing a beat, as the actors struggle to pull off any sort of believability or smoothness to their fighting. The swordplay is laughably slow, even if the choreography is actually quite good, and the audience is never really brought into the scenes with the clash of metal. The conviction and heart of all those involved, however, is enough to carry the scenes, and the story, and to an extent the performances, to allow the film to expose its themes and its drama enough that the viewer can overlook a lot of the inadequacies shown by the small production. In the end, L'Aube Dorée offers an interesting look into the machinations of a secret society in historical France, where everything is done under the darkness of hooded robes. While it is a very amateur production, it carries itself well enough to achieve its aims and for the most part to bring the audience along with it, giving us a short window into a distant world. While it won’t win any awards for acting or writing, there’s enough here for most viewers to take something away from, and the team behind it should be able to build on what they have learned for their next project. VIEW REVIEW Grima A short horror film written and directed by Richie Harrington and starring Monroe Cline and Lynn Allinger. Regarding the title, just explaining that ''Grima'' has a variety of meanings and one of them is a feeling of disgust that is related to the sound of nails scratching a chalkboard, which is probably the most appropriate one considering the events in the story. Sinister things are taking place inside a classroom. All the students are sitting at their desks, completely still, with their heads down. Their teacher (Allinger) is walking around, inspecting them very closely, making sure they are all obeying. One of them, Jen (Cline), is not and the teacher (Finster is her name) confronts her and viciously makes sure that the unruly girl learns her lesson by applying her nails to the blackboard and making ugly noises. Five minutes of tension and spooky moments and nails scratching a chalkboard. This is a wickedly fun film, whose main strength is arguably Allinger's character, a teacher from hell. The screenplay loses no time becoming gripping, turning towars the supernatural and bringing the viewer in an environment filled with dread, with Brendan F. Cochran's ominous music and Larry Tang's cinematography fitting in just fine. The sound effects are another plus, especially when it comes to nails being pressured against a blackboard. A lot of creativity is clearly present in the special effects, creating grotesque moments like a face disintegrating and the skin being removed from a hand. Any negative observations? That would be hard. This is a very well-made short with plenty of scares. As mentioned, Finster is a major asset and this is because it is this character that creates most of the elements that make this film a horror story. Played brilliantly by Allinger, Finster is like Cruella de Vil, a wicked and terrifying person, who might even be a witch. Cline portrays the poor schoolgirl who falls victim to Finster's attention, being emotionally tormented for failing to learn discipline. The director states that this project acknowledges the awful sound of nails on chalkboard, something that greatly annoys him and there is plenty of that happening in this story. Blackboards and nails aside, punishment, fear, cruelty, guilt and honesty are other themes that drive this story. A horror film with a nightmarish teacher and the dreaded sound of combining nails with chalkboards. According to Harrington, this short is a proof of concept for a feature film and that is something to look forward to. VIEW REVIEW Major Tom Major Tom is a conspiratorial action film which boasts both intrigue and spectacle. But clocking in at over thirty minutes, the short sometimes lacks the kind of clarity and taut storytelling that would allow this story to operate at its full potential. In terms of plot, this is quite the unique work; combining real cold-war scenarios centering around the Cuban missile crisis, with the lyrics of David Bowie’s Space Oddity , and some Kennedy assassination speculation sprinkled in from the outset. What an unusual setup! The film begins with a title card which effectively establishes that what you’re about to see is both based on true events and yet is in no way fact – and therefore cannot be considered true in any way. To this critic, this feels like the ‘legal definition’ version of having your cake and eating it too. Yet nevertheless, once the film takes its full shape as the exciting shoot-em-up romp it is, it’s unlikely that the viewer will ever be thinking of ‘the real characters’ upon whom this piece is seemingly based. Let’s begin with what Major Tom does well... First and foremost, this is a most successful example of action filmmaking. From the cinematography and sound, right down to the editing, every aspect of cinematic construction seems to be in service of the action set-pieces taking place from beginning to end. This critic especially admired the use of fast shutter-speeds during extended long takes, allowing the camera to simultaneously flow freely and uninterrupted, whilst also implementing filmically choppy technical flare which always complements fast movement and disorienting physicality. All of the gun fights are properly thought through and choreographed to a pleasing degree. However, there is a slight issue with the specific style of violence this movie engages with: what may begin as entertaining, suspenseful conflict occasionally delves into quite unpleasant, awkward hand-to-hand combat territory. It would have helped if the filmmakers kept to a consistent tone here, because – whether intentional or not – you may very well have audiences pumping their fists at the quite Hollywoody gunfights, but then not knowing how to respond during slow, agonising death scenes. Were this piece to implement a more sober, documentary-esque aesthetic (without the energising Bond-reminiscent soundtrack) then the viewer would know not to be pumping their fist and instead be encouraged to consider this waste of human life. Having said that, the action is one of the picture’s strongest assets; so, on the flip side, it may help this movie to dispose of the real-world correlations and allow the audience to simply enjoy some turn-your-brain-off thrills. As you can tell, this is a film of conflicting elements, styles and ideas. But before I conclude, I’d like to cite one filmmaker whose work this film feels especially indebted to (in the very best way). And that filmmaker is Michael Mann – particularly in regard to his early work, Thief and Manhunter . There are some incredibly operatic shots of sea water and sunsets, placed in contrast with a synthy score. Beautiful moments such as these provide both the viewer, and the protagonist’s psyche, much needed respite from the bombardment of hostility. VIEW REVIEW Cake A suicidal woman and her distraught neighbour bond over the baking of a cake one night when they’re both feeling at their lowest ebb. Annabelle (Racic) is busy trying to hit a deadline. It’s already after ten and she’s got to get everything done by midnight. That is, she’s got to get her suicide note typed up and ready for whoever finds it, and her, after she kills herself on the stroke of the new day. The problem is that she can’t concentrate. How’s anybody supposed to find the right words for a sentimental, heartfelt, but to the point, death note when there’s a racket coming from the flat next door? So, rather than trying to ride it out for the next couple of hours until it’s all over, Annabelle goes knocking on her neighbour’s door to ask him to turn the music down. Much to her surprise, however, Jack (Winkelmann) next door is in a total state himself, blubbering away like a little baby, covered in flour and egg, and barely holding himself together in any sort of way. He explains he’s trying to bake a cake for his dead mum’s birthday, the first since she passed, and he’s making a bit of a hash of it, so against her better judgement, Annabelle agrees to help him. The majority of Cake , therefore, takes place in the single location of Jack’s flat, where he and Annabelle get to know each other as the cake is getting made. Luckily, the limited surroundings don’t diminish the story in any way, as they are captured perfectly by cinematographer Brandon Dougherty, getting the lighting right for the emotion of the scenario as well as the clarity needed to feel like we’re right in the room with the characters. This is also helped by the smart dialogue from writer/director, Olivia Cade, as Annabelle dances around Jack’s naïvely probing questions, whilst also getting to know more about him and his relationship with his mother. There are little threads which are dropped around the place for the viewer to pick up on, and which circle back into the scenario later, that nicely bring the narrative together in the end, and which allow a level of satisfaction for the audience when all is said and done. The music choices, too, add a level of depth to the story, hitting just the right notes at the right time to evoke an emotion that fits perfectly with the scenario at hand. When matched with the genuine and believable performances of the two leads, everything comes together like the ingredients of the Cake that they are baking, and in the process becomes something more than the sum of its parts. There is a magic that happens in the ‘baking’ of the film which creates a true enjoyment in the viewer, leaving our mouth watering at the slice we’ve just devoured. For what could easily have been just another misfit, antisocial, rom-com, with stock depressive characters who try to find reasons to be happy, Cake takes everything that it needs to do for the fifteen minutes that it’s in the oven for, and does it all brilliantly. While we all may have seen something like Cake before, it is guaranteed that no-one has ever had this particular flavour, and it’s the slight, delicate flavours of the ingredients which we might not expect that really pull everything together to make this a genuinely satisfying, bite-size, dish. VIEW REVIEW La Mort Pourpre First of all, just explaining that the title translates into English as The Crimson Death . This is a short fantasy adventure horror film directed by Erwan Ott, written by Ott and Salah Maalem and starring Ott, Kevin Sakac and Guilhem Thiel. The story takes place in France, during the Middle Ages and vampires are everywhere. Thankfully, there are people whose job is to kill these entities and they are known as monster hunters and Seth Gecko (Sakac) is one of them. Seth arrives at an isolated village during a period of heavy snow as there have been a string of murders in that location that are believed to be the acts of vampires. While investigating, Seth encounters an old acquaintance, Alucard Topes (Ott), a vampire who is an Ekon, a superior vampire who has more traits than the average ones, like having the ability to be in the presence of sunlight. The two will collaborate and track down the one responsible for the deaths. This short begins with a bang, with an animated montage consisting of terrific images that depict the history between humans and vampires throughout the centuries, accompanied by voice-over and great music by Morgan De Carvalho. Once that is over, the story begins and what a story it is, set in a medieval Europe where humans and vampires coexist, with vampires utilising their fangs to deadly effect and (unsurprisingly since the plot takes place in the Middle Ages) there is plenty of sword fighting. The screenplay plays out as a sort of murder/mystery type and a manhunt and it is quite intriguing and entertaining. The mise-en-scene is another big plus, with the weaponry, costumes and settings all looking authentic. And, of course, Sakac's contribution to the fight choreography also deserves praise. This is pretty much a buddy film, with Seth and Alucard both serving as main protagonists. Sakac's character is a seasoned vampire killer, like Van Helsing, dedicated to his profession and duties. Ott plays a vampire who has principles, who acts as what is known as a Domovoy, an entity that acts as a guardian and lives off the blood of scoundrels. Thiel portrays Orlock, the bad guy, a vampire who has gone rogue, not being able to control his thirst for blood and takes pleasure in killing. This is a Good vs. Evil tale. A story about courage, friendship, morality and striving to eliminate a deadly threat. Another addition to the vampire genre. This exciting production is an achievement that is worth seeking out. VIEW REVIEW Stan Ritchie The pilot episode for a new show, the titular Stan Ritchie (played brilliantly by James Serpento), is a down-on-his-luck type facing a mountain of repercussions for his reckless hedonism over the years. A once prominent poker player with his face on billboards in Vegas, Stan is being hunted by violent loan sharks whom he owes many dollarbucks to. One such loan shark gives Stan a lifeline in the form of a high-stakes poker game where the prize is a cool one million dollars. Enough to clear his debts and return to his former glory. Unfortunately, Stan’s route to freedom has more than one roadblock. Filmmaker Thor Moreno (see also When Jack Came Back ) provides excellent direction here, creating a palpably tense atmosphere for Stan’s world to cave in within. The dialogue comes across as organic and far less wooden than other crime/comedy scripts with similar stories and the proceedings vamp up accordingly when they need to in order to keep a modern audience intrigued and hooked for another episode (this critic certainly was). James Serpento is doing some excellent screen work here; his character takes to desperately visiting anyone who may offer him money in his time of need and instead, most seek to rebuke him or even humiliate him. Viewers will be likely appalled at his poor life choices (cemented by a hazy “party” scene with his uncle) but will also be drawn to his “mouse caught in a cat’s grasp” antics, as well as his desire to protect his daughter, which provides a sense of poignancy to the piece. Setting up a series is always difficult, and Stan Ritchie could certainly struggle to make much of an impact with audiences who have seen this story played out before, or ones very similar. Viewers will be impressed by certain sequences in the first episode (such as a killing), however, the tone and delivery are most definitely going to feel familiar. And with recent slick movies, like Uncut Gems starring Adam Sandler , or high-end shows like The Gambler starring Mark Wahlberg, most of the success of this show is going to come down to whether you buy into the lead character, and the casting here is what will likely tempt good viewership. Knowing the calibre of film Thor Moreno can make, Stan Ritchie offers a great deal of promise and some compelling spectacle in its debut episode to show potential. However, much like the main character’s game of choice, the odds are stacked against it, especially when there are already so many great players to choose from. VIEW REVIEW

The Pause film review by UK film critic William Curzon. Starring Suzy Bloom, Louise Osbourne directed by Sam Grierson. HOME | FILMS | REVIEWS The Pause Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 11, 2025 Directed by: Sam Grierson Written by: Sam Grierson Starring: Suzy Bloom, Louise Osbourne The Pause explores what happens to an individual when life suddenly stops, and how to navigate your career path during a midlife crisis. The narrative follows Charlie (Suzy Bloom) after she loses her job and the onset of menopause turns her life and body upside down, as she is forced to confront her deeper self and unravel a supernatural disturbance that looms over her. Tackling a darkly comedic undertone and satirical edge, the piece effectively boasts a meta commentary as it breaks the fourth wall, poking fun at horror tropes as Charlie tries to figure out her life amidst all the chaos. The piece immediately hooks you in, thanks to a pulse-pounding musical score from composer Katherine Evans that feels incredibly immersive, accompanied by creative opening credits that fit the tone of the film stylistically and thematically. While tonally it can feel uneven and misguided at times, the meta commentary on womanhood and being trapped inside a horror film gives the genre a fresh new take thematically. Even with how incredibly absurd it feels at times, it still manages to evoke discomfort and tension within brief displays of disturbing and gnarly imagery. The use of voiceover at times can feel eerie, as well as effectively balancing the comedic elements suitably well in its goofy nature. One of the most astounding feats of the entire runtime is how consistently engaging it feels with a brisk pace, never losing sight of its tightly managed character-focused idea narratively. Gary Rogers’ camerawork is constantly moving at a vigorous pace, tracking and utilising fixed and close-up shots of Charlie and the consistent terror that looms over her. The use of low-key lighting within the tight alleyways in the exterior sequences genuinely unsettles and sustains the tension and engagement in its atmospheric nature. Gillian Abraham’s edit is frenetic as it consistently cuts from sequences of dread to calmer and more collected discussions of the topics prevalent throughout the narrative. The supporting cast, including Sammi (Louise Osbourne), offer a plethora of comedic and dramatic flair to the more dialogue-heavy scenes of reflection, as debates are brought up regarding the comparisons to being trapped in a genre film while on the verge of a mental breakdown, and trying to figure out a midlife crisis. Unfortunately, after the tightly paced first half of the runtime, the piece loses some momentum towards the back half. It increasingly loses tension and falls into a stagnant territory as the characters reflect on their career choices and the ever-increasing impact of AI in the process of job applications. While the discussions are topical and universal themes that tie well into the thematic ideas, it slowly loses its edge with the repetitive nature of what is actually being said, which begins to feel shallow and shoehorned into the concluding chapter of the film. Sadly, the conclusion to the narrative wraps up in an underwhelming manner due to failing to fulfil Charlie’s character arc successfully, and the film ends abruptly with an unsettling nature that may leave a sour taste in your mouth. The Pause is an unconventional attempt at a character study, exploring topics such as menopause, self-discovery and the impact of losing a job in the current landscape of the job market. However, beyond the myriad of themes it attempts to employ, there's sadly not much else to offer outside of some terrific formal decisions and solid performances from Suzy Bloom and Louise Osbourne. The conclusion is abrupt, leaving it grasping for longevity after the credits roll. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Star Rating: 3/5  Writer: Sean Wilkie Director: Sean Wilkie Cast: Jennifer Byrne, Matt McLure, Ilaria Nardini, Chris Somerville, Sean Wilkie, Gareth Hunter, Ross Maxwell, Carmen Pieraccini.  The horror genre is potentially the hardest genre in which to create great cinematic work. Like with romance, the temptations to fall into cliches are many and consistent.  The Bench does showcase some examples on how this happens. On the other hand, it does contain some elements of the best horror works.    The main highlight is the setting. We've seen the group of friends in the cabin in the woods, middle of nowhere story before, but in the case of The Bench, it is not ghosts that lurk to threaten these characters- none of whom are as innocent as they seem- but very real threats.   With most of its elements resembling Americana, complete with a road trip sequence, petrol station scenes and very simple dialogue, The Bench is a good evocation of 2007 aesthetics, but also youth and the relationship styles of that time.   In the noughties, relationships tended towards stereotypical attitudes and gender roles, such as a young woman having to bluntly state to men that they are 'actually quite smart', like Lisa does in this film. Jarring in 2025, despite a revival of stereotypical approaches to relationships currently taking place.  At its best, the horror genre tells stories about trauma and how (badly) humans navigate it. This film is a good example of this, with the young characters carrying quite a lot of trauma: bullying, failing university exams, even time in a youth offenders' institution. We even get a glimpse of male on female violence, in the form of a slap. This definitely belongs in a horror movie.    This group of friends is struggling not just with these sort of traumatic experiences, which are perhaps what they are running away to the woods from, but very physical threats too as the story goes on. Not a bad metaphor for the experience of having to find yourself.   The Bench has more than its fair share of gore, which could have been brought into balance with a deeper exploration of the actual stories we come across. The viewer is left craving for greater exploration of the coming-of-age elements of it, a deeper glimpse into what led them to that cabin, in that wood, before the strong plot twist at the end.

★★★★★ Starring: #IonaChampain, #FrankieWilson, #EleanorGrace Directed by: #JamesArden Short Film Review by: Alexandra James James Arden director of short film Sitter  presents the audience with a chaotic and messy protagonist, one with which you cannot trust to do the simplest of tasks such as taking care of a cat. This short is a very realistic portrayal of what it’s like when you start to question yourself, whether this be life choices or just your character in general. Am I a good person? What am I doing with my life? And why do I fall for the same mistakes repeatedly? For main character Aurora, these are questions that she needs to answer. A self-reflective film that escalates intensely but becomes a hard-hitting reality check that forces Aurora to face her true demons and make some crucial changes to her life. The storyline to this short is simple, however, its one that has deeper connotations and very character based. It’s interesting to see a character spiral into chaos. What seems like a casual and mundane night watching a small cat, can eventually lead to such a messy and troubled night in more ways than one. For Aurora, this night is one she won’t forget and must face the music in terms of the direction her life is going. Boozing, drugs and partying leads her to make reckless and potentially self-harming decisions, but the biggest thing is losing her close friends and eventually isolating herself due to her poor life choices. I think what is great about this short is the imperfect characters. There is so much to explore with a flawed character, the complexities surrounding them, the audience become curious about their backstory and question how they ended up being so wild. We become invested and instantly want to protect them or have hope for them to be a better person and get their life together. I really enjoyed the way this short was filmed, to feed into the chaos there were a lot of tight close ups to Aurora which created an uncomfortable feel and much like her we remain present within the stress of the situation. Unable to escape her dilemma, she is forced to deal with the consequences of losing a friend for neglecting her cat. Even the music playing in the background added to the stress of the scene, everything was fast paced and stopped Aurora from focusing and clouded her best judgement, it was a clever technique that helped to elevate the messiness of it all. A completely engaging short film that highlights the realities of facing your true self, focusing on the downward spiral of a character and makes the audience wonder how she is going to escape this toxic and reckless pattern.

★★★ Starring: #AshtonPulis, #LolaCooley, #JoshuaMiles Directed by: #GriffinPeters Short Film Review by: Alexandra James Boil  is a short film directed by Griffin Peters; it follows a frustrated character and his strong passion for cooking. He has a dream to open a restaurant with his friend and show case their wonderful and unique skills, experimenting with flavours but the bond between them is really what makes them a strong pair. However, his partner is offered an amazing new role, leaving him in a state of resentment. This is a short that explores themes of friendships and relationships but also the struggles with egoism. Boil focuses on our bitter protagonist as he battles to repress his emotions in turn ruining his friendships, as well as push away those close to him that believe in him as well as support his dreams in life. One aspect to really admire of this short film is the experimental editing techniques. It was wonderful to see a combination of unique shots and swift cutaways that highlight the friend’s enjoyment of cooking and the vibrancy that comes with sharing food and recipes with friends. It certainly gave this short film an exciting and comforting feel and highlighted the fun and light nature of the pair’s friendship. It’s always good to experiment and explore new and interesting editing styles. However, one thing to note is to not shy away from the long takes. Occasionally, it would have been good to stay with some of the characters a little longer, to really feel some of their reactions and to become locked into their emotional state, especially when the protagonist has had such a huge blow to his dreams. Some shots could have remained as a long take to get the full intensity of the scene. Nevertheless, the cooking scene as well as the pool scene were both noteworthy, one scene was incredibly fun and light whilst the other had deep and powerful connotations that evoke heartbreak and loneliness. Unfortunately, the audience and the characters around our protagonist can see that ego and perfectionism cloud his perception. Unable to see what he has in front of him and the people that support his dreams and aspirations even before their own. Boil  allowed the audience to view the life of an egotistical character, it gave an interesting outlook as we watch his girlfriend, and friends push him to be the best chef he can be. However, he is too narrowminded and wrapped up in his own narcissism to see this support. Boil  was a compelling short film and a great story, showing how self-destruction and rage can blind a person’s perception entirely.