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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 Time to Go Jason Knight Sorry We're Closed William Hemingway Neram Nallaruku Jason Knight Gloria’s Cut James Learoyd Belonging and the Scene Jason Knight Eructation William Curzon Drowned Patrick Foley The Crusader Jason Knight Return Matt Trapp Big Jay's Day Out Matt Trapp SCRUTINY Matt Trapp Song of the Selkie William Curzon Nostalgie James Learoyd Meat Locker Jason Knight Becoming Sidney Patrick Foley Mouse! Jason Knight Ms Green and Other Lovely Beasts William Curzon We Buy Souls William Hemingway Them That's Not William Curzon I Wonder What's Keeping My True Love Tonight Jason Knight The Air Between Us Jason Knight Boy William Hemingway The Current State of the Backyard Pool Industry William Curzon Equal Opportunity Jason Knight Animus Patrick Foley 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.

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. Time to Go A short satirical feminist thriller directed by Thomas Elliott Griffiths, written by Rob Sharp and starring Pamela Mayoss and Patrick Jeffries. Megan (Mayoss) is an office worker who does not like her boss, Gavin (Jeffries). Gavin is a narcissistic and obnoxious man and Megan has been working for him for ages. She has finally had enough of his terrible behaviour and has made the decision to stop him once and for all. She is going to kill him. The concept of this amusing (in a dark way) and also quite sinister: a frustrated and angry employee wants to murder her awful boss. Although that is the plot, the film does not have a straightforward narrative. Things are seen through Megan's perspective, and she spends almost the entire duration breaking the fourth wall and addressing the audience, with her words being voice-over. The film begins with her being at her workplace and describing what a wicked person Gavin is and the rest is primarily about Megan meticulously plotting the murder describing how she is going to do it (and looking online for instructions), while two members of law enforcement investigate a crime (the murder?). There is tension and distressing scenes and the unsettling atmosphere is accompanied by Ray Badger's cool music with great drumming. Mayoss leads the film very effectively by portraying a woman determined to make the world a better place by eliminating a vile individual. She is methodical and very angry with the injustice that she is witnessing. Jeffries's character is the guy targeted by Megan, a corporate man whose lack of consideration for others is evident when it comes to firing people and he perceives women as sex objects. A very unpleasant person. Via a plot about murder and revenge, this short acts as an exploration of feminism, sexism, narcissism and hatred. To a degree, there are elements that make this viewing about misandry, a consideration that is motivated by the character of Gavin, as he is presented as utterly despicable. A film with dark humour and a lot of drama that is less keen on telling a story, focusing instead on a situation where a person has decided to commit murder. The result is an intriguing viewing that gains a lot from Mayoss's performance. VIEW REVIEW Sorry We're Closed A long-term couple struggling to keep the spark alive in their relationship decide to embark upon a night of ill-advised spontaneity, breaking into their local fish and chip shop to have themselves a late-night supper. Jacob (Muyunda) and Olivia (Bentley) have settled into coupled-up life. They understand each other really well and know each other inside out, meaning that there’s not an awful lot of surprises going on in their lives anymore. On a typical night in, Jacob has fallen asleep on the couch and Olivia is trying her best to cajole him into some sort of action by making pinpointed jokes about his energy levels and the lack of any sort of ambition in his life. She seems to think that he’s the problem without ever actually realising that she’s a miserable, hen-pecking, shrew. Trying his best to keep the peace in the face of insistent emotional abuse, Jacob listens to Olivia’s entreaties and agrees to accompany her to the local chip shop for the chance of some late-night fried food, all the while knowing it to be already shut. Lo-and-behold, as they rock up to the chippy, the door’s shut and the lights are off, meaning that fish is back off the menu. This, of course, causes another argument, where Olivia has another go at Jacob and as soon as he defends himself, gets all upset and huffy and goes off to pout by herself at the side of the road. All seems to be lost, until Jacob manages to bust the door open, and they decide to make themselves a slap-up meal without anyone else knowing. Despite the illegality of what they’re doing, Olivia brightens up when she gets what she wants, and they set about frying themselves some nice fish for their supper. Set in the town of Beeston in Nottinghamshire, in the real-world location of Gill’s Fish and Chip Shop, and presented as a comedy/drama, Sorry We’re Closed is a quintessential British story of getting yourself into difficult situations. At the constant beratement of his partner, Jacob knows that what he’s doing is wrong, but still goes through with it to make her happy, inviting us to share in their low-key crime as they try to fix the issues in their relationship. It is this excruciating extra-mile, into uncharted waters, that allows Sorry We’re Closed to aim for British classics like Only Fools and Horses , or Fawlty Towers , as we watch with one eye closed, knowing that things will never end well for our plucky, unhappy couple. Writer/director, Jonathan Hawes, keeps us up-close and personal with the couple in their more intimate moments, most of which are when they are aggravating one another, and uses hand-held motion to retain the feeling that we are walking with them along their path, as they search out their future together. We are invited into their space and their lives, with snippets of dialogue reaching into their past to furnish us with some idea of where their shared animosity might come from. This works pretty well in keeping everything grounded and low-key but also stops there from being any sort of cinematic vision that could be attributed to the scenario. The acting from both leads is fairly decent, selling enough of their character to be believable, but when Olivia is situated as such a horrible human being it’s hard to become invested in anything that she wants in the story. When the chip shop owner turns up, too, his delivery is not so great and the short scene becomes very am-dram in its aspect until the shock twist. Thankfully, the production value comes through, especially in David Rubenstein’s accompanying score, and the whole film knits together as a viable relationship drama. Unfortunately, the comedy aspect never really gets off the ground, and any jokes made by the couple are just thinly-veiled digs at one another and so don’t raise a smile from the audience, with no out-and-out humour appearing anywhere along the way. There is plenty to be said in Hawes’ scenario, about life, love, and the fragility of long-term relationships, and while we as the audience are party to the mistakes and lessons learned along the way from the bad decisions that are made, this never translates to the characters, who are oblivious to any harm done. This makes it difficult to support the couple on their journey, and in the end we’d probably rather see them get their just desserts instead of a fresh fish supper. VIEW REVIEW Neram Nallaruku A short crime comedy from Singapore, written by Arivazhagann Abel, Mridul Samrat, Sivakumar Meenashre and Akram Mohammad, directed by Abel and starring himself, Meenashre, Prabu Kirubaahgara and Rifath Mohamed. Just explaining that the English translation for ''Neram Nallaruku'' is ''Time is Good''. A kidnapping is taking place and the people involved are not sure how to deal with it. The two abductees are Varun (Arivazhagann), an insecure young man who suffers from panic disorder and Pavithra (Meenashre), the woman he intends to propose to with the discreet help of his friend, Akash (Nachiappan S). However, before he is able to find the courage to do so, the two of them are snatched by Kaali (Kirubaahgara), a criminal who intends to use them threaten Pavithra's gangster brother, Rudhra (Mohamed) for ransom. The film begins with a humorous title card explaining the meaning of panic disorder, indicating that this is not going to be a serious viewing and it is not. Following an intended marriage proposal that does not occur, the criminals enter the scene, and they are not very efficient, leading to a series of awkward events that include a phone conversation about ransom that ends up full of misunderstandings and an inprisoned Varun calling Akash and asking for life-saving advice while the latter gives it by chilling in front of the TV. A story filled with misunderstandings and clumsiness and the comedic atmosphere is supported by Surya Sahish's amusing music. The acting is not convincing, however it is still entertaining, with the cast making the characters come across as naive in the face of life-threatening situations. Varun is mostly serious or perhaps oblivious to his situation, not knowing how to handle things. Pavithra is rebellious and as for Rudhra and Kaali, well, they appear to be inexperienced when it comes to kidnappings. But utilising an abduction concept, this short tells a story about naivety, deception, misunderstanding and mortal danger. Additionally, it also manages to be a commentary about romance and self-esteem. This is just twenty minutes of fun, watching a kidnapping having unexpected complications to comical effect. And the animation during the credits deserves commendations. VIEW REVIEW Gloria’s Cut Gloria’s Cut is a bloody and satirical short film about a struggling actress working at a diner. One night, she ends up confronting a seemingly more successful (and infinitely more pretentious) actress who finds her way into said diner. The two of them begin by discussing pages of a script for an audition which both characters wish to pursue. What progresses is an increasingly volatile, revealing and ultimately – as established in its cyclical opening – murderous encounter. There is so much to enjoy about the narrative of this picture as well as its superbly flashy and slick production. Whilst this is a chamber-piece for the most part, all of the structural skill is placed clearly on display; yet furthermore, within its 15-minute runtime, the filmmakers manage to also probe some deep and perceptive areas of interest... Thematically speaking, what Gloria’s Cut presents is an engaging take on favouritism in the entertainment industry and encouraged pursuit/obsession with stardom – but through the lens of reflexive 90s nostalgia. This is a high-level screenplay, and one which I should mention is being used as a proof-of-concept for a feature-length project titled No Doubt . Personally, I find this fact to be a bit of a two-edged sword. For if there is any complaint I have of the film (though not so much of the work itself but the context provided) it’s that the heightened, to-the-point tone suits a short-form piece so well that one can’t necessarily envision it being as impactful as a long-form piece. However, having seen how incredibly well the filmmakers can get a handle on tone, setting and message, I’m confident that the feature will share this same level of artistic care and genre-based passion. My only worry is that it would feel similar to The Substance (also better as a short) whose tone becomes tiresome and repetitive. But like many short films, what we witness is effectively a single extended conversation, and what allows the audience to engage with these ideas in the first place is the terrific style and mood being constructed through the sound and visuals. There’s an irresistible neon aesthetic at play here, with both lighting and colour producing a simultaneously grimy yet comforting atmosphere. Because of this specificity of style and place, I was sold on the film within the first few shots. If anything, the fact that the film takes place in the 90s is more a satisfyingly convenient aesthetic tool rather than a story-trait – although it never feels like a gimmick. Written, directed and starring Olivia Gropp, this is a movie with a unique, personal vision. I’m also happy to report that Gropp manages all three of her creative roles with great success – this is not an indulgent or unbalanced work; it is, instead, carefully directed, effectively written and entertainingly performed. And the fact that this is a self-directed work may only add to the cohesion of the vision. To surmise, Gloria’s Cut demonstrates some truly impeccable storytelling and cinematic flair – a fun talky work of drama as well as an appropriately exaggerated gore-fest. VIEW REVIEW Belonging and the Scene With her film debut, director Monica Dhaka explores the world of kink community by utilising the story of Pup Momo. Momo is part of this community, a homosexual who enjoys rubber puppy play, meaning that he dresses in fetish clothing that includes a rubber mask that resembles a dog's head for fun and sexual satisfaction. When he enters role play, he calls himself ''Momo''. Via this short documentary, viewers will get to know him and learn about the world of fetish. Momo is the centre of this film and he is interviewed, with his voice-over covering his childhood, how he currently lives his life and the kinky community. Attracted to role-playing fetishes, Pup Momo grew up in the United States, with parents from the Netherlands. He won the title of Mr. Rubber Netherlands 2022, proving his strong dedication to this group of people. With the use of home video footage, viewers get to see him as a playful child. Through Pup Momo's words and archival footage, people will get an idea of what the kink community is, how big it is, with competitions like the one won by Momo, magazines such as the Mr B Wings (a BDSM magazine to which Bohnen is a contributor) and parades like the Amsterdam Pride Canal Parade proving how widely established it has become. All this is accompanied by Dhaka's emotional music. One of the purposes of this documentary is to shed light on the world of kinky people and defend them, to reveal that they are not disturbed or antisocial as some think they are, but individuals who are united because they share particular desires and activities and that their world is a group where everyone is accepted. This fifteen-minute-long short provides a brief but thoughtful insight into the world of kink communities and shows that it is a place where people can find happiness and acceptance, where they can be who they want to be and be comfortable with self-expression. It also communicates the message that just because someone is unusual does not mean they are no good. Some viewers might find the subject matter uncomfortable, however, this documentary deserves recognition because ultimately, it points out that people who are part of this network do so in order to be happy and (as the title suggests) to belong. VIEW REVIEW Eructation Eructation is a short documentary that follows Kaylee Kotkins, a young woman with incredible burping abilities, as she aims to break the world record for the loudest burp, currently set at 107.3 decibels. Her loudest belch to date is 110 decibels in practice, and she uses a decibel reader app on her phone to calculate her burps. This documentary follows her as she prepares to break that record, while also briefly exploring her relationship with her partner, Eric, as he endures Kaylee’s absurd challenge. One of the most unique aspects of the documentary is not only its original and absurd concept but also the use of decibel numbers as a central narrative device for Kaylee as she utilises other sounds around their home. She finds a plethora of objects, such as a hair dryer, to measure the loudness of her burps. While there isn't much material to sustain a feature-length runtime, its tight runtime works in its favour, as the passionate personality of Kaylee shines through, and the filmmakers get straight to the point without ever stretching the material out. Max Henderson, serving as the film's cinematographer, primarily shoots the documentary with close-ups of Kaylee and overhead shots around her home as she prepares for the challenge. Most of the dialogue is delivered through a litany of exposition, so the audience rarely gets to know Kaylee as a person, but only her intention for the documentary. Thankfully, many of the comedic elements of the piece land surprisingly well and the inclusion of Kaylee’s partner, Eric, offers a unique perspective on her challenge. The piece is paced incredibly well with some commendable editing choices, making the film feel frenetic in its attempt to match Kaylee’s efforts to beat her record. The brisk pace at which the expository dialogue is delivered can be overwhelming at times; however, it's ultimately a necessary choice to keep the piece utterly engaging throughout. As a viewer, it's hard not to root for Kaylee to achieve her goal, and that's a testament to how instantly the filmmakers draw the audience in, despite its incredibly minimal runtime. The piece also provides some education about the human body and the mechanisms by which we burp to relieve pressure after swallowing air while eating and drinking. The lengths to which she goes to achieve this record are mostly entertaining to endure, and it's not something that has ever really been explored within cinema. Despite the documentary offering fairly minor context to Kaylee and Eric outside of what is depicted on camera, the direction from Victoria Trow elevates the material by giving the piece some needed propulsive nature. While the conclusion to the piece ends abruptly, Kaylee’s challenge is profoundly executed by the filmmakers, consistently finding evocative ways to frame each scene. Eructation is a fascinating experimentation held together by Kaylee Kotkin's sheer ambition and some commendable direction and editing choices. While the piece offers fairly minor material outside of the central challenge Kaylee sets for herself, it's an aptly made piece of filmmaking, presenting an absurd concept that is both wildly entertaining and surprisingly educational. Eructation will celebrate its world premiere at the 2026 SXSW Film Festival VIEW REVIEW Drowned They say that the closest thing to war that most people ever experience is divorce. Ryan Nunes’ short film Drowned follows a couple in the aftermath of a separation, each side bearing the scars that complicate their lives as single parents in a melodramatic but moving short. After a fight with partner Jake (Nunes) at a Christmas party, we follow Sarah (Sonya Richards) as she navigates single parenthood of her daughter Emma (Julia Little). Sarah finds motherhood overwhelming, suffering from small memory lapses that lead to big problems. After forgetting Emma’s EpiPen, Sarah and Ryan find themselves in an emotional confrontation – where bitterness, anger and unresolved fractures explode into the open. Drowned tackles difficult questions about parenthood and divorce with a considerate tone and a careful hand. Ryan Nunes constructs characters with depth and reality, asking his audience to empathise with both parties of the divorce and engage with their qualities and their flaws as real people, rather than cutout characters. Jake’s outburst at Sarah feels aggressive at first, but his own struggles that originate in the breakdown of their relationship mean audiences will be able to understand his exasperation in a moment where he fears for the safety of his daughter. Similarly, the time we spend with Sarah where we see how her mental and physical condition lead to daily struggles just in her own life lead us give her grace naturally. It fits perfectly with the film’s message – that parenthood can be unconventional but is always easier shared, even in ways that we may not see firsthand. At times the film dials the melodrama up to 11, in moments that are emotional but a little awkwardly bulldozed into the story. The performers discard any sense of nuance in favour of amped-up cry-shouting. When appropriate this can be the crescendo of finely built dramatic tension that ensures no eye in the house is left dry. But rushed, and it feels like dramatic overkill – the acting equivalent of using a sledgehammer to crack a nut. There is no doubt that both Ryan Nunes and Sonya Richards are excellent at portraying a breakdown. But the place of the pivotal exchange involving the EpiPen feels rushed in the context of the narrative. Whilst it is possible to imagine real parents reacting this way, the storytelling of the film makes the moment feel a little unearned, particularly seeing as it is a trigger for the two finding common ground in what is the climax of the film. The film looks crisp and professional with some interesting using of lighting – which ‘drowns’ out of the screen as Sarah’s desperation grows throughout the film. Nunes’ direction is also solid enough, knowing how to present Sarah as someone finding life more and more difficult and unhinged whilst her former partner becomes an invading entity (Nunes’ way of presenting his own character in the film who uncomfortably throws off the focus and balance is a particular highlight). Whilst Drowned is imperfect structurally and will not pull up any trees when it comes to storytelling around parenthood (its release close to the dazzlingly original If I Had Legs I’d Kick You not helping in this regard), it is a solid enough effort from director, writer and star Ryan Nunes and his team which will speak to people navigating parenthood or even just those who have ever felt isolated when dealing with an imperceivable task. VIEW REVIEW The Crusader Tim Cullingworth-Hudson writes, directs and stars in this captivating medieval dark fantasy. Within one and a half minutes, with the use of striking visuals, epic music and drama, this short takes the viewer on an adventurous journey. The film does not concentrate on telling a story, but rather to present a situation, or perhaps more appropriately, an otherwordly confrontation that takes place in the middle a battlefield. The setting is the Middle Ages and the titular Crusader (voiced by Hudson) awakens in an open area filled with dead bodies and fires. It is the aftermath of a devastating battle and as the warrior proceeds to rise, a demonic entity emerges from the soil (voiced by Betts) and begins to verbally condemn him. But the man is strong. Regarding the mise-en-scene, it looks superb, creating a dark medieval period environment. There are brief scenes of battle, with armoured soldiers wielding their weapons in slow motion. Filmed almost entirely in black-and-white, colour is present only in shots of blood being spilled. The black-and-white cinematography makes the atmosphere feel rather sinister, which is fitting given the events that take place. The appearance of the monster turns things towards fantasy and it appears to be a being of pure evil. The creature is anthropomorphic, has huge crow-like wings on its back and sharp teeth. As for the warrior, the hero, he is a bearded man, wearing heavy armour. This film would not be so impactful without the dynamic music. Dramatic chanting and strong drumming create a powerful atmosphere that promises adventure and brutal confrontation. Regarding the Crusader, voice-over describes him as a veteran of many battles, who is living a life of violence that will never lead to solace. His spirit is strong, but his many experiences in the battlefield have left mental scars in him. Moreover, it is indicated that he also possesses magical powers. As for the winged creature, it seems to be his utlimate enemy, menacingly telling him that there is no salvation. During its short duration, this film manages to explore religion, the brutality of war, bravery, self-reflection, redemption and desperation. It is a story about Good vs Evil, with the Crusader representing Good and the creature symbolizing Evil. A sword and sorcery tale filled with excitement and confrontation. It is a brief experience but one that never loses its power from start to finish and it carries the message that when people are going through challenging times and the odds are against them, they must never give up. VIEW REVIEW Return Return explores a layered cocktail of themes through its brief 10 minute runtime, leading the audience on an emotional meditation on grief, memory, and humanity’s place within the natural world. Peter Faulkner’s character carries the weight of loss deep inside, and most of Return’ s runtime is spent inside his mind. He sits alone in a dark room, apparently isolated from the world, and the image is a shockingly stark one. Carr-Gomm focuses a great deal of attention on the man’s difficulty in grasping a glass of water and bringing it to his lips to drink. Yet, when he closes his eyes, colour and light return to the picture. We see rocky clifftops adorned with birds, the power of a calm sea, a beautiful natural world rich with flora and fauna. A mysterious woman (Jade Lauren) with some connection to Faulkner’s character is always out of reach standing a part of the natural world within his mind. The vast skies and dense woodland suggest something heavenly about the Earth, and as the old man walks throughout these lush environments there’s no hint of any corporeal weakness about him. At one point, he plants his face in the grass, drinking in the physical sensation. Carr-Gomm’s depiction of literal connection with the land juxtaposes the isolation of Faulkner’s character at the start of the short - sat alone in his armchair, the only hint of a world outside his room is the sunlight softly settled on his window. Similarly to the recently Academy Award nominated Train Dreams , Carr-Gomm explores loss and the nature of grief by using the natural world as a sort of bridge between the living and the dead. The filmmaking on display in Return is spectacular and helps to sell the spiritual ideas that the film explores. The photography of the environment is breathtaking, often captured with wide shots from high above to capture the vibrant beauty of the Earth. Sunflower fields appear as a rich tapestry of colour, and a single cloud in the sky looks as though painted by a dexterous hand. Special attention is given to smaller details such as a hand running over wheat in a field, and the aforementioned face rubbing in the grass, giving a real sense of texture and presence in the world. Return ’s sensory experience is heightened by a simple piano score which guides the audience through the journey. The film is entirely without dialogue, yet Ben Rowarth’s composition speaks for itself. Peter Faulkner’s performance in the film was deeply personal to his own life experience, Carr-Gomm has stated. His character moves deliberately in every single moment, communicating feelings of love and loneliness clearly without speaking. A particularly moving sequence of Faulkner’s performance is when he dances alone in his kitchen, coming to life in a deeply vulnerable display of laboured elegance. He brilliantly embodies the heartbreak of continuing on after a loved one’s death, and the overwhelming inclination to withdraw into one’s shell. Reminiscing can be self destructive in a way, and Faulkner’s depiction of earthly liberation, to reconnect with the natural world as well as his loved one, suggests a call to be reunited with them, to return to them. Return speaks to the loneliness of life, but also the power of the natural world and the love that connects us to each other. The confident filmmaking and the tender performances support complex ideas with the short’s brief runtime, without the help of words to convey meaning. The result is a piece of cinema that will have audiences reminiscing about their lost loved ones, and maybe picking up the phone to give their older friends and relatives a call. VIEW REVIEW Big Jay's Day Out The growing popularity of alternative media in the 21st century has had a fascinating effect. Truly esoteric discussions about anime, videogames, and fairly obscure movies are deftly navigated by the so-called ‘terminally online’, with new subcultures born and aesthetics named daily. The film follows Jay, described as ‘a man led astray’ who is thousands of dollars in debt, depressed, and developing an app which he believes will “change the world”. For the next 20 minutes, viewers are strapped into an outrageous, exhausting, and sometimes incoherent whirlwind of neon lights and violent gangsters. Mitch Silva’s Big Jay’s Day Out will be an enigma to general audiences everywhere, but something tells me that this won’t be a concern for the filmmaker. Big Jay’s Day Out is first and foremost a ‘vibes-based’ film, the first in a genre which the filmmakers have helpfully identified as ‘inhalantcore’. It’s certainly a satire, comparable to American Psycho by way of Harmony Korine, and it’s a relief that the humour is generally excellent, if not irony-poisoned. There’s more drama in the back half of the short than may be expected, and while the performances generally work, a few too many scenes descend into characters yelling melodramatically. It’s less atmospheric than it could be, and more dialogue heavy than it should be. Austin Alexander’s performance is enjoyable to begin with but it was a shame that he wasn’t given much more to do after the first few minutes. Similarly for Angela Lin who performs a dual role as Evelyn Chen and Not Evelyn Chen, while she makes an intriguing and enigmatic first impression as a modern day manic pixie meets 2020s online goth girl pastiche, her character becomes flattened and fairly dull by the end of the film. The filmmakers have added that this film is considered a ‘rebuild’ in the same vein as Evangelion. They state that Big Jay’s Day Out Remastered must be watched after the original Big Jay’s Day Out preAlpha 0.89 , originally released in 2017. Having watched both of these shorts now, there’s definitely some thematic and stylistic connections between the two, but the original film is not an essential watch to understand the ‘remaster’. It does gesture towards a specific artistic intent from Silva however, giving his short films a knowing interconnectivity, as well being a knowledge check for audiences who are familiar with Evangelion and its sequels. Similarly, the aesthetics of various internet subcultures are employed throughout Big Jay’s Day Out . The result is a visual melting pot of ideas and influences, and it’s undoubtedly unique. However, it would be remiss to ignore that the film’s abrasive sound and editing styles can make it a challenging watch. Big Jay’s Day Out may arguably be described as an exercise in style over substance. Whether or not that’s true will depend on who is watching the film. Undeniable however is the fact that there is a distinct quality in Silva’s filmmaking that certain audiences will particularly resonate with, and it would be an immense shame if this style became watered down and bent into something more recognisable. VIEW REVIEW

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 4 out of 5 Time to Go Read Review average rating is 3 out of 5 WallDale Read Review average rating is 3 out of 5 Sorry We're Closed Read Review average rating is 3 out of 5 The Gospel of Dating Read Review average rating is 3 out of 5 Neram Nallaruku Read Review average rating is 5 out of 5 Phase Read Review average rating is 3 out of 5 One of the Good Ones Read Review average rating is 3 out of 5 Heel Read Review average rating is 4 out of 5 The Bride! 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Netflix Film Feature by Chris Olson There is something inherently calming about a story that finds magic in the mundane, and if the first teaser for Remarkably Bright Creatures is anything to go by, Netflix might just have found the cinematic equivalent of a warm blanket for the soul. Based on Shelby Van Pelt’s sensationally popular novel, the film appears to be leaning heavily into the quiet, poignant charm that made the book such a word-of-mouth hit. While I have not yet had the pleasure of a full screening, the brief glimpse offered by this new trailer suggests a production that understands the delicate balance between human grief and the whimsy of the natural world. At the heart of the story is Tova, played by the incomparable Sally Field. Seeing Field back in a lead role that requires such a nuanced mixture of strength and vulnerability is always a treat for any film lover. She portrays a widow who takes a job working the night shift at an aquarium, a setting that the teaser captures with a beautifully ethereal, almost nocturnal glow. It is here that she forms an improbable bond with Marcellus, a giant Pacific octopus. Now, bringing a sentient, highly intelligent mollusc to life on screen is no small feat, but the teaser introduces us to the voice of Alfred Molina as Marcellus, and it feels like a stroke of casting genius. Molina has that perfect blend of gravitas and weary wit, providing a narration that suggests the octopus might just be the most observant character in the room. The supporting cast looks equally impressive, suggesting a depth to the narrative that extends well beyond the glass of the aquarium tanks. Lewis Pullman, who has been on a fantastic run lately, appears as Cameron, a young man at a crossroads who finds his life intersecting with Tova’s in ways neither of them expected. The ensemble is bolstered by veteran talents like Colm Meaney, Joan Chen, and Kathy Baker, which gives me a great deal of confidence in the emotional weight of the piece. When you see names of this calibre attached to a project, it usually signals a script with real meat on its bones. Director Olivia Newman, who previously showed her knack for adapting atmospheric, landscape-driven bestsellers with Where the Crawdads Sing, seems to be the right hand at the tiller here. The teaser suggests a film that is visually lush but grounded in the tactile reality of a small coastal town. There is a sense of mystery hinted at, a life-changing discovery that ties these characters together, but the trailer wisely keeps the specifics under wraps, focusing instead on the atmosphere of wonder and the theme of finding connection in the most unlikely of places. As a critic, I am always a bit wary of adaptations that rely on a non-human narrator, but there is something so distinctly charming about the way this teaser presents Marcellus’s perspective on the blundering nature of humans. It feels less like a gimmick and more like a fresh lens through which to view our own struggles with loss and loneliness. If the film can maintain the heart-swelling sincerity shown in these few minutes of footage, we are in for something quite special. Remarkably Bright Creatures premieres on Netflix 8th May, and it is certainly sitting right at the top of my must-watch list for the spring. It looks to be a film that celebrates the quiet victories of the human spirit, aided by a very clever eight-armed friend. Remarkably Bright Creates - Official Netflix Teaser Trailer

Film Feature by Chris Olson The wait is finally over, and if you are anything like me, your levels of anticipation for this sequel have reached a fever pitch. As a massive fan of the first film, which was a colourful, joyous celebration of everything we love about the Mushroom Kingdom, I have been keeping a very close eye on what Illumination and Nintendo have been cooking up. They have delivered the goods in spectacular fashion by dropping the final trailer for The Super Mario Galaxy Movie , and it looks like an absolute cosmic beauty. Watching the first film back in 2023, I remember feeling a sense of pure relief that they had finally gotten Mario right on the big screen. It was fun, fast, and full of heart. But this new trailer suggests that the filmmakers, Aaron Horvath and Michael Jelenic, are not just resting on their laurels. They are taking the plumbers and the rest of the gang into deep space, and the visual scope on display here is frankly breathtaking. The final trailer gives us our best look yet at the gravity-defying action that defined the original Wii game, and seeing Mario engage longer with Bowser Jr. in glorious animation is enough to give any long-term fan goosebumps. The plot looks to be raising the stakes significantly. We see a miniaturised Bowser, still reeling from his defeat in the first film, but the real threat this time appears to be his son. Bowser Jr. is making his big cinematic debut, voiced by Benny Safdie, and he looks like a fantastic addition to the rogue’s gallery. The way he abducts Peach’s entire castle and hauls it into the stars sets the stage for an adventure that feels much bigger than the Mushroom Kingdom. It is that classic Mario charm mixed with a genuine sense of wonder that only a space-faring adventure can provide. The Super Mario Galaxy Movie Final Film Trailer One of the biggest talking points from this final trailer is the incredible voice cast. We already knew that Brie Larson would be joining as the ethereal Princess Rosalina, and she sounds perfectly cast as the protector of the Lumas. However, the new trailer also confirmed some massive additions that have me even more excited. Donald Glover is lending his voice to Yoshi, and based on the snippets we hear, he brings a wonderful energy to the iconic green dinosaur. Seeing Mario and Yoshi finally reunited on screen is a moment I have been waiting for since the post-credits tease of the last movie. We also got confirmation that Luis Guzmán will be voicing Wart and Issa Rae will be playing the Honey Queen, which shows just how deep into the lore this sequel is willing to go. The music, once again handled by the brilliant Brian Tyler, sounds like it is going to be a highlight. The trailer is underpinned by orchestral arrangements of those classic Galaxy themes that are so synonymous with grand, sweeping adventure. It is clear that the team understands the emotional weight that those melodies carry for the fans. I cannot wait for April 1 to arrive. There is a slight worry that the release date might be an elaborate April Fools’ prank by Nintendo, but given that tickets are already on sale, I think we are safe to start the countdown. The Super Mario Galaxy Movie looks like it will be everything a sequel should be: bigger, bolder, and more imaginative, while still retaining the core magic of its predecessor. It is going to be a long few weeks, but if this trailer is anything to go by, it will be well worth the wait.

Star rating:  4/5 Directed by:  Mauro Borrelli Written by:  Mauro Borrelli, John Collins Starring:  Jamie Ward, James Oliver Wheatley, James Faulkner, Robert Knepper Film Review by:  Jason Knight A biblical drama feature directed by Mauro Borrelli, written by Borrelli and John Collins and starring Jamie Ward, James Oliver Wheatley, James Faulkner and Robert Knepper. As the title indicates, the story involves Jesus Christ (Ward) and a significant part of it takes place during the Last Supper. The narrative begins with Jesus and his apostles arriving in Jerusalem for the final meal, after having become known for his preachings and miracles. Tensions are high, as Caiaphas (Faulkner), the High Priest of Israel, condemns Jesus's actions and plots his downfall and Judas (Knepper), one of his disciples, is unconvinced of his teacher's beliefs and contemplates turning against him. The Last Supper Film Trailer The screenplay views the events through the perspectives of Jesus, Peter (another close apostle of Jesus), Caiaphas and Judas and contains significant events, including the Last Supper, Jesus feeding a crowd of thousands by multiplying fish and loaves, his Crucifixion, Caiaphas convincing Judas to betray Jesus and Jesus realising that he will be betrayed by one of his own disciples. The film concentrates significantly on Jesus's preachings and the protagonists' struggles regarding Jesus's imminent fate. Visually, the feature looks terrific, with an impressive production value. Costume designer Nezha Dakil does a great job and the buildings and furniture are very convincing, all of which look even better thanks to Vladislav Opelyants's cinematography. The audio is also a big plus, with the music by Leo Z being very appropriate and the song No Greater Love  by Chris Tomlin effectively ending the film.  Ward proves that he was a good choice for the role of Jesus, portraying the preacher and religious leader sympathetically, presenting him as a man of wisdom and righteousness. A great deal of time is devoted to Peter and Wheatley dramatically reveals the struggle that his character is going through due to believing that he failed Jesus. Faulkner is sinister as Caiaphas, a character who works as the antagonist. Knepper plays Judas as a troubled and disorientated individual, repeatedly being tormented by a snake (Satan). Other appearing characters include Mary Magdalene (Nathalie Rapti Gomez), Nicodemus (Henry Garrett) and John the Apostle (Charlie MacGechan). This version of the story of Jesus Christ tells a story about religion, faith, courage, betrayal, goodwill, desperation and cruelty. Moreover, it encourages hope and unity and states that Good triumphs over Evil. So many films have been made about Jesus and it would be fair to say that this one does not explore anything new. Nevertheless, it is a very well-made film and a rather decent addition to the category of biblical features.            Dazzler Media presents The Last Supper in UK and Irish cinemas from 20th March.