Film reviews from some of the biggest movies in UK cinemas. We also review short films, indie films, and documentaries. Find a movie review now. Film Reviews Here at UK Film Review we like to tackle all kinds film reviews. Our writers come from all walks of life, and feel passionate about critiquing the movies they watch. From the latest Theatrical Releases to Short Films, Indie Films, Documentaries and even Animation, the contributors of UK Film Review are as eager to please as Dev Patel in The Best Exotic Marigold Hotel (2011). If you are a filmmaker, or are working in film PR and want to promote one of your clients, please get in touch using the Submit Your Film button under the drop-down menu for Home. Take a look at our list of film reviews below from some of the hottest releases in UK cinemas. Simply click the image of the review you would like, or the title of the movie. Or use the search button to find the movie you are looking for. We have given any feature length film a star rating (out of 5) in order to help viewers sort the Citizen Kanes from the Waterworlds, the Inceptions from the Transformers. Michael Bay will be given a fair film review from our writers, but that probably will not go in his favour. Speaking of Filmmakers, head over to our Filmmaker Features page for awesome articles about some of the best filmmaking geniuses who ever lived. Movie Trailers are also available, either underneath the film reviews, or on the Movie Trailers page. And lastly, if you like your film reviews verbalised. Simply because reading is boring and listening is marvellous, then make sure you Subscribe to the UK Film Review Podcast. Our critics offer up some banterous opinions on the best and worst movies across all genres. Head over to the Podcast page, or click this link to go straight to iTunes. If you would like to read or view any of the following, simply use the navigation. Alternatively, you can click on one of the images to read the film reviews here, or simply have a ganders at the lovely movie artwork on display. Remember to listen to film reviews on our regular film podcast. GET REVIEWED average rating is 3 out of 5 Tears Of Knowing Read Review average rating is 4 out of 5 Forgotten Island Read Review average rating is 4 out of 5 You Had to Be There Read Review average rating is 3 out of 5 The Stunt Driver Read Review average rating is 4 out of 5 The Incomer Read Review average rating is 3 out of 5 Never After Dark Read Review average rating is 3 out of 5 Bloody Tennis Read Review average rating is 2 out of 5 The Heir Of Time Read Review average rating is 3 out of 5 Sunny Dancer Read Review average rating is 5 out of 5 Baby Doe Read Review average rating is 3 out of 5 Goody Goody Read Review average rating is 4 out of 5 The Weight Read Review Spoilers in our film reviews As with all digital forms of expression sometimes people may find something that upsets them online. Spoilers can often be one of these things! Whilst we do our best to ensure that major plot points, twists, character deaths and celebrity cameos are not found in our reviews, it can sometimes be difficult to judge what each and every film lover on the planet would to be a spoiler. If you feel that one of our film reviews contains one too many details then please do let us (politely) know using our social media platforms. We may then take serious action, such as expelling the critic responsible from this and every other movie publication past and present, declaring war against the studio for leading our writer into temptation, or we may do nothing at all. To be honest, it is most likely going to be the latter unless some serious rules have been broken. You may also see some movie trailers in our reviews that could also contain potential spoilers. In which case anyone who is hoping to avoid these should probably not click the play button on them. Or click the play button, turn the sound down on your device, then leave the room for a least 28 minutes whilst the trailer finishes and leaves your life naturally. You may be wondering what you could do with all 28 of those minutes! Why not read some more film reviews on another device? Or make a short film of your cat playing with a piece of string? Spend it wisely guys and gals.

Read music video reviews by film critics at UK Film Review. Submit your music video for review by clicking Get Reviewed at the top of the website. Music Video Reviews One of the most exciting sub-genres our critics review is music videos. They are often incredible pieces of storytelling, either in their own right or aligned with the song playing over them. On this page you will find a great selection of music video reviews from the team of critics at UK Film Review. If you are a filmmaker or artist who would like us to review your music video, submit your film here . When it comes to reviewing a music video, the process differs slightly from perhaps a narrative short film or documentary. The music has to be explored far more intimately than if it were a soundtrack because that's where the story originates from rather than being added further down the line. Music videos do conform to genres but these are often musical genres rather than film categories, for example pop, folk, rock, rap etc. So this will also influence the music video review our critics write because the target audience is going to be considered. Music videos may take a variety of forms or even combine different aspects to create a different effect on the viewer. For example, it is common for a music video to contain a small narrative, as well as live performance footage. Top filmmakers making music videos will be able to immerse you into the song and story without leaving you feeling like you have just watched a promo piece. Choreography is also a common trait in music videos, with dance sequences and flash mobs recurring - often in pop music videos. Editors of music videos will have their work cut out to ensure the choreography looks tight and engaging without it feeling staged or lifeless. Hopefully the array of music video reviews you see below will include some gems for you to peruse. Don't forget to scroll to the bottom of the article, as we often include the actual music video so you can watch it for yourself. Pearls - Rosscoe Frantz Finn O'Toole Ahead (Music Video) James Learoyd Postcards Nina Rawlingson Super Duper Lee Sinden Peekaboo James Learoyd Ghosts Madeleine Lavers It's Not Goodbye - December Fades Official Music Video Chris Buick Return to Elenore Matt Trapp TELEPROMPTER - Late Night Television Matt Trapp Bitter Cherry – Hunger Short Film Review alexjames96 Jun 3, 2025 2 min read Ain’t my Vibe Short Music Video Review alexjames96 Jun 6, 2024 2 min read Cinerama (Music Video) Short Film Review alexjames96 Mar 17, 2024 2 min read Homecoming (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min read Sheep F-cked In the Head Short Film Review alexjames96 Nov 16, 2023 2 min read Service for The King short film review Theo Aug 1, 2022 2 min read More Film Reviews

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 Party’s Over The Party’s Over is an unusual short film which speculatively depicts the Academy Awards dressing-room interaction between two legends of the silver screen, Audrey Hepburn and Grace Kelly. Directed effectively by Skyler Sulby and written, interestingly enough, by its two stars Jessica Ann Brydon and Leah Freilich – this intimate, 7-minute drama is well-photographed, well-performed and satisfyingly structured. Despite the fact that it’s based on the identities of two of the most famous screen-presences in history, the conceit and overall story structure feels most original. What it is confronting through the characters is the idea of walking away from your career. Kelly famously stops acting once she marries the prince of Monaco. It makes for a deeply moving passage of dialogue as she begins to confront how little choice she’s had in the evolution her life is taking; there’s a lot of nuance to how much she either does or doesn’t want to address about her own personal feelings. And Audrey talks about walking away for now, and the viewer is left to infer a lot from what’s left unsaid. If there’s one odd effect the film has on the viewer, it’s the following. By stating that the two people you’re watching are Audrey Hepburn and Grace Kelly and then casting people who do look very much like them, you can’t help but then examine their faces and think of all the things that are different about their looks and behaviours. This isn’t really a complaint, but an inevitable aspect of any biopic-adjacent film. It’s almost like a very successful acting exercise, filmed fittingly. Speaking of which, the cinematography of this film is incredibly impressive. It adopts of high-contrast, soft focus, black and white style to tell its story – and all these elements also contribute to the sense that we’re observing an old, treasured photography (which, in fact, is the very inspiration for the film, as displayed before the end credits). On a technical level, perhaps the greatest accomplishment is the first shot: a quick push in through a living room as the camera dollies towards a television set introducing the Oscars. I’m not certain how the lighting and tracking was achieved all so perfectly, but it’s a sensational way of introducing the concept of the film. I would actually love to see these writers and performers make a film about themselves as actresses in the current film landscape, and I’d say that’s a good sign. Because even removed from the outside context of Hepburn, Kelly and the trajectory of their careers, our screenwriters manage to hit on some universal themes – such as uncertainty for the future, questioning of one’s legacy, and trying to find hope and freedom within the confines of the life you’ve found yourself in the middle of. These are ideas and emotions worth exploring in a longer form. I couldn’t have predicted that a short film would choose to depict such an interaction – it almost seems off-limits in some uncanny way. And yet the fact that these talented filmmakers pull it off is testament to the craft behind the work. VIEW REVIEW Giants Giants follows Sandy (Josh Barrow), an isolated teenager drifting through his post-industrial town, scavenging for scrap. He finds unexpected purpose after meeting an older conspiracy theorist, Don (Trevor Fox), who tasks him with destroying a local wind farm. Giants is a short film based on true events and shot in the North of England. What is perhaps most impressive about Giants is the raw attention to detail in every frame from director Andy Berriman. Shot on location in the North of England, the film captures the area’s vast landscapes beautifully and almost makes the town feel like a character. The entire production has a homemade feel, with a clear love for the subject matter and location. Structurally, the film prioritises the relationship that grows between Sandy and Don over spectacle. While the narrative has a clear focus, the central task only really comes to fruition in the final third of the film. The film adopts a rather mellow approach in its opening and shifts to a more exhilarating focus in its final stretch. The dynamic between the two central characters works incredibly well, as Don fixates on looming giants and takes Sandy under his wing to educate him. The inter-generational friendship that grows between them is easily the most compelling aspect of the script, and their chemistry is magnetic throughout. Thematically, the film tackles provocative themes such as grief and self-purpose, which are integral to both Don and Sandy’s character arcs. Don is grappling with the loss of his wife and blames the state of the post-industrial town for his struggles. Sandy, on the other hand, is trying to find purpose as a confused teenager and finds solace in his friendship with Don, which guides him through his coming-of-age. Both character arcs are executed profoundly with nuance. Technically, the film is visually stunning, with incredible camerawork and a wonderful musical score that perfectly matches the tone. Jack Edwards, the film’s cinematographer, does a tremendous job capturing the intimacy and scope of the town. The film consists primarily of wider framing to capture the vastness of the landscape and shifts to over-the-shoulder shots and close-ups during the more intimate scenes between Sandy and Don. It's a commendable choice as it feels grand in scope while being an incredibly personal experience. Cecilia Morgan serves as the film's composer and delivers a sombre score that complements the narrative’s more dramatic moments. Josh Barrow and Trevor Fox’s portrayals of Sandy and Don, respectively, are remarkable. Josh Barrow captures Sandy’s tenderness and youthful spirit as he searches for a sense of purpose. Trevor Fox strikes a wonderful balance between Don’s dramatic and comedic sides, and his chemistry with Josh Barrow is an absolute delight. The narrative reaches an incredibly thrilling conclusion, culminating in jaw-dropping tension in its final moments. It's a deeply engaging finale with an ultimately satisfying end that wraps up both characters' arcs sublimely. Giants is a breathtaking short film that's deeply moving, funny and beautifully shot. Anchored by its tremendous production design and two compelling central performances, Giants is a perfectly paced film that leaves you wanting more. VIEW REVIEW Eterne 'Eterne’ is a love letter inspired by those who lost someone throughout the pandemic or to a fatal disease. It looks at loneliness, the experience of grief, and the mental health of a person who struggles to speak about the difficulty they are going through internally. We follow a morning in the life of John (Pat Mooney) at 85 years old, having lost the love of his life, Mary (Helena Bereen), a week ago. They met at 15 years old, and she was the beating heart of the home. Throughout the film, we experience the quiet of a house once blossoming with life and the small moments that can trigger tidal waves of grief. We explore how John experiences these memories alone and how he tries to process them. The colour palette is dull as John wanders the house; he moves past trinkets and memories, reflecting upon them as life fills the scenes with warm tones and dialogue between him and Mary. Heartfelt music is played every time a memory flickers by, and this deepens with dread as John experiences both sadness and panic simultaneously. It is impossible not to feel the emotion packed into this film. Through a short run time, it captures the grief and isolation through loss. How simple things in your routine can change abruptly, missing the ones you love. From an empty place in bed to needing help on a crossword, simple things yet where you miss their presence the most. It’s deeply rooted in everything you do, think, and feel. A house becoming a ghostly shell to what it once was. This film is inspired by true events. On a heavy day in October 2021, at 91 years old, both her grandparents got Covid and sadly her Grandma Bessie passed away. This left Ian to have to completely recalibrate his life without his focal point. It was said they had a ‘Romeo and Juliet’ type romance. Meeting just off the school bus, from opposite sides of the town and rival families who did not approve of the match. Their wedding rivalled a royal wedding; the town square was packed with well-wishers. A total of 76 years together, 3 children, 18 grandchildren and 3 great-grandchildren. They had an extraordinary love and a wonderful life that would be reminisced about across generations. We explore the aftermath of such a sacred kind of love. After a life together, after well-wishers stop calling, after sound and structure and familial chaos. What is the new normal for John? When it feels like the ground under your feet is crumbling and you can’t quite steady yourself. We feel a sense of relief for John when Hannah visits (Eleanor Shannon). Overwhelmed by emotions and terror, John can breathe again, a sense of relief when a familiar and nurturing face comforts him in his darkest moments. It’s especially fitting within that generation and how they often don’t open up, just to suffer in silence. It gets us to reflect and appreciate how precious life is, how our support system can help calm the storm. Overall, the film is shot well, although only set in one house, it explores the isolation across such a vast space. It utilises the rooms to tell a story and conjure up John’s fondest memories. The set dressing and props act as a device to delve into pivotal moments between John and Mary. They act as a peephole into their life and evoke a sense of vulnerability and relatability between audiences and characters. Grief is most prominent in the silence and both the music and colour palettes portray that effectively. Pat Mooney’s performance is heart-wrenching, and the film is especially moving as it was his last project before his unfortunate passing a month ago. He was an incredibly talented actor and, most notably, a kind man to those surrounding him. This performance is a true testament to his love of the craft and how he can tell such an important story just by his captivating presence. A project everyone should watch to deepen their understanding and perspective on such a significant topic. Mooney’s work will forever live on through his remarkable legacy. VIEW REVIEW Praeis Praeis, released in 2024, is a Lithuanian short film written and directed by Dovydas Drakšas. The 27 minute short follows Ada (Ieva Kaniušaitė) as she graduates and is forced to face the reality of her father’s (Šarūnas Puidokas) nature, fighting against her childhood perception of him. Set in the 90’s, this story navigates themes of self identity, parenthood, guilt and the cyclical nature which family can create. “Praeis” itself translates directly to “it’ll pass” in English, further emphasising the film’s focus on constantly evolving relationships as we grow and change as human beings. The heartfelt drama is condensed, focusing almost exclusively on our two main characters as their dynamic evolves, or spirals, overtime. The story opens with shots of nature/natural elements, such as trees and a burning fire, which relates to the theme of unavoidable evolution of personal relationships through experience. Ada’s father works as a street cigarette dealer, the objects which are able to symbolically display each stage of their likeness. Ada chokes towards the beginning and states that her father also does not smoke, but can later be seen smoking with no difficulty, portraying how she is breaking away from this bond; this is cemented later when her father is denied the opportunity to smoke a cigarette, it is too late for him to bend towards her preferences. Ada’s more stereotypically masculine appearance amongst her location and time period could also suggest an idolisation of her only present parent, one which is now fading away as she accepts the truth. In case anyone in the audience is skeptical of this truth, the film confirms the paternal figure’s priorities after he disregards acknowledgement of his daughter during a robbery. This short fantastically uses a plethora of physical evidence to reflect the current state of connection between characters. More examples of this include an injury closer towards Ada’s eye after confronting her father (as much as it hurts, she can finally see for herself) and her father placing Ada to bed towards the climax (he is able to physically lay their relationship to bed). Whilst Ada’s view is intensely thorough, it is hard to wonder whether the short could benefit from a more in depth perspective of the father, as his guilt and self-disappointed is slightly difficult to place within the short duration we spend with these characters. This is of course, not his story after all, so this does not overly harm the narrative. The 90’s setting undoubtedly struck a chord with older audiences also, as they can reflect upon their own life and assess relationships they may have had or lost in the past - this assists in forming a closeness to Ada’s life. Credit can be attributed to Anastasiya Mykhaylova for this production design, who has stated that “…a lot of production design focused on creating a historically accurate atmosphere: from cigarette box designs to small details of prints that adorned the walls…” Music for the short is credited to Agnė Matulevičiūtė which is very well composed in a somber, drawn out and almost soft fashion which complements the plot nicely. Both main characters often find themselves technically submissive to the side of the frame, mostly dominated by open space. This could show how they are not truly aligned within their own lives and often feel disoriented within the relationships. Various angles also display a tunnelled vision of Ada or her father, linking to a separation or a secludedness from one another. Ada’s neckwear also consists of a bright blue necklace alongside a dark black necklace, representing the polar opposite visions of her dad that exist simultaneously in her own mind. The colour palette is generally bright, however instances exist in which typically bright colours are also presented as muted, another allegory for Ada’s thoughts towards her father. The lack name given to this character, simply listed as “father”, also helps creating a mysterious identity which cannot be labelled singularly by Ada or the audience. These ideas and subliminal messages upon the eye can of course be credited to every bright mind who worked behind the camera, such as cinematographer Tamás Méder. The short was created under the Paprastesni production company and London film school, undergoing a world premiere at Cannes Film Festival 2024, winning a multitude of awards and nominations upon release. A bittersweet ending rounds off the film, actively engaging an audience to take a stronger hold in their own lives if they are troubled by damaging relationships, even if they are held back by positive memories. Whilst often bleak, the product carries some warming statements surrounding the importance of self preservation over fleeting fantasies. An excellent combination of camera work, strong acting and physical production nicely wraps up this story with a necessary message which translates well across the cultures, gender and other differing identity factors. A highly recommended watch for anybody who is interested in or can relate to the subject material. VIEW REVIEW Tears Of Knowing A young girl sneaks into her classroom early, to leave her beloved teacher a present, but sees more than she should when she hides underneath the desk. Tears Of Knowing from writer/director, Miles Marti follows young Ava (Shea) as she is dropped off to school early by her father. Ava is in primary/elementary school and is about six or seven years old. She knows that she is not supposed to be in the classroom without anybody else there, but she is so early, and there is nobody else about in the playground or the building, that she decides her class is the best place for her. Whilst inside, Ava checks on the class pet, a golden haired guinea-pig by the name of Gus Gus. Poor little Gus Gus is far less perky this morning than he usually is and Ava can’t figure out what’s wrong – that is until Ms Price (Price) turns up acting all stressed and flustered, even more so than usual for an overworked, undervalued, and underpaid primary educator. Ms Price is carrying a large cardboard box with holes in it, which is making little squeaking sounds, and Ava watches from her hiding place under one of the desks as a simple switcheroo happens right before her eyes. Ava then has to contemplate what she has just witnessed and must try to come to terms with it, whilst deciding just how this act is going to affect the relationship she has with one of her most trusted adults. In the space of only six minutes, Marti tries to get across to us just how affecting small acts of subterfuge can be when played on the young minds of small children. As adults it can sometimes be only too easy to try to pull the wool over the eyes of the innocent, trotting out the tired old platitude to ourselves that ‘what they don’t know can’t hurt them’ and other such garbage. What we can fail to realise at times, however, is that children are far more knowledgeable and aware than we give them credit for, and that by trying to protect them we might be doing far more damage than we might believe. A lot of the story is given to us through hand-held shots that drift this way and that, mimicking the young eyes of a curious child who is seeing more than they know they should, and Kai Romero’s cinematography keeps us right in the centre of the story with Ava. Marti’s direction, too, tries to keep Ava front and centre, never needing her to say too much for us to be able to understand her thoughts and her feelings, while her actions speak volumes about how she has come to terms with what she has witnessed. The setting of the classroom is also absolutely spot-on, with a real-life school being the backdrop for Ava’s story, and everything looking exactly the way an early years classroom would, bringing us directly into the frame along with the children in the class. It is unknown whether Marti was trying to say anything with the choice of location in his movie, or whether it was just a convenient and accessible place to film, but the St. Jerome school offers another level of meaning behind the main message being given, especially if you consider the passage cited on the classroom door, of Matthew 4:19. We all know that the most pervasive lie that we tell children is the one about a jolly fat man with a white beard and a red coat who brings them presents at Christmas time. In fact it is so pervasive, and hard to shake, that most parents tie themselves in knots piling one fantastical fabrication on top of another to combat the justified questioning of the unlikeliness of it all, rather than admit to their children that they’ve being lying to them all of their lives. This can then, of course, be extrapolated to God, and the lies of all religions, which seek to ‘protect’ and ‘comfort’ the flock of innocents, whilst obviously using these lies for control and submission to authority. Whether Marti is making these points or not, they are pertinent to the theme and message of Tears Of Knowing , and come out intrinsically through the watching of the film. It is not just the simple lie that is being covered up, it is also the blatant disregard for the actual knowing of the truth, that is so hurtful and damaging, although perhaps in the end ultimately freeing, for Ava. For what is on the surface a simple short film, Tears Of Knowing opens up a whole Pandora’s Box of questions for adults and parents to answer when deciding just how much of the world to share with their children, and which lessons should be taught when. VIEW REVIEW Diary of a Ghost “Our Story was meant to be longer than a year; it was meant to be a lifetime”. This is a short film looking at grief and how one young woman, Sage Evans, is coping a year after her boyfriend’s death. This was her first love, and we see how she struggles as grief impacts every part of her daily life. She battles to keep him close but is overwhelmed by the reminders of what happened that tragic day. To cope, she writes chapters in her diary, which help bring her lost love to life. Is this healthy, or is this taking her down a dark hole? It is amazing what can trigger a memory: a sound, a picture, or even a smell. The film shows all of this. Genevieve Chenneour plays Sage Evans, and she does a remarkable job keeping the audience engaged. This is an achievement, as so much of the film focuses solely on her. With minimal dialogue, Chenneour successfully conveys the character’s sadness through her facial expressions and body language. Her actions make the audience feel the pain of loss as they follow her through every emotion. This powerful performance will speak to many who have experienced the pain of grief. Alfie Noble gives a sincere performance as Riley Leeks, the boyfriend who has been lost far too soon. He and Genevieve Chenneour have strong chemistry as they bring comfort and sadness to the main roles. His character delivers an important message that it is time to move on. There are disturbing moments, but they give the audience a gritty reality outside of Sage's mind. Caroline Hajny directs and has experience developing stories with a female lead. In this film, she has created a beautiful story that will have a lasting effect on its audience. The locations support the actors’ portrayal of loneliness, and the close-up camera work helps the viewer understand how the main characters feel. The musical score is well chosen to reflect the sadness in each scene, particularly those involving Sage and Riley. Music can play a pivotal role in emphasising emotions and developing a film's many layers. Some words will leave an imprint on the audience, and that comes down to the writer's talent. Some of the script is pure poetry with a beautiful insight into how a person can feel when someone close has died. It is impossible to know what people are going through, and the writer delves into the loneliness that accompanies grief with a powerful closing message. The words are delivered softly but with conviction, making them even more thought-provoking. I think every part of this film will tug at the heartstrings and allow viewers to reflect on their own feelings of loss and grief. The cast's performances are highly impactful and show that grief can affect everyone around you. Film can make a real impression and play an important role in people’s lives by giving them characters they can connect with. This film certainly does that. VIEW REVIEW Every Time I See A Yellow Car Every Time I See a Yellow Car (2026) follows protagonist Olly as he is troubled by his childhood trauma and recent sexual assault. His declining mental health causes him to spiral, as his older brother attempts to protect him in violent ways. Their different approaches to healing cause a large rift between the brothers and as their methods of overcoming emotional distress contradict each other, more pain is forced upon the pair. This short film is beautifully written; the voiceover explains enough, yet not too much, keeping you engaged and curious throughout. Audiences can enjoy the buildup of tension before the twist in the narrative changes everything. The film tells the story in a non-linear way that is composed of delicate sound work and interesting cinematography. The use of colour, especially the reinforced meaning behind the yellow (which seems to forcefully display a never-ending cycle of trauma), is tactically placed, enhancing the flashbacks to Olly’s childhood. The performance of Ty Tennant (previously known for his 2022 work in House of the Dragon ) was exceptional, full of depth and emotion without an ounce of melodrama. His exhibition of mental health was subtle yet deeply moving and his voiceover elements were executed with such conviction. The act of displaying trauma and sexual assault through the journey of brotherhood was a unique approach, one that ensured the audience could empathise with the characters without needing to know every small detail of their previous hardships. The shots of the young boys playing the game ‘yellow car’ definitely aid in the amount of sympathy felt by audiences. It is a breath of fresh air that the film ensures viewers understand the characters as more than what has tragically happened to them. One of the most breathtaking shots that stands out is the choreography of the hands coming out of the yellow car, an eerie sight when you begin to understand the symbolism behind the use of the colour yellow. Another creative choice that was intelligently produced is the reveal that the ‘therapy’ session with Olly is being watched by what seems to be investigators. This helps round off the narrative and ensures audiences have a moment where everything clicks into place for that satisfying ‘aha’ moment. Overall, this short film is produced with great professionalism; all technical elements seem to be of the highest quality. The non-linear structure and fast-paced montages keep viewers engaged throughout, and the performances in such a touching story are admirable. VIEW REVIEW Midnight Bloom Midnight Bloom follows the friendship between two young fathers, Aaron (Raphael Santiago) and Jamie (Tyler Astley), as it deepens into a powerful, fragile romance. The two men meet in an isolated car park night after night, and by day, the love for their families calls them back. As Aaron grapples with split loyalties, he wonders if he can maintain his relationship with Jamie before he loses everything. What is perhaps most compelling about Midnight Bloom is how the filmmakers delicately pull the audience into the lives of Aaron and Jamie. Despite the lack of characterisation and context surrounding the central characters' encounters, the dialogue is incredibly compelling, profoundly capturing the growing sense of yearning and guilt between them. It's an uplifting depiction of queer love, as Aaron and Jamie’s relationship is heartwarming while also tragic, as they are forced to hide their feelings for each other in an isolated car park. The script, wonderfully written by Jake Williams, explores the deeply intriguing themes of desire, guilt and queer love, weaving them seamlessly into the personalities and experiences of its central characters. While these themes and ideas could have been more fleshed out in an extended runtime, the film leaves the viewer wanting more without overstaying its welcome. Despite the film's brisk runtime, you can easily root for Aaron as the narrative delves into his struggles with fatherhood. The dialogue compellingly explores themes of melancholy and love, and its dramatic beats resonate throughout. While the film could have explored more of Jamie’s personal life beyond his relationship with Aaron, his performance subtly conveys the depth of his feelings. The narrative also briefly explores Aaron’s relationship with his child, which is one of the most compelling aspects of the script and the emotional crux of the conclusion (without venturing into spoiler territory). The technical aspects of Midnight Bloom are incredibly impactful, thanks to its incredible cinematography and tight editing. Joshua Ighodaro serves as the film's cinematographer and does a wonderful job framing each scene. The piece primarily utilises extreme close-ups in the more intimate scenes as the characters grapple with the isolation and guilt of their relationship. The camera also shifts to wide framing within the confines of the car park to convey the desolation of the location. Hector Miller serves as the film's editor and does a tremendous job seamlessly cutting between the central characters' meet-ups and personal lives, intertwining them throughout with some incredible dissolves. The two central performances from Raphael Santiago and Tyler Astley, portraying Aaron and Jamie respectively, are incredibly compelling. They both convey their characters' guilt-stricken personalities with remarkable depth while simultaneously preserving the tenderness and warmth that develops between them in isolation. Their magnetic chemistry makes for an incredibly thrilling experience. It's also difficult to watch as Jamie desperately craves more reciprocation from Aaron, longing to take their relationship beyond the confines of the car park. Midnight Bloom is an emotionally resonant short film steeped in melancholy and desire, anchored by two remarkable central performances. While its brisk runtime may come at the expense of deeper characterisation, it remains a worthwhile effort, elevated by exceptional editing and striking cinematography. VIEW REVIEW Khemerican This is a short film looking at Cambodian Gang life in the USA. The title is an amalgamation of Khmer which is the ethnic group of Cambodia and their official language and American. The film opens up with two young Cambodian-American teenagers discussing their future while setting up for the morning shift at the family Donut shop. Soon their peace is destroyed by the very life they are both trying to escape from. This is an introduction to the world of Cambodian gangs. This is an adrenaline-charged picture that really makes the audience fear what will happen next. The score starts softly and then slowly builds to a heavy beat to complement the pace of the action that is unfolding. This is an emergency situation which is being driven by a pretty scary individual with a formidable presence. The performances throughout are outstanding. The audience will really believe what is happening and fear for those involved. The tension amongst the main characters is palpable as barriers develop; so does the fear. This appears to be a debut film for David Klaut as Sovankary, the teenager trying to keep a clean life in helping his father run his Donut shop. This is a mature performance showing great skill in reacting to everything that is going on. Klaut is able to convey the stress that his character is under as the situation becomes more and more perilous. This is supported by the performance of Sam Puefua, who plays the gang member Monk. Puefua shows real menace with this character, helped by his physical presence in each scene. The danger they all face feels real, and there is no let-up in the action. The physical aspects of each performance are choreographed well, and the audience is treated to each character's viewpoint, as the camera moves around the scene. Overall, this is superb casting. The director Jimmy Chhiu skilfully navigates each scene in what is a claustrophobic environment. The close-up camera work adds to the tension, making the action that much bigger and elevates the threat that each character is under. The opening scene develops the background of the two teenagers. The character Bountha is striving to improve his life, and Sovankary is resigned to a future at the shop because this is the only life for those born of refugees. What starts off as an everyday shift soon derails into violence. Chiuu works the script well and has a good eye for location for both internal and external sets. The choice of musical score is perfectly chosen. The writer is able to present a snapshot of what life is like for gang members in the U.S. They have developed each character, and in a short time we learn their background. Even those who don’t make it on screen have an impact on the situation. The audience learns about the family dynamic and the battle Sovankary has to stay on the right side of the law and away from danger. The dialogue sounds authentic, which really helps the actors deliver on their performances. This is a well-polished film with some superb performances. It is a mixture of relentless action where the audience will struggle to catch their breath and calm, thoughtful dialogue. It is a scene from your worst nightmare, and, unfortunately, scenarios like this are all too common. The viewer will have plenty to contemplate when the film stops rolling. VIEW REVIEW Cancer Kid Cancer Kid is a dark comedy about a schoolyard prank that keeps Elliot (Charlie Zeltzer) spiralling down into a health anxiety hole. His life seems over as he tries to understand his own mortality. Throwing us right back to our school days, we follow innocent, naive Elliot navigating school life and bullies. Without going into spoilers, the set-up of the prank is so nostalgic. This was one that went round every school and caused panic but also, upon reflection, carried a lot of weight. Adulthood and so many serious issues are touched upon in this but through a comedic sense of wonder about the world. It uses children’s innocence to open up a wider conversation whilst balancing a lightheartedness. The children’s performances are strong; they don’t really understand the gravity of the situation and how to properly comfort Elliot in such a vulnerable moment. They are, as to be expected, very childlike responses and matter-of-fact, which really pushes the comedy element. Their lives consist of going out to play and their biggest worry being what’s for tea tonight? Even his own family can’t believe what he is saying. Battling his own demons, but he doesn’t quite understand them himself. We see Elliot going through Google searches, misspelling serious terminology, reading and frightening him, all adding to the health anxiety. One scene in particular shines through when he’s going through his mum’s medication drawer and picks the option he does, completely clueless but hilarious. His solution to this life-altering prank is extreme and he doesn’t quite understand the consequences, writing out a letter to his family that’s heartfelt but naive. The quality is apparent in this film: well shot, clean audio, and sound design throughout. The sound, especially, is used as an effective device to portray Elliot’s emotions through shock, sadness, and disgust, and helps to strengthen the comedic timing during dialogue. The relationships are well established in this film: the easygoing friends, the annoying older brother, and the unaware mother. It grapples with growing up and that ever-looming thought process of self-awareness and existence. Most age ranges could watch this and take something away from it. From an adult audience, it hits so many relatable marks, having grown up with the same elements of childhood and how we learn lessons the hard way. The ending just solidifies that point, and it’s really well executed, leaving Elliot in a state of disarray and relief. It’s no wonder that Cancer Kid has won Best Short Film at the Blue Mountain Film + Media Festival, Toronto Independent Film Festival, and Vancouver Island Short Film Festival, and was an Official Selection at the Austin Film Festival. It’s an independently produced dark comedy made by brothers Vasili and Dimitri Manikas. This project alone proves the brothers’ dedication to filmmaking and creates excitement for any future endeavours. VIEW REVIEW

Directed by: Cyrus Neshvad Written by: Guillaume Levil, Cyrus Neshvad Starring: Malik Zidi, Brigitte Urhausen, Lydia Indjova Film Review by: Holly Baker ★★★★ Child (2026), directed by Cyrus Neshvad, is a disturbing thriller with striking imagery, set in rural Luxembourg. The film follows a couple, Anne and Gregg whose child is seriously ill, and pictures their journey into morally compromising methods to help their dying son. Viewers may find this couple of parents difficult to root for, as seeing the number of people they are willing to hurt along the way for the life of their son is brutal. However, those who watch, particularly can understand how strongly they care about their son, and can comprehend the horrors of what it would be like to lose a child. The film is relentless from the opening shot. We see washed-out, hopeless imagery from the outset as cinematographers do not shy away from the gloomy realities of extreme trauma and child death. Child could certainly qualify as a horror film, with its immense darkness and violence, as the couple gradually lose themselves in the dark criminal underworld. Similar to Cyrus Neshvad’s previous directorial work, which is made up of several critically acclaimed shorts, such as I Will Be Alright (2026) and The Red Suitcase (2022), Child is considerably artful in its presentation of grim subjects. The film uses largely outdoor settings allowing the natural world to characterise the screen. As well as this, there is an interesting colour contrast in the grading, particularly in the hospital segments, with their blue-grey misery evoking the atmosphere of a horror film. Child Official Film Trailer Despite the thrillingly horrific events of the film, the characters consistently feel authentic in their despair, and they pose intriguing ideas about the world around us. In this way, they feel almost Shakespearean in the way that their doom is shaped by society, but also by their own fatal errors. Gregg, for instance, is somewhat responsible for their son's tragedy, and therefore refuses to allow him to die as this guilt would kill him. Anne is, from first impressions, an empathetic, good-willed individual; however, she throws all this away at the chance to save her son. By abandoning basic moral principles, and even betraying one of their own, a fellow mother, the couple descend into a world of chaos where laws no longer apply. Viewers may find their minds drawn to “The Rime of the Ancient Mariner”, a classic Gothic poem wherein a moral boundary being broken brings a curse to a mariner's journey, tormenting him for the rest of his life. Similarly, Anna and Gregg will never escape the guilt of their actions, as Child highlights the way that small decisions lead to a lifetime of owed penance. The minimalistic. costuming and make-up in Child is incredibly effective in highlighting the shock factor of crucial moments. There is a focus on facial expression, particularly in the eyes of Anna, as viewers witness her desensitisation to the people she fails to help along the way. Both characters wear fairly nondescript outfits, underlining the idea that potentially any individual may be capable of committing immoral acts when placed in a position of absolute peril. Overall Child is a tough but worthwhile watch for viewers who are comfortable with graphic depictions of child kidnapping and organ harvesting. Though it is desperately dark in its most upsetting moments, there is an immense beauty in the careful cinematography, brilliant performances, and touching tragedy. Child will be in UK Cinemas from 2nd October

Film Feature by Callum Ewing, James Learoyd and Tom Manning Best Film Callum For me, Hayao Miyazaki’s masterpiece is Princess Mononoke, a film that combines spectacle with a morally complex story. It delivers a nuanced environmental message without dividing its characters into simple categories of good and evil. Lady Eboshi seeks to destroy the forest to mine iron, yet she provides sanctuary for society’s outcasts, while the forest spirits become enraged and vengeful in their defence of the natural world. This moral ambiguity creates a tragic cycle of violence in which both sides have compelling motivations. The film is among Miyazaki’s most visually stunning works, as well as his most visceral and violent. Joe Hisaishi’s beautiful, haunting score elevates it into a tragic epic. Its fragile, bittersweet ending acknowledges that conflict will continue. With its uncompromising stakes, powerful themes, flawless pacing, and immense scale, Princess Mononoke represents the peak of Miyazaki’s work and demonstrates how hand-drawn animation can transcend the medium. No wonder James Cameron took inspiration for Avatar! Honourable Mention: My Neighbour Totoro James James’ favourite Miyazaki is his 1989 family classic Kiki’s Delivery Service. It is also, for him: the best movie of the 1980s, the best movie about growing up, the best movie to contain aspects of fantasy, and (the big one) the best animated movie of all time. Kiki's Delivery Service - Official English Trailer There is no protagonist more lovable, and whose journey more relatable, than that of Kiki – a witch who, on her thirteenth birthday, must leave home and find a town to occupy (all with the companionship of her black cat Jiji). There she is also to find work of some kind, and she does in the form of her own delivery service for a quaint bakery where she resides. As Callum said so eloquently on our episode of the podcast, “it’s about burnout”. Specifically, it’s about your first encounters with disappointment, self-doubt, and depression – and yet it might be the most life-affirming of all Hayao Miyazaki’s movies. It’s the children’s film that teaches the most complex and emotionally mature lessons (about accepting your ups and downs, moving on from failure, learning that you won’t be loved or understood by everyone); and yet it does so in the most whimsical, optimistic terms. One of those rare movies I would be okay with watching once a day for the rest of my life. Tom The film that stands out as being the best Hayao Miyazaki film to me is also one of my favourite films of all time, Spirited Away. The only word that can really describe this film is magical. It epitomises everything that makes Studio Ghibli great with its fantastical world seen through the eyes of a child and some of the greatest side characters you’ll ever see. There’s No Face that represents the greed of humanity and the pitfalls of capitalism; Haku the dragon, and, of course, Kamaji in the boiler room. Spirited Away Official Trailer Spirited Away was the first Ghibli film that I watched, and immediately I fell in love with this magical world. There are few films that are able to create a world as rich and creative as this, and it’s no surprise this is one of Ghibli’s biggest films. I never get tired of watching this film, and there’s so much to take out of it from each viewing. It shows just how powerful animation can be as a medium in film too. Most disappointing/Least favourite film Callum One of my more controversial opinions after watching most of Miyazaki’s films is that I prefer his work from the 1980s and 1990s to his films from the 2000s. Although Spirited Away and Howl’s Moving Castle are classics and fan favourites, they do not engage me as much as something like Princess Mononoke, My Neighbour Totoro, or Kiki’s Delivery Service. Despite their magnificent themes and craftsmanship, I find Spirited Away and especially Howl’s Moving Castle a little too strange. Howl's Moving Castle Official Trailer Howl’s Moving Castle is the film I connected with least because its narrative struggles under the weight of too many abstract ideas. The film is based on Diana Wynne Jones’s book, but it also serves as Miyazaki’s creative response to the outbreak of the Iraq War. For me, this makes it feel disjointed as it tries to balance dreamlike fantasy with an anti-war message. The rules of its dream world are also difficult to follow, and it features some of the weakest antagonists in a Miyazaki film. Although it remains enjoyable, particularly for its visuals, the narrative does not work for me as well as those of his other films. James This is the first director covered on the podcast who, in James’ eyes, does not have a ‘worst’ film in the conventional sense. Howl’s Moving Castle is his least favourite – or, let’s say, the one that lacks the emotional connection of all the rest. The humour is slightly clunky and, out of all his large-scale fantasy epics, this is the work that lacks propulsion. This was a project Miyazaki entered as director only later in the pre-production process, perhaps explaining why it lacks the personal, self-reflective edge of all his other movies. AND YET: Howl’s Moving Castle remains a masterclass in modern technical animation, demonstrating a level of craftsmanship that – were it not helmed by Miyazaki – would surely stand as any other director’s crowning achievement. But in terms of this man’s body of work, Spirited Away is the masterpiece that will always scratch the itch that this doesn’t quite manage to. Tom As we discussed in the podcast, there really isn’t a bad Miyazaki film, and my least favourite is still a film that I enjoy. But, something has to be here and I’ve chosen Porco Rosso for my least favourite of Miyazaki’s films. Porco Rosso official film trailer With Ghibli films, in general, the connection you have with them is one of the most important things and I just felt that I struggled to properly connect to this one. I’m probably due a rewatch and, of course, this has one of the best lines in any Ghibli film, ‘I’d rather be a pig than a fascist’. Where this film falters for me, is with the romance arc surrounding Fio and how the pilots fawn over her. It’s just a little bit uncomfortable and reduces an interesting character to this one-dimensional situation. The score is still great and it’s always fascinating to see Miyazaki’s love of aviation on the screen with fantastic sound effects and beautifully crafted planes. It’s a film that I wish I liked more which I think is why it’s fitting to be my least favourite. Most overlooked Callum Nausicaä of the Valley of the Wind is my choice for Miyazaki’s most overlooked film. His second feature predates Studio Ghibli, so it is often absent from box sets and missed by casual audiences. Nausicaä of the Valley of the Wind official trailer Based on Miyazaki’s own manga, the film is a science-fiction epic influenced by novels such as Frank Herbert’s Dune and J. R. R. Tolkien’s The Lord of the Rings. Its post-apocalyptic setting may deter viewers seeking something more whimsical, and its dense world-building can sometimes overwhelm, but its ambition remains impressive. The film also establishes the blueprint for Miyazaki’s later work: Nausicaä is a fierce, independent heroine who inspires characters such as San; its environmental themes explore conflict between humanity and nature without reducing it to good versus evil; and it marks Miyazaki’s first collaboration with Joe Hisaishi, whose magnificent synthesiser score enhances the film. Nausicaä’s success gave Miyazaki, Isao Takahata, and Toshio Suzuki the resources to found Studio Ghibli, while its artistic vision shaped the studio’s future and proved that Miyazaki could become a major animation director. Honourable Mention: Castle in the Sky James The Wind Rises is James’ pick for Most Underrated. Despite its critical acclaim, it’s simply not discussed enough in movie circles – especially considering that until The Boy and The Heron was announced, there may have been a sad reality in which this ended up being his final film. The Wind Rises official film trailer The Wind Rises is Miyazaki’s most personal work in so many ways, crystallising his love of aeronautical engineering, his fascination with the conflicted father figure, and – perhaps most importantly – it's about the act of creation, and all the pains and doubts that come with it. It’s one of the most beautiful films about the creative process as I’ve ever seen; but here, it’s a process placed in a historically and personally destructive context. His only animation that doesn’t contain any elements of the fantastical is, in fact, one of his most imaginative and free-flowing. There are maybe just one or two movies in my lifetime that I consider more moving than this one. Tom The most overlooked Miyazaki film has to be Nausicaa of the Valley of the Wind, which is one of Miyazaki’s earliest works and is one of his best. I only watched this film for the first time recently but it immediately struck me as being one of the most interesting looks into what a post-environmental collapse world would look like. It begins with this sci-fi western-style opening, which immediately hooked me and then Miyazaki introduces the Ohms which I think are my favourite parts of this film. They are these misunderstood creatures that the characters are scared of, apart from Nausicaa who is the only one to understand them. This follows quite a familiar trope in Miyazaki’s work where the child main character is the only one to understand either the villain or a force that everybody else dislikes. It’s an incredible film that has a lot to say about the damage we have inflicted on the planet through war and climate change. It also explores aviation in a way that Miyazaki hasn’t done since with the gliders that Nausicaa uses being fantastic to see too. It’s a brilliant film that deserves a lot more love especially when being talked about amongst the best of Studio Ghibli. Listen to both episodes of The Films of Hayao Miyazaki below:

★★★ Directed by: Martin Darondeau, Bertrand Usclat Written by: Bertrand Usclat, Martin Darondeau, Pauline Clement, Clemence Dargent Starring: Pauline Clement, Julien Frison, Laurent Stocker, Marina Hands Film Review by: Jason Knight A comedy drama feature directed by Martin Darondeau and Bertrand Usclat, written by Usclat, Darondeau, Clemence Dargent and Pauline Clement and starring Clement, Julien Frison, Marina Hands and Laurent Stocker. Things are not going smoothly at a Parisian theatre. It is the day that stage actress Nina (Clement) will have her directorial debut and the Culture Minister will be attending. The play is William Shakespeare's Macbeth, and the lead actress has just informed the crew that she will be unable to be there in time. So poor Nina finds herself having no choice but to take her place and play the part. As if this were not enough, Nina has to deal with other issues that include actress Emilie (Hands) cheating on her partner, actor Philippe (Stocker), with another actor, named Antoine (Frison), stage equipment malfunctioning, and her former partner (Nicolas Chupin) bringing their baby at the theatre and making her look after him. The narrative is a sort of race-against-the clock plot, with the story beginning at 6pm and Nina trying to resolve all sorts of problems in order to save the show, which starts at 9pm (every half an hour, the time is shown on-screen). The whole thing is reminiscent of the 2014 Oscar-winning film Birdman, with the entire story taking place inside the theatre, multiple characters being explored, some well-executed tracking shots, and music by Clement Ducol that includes drumming. A variety of issues arise as things move on and Nina has to deal with them (she is the director after all), and what ensues is drama, awkward situations, disputes, and thoughtful moments. Comedie Française Official Film Trailer As the main character, Nina is a likeable individual, a caring mother with a passion for her profession. Now she has found herself in a challenging position, having to overcome obstacles while also discovering herself. Stocker stands out as an obnoxious man, a disrespectful actor, unaware that his partner is having an affair. Nadine (Daniele Lebrun) is another interesting character, a veteran actress who is also a drug user. An intriguing subplot is the one involving Issa (Sefa Yeboah), a friendly young usher who evidently should be performing on stage. This feature explores the world of theatre, what it is like working in this industry, be it as a performer or another position, including director, stage manager or make-up artist (the latter being approached via Sephora Pondi's character). From a different perspective, this is a story about self-esteem, self-discovery, self-reflection, family values and working towards a goal. A somewhat short film (one hour and ten minutes) that manages to be funny and dramatic. The appearance of a certain famous French playwright adds significant quality, and so do the costumes by Chloe de Nombel. Comedie Francaise will be in UK Cinemas from 9th October.