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- Film Reviews and Movie Trailers | UK Film Review
Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. 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. Film Reviews from UK film critics LATEST REVIEWS
- Short Film Reviews | UK Film Review
Short film reviews from some of the best movies in the UK. Read reviews from some of the best short film critics. Short Film Reviews Welcome to the UK Film Review page for short film reviews . Here you will find some of the best and brightest sparks in a sea of cinema. Filmmakers from across the globe submit their short films to us to be reviewed, and our Contributors lovingly dissect them. If you would like one of our team to write a film review of your short film, please use the form on our Submit Your Film page Our short film reviews are written by passionate film critics across the UK and aim to highlight and promote terrific filmmaking when we find it. We are always honest with our reviews, so if you are looking to submit your short film for review, please do so knowing that we will not alter what we have said because you don't like it. There is a wealth of amazing talent in the short film industry, and we hope by writing film reviews about this underexposed creativity we can get your movies to a new audience...but we need your help. Please join in the chatter on our social media channels so that we can grow our community and share the joy. Use the buttons in the footer to Like us on Facebook, Follow us on Twitter, and Subscribe to us on YouTube #supportindiefilm. The selection of short film reviews you see below are mostly for films submitted to us. In this instance, the filmmaker has requested us to watch and provide a short film review. Alternatively, visit our Latest Short Film Reviews page . Get Your Short Film Reviewed More Film Reviews VIVA James Learoyd Three Main Men Swati Verma Meat Raffle Chris Buick The Untranslatable Forest James Learoyd Starborn Chris Olson The Masterpiece Swati Verma Leviathan William Hemingway Whispers of Freedom Chris Buick Do Not Open Swati Verma Voiceless Patrick Foley 29 de Febrero Chris Buick The Mourning Of Jason Knight Souls Divided James Learoyd Adam's Song William Hemingway SPARTAN Swati Verma That Time Is Now Patrick Foley Jinbo Moon James Learoyd Lesbian Vampire Seeking Jewish Lover Jason Knight 2024 Patrick Foley Sileo (2025) Jason Knight A Television Broadcast From Outer Space William Hemingway Jacob's Little Helper Swati Verma Wish You Were Here Chris Buick Bonnie and Orville James Learoyd Unseen Scars Chris Olson Load More Reviews What is a short film review? A short film review is often written by a movie critic and it's their opinion on a film that is less than sixty minutes long. Short film reviews still explore every aspect of a movie. How do I write a short film review? Writing a short film review needs to cover multiple aspects of the movie. Including the script, the characters, performances, cinematography, score & sound design, editing and so on. Sometimes we consider the piece only as a short film; whether it works in that format, other times we may think of it as a "proof of concept" for something longer, or perhaps a piece of a web series/TV show. These can be important to consider when writing a short film review. How long should a film review be? A film review should be as long as the house style. Some publications provide lengthier reviews than others. A general minimum word count would be 500. This may be also for SEO reasons, as short film reviews that are longer may be more likely to rank higher on Google. The important thing to remember is that the review should be well-structured, not full of bloated points to fill up the word count. How much money do film critics make? Film critic salaries depend massively on their publication. Many film critics are freelancers, meaning they get paid per review and sometimes this is based on word count. Making money through film reviews can be challenging. Video Short Film Reviews Below you will find a selection of short film reviews in video form! This is where one of the UK Film Review Critics records their review and we upload it to our YouTube channel (as well as TikTok and Meta Reels in some cases). A Place to Fall Down Short Film Review by Chris Olson A short film about coping with loss and grief, film critic Chris Olson gave A Place to Fall Down 4 stars. Watch his video short film review here to here from the man himself about his thoughts and feelings. OK/NOTOK Short Film Review by Patrick Foley In this short film review from Patrick Foley, he gives us his opinion of the brilliant movie OK/NOTOK. Set in a futuristic world where AI robots are available as companions (as long as you can afford the subscription), it's a riveting piece. Betrayed Short Film Review by Chris Buick Film critic Chris Buick offers up a fantastic video short film review for Betrayed. A movie about a girl with special powers who, with the help of her protective father, must elude those who would use her for nefarious means.
- Music Video Reviews | UK Film Review
Read music video reviews by film critics at UK Film Review. Submit your music video for review by clicking Get Reviewed at the top of the website. Music Video Reviews One of the most exciting sub-genres our critics review is music videos. They are often incredible pieces of storytelling, either in their own right or aligned with the song playing over them. On this page you will find a great selection of music video reviews from the team of critics at UK Film Review. If you are a filmmaker or artist who would like us to review your music video, submit your film here . When it comes to reviewing a music video, the process differs slightly from perhaps a narrative short film or documentary. The music has to be explored far more intimately than if it were a soundtrack because that's where the story originates from rather than being added further down the line. Music videos do conform to genres but these are often musical genres rather than film categories, for example pop, folk, rock, rap etc. So this will also influence the music video review our critics write because the target audience is going to be considered. Music videos may take a variety of forms or even combine different aspects to create a different effect on the viewer. For example, it is common for a music video to contain a small narrative, as well as live performance footage. Top filmmakers making music videos will be able to immerse you into the song and story without leaving you feeling like you have just watched a promo piece. Choreography is also a common trait in music videos, with dance sequences and flash mobs recurring - often in pop music videos. Editors of music videos will have their work cut out to ensure the choreography looks tight and engaging without it feeling staged or lifeless. Hopefully the array of music video reviews you see below will include some gems for you to peruse. Don't forget to scroll to the bottom of the article, as we often include the actual music video so you can watch it for yourself. 2024 Patrick Foley The Road Back Patrick Foley It Feels Good Jason Knight All My Life Jason Knight Unspoken by LT Jason Knight A-Train: New Beginnings Jason Knight The Dragonborn Comes-Main Theme Jason Knight The Panharmonion Chronicles: Times of London Patrick Foley Lost All Care Joe Beck Bitter Cherry – Hunger Short Film Review alexjames96 Jun 3 2 min read Ain’t my Vibe Short Music Video Review alexjames96 Jun 6, 2024 2 min read Cinerama (Music Video) Short Film Review alexjames96 Mar 17, 2024 2 min read Homecoming (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min read Sheep F-cked In the Head Short Film Review alexjames96 Nov 16, 2023 2 min read Service for The King short film review Theo Aug 1, 2022 2 min read More Film Reviews
Blog Posts (5105)
- Take Our Christopher Nolan Film Quiz
Film Feature by Chris Olson If you are a fan of the UK Film Review Podcast, you will know all about our evolving discussions on the filmmaker Christopher Nolan. Many of us, myself included, are big fans of his incredible films, whilst others (cough...Ian...cough) are stout opponents of the glory that has been bestowed upon him. What we do know is that a lot of our film podcast listeners and readers of the website love his movies and also love a good film quiz. So, with a little help from A.I (so don't blame us if the questions and answers are bonkers), we have a 20 Question Film Quiz all about the director's films. We hope you enjoyed our Christopher Nolan Film Quiz - be sure to screenshot your scores and share them on socials, tagging @UKFilmReview when you do! Stay tuned for more Film Quizzes in the future and let us know on socials which types of categories you would like a quiz on next. More about this quiz: We are thrilled to announce an exciting new interactive feature now live on the UK Film Review website: our brand-new Christopher Nolan Film Buff Quiz! Designed for cinephiles and casual viewers alike, this engaging 20-question challenge is the perfect way to test your knowledge of one of contemporary cinema's most celebrated and mind-bending directors. Christopher Nolan has carved a unique niche in Hollywood, delivering blockbusters that are as intellectually stimulating as they are visually spectacular. From the labyrinthine narrative of Inception to the historical intensity of Dunkirk, and the existential ponderings of Interstellar, his films consistently spark discussion and demand repeat viewings. Our quiz delves deep into his remarkable filmography, covering key plot points, iconic characters, production details, and critical acclaim across his diverse body of work. Whether you're a seasoned Nolan devotee who can recite lines from The Dark Knight or a newcomer eager to learn more about the visionary behind Oppenheimer, this quiz offers an enjoyable and challenging experience. It's built directly into our site, offering a seamless user experience, responsive design for both desktop and mobile, and immediate feedback on your answers. Discover if you can recall the precise condition Leonard Shelby suffers from in Memento, or which acclaimed composer is Nolan’s frequent collaborator. More than just a test of memory, this quiz is an invitation to revisit the intricate worlds Nolan creates and appreciate the depth of his storytelling. Share your scores on social media and challenge your friends to see who truly holds the title of ultimate Nolan expert. Head over to the UK Film Review now, take the quiz above, and prove your cinematic prowess!
- How Film Critics Can Offer Consultancy to Filmmakers
Film Feature by Chris Olson As Editor-in-Chief at UK Film Review , I've seen countless films from every angle imaginable, and I can tell you that the role of a film critic extends far beyond just writing reviews. Our deep understanding of cinema, from storytelling mechanics to audience reception, makes us surprisingly valuable consultants for various industry players. It’s a natural evolution of our expertise, offering a fresh, objective perspective that filmmakers, distributors, and marketing teams often need. For film production companies , a critic's eye can be incredibly insightful from the earliest stages. When a script is being developed, we can offer crucial feedback on its narrative strengths and weaknesses, helping to refine plot points, character arcs, and dialogue. We're immersed in current cinematic trends and audience expectations, so we can advise if a story feels fresh, if it resonates with the contemporary viewer, or if it risks falling into worn-out tropes. Think of it as having a seasoned "audience advocate" in the room, helping to spot potential critical pitfalls long before cameras even roll. Even during the editing process, reviewing a rough cut allows us to provide an objective perspective, flagging pacing issues or moments where the emotional impact might be lost, as the filmmakers themselves are often too close to the material to see these clearly. Our insights can even help shape a film's potential reception at major film festivals, advising on nuances that could enhance its appeal to critics and juries. When it comes to distributors , critics can be key allies in navigating the ever-changing market. We're constantly attending festivals and private screenings, so we often have an early pulse on emerging talent and films that are generating buzz. This allows us to advise distributors on which films might be strong acquisitions, not just from a critical standpoint but also in terms of their commercial potential. We can also help in positioning a film for release, suggesting which audiences it's most likely to appeal to and whether it might be best suited for a wide theatrical run, a niche streaming platform, or a mixed approach. Our understanding of the competitive landscape can also inform the optimal release timing, helping to avoid clashes with similar, highly anticipated titles. Finally, for marketing teams , a critic's perspective is invaluable in crafting effective campaigns. We spend our lives dissecting films and articulating their core themes and selling points. This skill directly translates to helping marketing teams develop compelling taglines, synopses, and messaging that truly capture the essence of a film and attract its target audience. We can also help them avoid potential missteps in their promotional materials that might alienate critics or viewers. Moreover, knowing the media landscape intimately, we can guide them on which critics, publications, or online influencers are most crucial to target for a specific film, and how to best approach them to secure impactful reviews and build positive public discourse. We can even lend a hand in moderating Q&A sessions or participating in promotional events, bringing an authoritative and engaging voice to the film's public presentation. Ultimately, by offering our consulting services, film critics can bridge the gap between artistic creation and audience reception, helping to ensure that great cinematic work finds its deserved audience and critical acclaim. It's about leveraging our passion and knowledge to contribute to the broader success of the film industry.
- Margot Robbie and Jacob Elordi to Star in 2026 Wuthering Heights Film
Film Feature by Chris Olson Emily Brontë's singular, haunting masterpiece, Wuthering Heights , is set to storm UK cinema screens once more, but this time with a fresh, bold vision. Directed, written, and produced by the acclaimed Emerald Fennell, and starring two of Hollywood's most captivating talents, Margot Robbie and Jacob Elordi, this reimagining of the iconic gothic tragedy is slated for release on February 14th, 2026 – a deliberate and darkly romantic choice for Valentine's Day. For decades, Wuthering Heights has captivated readers and filmmakers alike with its intense portrayal of obsessive love, social prejudice, and vengeful despair set against the wild, bleak beauty of the Yorkshire moors. Many adaptations have graced screens both big and small, each attempting to capture the raw, untamed spirit of Brontë’s only novel. Now, with Fennell at the helm, known for her distinctive blend of sharp social commentary, dark humour, and opulent yet unsettling aesthetics seen in Promising Young Woman and Saltburn , this new iteration promises a fiercely modern take on a timeless tale. The Story: Love, Loss, and Vengeance on the Moors At its core, Wuthering Heights is the story of the tumultuous and all-consuming relationship between Catherine Earnshaw and Heathcliff. Heathcliff, a mysterious orphan, is brought into the wealthy Earnshaw family by Mr. Earnshaw and raised alongside his children, Hindley and Catherine. Despite Hindley’s cruel treatment, a powerful, almost spiritual bond forms between Heathcliff and Catherine, an intense love that transcends societal norms. However, as they grow older, class divisions and social ambitions drive a wedge between them. Catherine, torn between her passionate connection to Heathcliff and the respectable, comfortable life offered by the gentlemanly Edgar Linton, ultimately chooses to marry Edgar. Heathcliff, heartbroken and humiliated, disappears, only to return years later as a wealthy, brooding, and vengeful man. His return sets in motion a destructive chain of events that impacts not only Catherine, Edgar, and their respective families, but also the subsequent generation, forever scarring the inhabitants of Wuthering Heights and nearby Thrushcross Grange. Fennell's adaptation is expected to honour the raw emotional chaos of Brontë's original text, a novel famously ahead of its time in its depiction of such savage and uncompromising passion. However, given Fennell's signature style, audiences can anticipate a heightened sense of atmosphere, perhaps leaning into the gothic horror elements of the novel, and a visual grandeur that contrasts with the moral decay of its characters. Early whispers and leaked set photos have hinted at an erotic undertone and a willingness to explore the story's darker facets with unflinching intensity. The Cast: Iconic Roles, Modern Stars The casting choices for this new Wuthering Heights have already generated considerable buzz and, in some corners, controversy. Margot Robbie , the acclaimed actress known for her versatile performances in Barbie and I, Tonya , takes on the pivotal role of Catherine Earnshaw. Robbie's ability to convey both effervescence and deep emotional vulnerability makes her a compelling choice for the wilful, wild, and ultimately conflicted Catherine. Opposite her, as the tormented and vengeful Heathcliff, is Jacob Elordi , who has garnered significant attention for his magnetic performances in Euphoria and Fennell's own Saltburn . Elordi’s brooding intensity and commanding screen presence seem tailor-made for Heathcliff's complex character, an orphan whose love curdles into a lifelong quest for retribution. The casting of Elordi, a white actor, in the role of Heathcliff – who is often described as "dark-skinned" and whose racial ambiguity is a key element of his social exclusion in the novel – has sparked debate among Brontë purists, highlighting the ongoing conversation around literary adaptations and representation. The supporting cast is equally impressive, promising a strong ensemble to bring the tragic drama to life. Shazad Latif ( Star Trek: Discovery ) is cast as Edgar Linton, Catherine's gentle and long-suffering husband. Hong Chau ( The Whale, The Menu ) takes on the crucial role of Nelly Dean, the observant servant and primary narrator of the story. Alison Oliver , fresh off her breakout role in Saltburn , reunites with Fennell and Elordi to play Isabella Linton, Edgar’s naive sister who falls tragically for Heathcliff. Younger versions of the key characters, including Charlotte Mellington as young Catherine and Owen Cooper as young Heathcliff, will also feature, ensuring a comprehensive portrayal of their formative years. A Controversial Yet Captivating Reimagining The decision by Fennell and her production company (Robbie's LuckyChap Entertainment is also producing) to embrace a wide theatrical release through Warner Bros., reportedly turning down an $80 million streaming offer, signals a clear ambition for this film to be a major cinematic event. With Linus Sandgren, the Oscar-winning cinematographer from La La Land and Saltburn , on board, audiences can expect a visually stunning film that captures the harsh beauty of the moors and the intense emotions of the narrative. While the casting decisions have generated discussion, they also underscore Fennell's intention to offer a fresh perspective on a classic. The creative liberties taken, such as Robbie’s blonde hair for Catherine and Elordi’s potential physical transformations (including a gold tooth spotted during filming), suggest a vision that prioritizes emotional impact and aesthetic boldness over strict historical accuracy. Wuthering Heights remains a literary touchstone, a raw and unsettling exploration of love, obsession, and the corrosive nature of vengeance. With Emerald Fennell’s distinctive voice, coupled with the star power of Margot Robbie and Jacob Elordi, this new adaptation is poised to be a powerful and memorable cinematic experience. Mark your calendars for February 2026; the windswept passion of the moors awaits its fiery return to the big screen.
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- “YOUR MOVE” - REVIEW: Over the Edge, Into the DarknessIn Film Reviews·January 27, 2018There is an apocryphal saying - variously attributed to Tolstoy, Dostoevsky, Mark Twain and a host of others - that there are only two stories we tell each other in our literature, our movies, our narrative arts. In the first, a person goes on a journey; in the second, a stranger comes to town. What matters is not which of these stories an artist chooses, but how it’s told, and how it illuminates another corner of the human soul, be it dark or light. With “Your Move” actor/director/writer Luke Goss effectively combines the two in the person of his protagonist, who must go on a journey to save what he loves most in the world, becoming a stranger in the dark underworld of a Mexican town where clues and danger are virtually indistinguishable. Goss - up to now known as an actor’s actor and platinum-selling musician - proves highly adept at this newest iteration of his abilities, guiding what in other hands might be a standard genre story forward with skill and subtlety. By keeping the focus on the inner workings of his characters Goss creates as much nerve-wracking tension with a quiet tableau between two people as he does with an all-out chase scene. Goss plays New York businessman David Miller, a man with a good life and a family he adores. While on a video call with his wife Isabel (Patricia De Leon) and young daughter Savannah (Laura Martin), who are in Mexico visiting Isabel’s parents, David - back home in New York - witnesses a brutal attack on them that ends in an apparent kidnapping. Stuck thousands of miles away and not knowing where to turn, David calls the local NYPD, whose skeptical response only makes him realize how dire his family’s situation actually is. As an actor Goss is deeply likable, exceptionally effective at translating what his characters are feeling, and the terror David experiences at not knowing what has happened to his loved ones is brutal and palpable. In Mexico he meets the cop in charge of the case, Detective Romero (the superb Robert Davi, in a richly nuanced performance). David wants answers, action, anything to make him feel that progress is being made. Romero, a good detective, understands the need to build his case on facts, and while Romero feels for David’s plight, the man is also his worst nightmare - an uncontrolled wild card who could blow the case at a moment’s notice by being in the wrong place at the wrong time. Romero’s careful, low-key approach to the investigation seems like dangerous and deadly plodding from David’s point of view, sure to get his wife and daughter killed. On the other side of the coin is Isabel’s father, Señor Barrabas, a wealthy patrón of weight and gravity. Luis Gatica plays Barrabas with a quiet intensity that is at once civilized and menacing. Though he treats David and the detective as equals, he appears to engender fear and respect everywhere else. Accompanied at all times by a suited, hulking - and likely armed - bodyguard, who Goss subtley keeps just at the edge of the frame, Barrabas’ business dealings can only be guessed at. When it appears that he agrees with Romero’s method of handling the case, David panicks and takes matters into his own hands. Though fit and athletic, David has no “special set of skills” with which to make the bad guy’s life hell a’la the uber-hero in “Taken”, relying instead on instinct and sheer persistence, driven by the certain terror that if he doesn’t use every means at his disposal to track his family down, he will never see them again. Agonizing every step of the way over what he must become to get the job done, he isolates himself from both family and the authorities and relies instead on his gut. Goss’s abilities as a visual stylist and storyteller are well-matched to his subject matter and the camerawork is assured, but he doesn’t sacrifice character development for the sake of style. Goss - who also wrote the script - keeps the dialogue spare and measured, making wonderful use of the players’ inner lives to push the narrative and generate emotion. The acting is uniformly superb and the casting and directing are spot-on, with a touching and almost Fellini-esque sensibility, making scenes with even the most secondary characters satisfying and rewarding. The landscape of the human face as a map of the psyche clearly fascinates Goss at the deepest levels, and his painterly use of color, light and shadow add to the suspense and the unfolding story, while allowing the audience their own visual and emotional journey. And though the church is never explicitly mentioned there is a strain of lush religious iconography running through the film, implying religion as a particularly horrifying form of self-justification for the antagonist, played by Alain Mora in a performance that is a revelatory and disturbing portrayal of a man with a terrifying split in his psyche. The film may be billed as a psychological thriller, but the execution and performances defy simple genre categorization. It would appear that “Your Move” marks the auspicious start of yet another successful branch of Goss’s multi-hyphenate career. “Your Move” has its UK premiere on January 27, 2017. Watch the trailer, here: Writer: Kely Lyons - Los Angeles - January 27, 2018361953
- "Crazy Right" movie trailerIn Movie Trailers·March 5, 201824182
- Beauty and the Beast (2017) ReviewIn Film Reviews·November 1, 2017Disney is back with another live-action adaptation of one of their animated films. This time it was up to Beauty and the Beast to be remade and please the audience. But if we look at the final product that the film is, it seems to be that Disney did it more for the money than for the audience. Will the audience end up roaring for the new film or will it just be Disney happily roaring their victory over their audience? I think we all know the answer to that question. Beauty and the Beast is directed by Bill Condon and tells the tale of Belle. Belle (Emma Watson) is a young adult, who loves to read books and dreaming of playing a part in the adventures that are depicted on those pages. But when she leaves her small village to find her missing father (Kevin Kline), she encounters a large castle in which lives a horrifying Beast (Dan Stevens). As Belle stays with the Beast, she learns that true beauty is found within. Right from the beginning, the film wants to make very clear what kind of a jerk the Beast was before he came a Beast. Just like in the original animated film, where they spend a short monologue on the case. However, in this live-action adaptation they take more then a few minutes to make it clear that the Beast is a jerk. The problem is not that it is not well done, because making the Beast look arrogant is something the movie does is quite well, but the problem is that right from the beginning one of our main characters is an unlikeable prick, which creates a situation wherein you cannot root for the Beast to become normal again. You want him to stay a Beast, because that’s what he honestly deserves to be. He acts like a Beast for the first two acts of the movie. Then the filmmakers remembered that the Beast also must become a human at the end, so they quickly shoved moments in the movie trying to make the Beast look less like a prick and more like an misunderstood young adult. In the original animated film, the Beast had a compelling arc. In this film he does have an arc, but it’s not compelling because the Beast is arrogant throughout most of the film and acts like a prick to everyone around him. The arc is also rushed to the point that it makes you care even less for the Beast. Do you want examples of how much of a prick the Beast is? Well, the Beast doesn’t even give Belle a minute to say goodbye to her father, the Beast keeps correcting and interrupting Belle, the Beast wouldn’t give Belle a room, the Beast forces Belle to eat with him and lets her starve when she says she won’t eat with him etc. The thing with this movie is that they like to exaggerate everything the original did, to the point that this movie feels more like a dark cartoon then the original did.The scriptwriters Stephen Chbosky and Evan Spiliotopoulos also try to add new story elements to the script. There is a new back-story how both Belle and the Beast lost their mothers and it adds nothing new to the story. The scriptwriters probably did this trying to make the Beast, after first writing him as such an unlikable character, look more sympathetic and to give Belle an arc. Only thing is that the new back-story doesn’t make Beast look more sympathetic, he still comes across, as a bitter young adult and Belle never gets a conclusion to her arc. Her mother died when she was just a baby. Belle never knew her mother and this has had a great impact on her. However when she finally finds out, what happened to her mother, the subplot is quickly moved aside to continue the main story. Her arc is never resolved or even started to be honest. It just a waste of time. The script also tries to give Belle more personality. They did this by making her amazing in everything. She is good in reading, good with children, good in teaching, good in inventing, good in drawing, good in taming wild beasts (get it?). However, as expected, being good in everything doesn’t count as a trademark for a character. She isn’t Leonardo Da Vinci. Belle is a dreamer, who gets inspired by the books she reads. Belle is intellectual. Indeed. But in this movie they exaggerated her intelligence to the point that this Belle feels more like a cartoon character then her animated counterpart. There are also some continuity errors. Belle on Phillipe, the horse, move like the Flash when needed. Belle just arrives shortly after the villagers arrive at the castle, while the villagers had a big head start. The sound effects are also sometimes off in the final battle. Oh right, forgot. To please the immature and the children, the movie also includes butt and poop jokes. Yeah! There is also a mystery subplot for the character Agathe, which turns out to be the witch that cursed the Beast. This is so poorly done and unnecessary. She just comes and goes when the story needs her to come an go. And her importance to the story is never explained. Which leaves another unsolved subplot.The CGI in this film is, in contrary to the beautiful The Jungle Book, more creepy than fantasy provoking. Nobody wants to see a CGI teapot smiling. They created some nice nightmare related visuals for the younger kids. Can’t wait to see this on a childhood trauma list.Not everything is bad though. The acting is on point. Especially Gaston is likeable, which feels weird because he’s supposed to be villain of the film. Well don’t worry, because for this first half of the film Gaston comes across as a normal, somewhat dimwitted, individual, but in the second half, he leaves Maurice for the wolves stuck at a tree. Something the animated Gaston would probably also be able to do. The Gaston song is also very amusing. Their is actually an illiterate joke in their that works. The song also contains one exciting, maybe little expectable, but still amusing shot. In the end, Beauty and the Beast, is another Disney remake that is poorly executed and is solely done for the money. This movie in particular felt more like a cash grab than the other Disney movies. That is probably because the effect of the original is still untouched by other Disney movies. It is the only animated movie to be nominated for best picture. It is one of the most well known Disney movies. These were the reasons for which Disney thought that their live-action version could earn some big money. Sadly, it did. Overall, it’s not a complete failure. There are some genuine emotional moments. Some new interesting ideas, that all don’t workout however. And sometimes a joke works. But in the end, the movie is still pretty bad, mostly thanks to the poor script.15166