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The UK Film Review Podcast, featuring movie reviews, trailers, film news, and recommendations. Subscribe to the film podcast today. Film Podcast Welcome to the UK Film Review Podcast. Presented by a team of film critics and movie lovers, we discuss some of the best and worst movies currently available in the UK. We also provide listeners of the UK Film Review Podcast with recommendations of films to look out for. Search for "UK Film Review Podcast" on Apple Podcast, or wherever you listen. You can also use the Apple Podcast player below to listen to an episode. Not only do we have a phenomenal film podcast, but some of our Film Reviews are also available on YouTube so make sure you Subscribe to our channel there - we also put up the latest film trailers and clips so there is no end to the fun you can have! And even if you think our videos are rubbish, there will probably be an "epic fails" video only a couple of clicks away. Film podcasts like ours need love and support, so if you enjoy an episode, please share and tag us. It really does mean a lot to our presenters. If you didn't enjoy the film podcast, feel free to tell us via morse code by banging on your head - that way we will definitely hear it. UK Film Club As part of the UK Film Review Podcast, a new show has been launched in February 2023 - UK Film Club . Hosts Chris Olson and Brian Penn invite you to join them in a deep-dive into all genres of film! We cover: - Cinema Releases - A Streaming Pick (e.g. Netflix, Prime Video) - Indie/Short Films (Submit Yours Here ) - Nostalgia Pick (a film we love/should have seen) UK Film Club is a film podcast available on all top podcast platforms, so please subscribe wherever you like to listen and feel free to send us your recommendations for films we should have seen. Why not check out episode 1 of UK Film Club? GET REVIEWED ON PODCAST FAQ about our Film Podcast New Arrival Podcast & Written Review £75.00 Price View Details How do I listen to the UK Film Review Podcast? The UK Film Review Podcast can be played using the Acast embeds dotted around our site (see above) or on our review pages. It is also available on most podcast platforms such as iTunes, Spotify, Google Podcasts, Deezer and more. I would like to be a guest on your film podcast? Film-related guests are welcome to request a Zoom interview . These are recorded remotely and then inserted into the next available episode of UK Film Club. There is a cost to cover production costs. Can I get my film reviewed on a podcast episode? Yes. On UK Film Club, we have a section where we review indie films that have been submitted. Head to our Submit Your Film page if you would also like a written review. If your film has already been reviewed on our website but you would like a podcast only review - click here . How do I promote my film (or brand/product) on your Film Podcast? Podcast Ads are available, please send us a message via our Contact Page . What types of films do you review on your podcast? The UK Film Review Podcast is actually made up of several shows, hosted by different critics covering different topics/genres. Currently, these are the film podcast shows that are part of the UK Film Review Podcast umbrella: - UK Film Club : Hosted by Chris Olson and Brian Penn, covering cinema releases, streaming films (e.g. Netflix, Amazon Prime), Indie Films, and Nostalgia Films. - Gay, Actually : Hosted by Amber Jackson with co-host Joyce, covering LGBTQIA+ films. Any movies considered part of Queer Cinema get reviewed here. - The Scream Test : Hosted by Rachel Pullen with a range of co-hosts, this is a Horror-based film podcast. - The Fantom Zone : Hosted by Chris Buick and Ian Lunny, this is a podcast focused more on comic-book films. Martin Scorsese Andrew, Brian and Rachel discuss the films of legendary filmmaker Martin Scorsese on this film podcast episode. James Cameron Fan of massive blockbusters like Avatar and Titanic? Then this is the film podcast episode for you with Jason and Robert. DC Comics Comic book and film fans Ian and Chris B explore the movies based on DC Comics. With some surprise findings - and a lot of Batman. Edgar Wright To celebrate the release of The Sparks brothers, this film podcast episode is dedicated to the legendary Edgar Wright. Grab a Cornetto and enjoy. Sports Films From The Mighty Ducks to Invictus, grab your pads and buckle up for this episode on the best sports films with Chris O and Brian. Musicals Robert is joined by Brian and Jason to discuss the best musicals on offer. Listen now to this film podcast episode. The MCU Chris B hosts this special episode dedicated to the Marvel Cinematic Universe to celebrate the release of Black Widow. He is joined by Ian, Alicia and Andrew. Fast And Furious Chris O hosts this special film podcast episode dedicated to the Fast & Furious franchise. Join him, Brian and Robert as they rev their engines and talk "Family". Blumhouse Join the UK Film Review podcast team as they discuss the movies of Blumhouse. Pixar Fan of Pixar films? Then this is the film podcast episode for you. We talk Toy Story, Inside Out and more. Listen now. Dreamworks From Shrek to How To Train Your Dragon, listen more to this film podcast episode about the films made by Dreamworks. Anthony Hopkins The celebrated actor Anthony Hopkins gets his own episode from the UK Film Review Podcast Team. Matthew Paris Interview Chris O interviews filmmaker Matthew Paris. Tim Earnheart Interview Chris O interviews filmmaker Tim Earnheart. Disney Live Action Remakes Whether you are a fan of the Disney Live Action Remakes or not, this is a film podcast episode for you. Sean Cranston Interview Chris O interviews filmmaker Sean Cranston. Netflix Originals Andrew, Joyce, Brian and Rachel discuss the selection of Netflix Originals they enjoy. Marcellus Cox Interview Chris O interviews filmmaker Marcellus Cox. Cinemas Re-Opening Lockdown ended so we celebrated cinemas re-opening by talking about our favourite things about cinemas. Rom-Coms To celebrate the anniversary of Bridget Jones' Diary, we talk about some of the best rom-coms in the world of film. East Asian Cinema A special film podcast episode dedicated to East Asian cinema. Listen now. Oscars 2021 An Oscars 2021 special, with predictions and chat around all the top contenders. Carey Mulligan To celebrate the release of Promising Young Woman, we chat about the films of Carey Mulligan. War Films From Saving Private Ryan to Jarhead, join Chris O, Joyce, Rachel, Jason and Robert as they discuss the genre of War films on this film podcast episode. DC Films: Into the Snyder-Verse A DC episode, talking about the films from DC studios in light of the release of Zack Snyder's cut of The Justice League. Load More

STUDS film review by UK film critic Matt Trapp. Starring Barney Walsh, Carys Eleri, Sarah Seggari directed by Edward Russell. HOME | FILMS | REVIEWS STUDS Film Review average rating is 4 out of 5 Critic: Matt Trapp | Posted on: Dec 16, 2025 Directed by: Edward Russell Written by: Jack Carey Starring: Barney Walsh, Carys Eleri, Sarah Seggari STUDS is a distinctly British comedy short that balances sardonic wit with some genuinely sweet drama. Barney Walsh and Sarah Seggari star as Harry and Mia, a young pair who have been chosen for the government’s breeding program (or ‘state sponsored shagging’ as described by Mia) in the midst of a population crisis. The two must spend a weekend getaway together, or else they face execution. Matters are complicated when it’s revealed that Harry and Mia share a history together, potentially jeopardizing the program and their safety. The short is fun, witty, and creative, with Carys Eleri standing out with effortless comedic instincts. STUDS may fall short for audiences expecting a more substantial exploration on the nature of relationships, but as a pure comedy, it’s a worthwhile and likable film. In a great British comedic tradition, STUDS never takes itself and its drama too seriously, and in doing so it maintains a breezy and easy-going tone. Walsh and Seggari make for a compelling couple; it’s not hard to believe that their characters have had an awkward past, and they play off each other confidently. Much of the same can be said about Eleri, who perfectly embodies her character with disarming overconfidence. Julie is important in delivering the short’s premise to the characters and the audience, and thankfully her performance is charming enough that it doesn’t feel like dry exposition. The comedy is varied throughout STUDS, ranging from clever wordplay to clever visual gags that rewards the attention of viewers. From a clinical government issue edition of the Kama Sutra that resembles an NHS pamphlet to alcohol being labelled as ‘PRE-COITAL STIMULANT’, there’s plenty of cheeky humour dotted within the film. While tensions do begin to rise when Harry and Mia discuss their break-up and the frustrations with their lack of shared interests, STUDS never tips into melodrama, and the darkly comedic tone remains intact. It’s an impressive tight-rope to walk, and it’s thanks to the performances from all three members of the cast, as well as the deliberate direction from Edward Russell, that the short can deliver good jokes with fairly well rounded characters. It’s impressive that Harry and Mia feel as defined as they do considering the short’s less than 15 minute run time. Walsh and Seggari’s characters feel lived in and grounded, each with their own distinct body language and attitudes. It’s no wonder the two of them say they have nothing in common when they appear so diametrically opposed to each other. Julie additionally comes across as a fully formed character, despite a much more limited screen time. The attention to detail given to each character in the writing makes the drama feel much more tangible - STUDS must have some stakes for the audience to invest in, even if the short is largely comedic. It’s possible that some viewers will want more out of the drama, to see the relationship between Harry and Mia further developed and given some weight, which is entirely reasonable. More time to iterate on the premise would undoubtedly have been interesting, and it’s noticeable that the film rushes through its ending in a less than satisfying conclusion. Still, the comedy almost entirely lands, and every single performance here is purposeful, believable, and charming. STUDS is a difficult film not to like. While it’s often silly, there’s a certain amount of restraint in the filmmaking - it would have been easy to stretch the premise thin and veer too close to farce. It would be fair to compare STUDS to Lanthimos’ The Lobster , which similarly uses dark comedy in a dating context. In both films, the characters take the situations they’re in seriously, never lampshading or winking to the audience. In doing so, we’re encouraged to take the characters seriously, laugh when we’re clearly invited to, and to possibly think more about the absurd reality of dating and relationships. About the Film Critic Matt Trapp Short Film < All Reviews Next Film Review >

Argylle film review by UK film critic Brian Penn. Starring Bryce Dallas Howard, Sam Rockwell, Henry Cavill, Catherine O' Hara, Bryan Cranston directed by Matthew Vaughn. HOME | FILMS | REVIEWS Argylle Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Feb 23, 2024 Directed by: Matthew Vaughn Written by: Jason Fuchs Starring: Bryce Dallas Howard, Sam Rockwell, Henry Cavill, Catherine O' Hara, Bryan Cranston For those who currently have a 'James Bond' shaped hole in their lives help is close at hand. Mission Impossible can offer the jaw dropping stunts that made 007 famous; whilst the Kingsman will provide a dash of elegance amidst the chaos of fighting the bad guys. Now we have Argylle who can shake and stir things up in good style. It bears all the hallmarks of director Matthew Vaughan who coincidentally directed the Kingsman movies. Elly Conway (Bryce Dallas Howard) is a successful novelist who specialises in espionage tales. Her latest book features Argylle (Henry Cavill) a recurring all action spy master. Elly lives quietly but is constantly berated by her mother Ruth (Catherine O' Hara) who thinks she should get out more often. As fate takes a hand Elly finds herself on a train sitting opposite the mysterious Aidan Wilde (Sam Rockwell). He urges Elly to trust him as all is not what it seems. Surrounded by aggressors she is quickly convinced her life is in danger. They flee with her cat Alfie strapped to her back in a see through glass case. It seems her stories are getting too close to the truth and threaten a sinister organisation led by Ritter (Bryan Cranston). Argylle is brash, colourful and packed with crowd pleasing antics that visually stimulate without going near the brain. The narrative is structured to overlap with scenes from Elly's books and real life. The lines are momentarily blurred but its soon clear where this flimsy plot is heading. Bryce Dallas Howard and Sam Rockwell carry off the leading roles with joyful exuberance. They are well supported by some nicely placed cameos along the way. Due Lipa as La Grange struggles in a limited role that demands too little; her brief appearance is reminiscent of the classic bond girl cameo; show some flesh and then exit as quickly as possible. For a Bond pastiche it hits the mark and is a pleasant diversion from actioners that take themselves too seriously. Matthew Vaughan is buried deep within his comfort zone but executes a genre he understands well. The film does lose some credibility for its downright silliness particularly during the action sequences. Great fun but be ready to suspend your disbelief for prolonged periods. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Hustle film review by UK film critic George Wolf. Starring Adam Sandler, Juancho Hernangomez, Queen Latifah directed by Jeremiah Zagar. HOME | FILMS | REVIEWS Hustle Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Jun 9, 2022 Directed by: Jeremiah Zagar Written by: Will Fetters, Taylor Materna Starring: Adam Sandler, Juancho Hernangomez, Queen Latifah Adam Sandler’s passion for basketball is fairly well known, so the fact that Hustle is a love letter to the NBA shouldn’t be a huge surprise. And, this being a sports movie, you can expect some familiar benchmarks the film wisely doesn’t shy away from. But this film about the heart and commitment that’s required in the Association boasts plenty of both from nearly everyone involved, landing Netflix an enjoyable winner. Sandler plays Stanley Sugerman, a road-weary scout for the Philadelphia 76ers whose devotion to the team owner Rex Merrick (Robert Duvall) is finally rewarded with a job on the bench as Assistant Coach. But with clear shades of the Buss family drama in L.A., Rex’s son Vince (Ben Foster) wrestles control of the team from his sister (Heidi Gardner), and Stan is back living out of a suitcase while he scours the globe for a susperstar. Writers Will Fetters and Taylor Materne set some nice stakes early, as Vince dangles a return to coaching in front of Stan. The quicker he finds the team a game-changing phenom, the sooner he can be home closer to his wife (Queen Latifah) and daughter (Jordan Hull). On a gritty playground in Spain, Stan thinks he’s found his unicorn in the 6’9” Bo Cruz (NBA vet Juancho Hernangomez). The talk of big money lures Bo to Philly, but the path to a payday hits some roadblocks, and Bo’s longing for this mom and daughter back home creates some effective character-driven parallels with Stan. Sandler and Hernangomez share a sweet, funny chemistry, and a constant stream of past and present NBA stars adds plenty of authenticity. Even better is director Jeremiah Zagar’s (We the Animals ) skill in framing on-court action with speed, sweat and a tense, in-the-moment feel that gives the standard sports themes some needed vitality. Hustle is a story of father figures, redemption, perseverance, and leaving your mark. No one’s claiming to re-invent anything here, and the winking nod to an iconic Rocky moment cements a self-awareness that only adds to the film’s charm. It’s also another example of Sandler’s versatility, and the good that comes from surrounding himself with unique voices. When Sandler cares, he shines. And he clearly cares about basketball. About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >

Echoes film review by UK film critic Jason Knight. Starring Dane Oliver, Melanie Abernathy, Chase Blanchard directed by Anthony Kalmeta. HOME | FILMS | REVIEWS Echoes Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 8, 2021 Directed by: Anthony Kalmeta Written by: Anthony Kalmeta Starring: Dane Oliver, Melanie Abernathy, Chase Blanchard A troubled man struggles to remember the relationship he had with a woman. A man (Oliver) is alone inside a messy household, with limited lighting. He appears to be upset and confused and goes through pictures of him with a young woman named Ava (Abernathy). It is indicated that he is in the apartment he used to share with Ava when they were together and he now cannot recall what led to their breakup and is suffering as a result. He watches a VHS tape containing home video footage of her, apparently interacting with a man named Oliver, who is believed to be the name of the protagonist. As he tries harder and harder to bring back his memories, he seems to be gradually losing his sanity. This short is a dark psychological thriller that takes the viewer into the mind of a very unstable individual. The narrative plays a lot with his memories and appears to be leaving it up to the audience to decide what is real and what is not, sort of like a David Lynch film. The film leaves more questions than answers and it does so in a great way, leaving the viewer intrigued. Kalmeta is rather creative with the editing and makes interesting use of fast cutting and match cuts. The film contains several sequences that repeatedly cut between a shot of something and an identical shot that shows the same thing, but during a different period. For instance, there is a shot of a window, through which there is a bright, sunny day and then it cuts to the same shot, only this time it is night-time and there is rain. Another interesting editing technique involves a sequence that cuts between a closeup of the man's face and a shot Ava sitting at a table during a flashback. As they both speak, the film keeps cutting from one to the other, creating the illusion that they are having a conversation in real time. Oliver is convincing as a broken man who appears to be going through tough times and does not appear to know what is happening to him. Abernathy and Blanchard do a good job with their roles. Isaiah Walk does an amazing job with the cinematography, developing a downbeat feeling that goes well with the story. There are many parts throughout the film where the image goes to and from out of focus and by doing so it seems to be blending reality with fiction. The score is a contribution by Caleb Allen Parker and it sounds dramatic and haunting, creating a dark and sinister atmosphere. Makeup artist Lucy Navarrette also deserves credit, with the realistic injury work done on Oliver's face. Echoes is a sinister journey into the life of a disturbed person. The narrative makes the audience act as a detective and pick up the pieces and attempt to put them together in order to solve the puzzle that the film creates. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Room Next Door film review by UK film critic Jack Salvadori. Starring Julianne Moore, Tilda Swinton directed by Pedro Almodóvar. HOME | FILMS | REVIEWS The Room Next Door Film Review average rating is 2 out of 5 Critic: Jack Salvadori | Posted on: Sep 3, 2024 Directed by: Pedro Almodóvar Written by: Pedro Almodóvar Starring: Julianne Moore, Tilda Swinton After two short films in English, Pedro Almodóvar delivers his first feature not in his native Spanish with The Room Next Door . And he somehow succeeds in the task: the film has the same integrity of his recent works, since his soapy dialogues are just as bad in any language. It definitely feels like an “Almodovar” from the first frames, but this is not necessarily a positive trademark. Strutting random bright colours to paint the screen with endless green furniture and fuchsia shirts is arguably not a style but a mere design choice. And it is no news how the iconic Iberian director became “lazier” in the last couple of decades, limiting his camera movements to uninspired close ups and reverse shots. The cherry on the "tarta" is the usual intrusive, exaggerated, TV-like soundtrack that never abandons the character on-screen. But to each his own, these defining traits of Almodóvarian cinema seem to be the reason why his fans love him so much. Yet, these are not the only stumbles in The Room Next Door … Once again, Almodóvar sets the plot on familiar grounds, directly addressing death in a self-aggrandising way. Novelist Ingrid, played Julianne Moore, reconnects with her former colleague Martha (Tilda Swinton) when the latter is diagnosed with inoperable cancer. Rather than waiting for the inevitable, Martha chooses her freedom, and through the support of her friend, she embarks on the path of euthanasia. Hugs, kisses, tears- naturally you get the whole cliché package as these wonderfully talented thespians tango between the dense, wordy dialogues on the verge of the emotionally manipulative, searching for melodrama in the obvious. The film’s greatest flaw, disruptive and otherwise intriguing dynamic, is the constant, heavy exposition, where the character unrealistically feel compelled to tell everything, even when most of it is unnecessary, like the entire flashback sequences showing Swinton’s first marriage. They look cheap and gratuitous, and dilute the narrative without allowing it to explore its full potential. My last disappointing note is on a kiss that is given in one of these flashbacks: on a cinematic scale of kisses, it would rank as the antithesis of Vertigo. About the Film Critic Jack Salvadori Film Festival < All Reviews Next Film Review >

Dolce Far Niente film review by UK film critic James Learoyd. Starring Michael Antonio Keane, Cristina Filippone, Susy Serra directed by Michael Antonio Keane. HOME | FILMS | REVIEWS Dolce Far Niente Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 29, 2024 Directed by: Michael Antonio Keane Written by: Michael Antonio Keane Starring: Michael Antonio Keane, Cristina Filippone, Susy Serra The rather enigmatically titled Dolce Far Niente (Sweet Doing Nothing) poses some thoughtful questions, yet it’s the way in which they’re presented that makes this short feel unique in many ways. It depicts an incredibly personal, romantic tale of a young Irish writer staying in Italy. He narrates his activities as he wanders the streets, enjoys nature, and interacts with the various people around him, but narratively this is represented through recollective fragments. I was reminded of the reflective narration often used in the beautiful works of Éric Rohmer. The film presents us with a great many visual idiosyncrasies to enjoy. Perhaps, most notably, there is frequent use of a filter which distorts and blurs a lot of the image. Being a practical, lens-based effect as opposed to something added in post-production really gives it a vintage look which also suites the Italian streets and landscapes we’re being shown. Its purpose is also to fragment the image, like the structure of the narrative, as if being viewed through a very specific perspective – one whose thoughts are always playing a part. There are also some wonderful compositions, particularly when it comes to the opening few shots, which hold a patience and softness to them, using the buildings to frame the lovely blue of the sky (it all feels very Call Me by Your Name ). These novelties certainly elevate the piece to a level that it otherwise would not reach. The only issues, aesthetically, come in moments wherein, for whatever reason, the shutter-speed is randomly a lot faster than a previous shot (as to compensate for an excess of light): it’s slightly too digital a look that doesn’t match the whole romantic, wistful atmosphere. The editing has an alluring, stream of consciousness style, a fluidity that feels quite like a modernist novel. This style of sporadic cutting also provides a dynamic style for the viewer to enjoy – in fact, a lot of the film’s substance can be found in the form more than the story and themes themselves. With such ambitious editing and creatively stimulating cinematography, it’s easy to overlook certain story flaws, but they exist nevertheless... Message and story-wise, the short elicits some mixed feelings. On the one hand, there’s a pleasing (if slightly easy) message about self-love and acceptance, although one could argue that the narration doesn’t probe any deeper than that nice surface level. It all works very smoothly; very neatly. It simply could have been more thought-provoking with some more self-reflective, emotionally complex messaging. In addition to this, having Italy be the location for our story, you would think this may offer an explicit purpose or maybe even political commentary or allegory, yet it’s all quite clean and apolitical. But to conclude, there’s a beautiful atmosphere on display in Dolce Far Niente . Not every short possesses this degree of editorial and visual creativity, thus, for that reason alone, it’s more than worth a watch. The film’s a wonderful effort and, most importantly, demonstrates a love for using the cinematic form to discuss the internal. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

North Star film review by UK film critic William Hemingway. Starring Colman Domingo, Malcolm Gets, Audrey Wasilewski directed by P. J. Palmer. HOME | FILMS | REVIEWS North Star Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Oct 1, 2022 Directed by: P. J. Palmer Written by: P. J. Palmer Starring: Colman Domingo, Malcolm Gets, Audrey Wasilewski America is a divided country, split down many, many different lines and seemingly losing its sense of identity as half of its population are being dragged kicking and screaming into the 21st Century. There was a time not so long ago when it would be unthinkable that the Malboro Man, the rugged, manly figure of wild, American romance, could be black – let alone gay. Yet here, in North Star from writer/director P. J. Palmer, our all American hero is just that. Colman Domingo is Jimmy, a cowboy who runs a ranch with his husband Craig, played by Malcolm Gets, and who today is selling their last horse, North Star . Jimmy needs money to pay for Craig's medication and care, as he is suffering from a seriously debilitating condition that has left him an invalid, unable to move or speak on his own. As luck would have it, Craig's sister Erin (Wasilewski) has turned up today unannounced, back early from a sojourn to Canada to rustle up some cheap medicine and a few other things. She wants to spend as much time as she can with her brother in his final days and even though she's not taking charge of the difficult stuff, like feeding, changing and bathing, she's happy to take charge of everything else and make a song and dance about it as she does so. It doesn't take long for Erin's thinly veiled prejudices and moral superiority to come to the fore, underpinned as they are by her religious faith, and she badgers Jimmy to let her take Craig home with her, where he'll be with his real family and presumably under the auspices of God. Erin fully embodies the phrase, 'Love the sinner. Hate the sin,' as her pointed remarks and open disdain for her brother's relationship and lifestyle run Jimmy out of the house to do some chores and get away from the situation. Soon the TV is switched to the local televangelist channel, echoing Erin's sentiment, preaching love whilst simultaneously spouting hate, and poor Craig is forced to suffer in silence. North Star then, speaks to a nation divided, unable to reconcile it's violent, oppressive past with where it needs to go in the future, where it is inclusive, understanding and non-judgemental. P. J. Palmer pitches his characters and his scenario perfectly, to showcase as many of the country's major dividing lines as he can without being blatant or overly dramatic about it. Jimmy and Craig's inter-racial, same-sex relationship highlights the fault lines of race and sexuality while Erin opens up the weeping sores of religion and belief. Through the TV other contentious issues around lifestyle, education and rights are discussed and when a news report touches on the latest school shooting we are reminded that all of these dividing lines arc together under one umbrella – politics – the most divisive issue in America today. Palmer tackles all of this with startling subtlety and it is to his immense credit that North Star remains a soft and gentle film throughout. Jimmy and Craig's relationship is genuinely touching and affecting with tough, invasive realities being balanced with tender, loving moments while the beauty and scope of the wilderness is contrasted with the small, closed-mindedness of what goes on indoors through Ernesto Lomeli's stunning cinematography. The actors fully embody their characters with the three main leads offering outstanding performances which really enrich the feeling the viewer has of the scenario. Colman Domingo is considered and reserved as Jimmy while also managing to display an immense amount of strength and stoicism. Audrey Wasilewski shocks and riles as Erin without ever becoming a one-dimensional monster and Malcolm Gets stuns as Craig, managing to say so much with a single look as he expresses and receives love in two completely opposing ways. There's a lot going on in North Star and not all of it is easy to unpick, meaning that the short film has real layering and depth within its thirty minute runtime. While on the surface it may look like something we've seen before, just scratching a little deeper offers up a wealth of themes and issues that can't help but have some effect on or relevance to the viewer. North Star is a beautiful prayer for a broken America and if just one ounce of its love and gentleness transfers through to the audience then the world will be a better place for it. About the Film Critic William Hemingway Short Film, LGBTQ+ < All Reviews Next Film Review >

Slaughter Beach film review by UK film critic Jason Knight. Starring Jon McKoy, Ethan Han, Jim Cannatelli, Michelle Quenzel directed by Daniel C. Davis. HOME | FILMS | REVIEWS Slaughter Beach Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 3, 2022 Directed by: Daniel C. Davis Written by: Daniel C. Davis Starring: Jon McKoy, Ethan Han, Jim Cannatelli, Michelle Quenzel As the title suggests, something bad is happening on a beach. A maniac is killing people. A deranged killer is on the loose, which is not good news from a resort town. He viciously murders anyone he can find and will never stop. Meanwhile, Barry (Han) and his friend Ralph (McKoy) are looking for a way to make money and decide that a clever way to do so would be to become vigilantes for hire. Will these newly-self-declared heroes manage to put an end to the atrocities? It should be made clear that this dark comedy slasher movie is not to be taken seriously. The acting is unconvincing and the dialogue is ridiculous, however the film still manages to be entertaining. The audience follows the two 'superheroes' as they get themselves into misadventures and the serial killer as he fatally attacks his unfortunate victims. Dark humour enters as the killings take place, which are gory and gruesome, yet so silly that they will probably generate laughs, which is no bad thing. Things are more lighthearted when the attention goes to Barry and Ralph pretending to be tough crime fighters. The whole movie is basically a switch-your-brain-off-and-enjoy experience, although not for the faint of heart. As mentioned, the performances are not realistic, but they are amusing. McKoy and Han are quite fun as the two friends who just like that decide to rid their town from crime and repeatedly fail to do so. Han's character is enthusiastic and naive and wears a cape in an effort to resemble a superhero, while McKoy is more cautious and equally naive and carries a spade around. It is also humorous watching the brainless victims as they do not run from the threat. There are quite a lot of killings in this film and they are simultaneously brutal and comedic. There is plenty of blood and dismemberment and the violence is over-the-top. The goofy acting by the killer and the victims make the murders darkly entertaining. Praise goes to Isabelle Isel for the work on the gore special effects. The maniacal killer is arguably the one who steals the show. He laughs and jokes while he slays, clearly enjoying the act of ending a life. His appearance will most likely seem familiar to fans of the slasher genre. He wears fisherman's clothing and uses fishing tools as weapons, including a hook, resembling the murderer from I Know What You Did Last Summer . He is terrifying and clownish at the same time. Davis does a good job as director and creates some wonderful aerial shots. The score was composed by Sam Bishoff and it sounds kind of over-the-top and silly, which adds to the amusement. Those who enjoy movies like Peter Jackson's Bad Taste or Braindead should give this one a go. It could be described as a parody of the slaher genre and a bit of the superhero genre as well. It is not for everyone, but for viewers who enjoy dark humour and slasher fims, it is a satisfying experience. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Anniversary film review by UK film critic Hope Madden. Starring Diane Lane, Kyle Chandler, Madeline Brewer directed by Jan Komasa. HOME | FILMS | REVIEWS Anniversary Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Oct 28, 2025 Directed by: Jan Komasa Written by: Lori Rosene-Gambino, Jan Komasa Starring: Diane Lane, Kyle Chandler, Madeline Brewer Jan Komasa’s political thriller Anniversary certainly boasts an impressive cast. Diane Lane leads the film as Ellen Taylor, a Georgetown professor celebrating her 25th wedding anniversary to renowned DC chef, Paul (Kyle Chandler). Their four children will be there: high schooler Birdie (Mckenna Grace), famous comic Anna (Madeline Brewer), environmental lawyer Cynthia (Zoey Deutch) and her husband (Daryl McCormack), and beloved son who never made much of himself, Josh (Dylan O’Brien). Plus, Josh brought new girlfriend, Liz (Phoebe Dynevor). That one can’t be trusted. Komasa crafts a “they have it all” opening to prepare us for the inevitable downfall. Ellen and Paul truly love each other, and their bickering kids love them and each other as well. But there’s an invasive species at their garden party, and no matter how strong Ellen believes her family to be, bad stuff is coming. To Komasa’s credit, his script—co-written with Lori Rosene-Gambino—is no pulpy thriller about a vixen corrupting a family. True to the filmmaker’s previous output (Corpus Cristi, Suicide Room ), Anniversary dives into the large scale and intimate damage one persuasive but errant prophet can do. Liz has a belief system encapsulated in her new book, “The Change.” It advocates that the people, passionate and unified, step beyond this broken democracy and create a single party that will redefine the country’s future. What transpires between Ellen and Paul’s 25th and 30th anniversary parties is a debilitatingly likely image of America’s near future. The ensemble works wonders with slightly written characters. Komasa and Rosene-Gambino outline the insidious evolution with clarity, but the tale is too superficial to mean much. It’s a very talky script, yet very few questions are answered. Anniversary is entirely vague on the actual philosophy of “The Change”, making it tough know what people cling to and what the Taylors reject. Worse, character arcs exist exclusively to further the plot. Deutch bears the worst of this, but everything in the film—especially the character development—is tell, don’t show. Aside from O’Brien’s, no arc is character driven. Each is plot driven and some are absurd. Dynevor fares best, carving out a memorable, broken antagonist, a delicate survivor not to be trusted. She and Lane are formidable as antagonist and protagonist, but Anniversary doesn’t know exactly what to do with them. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Nude Tuesday film review by UK film critic Hope Madden. Starring Jackie van Beek, Damon Herriman, Jemaine Clement directed by Armagan Ballantyne. HOME | FILMS | REVIEWS Nude Tuesday Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jun 7, 2022 Directed by: Armagan Ballantyne Written by: Jackie van Beek, Armgan Ballantyne, Ronny Chieng Starring: Jackie van Beek, Damon Herriman, Jemaine Clement “It’s rude not to be nude on Nude Tuesday .” It’s with this kind of casually dropped line and its sincere acceptance that co-writer/director Armagan Ballantyne laughingly challenges status quo and self-help in equal measure. It’s nothing if not an odd film. Ballantyne writes with star Jackie van Beek (What We Do in the Shadows ) and Ronny Chieng. Ballantyne and van Beek composed the script, which is written entirely in a very Nordic-sounding gibberish language. Chieng wrote the subtitles. This makes you wonder, was the English language version available to the actors, or did Chieng figure out what they were saying later? And why? Either way, the actors convince. You’ll immediately forget that this is not a real language (which means you’ll cease to marvel at its delivery, and that’s a crime). Van Beek is Laura, whose marriage to Bruno (Damon Herriman) has been unsatisfying for a while. His mum has noticed, so she bought them a trip to a retreat run by the charismatic Bjorg (Jemaine Clement). The duo will try new things, learn about themselves, slowly unveil the buried troubles in their relationship, and work toward that day of days: Nude Tuesday. Before we get there, though, Ballantyne runs through an absurd comedy of manners. Van Beek’s awkward, do-what’s-expected delivery is perfect, and Herriman’s over-eager approach creates a funny balance. Clement’s simpleton narcissism delivers the most consistent laughter in a film that’s cleverly delightful if not bust-a-gut funny. The cast wields the language impressively. Still, the creative decision is a head-scratcher. The fictional language doesn’t impede enjoyment of the film, but it doesn’t heighten it, either. Because of the subtitles, it doesn’t do anything at all. Would we be able to follow along without captions? And if not, why put the cast through learning the false dialog and the audience through reading the real deal? It’s a conundrum, but not one worth a lot of energy. Nude Tuesday delivers a charming coming-of-middle-age comedy (and a lot more nudity than you probably need). About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

Street Trash film review by UK film critic Chris Buick. Starring Sean Cameron Michael, Donna Cormack-Thomson, Joe Vaz, Gary Green, Warrick Grier, Shuraigh Meyer, Lloyd Martinez Newkirk directed by Ryan Kruger. HOME | FILMS | REVIEWS Street Trash Film Review average rating is 3 out of 5 Critic: Chris Buick | Posted on: Jan 5, 2025 Directed by: Ryan Kruger Written by: Ryan Kruger, James C. Williamson Starring: Sean Cameron Michael, Donna Cormack-Thomson, Joe Vaz, Gary Green, Warrick Grier, Shuraigh Meyer, Lloyd Martinez Newkirk After taking fellow vagabond Alex (Cormack-Thomson) under their wing, a group of individuals living rough on the streets of Cape Town uncover a government plot to do away with the homeless community permanently through the use of a gruesome chemical weapon known as “V". With their very existence on the line, Ronald (Michael) and his gang must form unstable alliances and risk everything to make sure they don’t become nothing. Street Trash , a sequel of sorts to the 1987 cult film of the same name, is writer & director Ryan Kruger’s follow-up from his deservedly multi-award nominated and winning comedic sci-fi horror Fried Barry . There are a few returning faces here, both Gary Green, who played the titular Barry, and Sean Cameron Michael returning as Ronald, swap roles here with Michael taking the lead of this band of displaced misfits and Green’s 2-Bit helping fill out a cast of vibrant, eccentric and shall we say, rather colorful characters. Ronald is the affable leader, who recruits Alex to show her the ropes and the glue that holds them all together. There’s Chef (Vaz, also returning as part of the Fried Barry alum), the sage elder of the group with unmatched street-life know-how and a unique perspective on fairy-tale morality and message. Rounding off, we have the aforementioned Green as 2-Bit, mostly silent but always accompanied by his foul-mouthed imaginary friend Sockle as well as twins Pap (Meyer) and Wors (Newkirk) and the mostly off-screen (bar a hand or two) Offley (Kruger). Each one much like the film, is as crazy and out there as the next, but with all clearly having an immensely good time and giving no less than one hundred percent. It’s this band of brothers and sisters that must come together to take down the over-tanned and downright despicable Mayor Mostert (Grier, themselves fully committed to the cause), a bubbling cesspit of vitriol and hate who will stop at nothing to wipe them all out once and for all. And, as fans of Fried Barry might expect, Street Trash is a crazy film and, as its opening moments will very much prove, not one for the faint-hearted. You would very quickly lose track trying to keep count of how many body parts pop or squelch or are indeed pulled/chopped/snapped off in-between all the crude knob gags, and although it does end up eventually repeating its tricks somewhat, its impressive array of practical effects is just exactly the sort of thing fans of the gross-out, body-horror genre will lap up, especially so in the finale. Also surprisingly, it's a film that actually says a lot, class divides, civil unrest and over-policing are all tackled here to create a film that ultimately culminates in a messy affair that keeps you rooting for the underdogs. Definitely not to everyone's taste, but for those with the appetite for cranked-up body horror, in Street Trash a buffet of delights awaits. About the Film Critic Chris Buick Indie Feature Film, Theatrical Release < All Reviews Next Film Review >