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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 2 out of 5 Big Baby Read Review average rating is 3 out of 5 The Yeti Read Review average rating is 3 out of 5 Tinsman Road Read Review average rating is 4 out of 5 Cookie Queens Read Review average rating is 2 out of 5 Ice Cream Man Read Review average rating is 4 out of 5 Holy Days Read Review average rating is 4 out of 5 The Chronicles Of The Struggling Actor Read Review average rating is 3 out of 5 Due West Read Review average rating is 3 out of 5 Son of Sara Read Review average rating is 4 out of 5 I Want Your Sex Read Review average rating is 3 out of 5 Nightborn Read Review average rating is 4 out of 5 Spider-Man: Brand New Day 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. 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 Lennington Evening-Blooming Cellar Jason Knight Ethereal Matt Trapp Blooming Cellar-Tuesday Jason Knight Train Ride Jason Knight 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. Swallows of a Damned Spring Swallows of a Damned Spring is a stark reminder of how easily we take our freedoms and everyday privileges for granted, but also that in the darkest of times, it is crucial to hold onto hope. Based on a true story, this unorthodox hybrid documentary from filmmaker Jona Pireva shares with us the tale of a young Kosovan girl during the Kosovo war, a conflict that started in early 1998 but reached its true peak during the spring of the following year. For four long months, NATO bombs rained constantly over the war-torn city, and while some were fortunate enough to remain in their homes, others were forced to upend their entire lives in search of safety. Narrated by Pireva herself, this six-minute film is a poignant, heart-tugging lament for a life and childhood stolen, for a future increasingly uncertain. Our narrator longs for nothing more than a clear blue sky, rather than one filled with "colours never seen before and some noises never heard". Yet, despite being stripped of their education, their friends and even their sky, they still somehow manage to find room for hope that one day they, like the swallows that migrate each year, will also be able to return home. After a look through Pireva's intriguing back catalogue, it's clear that here is a filmmaker with their own distinct vision and style, their own precise sense of storytelling, and an unwavering, applaudable conviction to see it all fully realised. Swallows of a Damned Spring is no exception. Pireva's penchant for the close-up, handheld style, always seeking the fascinating minutiae of each scene, allows us to enter this world with our narrator, its jagged raw style working to serve the narrative as a vivid memory being retold, bringing us and the emotion together, There are no bells and whistles; nothing is done merely for show, and with that, not a great amount of depth to uncover. Yet it's simplicity, it's being drawn back to the bare bones, are what give the film not only clarity in that vision, but the space to draw us in to what matters most: the feeling. Ultimately, it all feels incredibly personable, inimitable and pure. A sombre, unassuming and understated piece, Swallows of a Damned Spring is a deeply personal tale told in a most deeply personal way, a filmmaker bearing heart and soul for us in the pursuit of great storytelling and offering a vital lesson to never take what we have for granted. VIEW REVIEW As You Wish Spencer Anderson writes, produces, edits and directs this short psychological drama, starring Elliot Cable, Gillian Broderick and Natasha Robinson. The plot: World War II is taking place and a young soldier named Peter (Cable) is at a carnival, where he visits Helen (Broderick), a fortune teller, hoping that she can reveal news regarding Sheila (Robinson), his beloved partner. Helen will do so, bringing to the surface revelations that will deeply distraught Peter. The entire narrative of this six-minute-long film takes place inside a small tent, where the fortune teller puts her abilities to use and during this short running time, great acting, methodical filmmaking and creative mise-en-scene collaborate and create an atmosphere filled with tenderness, tension, and heavy drama. The mise-en-scene effectively creates an environment that brings to life a Second World War setting, with Pete's uniform being one obvious aspect, along with Sheila's hairstyle and clothing. Signs of a fortune teller's workplace are present, and they include a crystal ball, tarot cards and the turban worn by Helen. This story relies heavily on feelings, and Anderson frequently utilises close-ups of the protagonists' faces, effectively capturing their reactions and emotions in shots that are massively supported by Dan Abrams' wonderful cinematography. Throughout the story, Peter is sat at Helen's table, with her sitting opposite him. Things start out relatively calmly, turning dramatic following a disclosure that deeply upsets the soldier, creating a rollercoaster of strong emotions as Peter fights hard to comprehend what he has just discovered. As the story progresses, the atmosphere changes, going from blissful to chaotic and melancholic, with Reg Length's music adding to the dramatic scenes. More on the audio, the methodical use of sounds of gunfire and shouting results in a harrowing battle scene that is experienced audibly. The vast majority of this film revolves around Peter's state of mind, and Cable does an amazing job, vividly expressing his character's feelings, whether it is happiness, anger, or sadness. In her debut film role, Robinson impresses as a nineteen-forties young woman who has been reduced to a very distressing state following the separation from her partner. And Broderick is the fortune teller, a calm, patient, and understanding person. This relatively short story manages to explore a number of significant themes, and they include war trauma, desperation, comfort, regrets, and painful revelations. A World War II story. A romance. A tense and emotional film about a soldier battling with himself as he faces unexpected discoveries. VIEW REVIEW The Circle This is a short film from 2025 that depicts a small group meeting at what looks like a local village hall. This is a group for addiction, and they all have a story to share. The group is led by Jay, who clearly believes he is above the rest, having come through his own addiction. His common phrase is “Safe Space”, but this meeting feels anything but safe. The lighting is very well done, and the audience will notice that there is a spotlight above each person which highlights their turn to speak. It also adds to the feeling of isolation that each character is feeling. It is also a clever use of lighting to show Jay is on one side with a dark backdrop and the three attending have a much lighter setting. The lighting plays a very important part in this film and really gives that uncomfortable feel as each person struggles to share their story. I found Martin Green's performance a touch hammy at times, and a little more subtlety could have been used. Despite this, he was able to clearly show the character's condescending nature, which drew an invisible barrier between his character and the others. The character was well written, and the audience will really get to feel some emotion towards him even though this may be negative. This is the strength of the writing and, to some degree, Martin Green's performance. The standout performance was from Victoria Lenham-Kelly, who really took control of many of the scenes. She depicts empathy really well towards the other characters. The best parts of the film came from Victoria Lenham-Kelly, and this is really helped by the writer, who gives this character the greatest depth. She develops a real chemistry with the other characters suffering from addiction and is the adversary to Jay, pulling no punches. The most important aspect of the performance is that she makes you believe her character is going through the struggle of addiction and wants to understand the others around her. At times she wants to help. Nathan Wedge and Valerie Bundy have limited dialogue, but they use their physical acting skills to portray their characters' emotions and their feelings towards the other characters. They provide real contrast to the two dominant characters. This works extremely well, particularly towards the closing scene. The director really knows how to set up a scene, particularly one that feels tense at times. Their use of the clock at the beginning and end makes the audience feel quite uncomfortable at times. The simple nature of the set draws the viewer to the actors' performances and avoids any distractions. As said previously, the director has used lighting to great effect throughout. The message of the film has really been handled very well by the writer and director. This is an enjoyable film that tackles very important issues, particularly in the time it is set. It has been made to highlight addiction in its many forms and how and why those addictions come to be. This film could really resonate with the viewers and could easily be used as an educational tool. The audience won’t know where the film is taking them until the very end scene, which really helps to build the different layers of the story. This is a very important watch for 2025 and beyond. VIEW REVIEW Peekaboo Peekaboo - scripted, directed and performed by Nadav Elkum - is a new rap music video with a crime-chase narrative weaved throughout. We follow the rapper, and many others portraying fictionalised versions of themselves, as he is chased down by people whom he still owes money. This is a strong piece of work from a visual standpoint, and the content of the story is also not without intrigue. The appeal of this video is the camerawork, combined with the deliberately fast-paced editing – both elements operating in tandem to form what feels like a musically inspired, modern digital evocation of pure frenzy and aggression. It all works incredibly well; from the varying shot types (whether it’s handheld or a wide-angle physical attachment to the performers), to the decision to capture these images with fast shutter speeds (creating that choppy, visceral jitter effect) -- cinematographer Bruce Melan certainly knows how to build an immersive ‘look’ based around the project’s core, sensory interests. And the editing, then in turn, manages to cut well with the music track we’re hearing. The point of this review is not necessarily to serve as a critique of the song itself (since this is a film publication), and thus I shall only touch on it very briefly... It's got a strong beat and an expressive energy. The lyrics are pretty thematically rich in parts, but don't entirely flow or come together for this critic (who is not a music critic). Due to the fact that the style of the filmmaking appeals to me a lot more than the song itself, the sequence in which the music drops out, and it becomes pure drama and tension, is the highlight of this five-minute piece. The section I'm referring to takes place in a car which our lead is using to escape his violent pursuers; a moment of respite he uses to rationalise his dire situation to his love interest, supposedly, and her son – who, by the way, insists on playing peekaboo before our protagonist is dragged from the car and almost killed. It’s a revealing passage of dialogue and operates so nicely as a midpoint moment of clarity and character- grounding. In terms of the violence, one could argue that it creates an odd sort of impact. Especially following on from this sequence, when a man is smashed over the head with a baseball bat. The effect is simultaneously unpleasant and slightly cartoonish and would maybe benefit from a 'less is more' approach. Whilst this critic enjoys violence in movies, I'm not sure how much blood-squirts and casual, city-based murder adds to this kind of music video. Nevertheless, the filmmakers made a purposeful decision and committed fully to it, so this is more a matter of taste than a creative failing. Peekaboo is a worthy five-minute viewing, both as a music video and a work of visual storytelling. And particulalrly if any readers are interested in this genre of music, you could easily seek this one out on YouTube. Additionally, the fact that Elkum acts, directs and produces the music – and that it all comes together – is a pretty impeccable achievement in itself. VIEW REVIEW The Chronicles Of The Struggling Actor A young wannabe actor struggles to find that one breakout role and begins to fantasise about how his life would turn out if he could just get the big break that he is looking for. As with most struggling actors, the lead (Janneh) in writer/director, Lyud Hristov’s debut short film, remains anonymous. When we first meet him, he’s filming himself on his phone in his bedroom, trying to make an audition tape for the next big thing which is finally going to catapult him towards the success that he knows he deserves. First though, he has to deal with interruptions from his long-suffering mother (Smales) and from his flatmate (Lawrence), as he desperately tries to keep things professional in front of the camera. While his friends are always on hand to offer soothing words of encouragement, his mother tries to give him the best advice she can, which is to give up on such a silly dream, and to put his efforts into finding himself a proper job with real, actual prospects. However, the struggling actor must always stand strong in the face of setbacks, rejections, adversity, and others’ lack of faith, and with this one last chance to prove himself, he’s determined to claim a part in this new production and set himself off on the path that he knows is waiting for him. Unfortunately for our plucky protagonist, nobody is taking him seriously and he’s not being offered any sort of time or space to really let his range shine through. From his self-important acting coach, to his manager at the bar where he works, he is belittled, and undermined, and stopped from ever getting to give his best. As pressure piles upon pressure, something inevitably breaks, and soon our struggling actor is finding it hard to remain in the real world, retreating into fantasies, daydreams, and false reminiscences, to help himself cope until he finally receives the call he has been wating for all this time. Even though we never get to learn his name, in the eleven minutes that we get to spend with the struggling actor, we find out a lot about him as a person and are party to a lot of his hopes, fears, dreams, and motivations. Abdul-Malik Janneh does a sterling job of portraying these emotions and themes through the character, and is able to ‘turn it on’ when getting into the roles that are being asked of him, even though he never gets very far into the performance before being stopped. Writer/director, Lyud Hristov keeps his scenes pacy and engaging, especially with the music choices, which set the tone for the film and for the actor’s personal struggles, while also adding in some nice visual touches and continuity gags to reward the more discerning viewer. There is a lot going on in every scene of The Chronicles Of The Struggling Actor and Hristov makes sure that everything comes together seamlessly, from the visuals, to the performances, to the sound, to help pull us into the actor’s story and live it alongside him. Once the more fantastical asides come into play, this then gets amped up by a level or two, and the frantic, desperate nature of the struggling actor is revealed to us piece by piece, as he begins to fall apart. There is a definite frustrated nature to the entire production of The Chronicles Of The Struggling Actor , mirroring the feelings that most people will have experienced in trying to break out into a creative profession. Hristov understands the nature of the business intimately and successfully transfers this frustration, desperation, and disappointment into every frame of his film. They say to write what you know, and it seems that here, even in his debut short film, Hristov has laid out everything he knows and understands about how it feels to be the struggling artist, maintaining his vision throughout and truly captivating the audience into the process. For what is a fun and evocative eleven minutes, The Chronicles Of The Struggling Actor will take you out of your comfortable armchair, and will make you squirm, sweat, and laugh as you go on the journey of anonymity with our failed lead, hoping against hope for a positive outcome and the fabled Hollywood happy ending. VIEW REVIEW The Date The Date is a coming-of-age short piece set in the vibrant streets of Mumbai. The narrative follows Vijay (Adnan Ahmed Mullick), an introverted photographer and traveller, as he meets Devi (Gaurav Choudhary), a sex worker with an uplifting spirit. Intrigued by her resilience, he asks her out on a date, wanting to connect before he leaves the city. The piece is a journey of self-discovery set against the backdrop of the bustling markets within Mumbai. The Date is an incredibly lived-in and intimate experience thanks to the two central performances and technical elements throughout. Firstly, every aspect of the piece has beautifully developed characterisation. The city of Mumbai feels like its own character, with its vibrant nightlife brought to life through its rich culture and bustling food markets. While the piece has an incredibly minimal runtime, the narrative wastes no time and fleshes out both central characters to a suitable degree without ever overstaying its welcome. Secondly, the themes of self-discovery and identity are highly universal, woven seamlessly into the narrative without ever feeling rushed or underdeveloped. It’s paced exceptionally well, without ever putting a foot wrong, with each sequence flowing seamlessly into the next thanks to apt editing choices from Bhaswan Chatterjee. The camerawork throughout the piece is tremendous, as cinematographer Hrithik S. Naudiyal frames each sequence with a delicate edge. Most of the narrative consists of close-ups with both characters always at the centre of the frame, never losing sight of the character-driven focus. It’s a commendable choice, as the audience is consistently invested in both character arcs because the experience feels so intimate. The fixed camerawork is also a highlight as it perfectly complements the steady pace of the narrative. Despite how minimal the music is throughout, it's incredibly impactful with majestic motifs that perfectly complement the tonal balance and setting. The narrative is exceptionally well-structured, and despite its runtime, the film leaves viewers deeply invested in both Vijay and Devi, thanks to their well-developed, compelling character arcs. It's a powerful and emotionally resonant experience because the filmmakers delicately tackle the themes of anxiety and grief. The themes are apt and integral to the character arcs of both Vijay and Devi. Vijay is an introverted character who expresses his feelings through photography, and the relationship he grows with Devi is delightful to experience. Devi is grappling with her identity, and the more she opens up to Vijay, the more vulnerable she becomes. Both central performances are the heart and soul of the narrative, making their chemistry one of the film’s most heartwarming qualities. Adnan Ahmed Mullick delivers a terrific performance as Vijay, convincingly capturing the character’s anxiety-ridden nature while sharing remarkable on-screen chemistry with Gaurav Choudhary as Devi. Gaurav Choudhary’s portrayal of Devi is the biggest delight of the piece as she has an incredible screen presence that exudes charm and restraint as she opens up to Vijay. The use of flashbacks is another apt choice that further fleshes out Devi’s character arc and concludes the narrative in an emotionally resonant manner. All the dramatic beats land thanks to how well developed both characters are, and the piece tackles the theme of self-acceptance exceptionally well. The Date is an astounding piece of indie filmmaking that explores coming to terms with one’s identity while thoroughly examining anxiety and grief. It’s an emotionally powerful coming-of-age story, elevated by two outstanding lead performances and an intimate, uncompromising portrayal of self-discovery. A flawless sensory experience that may stick with viewers for days after the credits roll. VIEW REVIEW Paintbox A short comedy drama written and directed by Tahmid Choudhury and starring himself, along with Corey Fraser, Ebony Skerritt and Oliver Keaton. There isn't really a plot here. Instead, this film explores the life of a British teenager named Michy (Fraser), following him as he engages in a variety of activities including working a dull job at a cinema, skipping school with friends and fellow students Wasim (Choudhury) and Pascal (Keaton), having a word with his mother (Skerritt) and attempting to go on a date. This short also places the viewer inside Michy's mind and it does so by having him inside a room that appears to be windowless and doorless, with paintbrushes and paint containers scattered around and the walls covered in paint, depicting things that seem to be related to his life, such as music notes and a calendar. Evidently, this is the titular ''paintbox'' and it appears to be where Michy's inner thoughts take place, as the film cuts to this ''place'' and provides a better understanding regarding this character by having him address the audience and describe his opinions about himself and situations he has to deal with. The events are told through Michy's perspective and revealing how he perceives things not only as a person but via his mind too, thanks to the paintbox. The general impression of Michy is that he is a well-meaning guy, a typical teenager really, trying to pursue romance, hanging around with friends, having trouble dealing with responsibilities and struggling to comprehend himself. Skerritt plays his supportive and loving mother, who also wants him to acknowledge the fact that he needs to learn how to be responsible. As for Wasim and Pascal, Choudhury and Keaton portray them as fun-loving schoolboys. This short deals with themes many teenages would identify with, such as school, friends, dealing with parents and going on a date. Friendship, parenting and support are vital elements in this film, primarily though, the screenplay explores teenage anxiety and what goes with it, including self-reflection low self-esteem, facing responsibilities and self-discovery. With emotional and gentle music by Toby Longhurst, this is a comforting viewing that communicates the message that people must believe in themselves, that they must believe they are capable. VIEW REVIEW AVALUDAN The Tamil language drama AVALUDAN builds rapidly in intensity over its 15 minute runtime, delivering a damning statement on patriarchy and the domestic abuse of women. The film’s rising intensity builds to a powerful and surprising crescendo, which combined with the confident filmmaking and excellent performances across the board, make this a tense and satisfying watch. The film starts with Raman (Sivakumar Palakrishnan) in his home kitchen, preparing an honestly fantastic looking meal. Cinematographer Muhammad Syakir Bin Subana captures Raman’s care and attention through his culinary skills, immediately cluing the audience into what kind of man he is. AVALUDAN is structured nonlinearly, jumping seamlessly between a present day interview with the police and flashbacks that generously feed the viewers with more context. We soon learn in this interview that Raman’s daughter Radhi (Dhurga Lingasparan) has reported that her husband Rajan (Seshan Veerappan) has been missing for two days. Thanks to a focused screenplay from writers Subash Kumar and Darshan Kunasagran, as well as Lingasparan’s excellent performance as a woman stuck in an abusive and unfulfilling marriage, AVALUDAN the film wastes no time in exploring themes of marital coercion and domestic assault. Veerappan’s performance as Rajan is equally deserving of praise, as he plays the role of a controlling, aspirational patriarch with venom. There’s a measure of complexity within Rajan which gives depth and believability to his character; he’s desperate for a child with Radhi because he feels that people are laughing at him, and he feels as though he has “achieved nothing in [his] life so far”. His insecurity manifests as abuse, and as the narrative bounces back to the police station, there’s an impending sense that something is awaiting Rajan to have caused his disappearance. While director Darshan Kunasagran does an excellent job of bringing all the elements of the film together into one coherent piece, I cannot help but feel like I would have liked to see more of Palakrashnan’s performance. He is ever present through the film, sitting next to his daughter in the police interrogation room, but considering his role within the film’s larger conversation about the importance of community and the protection of women, he does unfortunately fade into the background a little. Still, it’s laudable that AVALUDAN centres Radhi’s story, never depriving her of agency despite her circumstances. Without spoiling the film’s climax, I feel it mostly nails the landing. While it pushes against the boundary of believability, the performances from the cast sell the drama of the conclusion. AVALUDAN is a compelling drama with complex characters that feel entirely fleshed out and well realised. The short’s subject matter is heavy, but Kunasagran doesn’t stop this from weighing the narrative down with a sense of self-seriousness. It’s still a thrilling watch, with information and character motivations constantly revealed at a steady pace. Most appropriate is the film’s title, which translates loosely to ‘with her’. Considering the motif of female solidarity, it’s a fitting summation of the ideas that Kunasagran is clearly invested in. VIEW REVIEW Questionable Questionable is a superhero spoof directed and written by Joseph Jeavons. When two criminals inadvertently schedule a bank heist on the same day, they plot to work together to take out their common enemy, the unorthodox hero known as Questionable Man. There’s no doubt that the film is lacking in substance, and the script is far from being as tight as it could be. However, the likable cast and snappy editing keep the short from dragging, and there’s plenty of charm in here to amuse audiences willing to give these oddballs some attention. The fantastically named Duke Maplecloth (Jacob Watson) and Danny (Duy Hong Pham) are common thieves aspiring to be supervillains. Questionable Man is the only major road block to their career aspirations, and he ends up the catalyst who brings these two would-be rivals in an unlikely alliance. The performances from Watson and Pham are laid back and easy, and while they don’t necessarily fit the image of being hardened career criminals, it works in the film’s favour, building out a universe of lovable eccentrics who talk of robbing banks as though it’s entirely routine. Questionable Man, played by Morgan Moses, is soon introduced, and he immediately sticks out as the only character in this world who seems to possess any fighting capabilities whatsoever. In an unexpectedly well edited scene, he interrupts a would-be supervillain’s pathetic attempt at mugging a woman’s purse, slamming the assailant’s head into a brick wall. Moses portrays the character with a comedic stoicism, excellently juxtaposing his ridiculous costume; the hero appears to wear a wetsuit, a gold chain, and a label that reads ‘Hello, my name is Questionable Man’. It’s idiosyncratic, uncynical, and very easy to like. It’s worth acknowledging that Questionable doesn’t aspire to be much more than an absurd romp, and while it succeeds in being a fairly dumb parody of a genre nearly everyone is familiar with, it’s a shame that Jeavons doesn’t use this opportunity to really comment on or say anything. Questionable could have aspired to be a little bit more; locations are limited to two alleyways and one copse, and the whole short has an improvisational energy that gives what little plot there is very little drive. I can easily imagine that audiences who are not charmed by the fairly amateur production will find themselves bored by Jeavons’ film, wishing that the satire was focused in a particular direction. While the action scenes are well edited, and for my money the highlight of Questionable , I would have liked to see more of them, and potentially expanded in scope. The cast have a great energy when they’re grappling with each other and tumbling to the ground. Perhaps next time Jeavons will lean into this, and allow his cast to show off their stunt action chops? There’s no denying that the cast carry the energy of the film, and while Questionable ’s concept as a superhero parody is far from novel, it’s nonetheless enjoyable to see a group of actors sincerely having fun, playing loosely and with room to inject their own personality into the film. Jeavons knows his strengths, and at only 8 minutes in length, he knows how long the comedy in Questionable can be sustained. While Questionable doesn’t aspire to say much of anything, it’s worth acknowledging that this isn’t exactly new for films in the superhero genre. VIEW REVIEW Bobby Directed by Cameron Summers, Bobby is a tender story of loss and family centred on a ghostly protagonist. While the film manages to stir some heartfelt emotion in a minimalist package, there’s a tangible feeling of discomfort in the film’s central thesis that doesn’t appear as intentional, veering dangerously close to justifying suicide. Bobby is the short’s protagonist, and it’s quickly revealed that his story takes place after his tragic suicide. He speaks to the audience matter of factly, in a soft voice performed adequately by Luke Pierce Powell. Physically, so to speak, Bobby appears as an archetypical ghost: white sheet, black eyes; it’s reminiscent of the costuming in David Lowery’s ‘A Ghost Story ’. Bobby expounds on his life story, describing how his parents died when he was young, leaving him with a (g)host of happy memories on holidays, but also regret that he didn’t know them better. His quest in the afterlife is to reconnect with his mum and dad, and he sets off into the world to find them. The film is shot well, and there are some really great visuals in here. The film leans into cold blues in its colour grade, and the scenes of Bobby roaming the earth look appropriately melancholic. There’s a particularly haunting scene where Bobby looks into a house’s kitchen through a window, and in watching these strangers living their lives happily and ordinarily, there’s a real tangible sense of distance between the subjects in the frame. Besides some audio hiccups and some out of place murky shots later in the film, Bobby appears to be a well constructed short. As alluded to earlier, the film unfortunately treads a rather awkward line around the subject of suicide, and possibly makes a case for it as a way to reconnect with lost loved ones. An early shot in the film shows Bobby’s method, a hanging noose, which comes across as insensitive and morbid. Suicide is already a difficult topic for many people, and showing on screen the image of a noose, as well as Bobby’s suicide note, is jarring. The audience can intuit the details without being shown the artifacts, and it ends up almost trivialising Bobby’s pain and hurt; in this moment, his life is distilled into its bleak end for maybe a little shock value or grim intrigue at best. The same can be said for the film’s denouement, where Bobby finds peace and all that he was looking for with his parents in the afterlife. I’m not arguing that the film needed to veer into a didactic ‘life is worth living’ narrative, but I do wonder what Summers is expressing in Bobby’s suicide effectively being the solution to his problems in life. Bobby’s resolution left me cold. It’s difficult to look past the themes that the film explores, which is a shame because the short is a well made and largely sensitive portrayal of grief. Unfortunately, I found Bobby to be too heavy handed and awkward with regards to its protagonist; there’s little sense of an internal world in him, and his entire character is reduced to the last heartbreaking decision in his tragically short life. VIEW REVIEW

Film Feature by Chris Olson There are certain casting announcements that instantly grab your attention and demand space on your calendar. When you pair two absolute titans of screen acting together in a pressure-cooker genre piece, anticipation levels inevitably hit the roof. That is precisely why audiences (and I) are counting down the weeks until writer and director Padraic McKinley’s acclaimed feature debut, The Weight, arrives in UK and Irish cinemas on Friday, October 2nd, courtesy of Vertical. Ethan Hawke is a performer of immense versatility, but he has always held a special place in cinematic hearts for his sheer intensity. His blistering, Oscar-nominated turn opposite Denzel Washington in Training Day remains a high-water mark for crime cinema, while his grounded, nerve-shredding performance in the original The Purge proved he can anchor a high-concept survival thriller better than almost anyone in the business. Opposite him stands Russell Crowe, an actor whose screen presence commands immediate respect. Whether he is delivering iconic, towering gravitas in Gladiator or sinking his teeth into complex, heavyweight historical drama in Nuremberg, Crowe brings an undeniable power to every frame he inhabits. Seeing these two heavyweights share the screen for the first time in a tense, atmospheric period crime drama is the kind of cinema pairing movie lovers dream of. Set during the Depression era in 1933, The Weight follows Samuel (played by Hawke), a man cruelly torn away from his young daughter and thrown into a brutal prison camp. His only lifeline comes from Warden Clancy (Crowe), who presents him with a high-stakes deal: smuggle stolen gold out of a remote mine alongside a dangerous crew of fellow convicts, and he will earn his freedom. However, as the group treks into the unforgiving wilderness, the harsh terrain quickly becomes the least of their worries. Surrounded by paranoia, greed, and impending violence, betrayal begins to fester within their own ranks, forcing Samuel to risk everything to survive and reunite with his child. Drawing inspiration from the introspective, character-driven action cinema of the 1970s, McKinley’s film promises to balance gritty survivalist set pieces with intelligent dialogue and razor-sharp tension. The visual language is brought to life by Matteo Cocco’s vivid cinematography and a harrowing score from brothers Latham and Shelby Gaines. Alongside the lead duo, the film boasts what Screen Daily hailed as a "formidable ensemble," including Julia Jones, who brings dignity and defiance to her role as Anna, the sole woman in the group, as well as Austin Amelio, Avi Nash, and Sam Hazeldine. The early word on the film has been exceptionally strong. Following its world premiere at the Sundance Film Festival, Variety praised the production, noting that "Hawke is a classical hero" delivering a muscular, resourceful performance as a man pushed to his absolute limits, while Crowe provides a quietly menacing foil as the calculated warden. With its blend of period grit, survivalist tension, and world-class acting, The Weight looks set to be one of the autumn’s absolute highlights.

Film Feature by Jason Knight (amended Apr 2026 to include William Curzon's review) #8 - The Last Laugh (review by William Curzon) ★★★ Directed by: Spencer Anderson Written by: Zachary Coleman Starring: Zachary Coleman, Samuel Lawrence The Last Laugh is a short piece that follows a police officer (Samuel Lawrence) apprehending a clown (Zachary Coleman) with their two opposing ideals at odds. Despite the film's incredibly brisk runtime, it wastes no time building tension and executing its ideas almost immediately. While there isn't much material to sustain a feature-length runtime, the filmmakers clearly intended to execute their distinct vision as depicted on screen. The most impressive aspect of The Last Laugh is its camerawork and fluid editing choices, which are on display. Dan Abrams, serving as both cinematographer and editor for the piece, utilises unique framing choices, including extreme close-ups during moments of severe conflict, and switches to wide framing to give the viewer a sense of the surrounding area. It's an incredibly visceral experience that doesn't let up until its final moments. However, without any prior context to the arising conflict between the two central characters, it's difficult to comprehend what is actually occurring, as the narrative throws the viewer in the deep end, requiring them to decipher what has led to this confrontation. It's a deeply frustrating aspect of the piece due to the lack of character development or thematic purpose, aside from the brief exploration of crime themes. The brief use of music is incredibly impactful and accompanies the severity of the conflict extremely well. Going into the film blind is genuinely a rewarding experience as it's a rather unique piece of indie filmmaking that relies only on a single dispute between two opposing ideologies. While the narrative isn’t fleshed out much, it's extremely refreshing to see an uncompromised vision executed to this level of absurdity. Despite the film having fairly sparse material to work with, the filmmakers do their best to convey their talent with such raw production value. Its absurd nature is commendable, and the narrative does sweep the rug from under the viewer with a shocking twist. #7 - Line of Sight ★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown Starring: Bertie Taylor Smith, Holly Ashman A lonely man is obsessed with a young woman. Francis (Smith) is a socially awkward young man who appears to fancy Erica (Ashman), a friendly girl who works at a cinema. He follows her around and takes pictures of her without her knowing. Finally, he decides to approach her, however, things will take a dramatic turn. This short is kind of a stalker thriller that is seen from the perspective of an unusual individual. Initially, it is not clear whether he is a good or a bad person. He secretly follows and photographs a person, yet his intentions appear to be harmless, as he seems to want to be in a relationship with her. Smith delivers a convincing performance as an isolated individual who has difficulties socialising. His love for photography appears to be a way for him to view and experience the world. Ashman is great in her role as a cheerful cinema worker. The filmmakers make effective use of slow motion and the dramatic music helps create the appropriate atmosphere. This is a dramatic story and one that explores themes of obsession and loneliness. It raises awareness of autism and presents challenges that people with social difficulties have to face. #6 - April ★★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown, Spencer Anderson Starring: Ruby Rae, Oscar King, Cara Kealy In a hostile, post-apocalyptic world, a man escorts his daughter to a place called 'The Vale'. This short science fiction drama introduces the viewer to a world where danger seems to be constant. The story is told from the perspective of a family, whose members are forced to try to survive in that place. These people are Jordan, the father (King), Natalie, the mother (Kealy) and April, the daughter (Rae), who possesses extraordinary abilities. The three of them live in a hidden location in the wilderness and one day, Jordan and April set off to locate a group of people, who will hopefully be able to help April control her powers. Although the screenplay does a decent job in terms of setting up a post-apocalyptic world, it does not explain how it happened, which is not a bad thing, however, it would have helped if there was some form of explanation. The main focus is the relationship between the father and his daughter. The two of them have their differences, however, it becomes obvious that they care deeply for each other. The performances are great, and the three protagonists are convincing in their roles as good-hearted individuals attempting to survive in a harsh world. The film benefits from a beautiful and sentimental score and a special mention goes to Renato Solca for the visual effects. This short is a post-apocalyptic sci-fi that is a story about a journey that is filled with emotion and explores themes of parenting, survival and self-discovery. #5 - As You Wish ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Elliot Cable, Gillian Broderick, Natasha Robinson Spencer Anderson writes, produces, edits, and directs this short psychological drama, starring Elliot Cable, Gillian Broderick, and Natasha Robinson. The plot: World War II is taking place, and a young soldier named Peter (Cable) is at a carnival, where he visits Helen (Broderick), a fortune teller, hoping that she can reveal news regarding Sheila (Robinson), his beloved partner. Helen will do so, bringing to the surface revelations that will deeply distress Peter. This relatively short story manages to explore a number of significant themes and they include war trauma, desperation, comfort, regrets, and painful revelations. A World War II story. A romance. A tense and emotional film about a soldier battling with himself as he faces unexpected discoveries. #4 - Super-Being ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson, Dale Dandridge, Jamie B-Brown, Moyo Taylor Starring: Zachary Coleman, Juke Hardy, Nate Barker, Issie Caird An individual who has supernatural powers is being pursued by sinister people. This science-fiction thriller explores the life of a person with otherworldly abilities. The nonlinear narrative travels through time between scenes that show the protagonist as a young man and scenes that show him as a child. The audience sees the passing of his mother, his attempts to live a normal life and the efforts he makes in order to deal with the people who are after him. There is drama, shooting, life-threatening situations and the sense of an individual who is lost, who seems to be unable to find peace. Much of the story is accompanied by narration by the main character, as he talks about his life and his words are emotional and sound philosophical. Jermaine Wills and Filipas Proskurinas do an amazing job with the cinematography and the atmospheric score is a big plus. Although this is interesting viewing, it might have benefited if the hero's powers were explained more effectively. Nevertheless, this short is an emotional and tense ride about loss and self-discovery. #3 - Satellites ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Tamzin Murray An astronaut is by herself, on another planet. This beautiful and emotional short focuses on a young woman (Murray), who has found herself on an uncharted planet and attempts to navigate through it on foot. The mise-en-scene in this drama effectively brings the viewer into the science fiction genre. The protagonist wears a spacesuit, there is a spaceship and she is on a distant, unknown planet. Regarding the narrative, there is not much of that and it is the images and narration that keep the audience engaged. The viewer observes the woman as she walks through the planet, wearing her spacesuit. She is the only person in the film and there is a strong feeling of isolation. Her voice-over refers to issues about life and the meaning of existence and listening to her is quite thought-provoking. Ben Hardy worked on the cinematography and editing and does a great job. The decision to utilise the track Surrender It by Delectatio was excellent as it is a wonderful and very calming peace that creates a peaceful atmosphere. This is a story that focuses on one person's philosophical perspective regarding life. On the surface it is a sci-fi, however it is more than that and explores themes of isolation and self-discovery. #2 - Rock-a-Bye ★★★★ Directed by: Spencer Anderson Written by: Jamie Bhagwat-Brown, Spencer Anderson Starring: Yazzmin Newell, Samuel Lawrence A young woman makes a crucial decision on the day she and her partner are about to commit a crime. An intriguing short film that works as a crime thriller and also as a story about self-reflection. As a crime film, it has a plot that revolves around the idea of a couple being outlaws. According to director Anderson, this short was made with Western-era influences that involve films such as Blood Simple and Badlands and that is evident considering the storyline and atmosphere. Plus, part of the filming was done at the Burnout BBQ Diner in Summertown, Oxford, giving the film a sort of Americanised look. What is going on is not clear from the beginning, making the viewer to put the pieces together as the story unfolds and what is discovered is that the couple are about to do something very vile. As a film about self-reflection, that theme is explored through Carla (a great performance by Newell), who makes a vital last-minute discovery and makes a crucial decision. Newell is terrific in her role; however Lawrence is arguably the one who steals the show as Clay, Carla's partner, an aggressive and controlling man. With his sixth short, Anderson creates an expertly directed film that contains a great deal of suspense and with terrific performances by the two leads, a dramatic and tense score by Reg Length and beautiful cinematography by Jermaine Wills, this is an achievement that deserves recognition. #1 - Fallen ★★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Zachary Coleman, Michael Watts This short drama was inspired by the reminiscences of Gilbert Bradley, who was a British soldier who exchanged letters with his male partner while he was fighting World War II. Through a nonlinear narrative, this emotional war film tells the story of a forbidden romantic relationship and how these two people tried to keep in touch during the war. Approximately the first half consists of the reading of a letter that was written by one man and addressed to the other and the second half is the opposite. Both contents of the letters are told through a voice-over that comes from the one who wrote it. Their words are passionate and full of emotion, clearly indicating the love that they feel for each other. The narration is accompanied by many brief scenes that depict the lives of the two partners, including one man in a library, reading a letter, scenes of combat, a bonfire and the two men together. The scenes and the voice-over make it all a rather moving watch. With its narrative structure, the film almost feels like a ten-minute-long trailer, which is not a negative element but a rather interesting storytelling technique. Jermaine Will provides wonderful cinematography and the emotional score goes very well with the scenes and voice-over. The mise-en-scene also deserves a lot of praise as it effectively creates a Second World War atmosphere. This is an emotional ride that is very heavy on emotions and explores a romance that is being torn apart by war. It is a beautiful story about love, separation and war and it deserves recognition. #JasonKnight

Film Feature By Chris Olson As a father of two young children, my home is an ongoing battleground between maintaining a shred of cultural sanity and surrendering to the hypnotic pull of toddler entertainment. Over the years, I have patiently endured endless hours of talking animals, singing tractors, and secondary animated characters with questionable accents. But there is one absolute titan of pre-school programming that strikes pure, unadulterated dread into my soul: CoComelon. For the uninitiated (you don't know how lucky you are), CoComelon is not merely a show. It is an unrelenting, hyper-vibrant sensory assault featuring giant-headed, pastel-coloured toddlers singing nursery rhymes on an endless, auto-tuned loop. It has haunted my living room TV screen, invaded my car stereo, and taken up permanent residency in the dark recesses of my brain. For years, I comforted myself with a single, fragile reassurance: at least it is confined to small screens. That comforting illusion has now been shattered. News reaching the newsroom at UK Film Review confirms that Universal Pictures, DreamWorks Animation, Moonbug Entertainment, and DNEG Group have joined forces to unleash CoComelon: The Movie into cinemas worldwide. The film is officially slated to hit silver screens in February 2027, with the UK release expected right around the mid-February half-term break. The moment I read the announcement, a cold sweat broke out across my forehead. February 2027 may feel a reasonable distance away for the average filmgoer, but for a parent, it represents a ticking clock counting down to an inescapable cinematic ambush. My two young children will be at the target age when this theatrical behemoth lands, and I am already plotting every conceivable strategy to avoid buying a ticket. Directed by Kat Good, an animation veteran known for her work as a story artist on Kung Fu Panda, the feature-length adaptation promises to take JJ, the famous round-headed protagonist, and his gang of cherubic pals out of their suburban setting and onto a grander, big-screen adventure. To make matters even more surreal, the production has recruited high-profile talent behind the scenes. Multi-platinum, Grammy-nominated songwriter Justin Tranter has been brought on board as Executive Music Producer to craft a slate of original songs. Even the voice cast reads like a fever dream of Hollywood talent juxtaposed against toddler media. Alongside young actor Connor Esterson voicing JJ, the supporting voice ensemble features an extraordinary array of stars, including Nicholas Hoult, SZA, Ike Barinholtz, Rhys Darby, Sarah Sherman, Ego Nwodim, and Cristo Fernández. How these incredible actors were persuaded to lend their vocal talents to a world where trying new vegetables constitutes a major dramatic plot point remains a mystery, but it certainly proves the staggering reach of the brand. From a commercial perspective, bringing this intellectual property to the big screen is an absolute no-brainer for the studios involved. Born on YouTube, where it has amassed hundreds of billions of views, CoComelon is a multi-billion-pound global phenomenon. Pushing that established audience into multiplexes is guaranteed to print money. Parents up and down the country will inevitably be dragged into auditoriums, surrendering their hard-earned cash for ninety minutes of brightly coloured pacification during the chilly February school holidays. Cocomelon: The Movie Official Teaster Trailer However, from the perspective of a parent who values their remaining brain cells, the thought of sitting in a pitch-black auditorium with Dolby Atmos surround sound blasting auto-tuned nursery rhymes is nothing short of a psychological thriller. Bad cinema is one thing; ninety minutes of giant digital babies blinking slowly while singing about washing their hands in high definition is quite another. In a cinema, there is no mute button. There is no discreetly switching over to the news. There is only you, your popcorn, and a room full of sugar-fuelled four-year-olds staring mesmerised at a giant screen. With the countdown to February 2027 officially underway, my mission over the next several months is simple: tactical evasion. I am currently drafting a comprehensive blueprint to ensure I am nowhere near a cinema when CoComelon: The Movie premieres. Plan A involves delegating all cinema-going duties to my wife under the guise of a generous weekend treat. Plan B requires volunteering for every out-of-town film festival taking place that week, no matter how obscure. If all else fails, Plan C will be inventing an urgent editorial crisis at UK Film Review that requires my undivided attention in an entirely different city. I wish the filmmakers, the talented voice cast, and the courageous parents who will inevitably populate those cinema seats the very best of luck. But as for me, my line has been drawn in the sand. JJ may have conquered YouTube, television, and now the big screen, but he will not be taking my Saturday afternoon.