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Little Brother film review by UK film critic William Curzon. Starring Frankie Wilson, Théodore Sylvain, Catie Ridewood directed by Jack Sambrook. HOME | FILMS | REVIEWS Little Brother Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Jan 29, 2026 Directed by: Jack Sambrook Written by: Jack Sambrook Starring: Frankie Wilson, Théodore Sylvain, Catie Ridewood Little Brother follows Mark (Frankie Wilson), a loving husband to his wife, Sarah (Catie Ridewood), as they struggle to conceive a child. Alongside their own struggles, Mark is reunited with his brother Lee (Théodore Sylvain), who has just been released from prison and is trying to reconnect with Mark and find intent in his life. The piece is a raw depiction of brotherhood with stunning direction from writer/director Jack Sambrook. While the viewer is provided with a slight context for why Lee was in prison, the chemistry between Frankie Wilson and Théodore Sylvain is incredibly magnetic, allowing the audience to connect with their estranged relationship. Both central performances are undoubtedly well nuanced, and the dramatic beats completely land thanks to their screen presence, accompanied by an evocative musical score by Simon Pitt. The musical score not only elevates the material, but it also never feels intrusive or overbearing in the dialogue-heavy sequences, making the experience more visceral. Rowan Bahçeli Holford’s cinematography is captivating, as most of the runtime is condensed to Mark and Lee in a car; the use of close-ups is mostly effective, capturing their complex relationship and Mark’s attempt to see beyond Lee’s flaws. The use of visual storytelling is another astounding formal decision that pays off beautifully within its haunting and emotionally striking conclusion. Despite its tight runtime and a lack of exposition, Jack Sambrook’s screenplay does an incredible job of establishing the central three characters and their struggles to a suitable degree. The dialogue is captivating and never loses sight of its themes, balancing the comedic and dramatic beats astoundingly. The film flows remarkably well, never overstaying its welcome and conveying its message and thematic elements eloquently in its limited duration. However, the scene transitions feel episodic as they cut jarringly to black for a brief moment before cutting to the next scene. An extended runtime could’ve potentially enhanced the characterisation of Mark and Lee more profoundly; however, the lack of expository dialogue is refreshing and a unique way to tell this story. The performances across the board are phenomenal, particularly Catie Ridewood’s portrayal of Sarah, as she conveys the inner turmoil and emotional support for Mark as they both struggle to conceive a child. One of the only minor gripes with the piece is its lack of staying power after the credits; despite its meditative conclusion, there is rarely anything to latch onto outside of the performances and central theme of forgiveness. That being said, the filmmakers accomplished a rare feat of maintaining an engaging narrative that uses subtle formal decisions to enrapture the viewer and suitably conclude without feeling rushed or anticlimactic. While the filmmakers could’ve implemented more context to Mark and Lee’s relationship before his prison sentence, both performances from Frankie Wilson and Théodore Sylvain elevate the material, allowing the audience to sympathise with their misunderstanding of one another's differences. Little Brother is a masterful depiction of two brothers learning to grapple with forgiveness and self-purpose. Despite flaws in the episodic nature of the editing, the piece is anchored by three incredible performances from Frankie Wilson, Théodore Sylvain and Catie Ridewood, and is a powerful piece of work that concludes wonderfully. About the Film Critic William Curzon Short Film < All Reviews Next 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. Get Reviewed On Our Podcast Film Reviews from UK film critics LATEST REVIEWS Little Brother average rating is 4 out of 5 Untitled Home Invasion Romance average rating is 3 out of 5 Mr. Wonderful average rating is 3 out of 5 Send Help average rating is 3 out of 5 Alien Love average rating is 2 out of 5 Arco average rating is 4 out of 5 Blood in the Snow average rating is 3 out of 5 RAUNCHADELIC average rating is 4 out of 5 Shelter average rating is 3 out of 5 It Must be Done average rating is 3 out of 5 The Hunt average rating is 1 out of 5 Last Hit average rating is 3 out of 5 Featured Film News FILM NEWS The Latest Film Trailers MOVIE TRAILERS Undertone The Moment The Land of Sometimes Avengers: Doomsday Greenland 2: Migration Looney Tunes: The Day the Earth Blew Up Filmmaker Interviews INTERVIEWS

Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 3 out of 5 Untitled Home Invasion Romance Read Review average rating is 3 out of 5 Mr. Wonderful Read Review average rating is 3 out of 5 Send Help Read Review average rating is 4 out of 5 Arco Read Review average rating is 3 out of 5 Shelter Read Review average rating is 1 out of 5 The Hunt Read Review average rating is 1 out of 5 Return to Silent Hill Read Review average rating is 4 out of 5 Ovary-Acting Read Review average rating is 4 out of 5 Magellan Read Review average rating is 4 out of 5 The Testament of Ann Lee Read Review average rating is 3 out of 5 In Cold Light Read Review average rating is 4 out of 5 $13 Read Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

Film Feature by Chris Olson There are certain creative pairings that, upon first hearing, feel like a glitch in the cinematic matrix. When the news first broke that pop phenomenon Billie Eilish was collaborating with the king of the technicolour blockbuster, James Cameron, the industry collective took a sharp intake of breath. On one hand, you have the queen of Gen Z gloom, known for her intimate, whispered vocals and DIY aesthetic (although her foray into the movie world with the 2021 No Time To Die theme song was duly noted). On the other hand, you have the man who redefined the word "scale" with his Billion-dollar-grossing movies, Titanic and Avatar . Billie Eillish: Hit Me Hard and Soft - The Tour (in 3D) Yet, as the dust settles and we look toward the 2026 release of Hit Me Hard and Soft: The Tour (Live in 3D) , the logic begins to reveal itself. This isn't just a recording of a stage show; it’s a promise of a total sensory overhaul. Having followed the "Hit Me Hard and Soft" tour through the headlines and the social media snippets, the prospect of seeing it filtered through Cameron’s obsessive, high-frame-rate lens is, frankly, the most exciting development in the concert film sub-genre since the Talking Heads took to the stage in Stop Making Sense. The intersection of music and the moving image is a sacred space. We have seen a resurgence in the theatrical concert experience recently—Taylor Swift and Beyoncé have proven that the multiplex can successfully moonlight as a stadium. But Cameron doesn’t do "standard." If he is involved, we aren't just getting a front-row seat; we are likely getting a seat inside the very vibrations of the bass. Billie Eilish - Hit Me Hard and Soft the tour (live in 3d) official trailer The film, which was notably captured during Eilish’s four-night residency at Manchester’s Co-op Live, is set to utilise 3D technology that Cameron claims has never been used on this scale before. It is a fascinating choice of location. Manchester has always been a city of industrial grit and musical revolution, and there is something poetic about Cameron—a filmmaker obsessed with the mechanics of the "new"—choosing the UK’s newest, most technologically advanced arena to set his cameras. Eilish herself teased the project during those Manchester dates, appearing in the same outfit for four consecutive nights to ensure continuity for the edit. That level of dedication to the craft suggests that this is far more than a vanity project. This is a co-directed venture, a shared vision between two perfectionists. While Eilish brings the emotional resonance and the "blue" atmosphere of her latest record, Cameron brings the technical wizardry of Lightstorm Entertainment. The narrative surrounding the film has already been heightened by a recent shift in the release schedule. Originally slated for March, the film has been pushed back to 8 May 2026 (as of publication of this article). In the world of James Cameron, a delay is rarely a sign of trouble; it is usually a sign of meticulous refinement. Cameron has gone on record stating that the extra time is being used to "dial in" the 3D effects and polish the behind-the-scenes footage. If history has taught us anything, it’s that when this man asks for more time to tinker with the visuals, we should probably give it to him. What is making fans most curious is how Cameron will handle Eilish’s minimalism. Her stage shows are often defined by shadow, by the absence of light, and by a profound sense of intimacy. Cameron, conversely, is a maximalist. He thrives in the epic. The tension between those two styles—the quiet, internal world of Billie Eilish and the expansive, external world of James Cameron—could result in something genuinely groundbreaking. The latest film trailer has already hinted at this duality. We see the "swarm" of fans, the kinetic energy of 106 shows across four continents, but we also see the quiet moments. There is a particularly moving snippet involving a note from her brother and long-time collaborator, Finneas. This tour marked the first time Eilish hit the road without him by her side on stage, and the film seems poised to capture that transition from a duo to a singular, towering force of nature. In an era where "content" is often churned out to satisfy an algorithm, the Eilish-Cameron partnership feels like a defiant return to Event Cinema. It is a reminder that the big screen is still the best place to experience the biggest stars. We are told that the goal is to make the audience feel as if they are standing on the stage itself. Given Cameron’s track record for immersion, we have little reason to doubt him.

Film Feature by Chris Olson On the 6th of February 2026, the tone of the streaming landscape shifts significantly with the release of Finding Harmony: A King's Vision . This #documentary explores His Majesty The King's lifelong dedication to environmentalism and the philosophy of Harmony. Finding Harmony: A King's Vision In a time where the climate crisis is the defining dialogue of our age, a deep dive into The King’s Foundation and its practical applications feels timely and necessary. As a UK film critic, I am always intrigued when a documentary moves beyond simple biography and into the realm of philosophical exploration. This upcoming release on Amazon Prime Video looks to be more than just a royal portrait; it promises to be a visual journey through the work of the Foundation, urging a sustainable future and a return to balance with the natural world. Watch out, David Attenborough. As I mentioned in a previous article, I am keen to witness Kate Winslet as narrator. Winslet's voice carries a gravity and sincerity that suits the subject matter perfectly. Her participation suggests a level of prestige and international appeal that Prime Video is clearly leaning into for 2026. For a UK audience, the monarchy's relationship with the land is a subject of historical and modern importance, and having a powerhouse of British cinema like Winslet guide us through that narrative is an inspired choice. Finding Harmony: A King's Vision Official Film Trailer I am particularly excited to see how the film handles the "practical applications" of the King's vision. We often hear the theories, but seeing the tangible results of the Foundation's work—from urban planning to sustainable farming—offers a level of grit and reality that the genre occasionally lacks. I have always been a fan of documentaries that manage to be both aesthetically beautiful and intellectually rigorous. From the trailers and early production notes, the cinematography looks to be a highlight, capturing the cinematic potential of the British landscape, which is often a hallmark of such high-end documentaries. As regular listeners of the UK Film Club Podcast will know, I have a soft spot for documentaries that challenge our perception of public figures. We will be looking to see if the film functions as a purely hagiographic piece or if it offers a rigorous, educational look at the specific ecological philosophies being championed. I am already planning a review with my co-host Brian on the February episode of the podcast to coincide with the release. UK Film Club Podcast with film critics Chris Olson and Brian Penn The King has been a vocal advocate for the environment for decades, often long before such views were mainstream. To see that journey consolidated into a feature-length documentary format is something I have been looking forward to. There is a "uniquely vulnerable lens" mentioned in the production notes that I find particularly compelling. Moving away from the pomp and pageantry of the coronation, this film seems to want to focus on the man and his mission. It represents the kind of mid-budget, high-concept factual cinema that often thrives on Prime Video, reaching a global audience with a message that is inherently British yet universally relevant. The timing of this release in February 2026 feels like a curated choice. We are moving into a period where the prestige of the awards season begins to collide with the bold, experimental, and sometimes wonderfully strange offerings of the new year. Finding Harmony: A King's Vision sits comfortably in that overlap. It is a film that demands to be taken seriously as a piece of cinema, regardless of its royal subject matter. Will it be a five-star masterpiece that sets the tone for the rest of the year’s documentaries, or will it play it too safe? Either way, the involvement of King Charles III and Kate Winslet makes this an unmissable event for film fans and royal watchers alike. Stay tuned for our full film review of Finding Harmony: A King's Vision and the accompanying podcast episode, where we will debate whether this vision of harmony truly strikes a chord. For now, the anticipation is building, and if the film lives up to its promise, we might be looking at one of the most important documentaries of the decade.

Filmmaker Interview by Chris Olson Filmmaker Interview with Malik Kaddu Where in the world do we find you right now, and what have you been up to lately? Right now, I’m based between London and Europe, balancing post-production, development, and creative preparation. I’ve just come off the back of filming Kabul and Hafiach TV series in Wales , which was an intense and deeply meaningful experience, and I’m also focused on developing my original series Amour Noir , which I’m writing and will lead. It’s a reflective but energising period — staying physically and creatively sharp, learning Italian, while shaping new work. I really enjoy this in-between phase, where past projects are finding their audience and future stories are beginning to take form. You’ve recently starred in the series Kabul. How would you describe the project to a new audience, and what drew you to this story? Kabul is a political thriller grounded in human consequence. It explores the chaos surrounding the fall of Kabul, but more importantly, it focuses on the emotional reality of the people caught inside it — diplomats, civilians, soldiers, and families navigating survival as an entire system collapses overnight. Kabul official trailer What drew me to the project was its emotional restraint and moral complexity. The series doesn’t sensationalise trauma — it examines it quietly, honestly, and with deep empathy. The writing allowed space for subtlety, tension, and internal conflict, which are the emotional landscapes I’m most drawn to as an actor. It felt urgent, necessary, and profoundly human. In your experience working on large-scale productions like 7 Days in Entebbe, how do you balance historical truth with dramatic storytelling? It begins with respect — for the history, the people involved, and the weight of real events. Plus, being Ugandan, I felt the urge to really represent. You approach the material as a custodian rather than a performer. Once that foundation is set, dramatic storytelling becomes a way of revealing emotional truth rather than distorting fact. I grew up with my family talking about these series of events.  7 Days in Entebbe trailer The goal isn’t accuracy alone — it’s emotional clarity. If an audience understands what it felt like to live inside those moments, then the story succeeds. That balance requires sensitivity, research, and restraint — knowing when to pull back rather than push forward. Also hiring people on board who are well in tune towards whats happening in Uganda. How did you and your director on Kabul collaborate to keep your performance grounded amid such intense subject matter? Our collaboration was rooted in simplicity and trust. We spent a lot of time stripping things back — focusing less on external drama and more on internal stakes. Often, the most powerful moments came from stillness rather than action. We spoke a great deal about restraint, silence, and emotional economy. In a story of such magnitude, it’s often the smallest reactions — a glance, a pause, a breath — that carry the most weight. That approach allowed the performance to stay grounded, human, and honest. When approaching a new character, are there certain ‘verbs’ or motivations you prioritise to find their emotional core? Yes, of course. I always begin with intention — what does this person want , and what are they willing to sacrifice to get it? From there, everything unfolds. I watched an interview with Matthew Mcconaughey and he mentioned a pick-up line within a script, something your character says that dives deep into the core of who your character is.  I think in emotional verbs rather than psychological labels: protect, escape, dominate, belong, survive. These actions shape rhythm, movement, voice, and presence. Once I understand what’s driving a character forward, I can uncover their contradictions, vulnerabilities, and hidden depths. What has been the most rewarding or surprising reaction you’ve received from audiences so far? The most rewarding reactions are always the quiet ones — when someone tells you they felt seen, unsettled, or emotionally shaken by a performance. That tells me the work landed beyond entertainment. I’ve received messages from viewers saying certain scenes stayed with them long after watching. People who know me asked about my accent, obviously, and how I was able to sound American, which is deeply humbling and complimentary. As actors, we hope to create moments that linger — not loudly, but meaningfully. What advice would you give to new actors? Patience and resilience are everything. This career unfolds in seasons, not moments. There will be silence, rejection, and uncertainty — but those periods are often shaping you more than success ever could. Invest deeply in your craft, learn new things, protect your curiosity, and build a life that feeds your artistry. Longevity comes from depth, not speed. What’s next for you? Alongside continuing my work as an actor, I’m developing my original series Amour Noir , a European-set crime thriller that explores love, identity, and survival within the criminal underworld. It’s a project very close to my heart and marks my move into writing and leading my own stories. I’m also focused on expanding my international work — collaborating across languages and cultures, and continuing to explore stories that live in the grey areas of morality, power, and human connection. Showing the world how much range I have and what separates me from everyone else.