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Sweetness film review by UK film critic Hope Madden. Starring Kate Hallett, Herman Tømmeraas, Aya Furukawa directed by Emma Higgins. HOME | FILMS | REVIEWS Sweetness Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 11, 2026 Directed by: Emma Higgins Written by: Emma Higgins Starring: Kate Hallett, Herman Tømmeraas, Aya Furukawa Back in 1982, German filmmaker Eckhart Schmidt released The Fan , a horror thriller about a teenage girl obsessed with a pop music star. It’s a wild, weird, uncomfortable technopop ride, and I admit I expected (hoped?) Emma Higgins’s Sweetness would be a kind of American update. Because The Fan is so very weird, yet somehow relatable. Higgins’s film is very different, and a touch more on the believable side. Kate Hallett (Women Talking) is Rylee, unpopular high school kid with an obsessive crush on Floorplan lead singer Payton Adler (Herman Tømmeraas). His pouty pretty face covers nearly every inch of her bedroom walls and ceiling. Her headphones are always in, his emotional vocals drowning out the mean girls in class, her father’s overly eager girlfriend (Amanda Brugel), and everything else Rylee doesn’t want to hear. When bestie Sidney (Aya Furukawa, Fall of the House of Usher ) leaves Rylee behind after a Floorplan concert, she meanders alone until being struck by a car driven by the very impaired object of her affection, Payton Adler! Totally worth it! What follows is a crooked path lined with the faulty logic of the young and the twisted imagination of a filmmaker who’s spent most of her career embedded with pop stars. Higgins has directed scads of music videos. That’s probably why the music for this film is so unnervingly authentic, exactly the kind of thing that would make a troubled teen swoon and believe her life had been saved. Even if she’d, in fact, just been run down by a car. Furukawa and Tømmeraas both shine, one as a semi-vacuous but still good friend, the other as a good-looking opportunist with a drug problem. Hallett anchors the film with a sort of wide-eyed yet world wearied performance that’s as heartbreaking as it is frustrating. Higgins never laughs at or Rylee and her youthful obsession. Though the movie doesn’t wallow in the maudlin, avoiding angst at all possible turns, the filmmaker demands that we empathize with this girl in a way that’s both moving and nightmarish. Stylish cinematography and slick production design emphasize the pop music stylings, but the film is hardly all glossy exterior. There are some telegraphed moments and a couple of convenient contrivances, and anybody seriously shocked by Rylee’s choices definitely needs to see The Fan . But there’s a twisted, broken little heart here and Higgins and Hallett want you to witness it. About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

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. We Buy Souls A woman approaching her mid-life feels like the romance with her long-time boyfriend has fizzled out, and she begins considering some drastic options to fix the situation when she sees an enigmatic sign outside her coffee-shop one day. Chiwa (Kumari) is getting pretty fed up with her relationship to Bradley (Borden). They’ve been seeing each other for three years but for the last few months there’s been nothing happening between the sheets. Bradley is the perfect guy, if what you’re looking for is grade-A chump, as he makes safe-for-work jokes and acts like an infantile prat as an attempt at humour. But, he’s cute, and kind, and clean, and safe, and he loves Chiwa – it’s just he doesn’t want to get down and dirty with it the way she does. Chiwa tells us all about her life and her love troubles through an internal monologue, which is relayed to us in voiceover, and which comes with all the requisite bells-and-whistles of freeze-frames, flashbacks, dream sequences, and what ifs, all jumping into the frame to push her narrative side of things. This jumbled mess of a storyline is fairly representative of Chiwa as a person, and we have to try to keep up with where she is in her narrative as she goes through the ordeal of trying to sex up her life. After seeing an ominous, ‘We Buy Souls ’ sign outside of her coffee-shop one day, she gets the idea that a guilt-free existence might well be the way forward in getting what she wants. As she goes through the motions at the clinic, Chiwa considers all the different factors in her relationship with Bradley, as well as the overt moves being put on her by work-colleague, Ben (Donovan), the milk-drinker. This all turns round in Chiwa’s brain in her own inimitable style until she finally figures out what she wants, and we are party to every notion, side-thought, existential consideration, and barking madness that seems to cross her mind as she does so. Told as a farce, We Buy Souls firmly aims its humour at the lowest common denominator and pulls out every stylistic trick in the book, several times, to help us understand the supposed comedy at play. The characters are mainly caricatures of idiots, who overtly emphasise their silliness by their mannerisms and childishness, ramping them up to the Nth degree. Sadly, none of this raises a smile, as almost all of it is too infantile and tired in its use to actually be funny in any real way. Chiwa is the only calm, sane ship, floating on a sea of madness, and even her normalcy is a screen for her plain naivety hidden underneath. Thankfully the direction, from Rohit Relan, makes everything seem fantastically real within the context of the story, with props, locations, and other background stylings, really bringing the world of We Buy Souls straight to the viewer. The clinic itself becomes strangely reminiscent of a cheap, present-day, Total Recall (1990) centre, and the ramblings of Chiwa get turned into a nostalgic Sex and the City (1998-2004) romp through her thoughts. However, none of this can really save the narrative from its one-note, misaligned, humourless stance, and any real progress that is made in character development, or any real statement about the state of modern relationships and the dating scene, is wiped out by the try-hard, bolt-on funniness that surrounds it. We Buy Souls is a nice idea, well-realised, and well put together, to make a cohesive thirteen minute short, and some will find its humour palatable enough to carry the story. However, there’s not enough drama to carry a reasoned interest, and as a comedy it fails in a lot of the jokes it tries to make, leaving it in a strange no-man’s land that stops it from being either. VIEW REVIEW Them That's Not Them That’s Not follows Andrea “Drea” Stoney (Angel Theory), a Deaf poet, as she feels isolated at her grandmother’s repass, surrounded by a family who disregard ASL. She seeks refuge and purpose in the quiet corners of the house, and her world is shaken when her estranged father, Samuel (Biko Eisen-Martin), temporarily released from prison, returns after many years to mourn his mother. Both Drea and Samuel, bound by grief, must confront their damaged relationship and find a connection before his return to prison. The piece almost immediately feels striking in its presentation due to the boxed-in aspect ratio, which places the viewer in Drea’s point of view and highlights her discomfort. The incredible sound design blocks out the noise as Drea’s point of view is isolating, and her family are deeply uninterested in ASL. Another outstanding stylistic decision is the use of subtitles, which appear muffled as Drea attempts to read lips. The filmmakers do an outstanding job of putting the viewer in Drea’s shoes, and it's incredibly raw and tough to witness her family dismiss her struggles and ambition for poetry. Mekhai Lee, serving as the director of the piece, beautifully directs the ASL conversations with the actors directly facing the camera, greatly anchoring the point-of-view approach. The use of blocking is also astounding as there are many groups of characters in one room at once, and each character is suitably placed in the frame throughout the gathering. Sade Ndya, who serves as the cinematographer, utilises a mix of over-the-shoulder shots during dialogue-heavy sequences and switches to wides that place the camera in the corner of the room, feeling akin to a fly-on-the-wall experience. The tone of the film feels isolating throughout due to Drea’s inner turmoil; however, the moments of stillness are intimate and heart-warming. Angel Theory’s portrayal of Drea conveys a profound level of nuance and restraint, channelling an incredible central performance that makes it hard not to feel sympathy for her despite the restricted runtime. The performances across the board are sensational, in particular Carrie Compere’s portrayal of Aunt Carol, which is deeply complex as she tries to understand Drea’s pain and aspirations. Drea wants to stay true to her vision of poetry, and it's tough to witness her dreams being dismissed, as it's a less practical career path. The evocative musical score enhances the moments of stillness and is suitably placed into the narrative. This is one of the rare examples of a piece of filmmaking that makes incredible use of its tight runtime and budget constraints to deliver a sublime depiction of what it's like to be Deaf and feel out of place. In terms of issues with the piece, it's incredibly hard to find a place where the filmmakers put a foot wrong, and that's a testament to the narrative and phenomenal formal decisions on display. The conclusion to Them That’s Not is beautiful, and the filmmakers wrap up Drea’s character arc in an emotionally satisfying manner, while providing a helping hand of empathy for her struggles and isolation for people who may be in a similar situation to hers. It's a profoundly empathetic piece of filmmaking that consistently leaves the viewer on the edge of their seat. Them That’s Not is an emotionally overwhelming experience that perfectly places the viewer in the point of view of a deeply nuanced central character. Beautifully helmed by Mekhai Lee and led wonderfully by a magnificent performance from Angel Theory, the piece not only deeply sinks its teeth into the viewer but also offers a unique perspective on isolation and staying true to one’s artistic vision. Them That’s Not will screen at the 2026 SXSW Film Festival. VIEW REVIEW I Wonder What's Keeping My True Love Tonight A short psychological horror film written and directed by Harry Baker and starring Bethan Rose Young, Ailsa Joy, Oz Lamoureux, Miranda Horn and Tom Melvin. Hester (Young) works as a bar singer and following an act of infidelity, she encounters and enlists the help of a mysterious young woman (Joy), who claims to have magical abilities. With Hester's consent, she allegedly places a curse on the one responsible for Hester's hurt, and shortly after, they are involved in an automobile accident. The unfortunate victim survives; however, Hester is now forced to face the emotional complications of her actions. A story that operates as a mystery and as a tale about witchcraft. Told entirely through Hester's perspective, the screenplay concentrates on her as she tries to come to terms with the terrible incident and keep her life in order. She carries on singing at the bar and even attempts to start a romantic relationship; however, she is haunted by the consequences of her decision to get even, being plagued by nightmares. The film works well as a dark story about witchcraft, with visions of bloodied faces, strange rituals and appearances of Voodoo dolls and the atmosphere is supported by Harry Laurie's moody cinematography. And Joy's character, that of the supposed witch, is intriguing and, to a certain degree, menacing. Perhaps, though, the viewing experience would have benefited by having more information revealed about this character. Keeping her mysterious is OK, nevertheless, it would probably have been interesting to have more details about her, such as a backstory. Young plays the protagonist, a youngster who is having to deal with the aftermath of a vile act that she feels responsible for. She puts in effort to carry on with her life, but the sinister visions and emotional strain are taking their toll on her. As mentioned, Joy's character is intriguing, even though her appearance is brief. Dressed in black, her presence creates an aura that is simultaneously mysterious and sinister. From one perspective, this short provides an insight into life as a bar singer and pursuing romantic relationships. And it also explores witchcraft and adultery. Perhaps, though, the main themes involve revenge, regrets, and facing the consequences of one's actions. A dark story about an individual who finds themselves drawn into a world where they did not want to be in the first place. The main message appears to be ''be careful what you wish for''. VIEW REVIEW The Air Between Us A short drama directed by Newton Mayenge, written by Lydia Lane, and starring Jordan Nancarrow, Crayton Cambridge, Andrew English, and Bryn Bergwall. Tyler (Nancarrow) and Sasha (Cambridge) are a couple who have just moved into a new home. However, all is not well, as Sasha appears to be unwell, being unhappy and experiencing trouble breathing. Does she have an illness? Is she sad about something? Her troubles are damaging her relationship with Tyler and, as concerned as he is, he does not know how to help her. Eventually, on Sasha's request, they separate and Tyler turns to his friend, Jack (English) for comfort and advice. Can they find out what is wrong with Sasha? The screenplay operates kind of like a mystery, with Jack trying to discover what the source of Sasha's misfortunes is, a mystery that might even be concerning him, as he too claims that he feels unwell in their new house. A lot of drama ensues as Tyler and Sasha try to figure things out and when it is discovered why their well-being has been negatively affected, it is an unexpected discovery. Cambridge's role is that of a woman who does not know why she is suffering, why she is constantly feeling gloomy and having trouble breathing. Although she cares for those around her, her unknown condition causes her to isolate herself from others. Nancarrow plays her supportive partner, who wants to help but is unable to, because he does not know what is going on. English and Bergwall are sympathetic as the couple's caring friends. The film is rather efficient when it comes to acknowledging the significance of support, friendship and reaching out for help. Perhaps at its center, it seeks to educate viewers that sometimes the source of one's mental problems, why they are feeling down might be attributed to the air that they breathe, pointing out that unclean air can affect physical and mental health. It discloses that things that are not visible, such as air, can have negative effects on people and it also presents a solution: air filters. An emotional drama that raises awareness of polluted air harming people. It explores a threat that appears invisible and alerts viewers that if they are feeling poorly and cannot figure out why, then the cause might be the air that they are constantly breathing in their homes, or other places where they spend a great deal of time. The fact that this short points all this out, makes it worthy of significant attention. VIEW REVIEW Boy A young man reaches out for connection and the human touch, but when faced with the reality of his decisions and his desires, he finds that the truth of the situation is not as easy as the longing for it. Danny (O’Kelly) is looking for someone to hook up with. Or at least he thinks he is. He’s young and fairly new to the dating game, especially the swiping and fast-talking kind that dominates mobile phone culture and the rest of gen-z society, and he’s taking the first tentative steps into a new world of connection and instant gratification. He’s found someone on an app and has invited them over to his gaff; well, the place that he’s housesitting in for a couple of weeks, anyway. In amongst the stuffy hallways and the creepy busts littering the windowsills, Danny waits silently until the doorbell rings. At the door is Mark (Kleinman), a thirty-something gentleman in shirt and tie, with a gloriously furry beard on his face. The tension is immediately awkward and Danny almost forgets to invite Mark in, but soon they’re at the dining room table, sipping wine, and getting to know each other. Mark is obviously the more dominant of the two, and every question, look, pause, and picking up of the glass, is charged with electricity as he probes Danny’s need for companionship. The power dynamic only reaches one way as they figure each other out and Danny realises that he’s being sized up like a prize calf, slotted into a very defined box, and gently led to the deflowering of his virginity. There is a lot of heightened tension in directors/producers, Ben and Ruth Rusnak’s thirteen-minute short, Boy . For the time we are with the two main characters much is said in the spaces between them, and more is revealed about their place in the relationship and dynamic by their body language and subtle gestures than is ever said by their words. The atmosphere is charged with sexuality, and with power, and every inch of it escapes through the screen thanks to the main performances from the two actors. The direction and cinematography keep things cool and distant in the background, while filling the close-up scenes with light, colour and connection, really drawing the viewer into the very confined, homely, but slightly dangerous situation. The music from Umberto Guadino and Aleksandra Vilcinska also adds to this tension, scraping strings and hitting percussion at off-kilter moments to keep us off-balance as the two men jostle and settle into their positions. There is a strange fear of dread that leaks from the screen, mostly from Danny, and it feeds into the themes and undercurrents of what Boy is communicating to us, as well as the rounding out of the story. For a film that is so short, Boy expresses everything it sets out to, and does it with style, flair and integrity, with everything feeling real in the situation we are witnessing in front of us. For an uncomfortable thirteen-minutes we are given an insight into the repressed emotions and difficult situations that so many queer and homosexual dating partners find themselves in. There are many statements to be made by writer Ben Rusnak, but they are filed away in the dialogue, the narrative, and the character play, so well that we see them as natural expressions and dynamics on screen. The visual language really describes the emotions at play and the story eschews an exploitative approach for a much subtler, more real sharing to happen. Boy doesn’t mince its words or its message, and hits right at home to the foundations that underpin a lot of the ways queer relationships develop, sharing its voice with us to help us better understand some things that might never change, nor be spoken about in public truthfully. VIEW REVIEW The Current State of the Backyard Pool Industry The Current State of the Backyard Pool Industry follows the Osgood family, who are divided over the fate of their rundown pool, due to a costly repair that may force them to shut it down. However, when a strange visitor named Willy Chamieux (David Amadio) attempts to convince the Osgoods to take one last plunge in the pool, they must decide whether their family togetherness is worth the price of this dilemma. The central theme of the piece is the importance of family and their connection to the backyard pool, which feels like a metaphorical allegory for reconnecting a fractured bond. Derek Frey, the director of the piece, clearly set out to blur the line between surrealism and a music video, utilising an excellent, choreographed dance sequence. Also serving as the cinematographer, the short consists primarily of medium and over-the-shoulder shots in its dialogue-heavy sequences, which maintain the intimate and engaging flow of the piece. Klebe & Davis, a two-man band from Florida, serve as the composers of the piece, delivering an endearing musical score that perfectly accompanies the experience. Despite the film's budget constraints, the opening title card is incredibly creative and drives the viewer into the world of the Osgood family. While the film can suffer from some jarring editing choices and a bizarre tonal shift, the filmmakers clearly have their heart in the right place with a distinct passion for the material. The piece starts rather sluggish in its pacing; however, once the central plot line is introduced, the experience picks up drastically and becomes far more engrossing. One of the biggest detriments to the experience is the lack of chemistry between the Osgood family. While the younger actors are clearly expressing their disinterest in the pool earnestly, their line delivery unfortunately feels wooden and unnatural. The lead performance from Gil Damon in his portrayal of Henry Osgood, however, is mostly impressive and a deeply nuanced depiction of a father struggling with his inner turmoil. Both the comedic and dramatic beats land thanks to Gil Damon’s goofy and naturalistic delivery of dialogue. The film entirely rests on his screen presence and his actions being the driving force of the central plot points. Despite the narrative being fairly straightforward and simplistic in its ideas, the filmmakers never spoon-feed the audience, allowing them to decipher their own interpretations about certain plot elements, which is refreshing. Unfortunately, the conclusion to the narrative amounts to fairly minor despite its uplifting intent; the payoff sadly feels underwhelming thanks to how abruptly everything wraps up. Perhaps the screenplay could have fleshed out its themes of family and emphasis on water more profoundly to stick the landing. That being said, it's still a mostly satisfying experience thanks to how intimate and grounded in scale this feels despite its absurd nocturnal elements throughout. The Current State of the Backyard Pool Industry is a mostly entertaining short piece entirely held together by a solid lead performance from Gil Damon and Derek Frey’s formalism. Despite its pitfalls with the disappointing lack of chemistry between the supporting players, the piece feels like a passion project made with a profound love for the subject matter and characters that shine through its cracks. VIEW REVIEW Equal Opportunity A short comedy directed by Rick-kendy Noziere, written by Noziere and Francesco Nuzzi and starring Amani Alnababteh, Nezim Mmegwa, Miguel Zapon and Nuzzi. Three HR managers, Emma (Alnababteh), Jack (Mmegwa) and Marc (Zapon) are sitting in a boardroom. They have been told by their boss (Nuzzi) to wait there for further instructions. Soon, he contacts them via the phone and through the speaker, he informs them that five people are being considered for a top role in the company and in fifteen minutes he will be meeting with a potential investor and during that time, it is up to the three managers to decide which of the five candidates should get the position. So the three managers get to work. They have the candidates' resumes and relevant paperwork All five candidates have qualifications of equal standards. How will they decide then? They attempt to do that by considering the applicant's race, gender, sexual orientation, religion and disabilities. They contemplate whether the company has certain staff shortages that involve these traits, for instance, whether an Asian woman should be hired because the company has few (or none) of such individuals. In other words, instead of work experience, they focus on characteristics that can be used to discriminate, with the obvious goal to show that the company is against discrimination. So Emma, Jack and Marc discuss, question and argue what is the trait that stands out the most (if there is one) and should a decision be made on the basis of how significant a person's characteristic is or because the company does not have an individual with a specific trait? As the three of them sit and analyse all this, it makes an interesting conversation that has its fair share of humour. Regarding the technical aspects of this seven-minute short, commendations go to the use of split screen and the light-hearted music by Kevin Lynch adds to the atmosphere. Alnababteh, Mmegwa and Zapon portray experienced office workers, who are of different races. Emma appears to be from the Middle East and comes across as considerate. Jack is an African-American and gives the impression that he is the most serious one in the room. Marc is a guy who looks Hispanic and is more cheerful that the other two. One thing these three seem to have in common is that they cannot decide which trait should matter the most. Although Nuzzi only acts via brief voice work, he manages to present the head of the company as a narcissistic man. It is intriguing to see the way this film explores how people are perceived because of of traits involving race, gender, religion etc. and asks whether some traits are more significant than others. The story has a lot to do with discrimination and equality and appears to be pointing out that a people should not be appraised for job positions based on the characteristics mentioned above. A viewing that is amusing and, more crucially, rather thoughtful due to the subjects that it deals with. VIEW REVIEW Animus Jamie Murray’s short Animus uses an original psychological framing to test the boundaries of morality between doctor and patient. It’s a fine example of how to raise tension and leave audiences on edge. Imprisoned in a facility after committing a violent assault, a mysterious, animalistic man (Fenn Leon) is interviewed by a clinical psychologist (Chris Hardy) who tries to identify the cause of his threatening nature. Over the course of a tense interview, the psychologist’s perspective on the world is warped by his patient’s – and his outlook on man and nature reverts to a state of nature that both men find some sense of common ground on. Animus engages its audience in a thought-provoking moral battle between its two subjects that is enlivened brilliantly by the talents of filmmaker Jamie Murray. Set on a shadowy psych-ward and interspersed with archival footage of animal behaviour and AI animated transfigurations of animal evolution, the battle of wills between Fenn Leon’s Animal patient and Chris Hardy’s doctor feels so much more pivotal than a basic evaluation. In this near- futuristic world, Murray creates a sense that mankind’s very nature is on the line. The gripping perspectives we are given of the two men will leave viewers feeling the same sense of growing danger that the Doctor does in the room, until he himself feels no choice but to lash out – much like the cornered animal both character and audience have become. Fenn Leon convinces as the ‘Animal’, a brutal and unpredictable antagonist but one who is able to convey a twisted view of the world through his perspective on animal behaviours. His worldview is explored patiently, and whilst the character themselves has a sense of threat and danger from the beginning due to the framing of Murray, Leon’s performance walks a delicate line that means the Doctor’s engagement with him never feels unfathomable. Chris Hardy’s showing as the patient and understanding doctor is another successful casting – the moment in the film where viewers sense his loss of control over proceedings is brilliantly subtle on the actor’s behalf. His own loss of control however does feel a little sudden and unnatural (and not in a good way). The film controversially uses generative AI in cutaways that show animated animal evolution, such as moments where dogs evolve into wolves or apes into humans. The use in the film is effective and does help invigorate the moral conflict and visualise the ‘animal’ argument. But whether this is worth the cost of the use against the impact the technology has on the film industry as a whole is ultimately one for the viewer to decide. The film’s strengths are not dependant on the technology by any means, and one may have sympathy with the filmmaker’s argument that it is the only method that could allow for the exploration of some of the film’s themes visually within the budget available. But others will see its involvement as a worrying inclusion that ultimately means an artist somewhere has lost work. And ultimately all creators are part of a food chain that has AI at the top – something a film with the themes Animus has should understand. Aside from its AI usage that is down to the audience to come to their own conclusion on, Animus is an intriguing and original work that explores interesting moral space. Murray’s ability to keep viewers on edge is its biggest strength, and this old-fashioned character development and visual storytelling should be celebrated. VIEW REVIEW In Search of Forgotten Crafts - The Heart of the Iron In Search of Forgotten Crafts - The Heart of the Iron follows the personal story of a blacksmith, Márton Kocsy, who offers an insightful look into one of the oldest traditionally male crafts. The piece is the fourth episode of a documentary series and narrated by actor Gábor Csőre. The idea for the documentary was originally conceived by Dániel Majoros, who invited director Marcell Betlej to join the project as creative director, editor and cinematographer. While the material is fairly simplistic in its attempt to provide the viewer with enough insight into the disappearing professions in forgery, the formalism on display profoundly elevates the piece to impressive heights. Firstly, the drone photography is absolutely breathtaking, and the point-of-view camerawork is visceral and admittedly a sight to behold from co-cinematographer Péter Szögi. The opening of the piece is paced like a creature chasing its prey, with its ferocious camera movement and rapid editing. On the other hand, the sequences of the blacksmith forging are enthralling to witness due to the use of extreme close-ups and frenetic editing choices. It's simply a visual treat and satisfying to endure, accompanied by a remarkable title card drenched in flames from the forgery. The musical score is wonderfully incorporated into the piece, with its incredible motifs matching the forgeries on display. The filmmakers set out to explore the elemental relationship of forgery and the craft that is fading as the years pass due to technological advancements. However, the cultural and symbolic aspects of forgery still live on in the lives of individuals such as Márton Kocsy, who have devoted their careers to this art form. Márton Kocsy offers a unique perspective that is rarely seen in cinema, such as explaining the spirit of blacksmithing and the underestimated necessity for blacksmiths. The dialogue can be delivered at such a brisk pace that it's almost overwhelming to process at times. That being said, this decision is ultimately necessary to provide the audience with enough context due to its tight runtime. This particular episode could have delved more into other blacksmith forges and explored another individual's perspective on how much has changed in the past few years. Gábor Csőre’s voiceover is impactful and provides context for why fewer individuals visit blacksmith workshops in this current climate, as they have become increasingly inaccessible. The use of voiceover also underscores the significance of recognising the blacksmith's work and dedication to the craft, despite technological advancements. The Heart of the Iron alludes to future generations carving a path in this career to ensure the craft stays alive in years to come. Despite the restricted material, the piece never fails to engage the viewer due to the thought-provoking and fascinating dialogue from Márton Kocsy. The pacing rarely lets up, and that's a testament to the material and sublime filmmaking on display. In Search of Forgotten Crafts - The Heart of the Iron is bursting with energy from the first frame to the striking and surreal conclusion. Forged in flames and iron, the filmmakers tackle a profound subject matter that delves into the necessity of blacksmiths and the cultural aspect of forgery that endures for future generations. The piece is a palpable piece of filmmaking beautifully helmed by Dániel Majoros and Marcell Betlej. VIEW REVIEW Coping Filmmaker Tom Murphy’s eccentric yet charming short film coping. is a collage of coping mechanisms presented in a mockumentary fashion with smile-inducing results. Across three interviewees, we are presented with the unusual methods these people engage with in order to find peace and calm in their lives. Alex McGonagle, for example, plays a lad sitting at a piano, relentlessly dropping a pencil until it falls just the right way. Murphy cleverly overlaps the sound of the pencil rat-a-tatting over the opening messages about the film’s aim to “celebrate and normalise the diverse ways people find comfort”. The viewer is then regaled by McGonagle on the importance of the pencil dropping (pens work fine too, apparently). The performance is understated, emotive, and the serene music behind Alex’s character’s story creates a powerful opening chapter to the short film. This is juxtaposed by the quirky and energetic character played by Michelle Taylor, whose penchant for spinning in a chair makes her a dramatic left turn for the movie. The music changes pace and the audience is starting to piece together the differences and similarities between these eccentric behaviours. There’s a wonderful line in the script about how she would need to frequent Ikea all the time if she lost her chair that will likely elicit a few chuckles. By the final story, a man (John O’Gorman) whose plethora of voice notes reveal a soul in dire need of positive reinforcement, our understanding of the picture being painted by Murphy is clear. Brevity is keenly apparent here; the short film could easily have stretched to dozens of tales just like these three, and perhaps the piece does suffer a little from scratching too shallowly. That being said, the audience could have grown weary from a plotless film with isolated characters whose only connection is their coping mechanisms for their neurodivergence. The look and feel of coping. as a short film is carefully yet professionally presented. There is a tonal awareness that complements the characters being presented, as well as the topics of anxiety, neurodivergence, and behaviour that could be construed as “eccentric” (which may be a misunderstanding on people’s part). Viewers will love the framing of each character, utilising static shots, in true documentary style, which allows the subject to take centre stage, eschewing any filmmaking frivolity which may just be distracting. There is an offbeat energy to Tom Murphy’s coping. that will undoubtedly resonate with a large number of viewers. Whether you are aware of your own coping mechanisms in life or not, this is introspective storytelling done brilliantly and will likely leave you pondering your own habitual strategies for dealing with this thing we call life. Now, if you’ll excuse me, time for me to turn the light on and off 27 times exactly. VIEW REVIEW

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Film Feature by Chris Olson There is something quintessentially British about a high-concept romantic comedy set against the backdrop of a university campus. It is a sub-genre that, when handled with the right balance of wit and sincerity, can capture the messy, exhilarating transition into adulthood like nothing else. This week, Focus Features and Working Title have pulled back the curtain on their latest collaboration, Finding Emily , and if the first-look images are anything to go by, we are in for a treat. Finding Emily Official Trailer Directed by Alicia MacDonald , who makes her feature film directorial debut here, Finding Emily  (originally developed under the working title CC: Emily ) looks to be a vibrant addition to the UK's rich history of rom-coms. MacDonald is a filmmaker whose star has been steadily rising in the television world. Having helmed episodes of the dark comedy Pure  and the acerbic Flack , as well as the second series of Stephen Merchant’s The Outlaws , she has proven she has a keen eye for character-driven comedy and sharp, visual storytelling. The premise of the film is a classic "meet-cute" with a modern, chaotic twist. When Owen (played by Spike Fearn ), a lovesick and somewhat disorganised musician, believes he has finally secured the number of the girl of his dreams, he thinks his luck has turned. In reality, he has been given the wrong digits. Desperate to track down the mystery woman, Owen finds an unlikely ally in Emily (played by Angourie Rice ), a driven and hyper-focused psychology student. What starts as a simple search quickly spirals into a campus-wide frenzy. As the two navigate the social minefields of university life, their mission to find "the one" begins to test their own hearts and professional ambitions. It is a narrative setup that feels ripe for the kind of situational comedy and emotional payoff that Working Title—the powerhouse behind Notting Hill  and Bridget Jones's Diary —is famous for. Actor Angourie Rice, director Alicia MacDonald and actor Amber Grappy on the set of their film, FINDING EMILY, a Focus Features release..Credit: Matt Squire / © 2026 FOCUS FEATURES LLC. The newly released images offer us a glimpse into the aesthetic world MacDonald has crafted. In the first behind-the-scenes shot, we see Angourie Rice  and Amber Grappy  in conversation with MacDonald on set. The setting appears to be a formal event, perhaps a university ball, given the elegant, dotted evening gown worn by Rice. There is a warmth to the lighting that suggests the film will lean into a lush, cinematic look while maintaining the grounded feel of a British production. Angourie Rice has quickly become one of the most dependable young actors working today. From her breakout role in The Nice Guys  to her recent turn as Cady Heron in the Mean Girls  musical, she possesses a natural charisma and intelligence that makes her perfectly cast as a "driven psychology student." Opposite her, Spike Fearn  is an actor whose momentum is impossible to ignore. After a standout performance in Alien: Romulus , Fearn seems to be embracing a very different kind of role here—trading sci-fi terror for the vulnerability of a romantic lead. Spike Fearn stars as Owen and Angourie Rice as Emily in director Alicia MacDonald’s FINDING EMILY, a Focus Features release...Credit: Matt Squire / © 2026 FOCUS FEATURES LLC.. The second image provides a more intimate look at the lead duo. Owen and Emily are pictured together at what looks like a pub or a student bar, illuminated by fairy lights. The chemistry between Fearn and Rice is palpable even in a still frame; there is a sense of shared wonder and perhaps a hint of the "frenzy" mentioned in the synopsis. The film is written by Rachel Hirons , whose previous credits include A Guide to Second Date Sex  and Powder Room . Hirons has a knack for capturing the awkwardness of modern romance, and her voice feels like a natural fit for this project. The production pedigree is equally impressive. Produced by Tim Bevan  and Eric Fellner  for Working Title alongside Olivier Kaempfer  for Parkville Pictures, Finding Emily  has the backing of a team that understands the global appeal of a British rom-com. The cinematography is handled by Rachel Clark , whose work here appears to embrace the architectural beauty of the film's Manchester filming locations, giving the campus setting a grand yet accessible feel. "Together, they spark a hilarious campus-wide frenzy that tests their own hearts and ambitions along the way." — Official Synopsis Finding Emily Release Information For those of us in the UK, the wait won't be much longer. Focus Features has confirmed that Finding Emily  is set to arrive in UK cinemas on 22nd May 2026 . This late-spring release date suggests the studio has high confidence in the film as a "feel-good" hit for the season. Interestingly, the US release follows a few months later in August, positioning it as a late-summer highlight for international audiences. As the official trailer begins to circulate, the buzz on social media is already building. In a cinematic landscape often dominated by franchises and blockbusters, there is something refreshing about a mid-budget, character-led comedy that simply wants to tell a story about two people trying to find their way. Finding Emily  looks set to be a charming, witty, and heart-swelling journey through the highs and lows of young love. Keep an eye out for more coverage as we approach the May release date.

Film Feature by Chris Olson If you had told me in 2010 that the small, gibberish-spouting yellow henchmen from Despicable Me  would eventually command a global box office of over $5.6 billion, I might have checked you for a fever. Yet, here we are in 2026, and the "banana" enthusiasts are not just part of the furniture; they own the house. Following the massive success of last summer’s Despicable Me 4 , Illumination has officially pulled back the curtain on their next venture: Minions & Monsters . As someone who holds the original Despicable Me  trilogy in high regard, I have always found the franchise's main line to be a masterclass in heart-driven slapstick. My relationship with the spin-offs, however, has been a bit more turbulent. While I thoroughly enjoyed the first Minions  film for its 1960s aesthetic and sheer chaotic energy, the subsequent entry ( The Rise of Gru ) didn’t quite capture that same lightning in a bottle for me. It is with a sense of cautious optimism, therefore, that I approach this latest teaser trailer. The Return of Pierre Coffin The most encouraging news for fans of the original films is the return of Pierre Coffin to the director’s chair. An Academy Award nominee, Coffin is essentially the architect of this universe, having directed the first three Despicable Me  films and the original Minions  outing. More importantly, he remains the definitive voice of the Minions themselves. There is a specific rhythm to his direction and vocal performance that feels essential; when he is involved, the mayhem usually has a purpose. Coffin is also pulling double duty as a writer, joined by Brian Lynch, who penned both the first Minions  and The Secret Life of Pets . With production handled by Illumination CEO Chris Meledandri and Bill Ryan—who recently oversaw the juggernaut that was The Super Mario Bros. Movie —the technical pedigree behind this project is undeniably strong. Hollywood, Mayhem, and Monsters The premise laid out by the studio is certainly ambitious. Minions & Monsters  is being billed as the "totally true story" of how our yellow friends conquered Tinseltown. The narrative apparently follows their rise to Hollywood stardom and their subsequent fall from grace, which leads to them accidentally unleashing literal monsters upon the world. It is a "save the planet" scenario born out of their own incompetence, which is exactly where the Minions thrive. By introducing "all-new characters" alongside the familiar horde, Illumination seems intent on expanding the scope of the franchise beyond the usual Gru-centric hijinks. Minions & Monsters Official Trailer Minions & Monsters Official Trailer UK Release Date For Minions & Monsters For those of us in the UK looking to clear our schedules for more animated anarchy, the date is now set. Minions & Monsters  is scheduled to arrive in British cinemas on 1 July 2026 . This puts it squarely in the middle of the summer blockbuster season, a slot the franchise has dominated historically. Whether this film can reclaim the charm of the first spin-off remains to be seen. However, with the original creative guard back in control and a premise that shifts the focus to a Hollywood setting, I am hopeful that this might be the entry to win back those of us who felt the series was drifting into autopilot. The Minions have spent over a decade as icons of their generation; if they can successfully pivot into the world of monster-hunting, they might just stay on top for another decade to come.

Film Feature by Chris Olson There is something about the bounce of a basketball on a hardwood floor that stays with you. As someone who spent a significant portion of my teenage years on the court—alternating between the thrill of a successful fast break and the frustration of a missed free throw—the sport has always held a special place in my heart. It is a game of rhythm, precision, and, above all, the pursuit of greatness. It is perhaps fitting, then, that Sony Pictures Animation’s latest venture is titled GOAT, leaning into the "Greatest of All Time" moniker that has sparked a thousand playground debates. The buzz surrounding this project is hard to ignore. For a basketball fan, the pedigree behind the scenes is enough to pique interest. The film is produced by none other than Stephen Curry and his Unanimous Media banner. Having one of the greatest shooters in NBA history overseeing a film about his own sport suggests a level of authenticity that often goes missing in Hollywood’s athletic endeavours. Even in an animated world populated by animals, one hopes the mechanics of the game—the arc of the shot, the spacing of the floor—are treated with the respect they deserve. GOAT UK Release Date The wait for GOAT is nearly over. For those of us in the UK, the film is scheduled to hit cinemas on 13 February 2026. The timing is deliberate, aligning with the NBA All-Star Weekend, a period when the global basketball community turns its eyes toward the spectacle of the game. In a cinematic landscape often dominated by sequels and established franchises, there is a refreshing energy to an original sports comedy. Sony Pictures Animation has a formidable track record lately—they are, after all, the studio that gave us the visual revolution of the Spider-Verse films. If they can bring even a fraction of that stylistic innovation to the basketball court, we might be looking at something truly special. The casting details suggest that Sony is aiming for a broad, multi-generational appeal. Leading the pack is Caleb McLaughlin, known to many from Stranger Things, who provides the voice for Will. Will is our protagonist—a small goat with massive ambitions. In the world of GOAT, the sport is known as "roarball," a high-intensity, full-contact version of the game dominated by the biggest and fiercest animals. GOAT Official Film Trailer GOAT Official Film Trailer Joining McLaughlin is a stellar ensemble. Gabrielle Union, who has her own deep ties to the basketball world, stars as Jett Fillmore, a veteran panther and elite star of the league. It is always encouraging to see sports films that embrace co-ed dynamics, and Union’s involvement brings a certain gravitas to the "veteran" role. The roster continues with David Harbour as Archie Everhardt, a rhinoceros, and Nicola Coughlan—a personal favourite from Derry Girls and Bridgerton—taking on the role of an ostrich named Olivia Burke. The cast is rounded out by the likes of Nick Kroll, Jenifer Lewis, and Patton Oswalt. Of course, Stephen Curry himself isn’t just staying behind the camera; he lends his voice to a character named Lenny Williamson, a giraffe who presumably has a very high release point on his jumper. When I played as a teenager, the local court was a sanctuary. It didn't matter if you were the tallest or the strongest; it mattered if you had the heart to stay in the game when the legs started to get heavy. From what I’ve gathered, GOAT leans heavily into this "underdog" or "undersized" narrative. The film’s tagline, "smalls can ball," is a direct nod to Curry’s own career path—a player once told he was too slight to make it at the highest level, only to go on and redefine how the sport is played. Animation is the perfect medium for a sports story like this. It allows for a literal "stretch" of reality, where the physics of a dunk or the speed of a crossover can be exaggerated to match the emotional weight of the moment. There is a specific kind of magic in seeing a character overcome physical limitations through sheer skill and willpower. I am hopeful that GOAT manages to capture that feeling. I want to see the sweat on the brow (even on an animal), the squeak of the trainers on the floor, and that singular, satisfying sound of a ball snapping through the net. If the film can marry the heart of a classic sports drama with the visual flair we’ve come to expect from this studio, it could very well become a staple for families and basketball enthusiasts alike. We are currently in a bit of a golden age for animation that refuses to talk down to its audience. We’ve seen films tackle complex themes of identity and legacy, and there is no reason a sports comedy shouldn't do the same. As we look toward the February release, my fingers are crossed that GOAT delivers more than just slapstick animal antics. Fans of the classic 1996 movie Space Jam should also start doing their stretches. Space Jam Official Trailer If GOAT can remind us why we fell in love with the game in the first place—the camaraderie of a team, the discipline of practice, and the joy of a well-played game—then it will have earned its title. Whether you’re a seasoned vet who still remembers your old jersey number or a newcomer who just likes a good underdog story, GOAT seems to be positioning itself as the must-watch family event of the season. See you at the tip-off.