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Reviews from the latest movies, short films, indie features and more. Check out the UK Film Review Reviews section. Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! We do receive payment from PR companies and other filmmakers for services such as promoting their film, or skipping to queue, but this has nothing to do with the movie review itself. Whilst you will see our latest movie reviews here you should also follow UK Film Review on our social media profiles, as well as subscribe to our popular film podcast. This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 4 out of 5 Voiceless Read Review average rating is 5 out of 5 29 de Febrero Read Review average rating is 4 out of 5 The Mourning Of Read Review average rating is 4 out of 5 Souls Divided Read Review average rating is 1 out of 5 Honey Don't! Read Review average rating is 3 out of 5 Adam's Song Read Review average rating is 3 out of 5 SPARTAN Read Review average rating is 4 out of 5 System Update Read Review average rating is 4 out of 5 That Time Is Now Read Review average rating is 3 out of 5 Jinbo Moon Read Review average rating is 3 out of 5 Mission: Impossible - The Final Reckoning Read Review average rating is 3 out of 5 Lilo & Stitch Read Review average rating is 4 out of 5 Sentimental Value Read Review average rating is 3 out of 5 Lesbian Vampire Seeking Jewish Lover Read Review average rating is 4 out of 5 Pee-wee as Himself Read Review average rating is 4 out of 5 Backbencher Read Review average rating is 4 out of 5 Final Destination: Bloodlines Read Review average rating is 4 out of 5 Splitsville Read Review average rating is 3 out of 5 2024 Read Review average rating is 4 out of 5 Sileo (2025) Read Review average rating is 3 out of 5 A Television Broadcast From Outer Space Read Review average rating is 5 out of 5 Die My Love Read Review average rating is 3 out of 5 Eddington Read Review average rating is 3 out of 5 2015: Future Uncertain Read Review average rating is 3 out of 5 Jacob's Little Helper Read Review average rating is 5 out of 5 Wish You Were Here Read Review average rating is 4 out of 5 Bonnie and Orville Read Review average rating is 2 out of 5 Bad Senator Read Review average rating is 4 out of 5 Unseen Scars Read Review average rating is 4 out of 5 Bezuidenhout Read Review average rating is 2 out of 5 Always Smile Read Review average rating is 2 out of 5 Appalachian Dog Read Review average rating is 2 out of 5 Gon Bauer Read Review average rating is 2 out of 5 Eternity Read Review average rating is 4 out of 5 The North Read Review average rating is 3 out of 5 Choco Lava Memories Read Review average rating is 3 out of 5 Crack Read Review average rating is 3 out of 5 Please Come Home Read Review average rating is 4 out of 5 Heron Read Review average rating is 4 out of 5 Shaken & Stirred: The Story of Flair Bartending Read Review average rating is 3 out of 5 The Wilde Girls Read Review average rating is 1 out of 5 Gouge Away Read Review average rating is 4 out of 5 Spar Read Review average rating is 4 out of 5 Whisper Breach Read Review average rating is 5 out of 5 Honey Read Review average rating is 4 out of 5 When The Balloon Bursts Read Review average rating is 3 out of 5 The Boy And The Ouseburn Read Review average rating is 4 out of 5 ApoKalypse Read Review average rating is 2 out of 5 Flying Monkey Read Review average rating is 3 out of 5 The Scheme of It Read Review average rating is 4 out of 5 The Silent Choice Read Review average rating is 3 out of 5 An Imperfect Cadence Read Review average rating is 3 out of 5 Ambrogio: The First Vampire Read Review average rating is 4 out of 5 Practice Squad: Go Hard or Go Back Home! Read Review average rating is 3 out of 5 Havoc Read Review average rating is 3 out of 5 Until Dawn Read Review average rating is 3 out of 5 Whiskey, Darling Read Review average rating is 2 out of 5 Blunt Force Read Review average rating is 3 out of 5 Inventors Read Review average rating is 3 out of 5 Holier Than Thou Read Review average rating is 2 out of 5 One Night Stand Read Review average rating is 3 out of 5 Fyre Rises Read Review average rating is 3 out of 5 Post Read Review average rating is 4 out of 5 Homeless Read Review average rating is 3 out of 5 N.I.L.ionaires Read Review average rating is 4 out of 5 The Ugly Stepsister Read Review average rating is 4 out of 5 Sinners Read Review average rating is 4 out of 5 In A House, At Night Read Review average rating is 4 out of 5 Dead Mail Read Review average rating is 3 out of 5 Left One Alive Read Review average rating is 3 out of 5 The Wedding Banquet Read Review average rating is 4 out of 5 Bardo Read Review average rating is 4 out of 5 Embrace Read Review average rating is 3 out of 5 The Amateur Read Review average rating is 4 out of 5 Angeline Read Review average rating is 4 out of 5 Pause (Music Video) Read Review average rating is 4 out of 5 Kuyashii Gonzo: Blood Visions and Chaos Magic Read Review average rating is 4 out of 5 Printer Head Read Review average rating is 4 out of 5 Misericordia Read Review average rating is 4 out of 5 Asog Read Review average rating is 3 out of 5 Relative Control Read Review average rating is 3 out of 5 Drop Read Review average rating is 4 out of 5 Slant Read Review average rating is 4 out of 5 It'll Never Work Read Review average rating is 4 out of 5 Sacramento Read Review average rating is 3 out of 5 The Last Movie Ever Made Read Review average rating is 4 out of 5 Bitter Taste Read Review average rating is 4 out of 5 Only A Call Away Read Review average rating is 2 out of 5 For The Boss Read Review average rating is 4 out of 5 Decoy Read Review average rating is 3 out of 5 The Whisper Read Review average rating is 4 out of 5 Between Earth and Water (Entre el Agua y la Tierra) Read Review average rating is 4 out of 5 Romeo's Distress Read Review average rating is 4 out of 5 Freaky Tales Read Review average rating is 4 out of 5 Eric LaRue Read Review average rating is 4 out of 5 The Ego Death of Queen Cecilia Read Review average rating is 3 out of 5 Hell of a Summer Read Review average rating is 2 out of 5 Peekaboo Read Review average rating is 2 out of 5 Go Fund Me Read Review average rating is 5 out of 5 All is Fine in '89 Read Review

Read the latest short film reviews at UK Film Review. Our house critics give reviews to short films from across the world submitted by independent filmmakers. Latest Short Film Reviews On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page. Voiceless Stammering hasn’t received an awful lot of serious attention from filmmakers – apart from when it is happening to monarchs. Voiceless is a much more grounded and relatable short film about a sufferer who experiences discrimination and irritation from others thanks to his condition, and carries an important message about community and support. Joe (Matt Hansen) is an aspiring performer who suffers from a serious stammer. Friends Catie (Martina Zucconelli) and Eloise (Cari Griffiths) encourage him to face his condition head on and provide him with a trusty Walkman to practice his public speaking, but he still faces discrimination from the likes of fellow performer Ben (Laurence Hezili Perry). Joe suffers a crisis of confidence when one of Catie and Eloise’s ideas goes wrong, but their own personal story helps him find his own strength when he decides to stand up on his own. Voiceless is a really powerful, moving short film about differences that are (quite literally in Joe’s case) difficult to communicate. Joe’s struggles with his stammer are not always met with kindness, even when he takes precautions through the form of cards that explain his condition. His encounter with Ben is a powerful reminder that people are so often caught up in their own lives that they refuse to take account of what those around them are experiencing. The character of Ben is presented as a heartless antagonist at first, but the film reveals his thoughtlessness isn’t exactly as it seems. The film argues that awareness, and a little more consideration go a long way, and that most people will act supportive when they understand differences. Matt Hansen excels as Joe, the anxiety-ridden protagonist whose confidence is at an all-time low. His dreams of performing in front of a crowd take a serious knock after his encounter with Ben, and Hansen’s exasperation suggests this is not a new experience for the character. He finds a solace in friends Catie and Eloise, a couple who attend his classes who have their own experience with explaining differences to people. Catie’s coming-out story helps her relate to Joe, and provides powerful motivation for him to put his true self out into the world. The dynamic between Matt Hansen and Martina Zucconelli is a beautiful portrayal of friendship and support – both triumphantly empathetic. Director Thomas Schubert brings us closely into Joe’s world and captures his experience of living with a stammer brilliantly. Viewers experience the same anxiety as Joe does thanks to the use of overwhelming lighting and intense sound design that adds intense pressure onto scenes where his inability to verbalise puts him in difficult positions. We are closed in tight to his face whilst his jaw quivers, internally cheering him on as he tries to spit out the words we already know from his recorder. A lot of films are described as moving, but Voiceless truly takes hold of its audiences’ emotions and directs them to places where its protagonist lives. Voiceless has a voice, and uses it to preach tolerance and respect for those different to us. A great leading performance, impressive production and a simple, moving script (written by lead Matt Hansen) mean this message is delivered loud and clear. VIEW REVIEW 29 de Febrero When Tomas (Barea) wakes up, the first thing he sees is a note, handwritten by the bed simply stating, “Today is my day”. However, it takes a minute and a call from his far-flung daughter for him to realise that today is indeed his day, it’s his birthday. How old? Tomas can’t remember, however, he does feel the need for celebration. But while looking to round up a headcount for a party that afternoon, it becomes clear that when it comes to a man of Tomas’ age, time and life have almost fully caught up with them, and finding party guests isn’t as simple as it used to be. Tomas's birthday, as the title suggests, is on one of the rarest days in the calendar, and writer/director Diego Fandos’ beautifully poignant Spanish short film 29 de Febrero is an equally rare blend of emotion and drama through adroit storytelling that stays with you long after the fact. Beginning with the possibility of witnessing a jubilant celebration of life, we soon discover that Tomas’ has become one of obvious and perpetual loneliness; the man and his faculties are no longer what they once were. Names come back to him slowly, if at all, and those he does remember have now passed on. It’s a sobering depiction of the harshness of growing well past your best years. But what allows the film to balance itself with a countering sense of hope and belief is that we also get to enjoy the moments where we can see that there is life in the old dog yet, glimmers of the man Tomas was in his prime, and while there are certain things he struggles to grasp, there are others that will stay with him until the day he dies, such as his long standing feud with Arturo (Equileor), who is the only one to visit on his special day, neither of them remembering the reason for their anamosity, but unwilling to let it go all the same. It’s a deftly written piece that can make you smile and break your heart simultaneously, with the deeply saddening frailty imbued into Tomas from the lead Ramón Barea right at the heart of it, and while completely captivating to watch on their own, the introduction of Eguileor’s Arturo makes for an enthralling back-and-forth between two stubborn mules in the films second half, before ending with a brilliantly sorrowful but touching conclusion. Increíble. Fantastico. Hermosa. All of these words are fitting for a film of 29 de Febrero’s calibre, a tale about the harsh realities of age mixed with the idea of still being in charge of one’s destiny until the very end. VIEW REVIEW The Mourning Of A short drama written and directed by Merced Elizondo and starring Natalia Villegas and Julio Cesar Cedillo. As the title suggests, this film is about loss. Maribel (Villegas), a young woman who is attending one funeral after another. This is not because many loved ones have passed away. It is because she is dealing with loss and has decided that going to funerals might heal her emotional wounds, might help her deal with her grief. So she repeatedly goes to funerals of strangers and blends in, offering her sympathy to the attendees and experiencing the service, much to the disapproval of Tomas (Cedillo), a priest who is aware of her unconventional activities. This is certainly an unusual and intriguing story: a person who has lost someone believes that going to funerals will help, whether that is to mourn, to deal with the loss, to make themselves feal better by comforting the mourners and be comforted by them, or maybe all of these. As interesting as this seems, it is also shocking and questionable: why would a person decide to relive an event (funeral) that acknowledges the end of the life of a person that they cared about? It seems irrational that someone who is mourning would willingly and repeatedly go through the same procedures that they went through when their loved one passed away. Why would they want to relive those painful moments? Perhaps thinking about this is what makes the plot of this short stand out. Regarding the technical side of things, the film gains a lot thanks to the wonderful cinematography by Matheus Bastos and the creative editing by Jonathan Cuartas. The audio elements are another plus, containing pipe organ music and the addition of Lacrimosa by Wolfgang Amadeus Mozart and Ave Maria by Franz Peter Schubert were great choices. Maribel is quite an intriguing character and she is the center of the story. She has suffered a devastating loss and does not appear to know how to handle it. For months, she has been attending funerals of people she did not know and going through the same experiences and as a result, in some ways, she seems to be stuck in time. A terrific performance by Villegas clearly shows the heavy pain she is dealing with. Tomas is very uncomfortable with her actions, however, he is sympathetic towards her and tries to convince her that she needs to stop what she is doing and move on. Loss is a key theme here, particularly the complexities of dealing with loss, along with self-reflection and moving on. A heavy drama about the issues of having to face a loss. The film examines an unusual way of mourning and does not seem to determine whether that way is right or wrong. The final message might be that sometimes, people resolve to uncommon solutions in order to make themselves feel better. VIEW REVIEW Souls Divided Souls Divided is a handsomely put-together romantic short film from writer-director Ginevra Gentili. It tells a Before Sunrise -esque tale of two people who meet one night and spend the dwindling hours talking about life and striking up a connection. The main thematic crux being that one character is hopeful - believing in the grand scheme of the universe - while the other refuses to indulge in what could be labelled as spiritual. We follow these two individuals on a bus ride and eventually to a beach where dawn breaks. Before we get into infinite praise of formal technique, we must address that which lacks polish: it could be argued that the screenplay slightly struggles to find its footing. The main reason for this is conflicting characterisation as the man in the story seems to occupy an odd space between being not likeable enough while not explicitly dislikable. Personally, these days, it's my wont to admire a film for including conventionally unlikeable protagonists and not feeling the urge to explain or be didactic. However, you could misinterpret the tone of this piece to suggest that we're meant to find any and all antics charming, and that's part of the issue. You could accuse the story of being slightly clichéd (what isn't), but the fact is that this film either needs to go full-on David Thewlis in Naked - completely unpleasant but fascinating - or put that character on equal footing with the other lead in terms of likability. It's a very tough line to walk, both for a screenwriter and an actor, and so we should admire the attempt on both counts. Onto the formal: the cinematography, composition and colour of this film are a genuine achievement and truly elevate the piece to another professional level. First and foremost, our eyes are immediately drawn to the richness of the colour. There's a perfect vibrance to it - a tint and finish which very much adheres to a studio-level aesthetic - and yet it never feels as if the colourist is overdoing it, never a garish saturation. And then the cinematography is pretty damn flawless for a short film of this nature and genre. They completely nail the look. It's simultaneously soft and grounded - shimmering with the bloom of the romance genre, combined with a more dramatic handheld construction. And yet it's not just the cinematography - referring specifically to the practical lighting and lenswork - which makes this a beautiful looking movie; there are other, less technical, but just as exacting, methods that come into play as well. For instance, from a production standpoint, a massively important part of the movie's visual success must come in timing and scheduling. This story required the exact right weather conditions, and the exact right moment in the day - the stunningly captured dusk and dawn - to allow the image to be as gorgeous as it is. This should be a great source of pride in terms of planning. Additionally, this is a superbly directed picture, defined by simple yet effective shot setups that feel appropriately intimate. The audience will be able to sense a cinematic confidence; a clarity of purpose and an inherent understanding of good storytelling. This is the sign of a great director. Whether or not one is completely taken by the narrative, there is no denying the strong craft at play. What this also means is that there is a base level of skill and ability which ensures that the viewer is not left checking their watch or wondering what the point should be. They're more inclined to forgive any of the weaker aspects because this is a well-made movie, almost inarguably. VIEW REVIEW Adam's Song A young musician on the cusp of releasing his new EP faces the crushing realism and lack of expectation from those around him, especially his father. When we first meet Adam (Xia), he is interrupting the evening’s session of karaoke in his local bar to play a few songs for the crowd. His best friend, Marco (Padilla) is there for (very vocal) moral support, but sadly that’s about the best he can hope for, as nobody else is there to cheer him on. Back at the family restaurant, Adam’s father (Dubois), aunt, and cousin, sit themselves around the table to enjoy some food after a busy day. His cousin has just graduated summa cum laude from university and is set for a promising career ahead of her. The pride, support, and encouragement she receives from Adam’s dad, as a respectable member of the family who is pushing forward into a respectable line of work, is in stark contrast to the constant beratement and disappointment which is pushed Adam’s way. It’s obvious that being a creative, with no discernible path for the future, holds no weight in his father’s estimations. However, on the night of the eve of Adam’s newest EP release he’s back at the local nightspot, living it large with his pals and nonchalantly trying to forget about the ever-increasing crushing weight of expectation of how it might do. When even Marco brushes him off, Adam steps into the parking lot for a cigarette and runs into an old school flame who has blown back into town with her new boyfriend. The reveal of his chosen career path and news of his impending album drop are not received from them in the way he had hoped either, and so Adam spirals into a depression of self-loathing and malingering doubt, resulting in a confrontation with his father which he may never be able to come back from. All the way through Adam’s Song , we are treated to some really effectual background music, along with the eponymous song of the title. These add no little atmosphere and context to the film, and greatly enhance the feeling of being involved in the various parts of Adam’s life. The upbeat mariachi music in the family restaurant, Wok-O-Taco , contrasts wildly with how Adam really feels, as his own music bleeds melancholy and inner-turmoil all over the microphone. Similarly, the cinematography and colouring of the film casts a veil of muted optimism over the proceedings, whilst also luring us into the shady environments and backgrounds which surround Adam. There is an understanding that the bright lights and centre stage which Adam is aiming for may always be stuck somewhere in the rear-view mirror, and that without the support or validation that he craves from those closest to him, he may forever be fumbling in the shadows of an out-of-reach dream. The script and subsequent direction from Xia himself, is modern, enigmatic, and funny at times, and he clearly shows that he knows what he’s doing behind the camera. The little interludes which punctuate the main story are welcome and refreshing, and are handled with no small amount of care, while the main themes of family dynamics and acceptance, especially from an American-Asian centric point-of-view, come across loud and clear. It is slightly unfortunate that the main trope of an angry, unsupportive, first-generation immigrant parent, is one that is so well-worn, but in this instance it’s obvious that there’s some truth behind the playing of the character. There’s a lot to enjoy in the seventeen-minute runtime of Adam’s Song , with the technical aspects really standing out as being well handled. Nathan Xia is obviously a well backed filmmaker with skill and success at his fingertips, with this outing showing that he’s able to bring together a strong group of talent to help him realise his vision. Unfortunately, Adam’s Song is, in the end, actually quite light on statement and reasoned conflict resolution with everything that’s explored in the film staying firmly on the surface. Each relationship and interaction is easily identifiable and goes exactly where you expect it to, but with no real explanation for how we get to where we’re going in the denouement. Still, if you want to see another film about Chinese-American kids trying to make their non-demonstrable parents proud, you could do a lot worse than Adam’s Song . VIEW REVIEW SPARTAN The writer-director Pierre "PJ" St Jean Jr believes in the style of filmmaking where the cast and crew associated with the film completely trust the vision, he has. Pierre "PJ" St Jean Jr adopts the one-shot technique to allow the audience to get involved and engage with the content. Alex Bernadotte, Shylah Soares, and Demetrius D. Denis understand the nuances of the storyline and amplify the emotional impact with their respective portrayals. The plot of SPARTAN revolves around an embattled street brawler’s brief moment of victory is quickly overshadowed by an unravelling of his chaotic personal life. SPARTAN opens up with a combination of a close-up and mid- shot of an ongoing fight between the male protagonist and his opponent followed by various snippets of his life to showcase the challenges he faces in an attempt to sail through all the responsibilities Mack has been entrusted upon. The set design, lighting, camera angles, colour pallet, sound, music, dialogues, costume, hair, makeup, and props have been kept natural to complement the subject matter and add realism and relatability to the narrative so that the viewers can learn from the movie and apply the lessons to their real lives. In terms of performance, Alex Bernadotte plays Mack who loves and cares about his loved ones dearly and is ready to do anything to provide for them due to an unforeseen situation in the family but forgets a few essential things while becoming very busy with his duties towards the mother as well as the sister. Bernadotte effectively switches between aggression as well as emotions to balance his character arc in SPARTAN. The outfit change is a clear demarcation between the different mindset of the character with each fight utilised by the actor/ makers to communicate the intrinsic details of the storyline to the viewers. Shylah Soares who plays Nasira Mac’s girlfriend is lovely inside out loving and supporting him with every decision he makes, and also takes care of his mother and sister. She is a strong girl ready to fight to protect him in every situation. Soares exudes qualities, the nuances in Nasira that define what a relationship between a couple should look like. Shylah Soares with her portrayal brought the soft side as well as the strong side of Nasira so effectively that it gives strength to their bond and bring about the best in Mac. Demetrius D Denis plays the role of Tremaine who is the Villain in the story. He vents out his anger and aggression on others to deal with all problems life has thrown at him. Mac is the only person who can counter his anger. The chemistry between Tremaine and Mac makes the conflict intriguing therefore keeping the hooked to the content. SPARTAN talks about the need to be fearless for the family in every given situation because life doesn’t give one the freedom of choice. The short film reiterates that people require to always remember their human side even though they are under immense pressure of responsibilities as well as duties. The cinematic piece briefly touches upon the gender roles engraved by the society and how they prove to be detrimental to the people living in it. VIEW REVIEW That Time Is Now Sci-fi short That Time Is Now tackles humanity’s irrepressible obsession with technologies that threaten to destroy us. In this case, AI, and its environmental impact on plant life. Made over 48 hours and on a shoestring budget, it is an impressive example of how to set out stakes in a film and explore these through engaging characters. Doctor Wokozi (Marion Githegi) is sent back 30 years from 2060 to 2030, on a mission that is essential for human life to continue. Extinction is a real threat in Wokozi’s future, due to the loss of plant life around the world. Wokozi has one final journey to the past using her advanced AI model, but it is a meeting with target Professor Seva (Bhasker Patel) that inspires her to bring a message forward instead. The environmental impact of new technologies is an under-discussed danger that is usually left out of the ethical debates around their use. Much like Bitcoin, AI needs enormous data centres to run, which can out-do those of small countries at times even in this early stage of its widespread use. It is this issue which That Time Is Now is focused on, and its consequences which it envisages. The film’s opening monologue from Wokozi is an excellent example of how to quickly set out the stakes and context of a film. She explains the world she has been sent from and how it came to be, as well as the purpose of her journey and the importance of achieving her goal. The mention that her time in the ‘past’ is limited and unpredictable, meaning she could be pulled back to the future at any moment, is a particularly clever touch which makes every interaction she has with the professor meaningful. Wokozi and Seva share great mentor-mentee chemistry, with Seva already in mourning for a world he feels may be beyond saving. It is Seva who has identified AI as the culprit, and senses that nothing now can change how humanity thinks. Marion Githegi delivers a more hopeful performance as the younger Wokozi, someone who, like younger people today, have to act now on threats like climate change. Much of the pair’s relationship is left to the imagination and context is left for the viewer to fill in – which helps the film build a wider world in some respects but also leaves open some plot holes, such as why the Professor has never communicated his feelings before if he is a previous target of the Doctor. For a lower budget, the film looks great. It doesn’t feature a ton of futuristic technology, however the time-travel elements such as Wokozi’s goggles looks authentic and convincing. The majority of the film is set in an empty London at sunset – with a haunting ambiance that perfectly matches the film’s tone. Director Henry Chebaane’s staging of the story is also strong, with slow lingering shots of his leading pair. It is somewhat the opposite of the urgency implied by the title, but the Professor’s insistence that it is the message that matters comes through loud and clear. That Time Is Now has a determined message and clear aim that long pre-dates its rapid creation time. It can afford to leave some of its details vague to get this across and does so successfully, on the strength of a well imagined world, threat and characters. This is definitely one to make the time for, now. VIEW REVIEW Jinbo Moon Jinbo Moon is a new samurai-crime picture which certainly packs a punch but occasionally struggles to balance its many interweaving elements. We’re nevertheless blessed with an incredibly entertaining 26 minutes filled with strong characters, an original story concept and, above all, fantastic action. We follow a samurai who is sent by his bearded master on a mission; this mission seems dubious but must be fulfilled. Of course, the quest begins with a training montage before the foreboding confrontation. What we then get is a twisty, perspective-shifting evolution of narrative, culminating in the gruesome conflict and an unexpected reveal... Allow us to begin by discussing the film’s most unusual aspect: the decision to combine the classical structure and aesthetic of the samurai flick with that of a gritty, hard-as-nails crime story – complete with gang warfare and British accents. Viewers may risk finding this experience to be quite a jarring thing. Interesting, certainly, but jarring. It’s unfortunate that these two contrasting elements, as opposed to complementing one another, instead feel like two completely respective productions. The issue may be that there’s not enough of a consistent visual characteristic to help carry over the same feeling, and thus the audience is left actively reassessing what it is they’re viewing. Having said that, the bold creative decision to have these two scenarios working in tandem is, in the abstract, very inventive. One cannot help but admire and enjoy all the concepts on show and the narrative ideas at play, even if they don’t quite come to their full fruition. The film’s visual sense is very much something to be reckoned with, both for its often-beautiful construction and its occasional mismatchings on a stylistic front. There are some awe-inspiring shots in this piece: closeups of eyes which shimmer, panning wide shots with an unbelievable amount of depth (out of focus greenery in the foreground, stark figures in the background). There’s also one example of camera movement which is deeply arresting, when the camera spins on its axis as the protagonist comes to terms with the life he has just taken. The only thing which you could argue slightly clashes with the cinematography overall is the colour grade. While well-done on a technical standpoint, it could have been even more vibrant and contrasty to sync with the high tone of the film. One of the main points to raise is that – themes and aesthetics aside – this is a terrific action movie. There’s just so much to admire regarding the swordfights, visual geography and overall choreography within any given scene; and for an independent production which may or may not have had the kind of resources to make these battles look totally convincing, they somehow found a way. On a narrative level, the stakes are high, and the audience is held in suspense. And on a cinematic level, it all looks so dynamic and exciting. There’s constant motion, varying rhythms, and fabulously dramatic looks and glances. Sequences like these are reason enough to watch Jinbo Moon , for we seldom get low-budget sword/physical combat movies which genuinely elicit a positive reaction. This is a fun work of action cinema which displays a strong understanding of genre construction and great promise for future projects. VIEW REVIEW Lesbian Vampire Seeking Jewish Lover A short horror film written by Chris Hale and Addi Main, directed by Chris Hale and starring Adelyn Main, Dolly Universe and Noah Freeman. The title is quite memorable and yes, the plot does involve a vampirism and Judaism. Laura (Main) is a vampire who resides in a small coastal town and apparently, she tends to pray on young women. One night, she goes to a nightclub in search of another victim. This potential victim is Hannah (Universe), a young, Jewish, college student. However, this time things do not turn out as Laura anticipated, as the two of them end up building a romantic relationship (without Hannah being aware that her new partner is a vampire). A dark vampire story that combines romance with lesbianism and religion. From a horror perspective, Laura gets to do what vampires tend to do, bite people (no fangs to be seen though) and avoid the sunlight. And, by the way, she does not sleep in a coffin. Her sole purpose appears to be to feed, until she meets Hannah and things turn romantic. The decision to make the film in black-and-white was a good one, as it effectively accommodates the film's dark atmosphere that is further supported by the piano melodies by Iona Davis and there is creative editing that utilises split screen and superimposition. Laura is an intriguing character, however, it would probably had been beneficial if she was explored further, her origins, how she supports herself as she seems to have her own apartment and why she becomes romantically involved with Hannah, instead of killing her. With a convincing perfomance by Main, Laura is a supernatural being who craves blood and is isolated. The arrival of Hannah, a simple young woman turns Laura's life around, revealing a softer side of her, a humane side. As mentioned, this short tells a story through vampirism, religion (Judaism in particular) and romance. It also works as a commentary about a strong bond developing under very unconventional circumstances. A dark story about the romance between a female vampire and a Jewish woman. It is an interesting viewing, although what the film's ultimate message is seems unclear. VIEW REVIEW 2024 Trump, wars, Oasis ticket prices – a lot of rough stuff went down in 2024. Michael Johnson’s eponymous music video images a world that somehow gets worse after, from which a heroine is sent back in time to rally the world of today to wake up to impending disasters – with a heavy synth rock soundtrack courtesy of Durham band The Heartland Collective to boot. Taking inspiration from The Terminator, the film opens with footage of a world approaching turmoil. As the anxiety-inducing footage crescendos, a young, otherworldly woman (Ayvianna Snow) is sent back from the future, exploring her new peaceful surroundings and strange customs. It’s not long before she sets about her goal, to warn the world of the danger approaching and rally support to fight back. As a short music video, 2024 does a solid job of telling a legible, relevant story (which aligns with the song’s lyrics) whilst also leaving enough focus on the music itself to shine. The intense, urgent chorus is animated by the heroine’s fist-pumping rallying cries in the video, with Heartland Collective themselves making appearances via TV screens. The setup of tumultuous footage at the film’s opening suggests a number of reasons for the sending of the messenger, from war to climate change, giving the video a wide context. Ayvianna Snow is an enigmatic heroine, dolled out in post-apocalyptic gear and makeup that hint at the darkness to come. Her initial intrigue and excitement in her new world comes out in impish fashion, as she fascinates herself with mobile phones on city streets. This gives way to anger and urgency when the realisation kicks in that the new world is in the danger of becoming the one she is already familiar with. It is then when she becomes a vessel for the song’s lyrics – which hint at the seeding of the disasters to come in our indulgences today. The video is very well produced and directed by Michael Johnson who imbues energy and clarity into the short. The urgency of the opening and conclusion of the short surrounds a focus on Snow’s character, who shines in the world she has been sent back to and stands out amongst the background. The film’s effects and editing also impress, with the time travel realised well and the footage of the world of 2024 looking authentic and convincing. 2024 is a solid music video that does a fine job of accompanying its song. There’s an in-built limit on storytelling due to the genre, but the themes and purpose of the song and worn on the video’s chest and come across powerfully. Ayvianna Snow steals the show with her performance, and really makes the difference in hammering home the urgency of the message that what we do today impacts the world of tomorrow. VIEW REVIEW

Film reviews and movie trailers for new movies, indie cinema and short films.Read a film review or watch a trailer on our website. FILM REVIEWS UK 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. Film Reviews from UK film critics LATEST REVIEWS

Filmmaker Interview by Chris Olson Hi Ranw, great to be interviewing you. Please tell us a little bit about you and your filmmaking? Great to be here—thanks for having me! My name is Ranw Aso-Rashid. My journey into filmmaking has been anything but traditional. I originally studied Biomedicine at the University of Westminster before becoming a qualified science teacher and later Head of Department at a secondary school. But storytelling has always been a passion of mine. At 19, I made my first micro-short film on an iPhone. Later, while teaching, I started making films with my students, which eventually led me to establish AR Studios. Since then, I’ve written, produced, and directed 10 films, including Whispers of Redemption, The Silent Choice (a KINO Original currently on the international festival circuit), and Our Little Act of Rebellion, an international co-production. At AR Studios, I’m fortunate to work with incredible industry mentors, including development consultant Deborah Sheppard, script consultant Pete Daly, and Executive Producer Marcus Liversedge. Our ambitious documentary slate is now entering production, with support from Oscar-nominated producer Hanna Polak and BAFTA-nominated executive producer Clare Richards (Founder of We Are Doc Women). Beyond my work as a filmmaker, I also serve as a judge for the BIFA-qualifying KINO Film Festival and the British Short Film Awards. Filmmaking, for me, is about telling stories that challenge perspectives and leave a lasting impact. I’m always looking for bold, meaningful narratives that push boundaries. Tell us about your new film, Our Little Act of Rebellion. How would you describe the plot of the movie? At 75, Konstantine spends his birthday reminiscing over old photographs with his caregiver, Eleni. But when he stumbles upon a picture of Aysha—a woman he met in a private music club in 1974—memories he thought were long buried begin to resurface. What starts as nostalgia soon unravels into something deeper, revealing a past intertwined with political turmoil, forbidden love, and the secrets hidden within music. As the echoes of that fleeting yet powerful connection grow stronger, Konstantine is drawn back to the club that once changed everything. But some stories aren’t finished yet. Why did you want to make this film? I was drawn to this story because it weaves together themes of forbidden love, political tension, and personal memory—elements that resonate across cultures and generations. At its heart, it’s a deeply human story about connection, loss, and the way the past lingers in unexpected ways, especially regarding experiences that have remained hidden until this film came along. Unlike many filmmakers, especially producers, I am risk-focused rather than risk-averse. I actively seek out bold, challenging projects rather than shying away from them. Knowing how complex this film would be—both as a story and as an international co-production—only fueled my determination to make it happen. I also saw it as an opportunity to push myself, working with a reasonably sized professional crew while ensuring underrepresented stories reach a wider audience in mainstream indie cinema. It sounds great! What were the challenges getting it made? Every film comes with its challenges, and this one was no exception. Time always seemed to be slipping away—long shoots, tight schedules, and the constant race against the clock. There were moments when shots needed to be changed, and I had to ensure the crew stayed on track to keep to our schedule. But, honestly, I thrive in high-stress situations, and I approached these challenges with humor and a calm mindset, which helped keep the momentum going. I made sure to personally know the crew by name, thank everyone for their efforts, and keep the camaraderie with the cast strong. They were absolutely superb, and maintaining that positive energy throughout the process was key. The live music scenes were particularly time-consuming to set up, but I leaned on my teaching background to break down clear instructions for the crew, ensuring everyone knew exactly what we were doing. Seeing the crew and cast working in harmony was incredibly rewarding. Despite the long hours, I found it all fun—there's something exhilarating about being in the thick of it. I remember when we wrapped at nearly 2am on July 31st, I still had the energy to shoot! But, of course, we had to wrap eventually. What stage is the film currently in? The film finished post-production in February 2025, and is about to begin its festival journey, courtesy of KINO London. Our world premiere will take place in Athens this summer, followed by a special screening in London later this year. For those eager to get a first look, we’ll also be releasing the official trailer on our social media channels soon. We’re currently in talks with ERTFLIX for a Greece-territory acquisition, as well as discussions with distributors for global distribution. After completing its festival run, the film will be available on demand via Vimeo and other key distribution platforms before eventually being fully publicly available online. Why do you make movies? I make films because stories are the most powerful way to connect us—to our emotions, to each other, and to the truths we sometimes struggle to face. At the heart of my work is human fragility—the raw, unfiltered moments that shape us. My stories often come from the many students and young people I have taught, coached, and mentored. Their struggles, dreams, and resilience have profoundly influenced my storytelling. I want to give voices to experiences that might otherwise go unheard, to explore sensitive topics with honesty, and to challenge genre conventions in ways that feel fresh and daring. I am heavily inspired by Frank Darabont’s screenwriting, the visceral, unapologetic storytelling of Quentin Tarantino, and the way Christopher Nolan elevates narrative through music—how a single note can change everything. There is always a part of me in the stories I write, produce, and direct. Each film is, in some way, a reflection of something deeply personal. And ultimately, telling these stories isn’t just thrilling—it’s cathartic. It’s therapeutic. My journey into filmmaking began in the classroom, at Friern Barnet School, with the support of my headteacher, Simon Horne. I started making films with my students, and that experience changed everything for me. Watching young people gain confidence, discover their creative voices, and see new career possibilities because of filmmaking—that was the moment I knew this was what I had to do. To this day, I’ve had over 130 students involved in my productions, gaining work experience, volunteering, receiving mentorship, and even landing their first paid jobs. That impact, that ability to shape lives through film, is what drives me. I make movies because I believe in the power of storytelling—not just to entertain, but to inspire, challenge, and transform. What advice would you give to someone just starting a career in filmmaking? The best advice I can give is simple: just start. Film school can help, but not essential. I did biomedicine at university and have learnt my way into the industry. Only do it if you're passionate though. Don’t wait for permission, don’t wait for the perfect camera—use your iPhone, your Android, whatever you have. Make films with your friends. Experiment. Learn by doing. The more you create, the more you’ll grow. Go to networking events. Find people who are passionate about what you love. Surround yourself with those who push you to be better. And if you’re serious about getting into the industry, reach out to AR Studios. We’re highly connected in the independent film scene, not just in the UK but increasingly in Europe and the USA. We’ve provided countless opportunities for young filmmakers to connect with experienced Heads of Department and industry professionals—people who can help you take that next step. But beyond that, understand this: filmmaking is an incredible but tough industry. Don’t enter it expecting to make friends in the personal sense—protect your boundaries, know your worth, and be mindful of who you let into your creative space. Educate yourself on the challenges and issues within the industry, and always stay informed. Read up on what’s happening in film every week using online outlets. Knowledge is power. Above all—keep making work. No one’s going to hand you a career. You build it, one film at a time. Who would you love to work with and why? I would absolutely love to work with Colman Domingo. As an actor, he brings an incredible depth to every role he plays, and his performances are always layered with so much truth and intensity. What really draws me to him is not just his talent, but his dedication to storytelling—how he fully commits to his characters and elevates every project he’s part of. I also deeply admire the way he helped bring Sing Sing to life. His involvement went beyond acting—he was part of the creative process, working to ensure the film was made with authenticity and heart. That kind of passion for storytelling and commitment to meaningful projects is something I resonate with. Working with someone like him, who not only delivers powerhouse performances but also understands the bigger picture of filmmaking, would be an incredible experience. What's next for you? Next, I’m diving deeper into TV development. I’m currently working on three TV series, one of which is an adaptation of Our Little Act of Rebellion. It’s a project I’m incredibly excited about, and I’m in talks with a potential co-producer to bring it to life. On top of that, a major streamer has officially solicited the submission of the project, which is a thrilling next step.

Film Feature by Chris Olson Whether you are a West, Keaton, Bale, Pattinson or other when it comes to who your top Bruce Wayne/Batman is, film fans can't deny Matt Reeves's 2022 noir crime drama The Batman gave us a noteworthy addition and something to look forward to when another movie was announced. Having found plaudits aplenty starring in numerous arthouse films and more independent outings, actor Robert Pattinson has been able to glide above his initial stardom found as the vampire Edward Cullen in the Twilight Saga films. In his most recent film, Die, My Love , he stars alongside Jennifer Lawrence and the film is garnering quick critical praise (indeed, a 5-star review for UK Film Review). Robert Pattinson's depiction of Batman in the 2022 version generally received strong positive critical feedback, with many film critics praising his fresh and intense take on the character. In his review for UKFR, movie critic George Wolf said this about the performance: "Pattinson’s Emo Batman works well within the structure and aesthetic Reeves develops. He carves out a very different crusader, one more introspective and heartbroken than righteous. This Bruce Wayne views the bat signal as both a call and a warning, and Pattinson is able to effectively keep the tortured soul’s head above self-pitying water." The Batman (2022) was a commercial success, grossing a total of $770,860,380 at the worldwide box office. With this and a steady stream of die-hard fans always eager for another Gotham-set movie, it's no surprise that studios are greenlighting yet another Batman movie. After the incredible success of Christopher Nolan's trilogy of Dark Knight movies, and the much-praised Tim Burton movies (we don't talk about the two after that), it will be interesting to see how many Batman movies starring Robert Pattinson get made in end, if indeed the actor wishes to continue with a franchise role having such a troubled relationship with them in the past. The release date for The Batman Part II is currently October 1st 2027 (this may change).

Film Feature by Chris Olson Whether it's the final instalment of the Mission: Impossible franchise or not, The Final Reckoning has received a middling response at best from critics. It also got dunked on financially by Lilo & Stitch at the box office, garnering only $64m on its opening weekend in the US & Canada, compared to $146m by Dean Fleischer Camp's 2025 live-action L&S. That being said, there have been questions about how much money Tom Cruise got paid for Mission: Impossible - The Final Reckoning , as well as the money he's made in total from all of the M:I movies. One outlet suggested he's made $600m across all of the movies from the franchise, with $120m from the final film alone. When it comes to star power, no one can deny that Tom Cruise should have been paid that much for the Mission: Impossible movies. His face is synonymous with cinema and gets more bums on seats than pretty much any other Hollywood actor. From the ludicrous stunts to the exponentially convoluted storylines, the M:I movies are not for everyone, as the critical backlash to The Final Reckoning is showing, but one cannot deny their solid place amongst cinematic royalty. Few movie franchises have been able to accomplish such an impossible feat and the paycheck Tom Cruise has received marries up with his contribution fittingly. It's possible the Mission: Impossible film series has collectively earned over $4.35 billion worldwide. Tom Cruise's indelible mark on the Mission: Impossible franchise extends far beyond his iconic portrayal of Ethan Hunt. As both the lead actor and a dedicated producer, his contributions are arguably the primary driving force behind the series' enduring critical and commercial success, which has collectively grossed over $4.35 billion worldwide. Firstly, Cruise's unwavering commitment to the character of Ethan Hunt provides a consistent, compelling anchor for the films. He has meticulously shaped Hunt into a relatable, albeit extraordinary, hero whose moral compass and relentless determination resonate deeply with audiences across two decades. This continuity in character and performance builds trust and anticipation for each new instalment. Secondly, Cruise's role as a producer grants him significant creative control, allowing him to champion visionary directors and ensure a high standard of quality. He's known for his meticulous involvement in every aspect of production, from script development to post-production, fostering a collaborative environment that pushes boundaries and maintains artistic integrity. This hands-on approach ensures that each film feels fresh and ambitious, avoiding the common pitfalls of long-running franchises. Perhaps most famously, Cruise's dedication to performing increasingly elaborate and dangerous practical stunts is a monumental draw. From scaling the Burj Khalifa to HALO jumps and intricate motorcycle chases, these real-world feats create a visceral sense of excitement and authenticity that CGI often struggles to replicate. This commitment not only thrills audiences but also generates immense buzz, making the "how did they do that?" factor a key marketing asset. Finally, Cruise is a fervent advocate for the theatrical experience. His passion for cinema and his insistence on delivering spectacle-driven entertainment have helped keep audiences returning to the big screen, even in an evolving media landscape. His singular vision and relentless pursuit of excellence have transformed Mission: Impossible from a film series into a benchmark for action cinema, securing its place as one of the most successful and respected franchises in history. Will The Final Reckoning be the last M:I movie? That remains to be seen and speaking with film critic Brian Penn recently on the UK Film Club Podcast, he thinks they left the door open for more. With the amount of money Tom Cruise gets paid, it's perhaps a mission he can't ever walk away from.