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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 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 average rating is 3 out of 5 Remember Us Read Review average rating is 3 out of 5 Motor City Read Review average rating is 3 out of 5 The Dink Read Review average rating is 4 out of 5 Hadestown: The Musical Read Review average rating is 3 out of 5 The Odyssemen Read Review average rating is 2 out of 5 Andrea Alive Read Review average rating is 4 out of 5 The Summer Book Read Review average rating is 5 out of 5 The Odyssey 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. 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 An Ode To A Popstar William Hemingway Help Me Patrick Foley 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

Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. LATEST MOVIE REVIEWS UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. We even review short and independent films on the podcast. Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Get Reviewed On Our Podcast Film Reviews from UK film critics LATEST REVIEWS Son of Sara average rating is 3 out of 5 AVALUDAN average rating is 4 out of 5 Questionable average rating is 3 out of 5 Bobby average rating is 2 out of 5 I Want Your Sex average rating is 4 out of 5 Dead Air average rating is 3 out of 5 Noblestone average rating is 4 out of 5 Nightborn average rating is 3 out of 5 Spider-Man: Brand New Day average rating is 4 out of 5 Beau Ideal average rating is 3 out of 5 Remember Us average rating is 3 out of 5 The Quiet Ocean average rating is 4 out of 5 Featured Film News FILM NEWS The Latest Film Trailers MOVIE TRAILERS Focker-in-Law Heart of the Beast Klara and the Sun Power Ballad The Debut One Night Only Filmmaker Interviews INTERVIEWS

Film Feature by Chris Olson There is a distinct, prickly sensation that washes over a film editor when the entire internet appears to be spinning a vast web of enthusiasm for a movie he has not yet had the privilege to watch. As someone who has unashamedly championed Tom Holland’s tenure as Peter Parker, from his wide-eyed debut in Civil War right through to the multiversal heartbreak of No Way Home, I am currently caught in a sticky situation. My calendar has conspired against me, keeping me glued to my desk while audiences and critics nationwide rush to cinemas to witness Spider-Man: Brand New Day. Living vicariously through the critical consensus is a dangerous game, but reading the early reviews has left my senses tingling in overdrive. By all accounts, director Destin Daniel Cretton’s takeover of the franchise has delivered a narrative that doesn't just swing for the fences; it hooks its webs onto the highest skyscraper in town and launches the character into a bold, emotionally fraught new era. Leading the charge in pushing my excitement to a fever pitch is our very own George Wolf at UK Film Review. In his glowing Spider-Man: Brand New Day film review, George awarded the picture a stellar 4-star review, marveling at how the story brilliantly handles the devastating aftermath of Doctor Strange’s memory-wiping spell. George pointed out that far from hitting the reset button as a mere gimmick, the narrative forces Peter to grapple with profound isolation. It turns out that living in a pokey New York apartment where nobody remembers your name makes for rich dramatic soil. George praised Holland for delivering his most grounded, layered performance to date, swinging effortlessly between world-weary grit and that trademark, relatable warmth that made us fall in love with his Spidey in the first place. Spider-Man: Brand New Day Final Movie Trailer George is far from a lone voice shouting into the void of the Daily Bugle’s newsroom. Across the aggregate landscape, the film is catching critics in a sticky trap of near-unanimous acclaim. Over on Rotten Tomatoes, the film debuted to a dazzling score up in the nineties, placing it firmly alongside the most revered superhero chapters of modern cinema. Sifting through the verified reviews, a clear trend emerges: reviewers are praising this fourth installment for daring to strip away the grand, multiversal spectacle of its predecessor in favour of a more tactile, character-driven story. Industry commentators on platforms like Collider and Esquire have highlighted the film's surprising tonal shift. While the previous trilogy bathed in the bright, energetic glow of high school comedies, Brand New Day plunges Peter into the gritty, unforgiving reality of young adulthood. The integration of street-level Marvel elements, most notably Jon Bernthal’s brooding Punisher, has been singled out as a masterstroke, creating a tense, ideological friction that challenges Peter’s moral compass like never before. Over on IMDb, where early audience scores and user reviews are flooding in, the sentiment is equally charged. Viewers are raving about the stunning sequence work and practical stunt craft. Film critics across social media have noted that Cretton trades in heavy, weightless CGI for punchy, grounded fights across rainy Manhattan rooftops, giving every punch and web-slinging leap a bone-crunching sense of impact. There is also endless chatter surrounding Sadie Sink’s mysterious role, with reviewers teasing that her performance introduces an intriguing, unpredictable dynamic that keeps the audience guessing throughout. Yet, for all the talk of practical action and gritty combat, what truly resonates across the critical landscape is the enduring heart of Holland’s performance. Tom Holland Talks Spider-Man: Brand New Day Many critics have remarked that despite the suit, the villains, and the high-stakes heroics, the core of the film remains a deeply human drama about grief, independence, and the heavy price of duty. The bittersweet dynamic between Peter and Zendaya's MJ, who now looks at him as a complete stranger, is reportedly handled with such delicate, romantic-comedy flair and tragic undertones that more than a few hardened film writers have admitted to shedding tears. Naturally, a few contrarians have grumbled that the film spends a little too much time marinating in Peter’s existential angst rather than offering wall-to-wall superhero brawling. But frankly, that only increases my appetite. I have always maintained that the best Spider-Man stories are the ones where Peter Parker’s personal life is falling apart just as fast as he can web it together. With great reviews, however, comes great responsibility, chiefly, the responsibility to clear my diary, buy an oversized tub of popcorn, and get myself into a cinema seat at the earliest possible opportunity. If the film critics are to be believed, Tom Holland has not only proved that there is plenty of life left in the old web-shooter, but he has also delivered a spectacular, triumphant chapter that redefines what a Marvel movie can be. Now, if you will excuse me, I'm off to fight my way through ticket queues before the entire plot is spoiled for me.

Star rating: 4/5 Writer: James Ersted and David R. Larson Director: James Ersted Starring: Dylan Nunez, Paul Parducci, Kira Omans, Ari Hader and Alain Mora. What Happened to Suzie? is an absorbing thriller. Written by James Ersted and David R. Larson, and directed by James Ersted, this film is composed as a documentary, in the style of a 'mockumentary', but with a twist, and 100% in the dramatic genre. We meet Andy, played by Dylan Nunez, whose sister Suzie disappeared without a trait years before. He is collaborating with a documentary crew to tell his story. They organically build trust and get deeper into the story, including the fact of close family always being suspected first in disappearance cases. Unbeknownst to Andy, Don (Paul Parducci), who as director and main cameraman is the leader of the film crew, is already aware his uncle was the main suspect for a long time- when he tells Andy, alarm bells start ringing, but, after some strong hesitation, Andy ultimately decides to go through with and even deepen the collaboration, and get to the truth of what happened, with grave consequences. Technically, this film is brilliant. Visually it is gripping, with adept use of a huge variety of points of view, including CCTV footage, screen view of online calls and chats, and unique views from corner windows. The performances are brilliant, with the actors’ naturalism shines through- not an easy feat when playing high tension situations. The theme of empathy runs all the way through this film- the documentary crew, with the exception of Cynthia (played brilliantly by Kira Omans) shows no emotional interest in Andy's situation. Don even tells him that whatever Andy gets filmed doing, to add to the piece, 'doesn't have to be real, it just needs look that way for the camera'. A big question here is who can we ever really trust with our stories, pain and problems. That's the difference between being supported, or these spiralling out of control. The ultimate theme, however, is the power of organised crime, and the destructive effects it has on people, families and even entire communities. Can we ever really combat it?

Film Feature By Chris Olson There are certain literary treasures so pure, so thoroughly perfected across decades of adaptation, that any attempt to dismantle and reconstruct them ought to come with a health warning. Charles Dickens’s A Christmas Carol is chief among them. For generations, readers and filmgoers alike have held up various screen incarnations of the infamous Victorian miser as gold standards of holiday storytelling. Alastair Sim captured the ghost-riddled guilt with haunting authenticity in 1951, while Albert Finney brought musical flair to the Victorian gloom in 1970. Yet, for my money, and I suspect for many who cherish true cinematic perfection, no actor has ever matched the towering, deadpan brilliance of Sir Michael Caine in 1992’s The Muppet Christmas Carol. Playing it entirely straight opposite a felt frog and a blue whatever-he-is, Caine delivered a masterclass in emotional arc, vulnerability, and genuine redemption. You believed his heart was breaking; you believed his joy when he bought the prize turkey. So, when news reached my desk at UK Film Review that Paramount Pictures had mounted a brand-new, horror-infused reinterpretation entitled Ebenezer, starring none other than Johnny Depp as the titular humbug, my initial reaction was not excitement. It was a cold, creeping sense of dread. Ahead of its scheduled November release, I must judge what we know so far based on trailers, casting announcements, and studio fanfare. And frankly, as someone who holds the classic adaptations near and dear, I am pessimistic. Ebeneezer Official Film Trailer Directed by Ti West, the indie horror filmmaker behind X, Pearl, and MaXXXine, this new iteration promises a decidedly gothic, supernatural take on the 1843 novella. From the footage unveiled in the recent trailer release, West is leaning heavily into jump scares, bleak snowscapes, and stylized terror. The film positions itself as a darker origin-adjacent study of how Ebenezer became the cold-hearted miser who despises humanity, complete with harrowing ghostly encounters that look more suited to an October horror marathon than a cozy December evening by the fire. While horror and Dickens have always shared common roots, Dickens did, after all, write ghost stories; there is a fine line between chilling atmospheric tension and overwrought grimness. When a story shifts its focus entirely toward macabre spectacle, it risks losing the essential warmth and moral resurrection that gives A Christmas Carol its enduring soul. Michael Caine didn't need blood-curdling frights to convey a soul in torment; a subtle tremble of his lip and a tear in his eye did the work of a thousand jump scares. On paper, the supporting ensemble for Ebenezer is undeniably impressive. Sir Ian McKellen steps into the heavy chains of Jacob Marley, while Andrea Riseborough portrays the Ghost of Christmas Past. Tramell Tillman takes on the Ghost of Christmas Present, Daisy Ridley appears as the Ghost of Christmas Yet to Come, and Rupert Grint plays the long-suffering Bob Cratchit. However, all eyes are inevitably fixed on Johnny Depp. The project marks his first major Hollywood studio production in eight years, framing the film as a high-stakes comeback vehicle. We have seen Depp construct iconic, larger-than-life characters over the decades, from Edward Scissorhands to Captain Jack Sparrow. But in recent times, his performance style has often tilted toward eccentric caricature rather than grounded dramatic truth. During a recent promo stunt at San Diego Comic-Con, Depp appeared in full Victorian costume, scowling at attendees and barking in character. It was classic circus showmanship, but it did little to assuage my fears that this performance might end up as another parade of exaggerated accents, prosthetics, and theatrical tics. Scrooge requires a subtle heart underneath the frost. If Depp treats the role as merely another quirky creature in his gallery of misfits, the central emotional core of the narrative will simply collapse. The challenge with remaking a legend is that you are constantly standing in the shadow of giants. When Caine sang alongside Kermit and Gonzo, he treated the material with absolute sincerity, grounding a fantastical world in real, human heartbreak. By contrast, a heavy-handed, horror-adjacent blockbuster risks feeling hollow; a stylish exercise in gothic aesthetic that forgets why people fall in love with Dickens’s tale every winter. I hope Ti West and Johnny Depp will prove me wrong when Ebenezer finally arrives in cinemas this November. Perhaps the gloom will give way to a genuinely moving story of redemption. But until the lights go down and the credits roll, I remain deeply sceptical. For now, I suspect I shall be sticking with Tiny Tim, Rizzo the Rat, and Sir Michael Caine.