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Reviews from the latest movies, short films, indie features and more. Check out the UK Film Review Reviews section. Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! We do receive payment from PR companies and other filmmakers for services such as promoting their film, or skipping to queue, but this has nothing to do with the movie review itself. Whilst you will see our latest movie reviews here you should also follow UK Film Review on our social media profiles, as well as subscribe to our popular film podcast. This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 5 out of 5 The Secret Assistants Read Review average rating is 4 out of 5 There's Something I Have to Tell You Read Review average rating is 4 out of 5 Springsteen: Deliver Me From Nowhere Read Review average rating is 3 out of 5 TV Man (Te(L)o Comando) Read Review average rating is 3 out of 5 The Valley of Hearts Delight Read Review average rating is 3 out of 5 The Hand That Rocks the Cradle Read Review average rating is 3 out of 5 Sign Your Name Read Review average rating is 3 out of 5 B.O.O.B.S: The Mockumentary Read Review average rating is 5 out of 5 In Absence Read Review average rating is 1 out of 5 I Slay On Christmas Read Review average rating is 4 out of 5 Love + War Read Review average rating is 4 out of 5 As A Joke Read Review average rating is 4 out of 5 Antithesis Read Review average rating is 3 out of 5 Agent Jayne: A Woman With A Mission Read Review average rating is 3 out of 5 The Whip Read Review average rating is 5 out of 5 A Wanderer's World Read Review average rating is 2 out of 5 Clocking the T Read Review average rating is 3 out of 5 Witchez are Bitchez Read Review average rating is 5 out of 5 The Dog Read Review average rating is 2 out of 5 Man on the Hill Read Review average rating is 3 out of 5 Helloween Read Review average rating is 2 out of 5 A Tooth Fairy Tale Read Review average rating is 1 out of 5 Lost And California Read Review average rating is 3 out of 5 The Reveal Read Review average rating is 3 out of 5 Shazmine: The Life of a Popstar Read Review average rating is 4 out of 5 The Sweater Read Review average rating is 1 out of 5 Ellipsis in Writing Read Review average rating is 5 out of 5 Is This The Bed We Lie In? Read Review average rating is 4 out of 5 Solers United Read Review average rating is 4 out of 5 Chain Reactions Read Review average rating is 4 out of 5 Gaza: A Story of Love and War Read Review average rating is 3 out of 5 Code is Law Read Review average rating is 4 out of 5 Delivery Run Read Review average rating is 3 out of 5 Deathstalker Read Review average rating is 5 out of 5 The Craftsman Read Review average rating is 2 out of 5 Milk, Rice, and the Blood Read Review average rating is 3 out of 5 Hatred Read Review average rating is 3 out of 5 The Solitude of the Tennis Ball Read Review average rating is 1 out of 5 Feldsher Read Review average rating is 2 out of 5 Mothers, Lovers & Others Read Review average rating is 2 out of 5 Remat Read Review average rating is 4 out of 5 Anemone Read Review average rating is 4 out of 5 Trip Report by a Psychonaut Read Review average rating is 4 out of 5 Last One Standing, Castleward Read Review average rating is 1 out of 5 A Blissful Filmmaker Known As Karl Marx Read Review average rating is 2 out of 5 Coyotes Read Review average rating is 3 out of 5 Good Boy Read Review average rating is 4 out of 5 Psiblingz - Till We're Found Read Review average rating is 3 out of 5 Amy and Sophia Read Review average rating is 1 out of 5 A Conceptual Artist Called Karl Marx Read Review average rating is 2 out of 5 Shelter Read Review average rating is 3 out of 5 Sands of Purgatory Read Review average rating is 2 out of 5 Two Minutes Read Review average rating is 2 out of 5 Time Travel Is Dangerous Read Review average rating is 3 out of 5 Purgatory (2025) Read Review average rating is 3 out of 5 Wives' Tale Read Review average rating is 4 out of 5 Strange Journey: The Story of Rocky Horror Read Review average rating is 5 out of 5 One Battle After Another Read Review average rating is 1 out of 5 Lost Phoenix Read Review average rating is 4 out of 5 Your Emergency Read Review average rating is 4 out of 5 Dead of Winter Read Review average rating is 4 out of 5 Alien Love: With Neil Doncaster Read Review average rating is 3 out of 5 Contamination Read Review average rating is 3 out of 5 507 Read Review average rating is 4 out of 5 The Ice Tower Read Review average rating is 1 out of 5 The Drowned Read Review average rating is 3 out of 5 Mr Blake At Your Service Read Review average rating is 2 out of 5 Raquel's Legacy Read Review average rating is 3 out of 5 The Man In The White Van Read Review average rating is 4 out of 5 Pillion Read Review average rating is 4 out of 5 Sunday at Il Posto Accanto Read Review average rating is 4 out of 5 Puddle Man Read Review average rating is 3 out of 5 Him Read Review average rating is 2 out of 5 Don Q Read Review average rating is 3 out of 5 Pickle Vision Read Review average rating is 4 out of 5 On The Nose Read Review average rating is 3 out of 5 Daylight Saving Time Read Review average rating is 5 out of 5 Wavelength Read Review average rating is 2 out of 5 Waiting For Magic Hour Read Review average rating is 5 out of 5 The Black Rock Read Review average rating is 3 out of 5 Sand Parade Read Review average rating is 3 out of 5 The Carer Read Review average rating is 4 out of 5 The Baltimorons Read Review average rating is 2 out of 5 Domestic Bliss Read Review average rating is 4 out of 5 What We Wished We Could Be Read Review average rating is 3 out of 5 Hugo Read Review average rating is 4 out of 5 Derelict Read Review average rating is 3 out of 5 Tape Read Review average rating is 3 out of 5 The Long Walk Read Review average rating is 3 out of 5 Somnium Read Review average rating is 4 out of 5 Don't Look Read Review average rating is 4 out of 5 Banter Read Review average rating is 5 out of 5 Strangers Read Review average rating is 3 out of 5 Mammoth: Adventures In Gnomeman's Land Read Review average rating is 1 out of 5 Pursued Read Review average rating is 5 out of 5 The Voice of Hind Rajab Read Review average rating is 5 out of 5 Make Believe Read Review average rating is 4 out of 5 Bad Man Read Review average rating is 2 out of 5 Strangers Invitation Read Review average rating is 4 out of 5 The Smashing Machine Read 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. The Secret Assistants The Secret Assistants follows Sophie (Camille Rutherford), an ambitious novice in the film industry, as she navigates a tightrope when her interview with a titan of the industry, Henry Mann (Richard Hope), descends into an intense power play. The piece tackles a razor-sharp social commentary on the current state of the film industry and the class issue that consumes power-hungry producers preying on fresh talent. One of the most striking things formally about the film is the visceral camerawork that almost immediately hooks you in as a viewer. Employing a mix of extreme close-ups and wides showcases the anxiety that echoes throughout the room where the interview takes place and undeniably gets under your skin. The pacing is frenetic and rarely lets up, allowing revealing conversations to reach a breaking point when tensions brew between Sophie and Henry. Pieces of dialogue remain engaging and propulsive as allegations swirl around Henry’s actions towards female talent in the industry. The discourse and politics that the piece attempts to explore are current, and it's refreshing to have a new voice in indie filmmaking use their talent to tackle these ideas through a visual medium. The piece is certainly unsubtle thematically, shining a light on the greed of industry titans, with the antagonist Henry Mann perhaps being based on Harvey Weinstein. This is an insightful and thought-provoking narrative that evokes discussion surrounding the power play in the film industry. All the performances across the board are sensational. Camille Rutherford displays a profound level of nuance and restraint whilst her character attempts to unearth the corrupt nature of Henry Mann. Richard Hope portrays Henry Mann as despicable, and his performance portrays the character as a manipulative individual who’ll do what he can to stay at the very top, as he believes he has control over the younger talent. The supporting cast is also astounding in their minimal screentime and keeps the narrative raw and engrossing. Katey Lee Carson’s direction is truly impressive, with a profound level of prowess behind the camera, showcasing her raw talent as a writer/director. The use of blocking is incredibly engaging as a viewer, always maintaining a focus on the central character’s dialogue that feels intrusive to witness. The choice to shoot anamorphically makes each frame feel tight and intimate, with both Henry and Sophie always being at the centre of attention. Cyrielle Thélot’s edit also keeps the flow of the narrative pulse-pounding as it rapidly cuts from scenes of discomfort to extreme close-ups of Sophie’s point of view. While the pacing and runtime are suitably well constructed, a prolonged runtime could have fleshed out the themes more eloquently to further spark discourse and conversation long after the credits roll. The conclusion to the narrative is ambiguous and leaves the viewer grasping for more resolution; however, it feels satisfying enough as a viewer, thanks to its ambitious and daring attempt at exposing the industry's wrongdoings. It also leaves the audience with a powerful message about the working class being dismissed by capitalism and the upper class favouring privileged individuals with more opportunities to soar in the industry. The Secret Assistants is a scathing indictment of the film industry and how it continuously exploits underprivileged artists and the class issue. This has been prevalent for many years now, and the piece portrays why this needs to change. Led by two terrific performances from Richard Hope and Camille Rutherford, the film is complemented by a plethora of outstanding formal decisions which elevate the material to impressive heights. Katey Lee Carson sublimely tackles these themes to reach out to a broader audience, who may be unaware of the sins the industry sweeps under the rug, and exposes the corporations that need to be held accountable for their actions. VIEW REVIEW There's Something I Have to Tell You An emotional short drama written and directed by Jamie Savarese and starring Reagan Kelly, Suzanne Kovi and Caroline Brauner. This project is Savarese's directorial debut and was inspired by her experiences. The film centres on Anna (Kelly), a young American woman who travels to the Bahamas in order to help her estranged mother (Kovi) build a house. Kelly is harbouring a dark secret and she feels the need to disclose it to her parent. As time goes by during her stay overseas, Anna will struggle to find the courage to reveal what is causing her so much sorrow. The narrative is non-linear and the majority of the scenes are brief. The screenplay focuses primarily on Anna's inner struggles and the relationship between her and her mother. It is implied that they have being apart for a while, however things are still OK and they go for a swim and work together on the construction of the home, along with the help of friendly locals. The scenes in the Bahamas alternate with flashbacks of Anna as a little girl, providing deeper exploration into her character. Filming took place under challenging circumstances in the Bahamas, however, the cast and crew clearly overcame the obstacles as the film looks great, with numerous well-executed shots that capture the beauty of the Bahamas, all of which are enhanced by Liz Charky's terrific cinematography. Additionally, the beautiful music by Alexander Taylor increases the drama. Kelly's character is a troubled woman who also has a purpose: to communicate to her mother what is tormenting her. Keeping her pain a secret is obviously tearing her apart and Kelly's dramatic performance expresses that fact very convincingly. Kovi is equally impressive, playing a middle-aged woman who is capable and caring, but unaware of her daughter's personal issues. As the plot revolves around a person trying to reach out to someone, the significance of connection is a main subject. Other evident themes are family values, especially those that exist between a mother and her daughter. Furthermore, reminiscing the past and trauma are well within the picture. A dramatic mother-and-daughter story. Savarese brings to the viewer a film that is quite moving and could encourage people to seek help when they are in need. VIEW REVIEW TV Man (Te(L)o Comando) It is bold of Italian screenwriter Leonardo Valenti to look back on work from as far back as 1997. Most of us can barely face looking at Facebook photos from 10 years ago, let alone a zero-budget homemade project inspired by indies of the time such as Clerks. But that is exactly what he has done with TV Man (Te(L)o Comando in its native tongue). This re-examination and re-release of his earliest work shows the eye of a filmmaker and scriptwriter was present at the genesis of his career – even if the edges on display are rough. The film follows Marco, a young man getting ready for a big date who starts to realise that a man inside his television is talking to him. Dismissing his conversation as a hallucination, Marco starts to follow the advice of his new partner as he begins to realise that he knows little about how to win over women. But the help doesn’t come without a bargain… TV Man is a fascinating rediscovery of a project from an age of indie filmmaking that has fallen out of prominence. Kevin Smith’s name is known today as a pioneer of indie cinema, but it is not until films like TV Man are looked back upon until his influence becomes clear to see. The irreverent humour, layabout everyman protagonists, inventive, raw dialogue and lo-fi atmosphere are all present in this Italian short project in which Leonardo Valenti directly credits Smith as an influence. And all stand out as strengths of the film as well. The odd framing around a self-aware, TV bound relationship allows for insightful commentary on relationships and self-growth that resonate when coming from a hungry young filmmaker. Naturally a lot of the film looks rough, an understandable and obvious byproduct of handheld cameras from the 1990s being the primary mode of shooting. Given that the film was only released in 2025 for a wider audience, it is a striking reminder how far modern films fall when trying to recreate the specific look and vibe of indie films shot at the time. Where some of the look gets distracting, and the inherent limitations of camera quality impact on the visuals (particularly during scenes with the ‘TV man’ himself), there is an undeniable charm and fascination with this film from another time. The film really isn’t much of a narrative as much of a vehicle for young filmmakers to pursue creative visual storytelling and push their meagre resources as far as they can. The obtuse plot, much like many of its genre, leads into strange and meandering territory designed to speak more of human nature than a defined journey. But TV Man is much more than the sum of these elements. Despite all its rough edges, it is clear why Valenti felt a pride in sharing such an original piece of work that could have easily been left in the vault. It is a sign that large budgets cannot trump creative vision and inspiration, and Valenti’s subsequent success should be inspirational to the young filmmakers of today wondering where their upstart projects could ever lead. Now watch Patrick's review on our YouTube Channel - https://www.youtube.com/watch?v=lq_T-wkwrks VIEW REVIEW The Valley of Hearts Delight The Valley of Hearts Delight follows a young man fresh out of high school, Tyler (Taj Cross), on his way to Silicon Valley to start an internet company circa 1997 to sell cars. As regret begins to loom over him, a good Samaritan helps him find his spirit and drive to move on. The narrative adopts a road trip approach as Tyler embarks on a journey of self-discovery and longing in his quest to fulfil his dreams. The piece focuses on the relationship between Tyler and his girlfriend through flashbacks, as it slowly reveals his ambitions through the people who had a profound impact on him throughout his journey. Firstly, the viewer is placed directly in the wilderness of the California desert with a lack of context provided to Tyler’s characterisation or direction, an almost fish-out-of-water scenario as the narrative switches from current events to flashbacks to heighten Tyler’s purpose. This aspect is a positive and a detriment to the experience, as you can always appreciate filmmakers not spoonfeeding their themes to the audience; however, the short runtime and lack of thematic flair certainly impact the emotional resonance and investment within the story. The formal elements of the piece soar, however, as the musical score is almost immediately endearing with its low-key themes that fit the coming-of-age tone superbly. Mike Timm’s direction is another major standout as it is engaging, and the use of blocking is a sight to behold in the film's more intimate moments. There is very little to critique in its edit as it flows incredibly smoothly into scene changes, allowing dialogue or moments of stillness to play out suitably for audiences to admire the steady pacing. The central performance from Taj Cross is serviceable at best, sadly, thanks to the screenplay not giving him much to showcase in his acting chops alongside the supporting cast. However, his chemistry with the supporting players, such as his girlfriend Julie (Claire Hinkley), is natural and provides the audience with more insight into his desire. The actor who portrays younger Tyler (Caz Sumner) is a standout of the cast as the narrative explores the relationship between Tyler and Elbert the Janitor (Matthew Blood-Smyth) in his elementary school. The narrative feels aimless and ultimately meanders to an abrupt conclusion; an extended runtime would have aided the overall experience substantially, with there not being much to chew on at all outside of the formal prowess. While the use of flashbacks is commendable and does enrich the thematic drive, some further context to Tyler’s past would have amplified the conclusion, as this almost feels like a third act to a feature-length narrative. The premise is refreshing and original; it just desperately requires deeper characterisation to further draw the viewer into the life of Tyler after high school and what motivates him to want to sell cars. The Valley of Hearts Delight is a solid road trip piece anchored by its terrific formal choices and a solid central performance from Taj Cross. Although the narrative does conclude abruptly, and the fulfilment is minimal, there is a suggestion of hope for Tyler’s character arc, which may leave the viewer satisfied as he ventures into the road ahead in his journey; it's just a shame the buildup to the conclusion leaves a lot to be desired for the conclusive moments to feel more earned. VIEW REVIEW Sign Your Name From the producers of the award-winning film The Kingfish 2 , comes this short drama written and directed by Tab Edwards and starring Jordan Webber, Xavier Edwards, Omar Long and Ursula Augustine. This project is loosely based on the struggles of American singer and songwriter Sananda Maitreya (formerly Terence Trent D'Arby). The story takes place in Philadelphia, where acclaimed signer Artist X (Edwards) is in the middle of a tour, along with fellow music artist and girlfriend, Cupcake (Webber). They are currently in a hotel room and receive an unexpected visit by music producer, Omar (Long), who is not happy. He is displeased because he has found out that Artist X plans to transition from Pop R&B to Rock music and Omar believes that R&B will make more money. Faced with this disapproval, Artist X struggles to hold on to what he wants. This story centres on an individual who has had an epiphany, who has reached a point in their life where they want a complete change, to go down a different path. The confrontation comes in the form of Omar, who detests the singer's idea of pursuing other genres and demands that he remains on his current objectives. With Cupcake's support, Artist X holds maintains his inner strength and continues to follow his goal. Since the plot involves acclaimed singers and is inspired by the experiences of an actual music artist, it probably would not be surprising that there are segments where the film becomes a music video and they work well, with the songs Stronger and Sign Your Name adding significant value. The appearance of slow motion was apparently done with the intention of elevating the drama, however, it mostly succeeds in making the scenes awkward. One other awkward element would be the sight of fish and frogs. What is their significance? Another downside is the acting, which is not convincing in general. Although this film is not intended to be a true story, Artist X seems to be a character that represents Maitreya in certain ways, as for one thing, he physically resembles him and for another, both Maitreya and Artist X went through a crucial phase of self-identity. Cupcake is the young artist's rock, a young woman who supports him and believes in his ambitions. Omar's character represents the dark side of the music industry, a greedy, manipulative and inconsiderate producer who focuses solely on profits. This short serves as a commentary about the music industry, particularly the challenges that surround the life of a pop star, particularly when it comes to artists being pressured against their will in the interest of profit. Born from the real-life experiences of a singer, this story explores fame, self-discovery, self-esteem, free will, support, manipulation and greed. A short about a singer who wants to change their life. The acting might be poor, however, it does not prevent this film from getting its point across. It also acknowledges the struggles of Maitreya and the footage of him is a plus. VIEW REVIEW In Absence It would honestly be quite difficult to fault Paul Nevison’s In Absence for really any aspect relating to the technical department. One might even be tempted to say that every frame of this 24-minute drama is perfect – at least from an audio-visual standpoint. We follow a young boy who has recently lost his mother. His family is Christian, and thus, this untimely death results in the father questioning his very faith in the good. Yet it’s the young boy whose perspective the audience experiences this story. His confusion and sorrow as he navigates his place within the familial-religious chaos of mourning. Conceivably, it would more be the screenplay – its plotting and its characters – which could receive any kind of scrutiny from a less favourable critic. But even that would be a case of personal preference; not as a result of any thematic or structural inconsistencies. In Absence is a masterpiece. A cinematic marvel and deeply moving. I’d like to first draw your attention to Bjorn Amundsen – the director of photography for this picture – for this is a flawlessly lit movie. Characters bathed in gold light, blue light; everything stylistically impressionistic yet somehow natural and motivated. Not only is every shot perfectly balanced in terms of light and shadow, but entire rooms are also lit up from multiple artificial sources – a mix of daylight and domestic impressions – giving the film a lived-in, exploratory aesthetic wherein the viewer can feast their eyes all about the frame. Flawless lens-work. And in collaboration, of course, with director Nevison, I – as a filmmaker myself – was quite inspired by how the film oscillates between these extremely wide-angled lenses (often placed at high angles in the corner of a room – perhaps formally symbolic of God’s omniscience) and these sharp, clean medium lenses which provide the frame so much depth and the subject’s face so much detail. This is award-worthy work from Amundsen as their work seemingly redefines just how good a short film drama can look in this age. I’m talking superior to the majority of feature-length studio products you see in your local multiplex. I’d also be remiss not to mention the effective on-location sound recording and resonant sound design, in addition to the striking set design and the fact that every performer is more than pulling their weight. To surmise, what we have here is a truly refined work of visual storytelling; one told with passion and awesome technical and aesthetic prowess. I’ll conclude by mentioning a director whose works have a lot in common with this short alone... Since the passing of one of our greatest filmmakers, Terence Davies, I’ve written many pieces about his films (particularly his early shorts) and their significance to independent film. It is a stupendous compliment, therefore, that I thought of his films constantly while watching In Absence , since it is that they share many concerns relating to broken faith, feelings of desperation and disillusionment in trying times, and how these manifest within the family setting. Not only this, but Nevison’s dedication to craft and evoking mood through imagery, evoked much of Davies’ groundbreaking style. VIEW REVIEW As A Joke A short dark comedy written by Natalie Hay, Bri Power, directed by Phoebe Critchlow and Natalie Hay and starring Ben Xiao, Ru Gupte, Estee Poichot and Thomas Tricerri. Owen (Xiao) has found himself in quite a situation: he has just murdered his best friend (Tricerri). Apparently, there had been an altercation between them in Owen's apartment and he shoved his friend roughly, causing him to fall and die on the kitchen floor. Now owen is panicking and does not know what to do. By accident, he grabs the attention of his smart home device and proceeds to ask advice regarding getting rid of the dead body. The aftermath of a terrible incident, leading to an awkward interaction between a young man and an electronic device. The story starts off as a serious thriller, before turning into a darkly comical situation involving the disposal of a corpse. Owen desperately and repeatedly asks for the device's advice on what to do and he is given it, as he has tricked the device in to believing that he wants to learn how to get rid of a body as a joke. Dark humour, gore, drama and gruesomeness dominate this film. The narrative is intriguing and amusing (as far as dark humour goes), however it ends in a sort of cliffhanger, which is OK, still though one might think that the story could had carried on beyond that point. Xiao delivers an entertaining performance. His character is a naive (and as it turns out: bad-tempered and disturbed) guy who has suddenly found himself having to cover up his crime, all while being assisted by a device with a female voice (Gupte provides the voice for the device and it is named Mimi), like a child asking their mother for help to clean up their mess. In the blink of an eye, he turns into a killer and body mutilator. This is a story about murder and consequences, desperation and it also serves as a comedic commentary about how much people rely on technology these days. Three-and-a-half minutes of dark humour. A viewing that will most likely be amusing to those who enjoy dark comedies with very dark humour. VIEW REVIEW Antithesis Maddie Cobb’s Antithesis places a manipulative relationship at its centre, asking complex questions of its audience as it follows a young woman longing for a first love whose toxic traits threaten to derail her ambitions. Claire (Mackenzie Cain) is an aspiring writer who meets Aaron (Owen Correll) at a house party. Quiet and reserved by her nature, Claire is swept up by Aaron’s charisma and roguishness. Throwing caution to the wind and embracing the spontaneity Aaron propagates, she is quickly mesmerised by this new love who fuels her creativity. But over time, Aaron’s unpredictability and disregard for Claire’s priorities shows a different side to his character. Antithesis is an impressive and wizened examination of young relationships. Owen Correll’s Aaron is a poster boy for the type of boyfriend that teenage girls dream about. Exciting, magnetic, mysterious and boasting Chalamet-esque good looks, he is perfection on the surface for a romantic like Claire. Their love story gets off to the perfect start, but even in their early encounters there are red flags flying. The passion and unpredictability that romances her in their early encounters slowly reveals itself as selfishness and indifference for anyone’s wants but Aaron’s own. Maddie Cobb allows the viewer to unravel Aaron’s true self along with Claire – viewers will themselves sense his appeal in the film’s early stages and think that their relationship is something that can be rectified until late in the narrative. Mackenzie Cain proves a fantastic choice as Claire. Her intelligence, drive and creativity fuel her dream of authorship, yet Aaron’s force of personality convince her to make rash decisions well outside of her character. Cain captures the character dilemma between hesitancy and yearning for excitement, an essential element to show that even the smartest of us are vulnerable to emotional manipulation when the circumstances are right. Even as Aaron’s worst tendencies begin to show, she struggles with casting him aside, torn even when he shows up at her house late at night after ghosting her for hours. Owen Correll is similarly brilliant as Aaron, his attractive qualities clear to see but carrying also a vulnerability that acts as a shield even when his behaviours turn into unacceptable territory. The film is shot functionally and some scenes are allowed to stand out thanks to their staging – one in which Claire and Aaron speak in Aaron’s bed after she spends the night is a cleverly staged moment that first gives clues that this new mysterious love interest may not be all he sets out to be. A cool tint sits over the film that drains some of the life out of the short – an interesting decision that creates an overtone that events are not as pure and exciting as they initially appear to be. However as we experience the film through Claire’s eyes, it feels like a missed opportunity not to add energy and vibrancy with a bolder palette, at least in the early stages of the film. Antithesis is an accomplished short film that is destined to move audiences who know the confusion and confounding emotions of a troublesome first love. Lesser filmmakers would opt for a more straightforward presentation of its characters than Maddie Cobb opts for. But the presentation of Claire and Aaron’s complicated lives is what allows this film to thrive. VIEW REVIEW A Wanderer's World A wonderful short documentary about nature, made entirely thanks to the hard work and dedication of Kamil Trzebiatowski. Trzebiatowski is a long-distance hiker with impressive achievements. Over the course of seven years, he has travelled extensively around the British countryside, exploring its vast beauty. He documented much of his journeys on camera and now he tells his story to others, filming himself as he walks through the countryside. Over the course of 40 minutes, Trzebiatowski takes the viewer on a mesmerising and thoughtful journey, revealing the beauty of British landscapes and explaining the reasons that motivated him to start journeying through nature. His footage certainly captures the wonderness of landscapes, showing mountains, moors, fields and lakes. And he spends a great deal of time filming himself as he hikes through the countryside and talks about his experiences and his perspective regarding nature. The shots of nature are fantastic, his words are meaningful and the experience is supported by the terrific music by Dreyma, Daniel Ran and Fantasy Meditations. Focusing on Kamil now. As mentioned, he is solely responsible for the creation of this documentary and the results of his efforts are very rewarding. He is also the only person in the film and he comes across as rather friendly and the way he expresses himself makes it evident that he has great passion for nature and exploring. Throughout the film, Kamil utilises quotes from a variety of famous individuals, including Heraclitus, Helen Keller, Lucy Maud Montgomery, Johann Wolfgang von Goethe and Thomas Merton in order to support his theories about the power of nature and the value of solitude. These quotes appear in words in a variety of wonderful paintings of landscapes and are quoted verbally. Obviously, nature is the main subject here, its beauty and how mesmerising it is and how uniquely people can experience the physical world in solitude. Moreover, this film is also a commentary about pursuing a passion, being motivated, exploration, self-reflection and of course, hiking. People who view this documentary will be rewarded with beautiful landscapes and will have the pleasure of becoming familiar with an inspiring individual with unique thoughts about the significance of nature and the ways people connect with it. And they might even be inspired to set off on their own adventure. VIEW REVIEW Witchez are Bitchez A comedic horror buzz not to be taken too seriously. This 15-minute comedy focuses on revenge and dating in a world of modern-day witches who use smartphones as well as spells, and zips exist on buxom wenches’ bustiers. Fraya (writer and producer Jazmine Cornielle) is “the ugliest witch in town” looking for love and also collects male genitalia in a jar for her collection. Taking a breather from swiping left on non-matching potential suitor warlocks on her smartphone, she visits a cobweb-strewn bar for a drink. Here she hits on Dalvin (Ryan Marko), the self-proclaimed town “warlock-saviour”, who deals fearlessly with dragons; he’s also a conceited womaniser, all flowing neo-gothic shirts and designer stubble. Despite Fraya promising him a good time (“I can take care of that wand of yours,” she purrs seductively) to her annoyance, he turns her down. In revenge, Fraya puts a curse on him, causing Dalvin to lose his warlock powers unless he fancies her, so he is forced to turn up to her lair and beg her to have sex with him in return for his powers back. The action takes place on the cheap in a Halloween-themed bar, and according to the entertaining YouTube behind-the-scenes short with leads Cornielle and Marko, it was in fact completed in two overnight shoots in a Long Island bar finishing at 6 am. The acting is vampishly hammy, and could be toned down along with the non-stop fart jokes, but viewers can tell working on the vampy production was fun, like an R-rated Hocus Pocus with more knob gags and witchy saucy banter. There’s also a streak of visual comedy as when one of Delvin’s ladyfriends/conquests demands payment in gold coins, which end up being chocolate pieces instead of cash, and promptly starts eating them. Like a Halloween-themed cocktail laced with cheap green-dyed tequila and pumpkin-shaped chocolate, Witchez are Bitchez is a fun horror buzz not to be taken too seriously. VIEW 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 The Secret Assistants William Curzon There's Something I Have to Tell You Jason Knight TV Man (Te(L)o Comando) Patrick Foley The Valley of Hearts Delight William Curzon Sign Your Name Jason Knight In Absence James Learoyd As A Joke Jason Knight Antithesis Patrick Foley A Wanderer's World Jason Knight Witchez are Bitchez Nina Romain The Dog Matt Trapp Man on the Hill Patrick Foley Lost And California William Hemingway The Reveal James Learoyd Shazmine: The Life of a Popstar Jason Knight The Sweater William Curzon Ellipsis in Writing Patrick Foley Is This The Bed We Lie In? Holly Baker Solers United William Curzon The Craftsman Jason Knight Milk, Rice, and the Blood Nina Romain Hatred Holly Baker The Solitude of the Tennis Ball Chris Buick Feldsher William Hemingway Trip Report by a Psychonaut William Curzon 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.

Directed by: Asif Kapadia Written by: N/A Starring: Kenny Dalglish, Marina Dalglish, Graeme Souness, Alan Hansen Documentary Film Review by: Chris Olson ⭐️⭐️⭐️⭐️⭐️ Kop a load of this, Kapadia has pulled off something special here. A football doc that transcends the beautiful game and captures a true legend. Powerful, moving, and truly respectful to the best bits of football in the UK, which often get tarnished unfairly. From his upbringing as a wee lad in Scotland, through his time playing for Celtic, then Liverpool, onto his Player/Manager role at the latter, this Kenny Dalglish documentary paints a heartfelt picture of an honourable and very talented footballing icon. Directed by Asif Kapadia (whose other documentaries include Amy, Senna, Diego Maradona and more), the piece eschews talking heads being awkwardly filmed in a studio for a more authentic approach. Narrated by Kenny himself, we also hear from Manrina (his wife), other footballing heroes like Graeme Souness and Alan Hansen, and the film is presented with copious amounts of archive footage from amazing matches over the span of Kenny Dalglish’s career, mostly in the 1980s. We are also privy to exclusive home footage of Kenny’s family, giving us a true insight into his life as a family man, which we learn is a massive part of his character. A documentary about one of the best footballers ever is going to get a massive UK audience. Whether (like this film critic) you knew the name from your childhood, or you are a youngster playing FIFA in 2025, this is a fascinating journey that so many young boys and girls across the nation have dreamt of taking. There is a quality to this man’s sporting skill that is jaw-dropping when you see him create goals out of nowhere, whether directly curling the ball like magic around defenders or setting up his partner-in-crime, Ian Rush. The film also provides an emotional depth that many will not expect from a sporting documentary. Kapadia bravely explores Kenny’s experiences with fan hooliganism, rioting, and the heartbreaking events at Hillsborough. The tragedy of the latter becomes the documentary’s most powerful section, engulfing the viewer in the immense sorrow felt by the communities affected. It’s Dalglish’s profound response, however, that will cement his place as a true great not just in Liverpool (where he is still revered as an idol) but across our country. Whether you get to see the Kenny Dalglish documentary on its very limited cinema run or on Amazon Prime Video, it’s vital viewing for any football fan, whether you are a Liverpool fan or not.

Directed by: Jacob Stockton Written by: Jacob Stockton Starring: Michael Tait, Alexander Clark Short Film Review by: Jason Knight ⭐️⭐️⭐️⭐️ A short World War II drama written and directed by Jacob Stockton and starring Michael Tait and Alexander Clark. The story takes place on the 12th of June, 1944, six days into the Normandy Invasion and British soldier, Jim (Tait), is briefly captured by German fighter, Oscar (Clark), before Jim turns the tables and holds him at gunpoint, forcing him on a journey across the battle-torn, French area. This is a journey involving two men from opposite sides of the global conflict, and the screenplay focuses primarily on the relationship that develops between them, beginning as untrustworthy and hostile, before turning into a strong bond of understanding. Their journey takes them to a variety of places in the countryside, including a church and an abandoned outpost. As they travel, they also encounter the atrocities of the Nazis. Filming took place around Northumberland and the countryside of Teesside, and North-East re-enactment groups volunteered to help, providing props, vehicles and costumes. Although the budget was £800, the production value creates an environment and an atmosphere that feels like Second World War battle grounds. The mise-en-scène is pretty impressive, with convincing clothing, vehicles and weaponry, and the sight of dead bodies is haunting. The addition of James Tearne's music further supports the dreadful and despairing situations. Jim and Oscar are the centre of the film, and the script does a decent job in exploring them and acknowledging that they have similarities between them. They both yearn for the conflict to end, so that they can return to their partner and they both understand that even though a war is taking place, they are not each other's enemy, and they are both capable of understanding and forgiveness. Utilising a WW2 setting, this story goes on a journey about self-reflection, friendship, redemption and having a loving partner. The effects of war are present, its brutality being depicted quite dramatically. A war film about two fighters who start off as enemies and end up becoming friends. A main message appears to be that even in the darkest times, good can be born, such as a powerful friendship bond.

Film Festival Feature by Chris Olson It’s official: Trieste Science+Fiction Festival  is celebrating its 25th birthday, and what a spectacular party it sounds like! For over two decades, this festival in Italy has been a beacon for all things fantastic and imaginative, proving year after year that science fiction is far more than just spaceships and laser guns. The best sci-fi holds a mirror up to our own world, and the line-up for October 28 to November 2 promises to be one hell of a compelling reflection. Festival Director Alan Jones  is absolutely right on the money when he says this milestone edition will "innovate, challenge, thrill, amaze and, of course, ultimately entertain." With over 50 film premieres  packed into the programme, this isn’t just a festival; it’s a full-blown cinematic odyssey exploring "the wonders of the possible." The UK's Ben Wheatley Heads the Bill What’s caught my eye immediately is the strong British flavour in the main programming. The festival’s coup in landing the new film from the mighty Ben Wheatley  is massive. His previous work— Kill List , High Rise , Sightseers —is always wickedly inventive, so hearing about his sci-fi horror Bulk  is incredibly exciting. A high-octane flick "filled with car chases, gunfights, and romance"? Yes, please. Wheatley’s style of chaotic energy and black humour is perfect for a genre that can often take itself too seriously. Mark your calendars for Halloween night, October 31st , for that UK premiere. A Galaxy of Cinematic Wonders The opening night on October 28th  is looking phenomenal. Kicking things off is the Italian premiere of L’Homme qui rétrécit  ( The Shrinking Man ) by Jan Kounen, starring the brilliant Jean Dujardin. Richard Matheson’s classic novel is a genre touchstone, and seeing a modern, French-Belgian adaptation with a star like Dujardin fighting for survival after a "mysterious contamination" is a huge draw. I’m expecting a mix of tense psychological horror and top-drawer visual effects. Later that same night, things get wonderfully weird with the body-horror re-imagining of Cinderella , The Ugly Stepsister . It’s this kind of bold, genre-bending choice that shows Trieste’s commitment to truly fantastic  film—pushing the boundaries of what sci-fi and horror can do. Other highlights that have piqued my interest include: Egghead Republic  (Oct 30th): A dystopian tale imagining a world where the Cold War never ended? Sounds like the perfect kind of bleak, yet timely, alternate history drama. Orion  (Nov 1st): From Jaco Bouwer, the director of Gaia  (a great little eco-horror, that was), this intense thriller about an amnesiac astronaut promises a deep-dive into paranoia and hidden truths. Chien 51  (Nov 2nd): A closing-night dystopian drama set in a divided Paris investigating the murder of an AI pioneer. Modern authoritarianism and the dangers of AI—talk about hitting that nerve of contemporary relevance that good sci-fi demands! Beyond the Screen: A World of Ideas The festival isn’t just about the darkness and thrills, either. It’s an intellectual feast. The guests alone are enough to justify the trip. Having Ted Chiang , the genius author behind the short story that inspired Arrival , as a key guest is an absolute masterstroke. His insights on artificial intelligence and the future of humanity are essential listening right now. Plus, the president of the Asteroide Award jury is none other than Italian director Gabriele Mainetti  ( Freaks Out ), a hugely acclaimed genre filmmaker in his own right. All the talk of video games, comics, and literature taking place under the spectacular Sci-Fi Dome  in Piazza della Borsa shows the breadth of the genre’s reach. It’s all about a shared conversation, a celebration of the creative minds who make us think about tomorrow. Ultimately, the Trieste Science+Fiction Festival proves that genre cinema is vital. It’s a place for established masters and emerging voices to show us, through incredible futures, how to see the stark present more clearly. It sounds like an unmissable few days in Italy, offering a true galaxy of experiences. Bravo, Trieste.